title: Inchindown oil tanks

text:
The Inchindown oil tanks is a disused underground oil depot in Invergordon, Ross-shire, Scotland. The tanks hold the record for the longest reverberation in any man-made structure, surpassing the Hamilton Mausoleum in 2014.

History

The secret site was officially called "Inchindown, Royal Navy Fuel Tanks" and also known as the "Invergordon Oil Fuel Depot". The complex consists of six tanks: five are  long,  wide, with arched roofs  high; a smaller sixth tank is of the same height and breadth but shorter. Work on the tanks began in 1938 and was completed in 1941. They were built to be a bomb-proof supply of furnace fuel oil to the Royal Navy's base at Invergordon.

In 2014, the tanks were designated as a Category A listed building.

Reverberation record
In 2009, guided tours of the tanks were offered by Forestry Commission Scotland. After the tours were mentioned on BBC television programme The One Show, professor of acoustic engineering at the University of Salford Trevor Cox was motivated to perform reverberation tests in the underground tanks.  In 2014 Allan Kilpatrick from the Royal Commission on the Ancient and Historical Monuments of Scotland fired a pistol blank inside one of the tanks. The sound was recorded by Cox, and is reported to have reverberated for 112 seconds at 125 hertz, 30 seconds at mid frequency, and 75 seconds broadband.

In popular culture
In February 2019, photographers Simon Riddell and David Allen recorded a feature-length documentary inside the Inchindown oil facility. This documentary contains the only comprehensive tour of the facility. As part of the documentary, the photographers used a large format camera to make one negative of the first tank. They then slept overnight in tunnel 2, which they turned into a darkroom the next day. They continued to create a darkroom print of their negative on location without leaving the underground facility. The film won 'best documentary with the UK Monthly Film Festival.
The Inchindown oil depot was featured in the "Swamp of Despair" episode of the Science Channel's TV series Mysteries of the Abandoned (season 6, episode 2), first cablecast on April 2, 2020.
 Susan Calman  in the third series of the travel program, Secret Scotland went inside a fuel storage tank.
 Watch the Sound With Mark Ronson'''s episode on reverb goes to the Inchindown Oil Tanks.
 Tom Scott and Matt Gray'' both made videos of the oil tank, amassing 4.4 million views combined.

References

External links

Buildings and structures in Scotland
Category A listed buildings in Highland (council area)
Buildings and structures completed in 1941
Royal Navy bases in Scotland
Subterranea of the United Kingdom
Ross and Cromarty


title: Psamathe

text:
Psamathe may refer to:

Greek mythology
 Psamathe (Nereid)
 Psamathe (Crotopus), Daughter of Crotopus

Other
 Psamathe (moon), moon of Neptune
 Psamathe (polychaete), polychaete worm genus
 Psamathe (Leighton), 1880 painting of the Nereid by Frederic Leighton


title: Cuchi Machay

text:
Cuchi Machay (possibly from in the Quechua spelling Khuchi Mach'ay or Khuchimach'ay, khuchi pig, mach'ay cave, "pig cave") is an archaeological site with rock paintings in Peru. It is located in the Lima Region, Yauyos Province, Tanta District. Cuchi Machay was declared a National Cultural Heritage of Peru by Resolución Viceministerial No. 011-2013-VMPCIC-MC on February 7, 2013.

Cuchi Machay lies near the lakes Mullucocha and La Escalera.

References

Archaeological sites in Lima Region
Archaeological sites in Peru
Rock art in South America


title: Emanuel Hjort

text:
Emanuel Hjort is a Swedish fictional character, created by Swedish writers Anders Jacobsson and Sören Olsson for a youth book series. Upon the 2000 release, the old Bert Diaries series had been completed with Berts bokslut in 1999.

Emanuel is 16 years old in the first book, and thinks even more of girls than Sune and Bert. Emanuel is also interested in photographing. His mother is named Elisabeth, and his father Roger. His 23 year old sister Emma is living in Denmark.

Books

References

Swedish children's book series
Works by Anders Jacobsson and Sören Olsson
Book series introduced in 2000


title: Psamathe (daughter of Crotopus)

text:
Psamathe  (, from ψάμαθος "sand of the sea-shore"), sometimes given only as the daughter of Crotopus, was the daughter of King Crotopus of Argos, who became the lover of the god Apollo.

Etymology
Psamathe was theorized to be a sea-nymph (nereid) by  (1863) and a personification of the "sand of the sea-shore" ( psamathos), from which she derived her name.

Mythology
Psamathe was pursued and assaulted by King Aeacus of Agina. They had a child named Phocus ("Seal") or Linus.
In one version (Conon), Psamathe abandoned the child, and although shepherds reared the foundling who was then named Linus, the child was torn apart by the shepherd's dogs. In the interim, Psamathe was ordered to be killed by her father. Apollo avenged her murder by sending a plague to Argos. When consulted, Apollo demanded that Psamathe and Linus be propitiated with due honors and festivities. The Argives complied but the plague persisted. And by oracular decree, the king was forced to leave in order to found the city of Tripodiscium near Megara, where he would live out his life.

In an alternate version (Pausanias), Psamathe exposed the unnamed child, which was torn apart by the king's sheepdogs. Apollo then sent Poena (Greek: Poinē), the personification of punishment, upon the city. Poine would steal children from their mothers until Coroebus killed her. A hero Coroebus emerged from Argos to slay it, but Apollo then brought a plague upon the city.

A version by Statius tells this story, but does not name Psamathe, whom he only records as Crotopos's daughter. Psamathe is sometimes said to be the daughter of Nereus and Doris.

Monster

The monster is called also Poine, the personification of punishment, in Pausanias's version of the tale. It is a female monster with a snake protruding from her forehead in Statius's version, possibly having snake-feet (anguipedal form) as well.

The monster is also called a Kēr ( "death-demon") in one poem, and a late source (9th to 11th century) labels her as one of the Lamiai. It is also supposed to have a human head upon a serpent's body, according to a scholiast to Ovid. The poem indicates that the ker was entombed in the city of the tripod (Tripodiscium) to stand as a monument to commemorate Psamathe, and that its slayer Coroebus is interred right underneath the monster.

Coroebus, the Argive
Coroebus of Argos slew Poine, in Pausanias's version. Thereupon Apollo struck the city with a plague. Coroebus decided to go to Delphi to ask for punishment to befall only him, so that the city didn't have to suffer. The Pythia told him to never return home, but to take up a tripod and carry it until he would drop it, then settle on the spot where it would happen. The tripod slipped out of his hands as he had reached the Geraneian Mountains, where he founded a town known as Tripodiskoi ("Little Tripods"). The tomb of Coroebus was shown in Megara.

The hero named Coroebus does not appear in the version according to Conon.

References
Citations

Bibliography

Women of Apollo
Princesses in Greek mythology


title: Materials Processing Institute

text:
The Materials Processing Institute is a research centre serving organisations that work in advanced materials, low-carbon energy and the circular economy. The Institute is based in Tees Valley in the northeast of England.

Background

The British Iron and Steel Research Association (BISRA), was formed in 1944 with headquarters in London, originally at 11 Park Lane, later moved to 24 Buckingham Gate. Satellite laboratories were formed much later to support the larger UK steel producing centres of Sheffield, Swansea, Teesside, and Battersea.

Following the second nationalisation of the UK Steel industry in 1967, BISRA became the R&D function of the newly  formed British Steel Corporation.

Teesside Laboratories, later rebranded as Teesside Technology Centre, survived several rounds of R&D restructuring in which laboratories in Battersea and Swansea were ultimately closed.

In 2001, following the merger of British Steel with Koninklijke Hoogovens in 1999 (forming Corus Group PLC) Teesside Technology Centre, Welsh Laboratories and Swinden Technology Centre were to close to form a centralised UK Technology Centre. This was to mirror the single Dutch R&D site in IJmuiden. This centralisation attempt was backtracked but resulted in the closure of Welsh Laboratories and significant losses in numbers, knowledge and experience from both remaining centres.

In 2007, Tata Steel secured 100% of the Corus Group PLC shares, taking the company off the financial market.

In 2014, Tata Steel, already in the process of restructuring the UK arm of the European business, decided to also restructure UK R&D. Teesside Technology Centre and Swinden Technology Centre were to close with a new R&D Division being formed at Warwick Manufacturing Group. To avoid closure of the Teesside Laboratories and loss of the remaining technical process expertise in Coal & Coke, Oxygen Steelmaking, Continuous Casting and Long Products Rolling, members of the sites management team (Chris McDonald, Gareth Fletcher and Dr. Richard Curry) and the Tata Steel Process R&D Director (Dr. Simon Pike) were permitted to spin the site out as an independent research institute.

The Materials Processing Institute was launched December 2014.

Present day
The Materials Processing Institute works with steel organisations from across the UK, including Tata Steel, Liberty House Group and British Steel, while welcoming delegations from global, industry partners such as voestalpine AG, thyssenkrupp, ArcelorMittal and Sidenor.

The SME Technology Centre collaborates with NEPIC and Teesside University to support SMEs operating in Tees Valley and the wider North East region, through the Innovate Tees Valley and Tees Valley Business Start Up programmes, which are part funded by the European Regional Development Fund (ERDF).

In 2016, the Institute launched a commercial steel-making operation from its Normanton Steel plant, which has the capabilities to produce high carbon, high chrome steels.

In 2017, Liberty House Group won regional funding to develop a process to manufacture powder feedstock for additive manufacturing processes. Liberty chose to house the plant within the Materials Processing Institute.

The Materials Processing Institute is a member of UK Steel and was ratified, in October 2017, as an affiliated member of the World Steel Association, the international trade body for the iron and steel industry.

In 2018, intellectual property firm Marks & Clerk joined several other small firms in renting office space at the Institute's site. The move and new office was officially launched by Redcar MP Anna Turley.

Services
The Materials Processing Institute consults in the fields of sourcing and blending, blast furnace processes, continuous caster tuning and physical modelling (water-based fluid scale modelling) of caster moulds. They have ventured into contemporary techniques such as computational fluid dynamics and process instrumentation but cutbacks in staff and investment have limited development in these areas.

The site hosts a c1960's manual control electric arc furnace and vacuum ladle arc furnace plus a mothballed single mould billet caster with mould section donated from the 1970s Stocksbridge vertical caster in early 2000s.

The 7t arc plant is often used to melt and sandcast waste turnings from local industries at low cost and quick turnaround. The plant has limited gas extraction facilities and can only process material with low volatile content and low poisonous metals etc.

The Materials Processing Institute houses Liberty Speciality Steel's Additive Manufacturing Steelmaking Powder Metallurgy Development Plant.

Specialist services

 SME Technology Centre: The Materials Processing Institute supports businesses throughout the North East of England through its SME Technology Centre. The Centre provides technical support, facilities support and business support services to companies from various sectors. There are also a number of SMEs operating from the Institute’s campus.
 The Doctoral Academy: The Academy has formed relationships with industrial companies, including SMEs, universities and Centres for Doctoral Training (CDT).

References

1945 establishments in the United Kingdom
Buildings and structures in Redcar and Cleveland
Companies based in Middlesbrough
Metallurgical industry of the United Kingdom
Research institutes in North Yorkshire
Scientific organizations established in 1945
Technology companies of the United Kingdom


title: Flag of Lviv Oblast

text:
The flag of the Lviv Region (; translit.: Prapor Lvivs'koi oblasti) is one of regional flags of Ukraine. It is a symbol of the Lviv Oblast that inherits a historical tradition of using regional symbols and is an attribute of the local government and executive powers.

It was officially approved on February 27, 2001, by the decision of the Lviv Oblast Council.

The flag represents a banner of 2:3 proportion. With emblem region in the center — crowned yellow (golden) color lion. Height of lion — 3/4 of the flag's width, the distance from the upper and lower edges of the cloth — 1/8 the width of the flag. In the flip side — a mirror image.

The reference sample flag field is kept in the office of Chairman of the Regional Council.

Meaning
The lion leaning on a rock symbolizes the power and strength of the land and its inhabitants, who defended their independence from strangers for centuries. At the same time, it resonates with the name of the city of Lviv and the name of its first ruler — Leo I of Galicia.

The crown on the lion's head indicates the capital role of Kingdom of Rus' (Kingdom of Galicia and Volhynia) in the XII—XIV centuries and Kingdom of Galicia and Lodomeria in the XVIII—XX centuries.

Other flags

References

See also

 List of flags of Ukraine
 Ruthenian lion

Flags of Ukraine
Lviv Oblast
Flags displaying animals
Flags introduced in 2001


title: Composite artifact colors

text:
Composite artifact colors  is a designation commonly used to address several graphic modes of some 1970s and 1980s home computers. With some machines, when connected to an NTSC TV or monitor over composite video outputs, the video signal encoding allowed for extra colors to be displayed, by manipulating the pixel position on screen, not being limited by each machine's hardware color palette.

This mode was used mainly for games, since it limits the display's effective horizontal resolution. It was most common on the IBM PC (with CGA graphics), TRS-80 Color Computer, Apple II and Atari 8-bit computers, and used famously by the Ultima role-playing video games. Software titles (such as King's Quest for the IBM PC) usually provided an option to select between "RGB mode" and "Color Composite mode".

On PAL displays the effect is also present, but generates more limited colors. Depending on the exact PAL system used results will vary (if PAL-M or PAL-N are used, color artifacts similar to NTSC might be possible).

Although related, artifact colors are not the same as horizontal blurring. Blurring is a general effect of using a composite connection, that simply creates new colors due to a mix of adjacent horizontal pixel values. The exact mix will depend on the saturation and specific colors of the original pixels. Nevertheless, this effect can be exploited by using dither patterns, generating new intermediate palette colors on machines with a sufficiently high resolution display, like the ZX Spectrum, Mega Drive/Genesis, NES/Famicom or Amiga.

Technical details
In the NTSC color system as used in broadcasting, the color subcarrier frequency is exactly 227.5 times the line frequency, i.e., each line contains 227.5 color subcarrier cycles. This causes the apparent phase of the subcarrier to be reversed every line, which results in solid colors being displayed as a checkerboard-like pattern when viewed on a monochrome display that does not filter out the color information.

Computers such as the Apple II and the CGA video card for the IBM PC, output a signal that is an approximation of the broadcast standard. In both the Apple II and the CGA, each line is elongated to full 228 cycles of the color subcarrier. This is within the tolerances of most displays, so the image is displayed clearly, but the pattern generated by solid colors becomes straight vertical stripes instead. Each horizontal position within any line has constant phase relationship to the color subcarrier under this system, so lighting up a pixel at each specific horizontal index always has the same effect on the color information as interpreted by the display.

It is also typical for these types of display adapters to have pixel clocks that are a multiple of the NTSC subcarrier frequency. Both the Apple II and the CGA use the pixel clock of 14.318 MHz, four times the color subcarrier. For a broadcast-quality signal, that would mean 910 pixel cycles per each line (as opposed to 858 as later standardized by the ITU-R Recommendation BT.601), with about 750 of them occupying the visible portion of the screen. With the stretched lines of these early computers, each line was actually 912 pixel cycles long, and only a portion of the visible area was used - 560 pixels in case of Apple II (although not individually addressable without an 80 column expansion card), 640 in case of CGA. Each pixel could have one of the 4 predefined phase relationships to the color burst, so a "fake" subcarrier that will be interpreted as color by the display, can be constructed by outputting specific pixel patterns.

In case of adapters that also have native color capabilities, such as the CGA, this technique can be further expanded by forming patterns out of the built-in colors - this way, the "real" subcarrier generated by the hardware will interfere with the "fake" one residing within the pixel patterns, causing the display to interpret the result as new, unique colors.

In the PAL system, the phase of the subcarrier is interpreted differently from line to line, and the phase of the color burst is strictly required to change on alternate lines. This makes the tricks described above infeasible. SECAM uses frequency modulation, so generating artifact colors would require timing far more precise than synchronizing the pixel clock to the subcarrier frequency of either NTSC or PAL. For these reasons, artifact colors were generally only used with the NTSC color system. They are theoretically possible in any of them, due to the fact that in every analog television system, color information resides within the same bandwidth as luminance information.

Artifact colors should not the confused with the more common horizontal blurring effect. Horizontal blurring is an effect of using a composite video connection, where new colors are created by averaging individual pixel values. This is mainly due to the limited bandwidth of luminance and specially chrominance on analog systems. Contrary to artifact colors that are arbitrary, these new colors are completely dependent on the original values of adjacent pixels. Horizontal blurring is more pronounced at higher display resolutions and when saturated colors are used (specially blue and red). This effect was exploited by game artists on some machines (specially those capable of generating higher resolution graphics but having a limited color palette) through the use of dithering patterns.

Machines

PC compatibles with CGA graphic cards

When using IBM's Color Graphics Adapter (CGA) with a NTSC TV as a  composite monitor, the separation between luminance and chrominance is imperfect, yielding cross-color artifacts. This is especially a problem with 80-column text.

It is for this reason that each of the text and graphics modes described above exists twice: Once as the normal "color" version and once as a "monochrome" version. The "monochrome" version of each mode turns off the NTSC color decoding in the viewing monitor completely, resulting in a black-and-white picture, but also no color bleeding, hence, a sharper picture. On RGBI monitors, the two versions of each mode are identical, with the exception of the 320×200 graphics mode, where the "monochrome" version produces the third palette.

However, programmers learned that this flaw could be turned into an asset, as distinct patterns of high-resolution dots would turn into consistent areas of solid colors, thus allowing the display of completely new colors. Since these new colors are the result of cross-color artifacting, they are often called "artifact colors". Both the standard 320×200 four-color and the 640×200 color-on-black graphics modes could be used with this technique.

Early efforts resulted on a usable resolution of 160×200 with 16 colors.
Actual colors depend on the base palette and resolution used, as shown on the gallery below:

Later demonstrations by enthusiasts have increased the maximum number of colors the CGA can display at the same time to 1024. This technique involves a text mode tweak which quadruples the number of text rows. Certain ASCII characters such as U and ‼ are then used to produce the necessary patterns, which result in non-dithered images with an effective resolution of 80×100 on a composite monitor.

Software support
Many of the more high-profile game titles offers graphics optimized for composite color monitors. Ultima II, the first game in the game series to be ported to IBM PC, uses CGA composite graphics. King's Quest I was also innovative in its use of 16-color graphics. Other titles include Microsoft Decathlon, King's Quest II and King's Quest III.

TRS-80 Color Computer
The TRS-80 Color Computer (also known as Coco) two color 256×192 graphic mode allows the display of four colors by exploiting NTSC artifacts. It is not possible to reliably display 256 dots across the screen due to the limitations of the NTSC signal and the phase relationship between the graphics chip clock and colorburst frequency. Using the first color set, alternating columns of green and black pixels are not distinct and appear as a muddy green color. However, switching to a white and black color set, instead of a muddy gray as expected, the result is either orange or blue. Reversing the order of the alternating dots will give the opposite color. In effect, the 256x192 two color mode becomes a 128×192 four color mode with black, orange, blue, and white available. Most CoCo games used this mode as it generates more useful colors than the ones provided by the native four color modes.

The graphics chip internally can power up on either the rising or falling edge of the clock, so the bit patterns that represent orange and blue are not predictable. Most CoCo games start with a title screen and asks the user to press the reset button until the colors are correct.

Readers of The Rainbow or HOT CoCo magazine learned that they can use some POKE commands to switch the Motorola 6847 graphics chip into one of the artifact modes, while Extended Color BASIC continues to operate as though it were still displaying one of the 128x192 four-color modes. Thus, the entire set of Extended Color BASIC graphics commands can be used with the artifact colors. Some users developed a set of 16 artifact colors using a 4×2 pixel matrix. Use of POKE commands also make these colors available to the graphics commands, although the colors have to be drawn one horizontal line at a time. Some interesting artworks were produced from these effects, especially since the CoCo Max art package provides them in its palette of colors.

The resulting 16 color palette is (approximate colors for illustration purposes only):

The CoCo 3 fixes the clock-edge problem so it is always the same; the user holds the  key during reset to alternate the color set. On this computer games can be patched to use a new 128×192 four color mode provided by the Graphics Interrupt Memory Enhancer (GIME) chip, with hardware colors mapped to the required values.

Apple II

Color graphics on the Apple II series uses a quirk of the NTSC television signal standard, which made color display relatively easy and inexpensive to implement.

The Apple II display provides two pixels per NTSC subcarrier cycle. When the color burst reference signal is on and the computer attached to a color display, it can display green by showing one alternating pattern of pixels, magenta with an opposite pattern of alternating pixels, and white by placing two pixels next to each other. Later, blue and orange became available by tweaking the offset of the pixels by half a pixel-width in relation to the color-burst signal. The high-resolution display offers more colors simply by compressing more, narrower pixels into each subcarrier cycle.

The coarse, low-resolution graphics display mode works differently, as it can output a pattern of dots per pixel to offer more color options. These patterns are stored in the character generator ROM and replaces the text character bit patterns when the computer is switched to low-res graphics mode. The text mode and low-res graphics mode uses the same memory region and the same circuitry is used for both.

An example of full usage of artifact colors on the Apple II is the Dazzle Draw paint program. If seen in monochrome the image is composed of black and white vertical dither patterns, but when seen on NTSC colors appear.

Atari 8-bit

Graphics 8 mode on early Atari 8-bit computers that used the Color Television Interface Adaptor (CTIA) chip displayed black or white images at a resolution of 320×192.

Programmers quickly discovered that the odd or even patterns of adjacent black and white pixels in this mode would generate one of two additional colors (blue/brown or olive/pink) and software such as On-Line Systems' The Wizard and the Princess used this side-effect to display up to four colors at maximum resolution. This technique and its technical underpinnings were documented in Appendix D of De Re Atari.

Games such as Lode Runner, Flight Simulator II, and the Ultima series took advantage of this effect to display extra colors.

When Atari began shipping computers with the improved Graphic Television Interface Adaptor (GTIA), users found that such programs displayed incorrect colors and required an updated version of the software. In fact, artifact colors were inconsistent across the entire Atari 8-bit product line complicating playfield design but only affected a handful of titles that used this graphics mode. These color differences can be simulated within Altirra-based emulators.

All models with RF or composite output connected to televisions exhibited this effect while those such as the original Atari 800 or later XE series with built-in chroma/luma support additionally displayed images without artifacts when connected to a computer monitor with chroma/luma inputs such as the Commodore 1701
.

For some undocumented reason known only to Atari, they did not enable the chroma pin on the monitor jack of the 800XL although several modifications have been published to incorporate this support.

Other machines
Many first generation MSX computer games use horizontal blurring and dither to generate a palette of 125 simultaneous colors. Companies like Konami, Hal Laboratory or Ponyca used this technique regularly. Sony's Graphic Master Lab paint program allowed these 125 colors to be used in user-created drawings.

Home computers like the Atari ST also have graphics prepared with dithering techniques to take advantage of composite TV connections.

The Mega Drive/Genesis takes advantage of composite video horizontal blurring of vertical dither patterns to simulate transparency effects on many games. William Kier (the artist on Eternal Champions) stated performing manual dither for the graphics on that game, and that it's likely most games dithered in the same fashion. This effect was used so widely used that it can be simulated on modern hardware clones like the Mega Sg.

The Commodore Amiga, when connected over composite video, suffered from noticeable horizonal blurring, specially affecting colored pixels and smoothing out dithered transitions. This technique was used on most titles. Pixel artist Henk Nieborg mentions using dithering on the 1992 Amiga game Lionheart in order to create additional colors. The technique was also used frequently by British software house The Bitmap Brothers. The special Hold-And-Modify is particularly suited for displaying "high color" TV-like images, taking full advantage of horizontal blurring.

PAL system
Using a composite connection with the PAL TV system also generates new colors, but their number is limited and the results unreliable.

Apple II
The Apple II can be modified to output a 50 Hz signal for use in PAL and SECAM regions. However, when connected directly to a display, it results in a black and white picture. "Eurocolor" expansion cards were available that essentially decode NTSC artifacts and re-encode them as PAL or SECAM.

Atari 8-bit
Atari 8-bit machines are capable of generating artifact colors (red, yellow, violet and green) on monochrome modes taking advantage of PAL artifacts. A pinball table called Das Uboat, for Atari 800XL Pinball Construction Set, displays artifact colors when viewed on a PAL TV. Another example is Runaround II.

Commodore 64
On PAL versions of the Commodore 64, the delay line in the monitor or TV which averages the color hue, but not the brightness, of consecutive screen lines can be used to create seven nonstandard colors by alternating screen lines showing two colors of identical brightness. This is used in the game Mayhem in Monsterland, released in 1993 by Apex Computer Productions, and in Parallaxian.

TRS-80 Color Computer
TRS-80 Color Computer users in PAL countries only see green and purple stripes instead of solid red and blue colors.

ZX Spectrum

The ZX Spectrum resolution is high enough to allow the generation of artifact colors, but the effect was not explored during its commercial lifetime. The 2013 homebrew game Chromatrons Attack demonstrates the effect.

References

Computer graphic artifacts
Computer graphic techniques
Computer display standards
Composite video formats


The 2013–14 Australian Baseball League season was the fourth Australian Baseball League (ABL) season, and was held from 31 October 2013 to 8 February 2014. The season started with a game between the Melbourne Aces and the Canberra Cavalry at Narrabundah Ballpark in Canberra. The Perth Heat won their third title in four seasons defeating defending champions the Canberra Cavalry in the finals.

Teams

Regular season

Statistical leaders

Postseason
Three teams qualified for a two-round postseason. The highest placed team at the end of the regular season gained entry to and hosted the championship series. The other place was determined by a preliminary final series between the second and third placed teams, hosted by the second placed team.

Preliminary final series

Championship series

References

External links
The Australian Baseball League  – Official ABL Website
Official Baseball Australia Website

Australian Baseball League seasons
2013 in Australian sport
2013 in baseball
2014 in Australian sport
2014 in baseball


title: Elophila fluvialis

text:
Elophila fluvialis is a moth in the family Crambidae. It was described by Schaus in 1912.  It is found in Costa Rica.

References

Acentropinae
Moths described in 1912
Moths of Central America


title: Hugh Chaplin

text:
Arthur Hugh Chaplin  (17 April 1905 – 24 December 1996) was an English librarian who was Principal Keeper of Printed Books at the British Museum. He was a prolific author in the fields of librarianship and cataloguing, working hard to achieve an international standard for cataloguing through participation in the major international conferences of his time.

In 1963, Chaplin was the first non-American recipient of the Margaret Mann Citation in Cataloguing and Classification for ‘his masterly preparation of the Draft Statement of Principles which showed creative insight into universal conditions of bibliographical entry’ and would form the basis of an international agreement reached at the IFLA Conference on Cataloguing Principles held in Paris in 1961.

Early life
Arthur Hugh Chaplin was born in Bexhill-on-Sea on 17 April 1905. He was the son of Herbert Frederick Chaplin, a Wesleyan Minister, and his wife, Florence Bessie (née Lusher). The young Chaplin was educated at Bedford Modern School and later studied Latin at the University of London. After his degree he obtained a Diploma of The School of Librarianship and Archives at University College London. He was demonstrably adept at modern languages and used his skills to great effect as a later interpreter at international cataloguing conferences.

Career
Chaplin's career in librarianship began at the university libraries of Reading and Belfast. He joined the British Museum in 1930 as its Assistant Keeper and was promoted to Deputy Keeper of Printed Books in 1956. In 1959 he was made Principal Keeper of Printed Books and later took charge of the public services of the British Museum Library.

Chaplin was a prolific author in the fields of librarianship and cataloguing, working hard to achieve an international standard for cataloguing through participation in the international conferences of his time. In 1963, he was the first non-American recipient of the Margaret Mann Citation in Cataloguing and Classification for ‘his masterly preparation of the Draft Statement of Principles which showed creative insight into universal conditions of bibliographical entry’ and would form the basis of an international agreement reached at the IFLA Conference on Cataloguing Principles held in Paris in 1961.

Chaplin was made a Fellow of University College, London in 1969 and Companion Order of the Bath in 1970.

Personal life
Chaplin died in London on 24 December 1996.

Selected works
 Statement of principles: adopted by the International Conference on Cataloguing Principles, Paris, October 1961.  Published Sevenoaks, Kent.  Distributed by IFLA Secretariat, 1967
 New patterns of national published bibliographies.  Published by The British Library, London, 1977
 GK: 150 years of the General Catalogue of printed books in the British Museum.  Published by Scolar Press, Aldershot, 1987

References

People educated at Bedford Modern School
Alumni of University College London
Companions of the Order of the Bath
English librarians
People from Bexhill-on-Sea
Employees of the British Library
1905 births
1996 deaths


title: Mayor of Ilagan

text:
The mayor of Ilagan () is the head of the local government of the city of Ilagan, Isabela who is elected to three year terms. The Mayor is also the executive head and leads the city's departments in executing the city ordinances and improving public services. The city mayor is restricted to three consecutive terms, totaling nine years, although a mayor can be elected again after an interruption of one term.

There were 28 municipal mayors during its period as a municipality since 1904. The first elected city mayor was Josemarie L. Diaz in 2013.

Municipal Mayors (1904-2011)

The years 1999 and 2012 were a transition period to Ilagan cityhood but the former was failed and latter was a huge success.

City Mayors (2012-Present)

References

Lists of mayors of places in the Philippines
Ilagan


title: The Hitman (nickname)

text:
As a nickname, The Hitman, The Hit Man, or Hitman may refer to:

The Hitman
 Ricky Hatton (born 1978), English former boxer
 Liam Harrison (kickboxer) (born 1985), English Muay Thai kickboxer
 Thomas Hearns (born 1958), American retired boxer
 Thorsten Hohmann (born 1979), German pool player
 Michael Holt (snooker player) (born 1978), English snooker player
 Paulus Moses (born 1978), Namibian boxer
 Neeshan Prabhoo, Trinidad and Tobago chutney musician
 Bob Sanders, American football player
 Junthy Valenzuela (born 1979), former Philippine Basketball Association player

The Hit Man

 Don Mattingly, American retired Major League Baseball player and coach and current manager
 Tico Torres (born 1953), American drummer and percussionist for the rock band Bon Jovi

Hitman
 Bang Si-hyuk (born 1972), South Korean musician
 Bret Hart (born 1957), Canadian professional wrestler
 Chris Harris (safety) (born 1982), American retired National Football League player and current assistant coach
 Don Mattingly, former American baseball player and current coach and manager
 Harrison Smith (born 1989), American football free safety for Minnesota Vikings
 Martin Kampmann (born 1982), Danish MMA fighter
 Mikkel Kessler (born 1979), Danish boxer
 Rohit Sharma (born 1987), Indian cricketer
Jermall Charlo (born 1990), American Boxer

See also

 Atieli Pakalani (born 1989), Tongan born rugby union player nicknamed the "Tongan Hitman"
 Michael Norgrove (1981–2013), Zambian born professional boxer nicknamed the "Zambesi Hitman"

Nicknames


title: Pirca Pirca, Lima

text:
Pirca Pirca (possibly from Aymara and Quechua pirqa wall) is an archaeological site in Peru. It is located in the Lima Region, Yauyos Province, Tanta District. Pirca Pirca was declared a National Cultural Heritage of Peru by Resolución Viceministerial No. 011-2013-VMPCIC-MC on February 7, 2013. It lies north of Lake Paucarcocha.

See also
 Khuchi Mach'ay

References

Archaeological sites in Lima Region
Archaeological sites in Peru


title: CEG Godomey

text:
CEG Godomey is a public secondary school located in Godomey, Benin. This school was founded in 1984 and is officially known as the secondary school of Godomey. Since its foundation it welcomes every student around Godomey and elsewhere.

References

External links

Secondary schools in Benin
Educational institutions established in 1984
Schools in Benin
1984 establishments in Benin


title: SV Kickers Pforzheim

text:
The SV Kickers Pforzheim is a German association football club from the town of Pforzheim, Baden-Württemberg.

The club was formed in a merger of two local clubs in Pforzheim in 2011. Its greatest success came in 2014 when it won promotion to the Oberliga Baden-Württemberg, the highest football league in the state.

History
The club was formed in 2011 in a merger of Germania Brötzingen and 1. FC Eutingen. Of the two clubs Germania Brötzingen had been the more successful, playing as high as the Gauliga Baden in the 1930s. Eutingen's greatest achievements were two seasons in the Amateurliga Nordbaden and a Baden Cup win in 1950. The merger came only a season after two other well known Pforzheim clubs, 1. FC Pforzheim and VfR Pforzheim merged to form 1. CfR Pforzheim.

The new club inherited the league place of Germania Brötzingen in the tier seven Landesliga Mittelbaden. After a seventh place in 2012 the club won this league and promotion the following season. In its first year in the Verbandsliga Baden Kickers won the league and earned promotion to the Oberliga. The club came last in the Oberliga in 2014–15 and was relegated back to the Verbandsliga, followed by a last place in this league in 2015–16. Instead of relegation, Kickers' first team resigned from competitive football. Amid financial constraints leading to the departure of many players, the club was inactive in 2016–17 to form youth teams. The first team joined the C-Klasse for the 2017–18 season.

Honours
The club's honours:
 Verbandsliga Baden
 Champions: 2014
 Landesliga Mittelbaden
 Champions: 2013

Seasons
The season-by-season performance of the club:

Key

References

External links
 Official team site
 Das deutsche Fußball-Archiv  historical German domestic league tables
 Kickers Pforzheim at Weltfussball.de

Football clubs in Germany
Football clubs in Baden-Württemberg
Association football clubs established in 2011
2011 establishments in Germany
Pforzheim


title: Nurhilmi Jasni

text:
Nurhilmi Jasni (born 17 December 1986) is a Singaporean professional footballer who currently plays for Hougang United in the S.League. He plays as a midfielder.

Career
Nurhilmi Jasni played in the S.League for Tampines Rovers, Balestier Khalsa and currently Hougang United. The highlight of his career came in April 2013, in which he scored a brace to help the Cheetahs to a victory over Harimau Muda B.

References

External links

1986 births
Living people
Singaporean men's footballers
Men's association football midfielders
Tampines Rovers FC players
Balestier Khalsa FC players
Hougang United FC players
Singapore Premier League players


title: Transmission gate

text:
A transmission gate (TG) is an analog gate similar to a relay that can conduct in both directions or block by a control signal with almost any voltage potential. It is a CMOS-based switch, in which PMOS passes a strong 1 but poor 0, and NMOS passes strong 0 but poor 1. Both PMOS and NMOS work simultaneously.

Structure

In principle, a transmission gate is made up of two field-effect transistors (FET), in which – in contrast to traditional discrete field-effect transistors – the substrate terminal (bulk) is not connected internally to the source terminal. The two transistors, an n-channel MOSFET and a p-channel MOSFET, are connected in parallel with the drain and source terminals of the two transistors connected together. Their gate terminals are connected to each other by a NOT gate (inverter), to form the control terminal.

Unlike with discrete FETs, the substrate terminal is not connected to the source connection. Instead, the substrate terminals are connected to the respective supply potential in order to ensure that the parasitic substrate diode (between source/drain and substrate) is always reversely biased and so does not affect signal flow. The substrate terminal of the p-channel MOSFET is thus connected to the positive supply potential, and the substrate terminal of the n-channel MOSFET connected to the negative supply potential.

Function

When the control input is a logic zero (negative power supply potential), the gate of the n-channel MOSFET is also at a negative supply voltage potential. The gate terminal of the p-channel MOSFET is caused by the inverter, to the positive supply voltage potential. Regardless of on which switching terminal of the transmission gate (A or B) a voltage is applied (within the permissible range), the gate-source voltage of the n-channel MOSFETs is always negative, and the p-channel MOSFETs is always positive. Accordingly, neither of the two transistors will conduct and the transmission gate turns off.

When the control input is a logic one, the gate terminal of the n-channel MOSFETs is located at a positive supply voltage potential. By the inverter, the gate terminal of the p-channel MOSFETs is now at a negative supply voltage potential. As the substrate terminal of the transistors is not connected to the source terminal, the drain and source terminals are almost equal and the transistors start conducting at a voltage difference between the gate terminal and one of these conducts.

One of the switching terminals of the transmission gate is raised to a voltage near the negative supply voltage, a positive gate-source voltage (gate-to-drain voltage) will occur at the N-channel MOSFET, and the transistor begins to conduct, and the transmission gate conducts. The voltage at one of the switching terminals of the transmission gate is now raised continuously up to the positive supply voltage potential, so the gate-source voltage is reduced (gate-drain voltage) on the n-channel MOSFET, and this begins to turn off. At the same time, the p-channel MOSFET has a negative gate-source voltage (gate-to-drain voltage) builds up, whereby this transistor starts to conduct and the transmission gate switches.

Thereby it is achieved that the transmission gate passes over the entire voltage range. The transition resistance of the transmission gate varies depending upon the voltage to be switched, and corresponds to a superposition of the resistance curves of the two transistors.

Applications

Electronic switch

Transmission gates are used in order to implement electronic switches and analog multiplexers. If a signal is connected to different outputs (changeover switches, multiplexers), multiple transmission gates can be used as a transmission gate to either conduct or block (simple switch). A typical example in 4000-series and 74-series called the 4066 4-way "bilateral switch" can handle analog or digital signals and is available from various manufacturers.

Analog multiplexer
Many mixed-signal systems use an analog multiplexer to route several analog input channels to a single analog-to-digital converter.

Logic circuits

Logic circuits can be constructed with the aid of transmission gates instead of traditional CMOS pull-up and pull-down networks. Such circuits can often be made more compact, which can be an important consideration in silicon implementations.

Negative voltages
By using a transmission gate to switch alternating voltages (e.g.: audio signal), the negative power supply potential must be lower than the lowest signal potential. This ensures that the substrate diode will remain non-conducting even at negative voltages. Although the transmission gate can still switch to logic voltage levels, there are special versions with integrated level shifters. A good example, is the 4053 standard chip, commonly used to select between analogue inputs to an audio amplifier, has a separate ground (pin 8) and negative substrate connection (pin 7) that also supplies the level shifter.

See also
 Tri-state logic
 Analogue switch

References

 Ulrich Tietze, Christoph Schenk: Halbleiter-Schaltungstechnik. 12. Auflage, Springer, Berlin/Heidelberg/New York 2002, .
 Erwin Böhmer: Elemente der angewandten Elektronik. 15. Auflage, Vieweg & Sohn Verlag | GWV Fachverlage GmbH, Wiesbaden 2007, .
 Klaus Fricke: Digitaltechnik. 6. Auflage, Vieweg & Sohn Verlag | GWV Fachverlage GmbH, Wiesbaden 2009, .

Logic gates


title: List of fossiliferous stratigraphic units in Central America

text:
This page lists the fossiliferous stratigraphic units in Central America.

Belize

El Salvador

Guatemala

Honduras

Nicaragua

Costa Rica

Panama

See also

 Lists of fossiliferous stratigraphic units in North America
 List of fossiliferous stratigraphic units in Mexico
 List of fossiliferous stratigraphic units in Colombia
 List of fossiliferous stratigraphic units in the Caribbean

References

Bibliography
Honduras

Central America
Central America
Geology of Central America
Central America-related lists
Geology-related lists
Geology of Belize


title: Ancient Near Eastern seals and sealing practices

text:
Two main types of seals were used in the Ancient Near East, the stamp seal and the cylinder seal. Stamp seals first appeared in ‘administrative’ contexts in central and northern Mesopotamia in the seventh millennium and were used exclusively until the fifth millennium. Cylinder seals appeared first around 3600 bc in southern Mesopotamia and south-western Iran (Middle Uruk Period). They gradually replaced stamp seals, becoming the tool of a rising class of bureaucrats in the early stages of state formation. Even though stamp seals were still produced in the third and second millennia, cylinder seals predominated. In the first millennium, stamp seals made a strong comeback and eventually replaced cylinder seals entirely.

Containers that were sealed: jars, boxes, baskets, sacks

Place names and sites

Eshnunna (T. Asmar),
Shaduppum (T. Harmal),
Mari (Tell Hariri),
Sippar-Yahrurum (T. Abu Habbah),
Sippar-Amnanum (T. ed-Der),
Babylon (near al-Hillah),
Kish (T. Uhaimir),
Nippur (T. Nuffar),
Larsa (T. Senkereh),
Isin (Ishan Bahriyat),
Kisurra (T. Abu Hatab)
Ur (T. el-Muqayyar)
Urkesh (Tell Mozan)

References

General bibliography:

 Amiet, P. 1980 La Glyptique mésopotamienne archaique, Paris.
 Collon, Dominique 2005 (2nd revised edition). First impressions: Cylinder Seals in the Ancient Near East. London: British Museum.
 Collon, Dominique 2007. Babylonian Seals. In: Leick, Gwendolyn (ed), The Babylonian World: 95–123. New York & London: Routledge.
 Gibson, McG and R.D. Biggs (eds.) 1977. Seals and Sealing in the Ancient Near East. Bibliotheca Mesopotamica 6, Malibu.
 Gibson, McG. and R.D. Biggs (eds.) 1987. The Organization of Power. Aspects of Bureaucracy in the Ancient Near East. Studies in Ancient Oriental Civilizations 46. Chicago: Oriental Institute.
 Gorelick, L. and A. J. Gwinnett 1990, The Ancient near Eastern Cylinder Seal as Social Emblem and Status Symbol, Journal of Near Eastern Studies 49 (1): 45–56.
 Keel, O. and Uehlinger, C. (eds) 1990. Altorientalische Miniaturkunst. Die ältesten visuellen Massenkommunikationsmittel. Mainz, Gabern, pp. 27–46.
 Pittman, H. 1994 The Glazed Steatite Glyptic Style. The Structure and Function of an Image System in the Administration of Protoliterate Mesopotamia, BBVO 16, Berlin.
 Pittman, Holly 2013. Seals and Sealings in the Sumerian World. In: Crawford, Harriet (ed), The Sumerian World. New York & London: Routledge.
 Porada, E. 1947. Mesopotamian art in cylinder seals of the Pierpont Morgan Library. Pierpont Morgan Library.
 Porada, E., Amiet, P., Özgüç, N., & Boardman, J. (eds.) 1980. Ancient art in seals: essays. Princeton, N.J.: University Press.
 Radner, Karen 2009. Siegelpraxis, A. Philologisch, RlA: 466–469.
 Otto, Adelheid 2009. Siegelpraxis, B. Archäologisch. In RlA: 469–474.
 Teissier, B. 1984. Ancient Near Eastern Cylinder Seals from the Marcopoli Collection, Berkeley.

Manufacture and materials
 Moorey, R.  1994.  Ancient Mesopotamian Materials and Industries, esp. pp. 74–77 (on materials for seals) and pp. 103–106 (on seal cutting)
 Collon, D. 2005.  First Impressions, Cylinder Seals in the Ancient Near East. (2nd revised edition), pp. 100–104.
 Frahm, Ellery, Agnete W. Lassen, and Klaus Wagensonner. "Gods and Demons, Anatolia and Egypt: Obsidian Sourcing of Mesopotamian Amulets and Cylinder Seals Using Portable Xrf." Journal of Archaeological Science: Reports 24 (2019): 978-92.
 Gorelick, L., and Gwinnett. A. J., 1992, Minoan versus Mesopotamian seals: comparative methods of manufacture, Iraq, 54: 51–64.
 Gwinnett, A. J. and Gorelick, L. 1987. The Change from Stone Drills to Copper Drills in Mesopotamia. Expedition 29 (3): 15–24.
 Heimpel, W., Gorelick, L., and Gwinnett, A. J., 1988, Philological and archaeological evidence for the use of emery in the Bronze Age Near East, Journal of Cuneiform Studies 40 (2): 195–210.
 Sax, M., and Meeks, N. D., 1994. The introduction of wheel-cutting as a technique for engraving cylinder seals: its distinction from filing, Iraq, 56, 153–66.
 Sax, M., D. Collon and M.N. Leese 1993. The availability of raw materials for Near Eastern cylinder seals during the Akkadian, post Akkadian and Ur III periods. Iraq 55: 77–90.
 Sax, M. N. D. Meeks and D. Collon 2000. The Early Development of the Lapidary Engraving Wheel in Mesopotamia. Iraq 62: 157–176.
 Sax, M., J. McNabb, N.D. Meeks 1998, Methods of Engraving Mesopotamian Cylinder Seals: Experimental Confirmation, Archaeometry 40: 1-21.

Prehistoric seals
 von Wickede 1990, Prähistorische Stempelsiegel in Vorderasien. MVAS 6: p. 10-21 (form), 21-28 (design)

Sealing practice:
 Duistermaat, K. 2010. Administration in Neolithic Societies? The First Use of Seals in Syria and Some Considerations on Seal Owners, Seal Use and Private Property. In Müller (ed.) Die Bedeutung Der Minoischen Und Mykenischen Glyptik: VI. Internationales Siegel-Symposium, Marburg, 9-12 Oktober 2008. (CMS Beiheft 8) Mainz am Rhein: Verlag Philipp von Zabern: 167–182.
 von Wickede 1990, Prähistorische Stempelsiegel in Vorderasien. MVAS 6
 Duistermaat, K. 2013.
 Rothman, Mitchell S. 1994. Sealings as a Control Mechanism in Prehistory: Tepe Gawra XI, X and VIII. In: Gil Stein & Mitchell S. Rothman (eds), Chiefdoms and Early States in the Near East: The Organizational dynamics of complexity: 103–120. Madison: Prehistory Press.

Uruk seals
 Brandes, M. A. 1979, Siegelabrollungen aus den archaischen Bauschichten in Uruk-Warka
 Amiet, P. 1980 P. Amiet, Glyptique mesoptaminne archaique. (Paris 1980)
 R. M. Boehmer 1999, Uruk. Früheste Siegelabrollungen. AUWE 24. (Mainz 1999)
 B. Feller 2013, Die Anfänge der Bürokratie. Funktion und Einsatz von Siegeln im 4. und 3. Jahrtausend v. Chr., in Uruk. 5000 Jahre Megacity. Begleitband zur Ausstellung "Uruk – 5000 Jahre Megacity", 159–165.
 M. Frangipane 2007 (Ed.), Arslantepe Cretulae. An Early Centralized Administrative System Before Writing. (Rome 2007)
 R. J. Matthews 2002, Secrets of the Dark Mound. (Warminster 2002)
 H. Pittman 2001, Mesopotamian Intraregional Relations Reflected through Glyptic Evidence in the late Chalcolithic 1-5 Periods, in M. Rothman (Ed.), Uruk Mesopotamia & its Neighbors. Cross-cultural Interactions in the Era of State Formation, 403–443.
 M. T. Rigillo 1991, Sealing Systems on Uruk Doors, BaM 22 (1991), 175-222

Early Dynastic seals

Iconography:
 Pittmann, Holly 1994, The Glazed Steatite Glyptic Style: the Structure and Function of an Image System in the Administration of Protoliterate Mesopotamia. Berlin
 Karg, N. 1984, Untersuchungen zur älteren frühdynastischen Glyptik Babyloniens. Aspekte regionaler Entwicklungen in der ersten Hälfte des 3. Jahrtausends. BaF 8. Mainz
 Pittman, Holly 2013. Seals and Sealings in the Sumerian World. In: Crawford, Harriet (ed), The Sumerian World. New York & London: Routledge.

Sealing practice:
 Jans G. & Bretschneider J. 2011 (2012), Seals and Sealings of Tell Beydar/Nabada (Seasons 1995-2001). Subartu XXVII, Turnhout Brepols.
 H. P. Martin and R. J. Matthews 1993, "Seals and Sealings," in A. Green, ed., The 6G Ash-Tip and Its Contents: Cultic and Administrative Discard from the Temple? (London), pp. 23–81
 R. J. Matthews 1991, "Fragments of Officialdom from Fara," Iraq 53: 1–16
 Charvát, Petr 1988. Archaeology and Social History: The Susa sealings, ca. 4000–2340 BC, Paléorient 14(1): 57–63
 Charvát, Petr 2005. The Backs of Some Sealings from Nineveh 5. Iraq 67: 391–397.
 Zettler, R. 2007, Clay Sealings from the Early Dynastic I levels of the Inanna Temple at Nippur: a preliminary analysis, in Roth, M. W. Farber, and M. Stolper (eds), Studies presented to R. Biggs: 343–362.

Akkadian

Glyptic art:
 Rakic, Yelena 2003. The Contest Scene in Akkadian Glyptic: A Study of its imagery and function within the Akkadian empire. PhD thesis, University of Pennsylvania.
 Collon, D. Catalogue of the Western Asiatic Seals in the British Museum: Cylinder Seals, vol 2 Akkadian and Ur III.
 Boehmer, Rainer Michael 1965. Die Entwicklung der Glyptik während der Akkad-Zeit. (Untersuchungen zur Assyriologie und Vorderasiatischen Archäologie 4) Berlin: De Gruyter.
 Amiet, P.1980. The Mythological Repertory in Cylinder Seals of the Agade Period (c. 2335-2155 B.C.). In Porada (ed.), pp. 35–60.
 Barrelet, M.T. 1970. Etude de glyptique akkadienne: l'imagination figurative et le cycle d'Ea. Orientalia 39: 213–251.

Sealing practice:
 Rakic, Yelena 2003. The Contest Scene in Akkadian Glyptic: A Study of its imagery and function within the Akkadian empire. PhD thesis, University of Pennsylvania. esp. Ch. 6;289-354
 Matthews, D. Early Glyptic of Tell Brak, 176–183.

Ur III

Glyptic art:
 Collon, D. Catalogue of the Western Asiatic Seals in the British Museum: Cylinder Seals, vol 2 Akkadian and Ur III
 Winter, I. 1986 "The king and the cup: iconography of the royal presentation scene on Ur III seals," inInsights through Images (ed. by M Kelly-Buccellati), pp. 253 – 268. Malibu: Undena Publications. Bibliotheca Mesopotamica 21.
 Winter, I. 1991 (1977) "Legitimation of authority through image and legend: seals belonging to officials in the administrative bureaucracy of the Ur III state," in The Organization of Power (ed. by McGuire Gibson and R. Biggs), pp. 1 – 33. Chicago: Oriental Institute. Studies in Ancient Oriental Civilization 46.
 Suter 2010 (representation of the king)
 Mayr, R. H. 2002a. The depiction of ordinary men and women on the seals of the Ur III kingdom. In Parpola, S. and Whiting, R. M., editors, Sex and Gender in the Ancient Near East: Proceedings of the 47th Rencontre Assyriologique Internationale, Helsinki, July 2–6, 2001, pages 359–366. Neo-Assyrian Text Corpus Project, Helsinki.

Sealing Ur III:
 Zettler 1987 "Sealings as artifacts of institutional administration in ancient Mesopotamia," Journal of Cuneiform Studies 39: 197 - 240.
 Reichel 2001, Reichel, Clemens 2001. Seals and Sealings at Tell Asmar – A New look at an Ur III to Isin/Larsa Palace. In: William Hallo & Irene J. Winter (eds.): 101–131.
 Buccellati, G. / M. Kelly-Buccellati, The Royal Storehouse of Urkesh: The Glyptic Evidence from the Southwestern Wing. AfO 42/43, 1995/96, 1-32.

Sealing documents:
 Hattori, Atsuko 2001. Sealing Practices of Ur III Nippur. In: William Hallo & Irene J. Winter (eds): 71–99.
 Hattori, Atsuko 2002. Texts and Impressions: A Holistic approach to Ur III cuneiform tablets from the university of Pennsylvania expeditions to Nippur (Iraq). PhD thesis, University of Pennsylvania.
 Laurito, R.  in  D’Agostino, Franco, Francesco Pomponio & Romina Laurito 2004. Neo-Sumerian Texts from Ur in the British Museum: Epigraphical and archaeological catalogue of an unpublished corpus of texts and fragments. (Nisaba 5) Messina: Di.Sc.A.M.
 Tsouparopoulou, Christina 2015. The Ur III seals impressed on documents from Puzrish-Dagan (Drehem), HSAO 16, Heidelberg
 Fischer, Claudia 1992. Siegelabrollungen im British Museum auf neusumerischen Tontafeln aus der Provinz Lagash – Untersuchungen zu den Tierkampfszenen. Zeitschrift für Assyriologie 82: 60–91.
 Fischer, Claudia 1997. Siegelabrollungen im British Museum auf Ur-III-zeitlichen Texten aus der Provinz Lagash: Untersuchung zu den Verehrungsszenen. Baghdader Mitteilungen 28: 97–183.
 Reichel, Clemens 2003. Appendix: Sealing practice. In: Markus Hilgert, Drehem Administrative Documents from the Reign of Amar-Suena (Oriental Institute Publications 121): 603–24. Chicago: The Oriental Institute.

Isin-Larsa / Old Babylonian
 Blocher, Felix 2001. Sealing Tablets in Early Second Millennium Babylonia - Wealth and Significance of the Yale Babylonian Collection, in: William W. Hallo (Hg.), Seals and Seal Impressions, Comptes rendus de la XLV Rencontre Assyriologique Internationale (Boston/New Haven 5–10 July 1998), Vol. 3, New Haven/Boston, 133–148.
 Collon, D. 2007. Babylonian Seals in Leick, G. (ed) The Babylonian World: 95-123 (esp. pp. 95–107)
 Goddeeris, A. 2012. Sealing in Old Babylonian Nippur, in Fs Van Lerberghe pp. 215–234.
 Gailani-Werr, L. al-, Chronological Table of Old Babyblonian Seal Impressions. Bulletin of the Institute of Archaeology, University of London 17, 1980, 33-84
 Gailani-Werr, L. al-, Studies in the Chronology and Regional Style of Old Babylonian Cylinder Seals. BiMes. 23, 1988
 Klengel-Brandt, E., Siegelabrollungen auf altbabylonischen Tontafeln aus Babylon. AoF 10, 1983, 65-106
 Blocher, F., Siegelabrollungen auf frühaltbabylonischen Tontafeln in der Yale Babylonian Collection, ein Katalog. MVS 9. München 1992
 Blocher, F., Siegelabrollungen auf frühaltbabylonischen Tontafeln im British Museum, ein Katalog. MVS 10. München 1992
Old Assyrian

 Alexander, R. L. "Native Group Cylinder Seal Engravers of Karum Kanish Level Ii." Belleten 43, no. 171-172 (1979): 573-618.
 Alp, S. Zylinder- Und Stempelsiegel Aus Karahöyük Bei Konya. Türk Tarih Kurumu Yayınları Ankara, 1968.
 Eppihimer, Melissa. "Representing Ashur: The Old Assyrian Rulers' Seals and Their Ur Iii Prototype." Journal of Near Eastern Studies 72, no. 1 (2013): 35-49.
 Larsen, Mogens Trolle. "Seal Use in the Old Assyrian Period." In Seals and Sealings in the Ancient near East, edited by M. Gibson and R. Biggs. Bibliotheca Mesopotamica, 89-105. Malibu: Udena Publications, 1977.

 Lassen, Agnete Wisti. "The Old Assyrian Glyptic Style. An Investigation of a Seal Style, Its Owners and Place of Production." In Current Research at Kültepe/Kanesh. An Interdisciplinary and Integrative Approach to Trade Networks, Internationalism, and Identity, edited by Levent Atici, Fikri Kulakoğlu, Gojko Barjamovic and Andrew Fairbairn. Journal of Cuneiform Studies Supplements, 107-21. Boston, MA.: American Schools of Oriental Research, 2014.
 Lassen, Agnete W. "The ‘Bull-Altar’ in Old Assyrian Glyptic: A Representation of the God Assur?". In Movement, Resources, Interaction: Proceedings of the 2nd Kültepe International Meeting, Kültepe, 26-30 July 2015: Studies Dedicated to Klaas Veenhof, edited by Fikri Kulakoğlu and Gojko Barjamovic, 179-95. Turnhout: Brepols, 2017.
 Özgüç, Nimet. The Anatolian Group of Cylinder Seal Impressions from Kültepe. Türk Tarih Kurumu Yayınları. Ankara: Türk Tarih Kurumu Basimevi, 1965.
 Özgüç, Nimet. Seals and Seal Impressions of Level Ib from Karum Kanish. Kaniş Karumu Ib Katı Mühürleri Ve Mühür Baskıları. Türk Tarih Kurumu Yayınları. Ankara: Türk Tarih Kurumu Basımevi, 1968.
 Özgüç, Nimet. "Seal Impressions from the Palaces at Acemhöyük." In Ancient Art in Seals, edited by Edith Porada, 61-80. Princeton: Princeton University Press, 1980.
 Özgüç, Nimet. Kültepe-Kaniš/Neša: Seal Impressions on the Clay Envelopes from the Archives of the Native Peruwa and Assyrian Trader Uṣur-Ša-Ištar Son of Aššur-Imittī. Türk Tarih Kurumu Yayınları. Ankara: Türk Tarih Kurumu, 2006.
 Özgüç, Nimet. Acemhöyük-Burušhaddum I: Silindir Mühürler ve MühüR Baskılı Bullalar / Cylinder Seals and Bullae with Cylinder Seal Impressions. Ankara, 2015.
 Özgüç, Nimet, and Önhan Tunca. Kültepe-Kaniš. Sealed and Inscribed Clay Bullae. Türk Tarih Kurumu Yayınları. Ankara: Türk Tarih Kurumu Basimevi, 2001.
 Teissier, Beatrice. Sealing and Seals on Texts from Kültepe Kārum Level 2. Publications De L'institut Historique-Archéologique Néerlandais De Stamboul. Edited by M. J. Mellink, C. Nijland, J. J. Roodenberg, Roos de J. and K. R. Veenhof. Leiden: Nederlands Instituut voor het Nabije Oosten, 1994.
 Tosun, M. "Styles in Kültepe Seal Engraving as Expressions of Various Cultural Influences." In Studies in Honor of Benno Landsberger on His 75. Birthday, April 21, 1965. Assyriological Studies, 183-88. Chicago: University of Chicago Press, 1965.

Mitanni and Kassite
 Salje, Beate 1990. Der "Common Style" der Mitanni-Glyptik und die Glyptik der Levante und Zyperns in der späten Bronzezeit. Baghdader Forschungen, Band 11. Mainz: Zabern.
 Porada, E., Seal Impressions from Nuzi. AASOR 24. New Haven 1947
 Stein, D.L., A Reapraisal of the "Saushtatar Letter" from Nuzi. ZA 79, 1989, 36-60
 Stein, D.L., Seal Impressions from Arrapha and Nuzi in the Yale Babylonian Collection, in: D.I. Owen - M.A. Morrison (Hrsg.), Studies on the Civilization and Culture of Nuzi and the Hurrians Vol. 2. Winona Lake 1987, 225-320
 Stein, D.L., The Seal Impressions, in: G. Wilhelm (Hrsg.), Das Archiv des Shilwa-Teshup, Heft 8 und 9. Wiesbaden 1993
 Beran, T., Die babylonische Glyptik der Kassitenzeit. AfO, 1957–58, 255-278
 Matthews, D. M. Principles of Composition in Near Eastern Glyptic of the Later Second Millennium B.C. (1990)
 Matthews, D.M., The Kassite Glyptic of Nippur. OBO 116. Freiburg (Schweiz) 1992
 Wittmann, B., Babylonische Rollsiegel des 11.-7. Jahrhunderts v. Chr. BaM 23, 1992, 169 ff. (Nachtrag: Wittmann-von Pilgrim, B. in: BaM 25, 1994, 597 ff.)

Middle Assyrian

 Beran, T., Assyrische Glyptik des 14. Jahrhunderts. ZA NF 18, 1957, 141-215

 Bonatz, Dominik. Middle Assyrian Seal Motifs from Tell Fekheriye, Syria. Tell Fekheriye Excavation Reports. Berlin: De Gruyter, 2021.
 Bretschneider, Joachim, and Greta Jans. "A Winged Horse at Tell Tweini: An Exceptional Middle Assyrian Cylinder Seal." Akkadica 140 (2019): 149–60.
 Feller, Barbara. "Seal Images an Social Status: Sealings on Middle Assyrian Tablets from Ashur." In Near Eastern Archaeology in the Past, Present and Future. Vol. 1 Proceedings of the 6th International Congress of the Archaeology of the Ancient near East : 5 May - 10 May 2009, "Sapienza", Università Di Roma, edited by P. Matthiae, F. Pinnock, L. Nigro and N. Marchetti, 913-23. Wiesbaden: Harrassowitz, 2010.
 Kühne, Hartmut 1995. Der mittelassyrische, Cut Style', in ZA 85: 277-301
 Kühne, H. / W. Röllig, Das Siegel des Königs Salmanasser I. von Assyrien, in: Emre, K. / M. Mellink / B. Hrouda / N. Özgüç (Hrsg.), Anatolia and the Ancient Near East: Studies in Honor of Tahsin Özgüç. Ankara 1989, 295-299
 Matthews, Donald M. "Middle Assyrian Glyptic from Tell Billa." Iraq 53 (1991): 17-42.
 Matthews, Donald M. "The Random Pegasus: Loss of Meaning in Middle Assyrian Seals." Cambridge Archaeological Journal 2 (1992): 191-210.

 Moortgat, A., Assyrische Glyptik des 12. Jahrhunderts. ZA NF 14, 1944, 24-44
 Moortgat, A., Assyrische Glyptik des 13. Jahrhunderts. ZA NF 13, 1942, 50-88
 Parker, Barbara. "Middle Assyrian Seal Impressions from Tell Al Rimah." Iraq 39, 2 (1977): 257-68.
 Porada, Edith. "Remarks on Mitannian (Hurrian) and Middle Assyrian Glyptic Art." Akkadica 13 (1979): 2-15.

Sealing practices:
 Röllig, W. 1980. Notizen zur Praxis der Siegelung in mittelassyrischer Zeit. Welt des Orients 11: 111–116.
 Postgate, Nicholas J. 1986. Middle Assyrian Tablets: The Instruments of bureaucracy. AoF 13: 10–39.
 Postgate, Nicholas J. 2003. Documents in Government under the Middle Assyrian Kingdom. In: M. Brosius (ed.): 124–138.
 Postgate, Nicholas J. 2014. Bronze Age Bureaucracy: Writing and the practice of government in Assyria. NY: CUP.
Kassite/Middle Babylonian

 Konstantopoulos, Gina. "Inscribed Kassite Cylinder Seals in the Metropolitan Museum." Metropolitan Museum Journal 53 (2018): 96-113. https://doi.org/10.1086/701742. https://www.journals.uchicago.edu/doi/abs/10.1086/701742.
 Kopanias, Konstatinos. "The Late Bronze Age near Eastern Cylinder Seals from Thebes (Greece) and Their Historical Implications." Mitteilungen des Deutchen Archäologischen Instituts Atenische Abteilung 123 (2008): 39-96.
 Lassen, Agnete W., and Enrique Jiménez. "Nbc 3171: A Recarved Old Babylonian/Kassite Seal." Ash-Sharq: Bulletin of the Ancient Near East 6, 1 (2022): 58-63.
 Matthews, Donald M. Principles of Composition in near Eastern Glyptic of the Later Second Millennium B.C. Orbis Biblicus Et Orientalis. Series Archaeologica. Freiburg: Universitätsverlag Friburg, 1990.
 Matthews, Donald M. The Kassite Glyptic of Nippur. Orbis Biblicus Et Orientalis. Freiburg: Universitätsverlag, 1992.
 Porada, Edith. "The Cylinder Seals Found at Thebes in Boeotia." Archiv für Orientforschung 28 (1981/1982): 1-70.
 Porada, Edith, and Dominique Collon. The Second Millennium Bc. Beyond Babylon. Catalogue of the Western Asiatic Seals in the British Museum, Cylinder Seals. London: The British Museum, 2016.
 Seidl, Ursula. "Babylonische Kunst Zur Kassitenzeit." In Kardunias. Babylonia under the Kassites 2, edited by Alexa Bartelmus and Katja Sternitzke. Untersuchungen Zur Assyriologie Und Vorderasiatischen Archäologie, 313-32. Boston/Berlin: de Gruyter, 2017.
 Stein, Diana. "Common Mitannian and Pseudo-Kassite: A Question of Quality and Class." In De Chypre À La Bactriane, Les Sceaux Du Proche-Orient Ancien. Actes Du Colloque International Organisé Au Musée Du Louvre Par Le Service Culturel Le 18 Mars 1995, edited by A. Caubet, 71-115. Paris: La Documentation française, 1997.
 Trokay, Madeleine. "Glyptique Pseudo-Kassite: Glyptique Kassite Commune." In Tablettes Et Images Aux Pays De Sumer Et D'akkad: MéLanges Offerts à Monsieur H. Limet, edited by Önhan Tunca and D. Deheselle, 207-13. Liege: Universite de Liege, 1996.

Seals (insignia)
Archaeology of the Near East
Cylinder and impression seals in archaeology


title: Harold Rothery Nutt

text:
Major-General Harold Rothery Nutt  (1876–1953) was Surgeon-General to the Bombay Government, Honorary Surgeon to the Viceroy of India and Honorary Surgeon to King George V.

Early life
Nutt was born on 28 December 1876, the third of four sons of William Henry Rothery Nutt, an official of the Bank of England, and his wife Kathleen Laura (née Bloxham).  He was educated at Bedford Modern School and St Mary’s Hospital, London where he was 'house surgeon, assistant demonstrator of physiology, and clinical assistant and demonstrator in the skin department'.

Career
Nutt was commissioned as a lieutenant in the Indian Medical Service on 27 June 1901, seeing active service on the North West Frontier.  He was promoted to captain on 27 June 1904 and served as a civil surgeon in the United Provinces (1908–14) being promoted to the position of major on 27 December 1912.

During World War I he served in Egypt in 1915 and then in hospital ships.  Nutt was promoted to lieutenant-colonel on 27 December 1921 and then served as professor of surgery at the University of Lucknow.  From 1930 to 1933 Nutt was inspector-general of civil hospitals and was president of the United Provinces branch of the British Medical Association (1931–32).  He was promoted major-general in 1933 and retired in 1935.

Family life
In 1909 Nutt married Minnie, daughter of William McKerrow, who survived him with a daughter.  He died in Eastbourne on 2 January 1953.

References

Fellows of the Royal College of Surgeons of England
1876 births
People educated at Bedford Modern School
1953 deaths
Indian Medical Service officers
British Indian Army generals
British surgeons
People from Kensington
British people in colonial India
Medical doctors from British India


title: Consider Me Gone (disambiguation)

text:
"Consider Me Gone" is a 2009 song by Reba McEntire.

Consider Me Gone may also refer to:

"Consider Me Gone", the final episode (24 March 1990) of the TV series ALF
"Consider Me Gone", a 2007 single by Hilary McRae, subsequently appearing on her first album
"Consider Me Gone", a song by Sting on his 1985 debut solo album The Dream of the Blue Turtles


title: Hozjusz

text:
Hosius may refer to:

Stanislaus Hosius (1504-1579), bishop of Chełmno and Warmia, cardinal and leader of the Counter-Reformation
Stanisław Józef Hozjusz (1674-1738), bishop of Przemyśl, Livonia, Kamianets-Podilskyi and Poznań
Ulrich Hosius (ca. 1455-1535), mint-master, horodniczy of Vilnius, and father of cardinal Stanislaus Hosius
Hozyusz coat of arms, used by several noble families in the Kingdom of Poland and Grand Duchy of Lithuania

See also
 Hosius (disambiguation)
 Hosius of Corduba (c. 257-359), bishop, leader of the First Council of Nicaea, and advisor of Constantine the Great


title: Harold Blacker

text:
Harold Alfred Cecil Blacker (15 August 1889 – 18 July 1944), styled Mr Justice Blacker, was a Puisne Judge in the High Court of Judicature, Lahore.

Early years
Born in Fulham on 15 August 1889, Harold Blacker was the son of Major Latham Charles Miller Blacker and his wife, Emily Violet Mattei ("Contessa Emilia Mattei").

He was educated at Charterhouse (1903-1905), Bedford School (1905-1908), and at Queens' College, Cambridge, graduating as a Bachelor of Arts in 1911.

He joined the Indian Civil Service, and left England for India, on 20 October 1914. His first appointment was Assistant Commissioner in Sialkot.

Military Officer
He was commissioned as a Second Lieutenant in the 1st Punjab Volunteer Rifles, "to fill an existing vacancy", on 1 April 1915. Given permission to commence active service, he was appointed a second lieutenant in the Indian Army Reserve of Officers [I.A.R.O.] on 23 August 1917, and was posted as an Assistant Recruiting Officer to Ferozepur. He was promoted on 1 November 1917 to the rank of temporary captain, but without the pay and allowances of that rank, while employed as Assistant Recruiting Officer. He was released from full-time military service, to resume civil employment on 13 December 1918. He formally relinquished his commission in the I.A.R.O. and was granted the rank of captain, with effect from 1 May 1922.

Resumption of Indian Civil Service career
In December 1918, Blacker resumed his ICS career as Assistant Commissioner in Gurdaspur. He served on several other stations, before being appointed Political Assistant, and Commandant of the Border Military Police in Dera Ghazi Khan, in February 1920. Then, in November, 1922, he commenced duties as Registrar of the High Court of Judicature at Lahore. Thereafter he served several times as a District and Sessions Judge in Lahore.

Judicial Appointments
In 1930, Blacker was appointed as President of a Special Tribunal constituted under the Criminal Procedure (Punjab Amendment) Act, 1930 (Punjab Act IV of 1930). The Tribunal – the so-called "Punjab Conspiracy Case Tribunal" – was established to try a large number of freedom fighters involved in the Atshi Chakkar group ("the Ring of Fire", formed in June 1930), charged with indulging in "terrorist activities to throw off the British power".   It comprised three Commissioners (judges): Blacker (President of the Tribunal); Rai Bahadur Ganga Ram Soni; and Mr Mohammed Sleem.   The case was prosecuted by Pandit Jwala Parshad. Sessions, held in the Central Jail in Lahore, commenced in December 1930:

"There sat the President of the Tribunal, Mr. H.A.C. Blacker, a man of calm observation with nothing conspicuous about him. He had been looking unobtrusively but continuously towards us since the time we were produced in the court. The youngest of the judges, Mr. Sleem, a well-known lawyer from Lahore, sat to the left of the President. He looked smart and vivacious. … His smiling self-confident attitude put in unfavourable contrast the bearing of the third and the oldest of the judges, Rai Bahadur Ganga Ram Soni. He was a retired Sessions Judge of about seventy with an austere face, gaunt and thin frame and a shaky head."

"[The] District and Sessions Judge of Lahore, Mr. Blacker (a civilian) […] later elevated to the High Court Bench […] was trying one of the famous conspiracy cases. As the trial was taking too long to finish, the British Governor wrote to him requesting an expeditious disposal of the case. The judge promptly issued a notice to the Governor requiring his presence the next day to answer a charge of contempt. And the Governor did present himself with a host of legal advisers and officials. He tendered an unconditional and unqualified apology."

The Tribunal delivered judgment, and the tribunal was wound up, on 13 December 1933. Two of the accused were sentenced to death, three to transportation for life, and 12 to rigorous imprisonment for terms ranging from two to seven years. Five were acquitted.

"[Defence counsel] was meanwhile busy with the judges who were finishing their business that day. He had requested them to recommend 'B' class treatment for us and to instruct the jail authorities to let us remain in the Lahore Jail till the decision of our appeal. The judges, while making both the recommendations, remarked, 'All these are well-behaved young men belonging to decent families and deserve better status!'"

Blacker was appointed as an Additional Judge in the High Court at Lahore in October 1934, but resumed duty as Registrar of the court in October, 1935. He sat as an acting member of the court in 1936 and 1937, before - on 23 December 1937 -  being given a permanent appointment as Puisne Judge in the High Court of Judicature at Lahore.

Mr Justice Blacker died of a cerebral haemorrhage in Murree on 18 July 1944.

Family
Blacker was married on 3 October 1922, in St Saviour's Church in Eastbourne to Barbara Graeme Leask, daughter of Dr. John Thomas Leask and his wife, Alice Maud Trute. They had one daughter, Nina Graeme Blacker.

References

1889 births
1944 deaths
People educated at Bedford School
Alumni of Queens' College, Cambridge
British India judges
British people in colonial India


title: Will Carver

text:
William Carver is an English author whose works span the crime, mystery and thriller genres. He is best known for the Detective Inspector January David series, comprising Girl 4, The Two and Dead Set. He lives in Reading, Berkshire.

Early life
Carver's early years were spent in Germany but at the age of 11 he returned to the UK, where his sporting career began to flourish. He turned down a professional rugby contract to study a Theatre and Television degree at King Alfred's, Winchester, where he also set up his own successful theatre company.

His first novel – a black comedy – was not taken up, one publisher suggested his writing style would suit a thriller. Six months later, Girl 4 was finished. Four months after that he was signed to Random House for three books. He is currently writing the fourth.

Literary career
In 2009, he finished his debut novel – Girl 4 – which was published by Random House, with the book being released in May 2011. His second thriller novel, The Two, was published a year later with the third book in the January David series, Dead Set, following in 2013. (A digital novella was also published between the second and third book – The Killer Inside – and remains free to download.)

In 2018, Carver returned with the first book in the series featuring Detective Sergeant Pace, a dark, domestic noir, Good Samaritans, published by Orenda Books. It went on to become a book of the year in The Telegraph, The Guardian and The Express. It was also longlisted for the Not The Booker Prize and shortlisted for the inaugural Amazon Publishing Awards' Best Independent Voice.

Following the success of Good Samaritans, Carver released Nothing Important Happened Today, about an invisible suicide cult where nobody knows they are a member until it is too late. The novel was longlisted for the Goldboro Books Glass Bell Award as well as the prestigious Theakstons Old Peculiar Crime Novel Of The Year Award.

2020 saw the publication of Hinton Hollow Death Trip, the third book in the Detective Pace series, where the narrator of the story is Evil itself. In 2021, Carver was set to have two novels published. The first – The Beresford – a stand-alone novel that dips its toe into horror, and Psychopaths Anonymous, which forms part of the series while also standing on its own.

Bibliography

Detective Inspector January David series
Girl 4 (2011)
The Two (2011)
The Killer Inside (2013) (short story)
Dead Set (2013)

Detective Sergeant Pace series
Good Samaritans (2018)
Nothing Important Happened Today (2019)
Hinton Hollow Death Trip (2020)
Psychopaths Anonymous (2021)

Standalone works
The Beresford (2021)
The Daves Next Door (2022)
Suicide Thursday (2022)

References

External links

 Profile at Blake Friedmann Literary Agency

writers from Reading, Berkshire
Living people
British mystery writers
British crime fiction writers
British thriller writers
Year of birth missing (living people)


title: Elophila monetalis

text:
Elophila monetalis is a moth in the family Crambidae. It was described by Snellen in 1880. It is found on Sulawesi.

References

Acentropinae
Moths described in 1880
Moths of Indonesia


title: Manjunath (film)

text:
Manjunath is an Indian drama film written and directed by Sandeep A. Varma based on the true story of Manjunath Shanmugam, the Indian Institute of Management Lucknow graduate who was killed in Lakhimpur, U.P., in November 2005, for his stand against corruption and fuel adulteration.

Plot

In the hinterland of Uttar Pradesh 27-year-old Manjunath Shanmugam is a student at the state-of-the-art campus of the Indian Institute of Management Lucknow (IIM-L). After graduating, Manjunath joins a petroleum company as a sales officer. He is posted in Lakhimpur Kheri, a remote district in rural Uttar Pradesh. One day Manjunath goes missing.

His friends panic, because they know that of late he had been very disturbed and was behaving strangely. He had become serious and scared. He was different from the Manjunath they knew in college, who was always jovial, fun-loving, friendly, and a great entertainer.

One of his friends finds him, but Manjunath is frantic. They send him back to his hometown. Manjunath's parents try to convince him to leave his job at Bharat Oil that is causing him stress. Initially he seems willing but slowly he realises that he doesn't want to be a quitter. (Manjunath believes that, being from a top institute in the country, he has been given an opportunity. As the eldest son of a mineworker, he has had a humble upbringing.)

He realises that the kerosene, mixed with diesel, is coming from ration shops — 'it's the poor people's kerosene'. In addition, he becomes conscious of the extent of pollution caused by burning adulterated fuel. He finds strength and comes back to fight, against his parents wishes.

There is a clear threat to his life, because he insists on doing his duty to stop petrol adulteration. This time, Manjunath is not deterred. He continues doing what he considers right, without worrying about the consequences. As a result, one night he gets brutally killed by the people who are harmed by him doing his duty. His family and friends suffer over his death. They wonder why he put himself in so much danger.

Slowly, the worst fears start coming true. Beyond the initial grief, no one wants to come forward to carry on the fight.

In the film, Manjunath is shown watching what happens after he dies. He is starting to feel that it is all pointless. He cannot watch his parents' tears any more: What was their fault? Maybe he should have compromised. But how can people not see what he has? What he fought was something very big and very important.

Suddenly, people who have no connection to him realise the importance of what Manjunath did and start trying to do something. Like novices, they search their way around: Their will is strong. They start getting help again from unexpected quarters. It is nerve-wracking, with dangers for everyone. Then, instead of one or two, there are a lot people helping. Manjunath, who has lost hope, realises that it's not all going waste.

He hopes and prays that they succeed.

The film cuts back and forth from a rock concert. The conflict of the story is not whether Manjunath lived or died, but if the effect of Manjunath lives or dies, and in the end that's the victory.

Cast
 Sasho Satiiysh Saarathy as Manjunath
 Divya Dutta as Anjali Mullatti
 Seema Biswas as Manjunath's mother
 Kishor Kadam as Manjunath's father
 Yashpal Sharma as Golu Goyal
 Rajesh Khattar as Raina, Manjunath's boss
 Asif Basra as Devendra
 Anjori Alagh as Sujata
 Faisal Rashid as Gautam
 Gireesh Sahedev as H.Jaishankar
 Vineet Kumar as I.B. Singh
 Shishir Sharma as Golu's father
 Saksham Dayma as Inspector Shukla
Nalneesh Neel as Paanwala

Production

Development
In an interview with Firstpost, director Sandeep A. Varma stated,
"Manjunath actually picked me. One day, I got a call from the Manjunath Trust Trustees who were fighting his case. They wanted some creative work like posters, etc. to be created pro bono and had got to know that I had a creative advertising background.As I researched on Manjunath, two things staggered me. One was he was totally unlike what I'd thought he would be. I'd thought he'd be idealistic, preachy, etc but he was interesting, very ordinary in the sense of how we used to be in college, he made mistakes, was a musician –  basically very cinematic. It made me curious that if he was so 'like any of us' then what happened to him to make him do what he did? Secondly, also that the people fighting his case, did not know him, were not doing it for glory or money, just strangers, taking on something thousands of miles away, just because they were inspired by what he did.
I thought these may be ingredients of a story worth telling."

Official support
The film was supported by the Manjunath Shanmugam Trust  through which the support of IIM-Lucknow and Manjunath's parents were enlisted.

Filming

Manjunath was primarily shot in Lucknow and areas around, including at the IIM. The rest of the portions were filmed in Mumbai and Bangalore. The filming in U.P. was done under a pseudo-name of being a romantic movie, to avoid the attention of the local people and media. Sandeep and his crew had a close shave with a few corrupt petrol pump owners whilst shooting which forced him to choose the cover story. “Unlike the collective memory of the rest of the country, Manjunath’s story is still alive in Uttar Pradesh. We didn’t want to put the 100-crew unit at risk,” said director Sandeep A. Varma, in an interview with The Indian Express.

Music

The soundtrack is composed by Sonam Sherpa, Nitin Malik and Subir Malik of Delhi-based rock band Parikrama. The film has four original songs with lyrics penned by Rajneesh Bisht and Sandeep A. Varma. The track "Shlokas" is the first rock rendition of the Bhagavad Gita in Bollywood.

Release
Manjunath was released in India on 9 May 2014.

Reception

Critical response
Critic Taran Adarsh gave 3.5 stars out of 5 and states that, "Manjunath is a film that is realistic, brave and powerful. Critic Subhash K. Jha also gave 3.5 stars out of 5 saying, "The director pieces together Manjunath's story like Orson Welles' Citizen Kane. For The Times of India, Renuka Vyavahare wrote, "One of the least promoted films of the week, Manjunath pleasantly surprises you with its thought-provoking, hard-hitting content and earnest execution. What also set the film apart are its heart-rending parent-child moments and heartfelt performances. Renowned artistes Seema Biswas (as Manju's mother) and Kishor Kadam (Manju's father) deserve awards for their tear-evoking acts." She gave the film 3 stars out of 5. Rajeev Masand for IBN Live gave it a rating of 3/5, calling it "An important story that deserves to be heard." Sify.com gave it 3.5 out of 5 saying, "Don't miss this rare gem. Varma is an astute storyteller, also showcasing a flair for cinematic style. The atmospherics are delightful, and so are the nuances (right from Manjunath's nerdy dressing sense to his worn-out steering wheel cover). Music by Parikrama is superb, even if too much at times."

Rahul Desai for Mumbai Mirror wrote, "The sign of a good biopic, like a documentary, is its current relevance and ability to transcend flaws, as well as the first emotion it elicits from viewers. I felt wronged, and grew stronger as things progressed, only to be shaken by the truth of how relatable Manjunath's psychological struggle was. The tragic part is that Manjunath wasn't a hero; he only had his eyes open in an unrelenting world." He gave it 3 stars out of 5.
Paloma Sharma for Rediff.com gave it 3 stars out of 5 and said, "Several scenes even take place from beyond the grave and this turn of events ruins the fast-paced, crisply edited aspect of the film and hence, the early promise it showed. That said though, Manjunath is a brave film, like the man it is based on, as it openly takes on the issue of caste and class – an everyday discrimination that the protagonist faced."

Response from Manjunath's family

In an open letter to DNA, Manjunath's brother S. Raghavendran, as a response to the film's low box office response, wrote,

"We saw Manjunath come alive in front of our eyes last weekend in the theatre near you. A few people had come forward to honour his memory. Why? Was he useless? Did what he did not matter to anyone? Would you react the same way if your loved one is brutally killed for doing his duty?
It’s not a movie with an item song or love story or the one which audience normally expect. It’s poignant, isn’t it... an ordinary man fighting against corruption and getting brutally killed. I only wish and hope that more people should know of his real story, what he did, why, what he stood for, and get inspired by him. Let’s all start dreaming about a corruption free country. Don’t we have the right to at least start dreaming and thinking in that direction?"

Television premiere

Manjunath had its world television premiere on 19 November 2014 (Manjunath's death anniversary) on &Pictures (Zee Group).

To create awareness, &Pictures organised on-ground events at notable colleges as such IIM Ahmedabad, IIM Indore, IIM Lucknow and St. Andrew's College, Mumbai, where a panel discussion was held on the topic “Are heroes like Manjunath ‘brave’ or ‘stupid’ in doing what they do?” The panelists included the film's director Sandeep A. Varma; Raghavendran Shanmugam (Manjunath's brother); cast members from the movie like Sasho Satiiysh, Yashpal Sharma and Rajesh Khattar; notable government officials and IPS officers; and faculty members from the institutes. The events were covered by mainline and regional press.

References

External links

2014 films
2010s Hindi-language films
Indian biographical films
Viacom18 Studios films
Films shot in Lucknow
2010s biographical films


title: Eto Nabuli

text:
Etonia Nabuli (born 24 August 1988) is a Fijian-born Australian professional rugby footballer who  plays rugby league for the Wentworthville Magpies in the Ron Massey Cup. He previously played rugby league for the St. George Illawarra Dragons in the National Rugby League as a , also representing Fiji. He also played rugby union for the Queensland Reds.

Background
Nabuli was born in Sigatoka, Fiji.
In 2012, after coincidentally bumping into Andrew Johns and Brad Fittler while working as a porter at InterContinental in Fiji, Nabuli joined the Penrith Panthers for the 2013 NRL season. Johns and Fittler were in Fiji promoting rugby league, when the two first noticed Nabuli and decided to bring him to Australia to play rugby league. Nabuli says he had only played rugby union prior to coming to Australia in late December 2012.

Rugby league

2013
Nabuli was a regular player for the Windsor Wolves in the New South Wales Cup during the 2013 season, finishing as the competition's leading try-scorer, with 30 tries. On 23 September 2013, he was named on the wing in the 2013 New South Wales Cup Team of the Year.

2014
In February 2014, he was included in the Penrith Panthers' 16-man squad that participated in the 2014 Auckland Nines competition. He sustained a medial collateral ligament injury on his left knee during the competition's quarter-final.

In May, Nabuli played for Fiji in the 2014 Pacific Rugby League International. On 28 September, he played in the Panthers' 2014 New South Wales Cup Grand Final victory over the Newcastle Knights.

2015
On 27 October, Nabuli signed a 1-year contract with the St. George Illawarra Dragons, starting in 2015, after rejecting interest from Super Rugby team, the Western Force. In round 1 of the 2015 NRL season, he made his NRL debut for the Dragons, against the Melbourne Storm, scoring a try on debut. On 2 May, he played for Fiji against Papua New Guinea in the 2015 Melanesian Cup. On 14 June, he re-signed with the Dragons on a 1-year contract. He finished off his debut season having played in 13 games and scoring 7 tries.

Rugby union

2016
In September, it was confirmed that Nabuli would join Super Rugby side, Queensland Reds from 2016 on a two-year contract, after being released from the final year of his Dragons contract.

After the first 12 rounds of Super rugby, Wallabies coach, Michael Cheika, selected Nabuli in his preliminary 39-man squad for the test series against  in 2016. He did not play for the Wallabies that season, but was selected again the following year, making his test debut against  on 17 June 2017.

2017
In 2017 the Queensland Reds finished 3rd in the Australian conference and 14th overall, winning just four out of fifteen games. Nabuli was associated with 26% of the total scored tries for the Reds during the 2017 season scoring a total of eight tries and four try assists.

In October 2017, Nabuli played for the Barbarians against Australia at Allianz Stadium, Sydney. Losing the game 31–28.

Bordeaux
In March 2018, it has been rumoured that Nabuli along with other fellow Reds players will be leaving the club to join Bordeaux in the French Top 14, as they are off contract at the conclusion of the season.

References

External links

It's Rugby profile
2015 St. George Illawarra Dragons profile
NRL profile

1988 births
People from Sigatoka
Rugby union players from Nadroga-Navosa Province
I-Taukei Fijian people
Fijian rugby league players
Fiji national rugby league team players
St. George Illawarra Dragons players
Windsor Wolves players
Rugby league wingers
Australia international rugby union players
Rugby union wings
Fijian rugby union players
Queensland Reds players
Living people


title: Marc Ma

text:
Ma Marc is a Chinese actor. He appeared in many Chinese movies and TV dramas as supporting roles.  He joined Universe International Holding Limited in March 2011.

Personal life
Ma was born in Lanzhou, the capital city of Gansu Province in Northwest China.  His father was a drama actor, therefore he was interested in acting.  When he was graduated from high school, he left his hometown and came to Beijing for entrance exam of Central Academy of Drama.  However he failed the exam. To pursue his dream, he became one of the Beijing drifters. Ma mentioned in an interview that he earned his living in Beijing by working as waiter and car wash worker at that time.

In year 2000, he worked as production assistant in a TV drama production company.  In year 2003, he acted as the role "You Tanzhi" in the TV drama Demi-Gods and Semi-Devils directed by Zhang Jizhong.  Since then he has been cast in an increasing number of roles.

In the movie The White Storm (2013), he acted as an uppity young Tsimshatsui gangster Dune Kun and built good reputation in China.

Filmography

Awards

Hundred Flowers Awards

References

External links

1979 births
Living people
Male actors from Gansu


title: Ambergris Cay Limestone

text:
The Ambergris Caye Limestone is a geologic formation in Belize. It preserves fossils dating back to the Late Pleistocene period.

See also
 List of fossiliferous stratigraphic units in Belize

References

Further reading
 S. J. Mazzullo. 2006. Late Pliocene to Holocene platform evolution in northern Belize, and comparison with coeval deposits in southern Belize and the Bahamas. Sedimentology 53:1015-1047

Geology of Belize
Pleistocene Belize
Limestone formations
Reef deposits


title: Sleaford Mods

text:
Sleaford Mods are an English post-punk music duo, formed in 2007 in Nottingham. The band features vocalist Jason Williamson and, since 2012, musician Andrew Fearn. They are known for their abrasive, minimalist musical style and embittered explorations of austerity-era Britain, culture, and working class life, delivered in Williamson's East Midlands accent. The duo have released several albums to critical praise.

History

Williamson was born 10 November 1970, and raised in Grantham, Lincolnshire. Inspired by the mod subculture and musical sources like the Wu-Tang Clan, he spent several years pursuing music unsuccessfully, both with various groups and as a solo singer-songwriter. He had also worked as a session musician with local artists as well as Spiritualized and Bent. Fearn (born 1971 in Burton upon Trent) grew up on a farm in Saxilby, Lincolnshire.

Williamson first met Fearn in 2009 after hearing him DJ at a small Nottingham club called the Chameleon, where he was playing his own rough-edged and minimal grime-inspired tracks. Sleaford Mods began when Simon Parfrement, a friend of Williamson's, suggested he combine his vocals with a music sample from a Roni Size album. Originally, the project was called "That's Shit, Try Harder", but was later changed in reference to Sleaford, a town in Lincolnshire, not far from Grantham.

Williamson formed the band with Simon Parfrement, with whom he worked alongside a studio engineer at Rubber Biscuit Studio in Nottingham on their first four albums. Parfrement left the music production to Andrew Fearn after the release of the 2012 album Wank, the first album to feature Fearn, but Parfrement continues to play an important role with the band as their photographer and media producer.

On 10 December 2014, Williamson published the lyrics collection Grammar Wanker: Sleaford Mods 2007-2014, followed by Jason Williamson's House Party: Sleaford Mods 2014-2019 in 2019.

A collaboration between Sleaford Mods and The Prodigy was announced at the end of 2014. They recorded a track together, "Ibiza", which appears on The Prodigy album The Day Is My Enemy, released in March 2015.

The Leftfield album Alternative Light Source, released on 8 June 2015, also features a collaboration with Sleaford Mods, a track called "Head and Shoulders". The video for "Head and Shoulders" is a stop-motion/animation hybrid that debuted in August 2015. In July 2015, the band released a new album, Key Markets. It was one of the 19 records nominated for the IMPALA Album of the Year Award.

The band featured in two documentary films, Sleaford Mods: Invisible Britain, released in 2015 and Bunch of Kunst. A Film About Sleaford Mods, released in 2017.

In 2016, an important turning point took place after many years, as Sleaford Mods left Harbinger Sound and signed with Rough Trade Records. Their first release on the new label was the T.C.R. EP in 2016.

In 2017, following the release of English Tapas, Sleaford Mods embarked on their first North American tour.

One year later, Sleaford Mods left Rough Trade, which eventually led to the dismissal of their long-time manager (and owner of Harbinger Records), Steve Underwood.

After releasing Eton Alive on their own label Extreme Eating Records in 2019, the band returned to Rough Trade. This renewed cooperation resulted in the release of the compilation All That Glue in 2020 and Spare Ribs in 2021 (including the single "Mork n Mindy", which was released on 30 October 2020, and reached the top of the UK vinyl singles chart).

In 2019, Williamson lent his vocals to the track "Talk Whiff" by Scorn. In 2022, Williamson acted as Lazarus in the series finale of Peaky Blinders. Sleaford Mods appear alongside Orbital on the song "Dirty Rat", released on 20 October 2022.

Their twelfth album, UK Grim, was released on 10 March 2023.

On 27 May 2023, the band appeared on Later... with Jools Holland.

Musical style
Sleaford Mods have described their work as "electronic munt minimalist punk-hop rants for the working class." Williamson is responsible for the words, Fearn for the music. Sleaford Mods songs have been described as embittered rants about such topics as unemployment, modern working life, celebrities and pop culture, capitalism and society in general. The lyrics usually contain profanity, which is, according to Williamson, the way in which he speaks and "not just fucking swearing". Fearn's music has been described as "purgatorial loop[s]" of "pugilistic post-punk-style bass; functional but unprepossessing beats; occasional cheap keyboard riffs and listless wafts of guitar."

Williamson's voice on Sleaford Mods songs is sprechgesang, rapped with an East Midlands dialect. His vocal and lyrical style has variously been compared to Shaun Ryder, John Cooper Clarke, Mark E. Smith, Ian Dury, Mike Skinner and Nigel Blackwell as well as various punk and oi! artists. Williamson has cited influences including the mod subculture, the Wu-Tang Clan, Stone Roses, Nas, Red Snapper, Trim, Two Lone Swordsmen, rave and black metal.

Discography

Studio albums

Compilation albums

Live albums

Extended plays

Singles

References

External links

Musical groups from Nottingham
English electronic music duos
English hip hop groups
Political music groups
Rough Trade Records artists
Electropunk musical groups
Ipecac Recordings artists
Rock music duos
Hip hop duos