Pia Zebadiah Bernadet (born 22 January 1989) is an Indonesian badminton player. She is the sister of men's doubles world and Olympic champion Markis Kido.

Career

Women's singles
In 2007, Zebadiah contributed to the Indonesian women's team's capture of the gold medal at the Southeast Asian Games by beating Singapore's Gu Juan 21–15, 17–21, 21–12 in the decisive match.

Perhaps her best performance came in the 2008 Uber Cup. She helped Indonesia to defeat Germany in the semifinals by dominating Karin Schnaase 21–7, 21–15.

She played in the 2008 Indonesia, Japan, and Denmark Superseries, advancing farthest in Denmark where she reached the quarterfinals.

Another good performance came at the Chinese Taipei Open, where she defeated her compatriot Maria Kristin Yulianti, who won the bronze medal at the 2008 Olympic Games, in the quarter-final. However, she lost to the young star from India, Saina Nehwal, in the semifinals.

Women's doubles
Pia Zebadiah plays in the women's doubles with Rizki Amelia Pradipta. Previously, she played with Debby Susanto, but they were often defeated in the earlier rounds of a tournament. Because she couldn't play well in several tournaments in the women's doubles discipline, she broke her partnership with Susanto. In 2011, Zebadiah decided to be a professional player along with her brother Kido, rather than be in the national training center. After becoming a professional player, she became partners with Pradipta. Together they achieved better results in women's doubles. In 2012, she with Pradipta won Chinese Taipei Open, and in 2013, they won the Malaysia Grand Prix Gold.

Mixed doubles
Pia Zebadiah played in the mixed doubles with Fran Kurniawan. She always appeared confident, and very lissom. In 2009, Zebadiah took the first title from New Zealand Open and defeated World number 10 Yohan Hadikusumo Wiratama and Chau Hoi Wah from Hong Kong. In 2010, they reached the semi-finals in the Indonesia Grand Prix Gold, but were defeated by Tontowi Ahmad and Liliyana Natsir. In 2011, they could reach their first final in the Superseries event at the India Open, but they were once again defeated by Ahmad and Natsir with just straight sets of 18–21 and 21–23. They became the main pair of mixed doubles in the Sudirman Cup due to Natsir injury.

Personal life
Zebadiah started playing badminton in Jaya Raya Jakarta badminton club. Her parents are Djumharbey Anwar (father) and Yul Asteria Zakaria (mother). In her spare time she plays football. Her brothers, Bona Septano, and Markis Kido, are also Indonesian national badminton players.

Achievements

BWF World Junior Championships
Girls' doubles

Asian Junior Championships
Mixed doubles

BWF Superseries (1 runner-up)
The BWF Superseries, which was launched on 14 December 2006 and implemented in 2007, was a series of elite badminton tournaments, sanctioned by the Badminton World Federation (BWF). BWF Superseries levels were Superseries and Superseries Premier. A season of Superseries consisted of twelve tournaments around the world that had been introduced since 2011. Successful players were invited to the Superseries Finals, which were held at the end of each year.

Mixed doubles

  Superseries Finals Tournament
  Superseries Premier Tournament
  Superseries Tournament

BWF Grand Prix (6 titles)
The BWF Grand Prix had two levels, the Grand Prix and Grand Prix Gold. It was a series of badminton tournaments sanctioned by the Badminton World Federation (BWF) and played between 2007 and 2017.

Women's doubles

Mixed doubles

  Grand Prix Gold tournament
  Grand Prix tournament

International Challenge/Series/Satellite (9 titles, 4 runners-up)
Women's singles

Women's doubles

Mixed doubles

  BWF International Challenge tournament
  BWF International Series tournament

Performance timeline

National team
 Junior level

 Senior level

Individual competitions
 Junior level

 Senior level

References

External links

1989 births
Living people
Sportspeople from Medan
Indonesian female badminton players
Badminton players at the 2006 Asian Games
Badminton players at the 2010 Asian Games
Asian Games bronze medalists for Indonesia
Asian Games medalists in badminton
Medalists at the 2010 Asian Games
Competitors at the 2007 SEA Games
SEA Games gold medalists for Indonesia
SEA Games medalists in badminton
Universiade bronze medalists for Indonesia
Universiade medalists in badminton
Medalists at the 2007 Summer Universiade


Early Autumn may refer to:

 Early Autumn, a 1926 novel by Louis Bromfield
 Early Autumn (Parker novel), a 1980 Spenser detective novel by Robert B. Parker
 "Early Autumn" (song), a 1949 song composed by Ralph Burns and Woody Herman with lyrics by Johnny Mercer
 "Early Autumn," a song composed by Barbara Belle and Stan Rhodes, recorded by Fran Warren (with Claude Thornhill)
 Early Autumn (film), a 1962 Yugoslav film


This is a list of television programmes that are currently airing on Disney Channel in India.

Current programming

Animated series
 Bapu
 Dr.Tenali Rama
 Beyblade
 Doraemon
 Gadget Guru Ganesha
 The Ghost and Molly McGee
 Ghostforce
 Kid vs. Kat
 Lego Jurassic World
 Miraculous: Tales of Ladybug & Cat Noir
 Moka
 Phineas and Ferb
 Selfie With Bajrangi
 Upin and Ipin
 Guddu

Live-action
  Disney Imagine That
  Best of Luck Nikki
 The Suite Life of Karan & Kabir
Shake It Up

Former programming

Live-action

Aaron Stone
Agadam Bagdam Tigdam
Akkad Bakkad Bambey Bo
Austin & Ally
Backyard Science
Bear in the Big Blue House
Best of Luck Nikki
Big Bada Boom
The Book of Pooh
Boy Meets World
Break Time Masti Time
Captain Tiao
Cory in the House
Dhoom Machaao Dhoom
Disney Q Family Mastermind
Dog with a Blog
Gabbar Poonchwala
Goldie Ahuja Matric Pass
Goosebumps
Hannah Montana
Hatim
Hip Hip Hurray
Imagination Movers
Ishaan: Sapno Ko Awaaz De
Johnny and the Sprites
Jonas L.A.
Jessie
Karishma Kaa Karishma
Kaarthika
Kabhi Aise Geet Gaya Karo
Kya Mast Hai Life
Lage Raho Chachu
Life with Derek
Lizzie McGuire
Maan Na Maan Mein Tera Mehmaan
Mai Ka Lal
Mortified
Nach to the Groove
Naturally, Sadie
Oye Jassie
Palak Pe Jhalak
Phil of the Future
Sanya
Shaka Laka Boom Boom
Shake It Up (Indian TV series)
Shake It Up (U.S. TV series)
Shararat
So Random!
So Weird
Son Pari
Sonny with a Chance
Soy Luna
Soy Luna Live
Studio Disney
The Lodge (TV series)
The Next Step (Canadian TV series)
The Suite Life of Karan & Kabir
The Suite Life of Zack & Cody
The Suite Life on Deck
Take Two with Phineas and Ferb
That's So Raven
Vicky & Vetaal
Welcome to Pooh Corner
Wizards of Waverly Place
Zindagi Khatti Meethi

Animated series
101 Dalmatians: The Series
3 Amigonauts
Action Dad
Aladdin
American Dragon: Jake Long
Astra Force
Arjun — Prince of Bali
Being Ian
Beyblade Burst Rise
Beyblade Burst Surge
Bhaagam Bhaag
Billy Dilley's Super-Duper Subterranean Summer
Brandy & Mr. Whiskers
Bunnytown
Buzz Lightyear of Star Command
The Buzz on Maggie
Camp Lakebottom
Cars Toons
The Cat in the Hat Knows a Lot About That!
Chuggington
Clifford the Big Red Dog
Dave the Barbarian
The Deep
Donald Duck Presents
Donkey Kong Country
DuckTales
Ek Tha Jungle
The Emperor's New School
Fillmore!
Fish Hooks
Gaju Bhai
Get Ace
Good Morning, Mickey!
Goof Troop
Grami's Circus Show
Gravity Falls
Handy Manny
Higglytown Heroes
The Hive
Hotel Transylvania: The Series
House of Mouse
How to Draw?
Jake and the Never Land Pirates
JoJo's Circus
Jungle Cubs
Jungle Junction
Kim Possible
Kiteretsu
The Legend of Tarzan
Lilo & Stitch: The Series
The Lion Guard
Little Einsteins
The Little Mermaid
Madeline
Mickey and the Roadster Racers
Mickey Mouse and Friends
 Mickey Mouse Club
 Mickey Mouse Clubhouse
 Miles from Tomorrowland
 Miraculous: Tales of Ladybug & Cat Noir
 The New Adventures of Winnie the Pooh
The Octonauts
Penn Zero: Part-Time Hero
PJ Masks
Pocoyo
The Proud Family
Quack Pack
Recess
Rolie Polie Olie
Sofia the First
Special Agent Oso
Stanley
Star Wars Rebels
Super V
TaleSpin
Teamo Supremo
Timon & Pumbaa
Tsum Tsum
V 4 Viraat
 Upin and Ipin
Wild About Safety
Wander Over Yonder
Yom
Hamtaro
Stitch!

Films
Feluda: The Kathmandu Caper (1 January 2011)
Luck Luck Ki Baat  (30 September 2012)
Apna Bhai Gaju Bhai (3 July 2016)

See also
Disney India
 List of Disney Channel (India) series
List of Indian animated television series
List of programmes broadcast by Hungama TV

References

Lists of television series by network

Indian television-related lists
Disney India Media Networks
Disney Channel related-lists


Jean Le Moal (30 October 1909 – 16 March 2007) was a French painter of the new Paris school, designer of stained glass windows, and one of the founder members of the Salon de Mai.

Biography

Jean Le Moal enrolled at the "Ecole des Beaux-Arts de Lyon" in 1926, and the École nationale supérieure des arts décoratifs in Paris in 1929. He also attended the "Académie Ranson" (1935–1936).

In 1939, Le Moal worked on the 1400 square meter ceiling of the French Pavilion at the International Exhibition in New York.

In 1941, Le Moal exhibited in "XX jeunes peintres de tradition française", with Bazaine, Manessier, Singier, Pignon, Gischia, and in 1943 in "Douze peintres d’aujourd’hui" at Galerie de France. In 1945, he was a founding member of the Salon de Mai.

In the post-war years Jean Le Moal became established as a prominent figure in European painting. He exhibited throughout Europe and was also awarded the "Prix de la Critique" in 1953.

Several retrospectives have been dedicated to Le Moal’s work, including at Musée de Lubeck and Musée de Wuppertal (1961), Musée de Metz and Musée de la Ville de Luxembourg (1963), Musées de Rennes, Chartres, Rouen, Dijon, Lille and Caen (1970–1971), "Espace lyonnais d'art contemporain" and Musées de Besançon, Esch-sur-Alzette, Dunkerque and Nantes (1990–1992).

Le Moal’s work is represented in many museums including
 Musée National d’Art Moderne, Paris
 Tate Modern Gallery, London
 Museum of Modern Art, Wellington, New Zealand
 Museum of Modern Art, Mexico,
 Modern Art Museum of Luxembourg
 Onstad Museum, Norway
 Museo de Arte, Chile
 Musée d’Art Contemporain, Yugoslavia
 Musée de Turin, Italy.

Selective bibliography
 Trois peintres. Le Moal, Manessier, Singier, (Camille Bourniquel), Galerie Drouin, Paris, 1946.
 Camille Bourniquel, Jean Le Moal, Le Musée de Poche, Éditions Georges Fall, Paris, 1960.
 Le Moal, (Bernard Dorival), Musées de Metz and Musée d'État, Luxembourg 1963.
 Jean Le Moal, (Gaston Diehl, Maurice Jacquemont, Michel-Georges Bernard), Musées de Rennes, Chartres, Rouen, Dijon, Lille and Caen, 1970 and 1971.
 Le Moal, (Jean Guichard-Meili), Galerie de France, Paris, 1974.
 Jean Le Moal, (Thierry Raspail, Odile Plassard, Jean-Jacques Lerrant, Michel-Georges Bernard), Espace lyonnais d'art contemporain, Lyon, Musée des Beaux-Arts et d'archéologie, Besançon, Galerie-Maison de la culture, Esch-sur-Alzette (Luxembourg), Musée d'art contemporain, Dunkerque and Château des ducs de Bretagne, Nantes, 1990–1992
 Jean Le Moal, (Francis Villadier, Alin Avila, Michel-Georges Bernard), Musée d'art et d'histoire, Meudon, 1997.
 Michel-Georges Bernard, Jean Le Moal, Éditions Ides et Calendes, Neuchâtel, 2001 (208 p.).
 Jean Le Moal, Un chemin de lumière, De chapelles en cathédrales, l'œuvre-vitrail, Musée Pierre-Noël, Saint-Dié-des-Vosges, 2008 (48 p.).

See also
 Lyrical Abstraction

External links
  Jean Le Moal, Océan, 1958–1959, Musée de Quimper, France

20th-century French painters
20th-century French male artists
French male painters
21st-century French painters
21st-century French male artists
1909 births
2007 deaths
Commandeurs of the Ordre des Arts et des Lettres


Krzemień is a peak in the Bieszczady mountains in south-east Poland.

Krzemień may also refer to:
Krzemień, Łódź Voivodeship (central Poland)
Krzemień, Białobrzegi County in Masovian Voivodeship (east-central Poland)
Krzemień, Maków County in Masovian Voivodeship (east-central Poland)
Krzemień, West Pomeranian Voivodeship (north-west Poland)
Krzemien., the standard author abbreviation for Polish botanist and microbiologist Helena Krzemieniewska (1878-1966)


The Melton Carnegie Museum is a museum in Melton Mowbray, Leicestershire, England, which documents the history of the market town. It is managed by Leicestershire County Council and supported by Melton Borough Council and is Heritage Lottery Funded.

History of the Museum
The former Carnegie Library, built in 1905, was refurbished and opened by Leicestershire County Council in 1977 as the Melton Carnegie Museum.

In 1983 the National Museum of Hunting Trust was established. With Melton being a world-renowned centre of fox hunting, the Melton building was intended to incorporate material on hunting. A planned refurbishment of the building, costing some £500,000, gave the opportunity to include a fox-hunting display, celebrated at the re-opening in the speech of Baroness Mallalieu on 3 May 2002.

The museum, which has doubled in size, re-opened in late 2010, following a major building project which created a new gallery, study area and community space.

The Museum
The museum traces the social and economic history of Melton and includes exhibitions on the town's world-renowned Stilton cheese and pork pie industries and accounts of the arguments for and against fox hunting.

Stilton cheese and pork pies from Melton are famous around the world. The museum has displays on the history of these trades and others including saddle, shoemaking and tinsmithing and the impact they had on the town, as well as how the Romans, Anglo Saxons, Normans, Tudors, Georgians and Victorians would have lived in the area.

The phrase "painting the town red" also has strong local connections.

The Museum is accredited by the Museums, Libraries and Archives Council (MLA).

External links
Melton Carnegie Museum Official Website

Melton Mowbray
Carnegie libraries in England
Former library buildings in England
Museums in Leicestershire
Local museums in Leicestershire
Museums established in 1977
1977 establishments in England


Shang Yang (; born 1942, former name Shang Nengquan) is a contemporary Chinese painter based in Beijing and is considered one of the most important painters of the life-stream movement. Known for his oriental humanist thought he believes landscapes are living things and puts their spirit into his brushwork.  In 1965 he graduated from the Hubei Art Academy, where he then taught for several years. He received his masters from the Hubei Art Academy in 1981. Yang became the Associate President in 1989. Shang Yang became a Professor and the Officer-in-Charge of Fine Arts at the Research Institute of South China Normal University in 1993. Also in 1993, he became the Vice President of the Chinese Art painting Society. Shang Yang has exhibited extensively in China since the 1980s, including at Shanghai Biennale in 1996, and has shown internationally at galleries in London, Paris, Tokyo, St. Petersburg, and Helsinki.
Shang Yang's work often appropriates images from traditional Chinese landscape painting, which are screened onto the canvas by a machine; he then distorts the image with graffiti or obtrusive geometrical designs. His works combine avant-garde exploration and solid artistic skill to create unique works of expressionism oil painting.

Career Timeline
1942 Born at Honghu, Hubei Province. Kai County, Sichuan Province by Origin

1957 Studied in Hubei Art Academy Attached Middle School

1965 Graduated from Hubei Institute of Fine Arts, then Served as Art Editor in Hubei People's Publishing House

1981 Graduated with M.A. in Oil Painting Department from Hubei Institute of Fine Arts

1985 Trustee of Chinese Artists Association

1987 Professor of Hubei Institute of Fine Arts

1989 Vice President of Hubei Institute of Fine Arts

1995 Director in Institute of Fine Arts of South China Normal University and Vice Chairman of Chinese Oil Painting Association.

1997 Professor in Fine Arts Academy of Capital Normal University

2000 Director in Fine Arts Academy of Capital Normal University

2009 China Artists Association, Vice Director of the Oil Painting Arts

Style
Shang Yang was trained Soviet Realism but after the Cultural Revolution he was one of the first artists to reject his training. He started creating mixed media works in the early 1980s.

Shang Yang's work tends to use images from traditional Chinese landscape paintings. The images are then screened onto a canvas by a machine. He then distorts the image with graffiti or obtrusive geometrical designs. Shang Yang has demonstrated an infatuation with the yellow earth plateau remote from southern culture. In the years 1984-1985, Shang Yang created a series
of oil paintings on Korean paper about the conditions and customs of northern Shaanxi, clearly signaling his change
in artistic style. In his painting 'Yellow River boatmen' you can see the beginnings of his fascination with the loess plateau, and this wells forth in an uninhibited way in his later works in the fundamental timbre of yellow. In 'Mother of the Loess Plateau' the artist loves the barren mountainous area of the Yellow River Basin and its people. In this work, the image of the mother, the stone wall behind her, and the loess hills in the background link together, hinting at the inseparable bond created by life in a warm and intrepid environment.

Yellow Theme
"When Shang Yang was an art student he applied for a field trip to northern Shaanxi Province in 1981, many of his fellow students considered the artist to be “a little under the weather.” Though revered as the cradle of Chinese civilization, the Yellow River Basin was then one of the poorest areas in the country and few of his classmates could understand the artist's passion for the region.
The trip, though, proved to be a life-changing experience for the artist, providing the inspiration for nearly three decades of work, which have earned him the reputation as the “evergreen tree” for his endless stream of artistic creativity and a place as one of the country's most accomplished artists.
According to Shang, while in Shaanxi, he felt completely removed from the materialism of the world around him and was able to connect on a fundamental level with the region's natural surroundings. He was greatly inspired by Shaanxi’s landscapes and rural communities and  created many oil paintings revolving around the theme of the Yellow River, which are still among the artist’s most famous works.
Painted in a burst of yellow hues, His Shaanxi paintings often depicted the hard lives of the locals, such as the Yellow River’s taut and tanned boat trackers or women with weather-beaten faces, and all resonate with a deep sense of human compassion."

Shang Yang's use of warm yellow tones endows the landscape of rock and loess with poetry. While stillness and warmth replace the bare desolation, the gate of worn stones and the barren earth and slopes are imbued with a rich ro- mantic air. In these works, what some critics described at the time as 'Shang Yang's yellow' came to be the central player. This side-lit loess with its duller brownish yellow was not at all coquettish in its appeal, exhibiting only a nat- ural mood. Shang Yang's later works progressively began to break loose from the bewitchment or control exerted by the colors of the region, as his paintings gave fuller play and expression to subjective elements.

Controversy/Conflict
In June 1989, Shang Yang lost his position as head of Wuhan's Academy of Fine Arts after he marched with some of his students in Tiananmen Square. 3 months before the march, Yang exhibited a series of paintings at Beijing's National Gallery called "State". These works appeared to express Yang's dissatisfaction with the current state of China and his own frazzled state of mind.

Shang Yang regained respect in 1992 with the release of his piece "Morning Tea" which is said to examine concerns for lost values in Chinese culture. One of his latest works, titled "Bride", reveals Yang's worries of commercialism in China. The piece is a Mono Lisa covered in labels of fast food to represent the connections between culture and the market.

Growth
Shang Yang's paintings have been increasing in value. Hard Labor, an oil on canvas piece, was estimated to sell for up to $995,797 at a 2009 auction.
Shang Yang participated in the Post-89 Chinese New Art exhibition. It was held in the massive Hong Kong Arts Center in January and February 1993. There were more than 200 paintings, sculptures and installations by more than 50 artists.

Dong Qichang Project
Since 2002, Shang Yang has attempted to collage and print mechanically-reproduced images on his already-mature “the Great Landscape”. Shang Yang: the Dong Qichang Project explores the idea that the aggressive intervention of contemporary culture has fragmented and flattened the solid traditional Chinese logic of self-sufficiency, harmony and unity. This exhibition marks Shang Yang's first solo show within more than five decades of art production; it promises to deliver a comprehensive display of his impressive skill and conceptual development presenting in his latest artworks. His self-imposed mission to “contribute to modernism” in the pursuit of art has had wide practical significance to the development of Chinese contemporary art. His “Dong Qichang Project” is a summarization of his “Big Scenery Series”. Since 2003, Shang has continuously worked on this subject to remind us of our interdependent relationship with the nature. Dong Qichang was a great painter in Ming Dynasty, who had great influence on painters with his excellent landscape paintings and his theories of painting. Therefore, Shang borrows patterns from Dong to create his own works. Scenery here becomes artificial, far from the depiction of some real things. Shang creates paintings symbols which combine time elements and historical elements. He is closely related to the tradition of Chinese landscape paintings and is trying to develop this tradition in a modern form. Dong Qichang was a painter, calligrapher and an experienced art critic during the Ming dynasty.

Solo exhibitions
2013  Shang Yang's Art in Suzhou, Suzhou Museum

2012 Diaries and Scripts, VA Center

     Academy of Art Design Tsinghua University, Beijing, China

2009 The Dong Qichang Project, Beijing Center for the Arts. Beijing, China.

2006 Essence of Sketch – Shang Yang's Painting Exhibition, Chengdu Blue Space

　　Art Gallery, Sichuan,China.

Invitational Exhibitions and Awards (Recent Years)
2015 Inframince: Aura of Nature, Tabula Rasa Gallery, Beijing

2011 “Across - Chinese Contemporary Art Exhibition II”, Museum of Monreale Palermo,Sicily, Italy

2010 “Across - Chinese Contemporary Art Exhibition I”, Spoletto Old City Art Gallery, Spoletto, Italy

2010

The State of Things — Contemporary Art from China and Belgium. National Art Museum of China

Reshaping History — China New Art from 2000 to 2009. China National Convention Center.

Thirty Years of Chinese Contemporary Art 1979—2009. Minsheng Art Museum, Shanghai, China

Unending Distance — the 3rd Exhibition of Abstract Art. PIFO New Art Gallery, Beijing, China

Research and Exceed — The Second Exhibition of Small Oil Paintings. National Art Museum of China

Ink 2010 Shanghai World Expo. Shanghai World Expo Bureau zero carbon Museum, China

The third abstract - Chinese Contemporary ink painting exhibition. Shanghai Duolun Museum of Art, China

2009

Ink not Ink: Chinese Contemporary Ink and Wash Art Exhibition. Drexel University Philadelphia Museum of Art, Philadelphia, USA

Ink not Ink: Chinese Contemporary Ink and Wash Art Exhibition. Warsaw Royal Castle, Hungarian Agricultural Museum, The National Museum of Contemporary Art of Romania, Sculpture Museum of the Croatian Academy of Science and Arts.

Yi School: Century Thinking, Today Art Museum

New Image: Contemporary Chinese Ink and Paper Art Exhibition. Belarus National Gallery, Minsk, Belarus; Serbia History.

Open sight - Chinese Contemporary Art Exhibition, The Czech National Gallery

In the - abstract art exhibition in occasion of the birth of a hundred years, Beijing partial front new art space

State of affairs -EUROPALIAChina Art Festival Exhibition, Belgian Royal Palace of Fine Arts

Ink and wash painting calligraphy - a third abstraction, Shanghai Contrasts Gallery

Traditional Easter - Chinese Contemporary Art Exhibition, Frankfurt, Germany BASIS SPACE

Collision - 27 cases of Chinese contemporary art, Beijing's Central Academy of Fine Arts Gallery

2009 Context spiritual elite Chinese version of the Contemporary Art Exhibition, Nanjing Qinghe Art Gallery, Beijing Art America Fund

Traditional Easter - Chinese Contemporary Art Exhibition Shandong Library

2009 China Art Exhibition, Beijing Central Iron Age Museum of Art

Hill also has water - 2009 China Contemporary Art Exhibition, Taipei Contemplation Arts Center, Taiwan

Art 60 years of New China, National Art Museum of China, Beijing, China

2008

Yi School: Thirty Years of Chinese “Abstraction”, La Caixa Forum Museum of Parma,Barcelona and Madrid, Spain

Inside·Outside Images – The Inviting Exhibition of Chinese Contemporary Oil Paintings, Yu Xin Art Museum, Singapore

Writings·Marks – Joint Exhibition of 20 Artists in Abstract Painting, Imperial City Art Museum, Beijing, China

2008 Chinese Contemporary Art Documenta, Wall Art Museum, Beijing, China

The Third Beijing International Art Biennale, China 2008, National Art Museum of China, Beijing, China

2D and 3D, Negotiating Visual Languages, PMK Gallery, Beijing, China

Hypallage –The Post Modern Mode of Chinese Contemporary Art, the OCT Art& Design Gallery, Shenzhen, China

Ink Not Ink: Chinese Modern Ink and Wash Art Exhibition, Shenzhen Art Museum, Shenzhen; Today Art Museum, Beijing, China

Expand & Fusion – Chinese Oil Painting Study and Exhibition, National Art Museum of China, Beijing, China

The Grit between the Stones – A Meeting between Swedish and Chinese Contemporary Painting, Museum of Far Eastern Antiquities, Stockholm, Sweden; National Art Museum of China, Beijing, China

Sunshine International Art Annual Exhibition, Sunshine International Art Museum, Beijing, China

People·History – Exhibition of Studies of Chinese Art of the 20th Century, CAFA Art Museum, Beijing, China

Culture after Culture – 12 Chinese Contemporary Oil Painters Exhibition, YUAN Center of Art, Beijing, China

Pursuing source and doctrine – Oil Painting Research Exhibition, National Art Museum of China, Beijing, China

Art Basel Miami Beach 2008, Miami, USA

2007

The Scenery of Desire – Shang Yang and His Student Art Exhibition, Bridge Gallery, Beijing; MOCA Shijiazhuang, Shijizhuang, Hebei Province, China

OTKPbITOe KNTaNCKOe NCKYCCTBO, Tocyaapctbehhbin Pyccknn My3en, St.Petersburg, Russia

Rote Berge, Grunes wasser Chinesische und Beutsche Kunstler Heute, Lubecker Museum, Lubecker; Pfalz History Museum, Pfalz, Germany

Landscape – Nature·Spirit, Ateneum Art Museum, Helsinki, Finland

On Ink and Wash – A Dialogue between Contemporary Artists, Tank Loft·Chongqing Contemporary Art Center, Chongqing; Shenzhen Art Museum, Shenzhen, China

Trace Contemporary·Chinese Version, 2007 Credit Suisse Beijing Comprehensive art Exhibition, Today Art Museum, Beijing, China

Strategy on Paper – Works on Paper Invitational, Square Gallery of Contemporary Art, Jiangsu Province, China

Interception – Chinese Image in Contemporary Art Invitation Show, Three Gorges Museum, Chongqing, China

Decennial, Hejingyuan museum of art opening exhibition, H.J.Y. Contemporary Art Center, Beijing, China

2006

Anatomical Signs – Internationally Invitational Exhibition of Contemporary Art, Baoqu Tang Modern Art Gallery, Hong Kong,China

China Scenery, Square Gallery of Contemporary Art, Nanjing, Jiangsu Province, China

Expanding Realism – Chinese Mainland Oil Painting from 1978, Taipei Fine Art Museum, Taipei, China

The Second Exhibition of Chinese Art Today, National Art Museum of China, Beijing, China

Cross the Continent – Joint Exhibition of 11 Artists from China and Germany, Sanxian Art Space, Shanghai, China

Chinese Contemporary Art Document Exhibition, Honored with the Award of Literature, Beijing World Art Museum, The China Millennium Monument, Beijing, China

2005

Dress Up, Chinese Opera Art Exhibition, Today Art Museum, Beijing, China

Nature and Human – The Second Contemporary China Landscape Painting • Oil Landscape Painting Exhibition, National Art Museum of China, Beijing, China

Asian Art Exhibition, Shunde Art Gallery, Guangzhou, Guangdong Province, China

Up and Down The Great River: A Retrospection of New Era's Chinese Oil Painting, National Art Museum of China, Beijing, China

Conspire: The 1st Exhibition of T.S.1 Contemporary Art Center, TS1 Contemporary Art Center, Beijing, China

The Endless Landscape, Invitational Contemporary Oil Painting Exhibition Jiangsu Art Museum, Nanjing, Jiangsu Province, China

2004

Inviting Exhibition of Contemporary Art from China, France and Korea, International Art Gallery, Beijing, China

Baishi / Youji, Liu Hai Su Art Museum, Shanghai; Art Museum of Central Academy of Fine Arts, Beijing, China

The First Nominated Exhibition of Fine Art Literature, Honored with the Award of Literature, Art Gallery of Hubei Institute of Fine Arts, Wuhan, Hubei Province, China

2003

An Opening Era, Celebration Exhibition of 40th Anniversary of Founding of China National Museum of Fine Arts, National Art Museum of China, Beijing, China

Beijing International Art Biennial, National Art Museum of China, Beijing, China

Premieres Lueurs sur L' Orient—L'aventure de la peinture chinoise au 20ème Siecle, Palais de la Porte Dorée, Paris, France

Fine Pieces of New Expressionism Oil Painting of Chinese Master, Liu Hai Su Art Museum, Shanghai, China

The Fine Pieces Exhibition of The Third Oil Painting Exhibition of China, National Art Museum of China, Beijing, China

2002

Behind The Reality, Dimensions Art Center, Taipei, China

The First Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, Guangdong Province, China

The First Triennial of Chinese Arts, Guangzhou Art Museum, Guangzhou, Guangdong Province, China

Century Demeanor—Exhibition of China's Contemporary Art Masters, Beijing World Art Museum, The China Millennium Monument, Beijing, China

Concept Image: 2002 China Modern Oil painting Invitation Exhibition, Shenzhen Art Museum, Shenzhen, China

References

Living people
Painters from Hubei
People from Jingzhou
1942 births


Michael Francis Bowen (December 8, 1937 – March 7, 2009) was an American fine artist known as one of the co-founders of the late 20th and 21st century Visionary art movements. His works include paintings on canvas and paper, 92 intaglio etchings based on Jungian psychology, assemblage, bronze sculpture, collage, and handmade art books.

An icon of the American Beat Generation and the 1960s counterculture, Bowen is also known for his role in inspiring and organizing the first Human Be-In in San Francisco. Chronicled in books and periodicals reflecting on the turbulent 1960s, Bowen's historical impact on both the literary and visual art worlds is well documented.  He remains influential among avant-garde art circles around the world.

Early career in Los Angeles
Michael Bowen was born December 8, 1937, in Beverly Hills to Grace and Sterling Bowen. His father was a dentist. His mother's lover was Benjamin (Bugsy) Siegel, affectionately known as "Uncle Benjie", who would often take the youthful Bowen to not only the Flamingo Hotel on the Las Vegas Strip in Paradise, Nevada that he created, but also to the Sir Francis Drake Hotel near Union Square in downtown San Francisco. Bowen's early romance with San Francisco established this city as his home base from which he would frequently travel to other places in the world.

He started his art career at age 17, when he joined the American installation artist Ed Kienholz in his Los Angeles studio. There he met and joined with other influential Beat Generation artists including Wallace Berman, John Altoon, and Dennis Hopper. Bowen participated in the construction of the Ferus Gallery and Now Gallery created by Ed Kienholz and curated by Walter Hopps. Bowen attended the Chouinard Art Institute for several years during his formative artistic experiences in Los Angeles.

Early mystical education
Bowen's grandmother, Alma Porter, was a member of The Theosophical Society in Ojai, California, where young Bowen was exposed to the significance of esoteric metaphysics and modern art. In Los Angeles, teenage Bowen's many visits to the mystical gatherings at Samson De Brier's house further solidified his early Asian philosophical studies.

In the late 50s and early 60s, Bowen continued his spiritual training and research. He investigated and practiced a variety of occult topics, Eastern philosophies, and mysticism, and his artwork reflected these themes. Bowen is often referred to as a mystic artist. As a lifelong student of the Bhagavad-Gita, Bowen's entire career has emulated the spiritual warrior archetype of Arjuna, fighting for the Bill of Rights of the United States Constitution.

San Francisco Beat Generation

Michael Bowen moved to San Francisco in the late 1950s, and along with fellow artist comrades Arthur Monroe and Michael McCracken, lived and worked out of 72 Commercial Street. Painting spontaneous, impromptu, hectic canvases, along with assemblage and collage, Bowen became an integral part of the San Francisco Renaissance.

The Norwegian art patron and physician Reidar Wennesland befriended Bowen and many of his bohemian artist friends and collected their artwork. Bowen's work now makes up the majority of the paintings in the Wennesland Foundation Collection located in Kristiansand, Norway, alongside many other important North Beach artists, such as Jay DeFeo.

A 1963 painting of Janis Joplin by Bowen, along with his prophetic 1966 Love painting, are examples of the Bowen works in the Wennesland collection.

His style progressed from large abstract expressionist canvases to figuratives and large faces, to assemblage. Bowen's painting about McCarthyism, Red Future? from the Wennesland Collection, was featured in the 1995 Whitney Museum exhibition Beat Culture and the New America, 1950-1965, which opened in New York City, and then traveled to the Walker Art Center in Minneapolis and the De Young Museum in San Francisco, California.

Exile from San Francisco
In 1963, police brutality and persecution drove many of the Beat Generation writers, musicians, and artists out of San Francisco. Michael Bowen, along with many of his artist friends moved to an old Abalone Factory in Princeton by the Sea, where they lived and painted for many months. Bowen's singer friend, Janis Joplin was a frequent guest at the Princeton Abalone studio.

In 1963, on one of Bowen's visits to be with his mentor in Tepoztlan, he was initiated into an ancient Aztec shamanic ceremony that inspired his future work with world consciousness transformation. After his initiation, Bowen traveled to New York City, where he established a studio in the Lower East Side and met with many of the Beat Generation artists, writers, and musicians living on America's East Coast. He often visited the two former Harvard professors Timothy Leary and Ram Dass, then Richard Alpert, in their mansion at Millbrook, New York, where a new variety of consciousness experimentations were being conducted.

Haight-Ashbury and the Summer of Love

San Francisco Oracle and the Love Pageant Rally
In the summer of 1966, Bowen traveled back to San Francisco and established a studio/ashram in the middle of the newly burgeoning Haight-Ashbury neighborhood. Along with the poet Allen Cohen, Bowen co-founded the underground newspaper, San Francisco Oracle that broadcast the 60s counterculture ideology. Bowen became the art director and let his studio become the offices for the Oracle, while Cohen was the editor.

As the S.F. Oracle guru, Bowen hosted the first underground press meeting at his studio at Stinson Beach.

On October 6, 1966, Bowen and Cohen organized the Love Pageant Rally, a celebration against the new law criminalizing LSD in California. Because of Bowen's friendship and invitation, Janis Joplin came to the event along with her band, Big Brother and the Holding Company, and played for free. About 3,000 people attended the Love Pageant Rally, and towards the end, Ram Dass, Cohen, and Bowen discussed having another event, this time much bigger, to celebrate the newly developing hippie counterculture and consciousness expansion in San Francisco.

The Human Be-In

The event the three counterculture leaders previously envisioned became the Human Be-In, which took place on January 14, 1967. The event was primarily organized by Bowen. He created the poster promoting the event, organized the city permit, invited the Beat Generation speakers, including Allen Ginsberg, Gary Snyder, Lenore Kandel, Michael McClure, and Timothy Leary, and scheduled the San Francisco rock bands, including The Grateful Dead and Jefferson Airplane, who played for free at the event. The Hells Angels provided security, and a flatbed truck with amplification driven by a gas generator was donated to create a stage. The Human Be-In was a coming together of people for no other reason than to just "BE"; to make love, not war, to share and commune with new friends and to celebrate life. The Human Be-In, sometimes referred to as a Love-In, was specifically designed by Bowen to be imitated and to be remembered into the future. As a lifelong fine artist, Bowen considers his creation of the Human Be-In to be performance art. This notion was confirmed by an Italian journalist, who calls Bowen "The father of performance art" for his Human Be-In creation.

Flower Power
On October 21, 1967, 75,000 anti-war protesters surrounded the Pentagon in Washington D.C. On that day, Bowen organized 200 lbs. of daisies, purchased by his New York friend Peggy Hitchcock (wife of Walter Bowart) to be dropped from a light aircraft onto the Pentagon, but the FBI heard of the plan and seized the aircraft, so the flowers were distributed to the protesters as the Military Police protected the Pentagon from the massive anti Vietnam War demonstration.  The daisies, brought to the front lines of the tense confrontation by Bowen and others, were taken by the demonstrators and put into the nearest holder that symbolically communicated their anti-war sentiment.

The iconic photograph "Flower Power", taken by photojournalist Bernie Boston, of the daisies being put into the bayoneted gun barrels of the soldiers by the unarmed anti-war demonstrators, was nominated for a Pulitzer Prize in 1968. The photograph "flower power" is listed as #30 among the top 100 wartime photographs and the idealism of flower power remains as an anti-war symbol.

India and Nepal
In 1969, Bowen made his first pilgrimage to India and Nepal where he completed a series of drawings and sketches. These drawings were made into a book, Journey to Nepal, published by City Lights Books in 1970.

Throughout his five-decade career, many of the themes in Bowen's artworks represent sukhavati, the pure land or place of bliss. As a long-time student of Vedanta, Bowen's images are best understood through the lens of the ancient Dharmic Wisdom traditions of Asia.

In the early 1990s, Bowen found an abandoned cement traffic barrier in Golden Gate Park and claimed to have transformed it into a Shiva lingam. It then became a site of worship and veneration until the authorities had him remove it. At that time, he was known as Baba Kali Das.

Personal life
Bowen married three times; the first marriage was to actress Sonia Sorel (1921–2004). The marriage ended in divorce. His second wife was Martine Algier. His third marriage, to Isabella Bowen, lasted until his death. He is survived by his sons actor Michael Bowen Jr., Ramakrishna and Indra, and daughters Maitreya and Kaela.

Death
Bowen died in Stockholm of complications of childhood polio in 2009.

References

1937 births
2009 deaths
20th-century American artists
Deaths from polio
Infectious disease deaths in Sweden
Artists from the San Francisco Bay Area
American artists with disabilities
Polio survivors


Ramakrishna (1836–1886) is a famous mystic of nineteenth-century India. Ramakrishna never wrote down the details of his own life. Sources for his life and teachings come from the writings of his disciples and live witnesses. Ramakrishna's recorded sayings mainly come from the last four years of his life.

The Gospel of Sri Ramakrishna
The book Sri Sri Rāmakrishna Kathāmrita by Mahendranath Gupta under the pseudonym M., was published in five volumes in 1902, 1905, 1908, 1910 and 1932. Mahendranath Gupta recorded his daily interactions with Ramakrishna in his diary, which were subsequently published as Sri-Sri-Ramakrishna-Kathamrta in 5 Volumes in Bengali. According to Romain Rolland, the information in these volumes is available with "stenographic precision".

The English translations of Kathamrita were published by Swami Nikhilananda in his book The Gospel of Sri Ramakrishna. According to scholars Neevel, Lex Hixon the book provides authentic information about Ramakrishna. The book was voted as one of the "100 Most Important Spiritual Books of the 20th Century" by the American scholars convened by Philip Zaleski and HarperCollins publishers, However, scholars argue that the book has been bowdlerized. Kripal argues that although Nikhilananda calls it a literal translation, he "substantially altered Gupta's text, combining the five parallel narratives", "as well as deleting some passages which he claimed were of no particular interest to English-speaking readers.". However other scholars Sil, Swami Tyagananda, Somnath Bhattacharrya, Swami Atmajnananda argue that Kripal's observations are incorrect. They also argue that Nikhilananda's translations were faithful and took into consideration the western decorum. Peter Heehs argues, that the translation in The Gospel of Sri Ramakrishna turns Ramakrishna's vigorous and occasionally coarse Bengali into English of near-Victorian propriety and do not convey as much as the Bengali originals, however, Heehs writes that the works on M and Saradananda remain documents of considerable value, which have allowed Ramakrishna to speak to a worldwide audience. Lex Hixon writes that the Gospel is "spiritually authentic" and "powerful rendering of the Kathamrita into dignified English."

A recent translation, by Dharm Pal Gupta, is subtitled "word to word translation of the original Bengali edition" (see "other books" below).

Books on Ramakrishna
Keshabchandra Sen's Paramahamsa Deber Ukti (1878) is the earliest known work on Ramakrishna. Keshab also publicized Ramakrishna's teachings in the journals of his religious movement New Dispensation over a period of several years, which was instrumental in bringing Ramakrishna to the attention of a wider audience, especially the Bhadralok (English-educated classes of Bengal) and the Europeans residing in India. This was followed by Sureshchandra Dutta's Pramahamsa Ramakrishna Deber Ukti (1884)

Sri Sri Ramakrishna Paramahamsadever Jivan-vrittanta (1880) by Ram Chandra Dutta, is one of the earliest published biography of Ramakrishna. Religious scholar, Narasingha Sil and Jeffery Kripal argue that Datta's Jivanvrttanta is the most scandalous biography of Ramakrishna, "containing the lurid details of his sadhana as well as his quite suggestive encounters with his patron Mathur." They cite a letter written by Swami Vivekananda in 1884 asking to "Avoid all irregular indecent expressions about sex etc...because other nations think it the height of indecency to mention such things, and his life in English is going to be read by the whole world" and calling Ramchandra Dutta's translation a "bosh and rot". They also argue that Ramchandra Datta faced a possible lawsuit from Swami Vivekananda. However, Swami Atmajnanananda and Pravrajika Vrajaprana argue that as of 1995, this book has been published in nine Bengali editions. Kripal later withdrew his claim that the Ramakrishna Mission has consciously concealed information.

In 1887, Akshay Kumar Sen wrote Ramakrishna's life in verse — Sri Sri Ramakrishna Punthi in Bengali. Akshay Kumar Sen later wrote Padye Sri Sri Ramakrishna Paramahamsa Dever Upadesh and Sri Sri Ramakrishna Mahima.

Sri Sri Ramakrishna Lilaprasanga by Swami Saradananda. The book was begun in 1909 and left partially incomplete at the author's death in 1927. Scholars Romain Rolland, Isherwood considered Swami Saradananda an authority both as a philosopher and as an historian on Ramakrishna.

My Master, speeches by Swami Vivekananda in 1896. Religious Scholar Sil argues that Ramakrishna is a product of Vivekananda's "Mythmaking and Propaganda", Scholars Max Müller, Walter G. Neevel, Christopher Isherwood have expressed the opinion that Vivekananda has presented an accurate picture of Ramakrishna. Scholar Amiya P. Sen argues that Sil's thesis, "naively overlooks" several factors.

Other biographic works include Mahendranath Dutta's Sri Ramakrishner Anudhyan, ("Sacred Memories of Sri Ramakrishna"), Satyacharan Mitra's 1897 Sri Sri Ramakrsna Paramahamsadeber Jiboni o Upadesh ("The Life and Teachings of Sri Ramakrishna Paramahamsa"), and Sureshchandra Datta's 1886 Sriramakrsnadeber Upades ("Teachings of SriRamakrishna").

Max Müller's book Râmakrishna: His Life and Sayings (1898) is one of the earliest works by a Western scholar on the life of Ramakrishna and, according to Walter Neevel, a relatively independent source of biography. Romain Rolland, writing in 1929, said that this work is based on first-hand evidence, analysed in "broad and clear critical spirit". Max Müller said that he based his book on the testimonies of Swami Vivekananda and several independent witnesses, both favorable and unfavorable to Ramakrishna. Max Müller regarded Ramakrishna as The Real Mahatman.

Romain Rolland's book Life of Ramakrishna (1929) is another biographic work which is based on direct disciples of whom Romain Rolland writes —"I have received glowing testimony at their hands. I have talked with some among them, who were the companions of this mystic being - of the Man-Gods- and I can vouch for their loyalty. Moreover, these eye-witnesses are not the simple fishermen of the Gospel story; some are great thinkers, learned in European thought and disciplined in its strict school.", and independent eyewitnesses of Ramakrishna who were alive at his time. He had consulted the Christian missionaries who had interviewed Ramakrishna.

In 1995, Jeffrey J. Kripal argued in his controversial Kali's Child: The Mystical and the Erotic in the Life and Teachings of Ramakrishna, a psychoanalytic study of Ramakrishna's life, that Ramakrishna's mystical experiences were symptoms of repressed homoeroticism. Kripal also argued in Kali's Child that the Ramakrishna Movement had manipulated Ramakrishna's biographical documents, that the Movement had published them in incomplete and bowdlerised editions (claiming among other things, hiding Ramakrishna's homoerotic tendencies), and that the Movement had suppressed Ram Chandra Datta's Srisriramakrsna Paramahamsadever Jivanavrttanta.

In 2018, Ayon Maharaj, a monk-in-training holding a doctorate in philosophy from the University of California, Berkeley, published Infinite Paths to Infinite Reality (Oxford University Press), a book-length philosophical interpretation of Ramakrishna's teachings.
Maharaj argues that "Ramakrishna's spiritual standpoint of vijnana holds the key to understanding his nuanced position on religious diversity", and his analysis of Ramakrishna "combines detailed exegesis with cross-cultural philosophical investigation". Pratap Bhanu Mehta characterized Maharaj's book as "philosophically astute [and] textually scrupulous", a work that defends "Ramakrishna against the charge of an indiscriminate eclecticism on the one hand, or a covert hierarchy on the other. He meticulously reconstructs Ramakrishna’s thought around four pillars: the nature of God’s infinitude, the nature of religious pluralism, the epistemology of mystical experience and the problem of evil. In each of these four areas, Maharaj both advances an original interpretive thesis and brings Ramakrishna into a dialogue with comparative philosophy and religious practice."

Other books
 Sri Ramakrishna, the Great Master by Swami Saradananda, Translated by Swami Jagadananda, Sri Ramakrishna Math, Chennai.
Life of Sri Ramakrishna, compiled from various authentic sources (1925) by Swami Madhavananda is also one of the primary sources of Ramakrishna's biography and contains first hand accounts of his disciples, live witnesses.
Life of Sri Ramakrishna, Swami Nikhilananda, Foreword by Mahatma Gandhi, Advaita Ashrama, Kolkata.
 Ramakrishna, His Life and Sayings, by Sri Ramakrishna Paramahamsa.
 A Short Life of Sri Ramakrishna, by Swami Tejasananda.
 Words of the Master: Selected Precepts of Sri Ramakrishna by Swami Brahmananda

 Prosser, Lee. (2001) Isherwood, Bowles, Vedanta, Wicca, and Me. Writers Club: Lincoln, Nebraska.

 ŚrīśrīRāmakr̥shṇa janmot̲asaba o abatāra-pūjāra ādiparba / Aruṇa Kumāra Biśvāsa (2003), publisher Kalakātā : Phārmā Ke. Ela. Ema, 2003, On the festivities and celebrations concerning the birth anniversaries of Ramakrishna, 1836–1886, book by Arun Kumar Biswas, ]
 Swarup, Ram, (1986). Ramakrishna Mission: In search of a new identity. New Delhi: Voice of India.

See also
 Views on Ramakrishna
 Bibliography of Swami Vivekananda

Notes

Ramakrishna
Ramakrishna
Indian biographies


Jan Robbe (born 14 June 1980 in Ghent, Belgium), otherwise known by his music project aliases Atomhead, Erratic, UndaCova and Diagnostic, is an electronic music artist. He founded the experimental netlabel Entity in 2003 with friend Nico de Gols (aka Kaebin Yield). Jan Robbe is known for expressing various musical styles under different pseudonyms. Atomhead and UndaCova, his two most prominent projects, focus on fractured industrial beats and densely textured DSP sound design techniques, whereas Erratic is a vehicle for pursuing more minimal long-form ambiental directions. The most recent (2018) Diagnostic project explores experimental sound design, glitch and noise structures, combining digital and modular synthesis. Robbe has released music on distinguished labels such as Dyslexic Response and Hangars Liquides, and collaborated with artists who operate in similar aesthetic domains, including La Peste, Neurocore, Subskan and Xanopticon.

Besides his activities as music producer, Robbe is also known for creating generative (mostly fractal) graphic design as FRAMEofMIND and as an indie game developer responsible for creating Hyperspace Invaders, a bullet hell shmup with audiovisual and generative gameplay characteristics.

Projects

UndaCova
In 1999 Jan Robbe adopted the name "UndaCova" to release IDM experiments using FL Studio, which remains one of his favourite programs. These include S-T-U-C-K (2001) on the Arghprkl netlabel, and a series of meditative brainwave synchronizers released on Theta. An illbient split with Affective Disorder entitled Study of a Ladybug on a Rope was later released on Autoplate. Robbe's influences at this time included the post-rock and trip hop genres, as well as old video game music, which inspired the Metamood Katalyst 12" released on Pleemobil. Say Vegin of Freestyle Magazine drew comparisons in the album's sound to 8-bit, calling it a collection of "hard-tek cut-ups, textured polygons and hypnotizing synths". By the end of 2002, Robbe had founded the xE Phalanx project, a joint collaboration with artists from around the world. UndaCova would go on to participate in two xE Phalanx albums; 5E Phalanx's Pragmatic Impulse and 7E Phalanx's Pulse, both released on the Entity netlabel.

A dramatic shift in sound occurred in 2003 with the self-released power noise EP Human Nature. This period was marked by dark soundscaping and assaulting beat constructions, culminating in 2006 with the release of Intrusion on Isolate Records. The music of Intrusion is noted for its hyper-intensity, sonic density and high production values. It contains remixes by Polish cybercore artist Neurocore and Belgian musician Imminent. Luca Maini of Igloo Magazine summarized the album's sound as "Somatic Responses mangled and speeded up to create a teeth-grinding industrial monster, ultra processed and with thousands of razor sharp beats packed together. .... This is the perfect music if you like Richard Devine but you think he should stick to the smashing stuff he performs live, or maybe you think Venetian Snares is a genius but he's gone too melodic." UndaCova has remixed tracks by Danny Kreutzfeldt, White Nois Stasis and Diagram of Suburban Chaos, and is also featured on the Mirex Carbon compilation, Thinner's Recore remix album, Somia's Miad, and the Polymorphik Piece series released on PuZZling Rec. The project went undercover in 2007.

Atomhead
Atomhead was founded in 2004 as a means to evolve the sounds already explored with the UndaCova moniker. Often compared with the cyberdelic flashcore experiments of La Peste, Atomhead released Spiral Field Velocity 2.0 in 2005 on La Peste's Hangars Liquides label, the main stable behind flashcore and experimental speedcore. Atomhead has also been likened to 60's-era Iannis Xenakis and power electronics. Atomhead appeared on numerous compilations throughout 2007 and 2008, including Vortex on Entity, Delayed Reaction on Peace Off, and We Are The Music Breakerz on Reconfiguration Records. Atomhead has remixed tracks by Sedarka, Ronny Ragtroll, Xanopticon, and Prometheus Burning, among others.

Erratic
2003 saw the inception of Erratic, a side-project for abstract, "highly immersive soundscapes" and psycho-/electro-acoustic sound art. The aim of Erratic is to "unify sound with thoughts and imaginary visual landscapes". For most of Erratic's output, Robbe eschews computer-generated beats and rhythms in favour of "exotic instruments" and contact microphone-derived sounds, which are subsequently manipulated using various audio editors. The results often sound organic in nature, with comparisons drawn to mediterranean and oceanic settings, as well as the drone and microsound genres. In 2004 Erratic and ambient artist Hackeronte joined to form Pandemia. On the day of the transit of Venus in 2004, they released the self-described "spacetexture journey" Venus Urania on Entity, in an attempt to capture a fitting sonic environment for the event. The same year, Erratic released Presence on Mirakel Musik; a 50-minute composition of "richly textured" field recordings intended to accompany the listener to sleep. Erratic has also collaborated with music artists Andrey Kiritchenko and fellow Belgian Lina, visual artists Jesper Bentzen and the Farbrausch demogroup, and has released Activation Fields on Entity (2004), The Invisible Landscape on Mystery Sea (2006), and contributed to compilations on Con-v, AntmanuvMicro and Soulseek Records.

Duncan Avoid
Duncan Avoid was a collaboration between Entity-founders Jan Robbe and Nico de Gols. The project's goal was to defy musical genre as well as technical limitations. Their first album Cybernetics was released in 2003 on Enough Records; a concept album concerned with transhumanism and emerging technologies. The album is unique among other releases on the Enough imprint for its extensive use of microtonality and unresolved atmospherics, described by one journalist as "a spacious, complex, and arguably psychoactive menagerie of integrated electronic soundscapes. .... a purely abstruse composition of sonic nomogenetics, synthetic coils and unfurling digital helices, producing from the ether intangible imagery of high technology newly conjoined with anthropomorphic sentience". Cybernetics was followed by appearances on Kirdec's Stadskantoor Zero and d.compose's Analysis EP, for which Duncan Avoid imparted a Cybernetics-esque remix of d.compose's "Thresn 54-231001". Duncan Avoid was also performing throughout Europe at this time, including two shows at the Cabaret Voltaire with Shitmat and Chevron, the 2003 Fuckparade in Berlin, and the 2004 Polymorphik Festival in Liège, Belgium.

In 2004 the duo released their magnum opus Metaphysics on Hive Records. Many have found the album's fusing and traversing of disparate styles difficult to categorize, with one reviewer calling it "so innovative it sounds almost entirely novel, almost totally devoid of obvious influences, to the point of being a new form without a ready frame of reference." Similar sentiments were expressed by others, with descriptions ranging from "punchy breakcore freneticism coiled tightly around endlessly twisted ambience and hectic experimental sound sculpture", to "a gaseous contrail of solar noise and ice particles where ambient breaths of watery melodies get heat-flashed into steam, and software-driven drum programming is savaged by extended processor cycles." Prolific polystylist C-drik and Ukrainian noise artist Kotra provided remixes of "Auditory Arms" and "Parallel Grounds", respectively. Duncan Avoid also lent tracks to Enough Records' Retork compilation and the limited edition FUCK compilation released on Hive. The project has since been put on an indefinite hiatus.

References

External links
 Jan Robbe's official site
 Duncan Avoid's official site
Jan Robbe's discography
FRAMEofMIND official site
https://store.steampowered.com/app/397690/Hyperspace_Invaders_II_Pixel_Edition/

1980 births
Living people
Ambient musicians
Braindance musicians
Belgian electronic musicians
Belgian experimental musicians
Intelligent dance musicians
Belgian industrial musicians
Remixers
Demosceners


Kisses Right and Left () is a 1969 Danish film directed by Ole Roos and starring Peter Bonke.

Cast
 Peter Bonke - Jack
 Jens Østerholm - Hugo
 Birgitte Bruun - Betty
 Poul Reichhardt - Edmund
 Vigga Bro - Lizzie
 Helle Hertz
 Yvonne Ingdal - Skuespillerinden
 Ove Sprogøe - Ruths Husband
 Karl Stegger - Togpassager

External links

1969 films
1960s Danish-language films
Danish black-and-white films


Catherine Elizabeth Macready Perugini (née Dickens; 29 October 1839 – 9 May 1929) was an English painter of the Victorian era and the daughter of Catherine Dickens and Charles Dickens.

Biography
Born Catherine Dickens and nicknamed Kate or Katey, she was Charles Dickens's youngest surviving daughter, and according to her siblings her father's favourite child. Dickens reportedly named her after his friend, the actor William Macready. As a girl, she also bore the nickname "Lucifer Box" for her hot temper.

She travelled widely with her family as a child, and performed in her father's elaborate amateur theatrical productions – including the 1857 performance of Wilkie Collins's The Frozen Deep before Queen Victoria. In 1858, her parents separated and the children remained with their father. The reason for the separation remains unclear, though rumours have focused on the close relationship between Charles Dickens and Ellen Ternan, an actress many years his junior, and/or Georgina Hogarth.

Her first husband was the artist and author Charles Allston Collins, younger brother of Wilkie Collins; they were married on 17 July 1860. Perugini reportedly had an affair with Valentine Prinsep during her marriage to Collins. After his death from cancer in 1873, Kate married another artist, Charles Edward Perugini. The couple married in secret in 1873, then had an official ceremony in 1874. She and Perugini had one child, Leonard Ralph Dickens Perugini. He died on 24 July 1876, at the age of seven months. The Peruginis were active in artistic society and maintained friendships with J. M. Barrie and George Bernard Shaw amongst other celebrities of their era. Like her first husband, she pursued literary endeavours along with her painting.

Kate was the primary source of information used by biographer Gladys Storey for her book Dickens and Daughter, which revealed Dickens's affair with the actress Ellen Ternan. Supporters of Charles Dickens attacked the book as being unreliable, especially the passages about Ellen Ternan and the birth of a child. However, George Bernard Shaw wrote to The Times Literary Supplement to say that Kate had told him everything in the book forty years before.

Charles Perugini died in 1918 and was buried alongside his baby son. Kate survived her husband by ten years, dying at the age of 89. One of the causes of death listed on her death certificate was "exhaustion."

Career
At the age of 12, Kate Dickens began studying art at Bedford College, the first institution of higher learning for women in Britain. She became a successful painter of portraits and genre paintings, sometimes collaborating with her husband Charles Perugini. Kate sought to distinguish herself from her father, refusing to be associated only with his fame.

In 1880 Sir John Everett Millais painted her in one of his "most striking portraits." It was exhibited at the Grosvenor Gallery Summer Exhibition in 1881. This painting depicts Perugini standing with her back to the painter but profiling her distinctive features. The portrait of Perugini, who had also exhibited at the Grosvenor Gallery was a wedding gift by Millais, presented on her marriage to Charles Perugini. It is an example of Millais' later style of portraiture that is looser, more luscious and sketch-like than the naturalism of the Pre-Raphaelite Brotherhood. In showing the picture at the Grosvenor, "Perugini advertised herself as part of a cultured, educated and artistic  family"  Millais had previously used her as a model for his painting The Black Brunswicker (1860).

A portrait painter, she started exhibiting her works at the Royal Academy shows in 1877. She also regularly exhibited her work at the Society of Watercolour Painters and the Society of Lady Artists. Perugini sent three works to the Grosvenor Gallery between 1880 and 1882. One entitled Civettina (1880) is an  Italian genre painting depicting a half-length portrait of a girl in profile, with her back to the viewer as in her own portrait by Millais.
Perugini exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois.

Perugini is particularly known for her portraits of children, that include: A Little Woman (1879), Feeding Rabbits (1884), Dorothy de Michele (1892), and A Flower Merchant.

Bibliography
 Gladys Storey, (1939) Dickens and Daughter, Frederick Muller, reprinted New York, Haskell House, 1971 – memoir by a close friend
 Lucinda Hawkins, (2006) Katey: The Life and Loves of Dickens's Artist Daughter, Doubleday, London, England.
 Lucinda Hawkins, (2013) Charles Dickens' Favorite Daughter: The Life, Loves, and Art of Katey Dickens Perugini, Globe Pequot Press, USA
 Lucinda Hawkins, (2018)  Dickens's Artistic Daughter Katey: Her Life, Loves & Impact, Pen & Sword History, London

Illustrations of works

See also
 Dickens family

References

External links

1839 births
1929 deaths
19th-century British women artists
Alumni of Bedford College, London
Charles Dickens
English women painters
Painters from London
Women of the Victorian era


A smiley face curve or mid scoop in audio signal processing is a target frequency response curve characterized by boosted low and high frequencies coupled with reduced midrange frequency power. This curve is often attained by users employing a graphic equalizer, which shows a graphic representation of a "smile" using its frequency band faders to form a curve that sweeps upwards at each end of the frequency spectrum.
Smiley face curves have been popular with some car audio enthusiasts, disc jockeys, electric bass players, home stereo owners and sound reinforcement operators. Though the graphic equalizer was intended to tailor a system's response to compensate for venue and performance conditions, the smiley face curve is sometimes applied as a purely stylistic effect.

Equal-loudness contour

The smiley face curve is roughly analogous to the frequency response of human hearing as charted in the equal-loudness contour, and has been compared to loudness compensation circuitry in that it increases the relative power of high and low frequencies without increasing the midrange power. In order for a sound system to be heard properly by humans, it should have an equal-loudness contour applied to it when it is performing at low sound pressure levels, then the curve should gradually flatten out as it gets louder.

Usage
The origin of the smiley face curve has been attributed to the search for more bass and treble response from loudspeakers that did not extend as low or as high as desired, especially in the 1970s and 1980s. It has also been seen as either a useful or a detrimental tool for shaping the sound of a bass guitar.

Car audio
Many cars which have a graphic equalizer have been observed to have it set as a smiley face curve which emphasizes low and high frequencies. Graphic equalizer use leading to speaker damage is common — large amounts of bass boost and treble boost can distort music and damage loudspeaker drivers. Ideally, the equalizer can be set once to compensate for the combination of the response of the speakers and the car's acoustic characteristics. A smiley face curve can indicate that a car's sound system is lacking both high and low frequency response.

Bass guitar
Certain styles of electric bass playing, especially slapping, tend to augment the midrange frequencies. Various compensations have been developed to counteract excess midrange response in the instrument, including the use of amplifiers with a built-in smiley face curve and amplifiers that offer a handful of graphic equalizer filters so that the user can make the necessary adjustments when appropriate.

Gallien-Krueger makes an instrument amplifier that produces a classic smiley face curve in its default voicing. However, it includes tone controls that can be adjusted so that the amplifier is within 0.5 dB of a neutral, uncolored frequency response.

Some bass players decry the attenuation of midrange frequencies, holding that the midrange area centered on 500 Hz will make the bass instrumental line stand out more satisfyingly in the mix. University of Iowa professor and bass player Dan Berkowitz has observed that the smiley face curve as applied to bass played within a blues or R&B band can make it hard for bandmates to play off the bass line. Berkowitz recommends an upside down smile curve: a "frown" curve with its peak centered at 500–800 Hz.

Guitarists and bassists can choose to equalize their instrument with an effects pedal. Several products exist for this purpose such as a 10-band MXR-branded equalizer offered by Dunlop Manufacturing which includes instructions for a "Metal Distortion" setting that reduces 1,000 Hz, a midrange frequency, down to its maximum reduction point, with nearby frequencies reduced in the form of a mid scoop.

Live sound reinforcement

Some concert sound mixers employ the smiley face curve as a tool to help them gain initial control of a sound system. Even with recorded sound, the smiley face curve has its backers. Will Shapland of Floating Earth location recorders said in 2004 that his basic mixing technique for the recordings of the Isle of Wight Festival was to use "a bit of a 'smiley-face' EQ curve on the output" until he got a handle on a new band's mix, at which point he said "your balance comes together and you don't really need it."

Kip Bradford of Expert Village emphasizes that the live sound engineer must not employ smiley face curves when setting up a sound reinforcement system. Bradford advises that the graphic equalizer should instead be used to "tune the system to the room", taking account of the combined frequency response of the room and the sound system to ensure that all audible frequencies have equal presence.

Manufacturer presets

Some audio equipment manufacturers have accommodated the user by engineering a smiley face curve into a product. dbx, Inc. offers several smiley face curve presets in their digital graphic equalizer product line called DriveRack. Jim Dunlop offers a direct box intended for bass players that includes a preset labeled "color" which engages a smiley face curve. Neither of these products prevent the user from adjusting the equalizer based on the sound that is actually heard rather than relying on a predetermined visual image.

Alpine Electronics has offered for sale a product for car audio systems that works to counteract any smiley face curve that was applied to a car's factory OEM sound system, along with an analysis feature that adjusts for road and vehicle noise. Empeg Car, a digital media player, includes a "Loudness Control" feature that is described as adding a "smiley face" curve automatically" at low sound levels but which is used to lesser and lesser degrees as the car sound system's volume is increased. This describes an equal-loudness contour circuit.

See also
Audio system measurements
Listener fatigue
Smiling curve, a business concept that charts value relative to market position

References

Tone, EQ and filter


Uncial 0115 (in the Gregory-Aland numbering), ε 57 (Soden); is a Greek uncial manuscript of the New Testament, dated paleographically to the 9th or 10th-century. Formerly it was labelled by Wa.

Description
The codex contains 23 verses of the Gospel of Luke (9:35-47; 10:12-22), on two parchment leaves (25 cm by 18 cm). The text is written in two columns per page, 23 lines per page, in uncial letters.

It contains music notes in red; it has accents and breathings, but not always. All the stops are expressed by a single point, whose position makes no difference in its significance. The original codex contained the text of the four Gospels on 190 leaves.

The text is divided according to the  (chapters), whose numbers are given at the margin, and their  (titles) at the top of the pages. There is also a division according to the Ammonian Sections, with references to the Eusebian Canons. It contains lectionary markings at the margin (for liturgical use).

The uncial letters are firmly written, delta and theta being of the ordinary oblong shape of that period.

Survived two leaves of the codex were included to the Lectionary 88.

Text

The Greek text of this codex is a mixture of text-types. Aland placed it in Category III.

In Luke 10:12-22 the text of the manuscript 15 times differs from the Textus Receptus from the Elzevier edition.

It was not examined according to the Claremont Profile Method.

History

Currently it is dated by the INTF to the 9th or 10th-century.

The codex was adapted to the Church use, but it is not a Lectionary. This fragment was brought to light by Scholz. It was at the end of another book. The text was published by Constantin von Tischendorf in Monumenta sacra inedita (1846).

The codex is currently located in the Bibliothèque nationale de France (Gr. 314, ff. 179, 180), in Paris.

See also

 List of New Testament uncials
 Biblical manuscript
 Textual criticism

References

Further reading

 Constantin von Tischendorf, Monumenta sacra inedita (Leipzig: 1846), pp. 51 ff.

External links
 Uncial 0115 at the Wieland Willker, "Textual Commentary"

Greek New Testament uncials
9th-century biblical manuscripts
Bibliothèque nationale de France collections


The Olsen Gang in a Fix () is a 1969 Danish comedy film directed by Erik Balling and starring Ove Sprogøe. The film was the second in the Olsen-banden-series.

Plot
After yet another unsuccessful robbery Egon is jailed. When released, he has now been rehabilitated by the pretty social worker Bodil. He works permanently and hopes to impress by being a lawful citizen. Despite Benny and Kjelds regret Egon is clear in his mind, and the gang ends up as a bunch of lawful citizens.

Although it starts well for the gang, they are eventually thrown back into the criminal runway, when they are accused of a robbery committed right in front of them in the National Bank, where they serve as cleaning people. Although the police think that the gang committed the robbery, it is in fact the mafia boss Serafimo (Harold Stone) who ordered his gang members to rob the suitcase, allegedly containing the Danish crown jewels.

The gang, who are now really in the fix, must bring back the jewels in order to avoid the accusation. They succeed by getting the suitcase out of the airport as the gangsters are planning to run away, however, the gangsters tracks them all the way to their residing place, a bar in Copenhagen, which ends up being shot to pieces by the gangsters. Now they are not only wanted by the gangsters, but also by the officious detective Mortensen. Through a variety of disguises they manage to trick the gangsters and get hold of the jewels and after a long car chase they encounter Benny's slightly alcoholic brother Dynamite-Harry, an expert in explosives who promises to open the suitcase at a remote construction site.

Unbeknownst to the gang and Harry, a team of German assassins, hired by Serafimo, are tracking them down, to wipe the gang out for good and reconquer the jewels. They fail to do this as Harry accidentally blows the Germans up. The suitcase, however, remains unopened and Egon is fuming. Finally, Serafimo arrives in a helicopter along with Bodil, who thinks that she has rehabilitated Serafimo. The gang take the suitcase, but Serafimo has creepy ulterior motives. Depressed and scared, Benny and Kjeld go home to encounter a fuming Yvonne, who could afford new things through Kjelds work, but after Kjeld got fired she had to hand it all over to the bailiff. They are tremendously surprised, however, to discover that Yvonne, with no little help from Bodil, has got all the things back.

The film ends with Egon entering the bar to drown his sorrows. He is met by a slightly nervous bartender, who is scared because the bar has been shot down several times during the course of the movie. Egon calms him down, but then Mortensen enters the bar. He is armed to the teeth and the bar is yet again shot to pieces. Mortensen arrests Egon, who is puzzled and asks why. Mortensen replies by mentioning several petty crimes committed by Egon during the hunt for the jewels, and Egon is yet again imprisoned.

Cast

 Ove Sprogøe as Egon Olsen
 Morten Grunwald as Benny Frandsen
 Poul Bundgaard as Kjeld Jensen
 Ghita Nørby as Frk. Bodil Hansen
 Peter Steen as Kriminalassistent William Mortensen
 Preben Kaas as Dynamit Harry (Frandsen)
 Poul Reichhardt as Politichefen
 Paul Hagen as Tjener Hansen
 Kirsten Walther as Yvonne Jensen
 Karl Stegger as K.O.R.S. inspektør
 Birger Jensen as Dynamit Harry's lærling
 Jes Holtsø as Børge Jensen
 Harold J. Stone as Serafimo Mozerella
 Gert Bastian
 Svend Bille as Direktør for legetøjsfabrik
 Anders Bodelsen
 Edward Fleming as Serafimos håndlanger
 Benny Hansen as Politibetjent, chauffør
 Kirsten Hansen-Møller
 Lise Henningsen
 Edith Hermansen
 Paul Hüttel as Bankrøver
 Wladirmir Kandel
 Palle Kjærulff-Schmidt as Chauffør under biljagt
 Viggo Larsen
 Ernst Meyer as Scared man in car under car chase
 Bjørn Puggaard-Müller as Guard in Nationalbanken
 André Sallyman
 Jørgen Teytaud
 Johan Thiersen
 Poul Thomsen as Værkfører på legetøjsfabrik
 Holger Vistisen as Præst der taler i telefon

References

External links

1969 films
1969 comedy films
1960s heist films
1960s Danish-language films
Films directed by Erik Balling
Films with screenplays by Erik Balling
Olsen-banden films
Danish comedy films


Ramakrishna Paramahamsa (1836–1886) is a famous nineteenth-century Bengali mystic. Ramakrishna was a teacher of popular appeal, speaking in rustic Bengali with stories and parables. Ramakrishna's main teachings included God realization as the supreme goal of life, renunciation of Kama-Kanchana, Harmony of Religions and Jiva is Shiva. Key concepts in Ramakrishna's teachings included the oneness of existence and the unity and truth of all religions.

God-realisation
Ramakrishna  noted that God-realisation is the supreme goal of all living beings. Ramakrishna's mystical experiences through different religions led him to teach that various religions are different means to reach absolute knowledge and bliss—and that the different religions cannot express the totality of absolute truth, but can express aspects of it.

Kama-Kanchana
Ramakrishna taught that the primal bondage in human life is Kama-Kanchana (lust and gold). When speaking to men, Ramakrishna warned them against kamini-kanchana, or "women and gold",

When speaking to women, he warned them against purusha-kanchana, or "man and gold." Gauri Ma, one of Ramakrishna's prominent women disciples, said that:

Avidyamaya and vidyamaya

Devotees believe that Ramakrishna's realisation of nirvikalpa samadhi also led him to an understanding of the two sides of maya, or illusion, to which he referred as Avidyamaya and vidyamaya. He explained that avidyamaya represents dark forces of creation (e.g. sensual desire, evil passions, greed, lust and cruelty), which keep people on lower planes of consciousness. These forces are responsible for human entrapment in the cycle of birth and death, and they must be fought and vanquished. Vidyamaya, on the other hand, represents higher forces of creation (e.g. spiritual virtues, enlightening qualities, kindness, purity, love, and devotion), which elevate human beings to the higher planes of consciousness.

Harmony of religions

Ramakrishna recognised differences among religions but realised that in spite of these differences, all religions lead to the same ultimate goal, and hence they are all valid and true. Amiya P. Sen writes that the deep foundations in bhakti or devotion and faith in God makes Ramakrishna's teachings look universalistic and not his culturally determined forms. The distinguished British historian Arnold J. Toynbee has written: “... Mahatma Gandhi’s principle of non-violence and Sri Ramakrishna’s testimony to the harmony of religions: here we have the attitude and the spirit that can make it possible for the human race to grow together into a single family–and in the Atomic Age, this is the only alternative to destroying ourselves.”

Regarding Harmony of Religions, Ramakrishna said,

Jiva is Shiva and other teachings
Ramakrishna's proclamation of jatra jiv tatra Shiv (wherever there is a living being, there is Shiva) stemmed from his Advaitic perception of Reality. This taught his disciples, "Jive daya noy, Shiv gyane jiv seba" (not kindness to living beings, but serving the living being as Shiva Himself). According to scholars, Vivekananda derived his inspiration from this message and took initiative in social activities like famine relief, pm on maintenance of orphanages, opening of training centers, educational institutions, dispensaries and the like—"Where should you go to seek for God? Are not all the poor, the miserable, the weak, god? Why not worship them first?...Let these people be your God..." Ramakrishna did not directly participate in social service, but entrusted the task to his chief disciple Vivekananda.

Ramakrishna, though not formally trained as a philosopher, had an intuitive grasp of complex philosophical concepts. According to him brahmanda, the visible universe and many other universes, are mere bubbles emerging out of Brahman, the supreme ocean of consciousness and intelligence.<ref>Gospel of Ramakrishna, vol. 4</ref>

Like Adi Sankara had done more than a thousand years earlier, Ramakrishna Paramahamsa revitalised Hinduism which had been fraught with excessive ritualism and superstition in the nineteenth century and helped it become better-equipped to respond to challenges from Islam, Christianity and the dawn of the modern era. However, unlike Adi Sankara, Ramakrishna developed ideas about the post-samadhi descent of consciousness into the phenomenal world, which he went on to term "Vijñāna". While he asserted the supreme validity of Advaita Vedanta, he also stated that "I accept both the Nitya and the Leela, both the Absolute and the Relative."

Parables
Parables formed a very important part of Ramakrishna's teachings. Ramakrishna conveyed his spiritual and moral messages through tales and parables.The Parable of the Greatest Devotee, is one of his famous parables—The Parable of the Pandit who could not swim is another famous parable of Ramakrishna, a story akin to the fable of the Fox and the Cat''—

See also
 Sri-Sri-Ramakrisna-kathamrta

Notes

Ramakrishna
Ramakrishna Mission


The 1931–32 FA Cup was the 57th season of the world's oldest football cup competition, the Football Association Challenge Cup, commonly known as the FA Cup. Newcastle United won the competition for the third time, beating Arsenal 2–1 in the final at Wembley.

Matches were scheduled to be played at the stadium of the team named first on the date specified for each round, which was always a Saturday. Some matches, however, might be rescheduled for other days if there were clashes with games for other competitions or the weather was inclement. If scores were level after 90 minutes had been played, a replay would take place at the stadium of the second-named team later the same week. If the replayed match was drawn further replays would be held until a winner was determined. If scores were level after 90 minutes had been played in a replay, a 30-minute period of extra time would be played.

Calendar

First round proper
At this stage 42 clubs from the Football League Third Division North and South joined the 25 non-league clubs having come through the qualifying rounds. Southport and Exeter City were given a bye to the Third Round. To make the number of matches up, non-league Aldershot Town were given byes to this round. Bath City were also given a bye to the First Round, awarded during the Fourth Qualifying Round, and not as a result of the normal process of the FA Cup. Also notable in this round is the home win awarded to Burton Town, probably given as a result of Wigan Borough folding that year and resigning from the Football League. 34 matches were scheduled to be played on Saturday, 28 November 1931. Eight were drawn and went to replays in the following midweek fixture, of which one went to two more replays.

Second round proper
The matches were played on Saturday, 12 December 1931. Three matches were drawn, with replays taking place in the following midweek fixture.

Third round proper
The 44 First and Second Division clubs entered the competition at this stage, along with Third Division Southport and Exeter City. Also entered at this stage, to make up the numbers, were Corinthian, who were a famous amateur side. The matches were scheduled for Saturday, 9 January 1932. Twelve matches were drawn and went to replays in the following midweek fixture.

Fourth round proper
The matches were scheduled for Saturday, 23 January 1932. Three games were drawn and went to replays in the following midweek fixture, of which two went to second replays.

Fifth round proper
The matches were scheduled for Saturday, 13 February 1932. There was one replay, between Chelsea and Sheffield Wednesday, played in the next midweek fixture.

Sixth round proper
The four Sixth Round ties were scheduled to be played on Saturday, 27 February 1932. There were no replays.

Semi-finals
The semi-final matches were played on Saturday, 12 March 1932. Newcastle United and Arsenal won their matches to meet in the final at Wembley.

Final

The 1932 FA Cup Final was contested by Newcastle United and Arsenal at Wembley in what became known as the "Over The Line" final. Newcastle won 2–1, both of their goals scored by Jack Allen.

Match details

See also
FA Cup Final Results 1872-

References
General
Official site; fixtures and results service at TheFA.com
1931-32 FA Cup at rssf.com
1931-32 FA Cup at soccerbase.com

Specific

FA Cup seasons
FA
Cup


The Mark I trench knife  is an American trench knife designed by officers of the American Expeditionary Force (AEF) for use in World War I. It has a  double-edged dagger blade useful for both thrusting and slashing strokes, unlike previous U.S. trench knives such as the M1917 and M1918. The handle is made of cast bronze and uses a conical steel nut to hold the blade in place.  The Mark I's blade was blued with a black oxide finish, the bronze handle was chemically blackened, with cast spikes on the bow of each knuckle.  The spikes were intended to prevent an opponent from grabbing the knife hand, as well as to provide a more concentrated striking surface when employed in hand-to-hand combat.

History

The Mark I was a development of the earlier U.S. M1917 and the slightly improved M1918 trench knives designed by Henry Disston & Sons of Philadelphia, Pennsylvania.  Both the M1917 and M1918 used a triangular blade and a handle equipped with a guard designed to protect the user's knuckles.  By 1918 it was apparent that the M1917 and M1918 designs were too limiting to succeed in their intended role, and a new trench knife design was requested.

On 1 June 1918 a panel of AEF officers conducted an exhaustive field test of various trench knives, including the U.S. M1917, the Hughes trench knife and the standard-issue trench knives of the British and French armies, respectively.  The field test was performed to examine the qualities of each knife based on the following criteria: the ability to carry one-handed while performing other tasks, the quickness or rapidity of employment in action, security of grip, in case the user was stunned or knocked unconscious, ease of carrying when crawling in a low prone position, the probability of the knife being knocked out of hand during a struggle, the suitability of blade weight, length, and shape; and the shape of the handle.

Testing confirmed that the existing M1917 and M1918 designs were in need of improvement.  Therefore, a replacement trench knife designated the U.S. trench knife, Mark I was jointly developed by officers of the AEF and the Engineering Division of U.S. Ordnance. This knife was entirely different from the M1917, bearing a flat double-edged blade, a unique metal scabbard, and a cast-bronze handle with built-in guard for individual fingers. The AEF stated that the Mark I was a combination of all of the best features of the trench knives evaluated, and the Mark I's double-edged blade was taken directly from the Couteau Poignard Mle 1916 (known as Le Vengeur), a trench knife design then in service with the French Army.

Strategic planning by the Allies in 1918 called for the training and equipping of a 4 million man U.S. Army to be landed in France for an offensive in the Spring of 1919. With the Armistice and the sudden end of hostilities in November 1918, large-scale wartime contracts for Mark I knife production were cancelled. Most Mark I knives that were produced by U.S. manufacturers were never issued, and remained in army storage. During World War II, stocks of Mark I knives were released for issue to army units with a need for a close-combat fighting knife, though the number of Mark I used was limited.  Of those Mark I knives released for service, most were issued in 1942 and 1943 to soldiers serving in elite army ranger and airborne formations, though some Mark I knives were used by Marine units in 1942 and 1943, in particular marines serving with the four Marine Raider battalions.  Army and Marine field reports concerning the effectiveness of the Mark I knife were mixed; some men liked the design, while others complained that Mark I was poorly balanced, with a relatively thin blade that was prone to snapping at the blade-handle junction, particularly when employed for utility tasks.  Other reports noted that the Mark I's large 'brass-knuckle' fingerguard handle was expensive to produce and limited the number of useful fighting grip positions, while preventing the knife from being carried in a conventional leather sheath or scabbard.  The Mark I also received criticism from Marine Raiders for its poor balance, relatively slow deployment speed and limited quick-kill penetration capability when used in an offensive role (the Raiders would eventually adopt the United States Marine Raider stiletto, a combat knife with a stiletto-style blade patterned after the Fairbairn–Sykes fighting knife).  Additionally, U.S. war planners had announced a need for a general-purpose trench knife that could fulfill both the fighting and utility roles, while at the same time conserving strategic metal resources.

The Mark I trench knife was replaced in Army service by the M3 trench knife in 1943 as well as old bayonets converted into fighting knives, while the U.S. Marine Corps issued its own combat and utility knife the same year designated the 1219C2, later known as the USMC Mark 2 combat knife aka the USMC knife, fighting utility.

Production
In order to save time in getting the new knife to troops in the field, the first Mark I trench knives were procured from a French manufacturer, Au Lion (Au Lion/Société Générale, France).  Subsequently, the U.S. government placed orders for 1,232,780 Mark I knives with several U.S. contractors, including Landers, Frary & Clark (L.F.&C.) of New Britain, Connecticut; Henry Disston & Sons (HD&S) of Philadelphia; and Oneida Community Limited (O.C.L.), with deliveries to commence in December 1918.  Ordnance records note that the end of the war in November 1918 caused Ordnance to cancel all orders for the Mark I with the exception of a single reduced order for 119,424 knives from Landers, Frary & Clark Co. (L F & C).  Despite this apparent cancellation, otherwise original U.S. Mark I trench knives have been found with HD&S and O.C.L. stamps, with grip handles cast in either bronze or aluminum.

The French version of the Mark I is stamped on the blade ricasso with a recumbent lion, and the words Au Lion, while the grip is typically stamped "U.S. 1918", and fitted with a four-sided pommel cap.  Made under wartime conditions, the French Mark I knife is generally more roughly finished than U.S. contracted examples, and incorporates several deviations from production specifications.  Several versions of the French model exist - some with grooves on top of the grip, some without, and some bearing letters and numbers cast into the bronze fingerguard.  As steel was a strategic material in wartime France, the French-manufactured Mark I was issued with a proprietary unmarked scabbard made of iron.

U.S.-contracted Mark I knives are stamped on the right side of the brass grip "U.S. 1918", with the contractor's initials located just below.  The U.S. knives utilized a six-sided pommel cap.  Like the French-made version, U.S. Mark I knives came with proprietary scabbards designed to accommodate the Mark I knife with its oversized grip, but fabricated of steel instead of iron.  Both blades and scabbards were issued with a blackened finish to prevent reflection.  However, many soldiers (and later, civilian owners) attempted to polish the blades and/or scabbards, believing the blackened finish to be tarnish.  As a result, many original Mark I knives and scabbards have lost their original finish.   American-made steel scabbards for the Mark I trench knife were marked "L.F.&C. 1918".

See also
List of daggers

Notes

References
Crowell, Benedict, America's Munitions 1917-1918, Report of Benedict Crowell, Assistant Secretary of War (Director of Munitions), U.S. War Department, Washington, D.C.: U.S. Government Printing Office (1919)
Walker, Greg, Battle Blades: A Professional's Guide to Combat/Fighting Knives, Boulder, CO: Paladin Press,  (1993)

External links

http://arms2armor.com/Knives/m1trench.htm
Original Patent

Daggers
Fist-load weapons
Military knives
World War I infantry weapons of the United States
World War II infantry weapons of the United States


80,000 Suspects is a 1963 British drama film directed by Val Guest and starring Claire Bloom, Richard Johnson, Yolande Donlan, and Cyril Cusack. It concerns an outbreak of smallpox in Bath, England.

Plot
On New Year's Eve in the city of Bath, Dr. Steven Monks (Richard Johnson) diagnoses a mystery patient as being infected with smallpox and sets in motion a citywide quarantine to contain the outbreak. His commitment to the task is affected by the deterioration of his marriage to ex-nurse Julie (Claire Bloom) following his clandestine affair with a family friend.

Monks receives an unexpected blow when the disease strikes closer to home than anticipated and Julie is diagnosed as having contracted the virus. The medical team gradually contains the outbreak until only one unidentified case remains.

The search narrows the identity of final carrier down to Ruth Preston (Yolande Donlan), the woman with whom Monks had been having an affair and the wife of his close colleague Clifford (Michael Goodliffe). She's eventually traced to a deserted hotel where she's sheltering, lonely and desperately ill.

Cast
Claire Bloom as Julie Monks
Richard Johnson as Steven Monks
Yolande Donlan as Ruth Preston
Cyril Cusack as Father Maguire
Michael Goodliffe as Clifford Preston
Mervyn Johns as Buckridge
Kay Walsh as Matron
Norman Bird as Harold Davis
Vanda Godsell as Agnes Davis
Basil Dignam as Medical Officer
Arthur Christiansen as Editor
Ray Barrett as Bennett
Andrew Crawford as Dr. Ruddling
Jill Curzon as Nurse Jill
Ursula Howells as Joanna Druten
Basil Dignam as Medical Officer Boswell
Arthur Christiansen as Mr Gracey
Ray Barrett as Health Inspector Bennett
David Weston as Brian Davis (uncredited)
Pauline Barker as Clara (uncredited)
Joby Blanshard as Health Inspector Matthews (uncredited)
Felix Bowness as Wellford (uncredited)
Olwen Brookes as Senior Nursing Officer (uncredited)
Victor Brooks as Health Inspector Collins (uncredited)
Gerald Case as Chief Administration Officer (uncredited)
Norman Chappell as Welford (uncredited)
Rachel Clay as Jane Davis (uncredited)
H. Leonard Coggins as Waiter (uncredited)
Richard Coleman as Scott James (uncredited)
Maureen Crombie as Auxiliary Nurse (uncredited)
Monti DeLyle as Night Porter (uncredited)
Marian Diamond as Sister Durrell (uncredited)
Suzan Farmer as Carole (uncredited)
Leonie Forbes as Nurse Vicky (uncredited)
Stewart Guidotti as Sidney Davis (uncredited)
Alan Keith as Health Inspector Sanders (uncredited)
Bruce Lewis as himself - TV Reporter (uncredited)
Peter Madden as Ambulance Driver (uncredited)
Terry Martin as Guildhall Sergeant (uncredited)
Carmel McSharry as Cleaner (uncredited)
John Merivale as Mr Bradley (uncredited)
Graham Moffatt as Fat Man in Vaccination Queue (uncredited)
Bruce Montague as Brooks (uncredited)
Ian Parsons as Health Inspector (uncredited)
Lisa Peake as Nurse Lisa (uncredited)
David Rose as Health Inspector (uncredited)
Guy Thomas as himself - Newsreader (uncredited)
Kim Tracy as Daphne Davis (uncredited)
Russell Waters as Town Clerk of Bath (uncredited)
Joseph Wise as Deputy Health Minister (uncredited)
Anthony Flagg as Telegraph Engineer (uncredited)

References

External links

 British Movie Directors  Retrieved 2010-03-11.
 Original Clip from film  Retrieved 2010-03-11.
 Opening scenes Clip from film  Retrieved 2010-03-11.

 Val Guest - Obituary, 15 May 2006 - The Independent  Retrieved 2010-03-12.

1963 films
British drama films
Films directed by Val Guest
Films set in Bath, Somerset
1963 drama films
1960s English-language films
1960s British films


Mount Chincogan is located northwest of Mullumbimby, New South Wales, Australia and west of Ocean Shores. It is part of a large shield volcano Mount Warning which erupted millions of years ago. It was originally a lava plug of the Tweed Volcano along with Mt Warning which have eroded at a much slower rate than the surrounding remnants.

Mountains of New South Wales


Skibo may refer to:

 Skibo Castle
 Skibo, Minnesota
 Skibo Productions, 1930s film production house at the 8th Academy Awards, 10th Academy Awards


Gradski vrt Hall is a multi-purpose indoor arena in Osijek, Croatia. The complex is used mostly for handball and basketball matches. The complex has 7 main halls, two of them with spectator seats, bigger one capacity of 3,538 (4,438 basketball configuration) and a smaller one 1,770, there are two more smaller halls for fighting sports training. The complex also contains the biggest indoor track and field compound in Croatia. It was also used as one of the venues during the 2009 World Men's Handball Championship. In 2017 the venue hosted the 2017 Davis Cup World Group first round between Croatia and Spain.

Building levels
Ground level – Level ± 0,00 (Halls A, C, D, G, H, saunas, swimming pool, locker rooms, sanitary facilities, sport medicine, shops, coffee bars, technical support, staff, etc.)
1st Level – Level +5,00 (Hall B, sport club premises, V.I.P., press, coffee shop, entrance hall, galleries, sanitary facilities etc.)
2nd Level – Level +9,00 (Track and field tunnel (F), technical support, staff, etc.)
3rd Level – Level +12,00 (Sport commentator gallery, TV, technical support)

The gross surface of entire complex is 18,590 m2.

Dimensions
Big hall (A – 35x50 m)
Smaller halls (C, D – 2 x 22x16 m)
Gym (G – 10.25x9.6 m)
Aerobic and fitness (H – 9.2x9.6 m) and saunas with a small swimming pool (18.5x10.6 m) locker rooms, sanitary facilities, sport medicine, doping control etc., are placed on the ground level ±0,00.
Basketball hall (B – 30x32+10 m)
Track and field tunnel (F – 87x16 m)

Except sport events this complex host all kind of entertainment, cultural and media events as well as
expos.

See also
 List of indoor arenas in Croatia
 List of indoor arenas in Europe

References

External links

Indoor arenas in Croatia
Handball venues in Croatia
Basketball venues in Croatia
Volleyball venues in Croatia
Sports venues completed in 2008
Sports venues in Osijek