title: Iconography

text: Renaissance mythological painting was in theory reviving the iconography of its Classical Antiquity, but in practice themes like Leda and the Swan developed on largely original lines, and for different purposes. Personal iconographies, where works appear to have significant meanings individual to, and perhaps only accessible by, the artist, go back at least as far as Hieronymous Bosch, but have become increasingly significant with artists like Goya, William Blake, Gauguin, Picasso, Frida Kahlo and Joseph Beuys.


title: Iconography

text: Iconography, often of aspects of popular culture, is a concern of other academic disciplines including Semiotics, Anthropology, Sociology, Media Studies, Communication Studies, and Cultural Studies. These analyses in turn have affected conventional art history, especially concepts such as signs in semiotics. Discussing imagery as iconography in this way implies a critical "reading" of imagery that often attempts to explore social and cultural values. Iconography is also used within film studies to describe the visual language of cinema, particularly within the field of genre criticism. In the age of Internet, the new global history of the visual production of Humanity (Histiconologia) includes History of Art and history of all kind of images or medias.


title: Iconography

text: Contemporary iconography research often draws on theories of visual framing to address such diverse issues as the iconography of climate change created by different stakeholders, the iconography that international organizations create about natural disasters, the iconography of epidemics disseminated in the press, and the iconography of suffering found in social media.


title: Iconography

text: An iconography study in communication science analyzed stock photos used in press reporting to depict the social issue of child sexual abuse. Based on a sample of N=1,437 child sexual abuse (CSA) online press articles that included 419 stock photos, a CSA iconography (i.e. a set of typical image motifs for a topic) was revealed that relate to criminal reporting: The CSA iconography visualizes 1. crime contexts, 2. course of the crime and people involved, and 3. consequences of the crime for the people involved (e.g., image motif: perpetrator in handcuffs).


title: Grover Dale

text: Dale was born Grover Robert Aitken in Harrisburg, Pennsylvania, to Emma Bertha (Ammon) and Ronal Rittenhouse Aitken, a restaurateur. He studied dance with Lillian Jasper in McKeesport from 1945 to 1950. Partnering up with another dancer (Mary Lou Steele) in an aggressive rendition of "Slaughter On Tenth Avenue, Grover secured multiple performance opportunities in local nightclubs before getting his first professional job with the Pittsburgh Civic Light Opera in 1953.


title: Grover Dale

text: Dale's Broadway stage debut was in the 1956 musical "Li'l Abner" as a dancer. He appeared in the original cast of "West Side Story" as Snowboy, a member of the Jets gang. Other stage credits include the role of Andrew in "Greenwillow", in which he also understudied Anthony Perkins as Gideon Briggs; Noël Coward's "Sail Away," where he had the juvenile lead role of architect Barnaby Slade; and in "Half a Sixpence", where he played Pearce, one of a quartet of 19th century London shop apprentices around whom the show is structured.


title: Grover Dale

text: He made his film debut in "The Unsinkable Molly Brown" (as Jam). He also appeared in "Half a Sixpence" (Pearce), "The Young Girls of Rochefort" (Bill), and "The Landlord" (Oscar).


title: Grover Dale

text: Dale was nominated for the Tony Award twice, for his choreography of "Billy", a musical version of the Herman Melville novella, "Billy Budd", and his direction of "The Magic Show". As co-director of "Jerome Robbins' Broadway", he shared Best Director Tony Award with the famed director-choreographer Jerome Robbins. He also received an Emmy Award nomination for his choreography of Barry Manilow's 1985 television musical "Copacabana". In 1992 he became publisher/editor of "Dance & Fitness" magazine. In 1999 Dale founded the website, Answers4Dancers.com, whose stated goal is "to empower dancers and choreographers to think, to grow, and to create satisfying careers for themselves..."


title: Grover Dale

text: Dale was involved in a six-year relationship with actor Anthony Perkins before separating in 1971. In 1973, he married actress and dancer Anita Morris, with whom he had a son, actor James Badge Dale (born 1978). Dale and Morris remained together until her death in 1994.


title: House of Liechtenstein

text: The House of Liechtenstein, from which the principality takes its name, is the family which reigns by hereditary right over the principality of Liechtenstein. Only dynastic members of the family are eligible to inherit the throne. The dynasty's membership, rights and responsibilities are defined by a law of the family, which is enforced by the reigning prince and may be altered by vote among the family's dynasts, but which may not be altered by the Government or Parliament of Liechtenstein.


title: House of Liechtenstein

text: The family originates from Liechtenstein Castle in Lower Austria (near Vienna), which the family possessed from at least 1140 to the 13th century, and from 1807 onwards. Heinrich I von Liechtenstein (d. 1265) was lord of Nikolsburg, Liechtenstein and Petronell.


title: House of Liechtenstein

text: Through the centuries, the dynasty acquired vast swathes of land, predominantly in Moravia, Lower Austria, Silesia and Styria, though in all cases, these territories were held in fief under other more senior feudal lords, particularly under various lines of the Habsburg family, to whom several Liechtenstein princes served as close advisers. Thus, without any territory held directly under the Imperial throne, the Liechtenstein dynasty was unable to meet a primary requirement to qualify for a seat in the Imperial Diet ("Reichstag").


title: House of Liechtenstein

text: A seat in the Imperial government would add power, and would be afforded by lands which would be "immediate", or held without any feudal personage other than the Holy Roman Emperor himself having rights on the land. The head of the family was able to arrange the purchase from the Hohenems family of the minuscule Lordship of Schellenberg in 1699, and the County of Vaduz in 1712. Schellenberg and Vaduz indeed had no feudal lord other than their comital sovereign and the suzerain Emperor.


title: House of Liechtenstein

text: On 23 January 1719, after the purchase had been made, Charles VI as Holy Roman Emperor decreed Vaduz and Schellenberg to be united and raised to the dignity of a Principality by the name of "Liechtenstein", in honour of "[his] true servant, Anton Florian of Liechtenstein". On this date, Liechtenstein became a member state of the Holy Roman Empire. The Princes of Liechtenstein did not set foot in their new principality for several decades, a testament to the pure political expediency of the purchases.


title: House of Liechtenstein

text: According to the Constitution of the Princely House of Liechtenstein of 26 October 1993, all members other than the reigning prince shall bear the titles of Prince or Princess of Liechtenstein and Count or Countess of Rietberg.


title: House of Liechtenstein

text: Below are all male and male-line dynastic descendants of Johann I Joseph, Prince of Liechtenstein. The numbers represent the positions in the line of succession.


title: Middle East Airlines

text: Middle East Airlines – Air Liban S.A.L. ( "Ṭayyarān al-Sharq al-Awsaṭ – al-Khuṭūṭ al-jawiyyah al-lubnāniyyah"), more commonly known as Middle East Airlines (MEA) ( "Ṭayyarān al-Sharq al-Awsaṭ"), is the national flag-carrier airline of Lebanon, with its head office in Beirut, near Beirut–Rafic Hariri International Airport. It operates scheduled international flights to Asia, Europe, the Middle East, and Africa from its base at Rafic Hariri International Airport.


title: Middle East Airlines

text: Middle East Airlines (MEA) is a member of the SkyTeam airline alliance. MEA expressed its interest in becoming a SkyTeam associate member in early 2006 at a press conference in New York.


title: Middle East Airlines

text: On 28 February 2011, the airline signed the partnership agreement with SkyTeam at a ceremony in Beirut, and officially joined the alliance on 28 June 2012, becoming its 17th member and the second member airline in the Middle East.


title: Middle East Airlines

text: Middle East Airlines was founded on 31 May 1945 by Saeb Salam and Fawzi EL-Hoss with operational and technical support from BOAC. Operations started on 1 January 1946 using three de Havilland DH.89A Dragon Rapides on flights between Beirut and Nicosia, followed by flights to Iraq, Egypt, and Syria. Two Douglas DC-3s were acquired in mid-1946. Pan American World Airways acquired a stake and management contract in September 1949.


title: Middle East Airlines

text: Pan Am was replaced when BOAC acquired 49% of MEA's shares in 1955. A Vickers Viscount was introduced in October 1955 while an Avro York cargo aircraft was leased in June 1957. On 15 December 1960 the first of four de Havilland Comet 4Cs arrived. After the association with BOAC ended on 16 August 1961, MEA was merged with Air Liban on 7 June 1963, which gave Air France a 30% holding (since relinquished). The full title was then Middle East Airlines – Air Liban.


title: Middle East Airlines

text: In 1963 MEA also took over Lebanese International Airways. The fleet was modernised with the addition of three Sud Aviation Caravelles in April 1963, three Boeing 720Bs in January 1966, one leased Vickers VC10 in March 1967, and a number of Boeing 707-320Cs from November 1967.


title: Middle East Airlines

text: The current name was adopted in November 1965 when the airline was completely merged with Air Liban. Although operations were interrupted by the 1967 Arab–Israeli war, and by the Israeli raid on Beirut Airport in 1968 - in which the airline lost three Comet 4C's, two Caravelles, a Boeing 707, the Vickers VC10, and the Vickers Viscount - MEA restarted by acquiring a Convair 990A from American Airlines, which entered service on 24 June 1969.


title: Middle East Airlines

text: A Boeing 747-200B entered service in June 1975 on the Beirut–London route, and later on the Beirut–Paris–New York route from April 1983 until mid-1985. MEA had to adjust its operations due to the Lebanese Civil War between 1975 and 1991 but continued services despite multiple closures of the base at Beirut International Airport. Airbus A310-300s were acquired in 1993 and 1994, followed by an A321-200 in 1997 and the A330-200 (which replaced the A310s) in 2003.


title: Middle East Airlines

text: The airline has introduced self-check-in kiosks at Beirut International Airport as of July 2010. The airline is also planning on launching the Arabesk Airline Alliance with six other Arab carriers. Their future plans include floating about 25% of their shares on the Beirut Stock Exchange (BSE) as part of a long-term plan to fully privatize the airline.


title: Middle East Airlines

text: In November 2011, MEA's pilots union staged a 48-hour strike after a captain undergoing cancer treatment was dismissed shortly after going on sick leave.


title: Middle East Airlines

text: On 28 June 2012, Middle East Airlines joined the SkyTeam alliance to become its 17th member and the second in the Middle East following Saudia. 5,000 staff are employed across the airline group. The central bank of Lebanon, Banque du Liban, owns a majority share of 99.50%.


title: Middle East Airlines

text: In addition, Medina is served seasonally, while Mykonos is offered as a seasonal charter destination.


title: Middle East Airlines

text: MEA (excluding Cedar Executive) operates an all-Airbus fleet. , it consists of the following aircraft:


title: Middle East Airlines

text: Middle East Airlines firmed up its order for ten Airbus A320neo family aircraft (five A320neo and five A321neo) in January 2013. The order for the A320neo was later converted to five more A321neo aircraft. The first A321neo was delivered on 10 July 2020; the third, delivered 9 October 2020, was the 10,000th A320 family aircraft produced.


title: Middle East Airlines

text: On 12 December 2018, the then-Prime Minister of Lebanon, Saad Hariri, signed an order with engine manufacturer Rolls-Royce Holdings for four Airbus A330-900s. During the 2019 Paris Air Show, the airline became the launch customer for the A321XLR: four XLRs were ordered, intended for use on routes to Africa and Asia.


title: Middle East Airlines

text: Cedar Executive, MEA's business jet subsidiary, took delivery of its first Embraer Legacy 500 on 5 January 2016.


title: Middle East Airlines

text: In 2011, Middle East Airlines changed its frequent-flyer program to a 4-tier program- Blue Cedar, Silver Cedar, Golden Cedar, and President's Club, respectively- in preparation for joining the SkyTeam airline alliance. Silver Cedar, Golden Cedar, and President's Club members gain numerous benefits such as access to the Cedar Lounge at Beirut-Rafic Hariri International Airport, as well as outstation lounges at all MEA destinations. Golden Cedar and President's Club offer additional benefits, including guaranteed economy seat reservation.


title: Middle East Airlines

text: Cedar Miles can be earned and redeemed on all MEA flights and on all flights operated by Air France, KLM, and Qatar Airways, as well as codeshare partners on certain routes. Cedar Miles can also be earned during stays at all Rotana Hotels and all Hertz car rentals worldwide.


title: Middle East Airlines

text: In addition, MEA owns 77.5% of the Lebanese Beirut Airport Catering Company (LBACC), the only catering provider at Beirut International Airport.


title: Fennoscandia

text: Fennoscandia (Finnish, Swedish and ; ) or the Fennoscandian Peninsula is the geographical peninsula in Europe, which includes the Scandinavian and Kola peninsulas, mainland Finland, and Karelia. Administratively this roughly encompasses the mainlands of Finland, Norway and Sweden, as well as Murmansk Oblast, much of the Republic of Karelia, and parts of northern Leningrad Oblast in Russia.


title: Fennoscandia

text: Its name comes from the Latin words "Fennia" (Finland) and "Scandia" (Scandinavian). The term was first used by the Finnish geologist Wilhelm Ramsay in 1898.


title: Fennoscandia

text: Geologically, the area is distinct because its bedrock is Archean granite and gneiss with very little limestone, in contrast to adjacent areas in Europe.


title: Fennoscandia

text: The similar term Fenno-Scandinavia is sometimes used as a synonym for Fennoscandia. Both terms are sometimes used in English to refer to a cultural or political grouping of Finland with Sweden, Norway and Denmark (the latter country is closely connected culturally and politically, but not part of the Fennoscandian Peninsula), which is a subset of the Nordic countries.


title: Mercury-vapor lamp

text: A mercury-vapor lamp is a gas-discharge lamp that uses an electric arc through vaporized mercury to produce light. The arc discharge is generally confined to a small fused quartz arc tube mounted within a larger soda lime or borosilicate glass bulb. The outer bulb may be clear or coated with a phosphor; in either case, the outer bulb provides thermal insulation, protection from the ultraviolet radiation the light produces, and a convenient mounting for the fused quartz arc tube.


title: Mercury-vapor lamp

text: Mercury vapor lamps are more energy efficient than incandescent lamps with luminous efficacies of 35 to 55 lumens/watt. Their other advantages are a long bulb lifetime in the range of 24,000 hours and a high intensity, clear white light output. For these reasons, they are used for large area overhead lighting, such as in factories, warehouses, and sports arenas as well as for streetlights. Clear mercury lamps produce a greenish light due to mercury's combination of spectral lines. This is not flattering to human skin color, so such lamps are typically not used in retail stores. "Color corrected" mercury bulbs overcome this problem with a phosphor on the inside of the outer bulb that emits at the red wavelengths, offering whiter light and better color rendition.


title: Mercury-vapor lamp

text: Mercury vapor lights operate at an internal pressure of around one atmosphere and require special fixtures, as well as an electrical ballast. They also require a warm-up period of four to seven minutes to reach full light output. Mercury vapor lamps are becoming obsolete due to the higher efficiency and better color balance of metal halide lamps.


title: Mercury-vapor lamp

text: Charles Wheatstone observed the spectrum of an electric discharge in mercury vapor in 1835, and noted the ultraviolet lines in that spectrum. In 1860, John Thomas Way used arc lamps operated in a mixture of air and mercury vapor at atmospheric pressure for lighting. The German physicist Leo Arons (1860–1919) studied mercury discharges in 1892 and developed a lamp based on a mercury arc. In February 1896 Herbert John Dowsing and H. S. Keating of England patented a mercury vapor lamp, considered by some to be the first true mercury vapor lamp.


title: Mercury-vapor lamp

text: The first mercury vapor lamp to achieve widespread success was invented in 1901 by American engineer Peter Cooper Hewitt. Hewitt was issued on September 17, 1901. In 1903, Hewitt created an improved version that possessed higher color qualities which eventually found widespread industrial use. The ultraviolet light from mercury vapor lamps was applied to water treatment by 1910. The Hewitt lamps used a large amount of mercury. In the 1930s, improved lamps of the modern form, developed by the Osram-GEC company, General Electric company and others led to widespread use of mercury vapor lamps for general lighting.


title: Mercury-vapor lamp

text: The mercury in the tube is a liquid at normal temperatures. It needs to be vaporized and ionized before the lamp can produce its full light output. To facilitate starting of the lamp, a third electrode is mounted near one of the main electrodes and connected through a resistor to the other main electrode. In addition to the mercury, the tube is filled with argon gas at low pressure. When power is applied, if there is sufficient voltage to ionize the argon, the ionized argon gas will strike a small arc between the starting electrode and the adjacent main electrode. As the ionized argon conducts, the heat from its arc vaporizes the liquid mercury; next, the voltage between the two main electrodes will ionize the mercury gas. An arc initiates between the two main electrodes and the lamp will then radiate mainly in the ultraviolet, violet and blue emission lines. Continued vaporization of the liquid mercury increases the arc tube pressure to between 2 and 18 bar, depending on lamp size. The increase in pressure results in further brightening of the lamp. The entire warm-up process takes roughly 4 to 7 minutes. Some bulbs include a thermal switch which shorts the starting electrode to the adjacent main electrode, extinguishing the starting arc once the main arc strikes.


title: Mercury-vapor lamp

text: The mercury vapor lamp is a negative resistance device. This means its resistance decreases as the current through the tube increases. So if the lamp is connected directly to a constant-voltage source like the power lines, the current through it will increase until it destroys itself. Therefore, it requires a ballast to limit the current through it. Mercury vapor lamp ballasts are similar to the ballasts used with fluorescent lamps. In fact, the first British fluorescent lamps were designed to operate from 80-watt mercury vapor ballasts. There are also self-ballasted mercury vapor lamps available. These lamps use a tungsten filament in series with the arc tube both to act as a resistive ballast and add full spectrum light to that of the arc tube. Self-ballasted mercury vapor lamps can be screwed into a standard incandescent light socket supplied with the proper voltage.


title: Mercury-vapor lamp

text: A very closely related lamp design called the metal halide lamp uses various compounds in an amalgam with the mercury. Sodium iodide and scandium iodide are commonly in use. These lamps can produce much better quality light without resorting to phosphors. If they use a starting electrode, there is always a thermal shorting switch to eliminate any electrical potential between the main electrode and the starting electrode once the lamp is lit. (This electrical potential in the presence of the halides can cause the failure of the glass/metal seal). More modern metal halide systems do not use a separate starting electrode; instead, the lamp is started using high voltage pulses as with high-pressure sodium vapor lamps.


title: Mercury-vapor lamp

text: Self-ballasted (SB) lamps are mercury vapor lamps with a tungsten filament inside connected in series with the arc tube that functions as an electrical ballast. This is the only kind of mercury vapor lamp that can be connected directly to the mains without an external ballast. These lamps have only the same or slightly higher efficiency than incandescent lamps of similar size, but have a longer life. They give light immediately on startup, but usually need a few minutes to restrike if power has been interrupted. Because of the light emitted by the filament, they have slightly better color rendering properties than mercury vapor lamps. Self-ballasted lamps are typically more expensive than a standard mercury vapor lamp.


title: Mercury-vapor lamp

text: When a mercury vapor lamp is first turned on, it will produce a dark blue glow because only a small amount of the mercury is ionized and the gas pressure in the arc tube is very low, so much of the light is produced in the ultraviolet mercury bands. As the main arc strikes and the gas heats up and increases in pressure, the light shifts into the visible range and the high gas pressure causes the mercury emission bands to broaden somewhat, producing a light that appears more nearly white to the human eye, although it is still not a continuous spectrum. Even at full intensity, the light from a mercury vapor lamp with no phosphors is distinctly bluish in color. The pressure in the quartz arc-tube rises to approximately one atmosphere once the bulb has reached its working temperature. If the discharge should be interrupted (e.g. by interruption of the electric supply), it is not possible for the lamp to restrike until the bulb cools enough for the pressure to fall considerably. The reason for a prolonged period of time before the lamp restrikes is to due the elevated pressure, which leads to higher breakdown voltage of the gas inside (voltage needed to start an arc – Paschen's law), which is outside the capabilities of the ballast.


title: Mercury-vapor lamp

text: To correct the bluish tinge, many mercury vapor lamps are coated on the inside of the outer bulb with a phosphor that converts some portion of the ultraviolet emissions into red light. This helps to fill in the otherwise very-deficient red end of the electromagnetic spectrum. These lamps are generally called "color corrected" lamps. Most modern mercury vapor lamps have this coating. One of the original complaints against mercury lights was they tended to make people look like "bloodless corpses" because of the lack of light from the red end of the spectrum. A common method of correcting this problem before phosphors were used was to operate the mercury lamp in conjunction with an incandescent lamp. There is also an increase in red color (e.g., due to the continuous radiation) in ultra-high-pressure mercury vapor lamps (usually greater than 200 atm.), which has found application in modern media projectors. When outside, coated or color corrected lamps can usually be identified by a blue "halo" around the light being given off.


title: Mercury-vapor lamp

text: In low-pressure mercury-vapor lamps only the lines at 184 nm and 254 nm are present. Fused silica is used in the manufacturing to keep the 184 nm light from being absorbed. In medium-pressure mercury-vapor lamps, the lines from 200 to 600 nm are present. The lamps can be constructed to emit primarily in the UV-A (around 400 nm) or UV-C (around 250 nm). High-pressure mercury-vapor lamps are commonly used for general lighting purposes. They emit primarily in the blue and green.


title: Mercury-vapor lamp

text: Low-pressure mercury-vapor lamps usually have a quartz bulb in order to allow the transmission of short wavelength light. If synthetic quartz is used, then the transparency of the quartz is increased further and an emission line at 185 nm is observed also. Such a lamp can then be used for ultraviolet germicidal irradiation. The 185 nm line will create ozone in an oxygen containing atmosphere, which helps in the cleaning process, but is also a health hazard.


title: Mercury-vapor lamp

text: For placements where light pollution is of prime importance (for example, an observatory parking lot), low-pressure sodium is preferred. As it emits narrow spectral lines at two very close wavelengths, it is the easiest to filter out. Mercury vapor lamps without any phosphor are second best; they produce only a few distinct mercury lines that need to be filtered out.


title: Mercury-vapor lamp

text: In the EU the use of low efficiency mercury vapor lamps for lighting purposes was banned in 2015. It does not affect the use of mercury in compact fluorescent lamp, nor the use of mercury lamps for purposes other than lighting.


title: Mercury-vapor lamp

text: In the US, ballasts for mercury vapor lamps for general illumination, excluding specialty application mercury vapor lamp ballasts, were banned after January 1, 2008. Because of this, several manufacturers have begun selling replacement compact fluorescent (CFL) and light emitting diode (LED) bulbs for mercury vapor fixtures, which do not require modifications to the existing fixture. The US Department of Energy determined in 2015 that regulations proposed in 2010 for the mercury vapor type of HID lamps would not be implemented, because they would not yield substantial savings.


title: Mercury-vapor lamp

text: The arctube of mercury lamps produces large amount of short wave UV-C radiation which can cause eye and skin burn. Usually the glass outer jacket of the lamp and in some lamps, also the phosphor coating, block this radiation. However, a care should be taken if the outer jacket of the lamp breaks, because the arctube would continue to operate, presents a safety hazard. There have been documented cases in the United States, of lamps being damaged in gymnasiums by balls striking the lamps, resulting in sun burns and eye inflammation from shortwave ultraviolet radiation. When used in locations like gyms, the fixture should contain a strong outer guard or an outer lens to protect the lamp's outer bulb. As a result of the said documented cases, some American manufacturers made "safety" lamps that will deliberately burn out if the outer glass is broken. This is usually achieved by using a thin tungsten strip, which will burn up in the presence of air, to connect one of the electrodes.


title: Mercury-vapor lamp

text: Typical mercury vapor lamps with an outer envelope made of soda lime or borosilicate glass still allow a relatively large amount of 365 nm UV radiation to escape the lamp. This can cause the accelerated aging of some plastics used in the construction of luminaires, leaving them significantly discolored after only a few years' service. Polycarbonate suffers particularly from this problem and it is not uncommon to see fairly new polycarbonate surfaces positioned near the lamp to have turned a dull, yellow color after only a short time.


title: Mercury-vapor lamp

text: Although other types of HIDs are becoming more common, mercury vapor lamps are still sometimes used for area lighting and street lighting in the United States, Canada and Japan.


title: Mercury-vapor lamp

text: Mercury vapor lamps are used in the printing industry to cure inks. These are typically high powered to rapidly cure and set the inks used. They are enclosed and have protections to prevent human exposure as well as specialised exhaust systems to remove the ozone generated.


title: Mercury-vapor lamp

text: High-pressure mercury vapor (and some specially-designed metal-halide) lamps find application in molecular spectroscopy due to providing useful broadband continuum ("noise") energy at millimeter and terahertz wavelengths, owing to the high electron temperature of the arc plasma; the main UV emission line of ionized mercury (254 nm) correlates to a blackbody of T= 11,500 K. This property makes them among the very few simple, inexpensive sources available for generating such frequencies. For example, a standard 250-watt general-lighting mercury lamp produces significant output from 120 GHz to 6 THz. In addition, shorter wavelengths in the mid-infrared are emitted from the hot quartz arc-tube envelope. As with the ultraviolet output, the glass outer bulb is largely opaque at these frequencies and thus for this purpose needs to be removed (or omitted in purpose-made lamps).


title: Mercury-vapor lamp

text: Special ultra high-pressure mercury vapor lamps called Ultra-high-performance lamps or UHP lamps, are commonly used in digital video projectors, including DLP, 3LCD and LCoS projectors.


title: Urotsukidōji

text: First serialized in "Manga Erotopia" from 1985 to 1986, "Urotsukidōji" marked a departure from Maeda's earlier works, with its focus on erotica, dark humor, and the supernatural. Starting in 1987, the manga was adapted into a series of original video animation (OVA) anime releases by director Hideki Takayama. The adaptations deviate significantly from the manga, adding elements of violence, sadomasochism, and rape not present in the source material.


title: Urotsukidōji

text: "Urotsukidōji" has been credited with popularizing the trope of tentacle rape, and "The Erotic Anime Movie Guide" calls it a formative work in the hentai genre. In 2005, it was voted as one of the 100 greatest cartoons in a poll by Channel 4.


title: Urotsukidōji

text: Amano Jyaku, a mischievous, sociopathic demon/human hybrid, is banished to Earth and ordered by The Great Elder to find the "Chōjin": the unbeatable god of the demon world who is hiding within the body of a man.


title: Urotsukidōji

text: A group of reptilian/amphibian demons want to find the "Chōjin" and use his power on behalf of the Queen of Demons. Under the leadership of Suikakuju, the Elder's rival and lover of his estranged wife, the Queen of Demons, they hatch a series of plots to try to capture the "Chōjin", most of which go horribly wrong.


title: Urotsukidōji

text: Amano is sent to protect the "Chōjin", but after his lecherous friend Koroko and then later his nymphomaniac sister Megumi come to find him, this proves to be more difficult.


title: Urotsukidōji

text: Every 3,000 years the is united with the and the by the revival of the , known as the Overfiend in the English version. The saga follows Jyaku Amano—a man-beast—and his quest to find the "Chōjin" and to ensure the safe future of all three worlds. However, he finds his beliefs put to the test when he encounters numerous demons, who plan to destroy the "Chōjin" and prevent the three worlds from joining.


title: Urotsukidōji

text: As the "Urotsukidōji" saga spans over a number of years it incorporates a wide variety of characters. Below is a list of the main characters, which are split into their races:


title: Urotsukidōji

text: "Urotsukidōji" was first serialized in Japan in four special editions of the erotic manga magazine "Manga Erotopia" from July 25, 1985 to July 24, 1986. It was later released into six "tankōbon" volumes from December 1, 1986 to April 1, 1987.


title: Urotsukidōji

text: "Urotsukidōji: Legend of the Overfiend" was first published in English with the launch of the adult label of CPM Manga in July 1998. It ran in a black-and-white 32-page format priced at $2.95 per issue. It was later released into six volumes from September 1, 2002 to October 15, 2003.


title: Urotsukidōji

text: On December 12, 2014, English-language hentai publisher FAKKU announced plans to launch a Kickstarter campaign to publish a remastered edition of the manga, which would include color pages and chapters omitted from the previous English versions. The campaign was launched on June 20, 2016. The campaign met its goal, and the first of four volumes was released on December 8, 2016.


title: Urotsukidōji

text: There are four main chapters in the original "Urotsukidōji" saga, along with an unfinished fifth chapter that has so far only been released in Japan and Germany, as well as a complete remake of the first chapter.


title: Urotsukidōji

text: The first series was released as part of an anthology video series distributed by JAVN (Japan Audio Visual Network). The anthology series was part of the international Penthouse Magazine brand and featured international and domestic pornographic movies (such as "The Devil in Miss Jones", "Behind the Green Door" and "The Opening of Misty Beethoven" to name a few).


title: Urotsukidōji

text: The first three-volume series within the larger Penthouse series was named . These three episodes were adapted from the original manga but skip over much of the comedic sub-stories and subplots and instead shift the focus to the apocalypse and the battle between Suikakuju and Jyaku.


title: Urotsukidōji

text: The three OVAs were later edited into a theatrical film known as . The removal of certain explicit material resulted in the film being given a rating from Japan's Film Classification and Rating Organization. Shochiku-Fuji distributed the film to theaters while Shochiku Home Video distributed the film to VHS with the tagline .


title: Urotsukidōji

text: "Legend of the Over-Fiend" was shown at the Toronto Festival of Festivals on September 16, 1989. A critic credited as "Suze." wrote in "Variety" the film was a "sci-fi-horror schlock extravaganza verging on porno. Films like this are why the word misogynist was invented."


title: Urotsukidōji

text: The theatrical film was released in North America on VHS on August 11, 1993, by Central Park Media under the "Anime 18" label - it was their first title to be released with the label. The film was also released in the UK and Australia, with additional cuts being made by the BBFC and OFLC. The film received an NC-17 rating in the U.S. and the distributors made no attempt to edit the movie for an R rating.


title: Urotsukidōji

text: Planet Earth is not all it seems. It is revealed that humans are not alone and that there are unseen realms running parallel to our own: the realms of the Demons ("Makai") and the Man-Beasts ("Jyujinkai"). To further that, there is a 3000-year-old legend that foretells the coming of the Overfiend ("Chōjin")—a being of unimaginable power that will unite all three realms into a land of eternity.


title: Urotsukidōji

text: The story follows the exploits of the protagonists—man-beast Jyaku Amano, his nymphomaniac sister Megumi and their companion Kuroko—as their 300-year search for the Overfiend takes them to a high school in Osaka, Japan. Their discoveries led them to two students: shy, lecherous Tatsuo Nagumo and school idol Akemi Ito. But as the film plunges deeper into the dark and gruesome, Jyaku discovers that the Legend of the Overfiend is not what it seems and that the future of the three realms may be strikingly different from what he is led to believe.


title: Urotsukidōji

text: The "Perfect Collection" from Anime 18 is the only English-friendly uncut version of the first OVA available outside Japan. Other versions such as the one on the "Hell on Earth" boxed set and the Australian Madman release with both Legend of the Overfiend and Legend of the Demon Womb have been cut for 45 minutes in total, which included a total of 24 minutes of sexually-oriented scenes. The U.S. DVD releases are now out-of-print. The "Movie Edition", licensed by Kitty Media in 2010 and released in 2011, is the first time any of the anime has been released on Blu-ray, though it is reformatted for widescreen (the DVD version released alongside it retains the original aspect ratio).


title: Urotsukidōji

text: The second OVA series was named . This series was not based on the manga, but elements from it were used, with Negumo's cousin Takeaki taking on a character similar to the character of Saburo in the manga and Münchhausen II taking after the character of Suikakuju.


title: Urotsukidōji

text: The "Perfect Collection" from Anime 18 is the only uncut version of the second "Urotsukidōji" OVA available outside Japan—however, even the Japanese version was censored and this censoring was carried over. As mentioned above, this was rectified for the movie version which is uncensored and contains more original material than the OVAs. Anime 18's DVD release is uncut though others (such as Manga UK's) have again been censored with cuts made. Both Japanese and English-language tracks are included on Anime 18's DVD of the movie, but there are no subtitles. Like the "Perfect Collection", it is not region-coded. Other versions such as the one on the "Hell on Earth" boxed set and the Australian Madman release with both "Legend of the Overfiend" and "Legend of the Demon Womb" have been cut for 14 minutes in total, which included a total of 7 minutes of sexually-oriented scenes. The U.S. releases are also now out-of-print.


title: Urotsukidōji

text: The third OVA series was named . This is where the saga begins to focus less on the remaining central characters and introduces other secondary characters, none of whom are present in the manga. The four parts were edited for western audiences as Urotsukidōji: Return of the Overfiend, in some cases cut into a pair of films.


title: Urotsukidōji

text: At the end of "Final Inferno", it is discovered that the Chōjin is the offspring of Tatsuo and Akemi and of Tatsuo's horrific metamorphosis into the Demon of Destruction—who needs to "destroy the old to make way for the new".


title: Urotsukidōji

text: Twenty years have passed and the Chojin has been prematurely born. He summons Jyaku Amano to protect him and to help to discover what has happened, sending Jyaku forth to search for the evil born in the east. Unfortunately a new race called the Makemono (Demon-Beasts) have arisen following the apocalypse, ruled over by the fanatical cyborg Caesar and his mysterious comrade "Faust". It is apparent they are the cause behind these events and intend to resurrect the Kyō-Ō.


title: Urotsukidōji

text: Jyaku, along with the Makemono Buju and Caesar's traitorous daughter Alector, need to stop the two dictators from ruling the land of eternity. The question is, who will succeed?


title: Urotsukidōji

text: The fourth OVA series was named . It was banned outright in many countries (including Britain), but was edited again for the west under the title Urotsukidōji: Inferno Road.


title: Urotsukidōji

text: Continuing straight after the climax of "Return of the Overfiend", Jyaku and the survivors head for Osaka to help the Overfiend after his climactic battle. On the way they find a kingdom where children rule over adults (OVAs 1 and 2). Jyaku's problems are furthered when an old nemesis shows up at the wrong time (OVA 3).


title: Urotsukidōji

text: The third OVA in this series, "The End of the Journey", stands alone plot-wise (wrapping up the story arc from "Urotsukidoji: Return of the Overfiend", on which the first two OVA have no bearing), and was originally intended to be a theatrical release. It is based on the final chapters of Maeda's "New Urotsukidoji".


title: Urotsukidōji

text: NOTE: Inferno Road was originally intended to have another ending, which was fully completed but ultimately discarded. This ending was to have revealed that the apparent Chōjin as seen at the start of "Urotsukidoji: Return of the Overfiend" was not in fact the real Chōjin, but yet another Makai. This alternate ending was to have set up the abandoned The Final Chapter.


title: Urotsukidōji

text: The fifth OVA series was named , also known as Urotsukidōji: The Final Chapter in the west. Only one episode of this was partially completed, the released version containing numerous examples of animation that is missing in-between frames. The story, as such, concerned the arrival of the real Chōjin who creates a new hermaphroditic race to wipe out all remaining life on Earth.


title: Urotsukidōji

text: After giving birth to the Chōjin, Akemi "reawakens" in a hospital, along with Jyaku, who had barely survived a recent confrontation with the Chōjin (whose form constantly mutates between male and female). Destroyer God Tatsuo also reappears (after supposedly being killed by Kyō-Ō in "Urotsukidoji: Return of the Overfiend") and continues his ravaging of Earth. Still in love with Tatsuo, Akemi runs out to find him.


title: Urotsukidōji

text: Meanwhile, Jyaku is confronted by some of the Chōjin's new 'children', and engages them in battle. However, his efforts prove almost futile, as they are constantly regenerated by the Chojin.


title: Urotsukidōji

text: Akemi eventually finds Tatsuo, still in his God form, and pleads with him. He clutches her in his hand (similarly to the end of the first episode) and prepares to kill her. However, she is rescued at the last minute by Jyaku, although she condemns him for doing so.


title: Urotsukidōji

text: This series was named , also known as Urotsukidōji: New Saga in the west, and was released in North America on March 9, 2004. This three-disc collection is a retelling of the first episode in "The Legend of the Overfiend". It has the same basic plot as "Birth of the Overfiend", the only difference is that Ozaki is now one of the main characters, and the story focuses more on him, while Nagumo is now a supporting character.


title: Urotsukidōji

text: After the popularity of the anime version of his work, Maeda sought to redo the "Urotsukidoji" series. Inspired by the post-apocalyptic story in the anime version, Maeda fleshed out the story and also took it into the realm of the post-apocalyptic.


title: Urotsukidōji

text: The "Urotsuki" video series and the "Urotsukidoji" horror film are the only anime works which have borrowed from this series.


title: Edmonia Lewis

text: Mary Edmonia Lewis, also known as "Wildfire" (c. July 4, 1844 – September 17, 1907), was an American sculptor, of mixed African-American and Native American (Mississauga Ojibwe) heritage. Born free in Upstate New York, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream. In 2002, the scholar Molefi Kete Asante named Edmonia Lewis on his list of "100 Greatest African Americans".


title: Edmonia Lewis

text: Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.


title: Edmonia Lewis

text: According to the "American National Biography", reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother’s people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York. Most of her girlhood was apparently spent in Newark, New Jersey.


title: Edmonia Lewis

text: Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, who was Afro-Haitian and worked as a valet (gentleman's servant). Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." (The Narragansett people are originally from Rhode Island.)


title: Edmonia Lewis

text: By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. Samuel was born in 1835 to his father of the same name, and his first wife, in Haiti. The family came to the United States when Samuel was a young child. Samuel became a barber at age 12 after their father died.


title: Edmonia Lewis

text: The children lived with their aunts near Niagara Falls, New York, for about four years. Lewis and her aunts sold Ojibwe baskets and other items, such as moccasins and embroidered blouses, to tourists visiting Niagara Falls, Toronto, and Buffalo. During this time, Lewis went by her Native American name, Wildfire, while her brother was called Sunshine. In 1852, Samuel left for San Francisco, California, leaving Lewis in the care of a Captain S. R. Mills.


title: Edmonia Lewis

text: By the time she got to college, Lewis was economically privileged, because her older brother Samuel had made a fortune in the California gold rush and "supplied her every want anticipating her wishes after the style and manner of a person of ample income".


title: Edmonia Lewis

text: In 1856, Lewis enrolled in a pre-college program at New York Central College, a Baptist abolitionist school. At McGrawville, Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."


title: Edmonia Lewis

text: However, her academic record at Central College (1856–fall 1858) has been located, and her grades, "conduct", and attendance were all exemplary. Her classes included Latin, French, "grammar", arithmetic, drawing, composition, and declamation (public speaking).


title: Edmonia Lewis

text: In 1859, when Edmonia Lewis was about 15 years old, her brother Samuel and abolitionists sent her to Oberlin, Ohio, where she attended the secondary Oberlin Academy Preparatory School for the full, three-year course, before entering Oberlin Collegiate Institute (since 1866, Oberlin College), one of the first U.S. higher-learning institutions to admit women and people of differing ethnicities. The Ladies' Department was designed "to give Young Ladies facilities for the thorough mental discipline, and the special training which will qualify them for teaching and other duties of their sphere." She changed her name to Mary Edmonia Lewis and began to study art. Lewis boarded with Reverend John Keep and his wife from 1859 until she was forced from the college in 1863. At Oberlin, with a student population of one thousand, Lewis was one of only 30 students of color. Reverend Keep was white, a member of the board of trustees, an avid abolitionist, and a spokesperson for coeducation.


title: Edmonia Lewis

text: Mary said later that she was subject to daily racism and discrimination. She, and other female students, were rarely given the opportunity to participate in the classroom or speak at public meetings.


title: Edmonia Lewis

text: During the winter of 1862, several months after the start of the US Civil War, an incident occurred between Lewis and two Oberlin classmates, Maria Miles and Christina Ennes. The three women, all boarding in Keep's home, planned to go sleigh riding with some young men later that day. Before the sleighing, Lewis served her friends a drink of spiced wine. Shortly after, Miles and Ennes fell severely ill. Doctors examined them and concluded that the two women had some sort of poison in their system, supposedly cantharides, a reputed aphrodisiac. For a time it was not certain that they would survive. Days later, it became apparent that the two women would recover from the incident. Authorities initially took no action.


title: Edmonia Lewis

text: News of the controversial incident rapidly spread throughout Ohio. In the town of Oberlin, where the general population was not as progressive as at the college, while Lewis was walking home alone one night she was dragged into an open field by unknown assailants, badly beaten, and left for dead. After the attack, local authorities arrested Lewis, charging her with poisoning her friends. John Mercer Langston, an Oberlin College alumnus and the first African-American lawyer in Ohio, represented Lewis during her trial. Although most witnesses spoke against her and she did not testify, Chapman moved successfully to have the charges dismissed: the contents of the victims' stomachs had not been analyzed and there was, therefore, no evidence of poisoning, no "corpus delicti".


title: Edmonia Lewis

text: The remainder of Lewis' time at Oberlin was marked by isolation and prejudice. About a year after the poisoning trial, Lewis was accused of stealing artists' materials from the college. She was acquitted due to lack of evidence. Only a few months later she was charged with aiding and abetting a burglary. At this point she had had enough, and left. Another report says that she was forbidden from registering for her last term, leaving her unable to graduate.


title: Edmonia Lewis

text: After college, Lewis moved to Boston in early 1864, where she began to pursue her career as a sculptor. She repeatedly told a story about encountering in Boston a statue of Benjamin Franklin, not knowing what it was or what to call it, but concluding she could make a "stone man" herself.


title: Edmonia Lewis

text: The Keeps wrote a letter of introduction on Lewis' behalf to abolitionist William Lloyd Garrison in Boston, as did Henry Highland Garnet. He introduced her to already established sculptors in the area, as well as writers who publicized Lewis in the abolitionist press. Finding an instructor, however, was not easy for her. Three male sculptors refused to instruct her before she was introduced to the moderately successful sculptor, Edward Augustus Brackett (1818–1908), who specialized in marble portrait busts. His clients were some of the most important abolitionists of the day, including Henry Wadsworth Longfellow, Wm. Lloyd Garrison, Charles Sumner, and John Brown.


title: Edmonia Lewis

text: To instruct her, he lent her fragments of sculptures to copy in clay, which he critiqued. Under his tutelage, she crafted her own sculpting tools and sold her first piece, a sculpture of a woman's hand, for $8. Anne Whitney, a fellow sculptor and friend of Lewis', wrote in an 1864 letter to her sister that Lewis's relationship with her instructor did not end amicably, but did not disclose the reason for the split. Lewis opened her studio to the public in her first solo exhibition in 1864.


title: Edmonia Lewis

text: Lewis was inspired by the lives of abolitionists and Civil War heroes. Her subjects in 1863 and 1864 included some of the most famous abolitionists of her day: John Brown and Colonel Robert Gould Shaw. When she met Union Colonel Shaw, the commander of an African-American Civil War regiment from Massachusetts, she was inspired to create a bust of his likeness, which impressed the Shaw family, who purchased it. Lewis then made plaster-cast reproductions of the bust; she sold one hundred at 15 dollars apiece. This was her most famous work to date and the money she earned from the busts allowed her to eventually move to Rome. Anna Quincy Waterston, a poet, then wrote a poem about both Lewis and Shaw.


title: Edmonia Lewis

text: From 1864 to 1871, Lewis was written about or interviewed by Lydia Maria Child, Elizabeth Peabody, Anna Quincy Waterston, and Laura Curtis Bullard: all important women in Boston and New York abolitionist circles. Because of these women, articles about Lewis appeared in important abolitionist journals, including "Broken Fetter", the "Christian Register", and the "Independent", as well as many others. Lewis was aware of her reception in Boston. She was not opposed to the coverage she received in the abolitionist press, and she was not known to turn down monetary aid, but she could not tolerate the false praise. She knew that some did not really appreciate her art, but saw her as an opportunity to express and show their support for human rights.


title: Edmonia Lewis

text: Early works that proved highly popular included medallion portraits of the abolitionists John Brown, described as "her hero", and Wm. Lloyd Garrison. Lewis also drew inspiration from Henry Wadsworth Longfellow and his work, particularly his epic poem "The Song of Hiawatha". She made several busts of its leading characters, which he drew from Ojibwe legend.


title: Edmonia Lewis

text: The success and popularity of these works in Boston allowed Lewis to bear the cost of a trip to Rome in 1866. On her 1865 passport is written, "M. Edmonia Lewis is a Black girl sent by subscription to Italy having displayed great talents as a sculptor". The established sculptor Hiram Powers gave her space to work in his studio. She entered a circle of expatriate artists and established her own space within the former studio of 18th-century Italian sculptor Antonio Canova, just off the Piazza Barberini. She received professional support from both Charlotte Cushman, a Boston actress and a pivotal figure for expatriate sculptors in Rome, and Maria Weston Chapman, a dedicated worker for the anti-slavery cause.


title: Edmonia Lewis

text: Lewis spent most of her adult career in Rome, where Italy's less pronounced racism allowed increased opportunity to a black artist. There Lewis enjoyed more social, spiritual, and artistic freedom than what she had had in the United States. She was Catholic and Rome allowed her both spiritual and physical closeness to her faith. In America, Lewis would have had to continue relying on abolitionist patronage; but Italy allowed her to make her own in the international art world. She began sculpting in marble, working within the neoclassical manner, but focusing on naturalism within themes and images relating to black and American Indian people. The surroundings of the classical world greatly inspired her and influenced her work, in which she recreated the classical art style—such as presenting people in her sculptures as draped in robes rather than in contemporary clothing.


title: Edmonia Lewis

text: Lewis was unique in the way she approached sculpting abroad. She insisted on enlarging her clay and wax models in marble herself, rather than hire native Italian sculptors to do it for her – the common practice at the time. Male sculptors were largely skeptical of the talent of female sculptors, and often accused them of not doing their own work. Harriet Hosmer, a fellow sculptor and expatriate, also did this. Lewis also was known to make sculptures before receiving commissions for them, or sent unsolicited works to Boston patrons requesting that they raise funds for materials and shipping.


title: Edmonia Lewis

text: While in Rome, Lewis continued to express her African-American and Native American heritage. One of her more famous works, "Forever Free", depicted a powerful image of an African-American man and women emerging from the bonds of slavery. Another sculpture Lewis created was called "The Arrow Maker", which showed a Native American father teaching his daughter how to make an arrow.


title: Edmonia Lewis

text: Her work sold for large sums of money. In 1873 an article in the "New Orleans Picayune" stated: "Edmonia Lewis had snared two 50,000-dollar commissions." Her new-found popularity made her studio a tourist destination. Lewis had many major exhibitions during her rise to fame, including one in Chicago, Illinois, in 1870, and in Rome in 1871.


title: Edmonia Lewis

text: In 1872, Edmonia was summoned to Peterboro, New York, to sculpt wealthy abolitionist Gerrit Smith, a project conceived by his friends. Smith was not pleased and what Lewis completed was a sculpture of the clasped hands of Gerrit and his beloved wife Ann.


title: Edmonia Lewis

text: A major coup in her career was participating in the 1876 Centennial Exposition in Philadelphia. For this, she created a monumental 3,015-pound marble sculpture, "The Death of Cleopatra," portraying the queen in the throes of death. This piece depicts the moment popularized by Shakespeare in "Antony and Cleopatra", in which Cleopatra had allowed herself to be bitten by a poisonous asp following the loss of her crown. Of the piece, J. S. Ingraham wrote that "Cleopatra" was "the most remarkable piece of sculpture in the American section" of the Exposition. Much of the viewing public was shocked by Lewis's frank portrayal of death, but the statue drew thousands of viewers nonetheless. Cleopatra was considered a woman of both sensuous beauty and demonic power, and her self-annihilation has been portrayed numerously in art, literature and cinema. In "Death of Cleopatra", Edmonia Lewis added an innovative flair by portraying the Egyptian queen in a disheveled, inelegant manner, a departure from the refined, composed Victorian approach of representing death. Considering Lewis's interest in emancipation imagery as seen in her work "Forever Free", it is not surprising that Lewis eliminated Cleopatra's usual companion figures of loyal slaves from her work. Lewis's "The Death of Cleopatra" may have been a response to the culture of the Centennial Exposition, which celebrated one hundred years of the United States being built around the principles of liberty and freedom, a celebration of unity despite centuries of slavery, the recent Civil War, and the failing attempts and efforts of Reconstruction. In order to avoid any acknowledgement of black empowerment by the Centennial, Lewis's sculpture could not have directly addressed the subject of Emancipation. Although her white contemporaries were also sculpting Cleopatra and other comparable subject matter (such as Harriet Hosmer's "Zenobia"), Lewis was more prone to scrutiny on the premise of race and gender due to the fact that she, like Cleopatra, was female:


title: Edmonia Lewis

text: The associations between Cleopatra and a black Africa were so profound that...any depiction of the ancient Egyptian queen had to contend with the issue of her race and the potential expectation of her blackness. Lewis' white queen gained the aura of historical accuracy through primary research without sacrificing its symbolic links to abolitionism, black Africa, or black diaspora. But what it refused to facilitate was the racial objectification of the artist's body. Lewis could not so readily become the subject of her own representation if her subject was corporeally white.


title: Edmonia Lewis

text: After being placed in storage, the statue was moved to the 1878 Chicago Interstate Exposition, where it remained unsold. Then the sculpture was acquired by a gambler by the name of "Blind John" Condon, who purchased it from a saloon on Clark Street to mark the grave of a Racehorse named "Cleopatra". The grave was in front of the grandstand of his Harlem race track in the Chicago suburb of Forest Park, where the sculpture remained for nearly a century until the land was bought by the U.S. Postal Service and the sculpture was moved to a construction storage yard in Cicero, Illinois. While at the storage yard, "The Death of Cleopatra" sustained extensive damage at the hands of well-meaning Boy Scouts who painted and caused other damage to the sculpture. Dr. James Orland, a dentist in Forest Park and member of the Forest Park Historical Society, acquired the sculpture and held it in private storage at the Forest Park Mall.


title: Edmonia Lewis

text: Later, Marilyn Richardson, an assistant professor in the erstwhile The Writing Program at the Massachusetts Institute of Technology (MIT), and later curator and scholar of African-American art, went searching for "The Death of Cleopatra" for her biography of Lewis. Richardson was directed to the Forest Park Historical Society and Dr. Orland by the Metropolitan Museum of Art, who had earlier been contacted by the historical society regarding the sculpture. Richardson, after confirming the sculpture's location, contacted African-American bibliographer Dorothy Porter Wesley, and the two gained the attention of NMAA's George Gurney. According to Gurney, Curator Emeritus at the Smithsonian American Art Museum, the sculpture was in a race track in Forest Park, Illinois, during World War II. Finally, the sculpture came under the purview of the Forest Park Historical Society, who donated it to Smithsonian American Art Museum in 1994. Chicago-based Andrezej Dajnowski, in conjunction with the Smithsonian, spent $30,000 to restore it to its near-original state. The repairs were extensive, including the nose, sandals, hands, chin, and extensive "sugaring" (disintegration.)""


title: Edmonia Lewis

text: A testament to Lewis's renown as an artist came in 1877, when former U.S. President Ulysses S. Grant commissioned her to do his portrait. He sat for her as a model and was pleased with her finished piece. She also contributed a bust of Massachusetts abolitionist senator Charles Sumner to the 1895 Atlanta Exposition.


title: Edmonia Lewis

text: In the late 1880s, neoclassicism declined in popularity, as did the popularity of Lewis's artwork. She continued sculpting in marble, increasingly creating altarpieces and other works for Catholic patrons. A bust of Christ, created in her Rome studio in 1870, was rediscovered in Scotland in 2015. In the art world, she became eclipsed by history, and lost fame. By 1901 she had moved to London.


title: Edmonia Lewis

text: From 1896 to 1901 Lewis lived in Paris. She then relocated to the Hammersmith area of London, England, before her death on September 17, 1907, in the Hammersmith Borough Infirmary. According to her death certificate, the cause of her death was chronic kidney failure (Bright's disease). She is buried in St. Mary's Catholic Cemetery, in London.


title: Edmonia Lewis

text: There were earlier theories that Lewis died in Rome in 1907 or, alternatively, that she had died in Marin County, California, and was buried in an unmarked grave in San Francisco.


title: Edmonia Lewis

text: In 2017, a GoFundMe by East Greenbush, New York, town historian Bobbie Reno was successful, and Edmonia Lewis's grave was restored. The work was done by the E M Lander Co. in London.


title: Edmonia Lewis

text: As a black artist, Edmonia Lewis had to be conscious of her stylistic choices, as her largely white audience often gravely misread her work as self-portraiture. In order to avoid this, her female figures typically possess European features. Lewis had to balance her own personal identity with her artistic, social, and national identity, a tiring activity that affected her art.


title: Edmonia Lewis

text: It is hard to overstate the visual incongruity of the black-Native female body, let alone that identity in a sculptor, within the Roman colony. As the first black-Native sculptor of either sex to achieve international recognition within a western sculptural tradition, Lewis was a symbolic and social anomaly within a dominantly white bourgeois and aristocratic community.


title: Edmonia Lewis

text: Lewis never married and had no known children. According to her biographer, Dr. Marilyn Richardson, there is no definite information about her romantic involvement with anyone. However, in 1873 her engagement was announced,


title: Edmonia Lewis

text: and in 1875, her fiance's skin color was revealed to be the same as hers, although his name is not given. There is no further reference to this engagement.


title: Edmonia Lewis

text: Her half-brother Samuel became a barber in San Francisco, eventually moving to mining camps in Idaho and Montana. In 1868, he settled in the city of Bozeman, Montana, where he set up a barber shop on Main Street. He prospered, eventually investing in commercial real estate, and subsequently built his own home which still stands at 308 South Bozeman Avenue. In 1999 the Samuel Lewis House was placed on the National Register of Historic Places. In 1884, he married Mrs. Melissa Railey Bruce, a widow with six children. The couple had one son, Samuel E. Lewis (1886–1914), who married but died childless. The elder Lewis died after "a short illness" in 1896 and is buried in Sunset Hills Cemetery in Bozeman. The mayor of Bozeman was a pallbearer.


title: Edmonia Lewis

text: This sculpture was inspired by Lewis's Native American heritage. An arrow-maker and his daughter sit on a round base, dressed in traditional Native American clothes. The male figure has recognizable Native American facial features, but not the daughter. As white audiences' misread her work as self-portraiture, she often removed all facial features associated with "colored" races in female portrayal.


title: Edmonia Lewis

text: This white marble sculpture represents a man standing, staring up, and raising his left arm into the air. Wrapped around his left wrist is a chain; however, this chain is not restraining him. To his right is a woman kneeling with her hands held in a prayer position. The man's right hand is gently placed on her right shoulder. "Forever Free" is a celebration of black liberation, salvation, and redemption, and represents the emancipation of African-American slaves. Lewis attempted to break stereotypes of African-American women with this sculpture. For example, she portrayed the woman as completely dressed while the man was partially dressed. This drew attention away from the notion of African-American women being sexual figures. This sculpture also symbolizes the end of the Civil War. While African Americans were legally free, they continued to be restrained, shown by the fact that the couple had chains wrapped around their bodies. The representation of race and gender has been critiqued by modern scholars, particularly the Eurocentric features of the female figure. This piece is held by Howard University Gallery of Art in Washington, D.C.


title: Edmonia Lewis

text: Lewis had a tendency to sculpt historically strong women, as demonstrated not just in "Hagar" but also in Lewis's "Cleopatra" piece. Lewis also depicted ordinary women in extreme situations, emphasizing their strength. "Hagar" is inspired by a character from the Old Testament, the handmaid or slave of Abraham's wife Sarah. Being unable to conceive a child, Sarah gave Hagar to Abraham, in order to bear him a son. Hagar gave birth to Abraham's firstborn son Ishmael, and after Sarah gave birth to her own son Isaac, she resented Hagar and made Abraham "cast her into the wilderness". The piece was made of white marble, and Hagar is standing as if about to walk on, with her hands clasped in prayer and staring slightly up but not straight across. Lewis uses Hagar to symbolize the African mother in the United States, and the frequent sexual abuse of African women by white men.


title: United Airlines Flight 328

text: On February 20, 2021, United Airlines Flight 328 (UA328/UAL328), a scheduled U.S. domestic passenger flight from Denver to Honolulu, suffered a contained engine failure four minutes after takeoff from Denver International Airport (DEN). Parts departing from the engine cowling of the Boeing 777-222 aircraft resulted in a debris field at least long over suburban residential areas of Broomfield, Colorado.<ref name="WP 2021/02/20"></ref> Falling debris was recorded by eyewitnesses using smartphone cameras and a dash cam. Debris fell through the roof of a private home and significantly damaged a parked vehicle.


title: United Airlines Flight 328

text: The engine failure resulted in an in-flight engine fire, extensive damage to the engine nacelle, and minor damage to the fuselage. Passengers also recorded video of the engine nacelle damage and in-flight fire and posted these to social media. The failed engine was a Pratt & Whitney (P&W) model PW4077 turbofan.


title: United Airlines Flight 328

text: The crew secured the failed engine, and the aircraft returned to Denver using the remaining working engine, landing without further incident 24 minutes after takeoff at 13:28 local time. There were no reported injuries to persons onboard or on the ground. The U.S. National Transportation Safety Board immediately began investigating.


title: United Airlines Flight 328

text: Similar 777-200 series aircraft were quickly grounded by several national aviation authorities, including the U.S. Federal Aviation Administration, which issued an Emergency Airworthiness Directive requiring U.S. operators of airplanes equipped with similar Pratt & Whitney PW4000-112 series engines to inspect these engines' fan blades before further flight. Japan Air Lines, which had a similar incident in December 2020, retired all of its P&W-equipped Boeing 777-200s a year earlier than planned in March 2021. United Airlines, which also had a similar incident in 2018, grounded their Pratt & Whitney powered 777-200s from early to mid 2021 until July 2022 (with the exception of the accident aircraft.)


title: United Airlines Flight 328

text: The incident aircraft, N772UA, is a Boeing 777-222, the United Airlines-specific variant of the original 777-200 series. It was built in November 1994 ( 26930/Line no.5) and delivered to United in September 1995. Originally the aircraft was designated as WA005, one of the original Boeing 777-200s that took part in the flight test certification program prior to its entry into commercial service. Boeing stopped building the 777 with P&W PW4000 series engines in 2013, and the engine is no longer in active production. After extensive repair, the grounded aircraft was returned to service on 21st August 2022.


title: United Airlines Flight 328

text: The Boeing 777 is a long-range, wide-body, twin-engine aircraft. At the time of the incident it had a relatively low accident fatality rate. The only two 777 accidents with total loss of aircraft, passengers and crew are Malaysia Airlines flights MH17 that was shot down over Ukraine in July 2014 and MH370 that disappeared over the Indian Ocean in March 2014. The other fatal accidents, Emirates Flight 521 and Asiana Airlines Flight 214, were both attributed to pilot error. Two other hull losses with passenger injuries occurred: EgyptAir Flight 667 had a cockpit fire while parked at the gate at Cairo Airport, and British Airways Flight 38 crashed on landing at Heathrow Airport. The latter was attributed to a design defect in its Rolls-Royce Trent 895-17 engines, not the P&W engines on this incident aircraft.


title: United Airlines Flight 328

text: The original 777-200 was distinctive for its Pratt & Whitney PW4000 engines that are about as wide as a Boeing 737 fuselage. The PW4077 variant used on the United 777-222 nominally produces of thrust. It is a dual-spool, axial-flow, high bypass turbofan engine, that is a higher bypass version of the PW4000-94 engine originally fitted to the Boeing 747-400. It was redesigned exclusively for the 777 with a larger diameter fan section using 22 hollow-core fan blades. The PW4000-112 fan blade is a wide-chord airfoil made of a titanium alloy, about long and about wide at the blade tip. A PW4000-112 fan blade can weigh a maximum of .


title: United Airlines Flight 328

text: The hollow-core fan blade that experienced metal fatigue failure in this incident had only undergone 2,979 cycles since its last trip to the P&W factory for nondestructive testing using thermal acoustic imaging (TAI) to find hidden internal defects. This interval is less than half of the 6,500 cycle test frequency established in 2019 after a similar engine failure on a previous United Airlines 777-222 flight to Honolulu (UA1175) in 2018. The subject blade underwent TAI inspections in 2014 and 2016. The TAI inspection data collected in 2016 was re-examined in 2018 after the UA1175 incident.


title: United Airlines Flight 328

text: Japan's transport ministry ordered increased inspection frequency after the similar JAL 777-200/PW4000 engine failure incident at Naha Airport (OKA) in Japan on December 4, 2020. The US Federal Aviation Administration was also considering increased inspections as a result of that incident, but had not acted prior to this incident in Denver.


title: United Airlines Flight 328

text: According to the Air Line Pilots Association (ALPA), the captain had been with United Airlines since 1990 and the first officer had been with United since 1999. Both pilots were based in San Francisco.


title: United Airlines Flight 328

text: The aircraft arrived at Denver International Airport (DEN) as flight UA2465 at 10:50 local time. At 13:04 local time it departed normally from Runway 25 en route to Daniel K. Inouye International Airport (HNL) as flight UA328. According to Flight Data Recorder (FDR) data and flight crew interviews by NTSB, about four minutes after takeoff, the airplane was climbing through an altitude of about with an airspeed of about . The flight crew indicated to the NTSB that they advanced power at that time to minimize time in expected turbulence during their climb up to their assigned altitude of flight level 230 (roughly ). Immediately after the throttles were advanced, a loud bang was recorded on the Cockpit Voice Recorder (CVR). FDR data indicated the engine made an uncommanded shutdown and the engine fire warning activated shortly after. A fan blade out failure within the right (#2) engine resulted in parts of the engine cowling disintegrating and falling to the ground in Broomfield, Colorado. No one on the ground or in the aircraft was injured, although flying debris resulted in a hole in the wing to body fairing, a non-critical composite part designed to reduce aerodynamic drag.


title: United Airlines Flight 328

text: The flight crew contacted air traffic control to declare a mayday emergency and request a left turn to return to the airport. The flight crew began to complete checklists, including the engine fire checklist. As part of the checklist, the flight crew discharged both fire extinguisher bottles into the engine, but the engine fire warning did not extinguish until the airplane was on an extended downwind for landing. The flight crew continued to prepare for the emergency landing by completing additional critical checklists and verifying airplane performance for landing. They elected not to dump fuel for safety and time reasons and determined that the excess landing weight was not significant enough to outweigh other considerations.


title: United Airlines Flight 328

text: The captain accomplished a one-engine-inoperative approach and landing to runway 26 without further incident. Airport Rescue and Firefighting (ARFF) met the airplane as soon as it stopped on the runway and applied water and foaming agent to the right engine. The base of the engine experienced a flare up, which was quickly extinguished. Once cleared by ARFF, the airplane was towed off the runway where the passengers disembarked via air stairs and were bussed to the terminal. Passengers were re-booked on flight UA3025 – operated by a different Boeing 777, N773UA, a sister ship to N772UA immediately ahead of it on the production line – that took off hours later.


title: United Airlines Flight 328

text: Media analysis of this incident frequently cited three related catastrophic engine failure incidents involving Pratt & Whitney PW4000 series turbofan engines: two previous incidents on the same 777-200 aircraft family with the PW4000-112 series engines with hollow-core fan blades that developed internal cracks, and one contemporaneous incident on an older widebody aircraft design with the original PW4000-94 series engine. At his press briefing two days after the incident, NTSB Chairman Robert Sumwalt said it remained to be seen whether the failure is consistent with a previous incident in February 2018 on United Airlines. "I think what's important is that we really truly understand the facts, circumstances, and conditions around this particular event before we can compare it to any other events," he noted. "But certainly we will want to know if there's a similarity."


title: United Airlines Flight 328

text: On February 13, 2018, the same replacement aircraft used to accommodate the passengers from this incident, N773UA, originating from San Francisco as United Airlines Flight 1175 (UA1175), had a similar engine failure and loss of the engine cowling. This incident occurred over the Pacific Ocean approximately from Honolulu (HNL). The flight descended continuously from and landed at HNL approximately 40 minutes later with no reported injuries or loss of life. The aircraft was eventually repaired and returned to service.


title: United Airlines Flight 328

text: The separated inlet cowl and fan doors fell in the ocean; unlike the UA328 incident, they were not recovered. The NTSB determined that a fan blade fractured from a pre-existing metal fatigue crack that had been slowly propagating since 2010, leading to the failure. The investigation faulted Pratt & Whitney for not identifying the crack in two previous inspections due to a lack of training in Pratt & Whitney's thermal acoustic image (TAI) inspection process, resulting in "an incorrect evaluation of an indication that resulted in a blade with a crack being returned to service where it eventually fractured." Boeing had been working on a redesign for a replacement fan cowl as a result of that incident, according to documents reviewed by the Wall Street Journal.


title: United Airlines Flight 328

text: On December 4, 2020, a 777-289 (JA8978, Ex.Japan Air System) operated as JL904 from Okinawa-Naha Airport (OKA), also experienced a similar fan blade out failure and partial loss of the fan cowl six minutes after takeoff at an altitude of . It returned to OKA and landed safely, but the Japan Transport Safety Board considered it a "serious incident" and launched an investigation. They later confirmed that the engine also had two broken fan blades, one with a metal fatigue fracture, similar to both United incidents. The JAL 777-289 version is powered by a PW4074 engine variant rated for of thrust.


title: United Airlines Flight 328

text: Coincidentally, on the same day as the United 328 incident, a Boeing 747-400BCF operating as Longtail Aviation flight LGT-5504, experienced an uncontained engine failure shortly after departing Maastricht Airport in the Netherlands, and two people were injured by debris that also fell in a residential area. That aircraft was powered by four PW4056 engines, a version of the earlier PW4000-94 engine.


title: United Airlines Flight 328

text: The National Transportation Safety Board (NTSB) is investigating the incident. An NTSB structures engineer and two investigators from the NTSB's Denver office collected fallen debris with local law enforcement and safety agencies over several days immediately after the incident. Most of the structure from the inlet cowl and fan cowl doors that separated from the aircraft was recovered and identified. Recovered portions of the inlet cowl, fan cowl door structure, and inlet cowl attach ring were laid out in a hangar (pictured). The inlet cowl, fan cowl doors, and thrust reversers will be examined further by NTSB investigators to map damage and cowl failure patterns after the fan blade failure, and to examine the subsequent progression of fire in the thrust reversers.


title: United Airlines Flight 328

text: The NTSB noted upon initial inspection two fan blades had fractured, one near its root and an adjacent one about mid-span; a portion of one blade was embedded in the containment ring. The remainder of the fan blades exhibited damage to the tips and leading edges. The failed blades were removed and flown by private jet to Pratt & Whitney's laboratory in Hartford, Connecticut for further examination.


title: United Airlines Flight 328

text: On February 22, 2021, National Transportation Safety Board Chairman Robert Sumwalt announced that the damage to the fan blade is consistent with metal fatigue, according to a preliminary assessment. Sumwalt also said that, "by our strictest definition," the NTSB did not consider the incident an uncontained engine failure because, "the containment ring contained the parts as they were flying out." He said the NTSB will look into why the engine cowling separated from the aircraft and why there was a fire, despite indications that the fuel supply to the engine had been turned off.


title: United Airlines Flight 328

text: On March 5, 2021, the NTSB released an update on the incident.<ref name="NTSB 3/5/2021"></ref> They provided more detail on their preliminary examination of the right engine fire damage, saying they found it was primarily contained to the engine's accessory components, thrust reverser skin, and composite honeycomb structure of the inboard and outboard thrust reversers. Both halves of the aft cowl appeared to be intact and undamaged. The spar valve, which stops fuel flow to the engine when the fire switch is pulled in the cockpit, was found closed; there was no evidence of a fuel-fed fire. Examination of the cockpit found that the right engine fire switch had been pulled and turned to the "DISCH 1" position, and both fire bottle discharge lights were illuminated. Examination of the engine accessories showed multiple broken fuel, oil, and hydraulic lines and that the gearbox was fractured.


title: United Airlines Flight 328

text: In addition, the NTSB stated in this update that initial examination of the right engine fan revealed that the spinner and spinner cap were in place and appeared to be undamaged. The fan hub was intact but could not be rotated by hand. All fan blade roots were in place in the fan hub, and two blades were fractured. One fan blade was fractured transversely across the airfoil and the blade's fracture surface was consistent with fatigue. A second fan blade was fractured transversely across the airfoil and the second blade's fracture surfaces had shear lips consistent with an overload failure. The remaining fan blades were full length but all had varying degrees of impact damage to the airfoils.


title: Nissan VK engine

text: The VK engine (formerly known as the ZH) is a V8 piston engine from Nissan. It is an aluminum DOHC 4-valve design.


title: Nissan VK engine

text: The VK engine was originally based on Nissan's "VQ" V6 rather than the "VH" V8 used in previous Q45/Cima models. Changes include: a variable intake manifold, newly designed heads, and a larger drive by wire throttle chamber. The intake manifold directs air through different paths at different engine speeds to optimise low-end torque or high-end horsepower.


title: Nissan VK engine

text: The VK45DE was introduced in 2002 and is built in Yokohama, Japan. Bore and stroke is . Output is at 6,400 rpm with of torque at 4,000 rpm. Redline is at 6,600 rpm. It has an aluminum engine block and aluminum DOHC cylinder heads. It uses SFI, has 4 titanium valves per cylinder with VVT and features forged steel connecting rods, 4 one-piece cast camshafts, an unusual variable-flow induction system optimizes airflow for low- and high-speed operation, low-friction molybdenum-coated pistons, and a microfinished crankshaft.


title: Nissan VK engine

text: A flat-plane crankshaft version of the VK45DE was used by Nismo for Super GT races with the Nissan GT-R instead of using the GT-R's VR38DETT twin-turbo V6 engine. The VK45DE was previously used in Nissan's 350Z Super GT car in 2007, replacing the previous VQ30DETT used in that car. In race trim, the Super GT VK45DE produces and of torque. The engine idles at around 3,500 rpm and is restricted to the above specified power output. Without such restrictions, the engine is reputedly capable of producing nearly . Nismo reasons that by using the engine, they eliminate turbo lag, save weight and generally prefer the torque curve of the atmospheric V8.


title: Nissan VK engine

text: The VK45DD is a V8 engine that is very similar to the VK45DE but adds a direct injection fuel system. This was Nissan's first V8 with direct injection (NEO-Di). It officially produces at 6,000 rpm and at 3,600 rpm, but it has unofficially over . It has a compression ratio of 11.0:1, and a bore and stroke of .


title: Nissan VK engine

text: The VK50VE is a V8 engine with at 6,500 rpm and at 4,400 rpm and redline is set at 6,800 rpm. Bore x stroke are and compression ratio is 10.9:1. The valvetrain is a dual overhead cam (DOHC) design with a continuously variable valve timing control system (CVTCS). The engine also features Nissan's VVEL valve timing technology.


title: Nissan VK engine

text: The VK56DE is a version built in Decherd, Tennessee. Bore and stroke is . Output is at 4,900 rpm with of torque at 3,600 rpm. It has aluminum-alloy block and heads and low-friction molybdenum-coated pistons. The valvetrain is a dual overhead cam (DOHC) design with a continuously variable valve timing control system (CVTCS) on the intake valves. It also has 4 valves per cylinder with micro-finished camshafts and ductile iron cylinder liners for increased durability.


title: Nissan VK engine

text: The Nissan Motorsport VK56DE was launched in Australia for the V8 Supercars Championship in 2013 by Kelly Racing in Melbourne. The engine has been reduced in capacity to to fit the V8 Supercars regulations. It has a bore and stroke of . It will be fitted to a Nissan Altima version of the V8 Supercars "Car of the Future" specification that will compete from 2013 onwards.


title: Nissan VK engine

text: The VK56VD is a 32-valve, DOHC, Direct Injection Gasoline (DIG) aluminum-alloy V8 and features Nissan's advanced VVEL (Variable Valve Event & Lift System). The direct injection system provides better wide-open throttle performance and improved fuel economy and emissions performance by reducing engine knock, improving combustion stability and controlling injection more precisely.


title: Rosewood (TV series)

text: Rosewood is an American police procedural drama series that aired on Fox from September 23, 2015, to April 28, 2017. The series was created by Todd Harthan, starring Morris Chestnut as Dr. Beaumont Rosewood Jr., a private pathologist working in Miami, Florida, in high demand with law enforcement. On October 16, 2015, Fox picked up "Rosewood" for a full season of 22 episodes.


title: Rosewood (TV series)

text: "Rosewood" has been met with generally negative reviews from critics, despite its good ratings on Fox. On Rotten Tomatoes, season 1 has a rating of 9%, based on 112 reviews, with an average rating of 3.6/10. Metacritic gave season one of the shows a score of 37 out of 100, based on 23 reviews, signifying "generally unfavorable reviews".


title: Hi-Rez Studios

text: Hi-Rez Studios is an American video game company. The company was established in 2005 by Erez Goren and Todd Harris. Hi-Rez Studios' games include the squad-based shooter "Global Agenda", the critically acclaimed "", the third-person MOBA "Smite", the hero shooter "Paladins", and the third-person shooter "Rogue Company". In 2012, Hi-Rez Studios was recognized as a Top 30 Video-Game Developer by Game Developer Magazine and Gamasutra. Hi-Rez are the current owners of the "Metaltech" license, including "", "", "Starsiege", the "" series, and the "Tribes" series. With the exception of "Battledrome" and "CyberStorm", the games were released as freeware by Hi-Rez on October 30, 2015.


title: Hi-Rez Studios

text: Erez Goren founded Hi-Rez Studios with Todd Harris in 2005. They hired experienced game developers from other successful titles, including "City of Heroes", "", and "Call of Duty". Hi-Rez Studios employs more than 450 people at its development facility in the northern Atlanta suburb of Alpharetta, Seattle, and Brighton in the UK. In August 2018, the company split into four separate studios: Titan Forge (responsible for SMITE development), Evil Mojo (responsible for Paladins development), Heroic Leap (responsible for Realm Royale development. This studio later merged with Evil Mojo), and Alacrity Arthouse (responsible for Centralized Art Services).


title: Hi-Rez Studios

text: In 2019, Hi-Rez Studios announced the creation of a new studio, Red Beard Games, based in the Brighton office. The team is currently working on Divine Knockout.


title: Hi-Rez Studios

text: "Global Agenda" is an online team-based game. The game went live on February 1, 2010. In April 2011, "Global Agenda" became the first free-to-play game released on the Steam platform, introducing Elite and Free Agents and an in-game cash shop featuring Agenda Points.


title: Hi-Rez Studios

text: "Tribes Universe" was a multiplayer arena shooter developed by Hi-Rez Studios based on the "Tribes" series. The game, along with Hi-Rez Studios' "Tribes" intellectual property acquisition from InstantAction, was first announced on October 23, 2010. While alpha testing was said to begin at the start of 2011, development on "Tribes Universe" was canceled when Hi-Rez Studios decided to start working on "Tribes: Ascend".


title: Hi-Rez Studios

text: "" is a free-to-play multiplayer-only first-person shooter and part of the "Tribes" franchise. It was announced by Hi-Rez Studios on March 11, 2011, at the PAX East, and released on April 12, 2012. "Tribes: Ascend" earned a metascore of 86, and PC Gamer ranked it at #8 in an article on the Best Shooters of All Time. Aspects from previous "Tribes" games such as jetpacks and skiing are featured in the game.


title: Hi-Rez Studios

text: Hi-Rez Studios representative Todd Harris announced the company's abandonment of the game on July 12, 2013.


title: Hi-Rez Studios

text: "Smite" is a free-to-play third-person MOBA for Microsoft Windows, Xbox One, PlayStation 4, Nintendo Switch, and OS X. Players take on the visage of mythological deities from different pantheons and take part in arena combat, using powers and team tactics against other player-controlled deities and non-player controlled minions. Hi-Rez Studios announced "Smite" on April 21, 2011, at PAX East, and began its closed beta period on May 31, 2012, for PC. An open beta followed on January 24, 2013. The beta process produced more than 74 million hours of playtime and a large competitive community. Throughout the beta, Hi-Rez Studios also hosted a series of LAN and online events with cash prize pools. "Smite" was officially released in North America and Western Europe on March 25, 2014, for the PC. On August 19, 2015, Hi-Rez Studios released the Xbox One version, and on May 31, 2016, the PlayStation 4 version was released. On February 19, 2019, the Nintendo Switch version was released.


title: Hi-Rez Studios

text: "Paladins" is a free-to-play online team-based game. The player has to pick a champion each with unique abilities to fight. There are four types of groups: Damage, Support, Flank and Front Line. The current version of the card system permits pre-designed loadouts that provide augments to various abilities and stats, as well as “items" that can be purchased by credits. To get credits the player has to play and fight others. Items can be upgraded mid-match to provide additional performance bonuses.The game was announced on August 5, 2015. "Paladins" went into open beta on September 16, 2016, and released on Steam as an early access title the same day.


title: Hi-Rez Studios

text: "Rogue Company" is a free-to-play multiplayer third-person shooter video game developed by First Watch Games. Rogue Company entered closed beta in June 2020 on Nintendo Switch, PlayStation 4, Xbox One, and on Microsoft Windows via the Epic Games Store, and included full support for cross-platform play and cross-progression.


title: Hi-Rez Studios

text: "Jetpack Fighter" is a free-to-play high speed platformer for mobile. The game was released first for iOS on January 7, 2016, and Apple editors featured it as a Best New Game. As of July 27, 2016, the game has been released on Android. The game has earned a metascore of 83.


title: Hi-Rez Studios

text: "Divine Knockout" (DKO, for short) is a third-person platform fighter developed by Red Beard Games, in Brighton. DKO started its closed Alpha in early 2022 and on November 22nd, 2022, announced that the game release date is going to be December 6th where the game is going to be available for PC (through Steam and Epic), Xbox One and Series X|S, PlayStation 4 and 5. On November 30th, 2022, Hi-Rez announced a partnership with PlayStation, where Divine Knockout's Founders Edition is included with PlayStation Plus during the month of December, 2022. The game was released on Steam, Epic Games Store, PlayStation, and Xbox on December 6, 2022.


title: Percheron

text: The Percheron is a breed of draft horse that originated in the Huisne river valley in western France, part of the former Perche province from which the breed takes its name. Usually gray or black in color, Percherons are well muscled, and known for their intelligence and willingness to work. Although their exact origins are unknown, the ancestors of the breed were present in the valley by the 17th century. They were originally bred for use as war horses. Over time, they began to be used for pulling stagecoaches and later for agriculture and hauling heavy goods. In the late 18th and early 19th centuries, Arabian blood was added to the breed. Exports of Percherons from France rose exponentially in the late 19th century, and the first purely Percheron stud book was created in France in 1893.


title: Percheron

text: Before World War I, thousands of Percherons were shipped from France to the United States, but after the war began, an embargo stopped shipping. The breed was used extensively in Europe during the war, with some horses being shipped from the US back to France to help in the war effort. Beginning in 1918, Percherons began to be bred in Great Britain, and in 1918 the British Percheron Horse Society was formed. After a series of name and studbook ownership changes, the current US Percheron registry was created in 1934. In the 1930s, Percherons accounted for 70 percent of the draft horse population in the United States, but their numbers declined substantially after . However, the population began to recover and as of 2009, around 2,500 horses were registered annually in the United States alone. The breed is still used extensively for draft work, and in France they are used for food. They have been crossed with several light horse breeds to produce horses for range work and competition. Purebred Percherons are used for forestry work and pulling carriages, as well as work under saddle, including competition in English riding disciplines such as show jumping.


title: Percheron

text: The size considered ideal for the Percheron varies between countries. In France, height ranges from and weight from . Percherons in the United States generally stand between , with a range of . American Percherons average , and their top weight is around . In Great Britain, is the shortest acceptable height for stallions and for mares, while weights range from around for stallions and for mares. They are generally gray or black in coloring, although the American registry also allows the registration of roan, bay and chestnut horses. Only gray or black horses may be registered in France and Britain. Many horses have white markings on their heads and legs, but registries consider excessive white to be undesirable.


title: Percheron

text: The head has a straight profile, broad forehead, large eyes and small ears. The chest is deep and wide and the croup long and level. The feet and legs are clean and heavily muscled. The overall impression of the Percheron is one of power and ruggedness. Enthusiasts describe the temperament as proud and alert, and members of the breed are considered intelligent, willing workers with good dispositions. They are considered easy keepers and adapt well to many conditions and climates. In the 19th century, they were known to travel up to a day at a trot. Horses in the French registry are branded on the neck with the intertwined letters "SP", the initials of the "Société Hippique Percheronne".


title: Percheron

text: The Percheron breed originated in the Huisne river valley in France, which arises in Orne, part of the former Perche province, from which the breed gets its name. Several theories have been put forth as to the ancestry of the breed, though its exact origins are unknown. One source of foundation bloodstock may have been mares captured by from the Bretons some time after 496 AD. Another may have been Andalusian cavalry stallions brought from Spain by Moors in the 8th century. The Moorish were defeated at the Battle of Poitiers in 732 AD, and some of their horses may have been taken by warriors from Perche. A final theory posits that the Percheron and the Boulonnais breed are closely related, and that the Boulonnais influenced the Percheron when they were brought to Brittany as reinforcements for the legions of Caesar. It is known that during the 8th century, Andalusian stallions were crossed with mares native to the area, and more Oriental horse blood was introduced by the Comte du Perche upon his return from the Crusades and expeditions into territory claimed by Spain. Further blood from Spanish breeds was added when Rotrou III imported horses from Castile. No matter the theory of origin, breed historians agree that the terrain and climate of the Perche area had the greatest influence on the development of the breed. A possible reference to the horse is made in the 13th-century romance "Guillaume de Dole", in which the title character asks for "the Count of Perche's horse" to be made ready, possibly indicating the "'great horse,' which could accommodate an armored knight" and was bred in the geographical setting of the poem.