title: Prieska–Total Solar Power Station

abstract: The Prieska–Total Solar Power Station, also Mulilo Prieska Solar Power Station, is an 86 megawatts solar power plant in South Africa. The solar farm was developed and is owned by a consortium comprising five independent power producers (IPPs), development finance companies and private investment firms. The power station owners formed a special purpose vehicle (SPV) company called Mulilo Prieska PV (RF), to design, finance, construct, own, operate and maintain the power station and related infrastructure. The off-taker of the power generated here is Eskom Holdings, the public electricity utility parastatal of South Africa. A 20-year power purchase agreement between Murillo Prieska PV and Eskom, governs the sale and purchase of electricity between the power station and the electric utility.

text:
# Prieska–Total Solar Power Station

The **Prieska–Total Solar Power Station**, also **Mulilo Prieska Solar Power Station**, is an 86 megawatts solar power plant in South Africa. The solar farm was developed and is owned by a consortium comprising five independent power producers (IPPs), development finance companies and private investment firms. The power station owners formed a special purpose vehicle (SPV) company called **Mulilo Prieska PV (RF)**, to design, finance, construct, own, operate and maintain the power station and related infrastructure. The off-taker of the power generated here is Eskom Holdings, the public electricity utility parastatal of South Africa. A 20-year power purchase agreement between Murillo Prieska PV and Eskom, governs the sale and purchase of electricity between the power station and the electric utility.

## Location

The power station sits on 209 hectares (520 acres) approximately 59 kilometres (37 mi), southwest of the town of Prieska, in Siyathemba Municipality, in Pixley ka Seme District, in the Northern Cape Province of South Africa. The geographical coordinates of the solar farm are: 30°02'05.0"S, 22°18'53.0"E (Latitude:-30.034722; Longitude:22.314722).

## Overview

The design calls or ground-mounted photo-voltaic cells, with total generation capacity of 86 megawatts. However, the 20-year PPA between the parties calls for the supply and purchase of 75 megawatts. Eskom buys the power and integrates it into the national South African grid.

## Ownership

The table below illustrates the shareholding in the SPV company that owns, operates and maintains the power station.

Shareholding In Mulilo Prieska PV (RF) SPV Company
| Rank | Shareholder | Domicile | Percentage | Notes |
| --- | --- | --- | --- | --- |
| 1 | TotalEnergies | France | 27.0 |  |
| 2 | Calulo Renewable Energy | South Africa | 25.0 |  |
| 3 | Mulilo Renewable Energy | South Africa | 18.0 |  |
| 4 | Industrial Development Corporation of South Africa Limited (IDC) | South Africa | 15.0 |  |
| 5 | Futuregrowth Asset Management | South Africa | 10.0 |  |
| 6 | Siyathemba Local Municipality | South Africa | 5.0 |  |
|  | **Total** |  | **100.00** |  |
|

## Cost

The cost of construction was reported at US$200 million.

## Construction

Construction began in 2015 and was completed in December 2016. SunPower, an affiliate of TotalEnergies was awarded the engineering, procurement and construction contract. They are also the operations and maintenance contractor.

## InfoBox

| Prieska–Total Solar Power Station | |
| --- | --- |
|  | |
| Country | South Africa |
| Location | Prieska, Pixley ka Seme District Municipality, Northern Cape Province |
| Coordinates | 30°02′05″S 22°18′53″E / 30.03472°S 22.31472°E / -30.03472; 22.31472 |
| Status | Operational |
| Construction began | 2015 |
| Commission date | 2016 |
| Construction cost | US$200 million |
| Owners | Mulilo Prieska PV |
| Operators | *Mulilo Prieska PV (RF)* |
| Solar farm | |
| Type | Flat-panel PV |
| Site area | 209 hectares (520 acres) |
| Power generation | |
| Nameplate capacity | 86 MW (115,000 hp) |
| Annual net output | 210 GWh |
| \[edit on Wikidata\] | |


title: Princess Lida of Thurn and Taxis

abstract: Lida, Princess Victor of Thurn and Taxis, also styled as Princess Lida of Thurn and Taxis, was an American millionairess, socialite, and the wife of Prince Victor of Thurn and Taxis. She was well known for her involvement in several highly publicized legal disputes, making her a fixture in newspapers such as The New York Times. The first such dispute was with former New York showgirl Josephine Moffitt, who claimed to be the legal spouse of Prince Victor using the name "Josephine, Princess of Thurn and Taxis" and the second was with Bernard Francis S. Gregory, who sued her for $50,000, alleging she had slandered him.

text:
# Princess Lida of Thurn and Taxis

**Lida, Princess Victor of Thurn and Taxis** (née **Lida Eleanor Nicolls**; July 28, 1875 – December 6, 1965), also styled as **Princess Lida of Thurn and Taxis**, was an American millionairess, socialite, and the wife of Prince Victor of Thurn and Taxis. She was well known for her involvement in several highly publicized legal disputes, making her a fixture in newspapers such as *The New York Times*. The first such dispute was with former New York showgirl Josephine Moffitt, who claimed to be the legal spouse of Prince Victor using the name "Josephine, Princess of Thurn and Taxis" and the second was with Bernard Francis S. Gregory, who sued her for $50,000, alleging she had slandered him.

## Early life

Born **Lida Eleanor Nicolls** in 1875 in Uniontown, Pennsylvania, she was the daughter of grocer John A. Nicolls and his wife Lenora T. Nicolls. She was a niece of Josiah V. Thompson, a Pittsburgh banker, and coal & fuel operator. While living in Uniontown, Lida was childhood friends with George Marshall.

## First marriage

In 1899, she met her first husband, General Gerald Purcell Fitzgerald of Ireland. Fitzgerald was a nephew of Edward FitzGerald, a poet famous for his translation of Omar Khayyám's *Rubaiyat of Omar Khayyam* from Persian into English. He had relocated to Fayette County, Pennsylvania to try his hand at the coal industry, where he laid out the coal town of Shamrock near New Salem. They married in Los Angeles, California, late in 1899.

In 1906, she obtained a divorce from Fitzgerald in Irish courts. British law required an Act of Parliament to make their separation final. According to Lida, Fitzgerald treated her with "great cruelty". In her petition to Parliament, Lida recounted how Fitzgerald "dragged your subject out of bed in the middle of the room and she had to scream for help", and how at the Van Nuys Hotel in Los Angeles, he "seized and shook your subject most violently until her hat fell off and her hair fell down". Parliament passed the "Fitzgerald's Divorce (Ireland) Act" in 1907. In Pittsburgh, Lida was awarded an alimony settlement of $20,000 per year and $300,000 in trust for two sons from the marriage, John Fitzgerald and Gerald Purcell Fitzgerald Jr.

## Second marriage

Lida married Prince Victor Theodore Maximilian Egon Maria Lamoral of Thurn and Taxis, third and youngest child of Prince Egon of Thurn and Taxis and his wife, Viktoria Edelspacher de Gyoryok, in a wedding ceremony at the home of her mother and presided over by the Reverend Mr. Spence on November 1, 1911, in Uniontown. The couple had arrived from England the previous Friday. Prior to the marriage, Lida was reportedly said to possess $1 million in her own right. Following her marriage to Prince Victor, Lida announced that she and her husband would reside in Europe and she would never again return to the United States. Lida and Prince Victor later registered their marriage in Baltisar, Austria-Hungary in February 1912, where Prince Victor was a citizen by virtue of his father Prince Egon having become naturalized at the time of his marriage to his wife Viktoria Edelspacher de Gyoryok.

## Jewelry robbery and wrongful arrest of Kid McCoy

While staying at a hotel in Ostend, Belgium, in July 1912, Lida was robbed of jewelry valued at $80,000. The robbery was thought to have been committed by "a gang of international sharpers" who were staying at the same hotel as Lida. However, American boxer Norman Selby (better known as "Kid McCoy") was arrested at the Hotel Cecil in London on July 27, 1912 on an extradition request by Belgian police in connection with the disappearance of the jewelry. Selby was taken before the Bow Street Police Court Magistrate where he was remanded without bail. After the warrant for his arrest was read to him, Selby responded, "I know nothing whatever about it." He was incarcerated in Brixton Jail in London, where he wrote his own version of a "Ballad of Brixton Jail". He returned to New York City on September 1, 1912 aboard the American oceanliner SS *St. Louis* from Southampton. Selby instructed his solicitor to commence a suit against the government of Belgium for $250,000 for his "wrongful arrest" which he claimed "ruined \[his\] European business". "I did not know that there was such a person in the world as the Princess of Thurn and Taxis when I went to Ostend to spend the week-end", Selby said.

According to *Le Matin*, a French detective on the staff of M. Hamard conducted an investigation at the hotel which led him to suspect three "gentlemen" from London who occupied rooms next to Lida's apartments. The investigation found that the three gentlemen had formed a "gang of smart hotel thieves" and had intentionally taken rooms near those of Lida intending to take an amount of jewelry valued between $1 and $1.5 million. One of Lida's necklaces alone was reportedly worth $400,000, but the robbers were only able to abscond with a few pieces of jewelry lying on her dressing table.

## Identity dispute with Josephine Moffitt

Josephine Moffitt (occasionally spelled Moffatt), who styled and titled herself "Her Royal Highness Josephine, Princess of Thurn and Taxis" and "Princess Josphine de la Tour et Taxis", claimed in the United Kingdom that she was the legal wife of Lida's husband, Prince Victor. Moffitt was embroiled in another highly publicized legal case against her "old friend and admirer" James Henry Maur heard in the Westminster Police Court and known popularly as "the Thurn and Taxis blackmailing case." Moffitt alleged that she and Prince Victor had wed at a midnight marriage ceremony at Rector's, New York City. As early as March 1908, Prince Victor had informed *The New York Times* that its story of his marriage to Moffitt was "absolutely false".

On January 31, 1914, Lida's solicitor applied for and obtained an issue of writ in the Court of Chancery asking for an injunction against Moffitt to restrain her from using the title "Princess of Thurn and Taxis" and from referring to herself as the wife of Prince Victor of Thurn and Taxis. Lida then traveled to London in February 1914 to defend her marriage and title against Moffitt's claims in person. In addition to settling the legality of her marriage to Prince Victor, Lida also sought to restore her reputation which had been blemished by Moffitt's conduct in "meeting men for supper parties and theatres."

In an interview with *The New York Times* on February 15, 1914 in her suite at London's Carlton Hotel, Lida presented her marriage certificate as proof of her marriage to Prince Victor. Lida was awarded damages, trial costs, an injunction against Moffitt, and a verdict for $500. The Court of Chancery also ruled that Lida, and not Moffitt, was entitled to the title "Princess Victor of Thurn and Taxis".

On January 28, 1915, Lida was awarded a verdict of £250 ($1,250) in damages against *The Daily Sketch* in London after the newspaper published photographs of Lida and Moffitt asking the question, "Who Is Princess Thurn and Taxis?"

## Slander dispute with Bernard Francis S. Gregory

Following the outbreak of World War I, Lida's husband Prince Victor was called to serve as an officer in the Austro-Hungarian Army causing Lida to return to the United States. Shortly before Lida was to sail to Europe to rejoin her husband in the Austrian Republic, Bernard Francis S. Gregory, known as "Count Gregory", filed a lawsuit against her for $50,000 in damages on May 8, 1920 in the New York Supreme Court alleging she had made false statements about him which had caused him to be "shunned by social circles" in New York City. Gregory received the order from Justice Robert Paul Lydon shortly after he learned from Lida's son Gerald Fitzgerald, Dr. Stewart Hastings, and Prince Herman of Saxe-Weimar that she was soon returning to Europe.

Gregory alleged in his complaint that in January or February 1920 at the Hotel Netherland in New York City, Count Rudolf Festetics overheard Lida telling others that Gregory was "a thief and a swindler and had tried to swindle her out of $10,000 by trying to put through a milk deal that was a swindle." He also alleged that Lida said Gregory was "not a gentleman, but an imposter, was dishonorable, and had been a coachman in England, and was a very bad man." As a result of these statements, Gregory claimed he had "been seriously injured in \[his\] good name and fame among \[his\] friends and acquaintances, and in social circles in which \[he had\] been accustomed to move \[he had\] been shunned and avoided by \[his\] friends." Gregory further stated that he was no longer invited to dinners and social functions "among the best families in New York" and that he had been "ostracized and excluded from the best society."

## Later life

Following the death of her husband Prince Victor in Vienna on January 28, 1928, Lida lived between residences in Uniontown, Pennsylvania, New York City, and Europe, however, she continued to maintain a residence at the corner of West Main Street and South Mt. Vernon Avenue in Uniontown.

Lida's life continued to consist of further legal disputes regarding alimony and family matters. On April 19, 1937, Lida went to Federal court in Pittsburgh demanding an accounting from trustees of alimony and trust funds held for her and her son. She claimed the trustees had been negligent in collecting the money and interest of the trust funds which totalled $772,779.

An Internal Revenue Service (IRS) appeals board in Washington, D.C. ruled on January 12, 1938, that Lida owed no back income taxes on amounts she received under an agreement with her first husband at the time of their divorce settlement in 1907. The appeals board further ruled that alimony payments to a former spouse were considered a "household expense" and therefore could not be deducted on income tax returns.

Lida and her son John Purcell Fitzgerald carried their appeal against the trustees of two trust funds in their names at the Second National Bank to the United States Supreme Court on an injunction restraining them from proceeding in the United States District Court for the Western District of Pennsylvania. s:Princess Lida of Thurn and Taxis v. Thompson

She was later also entangled in a lengthy court battle in which she attempted to have the marriage of one of her adult sons annulled.

## Death and estate settlement

Following several years of hospitalization, she died in New York City at the age of 90 on December 6, 1965, intestate. In November 1972, Judge James A. Reilly issued a decree, which approved the final accounting of Lida's million-dollar estate and ordered that it be divided between her two surviving sons: Gerald Purcell Fitzgerald Jr. of New York City and Edward Purcell Fitzgerald of Titusville, New Jersey. At its final accounting, Lida's estate totaled $1,288,123.40, leaving a balance of $659,333.31 after taxes. Her possessions included residences, properties, cash, stocks and bonds, valuable antique furniture, Venetian glass, paintings and statuary, china, porcelain, silver, and two wardrobes full of fur coats. Many of Lida's valuables were stored for years in a downtown Uniontown warehouse and some had been in storage in a London warehouse since the closing of her home there in 1914. Most of the valuables were sold at auction in 1966.

## InfoBox

| Princess Lida of Thurn and Taxis | |
| --- | --- |
| *Prev. Mrs. Fitzgerald* | |
| Born | Lida Eleanor Nicolls
(1875-07-28)July 28, 1875
Uniontown, Pennsylvania, U.S. |
| Died | December 6, 1965(1965-12-06) (aged 90)
New York City, New York, U.S. |
| Spouse | Gerald Purcell Fitzgerald
Prince Victor of Thurn and Taxis |
| Issue | John Fitzgerald
Gerald Purcell Fitzgerald Jr.
Edward Purcell Fitzgerald |
| House | Thurn and Taxis (by marriage) |
| Father | John A. Nicolls |
| Mother | Lenora T. Nicolls |


title: Eez-eh

abstract: "Eez-eh" is a song by English rock band Kasabian from their fifth studio album, 48:13. The song was released as the lead single to promote the album on 29 April 2014.

text:
# Eez-eh

"**Eez-eh**" (stylised as "**eez-eh**") is a song by English rock band Kasabian from their fifth studio album, *48:13*. The song was released as the lead single to promote the album on 29 April 2014.

## Composition

The single embraces a slight change in style for Kasabian, with the track resembling electronic dance music – more so than their previous work. In an interview, Sergio Pizzorno revealed that the song's production was inspired by Giorgio Moroder, who had said 120BPM was a 'magic tempo'. The song title is derived from the pronunciation of the word 'easy' in a Leicester accent. Frontman Tom Meighan described the song as a "working class anthem" and said he would like the song to have the same effect on people as "Born Slippy", a well-known 1996 number two single by electronic group Underworld.

Commenting on the song's lyrics – which include lines such as "I've got the feeling that I'm gonna keep you up all night – Pizzorno said: "It's more a conversation that me and Tom \[Meighan\] might have at five or six in the morning. There have been so many nights in hotel rooms where me and Tom will stay up all night talking and it's about that."

The lyric "Every one's on bugle/Now we're being watched by Google" is often edited on some versions, such as the official music video and radio edit because 'bugle' is a slang term for cocaine; it is replaced with the previous line "Every day is brutal".

## Promotion and release

The group performed "Eez-eh" along with two other tracks from *48:13* – "Bumblebeee" and "Stevie" – on *Later... with Jools Holland* on 13 May 2014. After being released in April throughout Europe and in Australia, the single was released in the United Kingdom on 1 June 2014. A second version of the single, containing the B-side "Beanz", was released digitally on 3 June 2014. The band also performed the single on *The Graham Norton Show* on 13 June 2014. The band also performed the track at Glastonbury Festival 2014. Live performances of the track are usually extended.

## Reception

According to *NME* magazine, the song is "pure '90s rave." Rhian Daly also noted that the track is "far from being a serious take on the world's issues," and Kasabian keeps things "tongue-in-cheek, cartoon-like and – most importantly – fun." Antiquiet.com described the song as "without a doubt the most electronic-tinged release since the band's breakthrough self-titled first album."

## Music video

A music video for the song was released onto YouTube on 29 April 2014. It was directed by Aitor Throup, who also designs sets for live shows and artwork. The video features Swedish actress Noomi Rapace.

The video features the band dancing and posing in front of a large karaoke screen showing the lyrics of the song. Segments of the video see the members jumping up and down in a line, ornaments of various animals and frontman Tom Meighan spitting milk into the lens of the camera. Sergio Pizzorno appears both wearing a '48:13' T-shirt and without a shirt, often also wearing large foam hands. Bassist Chris Edwards also appears, at one stage wearing a Groucho Marx disguise and smoking a cigar, and drummer Ian Matthews appears, wearing a snapback with pipes connected to his mouth.

## Track listing

Digital download – Version 1
| No. | Title | Length |
| --- | --- | --- |
| 1. | "eez-eh" | 3:00 |

Digital download – Version 2
| No. | Title | Length |
| --- | --- | --- |
| 1. | "eez-eh" | 2:59 |
| 2. | "beanz" | 4:41 |

## Personnel

**Kasabian**

* Tom Meighan – lead vocals
* Sergio Pizzorno – co-lead vocals, synthesizers, programming, percussion
* Chris Edwards – bass guitar
* Ian Matthews – drums

**Additional personnel**

* Tim Carter – guitar

## Charts

| Chart (2014) | Peak
position |
| --- | --- |
| Belgium (Ultratip Bubbling Under Flanders) | 30 |
| Belgium (Ultratip Bubbling Under Wallonia) | 29 |
| Ireland (IRMA) | 38 |
| Italy (FIMI) | 40 |
| Japan (Japan Hot 100) | 30 |
| Scotland (OCC) | 11 |
| UK Singles (OCC) | 22 |

## Certifications

| Region | Certification | Certified units/sales |
| --- | --- | --- |
| United Kingdom (BPI) | Silver | 200,000 |
| Sales+streaming figures based on certification alone.
 | | |

## Release history

| Region | Date | Label | Format |
| --- | --- | --- | --- |
| Australia | 29 April 2014 | Sony Music | Digital download
(Version 1) |
| | | | Austria |
| | | | Belgium |
| | | | France |
| | | | Germany |
| | | | Ireland |
| | | | Italy |
| | | | Netherlands |
| | | | Norway |
| | | | Poland |
| | | | Sweden |
| United Kingdom | | | 1 June 2014 |
| Australia | | 3 June 2014 | Digital download
(Version 2) |
| | | Italy |
| | | United Kingdom |

## InfoBox

| "Eez-eh" | |
| --- | --- |
|  | |
| Single by Kasabian | |
| from the album  *48:13* | |
| B-side | "beanz" |
| Released | 29 April 2014 (2014-04-29) |
| Recorded | 2013 in London, England |
| Genre |  |
| Length | 3:00 |
| Label |  |
| Songwriter(s) | Sergio Pizzorno |
| Producer(s) | Sergio Pizzorno |
| Kasabian singles chronology | |
| "Man of Simple Pleasures"
(2012) "**Eez-eh**"
(2014) "Bumblebeee"
(2014) | |


title: Ef-hand calcium binding domain 2

abstract: EF-hand calcium binding domain 2 is a protein that in humans is encoded by the EFCAB2 gene.

text:
# Ef-hand calcium binding domain 2

**EF-hand calcium binding domain 2** is a protein that in humans is encoded by the EFCAB2 gene.

## Function

The gene encodes a protein that contains two EF-hand calcium-binding domains although its function has yet to be determined. Alternatively spliced transcripts have been observed.

## Further reading

*This article incorporates text from the United States National Library of Medicine, which is in the public domain.*

## InfoBox

| EFCAB2 | | | |
| --- | --- | --- | --- |
|  | | | |
| Identifiers | | | |
| Aliases | EFCAB2, CFAP200, DRC8, EF-hand calcium binding domain 2 | | |
| External IDs | MGI: 1915476; HomoloGene: 12248; GeneCards: EFCAB2; OMA:EFCAB2 - orthologs | | |
|  | | | |
|  | | | |
|  | | | |
| Orthologs  Species **Human** **Mouse**  Entrez   Ensembl   UniProt   RefSeq (mRNA)     NM\_001143943
NM\_001290327
NM\_032328   NM\_026626   RefSeq (protein)     NP\_001137415
NP\_001277256
NP\_115704   NP\_080902   Location (UCSC) Chr 1: 244.97 – 245.13 Mb Chr 1: 178.23 – 178.31 Mb  PubMed search | | | |
| Wikidata | | | |
| View/Edit Human View/Edit Mouse | | | |


title: Primary flight display

abstract: A primary flight display or PFD is a modern aircraft instrument dedicated to flight information. Much like multi-function displays, primary flight displays are built around a Liquid-crystal display or CRT display device. Representations of older six pack or "steam gauge" instruments are combined on one compact display, simplifying pilot workflow and streamlining cockpit layouts. Most airliners built since the 1980s—as well as many business jets and an increasing number of newer general aviation aircraft—have glass cockpits equipped with primary flight and multi-function displays (MFDs). Cirrus Aircraft was the first general aviation manufacturer to add a PFD to their already existing MFD, which they made standard on their SR-series aircraft in 2003. Mechanical gauges have not been eliminated from the cockpit with the onset of the PFD; they are retained for backup purposes in the event of total electrical failure.

text:
# Primary flight display

A **primary flight display** or **PFD** is a modern aircraft instrument dedicated to flight information. Much like multi-function displays, primary flight displays are built around a Liquid-crystal display or CRT display device. Representations of older six pack or "steam gauge" instruments are combined on one compact display, simplifying pilot workflow and streamlining cockpit layouts.

Most airliners built since the 1980s—as well as many business jets and an increasing number of newer general aviation aircraft—have glass cockpits equipped with primary flight and multi-function displays (MFDs). Cirrus Aircraft was the first general aviation manufacturer to add a PFD to their already existing MFD, which they made standard on their SR-series aircraft in 2003.

Mechanical gauges have not been eliminated from the cockpit with the onset of the PFD; they are retained for backup purposes in the event of total electrical failure.

## Components

While the PFD does not directly use the pitot-static system to physically display flight data, it still uses the system to make altitude, airspeed, vertical speed, and other measurements precisely using air pressure and barometric readings. An air data computer analyzes the information and displays it to the pilot in a readable format. A number of manufacturers produce PFDs, varying slightly in appearance and functionality, but the information is displayed to the pilot in a similar fashion. FAA regulation describes that a PFD includes at a minimum, an airspeed indicator, turn coordinator, attitude indicator, heading indicator, altimeter, and vertical speed indicator \[14 CFR Part 61.129(j)(1)\].

## Layout

The details of the display layout on a primary flight display can vary enormously, depending on the aircraft, the aircraft's manufacturer, the specific model of PFD, certain settings chosen by the pilot, and various internal options that are selected by the aircraft's owner *(i.e.,* an airline, in the case of a large airliner). However, the great majority of PFDs follow a similar layout convention.

The center of the PFD usually contains an attitude indicator (AI), which gives the pilot information about the aircraft's pitch and roll characteristics, and the orientation of the aircraft with respect to the horizon. Unlike a traditional attitude indicator, however, the mechanical gyroscope is not contained within the panel itself, but is rather a separate device whose information is simply displayed on the PFD. The attitude indicator is designed to look very much like traditional mechanical AIs. Other information that may or may not appear on or about the attitude indicator can include the stall angle, a runway diagram, ILS localizer and glide-path “needles”, and so on. Unlike mechanical instruments, this information can be dynamically updated as required; the stall angle, for example, can be adjusted in real time to reflect the calculated critical angle of attack of the aircraft in its current configuration (airspeed, etc.). The PFD may also show an indicator of the aircraft's future path (over the next few seconds), as calculated by onboard computers, making it easier for pilots to anticipate aircraft movements and reactions.

To the left and right of the attitude indicator are usually the airspeed and altitude indicators, respectively. The airspeed indicator displays the speed of the aircraft in knots, while the altitude indicator displays the aircraft's altitude above mean sea level (AMSL). These measurements are conducted through the aircraft's pitot system, which tracks air pressure measurements. As in the PFD's attitude indicator, these systems are merely displayed data from the underlying mechanical systems, and do not contain any mechanical parts (unlike an aircraft's airspeed indicator and altimeter). Both of these indicators are usually presented as vertical “tapes”, which scroll up and down as altitude and airspeed change. Both indicators may often have “bugs”, that is, indicators that show various important speeds and altitudes, such as V speeds calculated by a flight management system, do-not-exceed speeds for the current configuration, stall speeds, selected altitudes and airspeeds for the autopilot, and so on.

The vertical speed indicator, usually next to the altitude indicator, indicates to the pilot how fast the aircraft is ascending or descending, or the rate at which the altitude changes. This is usually represented with numbers in "thousands of feet per minute." For example, a measurement of "+2" indicates an ascent of 2000 feet per minute, while a measurement of "-1.5" indicates a descent of 1500 feet per minute. There may also be a simulated needle showing the general direction and magnitude of vertical movement.

At the bottom of the PFD is the heading display, which shows the pilot the magnetic heading of the aircraft. This functions much like a standard magnetic heading indicator, turning as required. Often this part of the display shows not only the current heading, but also the current track (actual path over the ground), rate of turn, current heading setting on the autopilot, and other indicators.

Other information displayed on the PFD includes navigational marker information, bugs (to control the autopilot), ILS glideslope indicators, course deviation indicators, altitude indicator QFE settings, and much more.

Although the layout of a PFD can be very complex, once a pilot is accustomed to it the PFD can provide an enormous amount of information with a single glance.

### Airbus

Starting with the A350-1000, Airbus proposes a common symbology on the PFD and HUD centered on a flightpath vector and an energy cue instead of a flight director, supplementing the usual pitch and heading indications to improve situational awareness, and helping incorporating synthetic vision into the PFD.

## Drawbacks

The great variability in the precise details of PFD layout makes it necessary for pilots to study the specific PFD of the specific aircraft they will be flying in advance, so that they know exactly how certain data is presented. While the basics of flight parameters tend to be much the same in all PFDs (speed, attitude, altitude), much of the other useful information presented on the display is shown in different formats on different PFDs. For example, one PFD may show the current angle of attack as a tiny dial near the attitude indicator, while another may actually superimpose this information on the attitude indicator itself. Since the various graphic features of the PFD are not labeled, the pilot must learn what they all mean in advance.

A failure of a PFD deprives the pilot of an extremely important source of information. While backup instruments will still provide the most essential information, they may be spread over several locations in the cockpit, which must be scanned by the pilot, whereas the PFD presents all this information on one display. Additionally, some of the less important information, such as speed and altitude bugs, stall angles, and the like, will simply disappear if the PFD malfunctions; this may not endanger the flight, but it does increase pilot workload and diminish situational awareness.

1. G1000 Manual, Turn Rate Indicator page 21\]
2. Thierry Dubois (May 21, 2018). "Airbus Introduces HUD Symbology On Primary Flight Display". *Aviation Week & Space Technology*.


title: Edward Hyde (priest)

abstract: Edward Hyde (1607–1659) was an English royalist cleric, nominally Dean of Windsor at the end of his life.

text:
# Edward Hyde (priest)

**Edward Hyde** (1607–1659) was an English royalist cleric, nominally Dean of Windsor at the end of his life.

## Life

One of the twelve sons of Sir Lawrence Hyde of Salisbury, he was educated at Westminster School, and then elected in 1625 to Trinity College, Cambridge. He became fellow of his college, was appointed tutor 1636, and proceeded M.A. 1637. He was created D.D. of Oxford University in January 1642–3.

Hyde was presented to the rectory of Brightwell-cum-Sotwell, in Berkshire, but after 1645 the living was sequestered from him for "scandal in life and disaffection to the Parliament". By an order of the parliamentary committee, dated 8 March 1649, he was granted a fifth of the annual value of the living for the support of his family, but his successor, John Ley, succeeded in obtaining a dispensation from this payment in 1652, on the ground that Hyde was possessed of lands and woods in Wiltshire, and that his wife's father was wealthy. The matter was publicised by John Ley in *An Acquittance or Discharge from Dr. E. H. his Demand of a Fifth Part of the Rectory of Br. in Barks*, 1654, which included *An Apologie against the Doctors Defamations … at Oxford and elsewhere*, and *A Preparative to further Contestation about other Differences*. It was followed in 1655 by *General Reasons … against the Defalcation of a Fifth Part of the Minister's Maintenance, … whereto are added particular Reasons against the Payment … to Dr. E. H. … Together with an Answer to a Letter of the said Dr. E. H., occasioned by the late Insurrection at Salisbury*. A version of the "further Contestation" is thought to be referenced in *A Debate concerning the English Liturgy … drawn out in two English and two Latine Epistles written betwixt Edward Hyde, D.D., and John Ley*, published by Ley in 1656.

Hyde retired from Brightwell to Oxford, and resided in the precincts of Hart Hall. He studied in the Bodleian Library, and preached in Holywell church in the suburbs till silenced by adverse opinion. In 1658 he obtained through the influence of his exiled kinsman Edward Hyde, letters patent for the deanery of Windsor, but died 16 August 1659 at Salisbury. He was buried in Salisbury Cathedral.

## Works

Hyde was the author of:

* *A Wonder and yet no Wonder: a great Red Dragon in Heaven*, London, 1651.
* *The Mystery of Christ in us*, London, 1651. This consists of six sermons on various topics.
* *A Christian Legacy, consisting of two parts: i. A Preparation for Death, ii. A Consolation against Death*, Oxford, 1657.
* *Christ and his Church, or Christianity explained, under seven Evangelical and Ecclesiastical Heads, &c. With a Justification of the Church of England*, London, 1658.
* *A Christian Vindication of Truth against Errour, concerning these Seven Controversies*, London, 1659. The book is against "G.B.", who had written on the Roman Catholic side against the English church.

After Hyde's death, Richard Boreman edited two works left in manuscript:

* *The True Catholick's Tenure, or a good Christian's Certainty, which he ought to have of his Religion, and may have of his Salvation*, Cambridge, 1662.
* *Allegiance and Conscience not fled out of England, or the Doctrine of the Church of England concerning Allegiance and Supremacy: as it was delivered by the former Author upon the occasion and at the time of trying the King by his own Subjects; in several Sermons, anno 1649*, Cambridge, 1662.

A Latin poem by Hyde is prefixed to James Duport's translation of *The Book of Job* into Greek verse (1637), and he contributed to the *Cambridge Poems* some verses in celebration of the birth of the Princess Elizabeth (1635).

**Attribution**

This article incorporates text from a publication now in the public domain: Lee, Sidney, ed. (1891). "Hyde, Edward (1607-1659)". *Dictionary of National Biography*. Vol. 28. London: Smith, Elder & Co.


abstract: Primary pigmented nodular adrenocortical disease (PPNAD) was first coined in 1984 by Carney et al. it often occurs in association with Carney complex (CNC). CNC is a rare syndrome that involves the formation of abnormal tumours that cause endocrine hyperactivity. PPNAD arises due to the enlargement of the cortex of the adrenal glands, resulting in Cushing's syndrome that is independent of the pituitary hormone ACTH.

text:
# Primary pigmented nodular adrenocortical disease

**Primary pigmented nodular adrenocortical disease** (**PPNAD**) was first coined in 1984 by Carney et al. it often occurs in association with Carney complex (CNC). CNC is a rare syndrome that involves the formation of abnormal tumours that cause endocrine hyperactivity.

PPNAD arises due to the enlargement of the cortex of the adrenal glands, resulting in Cushing's syndrome that is independent of the pituitary hormone ACTH.

## Signs and symptoms

PPNAD is a rare cause of high cortisol levels in the blood and often manifests as ACTH-independent Cushing's syndrome. The effects of PPNAD can often be cyclical so the symptoms of Cushing's syndrome will not always be as severe, which may complicate diagnosis. The classic symptoms of Cushing's syndrome include rapid central weight gain, a puffy red face and a buffalo hump at the back of the neck due to fat deposits. Skin changes in Cushing's syndrome include thinning and bruising easily, developing striae and hyperpigmentation at skin folds. The hormonal changes can lead to hirsutism, males developing breast tissue, females no longer having periods and both sexes may become infertile. High cortisol levels can lead to psychological disturbances such as anxiety or depression and insomnia. Bone health can deteriorate, leading to an increased fracture risk in people with Cushing's syndrome. PPNAD is unique as it often causes Cushing's at a young age, in children and adolescents. In addition to the other symptoms of Cushing's syndrome, the patient may have a short stature due to interrupted growth because of ACTH suppression.

In 90% of people with PPNAD it is associated with Carney Complex. Carney Complex is usually inherited, however it can also occur sporadically. A visible sign of Carney complex is abnormal skin hyperpigmentation. There may also be myxomas which can appear as lumps in the skin and breast as well as often being present in the heart, which can lead to multiple cardiovascular problems. The majority of people with PPNAD will have some of these signs/symptoms due to the strong association between PPNAD and Carney Complex.

## Causes

PPNAD, the endocrine manifestation that comes from Carney Complex (CNC), can be syndromic or isolated. The main cause of isolated PPNAD is a mutation of PRKAR1α, located at 17q22-24, which is the gene encoding the regulatory R1α subunit of protein kinase A. Germline heterozygous PRKAR1α inactivation mutations are present in 80% of CNC patients affected by Cushing's syndrome. There are over 117 mutations of the PRKAR1α gene that can cause CNC, with many of these mutations producing premature stop codons, thus resulting in the complete loss of PRKAR1α protein. CNC patients have also been discovered with an unusually shortened PRKAR1α protein, detected in tumours and leukocytes, following a splice-site mutation, which causes exon-6 skipping. Therefore, both haploinsufficiency and the complete loss of PRKAR1α can lead to the increased PKA activity observed in PPNAD patients, due to the disruption of the cAMP signalling pathway.

Sahut-Barnola et al. used a mouse model to cre-lox knockout the Prkar1a gene specifically from cells of the adrenal cortex and observed that the mice subsequently developed Cushing syndrome that is independent of the pituitary. They also observed that the mutation caused increased PKA activity.

The R1α loss caused the adult adrenal gland became hyperactive and hyperplastic on both sides, as seemingly the foetal adrenal cells within it were not maintained and thus expanded. This established tumoral growths. This mouse KO model phenocopies what happens in human cases of PPNAD.

Inactivation of PDE11A4, located at 2q31-5, has also been identified in PPNAD patients without PRKAR1α mutations. PDE11A4 is the gene encoding phosphodiesterase 11A4, another participant of the cAMP signalling pathway.

## Diagnosis

Diagnosis usually occurs upon investigation of a cause for already suspected Cushing's syndrome. High levels of cortisol observed in patients with PPNAD are not suppressed upon administration of dexamethasone (dexamethasone suppression test), and upon MRI or CT imaging, the pituitary will show no abnormalities. Measuring ACTH will confirm that the cause of the patients Cushing's syndrome is ACTH independent. The nature of Cushing's syndrome itself is periodic, which can make diagnosing PPNAD increasingly difficult.

Diagnosis of PPNAD can be difficult to determine preoperatively as CT scan findings can be variable i.e. appear normal or suggest unilateral adrenal lesions therefore impeding the correct diagnosis. NP-59 scintigraphy may be particularly useful in identifying the bilateral nature of the disease.

Gene studies are not necessary for diagnosis as there are clear gross and histological diagnostic markers, as the nodules can usually be seen clearly in both cases A positive family history of PPNAD has been shown to be associated with abnormal histological findings, e.g. mitotic figures, which may further hinder diagnosis. At the point where abdominal CT scanning and pituitary fossa MRI show no clear abnormalities, adrenalectomy may be performed.

## Treatment

After diagnosis, it is important for patients to be continually monitored. The most common treatment for PPNAD is bilateral laparoscopic adrenalectomy; the process by which both adrenal glands are removed by a small incision. Patients who have received this treatment will be prescribed mineralocorticoid and glucocorticoid steroids as they are no longer being naturally produced. This is a treatment which has been used and refined since 1984.

## InfoBox

| Primary pigmented nodular adrenocortical disease | |
| --- | --- |
| Other names | PPNAD |
|  | |
| Macroscopic appearance of adrenal gland in PPNAD following adrenalectomy | |


title: Edward Maxwell

abstract: Edward Maxwell was a prominent Canadian architect.

text:
# Edward Maxwell

**Edward Maxwell** (31 December 1867 – 14 November 1923) was a prominent Canadian architect.

## Life and career

The son of Edward John Maxwell, a lumber dealer in Montreal, by his marriage to Johanna MacBean, Maxwell graduated from the High School of Montreal at the age of fourteen and was apprenticed to the firm of Shepley, Rutan and Coolidge in Boston. In 1891, the firm was instructed to design a new building for the Montreal Board of Trade. Maxwell returned home to Montreal to supervise its construction, helped by having good relations with influential members of the Board.

In 1892, the jeweller Henry Birks hired Maxwell to design a new store in Montreal's Phillips Square. Maxwell also designed several stations and hotels for the Canadian Pacific Railway, including the West Vancouver station (1897) and the McAdam station (1900). In 1899, he designed a country house for Louis-Joseph Forget at Senneville, Quebec, a good example of his domestic work.

In 1902, he went into partnership with his younger brother, William Sutherland Maxwell, who had studied at the École des beaux-arts in Paris. In 1903, he was elected to the Royal Canadian Academy of Arts.

## Selected buildings


title: Profound Pharma

abstract: Profound Pharma A/S was a Danish company that develops 2nd generation biopharmaceuticals.

text:
# Profound Pharma

**Profound Pharma A/S** was a Danish company that develops 2nd generation biopharmaceuticals.

## History

Created in Denmark in 1999 by Christian Karsten Hansen and Jan Møller Mikkelsen, formerly of Novo Nordisk, the company was funded by venture capital and a loan from Vækstfonden. After rapidly growing to employ 50 scientists, and filing large numbers of patent applications, the company was acquired by Maxygen in 2000, for $60 million in stock. From its acquisition by Maxygen until 2008, the company continued as a subsidiary of Maxygen forming the cornerstone of its biopharmaceutical business, and contributing to Maxygen´s molecular breeding technology. With NeuroSearch, Genmab and Zealand Pharma, **Profound Pharma** was among the early members of the Medicon Valley biotech cluster. Its initial directors were Dr. Claus Bræstrup, Prof. Thue Schwartz and Knud Aunstrup.

## Projects

**Profound Pharma** developed improved versions of interferon beta, granulocyte colony-stimulating factor, TNF inhibitors, factor VII and other commercially important protein pharmaceuticals.

## Technologies

**Profound Pharma** used a variety of protein engineering and protein modification technologies including site-directed mutagenesis, rational design, PEGylation, glycosylation, and de-immunization. These technologies complemented the molecular breeding technology of Maxygen.


title: Profound Decisions

abstract: Profound Decisions is a company running live action role-playing games in the United Kingdom. The company was founded in 2004 to run Maelstrom, a fantasy game with colonial themes which attracted around 900 players. Since 2012, Profound's principal game has been Empire, considered to be the largest UK LARP with a player base of around 3,000 players as of 2019. Between 2010 and 2016, Profound Decisions also ran Odyssey, a game set in the classical period.

text:
# Profound Decisions

**Profound Decisions** is a company running live action role-playing games in the United Kingdom.

The company was founded in 2004 to run *Maelstrom*, a fantasy game with colonial themes which attracted around 900 players.

Since 2012, Profound's principal game has been *Empire*, considered to be the largest UK LARP with a player base of around 3,000 players as of 2019. Between 2010 and 2016, Profound Decisions also ran *Odyssey*, a game set in the classical period.

1. "The rise of live action role-playing". BBC News. 31 August 2013. Retrieved 20 November 2017.
2. Clarkson, Adam (16 October 2023). "Larp: Meet the people fighting orcs and casting spells". *BBC News*.
3. "Dressing Up and Fighting Orcs". *What's Your Thing?*. Series 1. Episode 5. 9 December 2023. BBC.
4. "Empire – A fully detailed world, shared with players" (PDF). International LARPzeit. 2013. Retrieved 20 November 2017.
5. Montola, Markus; Stenros, Jaakko (2008). *Playground Worlds* (PDF). Ropecon ry.
6. Welch, Isabella (10 October 2019). "Grown Ups Play Dress Up – The World of Live Action Roleplaying Costuming". *Cherwell*.
7. Liz Sharpe (13 April 2015). "Great Alne is the backdrop of a medieval fantasy battle". Redditch & Alcester Advertiser. Retrieved 20 November 2017.
8. Vicky Lane (15 August 2015). "The secret life of orcs". easyJet Traveller. Retrieved 20 November 2017.
9. Kate Townshend (29 May 2015). "Role play, chivalry and a world without sexism: Welcome to the ultimate female fantasy". The Telegraph. Retrieved 20 November 2017.
10. Ed Fortune (12 July 2012). "Interview: Profound Decisions' Matt Pennington". Starbust Magazine. Retrieved 20 November 2017.


title: Profound Desires of the Gods

abstract: Profound Desires of the Gods or Deep Desires of Gods or Kuragejima – Legends from a Southern Island is a 1968 Japanese film by director Shohei Imamura. The culmination of the director's examinations of the fringes of Japanese society throughout the 1960s, the film was an 18-month super-production which failed to make an impression at the time of its release, but has since risen in stature.

text:
# Profound Desires of the Gods

***Profound Desires of the Gods***  or ***Deep Desires of Gods*** or ***Kuragejima – Legends from a Southern Island*** (神々の深き欲望, *Kamigami no Fukaki Yokubō*) is a 1968 Japanese film by director Shohei Imamura. The culmination of the director's examinations of the fringes of Japanese society throughout the 1960s, the film was an 18-month super-production which failed to make an impression at the time of its release, but has since risen in stature.

## Plot

Presenting a vast chronicle of life on the remote Kurage Island, the film centres on the disgraced, superstitious, interbred Futori family and the Tokyo engineer sent to supervise the creation of a new well for a sugar mill on the island – an encounter which leads to both conflict and complicity in strange and powerful ways.

## Cast

* Kazuo Kitamura as Engineer Kariya, a modern-day married man from Tokyo who gets entangled in the Futori family. Kariya is sent to Kurage Island by his boss at the sugar cane corporation to find a water source for a sugar mill on the island. Eventually he is seduced by Toriko.
* Kanjūrō Arashi as Yamamori Futori, the patriarch of the Futori family.
* Rentarō Mikuni as Nekichi Futori, Yamamori's son conceived through an incestuous relationship between Yamamori and a deceased older sister. He lusts after his sister Uma. Disfavored and condemned, his punishment is being chained in a pit beneath a boulder and tasked to loosen it in order to appease the island gods. Once the boulder is loosened, it can unblock a freshwater stream for the island's rice fields.
* Yasuko Matsui as Uma Futori, the *noro* (shaman) daughter of Yamamori who works at a nearby sacred shrine with the only source of good water. Uma is in love with her brother Nekichi, but is hesitant to consummate their relationship because she does not want a taboo relationship to make Nekichi even more hated by the other islanders.
* Hideko Okiyama as Toriko Futori, the mentally disabled daughter of Nekichi. She is known for her sexual promiscuity and volatile behavior.
* Chōichirō Kawarazaki as Kametaro Futori, the son of Nekichi. Kametaro dreams of the day he can leave behind the island and his complicated family. Kariya encourages Kametaro's ambition to get him to help drill a well for the sugar mill.
* Yoshi Katō as Ritsugen Ryu, one of the leaders of the island and manager of the sugar mill. He serves as the island's representative when dealing with the sugar cane corporation. He has a sexual relationship with Uma, and often abuses her physically and sexually. Manipulative, corrupted, and greedy, Ryu hypocritically positions himself as a defender of his people's traditional ways of life, but secretly works to exploit them for his own advantage. He uses his position as the shaman's lover to make himself untouchable, forcing Uma to falsify prophecies that will benefit him.
* Hôsei Komatsu
* Chikako Hosokawa
* Jun Hamamura
* Chikage Oogi (special appearance)

## Awards

The film was Japan's submission to the 42nd Academy Awards for the Academy Award for Best Foreign Language Film, but was not accepted as a nominee.

* Kinema Junpo Award (1969): Best Director
* Best Film; Mainichi Film Concours (1969): Best Film, Best Screenplay, Best Supporting Actor (Kanjūrō Arashi)

## InfoBox

| Profound Desires of the Gods | |
| --- | --- |
| DVD release of *Profound Desires of the Gods* (1968) | |
| Directed by | Shōhei Imamura |
| Written by | Keiji Hasebe
Shohei Imamura |
| Produced by | Masanori Yamanoi |
| Starring | Rentarō Mikuni
Chōichirō Kawarazaki
Kazuo Kitamura
Hideko Okiyama
Yoshi Katō
Yasuko Matsui
Kanjūrō Arashi |
| Cinematography | Masao Tochizawa |
| Edited by | Matsuo Tanji |
| Music by | Toshiro Mayuzumi |
| Distributed by | Nikkatsu Corporation, Toho International Company Inc. (USA, 1970), East West Classics (USA, 1988) |
| Release date | * November 22, 1968 (1968-11-22) |
| Running time | 172 minutes |
| Country | Japan |
| Language | Japanese |


title: Profound Mysteries II

abstract: Profound Mysteries II is the seventh studio album by Norwegian electronic music duo Röyksopp, released on 19 August 2022. It is the second of three albums in the Profound Mysteries series of albums. It was released with collections of short films and animated visualizations created to accompany each track.

text:
# Profound Mysteries II

***Profound Mysteries II*** is the seventh studio album by Norwegian electronic music duo Röyksopp, released on 19 August 2022. It is the second of three albums in the *Profound Mysteries* series of albums. It was released with collections of short films (each by a different director) and animated visualizations (by artist Jonathan Zawada) created to accompany each track.

## Background and development

In an interview with *NME* Svein Berge stated that "We are focussing on what we call *the mystery* – it’s rather pompous, I know," "We even added *profound* to turn up the nobhead-hood of it all! But anyway, the thing with *part two* in particular is that with this one, we point to the inspirational genres and artists who helped to forge us when we were kids." He further commented that those with a keen ear will notice heavy references to other artists like Kraftwerk and Depeche Mode, and also genres like Italo Disco and '90s UK rave. It's something they've always used in their music, but that this time it's more strident. He said that "It’s meant as a tribute, not a rip-off."

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *Aftenposten* | 4/6 |
| AllMusic |  |
| *Bergens tidende* |  |
| *NME* |  |
| *Pitchfork* | 5.5/10 |
| *VG* | 4/6 |

*Profound Mysteries II* received critical acclaim from music critics. Eivind August of Aftenposten stated that the album has "Driving bass lines, slowly building rhythms and of course dreamy synth lines. This is Röyksopp as we know them, but with enough innovation that they don't just float on nostalgia." Joakim Randa of Bergens tidende noted that "Especially in its first half, *Profound Mysteries II* almost sounds like the debut album *Melody A.M.*, but from an alternative universe." and further stated that the track *It Was A Good Thing* is "a truly beautiful piece of pop music and clearly the best track on the album. The production is restrained, with simple, almost resigned motifs". Timothy Monger of AllMusic described that "Musically, \[Röyksopp\] continue to subtly expand their signature mix of lush downbeat drama and clever electropop, getting cinematic and darkly funked-out, sometimes in the same song" and that the album is "as satisfying as its predecessor", and that it "is yet another quality entry in Röyksopp's already sterling canon." Marius Asp of Verdens gang stated that the album "gets even better with \[the track\] *Let's Get It Right*, \[...\] - a smooth pop melody that benefits enormously from a warm, organic and intimate soundscape." and commented that the track *Unity* "is lifted to heaven by euphoric house piano, breakbeats and a powerful singing performance from British Karen Harding."

## Track listing

All tracks are written by Röyksopp, except where noted

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Denimclad Baboons" |  | 3:43 |
| 2. | "Let's Get It Right" |  | 5:05 |
| 3. | "Unity" |  | 5:04 |
| 4. | "Oh, Lover" |  | 6:13 |
| 5. | "Sorry" |  | 4:59 |
| 6. | "Control" |  | 6:13 |
| 7. | "It Was a Good Thing" | * Röyksopp * Pixx | 4:12 |
| 8. | "Remembering the Departed" |  | 3:49 |
| 9. | "Tell Him" | * Röyksopp * Susanne Sundfør | 5:26 |
| 10. | "Some Resolve" |  | 6:42 |
| Total length: | | | 51:26 |

### Accompanying short films

Released between June and August 2022, alongside tracks from *Profound Mysteries II*.

| No. | Title | Director | Length |
| --- | --- | --- | --- |
| 1. | "This is Mæh" | Bine Bach | 1:43 |
| 2. | "Resignation" | Holger Karberg | 1:23 |
| 3. | "Good Human" | Øyvind Holtman | 1:07 |
| 4. | "Therapy" | Jeppe Rønde | 1:59 |
| 5. | "Past" | Jeppe Lange | 2:02 |
| 6. | "Frenship" | Ada Bligaard Søby | 1:05 |
| 7. | "Tease" | Emilie Thalund | 1:44 |
| 8. | "Dreamweaver" | Andreas J. Riiser | 0:54 |
| 9. | "Washed Ashore" | Andrea Eckerbom | 0:53 |
| 10. | "Alfons" | Jakob Marky | 0:52 |
| Total length: | | | 13:42 |

## Charts

Chart performance for *Profound Mysteries II*
| Chart (2022) | Peak
position |
| --- | --- |
| Australian Digital Albums (ARIA) | 19 |
| German Albums (Offizielle Top 100) | 91 |
| Norwegian Albums (VG-lista) | 35 |
| Scottish Albums (OCC) | 25 |
| Swiss Albums (Schweizer Hitparade) | 31 |
| UK Dance Albums (OCC) | 2 |
| UK Album Downloads (OCC) | 12 |
| UK Independent Albums (OCC) | 8 |

## InfoBox

| Profound Mysteries II | |
| --- | --- |
|  | |
| Studio album by Röyksopp | |
| Released | 19 August 2022 (2022-08-19) |
| Genre |  |
| Length | 51:26 |
| Label | Dog Triumph |
| Producer | Röyksopp |
| Röyksopp chronology | |
| *Profound Mysteries*
(2022) ***Profound Mysteries II***
(2022) *Profound Mysteries III*
(2022) | |
|  | |
| Singles from  *Profound Mysteries II* | |
| 1. "Sorry"
Released: 14 June 2022 2. "Unity"
Released: 15 June 2022 3. "Control"
Released: 26 July 2022 4. "Let's Get It Right"
Released: 27 July 2022 5. "Oh, Lover"
Released: 17 August 2022 | |
|  | |


title: Prisca Carin

abstract: Prisca Carin is a Martiniquaise footballer who plays as a forward for the Martinique women's team.

text:
# Prisca Carin

**Prisca Carin** is a Martiniquaise footballer who plays as a forward for the Martinique women's team.

## InfoBox

Prisca Carin
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Prisca Carin | | |
| Place of birth | Martinique | | |
| Position(s) | Forward | | |
| International career | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2014 | Martinique | 5 | (2) |
| ‡ National team caps and goals, correct as of 14:29, 18 March 2023 (UTC) | | | |


title: Project Advance

abstract: Syracuse University Project Advance (SUPA) is an educational program that provides high school students with the opportunity to take Syracuse University courses in their own schools during the regularly scheduled school day. After successful completion of the course(s) they can request to transfer the credits they earn into the colleges/universities they attend after high school. This is an example of a Concurrent Enrollment Program or Partnership (CEP). Project Advance (PA) was formed in 1972 to provide more challenging options to college-bound junior and senior level students in local Syracuse high schools. By the time students reached their senior year, many had completed almost all of their requirements for graduation and needed a challenge to keep them motivated. This phenomenon was termed senioritis or senior slump and led to a culture that focused on admission to college instead of high school as preparation for completing college. Today, SUPA serves more than 200 high schools in New York, New Jersey, Maine, Massachusetts, Michigan, and Rhode Island, with the largest concentration in New York State. Approximately 9,000 students enroll annually in SU courses through Project Advance, taught by more than 878 high school faculty members with SU adjunct instructor appointments. Teachers continue to attend professional development training sessions at the annual SUPA Summer Institute as more and more high schools expand their academic offerings. The course selection has also grown to include more than 30 courses from 24 academic disciplines. Project Advance, however, is not a profit center or a recruiting tool for SU. Student participants can take SU university courses at a reduced tuition rate at their own high schools with the courses taught by high school teachers who are trained and supervised by SU faculty. The high school teachers who serve as instructors must meet certain standards in order to qualify for and continue teaching these classes for the university. They can earn graduate credit for the initial training as well as towards continuing education and professional development requirements. Students enroll in the courses through their local school system. Those interested in receiving Syracuse University credit complete an online application/registration form and pay per credit. The courses are listed on the student's Syracuse University transcript by the title of the class and are not identified as SUPA classes. However, they also appear on the student's high school transcript where they are identified as SUPA courses. The extent to which colleges accept the credits varies by college. Many competitive colleges will not award credit if courses appear on the high school transcript and particularly if the courses either earned high school credit or were used to fulfill high school requirements. This contrasts to credit that is usually awarded for top scores on Advanced Placement Tests administered by the College Boards. University faculty read papers, review tests, and visit each class during the semester to ensure that the grading standards applied are consistent with those applied in the same courses on campus. These features plus the research that is done on the program each year, mean that PA meets the standards developed by the National Alliance of Concurrent Enrollment Partnerships (NACEP), an organization designed by and for CEP personnel to reassure accepting institutions that credits earned through the CEP meet specific quality standards.

text:
# Project Advance

**Syracuse University Project Advance** (SUPA) is an educational program that provides high school students with the opportunity to take Syracuse University courses in their own schools during the regularly scheduled school day. After successful completion of the course(s) they can request to transfer the credits they earn into the colleges/universities they attend after high school. This is an example of a Concurrent Enrollment Program or Partnership (CEP).

Project Advance (PA) was formed in 1972 to provide more challenging options to college-bound junior and senior level students in local Syracuse high schools. By the time students reached their senior year, many had completed almost all of their requirements for graduation and needed a challenge to keep them motivated. This phenomenon was termed senioritis or senior slump and led to a culture that focused on admission *to* college instead of high school as preparation *for completing* college.

Today, SUPA serves more than 200 high schools in New York, New Jersey, Maine, Massachusetts, Michigan, and Rhode Island, with the largest concentration in New York State. Approximately 9,000 students enroll annually in SU courses through Project Advance, taught by more than 878 high school faculty members with SU adjunct instructor appointments. Teachers continue to attend professional development training sessions at the annual SUPA Summer Institute as more and more high schools expand their academic offerings. The course selection has also grown to include more than 30 courses from 24 academic disciplines. Project Advance, however, is not a profit center or a recruiting tool for SU.

Student participants can take SU university courses at a reduced tuition rate at their own high schools with the courses taught by high school teachers who are trained and supervised by SU faculty. The high school teachers who serve as instructors must meet certain standards in order to qualify for and continue teaching these classes for the university. They can earn graduate credit for the initial training as well as towards continuing education and professional development requirements.

Students enroll in the courses through their local school system. Those interested in receiving Syracuse University credit complete an online application/registration form and pay per credit ($115.00 as of the 2020/21 academic year). The courses are listed on the student's Syracuse University transcript by the title of the class and are not identified as SUPA classes. However, they also appear on the student's high school transcript where they are identified as SUPA courses. The extent to which colleges accept the credits varies by college. Many competitive colleges will not award credit if courses appear on the high school transcript and particularly if the courses either earned high school credit or were used to fulfill high school requirements. This contrasts to credit that is usually awarded for top scores on Advanced Placement Tests administered by the College Boards.

University faculty read papers, review tests, and visit each class during the semester to ensure that the grading standards applied are consistent with those applied in the same courses on campus. These features plus the research that is done on the program each year, mean that PA meets the standards developed by the National Alliance of Concurrent Enrollment Partnerships (NACEP), an organization designed by and for CEP personnel to (through accreditation) reassure accepting institutions that credits earned through the CEP meet specific quality standards.

## History

In 1972 six Central New York high school administrators approached Syracuse University about establishing a college readiness program to challenge high school seniors.

The administrators hoped to address growing concerns about “senioritis”—the tendency of college-bound seniors to not take their final year seriously because of a lack of incentive. Having completed their graduation requirements early, these students would use their senior year to relax and socialize rather than readying themselves for the transition from high school to college-level work.

### A working model

To solve the problem presented by the school superintendents, SU administrators explored ways in which carefully designed and controlled “concurrent enrollment” (sometimes called “dual enrollment”) courses could be taught for credit within the high school as part of the regular academic program. A committee of deans, academic chairmen, and faculty discussed multiple solutions before proposing a college readiness program that would be self-sufficient and capable of implementation and expansion without creating a financial burden for the university or an instructional overload for cooperating faculty.

The model was designed to best utilize existing resources—the college courses would be taught by trained high school teachers as part of their regular teaching load. This would ensure that the courses could be taught during the regular school day, so as to not negatively impact students’ schedules.

### New standards

Early in the design process three major factors became apparent:

* First, that while an effort would be made to utilize individual high school resources, individual concurrent enrollment courses would—based on their content and structure—involve different formats and require new relationships between SU faculty, high school faculty, and students;
* Second, the success of the project would depend on the quality of the concurrent enrollment courses themselves;
* Third, the courses taught in the high schools would not only have the same instructional goals as their counterparts on campus but they would have identical criteria for awarding grades.

#### Teaching the teachers

The high school-university partnership was formalized as SU Project Advance (SUPA) and launched its first dual enrollment course, English 101, in the fall semester of 1972-73. Following a detailed evaluation and development process, four additional courses were selected for possible inclusion in SUPA. These included introductory psychology, study of religion (human values), mass communications, and perspectives on drugs.

In preparation for the initial introduction of concurrent enrollment courses in the high schools, summer training sessions were held in each of the five content areas to prepare high school teachers to teach the college-level courses. These training sessions were taught by university professors and were designed to familiarize the high school teachers with the rationale and content of the new courses, the instructional techniques, and the individualized materials, as well as offer them opportunities to explore methods of adapting them to high school use if changes seemed necessary.

#### Taking it to the schools

Field-tested in the 1973-74 academic year in nine schools, the project expanded in 1974-75 to more than 40 schools and 180 teachers from Long Island to Buffalo, with an enrollment of more than 2,000 students. As more educators, students, and parents realized the value of college readiness and of taking actual college courses before leaving high school, the program grew.

Today, SUPA serves more than 200 high schools in New York, New Jersey, Maine, Massachusetts, Michigan, and Rhode Island, with the largest concentration in New York State. Approximately 9,000 students enroll annually in SU courses, taught by more than 878 high school faculty members with SU adjunct instructor appointments. Teachers continue to attend professional development training sessions at the annual SUPA Summer Institute as more and more high schools expand their academic offerings. The course selection has also grown to include more than 30 courses from 24 academic disciplines.

#### Modeling success

SUPA is the only program affiliated with a private research university in the Northeast to be accredited by the National Alliance of Concurrent Enrollment Partnerships (NACEP). SUPA is also a founding member of NACEP, which serves as a national accrediting body and supports all members by providing standards of excellence, research, communication, and advocacy.

## Timeline

* 1972: Six local high schools approach Syracuse University about devising a program to offer college courses to qualified high school seniors.
* 1973: SU Project Advance is field-tested in nine schools.
* 1974: SU Project Advance officially launches, offering SU courses in more than 40 high schools.
* 1984: The American Association of Higher Education recognizes SU Project Advance for notable achievements in education.
* 2002: New York State Assembly passes a resolution recognizing SU Project Advance for "...the significance of its contributions to the quality and diversity of educational opportunities in the State of New York."
* 2003: SU Project Advance becomes one of a select few private four-year universities accredited by the National Alliance of Concurrent Enrollment Partnerships (NACEP).
* 2010: A 35-year retrospective of SUPA’s research, Our Courses Your Classroom: Research on Syracuse University Courses Taught in High School is published.

## Courses

Courses offered:

* Accounting
* American History
* Biology
* Calculus
* Chemistry
* College Learning Strategies
* Computer Engineering
* Cybersecurity
* Earth System Science
* Economics
* English/Writing
* Forensic Science
* French
* Information Technology
* Italian
* Latin
* Personal Finance
* Physics
* Presentational Speaking
* Psychology
* Public Affairs
* Spanish
* Sociology
* Statistics
* Website Design

## InfoBox

Syracuse University Project Advance
|
|  |
| Abbreviation | SUPA |
| Formation | 1972 (1972) |
| Type | Concurrent Enrollment Program |
| Purpose | Educational |
| Location | * 400 Ostrom Avenue Syracuse, NY 13210 |
| Coordinates | 43°02′33″N 76°07′43″W / 43.0426°N 76.128746°W / 43.0426; -76.128746 |
| Region served | Northeast United States |
| Official language | English |
| Parent organization | Syracuse University |
| Affiliations | National Alliance of Concurrent Enrollment Partnerships (NACEP) |
| Website | supa.syr.edu |


title: Project Accessory

abstract: Project Accessory is an American reality television series, a spin-off of the series Project Runway. It began airing on Lifetime on October 28, 2011. On the show, 12 contestants were given challenges in which they must create various fashion accessories with restrictions for materials, subject matter, and time. One or more contestants were eliminated each episode after appearing before a judging panel. Brian Burkhardt won the show and the $100,000 prize.

text:
# Project Accessory

***Project Accessory*** is an American reality television series, a spin-off of the series *Project Runway*. It began airing on Lifetime on October 28, 2011. On the show, 12 contestants were given challenges in which they must create various fashion accessories (ranging from jewelry and headpieces to handbags and shoes) with restrictions for materials, subject matter, and time. One or more contestants were eliminated each episode after appearing before a judging panel. Brian Burkhardt won the show and the $100,000 prize.

## Judges and mentor

## Contestants

Source:

| Designer | Age | Place of Residence | Finish |
| --- | --- | --- | --- |
| Cotrice Simpson | 38 | Georgia | 12th |
| Kelly Horton | 32 | Pennsylvania | 11th |
| David Grieco | 40 | California | 10th |
| Nicolina Royale | 30 | California | 9th |
| James Sommerfeldt | 29 | Illinois | 8th |
| Shea Curry | 38 | California | 7th |
| Adrian Dana | 41 | Georgia | 6th |
| Christina Caruso | 33 | New York | 5th |
| Diego Rocha | 36 | Illinois | 4th |
| Rich Sandomeno | 40 | California | 3rd |
| Nina Cortes | 26 | Florida | Runner-up |
| Brian Burkhardt | 40 | Florida | Winner |

### Progress

Source:

Designer Elimination Table
| ***Contestant*** | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Brian | **HIGH** | **HIGH** | IN | **HIGH** | **WIN** | **WIN** | **LOW** | **WINNER** |
| Nina | **WIN** | IN | IN | IN | **HIGH** | **HIGH** | **HIGH** | **RUNNER-UP** |
| Rich | IN | IN | **HIGH** | **LOW** | **LOW** | **LOW** | **WIN** | **3RD PLACE** |
| Diego | **HIGH** | IN | **HIGH** | **WIN** | **HIGH** | **LOW** | **OUT** |  |
| Christina | IN | IN | **WIN** | **HIGH** | IN | **HIGH** | **OUT** |  |
| Adrian | IN | **LOW** | **LOW** | IN | **LOW** | **OUT** |  | |
| Shea | IN | IN | **LOW** | **LOW** | **OUT** |  | | |
| James | **LOW** | **WIN** | IN | **OUT** |  | | | |
| Nicolina | **LOW** | **HIGH** | **OUT** |  | | | | |
| David | IN | **LOW** | **OUT** |  | | | | |
| Kelly | IN | **OUT** |  | | | | | |
| Cotrice | **OUT** |  | | | | | | |

The designer won *Project Accessory*.   The designer won the challenge.   The designer was in the top two, or the first announced into the top 3, but did not win.   The designer had one of the highest scores for that challenge, but did not place in the top two.   The designer had one of the lowest scores for that challenge, but was not in the bottom two.   The designer was in the bottom two, but was not eliminated.   The designer was eliminated from the competition.

### Elimination process

The judges announce the safe designers. The remaining designers are labeled as either the highest or lowest scoring designers. These designers are given critiques and are then told to leave the runway. Once they are brought back, the other designers that aren't in the top two are announced safe. Then the winner is announced, and the remaining top designer is in the top 2. The remaining designers are the lowest scoring designers. The people who aren't in the bottom two are announced safe. The bottom two remain, and one is then eliminated.

## Episodes

### Episode 1: Accessorize This?!

The 12 designers were welcomed by host and mentor at a storage facility in which they had to make a necklace, a belt and another accessory of their choice using materials found in the storage facilities. *Original Airdate:* October 27, 2011

WINNER: **Nina Cortes** ELIMINATED: **Cotrice Simpson**

### Episode 2: Sole Searching

The remaining 11 designers were sent to the Swarovski Crystal store where they picked a piece to inspire them. They had to make a pair of shoes as well as two accessories. *Original Airdate:* November 3, 2011

* **Guest Judge:** Nadja Swarovski

WINNER: **James Sommerfeldt** ELIMINATED: **Kelly Horton**

### Episode 3: Bling It On

The designers are given 24 hours to complete their next challenge, but Eva drops a surprise on them. *Original Airdate:* November 10, 2011

WINNER: **Christina Caruso** ELIMINATED: **David Grieco, Nicolina Royale**

### Episode 4: Its in the Bag

The designers are matched with an eBay customer featured on the site for their unique fashion sense. *Original Airdate:* November 17, 2011

* **Guest Judge:** Kara Ross, Rebecca Minkoff

WINNER: **Diego Rocha** ELIMINATED: **James Sommerfeldt**

### Episode 5: Beach Blanket Blingo

The designers go to the beach for a challenge. *Original Airdate:* December 1, 2011

WINNER: **Brian Burkhardt** ELIMINATED: **Shea Curry**

### Episode 6: Fall for Kenneth

The designers go on a field trip to a fashion magnate's headquarters and discover a coveted prize. *Original Airdate:* December 8, 2011

* **Guest Judge:** Alexa Chung

WINNER: **Brian Burkhardt** ELIMINATED: **Adrian Dana**

### Episode 7: Bugging Out

The designers search for inspiration at a curiosity shop to create a signature accessory. *Original Airdate:* December 15, 2011

* **Guest Judge:** Brian Atwood

WINNER: **Rich Sandomeno** ELIMINATED: **Christina Curoso, Diego Rocha**

### Episode 8: Finale

The season concludes with the final three designers presenting their creations to New York's fashion elite. In a plot twist, each of the three finalists is allowed to choose a partner to help finish their collections. Brian Burkhardt enlists shoemaker James Sommerfeldt, Rich Sandomeno chooses handbag designer Diego Rocha, and Nina Cortes picks handbag designer Kelly Horton. Later, the winner is selected by the judges. *Original Airdate:* December 22, 2011

* **Guest Judge:** Lorraine Schwartz

WINNER: **Brian Burkhardt, with shoes and accessories made by James Sommerfeldt** ELIMINATED: **Nina Cortes, Rich Sandomeno**

## Reception

In a mixed review, Common Sense Media's Elka Karl wrote, "While this competitive reality show is a bit rough around the edges, *Project Accessory* is worth a look, especially for teens who are interested in jewelry making, sewing, or other creative, crafty endeavors. Fans of *Project Runway* will likely tune in, and while the show benefits from the relationship with the original program, it also suffers from the inevitable comparisons. Neither Molly Sims or mentor Eva Jeanbart-Lorenzotti are anywhere near as charismatic or helpful as Heidi Klum or Tim Gunn. Luckily, the designers are engaging and represent an eclectic mix of styles." In a negative review, Brandon Nowalk of *The A.V. Club* stated, "As television, this is some pretty uninspiring stuff, the point of which, apparently, is to see how far a successful model can take an entirely different show."

## InfoBox

| *Project Accessory* | |
| --- | --- |
| Starring | Molly Sims
Kenneth Cole
Ariel Foxman
Eva Jeanbart |
| Country of origin | United States |
| Original language | English |
| No. of seasons | 1 |
| No. of episodes | 8 |
| Production | |
| Running time | 40-42 minutes |
| Production companies | The Weinstein Company Television
Addington Productions
Goodbye Pictures |
| Original release | |
| Network | Lifetime |
| Release | October 28 (2011-10-28)
December 22, 2011 (2011-12-22) |


title: Project Alamo

abstract: "Project Alamo" was a database of voter information created for Donald Trump's 2016 presidential campaign and an associated fundraising and political advertising operation on social media platforms. It was organized by the Giles-Parscale firm in San Antonio, Texas. The campaign paid Giles-Parscale as much as $94 million for fundraising, political advertising, and digital media services, including the creation of Trump's website. A new database of voter information named "Project Alamo" was at the heart of Giles-Parscale's efforts, allowing highly targeted advertising on social media platforms. The advertising campaigns added to the database over time, driving more effective targeting. The scale of the fundraising and political advertising campaigns on social media was massive, with hundreds of thousands of targeted ads being delivered daily. Project Alamo has been credited as an important factor in Trump's 2016 victory.

text:
# Project Alamo

**"Project Alamo"** was a database of voter information created for Donald Trump's 2016 presidential campaign and an associated fundraising and political advertising operation on social media platforms. It was organized by the Giles-Parscale firm in San Antonio, Texas. The campaign paid Giles-Parscale as much as $94 million for fundraising, political advertising, and digital media services, including the creation of Trump's website. A new database of voter information named "Project Alamo" was at the heart of Giles-Parscale's efforts, allowing highly targeted advertising on social media platforms. The advertising campaigns added to the database over time, driving more effective targeting. The scale of the fundraising and political advertising campaigns on social media was massive, with hundreds of thousands of targeted ads being delivered daily. Project Alamo has been credited as an important factor in Trump's 2016 victory.

## Fundraising

Giles-Parscale raised over $250 million for Donald Trump, primarily through Facebook. Giles-Parscale used targeting tools that are part of the Facebook advertising platform to deliver carefully crafted ads soliciting small donations from specific audiences defined by demographics, interests, and affinities. When a contributor would make a small donation, that person's information would be rolled up in a database of contributors that the firm would then reach more directly for future fundraising efforts. Facebook was thus used for cost-effective donor discovery, essentially a funnel for new contributors.

After the election, Brad Parscale, a principal at Giles-Parscale and the Trump campaign's Digital Director, described how the Facebook fundraising funnel worked: "Maybe you see an ad on Facebook and donate $5. Now you're in my system. So now it doesn't become efficient for me to get money from you on Facebook because they charge me. So I start using other means; cell phone, email and other operations to get to you to make further donations."

Giles-Parscale targeted fundraising ads through Facebook's "Lookalike Audiences" tool, finding new people with similar characteristics to known Trump supporters based on demographics, interests, and affinities. The inputs for lookalike targeting included a database of Trump supporters from the campaign as well as multiple data sources from the Republican National Committee. Once the lookalike audience profiles were defined, ads could then be targeted and served to them based on what was known about them. Giles-Parscale created and A/B-tested thousands of ad variants, tuning them for maximum effectiveness.

Facebook allows micro-targeting down to neighborhoods (geographically) and also by very narrow interests and affinities.

## Political advertising

The fundraising ads created to attract donors also contained key political messages and themes for the Trump campaign, so the fundraising ads doubled as political ads. The cost to surface a fundraising ad would naturally drop as more people interacted with the ad (through Facebook's surfacing algorithms), increasing its effectiveness as a messaging tool as well as a donor discovery mechanism. This was not a strategy that was unique to Giles-Parscale or to Trump, but the scale at which this dual strategy was used in Project Alamo was certainly notable.

In addition to fundraising ads, Giles-Parscale identified 14.4 million persuadable voters in key districts of swing states and targeted political ads at them through Facebook and other social media platforms. The ads were intended to galvanize turn-out for Trump supporters and suppress turn-out for key Democratic voters. In the *San Antonio Express-News* interview referenced earlier, Parscale said of the targeted ads, "That's why we won. We knew just the voters we needed to turn out and we turned them out in big numbers".

Thousands of ad variants were A/B-tested for effectiveness. Gary Coby, director of advertising at the Republican National Committee, said, "On any given day…the campaign was running 40,000 to 50,000 variants of its ads, testing how they performed in different formats, with subtitles and without, and static versus video, among other small differences. On the day of the third presidential debate in October, the team ran 175,000 variations." Coby called this "A/B testing on steroids."

## Dark advertising and dark posts

Giles-Parscale's Facebook ads in the 2016 campaign included "dark posts"; targeted Facebook ads that appear in a user's Facebook Newsfeed without visibility to anyone else on the platform (e.g. other Facebook friends). These were considered "dark advertising," as the advertisements did not include any reference or link to the advertiser.

In response to the outcry over dark advertising on Facebook, CEO Mark Zuckerberg announced in September 2017 that all future political ads would be linked to the advertiser. Additional details were rolled out in October 2017, including the requirement that all call-outs or banners advertised would specify who paid for them. Facebook now aggregates every ad purchased by an advertiser on a special page and maintains a searchable archive of each advertiser's ads going back four years.

## The name "Project Alamo"

The moniker "Project Alamo" was initially attached to the database of voter information created and used by Giles-Parscale during the 2016 campaign but eventually encompassed the associated fundraising and political advertising efforts as well. The name is believed to be derived from the location of Giles-Parscale in San Antonio (which was the nerve center of the digital operations during the campaign), also the location of the Battle of the Alamo.

1. Handley, Lucy (2017-10-09). "Trump's digital director was paid $1,500 for his election website. Then he raked in $94 million". *CNBC*. Retrieved 2017-12-02.
2. Bertoni, Steven. "Exclusive Interview: How Jared Kushner Won Trump The White House". *Forbes*. Retrieved 2017-12-02.
3. "Why the Trump Machine Is Built to Last Beyond the Election". *Bloomberg.com*. 2016-10-27. Retrieved 2017-12-02.
4. Barajas, Michael. ""Project Alamo": Lessons From Inside Trump's SA-Based Digital Nerve Center". *San Antonio Current*. Archived from the original on 2020-11-09. Retrieved 2017-12-02.
5. "Trump's digital ad exec based in San Antonio". *San Antonio Express-News*. Retrieved 2017-12-02.
6. Halpern, Sue (2017-06-08). "How He Used Facebook to Win". *The New York Review of Books*. ISSN 0028-7504. Retrieved 2017-12-02.
7. Kreiss, Daniel (2016). *Prototype Politics: Technology-Intensive Campaigning and the Data of Democracy*. Oxford University Press. ISBN 9780199350247.
8. "Choose your audience". *Facebook Business*. Retrieved 2017-12-02.
9. "Showing Relevance Scores for Ads on Facebook". *Facebook for Business*. Retrieved 2017-12-02.
10. Lambrecht, Bill (2016-11-16). "Trump's digital ad exec based in San Antonio". *Houston Chronicle*. Retrieved 2022-08-05.
11. "This Is How Facebook Actually Won Trump the Presidency". *WIRED*. Retrieved 2017-12-02.
12. "Mark Zuckerberg says Facebook will end untraceable political ads". *The Verge*. Retrieved 2017-12-05.
13. "Facebook rolls out new ad policy changes ahead of Russia hearings". *POLITICO*. Retrieved 2017-12-05.


title: Eglė Rakauskaitė

abstract: Eglė Rakauskaitė, currently better known as Egle Rake, is a Lithuanian visual artist. She belongs to the first generation of contemporary artists who came onto the Lithuanian art scene around the re-establishment of the country's independence in 1990 and is now recognised to be among the most notable Lithuanian artists to have emerged during the 90s.

text:
# Eglė Rakauskaitė

**Eglė Rakauskaitė**, currently better known as **Egle Rake**, is a Lithuanian visual artist. She belongs to the first generation of contemporary artists who came onto the Lithuanian art scene around the re-establishment of the country's independence in 1990 and is now recognised to be among the most notable Lithuanian artists to have emerged during the 90s.

## Early years (1993–1998)

### Object art

Rakauskaitė was born in 1967 in Vilnius. She graduated from the painting department of the Vilnius Academy of Arts in 1993. For a couple of years after graduation she participated in the emerging Lithuanian fashion scene, experimenting with the incorporation of non-traditional materials and humorous associations in designs which were intended to shock the public.

The first works which Rake exhibited in a visual art context were related to her experience of the fashion world. These include *For Virginia* (1994), a dress made of dried jasmine petals sewn together, and *Hairy* (1994), an all-over suit knitted from synthetic fabric which has the appearance of curly dark hair, and which covered the whole body, leaving only apertures the eyes, nose and mouth, as well as those areas where hair is "legitimate" on a woman—the head and the crotch.

In a further number of works, hair continued to be explored as a material. In 1995, Rake participated in the Soros Centre for Contemporary Arts exhibition *Mundane Language*, where works were created specifically for various non-gallery locations throughout the city of Vilnius, with a two-part work, *For Guilty Without Guilt*. The first part, *Net*, was a net woven out of women's natural hair and stretched out high between two buildings in the former Vilnius Jewish ghetto. The second part, entitled ***Trap. Expulsion from Paradise***, was a live sculpture in which Rake formed another net by attaching the braids of thirteen adolescent girls. This work has been called "the logo of 1990s' Lithuanian art" and has thereafter been shown on a number of occasions: in 1996 at Zachęta Gallery in Warsaw (exhibition *Personal Time*); in 1997 at the *5th Istanbul Biennial*; in 1999 in Stockholm for the exhibition *After the Wall. Art and Culture in Post-Communist Europe*; in 2009 in Vienna (exhibition *Gender Check. Femininity and Masculinity in the Art of Eastern Europe*); and in 2012 in Zagreb, in an exhibition which formed part of the project *re.act.feminism*.

Along with flower petals and hair, Rake has explored a number of other organic, perishable materials in the art of her early period, including honey, animal fat and chocolate. ***Chocolate Crucifixes*** (1995) was another landmark work; a sculpture composed of chocolate crucifix figurines each 42 cm high, fixed onto the wall to form a decorative pattern. First shown in Lithuania with just 42 crucifixes (exhibition *New Works* at the Vilnius Contemporary Art Centre (CAC)), the work was increased to a heroic scale with 1090 pieces in 2000 when it was shown in the exhibition *L'autre moitié de l'Europe* at the Galerie Nationale du Jeu de Paume in Paris.

### Body art and performance

With ***In Honey*** (1996) the artist's body was incorporated within the work for the first time, and it is also one her first uses of the video medium. Categorised as a videoperformance, the work has been presented as the video documentation of a performance in which the artist lay in a sort of hammock half-immersed in honey (due to the density of honey the human body floats in it) breathing through a tube.

From *In Honey* followed on *In Fat* (1998), another videoperformance. For this work, Rake lay fully immersed in a glass tank filled with melted lard, again breathing through a tube, until the fat cooled down and solidified. The work was presented in an installation where three aligned television monitors, each showing a third of the artist's body and together forming a nearly life-size image, are fitted in blankly dark premises, raised on a platform with their backs turned to the spectator; in front of the screens a pane of shop-window glass is hung obliquely, so that the view from the screens is reflected in the glass. The final video is twenty-minutes long, during which small movements of the body, most notably a hand, are perceptible while the fat gradually becomes lighter in colour and increasingly more opaque.

## Later years (1998–2003)

### Video art and installation

Towards the end of the 1990s a notable shift in Rake's art is perceptible as she turns her sight from the exploration of unconventional materials and her own body as a medium to the observation of her social context. At the same time, video becomes her main form of expression. In 1998 she participated in the Vilnius Contemporary Art Centre's (CAC) exhibition *Twilight*, the first in Lithuania dedicated entirely to the "new technologies" penetrating art, with the work *Sorrowful*, an installation consisting of a TV monitor placed in an object which resembles a Lithuanian wayside shrine; the video in the monitor shows a man imitating the usual pose of a pensive Christ as he is usually represented in the aforementioned shrines.

*Faces* was also shown for the first time in 1998 and continued as a project during a few years thereafter. A synchronised two-channel video installation, it shows the faces of various people Rake encountered in professional and personal situations during that period. Two screens are placed on top of each other, a portrait of a person looking at the camera at the camera appears in the top screen, then "drops" or "melts" into the bottom screen where he or she is seen with eyes closed, while a new face emerges above.

Also developed over the years between 1998 and 2003, the work *Street Musicians* shows street performers filmed in various countries during the artist's travels, and is displayed as an installation with a variable number of monitors scattered around the room, suspended from the ceiling.

During her residency at the Out North Contemporary Art House in Anchorage, Alaska in 2001, she began the project *Another Breathing*. She interviewed six elders form the Pioneers' Home in Anchorage about their thoughts on life and death; the project was later extended by interviewing seniors in Lithuania, Russia, Austria and Italy. The work was later displayed on five monitors which simultaneously showed the interview footage from the five countries.

*My America* (2003) is a twelve-minute video which presents, in documentary style, a fragment of daily routine of illegal immigrant care workers in the United States, filmed when Rake took up such a job herself during a stay in the US.

### Photography

*The Homeless of Vilnius* (2000) is a series of sixteen black and white large-scale (95x70 cm) photographic prints, which depict the homeless people Rake used to meet most often on the streets of Vilnius. Photographed against a plain grey background (in a studio which was set up in the street for the purpose), these people are seen in all their individuality, rather than determined by their usual context.

## Recent years (2004–present)

In 2004, Rake's solo exhibition *My Address is neither a House nor a Street, My Address is a Shopping Center*, which was one of the exhibitions in the cycle *Emission 2004* at the CAC, marked another shift in the artist's oeuvre; video and audio works here were recordings of enacted or suggested interventions into the routine proceedings of everyday life.

The same proactive attitude marks a painting series produced in 2011—these works could be read as abstract compositions alluding to Kazimir Malevich's *Black Square* of 1915, their colouring guided by Wassily Kandinsky's colour theory. They also function, however, as QR codes which can be scanned with a smartphone or tablet device, revealing the work's title or an Internet link to another image or video clip. The encoded content in many cases referred in an ironic tone, to various social, political and economic topical issues.

## Awards and residencies

2003

* State Grant of the Lithuanian Ministry of Culture

2000

* ArtsLink residency, Out North Contemporary Art House, Anchorage, Alaska

1998

1997

* Civitella Ranieri Center, Umbertide PG, Italy
* State Grant of the Lithuanian Ministry of Culture

## 48th International Venice Biennale

In 1999, Lithuania participated for the first time in the Venice Biennale. Eglė Rakauskaitė was chosen as Lithuania's representative (her works *In Honey* and *Faces* were exhibited) along with sculptor Mindaugas Navakas.

## Selected solo exhibitions

* 2004 *My Address is neither a House nor a Street, My Address is a Shopping Centre*, Contemporary Art Centre (CAC), Vilnius
* 2004 *In My Own Juice*, Tallinn Art Hall, Tallinn
* 2003 *My Life to Live*, National Centre for Contemporary Arts, Moscow
* 2002 XL Gallery, Moscow
* 2000 *New Works*, CAC, Vilnius

## Selected group exhibitions

* 2013 *re.act.feminism #2 – a performing archive (2011 –2013)*, Akademie der Künste, Berlin
* 2013 *Part of a Larger Whole. Lithuanian Contemporary Art*, CAC, Vilnius
* 2012 *re.act.feminism #2 – a performing archive (2011 –2013)*, Galerija Miroslav Kraljev, Zagreb
* 2011 *Where Do We Migrate To?*, Center for Art Design and Visual Culture, University of Maryland, Baltimore
* 2010 *Lithuanian Art 2000–2010: Ten Years*, CAC, Vilnius
* 2009 *Gender Check. Feminity and Masculinity in the Art of Eastern Europe*, mumok (Museum Moderner Kunst), Vienna
* 2009 *Transitland: Video Art from Central and Eastern Europe 1989–2009*, Rensselaer Polytechnic Institute, Troy
* 2004 *New Video, New Europe: A Survey of Eastern European Video*, The Renaissance Society, Chicago; Contemporary Art Museum, St.Louis; Tate Modern, London
* 2004 *Faster than History*, Kiasma, Helsinki
* 2000 *L'autre moitié de l'Europe*, Galerie Nationale du Jeu de Paume, Paris
* 1999 *After the Wall: Art and Culture in Post-Communist Europe*, Moderna Museet, Stockholm; Lugwig Museum, Budapest; Hamburger Bahnhof, Berlin

## Further reading

* Henry, Nicholas, *Cream: Contemporary Art in Culture*, London: Phaidon, 1998
* Warr, Tracey (ed.) with Amelia Jones, *The Artist's Body*, London: Phaidon Press, 2000
* Collins, Judith, *Sculpture Today*, London: Phaidon Press, 2007

## InfoBox

| Egle Rake | |
| --- | --- |
| Born | Eglė Rakauskaitė
1967 (age 5657)
Vilnius, Lithuanian SSR |
| Education | Vilnius Academy of Arts |