title: Robert Campbell (journalist)

abstract: Robert Campbell is a writer and architect. He is currently an architecture critic for the Boston Globe. He lives and works in Cambridge, Massachusetts.

text:
# Robert Campbell (journalist)

**Robert Campbell** (born March 31, 1937, in Buffalo, New York) is a writer and architect. He is currently an architecture critic for the *Boston Globe*. He lives and works in Cambridge, Massachusetts.

## Education

Campbell is a graduate of Harvard College, where he graduated Phi Beta Kappa, the Columbia Graduate School of Journalism, and the Harvard Graduate School of Design, where he received the Appleton Traveling Fellowship and Francis Kelley Prize.

## Career

### Architect and critic

Campbell entered private practice as an architect in 1975, as a consultant for the improvement or expansion of cultural institutions, including the Isabella Stewart Gardner Museum and the Boston Symphony Orchestra. He has been an urban design consultant to cities and is an advisor to the Mayors' Institute on City Design, which he helped found.

In 1997 he was architect-in-residence at the American Academy in Rome. In 2002 he helped plan and appeared in a television series, “Beyond the Big Dig”.

### Poet and photographer

Campbell's poems have appeared in the *Atlantic Monthly* and *Harvard Review*, among other publications. His photographs have also been published widely.

### Teaching

Campbell has taught at the Harvard Graduate School of Design, the Boston Architectural College, and the University of North Carolina. He also is a former visiting scholar at the Massachusetts Institute of Technology. From 1993 to 2002 he was visiting Sam Gibbons Eminent Scholar in Architecture and Urban Planning at the University of South Florida, and in 2002 he was Max Fisher Visiting Professor at the University of Michigan. In 2003 he was a senior fellow in the National Arts Journalism Program at Columbia University.

## Awards

In 1996, Campbell won the Pulitzer Prize for Criticism. A Fellow of the American Institute of Architects, he has received the AIA's Medal for Criticism; the Commonwealth Award of the Boston Society of Architects; a Design Fellowship from the National Endowment for the Arts (1976); and grants from the Graham Foundation and the J. M. Kaplan Fund. Mr. Campbell was the 2004 recipient of the Award of Honor from the Boston Society of Architects. In 2002 he won a national Columbia Dupont Award for "Beyond the Big Dig". He is a Fellow of the American Academy of Arts and Sciences. Campbell is also a senior fellow of the Design Futures Council. Campbell was one of two architecture critics to be honored with the 2018 Vincent Scully Prize, awarded by the National Building Museum; his fellow honoree was Inga Saffron, who is architecture critic of *The Philadelphia Inquirer*.

## Partial bibliography

* 1992: (with Peter Vanderwarker) *Cityscapes of Boston: an American city through time*. Houghton Mifflin. 1992. ISBN 0-395-58119-2.
* 2002: (with Curtis W. Fentress, et al.) *Civic builders*. Academy Press. 16 August 2002. ISBN 0-471-49876-9.

1. Heinz Dietrich Fischer, Erika J. Fischer - *Complete Biographical Encyclopedia of Pulitzer Prize Winners, 1917-2000*
2. "Mayors' Institute on City Design Participants - C". Archived from the original on 2006-10-14.
3. Design Futures Council Senior Fellows "Senior Fellows :: DesignIntelligence". Archived from the original on 2007-11-06. Retrieved 2007-11-06.
4. "2018 Scully Prize: Essential Reading". *National Building Museum*. Retrieved 11 March 2019.


title: Symphony No. 5 (Zwilich)

abstract: The Symphony No. 5 or Concerto for Orchestra is a composition for orchestra by the American composer Ellen Taaffe Zwilich. The work was commissioned by the Juilliard School in honor of Bruce Kovner and Suzie Kovner with support of the Trust of Francis Goelet. It was first performed by the Juilliard Orchestra conducted by James Conlon at Carnegie Hall on October 27, 2008.

text:
# Symphony No. 5 (Zwilich)

The **Symphony No. 5** or ***Concerto for Orchestra*** is a composition for orchestra by the American composer Ellen Taaffe Zwilich. The work was commissioned by the Juilliard School in honor of Bruce Kovner and Suzie Kovner with support of the Trust of Francis Goelet. It was first performed by the Juilliard Orchestra conducted by James Conlon at Carnegie Hall on October 27, 2008.

## Composition

The symphony functions both as a traditional symphony and as a concerto for orchestra. Zwilich described her approach in the score program notes, remarking, "The entire work treats the orchestra like a huge chamber ensemble, in which each player or section can be a brilliant soloist one moment and a sensitive partner the next."

### Structure

The symphony has a performance duration of approximately 24 minutes and is cast in four movements:

1. Prologue
2. Celebration
3. Memorial
4. Epilogue

The first movement "Prologue" introduces several themes used throughout the remainder of the symphony. The second movement "Celebration," the composer notes, was written "in celebration of the vibrant energy" of the Juilliard Symphony. The third movement "Memorial" was written "in remembrance of composers whose voices were silenced by tyranny."

### Instrumentation

The work is scored for a large orchestra comprising piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, trombone, bass trombone, tuba, timpani, four percussionists, and strings.

## Reception

Reviewing the world premiere, Steve Smith of *The New York Times* wrote, "the symphony demonstrated Ms. Zwilich’s flair for orchestration. Focus restlessly shifted among sections, and from massed groups to isolated soloists. Unorthodox percussion instruments (like the spiral cymbal, a dangling, serpentine coil that offers a distant roar) and techniques (timpani played with a model of wire brush known as dreadlocks) showed that Ms. Zwilich keeps up with recent trends." He added, "Determining whether Ms. Zwilich’s Fifth Symphony is among her strongest creations would require more than a single hearing. But the qualities that have long made her music personal and compelling were certainly present, and the Juilliard musicians took up the piece with diligence and vitality."


title: Untitled (mewithoutYou EP)

abstract: [untitled] is the fourth EP by American indie rock band mewithoutYou. The record was produced by Will Yip. On August 13, 2018, mewithoutYou released the first single off of the not-yet-announced [Untitled], "Julia." At the same time of the single's release, the band tweeted a link to a page on their website containing only a countdown timer. The timer finished at 12:00 am Eastern time on August 17, 2018 and the band announced they would be releasing their seventh studio album, [Untitled], on October 5, 2018. In addition to the full length album announcement, mewithoutYou digitally released a "partner" EP named [untitled].

text:
# Untitled (mewithoutYou EP)

***\[untitled\]*** is the fourth EP by American indie rock band mewithoutYou. The record was produced by Will Yip.

On August 13, 2018, mewithoutYou released the first single off of the not-yet-announced *\[Untitled\]*, "Julia (or, 'Holy to the LORD' on the Bells of Horses)." At the same time of the single's release, the band tweeted a link to a page on their website containing only a countdown timer. The timer finished at 12:00 am Eastern time (05:00 UTC) on August 17, 2018 and the band announced they would be releasing their seventh studio album, *\[Untitled\]*, on October 5, 2018. In addition to the full length album announcement, mewithoutYou digitally released a "partner" EP named *\[untitled\]*.

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Dead Press! | 9/10 |
| Jesus Freak Hideout | 4/5 |
| Punknews.org | 4/5 |
| Sputnikmusic | 4.5/5 |

## Track listing

Music by mewithoutYou, lyrics by Aaron Weiss.

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Bethlehem, WV" | 3:36 |
| 2. | "Winter Solstice" (alt. version) | 3:24 |
| 3. | "Dirty Air" | 3:21 |
| 4. | "Cities of the Plain" | 5:05 |
| 5. | "Existential Dread, Six Hours' Time" | 3:25 |
| 6. | "August 6th" | 3:28 |
| 7. | "Kristy w/ the Sparkling Teeth" | 3:04 |

## InfoBox

| \[untitled\] | |
| --- | --- |
|  | |
| EP by MewithoutYou | |
| Released | August 17, 2018 |
| Genre | Indie rock, art rock |
| Length | 25:23 |
| Label | Run for Cover, Big Scary Monsters |
| Producer | Will Yip |
| MewithoutYou chronology | |
| *Pale Horses*
(2015) ***\[untitled\]***
(2018) *\[Untitled\]*
(2018) | |


title: Don Mills (basketball)

abstract: Don Mills is a former American college basketball player. He is best known as a key reserve on the University of Kentucky's 1958 NCAA championship team.

text:
# Don Mills (basketball)

**Don Mills** is a former American college basketball player. He is best known as a key reserve on the University of Kentucky's 1958 NCAA championship team.

## College career

Mills was recruited to play basketball at the University of Kentucky by head coach Adolph Rupp following an All-American season at Berea Community High School. As a sophomore (the first season he was eligible to play), Mills was the first player off the bench for the "Fiddlin' Five" during the 1957-58 season. He played a significant role in the 1958 Championship Game against Seattle after starting center Ed Beck was sidelined due to foul trouble. Mills scored nine points off the bench, including a hook shot over Seattle's Elgin Baylor with 5:50 minutes left in the second half to give Kentucky the lead.

Mills became the Wildcats' starting center the following season. As a senior, he averaged 12.8 points and 12.9 rebounds per game and was named second team All-Southeastern Conference (SEC) by the Associated Press and first team All-SEC by the conference's coaches. He finished his collegiate career with 699 rebounds (9.4 per game) and 664 points (9.4 per game) in 71 total games played.

## Post-Kentucky

Mills was selected in the 18th round (92nd overall) by the Syracuse Nationals in the 1960 NBA draft but never played in an NBA game.

## InfoBox

Don Mills
| Personal information | |
| --- | --- |
| Nationality | American |
| Listed height | 6 ft 6 in (1.98 m) |
| Listed weight | 185 lb (84 kg) |
| Career information | |
| High school | Barea (Berea, Kentucky) |
| College | Kentucky (1957–1960) |
| NBA draft | 1960: 18th round, 92nd overall pick |
| Selected by the Syracuse Nationals | |
| Position | Center |
| Number | 54 |
| Career highlights and awards | |
|  | |
|  | |


title: Porto Esperidião

abstract: Porto Esperidião is a municipality in the state of Mato Grosso in the Central-West Region of Brazil. The municipality contains 27% of the 120,092 hectares Serra de Santa Bárbara State Park, created in 1997.

text:
# Porto Esperidião

**Porto Esperidião** is a municipality in the state of Mato Grosso in the Central-West Region of Brazil.

The municipality contains 27% of the 120,092 hectares (296,750 acres) Serra de Santa Bárbara State Park, created in 1997.

15°51′S 58°28′W / 15.850°S 58.467°W / -15.850; -58.467

## InfoBox

| Porto Esperidião | |
| --- | --- |
| Municipality | |
| Location in Mato Grosso | |
| Country | Brazil |
| Region | Center-West |
| State | Mato Grosso |
| Mesoregion | Sudoeste Mato-Grossense |
| Area(2015) | |
| Total | 2.243195 sq mi (5.809848 km2) |
| Population (2020 ) | |
| Total | 12,097 |
| Time zone | UTC−4 (AMT) |


title: Education in Latvia

abstract: Education in Latvia is free and compulsory. Compulsory education includes two years of preschool education and a further nine years of primary education. In 1996, the gross primary enrollment rate was 95.8 percent, while the net primary enrollment rate was 89.5 percent. The number of children who do not attend primary school was increasing as of 2001. In rural areas, a number of schools have been closed. The place allocated to minority languages in secondary education after the 2004 minority school transfer to bilingual education was an issue of protests in 2003–2004 and was opposed by Headquarters for the Protection of Russian Schools and Association in Support of Russian Language Schools. According to 2010 data from UNESCO, 4,720 students from Latvia were enrolled in tertiary education abroad; 1,760 students from other countries were enrolled in tertiary education in Latvia.

text:
# Education in Latvia

**Education in Latvia** is free and compulsory. Compulsory education includes two years of preschool education (usually starting at five years old) and a further nine years of primary education (usually until 15/16 years of age).

In 1996, the gross primary enrollment rate was 95.8 percent, while the net primary enrollment rate was 89.5 percent. The number of children who do not attend primary school was increasing as of 2001. In rural areas, a number of schools have been closed. The place allocated to minority languages in secondary education after the 2004 minority school transfer to bilingual education (60% in Latvian and 40% in the minority language) was an issue of protests in 2003–2004 and was opposed by Headquarters for the Protection of Russian Schools and Association in Support of Russian Language Schools.

According to 2010 data from UNESCO, 4,720 students from Latvia were enrolled in tertiary education abroad (mostly in the UK, Russia and Germany); 1,760 students from other countries were enrolled in tertiary education in Latvia (mostly from Russia, Ukraine and Lithuania).


title: Conceptual architecture

abstract:
Conceptual architecture is a form of architecture that utilizes conceptualism, characterized by an introduction of ideas or concepts from outside of architecture often as a means of expanding the discipline of architecture. This produces an essentially different kind of building than one produced by the widely held 'architect as a master-builder' model, in which craft and construction are the guiding principles. In conceptual architecture, the finished building as product is less important than the ideas guiding them, ideas represented primarily by texts, diagrams, or art installations. Architects that work in this vein are Diller + Scofidio, Bernard Tschumi, Peter Eisenman, and Rem Koolhaas. Conceptual architecture was examined in the essay "Notes on Conceptual Architecture: Towards a Definition" by Peter Eisenman in 1970, and again by the Harvard Design Magazine in autumn 2003 and winter 2004, by a series of articles under the heading "Architecture as Conceptual Art? Blurring Disciplinary Boundaries". But the understanding of design as a construction of a concept was understood by many modernist architects as well. To quote Louis Kahn on Frank Lloyd Wright:
  - It doesn't work, it doesn't have to work. Wright had the shape conceived long before he knew what was going into it. I claim that is where architecture starts, with the concept.

text:
# Conceptual architecture

**Conceptual architecture** is a form of architecture that utilizes conceptualism, characterized by an introduction of ideas or concepts from outside of architecture often as a means of expanding the discipline of architecture. This produces an essentially different kind of building than one produced by the widely held 'architect as a master-builder' model, in which craft and construction are the guiding principles. In conceptual architecture, the finished building as product is less important than the ideas guiding them, ideas represented primarily by texts, diagrams, or art installations. Architects that work in this vein are Diller + Scofidio, Bernard Tschumi, Peter Eisenman, and Rem Koolhaas.

Conceptual architecture was examined in the essay "Notes on Conceptual Architecture: Towards a Definition" by Peter Eisenman in 1970, and again by the *Harvard Design Magazine* in autumn 2003 and winter 2004, by a series of articles under the heading "Architecture as Conceptual Art? Blurring Disciplinary Boundaries". But the understanding of design as a construction of a concept was understood by many modernist architects as well. To quote Louis Kahn on Frank Lloyd Wright:

It doesn't work, it doesn't have to work. Wright had the shape conceived long before he knew what was going into it. I claim that is where architecture starts, with the concept.

## Bibliography

* Eisenman, Peter (2004). *Eisenman Inside Out: Selected Writings, 1963-1988*. Yale University Press. ISBN 0-300-09008-0
* Frampton, Kenneth (1992). *Modern Architecture, a critical history.* Thames & Hudson- Third Edition. ISBN 0-500-20257-5
* "Architecture As Conceptual Art?". *Harvard Design Magazine.* Number 19, Fall 2003/Winter 2004.


title: Project Moon Dust

abstract: Project Moon Dust was a covert project by the United States Air Force during the Cold War that existed at the Air Force Missile Development Center at Holloman Air Force Base. The aim of the project was to recover objects and debris from spacecraft that survived re-entry through the atmosphere back to Earth and to exploit the discovery of Soviet hardware when it temporarily fell into American hands.

text:
# Project Moon Dust

**Project Moon Dust** was a covert project by the United States Air Force during the Cold War that existed at the Air Force Missile Development Center at Holloman Air Force Base. The aim of the project was to recover objects and debris from spacecraft that survived re-entry through the atmosphere back to Earth and to exploit the discovery of Soviet hardware when it temporarily fell into American hands.


abstract: The fourteenth season of Big Brother Suomi premiered on 5 September 2021 and lasted for 12 weeks. It was aired on Nelonen with a 24/7 live feed on Ruutu.fi streaming service. Elina Kottonen was the host of the main show. The Daily Show was co-hosted by Kimmo Vehviläinen and Alma Hätönen. The Big Brother house is located at the same place in Vantaa as in the previous VIP season.

text:
# Big Brother (Finnish TV series) season 14

The fourteenth season of *Big Brother Suomi* premiered on 5 September 2021 and lasted for 12 weeks. It was aired on Nelonen with a 24/7 live feed on Ruutu.fi streaming service.

Elina Kottonen was the host of the main show. The Daily Show was co-hosted by Kimmo Vehviläinen and Alma Hätönen.

The **Big Brother** house is located at the same place in Vantaa as in the previous VIP season.

## Housemates

| Housemates | Age on Entry | Occupation | Residence | Day entered | Day exited | Status |
| --- | --- | --- | --- | --- | --- | --- |
| Jasmiina Yildiz | 24 | Practical nurse | Jyväskylä | 1 | 85 | Winner |
| Aki Reittu | 27 | Forestry machine driver | Lieksa | 1 | 85 | Runner-up |
| Taavi Mets | 40 | Entrepreneur, Amusement park worker | Helsinki | 1 | 85 | Third place |
| Anssi Huovinen | 31 | Game Streamer | Utajärvi | 1 | 85 | Fourth place |
| Lasse Suominen | 26 | Former peacekeeping soldier | Säkylä | 1 | 85 | Fifth place |
| Pekka Koponen | 27 | Paramedic | Kuopio | 1 | 78 | Evicted |
| Samir Demnati | 32 | Former military musician, various businesses | Pori | 29 | 76 | Evicted |
| Ville Poutiainen | 22 | Musician Student | Helsinki | 1 | 74 | Evicted |
| Sami Styrman | 29 | Entrepreneur | Järvenpää | 1 | 71 | Evicted |
| Melody Pressley | 29 | Head of kitchen | Helsinki | 1 | 64 | Evicted |
| Juhani Koskinen | 37 | Farmer | Jalasjärvi | 1 | 57 | Evicted |
| Noora Lappalainen | 23 | Hairdresser | Helsinki | 29 | 50 | Evicted |
| Maiju Vesa | 50 | Community educator / Sexual therapist | Kouvola | 29 | 43 | Evicted |
| Katja Lantiainen | 35 | Master of Business sciences, Master of law | Oulu | 1 | 36 | Evicted |
| Sanni Utriainen | 30 | Massager | Ylöjärvi | 1 | 36 | Evicted |
| Laura Ronkainen | 24 | Head of restaurant | Helsinki | 1 | 29 | Evicted |
| Laura Luoto | 25 | Engineering Student | Helsinki | 1 | 22 | Evicted |
| Minna Autio | 42 | Entrepreneur | Helsinki | 1 | 15 | Evicted |
| | | | 50 | 60 | Left |
| Pippa Najibi | 49 | Teacher | Espoo | 1 | 8 | Evicted |

## Nominations table

The first housemate in each box was nominated for two points, and the second housemate was nominated for one point.

|  | Week 1 | | Week 2 | Week 3 | Week 4 | Week 5 | Week 6 | | Week 7 | | Week 8 | Week 9 | Week 10 | Week 11 | | | Week 12 |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | House vote | | | Day 74 | | | Day 76 | | Day 78 | | | ||
| Jasmiina | *No
nominations* |  | Sanni
Sami | Pekka
Sanni | *Not
eligible* | *Nominated* | *Nominated* |  | Juhani
Aki |  | Juhani(4)
Sami(2) | Anssi
Pekka | Sami
Anssi | *Nominated* | *No
nominations* | Aki
Pekka | **Winner**
(Day 85) |
| Aki | *Nominated* |  | Laura L
Minna | Taavi
Laura L | Laura R | *No
nominations* | *No
nominations* |  | *Not
eligible* |  | Lasse
Taavi | Melody
Lasse | Taavi
Lasse | *No
nominations* | *No
nominations* | Jasmiina
Taavi | **Runner-up**
(Day 85) |
| Taavi | *No
nominations* |  | Minna
Juhani | Katja
Sami | Laura R | *No
nominations* | *No
nominations* |  | *Not
eligible* |  | Anssi
Pekka | Anssi
Pekka | Anssi
Pekka | *Nominated* | *Nominated* | Pekka
Aki | **Third place**
(Day 85) |
| Anssi | *Nominated* |  | Sami
Minna | Lasse
Sami | *Not
eligible* | *No
nominations* | *Nominated* |  | Noora
Taavi |  | Lasse
Jasmiina | Jasmiina
Lasse | Jasmiina
Lasse | *No
nominations* | *Nominated* | Jasmiina
Taavi | **Fourth place**
(Day 85) |
| Lasse | *Save* |  | Sanni
Anssi | Sanni
Pekka | Laura R | *No
nominations* | *No
nominations* |  | *Not
eligible* |  | Anssi
Pekka | Anssi
Pekka | Anssi
Pekka | *No
nominations* | *Nominated* | Aki
Anssi | **Fifth place**
(Day 85) |
| Pekka | *Nominated* |  | Taavi
Melody | Laura L
Sami | Laura R | *Nominated* | *Save* |  | Taavi
Juhani |  | Juhani
Lasse | Ville
Melody | Ville
Samir | *Nominated* | *No
nominations* | Taavi
Lasse | *Evicted*
(Day 78) |
| Samir | *Not in house* | | | | | *No
nominations* | *Nominated* |  | Noora
Juhani |  | Juhani
Ville | Pekka
Anssi | Ville
Sami | *No
nominations* | *Nominated* | *Evicted*
(Day 76) | |
| Ville | *Save* |  | Sami
Taavi | Taavi
Juhani | *Not
eligible* | *No
nominations* | *Save* |  | Taavi
Juhani |  | Juhani
Sami | Taavi
Samir | Aki
Sami | *Nominated* | *Evicted*
(Day 74) | | |
| Sami | *No
nominations* |  | Jasmiina
Taavi | Pekka
Jasmiina | Melody | *Nominated* | *Nominated* |  | Taavi
Juhani |  | Pekka
Taavi | Pekka
Jasmiina | Taavi
Jasmiina | *Evicted*
(Day 71) | | | |
| Melody | *No
nominations* |  | Katja
Sami | Sami
Juhani | *Nominated* | *No
nominations* | *No
nominations* |  | *Not
eligible* |  | Juhani
Sami | Anssi
Aki | *Evicted*
(Day 64) | | | | |
| Juhani | *No
nominations* |  | Minna
Laura L | Laura L
Pekka | *Not
eligible* | *No
nominations* | *No
nominations* |  | *Not
eligible* |  | Anssi
Pekka | *Evicted*
(Day 57) | | | | | |
| Noora | *Not in house* | | | | | *No
nominations* | *No
nominations* |  | *Not
eligible* |  | *Evicted*
(Day 50) | | | | | | |
| Maiju | *Not in house* | | | | | *No
nominations* | *Nominated* |  | *Evicted*
(Day 43) | | | | | | | | |
| Katja | *No
nominations* |  | Sanni
Taavi | Juhani
Taavi | Melody | *Nominated* | *Evicted*
(Day 36) | | | | | | | | | | |
| Sanni | *No
nominations* |  | Minna
Lasse | Lasse
Aki | Laura R | *Nominated* | *Evicted*
(Day 36) | | | | | | | | | | |
| Laura R | *Save* |  | Sanni
Juhani | Sanni
Sami | *Nominated* | *Evicted*
(Day 29) | | | | | | | | | | | |
| Laura L | *Save* |  | Minna
Aki | Sami
Jasmiina | *Evicted*
(Day 22) | | | | | | | | | | | | |
| Minna | *No
nominations* |  | Anssi
Pekka | *Evicted*
(Day 15) | | | | | | | *Not
eligible* | *Re-Evicted*
(Day 60) | | | | | |
| Pippa | *Nominated* |  | *Evicted*
(Day 8) | | | | | | | | | | | | | | |
| Notes |  | |  |  |  |  |  | |  | |  |  |  | *10* *11* | *12* |  |  |
| Nominated
for eviction | Aki
Anssi
Pekka
Pippa | | Minna
Sami
Sanni
Taavi | ~~Taavi~~
Katja
Laura L
Sami
Sanni
Pekka | All Housemates | Jasmiina
Katja
Pekka
Sami
Sanni | Anssi
Jasmiina
Maiju
Sami
Samir | | Aki
Juhani
Noora
Taavi | | Anssi
Juhani
Lasse
Pekka
Sami | Anssi
Jasmiina
Lasse
Melody
Pekka
Taavi
Ville | Anssi
Sami
Taavi
Ville | Jasmiina
Pekka
Taavi
Ville | Anssi
Lasse
Samir
Taavi | Aki
Jasmiina
Pekka
Taavi | Aki
Anssi
Jasmiina
Lasse
Taavi |
| Evicted | **Pippa**
16.2%
to save
out of 3 | | **Minna**
16%
to save
out of 3 | **Laura L**
30.9%
to save
out of 3 | **Laura R**
5/7
housevotes
to evict | **Katja**
27.8%
**Sanni**
28.8%
to save
out of 3 | **Maiju**
10.8%
to save
out of 3 | | **Noora**
32.5%
to save
out of 3 | | **Juhani**
24.1%
to save
out of 3 | **Melody**
24.9%
to save
out of 3 | **Sami**
30.1%
to save
out of 3 | **Ville**
20.5%
to save
out of 4 | **Samir**
23.8%
to save
out of 4 | **Pekka**
46.3%
to save
out of 2 | **Lasse
Anssi
Taavi**
Fewest votes
out of 5 |
| | **Aki**
49.9%
to win
out of 2 | | | | | || | | | | | |
| Saved | **Aki**
Most votes
out of 4 | | **Taavi**
Most votes
out of 4 | **Pekka
Sami**
Most votes
out of 5 | **Aki
Katja
Lasse
Pekka
Sami
Sanni
Taavi**
Most votes
out of 13  ---  **Anssi**
29.9%
**Jasmiina**
17.9%
**Juhani**
17.2%
**Ville**
16.1%
out of 6 | **Jasmiina
Sami**
Most votes
out of 5 | **Anssi
Jasmiina**
Most votes
out of 5 | | **Taavi**
Most votes
out of 4 | | **Anssi**
**Lasse**
Most votes
out of 5 | **Anssi**
**Jasmiina**
**Pekka**
**Taavi**
Most votes
out of 7 | **Taavi**
Most votes
out of 4 | **Taavi**
29.5%
**Pekka**
25.5%
**Jasmiina**
24.5%
out of 4
to save | **Anssi**
27.3%
**Taavi**
25%
**Lasse**
23.9%
out of 4
to save | **Aki**
Most votes
out of 4  ---  **Taavi**
Most votes
out of 3 | **Jasmiina**
50.1%
out of 2
to win |
| | **Pekka**
42.4%
**Anssi**
41.4%
out of 3
to save | | **Sanni**
46.1%
**Sami**
37.9%
out of 3
to save | **Katja**
36.5%
**Sanni**
32.6%
out of 3
to save | **Melody**
(14.4%)
2/7
housevotes
to evict | **Pekka**
43.4%
out of 3
to save | **Sami**
59.2%
**Samir**
30%
out of 3
to save | | **Juhani**
34%
**Aki**
33.5%
out of 3
to save | | **Pekka**
39.5%
**Sami**
36.4%
out of 3
to save | **Lasse**
46.4%
**Ville**
28.7%
out of 3
to save | | | **Ville**
37.1%
**Anssi**
32.8%
out of 3
to save | | **Jasmiina**
53.7%
out of 2
to save |

### Notes

* **^Note 1** : No nominations. Housemates have divided to four groups by themselves. Housemates decided together which group is saved from nominations. The green group was saved. Later the green team had to decide which group will be nominated this week. They chose the yellow team.
* **^Note 2** : Taavi won blinded dance marathon (10h 45min) and saved himself from eviction and put Katja instead.
* **^Note 3** : All housemates faced the audience's vote. The Housemates with the most votes were saved, and the bottom 2 faced the vote of the 7 housemates with the most votes from the public.
* **^Note 4** : New housemates Maiju, Noora and Samir decided five housemates to be nominated. They were allowed to discuss with each other about the decision. Two housemates were evicted this week.
* **^Note 5** : Housemates were divided to two groups having competitions. Blue group won and thus were not nominated for eviction. Anssi won a nomination competition and saved red team members Pekka and Ville.
* **^Note 6** : Red/Blue division remains. Only the winning team (red) did nominations.
* **^Note 7** : Minna was not able to nominate and she was not able to get nominated, but she gave her nomination points to Jasmiina.
* **^Note 8** : Minna's temporary revisiting time ended and she left house at day 60.
* **^Note 9** : At week 11 evictions are made on Wednesday, Friday and Sunday.
* **^Note 10** : There was time bomb in the house. When it exploded (Monday 2PM) bomb holder (Ville) got nominated.
* **^Note 11** : Nomination competitions. Jasmiina, Taavi and Pekka lost and got nominated.
* **^Note 12** : Nomination competition. Anssi, Lasse, Samir and Taavi lost and got nominated.

## Nominations points received

|  | Week 1 | Week 2 | Week 3 | Week 4 | Week 5 | Week 6 | Week 7 | Week 8 | Week 9 | Week 10 | Week 11 | Week 12 | Total |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Jasmiina | - | 2 | 2 | *-* | *-* | *-* | 0 | 1 | 3 | 3 | 4 | 1st | 15 |
| Aki | - | 1 | 1 | *-* | *-* | *-* | 1 | 0 | 1 | 2 | 5 | 2nd | 11 |
| Taavi | - | 5 | 5 | *-* | *-* | *-* | 7 | 2 | 2 | 4 | 4 | 3rd | 29 |
| Anssi | - | 3 | 0 | *-* | *-* | *-* | 0 | 6 | 9 | 5 | 1 | 4th | 24 |
| Lasse | - | 1 | 4 | *-* | *-* | *-* | 0 | 5 | 2 | 2 | 1 | 5th | 15 |
| Pekka | - | 1 | 6 | *-* | *-* | *-* | 0 | 5 | 7 | 2 | 3 | Evicted | 24 |
| Samir | *Not in the house* | | | | *-* | *-* | 0 | 0 | 1 | 1 | Evicted | | 2 |
| Ville | - | 0 | 0 | *-* | *-* | *-* | 0 | 1 | 2 | 4 | Evicted | | 7 |
| Sami | - | 6 | 8 | *-* | *-* | *-* | 0 | 4 | 0 | 4 | Evicted | | 22 |
| Melody | - | 1 | 0 | *-* | *-* | *-* | 0 | 0 | 3 | Evicted | | | 4 |
| Juhani | - | 2 | 4 | *-* | *-* | *-* | 6 | 12 | Evicted | | | | 24 |
| Noora | *Not in the house* | | | | *-* | *-* | 4 | Evicted | | | | | 4 |
| Maiju | *Not in the house* | | | | *-* | *-* | Evicted | | | | | | 0 |
| Katja | - | 2 | 2 | *-* | *-* | Evicted | | | | | | | 4 |
| Sanni | - | 8 | 5 | *-* | *-* | Evicted | | | | | | | 13 |
| Laura R | - | 0 | 0 | *-* | Evicted | | | | | | | | 0 |
| Laura L | - | 3 | 5 | Evicted | | | | | | | | | 8 |
| Minna | - | 10 | Evicted | | | | | *-* | Left | | | | 10 |
| Pippa | - | Evicted | | | | | | | | | | | 0 |

## InfoBox

| *Big Brother* | |
| --- | --- |
| Season 14 | |
|  | |
| Presented by | Elina Kottonen
Kimmo Vehviläinen
Alma Hätönen |
| No. of days | 85 |
| No. of housemates | 19 |
| Winner | Jasmiina Yildiz |
| Runner-up | Aki Reittu |
|  | |
| Release | |
| Original network | Nelonen |
| Original release | 5 September (2021-09-05)
28 November 2021 (2021-11-28) |
| Season chronology | |


title: D118 road

abstract: D118 is the main state road on island of Korčula in Croatia connecting towns of Vela Luka and Korčula and ferry ports in those two towns, from where Jadrolinija ferries fly to the mainland, docking in Split and the D410 state road and Orebić and the D414 state road. The road is 43.5 km (27.0 mi) long. The road, as well as all other state roads in Croatia, is managed and maintained by Hrvatske ceste, a state-owned company.

text:
# D118 road

**D118** is the main state road on island of Korčula in Croatia connecting towns of Vela Luka and Korčula and ferry ports in those two towns, from where Jadrolinija ferries fly to the mainland, docking in Split and the D410 state road (from Vela Luka) and Orebić and the D414 state road (from Korčula). The road is 43.5 km (27.0 mi) long.

The road, as well as all other state roads in Croatia, is managed and maintained by Hrvatske ceste, a state-owned company.

## Traffic volume

Traffic is regularly counted and reported by Hrvatske ceste (HC), operator of the road. Substantial variations between annual (AADT) and summer (ASDT) traffic volumes are attributed to the fact that the road connects a number of island resorts to the mainland.

| **D118 traffic volume** | | | | |
| --- | --- | --- | --- | --- |
| **Road** | **Counting site** | **AADT** | **ASDT** | **Notes** |
| D118 | 6301 Korčula - west | 1,766 | 3,427 | Adjacent to the Ž6244 junction. |

## Road junctions and populated areas

| **D118 junctions/populated areas** | |
| --- | --- |
| **Type** | **Slip roads/Notes** |
|  | Vela Luka ferry port – access to the mainland port of Split (by Jadrolinija) and D410 to Split and A1 motorway Dugopolje interchange.
The western terminus of the road. |
|  | Vela Luka
Ž6221 to Plitvine. |
|  | Ž6222 to Blato. The road loops to the town and back forming two intersections with the D118. |
|  | Ž6222 to Blato. The second intersection of the D118 and Ž6222 roads. |
|  | Ž6268 to Smokvica and Čara. The road loops to the two towns and back forming two intersections with the D118. |
|  | Ž6268 to Čara and Smokvica. The second intersection of the D118 and Ž6268 roads. |
|  | Pupnat |
|  | Žrnovo |
|  | Ž6225 to Lumbarda. |
|  | Korčula
Ž6224 to Račišće.
Ž6244 to the port. |
|  | Korčula ferry port – access to the mainland port of Orebić (by Jadrolinija) and D414 to Ploče (via the D415) and Dubrovnik (via the D8 state road)
The eastern terminus of the road. |

## Sources

## InfoBox

| D118 state road | |
| --- | --- |
| Route information | |
| Length | 43.5 km (27.0 mi) |
| Major junctions | |
| From | Vela Luka ferry port |
| To | Korčula ferry port |
|  | |
| Location | |
| Country | Croatia |
| Counties | Dubrovnik-Neretva |
| Major cities | Vela Luka, Korčula |
|  | |
| Highway system | |
|  | |


title: Untitled (free still)

abstract: Untitled (free/still) 1992/1995/2007/2011 is a series of artworks by Thai artist Rirkrit Tiravanija. Trained in Canada, the New York-based artist's installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socialising are a core element in his work. In this conceptual piece, Tiravanija invites the visitor to interact, in a sociable manner, with this contemporary art. The artist aims to bridge the distance between the viewer and the artist. The viewer is part of the art, and is constantly creating the art as they eat curry and talk with friends or new acquaintances.

text:
# Untitled (free still)

**Untitled** (free/still) 1992/1995/2007/2011 is a series of artworks by Thai artist Rirkrit Tiravanija. Trained in Canada, the New York-based artist's installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socialising are a core element in his work.

In this conceptual piece, Tiravanija invites the visitor to interact, in a sociable manner, with this contemporary art. The artist aims to bridge the distance between the viewer and the artist. The viewer is part of the art, and is constantly creating the art as they eat curry and talk with friends or new acquaintances.

## Origins

Tiravanija's first solo exhibition was called *Untitled* (Free). In 1992, the 303 Gallery in the SoHo neighbourhood of Manhattan, played host to the exhibition. The contents within the gallery's back rooms, were moved by the artist into the exhibition space. The business of art was on display, as an emptied office was transformed into temporary kitchen, where anyone who wanted a portion of Thai green vegetable curry was served some by Tiravanija's.

## Iterations

Since 1992, the work had several iterations. "Still," was added to the title by the artist when the piece was re-presented at 'The Carnegie International exhibition,' in Pittsburg in 1995.

The David Zwirner Gallery in Manhattan played host to the artwork when the artist restaged it once again in 2007. This time, Tiravanija recreated the space of the original exhibition and reemployed the furnishings and leftovers from past presentations. This included the likes of crates, boxes, empty cans and food items. As part of MoMA’s collection, today, the piece can be displayed either as a vestige of its earlier manifestations or reactivated with food prepared in the Museum’s kitchen.

## Today

Rirkrit Tiravanija's work was on display at the Hirshhorn Museum and Sculpture Garden, as a piece of performance art, performed by the visitors and local muralists. Thursdays through Sundays, curry is served between 11:30 am and 1:30 pm, through July 24th 2019, to the first 150 or co comers, or until they run out of supplies.

The Museum has had to alter the exhibition in order to deliver in to the Washington D.C. community. This included not allowing an open flame. The Museum director Melissa Chiu said she is "excited to introduce Tiravanija's interactive culinary experience to the Washington, D.C. community” with a piece that “offers new perspectives on the ways in which art and creativity are used to interpret political and social issues of our time.”

MoMA recreate the landmark piece as part of the installation 'Contemporary Galleries:1980-Now.' On display and replicate to scale on the second floor, this back office curry kitchen benefitted from the aid of Tiravanija to recreate the experience.


title: Charlevoix City Park Site

abstract: The Charlevoix City Park Site is an archaeological site located between Bridge Street and Round Lake in Charlevoix, Michigan. It was listed on the National Register of Historic Places in 1972. The site is a Woodland period occupation, approximately AD 1000 - AD 1300.

text:
# Charlevoix City Park Site

The **Charlevoix City Park Site** is an archaeological site located between Bridge Street and Round Lake in Charlevoix, Michigan. It was listed on the National Register of Historic Places in 1972.

The site is a Woodland period occupation, approximately AD 1000 - AD 1300.

## InfoBox

|  | |
| --- | --- |
| Charlevoix City Park Site | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | Park between Bridge Street and Round Lake, Charlevoix, Michigan |
| Coordinates | 45°19′0″N 85°15′30″W / 45.31667°N 85.25833°W / 45.31667; -85.25833 |
| Area | 5 acres (2.0 ha) |
| NRHP reference No. | 72000602 |
| Added to NRHP | March 16, 1972 |


title: Donald E. Reiland

abstract: Donald E. Reiland was an American lawyer and politician. Born in Wisconsin Rapids, Wisconsin, Reiland served in the United States Navy during World War. He then received his bachelor's degree from St. Mary's Seminary and University in Baltimore, Maryland and his law degree from University of Wisconsin Law School. Reiland practiced law in Wisconsin Rapids, Wisconsin and was acting District Attorney of Wood County, Wisconsin in 1951 and 1952. Reiland served in the Wisconsin State Assembly as a Republican. Reiland died in a hospital in Madison, Wisconsin.

text:
# Donald E. Reiland

**Donald E. Reiland** (January 5, 1917  February 23, 1957) was an American lawyer and politician.

Born in Wisconsin Rapids, Wisconsin, Reiland served in the United States Navy during World War. He then received his bachelor's degree from St. Mary's Seminary and University in Baltimore, Maryland and his law degree from University of Wisconsin Law School. Reiland practiced law in Wisconsin Rapids, Wisconsin and was acting District Attorney of Wood County, Wisconsin in 1951 and 1952. Reiland served in the Wisconsin State Assembly as a Republican. Reiland died in a hospital in Madison, Wisconsin.


title: East Aisle Ridge

abstract: East Aisle Ridge is a north–south ridge 1 nautical mile (2 km) east of Central Aisle Ridge at the junction of the lower Renegar Glacier and Koettlitz Glacier, Scott Coast, Antarctica. The name is derived from the position of the ridge relative to West Aisle Ridge, Central Aisle Ridge, and its proximity to The Stage. It was named by the New Zealand Geographic Board in 1994, following work by a New Zealand Geological Survey party to the area in 1977–78..

text:
# East Aisle Ridge

**East Aisle Ridge** (78°21′S 163°23′E / 78.350°S 163.383°E / -78.350; 163.383) is a north–south ridge 1 nautical mile (2 km) east of Central Aisle Ridge at the junction of the lower Renegar Glacier and Koettlitz Glacier, Scott Coast, Antarctica. The name is derived from the position of the ridge relative to West Aisle Ridge, Central Aisle Ridge, and its proximity to The Stage. It was named by the New Zealand Geographic Board in 1994, following work by a New Zealand Geological Survey party to the area in 1977–78. .

This article incorporates public domain material from "East Aisle Ridge". *Geographic Names Information System*. United States Geological Survey.


title: Boscawen Park

abstract: Boscawen Park is a cricket ground located in recreation grounds along Malpas Road in Truro, Cornwall. The ground is situated directly next to the River Truro, which runs alongside its western side. The end names are the City End to the north and the Malpas End to the south. Alternatively, these ends are also known as the Cathedral End and River End.

text:
# Boscawen Park

**Boscawen Park** (Cornish: *Park Bosskawen*) is a cricket ground located in recreation grounds along Malpas Road in Truro, Cornwall. The ground is situated directly next to the River Truro, which runs alongside its western side. The end names are the City End to the north and the Malpas End to the south. Alternatively, these ends are also known as the Cathedral End and River End.

## History

Boscawen Park is not located in the Boscawen electoral ward but shares the same name. The name probably originates from Edward Boscawen, an admiral and member of parliament from Truro.

Established by 1858, a team representative of Cornwall first played there against an All England Eleven in that same year. Cornwall County Cricket Club first used the ground in July 1895, eight months after the club's founding, when it played a friendly against Devon. Cornwall first played minor counties cricket there over seventy years later, with Devon the visitors in the 1968 Minor Counties Championship. Two years later, the first List A match to be played there came in the 1970 Gillette Cup between Cornwall and Glamorgan, with Glamorgan winning by 72 runs thanks largely to Peter Walker's 51 runs with the bat and 5/21 with the ball. Cornwall played one Minor Counties Championship match per season at the ground during the 1970s, with the ground also hosting its second List A match in the 1977 Gillette Cup with Lancashire at the visitors. Cornwall continued to play one Minor Counties Championship match there per season throughout the 1980s, a pattern which continued into the 1990s.

A new format of minor counties one-day cricket, the MCCA Knockout Trophy was introduced in the mid-1980s, with the ground holding its such match in 1987 with Wiltshire as the visitors, with four more fixtures in that competition played there in 1988, 1990, 1992 and 1994. List A cricket returned to the ground in the 2000 NatWest Trophy with Norfolk as the visitors. Cornwall played three more List A fixtures were played there in the early 2000s, against Sussex in the 2001 Cheltenham & Gloucester Trophy, Worcestershire in the 2002 Cheltenham & Gloucester Trophy and Kent in the 2003 Cheltenham & Gloucester Trophy. The ground continues to hold one Minor Counties Championship match per season, as well as holding five MCCA Knockout Trophy matches since 2006.

The first international cricket match held in Cornwall was played there in 2012, when England women played India women in a Women's One Day International. England Women won the match by 3 wickets. The ground held the final of the 2012 Minor Counties Championship between Cornwall and Buckinghamshire, with Cornwall making history by winning the competition for the first time.

On 7 August 2022, a large wildfire broke out at Boscawen Park.

## Records

### List A

50°15′08″N 5°02′17″W / 50.2521°N 5.0380°W / 50.2521; -5.0380

## InfoBox

Boscawen Park
|  | |
| --- | --- |
| Ground information | |
| Location | Truro, Cornwall |
| Coordinates | 50°15′08″N 5°02′17″W / 50.2521°N 5.0380°W / 50.2521; -5.0380 |
| Establishment | 1858 |
| **End names** | |
| City End/Cathedral End
Malpas End/River End | |
| Team information | |
| Cornwall (1968–present) | |
| As of 30 September 2011
Source: Ground profile | |


title: O.O (song)

abstract: "O.O" is a song recorded by South Korean girl group Nmixx for their debut single album Ad Mare. It was released as the lead single by JYP Entertainment on February 22, 2022.

text:
# O.O (song)

**"O.O"** is a song recorded by South Korean girl group Nmixx for their debut single album *Ad Mare*. It was released as the lead single by JYP Entertainment on February 22, 2022.

## Background and release

On July 9, 2021, JYP Entertainment announced it would be debuting a new girl group in February 2022, the first since Itzy in 2019. On February 2, 2022, it was announced that the group would debut on February 22 with the release of *Ad Mare*. Six days later, the track listing was released with "O.O" announced as the lead single. On February 17, the first music video teaser was released. Two days later, the highlight medley video teaser was released. On February 21, the second music video teaser was released. The song alongside the music video was released on February 22.

## Composition

"O.O" was written by Dr.JO (153/Joombas), composed by EJAE along with Brian U, Enan, MarkAlong, Charlotte Wilson, Chanti, Awry, Ayushy, Jan Baars, and Rajan Muse from The Hub, and arranged by the former three. was described as a song with "mixture of baile funk, teen pop, and pop rock" genres with "intense captivating trap intro". The A section of "O.O" was composed in the key of E minor, with a tempo of 133 beats per minute, and the B section was composed in A major with a tempo of 100 beats per minute.

## Critical reception

Upon its release, "O.O" received mostly negative reviews from music critics. Tanu I. Raj from *NME* described the song as "a rollercoaster ride of genres \[from\] electropop to pop rock to hip hop" and compared the song to Aespa's "Next Level" and Girls' Generation's "I Got a Boy". She stated that "'O.O' comes off as a weak facsimile in the face of the complexity" compared to aforementioned songs as "'O.O' tries, but fails, to capture any attention for very long." *Korea JoongAng Daily* noted that "Because of its disjointed nature, many criticize that the song tries to push for an edgy and provocative image but is difficult to follow as it lacks a basic musical structure." Pop music and media studies professor Lee Gyu-tag wrote although it had similar musical styles as "Next Level", it "was much more melodious and had smoother transitions" than "O.O", as well as pointing out that following the song was difficult because of the lack of a clear standout melody. Korean Music Awards selection committee member Jung Min-jae said that "I don't think 'O.O' would be seeing \[negative\] reactions if the song was catchy, no matter how convoluted." Overall, she felt that it was not a safe choice as a debut song for the group.

In a more favorable review, on the other hand, Divyansha Dongre of *Rolling Stone India* described "'O.O' as a quintessential K-pop track \[which\] meshes multiple genres into one". Divyansha noted that "the switching between soundscapes may get slightly overwhelming for some listeners \[due to the song\] opening \[which\] is a powerful mix of trap and bass-synth \[while\] its second verse sees the soundscape quickly adopt the vibrancy and zest that pop rock has to offer". Overall, Divyansha stated that "\[the song\] serves as a fair introduction to the caliber and talent Nmixx members have to offer".

## Commercial performance

"O.O" debuted at number 147 on South Korea's Gaon Digital Chart in the chart issue dated February 27 – March 5, 2022; on its component charts, the song debuted at number 40 on the Gaon Download Chart in the chart issue dated February 20–26, 2022, and number 95 on the Gaon Streaming Chart in the chart issue dated February 27 – March 5, 2022. It ascended to number 81 on the Gaon Digital Chart, and Gaon Streaming Chart in the chart issue dated March 20–26, 2022. On the *Billboard* K-pop Hot 100, the song debuted at number 88 in the chart issue dated March 19, 2022, ascending to number 63 in the chart issue dated April 30, 2022.

On the *Billboard Japan* Hot 100, the song debuted at number 86 in the chart issue dated March 2, 2022, ascending to number 42 in the chart issue dated March 23, 2022. On the *Billboard* Vietnam Hot 100, the song debuted at number 95 in the chart issue dated March 3, 2022, ascending to number 38 in the following week. In Singapore, the song debuted at number 27 on the RIAS Top Streaming Chart and number eight on the RIAS Top Regional Chart in the chart issue dated February 25 – March 3, 2022, ascending to number 16 on the RIAS Top Streaming Chart and number four on the RIAS Top Regional Chart in the following week. The song also debuted 18 on the *Billboard* Singapore Songs in the chart issue dated March 19, 2022. In Malaysia, the song debuted at number 14 on the RIM Top 20 Most Streamed International and Domestic Songs in the chart issue dated March 4–10, 2022. The song also debuted at number 17 on the *Billboard* Malaysia Songs in the chart issue dated March 19, 2022. In Indonesia, the song debuted at number 25 on the *Billboard* Indonesia Songs in the chart issue dated April 2, 2022.

Globally, the song debuted at number 162 on the *Billboard* Global 200 in the chart issue dated March 19, 2022, ascending to number 138 in the following week. The song also debuted at number 109 on the *Billboard* Global Excl. U.S. in the chart issue dated March 12, 2022, ascending to number 71 in the chart issue dated March 26, 2022.

## Promotion

On February 18, 2022, JYP Entertainment announced that the group debut showcase would be postponed after member Bae was diagnosed with COVID-19, the debut showcase was held on March 1. The group subsequently performed on four music programs: Mnet's *M Countdown* on March 3, KBS's *Music Bank* on March 4, MBC's *Show! Music Core* on March 5, and SBS's *Inkigayo* on March 6.

## Credits and personnel

Credits adapted from Melon.

**Studio**

**Personnel**

* Nmixx – vocals, background vocals
* Frankie Day – background vocals
* Ayushy – background vocals
* Dr.JO (153/Joombas) – lyrics
* Brian U (The Hub) – composition, arrangement, drums, synths
* Enan (The Hub) – composition, arrangement, drums, synths
* MarkAlong (The Hub) – composition, arrangement, drums, synths
* Charlotte Wilson (The Hub) – composition, vocal directing
* Chanti (The Hub) – composition
* EJAE – composition, background vocals, vocal directing
* Awry (The Hub) – composition, background vocals
* Ayushy (The Hub) – composition
* Jan Baars (The Hub) – composition
* Rajan Muse (The Hub) – composition
* Brian U (The Hub) – vocal directing
* Enan (The Hub) – vocal directing
* Gun Hye-jin – recording
* Lee Sang-yeob – vocal editing
* Jiyoung Shin NYC – vocal editing
* Jaycen Joshua – mixing
* Jacob Richards – mixing (assistant)
* Mike Seaberg – mixing (assistant)
* DJ Riggins – mixing (assistant)
* Chris Gehringer – mastering
* Jade – bass
* BananaGaraG – bass
* Paper Planet – guitar
* TRIAD – guitar

## Charts

## Release history

Release history for "O.O"
| Region | Date | Format | Label |
| --- | --- | --- | --- |
| Various | February 22, 2022 |  | JYP |

## InfoBox

| "O.O" | |
| --- | --- |
| Single by Nmixx | |
| from the album  *Ad Mare* | |
| Language | Korean |
| Released | February 22, 2022 (2022-02-22) |
| Genre |  |
| Length | 2:52 |
| Label | JYP |
| Composer(s) | * Brian U (The Hub) * Enan (The Hub) * MarkAlong (The Hub) * Charlotte Wilson (The Hub) * Chanti (The Hub) * EJAE * Awry (The Hub) * Ayushy (The Hub) * Jan Baars (The Hub) * Rajan Muse (The Hub) |
| Lyricist(s) | Dr.JO (153/Joombas) |
| Nmixx singles chronology | |
| "**O.O**"
(2022) "Dice"
(2022) | |
|  | |
| Music video | |
| "O.O" on YouTube | |
|  | |


title: Concerto Fantastique

abstract: Concerto Fantastique is an orchestral composition in four movements by the American composer Ralph Shapey. The work was commissioned by the Chicago Symphony Orchestra, who first performed the work under the composer on November 21, 1991. It was a finalist for the 1992 Pulitzer Prize for Music.

text:
# Concerto Fantastique

***Concerto Fantastique*** is an orchestral composition in four movements by the American composer Ralph Shapey. The work was commissioned by the Chicago Symphony Orchestra, who first performed the work under the composer on November 21, 1991. It was a finalist for the 1992 Pulitzer Prize for Music.

## Composition

*Concerto Fantastique* has a duration of roughly one hour and is composed in four movements:

1. Variations
2. Elegy
3. Intermezzo
4. Rondo

The first movement, "Variations", is dedicated to the University of Chicago, at which Shapey was on faculty from the mid-1960s until his retirement in 1991. The second movement, "Elegy", is dedicated to the late Chicago-based philanthropist Paul Fromm. The last two movements, "Intermezzo" and "Rondo", are both dedicated to the Chicago Symphony Orchestra.

Shapey described the composition process, remarking, "I started out to write a concerto, but as I was writing the piece it became more and more obvious that this was not just a concerto. That is how *Fantastique* came to be added to the title. I wrote the piece for a virtuoso orchestra and virtuoso players. The second, third and fourth movements come directly out of the first. Each movement is complete within itself, but you can also regard the entire work as a great big sonata-allegro form."

## Reception

### World premiere

*Concerto Fantastique* received a mixed response from the audience at its world premiere. Wynne Delacoma of the *Chicago Sun-Times* observed, "The hall was full at the start of the evening, probably because Alfred Brendel was opening the program with Liszt's Piano Concerto No. 2. A portion of the audience didn't return from intermission to hear Shapey conduct his own work, and more left in the pauses between the four movements." The music critic John von Rhein of the *Chicago Tribune* similarly wrote, "There was a noticeable exodus of audience members between movements of Shapey's hourlong work and scattered boos at the end." Despite this, Rhein added, "But the applause was considerable, and Chicago's most eminent composer, back in front of the CSO after 22 years, clearly savored the moment."

### Critical response

The piece has received a very positive reception from music critics. Reviewing the world premiere, John von Rhein wrote, "*Concerto fantastique* is \[Shapey's\] biggest work to date, and while I don't think it's his most successful—I much prefer the Shapey of the pungent, concise pieces he has written for his Contemporary Chamber Players—I would not deny the work's sinewy expressiveness or its stubborn refusal to sound like anybody else but Shapey." He added:

> Shapey's sternly sculpted abstract expressionism stands at a far remove from what most of today's younger composers are doing. It is tough, aggressive, loud, uncompromising in its demands on players and listeners. Yet underneath the concerto's typically knotted textures and ferocious harmonies beats the heart of a fervent romantic. Shapey is about the only ecstatic visionary still working in serious music; he's a modern-day Icarus who thinks nothing of flying perilously close to the sun every chance he gets.

## Pulitzer dispute

The jury for the 1992 Pulitzer Prize for Music, comprising George Perle, Roger Reynolds, and Harvey Sollberger, unanimously chose to submit only *Concerto Fantastique* for award consideration, despite Pulitzer rules requiring the jury to submit three works for board consideration. The jury wrote, "Long the creator of original and visionary works in a wide range of musical media, Mr. Shapey has in this work achieved a striking summation that integrates the craggy and uncompromising materials of a very personal language on a grand scale."

When the Pulitzer board demanded an alternative, threatening to forego a music prize for the year, the jury submitted Wayne Peterson's *The Face of the Night, the Heart of the Dark*. In an upset to the jury, the board selected *The Face of the Night, the Heart of the Dark* over *Concerto Fantastique* as the winner.

George Perle commented on the incident, remarking, "I don't want to belittle the Peterson work, which is marvelous. It is absolutely worthy of a Pulitzer Prize. But the Pulitzer Prize is supposed to be for the single best work of the year, and on this occasion we felt that there was a work that was more impressive. We were entirely unanimous on that point, and we did not expect to be overruled."


title: Communauté de communes de Montrésor

abstract: The Communauté de communes de Montrésor is a former communauté de communes, an intercommunal structure, in the Indre-et-Loire department, in the Centre-Val de Loire region, central France. It was created in December 2000. It was merged into the newly created Communauté de communes Loches Sud Touraine on 1 January 2017. In 2013, it had a population of 5,645 with its intercommunal seat located in Montrésor.

text:
# Communauté de communes de Montrésor

The **Communauté de communes de Montrésor** is a former *communauté de communes*, an intercommunal structure, in the Indre-et-Loire department, in the Centre-Val de Loire region, central France. It was created in December 2000. It was merged into the newly created Communauté de communes Loches Sud Touraine on 1 January 2017. In 2013, it had a population of 5,645 with its intercommunal seat located in Montrésor.

## Composition

The *Communauté de communes* comprised the following communes:

List of communes of the intercommunality
| Name | INSEE code | Demonym | Area
(km2) | Population
(2014) | Density
(per km2) |
| --- | --- | --- | --- | --- | --- |
| **Montrésor**
(Seat) | 37157 | Montrésoriens | 0.98 | 350 | 357 |
| Beaumont-Village | 37023 | Beaumontois | 19.25 | 280 | 15 |
| Chemillé-sur-Indrois | 37069 | Chemillois | 24.87 | 208 | 8,4 |
| Genillé | 37111 | Genillois | 63.12 | 1,562 | 25 |
| Le Liège | 37127 | Liégeois | 11.15 | 355 | 32 |
| Loché-sur-Indrois | 37133 |  | 74.13 | 557 | 7,5 |
| Nouans-les-Fontaines | 37173 | Nouanais | 63.31 | 781 | 12 |
| Orbigny | 37177 | Orbignois | 65.88 | 756 | 11 |
| Villedômain | 37275 | Villedominis | 16.47 | 122 | 7,4 |
| Villeloin-Coulangé | 37277 | Villaloupéens | 34.62 | 647 | 19 |

## Administration

### President

List of presidents of the *Communauté de communes de Montrésor*
| In office | | Name | Party | Capacity | Ref. |
| --- | --- | --- | --- | --- | --- |
| 2000 | 2008 | Jean Lévêque | DVD | Mayor of Villeloin-Coulangé, General councillor (1979–2011) |  |
| 2008 | 2016 | Henry Frémont | DVD | Mayor of Chemillé-sur-Indrois |  |

1. CC de Montrésor (N° SIREN : 243700770), BANATIC. Accessed 2 April 2022.
2. "Com Com Loches Sud Touraine (CCLST)". *www.ville-descartes.fr* (in French). Retrieved 29 May 2020.

## InfoBox

| Montrésor | |
| --- | --- |
| Former communauté de communes | |
|  | |
| Location of the Communauté de communes de Montrésor in Indre-et-Loire | |
| Country | France |
| No. of communes | 10 |
| Established | 13 December 2000 |
| Disbanded | 31 December 2016 |
| Seat | Montrésor |
| Area | 373.78 km2 (144.32 sq mi) |
| Population (2013) | 5,645 |
| Density | 15/km2 (40/sq mi) |


title: Nuvvu Vastavani

abstract: Nuvvu Vastavani is a 2000 Indian Telugu-language romance film, directed by V. R. Prathap, written by Ezhil, and produced by R. B. Choudary. It stars Nagarjuna Akkineni and Simran in lead roles.The music of the movie was composed by S. A. Rajkumar. The film is a Telugu remake of the 1999 Tamil film Thulladha Manamum Thullum, in which Simran reprised her role.

text:
# Nuvvu Vastavani

***Nuvvu Vastavani*** (transl.So that you would come) is a 2000 Indian Telugu-language romance film, directed by V. R. Prathap, written by Ezhil, and produced by R. B. Choudary. It stars Nagarjuna Akkineni and Simran in lead roles.The music of the movie was composed by S. A. Rajkumar. The film is a Telugu remake of the 1999 Tamil film *Thulladha Manamum Thullum*, in which Simran reprised her role.

## Plot

The movie starts with Chinni (Nagarjuna) revealing, on a train journey from Pune to Hyderabad, that he just got out of jail after seven years. His past is revealed in a flashback. He had been a singer, waiting for the big break. Indu (Simran) hears his voice though she doesn't see him and becomes his fan. When Chinni realizes this, he tries to reveal who he is but circumstances place him and Indu in situations where she ends up thinking that he is rowdy. Chinni ultimately becomes responsible for her losing her eyesight too. He devotes himself to her from then onwards attending to her every need. She learns to respect and love him too, thinking that he is the singer and not knowing that he is the same person she thought was rowdy.

Chinni had been telling his mother everything by letter and when she dies, she donates her eyes to Indu. To come up with the money needed for the operation, Chinni donates his kidney and has to travel to Pune for the same. Ready to get back, he is arrested after agreeing to look after the luggage (which turns out to contain ammunition) of another man. Back in the present, everything has changed in the place he used to live. He catches a glimpse of Indu, now the collector. When he goes to meet her, she orders her officers to arrest him, remembering him as the rowdy who caused her eyesight loss. But when Chinni begins to sing, Indu realizes that the "rowdy" she arrested was none other than Chinni. She apologizes for misunderstanding him and they happily embrace, rekindling their relationship.

## Cast

## Soundtrack

| Nuvvu Vastavani | |
| --- | --- |
| Film score by S. A. Rajkumar | |
| Released | 2000 |
| Genre | Soundtrack |
| Length | 30:13 |
| Label | Aditya Music |
| Producer | S. A. Rajkumar |
| S. A. Rajkumar chronology | |
| *Ravanna*
(2000) ***Nuvvu Vastavani***
(2000) *Maa Annayya*
(2000) | |

The music was composed by S. A. Rajkumar. Music released on ADITYA Music Company. Except "Komma Komma", all other tunes were used from the original Tamil film. Rajkumar reused "Komma Komma" in Tamil as "Unnai Kodu" in *Unnai Kodu Ennai Tharuven* (2000) and in Kannada as "Halli Hudugi" in *Ramakrishna* (2004). Meghamai song was reused from the song 'Sayonee' (1997).

| No. | Title | Lyrics | Singer(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "Patala Pallakivai" | Sirivennela Sitaramasastri | S. P. Balasubrahmanyam | 4:56 |
| 2. | "Komma Komma" | ES Murthy | Hariharan, K. S. Chithra | 4:24 |
| 3. | "Kalalonaina" | Chandrabose | S. P. Balasubrahmanyam | 5:04 |
| 4. | "Meghamai" | Pothula Ravikiran | Rajesh Krishnan, Sujatha Mohan | 4:22 |
| 5. | "Railu Bandini" | Chandrabose | Shankar Mahadevan | 4:45 |
| 6. | "Patala Pallakivai-II" | Sirivennela Sitaramasastri | K.S. Chitra | 4:56 |
| 7. | "Neeve Devunivi" | Suddala Ashok Teja | Sujatha Mohan | 1:19 |
| Total length: | | | | 30:13 |

## Reception

A critic from *Sify* wrote that "It seems that Nagarjuna has finally delivered a hit with “Nuvvu Vasthavani” and it is a wholesome entertainer from the stable of Supergood Films. Nagarjuna and Simran excels in this love story backed up with melodious music by S.A.Rajkumar. Particularly the title number “Nuvvu Vasthavani" is bound to catch up with listeners. Except for pedestrian comedy track, director Pratap sustains the grip of the \`twist\` logically by creating realistic situations".

## InfoBox

| Nuvvu Vastavani | |
| --- | --- |
| Theatrical release poster | |
| Directed by | V. R. Prathap |
| Written by | Marudhuri Raja (dialogues) |
| Screenplay by | V. R. Prathap |
| Story by | Ezhil |
| Based on | *Thulladha Manamum Thullum* (Tamil)(1999) by Ezhil |
| Produced by | R. B. Choudary |
| Starring | Nagarjuna Akkineni
Simran |
| Cinematography | Shyam K. Naidu |
| Edited by | Nandamuri Hari |
| Music by | S. A. Rajkumar |
| Production
company | Super Good Films |
| Release date | * 5 April 2000 (2000-04-05) |
| Running time | 158 minutes |
| Country | India |
| Language | Telugu |
| Box office | 27.50 crore (US$3.3 million) |


title: Condensed aerosol fire suppression

abstract: Condensed aerosol fire suppression is a particle-based method of fire extinction. It is similar to but not identical to dry chemical fire extinction methods, using an innovative pyrogenic, condensed aerosol fire suppressant. It is a highly effective fire suppression method for class A, B, C, E and F. Some aerosol-generating compounds produce a corrosive by-product that may damage electronic equipment, although later generations lower the effect. Condensed aerosol fire suppression systems employ a fire-extinguishing agent consisting of very finely divided solid particles, suspended in an inert gas. Those superfine aerosol particles are pyrotechnically generated via the combustion of an aerosol-forming agent (AFA) which is stable at room temperature and does not need to be stored in a pressurized container. Benefits include high performance, general availability, low toxicity, environmentally friendliness, non-pressurized systems, and overall cost-effectiveness.

text:
# Condensed aerosol fire suppression

**Condensed aerosol fire suppression** is a particle-based method of fire extinction. It is similar to but not identical to dry chemical fire extinction methods, using an innovative pyrogenic, condensed aerosol fire suppressant. It is a highly effective fire suppression method for class A, B, C, E and F (as is the case for most fire-extinguishing agents, it is not applicable to metal fires – class D). Some aerosol-generating compounds (e.g., potassium nitrate-based) produce a corrosive by-product that may damage electronic equipment, although later generations lower the effect.

Condensed aerosol fire suppression systems employ a fire-extinguishing agent consisting of very finely divided solid particles, suspended in an inert gas. Those superfine aerosol particles are pyrotechnically generated via the combustion of an aerosol-forming agent (AFA) which is stable at room temperature and does not need to be stored in a pressurized container.

Benefits include high performance (3 times more effective than banned Halon 1301, with the aerosol leveraging both cooling, dilution and chemical inhibition), general availability (from plant-size systems to compact and lightweight portable tooling), low toxicity, environmentally friendliness (e.g., 0% ozone depleting potential), non-pressurized systems, and overall cost-effectiveness.

## Aerosol chemistry

That fire-extinguishing medium is not stored "as is" but rather produced "on demand": the aerosol microparticles and effluent gases are generated by an exothermic reaction initiated within a condensed, solid, aerosol-forming compound. Typically, a fuse ignites the aerosol-forming compound to generate hot aerosol colloids.

The hot aerosol fire suppression technology went through several generations: gen I (oil tank suppression system) and gen II (potassium nitrate-based, efficient but with corrosive byproducts) denoted as K-type systems, then gen III (boosted strontium salt-based, less deliquescent and generating less corrosive byproducts) denoted as S-type systems. All generations leverage alkaline or alkaline earth metal nitrates (which act as oxidants in the hot aerosol generating process), and different kinds of reductants.

Typically, in K-type systems, fire-extinguishing aerosol particulates consist of potassium carbonate (K2CO3) and potassium bicarbonate (KHCO3) that are produced from the thermal decomposition of potassium nitrate (KNO3) mixed with various reducers, binders (e.g., organic resin or melamine resin) and additives:

KNO3 (solid) + CnHmNpOq (solid) = KHCO3 (solid) + K2CO3 (solid) + CO2 (gas) + N2 (gas) + H2O (gas)

*with CnHmNpOq being a gas-generating oxidizer*

The exothermic reaction produces an enormous amount of micron-sized dry particles (typically in the form of potassium or strontium carbonates such as alkaline or alkaline earth oxides, hydroxides or chlorides), as well as a gaseous mixture (carbon dioxide, nitrogen and water vapor). This very hot aerosol mixture, akin to a vapor, is cooled within the dispersion device itself by passing through a cooling solid agent (a thermally absorbent grid which vaporizes, inducing its endothermic chemical decomposition). It eventually is discharged as solid microparticles within a gaseous fluid. Final microparticles dispersed in solution can be sodium, potassium or magnesium chlorides, lithium iodide, potassium acetate, sodium hydroxide, potassium ferrocyanide and PCCs (phosphorus containing compounds), depending on the exact aerosol-generating compound used.

## Comparison with other fire suppression methods

Compared to gaseous suppressants (which emit only gas) and dry chemical suppression agents (which are powder-like particles of a large size – 25–150 micrometers), the National Fire Protection Association defines condensed aerosols as those that release finely divided solids of less than 10 micrometers in diameter.

The solid particulates have a considerably smaller mass median aerodynamic diameter (MMAD) than those of dry chemical suppression agents. The particulates are subject to Brownian motion: the colloid's high diffusive ability and long suspension time mean the microparticles remain airborne significantly longer and leave much less residue within the protected area than alternate (dry or gas) agents. Their large combined surface area efficiently attracts free radicals through surface adsorption.

Condensed aerosols are *flooding* agents. In closed premises, they are effective regardless of the location and height of the fire. This can be contrasted with dry chemical systems, which must be directly aimed at the flame. In open spaces, they are reasonably effective when targeting the top of the fire, unlike gaseous and dry agents which must be directed at the base of the flames.

The condensed aerosol agent can be delivered by means of mechanical operation, electric operation, or combined electro-mechanical operation.

Wet chemical systems generally found in foam extinguishers must, similarly to dry chemical systems, be sprayed directionally onto the fire.

## Methods of fire extinction

Hot, condensed aerosol fire-extinguishing agents act on both physical and chemical levels. They leverage four methods to extinguish fires, for they act on the four elements of what is known as the fire tetrahedron. These four means of fire extinction are:

* Reduction or isolation of fuel
* Reduction or isolation of oxygen
* Reduction of heat
* Inhibiting the chain reaction of the above components

Condensed aerosols' primary extinguishing mechanism involves the fourth element of the fire tetrahedron by means of chemical reactions with the free radicals of the flame, therefore interfering with the combustion process of the fire.

### Removal of free radicals

As the aerosol particles (K2CO3, KHCO3) surround and come into contact with the hot flame, they absorb the flame heat energy, breaking down and releasing large concentrations of potassium radicals (K+, noted K• below – ie. ions with an unpaired electron). Those potassium radicals bond with the hydroxide (OH+), hydrogen (H+) and oxygen (O+) free radicals that typically sustain combustion, producing harmless by-product molecules like potassium hydroxide (KOH) and water (H2O), and breaking the chain reaction required to keep combustion active.

Free radicals are thus removed from the chain reaction by way of the following chemical reactions:

K• + OH• = KOH

KOH + H• = K• + H2O

Aerosol suppressants are highly effective since potassium radicals are "propagated": they are both consumed and produced by reaction with the fire’s free radicals. Disrupting the reactions necessary to sustain the flame's combustion, the cycle continues until the combustion's chain reactions are terminated and the flame is extinguished. The whole process does not deplete oxygen content, merely displaces it.

### Other fire-extinguishing effects

Condensed aerosol agents also have secondary extinguishing mechanisms implicating the other three elements of the fire tetrahedron: it isolates the fire's fuel, displaces oxygen and reduces heat.

Aerosol particles and gases mixing with the gaseous components of the flame. The aerosol cools the flame by engulfing it within a cloud with large concentrations of microparticles, each with a mass median aerodynamic diameter (MMAD) as small as 1 to 2 micrometers. Though the surface area of each microparticle is extremely small, the large quantity of particles surrounding and penetrating the flame offers a sufficiently large combined surface area to absorb the flame's heat. That large surface area also allows using smaller quantities of extinguishing agent when compared with other methods.

#### Oxygen displacement, homogenous distribution

Aerosol-based fire suppression systems are usually designed to generate a "knock-down" effect by discharging the aerosol at a fairly high rate and for a fairly long time. The aerosol is said to be "condensed" for it consists of a dense fog of microparticles "gaseous vector" which exhibits gas-like, three-dimensional properties, including a rapid, homogeneous distribution even in hard-to-reach, confined spaces. Re-ignition is prevented by both the "knock-down" effect and the sustained flooding of the fire area which displaces oxygen.

#### Recombination of free radicals

The microparticles provide a tremendously greater reactive surface than typically found in a combustion process, boosting the natural free radical's recombination rate, which leads to a net fire's energy loss:

O• + H• = OH•

H• + OH• = H2O

#### Heat sinks

Thermal cooling is achieved through a couple of reactions:

* Heat absorption via endothermic phase changes of the aerosol particles: K2CO3 (solid) -\> K2CO3 (liquid) -\> K2CO3 (gas)
* Heat absorption via endothermic decomposition reaction: 2KHCO3 (solid) -\> K2CO3 (solid) + CO2 (gas) + H2O (gas)

## Performance

Attacking all the elements of the fire tetrahedron, condensed aerosol fire suppression agents are among the more effective flame-extinguishing agents. For example, some condensed aerosol fire suppressants can extinguish a Class B flammable liquid pool fire with 1/5 the amount of Halon 1301 agent or 1/10 the amount of a hydrofluorocarbon or fluoroketone based clean agent gaseous fire suppression system, in terms of kilogram mass of agent per cubic meter.

The extinguishing performance of condensed aerosol fire suppressants is dependent on the density of aerosol particulates in the immediate vicinity of the flame. As with gaseous fire suppression systems, the faster the agent can build around the flame, the more efficient the extinguishing agent is at stopping combustion. The extinguishing and design densities of aerosol fire suppression agents are generally expressed in kilograms per cubic meter (kg/m3). Thus, the efficiency of aerosol extinguishing agents varies depending on a number of factors, such as the location of the aerosol relative to the flame, the proximity of other combustible flammable materials, the type of fuel involved, etc.

Condensed aerosol devices are designed to provide a controlled discharge. The aerosol-forming compound is installed inside of the device, which is then fitted with an electric or mechanical initiator. The electric initiator is interfaced with a fire-detection control unit or panel, which can be remotely operated by physical means such as by cable, operated by hand with a fuse mechanism such as those used in smoke dispensing grenades, or automatic and self-triggering when outfitted with an integral heat-sensing device.

## Uses and applications

Automated fire suppression systems are widely used within the industry to protect large-scale, enclosed facilities and rooms. They can leverage hot aerosol agents, with the added benefit of low installation and maintenance costs (long shelf storage, non-pressurized storage and distribution). Whether static or portable, hot aerosol extinguishers consist of a thin metal or plastic casing (neither the aerosol-generating compound nor the resulting aerosol needs to be pressurized) and sometimes piping (although usually unnecessary), an initiation device (actuator for the exothermic reaction, either electrical or thermal), some aerosol-forming compound mixed with a reaction component and additives, a solid cooling component and some discharge port(s).

Condensed aerosol-based fire extinguishing systems (CAFES) are widespread among industries and public facilities. There are two uses for applying fire extinguishing agents: as a total flooding fire protection system or as a local application fire suppression system.

To provide total flooding fire suppression, the total quantity of aerosol required to extinguish a fire inside of fixed space must be determined. The corresponding number of aerosol devices that would collectively discharge the aerosol quantity required are then mounted, typically on the ceiling or wall. Aerosol devices equipped with electric initiators are interconnected and relayed by a fire alarm control panel. Because the aerosol devices are self-contained and function as both a storage container and as a nozzle that propels the gas, no distribution network is required to transport or distribute the fire-extinguishing agent from a remote storage location, resulting in floor space savings and transportation efficiency gains.

Local-application fire suppression is typically applied by a handheld portable device tossed directly toward the fire. Unlike streaming portable fire extinguishing units, the operators are not required to place themselves at risk by approaching the fire while applying the extinguishing agent directly at the flames. The portable condensed aerosol device is typically designed to disperse aerosol in a 360° spray cone, forming a large aerosol cloud around the vicinity of the fire. The aerosol immediately reduces the flames as its particles approach the fire and generate flame-neutralizing potassium radicals.

The flames are suppressed as long as the aerosol retains sufficient density. If the aerosol fails to achieve sufficient density to extinguish the fire, it still suppresses the fire, which retains significantly lower heat. This offers firefighters, for instance, a tool to bring down flames to a manageable heat level and reduce room temperatures while the hose team enters the burning area. As another example, first responders can deploy condensed aerosols within an enclosed area to suppress fires while evacuating occupants to safety.

Condensed aerosol systems are suitable for special hazard applications as replacements for Halon 1301 systems and high-pressure carbon dioxide systems. Aerosol systems can also be used as alternatives to clean agent gaseous suppressants or water-mist systems.

## Environmental footprint and hazards

Aerosol fire suppression systems have been derived from pyrotechnics in the 90s. Discovery of ozone depletion in 1974 led to researching alternatives to conventional, halon-based fire-extinguishing agents, ideally with zero ozone depletion impact and reduced global warming potential. Montreal Protocol enforced a phased ban on halon-based products. Pyrotechnically generated aerosol extinguishing agent (PGAEA) was first suggested by Senecal in 1992.

The United States Environmental Protection Agency has approved condensed aerosol fire suppression systems as acceptable substitutes for Halon 1301 in total flooding systems. Condensed aerosol extinguishers are also non-ozone depleting and carry little or no global warming potential (ODP, GWP and ATL equal to zero).

Potassium nitrate-based compound produce corrosive byproducts which may damage electronic and electrical equipment, as well as degrade organic matter containing water droplets, on top of having known adverse effects on human health and impairment to environment visibility. Corrosion is related to the large numbers of corrosive byproducts such as oxides, hydroxides and carbonates of alkaline metals together with some acidic NOx and CO2 gases present in the hot aerosol. Strontium nitrate-based compounds seem to solve that problem: substituting alkaline metals with alkaline earth metals (like magnesium and strontium) leverages the fact that their oxides, hydroxides and carbonates are insoluble.

## Safety concerns and incidents

### Safety concerns

Albeit using rather safe (non-toxic) chemicals, aerosol fire suppression systems rely on an exothermic reaction and the dispersion of a superfine particles colloid, which both come with associated risks.

Most systems cool the generated aerosol to ensure a flameless discharge and a better (uniform) distribution of the aerosol, yet it is recommended performing a controlled discharge to avoid burns, heat shockwaves, blasts or secondary fires due to hot combustion products (e.g., hot aerosol may reach or exceed 1200 at the discharge port). Combustion byproducts may also cause reduced visibility within an enclosed area and eye irritation.

The finer particles (dp \< 2.5μm) present in the discharged aerosol and the combustion byproducts can deposit on the bronchi walls in the bronchial tree, reportedly causing Chronic Respiratory Diseases and acute respiratory diseases. Acidic NOx and CO2 gases are known respiratory pathogens. Most manufacturers recommend automating the discharge of the aerosol in emptied facilities, as well as letting byproducts settle for a few minutes after the combustion is over.

Aerosol fire suppression systems should not be used on deep-seated fires in class A (solid) materials, with reactive metals and metal hydrides, with chemicals which are quick oxidizers (e.g., gun powder, nitrocellulose…), and with chemicals capable of undergoing auto-thermal decomposition.

### Incidents

On March 13, 2016, eight people were killed and seven injured when an antiquated aerosol system false activated in a bank vault. Claims in the news were that the system depleted oxygen, whereas the manufacturer states that the system does not displace oxygen.

On November 15, 2019, one person was killed on board a fishing vessel in the UK when a condensed aerosol fire suppression system was inadvertently activated during installation. This event is still being investigated so the exact cause of the fatality is still unknown, although it is thought the installers of this system made many errors at the time.

## Further reading


title: Condensed detachment

abstract:
Condensed detachment is a method of finding the most general possible conclusion given two formal logical statements.
It was developed by the Irish logician Carew Meredith in the 1950s and inspired by the work of Łukasiewicz.

text:
# Condensed detachment

**Condensed detachment** (Rule D) is a method of finding the most general possible conclusion given two formal logical statements. It was developed by the Irish logician Carew Meredith in the 1950s and inspired by the work of Łukasiewicz.

## Informal description

A rule of detachment (often referred to as modus ponens) says:
"Given that $p$ implies $q$, and given $p$, infer $q$."

The condensed detachment goes a step further and says:
"Given that $p$ implies $q$, and given an $r$, use a unifier of $p$ and $r$ to make $p$ and $r$ the same, then use a standard rule of detachment."

A substitution *A* that when applied to $p$ produces $t$, and substitution *B* that when applied to $r$ produces $t$, are called unifiers of $p$ and $r$.

Various unifiers may produce expressions with varying numbers of free variables. Some possible unifying expressions are substitution instances of others. If one expression is a substitution instance of another (and not just a variable renaming), then that other is called "more general".

If the most general unifier is used in condensed detachment, then the logical result is the most general conclusion that can be made in the given inference with the given second expression. Since any weaker inference you can get is a substitution instance of the most general one, nothing less than the most general unifier is ever used in practice.

Some logics, such as classical propositional calculus, have a set of defining axioms with the "D-completeness" property. If a set of axioms is D-Complete, then any valid theorem of the system, including all of its substitution instances (up to variable renaming), can be generated by condensed detachment alone. For example, if $p\rightarrow p$ is a theorem of a D-complete system, condensed detachment can prove not only that theorem but also its substitution instance $(p\rightarrow p)\rightarrow (p\rightarrow p)$ by using a longer proof. Note that "D-completeness" is a property of an axiomatic basis for a system, not an intrinsic property of a logic system itself.

J. A. Kalman proved that any conclusion that can be generated by a sequence of uniform substitution (all instances of a variable are replaced with the same content) and *modus ponens* steps can either be generated by condensed detachment alone, or is a substitution instance of something that can be generated by condensed detachment alone. This makes condensed detachment useful for any logic system that has *modus ponens* and substitution, regardless of whether or not it is D-complete.

## D-notation

Since a given major premise and a given minor premise uniquely determine the conclusion (up to variable renaming), Meredith observed that it was only necessary to note which two statements were involved and that the condensed detachment can be used without any other notation required. This led to the "D-notation" for proofs. This notation uses the "D" operator to mean condensed detachment, and takes 2 arguments, in a standard prefix notation string. For example, if you have four axioms a typical proof in D-notation might look like: DD12D34 which shows a condensed detachment step using the result of two prior condensed detachment steps, the first of which used axioms 1 and 2, and the second of which used axioms 3 and 4.

This notation, besides being used in some automated theorem provers, sometimes appears in catalogs of proofs. For example, the "shortest known proofs" database of Metamath's mmsolitaire project features 196 theorems with such proofs.

Condensed detachment's use of unification predates the resolution technique of automated theorem proving which was introduced in 1965.

## Advantages

For automated theorem proving condensed detachment has a number of advantages over raw *modus ponens* and uniform substitution.

At a Modus Ponens and substitution proof you have an infinite number of choices for what you can substitute for variables. This means that you have an infinite number of possible next steps. With condensed detachment there are only a finite number of possible next steps in a proof.

The D-notation for complete condensed detachment proofs allows easy description of proofs for cataloging and search. A typical complete 30 step proof is less than 60 characters long in D-notation (excluding the statement of the axioms.)


title: Condensed Hamsters

abstract: Condensed Hamsters (1990) is a Hamsters album that was originally released only as an audio cassette compilation of the four original cassette only albums that were only available from the band's gigs. They never received a national distribution. Eventually the band stopped producing the tape albums, including this compilation, when their CD releases started to become popular. Then in 2000, after years of requests from fans, it was decided to find the master tapes and remaster the album for a CD release. Eventually the masters were found in the back of a drawer in Slim's office and they were passed along to the band's regular sound guru, Jerry Stevenson. After a lot of audio repairs and 'sonic enhancement' the masters were deemed ready for CD and they were released to the general public, both at gigs, their website and worldwide via the band's official distributor, Pinnacle Records.

text:
# Condensed Hamsters

***Condensed Hamsters*** (1990) is a Hamsters album that was originally released only as an audio cassette (Music Cassette) compilation of the four original cassette only albums (recordings from 1988–1990) that were only available from the band's gigs. They never received a national distribution. Eventually the band stopped producing the tape albums, including this compilation, when their CD releases started to become popular.

Then in 2000, after years of requests from fans, it was decided to find the master tapes (no one knew where they were!) and remaster the album for a CD release. Eventually the masters were found in the back of a drawer in Slim's office and they were passed along to the band's regular sound guru, Jerry Stevenson. After a lot of audio repairs and 'sonic enhancement' the masters were deemed ready for CD and they were released to the general public, both at gigs, their website and worldwide via the band's official distributor, Pinnacle Records.

## Track listing

1. "Switchboard Susan" – 3:34
2. "Georgia Slop" – 3:36
3. "Linda Lu" – 4:36
4. "Hard Ridin' Papa" – 4:40
5. "Crazy 'Bout An Automobile" – 3:14
6. "The Walk" – 4:10
7. "Chevrolet" – 3:12
8. "They Called It Rock" – 3:41
9. "Sweet Little Lisa" – 4:43
10. "Pouring Water On A Drowning Man" – 3:44
11. "Double Trouble" – 9:19
12. "Fire Down Below" – 4:18
13. "Chequebook" – 3:54
14. "Brother Doctor, Sister Nurse" – 4:33

## Musicians

## Production

## InfoBox

| Condensed Hamsters | |
| --- | --- |
|  | |
| Greatest hits album by The Hamsters | |
| Released | 1990 / 2000 |
| Genre | Blues Rock |
| Length | 61:14 |
| Label | Rockin' Rodent Recordings |
| Producer | The Hamsters |
| The Hamsters chronology | |
| *Pet Sounds - 10 Years of Rodent Rock*
(1998) ***Condensed Hamsters***
(1990) *They Live By Night*
(2002) | |