title: Sekwicyathus nahanniensis

abstract: Sekwicyathus is a genus of Archaeocyathan poriferan. Archaeocyaths are a taxon of extinct organism that lived in warm, tropical waters during the Early Cambrian period and built reef-like structures in the oceans. They are cup-shaped, with internal and external walls that form a filter feeding system. It is unclear as to whether Archaeocyaths are animals, plants, or some other type of organism. They are similar to modern-day sponges but share traits with other organisms as well. There are 309 discovered genera of Archaeocyaths.

text:
# Sekwicyathus nahanniensis

***Sekwicyathus*** is a genus of Archaeocyathan poriferan. Archaeocyaths are a taxon of extinct organism that lived in warm, tropical waters during the Early Cambrian period and built reef-like structures in the oceans. They are cup-shaped, with internal and external walls that form a filter feeding system. It is unclear as to whether Archaeocyaths are animals, plants, or some other type of organism. They are similar to modern-day sponges but share traits with other organisms as well. There are 309 discovered genera of Archaeocyaths.

## Discovery

*Sekwicyathus* was first discovered in 1939 by R. Bedford and J. Bedford. It is in the order of Ajacicyathida, the sub-order of Ajacicyathina, the superfamily of Ethmophylloidea, and the family of Fallocyathidae. It was classified into the order and suborder in 1939 by R. Bedford and J. Bedford, into the superfamily by Okulitch in 1937, and family in 1969 by Rozanov. It was fully named *Sekwicyathus nahanniensis* by Handfield in 1971.

## Morphology

Each Archaeocyath is distinguished by the differences in the internal and external walls, as well as by the intervallum. *S. nahanniensis* has two walls. *S. nahanniensis*' outer wall has horizontal carcass canal tubes, no external plates, bumps, or additional sheath on the external structure. It has stipules, the carcass perforations are canals, and the outer wall is well defined. The internal structure has a simple structure, with pores on the inner walls, and no stippling or additional sheath. In the intervallum, there are intervallar cells and septa, but no tabulae. *S. nahanniensis* is a solitary organism.

## Geographic distribution

*S. nahanniensis* is found in Canada, Europe, Russia, and the United States.

## InfoBox

| *Sekwicyathus nahanniensis*
Temporal range: Lower Cambrian | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Animalia |
| Phylum: | Porifera |
| Class: | Archaeocyatha |
| Order: | Ajacicyathida |
| Family: | Fallocyathidae |
| Genus: | *Sekwicyathus* |
| Species: | ***S. nahanniensis*** |
| Binomial name | |
| ***Sekwicyathus nahanniensis***
Handfield, 1971 | |
|


title: Umbrella Cover Museum

abstract: The Umbrella Cover Museum in Peaks Island, Maine is a museum that pays tribute to umbrella covers. The museum was created and is curated by Nancy 3. Hoffman, who has collected more than 2000 umbrella covers from 66 countries as of July 2018. The mission of the Umbrella Cover Museums states that it is "dedicated to the appreciation of the mundane in everyday life. It is about finding wonder and beauty in the simplest of things, and about knowing that there is always a story behind the cover." The idea for the museum came when Hoffman was cleaning out a closet and came across seven umbrella covers. The museum began in Hoffman's kitchen and was moved to a larger location as the collection grew. The museum's collection ranges in size from a two-and-a-half-inch Barbie doll cover to a six-foot patio umbrella sleeve. It has hosted special exhibitions including “People and Their Covers” and “New Umbrella Cover Fashions.” On 7 July 2012, Guinness World Records named Hoffman's umbrella cover collection of 730 at the time to be the largest in the world. The museum is closed during the winter. Guided tours include Hoffman, who is also a musician, singing "Let a Smile Be Your Umbrella" while playing an accordion.

text:
# Umbrella Cover Museum

**The Umbrella Cover Museum** in Peaks Island, Maine is a museum that pays tribute to umbrella covers. The museum was created and is curated by Nancy 3. Hoffman, who has collected more than 2000 umbrella covers from 66 countries as of July 2018.

The mission of the Umbrella Cover Museums states that it is "dedicated to the appreciation of the mundane in everyday life. It is about finding wonder and beauty in the simplest of things, and about knowing that there is always a story behind the cover."

The idea for the museum came when Hoffman was cleaning out a closet and came across seven umbrella covers. The museum began in Hoffman's kitchen and was moved to a larger location as the collection grew. The museum's collection ranges in size from a two-and-a-half-inch Barbie doll cover to a six-foot patio umbrella sleeve. It has hosted special exhibitions including “People and Their Covers” and “New Umbrella Cover Fashions.”

On 7 July 2012, *Guinness World Records* named Hoffman's umbrella cover collection of 730 at the time to be the largest in the world.

The museum is closed during the winter. Guided tours include Hoffman, who is also a musician, singing "Let a Smile Be Your Umbrella" while playing an accordion.

43°39′22″N 70°11′53″W / 43.65606°N 70.19796°W / 43.65606; -70.19796


title: DIP Presents the Upsetter

abstract: DIP Presents the Upsetter is a studio album by The Upsetters, released in 1975.

text:
# DIP Presents the Upsetter

***DIP Presents the Upsetter*** is a studio album by The Upsetters, released in 1975.

## Track listing

### Side one

1. "Enter the Dragon" – The Upsetters
2. "I Don't Mind" – Sam Carty
3. "Cane River Rock" – The Upsetters
4. "I Man Free" – King Burnett
5. "Jamaican Theme" – The Upsetters
6. "Time" – The Gladiators

### Side two

1. "Jump It" – Leo Graham
2. "Live Is a Flower" – Sam Carty
3. "Have Some Fun" – The Gaylads
4. "Nature Man" – The Gaylads
5. "Dub a Pum Pum" – The Silvertones
6. "Fu Kung Man" – Linval Spencer (aka Linval Thompson)

## InfoBox

| DIP Presents the Upsetter | |
| --- | --- |
|  | |
| Studio album by The Upsetters | |
| Released | 1975 |
| Recorded | 1975 |
| Genre | Reggae |
| Label | DIP |
| Producer | Lee Perry |
| The Upsetters chronology | |
| *Double Seven*
(1974) ***DIP Presents the Upsetter***
(1975) *Musical Bones*
(1975) | |


title: Sales Pitch (short story)

abstract: "Sales Pitch" is a science fiction short story by American writer Philip K. Dick, first published in Future Science Fiction magazine, June 1954. The premise is the omnipresent, intrusive and even aggressive advertising and marketing. At the end of the story, the protagonist is driven mad by a robot who can forcefully market himself, and refuses to take no for an answer. The subject was of concern to Dick, and features in his early works such as The Man Who Japed.

text:
# Sales Pitch (short story)

"**Sales Pitch**" is a science fiction short story by American writer Philip K. Dick, first published in *Future Science Fiction* magazine, June 1954. The premise is the omnipresent, intrusive and even aggressive advertising and marketing. At the end of the story, the protagonist is driven mad by a robot who can forcefully market himself, and refuses to take no for an answer. The subject was of concern to Dick, and features in his early works such as *The Man Who Japed*.

## Ending

In 1978, Dick said of the story:

> When this story first appeared, the fans detested it. I read it over, perplexed by their hostility, and could see why: it is a superdowner story, and relentlessly so. Could I rewrite it, I would have it end differently. I would have the man and the robot, i.e. the *fasrad*, form a partnership at the end and become friends. The logic of paranoia of this story should be deconstructed into its opposite; Y, the human-against-robot theme, should have been resolved into null-Y, human-and-robot-against-the-universe. I really deplore the ending. So when you read the story, try to imagine it as it ought to have been written. The fasrad says, 'Sir, I am here to help you. The hell with my sales pitch. Let's be together forever.' Yes, but then I would have been criticized for a false upbeat ending, I guess. Still, the ending is not good. The fans were right."

For a 1989–1990 radio series, Sci Fi Radio produced an audio play version of this story which is now available for free download. The story was adapted by Tony Grisoni for the episode "Crazy Diamond" of the 2017 TV series *Philip K. Dick's Electric Dreams*.

## InfoBox

| "Sales Pitch" | |
| --- | --- |
| Short story by Philip K. Dick | |
| Country | United States |
| Language | English |
| Genre(s) | Science fiction short story |
| Publication | |
| Published in | *Future Science Fiction* |
| Publication type | Periodical |
| Media type | Print |
| Publication date | June 1954 |


title: Canon EF 35–80mm lens

abstract: The EF 35-80mm f/4-5.6 USM lens is a family of EF mount wide-to-normal zoom lenses manufactured and sold by Canon. There were five versions made. One contained a piezoelectric motor, three contained a micro motor, and one contained a USM motor.

text:
# Canon EF 35–80mm lens

The **EF 35-80mm f/4-5.6 USM lens** is a family of EF mount wide-to-normal zoom lenses manufactured and sold by Canon. There were five versions made. One contained a piezoelectric motor, three contained a micro motor, and one contained a USM motor.

## Specifications

| Attribute | f/4-5.6 PZ | f/4-5.6 | f/4-5.6 USM | f/4-5.6 II | f/4-5.6 III |
| --- | --- | --- | --- | --- | --- |
| Image |  |  |  |  |  |
| Key features | | | | | |
| Full-frame compatible | Yes | | | | |
| Image stabilizer | No | | | | |
| Environmental Sealing | No | | | | |
| Ultrasonic Motor | No | | Yes | No | |
|
| L-series | No | | | | |
| Diffractive Optics | No | | | | |
| Technical data | | | | | |
| Aperture (max–min) | f/4-5.6–f/32 | | | | |
| Construction | 7 groups / 7 elements | 8 groups / 8 elements | | | |
| \# of diaphragm blades | 5 | | | | |
| Closest focusing distance | 0.5 m (1.6 ft) | 0.37 m (1.2 ft) | | | 0.4 m (1.3 ft) |
| Max. magnification | 0.18x | 0.25x | | | 0.23x |
| Horizontal viewing angle | 54°–30° | | | | |
| Diagonal viewing angle | 63°–17° | | | | |
| Vertical viewing angle | 38°–25° | | | | |
| Physical data | | | | | |
| Weight | 205 g (0.452 lb) | 180 g (0.40 lb) | 170 g (0.37 lb) | | 175 g (0.386 lb) |
| Maximum diameter | 68 mm (2.7 in) | 68.6 mm (2.70 in) | 65 mm (2.6 in) | | |
| Length | 72 mm (2.8 in) | 61 mm (2.4 in) | | | 63.5 mm (2.50 in) |
| Filter diameter | 52 mm | | | | |
| Accessories | | | | | |
| Lens hood | ES-62 with 62-L adapter | EW-62 | EW-54II | EW-54II | EW-54II |
| Retail information | | | | | |
| Release date | March 1990 | September 1990 | April 1992 | September 1993 | March 1995 |
| Currently in production? | No | | | | |
| MSRP US$ | 26,000 yen | 22,000 yen | 26,000 yen | $159.00 | ? |

1. Canon Inc. "EF35-80mm f/4-5.6 PZ". *Canon Camera Museum*. Retrieved 2016-05-18.
2. Canon Inc. "EF35-80mm f/4-5.6". *Canon Camera Museum*. Retrieved 2016-05-18.
3. Canon Inc. "EF35-80mm f/4-5.6 USM". *Canon Camera Museum*. Retrieved 2016-05-18.
4. Canon Inc. "EF35-80mm f/4-5.6 II". *Canon Camera Museum*. Retrieved 2016-05-18.
5. Canon Inc. "EF35-80mm f/4-5.6 III". *Canon Camera Museum*. Retrieved 2016-05-18.


title: Pseudonapomyza atra

abstract: Pseudonapomyza atra is a species of fly in the family Agromyzidae.

text:
# Pseudonapomyza atra

***Pseudonapomyza atra*** is a species of fly in the family Agromyzidae.

## Distribution

Canada, United States.

## InfoBox

| *Pseudonapomyza atra* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Agromyzidae |
| Subfamily: | Phytomyzinae |
| Genus: | *Pseudonapomyza* |
| Species: | ***P. atra*** |
| Binomial name | |
| ***Pseudonapomyza atra***<br>(Meigen, 1830) | |
|
| Synonyms | |
| * *Napomyza atrata* Malloch, 1914 * *Napomyza hindustanica* Garg, 1971 * *Phytagromyza keralaensis* Tandon, 1966 * *Phytagromyza sabarii* Singh & Ipe, 1973 * *Phytagromyza tibialis* Sasakawa, 1963 * *Phytomyza acuticornis* Loew, 1858 * *Phytomyza atra* Meigen, 1830 * *Phytomyza morio* Zetterstedt, 1848 * *Phytomyza nitidula* Malloch, 1913 * *Pseudonapomyza stanionyteae* Pakalniškis, 1992 | |


title: Shingo Suetsugu

abstract: Shingo Suetsugu is a Japanese sprinter. He is a former Asian record holder in the 200 metres and 4×100 metres relay. Suetsugu won a bronze medal in the 200 metres event at the 2003 IAAF World Championships in a time of 20.38 seconds. The same year he set an Asian record of 20.03 seconds at the Japanese national championships, and also won the 100 metres in 10.13 seconds. Participating in the 2004 Summer Olympics, he reached the second round in the 100 metres. Suetsugu represented Japan at the 2008 Summer Olympics in Beijing. He competed at the 4×100 metres relay together with Naoki Tsukahara, Shinji Takahira and Nobuharu Asahara. In their qualification heat they placed second behind Trinidad and Tobago, but in front of the Netherlands and Brazil. Their time of 38.52 was the third fastest out of sixteen participating nations in the first round, and they qualified for the final. There they sprinted to a time of 38.15 seconds, the third fastest after the Jamaican and Trinidad teams, winning the bronze medal. The medal was upgraded to a silver after the Jamaicans were DQ'ed due to Nesta Carter's positive doping sample. He also took part in the 200 metres individual, finishing sixth in his first round heat, with a time of 20.93 seconds, which was not enough to qualify for the second round.

text:
# Shingo Suetsugu

**Shingo Suetsugu** (末續 慎吾, *Suetsugu Shingo*, born 2 June 1980 in Kumamoto) is a Japanese sprinter. He is a former Asian record holder in the 200 metres and 4×100 metres relay.

Suetsugu won a bronze medal in the 200 metres event at the 2003 IAAF World Championships in a time of 20.38 seconds. The same year he set an Asian record of 20.03 seconds at the Japanese national championships, and also won the 100 metres in 10.13 seconds. Participating in the 2004 Summer Olympics, he reached the second round in the 100 metres.

Suetsugu represented Japan at the 2008 Summer Olympics in Beijing. He competed at the 4×100 metres relay together with Naoki Tsukahara, Shinji Takahira and Nobuharu Asahara. In their qualification heat they placed second behind Trinidad and Tobago, but in front of the Netherlands and Brazil. Their time of 38.52 was the third fastest out of sixteen participating nations in the first round, and they qualified for the final. There they sprinted to a time of 38.15 seconds, the third fastest after the Jamaican and Trinidad teams, winning the bronze medal. The medal was upgraded to a silver after the Jamaicans were DQ'ed due to Nesta Carter's positive doping sample. He also took part in the 200 metres individual, finishing sixth in his first round heat, with a time of 20.93 seconds, which was not enough to qualify for the second round.

## Personal bests

| Event | Time | Wind | Venue | Date | Notes |
| --- | --- | --- | --- | --- | --- |
| 100 m | 10.03 s | +1.8 m/s | Mito, Japan | 5 May 2003 | Japan's 5th-fastest time |
| 200 m | 20.03 s | +0.6 m/s | Yokohama, Japan | 7 June 2003 | Japan's record |
| 400 m | 45.99 s |  | Machida, Japan | 18 August 2002 |  |
|

## Records

* 100 metres
    + Former Japanese university record holder - 10.05 s (wind: +1.9 m/s) (Mito, 6 May 2002)
* 200 metres
    + Former Asian record holder - 20.03 s (wind: +0.6 m/s) (Yokohama, 7 June 2003)
    + Current Japanese record holder - 20.03 s (wind: +0.6 m/s) (Yokohama, 7 June 2003)
    + Former Japanese university record holder - 20.26 s (wind: -0.9 m/s) (Yokohama, 9 September 2000)
* 4 × 100 m relay
    + Former Asian record holder - 38.03 s (relay leg: 2nd) (Osaka, 1 September 2007)\[a\]
    + Former Japanese university record holder - 38.57 s (relay leg: 2nd) (Tokyo, 29 September 2001)\[b\]
* Medley relay (100m×200m×300m×400m)
    + Former Japanese university record holder - 1:50.21 s (relay leg: 2nd) (Yokohama, 15 September 2001)

**a**  with Naoki Tsukahara, Shinji Takahira, and Nobuharu Asahara **b**  with Hisashi Miyazaki, Toshiyuki Fujimoto, and Masayuki Okusako

## International competition record

| Year | Competition | Venue | Position | Event | Notes |
| --- | --- | --- | --- | --- | --- |
| Representing  Japan | | | | | |
| 1999 | Asian Junior Championships | Singapore | 3rd | 100 m | 10.68 (wind: -0.1 m/s) |
| | | | 1st | 4 × 100 m relay | 39.86 (relay leg: 3rd) |
| 2000 | Olympics | Sydney, Australia | 14th (sf) | 200 m | 20.69 (wind: +0.3 m/s) |
| | | | 6th | 4 × 100 m relay | 38.66 (relay leg: 3rd) |
| 2001 | East Asian Games | Osaka, Japan | 1st | 200 m | 20.34 (wind: 0.0 m/s) **GR** |
| | | | 1st | 4 × 100 m relay | 38.93 (relay leg: 3rd) **GR** |
| | World Championships | Edmonton, Canada | 10th (sf) | 200 m | 20.39 (wind: +0.7 m/s) |
| | | 4th | 4 × 100 m relay | 38.96 (relay leg: 2nd) |
| 2002 | Asian Games | Busan, South Korea | 1st | 200 m | 20.38 (wind: 0.0 m/s) |
| | | | 2nd | 4 × 100 m relay | 38.90 (relay leg: 2nd) |
| 2003 | World Championships | Saint-Denis, France | 3rd | 200 m | 20.38 (wind: +0.1 m/s) |
| | Afro-Asian Games | Hyderabad, India | 3rd | 100 m | 10.36 (wind: -0.6 m/s) |
| 2004 | Olympics | Athens, Greece | 17th (qf) | 100 m | 10.19 (wind: 0.0 m/s) |
| | | | 4th | 4 × 100 m relay | 38.49 (relay leg: 2nd) |
| 2005 | World Championships | Helsinki, Finland | 11th (sf) | 200 m | 20.84 (wind: -0.3 m/s) |
| | | | 8th | 4 × 100 m relay | 38.77 (relay leg: 1st) |
| | Asian Championships | Incheon, South Korea | 2nd | 100 m | 10.42 (wind: -0.3 m/s) |
| | | 1st | 4 × 100 m relay | 39.10 (relay leg: 4th) |
| 2006 | World Cup | Athens, Greece | 3rd | 200 m | 20.30 (wind: +0.1 m/s) |
| | | | 3rd | 4 × 100 m relay | 38.51 (relay leg: 2nd) |
| | Asian Games | Doha, Qatar | 1st | 200 m | 20.60 (wind: +0.7 m/s) |
| | | 2nd | 4 × 100 m relay | 39.21 (relay leg: 2nd) |
| 2007 | World Championships | Osaka, Japan | 19th (qf) | 200 m | 20.70 (wind: +0.9 m/s) |
| | | | 5th | 4 × 100 m relay | 38.03 (relay leg: 2nd) **AR** |
| 2008 | Olympics | Beijing, China | 34th (h) | 200 m | 20.93 (wind: -0.7 m/s) |
| | | | 2nd | 4 × 100 m relay | 38.15 (relay leg: 2nd) |

## National championships

He has won the individual national championship 6 times:

## InfoBox

Suetsugu Shingo
|  | |
| --- | --- |
| Personal information | |
| Nationality | Japan |
| Born | 2 June 1980 (1980-06-02) (age 44)
Kumamoto, Kumamoto Prefecture, Japan |
| Height | 1.78 m (5 ft 10 in) |
| Weight | 68 kg (150 lb) |
| Sport | |
| Sport | Track and field |
| Event(s) | 100 metres, 200 metres |
| University team | Tokai University |
| Achievements and titles | |
| Personal bests | **100 m**: 10.03 (Mito 2003)
**200 m**: 20.03 (Yokohama 2003) **NR**

**400 m**: 45.99 (Machida 2002) |
| Medal record      Men's athletics  Representing  Japan  Olympics  2008 Beijing 4×100 m relay  World Championships  2003 Paris 200 m  Asian Games  2002 Busan 200 m  2006 Doha 200 m  2002 Busan 4×100 m relay  2006 Doha 4×100 m relay  Asian Championships  2005 Incheon 4×100 m relay  2005 Incheon 100 m  Afro-Asian Games  2003 Hyderabad 100 m  East Asian Games  2001 Osaka 200 m  2001 Osaka 4×100 m relay  Asian Junior Championships  1999 Singapore 4×100 m relay  1999 Singapore 100 m  Representing  Asia  World Cup  2006 Athens 200 m  2006 Athens 4×100 m relay | |


title: 1787 in literature

abstract: This article contains information about the literary events and publications of 1787.

text:
# 1787 in literature

This article contains information about the literary events and publications of **1787**.

## Events

## New books

### Fiction

### Children

* François Guillaume Ducray-Duminil*Fanfan et Lolotte, ou Histoire de deux enfants abandonnés dans une île déserte* (Fanfan and Lolotte, Story of Two Children Abandoned on a Desert Island)

### Drama

### Poetry

### Non-fiction

## Births

## Deaths

## InfoBox

| List of years in literature (table) |
| --- |
|  |
| In poetry 1784 1785 1786 1787 1788 1789 1790 |
| *+...* |


title: Carine, Western Australia

abstract: Carine is a suburb of Perth, the capital city of Western Australia, and is located 14 kilometres (9 mi) north of Perth's central business district (CBD) between Marmion Avenue and Mitchell Freeway. Its local government area is the City of Stirling.

text:
# Carine, Western Australia

**Carine** is a suburb of Perth, the capital city of Western Australia, and is located 14 kilometres (9 mi) north of Perth's central business district (CBD) between Marmion Avenue and Mitchell Freeway. Its local government area is the City of Stirling.

## History

The name "Carine" was derived from the two swamps in the area, which were recorded by R. Quinn in a survey in 1865 as "Big Carine Swamp" and "Small Carine Swamp". Carine originally formed part of the Hamersley Estate, which also included the suburbs now known as North Beach, Waterman and Hamersley.

These areas were owned by the Hamersley family, who arrived from Europe to settle in the Swan River Colony in 1837 and built a summer home in what is now North Beach. The majority of land at Carine remained largely undeveloped until the 1960s, with a few market gardens and farms established in the low-lying portions around the swamps, the remainder being timber reserves and a small piggery and horse stable near Little Carine Swamp, and the Beetles Dairy in Okely Road which operated until 1915.

In the early 1970s, the part of the suburb south of what is now Reid Highway was built, and in 1973, Carine High School opened. For several years, the high school and the Carine Gardens Caravan Park and surrounding market gardens on Balcatta Road were the only facilities in the suburb. From 1975 onwards, the residential suburb was built progressively, with the last two stages being completed in 1987, west of Osmaston Road and the Lake Carine Gardens estate (built on a site originally reserved for a school to serve eastern Carine).

The majority of buildings were single detached houses but, with the growth in popularity of infill development, duplexes have become more common.

In 2000, the final stage of Reid Highway was completed despite considerable local opposition. This effectively separated the southern 300m of the suburb (the oldest section) and the caravan park from the rest of Carine.

In November 2013, a plan was announced to redevelop the former Carine Tafe site. The plan included new town housing, apartments, a retirement village, aged care facilities and mixed use space. The project developers for the site are LandCorp, Cedar Woods Properties and St Ives Group.

## Geography

Carine is bounded by Beach Road to the north, Mitchell Freeway to the east, North Beach Road to the south and Marmion Avenue to the west. Carine Regional Open Space sits between Duffy/Monyash Roads and Okely Road, and represents about one-third of the suburb. Reid Highway runs through the southern part of the suburb, and is the suburb's outlet to the Mitchell Freeway and the city.

At the 2016 Australian census, Carine had a mostly middle-income white population of 6,479 people living in 2,425 dwellings, nearly all of which were detached houses on single lots. The ABS reported that nearly half of Carine's workforce were managers or professionals. 65% of all people in Carine are married, and the suburb has a lot more families than the rest of Western Australia.

## Facilities

Carine is a residential suburb, relying on the Carine Glades shopping centre on its northern boundary for basic commercial services, and nearby Karrinyup Shopping Centre and Centro Warwick for other services. The suburb is served by a primary school, and a high school (grades 7-12).

Carine Regional Open Space is a wetland reserve centred on the two large swamps, and is home to many rare waterbirds, frogs, turtles and other wildlife. They are served by walking and bicycle tracks. The northern end of the open space contains sports facilities, ovals and a skateboard ramp.

## Transport

Carine is served by the Warwick railway station at its northeastern corner, linking the area to the Perth CBD. The suburb is also served by Transperth bus route 425 along Beach Road, Okely and Osmaston Roads and Everingham Street, the 424 along North Beach Road in Carine's south, and other routes along Marmion Avenue and Beach Road.

### Bus

Bus routes serving Beach Road:

## Politics

Carine is a reasonably affluent suburb with many "mortgage belt" families and socially liberal voters. It consistently supports the Liberal Party at both federal and state elections where it is located in the Division of Stirling and Electoral district of Carine respectively. Prior to the district of Carine being created in 1996, the suburb was in the Electoral district of Marmion, and before that Karrinyup.

## InfoBox

| Carine
Perth, Western Australia | |
| --- | --- |
| Monyash Road, Carine | |
|  | |
| Coordinates | 31°51′04″S 115°46′44″E / 31.851°S 115.779°E / -31.851; 115.779 |
| Population | 7,330 (SAL 2021) |
| Established | 1973 |
| Postcode(s) | 6020 |
| Area | 4.7 km2 (1.8 sq mi) |
| LGA(s) | City of Stirling |
| State electorate(s) | Carine |
| Federal division(s) | Moore |
| **Suburbs around Carine:**  Marmion Duncraig Warwick  Watermans Bay Carine Hamersley  North Beach Karrinyup Gwelup | |


title: Etobicoke Collegiate Institute

abstract: Etobicoke Collegiate Institute, previously known as Etobicoke High School is a high school in Toronto, Ontario, Canada. It is located in the Islington neighbourhood of the former suburb of Etobicoke. It is overseen by the Toronto District School Board. The school was founded in 1928 and was part of the former Etobicoke Board of Education until 1998.

text:
# Etobicoke Collegiate Institute

**Etobicoke Collegiate Institute** (**ECI**, **Etobicoke CI**), previously known as **Etobicoke High School** is a high school in Toronto, Ontario, Canada. It is located in the Islington neighbourhood of the former suburb of Etobicoke. It is overseen by the Toronto District School Board. The school was founded in 1928 and was part of the former Etobicoke Board of Education until 1998.

## History

Etobicoke High School was founded in the fall of 1928. It is one of Toronto's oldest schools and the first and traditionally central school for Etobicoke, having celebrated its 75th anniversary in 2003. The school was renamed to *Etobicoke Collegiate Institute* in 1949.

The 1928 entrance is an example of Art Deco architecture. The high school has about 1,450 students and over 100 teachers. Etobicoke Collegiate Institute is also the second-surviving high school in Etobicoke after the now-defunct Mimico High School (whose building now houses John English Junior Middle School).

E.C.I's traditional rivals are Richview Collegiate Institute, about 2 kilometres (1.2 mi) north. The two schools compete in football and other sports and share a somewhat similar socioeconomic demographic.

The school building has been a shooting location for a few films and commercials, including *Mean Girls* in 2003 and the made-for-television movie, *Young Again*, starring Keanu Reeves, in 1986.

The Etobicoke Collegiate Institute extracurricular activity list stretches from music to most sports to Eco Club, Social Justice Club and Intereact.

Etobicoke Collegiate's Student Administrative Council is made up of 10 elected student leaders.

## Athletics

* Fall Sports: Basketball, Football, Cross Country, Tennis, Golf, Volleyball
* Winter Sports: Ice Hockey, Swimming, Badminton, Basketball, Volleyball, Curling
* Spring Sports: Soccer, Baseball, Softball, Track and Field, Ultimate Frisbee, Lacrosse

## Notable alumni

## InfoBox

| Etobicoke Collegiate Institute | |
| --- | --- |
|  | |
| Etobicoke C.I.'s facade and main entrance, in 2010 | |
| Address | |
|  | |
| 86 Montgomery Road
Toronto, Ontario, M9A 3N5
Canada | |
| Coordinates | 43°39′0.73″N 79°31′20.74″W / 43.6502028°N 79.5224278°W / 43.6502028; -79.5224278 |
| Information | |
| Former name | Etobicoke High School (1928-1949) |
| Type | Public High School |
| Motto | *Semper Ad Meliora*
(Always Towards the Better) |
| Religious affiliation(s) | Secular |
| Founded | 1928 |
| School board | Toronto District School Board
(Etobicoke Board of Education) |
| School district | Etobicoke |
| Superintendent | Alison Gaymes San Vicente |
| Area trustee | Dan MacLean
Ward 2 |
| School number | 2802 / 909572 |
| Principal | Jennifer Kurtz |
| Staff | 105 |
| Grades | 9-12 |
| Enrolment | 1390 (2023-24) |
| Color(s) | Garnet, green and gold |
| Athletics conference | TDSAA, OFSAA-"AAAA" |
| Mascot | Ram (Ruckus the Ram) |
| Team name | Etobicoke Rams |
| Website | etobicokeci.ca |


title: DMG @ The Stone Volume 1

abstract: DMG @ The Stone Volume 1: December 22, 2006 is a live album by the Stone Quartet: bassist Joëlle Léandre, trumpeter and flutist Roy Campbell, pianist Marilyn Crispell, and violist Mat Maneri. It was recorded on December 22, 2006, at The Stone in New York City, and was released in 2008 by the Downtown Music Gallery's DMG/ARC label.

text:
# DMG @ The Stone Volume 1

***DMG @ The Stone Volume 1: December 22, 2006*** is a live album by the Stone Quartet: bassist Joëlle Léandre, trumpeter and flutist Roy Campbell, pianist Marilyn Crispell, and violist Mat Maneri. It was recorded on December 22, 2006, at The Stone in New York City, and was released in 2008 by the Downtown Music Gallery's DMG/ARC label.

## Reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *The Free Jazz Collective* |  |
| Tom Hull – on the Web | B+ |

A reviewer for *The Free Jazz Collective* awarded the album a full five stars, and stated: "The four musicians... feel like like-minded spirits on this free and open album, full of slow and intimistic harmonic confrontations between their four instruments. The slowness of their hesitatingly exploring of and expanding on the created sounds gives a rather accessible listen, with hauntingly beautiful parts in it."

Kurt Gottschalk of *All About Jazz* wrote: "The playing is strong throughout, but it's particularly nice to hear Campbell pull back. He plays flute for part of the set, but his muted trumpet sounds especially sweet against the woody lyricism of the rest of the band."

*Point of Departure'*s Francesco Martinelli commented: "The instrumentation is chamber-like, especially when Campbell plays flute, but the opening and closing quartet tracks... build up tension and energy, with Léandre getting as close as in any other recordings in her career to a kind of 'jazzy' rhythmic feel."

## Track listing

Composed by Joëlle Léandre, Roy Campbell, Marilyn Crispell, and Mat Maneri.

1. "Part 1" – 25:36
2. "Part 2" – 6:54
3. "Part 3" – 7:51
4. "Part 4" – 13:06

## Personnel

## InfoBox

| DMG @ The Stone Volume 1: December 22, 2006 | |
| --- | --- |
|  | |
| Live album by Joëlle Léandre, Roy Campbell, Marilyn Crispell, and Mat Maneri | |
| Released | 2008 |
| Recorded | December 22, 2006 |
| Venue | The Stone, New York City |
| Genre | Free improvisation |
| Length | 53:27 |
| Label | DMG/ARC<br>0721 |
| Producer | Bruce Lee Gallanter |


title: Sales Oliveira

abstract: Sales Oliveira is a municipality in the state of São Paulo in Brazil. The population is 11,998 in an area of 306 km⁲. The elevation is 730 m.

text:
# Sales Oliveira

**Sales Oliveira** is a municipality in the state of São Paulo in Brazil. The population is 11,998 (2020 est.) in an area of 306 km2. The elevation is 730 m.

## History

The municipality was created by state law in 1944.

## InfoBox

| Sales Oliveira | |
| --- | --- |
| Municipality | |
|  | |
| Location in São Paulo state | |
| Sales OliveiraLocation in Brazil | |
| Coordinates: 20°46′19″S 47°50′17″W / 20.77194°S 47.83806°W / -20.77194; -47.83806 | |
| Country | Brazil |
| Region | Southeast |
| State | São Paulo |
| Area | |
| Total | 306 km2 (118 sq mi) |
| Population (2020 ) | |
| Total | 11,998 |
| Density | 39/km2 (100/sq mi) |
| Time zone | UTC−3 (BRT) |


title: Canteen Kopje

abstract: Canteen Kopje is an archaeological site, formally protected as a grade 2 provincial heritage site, and approved in 2017 for re-grading to national status, situated outside Barkly West in the Northern Cape, South Africa. The place was previously known as Klipdrift, meaning stony drift, a translation from a still earlier!Ora name, !a |aub. Canteen Kopje is best known for its long and exceptionally rich Earlier Stone Age sequence, spanning circa >0.5 to 1.7 million years, occurring within gravels exposed in late nineteenth and early twentieth century mining pits. Also attracting attention are more recent archaeological levels in the overlying Hutton Sands, which contain material known as Fauresmith, Middle Stone Age, Later Stone Age, and late Iron Age with evidence of protocolonial and colonial contact and interaction, probably, with nineteenth century diamond diggers. The importance of Canteen Kopje as a heritage site was recognized, and a 9 hectares area known as Erf 91 was proclaimed as a protected reserve in 1948. Gideon Retief, Mining Commissioner of Barkly West from 1942 to 1951, was instrumental in preserving the site and creating the first open air exhibit here. Subsequently, in 2000, information panels were erected by the McGregor Museum. These were refurbished in 2016. A walking trail was laid out for visitors to view the early diamond diggings and archaeological research sites. The Barkly West Museum contains further information and examples of artefacts from the site, while material excavated by archaeologists is housed principally by the McGregor Museum, the approved archaeological repository for the Northern Cape Province in nearby Kimberley. In 2016 the protected heritage site was directly threatened after the Department of Minerals and Energy issued a permit for part of the site to be mined. Although a heritage permit had not been issued by the South African Heritage Resources Agency, mining commenced on 18 March 2016. An urgent interdicted was granted by the Northern Cape Division of the High Court of South Africa on 19 March, being made final on 19 April 2016. In the 1940s the archaeologist Clarence Van Riet Lowe predicted: "When the last diamond claim has been abandoned, archaeologists throughout the world will be interested in Canteen Kopje, in the Vaal River diggings, where lie the prehistoric remains of a million years of human evolution".

text:
# Canteen Kopje

**Canteen Kopje** is an archaeological site, formally protected as a grade 2 provincial heritage site, and approved in 2017 for re-grading to national status, situated outside Barkly West in the Northern Cape, South Africa. The place was previously known as Klipdrift, meaning stony drift, a translation from a still earlier !Ora name, !*a* |*aub*. Canteen Kopje is best known for its long and exceptionally rich Earlier Stone Age sequence, spanning circa \>0.5 to 1.7 million years, occurring within gravels exposed in late nineteenth and early twentieth century mining pits. Also attracting attention are more recent archaeological levels in the overlying Hutton Sands, which contain material known as Fauresmith, Middle Stone Age, Later Stone Age, and late Iron Age with evidence of protocolonial and colonial contact and interaction, probably, with nineteenth century diamond diggers.

The importance of Canteen Kopje as a heritage site was recognized, and a 9 hectares (22 acres) area known as Erf 91 was proclaimed as a protected reserve in 1948. Gideon Retief, Mining Commissioner of Barkly West from 1942 to 1951, was instrumental in preserving the site and creating the first open air exhibit here. Subsequently, in 2000, information panels were erected by the McGregor Museum. These were refurbished in 2016. A walking trail was laid out for visitors to view the early diamond diggings and archaeological research sites. The Barkly West Museum contains further information and examples of artefacts from the site, while material excavated by archaeologists is housed principally by the McGregor Museum, the approved archaeological repository for the Northern Cape Province in nearby Kimberley.

In 2016 the protected heritage site was directly threatened after the Department of Minerals and Energy issued a permit for part of the site to be mined. Although a heritage permit had not been issued by the South African Heritage Resources Agency, mining commenced on 18 March 2016. An urgent interdicted was granted by the Northern Cape Division of the High Court of South Africa on 19 March, being made final on 19 April 2016.

In the 1940s the archaeologist Clarence Van Riet Lowe predicted: "When the last diamond claim has been abandoned, archaeologists throughout the world will be interested in Canteen Kopje, in the Vaal River diggings, where lie the prehistoric remains of a million years of human evolution".

## Alluvial diamond diggings

One of the hills in the vicinity of Canteen Kopje was the site of the first alluvial diamond diggings (as opposed to surface prospecting) on the Diamond Fields of South Africa, which precipitated the rush to these parts in 1870. Digging continued here until the early 1940s.

Batlhaping *Kgosi* (Chief) Jantjie Mothibi controlled, for as long as he could, the influx of white "diamond seekers" to the region. Prospectors were allowed to use sharp sticks, but were not permitted to "touch the ground with pick and shovel". For their part, as noted by Jerome Babe in his 1872 book, *The South African Diamond Fields*, "Natives would form themselves in long lines, joined hand in hand, and walk slowly over the ground and look for diamonds, especially after rain; and if they found one they would take it to a trader...\[Finds were exchanged for\] horses, wagons, cows, sheep, cash, goods, etc at a deuce of a pace".

In January 1870 diggers from KwaZulu-Natal were working their way along the Vaal River, finding diamonds at Klipdrift, on the "Old Koppie", upslope from Canteen Kopje. Using "pick and shovel, in spite of the natives", they unearthed more, precipitating the diamond rush. Soon both banks of the Vaal River were thronging with diggers of many nationalities, and by the end of the year there were five thousand people at Klipdrift alone.

The diggers formed a Mutual Protection Association and elected Stafford Parker as their leader. Klipdrift was renamed Parkerton (from 1873 it was called Barkly West), and a Diggers' Republic was proclaimed in July 1870.

A popular early cradle sieve for recovery of diamonds was the so-called "Long Tom", which was reliant on large quantities of water. An improved version less dependent on water was developed by the American digger, author of *The South African Diamond Fields*, Jerome Babe. His 'dry sifter', known as the "Yankee Baby", is still used in the twenty first century by some small-scale diggers. At the time, its inventor was said to be "the first Babe to rock his own cradle".

The centrifugal or rotary washing machine – now standard on diggings in the area – is more sophisticated. In a slurry, a concentrate of heavy diamond-bearing deposit is separated from lighter waste.

Diggers staked their claims near the river, and dug the gravel where it was exposed at or near the surface. Where the gravel was buried deeper under silt and sand – such as at Canteen Kopje – large pits were dug. From these and from vertical shafts, the diggers tunnelled out precarious passageways in which a man could hardly stand.

## Geology

The sequence of geological deposits in the vicinity of Canteen Kopje comprises:

* Resistant 2 800 million year old andesitic lavas of the Ventersdorp Supergroup, underlying the entire area.
* Thin patches of circa 280 million year old basal Karoo Sequence sediments made up of tillite and shale locally.
* Shallow remnants of 19-17 million year old Older Gravels on the tops and upper slopes of adjacent hills.
* Up to circa 10 metres (33 ft) thickness of \>0.5 to 1.7 million year old Younger Gravels formed largely from rock debris washed from adjacent hillsides.
* Up to 4 metres (13 ft) thick reddish windblown Hutton Sands that accumulated during drier intervals since about 0.3-0.5 million years ago.

Diamonds at or near Canteen Kopje are confined to the Older and Younger Gravels. Around 90-120 million years ago, a swarm of volcanic pipes, centred on Kimberley to the east, brought diamond-bearing kimberlite to a higher surface formed of Karoo Sequence sediments. Subsequent erosion has lowered the entire regional landscape by over 1,200 metres (3,900 ft) and in the process the diamonds were released from their host rock. It has been estimated that at least 50 million carats of diamonds were set free in this way from the five kimberlite pipes in the vicinity of Kimberley alone. Most of those were flushed away to the sea long ago in past and present river channels, but along the way some were trapped in alluvial deposits such as the Older and Younger Gravels along rivers in this region.

## Recognition of archaeological significance

Earlier Stone Age artefacts were noted in the area by Colonel James Henry Bowker and Mary Elizabeth Barber at the time of the earliest diamond diggings. Eminent prehistorians including C. van Riet Lowe, the French prehistorian, the Abbé Henri Breuil and J. Desmond Clark visited and described it. Breuil was here in 1929 and again in the 1940s, when he famously noted that "not only are there enough specimens \[there\] to fill a museum to overflowing but to build it of them also."

## Preserved and almost lost

On account both of the mining history as well as the finding of Acheulean artefacts at this spot, a 10 morgen portion of Canteen Kopje was declared a National Monument (since 2000 known as a provincial heritage site) in 1948. Mining recommenced in the vicinity in the 1990s and Canteen Kopje was nearly lost. Pressure was exerted for the site to be de-proclaimed as a heritage site, to allow for renewed diamond digging and 'empowerment' of small scale miners. The local community recognised the value of conserving heritage and supported the efforts of the then National Monuments Council and the McGregor Museum to preserve the site, which was then developed as an open-air museum. The new Barkly West Museum was created at the same time.

Renewed threat was experienced in 2016. In 2014 the Department of Minerals (DMR) issued a permit for mining to take place on part of the declared site. The South African Heritage Resources Agency (SAHRA) was alerted and in response, because of the existing formal declaration, a Cease Works Order was put in place to prevent mining from taking place. Pressure was exerted however and in March 2016 the Cease Works Order was lifted, following which, on 16 March 2016, a diamond mining operation commenced work by fencing off an area around that for which they have a DMR mining permit. Public access to the remainder of the heritage site was blocked. Section 27(18) of the National Heritage Resources Act (NHRA) (Act 25 of 1999) states that: "No person may destroy, damage, deface, excavate, alter, remove from its original position, subdivide or change the planning status of any heritage site without a permit issued by the heritage resources authority responsible for the protection of such site." Section 51. (1) of the NHRA states that: "Notwithstanding the provisions of any other law, any person who contravenes— (a) sections 27(18), 29(10), 32(13) or 32(19) is guilty of an offence and liable to a fine or imprisonment or both such fine and imprisonment as set out in item 1 of the Schedule." Since the mining concern has commenced mining operations without such a permit issued by SAHRA, it is clearly in contravention of an Act of the Republic of South Africa and therefore is guilty of an offence.

## Archaeological and geological investigations from the 1990s

Excavations in the late 1990s were carried out by Peter Beaumont of the McGregor Museum. John McNabb from the University of Southampton worked with Beaumont in analysing the Acheulean stone artefact technology. Further excavations have been carried out by archaeologists from the University of the Witwatersrand (inter alia for application of cosmogenic nuclide burial dating) and the University of Toronto. The current active programme of research has yielded an as yet unpublished basal date of some 2.3 million years, while excavations involving students from the Sol Plaatje University in Kimberley investigate the most recent circa 19th century contact period archaeology showing interaction between local communities and colonial diggers.

Crucial to the interpretation of the archaeology of the site, is an understanding of site formation in relation to the adjacent hill and the Vaal River which at different periods cut down first to the north of the site and then the south west.

In 2007-9 a 7-metre sequence through Hutton Sands and Gravels was excavated to carry out dating and a detailed analysis of the lithic profile. There is a marked 'Victoria West' Acheulean horizon (named for the town in the Karoo where these stone tools were first described) in the upper part of the gravels, subject to a current Southampton PhD project. The lower part of the sequence contains simpler, older Acheulean technology.

Later Stone Age material at and just below the surface has been studied in two excavations by archaeologists from the University of the Witwatersrand and Toronto.

## Canteen Kopje Skull

The Canteen Kopje Skull was found in the vicinity in 1925 by diamond digger Kenneth Kemp, working 2.4 m down at an unrecorded locality at Canteen Kopje. A number of fitting skull fragments were presented by Kemp to the magistrate J.G. van Alphen, who in turn donated them to the McGregor Museum. They were studied soon afterwards by Robert Broom, who described it in *Nature* in 1929.

In Broom's reconstruction, the skull appeared to have features similar to an allegedly archaic skeleton found at Boskop near Johannesburg. In 2011-12 X-ray Computerised Tomography scans of the skull, carried out at the South African Nuclear Energy Corporation near Pretoria, suggested it falls within the range of variation of Khoe-Sān populations of the Holocene (last 12 000 years), and is not 'archaic' as Broom had suggested. Reconsideration of the evidence also points to it having come from the Hutton Sands and not the Younger Gravels, as previously presumed.

## InfoBox

| Canteen Kopje | |
| --- | --- |
| Canteen Kopje site | |
| Location | Barkly West in the Northern Cape, South Africa |
| Coordinates | 28°32′34″S 24°31′52″E / 28.54278°S 24.53111°E / -28.54278; 24.53111 |
|  | |


title: Pseudonaevia

abstract: Pseudonaevia is a genus of fungi in the family Dermateaceae. This is a monotypic genus, containing the single species Pseudonaevia caricina.

text:
# Pseudonaevia

***Pseudonaevia*** is a genus of fungi in the family Dermateaceae. This is a monotypic genus, containing the single species ***Pseudonaevia caricina***.

## InfoBox

| *Pseudonaevia* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Ascomycetes |
| Order: | Helotiales |
| Family: | Dermateaceae |
| Genus: | ***Pseudonaevia***
Dennis & Spooner |
|
| Type species | |
| ***Pseudonaevia caricina***
Dennis & Spooner | |


title: Deep Sea Conservation Coalition

abstract: The Deep Sea Conservation Coalition (DSCC) is an alliance of over 100 international organizations working to promote the conservation of biodiversity on the high seas. The coalition is calling for a moratorium on destructive deep-sea mining and on the United Nations General Assembly to institute a moratorium on high seas bottom trawling in order to protect seamounts, cold-water corals and vulnerable deep-sea ecosystems. DSCC members include local, regional, national and international conservation and environmental organizations. Steering Group members include Conservation International, Greenpeace, Marine Conservation Institute, Natural Resources Defense Council, Oceana, Pew Charitable Trusts, and Seas at Risk. Supporters of the coalition include oceanographers, environmental lawyers and conservationists such as Dr. Sylvia Earle, Dr. Callum Roberts, Dr. Elliott Norse, Dr. Alex Rogers, Matthew Gianni, Kelly Rigg, Karen Sack, Bill Chandler, Arlo Hemphill, Lisa Speer, Charles Fox, Duncan Currie, Dorthea Hangaard, Steven Lutz, Peggy Kalas, Lyn Goldsworthy, and Mirella von Lindenfels. Others who have spoken on behalf of the coalition include Sigourney Weaver, Dr. Jeffrey Sachs, Dr. Ellen Pikitch and Dr. David Suzuki.

text:
# Deep Sea Conservation Coalition

The **Deep Sea Conservation Coalition** (DSCC) is an alliance of over 100 international organizations working to promote the conservation of biodiversity on the high seas. The coalition is calling for a moratorium on destructive deep-sea mining and on the United Nations General Assembly to institute a moratorium on high seas bottom trawling in order to protect seamounts, cold-water corals and vulnerable deep-sea ecosystems.

DSCC members include local, regional, national and international conservation and environmental organizations. Steering Group members include Conservation International, Greenpeace, Marine Conservation Institute, Natural Resources Defense Council, Oceana (non-profit group), Pew Charitable Trusts, and Seas at Risk. Supporters of the coalition include oceanographers, environmental lawyers and conservationists such as Dr. Sylvia Earle, Dr. Callum Roberts, Dr. Elliott Norse, Dr. Alex Rogers, Matthew Gianni, Kelly Rigg (DSCC Coordinator), Karen Sack, Bill Chandler, Arlo Hemphill, Lisa Speer, Charles Fox, Duncan Currie, Dorthea Hangaard, Steven Lutz, Peggy Kalas, Lyn Goldsworthy, and Mirella von Lindenfels. Others who have spoken on behalf of the coalition include Sigourney Weaver, Dr. Jeffrey Sachs, Dr. Ellen Pikitch and Dr. David Suzuki.


title: Cellulose acetate film

abstract: Cellulose acetate film, or safety film, is used in photography as a base material for photographic emulsions. It was introduced in the early 20th century by film manufacturers and intended as a safe film base replacement for unstable and highly flammable nitrate film. Cellulose diacetate film was first employed commercially for photographic film in 1909. Cellulose acetate propionate and cellulose acetate butyrate were introduced in the 1930s, and cellulose triacetate in the late 1940s. Acetate films were later replaced by polyester bases. The motion picture industry continued to use cellulose nitrate supports until the introduction of cellulose triacetate in 1948, which met the rigorous safety and performance standards set by the cinematographic industry. The chemical instability of cellulose acetate material, unrecognized at the time of its introduction, has since become a major problem for film archives and collections. Digitization is now the best way to preserve the contents of cellulose acetate film.

text:
# Cellulose acetate film

**Cellulose acetate film**, or **safety film**, is used in photography as a base material for photographic emulsions. It was introduced in the early 20th century by film manufacturers and intended as a safe film base replacement for unstable and highly flammable nitrate film.

Cellulose diacetate film was first employed commercially for photographic film in 1909. Cellulose acetate propionate and cellulose acetate butyrate were introduced in the 1930s, and cellulose triacetate in the late 1940s. Acetate films were later replaced by polyester bases.

The motion picture industry continued to use cellulose nitrate supports until the introduction of cellulose triacetate in 1948, which met the rigorous safety and performance standards set by the cinematographic industry. The chemical instability of cellulose acetate material, unrecognized at the time of its introduction, has since become a major problem for film archives and collections. Digitization is now the best way to preserve the contents of cellulose acetate film.

## History

Cellulose diacetate film was first created by the German chemists Arthur Eichengrün and Theodore Becker, who patented it under the name **Cellit**, from a process they devised in 1901 for the direct acetylation of cellulose at a low temperature to prevent its degradation, which permitted the degree of acetylation to be controlled, thereby avoiding total conversion to its triacetate. Cellit was a stable, non-brittle cellulose acetate polymer that could be dissolved in acetone for further processing. A cellulose diacetate film more readily dissolved in acetone was developed by the American chemist George Miles in 1904. Miles's process (partially hydrolysing the polymer) was employed commercially for photographic film in 1909 by Eastman Kodak and the Pathé Frères. Starting with cellulose diacetate, this innovation continued with cellulose acetate propionate and cellulose acetate butyrate in the 1930s, and finally in the late 1940s, cellulose triacetate was introduced, and later polyester bases. These less flammable substitutes for nitrate film were called safety film.

### Boroid

In 1910, a newly discovered, non-inflammable, film format 'BOROID' was presented to the British cinematographic trade using acetate-based cellulose. It was developed, he claimed 'accidentally', by the prolific inventor Benno Borzykowski, a partner in Photochemie G.m.b.H. Berlin, and Director of the Benobor Syndicate, who had worked on other patents for artificial silk and other fabrics. BOROID was a by-product of that work by Borzykowski, but was not patented. ("The process has not been patented and will not be; it is a secret formula known only to the inventor and two trustees in England. He has never sold the process itself, merely the right to manufacture and market…")

Borzykowski published other UK patents including "Original printed patent application number 21,719 for a new or improved process for the production of a substitute for glass sheets or plates and other articles…" in 1910. The Boroid company commenced trading on 21 November 1910, being originally registered in London at 58 Coleman St., moving to 104 High Holborn in May 1911, and finally to 48 Rupert St. in June 1913.

Boroid Ltd. issued its detailed share prospectus in the *(Westminster Gazette of Monday 16 January 1911 (P12 col. 1 and 2)*: A number of testimonials were provided, including a very detailed one from Alfred J West F.R.G.S. of 'Our Navy', in which he proposed to move his entire production to 'non-flam' BOROID film: 'BOROID' had most of its assets in Germany, and the Great War of 1914-1919 put an immediate end to the business in the UK when BOROID film stock became unavailable. A Receiver was appointed by the debenture holders on 12 May 1914 (The London Project). Borzykowski moved to America and was interviewed in an article in the Educational Film Magazine in the April 1919 edition.

## Decay and the "vinegar syndrome"

Beginning in the 1980s, there was a great deal of focus upon film stability following frequent reports of cellulose triacetate degradation. Cellulose acetate releases acetic acid, the key ingredient in vinegar, which is responsible for its acidic smell. The problem became known as "vinegar syndrome". This accelerates degradation within the film, and can also contribute to damage to surrounding films and metals.

The first instance of cellulose triacetate degradation was reported to the Eastman Kodak Company within a decade of its introduction in 1948. The first report came from the Government of India, whose film materials were stored in hot, humid conditions. It was followed by further reports of degradation from collections stored in similar conditions. These observations resulted in continuing studies in the Kodak laboratories during the 1960s. Film degradation can only be delayed by storage in dry and cold conditions. It was initially thought that storage under recommended conditions might delay decay by 450 years, but some films are developing vinegar syndrome after just 70 years of cold dry storage. Arri and others sold film recorders specifically for recording video onto film for archival purposes based on the assumption that vinegar syndrome could be delayed for long periods of time.

### Testing for degradation

A testing product developed by the Image Permanence Institute, A-D, or "acid-detection" indicator strips change color from blue through shades of green to yellow with increasing exposure to acid. According to the test User's Guide, they were "created to aid in the preservation of collections of photographic film, including sheet and roll films, cinema film, and microfilm. They provide a nondestructive method of determining the extent of vinegar syndrome in film collections." These tools can be used to determine the extent of damage to a film collection and which steps should be taken to prolong their usability.

## Preservation and storage

Currently there is no practical way of halting or reversing the course of degradation. Many film collectors use camphor tablets but it is not known what the long term effects on the film would be. While there has been significant research regarding various methods of slowing degradation, such as storage in molecular sieves, temperature and moisture are the two key factors affecting the rate of deterioration. According to the Image Permanence Institute, fresh acetate film stored at a temperature of 21 °C (70 °F) and 40% relative humidity will last approximately 50 years before the onset of vinegar syndrome. Reducing the temperature by −9 °C (15 °F) while maintaining the same level of humidity brings a dramatic improvement: at a temperature of 13 °C (55 °F) and 40% relative humidity, the estimated time until onset of vinegar syndrome is 150 years. A combination of low temperature and low relative humidity represents the optimum storage condition for cellulose acetate base films, with the caveat that relative humidity should not be lowered below 20%, or the film will dry out too much and become brittle.

Cold storage options for the preservation of acetate film range from insulated cold storage rooms, or vaults, with relative humidity control (typical settings in the range of 2–4 °C (35–40 °F) temperature, and 30–35% relative humidity), which might be used by archival institutions for large and medium-sized collections, to free-standing freezer units, which can be cost-effective for small collections, but necessitate vapor-proof packaging of the films to protect against relative humidity extremes and condensation. Commercial storage facilities may offer varying environmental conditions at different rates.

Microenvironments—the conditions inside an enclosure—can also affect the condition of cellulose acetate film. Enclosures that are breathable or that contain an acid absorbent are instrumental in reducing the rate of decay due to vinegar syndrome. Sealed metal containers can trap the decay products released by the film, promoting the spread of vinegar syndrome.

## Rescuing damaged film

During early stages of decay, the film content can be rescued by transferring it to new film stock. Once the film becomes too brittle or the shrinkage is excessive, it cannot be copied. Because the gelatin emulsion usually stays intact during the degradation process, it is possible to save the image on sheet film using solvents to dissolve the base off the emulsion. Once the emulsion has been freed from the shrunken support, it can be photographed or transferred to a new support. Because of the solvents used, this is a delicate and potentially hazardous procedure and is an expensive process for a large collection. Degraded motion picture film cannot be restored in this way, but sheet films often can.

Digitization is now the best way to preserve the contents of cellulose acetate film. Current standards now allow for scanning at more than ample resolution to produce a copy of the same picture and sound quality as the original. Transfer processes at 10K (pixel) resolution are not uncommon. Transferring is now done without film-damaging sprocket transport, hence, the original film stock suffers little, if any, damage. The Godfather trilogy is one of the best and earliest examples of full resolution digital transfer and ultimate restoration. This seminal project was completed several years ago, and the process has significantly improved since then.

4K digital resolution, often available for home viewing, will deliver quality equal to an original analogue 35 mm film. The 10K transfer resolution standard seems to accommodate most, or all 65–75 mm wide-screen variants. These film variants were developed in the 1950s and 1960s, (e.g., Spectra-vision, Vista-Vision, CinémaScope, etc.)

## Other uses

Cellulose acetate film is also used to make replicates of materials and biological samples for microscopy. The techniques were developed for metallographic needs to examine the grain structure of polished metals. Replication can be used to understand the distribution, for example, of different types of iron in carbon steel samples, or the fine distribution of damage to a sample subject to mechanical wear.

## Further reading

* Adelstein, P.Z.; Reilly, J.M.; Nishimura, D.W. & Erbland, C.J. (May 1995). "Stability of Cellulose Ester Base Photographic Film: Part III-Measurement of Film Degradation". *SMPTE Motion Imaging Journal*. **104** (5): 281–291. doi:10.5594/J15292. ISSN 1545-0279.
* Adelstein, P.Z.; Reilly, J.M.; Nishimura, D.W.; Erbland, C.J. & Bigourdan, J.L. (July 1995). "Stability of Cellulose Ester Base Photographic Film: Part V- Recent Findings". *SMPTE Motion Imaging Journal*. **104** (7): 439–447. doi:10.5594/J17707. ISSN 1545-0279.
* Allen, N.S.; Edge, M.; Horie, C.V.; Jewitt, T.S. & Appleyard, J.H. (1988). "The Degradation and Stabilization of the Historic Cellulose acetate/ Nitrate Base Motion-picture Film". *The Journal of Photographic Science*. **36** (3): 103–106. doi:10.1080/00223638.1988.11736978. ISSN 0022-3638.
* Allen, N.S.; Edge, M.; Horie, C.V.; Jewitt, T.S. & Appleyard, J.H. (1998). "The Degradation Characteristics of Archival Cellulose Triacetate Base Cinematograph Film". *The Journal of Photographic Science*. **36** (6): 199–203. ISSN 0022-3638.
* Allen, N.S.; Edge, M.; Jewitt, T.S. & Horie, C.V. (1990). "Initiation of the Degradation of Cellulose Triacetate Base Motion Picture Film". *The Journal of Photographic Science*. **38** (2): 54–59. doi:10.1080/00223638.1989.11737073. ISSN 0022-3638.
* Allen, N.S.; Appleyard, J.H.; Edge, E.; Francis, D.; Horie, C.V. & Jewitt, T.S. (1988). "The Nature of the Degradation of Archival Cellulose-Ester Base Motion-Picture Film: The Case for Stabilization". *The Journal of Photographic Science*. **36** (2): 34–39. doi:10.1080/00223638.1988.11736956. ISSN 0022-3638.
* Allen, N.S.; Edge, M.; Jewitt, T.S. & Horie, C.V. (1990). "Stabilization of Cellulose Triacetate Base Motion Picture Film". *The Journal of Photographic Science*. **30** (1): 26–29. ISSN 0022-3638.
* Edge, M.; Allen, N.S.; Jewitt, T.S. & Horie, C.V. (1989). "Fundamental Aspects of the Degradation of Cellulose Triacetate Base Cinematograph Film". *Polymer Degradation and Stability*. **25** (2–4): 345–362. doi:10.1016/S0141-3910(89)81016-X. ISSN 0141-3910.
* Horvath, David G. (1987). *The Acetate Negative Survey Final Report*. Louisville, KY: Ekstrom Library Photographic Archives, University of Louisville. OCLC 16441840.
* Meyer, Mark-Paul; Read, Paul (2000). "Restoration and Preservation of Vinegar Syndrome Decayed Acetate Film". In Aubert, Michelle; Billeaud, Richard (eds.). *Archiver et communiquer l'image et le son :les enjeux du 3ème millenaire : actes du Symposium Technique Mixte—JTS Paris 2000*. Paris: CNC. pp. 54–65. ISBN 9782910202033.
* Ram, A.T.; Kopperl, D.F. & Sehlin, R.C. (1994). "The Effects and Prevention of Vinegar Syndrome". *The Journal of Imaging Science and Technology*. **38** (3): 249–261. ISSN 1062-3701.


title: Rarotonga Steam Railway

abstract: The Rarotonga Steam Railway was a short tourist railway on Rarotonga in the Cook Islands.

text:
# Rarotonga Steam Railway

The **Rarotonga Steam Railway** was a short tourist railway on Rarotonga in the Cook Islands.

## History

Around 1914 the Union Steam Ship Company of New Zealand had railway tracks in Avarua's wharf. There was no railway line in operation on the Cook Islands until the beginning of the 1990s. In 1991 or 1992 resident of Rarotonga, Tim Arnold, a descendant of Field Marshal Gebhard Leberecht von Blücher, purchased a steam locomotive in Poland and brought it to Avarua. It was working steam locomotive; a 750mm gauge Polish 0-8-0. In Poland, it was Px48-1741. It was built in 1951 by the Pierwsza Fabryka Lokomotyw w Polsce Fablok in Chrzanów, Poland with the serial number 2126.

The railway is in need of repair, and as such is no longer in working condition.

The locomotive and other equipment are stored on the island awaiting possible further use. There is a proposal to transfer the unused locomotive to the new narrow-gauge railway near Lake Wakatipu in New Zealand.

The Px48-1741 steam locomotive was used in Poland on the local railways in Krośniewice, Kaliska and Żuławska.

21°12′25″S 159°46′15″W / 21.20694°S 159.77083°W / -21.20694; -159.77083


title: Seed swap

abstract: Seed swaps are events where gardeners meet to exchange seeds. Swapping can be arranged online or by mail, especially when participants are spread out geographically. Swap meet events, where growers meet and exchange their excess seeds in person, are also growing in popularity. In part this is due to increased interest in organic gardening and heritage or heirloom plant varietals. This reflects gardeners' interest in "unusual or particular varieties of flowers and vegetables", according to Kathy Jentz of Washington Gardener Magazine (Maryland). Seed swaps also help consumers who, due to increases in the cost of living or cut down on expenditures, wish to grow their own food. Some events are organized as part of an educational effort, where visitors are taught gardening and growing skills and how to preserve an area's cultural heritage and biodiversity. In the United States, the last Saturday of January is "National Seed Swap Day".

text:
# Seed swap

**Seed swaps** are events where gardeners meet to exchange seeds. Swapping can be arranged online or by mail, especially when participants are spread out geographically. Swap meet events, where growers meet and exchange their excess seeds in person, are also growing in popularity. In part this is due to increased interest in organic gardening and heritage or heirloom plant varietals. This reflects gardeners' interest in "unusual or particular varieties of flowers and vegetables", according to Kathy Jentz of *Washington Gardener Magazine* (Maryland).

Seed swaps also help consumers who, due to increases in the cost of living or cut down on expenditures, wish to grow their own food. Some events are organized as part of an educational effort, where visitors are taught gardening and growing skills and how to preserve an area's cultural heritage and biodiversity. In the United States, the last Saturday of January is "National Seed Swap Day".

## Cultural and culinary significance

Swapping seeds is of great cultural significance for many of the people involved, because it allows a culture which has become widely distributed, such as Hispanic and Latino Americans in the United States, to continue to grow the food they are accustomed to, foods which often have great significance, and for which seeds are often transported over great distances. Mike Szuberla, organizer of a seed swap in Toledo, Ohio, noted, "Seeds are, in a sense, suitcases in which people can transport their cultures with them... Many families have brought their favorite seeds on tremendous journeys."

In some cases seed swaps are annual events and function as community celebrations (comparable to potlucks), such as the annual seed swap (in its eleventh year in 2008) on the Oglethorpe farm near Athens, Georgia, organized by two anthropology professors from the University of Georgia (the university has a seedbank, the "Southern Seed Legacy"). Participants share seeds of heirloom fruits and vegetables grown in their families or communities for generations; for some, the goal of such swaps is to preserve a "dying" heritage. A similar goal is stated for a seed swap in Devon, England, where the North Devon Seed Swap has been held since 1 February 2004.

The Dixon Community Seed Exchange, in Dixon, New Mexico, has been taking place annually since 2003. It distributes free seed of homegrown and commercial varieties as available and also provides a forum for the exchange of varieties peculiar to the high mountain areas of northern New Mexico. It attracts several hundred participants and photos may be viewed at its website.

A distinct and less public kind of seed swap involves the seeds of marijuana.

## Biological significance

Some seed swaps explicitly have a biological goal—usually either educating the public in organic gardening or the attempt to maintain crop diversity. The larger global relevance and beneficial long-range effects of ecological farming sustained by seed swaps, and the effects of such practices in countering the effects of agrichemical monoculture, are beginning to be studied.

## Restrictions in the European Union

The European Court of Justice ruled in 2012 that farmers in the European Union are allowed under restricted circumstances to both produce and market seeds from plant varieties that are not officially registered and approved. Sale of such seeds could not be categorically prohibited on the basis of an existing EU guideline on seed registering. The corporation Graines Baumax had taken the domestic farmers' network Kokopelli to court and demanded €50,000 (US$61,000). Kokopelli won this case.

France has the most strict implementation of the seed laws. Indications in 2011 is that even more restrictions are on their way. The European Parliament rejected the European Commission's proposal for plant reproductive material law, also known as the "seed regulation" in 2014.