title: Reactive planning

abstract: In artificial intelligence, reactive planning denotes a group of techniques for action selection by autonomous agents. These techniques differ from classical planning in two aspects. First, they operate in a timely fashion and hence can cope with highly dynamic and unpredictable environments. Second, they compute just one next action in every instant, based on the current context. Reactive planners often exploit reactive plans, which are stored structures describing the agent's priorities and behaviour. The term reactive planning goes back to at least 1988, and is synonymous with the more modern term dynamic planning.

text:
# Reactive planning

In artificial intelligence, **reactive planning** denotes a group of techniques for action selection by autonomous agents. These techniques differ from classical planning in two aspects. First, they operate in a timely fashion and hence can cope with highly dynamic and unpredictable environments. Second, they compute just one next action in every instant, based on the current context. Reactive planners often (but not always) exploit **reactive plans**, which are stored structures describing the agent's priorities and behaviour. The term *reactive planning* goes back to at least 1988, and is synonymous with the more modern term **dynamic planning**.

## Reactive plan representation

There are several ways to represent a reactive plan. All require a basic representational unit and a means to compose these units into plans.

### Condition-action rules (productions)

A condition action rule, or if-then rule, is a rule in the form: **if** *condition* **then** *action*. These rules are called productions. The meaning of the rule is as follows: if the condition holds, perform the action. The action can be either external (e.g., pick something up and move it), or internal (e.g., write a fact into the internal memory, or evaluate a new set of rules). Conditions are normally boolean and the action either can be performed, or not.

Production rules may be organized in relatively flat structures, but more often are organized into a hierarchy of some kind. For example, subsumption architecture consists of layers of interconnected *behaviors*, each actually a finite state machine which acts in response to an appropriate input. These layers are then organized into a simple stack, with higher layers subsuming the goals of the lower ones. Other systems may use trees, or may include special mechanisms for changing which goal / rule subset is currently most important. Flat structures are relatively easy to build, but allow only for description of simple behavior, or require immensely complicated conditions to compensate for the lacking structure.

An important part of any distributed action selection algorithms is a conflict resolution mechanism. This is a mechanism for resolving conflicts between actions proposed when more than one rules' condition holds in a given instant. The conflict can be solved for example by

* assigning fixed priorities to the rules in advance,
* assigning preferences (e.g. in Soar architecture),
* learning relative utilities between rules (e.g. in ACT-R),
* exploiting a form of planning.

Expert systems often use other simpler heuristics such as recency for selecting rules, but it is difficult to guarantee good behavior in a large system with simple approaches.

Conflict resolution is only necessary for rules that want to take mutually exclusive actions (c.f. Blumberg 1996).

Some limitations of this kind of reactive planning can be found in Brom (2005).

### Finite State Machines

Finite state machine (FSM) is model of behaviour of a system. FSMs are used widely in computer science. Modeling behaviour of agents is only one of their possible applications. A typical FSM, when used for describing behaviour of an agent, consists of a set of states and transitions between these states. The transitions are actually condition action rules. In every instant, just one state of the FSM is active, and its transitions are evaluated. If a transition is taken it activates another state. That means, in general transitions are the rules in the following form: **if** *condition* **then** *activate-new-state*. But transitions can also connect to the 'self' state in some systems, to allow execution of transition actions without actually changing the state.

There are two ways of how to produce behaviour by a FSM. They depend on what is associated with the states by a designer --- they can be either 'acts', or scripts. An 'act' is an atomic action that should be performed by the agent if its FSM is the given state. This action is performed in every time step then. However, more often is the latter case. Here, every state is associated with a script, which describes a sequence of actions that the agent has to perform if its FSM is in a given state. If a transition activates a new state, the former script is simply interrupted, and the new one is started.

If a script is more complicated, it can be broken down to several scripts and a hierarchical FSM can be exploited. In such an automaton, every state can contain substates. Only the states at the atomic level are associated with a script (which is not complicated) or an atomic action.

Computationally, hierarchical FSMs are equivalent to FSMs. That means that each hierarchical FSM can be converted to a classical FSM. However, hierarchical approaches facilitate designs better. See the paper of Damian Isla (2005) for an example of ASM of computer game bots, which uses hierarchical FSMs.

### Fuzzy approaches

Both if-then rules and FSMs can be combined with fuzzy logic. The conditions, states and actions are no more boolean or "yes/no" respectively but are approximate and smooth. Consequently, resulted behaviour will transition smoother, especially in the case of transitions between two tasks. However, evaluation of the fuzzy conditions is much slower than evaluation of their crisp counterparts.

See the architecture of Alex Champandard.

### Connectionists approaches

Reactive plans can be expressed also by connectionist networks like artificial neural networks or free-flow hierarchies. The basic representational unit is a unit with several input links that feed the unit with "an abstract activity" and output links that propagate the activity to following units. Each unit itself works as the activity transducer. Typically, the units are connected in a layered structure.

Positives of connectionist networks is, first, that the resulted behaviour is more smooth than behaviour produced by crisp if-then rules and FSMs, second, the networks are often adaptive, and third, mechanism of inhibition can be used and hence, behaviour can be also described proscriptively (by means of rules one can describe behaviour only prescriptively). However, the methods have also several flaws. First, for a designer, it is much more complicated to describe behaviour by a network comparing with if-then rules. Second, only relatively simple behaviour can be described, especially if adaptive feature is to be exploited.

## Reactive planning algorithms

Typical reactive planning algorithm just evaluates if-then rules or computes the state of a connectionist network. However, some algorithms have special features.

* Rete evaluation: with a proper logic representation (which is suitable only for crisp rules), the rules need not to be re-evaluated at every time step. Instead, a form of a cache storing the evaluation from the previous step can be used.
* Scripting languages: Sometimes, the rules or FSMs are directly the primitives of an architecture (e.g. in Soar). But more often, reactive plans are programmed in a scripting language, where the rules are only one of the primitives (like in JAM or ABL).

## Steering

Steering is a special reactive technique used in navigation of agents. The simplest form of reactive steering is employed in Braitenberg vehicles, which map sensor inputs directly to effector outputs, and can follow or avoid. More complex systems are based on a superposition of attractive or repulsive forces that effect on the agent. This kind of steering is based on the original work on boids of Craig Reynolds. By means of steering, one can achieve a simple form of:

* towards a goal navigation
* obstacle avoidance behaviour
* a wall following behaviour
* enemy approaching
* predator avoidance
* crowd behaviour

The advantage of steering is that it is computationally very efficient. In computer games, hundreds of NPCs can be driven by this technique. In cases of more complicated terrain (e.g. a building), however, steering must be combined with path-finding (as e.g. in Milani ), which is a form of planning .


title: Mi-sook

abstract:
Mi-sook is a Korean feminine given name. Its meaning differs based on the hanja used to write each syllable of the name. There are 33 hanja with the reading "mi" and 13 hanja with the reading "sook" on the South Korean government's official list of hanja which may be registered for use in given names. Mi-sook was the second-most popular name for newborn girls in South Korea in 1960. People with this name include:
  - Kim Mi-sook, South Korean actress
  - Lee Mi-sook, South Korean actress
  - Chung Misook, South Korean voice actress
  - Kim Mi-sook (handballer), South Korean handball player
  - Ki Mi-sook, South Korean handball player
  - Kang Mi-suk (curler), South Korean wheelchair curler
  - Kang Mi-suk (weightlifter), South Korean weightlifter

text:
# Mi-sook

**Mi-sook** is a Korean feminine given name. Its meaning differs based on the hanja used to write each syllable of the name. There are 33 hanja with the reading "mi" and 13 hanja with the reading "sook" on the South Korean government's official list of hanja which may be registered for use in given names. Mi-sook was the second-most popular name for newborn girls in South Korea in 1960.

People with this name include:

## InfoBox

| Mi-sook | |
| --- | --- |
| Hangul | 미숙 |
| Hanja | and others |
| Revised Romanization | *Mi-suk* |
| McCune–Reischauer | *Misuk* |


title: Norden Tenzing Bhutia

abstract: Norden Tenzing Bhutia was an Indian musician, composer and singer of classic Nepali pop songs like 'Musu Musu Hasi Deu', 'Gajalu le Aakhai Chopne', 'Kaha Timro Mayalu Lai'. In the 1970s Bhutia was the vocalist and guitarist of the very popular Nepali ensemble, The Himalayans. Bhutia is credited with transforming Nepali music and heralding a change in musical taste and content. Bhutia was one of the pioneers to introduce rock, pop and blues to Nepali mainstream music.

text:
# Norden Tenzing Bhutia

**Norden Tenzing Bhutia** was an Indian musician, composer and singer of classic Nepali pop songs like 'Musu Musu Hasi Deu', 'Gajalu le Aakhai Chopne', 'Kaha Timro Mayalu Lai'. In the 1970s Bhutia was the vocalist and guitarist of the very popular Nepali ensemble, The Himalayans. Bhutia is credited with transforming Nepali music and heralding a change in musical taste and content. Bhutia was one of the pioneers to introduce rock, pop and blues to Nepali mainstream music.

## Life and career

Bhutia was born in Kolkata on 21 January 1950 and raised in Kurseong (Darjeeling). He joined the British Army in 1971 and after serving as a British Gurkha soldier in Her Majesty's Armed Forces, settled in Aldershot and started his own business. Bhutia is survived by his wife and three children.

Bhutia started his musical career after joining the British Army, where he met likeminded Nepalese musicians and formed The Himalayans. He had his first hit with "Gajalule Akhai Chopne", other songs that he was best known for include "Musu Musu Hasi Deu", "Gajalu Le Akhai Chopne", and "Kaha Timro Mayalu Lai".

Bhutia died in Aldershot, England on 4 August 2019.

1. Admin (7 August 2019). "Veteran singer of Himalayan Band, Norden Tenzing, passes away in London". *South Asia Time*. Retrieved 9 August 2019.
2. "गायक नोर्देन तेन्जिङ भुटियाको लन्डनमा निधन". *Kathmandu Press*. Retrieved 9 August 2019.
3. Bicky (18 August 2019). "Norden Tenzing - A Legend". *The Darjeeling Chronicle*. Retrieved 18 August 2019.
4. "रहेनन् 'मुसुमुसु हाँसिदेऊ न लैलै'का गायक नोर्देन तेन्जिङ भुटिया". Retrieved 9 August 2019.
5. "संगीतकर्मी नोर्देन तेन्जिङ भुटियाको निधन :: Pahilopost.com". *pahilopost.com*. Retrieved 9 August 2019.
6. "रहेनन् 'मुसु मुुसु हाँसीदेउ न लै' का गायक भुटिया" (in Nepali). Retrieved 9 August 2019.
7. "'मुसुमुसु हाँसिदेऊ' ओछ्यानमा". *www.kantipurdaily.com* (in Nepali). Retrieved 9 August 2019.
8. "RIP: Norden Tenzing, The Voice Behind 'Musu Musu Haasi', 'Gajalue Le Akhai Chopne' Passed Away". 7 August 2019. Retrieved 9 August 2019.
9. Republica. "Veteran musician Norden Tenzing passes away". *My City*. Retrieved 9 August 2019.
10. "Veteran singer Norden Tenzing no more". *Khabarhub English News*. 6 August 2019. Retrieved 9 August 2019.
11. admin. "रहेनन् मुसुमुसु हाँसी देऊ लै लै.. गीतका गायक". *NAMASTE NEPAL*. Retrieved 9 August 2019.

## InfoBox

| Norden Tenzing Bhutia | |
| --- | --- |
| नोर्देन तेन्जिङ भुटिया | |
|  | |
| Born | (1950-01-21)21 January 1950
Kolkata, India |
| Died | 4 August 2019(2019-08-04) (aged 69)
Aldershot, United Kingdom |
| Occupation(s) | Singer, musician, composer, ex-British Gurkha |
| Known for | The Himalayans |
| Spouse | Anne Tenzin |
| Children | 3 |


title: Ortholexis melichroptera

abstract: Ortholexis melichroptera, the black scarce sprite, is a species of butterfly in the family Hesperiidae. It is found in Ghana, Nigeria, Cameroon and Gabon. The habitat consists of dense primary forests.

text:
# Ortholexis melichroptera

***Ortholexis melichroptera***, the **black scarce sprite**, is a species of butterfly in the family Hesperiidae. It is found in Ghana, Nigeria (the Cross River Loop), Cameroon and Gabon. The habitat consists of dense primary forests.

## InfoBox

| *Ortholexis melichroptera* | |
| --- | --- |
|  | |
| figure 7 | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Hesperiidae |
| Genus: | *Ortholexis* |
| Species: | ***O. melichroptera*** |
| Binomial name | |
| ***Ortholexis melichroptera***<br>Karsch, 1895 | |
|
| Synonyms | |
| List * *Acallopistes dimidia* Holland, 1896 * *Katreus dimidia* (Holland, 1896) * *Loxolexis dimidia* (Holland, 1896) * *Ortholexis dimidia* (Holland, 1896) | |


title: Gośliny

abstract: Gośliny is a village in the administrative district of Gmina Biała Rawska, within Rawa County, Łódź Voivodeship, in central Poland. It lies approximately 6 kilometres (4 mi) south-east of Biała Rawska, 20 km (12 mi) east of Rawa Mazowiecka, and 74 km (46 mi) east of the regional capital Łódź. The village has an approximate population of 120.

text:
# Gośliny

**Gośliny** \[ɡɔˈɕlʲinɨ\] is a village in the administrative district of Gmina Biała Rawska, within Rawa County, Łódź Voivodeship, in central Poland. It lies approximately 6 kilometres (4 mi) south-east of Biała Rawska, 20 km (12 mi) east of Rawa Mazowiecka, and 74 km (46 mi) east of the regional capital Łódź.

The village has an approximate population of 120.

## InfoBox

| Gośliny | |
| --- | --- |
| Village | |
| Gośliny | |
| Coordinates: 51°45′59″N 20°32′8″E / 51.76639°N 20.53556°E / 51.76639; 20.53556 | |
| Country | Poland |
| Voivodeship | Łódź |
| County | Rawa |
| Gmina | Biała Rawska |
| Elevation | 180 m (590 ft) |
| Population(approx.) | 120 |


title: Glenstone

abstract: Glenstone is a private contemporary art museum in Potomac, Maryland, founded in 2006 by American billionaire Mitchell Rales and his wife, Emily Wei Rales. The museum's exhibitions are drawn from a collection of about 1,300 works from post-World War II artists around the world. It is the largest private contemporary art museum in the United States, holding more than $4.6 billion in net assets, and is noted for its setting in a broad natural landscape. Glenstone's original building was designed by Charles Gwathmey, with it being expanded several times on its 230-acre (93 ha) campus. Its most significant expansion was finished in the late 2010s, with outdoor sculpture installations, landscaping, a new complex designed by Thomas Phifer, and an environmental center being added. Glenstone has been compared to other private museums, such as the Frick Collection and The Phillips Collection. The museum is free to the public, with it seeing over 100,000 visitors in 2022.

text:
# Glenstone

**Glenstone** is a private contemporary art museum in Potomac, Maryland, founded in 2006 by American billionaire Mitchell Rales and his wife, Emily Wei Rales. The museum's exhibitions are drawn from a collection of about 1,300 works from post-World War II artists around the world. It is the largest private contemporary art museum in the United States, holding more than $4.6 billion in net assets, and is noted for its setting in a broad natural landscape.

Glenstone's original building was designed by Charles Gwathmey, with it being expanded several times on its 230-acre (93 ha) campus. Its most significant expansion was finished in the late 2010s, with outdoor sculpture installations, landscaping, a new complex designed by Thomas Phifer, and an environmental center being added. Glenstone has been compared to other private museums, such as the Frick Collection and The Phillips Collection. The museum is free to the public, with it seeing over 100,000 visitors in 2022.

## History

In 1986, billionaire American businessman Mitchell Rales purchased the property in Potomac, Maryland, to build a home. Starting in 1990, Rales began collecting art for that home. Following a near-death accident on a helicopter trip in Russia, Rales decided to take on a philanthropic project, which became the establishment of a private contemporary art museum. Built on land that was formerly a fox hunting club, Glenstone is named for the nearby Glen Road, and because of stone quarries located in the vicinity. Located 15 miles (24 km) from downtown Washington, D.C., the museum's initial 30,000-square-foot (2,800 m2) Modernist limestone gallery opened in 2006 and admitted visitors two days a week. In its first seven years, the museum admitted only 10,000 visitors.

In 2015, Glenstone was one of several private museums questioned by the US Senate Finance Committee over its nonprofit tax status. After reporting from *The New York Times* had questioned the validity of nonprofit tax status for institutions like Glenstone, which, at the time, welcomed very few visitors, the committee sought to investigate whether high-value individuals and families were using private museums as a form of tax shelter. Committee Chairman Senator Orrin Hatch said in a letter to Glenstone and other institutions (including the Rubell Museum in Miami and The Broad in Los Angeles) that, "Some private foundations are operating museums that offer minimal benefit to the public while enabling donors to reap substantial tax advantages."

Though several smaller expansions took place in the years after the museum's opening, the largest expansion was announced in 2013 and was completed in 2018, opening to the public on October 4, 2018. With a cost of approximately $219 million, the expansion increased the size of the museum's gallery space by a factor of five, increasing the property's size by 130 acres (53 ha), and included substantial landscaping changes. With the expansion, Glenstone became the largest private contemporary art museum in the United States. In 2019, the expansion was named as a "Museum Opening of the Year" by *Apollo*.

With the expansion, Glenstone opened to the public, with free tickets available online. In the year following the expansion, Glenstone admitted nearly 100,000 visitors.

After 2018, Glenstone continued to acquire adjacent properties, including lots containing residential homes. Speaking on Public Radio Tulsa's *Museum Confidential* program in 2019, curator Emily Wei Rales said that plans do not include substantial expansion, and will likely be limited to "one or two smaller buildings to house artworks, maybe in the woods, maybe on an adjoining property". She also mentioned potential plans to build a conservation lab on the campus.

To encourage the usage of public transportation, Glenstone successfully lobbied Montgomery County to add a bus stop near its campus. The museum admits visitors without tickets who arrive on public buses.

In August 2018, Glenstone Foundation Inc., the foundation that manages the museum, was sued by HITT Contracting, the company that managed the construction of the 2018 expansion, for $24 million to cover cost overruns. In October 2018, Glenstone countersued HITT Contracting for $35.9 million, claiming that the project was over budget and that construction issues had delayed the expansion's opening. Both parties reached a settlement on undisclosed terms in June 2023.

Rales donated $1.9 billion to the Glenstone Foundation in 2021, made public in 2023, increasing the museum's asset value to $4.6 billion, nearly the same as the Metropolitan Museum of Art in New York.

In July 2021, Glenstone announced a purpose-built expansion to house Richard Serra's large-scale sculpture *Four Rounds: Equal Weight, Unequal Measure* (2017) that the museum had acquired from the artist. The building, designed by Thomas Phifer, the architect of the Pavilions, was created in consultation with Serra to fit the acquired piece. The expansion opened in 2022. The museum saw over 100,000 visitors in 2022.

The museum closed the Pavilions in March 2024 for up to a year in order to replace the architectural glass used in the buildings.

In June 2024, hourly wage museum staff - around half of the museum's workforce - voted to unionize, joining the International Brotherhood of Teamsters Local 639. *The Washington Post* reported that museum leadership, including Emily Wei Rales, deployed several union busting tactics in the lead-up to the union vote including hiring anti-union consultants.

## Collection and exhibitions

The museum's collection of about 1,300 post-World War II works from around the world consists of paintings, single-artist installations, video installations, sound installations, and both indoor and outdoor sculptures, totaling $1.4 billion in assets. The collection contains only works by artists who have already exhibited for at least 15 years. As a private art museum, Glenstone has been compared to the Frick Collection and The Phillips Collection.

Many of the museum's large galleries feature only one or two pieces, do not contain explanatory text, and are sparsely furnished. While some exhibitions are permanent, the collection rotates through the galleries over time. Pieces from the collection are also loaned to public institutions.

Glenstone limits entry to about 600 visitors per day. Rales wrote that she used a formula to calculate the optimal number of visitors for the museum's size, which is used to give visitors time and space to explore and enjoy the museum.

The museum's staff is made up of recent university graduates, including some in postgraduate programs, through its Emerging Professionals Program, a two-year program for aspiring curators. Staff members are stationed in the galleries to answer questions from visitors about the art. Phone and camera use is prohibited in the galleries. In 2018, the introduction of the Pavilions expansion debuted single-artist installations and exhibitions from artists Cy Twombly, Robert Gober, Pipilotti Rist, Charles Ray, On Kawara, Martin Puryear, Michael Heizer, Lygia Pape, Brice Marden. Other artists who have been on display at Glenstone have included Roni Horn, Alexander Calder, Ruth Asawa, David Hammons, Alighiero Boetti, Kerry James Marshall, Shirin Neshat, Rirkrit Tiravanija, and Mark Rothko.

## Architecture

Glenstone is noted for its peaceful natural setting, consisting of a cluster of galleries and other buildings set in a large 230-acre (93 ha) wooded campus. The museum buildings are located toward the center of the campus, and visitors approach the galleries from gravel parking lots via a pathway through the property that is about one-third mile (0.5 km) long. In designing the campus, Glenstone's founders tried to establish a tranquil experience, leading them and art critics to refer to the museum as part of the "slow art" movement.

### Buildings

The original Glenstone building opened in 2006 and was designed by American architect Charles Gwathmey of Gwathmey Siegel & Associates Architects. The building is a 30,000-square-foot (2,800 m2) modernist limestone structure with 9,000 feet (2,700 m) of gallery space, located on 100 acres (40 ha) of land. The 2018 expansion added 50,000 square feet (4,600 m2) of gallery space in a 204,000-square-foot (19,000 m2) museum structure called the Pavilions, designed by American architect Thomas Phifer. Mitchell and Emily Wei Rales have mentioned several buildings as particular influences on the design: the Ryoan-ji Zen temple in Kyoto, Japan; the Menil Collection in Houston, Texas; the Beyeler Foundation in Basel, Switzerland; and the Louisiana Museum of Modern Art in Denmark. The Pavilions is built of 6-foot-long (1.8 m) precast concrete blocks that were poured during different seasons to produce variable coloring. Though it is one building, the Pavilions is meant to appear as multiple separate buildings from a distance. The structure contains eleven galleries connected by glass-enclosed walkways, with windows made of 30-foot (9.1 m) panels of glass. The galleries make heavy use of natural light through clerestories, oculi, and skylights. Regarding the architectural approach to the Pavilions, Emily Rales said, "we knew we wanted these discrete spaces where you could essentially enter into another world that happens to be an art installation".

Glenstone's 2018 expansion was a "critic's choice" in *The Wall Street Journal*'s review of the best architecture of 2018, with Julie V. Iovine writing that Glenstone's architecture takes an approach "that offers a sequence of events revealed gradually with constantly shifting perspectives, as opposed to classic modernism's tightly controlled image of architecture as geometric tableau". In 2020, the expansion was a winner of the American Institute of Architect's Architecture Awards.

In 2019, Glenstone opened a 7,200-square-foot (670 m2) environmental center on its campus. The building contains self-guided exhibits about recycling, composting, and reforestation.

### Landscape

The Pavilions is built around the Water Court, an 18,000-square-foot (1,700 m2) water garden containing thousands of aquatic plants such as waterlilies, irises, thalias, cattails, and rushes. The Water Court's design was inspired by the reflecting pool at the Brion Cemetery in northern Italy. Referring to the way the museum returns visitors to the Water Court, Samuel Medina wrote for Metropolis, "Art isn't the heart of the Glenstone Museum, which opened in October -- water is". Pulitzer Prize-winning critic Sebastian Smee wrote of the Water Court:

> It's as if you've entered a beautiful sanctuary, possibly in another hemisphere, maybe another era. Although you've descended, you actually feel a kind of lift, a buoyancy, such as what birds must feel when they catch warm air currents. You exhale. You feel liberated from everyday cares. You're ready for the art.

The expansion also added 130 acres (53 ha) of land to the campus, a landscape largely composed of woodland and wildflower meadows. The landscaping was designed by landscape architect Peter Walker's firm PWP Landscape Architecture. The effort included the planting of about 8,000 trees, the transplanting of 200 trees, the converting lawn areas to meadows, and the restoration of streams that flowed through the campus. Glenstone's landscaping is managed using organic products only. This outdoor space hosts large art installations by artists including Jeff Koons, Félix Gonzalez-Torres, Michael Heizer, and Richard Serra.

## Reception

In a review for *The Washington Post* in 2018, Philip Kennicott wrote that Glenstone is a "must-see" museum and that its creators successfully "integrate art, architecture, and landscape". Referring to the natural setting of the museum, he wrote that "everything is quietly spectacular, with curated views to the outdoors that present nature as visual haiku". Kennicott tempered his review by mentioning that the museum's distinctive architecture and layout continually confront visitors with "strange visions" that will make it "interesting to see how it is received".

Kriston Capps of *Washington City Paper* called Glenstone's 2018 expansion successful and enchanting, with a sublime viewing experience. He wrote that the museum's collection excels in its focus on conventional paintings, sculptures, and installations but excludes more modern media, such as video or performance art. Concerning this conservative focus, Capps wrote, "Glenstone is not promoting equity, addressing inequality, or solving accessibility — not yet anyhow."

In *Washingtonian*, Dan Reed praised Glenstone's suburban setting, saying it "has little in common with the crowded downtown art meccas" and describing it as soothing, contemplative, and stunningly landscaped.

Writing for the *National Review*, Brian T. Allen described Glenstone as "a gift to the public of rare size and consequence". He wrote that it "is a huge success on many levels, but among its triumphs is fashioning a mood and space to look intently and even to fall in love with art that most will be disposed to find difficult, forbidding, or inscrutable." Regarding the landscape, Allen wrote, "Getting people out of their cars for the long walk to the exhibition spaces creates a time of orientation and decompression. Few museums can even try this because they don't have the land."

Sebastian Smee wrote in *The Washington Post* about Glenstone's potential to appeal to some types of visitors but not others. Smee called it "the most exciting new private museum in America, " saying that for some visitors, "the Glenstone experience can feel, at least initially, a little weird. A little too...controlling." He said the museum "wants you to have your own experience" and "proposes that art should not be glibly explained away by wall labels but experienced and reflected upon." Also in *The Washington Post*, Kelsey Ables wrote, "With a vibe somewhere between a luxury spa and a futuristic hospital, Glenstone is soothing to some, dystopian to others."

*Artnet* complimented the diversity of Glenstone's exhibited artists, writing that "they have seamlessly integrated into the typically male, overwhelmingly white Modern art canon superb work by women, Asian (particularly Japanese) artists, and Latin American (particularly Brazilian) artists," but also wrote that it "offers comparatively little work by black, Latinx, and Native American artists." *The Washington Post*'s dance critic, Sarah L. Kaufman, wrote that Glenstone exhibits many visual works that are relevant and influential to dance, including works by Pipilotti Rist, Jasper Johns, and Sol LeWitt.

## InfoBox

Glenstone
|  | |
| --- | --- |
|  | |
| Established | 2006 (2006) |
| Location | Potomac, Maryland, United States |
| Coordinates | 39°03′42″N 77°15′09″W / 39.061703°N 77.252595°W / 39.061703; -77.252595 |
| Type | Art museum |
| Collections | Contemporary art |
| Collection size | 1,300 |
| Visitors | 100,000 (2022) |
| Founder |  |
| Director | Emily Wei Rales |
| President | Mitchell Rales |
| Architect | Charles Gwathmey (2006 building) and Thomas Phifer (2018 expansion) |
| Public transit access | Ride On bus: 301 |
| Website | glenstone.org |


title: ABC International School

abstract: The ABC International School (ABCIS), Ho Chi Minh City is an international school in Ho Chi Minh City, Vietnam, offering both a British and International curriculum education. The school is co-educational and non-denominational. It comprises three campuses in Ho Chi Minh City (Saigon), both in the Binh Chanh residential area in the south. Students at the ABC International School follow the National Curriculum of England from age 2 to 14 and IGCSE and A-level examinations from Years 10–13. All students graduate from university and most attend top universities in the US, United Kingdom, Australia, and Canada, many receiving academic scholarships. The school is a registered center for the UK and many different international examination boards. 37 nationalities are represented among the student body. You should also come to SSIS in district 7 Ho Chi Minh City.

text:
# ABC International School

The ABC International School (ABCIS), Ho Chi Minh City is an international school in Ho Chi Minh City, Vietnam, offering both a British and International curriculum education. The school is co-educational and non-denominational. It comprises three campuses in Ho Chi Minh City (Saigon), both in the Binh Chanh residential area in the south. Students at the ABC International School follow the National Curriculum of England (and Wales) from age 2 to 14 (Nursery to Year 9) and IGCSE (International General Certificate of Secondary Education) and A-level examinations from Years 10–13. All students graduate from university and most attend top universities in the US, United Kingdom, Australia, and Canada, many receiving academic scholarships. The school is a registered center for the UK and many different international examination boards. 37 nationalities are represented among the student body. You should also come to SSIS (Saigon South International School) in district 7 Ho Chi Minh City.

## History

The ABC International School was founded in 1995 with an enrolment of 7 students of nursery age. Centered initially on a small site in District 3, the school rapidly expanded and by 2006 this expansion necessitated the movement to a new, larger campus in Binh Chanh District. The school grew over time from a Nursery to a Primary and then a Primary and Secondary school; the first IGCSE examination cohort sat exams in 2007. The school, already registered with the Department for Education in the UK and with the Cambridge International Examination Board, began to branch out and join other bodies such as FOBISIA (Federation of British International Schools in Asia) and COBIS (The Council of British International Schools). The scope of examinations and opportunities available to the students increased as the school grew.

## InfoBox

| The ABC International School | |
| --- | --- |
|  | |
| Location | |
|  | |
| Ho Chi Minh City, Viet Nam | |
| Coordinates | 10°44′03″N 106°41′30″E / 10.734067°N 106.691683°E / 10.734067; 106.691683 |
| Information | |
| Established | 1995 |
| Principal | Steven Shaw |
| Age | 2 to 19 |
| Enrollment | 800 |
| Academic Staff | 80 |
| Type | International, Private |
| Inspection Rating | Outstanding in all areas (Grade 1), October 2017 |
| Website | www.theabcis.com |


title: Pine of Naples

abstract: The Pine of Naples was a Pinus pinea, which until the 1980s featured prominently in most postcards that had a panoramic view of the city of Naples and its gulf, with Mount Vesuvius as the background. The tree was located on Via Minucio Felice, near the church of Sant'Antonio in Posillipo. It is believed to have been planted after 1855. By 1984 the tree had fallen ill and was removed. After the removal of the original specimen, a new Pine of Naples was planted in 1995 by the environmental organization Legambiente, which still celebrates this event every year.

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# Pine of Naples

The **Pine of Naples** was a *Pinus pinea* (stone pine), which until the 1980s featured prominently in most postcards that had a panoramic view of the city of Naples and its gulf, with Mount Vesuvius as the background. The tree was located on Via Minucio Felice, near the church of Sant'Antonio in Posillipo. It is believed to have been planted after 1855.

By 1984 the tree had fallen ill and was removed. After the removal of the original specimen, a new Pine of Naples was planted in 1995 by the environmental organization Legambiente, which still celebrates this event every year.

1. Paliotti, Vittorio. "Quando Napoli perse il pino delle cartoline". *lisolaweb.com*. Retrieved 2021-02-17.
2. "Il leggendario pino di Posillipo tra fotografie e dipinti". *Informazioni Blog Notizie Sibari Sibaritide Sybaris* (in Italian). Retrieved 2021-02-17.


title: Rear-engine, front-wheel-drive layout

abstract: A rear-engine, front-wheel-drive layout is one in which the engine is between or behind the rear wheels, and drives the front wheels via a driveshaft, the complete reverse of a conventional front-engine, rear-wheel-drive vehicle layout. The earliest example of the form appeared in 1932, with the design and construction of the prototype Maroon Car by chief designer Harleigh Holmes at Coleman Motors, an established builder of Front- and All-Wheel-Drive vehicles based in Littleton, Colorado. The car had front-wheel drive and was powered by a rear-mounted V-8 engine. Only one was built and the vehicle was never placed in production. Since then, it has remained an extremely uncommon drive layout throughout automotive history, used only by a few prototypes and concept cars, such as Buckminster Fuller's 1933 Dymaxion car, which was able to turn within its wheelbase thanks to rear-wheel steering, and the 1947 Gregory Sedan, held at the Lane Motor Museum. The layout has occasionally seen renewed interest as a potential option for innovative car designs, such as in the 1999 patent application of inventor–engineer Michael Basnett at the former Rover Group, which proposed a front transaxle, rear quasi-flat engine architecture, with the fuel tank placed where the right-hand cylinder bank would have been in a "true" flat engine; overall somewhat mimicking the "pancake engine" design of the Volkswagen Type 3 but in water-cooled form and without rear drive. According to the patent, the layout is designed to be advantageous in terms of crash performance by increasing the front crumple zone, in allowing greater styling freedom, in enhanced ride via reduced noise, vibration, and harshness, and in lowered center of gravity providing improved handling, braking and roll characteristics—as well as, much like the Type 3, increased cabin and cargo space within the same chassis footprint and body height. Its main disadvantage is the lack of weight over the drive wheels, particularly under hard acceleration as weight shifts to the rear. However, as mentioned in a Jalopnik article listing all known RF-layout cars, it too appears to have been nothing more than a speculative exercise, without so much as a single physical prototype being built—and the point of whether Rover Group intended to develop it any further is moot, as the corporation was broken up and its assets sold off barely a year later, with the fate of that particular piece of IP being unclear. The drivetrain design closest to RF in actual series production vehicles is the mid-engine, four-wheel-drive layout, typically seen in high end sportscar designs, and which, with the use of power-split centre differentials or hybrid drive systems, can be set up to send a variable amount of the total drive to the front wheels, in some cases up to 100%. Electric front-wheel-drive vehicles can also be found with small range-extender motor-generators, which are typically mounted in the rear luggage compartment, but do not technically count as RF drivetrain as there is no direct mechanical link between engine and wheels, or even the generated engine power and drive motor output, as the generator tends to run at a constant speed and is used to maintain battery charge rather than power the motor directly.

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# Rear-engine, front-wheel-drive layout

A **rear-engine, front-wheel-drive layout** is one in which the engine is between or behind the rear wheels, and drives the front wheels via a driveshaft, the complete reverse of a conventional front-engine, rear-wheel-drive vehicle layout.

The earliest example of the form appeared in 1932, with the design and construction of the prototype *Maroon Car* by chief designer Harleigh Holmes at Coleman Motors, an established builder of Front- and All-Wheel-Drive vehicles based in Littleton, Colorado. The car had front-wheel drive and was powered by a rear-mounted V-8 engine. Only one was built and the vehicle was never placed in production.

Since then, it has remained an extremely uncommon drive layout throughout automotive history, used only by a few prototypes and concept cars, such as Buckminster Fuller's 1933 Dymaxion car, which was able to turn within its wheelbase thanks to rear-wheel steering, and the 1947 Gregory Sedan, held at the Lane Motor Museum.

The layout has occasionally seen renewed interest as a potential option for innovative car designs, such as in the 1999 patent application of inventor–engineer Michael Basnett at the former Rover Group, which proposed a front transaxle, rear quasi-flat engine (an inline-4, turned 90 degrees) architecture, with the fuel tank placed where the right-hand cylinder bank would have been in a "true" flat engine; overall somewhat mimicking the "pancake engine" design of the Volkswagen Type 3 but in water-cooled form and without rear drive.

According to the patent, the layout is designed to be advantageous in terms of crash performance by increasing the front crumple zone, in allowing greater styling freedom, in enhanced ride via reduced noise, vibration, and harshness, and in lowered center of gravity providing improved handling, braking and roll characteristics—as well as, much like the Type 3, increased cabin and cargo space within the same chassis footprint and body height. Its main disadvantage is the lack of weight over the drive wheels, particularly under hard acceleration as weight shifts to the rear.

However, as mentioned in a Jalopnik article listing all known RF-layout cars, it too appears to have been nothing more than a speculative exercise, without so much as a single physical prototype being built—and the point of whether Rover Group intended to develop it any further is moot, as the corporation was broken up and its assets sold off barely a year later, with the fate of that particular piece of IP being unclear.

The drivetrain design closest to RF in actual series production vehicles is the mid-engine, four-wheel-drive layout, typically seen in high end sportscar designs, and which, with the use of power-split centre differentials or hybrid drive systems, can be set up to send a variable amount of the total drive to the front wheels, in some cases up to 100%. Electric front-wheel-drive vehicles can also be found with small range-extender motor-generators, which are typically mounted in the rear luggage compartment, but do not technically count as RF drivetrain as there is no direct mechanical link between engine and wheels, or even the generated engine power and drive motor output, as the generator tends to run at a constant speed and is used to maintain battery charge rather than power the motor directly.


title: Willie Jones (statesman)

abstract: Willie Jones was an American planter and statesman from Halifax County, North Carolina. He represented North Carolina as a delegate to the Continental Congress in 1780. His brother Allen Jones was also a delegate to the congress. In 1774, 1775 and 1776, Jones was elected to represent either the county of Halifax or the town of Halifax in the North Carolina Provincial Congress. For a brief time in 1776, as the head of North Carolina's centralized Council of Safety, he was the head of the state's revolutionary government. Richard Caswell took over after being elected as governor. Thereafter, Jones was elected to the North Carolina House of Commons and the North Carolina Senate. He was elected to the United States Constitutional Convention in 1787 but declined to accept his seat. He led the faction that opposed North Carolina's ratification of the Constitution in 1788 because he feared that the national government would be too powerful. Among his last public roles was helping to determine the site for the new state capital in 1791, which was named Raleigh. He moved to Raleigh and lived there until his death in 1801. He was buried in an unmarked grave on ground that is now occupied by St. Augustine's College. Jones Street in Raleigh, where the North Carolina General Assembly building is located, is named for him, as is Jones County in the state.

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# Willie Jones (statesman)

**Willie Jones** (pronounced Wiley Jones, May 25, 1741 – June 18, 1801) was an American planter and statesman from Halifax County, North Carolina. He represented North Carolina as a delegate to the Continental Congress in 1780. His brother Allen Jones was also a delegate to the congress.

In 1774, 1775 and 1776, Jones was elected to represent either the county of Halifax or the town of Halifax in the North Carolina Provincial Congress. For a brief time in 1776, as the head of North Carolina's centralized *Council of Safety,* he was the head of the state's revolutionary government. Richard Caswell took over after being elected as governor.

Thereafter, Jones was elected to the North Carolina House of Commons and the North Carolina Senate. He was elected to the United States Constitutional Convention in 1787 but declined to accept his seat. He led the faction that opposed North Carolina's ratification of the Constitution in 1788 because he feared that the national government would be too powerful.

Among his last public roles was helping to determine the site for the new state capital in 1791, which was named Raleigh. He moved to Raleigh and lived there until his death in 1801. He was buried in an unmarked grave on ground that is now occupied by St. Augustine's College.

Jones Street in Raleigh, where the North Carolina General Assembly building is located, is named for him, as is Jones County in the state.

## Early life and education

Willie Jones, revolutionary leader and "Father of Jeffersonian Democracy in North Carolina," was born in Surry County, Virginia, May 25, 1741, the son of wealthy planter Robin Jones, Jr., and Sarah (Cobb) Jones. He was named for one of his godfathers, the Reverend William Willie of Albemarle Parish, Virginia. Sometime prior to 1753, the Joneses moved to Northampton County, North Carolina, settling about six miles from the town of Halifax.

At the age of 12, Jones sailed to England to attend his father's *alma mater*, Eton, where he studied from 1753 to 1758. Afterward he made the Grand Tour of the Continent. When he returned to Halifax, Jones was described as a 'peculiarly thoughtful and eccentric man.'

## Political career

Between 1774 and 1775, Jones completely reversed his attitude about England's relationship to the colonies and became a convert to the Whig cause. Historians have long speculated as to why he changed his views. While an aristocrat in social life, Jones fervently believed in political democracy. He interpreted the struggle with Great Britain as a democratic movement and was determined to embody its revolutionary ideals in the government of the state and nation. His later opposition to the United States Constitution was inspired by his fear of a national government that might become too powerful.

From the beginning of the quarrel with England, Jones was an ardent supporter of colonial rights; his enthusiasm drew him into politics. In 1774 he was recommended by the Board of Trade for a place on the colonial council but was not appointed because of his radical views. He served instead as chairman of the Halifax Committee of Safety. He supported the call for a provincial congress in 1774. This body remained in session for only three days, but during that time it fully launched North Carolina into the revolutionary movement.

Jones was elected a member of each of the five provincial congresses, but he could not attend the fourth because the Continental Congress had appointed him superintendent of Indian affairs for the southern colonies. After a fifth provincial congress, with a liberal majority behind him, Jones served on the committee to draft the state constitution and bill of rights. He used his influence in shaping the state constitution. When it was completed, it was a compromise satisfactory to all but the conservative extremists.

During the next twelve years, Jones was politically the most powerful man in the state. He was a member of the House of Commons from 1777 to 1780, and a state senator for three terms between 1782 and 1788. In 1781 and 1787 he was a member of the Council of State, a centralized organization that governed until the state government was elected. In 1780 he was elected to the Continental Congress and served one year.

Jones was elected as a delegate to the federal Convention, but did not accept. When the Constitution was submitted to the state, he led the opposition to its ratification at the Hillsborough Convention of 1788. At this convention he wanted to adjourn the first day. He said, 'all the delegates knew how they were going to vote,' and he did not want to be guilty of 'lavishing public money' on a long and tedious discussion in support of the Constitution and its ratification, in advance of amendment. After eleven days of debate, by a vote of 184 to 84, the Anti-Federalists carried a resolution neither rejecting nor ratifying the Constitution.

Jones favored a delay in ratification, but public sentiment ran the other way. The Federalists campaigned effectively to gain a second convention to act on the Constitution. Jones was elected to the Convention of 1789 but did not attend. It met in Fayetteville and ratified the Constitution by a vote of 195 to 77. His public career was over.

## Family

On June 22, 1776, forsaking an earlier vow of celibacy, at age 25 he married Mary Montfort, daughter of Colonel Joseph Montfort, who had been appointed by the Duke of Beaufort as the first and only "Grand Master of Masons of and for America". The couple had thirteen children, only five of whom lived to adulthood. Of those who did, two were sons and both died unmarried. Their three daughters were:

* Anna Maria, married Joseph B. Littlejohn
* Martha Burke ("Patsy"), married John Wayles Eppes, U.S. congressman and then senator, widower of Thomas Jefferson's daughter Maria
* Sally Welch, married, first, Hutchins Gordon Burton, U.S. congressman and later governor of North Carolina; and second, Andrew Joyner

Jones's home, *the Grove,* which he built at the southern end of the town of Halifax, became a center of social life and political activity for the region. He had an extensive plantation, owned numerous well-bred horses, and was considered to have one of the finest stables in the South. By 1790 he held 120 slaves. This was a large number in the Upper South, where men were classified as planters if they held 20 or more slaves.

## Death

Jones died in Raleigh after a long illness on June 18, 1801. At his own request, he was buried there in an unmarked grave. In his will, he asked that he be buried beside one of his small daughters, and further mandated that "No priest or other person is to insult my corpse by uttering any impious observations over my body. Let it be covered sunny and warm and there is an end. My family and my friends are not to mourn my death, even with a black rag  on the contrary, I give my wife and three daughters, Anna Maria, Sally and Patsy, each a Quaker-colored silk, to make their habits \[hoods, bonnets\] on the occasion."

## Legacy and honors

* The young Scotsman John Paul came to the United States after the death of his brother. Shown generous hospitality by Willie Jones and his wife, the young man adopted the surname Jones. He became well known as John Paul Jones.
* Jones Street in Raleigh, where the General Assembly building is located, was named for him.
* Jones County, North Carolina was named for him.
* Jonesborough, Tennessee, was named for him.

## InfoBox

| Willie Jones | |
| --- | --- |
|  | |
| Born | May 25, 1741
Surry County, Virginia |
| Died | June 18, 1801 (aged 60)
Raleigh, North Carolina |
| Occupation(s) | Planter and statesman |
| Political party | Whig, Anti-Federalist |
| Spouse | Mary Montfort |


title: Raymond Cazallis Davis

abstract: Raymond Cazallis Davis was the chief librarian at the University of Michigan for 28 years. He was the first to offer a course at a college in bibliography.

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# Raymond Cazallis Davis

**Raymond Cazallis Davis** (June 23, 1836 – June 10, 1919) was the chief librarian at the University of Michigan for 28 years. He was the first to offer a course at a college in bibliography.

## Early life

Davis was born in Cushing, Maine, on June 23, 1836. His parents were George Davis and Catherine (Young) Davis. His father is of English and Welsh ancestry and his mother of Scotch and Irish. Davis's father was a sea captain. In 1849 when Davis was 13 years old his mother died. His father then took him on a two-year world tour.

## Career

After returning from his world adventures Davis prepared for college in 1852 at New Hampton, New Hampshire. In 1855 he became a student at the University of Michigan in Ann Arbor, Michigan. After two years at the university he became seriously ill. Because of his illness he was not able to continue his studies or take employment. He regained his health and got a job around 1860 in short sea shipping in Maine. He stayed there for a few years.

In 1868 Davis returned to the University of Michigan and got a part-time position as an assistant librarian through 1872. At that time then he returned to Maine and was employed in local shipping. In 1877 he was offered the chief librarian position at the University of Michigan, which he accepted. Davis started offering in 1878 the first course at a college in bibliography, which he taught once a week during November and December.

Davis married Ellen Regal, the daughter of pastor Eli Regal, on July 6, 1880. He received an honorary degree of Master of Arts in 1881 from the University of Michigan. He was a key motivating force in the construction of the university's first library building, which opened in 1883. Through his efforts the library grew in size and became an instrumental part of the university.

## Later life and death

Davis again became seriously ill and was forced into semi-retirement in 1905 after 28 years as a librarian at the University of Michigan. However, he did continue to lecture on bibliography part-time into 1914, until his illness forced him to quit altogether. He died on June 10, 1919, at Ann Arbor.

## Works

* *Reminiscences of a Voyage around the World* (1869), based on his boyhood experiences.

## Sources


title: Waterbury Clock Company factory

abstract: The Waterbury Clock Company factory is a historic complex of factory buildings in Waterbury, Connecticut. Development began in 1873, with the extensive plant serving as the company's main manufacturing facility and headquarters until 1944. The company is now known as the Timex Group USA, and was for a time one of the world's largest manufacturers of pocket watches. The surviving elements of the manufacturing complex were listed on the National Register of Historic Places in 1982. The property has since been subdivided and is home to a variety of primarily industrial or commercial uses.

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# Waterbury Clock Company factory

The **Waterbury Clock Company factory** is a historic complex of factory buildings in Waterbury, Connecticut. Development began in 1873, with the extensive plant serving as the company's main manufacturing facility and headquarters until 1944. The company is now known as the Timex Group USA, and was for a time one of the world's largest manufacturers of pocket watches. The surviving elements of the manufacturing complex were listed on the National Register of Historic Places in 1982. The property has since been subdivided and is home to a variety of primarily industrial or commercial uses.

## Description and history

The former Waterbury Clock Company plant is located north of downtown Waterbury, on 6.2 acres (2.5 ha) roughly bounded by North Elm Street, Cherry Street, and Cherry Avenue, with a portion extending south of Cherry Avenue. The property is bisected in the north–south direction by a now-subterranean stream, which once provided the power for the factory's operations. There are more than 20 buildings on the property, in varying sizes and configurations. Most are of red brick construction typical of late 19th-century mill construction.

The Waterbury Clock Company has its origins in a division of Benedict and Burnham, a leading Waterbury brass manufacturer who branched out into a variety of industries using brass in their manufacturing. The company was incorporated as a separate entity in 1857, and operated out of its parent company facilities until 1873. This site, to which it moved its operations, had previously been the site of one of Waterbury's earliest sawmills. The company met its greatest success in the 1890s, producing movements for popular dollar watches. Its fortunes declined after the First World War, and it removed from the city in 1944. It was renamed the United States Time Corporation that same year, and is now known as the Timex Group. The Waterbury plant was eventually partitioned and repurposed to other uses, including the demolition of a number of its buildings.

## InfoBox

|  | |
| --- | --- |
| Waterbury Clock Company | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | N. Elm, Cherry Sts. and Cherry Ave., Waterbury, Connecticut |
| Coordinates | 41°33′30″N 73°02′6″W / 41.55833°N 73.03500°W / 41.55833; -73.03500 (Waterbury Clock Company) |
| Area | 6.2 acres (2.5 ha) |
| Built | 1857 (1857) |
| NRHP reference No. | 82001005 |
| Added to NRHP | November 30, 1982 |


title: Ortholeuca

abstract: Ortholeuca is a monotypic moth genus of the family Noctuidae. Its only species, Ortholeuca albiluna, is found in Panama. Both the genus and species were first described by George Hampson in 1910.

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# Ortholeuca

***Ortholeuca*** is a monotypic moth genus of the family Noctuidae. Its only species, ***Ortholeuca albiluna***, is found in Panama. Both the genus and species were first described by George Hampson in 1910.

## InfoBox

| *Ortholeuca* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Noctuidae |
| Genus: | ***Ortholeuca***
Hampson, 1910 |
| Species: | ***O. albiluna*** |
| Binomial name | |
| ***Ortholeuca albiluna***
Hampson, 1910 | |
|


title: Rafael Levaković

abstract: Rafael Levaković O.F.M. was a Franciscan prelate who served as Archbishop of Achrida (1647–1650); and Glagolitic writer who set foundations for Slavic liturgy based on the missionary concept of the Roman Catholic Church. Levaković actively worked on religious conversion of the Orthodox Serbs in Croatia.

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# Rafael Levaković

**Rafael Levaković** (also **Raphael Levacovich**) O.F.M. (c.1597  1649) was a Franciscan prelate who served as Archbishop of Achrida (1647–1650); and Glagolitic writer who set foundations for Slavic liturgy based on the missionary concept of the Roman Catholic Church. Levaković actively worked on religious conversion of the Orthodox Serbs in Croatia.

## Biography

Raphael Levacovich was born in Jastrebarsko, Croatia in 1597 (some sources say 1607) and ordained a priest in the Order of Friars Minor.

## Translation of the liturgical books

In 17th century Roman Catholic Church followed reformist example of the Protestantism and decided to publish liturgical books on language understandable for most South Slavs. This task was given to Sacred Congregation for the Propagation of the Faith that engaged Levaković. Based on explicit instructions given directly by the Pope, Levaković's activities were supported by Metodije Terlecki. In 1628 Levaković published *Nauk Krstjanski* and in 1631 *Misal*. In 1640 Benedikt Vinković, a Catholic bishop of the Archdiocese of Zagreb, had intention to depose Maksim Predojević, Serb bishop of the Bishopric of Marča, and appoint Rafael Levaković instead.

## Episcopate

On 27 May 1647, he was appointed during the papacy of Pope Innocent X as Archbishop of Achrida in Ohrid. On 2 June 1647, he was consecrated bishop by Pier Luigi Carafa, Cardinal-Priest of Santi Silvestro e Martino ai Monti, with Ranuccio Scotti Douglas, Bishop of Borgo San Donnino, and Alessandro Vittrici, Bishop Emeritus of Alatri, serving as co-consecrators. He served as Archbishop of Achrida until his death in 1650.

## Bibliography

Works of Rafael Levaković include:

* *Nauk karstjanski kratak* (Glagolitic), (Rome, 1628)
* *Azbukividnik* (1629, 1693), (Glagolitic, Latin script and Cyrillic script)
* *Missal rimskij va ezik slovenskij* (Rome, 1631)
* *Časoslov Rimski* (1648)
* *De Illyrica lingua*
* *Dialogus de antiquorum Illyricorum lingua*
* *Historiola episcopatus ac dioecesis ecclesiae Zagrabiensis*
* *De ecclesiae Zagrabiensis fundatione*
* *De Spiritus Sancti processione*
* *Ordo et series cleri Dioecesis Zagrabiensis 8. Martii 1574. in synodo*
* eleven letters to Zageb bishop Benedikt Vinković

## Sources

* Žutić, Nikola (1997). *Rimokatolička crkva i hrvatstvo: od ilirske ideje do velikohrvatske realizacije 1453-1941*. ISI.
* Kašić, Dušan Lj (1988). *Srpska naselja i crkve u sjevernoj Hrvatskoj i Slavoniji*. Savez udruženja pravoslavnih sveštenika SR Hrvatske.
* umetnosti, Srpska akademija nauka i (1946). *Glas*.
* Nazor, Anica (2008). *Knjiga o hrvatskoj glagoljici: "Ja slovo znajući govorim--"*. Erasmus. ISBN 978-953-6132-83-6.

## InfoBox

| Most Reverend
Rafael Levaković | |
| --- | --- |
| Archbishop of Achrida | |
| Church | Catholic Church |
| Archdiocese | Archdiocese of Achrida |
| In office | 1647–1650 |
| Successor | Andrea Bogdani |
| Orders | |
| Consecration | 2 June 1647
by Pier Luigi Carafa |
| Personal details | |
| Born | 1597 (1597)
Jastrebarsko, Croatia |
| Died | 1650(1650-00-00) (aged 52–53)
Zadar |


title: Glenstrup Abbey

abstract: Glenstrup Abbey was a Benedictine monastery occupied briefly at various points during its history by the Carthusians as Glenstrup Charterhouse and by the Bridgettines. The abbey was located at Glenstrup near Randers, Denmark.

text:
# Glenstrup Abbey

**Glenstrup Abbey** was a Benedictine monastery occupied briefly at various points during its history by the Carthusians as **Glenstrup Charterhouse** and by the Bridgettines. The abbey was located at Glenstrup near Randers, Denmark.

## History

### Benedictine monks

Glenstrup Abbey, dedicated to the Virgin Mary, was founded about 1125 on Glenstrup Lake, near the town of Hobro, as a Benedictine monastery. The nobleman Svend Bo and his wife Inger Thott gave property and several farms to support it in the mid-12th century. In some records it was nicknamed "Nørre Abbey". It was built on the site of a holy spring called Maria's Spring in medieval times. The location was a religious one in Viking times and the abbey was most likely constructed on the site of a stave chapel built to Christianize the place in the late 11th century.

The monastery was built in the traditional three ranges attached to a church as a four-sided enclosure. The massive Romanesque tower was an unusual feature on the west front of the abbey church.

Few records about the abbey survive. It is mentioned in a papal bull of the mid-13th century, probably issued by Pope Alexander III.

At its height the abbey owned many farms, two mills, and several churches from which it collected tithes. It also owned the permanent rights to fish eels from the lake, where it built a permanent eel trap. It also had the rights to income from the fair or market held on Lady Day, which was held in nearby fields as late as 1552.

The abbey however eventually entered a long slow decline which culminated in its closure in 1431. Although records are sparse, this was apparently caused by a combination of lack of revenue and declining religious standards which meant that there were no novices. Ulrik, Bishop of Aarhus, decided that the house had become unruly and that to maintain it would cost the diocese more than it brought in; the last Benedictine monks were therefore removed, and an effort made to interest another order in the premises.

### Glenstrup Charterhouse

At the suggestion of King Eric of Pomerania, Bishop Ulrik gave the abbey and the income properties from the recently closed priory of Our Lady in Randers to the Carthusian Order for the establishment of a new charterhouse in the Diocese of Aarhus in 1429. The Carthusians settled briefly at the vacant Glenstrup Abbey, creating Glenstrup Charterhouse, but abandoned the site by 1441.

### Benedictine monks

Bishop Ulrik then tried to re-establish a Benedictine community, but the attempt was short-lived, and the Benedictines left Glenstrup for the last time before 1445.

### Bridgettine nuns

Bishop Ulrik then gave the abbey and its attendant properties to the newly established Bridgettine Mariager Abbey. The Bridgettines were seen in the mid-15th century as a reforming order capable of restoring the religious zeal that many religious houses had lost and re-establishing the strict standards which by this time many had abandoned. They were however only interested in the estates of Glenstrup, and demolished the abbey premises shortly after 1445, leaving only the church.

56°35′02″N 9°51′07″E / 56.584°N 9.852°E / 56.584; 9.852


title: AD 9

abstract: AD 9 (IX) was a common year starting on Tuesday of the Julian calendar. In the Roman Empire, it was known as the Year of the Consulship of Sabinus and Camerinus. The denomination "AD 9" for this year has been used since the late medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.

text:
# AD 9

AD 9 in various calendars
| Gregorian calendar | AD 9
*IX* |
| --- | --- |
| Ab urbe condita | 762 |
| Assyrian calendar | 4759 |
| Balinese saka calendar | *N/A* |
| Bengali calendar | −584 |
| Berber calendar | 959 |
| Buddhist calendar | 553 |
| Burmese calendar | −629 |
| Byzantine calendar | 5517–5518 |
| Chinese calendar | 戊辰年 (Earth Dragon)
2706 or 2499
*to*
己巳年 (Earth Snake)
2707 or 2500 |
| Coptic calendar | −275 – −274 |
| Discordian calendar | 1175 |
| Ethiopian calendar | 1–2 |
| Hebrew calendar | 3769–3770 |
| Hindu calendars |  |
| \- *Vikram Samvat* | 65–66 |
| \- *Shaka Samvat* | *N/A* |
| \- *Kali Yuga* | 3109–3110 |
| Holocene calendar | 10009 |
| Iranian calendar | 613 BP – 612 BP |
| Islamic calendar | 632 BH – 631 BH |
| Javanese calendar | *N/A* |
| Julian calendar | AD 9
*IX* |
| Korean calendar | 2342 |
| Minguo calendar | 1903 before ROC
民前1903年 |
| Nanakshahi calendar | −1459 |
| Seleucid era | 320/321 AG |
| Thai solar calendar | 551–552 |
| Tibetan calendar | 阳土龙年
(male Earth-Dragon)
135 or −246 or −1018
*to*
阴土蛇年
(female Earth-Snake)
136 or −245 or −1017 |

**AD 9** (**IX**) was a common year starting on Tuesday of the Julian calendar. In the Roman Empire, it was known as the **Year of the Consulship of Sabinus and Camerinus** (or, less frequently, **762 Ab urbe condita**). The denomination "AD 9" for this year has been used since the late medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.

## Events

### By place

#### China

* January 10  Wang Mang founds the short-lived Xin dynasty in China (until AD 25). Wang Mang names his wife, Wang, empress and his son, Wang Lin Crown Prince, heir to the throne.
* Empress Wang is given the title of Duchess Dowager of Ding'an, while Ruzi Ying, the former Emperor of Han, becomes the Duke of Ding'an. Ruzi Ying is placed under house arrest.

#### Roman Empire

### By topic

#### Literature

## Births

## Deaths

## InfoBox

| Millennium: | 1st millennium |
| --- | --- |
| Centuries: |  |
| Decades: |  |
| Years: |  |


title: Pipe Creek (Texas)

abstract: Pipe Creek is a stream located primarily in Bandera County, Texas, in the United States. Pipe Creek was so named in 1852, when a pioneer settler lost his tobacco pipe there. The stream is the namesake of the community Pipe Creek, located near the intersection of SH 16 and FM 1283.

text:
# Pipe Creek (Texas)

**Pipe Creek** is a stream located primarily in Bandera County, Texas, in the United States.

Pipe Creek was so named in 1852, when a pioneer settler lost his tobacco pipe there. The stream is the namesake of the community Pipe Creek, located near the intersection of SH 16 and FM 1283.

## Course

The stream rises in southwestern Kendall County, traveling through rural areas. Shortly after entering into Bandera County, Pipe Creek briefly flows through the Kronsky State Natural Area. Bear Springs Creek flows into Pipe Creek just northeast of the unincorporated town Pipe Creek. The stream flows under SH 16 just east of the town and runs parallel to FM 1283, before flowing into Red Bluff Creek near Bandera Falls.

## InfoBox

| Pipe Creek | |
| --- | --- |
|  | |
| Physical characteristics | |
|  | |
| Source |  |
| coordinates | 29°47′48″N 98°51′37″W / 29.7966095°N 98.8603074°W / 29.7966095; -98.8603074 |
|  | |
| Mouth |  |
| coordinates | 29°41′39″N 98°56′15″W / 29.6941136°N 98.9375308°W / 29.6941136; -98.9375308 |


title: Reborn in the USA

abstract: Reborn in the USA is a British reality television show broadcast on ITV, in which ten British pop acts were transported to the US, where they were supposedly not known in the hope of revitalising their music career. Each week, the American audience voted for their favourite act. The two acts with the fewest votes would then face the vote from the British public, where the following week the act with the fewest votes was eliminated from the contest and sent back to Britain. The series was presented by Davina McCall and the eventual winner was ex Spandau Ballet lead singer Tony Hadley, who was awarded with the prize of a recording contract.

text:
# Reborn in the USA

***Reborn in the USA*** is a British reality television show broadcast on ITV, in which ten British pop acts were transported to the US, where they were supposedly not known in the hope of revitalising their music career.

Each week, the American audience voted for their favourite act. The two acts with the fewest votes would then face the vote from the British public, where the following week the act with the fewest votes was eliminated from the contest and sent back to Britain. The series was presented by Davina McCall and the eventual winner was ex Spandau Ballet lead singer Tony Hadley, who was awarded with the prize of a recording contract.

## Overview

The competitors were: Tony Hadley, Michelle Gayle, Gina G, Elkie Brooks, Dollar, Leee John (of Imagination), Haydon Eshun (of Ultimate Kaos), Sonia and Mark Shaw of Then Jerico. Shaw quit the show in the first week after being criticised by other participants for his drunken behaviour prior to the recording of the first concert. Peter Cox (of Go West) was flown in as a replacement.

Further controversy arose in the second week when acts Dollar and Sonia had received the fewest votes and were both up for the public vote. Sonia elected to leave the tour due to stress, but then decided to return to face the vote. Dollar (David Van Day and Thereza Bazar) accused her of pulling a publicity stunt to gain votes, resulting in a heated argument between the two acts, where Sonia ultimately told Van Day he was "a nasty piece of work". In the end, Dollar were voted off and Sonia continued in the show for a few more weeks.

The format for the show had the artists travelling on a tour bus to a new venue each week. Each would perform one song which would relate to the city they were performing in (e.g. the concert in New Orleans would have each perform a well-known song about New Orleans). All songs performed were cover versions, until the final show where the final two (Hadley and Gayle) each sang one of their own hits. Despite his late entry to the show, Peter Cox was the favourite to win, but he finished in third place after forgetting the words to the song he was performing.

The show's theme music was composed and produced by Stuart Hancock for London-based music production company Mcasso Music, and variations of this theme music were used to accompany the on-screen action between song performances.

Following the show's transmission, a book and an album was released. The album contained studio recordings of various cover versions by the acts, comprising 17 songs.

## Live shows

### Results summary

Colour key

|  | Singer was up for eviction from the tour bus and had to face the weeklong British public vote |
| --- | --- |
|  | Singer received the fewest public votes and was immediately eliminated |
|  | Singer received the most votes from the live American audience |

Weekly results per act
| Act | Week 1 | Week 2 | Week 3 | Week 4 | Week 5 | Quarter-Final | Semi-Final | Final |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Tony Hadley | **Safe** | **Safe** | **Bottom Two** | **Safe** | **Safe** | **Safe** | **Safe** | **Winner** |
| Michelle Gayle | **Safe** | **Safe** | **Safe** | **Safe** | **Bottom Two** | **Bottom Two** | **Safe** | **Runner-Up** |
| Peter Cox | **Safe** | **Safe** | **Safe** | **Safe** | **Safe** | **Safe** | **3rd** | *Eliminated*
(semi-final) |
| Haydon Eshun | **Safe** | **Safe** | **Safe** | **Safe** | **Safe** | **Bottom Two** | *Eliminated*
(quarter-final) | | | |
| Leee John | **Safe** | **Safe** | **Safe** | **Bottom Two** | **Bottom Two** | *Eliminated*
(week 5) | | |
| Sonia | **Bottom Two** | **Safe** | **Safe** | **Bottom Two** | *Eliminated*
(week 4) | | | |
| Elkie Brooks | **Safe** | **Bottom Two** | **Bottom Two** | *Eliminated*
(week 3) | | | | |
| Gina G | **Safe** | **Bottom Two** | *Eliminated*
(week 2) | | | | | |
| Dollar | **Bottom Two** | *Eliminated*
(week 1) | | | | | | |
| Mark Shaw | Withdrew
(week 1) | | | | | | | |
|  | | | | | | | | | |
| Against British public vote | Dollar,
Sonia | Elkie Brooks,
Gina G | Elkie Brooks,
Tony Hadley | Leee John,
Sonia | Leee John,
Michelle Gayle | Haydon Eshun,
Michelle Gayle |
|

### Live show details

#### Week 1 (8 March 2003)

Destination: **New Orleans, Louisiana**

Performances on the New Orleans show
| Artist | Song (Original artist) | Results |
| --- | --- | --- |
| Dollar | "They Can't Take That Away from Me" (Ella Fitzgerald) | Eliminated |
| Elkie Brooks | "Love Letters" (Dick Haymes) | Safe |
| Gina G | "Fever" (Peggy Lee) | Safe |
| Haydon Eshun | "Misty Blue" (Dorothy Moore) | Safe |
| Leee John | "Unforgettable" (Nat King Cole) | Safe |
| Michelle Gayle | "When I Fall in Love" (Nat King Cole) | Safe |
| Peter Cox | "The House of the Rising Sun" (The Animals) | Safe |
| Sonia | "The Greatest Love of All" (Whitney Houston) | Bottom two |
| Tony Hadley | "To Love Somebody" (Bee Gees) | Safe |

#### Week 2 (15 March 2003)

Destination: **Philadelphia, Pennsylvania**

Performances on the Philadelphia show
| Artist | Song (Original artist) | Results |
| --- | --- | --- |
| Elkie Brooks | "When Will I See You Again" (The Three Degrees) | Bottom two |
| Gina G | "Don't Leave Me This Way" (Thelma Houston) | Eliminated |
| Haydon Eshun | "I'll Make Love to You" (Boyz II Men) | Safe |
| Leee John | "Betcha by Golly, Wow" (The Stylistics) | Safe |
| Michelle Gayle | "The Whole Town's Laughing at Me" (Teddy Pendergrass) | Safe |
| Peter Cox | "Me and Mrs. Jones" (Billy Paul) | Safe |
| Sonia | "In The Midnight Hour" (Wilson Pickett) | Safe |
| Tony Hadley | "If You Don't Know Me by Now" (Harold Melvin & the Blue Notes) | Safe |

#### Week 3 (22 March 2003)

Destination: **Detroit, Michigan**

Performances on the Detroit show
| Artist | Song (Original artist) | Results |
| --- | --- | --- |
| Elkie Brooks | "You Keep Me Hangin' On" (The Supremes) | Eliminated |
| Haydon Eshun | "One Day in Your Life" (Michael Jackson) | Safe |
| Leee John | "What's Going On" (Marvin Gaye) | Safe |
| Michelle Gayle | "Yester-Me, Yester-You, Yesterday" (Stevie Wonder) | Safe |
| Peter Cox | "I Heard It Through the Grapevine" (Marvin Gaye) | Safe |
| Sonia | "You Can't Hurry Love" (The Supremes) | Safe |
| Tony Hadley | "For Once in My Life" (Stevie Wonder) | Bottom two |

#### Week 4 (29 March 2003)

Destination: **Memphis, Tennessee**

Performances on the Memphis show
| Artist | Song (Original artist) | Results |
| --- | --- | --- |
| Haydon Eshun | "Blue Suede Shoes" (Elvis Presley) | Safe |
| Leee John | "Return to Sender" (Elvis Presley) | Bottom two |
| Michelle Gayle | "Love Me Tender" (Elvis Presley) | Safe |
| Peter Cox | "Always on My Mind" (Willie Nelson) | Safe |
| Sonia | "Can't Help Falling in Love" (Elvis Presley) | Eliminated |
| Tony Hadley | "Walking in Memphis" (Marc Cohn) | Safe |

#### Week 5 (5 April 2003)

Destination: **Nashville, Tennessee**

Performances on the Nashville show
| Artist | Song (Original artist) | Results |
| --- | --- | --- |
| Haydon Eshun | "If Tomorrow Never Comes" (Garth Brooks) | Safe |
| Leee John | "A Little Bit More" (Dr. Hook) | Eliminated |
| Michelle Gayle | "Breathe" (Faith Hill) | Bottom two |
| Peter Cox | "You're Still the One" (Shania Twain) | Safe |
| Tony Hadley | "How Do I Live" (LeAnn Rimes) | Safe |

#### Week 6: Quarter-Final (12 April 2003)

Destination: **Cleveland, Ohio**

Performances on the Cleveland quarter-final
| Act | First song | Second song | Result |
| --- | --- | --- | --- |
| Haydon Eshun | "My Girl" (The Temptations) | "Wonderful Tonight" (Eric Clapton) | Eliminated |
| Michelle Gayle | "Until You Come Back to Me (That's What I'm Gonna Do)" (Aretha Franklin) | "Ben" (Michael Jackson) | Bottom two |
| Peter Cox | "Every Breath You Take" (The Police) | "The Tears of a Clown" (Smokey Robinson) | Safe |
| Tony Hadley | "I Can't Make You Love Me" (Bonnie Raitt) | "Changes" (David Bowie) | Safe |

#### Week 7: Semi-Final (19 April 2003)

Destination: **New York City, New York**

Performances on the New York semi-final
| Act | First song | Second song | Result |
| --- | --- | --- | --- |
| Michelle Gayle | "Fly Me to the Moon" (Frank Sinatra) | "I Say a Little Prayer" (Aretha Franklin) | Safe |
| Peter Cox | "I Drove All Night" (Cyndi Lauper) | "Don't Know Why" (Norah Jones) | Eliminated |
| Tony Hadley | "Mack the Knife" (Bobby Darin) | "That's Life" (Frank Sinatra) | Safe |

#### Week 8: Final (11 December)

Destination: **London**

Performances on the London final
| Act | First song | Second song | Third song | Result |
| --- | --- | --- | --- | --- |
| Michelle Gayle | "Sweetness" | "Love Me Tender" | "I Say a Little Prayer" | Runner-Up |
| Tony Hadley | "Through the Barricades" | "Walking in Memphis" | "That's Life" | Winner |

## Album

*Reborn in the USA – 17 Unforgettable Songs as Performed on the hit ITV1 Show*

1. Tony Hadley – "Walking in Memphis"
2. Peter Cox – "Me and Mrs Jones"
3. Haydon Eshun – "Misty Blue"
4. Michelle Gayle – "Until You Come Back to Me"
5. Elkie Brooks – "Love Letters"
6. Leee John – "Betcha By Golly Wow"
7. Gina G – "I Can't Make You Love Me"
8. Sonia – "Evergreen"
9. Haydon Eshun – "Wonderful Tonight"
10. Tony Hadley – "To Love Somebody"
11. Elkie Brooks – "The Rose"
12. Peter Cox – "Nick of Time"
13. Michelle Gayle – "Love Me Tender"
14. Leee John – "A Little Bit More"
15. Gina G – "Don't Leave Me This Way"
16. Dollar – "Somethin' Stupid"
17. Tony Hadley – "I Can't Make You Love Me"

## InfoBox

| *Reborn in the USA* | |
| --- | --- |
| Genre | Reality television, music |
| Directed by | Jonathan Bullen |
| Presented by | Davina McCall |
| Country of origin | United Kingdom |
| No. of series | 1 |
| No. of episodes | 8 |
| Original release | |
| Network | ITV |
| Release | 8 March (2003-03-08)
26 April 2003 (2003-04-26) |


title: Morinë

abstract: Morinë is a settlement in eastern Albania, on the border with Kosovo. The Kosovo side of the border is Vërmica. At the 2015 local government reform it became part of the municipality Kukës. Morinë is an important stop on the highway that connects the Kosovan capital of Pristina to Albania and thus to the Adriatic Sea.

text:
# Morinë

**Morinë** is a settlement in eastern Albania, on the border with Kosovo. The Kosovo side of the border is Vërmica. At the 2015 local government reform it became part of the municipality Kukës.

Morinë is an important stop on the highway that connects the Kosovan capital of Pristina to Albania and thus to the Adriatic Sea.

## InfoBox

| Morinë | |
| --- | --- |
| Village | |
| Morinë village | |
| Morinë | |
| Coordinates: 42°8′55″N 20°32′22″E / 42.14861°N 20.53944°E / 42.14861; 20.53944 | |
| Country | Albania |
| County | Kukës |
| Municipality | Kukës |
| Municipal unit | Tërthore |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |