title: Utricularia olivacea

abstract: Utricularia olivacea, the piedmont bladderwort, is a very small, annual suspended aquatic carnivorous plant that belongs to the genus Utricularia. Utricularia olivacea is native to Central America, South America, the West Indies, and the eastern United States.

text:
# Utricularia olivacea

***Utricularia olivacea***, the **piedmont bladderwort**, is a very small, annual suspended aquatic carnivorous plant that belongs to the genus *Utricularia*. *Utricularia olivacea* is native to Central America, South America, the West Indies, and the eastern United States (coastal plain from Mississippi to New Jersey).

## InfoBox

| *Utricularia olivacea* | |
| --- | --- |
|  | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Lamiales |
| Family: | Lentibulariaceae |
| Genus: | *Utricularia* |
| Subgenus: | *Utricularia* subg. *Utricularia* |
| Section: | *Utricularia sect. Utricularia* |
| Species: | ***U. olivacea*** |
| Binomial name | |
| ***Utricularia olivacea***
C.Wright ex Griseb. | |
|
| Synonyms | |
| * *Biovularia brasiliensis* Kuhlm. * *Biovularia minima* (Warm.) Kamiénski * *Biovularia olivacea* (Wright ex Griseb.) Kamiénski * *Utricularia minima* Warm. | |


title: Gavadewadi

abstract: Gavadewadi is a village in Mulshi taluka of Pune District in the state of Maharashtra, India.Talukas surrounding the village are Karjat taluka, Talegaon Dabhade Taluka, Mawal taluka and by Khalapur taluka. Districts closest to the village are Raigad district, Thane district, Mumbai City district and Mumbai Suburban district. Nearest railway stations around the village are Vadgaon railway station, Begdewadi railway station, Lonavala railway station, Talegaon railway station and Kamshet railway station.

text:
# Gavadewadi

**Gavadewadi** is a village in Mulshi taluka of Pune District in the state of Maharashtra, India.Talukas surrounding the village are Karjat taluka, Talegaon Dabhade Taluka, Mawal taluka and by Khalapur taluka. Districts closest to the village are Raigad district, Thane district, Mumbai City district and Mumbai Suburban district. Nearest railway stations around the village are Vadgaon railway station, Begdewadi railway station, Lonavala railway station, Talegaon railway station and Kamshet railway station.

## InfoBox

| Gavadewadi | |
| --- | --- |
| Village | |
| Country | India |
| State | Maharashtra |
| District | Pune |
| Tehsil | Mulshi |
| Government | |
| Type | Panchayati raj (India) |
| Body | Gram panchayat |
| Languages | |
| Official | Marathi |
| Other spoken | Hindi |
| Time zone | UTC+5:30 (IST) |
| Telephone code | 02114 |
| ISO 3166 code | IN-MH |
| Vehicle registration | MH-14 |
| Website | pune.nic.in |


title: Picazuro pigeon

abstract: The picazuro pigeon is a pigeon native to South America.

text:
# Picazuro pigeon

The **picazuro pigeon** (***Patagioenas picazuro***) is a pigeon native to South America.

## Description

It is a large pigeon with a wingspan of up to 22 inches and can weigh as much as a pound. It is a brown bird with white dashes on the back of its neck and darker brown wing patterns. It is similar in appearance to the spotted dove.

## Distribution

The picazuro pigeon is found in Argentina, Bolivia, Brazil, Paraguay and Uruguay. It has an estimated global extent of occurrence of 5,800,000 km2 and although an accurate population count has not taken place, it is believed that the species is common and the population is thought to be increasing. Picazuro pigeons survive in a variety of habitats; from woodland and forest to agricultural land.

## Diet

This species feeds mainly on the ground and like most other pigeons eats seeds and grain.

## Reproduction

Picazuro pigeons nest in every month of the year. A fragile nest is built from sticks and one egg is laid. Both parents incubate the egg. Once the egg has hatched, the chick is fed on crop milk and then regurgitated seeds.

* InfoNatura: Birds, mammals, and amphibians of Latin America \[web application\]. 2004. Version 4.1 . Arlington, Virginia (USA): NatureServe. Available: . (Accessed: April 7, 2007 ). Archived December 2, 2005, at the Wayback Machine

## InfoBox

| Picazuro pigeon | |
| --- | --- |
|  | |
| In Rodrigo de Freitas Lagoon, Brazil | |
|  | |
| In Buenos Aires, Argentina | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Aves |
| Order: | Columbiformes |
| Family: | Columbidae |
| Genus: | *Patagioenas* |
| Species: | ***P. picazuro*** |
| Binomial name | |
| ***Patagioenas picazuro***
(Temminck, 1813) | |
|
|  | |
| Estimated range of *Patagioenas picazuro* in blue. | |


title: III (Joe Nichols album)

abstract: III is the fourth studio album by American country music artist Joe Nichols. It was released on October 25, 2005 by Universal South Records. The album produced Nichols' second #1 hit in "Tequila Makes Her Clothes Fall Off", as well as the top-10 hit "Size Matters (Someday)" and "I'll Wait for You". Overall, it was certified gold by the RIAA for sales of well over 500,000 copies. "My Old Friend the Blues" is a cover of a Steve Earle song. Also included is "Should I Come Home", a cover of a Gene Watson hit single. Brent Rowan produced the album except for the three singles, which were produced by Buddy Cannon, and "Freedom Feels Like Lonely" and "As Country as She Gets", which were produced by Byron Gallimore.

text:
# III (Joe Nichols album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |

***III*** is the fourth studio album by American country music artist Joe Nichols. It was released on October 25, 2005 by Universal South Records. The album produced Nichols' second #1 hit in "Tequila Makes Her Clothes Fall Off", as well as the top-10 hit "Size Matters (Someday)" and "I'll Wait for You". Overall, it was certified gold by the RIAA for sales of well over 500,000 copies.

"My Old Friend the Blues" is a cover of a Steve Earle song. Also included is "Should I Come Home (Or Should I Go Crazy)", a cover of a Gene Watson hit single.

Brent Rowan produced the album except for the three singles, which were produced by Buddy Cannon, and "Freedom Feels Like Lonely" and "As Country as She Gets", which were produced by Byron Gallimore.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Size Matters (Someday)" |  | 2:51 |
| 2. | "Freedom Feels Like Lonely" |  | 3:10 |
| 3. | "Tequila Makes Her Clothes Fall Off" |  | 3:07 |
| 4. | "Talk Me Out of Tampa" |  | 3:58 |
| 5. | "That's What Love'll Get You" |  | 2:55 |
| 6. | "I'll Wait for You" |  | 4:07 |
| 7. | "Should I Come Home (Or Should I Go Crazy)" | Joe Allen | 2:43 |
| 8. | "My Old Friend the Blues" | Steve Earle | 3:08 |
| 9. | "As Country as She Gets" |  | 3:41 |
| 10. | "Honky Tonk Girl" |  | 2:46 |
| 11. | "Just a Little More" | * Nichols * Donny Lowery | 4:26 |

## Personnel

Adapted from AllMusic:

* Wyatt Beard - backing vocals
* Tom Bukovac \- electric guitar
* Terry Crisp - pedal steel guitar
* Chad Cromwell \- drums
* Dan Dugmore \- pedal steel guitar
* Stuart Duncan \- fiddle
* Shannon Forrest \- drums, percussion
* Larry Franklin \- fiddle
* Paul Franklin \- pedal steel guitar
* Steve Gibson - acoustic guitar, electric guitar
* Kenny Greenberg \- electric guitar
* Rob Hajacos - fiddle
* Morgane Hayes - backing vocals
* Aubrey Haynie \- fiddle
* Wes Hightower - backing vocals
* John Hobbs - piano, Wurlitzer
* David Hungate \- bass guitar
* Kirk "Jelly Roll" Johnson - harmonica
* Tim Lauer - pump organ
* B. James Lowry - acoustic guitar, resonator guitar
* Gary Lunn - bass guitar
* Liana Manis - backing vocals
* Brent Mason \- electric guitar
* Randy McCormick - keyboards, Hammond organ, piano
* Gordon Mote \- Fender Rhodes, Hammond organ, piano, Wurlitzer
* Steve Nathan \- Hammond organ, piano
* Larry Paxton - bass guitar
* Al Perkins \- pedal steel guitar
* Brent Rowan \- bass guitar, acoustic guitar, electric guitar, keyboards
* Bryan Sutton \- acoustic guitar, mandolin
* Russell Terrell - backing vocals
* Robby Turner \- pedal steel guitar
* Joe Nichols - lead vocals, background vocals

## Charts

### Singles

| Year | Single | Peak chart
positions | |
| --- | --- | --- | --- |
| | | US Country | US |
| 2005 | "Tequila Makes Her Clothes Fall Off" | 1 | 32 |
| 2006 | "Size Matters (Someday)" | 9 | 73 |
| | "I'll Wait for You" | 7 | 71 |

## Certifications

| Region | Certification |
| --- | --- |
| United States (RIAA) | Gold |

## InfoBox

| III | |
| --- | --- |
|  | |
| Studio album by Joe Nichols | |
| Released | October 25, 2005 (2005-10-25) |
| Genre | Country |
| Length | 36:59 |
| Label | Universal South Records |
| Producer | Buddy Cannon, Byron Gallimore, Brent Rowan |
| Joe Nichols chronology | |
| *A Traditional Christmas*
(2004) ***III***
(2005) *Real Things*
(2007) | |
|  | |
| Singles from  *III* | |
| 1. "Tequila Makes Her Clothes Fall Off"
Released: August 1, 2005 2. "Size Matters (Someday)"
Released: January 24, 2006 3. "I'll Wait for You"
Released: July 31, 2006 | |
|  | |


title: Peter Hofmann (handball)

abstract: Peter Hofmann is a former East German male handball player. He was a member of the East Germany national handball team. He was part of the team at the 1988 Summer Olympics. On club level he played for SC Leipzig in Leipzig.

text:
# Peter Hofmann (handball)

**Peter Hofmann** (born 17 October 1955) is a former East German male handball player. He was a member of the East Germany national handball team. He was part of the team at the 1988 Summer Olympics. On club level he played for SC Leipzig in Leipzig.

1. "Profile of Peter Hofmann". *Sports Reference*. Archived from the original on 18 April 2020. Retrieved 9 December 2016.

## InfoBox

| Peter Hofmann | | | |
| --- | --- | --- | --- |
| Personal information | | | |
| Born | (1955-10-17) 17 October 1955
Leipzig | | |
| Nationality | East Germany | | |
| Height | 185 cm (6 ft 1 in) | | |
| Senior clubs | | | |
| Years | **Team** | | |
| ?-? | SC Leipzig | | |
| National team 1 | | | |
| Years | **Team** | **Apps** |
| ?-? | East Germany | 6 |
| 1 National team caps and goals correct
as of only during the 1988 Summer Olympics | | | |


title: Octatonic scale

abstract: An octatonic scale is any eight-note musical scale. However, the term most often refers to the ancohemitonic symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory, this symmetrical scale is commonly called the octatonic scale, although there are a total of 43 enharmonically inequivalent, transpositionally inequivalent eight-note sets. The earliest systematic treatment of the octatonic scale was in Edmond de Polignac's unpublished treatise "Étude sur les successions alternantes de tons et demi-tons" from c. 1879, which preceded Vito Frazzi's Scale alternate per pianoforte of 1930 by 50 years.

text:
# Octatonic scale

The two octatonic scales on C

An **octatonic scale** is any eight-note musical scale. However, the term most often refers to the ancohemitonic symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory (in contrast to jazz theory), this symmetrical scale is commonly called the *octatonic scale* (or the ***octatonic collection***), although there are a total of 43 enharmonically inequivalent, transpositionally inequivalent eight-note sets.

The earliest systematic treatment of the octatonic scale was in Edmond de Polignac's unpublished treatise "Étude sur les successions alternantes de tons et demi-tons (Et sur la gamme dite majeure-mineure)" (*Study of the Succession of Alternating Whole Tones and Semitones (and of the so-called Major-Minor Scale)*) from c. 1879, which preceded Vito Frazzi's *Scale alternate per pianoforte* of 1930 by 50 years.

## Nomenclature

In Saint Petersburg at the turn of the 20th century, this scale had become so familiar in the circle of composers around Nikolai Rimsky-Korsakov that it was referred to as the *Korsakovian scale* (Корсаковская гамма). As early as 1911, the Russian theorist Boleslav Yavorsky described this collection of pitches as the *diminished mode* (уменьшённый лад), because of the stable way the diminished fifth functions in it. In more recent Russian theory, the term *octatonic* is not used. Instead, this scale is placed among other symmetrical modes (total 11) under its historical name *Rimsky-Korsakov scale*, or *Rimsky-Korsakov mode*.)

In jazz theory, it is called the *diminished scale* or *symmetric diminished scale* because it can be conceived as a combination of two interlocking diminished seventh chords, just as the augmented scale can be conceived as a combination of two interlocking augmented triads. The two modes are sometimes referred to as the *half-step/whole step diminished scale* and the *whole step/half-step diminished scale*.

Because it was associated in the early 20th century with the Dutch composer Willem Pijper, in the Netherlands it is called the *Pijper scale*.

## Construction

The three octatonic scales

The twelve tones of the chromatic scale are covered by three disjoint diminished seventh chords. The notes from two such seventh-chords combination form an octatonic collection. Because there are three ways to select two from three, there are three octatonic scales in the twelve-tone system.

Each octatonic scale has exactly two modes: the first begins its ascent with a whole step, while the second begins its ascent with a half step (semitone). These modes are sometimes referred to as the *whole step/half-step diminished scale* and the *half-step/whole step diminished scale*, respectively.

Each of the three distinct scales can form differently named scales with the same sequence of tones by starting at a different point in the scale. With alternative starting points listed below in square brackets, and return to tonic in parentheses, the three are, ascending by semitones:

* C D \[E\] F \[G\] A \[A\] B (C)
* D E \[F\] G \[G\] A \[B\] C (D)
* E F \[G\] A \[A\] B \[C\] D (E)

It may also be represented as semitones, either starting with a whole tone (as above): 0 2 3 5 6 8 9 11 (12), or starting with a semitone: 0 1 3 4 6 7 9 10 (12), or labeled as set class 8‑28.

With one more scale tone than described by the western diatonic scale, it is not possible to perfectly notate music of the octatonic scale using any conventional key signature without the use of accidentals. Across all conventional key signatures, at least two of the octatonic notes must share similar horizontal alignment on the staves, although the precise combination of accidentals and naturals varies. There are usually several equally succinct combinations of key signature and accidentals, and different composers have chosen to notate their music differently, sometimes ignoring the niceties of notation conventions designed to facilitate diatonic tonality.

## Properties

### Symmetry

The three octatonic collections are transpositionally and inversionally symmetric—that is, they are related by a variety of transposition and inversion operations:

They are each closed under transpositions by 3, 6, or 9 semitones. A transposition by 1, 4, 7, or 10 semitones will transform the E scale into the D scale, the C scale into the D scale, and the D scale into the E scale. Conversely, transpositions by 2, 5, 8, or 11 semitones acts in the reverse way; the E scale goes to the D scale, D to C and C to E. Thus, the set of transpositions acts on the set of diminished collections as the integers modulo 3. If the transposition is congruent to 0 mod 3 the pitch collection is unchanged and the transpositions by 1 semitone or by 2 semitones are inverse to one another.

The E and C collections can be swapped by inversions around E, F, A or C (the tones common to both scales). Similarly, the C and D collections can be swapped by inversions around E, G, B/A, D/C and the D and E collections by inversions around D, F, A, or B. All other transformations do not change the classes (e.g. reflecting the E collection around E gives the E collection once again). This unfortunately means that the inversions do not act as a simple cyclic group on the set of diminished scales.

### Subsets

Among the collection's remarkable features is that it is the only collection that can be disassembled into four transpositionally related pitch pairs in six different ways, each of which features a different interval class. For example:

* semitone: (C, C), (D, E) (F, G), (A, B)
* whole step: (C, D), (E, F), (G, A), (B, C)
* minor third: (C, E), (F, A), (C, E), (G, B)
* major third: (C, E), (F, B), (E, G), (A, C)
* perfect fourth: (C, F), (B, E), (G, C), (E, A)
* tritone: (C, F), (E, A), (C, G), (E, B)

Another remarkable feature of the diminished scale is that it contains the first four notes of four different minor scales separated by minor thirds. For example: C, D, E, F and (enharmonically) F, G, A, B. Also E, F, G, A, and A, B, C, D.

The scale "allows familiar harmonic and linear configurations such as triads and modal tetrachords to be juxtaposed unusually but within a rational framework" though the relation of the diatonic scale to the melodic and harmonic surface is thus generally oblique.

## History

### Early examples

Joseph Schillinger suggests that the scale was formulated already by Persian traditional music in the 7th century AD, where it was called "Zar ef Kend", meaning "string of pearls", the idea being that the two different sizes of intervals were like two different sizes of pearls.

Octatonic scales first occurred in Western music as byproducts of a series of minor-third transpositions. While Nikolai Rimsky-Korsakov claimed he was conscious of the octatonic collection "as a cohesive frame of reference" in his autobiography *My Musical Life*, instances can be found in music of previous centuries. Eytan Agmon locates one in Domenico Scarlatti's Sonata K. 319. In the following passage, according to Richard Taruskin, "its descending whole-step/half-step bass progression is complete and continuous".

Taruskin also cites the following bars from J. S. Bach's English Suite No. 3 as octatonic:

Honoré Langlé's 1797 harmony treatise contains a sequential progression with a descending octatonic bass, supporting harmonies that use all and only the notes of an octatonic scale.

### 19th century

In 1800, Beethoven composed his Piano Sonata No. 11 in B, Op. 22. The slow movement of this work contains a passage of what was, for its time, highly dissonant harmony. In a lecture (2005), pianist András Schiff describes the harmony of this passage as "really extraordinary". The chord progressions at the beginning of the second and third bars of this passage are octatonic:

Octatonic scales can be found in Chopin's Mazurka, Op. 50, No. 3 and in several Liszt piano works: the closing measures of the third *Étude de Concert*, "Un Sospiro," for example, where (mm. 66–70) the bass contains a complete falling octatonic scale from D-flat to D-flat, in the opening piano cadenzas of Totentanz, in the lower notes between the alternating hands, and in the First Mephisto Waltz, in which a short cadenza (m. 525) makes use of it by harmonizing it with a B-flat Diminished Seventh chord. Later in the 19th century, the notes in the chords of the coronation bells from the opening scene of Modest Mussorgsky's opera *Boris Godunov*, which consist of "two dominant seventh chords with roots a tritone apart" according to Taruskin, are entirely derived from an octatonic scale.

Taruskin continues: "Thanks to the reinforcement the lesson has received in some equally famous pieces like *Scheherazade*, the progression is often thought of as being peculiarly Russian."

Tchaikovsky was also influenced by the harmonic and coloristic potential of octatonicism. As Mark DeVoto points out, the cascading arpeggios played on the celesta in the "Sugar Plum Fairy" from *The Nutcracker* ballet are made up of dominant seventh chords a minor third apart.

"Hagens Watch", one of the darkest and most sinister scenes in Richard Wagner's opera *Götterdämmerung* features chromatic harmonies using eleven of the twelve chromatic notes, within which the eight notes of the octatonic scale may be found in bars 9–10 below:

### Late 19th and 20th century

The cor anglais melody from "Nuages", the first movement of Debussy's *Nocturnes*, bars 5–8. Link to passage

The scale is also found in the music of Claude Debussy and Maurice Ravel. Melodic phrases that move by alternating tones and semitones frequently appear in the works of both these composers. Allen Forte identifies a five-note segment in the cor anglais melody heard near the start of Debussy's "Nuages" from his orchestral suite *Nocturnes* as octatonic. Mark DeVoto describes "Nuages" as "arguably \[Debussy's\] boldest single leap into the musical unknown. 'Nuages' defines a kind of tonality never heard before, based on the centricity of a diminished tonic triad (B-D-F natural)." According to Stephen Walsh, the cor anglais theme "hangs in the texture like some motionless object, always the same and always at the same pitch". There is a particularly striking and effective use of the octatonic scale in the opening bars of Liszt's late piece *Bagatelle sans tonalité* from 1885.

The scale was extensively used by Rimsky-Korsakov's student Igor Stravinsky, particularly in his Russian-period works such as *Petrushka* (1911), *The Rite of Spring* (1913), up to the *Symphonies of Wind Instruments* (1920). Passages using this scale are unmistakable as early as the *Scherzo fantastique*, *Fireworks* (both from 1908), and *The Firebird* (1910). It also appears in later works by Stravinsky, such as the *Symphony of Psalms* (1930), the *Symphony in Three Movements* (1945), most of the neoclassical works from the Octet (1923) to *Agon* (1957), and even in some of the later serial compositions such as the *Canticum Sacrum* (1955) and *Threni* (1958). In fact, "few if any composers have been known to employ relations available to the collection as extensively or in as varied a manner as Stravinsky".

The second movement of Stravinsky's Octet for wind instruments opens with what Stephen Walsh calls "a broad melody completely in the octatonic scale". Jonathan Cross describes a highly rhythmic passage in the first movement of the *Symphony in Three Movements* as "gloriously octatonic, not an unfamiliar situation in jazz, where this mode is known as the 'diminished scale', but Stravinsky of course knew it from Rimsky. The 'rumba' passage... alternates chords of E-flat7 and C7, over and over, distantly recalling the coronation scene from Mussorgsky's *Boris Godunov*. In celebrating America, the émigré looked back once again to Russia." Van den Toorn catalogues many other octatonic moments in Stravinsky's music.

The scale also may be found in music of Alexander Scriabin and Béla Bartók. In Bartók's *Bagatelles*, Fourth Quartet, *Cantata Profana*, and *Improvisations*, the octatonic is used with the diatonic, whole tone, and other "abstract pitch formations" all "entwined... in a very complex mixture". *Mikrokosmos* Nos. 99, 101, and 109 are octatonic pieces, as is No. 33 of the *44 Duos for Two Violins*. "In each piece, changes of motive and phrase correspond to changes from one of the three octatonic scales to another, and one can easily select a single central and referential form of 8–28 in the context of each complete piece." However, even his larger pieces also feature "sections that are intelligible as 'octatonic music'".

Olivier Messiaen made frequent use of the octatonic scale throughout his career as a composer, and indeed in his seven modes of limited transposition, the octatonic scale is Mode 2. Peter Hill writes in detail about "La Colombe" (The Dove), the first of a set of *Preludes* for piano that Messiaen completed in 1929, at the age of 20. Hill speaks of a characteristic "merging of tonality (E major) with the octatonic mode" in this short piece.

Other twentieth-century composers who used octatonic collections include Samuel Barber, Ernest Bloch, Benjamin Britten, Julian Cochran, George Crumb, Irving Fine, Ross Lee Finney, Alberto Ginastera, John Harbison, Jacques Hétu, Aram Khachaturian, Witold Lutosławski, Darius Milhaud, Henri Dutilleux, Robert Morris, Carl Orff, Jean Papineau-Couture, Krzysztof Penderecki, Francis Poulenc, Sergei Prokofiev, Alexander Scriabin, Dmitri Shostakovich, Toru Takemitsu, Joan Tower, Robert Xavier Rodriguez, John Williams and Frank Zappa. Other composers include Willem Pijper, who may have inferred the collection from Stravinsky's *The Rite of Spring*, which he greatly admired, and composed at least one piece—his Piano Sonatina No. 2—entirely in the octatonic system.

In the 1920s, Heinrich Schenker criticized the use of the octatonic scale, specifically Stravinsky's Concerto for Piano and Wind Instruments, for the oblique relation between the diatonic scale and the harmonic and melodic surface.

### Jazz

Both the half-whole diminished and its partner mode, the whole-half diminished (with a tone rather than a semitone beginning the pattern) are commonly used in jazz improvisation, frequently under different names. The whole-half diminished scale is commonly used in conjunction with diminished harmony (e.g., the Edim7 chord) while the half-whole scale is used in dominant harmony (e.g., with an F9 chord).

Examples of octatonic jazz include Jaco Pastorius' composition "Opus Pocus" from the album *Pastorius* and Herbie Hancock's piano solo on "Freedom Jazz Dance" from the album *Miles Smiles* (1967).

### Rock and pop

Jonny Greenwood of the English rock group Radiohead uses the octatonic scale extensively, such as in the song "Just" and his soundtrack for the film *The Power of the Dog*. He said "It's a slightly more grownup version of the pentatonic scales that we're all taught to do with xylophones and glockenspiels when you're a kid. It's not a major scale or a minor scale; it's something else. But all the notes work together and make a certain color that is its own thing."

The scale is used in progressive heavy metal music such as that by Dream Theater and Opeth, both of which strive for a dissonant and tonally ambiguous sound in their music. Examples include the instrumental break in Dream Theater's *Octavarium* and Opeth's *Deliverance*. Earlier examples of the scale's use in progressive rock include King Crimson's *Red* and Emerson Lake & Palmer's *The Barbarian*.

Progressive keyboardist Derek Sherinian is also closely associated with the octatonic scale, which can be found in most of his works, both solo and as part of a band. Examples include Planet X's *Desert Girl* and Sons of Apollo's *King of Delusion*. The dissonances associated with the scale when used in conjunction with conventional tonality form an integral part of his signature sound which has influenced hundreds of keyboardists of the 21st century.

## Harmonic implications

### Petrushka chord

The Petrushka chord in the piano during the second tableau of Stravinsky's ballet *Petrushka*

The Petrushka chord is a recurring polytonal device used in Igor Stravinsky's ballet *Petrushka* and in later music. In the Petrushka chord, two major triads, C major and F major – a tritone apart – clash, "horribly with each other", when sounded together and create a dissonant chord. The six-note chord is contained within an octatonic scale.

### French sixth and Mystic chord

While used functionally as a pre-dominant chord in the classical period, late romantic composers saw the French sixth used as a dissonant and unstable chord. The chord can be built from the first, fourth, sixth and eighth degrees of the half-step/whole-step octatonic scale, and is transpositionally invariant about a tritone, a property somewhat contributing to its popularity. The octatonic collection contains two distinct French sixth chords a minor third apart, and since they share no notes, the scale can be thought of as the union of those two chords. For example, two French sixths based on G and E contain all the notes of an octatonic scale between them.

The octatonic scale is used very frequently for melodic material above a French sixth chord throughout the 19th and 20th centuries, particularly in Russia, in the music of Rimsky-Korsakov, Mussorgsky, Scriabin and Stravinsky, but also outside Russia in the works of Debussy and Ravel. Examples include Rimsky's *Scheherezade*, Scriabin's *Five Preludes, Op. 74*, Debussy's *Nuages* and Ravel's *Scarbo*. All works are full of non-functional French sixths, and the octatonic scale is almost always the mode of choice.

By adding a major sixth above the root, from within the scale, and a major second, from outside the scale, the new chord is the Mystic chord found in some of Scriabin's late works. While no longer transpositionally invariant, Scriabin teases the tritone symmetry of the French sixth in his music by alternating transpositions of the Mystic chord a tritone apart, implying the notes of an octatonic scale.

### Bitonality

In Béla Bartók's piano piece, "Diminished Fifth" from *Mikrokosmos*, octatonic collections form the basis of the pitch content. In mm. 1–11, all eight pitch classes from the E diminished scale appear. In mm. 1–4, the pitch classes A, B, C, and D appear in the right hand, and the pitch classes E, F, G, and A are in the left hand. The collection in the right hand outlines the first four notes of an A minor scale, and the collection in the left hand outlines the first four notes of an E minor scale. In mm. 5–11, the left and right hand switch—the A minor tetrachord appears in the left hand, and the E minor tetrachord appears in the right hand.

From this, one can see that Bartók has partitioned the octatonic collection into two (symmetrical) four-note segments of the natural minor scales a tritone apart. Paul Wilson argues against viewing this as bitonality since "the larger octatonic collection embraces and supports both supposed tonalities".

Bartók also utilizes the two other octatonic collections so that all three possible octatonic collections are found throughout this piece (D, D, and E). In mm. 12–18, all eight pitch classes from the D octatonic collection are present. The E octatonic collection from mm. 1–11 is related to this D octatonic collection by the transposition operations, T, T4, T7, T10. In mm. 26–29, all eight pitch classes from the D octatonic collection appear. This collection is related to the E octatonic collection from mm. 1–11 by the following transposition operations: T2, T5, T8, T11.

Other relevant features of the piece include the groups of three notes taken from the whole-half diminished scale in mm. 12–18. In these measures, the right hand features D, E, and G, the tetrachord without the 3rd (F). The left hand has the same tetrachord transposed down a tritone (G, A, C). In mm. 16, both hands transpose down three semitones to B, C, E and E, G, A respectively. Later on, in mm. 20, the right hand moves on to A− and the left back to E−. After repeating the structure of mm. 12–19 in mm. 29–34 the piece ends with the treble part returning to A− and the bass part returning to E.

### Alpha chord

Two diminished seventh chords in the octatonic scale (one red, one blue) may be rearranged as the alpha chord

The alpha chord (α chord) collection is, "a vertically organized statement of the octatonic scale as two diminished seventh chords", such as: C–E–G–B–C–E–F–A.

One of the most important subsets of the alpha collection, the alpha chord (Forte number: 4-17, pitch class prime form (0347)), such as E–G–C–E; using the theorist Ernő Lendvai's terminology, the C alpha chord may be considered a mistuned major chord or major/minor in first inversion (in this case, C major/minor). The number of semitones in the interval array of the alpha chord corresponds to the Fibonacci sequence.

### Beta chord

A beta chord on C, with two reduced versions

The beta chord (β chord) is a five-note chord, formed from the first five notes of the alpha chord (integers: 0,3,6,9,11; notes: C, E, G, B, C). The beta chord can also occur in its reduced form, that is, limited to the characteristic tones (C, E, G, C and C, G, C). Forte number: 5-31B.

The beta chord may be created from a diminished seventh chord by adding a diminished octave. It may be created from a major chord by adding the sharpened root (solfege: in C, di is C: C, E, G, C), or from a diminished triad by adding the root's major 7th (called a diminished major 7th, or C#oMaj7. The diminished octave is inverted creates a minor ninth, creating a C(9) chord, a sound commonly heard in the V chord during an authentic cadence in a minor key.

### Gamma chord

The gamma chord (γ chord) is 0,3,6,8,11 (Forte number 5-32A) It is the beta chord with one interval diminished: C, E, G, A, C. It may be considered a major-minor minor seventh chord on A: A, C, C, E, G. See also: Elektra chord. This is also commonly known as the Hendrix chord, or in jazz music as a Dominant 79 chord; the notes in this case creating an A79.

### Hungarian major and Romanian major

The Hungarian major scale and Romanian major scale are both heptatonic subsets of the octatonic scale with one scale degree removed. The Hungarian major scale has the 2 degree removed, while the Romanian major scale has the 3 degree removed.

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* Taruskin, Richard (1996) *Stravinsky and the Russian Traditions*. Oxford and New York: Oxford University Press.
* Van den Toorn, Pieter (1983). *The Music of Igor Stravinsky*. New Haven and London: Yale University Press. ISBN.
* Van der Merwe, Peter (2005). *Roots of the Classical*. Oxford and New York: Oxford University Press. ISBN 978-0-19-816647-4.
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* Yavorsky, Boleslav Leopoldovich (1911). "Neskol'ko myslei v sviazi s iubileem Frantsa Lista". *Muzyka* no. 45 (8 October): 961. Cited in Taruskin (1985, 113).

## Further reading


title: Perceptual MegaPixel

abstract:
The Perceptual MegaPixel (P-MP) is a proprietary ranking of lens-camera combinations, created by DxO Labs. It is intended to express the resolution of which a combination of camera and lens is capable. Complete scientific or technical documentation of the process used to compute P-MP values has never been published, and P-MP measurements have never been made without the cooperation of DxO Labs. The name of the measurement is a trade mark. The P-MP meant for photographers to consider when comparing the sharpness of a combination of camera and lens.
DxO Labs claims that P-MP is a more accurate and relevant value for photographers to consider when weighing-up camera sharpness. As of March 2017, the "Canon EF 300mm f/2.8L IS II USM" lens mounted on a "Canon EOS 5Ds R" has the highest measured P-Mpix value in the DxO Labs lens database, a value of 44.7. On the lens' summary pages this figure is rounded to an integer value of 45 P-Mpix

text:
# Perceptual MegaPixel

The **Perceptual MegaPixel** (**P-MP**) is a proprietary ranking of lens-camera combinations, created by DxO Labs. It is intended to express the resolution of which a combination of camera and lens is capable. Complete scientific or technical documentation of the process used to compute P-MP values has never been published, and P-MP measurements have never been made without the cooperation of DxO Labs. The name of the measurement is a trade mark.

The P-MP meant for photographers to consider when comparing the sharpness of a combination of camera and lens. DxO Labs claims that P-MP is a more accurate and relevant value for photographers to consider when weighing-up camera sharpness.

As of March 2017, the "Canon EF 300mm f/2.8L IS II USM" lens mounted on a "Canon EOS 5Ds R" has the highest measured P-Mpix value in the DxO Labs lens database, a value of 44.7. On the lens' summary pages this figure is rounded to an integer value of 45 P-Mpix

1. "DxO Labs tries making sense of camera lens sharpness". cnet.com. 2012. Retrieved 16 January 2019.
2. "Perceptual Megapixel: Lens Sharpness Boiled Down to a Single Number". cnet.com. 2012. Retrieved 16 January 2019.
3. DxO. "Camera Lens Database | DxOMark". *www.dxomark.com*. Retrieved 2017-03-22.
4. "Canon EF 300mm f/2.8L IS II USM mounted on Canon EOS 5DS R : Tests and Reviews". cnet.com. 2012. Retrieved 16 January 2019.


title: Yasuda Station (Niigata)

abstract: Yasuda Station Yasuda Station is a railway station in the city of Kashiwazaki, Niigata, Japan, operated by East Japan Railway Company.

text:
# Yasuda Station (Niigata)

**Yasuda Station** (安田駅, *Yasuda-eki*) is a railway station in the city of Kashiwazaki, Niigata, Japan, operated by East Japan Railway Company (JR East).

## Lines

Yasuda Station is served by the Shin'etsu Main Line and is 42.2 kilometers from the terminus of the line at Naoetsu.

## Station layout

The station consists of two ground-level opposed side platforms connected by a footbridge, serving two tracks. The station is attended.

### Platforms

| **1** | Shin'etsu Main Line | for Nagaoka and Niigata |
| --- | --- | --- |
| **2** | Shin'etsu Main Line | for Naoetsu and Kashiwazaki |

## History

Yasuda Station opened on 10 December 1899. With the privatization of Japanese National Railways (JNR) on 1 April 1987, the station came under the control of JR East.

## Passenger statistics

In fiscal 2017, the station was used by an average of 344 passengers daily (boarding passengers only).

## Surrounding area

## InfoBox

| Yasuda Station
安田駅 | |
| --- | --- |
| Yasuda Station, April 2006 | |
| General information | |
| Location | 1725-1 Yasuda, Kashiwazaki-shi, Niigata-ken 945-1352
Japan |
| Coordinates | 37°20′28″N 138°36′44″E / 37.34111°N 138.61222°E / 37.34111; 138.61222 |
| Operated by | JR East |
| Line(s) | Shin'etsu Main Line |
| Distance | 42.2 km to Naoetsu |
| Platforms | 2 side platforms |
| Other information | |
| Status | Staffed |
| History | |
| Opened | 10 December 1899 (1899-12-10) |
| Passengers | |
|  | |
| 344 (FY2017) | |
|  | |
|  | |
| Services | |
| Preceding station  JR East Following station  Ibarametowards Naoetsu  Shin'etsu Main LineLocal  Kitajōtowards Niigata | |
|  | |
|  | |
|  | |
| Location  Yasuda StationLocation within JR Shinetsu Main LineYasuda StationYasuda Station (Japan) | |


title: Marie Hansen

abstract: Marie Hansen (1918–1969) was one of the first female photojournalists employed by Life magazine. She joined the magazine in 1941 and was based in Washington, D.C. during the rest of the decade. Within a month of her appointment as staff photographer, she produced a photographic essay on the training of the first women officers in the Women's Auxiliary Army Corps. Her photos from that assignment were featured in an exhibition held by the New-York Historical Society in 2019. Other major Life assignments included the reactions of Zoot suit lovers to wartime restrictions on extravagant clothing, the historic performance of Marian Anderson at DAR Constitution Hall, and a memorable photo of a billboard thermometer in Columbus Circle, Manhattan, displaying a temperature higher than 100°F. In April of 1945, when Harry S. Truman succeeded to the presidency, she was assigned to cover the White House and thereafter became one of the first women to join the White House News Photographers Association. Later that year, Hanson took a photo of Dwight D. Eisenhower, which he subsequently used as a quasi-official portrait.

text:
# Marie Hansen

**Marie Hansen** (19181969) was one of the first female photojournalists employed by *Life* magazine. She joined the magazine in 1941 and was based in Washington, D.C. during the rest of the decade. Within a month of her appointment as staff photographer, she produced a photographic essay on the training of the first women officers in the Women's Auxiliary Army Corps. Her photos from that assignment were featured in an exhibition held by the New-York Historical Society in 2019. Other major *Life* assignments included the reactions of Zoot suit lovers to wartime restrictions on extravagant clothing, the historic performance of Marian Anderson at DAR Constitution Hall, and a memorable photo of a billboard thermometer in Columbus Circle, Manhattan, displaying a temperature higher than 100°F. In April of 1945, when Harry S. Truman succeeded to the presidency, she was assigned to cover the White House and thereafter became one of the first women to join the White House News Photographers Association. Later that year, Hanson took a photo of Dwight D. Eisenhower, which he subsequently used as a quasi-official portrait.

## Early career

As an undergraduate at the University of Missouri in the late 1930s, Hansen joined the staff of a student newspaper and took photos to accompany news items. In 1939, after graduating with a Bachelor of Journalism degree from the university's School of Journalism, she joined the newsroom of the *Courier-Journal* in Louisville, Kentucky. Although hired as a reporter, she was soon reassigned as a photojournalist and afterwards was promoted to editor of the paper's rotogravure section. In May of 1941, she left Louisville and traveled to New York City to become a researcher at *Life* magazine.

## Life magazine

Midway in the following year, the editors granted her request to become a staff photographer. Hansen was the third woman photographer *Life* had hired and one of two when her name first appeared on the masthead. The first woman photographer at *Life* was Margaret Bourke-White, who had been hired in 1936, left in 1940, and returned some years later. The second was Hansel Mieth who was hired in 1937. She left the magazine in 1944 and was subsequently used on a freelance basis until the early 1950s, when she was blacklisted after refusing to appear before the House Un-American Activities Committee. Hansen's first work appeared in the issue of August 10, 1942, where her photos of Congressman Hamilton Fish accompanied a scathing article describing him as thoroughly despised even by members of his own political party. A few weeks later she was given a major spread in an article about the newly formed Women's Auxiliary Army Corps. The article was a photographic essay of 34 images together with captions and a short informative text. The image of a WAAC officer candidate (at right) comes from this shoot. Hansen contributed two photos to the issue's next article, a narrative by a young woman, Frances Long, who had been interned in Manila for five months following the Japanese invasion. Hansen was also given a brief profile in a box on the issue's contents page. Included with a statement about her addition to the staff, was a photo showing her at work on the WAAC piece. Two weeks later, Hansen's photos illustrated a two-page spread on wartime restrictions that would effectively outlaw the zoot suit. The image of a young man in zoot suit (at left) comes from this shoot. In mid-October, she contributed a full-page photo of a women's temperance union convention in an article on actions of the War Production Board to convert whiskey distillers into producers of industrial alcohol for wartime use; at the end of the month, photos she had taken showed women in war production jobs at the Sperry Gyroscope Company in Brooklyn and at a Curtiss-Wright plant in Paterson, N.J.

These early assignments showed the range of her work for the magazine, from elaborate photo spreads with minimal accompanying text to small groups of photos accompanying articles on various subjects, and from assignments where she was the only photographer to those where her work was one element in a larger framework of images. Some of her work fell into the category of serious news, some had cultural significance, and some concerned entertainment and social events.

The issue of January 18, 1943 contained photos she had taken showing wartime security at the United States Capitol, as well as shots of a New Year's Eve party given by a wealthy Washingtonian at which the 157 guests included a number of plain servicemen. The next issue contained her photographs of the singer Marian Anderson at her historic performance at DAR Constitution Hall. In February, she traveled to Savannah, Georgia, to shoot a Truman Committee investigation of unwarranted expenses and extreme delays in construction of concrete barges that were needed as part of the war effort; in April, she produced photos for a piece on how the upper-crust inhabitants of Newport, Rhode Island were contributing to the war effort; and in July, she photographed participants in a conference to discuss ways to produce an enduring peace following the assumed successful conclusion of the war. That summer, the magazine sent her to the Midwest on a major project to photograph the whole of the Missouri River. Appearing on August 30, the photo essay included large aerial images along with an array of ground-level ones. Her other Life photos in 1943 accompanied articles on a genealogical society's field trip to an old graveyard and on five movie stars (including Ava Gardner) modeling a range of "fantasy" fashions.

An article in the issue of January 3, 1944, entitled "Screen Test," described Metro-Goldwyn-Mayer's attempt to capitalize on the popularity of women in traditionally masculine professions, particularly, as the author put it, "girl photographers", and the consequent screen test that Hansen was invited to take. The article notes that she had been taking photos of a studio orchestra when she was interrupted by producer Joseph Pasternak. It quotes her as saying, "I clambered dusty and disheveled from the catwalk. Pasternak came over and asked if I'd be interested in a screen test. I just laughed." After determining that it was not a gag, Hansen and the rest of the Life team on the assignment agreed with the idea and set up to record the event in photos and text. It's unclear how serious was the studio's offer and, in any event, Hansen ruled out any follow-up involving dramatic coaching and further tests saying, "I never have been more uncomfortable, for I was at the wrong end of the camera and the production crew was a skeptical audience." During the rest of the year, her photos appeared frequently in photo essays, such as one on the discharge and return home of a war dog named Goofy, another on the impresario Sol Hurok, and a third entitled "How Will Negroes Vote?". Her 1944 photos also included articles on a labor political action committee, on the appearance of operetta star Jeanette MacDonald in a traditional opera, and on a wartime shortage of cigarettes. On September 25, *Life* published one of Hansen's most memorable photos, showing a man in shirt sleeves standing on Columbus Circle in Manhattan with a billboard thermometer in the background displaying a temperature of greater than 100°F.

Early in 1945, Hansen produced photos for an essay on Washington reporter, columnist, and bureau chief, May Craig. The spread included photos of her at home and at work. It shows her in posed shots with senators and informally with her friend Eleanor Roosevelt and it contains a memorable image of her reaching for a book on a set of floor-to-ceiling shelves that are arranged so that she can climb them to get a volume she needs. After Harry Truman succeeded to the presidency in April of 1945, Hanson was assigned to join the White House corps of photographers. Thereafter, she mostly shot the president and his family, including photo essays on the high-level official visitors who came to see him during his first weeks in office, on his first 100 days on the job, and on his busy schedule before departing for a brief vacation after 16 months in office. One of Hansen's first White House photos shows a young girl standing on the executive desk to pin a remembrance poppy on Truman's lapel. A copy of this photo appears at right. In August of 1946, *Life* published a photo of a group of White House photographers who had tried to keep up with Truman during one of his fast-paced, early morning walks. The photo showed Hansen and ten male photographers who had managed to stay with the president for the two miles of his route. Its caption noted that another woman photographer had been left behind. Hanson became one of the first women to join the White House News Photographers Association and, 1945 and 1947, that group awarded her prizes in its annual picture contest.

Hanson photographed Senator Tom Connally on his return from signing United Nations Charter for the issue of July 9, 1945, and Leslie Groves, head of Manhattan Project, for a story on the Atomic Bomb that ran August 20. One of Hanson's photos of Connally is shown at left. With the close of the war, there were no more nation-at-war photos to be taken, but the mix of subjects she was assigned was otherwise much the same as before: political figures, society figures, and celebrities, as well as a few topics of current interest. There were no large photographic essays by her in this period. The issue for January 6, 1947 was the last in which the masthead showed her as a staff photographer. Afterwards, she continued to contribute photos to the magazine, but did so as a freelancer while engaging in world travels with her journalist husband. The issue of January 13, 1947 contained her photo of Paul Yü Pin, Archbishop of Nanking, accompanying an article on Christianity in China. A photo of hers headlined a 1949 article on Víctor Raúl Haya de la Torre, the self-exiled head of the radical Apristas party in Peru. That year, she also photographed a family of Argentinian quintuplets on the occasion of their sixth birthday and took a stunning color portrait of the artist Georges Braque for an article discussing his paintings. The image of Braque appears at right.

During the war, Hansen took a photograph of Dwight D. Eisenhower that he thereafter used as his "official" photo. Sources do not reproduce the photo and it cannot be found in issues of *Life,* but the photo archives of the magazine contain an image that is probably the one he liked. It is labeled "Dwight D. Eisenhower sitting at a desk" and is dated 1945–12. A copy of this photo is shown at left. Early in her career, Hansen contributed an article to *Popular Photography* magazine on the unexpected pleasure of photos taken while on vacation. Shortly afterwards, the magazine assigned one photographer to take a portrait of her on holiday and another to record details about the shoot.

In the early 1950s, Hanson stopped contributing work to *Life*. She moved to California in 1965 and joined the staff of the California Institute of the Arts. She died at her home at the age of 51 on June 6, 1969. A 2019 exhibit at the New-York Historical Society featured Hansen's photographs along with the work of five other women who worked for *Life* in the 1930s, 1940s, and 1950s.

## Experience as a woman in an overwhelmingly masculine profession

During Hanson's employment by the magazine, *Life* had few women photographers on its staff. As noted above, Margaret Bourke-White and Hansel Mieth preceded her in the position. In the 1940s, Bourke-White preferred to work as a freelancer for the magazine. After Mieth left the staff in August of 1944, Hansen remained as its only woman photographer until June, 1946 when Martha Holmes came on board. Similarly, during the same period, the large corps of photographers based in Washington D.C. included very few women. A photo taken of the White House News Photographers Association in October, 1947 shows one woman (probably Marion Carpenter) among the 70 members of the group who were then present.

In 1946, Hansen wrote an article in which she explained the requirements, as she saw them, for succeeding in a male-dominated profession. It was obvious to her that she had to work just as hard and, in time, become just as good as the men. It was also important that she fit in, first by self-consciously minimizing her presence and eventually by becoming so much a regular colleague as to be "one of the boys". She said, "Perhaps I've mastered the formula over the years. I certainly felt I might have when one of the tougher Capitol newsmen patted me on the back and told me he had finally been convinced after watching me work; I was a gentleman, he said, and as such, had his backing. I consider it a compliment, and a clue as to the proper psychological approach we women must employ."

She said she was not an ardent feminist but felt women should not use feminine wiles or rely on male deference if they wished to succeed in the profession she had chosen; they should not routinely accept assignments that are slanted to the "woman's angle" of a subject. She told how she worked hard to be accepted as an equal and gave an example of a time early in her career when she overcame a concern that it would be unethical for a woman to share a darkroom with a man. Addressing the pressing post-war issue of jobs for demobilized servicemen, she maintained merit should be valued irrespective of sex. Of women in her field she said, "When we are sure that what we accomplish with our cameras can contribute toward raising picture standards on a newspaper or a periodical, we are justified in continuing our work."

She noted that the women photographers she knew had almost all the same basic qualifications as men. They understood the capabilities and operation of the equipment they used. They were good reporters, knew how to recognize and catch action at its peak, could produce pleasing compositions, and use natural and artificial lighting to advantage. They could plan picture stories and had the diplomatic skills that were needed to handle the interpersonal aspects of the work. The one area of weakness she recognized in other women photographers was not one of her own. She said, "But women, I fear have to push themselves into an interest in the chemistry of the darkroom or the mathematical background of their lenses or new developments in film and lighting. Lack of technological knowledge is the woman photographer's one salient weakness."

> A good news photographer, particularly in magazine work, must fill some rather awesome qualifications. He, or she, must have a reporter's nose for news, a movie director's sense of the dramatic, an artist's eye for composition and lighting, a scientist's interest in chemistry and optics, and a public relations expert's diplomacy. For the best newspictures and news-feature picture sequences are a combination of good reporting, spontaneous action caught at its peak, pleasing composition and appropriate lightingall built upon a basic, almost automatic knowledge of the camera and understanding of the people on whom the pictures are focused.  Marie Hansen, "A Woman's Place in Photography," *University of Missouri Bulletin* (vol. 48, no. 1, 1946)

## Personal life and family

Hansen was born on June 2, 1918, in St. Louis, Missouri. Her full name was Marie Constance Hansen. Her parents were Walter William Hansen and Alma Bantrup Hansen. He was an accountant and controller at the Memphis Publishing Company. Hansen had a brother, Walter W. Hansen, Jr., and two sisters, Betty A. Hansen and Aurelia Hansen. In 1944, she married David Wesley Nussbaum (1917-2001). During World War II, he served in the U.S. Navy as a chief pilot of a blimp. Before and after the war, he was a reporter for newspapers in the Mid-Atlantic region, including the *York Daily and Gazette* (York, Pennsylvania) and, for a while, was a writer for *Life* magazine. Some time after 1948, Nussbaum changed his surname to Wesley. Hansen and her husband had one child, a daughter, Judith Ann Wesley.

### Other names used

Hansen's professional name was Marie Hansen. She also was identified by her full birth name and by two married names: Mrs. David Wesley Nussbaum and (after the surname was changed) Mrs. David Wesley.

1. "Third Annual Fifty-Print Exhibition of News and Feature Pictures" (PDF). *School of Journalism, University of Missouri*. 1946. p. 6. Retrieved July 14, 2019.
2. "Kodak Recomar 18". *Matt's Classic Cameras*. Retrieved July 16, 2019.
3. "How to Use the Kodak Recomar, Nos. 18 and 33" (PDF). *Eastman Kodak Company*. Retrieved July 16, 2019.
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## InfoBox

| Marie Hansen | |
| --- | --- |
| Hansen in 1943 | |
| Born | Marie Constance Hansen<br>(1918-06-02)June 2, 1918<br>St. Louis, Missouri, US |
| Died | June 6, 1969(1969-06-06) (aged 51)<br>Pasadena, California, US |
| Known for | Photography |
| Spouse | David Wesley (born Nussbaum)  (m. 1944) |


title: GMC Syclone

abstract: The GMC Syclone is a high-performance version of the GMC Sonoma pickup truck. Produced in 1991 by GMC along with Production Automotive Services (PAS)—the same company credited with building the 1989 Pontiac Turbo Trans Am—the GMC Syclone was the fastest production truck for 1991. Following the Syclone's production, the similarly powered 1992–1993 GMC Typhoon SUV was based on the GMC Jimmy platform. Also following the Syclone, the 1992 GMC Sonoma GT truck was offered as a sport package with the looks of a Syclone but without the price and performance of its turbocharged predecessor. Only 806 Sonoma GTs were produced.

text:
# GMC Syclone

The **GMC Syclone** is a high-performance version of the GMC Sonoma pickup truck. Produced in 1991 by GMC along with Production Automotive Services (PAS)—the same company credited with building the 1989 Pontiac Turbo Trans Am—the GMC Syclone was the fastest production truck for 1991. Following the Syclone's production, the similarly powered 1992–1993 GMC Typhoon SUV was based on the GMC Jimmy platform. Also following the Syclone, the 1992 GMC Sonoma GT truck was offered as a sport package with the looks of a Syclone but without the price and performance of its turbocharged predecessor. Only 806 Sonoma GTs were produced.

## Production run

The GMC Syclone, Typhoon, and Sonoma GT were built by GMC and PAS (Production Automotive Services) of Troy, Michigan, and sold through dealerships. At the time it was introduced, the Syclone was the fastest stock pickup truck being produced in the world. Auto magazines compared its acceleration favorably to a variety of sports cars including the Chevrolet Corvette and—in a memorable comparison test in *Car and Driver* magazine—a Ferrari 348 ts. The Syclone features a 4.3L turbocharged V6 engine with an automatic transmission and an AWD (all-wheel drive) driveline and 4-wheel anti-lock brakes.

Both the Syclone and Typhoon trucks feature a Mitsubishi TD06-17C 8cm² turbocharger and Garrett water/air intercooler attached to a 4.3L *LB4* V6 engine featuring upgrades that included hypereutectic pistons, nodular iron main caps, upgraded head gaskets, intake manifolds, exhaust manifolds, and a 48 mm (1.9 in) twin-bore throttle body from the 5.7L Chevrolet small-block engine. All Syclones and Typhoons used the 4L60 4-speed automatic transmission. A BorgWarner 4472 all-wheel-drive transfer case splits torque with 35% of power going to the front and 65% of power to the rear wheels. Both trucks featured sport modifications to the standard suspensions. The Syclone was the first production truck to receive a 4-wheel anti-lock braking system. With this engine, the Syclone produces 280 hp (209 kW) and 350 lb⋅ft (475 N⋅m) of torque. The Syclone, when new, was capable of accelerating from 0–60 mph (0–97 km/h) in 5.3 seconds and could do a quarter-mile run in 13.4 seconds at 98 mph (158 km/h) according to *Car and Driver*'s comparison test.

The Syclone and Typhoon's gauge cluster is the same one as used in the Pontiac Sunbird Turbo, which was discontinued in 1990, one year before the Syclone was introduced.

The 1991 Syclone was only available in black. For the upcoming 1992 production, a wider range of colors was to be offered; however, the Syclone was cancelled before full production could begin. In total, 2,998 Syclones were built. Out of the 2,998, only three were built in 1992. The first 1992 Syclone was used for DOT crash testing while the remaining two are privately owned.

### Saudi Syclone

During the 1991 Syclone production, roughly 150 Syclones were officially exported by GMC. Out of the 150 trucks, there were an estimated 113 destined for resale in the Middle East and were modified with a metric dash cluster, leaded fuel chip, and a resonator in place of the catalytic converter. These 113 trucks were shipped to Saudi Arabia to be sold as export sales. These 113 trucks were known as the Saudi Syclones. Not all of the exported Saudi Syclones were sold immediately overseas. Out of the 113 Saudi Syclones, 31 trucks remained unsold and were eventually brought back to the United States. Rather than selling the 31 trucks to the public, GMC set up a lottery where employees could enter their name to be drawn to have the chance at purchasing a Saudi Syclone as a significantly reduced price ($12,500) and had to take delivery through a dealership. It is alleged that not many employees knew of the lottery to purchase one of the Saudi Syclones, so almost everyone who entered got the chance to buy one, which upset a lot of GM employees in various other divisions who felt they missed out. The remaining 69 trucks were distributed throughout Europe for sale where a small number ended up in a German compound for sometime. GMC, desperate to be rid of them, sold them on a "make us an offer" basis. Lucky purchasers managed to get hold of one for a few thousand dollars under their market value.

In 2009, a poor-condition GMC Syclone was scrapped under the U.S. federal government Car Allowance Rebate System (colloquially known as "cash for clunkers"), despite being highly collectible.

## Special editions

There were two special-edition 1991 Syclones offered by third parties:

### Marlboro Syclone

The special-edition Marlboro Syclone was the grand prize for the ten winners of The Marlboro Racing '92 Contest. To enter the sweepstakes, a form was filled out which included a questionnaire. All ten trucks were provided to American Sunroof Company (ASC), by Shinoda Design Associates, Inc., in conjunction with Phillip Morris, Inc. With the help of Larry Shinoda, designer of the Corvette Stingray and Boss Mustang, a transformation of the originally black Syclones took place. All ten of the Marlboro Syclones were among the 2,995 Syclones built in 1991 and started life as a standard black production Syclone.

Marlboro Syclone custom features include:

* Targa-style roof panel with mounts in the pickup bed (roof converted by ASC)
* Slide-down rear window assembly (installed by ASC)
* Guidon hard tonneau cover
* Boyd Coddington "Cobra" wheels with Marlboro-emblem center caps and Goodyear Eagle GS-C tires
* PPG "Hot Licks" red paint, with white strobe stripes provided by Graphik Concepts
* Recaro leather seats with Simpson 5-point racing harness
* Custom MOMO "Evolution" steering wheel
* Sony sound system
* PROMPaq performance chip and Borla stainless steel exhaust
* Bell Tech suspension which lowered the truck by three inches

The ten grand prize winners of the Marlboro Sweepstakes not only won a 1991 GMC Syclone Marlboro Edition truck, but were treated to an all-expenses-paid day of racing alongside the Indy racing team and pit crew with a VIP access and tours, pit passes, photo session with the Marlboro Indy team, and a prize pack full of various Marlboro apparel. After the raffle had taken place and the trucks claimed by the winners, Phillip Morris had each truck delivered to an allocated dealership nearest to each winner’s residence. The winners were responsible for luxury taxes and fees.

### Indy Syclone & PPG Syclone

Three *Indy Syclones* were used at the Indianapolis 500 race on May 24, 1992, with the only modification being a sticker package. One of these Indy trucks was later converted into the PPG *Syclone Pace Truck* (though it was not the official pace car) with significant modifications to be used on the track, including a multi-colored silver, magenta, and aqua paint scheme, and a molded in light bar in the roof, a racing fuel cell, a built-in halon fire suppression system, water-cooled brakes, and color-matched leather interior to the exterior paint scheme. The bed has a multi-piece tonneau cover that folds with the tailgate in the fashion of an accordion to reveal the fuel cell, batteries, and halon canister mounts. The PPG Syclone was retired to the GM Heritage Collection where it was stored and occasionally taken out for car shows until it was auctioned at Barrett Jackson in 2009, selling for $66,000. It is now privately owned, with its last location known to be in Colorado.

## InfoBox

| GMC Syclone | |
| --- | --- |
|  | |
| Overview | |
| Manufacturer | GMC (General Motors) and Production Automotive Services (PAS) |
| Production | 1991 (2,995 produced)
1992 (3 produced) |
| Designer | Kim Neilsen, William Davis |
| Body and chassis | |
| Layout | Front-engine, four-wheel-drive |
| Related | GMC Typhoon
GMC Sonoma GT
GMC Jimmy/Chevrolet S-10 Blazer
GMC Sonoma/Chevrolet S-10
Oldsmobile Bravada |
| Powertrain | |
| Engine | 4.3 L *LB4* turbo V6 |
| Transmission | 4-speed *4L60* automatic |
| Dimensions | |
| Wheelbase | 108.3 in (2,751 mm) |
| Length | 180.5 in (4,585 mm) |
| Width | 68.2 in (1,732 mm) |
| Height | 60.0 in (1,524 mm) |
| Curb weight | 3521 lb (1597 kg) |


title: III (Gui Boratto album)

abstract: III is the third studio album by Brazilian DJ and producer Gui Boratto, released on German label Kompakt Records.

text:
# III (Gui Boratto album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| *Clash* | 8/10 |
| Pitchfork | 6.4/10 |
| PopMatters |  |
| Sputnikmusic | 4/5 |

***III*** is the third studio album by Brazilian DJ and producer Gui Boratto, released on German label Kompakt Records.

## Track listing

1. Galuchat - 06:52
2. Stems From Hell - 08:11
3. Striker - 06:19
4. The Drill - 05:08
5. Flying Practice - 04:44
6. Trap - 03:43
7. Soledad - 05:05
8. Destination Education - 04:37
9. Talking Truss - 08:02
10. The Third - 05:02
11. This Is Not the End - 05:36

## InfoBox

| Gui Boratto | |
| --- | --- |
|  | |
| Studio album by Gui Boratto | |
| Released | September 2011 |
| Genre | House, progressive house, techno, minimal techno |
| Label | Kompakt |
| Gui Boratto chronology | |
| *Take My Breath Away*
(2009) ***Gui Boratto***
(2011) *The K2 Chapter*
(2013) | |


title: Peter Hofstee

abstract: Harm Peter Hofstee is a Dutch physicist and computer scientist who currently is a distinguished research staff member at IBM Austin, USA, and a part-time professor in Big Data Systems at Delft University of Technology, Netherlands.

text:
# Peter Hofstee

**Harm Peter Hofstee** (born 1962) is a Dutch physicist and computer scientist who currently is a distinguished research staff member at IBM Austin, USA, and a part-time professor in Big Data Systems at Delft University of Technology, Netherlands.

## Heterogeneous computing

Hofstee is best known for his contributions to Heterogeneous computing as the chief architect of the Synergistic Processor Elements in the Cell Broadband Engine processor used in the Sony PlayStation 3, and the first supercomputer to reach sustained Petaflop operation. After returning to IBM research in 2011 he has focused on optimizing the system roadmap for big data, analytics, and cloud, including the use of accelerated compute. His early research work on coherently attached reconfigurable acceleration on POWER7 paved the way for the new Coherent Accelerator Processor Interface on POWER8 through POWER10. Hofstee is an IBM Master Inventor with more than 100 issued patents.

## Background

Hofstee was born in Groningen and obtained his master's degree in theoretical physics of the University of Groningen in 1988. He continued to study at the California Institute of Technology where he wrote a master's thesis *Constructing Some Distributed Programs* in 1991 and obtained a Ph.D. with a thesis titled *Synchronizing Processes* in 1995. He joined Caltech as a lecturer for two years and moved to IBM in the Austin, Texas Research Laboratory, where he had staff member, senior technical staff member and distinguished engineer positions.

### Previous Positions

* 1994 - 1996

Lecturer (Member of the Faculty) at California Institute of Technology, Computer Science Department * 1996 - 2001

Research Staff Member at IBM Austin Research Laboratory * 2001 - 2006

Senior Technical Staff Member, Cell SPE Chief Architect at IBM Microelectronics Division / IBM Systems and Technology Group * 2006 - 2010

Distinguished Engineer, Cell/B.E. Chief Scientist at IBM Systems and Technology Group

### Current positions

* 2010–Present

Distinguished Research Staff Member, Workload-Optimized and Hybrid Systems at IBM Austin Research Laboratory * 2014–Present (part-time)

Professor, Big Data Systems at Delft University of Technology, the Netherlands

Since 2011, Peter is leading the Big Data system design work at IBM. In March 2016, Peter was appointed as professor to the chair of Big Data Computer Systems at the Faculty of Electrical Engineering, Mathematics and Computer Science at Delft University of Technology.

## Awards

* IBM Corporate Award

For Cell Broadband Engine, 2006 * IBM Research Division Group Award

For Zebra/Ivy Grant Program Initiation, Jan. 2004 ( precursor to Roadrunner ) * IBM Outstanding Technical Achievement Award

In appreciation for the world's first 1-GHz PowerPC Microprocessor, Feb. 1998 * 20th Annual Award for Excellence in Teaching,

The Associated Students of the California Institute of Technology, 1995-96 * Two IBM Graduate Fellowships (while at California Institute of Technology)

1991-1993

## Memberships/Honors

## InfoBox

| Peter Hofstee | |
| --- | --- |
| Peter Hofstee (October 2014) | |
| Born | 1962
Groningen, Netherlands |
| Nationality | Dutch |
| Alma mater | University of Groningen
Caltech |
| **Scientific career** | |
| Thesis | *Synchronizing processes* (1995) |
| Doctoral advisor | Jan L. A. van de Snepscheut
K. Mani Chandy |
|  | |


title: Odahuttidavaru

abstract: Odahuttidavaru is a 1994 Indian Kannada-language romantic drama film directed by Dorai–Bhagavan and was jointly written by S. K Bhagavan and Chi. Udaya Shankar. The film stars veteran actors Rajkumar and Ambareesh in lead roles, along with Madhavi, Srishanti, Vajramuni and K. S. Ashwath in supporting roles. The film revolves around the two farmer brothers who undergo many traumas in their relationships due to external forces and fight them to reunite again. The film was produced and distributed by S. P. Varadaraj under the banner of Sri Lakshmi Art Combines. The film marked the final script of Chi. Udaya Shankar was released after his death on 2 July 1993. It was his final collaboration with director duo Dorai–Bhagavan. The film features original songs composed by Upendra Kumar, with lyrics written unusually using six lyricists, namely M. N. Vyasa Rao, Chi. Udaya Shankar, Sri Ranga, Geethapriya, Hamsalekha and Vijaya Narasimha. The film featured the last song written by the lyricist Vijaya Narasimha. The cinematography of the film was done by B. C. Gowrishankar and the editing was done by P. Bhaktavatsalam. The film opened to widespread critical acclaim. The film was released with high expectations as it marked the first collaboration of veteran actors Rajkumar and Ambareesh. It was a blockbuster at the box office and emerged as the highest-grossing Kannada film of 1994. The film completed 100 days in 33 first-release theaters. The feat was matched by Appu in 2002, and was superseded by Jogi in 2005 which ran for 100 days in 61 first-release theaters. The film overall completed a theatrical run of 25 weeks. Dr. Rajkumar won his ninth and final Karnataka State Film Award for Best Actor for his performance in the film.

text:
# Odahuttidavaru

***Odahuttidavaru*** (transl.Siblings) is a 1994 Indian Kannada-language romantic drama film directed by Dorai–Bhagavan and was jointly written by S. K Bhagavan and Chi. Udaya Shankar. The film stars veteran actors Rajkumar and Ambareesh in lead roles, along with Madhavi, Srishanti, Vajramuni and K. S. Ashwath in supporting roles. The film revolves around the two farmer brothers who undergo many traumas in their relationships due to external forces and fight them to reunite again.

The film was produced and distributed by S. P. Varadaraj under the banner of Sri Lakshmi Art Combines. The film marked the final script of Chi. Udaya Shankar was released after his death on 2 July 1993. It was his final collaboration with director duo Dorai–Bhagavan. The film features original songs composed by Upendra Kumar, with lyrics written unusually using six lyricists, namely M. N. Vyasa Rao, Chi. Udaya Shankar, Sri Ranga, Geethapriya, Hamsalekha and Vijaya Narasimha. The film featured the last song written by the lyricist Vijaya Narasimha. The cinematography of the film was done by B. C. Gowrishankar and the editing was done by P. Bhaktavatsalam.

The film opened to widespread critical acclaim. The film was released with high expectations as it marked the first collaboration of veteran actors Rajkumar and Ambareesh. It was a blockbuster at the box office and emerged as the highest-grossing Kannada film of 1994. The film completed 100 days in 33 first-release theaters. The feat was matched by *Appu* in 2002 (also 100 days in 33 first-release theaters), and was superseded by *Jogi* in 2005 which ran for 100 days in 61 first-release theaters. The film overall completed a theatrical run of 25 weeks. Dr. Rajkumar won his ninth and final Karnataka State Film Award for Best Actor for his performance in the film.

## Plot

Ramanna lives with his father Venkanna, wife Ganga and an educated younger brother Sridhar in a village. Venkanna has taken a promise Ramanna that no matter what, he would not let his family split. A few years later, Ramanna had two children, and the whole family is living happily. Sridhar falls in love with Rathna, daughter of a rich man named Rudrayya. Unwillingly, Rudrayya lets his daughter marry the man of her choice. However, he poisons her mind to create a rift between her brothers and the whole family. To not let the family divide and to keep his promise made to his father, Ramanna and his family leave the house. Upon knowing this, Sridhar realizes his mistake, and the plots of Rathna's father are revealed. The whole family reconciles and forgives each other's follies.

## Cast

## Production

The massive race with 40 bullock carts was filmed at Lalitha Mahal, Mysore.

## Soundtrack

| Odahuttidavaru | |
| --- | --- |
| Soundtrack album by Upendra Kumar | |
| Released | 1994 (1994) |
| Genre | Feature film soundtrack |
| Length | 29:05 |
| Label | Sangeetha |

The music of the film was composed by Upendra Kumar, with lyrics of each of the six songs penned by six different lyricists – M. N. Vyasa Rao, Chi. Udaya Shankar, Sri Ranga, Geethapriya, Hamsalekha and Vijaya Narasimha \- a rarity for Rajkumar movie. The album consists of six soundtracks. It was received exceptionally well by the critics and the audience.

| No. | Title | Lyrics | Singer(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "Madhura Ee Kshana" | M. N. Vyasa Rao | Rajkumar, Manjula Gururaj | 4:49 |
| 2. | "Nambi Kettavarillavo" | Chi. Udaya Shankar | Rajkumar | 4:52 |
| 3. | "Bennina Hinde" | Sri Ranga | S. P. Balasubrahmanyam, Sangeetha Katti | 4:45 |
| 4. | "Sole Geluvendu Baalali" | Geethapriya | Rajkumar | 4:23 |
| 5. | "Naanu Naanu Neenu" | Hamsalekha | Rajkumar, S. P. Balasubrahmanyam, Manjula Gururaj, Sangeetha Katti | 4:57 |
| 6. | "Janakana Maatha" | Vijaya Narasimha | S. P. Balasubrahmanyam | 5:19 |
| Total length: | | | | 29:05 |

## Awards

## InfoBox

| Odahuttidavaru | |
| --- | --- |
| Poster | |
| Directed by | Dorai–Bhagavan |
| Written by | S. K. Bhagavan
Chi. Udaya Shankar |
| Produced by | S. P. Varadaraj |
| Starring | Rajkumar
Ambareesh
Madhavi
Srishanti |
| Cinematography | B. C. Gowrishankar |
| Edited by | P. Bhaktavatsalam |
| Music by | Upendra Kumar |
| Production
company | Sri Lakshmi Art Combines |
| Release date | * 1994 (1994) |
| Running time | 140 minutes |
| Country | India |
| Language | Kannada |


title: Myōjinyama

abstract: Myōjinyama (明神山) is a grassy area on a mountain ridge in Japan, 20 kilometres (12 mi) east from Mount Fuji and 5 kilometres (3.1 mi) south-east from Lake Yamanaka, off of road 147. The area is suitable for hiking and paragliding.

text:
# Myōjinyama

**Myōjinyama** (明神山) is a grassy area on a mountain ridge in Japan, 20 kilometres (12 mi) east from Mount Fuji and 5 kilometres (3.1 mi) south-east from Lake Yamanaka, off of road 147. The area is suitable for hiking and paragliding.

## Gliding at Myōjinyama

The paragliding at Myōjinyama requires neither registration nor inscription fee. The launch is shallow, thus suitable for novice pilots. The 1 km2 (0.39 sq mi) area can be used for both launches and landings. There is also an additional free landing zone courtesy of the Minami Green Hill Resort in the vicinity of Lake Yamanaka. Other landing areas include most of the coast of Lake Yamanaka and the multiple tennis courts and football fields that can serve for an emergency landing.

The best launch conditions are with a western to northern wind; so, the site is complementary to Gotenba Gogome and Zubashiri at Mt. Fuji, which is a 30-minute to drive from Myōjinyama. Lake Yamanaka makes the lift smooth; but at other wind directions, the lift is bumpy.

35°24′40″N 138°55′04″E / 35.41111°N 138.91778°E / 35.41111; 138.91778


title: Peralejos de Abajo

abstract: Peralejos de Abajo is a municipality located in the province of Salamanca, Castile and León, Spain. As of 2016 the municipality has a population of 165 inhabitants.

text:
# Peralejos de Abajo

**Peralejos de Abajo** is a municipality located in the province of Salamanca, Castile and León, Spain. As of 2016 the municipality has a population of 165 inhabitants.

## InfoBox

| Peralejos de Abajo | |
| --- | --- |
| Municipality | |
|  | |
| Location in Salamanca | |
| Peralejos de AbajoLocation in Spain | |
| Coordinates: 41°0′20″N 6°21′52″W / 41.00556°N 6.36444°W / 41.00556; -6.36444 | |
| Country | Spain |
| Autonomous community | Castile and León |
| Province | Salamanca |
| Comarca | Vitigudino |
| Subcomarca | Tierra de Vitigudino |
| Government | |
| Mayor | Alfonso Castilla Roso (People's Party) |
| Area | |
| Total | 20 km2 (8 sq mi) |
| Elevation | 755 m (2,477 ft) |
| Population (2018) | |
| Total | 157 |
| Density | 7.9/km2 (20/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 37216 |


title: Marie Gayot

abstract: Marie Gayot is a retired French sprint athlete. She specialized in 400m and set her personal best of 50.97s in 2015 World Championships in Athletics in Beijing. She holds a master's degree in urbanism from Cergy-Pontoise University.

text:
# Marie Gayot

**Marie Gayot** (born 18 December 1989 in Reims) is a retired French sprint athlete. She specialized in 400m and set her personal best of 50.97s in 2015 World Championships in Athletics in Beijing. She holds a master's degree in urbanism from Cergy-Pontoise University.

## Competition record

She has represented France in the 4 × 400 m relay in London Olympic games where she was a finalist. Her best results include a bronze medal in 2013 World Championships in Athletics in the 4 × 400 m, which was given to her in 2017 after disqualification of the Russian team; and a gold medal in 4 × 400 m in 2015 European Athletics Indoor Championships. She has also participated in World Championships in 2011 and 2015.

| Year | Competition | Venue | Position | Event | Notes |
| --- | --- | --- | --- | --- | --- |
| Representing  France | | | | | |
| 2007 | European Junior Championships | Hengelo, Netherlands | 5th | 400 m | 53.98 |
| | | | 4th | 4 × 400 m relay | 3:37.82 |
| 2011 | European Indoor Championships | Paris, France | 3rd | 4 × 400 m relay | 3:32.16 |
| | European U23 Championships | Ostrava, Czech Republic | 6th | 400 m | 53.86 |
| | | 3rd | 4 × 400 m relay | 3:31.73 |
| | World Championships | Daegu, South Korea | 14th (h) | 4 × 400 m relay | 3:28.02 |
| 2012 | European Championships | Helsinki, Finland | 9th (sf) | 400 m | 52.17 |
| | | | 2nd | 4 × 400 m relay | 3:25.49 |
| | Olympic Games | London, United Kingdom | 6th | 4 × 400 m relay | 3:25.92 |
| 2013 | European Indoor Championships | Gothenburg, Sweden | 10th (sf) | 400 m | 53.38 |
| | | | 4th | 4 × 400 m relay | 3:28.71 |
| | World Championships | Moscow, Russia | 14th (sf) | 400 m | 51.54 |
| | | 3rd | 4 × 400 m relay | 3:24.21 |
| | Jeux de la Francophonie | Nice, France | 2nd | 400 m | 52.33 |
| 2014 | IAAF World Relays | Nassau, Bahamas | 4th | 4 × 400 m relay | 3:25.84 |
| | European Championships | Zürich, Switzerland | 7th | 400 m | 52.14 |
| | | 1st | 4 × 400 m relay | 3:24.28 |
| 2015 | European Indoor Championships | Prague, Czech Republic | 5th | 400 m | 53.11 |
| | | | 1st | 4 × 400 m relay | 3:31.61 |
| | World Championships | Beijing, China | 12th (sf) | 400 m | 50.97 |
| | | 7th | 4 × 400 m relay | 3:26.45 |
| 2016 | European Championships | Amsterdam, Netherlands | 2nd | 4 × 400 m relay | 3:25.96 |
| | Olympic Games | Rio de Janeiro, Brazil | 10th (h) | 4 × 400 m relay | 3:26.18 |

## InfoBox

Marie Gayot
| Marie Gayot at the 2012 Bislett Games | |
| --- | --- |
| Personal information | |
| Born | (1989-02-18) February 18, 1989<br>Reims, Marne |
| Height | 1.71 m (5 ft 7+12 in) |
| Weight | 57 kg (126 lb) |
| Sport | |
| Country | France |
| Sport | Athletics |
| Event | 4 × 400m Relay |
| Medal record      World Championships  2013 Moscow 4×400 m relay  European Championships  2014 Zürich 4 x 400 m  2012 Helsinki 4x400 m relay  2016 Amsterdam 4x400 m relay  European Indoor Championships  2015 Prague 4x400 m relay  2011 Paris 4x400 m relay | |


title: Gavak language

abstract: Gavak, also known as Bosiken (Boskien) and Dimir, is a Papuan language of Madang Province, Papua New Guinea. It is spoken in the Dimir River area.

text:
# Gavak language

**Gavak**, also known as **Bosiken** (Boskien) and **Dimir**, is a Papuan language of Madang Province, Papua New Guinea. It is spoken in the Dimir River area.

## InfoBox

| Gavak | |
| --- | --- |
| Dimir | |
| Bosiken | |
| Native to | Papua New Guinea |
| Region | Madang Province |
| Native speakers | 3,800 (2003) |
| Language family | Trans–New Guinea? |
| Language codes | |
| ISO 639-3 | `dmc` |
| *Glottolog* | `dimi1244` |