title: Octahedral-hexagonal tiling honeycomb

abstract: In the geometry of hyperbolic 3-space, the octahedron-hexagonal tiling honeycomb is a paracompact uniform honeycomb, constructed from octahedron, hexagonal tiling, and trihexagonal tiling cells, in a rhombicuboctahedron vertex figure. It has a single-ring Coxeter diagram,, and is named by its two regular cells. A geometric honeycomb is a space-filling of polyhedral or higher-dimensional cells, so that there are no gaps. It is an example of the more general mathematical tiling or tessellation in any number of dimensions. Honeycombs are usually constructed in ordinary Euclidean ("flat") space, like the convex uniform honeycombs. They may also be constructed in non-Euclidean spaces, such as hyperbolic uniform honeycombs. Any finite uniform polytope can be projected to its circumsphere to form a uniform honeycomb in spherical space.

text:
# Octahedral-hexagonal tiling honeycomb

| Octahedron-hexagonal tiling honeycomb | |
| --- | --- |
| Type | Paracompact uniform honeycomb |
| Schläfli symbol | {(3,4,3,6)} or {(6,3,4,3)} |
| Coxeter diagrams | or
 |
| Cells | {3,4}
{6,3}
r{6,3} |
| Faces | triangular {3}
square {4}
hexagon {6} |
| Vertex figure |
rhombicuboctahedron |
| Coxeter group | \[(6,3,4,3)\] |
| Properties | Vertex-transitive, edge-transitive |

In the geometry of hyperbolic 3-space, the **octahedron-hexagonal tiling honeycomb** is a paracompact uniform honeycomb, constructed from octahedron, hexagonal tiling, and trihexagonal tiling cells, in a rhombicuboctahedron vertex figure. It has a single-ring Coxeter diagram, , and is named by its two regular cells.

A geometric honeycomb is a *space-filling* of polyhedral or higher-dimensional *cells*, so that there are no gaps. It is an example of the more general mathematical *tiling* or *tessellation* in any number of dimensions.

Honeycombs are usually constructed in ordinary Euclidean ("flat") space, like the convex uniform honeycombs. They may also be constructed in non-Euclidean spaces, such as hyperbolic uniform honeycombs. Any finite uniform polytope can be projected to its circumsphere to form a uniform honeycomb in spherical space.

## Symmetry

A lower symmetry form, index 6, of this honeycomb can be constructed with \[(6,3,4,3*)\] symmetry, represented by a trigonal trapezohedron fundamental domain, and a Coxeter diagram .

### Cyclotruncated octahedral-hexagonal tiling honeycomb

| Cyclotruncated octahedral-hexagonal tiling honeycomb | |
| --- | --- |
| Type | Paracompact uniform honeycomb |
| Schläfli symbol | ct{(3,4,3,6)} or ct{(3,6,3,4)} |
| Coxeter diagrams | or
 |
| Cells | {6,3}
{4,3}
t{3,4} |
| Faces | triangular {3}
square {4}
hexagon {6} |
| Vertex figure |
triangular antiprism |
| Coxeter group | \[(6,3,4,3)\] |
| Properties | Vertex-transitive |

The **cyclotruncated octahedral-hexagonal tiling honeycomb** is a compact uniform honeycomb, constructed from hexagonal tiling, cube, and truncated octahedron cells, in a triangular antiprism vertex figure. It has a Coxeter diagram .

#### Symmetry

A radial subgroup symmetry, index 6, of this honeycomb can be constructed with \[(4,3,6,3*)\], represented by a trigonal trapezohedron fundamental domain, and Coxeter diagram .

* Coxeter, *Regular Polytopes*, 3rd. ed., Dover Publications, 1973. ISBN 0-486-61480-8. (Tables I and II: Regular polytopes and honeycombs, pp. 294–296)
* Coxeter, *The Beauty of Geometry: Twelve Essays*, Dover Publications, 1999 ISBN 0-486-40919-8 (Chapter 10: Regular honeycombs in hyperbolic space, Summary tables II, III, IV, V, p212-213)
* Jeffrey R. Weeks *The Shape of Space, 2nd edition* ISBN 0-8247-0709-5 (Chapter 16-17: Geometries on Three-manifolds I, II)
* Norman Johnson *Uniform Polytopes*, Manuscript
    + N.W. Johnson: *The Theory of Uniform Polytopes and Honeycombs*, Ph.D. Dissertation, University of Toronto, 1966
    + N.W. Johnson: *Geometries and Transformations*, (2018) Chapter 13: Hyperbolic Coxeter groups


title: Oddulameraka

abstract: Oddulameraka is a village in Krishna district of the Indian state of Andhra Pradesh. It is located in Nandivada mandal of Gudivada revenue division. It is one of the villages in the mandal to be a part of Andhra Pradesh Capital Region.

text:
# Oddulameraka

**Oddulameraka** is a village in Krishna district of the Indian state of Andhra Pradesh. It is located in Nandivada mandal of Gudivada revenue division. It is one of the villages in the mandal to be a part of Andhra Pradesh Capital Region.

## InfoBox

| Oddulameraka | |
| --- | --- |
| Village | |
| Dynamic map | |
| Country | India |
| State | Andhra Pradesh |
| District | Krishna |
| Area | |
| Total | 1.64 km2 (0.63 sq mi) |
| Population (2011) | |
| Total | 278 |
| Density | 170/km2 (440/sq mi) |
| Languages | |
| Official | Telugu |
| Time zone | UTC+5:30 (IST) |


title: Oddsskarðsgöng

abstract: Oddskarðsgöng is a tunnel in Iceland, located in the Eastern Region along Route 92. It is 640 m (2,100 ft) long and was opened in 1977. Oddsskarðsgöng was replaced in 2017 by Northfjarthargöng and is today closed to general traffic. It was the third motor vehicle tunnel constructed in the country preceded only by Arnarnesgöng in the northwest and Strákagöng in the mid-north. It was one lane wide with stopping places for passing traffic.

text:
# Oddsskarðsgöng

**Oddskarðsgöng** (Icelandic pronunciation: \[ˈɔtsˌskarðsˌkœyŋk\] ) is a tunnel in Iceland, located in the Eastern Region along Route 92. It is 640 m (2,100 ft) long and was opened in 1977.

*Oddsskarðsgöng* was replaced in 2017 by *Northfjarthargöng* and is today closed to general traffic.

It was the third motor vehicle tunnel constructed in the country preceded only by *Arnarnesgöng* in the northwest and *Strákagöng* in the mid-north.

It was one lane wide with stopping places for passing traffic.

65°04′14″N 13°53′27″W / 65.0705°N 13.8909°W / 65.0705; -13.8909


title: Oenpelli Airport

abstract: Oenpelli Airport is located in Gunbalanya, Northern Territory, Australia

text:
# Oenpelli Airport

**Oenpelli Airport** (IATA: **OPI**, ICAO: **YOEN**) is located in Gunbalanya (formerly known as Oenpelli), Northern Territory, Australia

## InfoBox

| Oenpelli Airport | |
| --- | --- |
|  | |
|  | |
| Summary | |
| Airport type | Public |
| Operator | West Arnhem Regional Council |
| Location | Gunbalanya, Northern Territory |
| Elevation AMSL | 30 ft / 9 m |
| Coordinates | 12°19′30″S 133°00′18″E / 12.32500°S 133.00500°E / -12.32500; 133.00500 |
| Map | |
| YOENLocation in Northern Territory | |
| Runways | |
| Direction Length Surface  m ft  41,273 1,320 4,331 Asphalt | |
| Sources: Australian AIP | |


title: Oenothera versicolor

abstract: Oenothera versicolor, the red evening-primrose, is a species of flowering plant in the family Onagraceae, native to South America, from Peru and Ecuador down to Bolivia and Northern Argentina This species is not as common in cultivation as other members of the genus but popular cultivars including 'Sunset Boulevard' are grown in gardens around the temperate world as the plant is hardy down to at least −10 °C (14 °F). Other common names include sundrops, red sundrops, and orange evening-primrose.

text:
# Oenothera versicolor

***Oenothera versicolor***, the **red evening-primrose**, is a species of flowering plant in the family Onagraceae, native to South America, from Peru and Ecuador down to Bolivia and Northern Argentina This species is not as common in cultivation as other members of the genus but popular cultivars including 'Sunset Boulevard' are grown in gardens around the temperate world as the plant is hardy down to at least −10 °C (14 °F).

Other common names include **sundrops**, **red sundrops,** and **orange evening-primrose**.

## Description

*Oenothera versicolor* is a bushy perennial growing to 1 m (3 ft 3 in) tall. It blooms throughout summer and into early autumn. The flowers grow on spikes and are individually around 8-6cm in diameter with four petals each. The leaves are lanceolate and glossy. The reddish orange flowers appear in clusters around the top of the spike and are hermaphroditic. Unlike in some species of Oenothera, the flowers bloom during the day rather than at night although their superficial similarities to the common evening primrose still earns this species the title of evening-primrose.

The plant is erect and forms a basal rosette of leaves which are narrowly lanceolate and gradually narrow to the petiole. Most plants generally do not branch, instead, forming one main spike. The leaves are 20-25 cm long when mature and 1.5- 3.5 cm wide. The cauline (stem-growing) leaves are narrowly lanceolate, 8-12 cm long and 0.6-2 cm wide. They are usually sessile but may possess with a short petiole. The leaf margins are reddish, especially in the bracts of the young buds, and the inflorescence is mostly unbranched. Flowers have a corolla length of 1.2-2.5 cm and buds are reddish at the junction of the sepals with the corolla. The petals very broadly obovate, rounded or retuse, 1.2-2 cm long, yellow, red near the base and along the veins or entirely red. The anthers are 5-8 mm long with filaments 6-10 mm long. The style is mostly short so the anthers may shed pollen directly on the stigma. The ovary is 8-10 mm in length. The seeds of the Red Evening-primrose form in capsules which are generally around 1.5-3 cm long, 5-9 mm thick and dark in colour when ripe. The seeds themselves are small at little more than a millimetre in length and slightly oval in shape.

## InfoBox

| *Oenothera versicolor* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Myrtales |
| Family: | Onagraceae |
| Genus: | *Oenothera* |
| Species: | ***O. versicolor*** |
| Binomial name | |
| ***Oenothera versicolor***<br>Lehm. | |
|
| Synonyms | |
| * *Oenothera campylocalyx* K.Koch & C.D.Bouché * *Oenothera cinnabarina* É.Morren * *Oenothera coccinea* Britton * *Oenothera curvifolia* H.P.Fisch. * *Oenothera fusca* (K.Krause) Sprague & L.Riley * *Onagra fusca* K.Krause | |


title: Odersun

abstract: Odersun was a German photovoltaic (PV) company that developed and manufactured CIGS cells on a flexible copper backing, specifically designed for building-integrated photovoltaics. The insolvent company went into administration on 1 June 2012 and filed for bankruptcy. Odersun employed more than 320 people in production, research and management in Frankfurt an der Oder, Fürstenwalde and Berlin, Germany. In cooperation with partner and investor AT&M, the company was setting up a joint venture in Beijing, China. The company produced its flexible photovoltaic modules according to a proprietary and patented manufacturing process. These thin-film modules converted sunlight into electricity using a thin layer of a copper indium gallium selenide (CIGS) semiconductor which was deposited on copper tape. These were cut, interconnected and built into different forms of modules depending on their application such as facades, roofs, canopies or louvers. In 2008, the company topped the inaugural Guardian/Library House "CleanTech 100" list, which showcased the then best companies in European clean technology.

text:
# Odersun

**Odersun** was a German photovoltaic (PV) company that developed and manufactured CIGS cells on a flexible copper backing, specifically designed for building-integrated photovoltaics. The insolvent company went into administration on 1 June 2012 and filed for bankruptcy.

Odersun employed more than 320 people in production, research and management in Frankfurt an der Oder, Fürstenwalde and Berlin, Germany. In cooperation with partner and investor AT&M, the company was setting up a joint venture in Beijing, China.

The company produced its flexible photovoltaic modules according to a proprietary and patented manufacturing process. These thin-film modules converted sunlight into electricity using a thin layer of a copper indium gallium selenide (CIGS) semiconductor which was deposited on copper tape. These were cut, interconnected and built into different forms of modules depending on their application such as facades, roofs, canopies or louvers.

In 2008, the company topped the inaugural Guardian/Library House "CleanTech 100" list, which showcased the then best companies in European clean technology.

## InfoBox

Odersun AG
|
|  |
| Company type | Public (Aktiengesellschaft) |
| Industry | Photovoltaics |
| Founded | 14 November 2002 (2002-11-14) |
| Defunct | June 1, 2012 (2012-06-01) |
| Headquarters | Frankfurt (Oder), Germany |
| Products | CIGS cells, thin-film PV technology |
| Number of employees | 320 (2011) |
| Website | www.odersun.com |


title: Occia gens

abstract: The gens Occia was a minor plebeian family at Rome. Members of this gens are first mentioned under Tiberius, but must have been at Rome for much longer; for Tacitus speaks of Occia, a Vestal Virgin who died in AD 19, after serving faithfully for fifty-seven years. A few of the Occii pursued political careers in this period, but most are known only from inscriptions.

text:
# Occia gens

The **gens Occia** was a minor plebeian family at Rome. Members of this gens are first mentioned under Tiberius, but must have been at Rome for much longer; for Tacitus speaks of Occia, a Vestal Virgin who died in AD 19, after serving faithfully for fifty-seven years. A few of the Occii pursued political careers in this period, but most are known only from inscriptions.

## Members

*This list includes abbreviated praenomina. For an explanation of this practice, see filiation.* * Occia, a Vestal Virgin, died in AD 19, after performing her priestly duties for fifty-seven years.
* Occia C. f., buried at Rome, aged sixty.
* Occia C. f., buried at Tarquinii, aged sixty.
* Decimus Occius D. f., the patron and former master of Decimus Occius Eros, mentioned in an inscription from Rome.
* Gaius Occius M. f., one of the municipal officials at Pompeii.
* Lucius Occius L. f., the former master of Lucius Occius Aristo and Occia Agathea, named in a funerary inscription from Cures in Sabinum.
* Manius Occius M'. f., one of the judicial magistrates at Signia in Latium.
* Occia L. l. Agathea, a freedwoman buried at Cures.
* Lucius Occius L. l. Agathopus, the freedman of Lucius Occius Helius, to whom he dedicated a monument at Rome.
* Occia Agile, wife of Quintus Anquirinnius Secundus, with whom she dedicated a monument to their son, Quintus Anquirinnius Severus, at Pisae.
* Publius Occius P. l. Anchialus, a freedman buried at Aquileia in the province of Venetia et Histria.
* Lucius Occius L. l. Aristo, a freedman buried at Cures.
* Occia Auge, wife of Pomponius Gaetulus, buried at Theveste in Africa Proconsularis, aged thirty-seven.
* Gaius Occius M. f. Basillus, buried at the present site of Ksar Mahidjiba, perhaps originally Castellum Fabatianum, in Numidia, aged twenty-one.
* Titus Occius Castus, buried at Tubusuctu in Mauretania Caesariensis.
* Publius Occius P. l. Dunomarus, a freedman buried at Aquileia.
* Quintus Occius Epigonus, a freedman, who dedicated a monument to Quintus Occius Narcissus at Puteoli in Campania.
* Occius Eutyches, husband of Fortunatia Veratia, named in an inscription from Dea Augusta Vocontiorum in Gallia Narbonensis.
* Occius Flamma, proconsul of Crete under the emperor Tiberius.
* Lucius Occius Helius, the patron and former master of Lucius Occius Agathopus, buried at Rome.
* Lucius Occius Hermia, named in an inscription from Rome.
* Decimus Occius D. l. Eros, a freedman, mentioned in two inscriptions from Rome.
* Occia Fotis, dedicated a monument at Rome in memory of her son, Lucius Occius Maximus.
* Occia Fortunata, buried at Masculula, aged fourteen years, seven months.
* Publius Occius Julianus, buried at Potentia in Lucania, aged seventeen.
* Lucius Occius Martialis, mentioned in an inscription from Madauros in Africa Proconsularis.
* Occius Macrini f. Martialis, buried at the site of the present village of Bordj M'Raou, formerly in Africa Proconsularis, age eighteen.
* Lucius Occius Maximus, the son of Occia Fotis, was born *pridie Nonas Novembres*, and buried at Rome, aged twenty-four years, eight months, and twenty-four days.
* Quintus Occius Narcissus, buried at Puteoli.
* Gaius Occius C. l. Philomusus, a freedman buried at Rome.
* Lucius Occius L. l. Philomusus, a freedman named in an inscription from Rome.
* Occia Primitiva, the wife of Marcus Licinius Apollonius, with whom she dedicated a monument to her son, Marcus Licinius Probus, aged four years, three months, and twenty-one days.
* Lucius Occius Primitivus, dedicated a monument at Rome to his friend, Marcus Terentius Silvius.
* Occius Priscus, dedicated a monument at Rome to Occia Thallusa.
* Occius Publilius Eutychus, dedicated a monument to his wife, Claudia Olympias, who was buried at Rome, aged forty-nine.
* Publius Occius Quintillianus, buried at Milevum in Numidia.
* Marcus Occius Ruso, one of a group of pontifices sent to the colony of Sutrium in Etruria.
* Gaius Occius Saturninus, buried at Thamugadi in Numidia, aged twenty-one.
* Gaius Occius Similis Blera, a *secutor tribuni* mentioned in a list of soldiers at Rome, dating to AD 113.
* Occia Spicula, wife of Caecilianus, buried at Thagura in Africa Proconsularis.
* Occia Sponde, wife of Marcus Junius Fortunatus, buried at Rome, aged thirty-three years and forty-two days.
* Occia Tertulla, dedicated a monument to her brother, Gaius Elvius Sextinus, at Nemausus in Gallia Narbonensis.
* Occia Thallusa, buried at Rome.
* Occia C. l. Trallis, a freedwoman, buried at Rome.
* Occia Verecunda, named in a funerary monument from Carnuntum in Pannonia Superior.

## Footnotes

1. *Dictionary of Greek and Roman Biography and Mythology*, vol. III, p. 2 ("Occia").
2. Tacitus, *Annales*, ii. 58.
3. *PIR*, vol. II, p. 423.
4. *CIL* VI, 23218.
5. *CIL* XI, 3461.
6. *CIL* VI, 23210.
7. *CIL* X, 819.
8. *CIL* I, 3283.
9. *AE* 2007, 345.
10. *CIL* VI, 23213.
11. *CIL* XI, 1440.
12. *InscrAqu* 3, 3535.
13. *CIL* VIII, 1967.
14. *ILAlg*, 2-2, 4282.
15. *BCTH*, 1934-97.
16. *CIL* X, 2790
17. *ILGN*, 238.
18. Seneca the Elder, *Controversiae*, ix. 4, 19.
19. *CIL* VI, 23214.
20. *CECapitol*, 116.
21. *CIL* VI, 7781.
22. *CIL* VIII, 20326.
23. *EE*, 8-1.
24. *ILAlg*, 1, 2178a.
25. *CIL* VIII, 28055.
26. *CIL* VI, 23215.
27. *CIL* VI, 7148.
28. *CIL* VI, 21294.
29. *AE* 1977, 40.
30. *CIL* VI, 35961.
31. *CIL* VI, 15519.
32. *ILAlg*, 2-3, 8669.
33. *CIL* XI, 3254.
34. *BCTH*, 1934/35-41.
35. *CIL* VI, 221.
36. *CIL* VIII, 4660.
37. *CIL* VI, 7564.
38. *CIL* XII, 4119.
39. *CIL* VI, 23220.
40. *AEA*, 2015, 27.

## Bibliography

* Lucius Annaeus Seneca (Seneca the Elder), *Controversiae*.
* Publius Cornelius Tacitus, *Annales*.
* *Dictionary of Greek and Roman Biography and Mythology*, William Smith, ed., Little, Brown and Company, Boston (1849).
* Theodor Mommsen *et alii*, *Corpus Inscriptionum Latinarum* (The Body of Latin Inscriptions, abbreviated *CIL*), Berlin-Brandenburgische Akademie der Wissenschaften (1853–present).
* Wilhelm Henzen, *Ephemeris Epigraphica: Corporis Inscriptionum Latinarum Supplementum* (Journal of Inscriptions: Supplement to the Corpus Inscriptionum Latinarum, abbreviated *EE*), Institute of Roman Archaeology, Rome (1872–1913).
* *Bulletin Archéologique du Comité des Travaux Historiques et Scientifiques* (Archaeological Bulletin of the Committee on Historic and Scientific Works, abbreviated *BCTH*), Imprimerie Nationale, Paris (1885–1973).
* René Cagnat *et alii*, *L'Année épigraphique* (The Year in Epigraphy, abbreviated *AE*), Presses Universitaires de France (1888–present).
* Paul von Rohden, Elimar Klebs, & Hermann Dessau, *Prosopographia Imperii Romani* (The Prosopography of the Roman Empire, abbreviated *PIR*), Berlin (1898).
* Stéphane Gsell, *Inscriptions Latines de L'Algérie* (Latin Inscriptions from Algeria, abbreviated *ILAlg*), Edouard Champion, Paris (1922–present).
* Emile Espérandieu, *Inscriptions Latines de Gaule (Narbonnaise)* (Latin Inscriptions from Gallia Narbonensis, abbreviated *ILGN*), Ernest Leroux, Paris (1929).
* Annona Epigraphica Austriaca (Epigraphy of Austria Annual, abbreviated *AEA*) (1979–present).
* Silvio Panciera, *La collezione epigrafica dei musei Capitolini* (The Epigraphic Collection of the Capitoline Museum, abbreviated *CECapitol*), Quasar Edizioni, Rome (1987).
* Giovanni Battista Brusin, *Inscriptiones Aquileiae* (Inscriptions of Aquileia, abbreviated *InscrAqu*), Udine (1991–1993).


title: Officious intermeddler

abstract: An officious intermeddler is a person who voluntarily, and without request or pre-existing legal duty, interjects him- or herself into the affairs of another, and then seeks remuneration for services or reimbursement. Example: Person A leaves for vacation for two weeks during the summer. Person B mows A's lawn. B requests payment for this service. Under common law doctrine, B is not entitled to any payment from A beyond whatever A cares to give. If B tries to coerce payment, B is an officious intermeddler.

text:
# Officious intermeddler

An **officious intermeddler** is a person who voluntarily, and without request or pre-existing legal duty, interjects him- or herself into the affairs of another, and then seeks remuneration for services or reimbursement. Example: Person A leaves for vacation for two weeks during the summer. Person B mows A's lawn. B requests payment for this service. Under common law doctrine, B is not entitled to any payment from A beyond whatever A cares to give. If B tries to coerce payment, B is an officious intermeddler.

## Emergencies

An exception to this rule, however, is if a doctor gives medical treatment to an unconscious victim. Although the unconscious person did not *request* the doctor's services, a court may deem it reasonable for the doctor to presume that such services would be desired by the person, had they been conscious.

## Quasi-contracts

Another exception to this rule, in certain jurisdictions, is the existence of a quasi-contract. In general, in order for a contract to exist, there must be mutual consent among all parties. In the case of an officious intermeddler, this element of a contract is missing: consideration (goods or services) was provided by one party, but without the mutual consent of the receiving party. Therefore, no contract was made, and the intermeddler has no legal recourse to claim compensation. However, certain legal jurisdictions provide for an implied-by-law contract, called a *quasi-contract*, that exists solely for the purposes of remedying this unjust enrichment by giving a court legal means to enforce compensation. The distinction between an officious intermeddler, and a party operating under a quasi-contract, is that the recipient of the goods or services has **knowingly accepted** the goods or services, with the intention of benefiting from them without providing compensation.

### Citations

### Sources

* Second Restatement of Contracts Sec. 74
* Restatement of Restitution Sec. 2
* Restatement of Restitution Sec. 116
* Black's Law Dictionary


title: Odontodiaptomus thomseni

abstract: Odontodiaptomus thomseni is a species of crustacean in the family Diaptomidae. It is found in Uruguay and Venezuela.

text:
# Odontodiaptomus thomseni

***Odontodiaptomus thomseni*** is a species of crustacean in the family Diaptomidae. It is found in Uruguay and Venezuela.

## InfoBox

| *Odontodiaptomus thomseni* | |
| --- | --- |
| Conservation status | |
|
Data Deficient  (IUCN 2.3) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Copepoda |
| Order: | Calanoida |
| Family: | Diaptomidae |
| Genus: | *Odontodiaptomus* |
| Species: | ***O. thomseni*** |
| Binomial name | |
| ***Odontodiaptomus thomseni***
(Brehm, 1933) | |
|
| Synonyms | |
| *Diaptomus thomseni* Brehm, 1933 | |


title: Oh By Jingo!

abstract:
"Oh By Jingo!", is a 1919 novelty song by Albert Von Tilzer with lyrics by Lew Brown.
The song was featured in the Broadway show "Linger Longer Letty", and became one of the biggest Tin Pan Alley hits of the post-World War I era. While the song lyrics say it is set in "the land of San Domingo", no geographic nor anthropological accuracy is found nor intended in the silly lyrics, set in a generic "exotic" and "primitive" location. The song was much imitated over the next decade. The song appeared several times in film and television: it was performed by Betty Hutton in the film Incendiary Blonde (1945); by Debbie Reynolds and Bobby Van as a specialty number in the Esther Williams MGM vehicle, Skirts Ahoy!; sung in the I Love Lucy TV show; and sung by Hugh Laurie in P. G. Wodehouse's Jeeves and Wooster. The 1970 song "After All" by David Bowie, from the album The Man Who Sold the World contains the repeated phrase 'Oh By Jingo' which is inspired by the song.

text:
# Oh By Jingo!

"**Oh By Jingo!**" (also "**Oh By Jingo! Oh By Gee You're The Only Girl For Me**"), is a 1919 novelty song by Albert Von Tilzer with lyrics by Lew Brown. The song was featured in the Broadway show "Linger Longer Letty", and became one of the biggest Tin Pan Alley hits of the post-World War I era.

While the song lyrics say it is set in "the land of San Domingo", no geographic nor anthropological accuracy is found nor intended in the silly lyrics, set in a generic "exotic" and "primitive" location. The song was much imitated over the next decade.

The song appeared several times in film and television: it was performed by Betty Hutton in the film *Incendiary Blonde* (1945); by Debbie Reynolds and Bobby Van as a specialty number in the Esther Williams MGM vehicle, *Skirts Ahoy!*; sung in the *I Love Lucy* TV show (Season 4, ep. 2, "Mertz and Kurtz", October 11, 1954); and sung by Hugh Laurie in P. G. Wodehouse's *Jeeves and Wooster* (Season 4, ep. 5).

The 1970 song "After All" by David Bowie, from the album *The Man Who Sold the World* contains the repeated phrase 'Oh By Jingo' which is inspired by the song.

* *Who Wrote that Song?* Dick Jacobs & Harriet Jacobs, published by Writer's Digest Books, 1993


title: Odirile Modimokoane

abstract: Odirile Modimokoane is a South African cricketer. He made his Twenty20 debut on 10 October 2021, for Dolphins in the 2021–22 CSA Provincial T20 Knock-Out tournament. Prior to his Twenty20 debut, he was named in South Africa's squad for the 2020 Under-19 Cricket World Cup. He made his first-class debut on 18 November 2021, for Dolphins in the 2021–22 CSA 4-Day Series. He made his List A debut on 27 March 2022, for Dolphins in the 2021–22 CSA One-Day Cup.

text:
# Odirile Modimokoane

**Odirile Modimokoane** (born 10 July 2001) is a South African cricketer. He made his Twenty20 debut on 10 October 2021, for Dolphins in the 2021–22 CSA Provincial T20 Knock-Out tournament. Prior to his Twenty20 debut, he was named in South Africa's squad for the 2020 Under-19 Cricket World Cup. He made his first-class debut on 18 November 2021, for Dolphins in the 2021–22 CSA 4-Day Series. He made his List A debut on 27 March 2022, for Dolphins in the 2021–22 CSA One-Day Cup.

## InfoBox

Odirile Modimokoane
| Personal information | |
| --- | --- |
| Born | (2001-07-10) 10 July 2001 |
| Domestic team information | |
| Years | Team |
| 2021/22 | Dolphins |
|  | |
| Source: Cricinfo, 10 October 2021 | |


title: Oil pump (internal combustion engine)

abstract: The oil pump is an internal combustion engine part that circulates engine oil under pressure to the rotating bearings, the sliding pistons and the camshaft of the engine. This lubricates the bearings, allows the use of higher-capacity fluid bearings and also assists in cooling the engine. As well as its primary purpose for lubrication, pressurized oil is increasingly used as a hydraulic fluid to power small actuators. One of the first notable uses in this way was for hydraulic tappets in camshaft and valve actuation. Increasingly common recent uses may include the tensioner for a timing belt or variators for variable valve timing systems.

text:
# Oil pump (internal combustion engine)

The **oil pump** is an internal combustion engine part that circulates engine oil under pressure to the rotating bearings, the sliding pistons and the camshaft of the engine. This lubricates the bearings, allows the use of higher-capacity fluid bearings and also assists in cooling the engine.

As well as its primary purpose for lubrication, pressurized oil is increasingly used as a hydraulic fluid to power small actuators. One of the first notable uses in this way was for hydraulic tappets in camshaft and valve actuation. Increasingly common recent uses may include the tensioner for a timing belt or variators for variable valve timing systems.

## Pumps

The type of pump used varies. Gear pumps trochoid pumps and vane pumps are all commonly used. Plunger pumps have been used in the past, but these are now only used rarely, for small engines.

To avoid the need for priming, the pump is always mounted low-down, either submerged or around the level of the oil in the sump. A short pick-up pipe with a simple wire-mesh strainer reaches to the bottom of the sump.

### Pump drive

For simplicity and reliability, mechanical pumps are used, driven by mechanical geartrains from the crankshaft. Reducing pump speed is beneficial and so it is usual to drive the pump from the cam (if this is mounted in the cylinder block) or distributor shaft, which turns at half engine speed. Placing the oil pump low-down uses a near-vertical drive shaft, driven by helical skew gears from the camshaft. Some engines, such as the Fiat Twin Cam engine of 1964, began as OHV engines with an oil pump driven from a conventional camshaft in the cylinder block. When the twin overhead cam engine was developed, the previous oil pump arrangement was retained and the camshaft became a shortened stub shaft. Even when the distributor position was moved from the previous block-mount to being mounted on the cylinder head camshafts, the oil pump drive remained in the same position, the unused distributor position now covered by a blanking plate. Small engines, or scooters may have internal gear pumps mounted directly on their crankshaft.

For reliability, it is rare to use an external drive mechanism, either a separate belt drive or external gears, although camshaft-driven pumps often rely on the same timing belt. Additional separate belts are sometimes used where dry sump pumps have been added to engines during tuning.

Electric oil pumps are not used, again for reliability. Some 'turbo timer' electric auxiliary oil pumps are sometimes fitted to turbocharged engines. These are a second oil pump that continues to run after the engine has stopped, providing cooling oil to the hot bearings of a turbocharger for some minutes, whilst it cools down. These are supplementary pumps and do not replace the main, mechanical, oil pump.

Electric pump as a main engine pump again will require big electric motors and it may be simply cheaper to drive directly from the engine. For e.g. BMW S65 engine's oil pump delivers ca. 45 LPM (Litres Per Minute) of oil at 5.5 bar pressure. This pump would require a significantly large motor to drive.

## Lubricating system

The oiling system addresses the need to properly lubricate an engine when it's running. Properly lubricating an engine not only reduces friction between moving parts but is also the main method by which heat is removed from pistons, bearings, and shafts. Failing to properly lubricate an engine will result in engine failure. The oil pump forces the motor oil through the passages in the engine to properly distribute oil to different engine components. In a common oiling system, oil is drawn out of the oil sump (oil pan, in US English) through a wire mesh strainer that removes some of the larger pieces of debris from the oil. The flow made by the oil pump allows the oil to be distributed around the engine. In this system, oil flows through an oil filter and sometimes an oil cooler, before going through the engine's oil passages and being dispersed to lubricate pistons, rings, springs, valve stems, and more.

## Oil pressure

The oil pressure generated in most engines should be about 10 psi per every 1000 revolutions per minute (rpm), peaking around 55-65 psi.

Local pressure (at the crankshaft journal and bearing) is far higher than the 50, 60 psi &c. set by the pump's relief valve, and will reach hundreds of psi. This higher pressure is developed by the relative speeds in feet per second (not RPM or journal size directly) of the crankshaft journal itself against the bearing, the bearing width (to the closest pressure leak), oil viscosity, and temperature, balanced against the bearing clearance (the leakage rate).

All pump pressure does is "fill in the hole" and refresh the oil in the annular space faster than the leak expels it. This is why low-speed engines have relatively large journals, with only modest pump size and pressure. Low pressure indicates that leakage from the bearings is higher than the pump's delivery rate.

## Gauge pressure

The oil pressure at the pump outlet, which is what opens the pressure relief valve, is simply the resistance to flow caused by the bearing clearances and restrictions.

The oil pressure gauge, or warning lamp, gives only the pressure at the point where its sender enters that part of the pressurized system   not everywhere, not an average, nor a generalized picture of the systemic pressure.

Despite the frequent comparison to hydraulic engineering theory, this is not a "closed system" in which oil pressure is balanced and identical everywhere. All engines are "open systems", because the oil returns to the pan by a series of controlled leaks. The bearings farthest from the pump always have the lowest pressure because of the number of leaks between the pump and that bearing. Excess bearing clearance increases the pressure loss between the first and last bearing in a series.

Depending on condition, an engine may have acceptable gauge pressure, and still only 5 psi pressure at one connecting rod, which will fail under high load.

The pressure is actually created by the resistance to the flow of the oil around the engine. So, the pressure of the oil may vary during operation, with temperature, engine speed, and wear on the engine. Colder oil temperature can cause higher pressure, as the oil is thicker, while higher engine speeds cause the pump to run faster and push more oil through the engine. Because of variances in temperature and normal higher engine speed upon cold engine start up, it's normal to see higher oil pressure upon engine start up than at normal operating temperatures, where normal oil pressure usually falls between 30 and 45 psi. Too much oil pressure can create unnecessary work for the engine and even add air into the system. To ensure that the oil pressure does not exceed the rated maximum, once pressure exceeds a preset limit a spring-loaded pressure relief valve dumps excess pressure either to the suction side of the pump, or directly back to the oil pan or tank.

### High Oil Pressure

The result of too high an oil pressure is the front or rear main engine seals will be blown and or blow the oil plugs out. In other words, any possible entry into the crankcase that is sealed somehow could be blown. High oil pressure frequently means extremely high pressure on cold start-up, but this is a design flaw rather than an automatic consequence of high pressure. The observation "if you raise the maximum pressure, the cold pressure goes too high" is accurate, but not intentional.

Even the stock pumps (regardless of brand and model) do not have enough relief valve capacity: the relief port is too small to handle the volume of cold oil. This is why there is a significant difference between cold & hot oil, high & low RPM, &c., but it's typically not a problem with stock engines because of the spring-loaded pressure relief valve mentioned above. A correctly designed relief port (which is not found in production engines) will flow any oil volume the gears will pass, regardless of oil viscosity or temperature, and the gauge reading will only vary slightly.

The oil pressure is monitored by an oil pressure sending unit, usually mounted to the block of the engine. This can either be a spring-loaded pressure sensor or an electronic pressure sensor, depending on the type of sending unit. Problems with the oil pressure sending unit or the connections between it and the driver's display can cause abnormal oil pressure readings when oil pressure is perfectly acceptable.

### Low Oil Pressure

There are only four reasons for low oil pressure:

1. No oil or low oil in the engine;
2. Worn or defective oil pump or broken pressure relief valve spring;
3. Worn main bearings (big ends have nothing to do with oil pressure as most of the pressure to these are supplied by centripetal force); and
4. Oil gallery fracture or blockage.

Low oil pressure can cause engine damage. The first thing to fail will be cam carrier bearings if the vehicle is OHC as this is fed through a restrictor and low pressure will starve the top of the engine of lubrication. If pistons have crown jets (e.g., scania), this could cause piston/liner nip. Also the crankshaft and connecting rod bearings may seize. Indications of low oil pressure may be that the warning light is on, a low pressure reading on the gauge, or clattering/clinking noises from the engine. Low oil pressure is a problem that must be addressed immediately to prevent serious damage.

The leading cause of low oil pressure in an engine is wear on the engine's vital parts. Over time, engine bearings and seals suffer from wear and tear. Wear can cause these parts to eventually lose their original dimensions, and this increased clearance allows for a greater volume of oil to flow over time which can greatly reduce oil pressure. For instance, .001 of an inch worn off of the engine's main bearings can cause up to a 20% loss in oil pressure. Simply replacing worn bearings may fix this problem, but in older engines with a lot of wear not much can be done besides completely overhauling the engine.

Particles in the oil can also cause serious problems with oil pressure. After oil flows through the engine, it returns to the oil pan, and can carry along a lot of debris. The debris can cause problems with the oil pickup screen and the oil pump itself. The holes in the oil pickup screen measure about 0.04 square inches (0.26 cm2). Holes of this size only pick up bigger pieces of debris and allow a lot of smaller pieces to flow through it. The holes in the screen are so big (relative to debris) because at low temperatures and slow engine speed the oil is very viscous and needs large openings to flow freely. Even with these large holes in the screen, it can still become clogged and cause low oil pressure. A .005-inch-thick (0.13 mm) coating on the screen can reduce hole size to about .03 square inches (0.19 cm2), which in turn reduces the flow of oil by 44 percent.

Even after passing through the oil pickup screen and the oil filter, debris can remain in the oil. It is very important to change the oil and oil filter to minimize the amount of debris flowing through your engine. This harmful debris along with normal engine wear in high mileage engines causes an increase in clearances between bearings and other moving parts.

Low oil pressure may be simply because there is not enough oil in the sump, due to burning oil (normally caused by piston ring wear or worn valve seals) or leakage. The piston rings serve to seal the combustion chamber, as well as remove oil from the internal walls of the cylinder. However, when they wear, their effectiveness drops, which leaves oil on the cylinder walls during combustion. In some engines, burning a small amount of oil is normal and shouldn't necessarily cause any alarm, whereas heavy oil consumption is a sign that the engine might need an overhaul.

### Oil Pumps in High Performance Engines

Not all engines have the same oiling needs. High performance engines, for example, place higher stress on the lubricating system. In this case, the lubricating system must be especially robust to prevent engine damage. Most engines in cars on the road today don't run much past 5,000–6,000 rpm, but that isn't always the case in performance engines, where engine speeds could reach up to 8000-9000 rpm. In engines like these, it is imperative that the oil circulates quickly enough, or air may become trapped in the oil. Also, to free up power, some engines in performance applications run lower weight oil, which requires less power to run the oil pump. Common oil weights in engines today are usually either 5W-30 or 10W-30 oil, whereas performance engines might use 0W-20 oil, which is less viscous.

## Wet and dry sump systems

Conventional wet sump engines have one oil pump. It is generally located inside the lower part of the engine, usually below and/or to one side of the crankshaft. On dry sump engines, at least two oil pumps are required: one to pressurize and distribute the oil around the engine components, and at least one other 'scavenge pump' to evacuate the oil which has pooled at the bottom of the engine. This scavenge pump is sometimes (but not always) located in the 'sump' of the engine, and crucially, this scavenge pump's flow-rate capacity must exceed that of the pump which pressurizes and distributes oil throughout the engine.

Because of the dry sump's external oil reservoir, excess air can escape the oil before the oil is pumped back through the engine. Dry sumps also allow for more power because they reduce the amount of windage, oil sloshing up into the rotating assembly, and the vacuum from the scavenge pump improves ring seal. Dry sumps are more popular in racing applications because of the improved power and reduced oil sloshing that would otherwise reduce oil pressure. Disadvantages of dry sumps are increased weight, additional parts, and more chances for leaks and problems to occur.

1. How a gear pump works
2. Bob Mehlhoff. "How Oil Pumps Work". Chevy High Performance. Retrieved 2006-11-13.
3. Trochoid pump
4. Guy Croft. *Tuning the Fiat Twin-Cam Engine*. Haynes.
5. "Oil Flow - S65 Oil Flow Analysis - Wiki-DIY". *wiki.rcollins.org*. Retrieved 2021-06-24.
6. "Troubleshoot Low Oil Pressure". AA1Car. Retrieved 2010-03-08.
7. "Troubleshoot Oil Pump Problems". AA1Car. Retrieved 2010-03-08.
8. Larry Carley. "Oil Pumps". Engine Builder. Retrieved 2010-03-08.
9. "Why do some engines use a dry sump oil system?". HowStuffWorks. Retrieved 2010-03-08.
10. "Wet Sump vs. Dry Sump Oiling Systems". Engine Builder. Retrieved 2010-03-08.


title: Oenopota murdochiana

abstract: Oenopota murdochiana is a species of sea snail, a marine gastropod mollusk in the family Mangeliidae.

text:
# Oenopota murdochiana

***Oenopota murdochiana*** is a species of sea snail, a marine gastropod mollusk in the family Mangeliidae.

## Description

The length of the shell measures 11.5 mm.

(Original description) The whitish shell is short, stout, with rather coarse sculpture and very short spire. It contains about five whorls, the body whorl much the largest . The whorls are inflated. The suture is deep, almost channeled. The sculpture consists of numerous (on the body whorl about two to the millimeter) narrow, backwardly convex, tlexuous riblets with about equal interspaces, strongest near the suture, not crossing the fasciole and obsolete near the periphery. The lines of growth are distinct, crossed by numerous (about six to the millimeter) rather coarse threads, of which each alternate one tends to be smaller, separated by narrow grooves and about uniformly distributed over the surface, with a tendency to a faint carina in front of the indistinct fasciole. The outer lip is sharp. The simple columella is white. The aperture is pinkish. The short siphonal canal is wide. The whorls of the protoconch are eroded in the specimens. The operculum has a light horn color. It is rather broad and short. The soft parts are pink.

## Distribution

This marine species was found off Cape Smythe, Alaska at a depth of 9 m.

* Tucker, J.K. (2004). "Catalog of recent and fossil turrids (Mollusca: Gastropoda)" (PDF). *Zootaxa*. **682**: 1–1295. doi:10.11646/zootaxa.682.1.1.
* "*Oenopota murdochiana*". *Gastropods.com*. Retrieved 16 January 2019.

## InfoBox

| *Oenopota murdochiana* | |
| --- | --- |
|  | |
| Shell of *Oenopota murdochiana* (holotype at the Smithsonian Institution) | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Caenogastropoda |
| Order: | Neogastropoda |
| Superfamily: | Conoidea |
| Family: | Mangeliidae |
| Genus: | *Oenopota* |
| Species: | ***O. murdochiana*** |
| Binomial name | |
| ***Oenopota murdochiana***<br>(Dall, 1885) | |
|
| Synonyms | |
| * *Bela murdochiana* Dall, 1885 (original description) | |


abstract:
Old-Age Insurance Convention, 1933 (shelved) is an International Labour Organization Convention. It was established in 1933:
Having decided upon the adoption of certain proposals with regard to compulsory old-age insurance,...

text:
# Old-Age Insurance (Industry, etc.) Convention, 1933 (shelved)

**Old-Age Insurance (Industry, etc.) Convention, 1933 (shelved)** is an International Labour Organization Convention.

It was established in 1933:

> Having decided upon the adoption of certain proposals with regard to compulsory old-age insurance,...

## Modification

The concepts contained in the convention were revised and included in ILO Convention C128, Invalidity, Old-Age and Survivors' Benefits Convention, 1967.

## Ratifications

Prior to it being shelved, the convention was ratified by 11 states.

## InfoBox

Old-Age Insurance (Industry, etc.) Convention, 1933 (shelved)
| C35 | |
| --- | --- |
| ILO Convention | |
| Date of adoption | June 29, 1933 (1933-06-29) |
| Date in force | July 18, 1937 |
| This Convention has been "shelved". | |
| Subject | Social Security |
| Previous | Fee-Charging Employment Agencies Convention, 1933 (shelved) |
| Next | Old-Age Insurance (Agriculture) Convention, 1933 (shelved) |


title: Old Prison (Victoria)

abstract: The Old Prison is located in the Citadel of Victoria, Gozo, adjacent to the Courts of Justice to which it was originally connected. Today, the prison complex is divided into two different buildings: the entrance hall, which had been a common cell in the 19th century, and a free-standing block with six individual cells. The prison was active from the mid-16th century until 1962. First, it used to host the rowdiest or most riotous knights, as a place to cool down. Even the most historical knight, Fra Jean Parisot de Valette was imprisoned there in 1538. The site is well preserved in its original state, and a large amount of graffiti is etched into the limestone walls. Representations are often of ships, hand-prints, crosses, names, dates, games, and anthropomorphic figures.

text:
# Old Prison (Victoria)

The **Old Prison** is located in the Citadel of Victoria, Gozo, adjacent to the Courts of Justice to which it was originally connected. Today, the prison complex is divided into two different buildings: the entrance hall, which had been a common cell in the 19th century, and a free-standing block with six individual cells.

The prison was active from the mid-16th century until 1962.

First, it used to host the rowdiest or most riotous knights, as a place to cool down. Even the most historical knight, Fra Jean Parisot de Valette (later Grand Master of Malta) was imprisoned there in 1538.

The site is well preserved in its original state, and a large amount of graffiti is etched into the limestone walls. Representations are often of ships, hand-prints, crosses, names, dates, games, and anthropomorphic figures.

36°2′46.4″N 14°14′21.1″E / 36.046222°N 14.239194°E / 36.046222; 14.239194


title: Oil for Drugs

abstract: The Oil for Drugs case is an Italian doping case against doctor Carlo Santuccione and a number of accomplices, started in 2003. He is accused of administering prohibited doping products to professional and amateur athletes, to enhance their performance as well as being involved in doping network across Italy.

text:
# Oil for Drugs

The **Oil for Drugs case** is an Italian doping case against doctor Carlo Santuccione and a number of accomplices, started in 2003. He is accused of administering prohibited doping products to professional and amateur athletes, to enhance their performance as well as being involved in doping network across Italy.

## Timeline

### Death of amateur cyclist

The catalyst to start the investigation was the death of an amateur cyclist in Italy that was suspicious. The death of this unnamed cyclist, which occurred around December 2002, led to an investigation by the Italian authorities. The State Prosecutor started and coordinated the investigation.

### Police action

Italy's Anti-Narcotic Group (NAS) began an investigation, this included tapping the phones of Doctor Santuccione and installing a hidden camera in his office. On March 3, 2004, they recorded a phone call in which Santuccione advised the professional cyclist Danilo Di Luca to inject EPO before Milan–San Remo. Di Luca said that he would visit the Doctor that evening with teammate Alessandro Spezialetti. Later that evening the video surveillance of Santuccione's office showed Santuccione preparing two disposable syringes with EPO and exiting his office to where Di Luca and Spezialetti were waiting outside. A teammate of Di Luca and Spezialetti, Eddy Mazzoleni also sent SMS messages to Santuccione at this time mentioning Di Luca and hormone use.

Following this surveillance the NAS squad conducted coordinated surprise raids at team hotels as well as at certain riders' homes on the night of May 24, 2004. Eight riders (all clients of Santuccione) from six different teams were involved. These were:

No illegal substances were found.

The NAS raid was part of a much larger raid carried out in 28 Italian cities involving 138 professional and amateur athletes, doctors and others who were under suspicion of dealing or using doping in several sports. However, by May 2004, only two arrests had been made. One of these involved a pharmacist.

### Suspensions and bans

Danilo Di Luca was given a three-month suspension due to his involvement in the case. On December 18, 2007, Doctor Santuccione was given a lifetime ban by the Italian National Olympic Committee (CONI) due to his involvement in the Oil for Drugs case and after having already serving a lengthy ban for a previous doping offense. On October 26, 2007, the Italian pole vaulter Giuseppe Gibilisco was given a two-year ban for his involvement. On April 8, 2008, Mazzoleni was given a two-year suspension due to his involvement in the case.


title: Off the Road

abstract: Off the Road: Twenty Years with Cassady, Kerouac and Ginsberg is an autobiographical book by Carolyn Cassady. Originally published in 1990 as Off the Road: My Years with Cassady, Kerouac, and Ginsberg, it was republished by London's Black Spring Press, coinciding with the fiftieth anniversary of Jack Kerouac's On the Road. Off the Road recounts the history of Carolyn Cassady, wife of Jack Kerouac's traveling companion and On the Road's hero Neal Cassady. As Neal's wife and Kerouac's intermittent lover, Carolyn Cassady was well situated to record the inception of the Beat Generation and its influence on American culture. Off the Road begins in the initial stages of Kerouac and Neal Cassady's friendship, when Kerouac was a struggling author trying to publish his first novel, and documents important moments in the beat movement such as the success of On the Road and Allen Ginsberg's "Howl."

text:
# Off the Road

***Off the Road: Twenty Years with Cassady, Kerouac and Ginsberg*** is an autobiographical book by Carolyn Cassady. Originally published in 1990 as *Off the Road: My Years with Cassady, Kerouac, and Ginsberg*, it was republished by London's Black Spring Press, coinciding with the fiftieth anniversary of Jack Kerouac's *On the Road*. *Off the Road* recounts the history of Carolyn Cassady, wife of Jack Kerouac's traveling companion and *On the Road*'s hero Neal Cassady. As Neal's wife and Kerouac's intermittent lover, Carolyn Cassady was well situated to record the inception of the Beat Generation and its influence on American culture.

*Off the Road* begins in the initial stages of Kerouac and Neal Cassady's friendship, when Kerouac was a struggling author trying to publish his first novel (1950's *The Town and the City*), and documents important moments in the beat movement such as the success of *On the Road* and Allen Ginsberg's "Howl."

## Publication history

* Darlington, Andy. "Carolyn Cassady: On and Off the Road." *Moody Street Irregulars: A Jack Kerouac Magazine* 24-26 (1991), 13-18.

## InfoBox

Off the Road
|  | |
| --- | --- |
| Author | Carolyn Cassady |
| Language | English |
| Genre | Autobiography<br>Literary History |
| Publisher | Black Spring Press |
| Publication date | 1990 |
| Publication place | United Kingdom |
| Media type | Print hardback |
| Pages | 436 pp |
| ISBN | 0-948238-05-4 |


title: Opatkowice Drewniane

abstract: Opatkowice Drewniane is a village in the administrative district of Gmina Imielno, within Jędrzejów County, Świętokrzyskie Voivodeship, in south-central Poland. It lies approximately 7 kilometres (4 mi) west of Imielno, 9 km (6 mi) south-east of Jędrzejów, and 40 km (25 mi) south-west of the regional capital Kielce.

text:
# Opatkowice Drewniane

**Opatkowice Drewniane** \[ɔpatkɔˈvit͡sɛ drɛvˈɲanɛ\] is a village in the administrative district of Gmina Imielno, within Jędrzejów County, Świętokrzyskie Voivodeship, in south-central Poland. It lies approximately 7 kilometres (4 mi) west of Imielno, 9 km (6 mi) south-east of Jędrzejów, and 40 km (25 mi) south-west of the regional capital Kielce.

## InfoBox

| Opatkowice Drewniane | |
| --- | --- |
| Village | |
| Opatkowice Drewniane | |
| Coordinates: 50°34′N 20°22′E / 50.567°N 20.367°E / 50.567; 20.367 | |
| Country | Poland |
| Voivodeship | Świętokrzyskie |
| County | Jędrzejów |
| Gmina | Imielno |


title: Mary Mitchell Gabriel

abstract: Margaret Mary Mitchell Gabriel was a Passamaquoddy basket maker from Maine. She was awarded a National Heritage Fellowship in 1994.

text:
# Mary Mitchell Gabriel

**Margaret Mary Mitchell Gabriel** (November 12, 1908 – July 10, 2004) was a Passamaquoddy basket maker from Maine. She was awarded a National Heritage Fellowship in 1994.

## Early life

Mary Mitchell was born on the Passamaquoddy reservation near Princeton, Maine, the daughter of Joseph Mitchell and Margaret Mell Mitchell. She and her sisters were raised by their grandparents, and learned Passamaquoddy traditions of making baskets of sweetgrass and ash splints from their mother and grandmother.

## Career

Gabriel worked at the Emple Knitting Mill in Brewer, Maine. She moved back to Princeton when she received money from the Maine Indian Land Claims Settlement, and made and sold her baskets there. "Every person who looks at my basket asks, 'How long did it take you to make this?'" she said in 1995. "You could say forever", she answered.

In 1993 she won the Maine Arts Commission's Individual Artist Award, and she was one of the founders of the Maine Indian Basket Makers Alliance. In 1994, she was awarded a National Heritage Fellowship from the National Endowment for the Arts, and a Maryann Hartman Award from the University of Maine. At the Hartman Awards ceremony, she delivered her acceptance speech in Passamaquoddy. The Center for the Study of Lives at the University of Southern Maine made a documentary, "Gabriel Women: Passamaquoddy Basketmakers" (1999), about Mary Gabriel and her daughters Sylvia and Clare.

## Personal life and legacy

Mitchell married Simon Anthony Gabriel. She had seven children. She died in 2004, aged 95 years, at her home in Indian Township, Maine. Her baskets are in the collections of the Smithsonian Institution, the Abbe Museum, the Hudson Museum, and the Bangor International Airport. Her daughter Deborah Gabriel Brooks's Sweetgrass Basketry continues producing baskets based on Gabriel's teachings.

## InfoBox

| Mary Mitchell Gabriel | |
| --- | --- |
| Mary Mitchell Gabriel, from a 1993 newspaper | |
| Born | November 12, 1908
Princeton, Maine |
| Died | July 10, 2004 (aged 95)
Indian Township, Maine |
| Occupation | Artist |


title: Nagaharu Yodogawa

abstract: Nagaharu Yodogawa was a Japanese film critic, historian, and television personality. Members of both the Japanese and foreign press have referred to him as the "giant of film critiques", a "cultural institution", as well as "Japan's most famous movie critic".

text:
# Nagaharu Yodogawa

**Nagaharu Yodogawa** (淀川 長治, *Yodogawa Nagaharu*, April 10, 1909, Kobe, Japan – November 11, 1998, Tokyo) was a Japanese film critic, historian, and television personality. Members of both the Japanese and foreign press have referred to him as the "giant of film critiques", a "cultural institution", as well as "Japan's most famous movie critic".

## Early life

Yodogawa was born in Kobe and grew up in his father's geisha agency in the Shinkaichi entertainment district, along with his brother and two sisters. His family were regular movie-goers, visiting the cinema several times a week. Yodogawa began accompanying his family at age four. By the age of seven he proved himself to be a budding cinemaphile; he would often go to the movies on his own, seeing as many as ten films in one week.

## Career in film criticism

Upon graduating from Kobe High School, Yodogawa started his journalistic career working for the magazine *Eiga Sekai* (*Movie World*). After World War II he became Chief Editor of *Eiga no Tomo* (*Film Friend*), a post he held for twenty years.

After his tenure at *Eiga no Tomo*, Yodogawa went on to do freelance work in radio, television and print, all in relation to film. In 1962 he began working at TV Asahi as the host of *Sunday Western Movie Theatre*, a job to which he was so devoted that he did not miss a single appearance until just a week before his death in 1998. During his three decades as the show's host he interviewed film stars "ranging from Charlie Chaplin to Steven Seagal". He is also known for closing each show with his signature line "Sayonara, sayonara, sayonara".

## Love of film

Yodogawa's first love was silent film. He preferred silent movies over sound film because he felt that silent films depicted real life and were easy to understand, even without Japanese captions.

Over his career, Yodogawa became increasingly critical of modern Japanese film, once stating: "It is because I love film so much that I hate those incompetent and uninteresting new movies." In contrast, he believed that even the worst movies were worth watching; he felt that all films had at least one redeeming feature, such as a well composed shot. Near the end of his life he did however show interest in the new style of film-making of Takeshi Kitano, to whom he referred as "the true successor to Kurosawa".

## Influence

Yodogawa's appreciation of film is notable amongst the film industry of Japan; fellow critic and scholar Shigehiko Hasumi once said: "We usually watch films with the intellect, but Yodogawa watched them with every fibre of his being." The award-winning actor Hiroyuki Sanada also credited Yodogawa as having introduced him to foreign movies.

In 1991, the Yodogawa Nagaharu Award, sponsored by *Road Show Magazine* (Japan), was created to commemorate the film critic; the award is presented to a person or group who contributed greatly to the Japanese film industry in the preceding year. In 2005, Jackie Chan became the first non-Japanese recipient of the award.

## Final years

Yodogawa lived the last years of his life in the Zen Nikku Hotel in Tokyo (now ANA InterContinental Tokyo), where he paid for his room in cash every ten days. He continued working as the host of *Sunday Western Movie Theatre* until just weeks before his death.

Nagaharu Yodogawa died November 11, 1998, of heart failure. *Yodogawa Nagaharu monogatari - Kobe-hen: Sainara*, a biographical film depicting his life, directed by Nobuhiko Obayashi, was released the following year.

## Partial bibliography

* Yodogawa, Nagaharu (1987). Eiga No michi, Jinsei No michi. 350 pages. ISBN 4-8261-0707-2.
* Yodogawa, Nagaharu (1987). Rekishi Wa Eiga De Tsukurareru. 334 pages. ISBN 4-8261-0705-6.
* Yodogawa, Nagaharu (1987). Watakushi No Eiga No Jikan, Tabi to Zatsugaku. 318 pages. ISBN 4-8261-0706-4.
* Yodogawa, Nagaharu (1988). Eiga Senya Ichiya. 796 pages. ISBN 4-12-001696-X.
* Yodogawa, Nagaharu (1990). Shine Kurabu jidai : Atene Furanse Bunka Sentā tōku sesshon = L'Age du cine-club. 348 pages. ISBN 4-8459-9087-3.
* Yodogawa, Nagaharu (1991). Eiga. 261 pages. ISBN 4-87893-825-0.
* Yodogawa, Nagaharu (1993). Waga eiga jinsei ni kui nashi. 170 pages. ISBN 4-537-05021-7.
* Yodogawa, Nagaharu (1999). Saigo no sayonara sayonara sayonara. 334 pages. ISBN 4-08-780294-9.
* Yodogawa, Nagaharu (1999). Kurosawa Akira o kataru = Yodogawa Nagaharu talks about Kurosawa Akira. 253 pages. ISBN 4-309-26379-8.
* Yodogawa, Nagaharu (1999). Eiga wa kataru. 509 pages. ISBN 4-12-002889-5.

## InfoBox

| Nagaharu Yodogawa | |
| --- | --- |
| Nagaharu Yodogawa in 1961. | |
| Born | (1909-04-10)April 10, 1909
Kobe, Japan |
| Died | (1998-11-11)November 11, 1998 (aged 89)
Tokyo, Japan |
| Nationality | Japanese |


title: Nana (echos)

abstract: Phthora nana is one of the ten modes of the Hagiopolitan Octoechos consisting of 8 diatonic echoi and two additional phthorai. It is used in different traditions of Orthodox chant until today. The name "nana" is taken from the syllables sung during the intonation which precedes a melody composed in this mode. The name "phthora" derived from the verb φθείρω and means "destroy" or "corrupt". It was usually referred to the diatonic genus of the eight mode system and as a sign used in Byzantine chant notation it indicated a "change to another genus", in the particular case of phthora nana a change to the enharmonic genus. Today the "nana" intonation has become the standard name of the third authentic mode which is called "echos tritos" in Greek and "third glas" in Old Church Slavonic.

text:
# Nana (echos)

**Phthora nana** (Medieval Greek φθορά νανὰ) is one of the ten modes of the Hagiopolitan Octoechos consisting of 8 diatonic echoi and two additional phthorai. It is used in different traditions of Orthodox chant until today (→ Neobyzantine Octoechos). The name "nana" is taken from the syllables (written in ligatures "ʅʅ") sung during the intonation which precedes a melody composed in this mode. The name "phthora" derived from the verb φθείρω and means "destroy" or "corrupt". It was usually referred to the diatonic genus of the eight mode system and as a sign used in Byzantine chant notation it indicated a "change to another genus" (μεταβολὴ κατὰ γένος), in the particular case of **phthora nana** a change to the enharmonic genus. Today the "nana" intonation has become the standard name of the third authentic mode which is called "echos tritos" (ἦχος τρίτος) in Greek and "third glas" (третий Гласъ) in Old Church Slavonic.

## The different functions of phthora nana

In the theory and notation of Byzantine and Orthodox chant **nana** is the name of a special phthora which had been used in different ways according to its historic context:

1. as a phthora which has its proper melos (intonation and cadence formulas), it may denote a special kind of echos (mode) that has been identified with the *echos tritos* (third mode) since the 16th century, but deviates from the later diatonic *echos tritos* by the division of its tonal system and its tetrachord. The name "νανὰ" (ʅʅ) was used for its proper enechema, and within the Hagiopolitan Octoechos whole troparia can be found in the tropologion or the chant book Octoechos which are composed in the melos of *phthora nana* (φθορά νανὰ).
2. within the heirmologic or sticheraric melos, it may denote a temporary **change to the enharmonic genus** (μεταβολὴ κατὰ γένος) and **to the triphonic tone system** (μεταβολὴ κατὰ σύστημα) within another mode, like **echos tritos**, **echos plagios tetartos** or **echos plagios protos** (plagal first mode) for instance, to an intervallic structure and tone system that is proper to phthora nana as an own echos.
3. as **echos kratema**, *phthora nana* could used as an own mode which had been used in improvised sections like **kratemata** or **teretismoi** which had been sung over abstract syllables. Byzantine composers like Manuel Chrysaphes the Lampadarios mentioned, that the phthora nana always leads to the *echos plagios tetartos* (fourth plagal mode), before the melos can change into another mode.
4. as exoteric "phthora atzem", the sign was used for the transcription of music composed in *makam acem*, a makam connected to a certain Persian dastgah.
5. as a modulation sign, phthora nana played a crucial role to change between the third to the plagal fourth mode. Hence, there can be found some parallels between the b flat as used by Guido of Arezzo, and the temporary use of phthora nana in psaltic compositions which changed between the modes. As such *phthora nana* was used as an alteration sign within the heptaphonic solfeggio of Chrysanthos' New Method, which transcribed its triphonic tone system by a frequent use transposition (a certain μεταβολὴ κατὰ τόνον which turns γα into νη similar to the Guidonian mutation memorised as «F fa ut»).

## Hagiopolites treatise about phthora nana

It is supposed that the Hagiopolites treatise served during the 9th century as a manual preceding a chant book called *tropologion*. The book contained a collection of simple hymns troparia as well as heirmoi which served as melodic models (μέλη) for the 10 modes of Octoechos.

Nana holds the status one of the two "special" additional echoi or "mesoi" (medial forms between authentic and plagal echoi) in the system of the Hagiopolitan Octoechos. The other one is called nenano. Already in the Hagiopolites treatise the phthorai nana and nenano have been characterized as both echoi and "not echoi, but phthorai" (→ phthora). This means that they were proper modes with their own models, but they had to be integrated within the Octoechos and its eight-week cycle. Thus, phthora nana was subordinated to the *tetartos*, and the treatise also referred to it as "*Mesos tetartos*": as a third medial mode of the *tetartos* which was neither authentic (kyrios) nor plagal (plagios).

## Phthora nana according to the theory and practice of psaltic art

The concrete intervals of the enharmonic genus are less subject than the explanation of relationships between the modes. Often certain paragraphs of the Hagiopolites concerned about the phthora nana have been re-interpreted again and again according to the current tradition of psaltic art.

### Its enechema

In contemporary theoretical explanations the phthora nana had not only been regarded as a melodic model for stichera and heirmoi, but also as a transition model as well, which mainly connected *tritos* with *tetartos echoi*.

According to theoretical explanations of the Papadike, phthora nana was not only defined by its melos like a proper echos itself, as such it had been subordinated to certain echoi already in the Hagiopolites treatise. Manuel Chrysaphes, Lampadarios at the Byzantine court, emphasised that *phthora nana* is only used as a phthora of the *echos tritos*, but within its melos it causes always a change into the echos plagios *tetartos*. Any other changes have to be made after the transition into the *plagios tetartos*:

> εἰ δὲ τρίτου μόνον, ἵνα κατέλθῃς καὶ τὸν πλάγιον τετάρτου ἀνεμποδίστως καὶ ποιήσῃς καὶ τὸν ἦχον, καὶ μετὰ ταῦτα ὡς βούλει εἰς τὰ ἔμποσθεν ποιήσεις.

He also mentioned that the phthora had its own solfège (parallage), so that it solved the diatonic echos tritos and binds it to the *echos plagios tetartos* (δεσμοῦσι καὶ λύουσι "binding and solving").

> αὕτη δὲ ἡ τοῦ νανὰ φθορά, ἥτις ἐστὶν ἀπὸ παραλλαγῶν ἦχος τρίτος, οὑχ οὕτως, ἀλλὰ σχεδὸν εἰπεῖν ἔστιν ὡς ἦχος κύριος, διότι καὶ στιχηρὰ ἰδιόμελα πολλὰ ἔχει καὶ προσόμοια καὶ εἱρμοὺς καὶ καλοφωνικὰ στιχηρά, ὡς οἱ κύριοι ἦχοι. ἀλλὰ καὶ ἀλληλουϊάρια εἰς τὸν πολυέλεον καὶ εἰς τὸν ἄμωμον τῶν λαϊκῶν. καὶ εἰκότως ἂν καλέσειε ταύτην ἦχον καὶ οὐ φθοράν, καθὼς ἔχει καὶ ἡ τοῦ νενανῶ γλυκυτάτη καὶ λεπτοτάτη φθορά.

The distinction, that it was by the own solfège (*apo parallagon*) "like a kyrios echos of its own" (*os echos kyrios*), meant on the surface, that the tritos could be based on the octave on B flat (heptaphonia) with the finalis F, while it had to change into the *tetartos* octave which was based on C and therefore used b natural as seventh degree. The triphonic solfège could be solved again from the enharmonic into the diatonic genus, but it was in fact not just a change of the genus (μεταβολὴ κατὰ γένος, *metavole kata genos*), but also a change from the triphonic into the tetraphonic tone system (μεταβολὴ κατὰ σύστημα, *metavole kata systema*). It was not organised by separated tetrachords (tetraphonia), but by connected ones (triphonia: C—F—b flat). Hence, the "own triphonic parallage" intermediated between both octave species, which were otherwise very far from each other. Already in this transitional function it formed an alternative melos of the *tetartos* echoi.

### Its tone system

The phthora could intermediate, because it was distinct by its triphonic tone system and its enharmonic genus (the minor tone was always on the top of a tetrachord and smaller than a Western half tone—a diesis). Ioannis Plousiadinos invented an own system of parallage in shape of a square made up by four X. It was constructed to represent the triphonic combinations of conjunct tetrachords, but only the last two X on the bottom described the triphonia of the phthora nana—the triphonia based on *echos varys* (left) and the triphonia based on the *plagios tetartos* (right). Both possibilities were illustrated at the end of John Koukouzeles' didactic chant Mega Ison.

### Its great sign and its dynamis as echos kratema

The Papadikai list between six and ten phthorai which represent the ten modes of the Hagiopolitan Octoechos—the diatonic eight modes (which did not need eight phthorai, since the echoi just represented the four elements of a tetrachord) and the two additional phthorai as their own echoi.

In this very particular sense, the term "phthora" did neither refer to nenano nor nana, but simply meant the use of a transposition sign in order to indicate the precise place of a temporary transposition (μεταβολὴ κατὰ τόνον).

> γνωστών σοι δὲ ἔστω καὶ τοῦτο, ὅτι ἡ φθορὰ αὕτη οὐκ ἔχει καθώς ἐστιν ἡ τοῦ πρώτου ἢ τοῦ δευτέρου, ἢ τοῦ τρίτου, ἢ τοῦ τετάρτου, ἤ τοῦ πλαγίου δευτέρου, διότι αἱ τούτων τῶν ἤχων φθοραὶ δεσμοῦσι καὶ λύουσι ταχίον καὶ ποιοῦσιν ἐναλλαγὴν μερικὴν πὸ ἦχον εἰς ἄλλον καὶ ἔχουσι τοῦτο καὶ μόνον.

> Note also, that these phthorai \[νενανῶ and νανὰ\] are different from those of ἦχος πρῶτος, ἦχος δεύτερος, ἦχος τρίτος, and ἦχος τέταρτος or ἦχος πλάγιος τοῦ δευτέρου, since the phthorai of the latter \[diatonic\] echoi bind or solve quickly and thus, they only create a temporary change from one echos to another one, this is the only purpose they have.

The list of phthora did not include one to indicate a change into the melos of phthora nana. This change was instead caused by one of the great signs (μεγάλα σημαδία), the xeron klasma (ξηρὸν κλάσμα), like here in the sticherarion of the Biblioteca ambrosiana, where the medial signature of phthora nana (a temporary change into its melos) is prepared by this great sign.

This sticheron could be sung as well by a protopsaltes in the soloistic kalophonic style. If the medial signature of nana was the end of the section chosen for the realisation of a *sticheron kalophonikon*, this sign could cause, that a whole kratema, a section in abstract syllables like το—το—το for instance, was created in the phthora nana as an echos kratema.

## Nana as exoteric phthora atzem

The phthora nana was called in various theories "phthora atzem" which referred to perde acem (the fret on the long necked lute tambur called "acem" which was a common reference for Ottoman musicians) or even to makam acem—the "Persian makam" or "phthora." Panagiotes Keltzanides' edition offered a seyir—a melodic example to illustrate makam acem—on page 81:

It is close to the melodic models of the Persian Dastgāh-e Šur.

## The enharmonic echoi of the current Octoechos

The reform of the Byzantine neume notation in the early 19th century redefined the mele according to each genre (troparic, heirmologic, sticheraric, papadic), it also transcribed for the first time the rhythm which was so far part of an oral tradition or method, how to do the thesis of the melos. In these transcriptions the diatonic tritos echoi had little relevance. Chrysanthos of Madytos, together with Chourmouzios the Archivist and Gregorios the Protopsaltes one of the three "great teachers" that undertook the reform, published a treatise explaining the principles of the new system, entitled "Theoretikon Mega tes Mousikes".

While there was once a diatonic form of echos tritos and echos varys, it has no longer any relevance for the current tradition of Orthodox chant, even if it based on Byzantine monodic chant. Orthodox chanters know nowadays only the intonation "nana" (ʅʅ), when they would like to perform melodies composed in echos tritos. Already Papadikai of the 16th century identified "nana" signature in their lists with the diatonic intonation "aneanes." But its long formula was already replaced by the short of νανὰ in Chrysanthos explanation of the former papadic practice of solfège using the enechemata:

This simple form is used until today, but Chrysanthos also developed its whole melos as a kind of exegesis ("interpretation") of the simple traditional echema of phthora nana:

Chrysanthos' exegesis of the real nana intonation uses the enharmonic intervals:

> Διὰ τοῦτο ὅταν τὸ μέλος τοῦ ἐναρμονίου γένους ἄρχηται ἀπὸ τοῦ γα, θέλει νὰ συμφωνῇ μὲ τὸν γα ἡ ζω ὕφεσις, καὶ ὄχι ὁ νη φθόγγος. Καὶ ἐκεῖνο ὅπερ εἰς τὴν διατονικὴν καὶ χρωματικὴν κλίμακα ἐγίνετο διὰ τῆς τετραφωνίας, ἐδῶ γίνεται διὰ τῆς τριφωνίας
>
> :νη πα \[βου δίεσις\] γα, γα δι κε \[ζω ὕφεσις−6\], \[ζω ὕφεσις−6\] νη πα \[βου ὕφεσις−6\].
>
> Ὥστε συγκροτοῦνται καὶ ἐδῶ τετράχορδα συνημμένα ὅμοια, διότι ἔχουσι τὰ ἐν μέσῳ διαστήματα ἴσα· τὸ μὲν νη πα ἴσον τῷ γα δι· τὸ δὲ πα \[βου δίεσις\], ἴσον τῷ δι κε· τὸ δὲ \[βου δίεσις\] γα, ἴσον τῷ κε \[ζω ὕφεσις−6\]· καὶ τὰ λοιπά
>
> .

> Hence, if the melos of the enharmonic genus starts on F γα, F γα and b flat \[ζω' ὕφεσις−6\] should be symphonous, and not the phthongos c νη'. And like the diatonic and chromatic scales are made of tetraphonia, here they are made of triphonia:

C νη—D πα—E sharp \[βου δίεσις\]—F γα, F γα—G δι—a κε—b flat \[ζω' ὕφεσις−6\], b flat \[ζω' ὕφεσις−6\]—c νη'—d πα'—e flat \[βου' ὕφεσις−6\].
> Thus, also conjunct similar tetrachords are constructed by the same intervals in the middle \[**12+13+3=28**\]: C νη—D πα is equal to F γα—G δι, D πα—E sharp \[βου δίεσις\] to G δι—a κε, E sharp \[βου δίεσις\]—F γα is equal to a κε—b flat \[ζω' ὕφεσις−6\], etc.

He applied this intonation to the traditional varys enechema:

There is also a diatonic form of echos varys, but according to Chrysanthos' adaption to the Ottoman tone system it was no longer based on a pentachord between kyrios tritos and varys, but on a tritonus on a low b natural.

### Theoretical sources

#### Hagiopolites

* Raasted, Jørgen, ed. (1983), *The Hagiopolites: A Byzantine Treatise on Musical Theory* (PDF), Cahiers de l'Institut du Moyen-Âge Grec et Latin, vol. 45, Copenhagen: Paludan.
* Bellermann, Johann Friedrich; Najock, Dietmar, eds. (1972), *Drei anonyme griechische Traktate über die Musik*, Göttingen: Hubert.

#### Dialogue treatises

* Hannick, Christian; Wolfram, Gerda, eds. (1997), *Die Erotapokriseis des Pseudo-Johannes Damaskenos zum Kirchengesang*, Monumenta Musicae Byzantinae - Corpus Scriptorum de Re Musica, vol. 5, Vienna: Verlag der Österreichischen Akademie der Wissenschaften, ISBN 3-7001-2520-8.

#### Papadikai and their explanations

* Alexandru, Maria (1996). "Koukouzeles' Mega Ison: Ansätze einer kritischen Edition". *Cahiers de l'Institut du Moyen-Âge grec et latin*. **66**: 3–23.
* Conomos, Dimitri, ed. (1985), *The Treatise of Manuel Chrysaphes, the Lampadarios: \[Περὶ τῶν ἐνθεωρουμένων τῇ ψαλτικῇ τέχνῃ καὶ ὧν φρουνοῦσι κακῶς τινες περὶ αὐτῶν\] On the Theory of the Art of Chanting and on Certain Erroneous Views that some hold about it (Mount Athos, Iviron Monastery MS 1120, July 1458)*, Monumenta Musicae Byzantinae - Corpus Scriptorum de Re Musica, vol. 2, Vienna: Verlag der Österreichischen Akademie der Wissenschaften, ISBN 978-3-7001-0732-3.
* Fleischer, Oskar, ed. (1904), "Die Papadike von Messina", *Die spätgriechische Tonschrift*, Neumen-Studien, vol. 3, Berlin: Georg Reimer, pp. 15–50, fig. B3-B24 \[Papadike of the Codex Chrysander\], retrieved 11 April 2012.
* Hannick, Christian; Wolfram, Gerda, eds. (1985), *Gabriel Hieromonachus: \[Περὶ τῶν ἐν τῇ ψαλτικῇ σημαδίων καὶ τῆς τούτων ἐτυμολογίας\] Abhandlung über den Kirchengesang*, Monumenta Musicae Byzantinae - Corpus Scriptorum de Re Musica, vol. 1, Vienna: Verlag der Österreichischen Akademie der Wissenschaften, ISBN 3-7001-0729-3.
* Panagiotes the New Chrysaphes. "London, British Library, Harley Ms. 5544, fol. 3r-8v". *Papadike and the Anastasimatarion of Chrysaphes the New, and an incomplete Anthology for the Divine Liturgies (17th century)*. British Library. Retrieved 3 May 2012.
* Chourmouzios Chartophylakos (1896). Kyriazides, Agathangelos (ed.). "Τὸ Μέγα Ἴσον τῆς Παπαδικῆς μελισθὲν παρὰ Ἰωάννου Μαΐστορος τοῦ Κουκκουζέλη". *Ἐν Ἄνθος τῆς καθ' ἡμᾶς Ἐκκλησιαστικῆς Μουσικῆς περιέχον τὴν Ἀκολουθίαν τοῦ Ἐσπερίνου, τοῦ Ὅρθρου καὶ τῆς Λειτουργίας μετὰ καλλοφωνικῶν Εἴρμων μελοποιηθὲν παρὰ διάφορων ἀρχαιῶν καὶ νεωτερῶν Μουσικόδιδασκαλων*. Istanbul: Alexandros Nomismatides: 127–144.
* Tardo, Lorenzo (1938), "Papadiche", *L'antica melurgia bizantina*, Grottaferrata: Scuola Tipografica Italo Orientale "S. Nilo", pp. 151–163.

#### Treatises of the New Method (since 19th century)

### Studies


# Results breakdown of the 1999 Spanish local elections (Aragon)

This is the results breakdown of the local elections held in Aragon on 13 June 1999. The following tables show detailed results in the autonomous community's most populous municipalities, sorted alphabetically.

## Overall

Councillor share for parties securing \>1.0% of councillors up for election.

PP (39.05%)  PSOE (34.79%)  PAR (21.79%)  CHA (1.88%)  IU (1.20%)  Other (1.29%)

 Summary of the 13 June 1999 municipal election results in Aragon
| Parties and alliances | | Popular vote | | | Councillors | |
| --- | --- | --- | --- | --- | --- | --- |
| | Votes | % | ±pp | Total | +/− |
|  | People's Party (PP) | 249,578 | 38.11 | –1.45 | 1,658 | +186 |
|  | Spanish Socialist Workers' Party (PSOE) | 215,906 | 32.97 | +5.40 | 1,477 | –161 |
|  | Aragonese Party (PAR) | 87,493 | 13.36 | –3.25 | 925 | –125 |
|  | Aragonese Union (CHA) | 54,614 | 8.34 | +4.40 | 80 | +41 |
|  | United Left of Aragon (IU) | 25,328 | 3.87 | –5.07 | 51 | –33 |
|  | Commitment for Caspe (CPC) | 1,477 | 0.23 | *New* | 4 | +4 |
|  | Left Platform (PDI) | 846 | 0.13 | *New* | 3 | +3 |
|  | Humanist Party (PH) | 815 | 0.12 | *New* | 0 | ±0 |
|  | Others | 3,855 | 0.59 |  | 48 | –6 |
| Blank ballots | | 14,918 | 2.28 | +0.27 |  | |
|  | | | | | | |
| Total | | 654,830 | 100.00 |  | 4,246 | –91 |
|  | | | | | | |
| Valid votes | | 654,830 | 99.04 | –0.04 |  | |
| Invalid votes | | 6,332 | 0.96 | +0.04 | |
| Votes cast / turnout | | 661,162 | 65.01 | –6.14 | |
| Abstentions | | 355,918 | 34.99 | +6.14 | |
| Registered voters | | 1,017,080 |  | | |
|  | | | | | | |
| Sources | | | | | | |

| Popular vote   PP  38.11%  PSOE  32.97%  PAR  13.36%  CHA  8.34%  IU  3.87%  Others  1.07%  Blank ballots  2.28% |
| --- |

## City control

The following table lists party control in the most populous municipalities, including provincial capitals (shown in **bold**). Gains for a party are displayed with the cell's background shaded in that party's colour.

| Municipality | Population | Previous control | | New control | |
| --- | --- | --- | --- | --- | --- |
| Calatayud | 16,569 |  | People's Party (PP) |  | People's Party (PP) |
| **Huesca** | 45,485 |  | People's Party (PP) |  | Spanish Socialist Workers' Party (PSOE) |
| **Teruel** | 29,320 |  | People's Party (PP) |  | People's Party (PP) |
| **Zaragoza** | 603,367 |  | People's Party (PP) |  | People's Party (PP) |

## Municipalities

### Calatayud

*Population: 16,569*

 Summary of the 13 June 1999 City Council of Calatayud election results
|  | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
| Parties and alliances | | Popular vote | | | Seats | |
| | Votes | % | ±pp | Total | +/− |
|  | People's Party (PP) | 6,870 | 70.06 | +21.31 | **13** | +3 |
|  | Spanish Socialist Workers' Party (PSOE) | 1,599 | 16.31 | –12.07 | **3** | –2 |
|  | Aragonese Union (CHA) | 492 | 5.02 | +0.94 | **1** | +1 |
|  | | | | | | |
|  | United Left of Aragon (IU) | 367 | 3.74 | –3.45 | 0 | –1 |
|  | Aragonese Party (PAR) | 303 | 3.09 | –2.66 | 0 | –1 |
| Blank ballots | | 175 | 1.78 | –1.08 |  | |
|  | | | | | | |
| Total | | 9,806 |  | | 17 | ±0 |
|  | | | | | | |
| Valid votes | | 9,806 | 99.23 | –0.06 |  | |
| Invalid votes | | 76 | 0.77 | +0.06 | |
| Votes cast / turnout | | 9,882 | 68.98 | –3.20 | |
| Abstentions | | 4,443 | 31.02 | +3.20 | |
| Registered voters | | 14,325 |  | | |
|  | | | | | | |
| Sources | | | | | | |

### Huesca

*Population: 45,485*

 Summary of the 13 June 1999 City Council of Huesca election results
|  | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
| Parties and alliances | | Popular vote | | | Seats | |
| | Votes | % | ±pp | Total | +/− |
|  | Spanish Socialist Workers' Party (PSOE) | 6,808 | 31.01 | +9.58 | **7** | +2 |
|  | People's Party (PP) | 6,639 | 30.24 | –0.04 | **7** | ±0 |
|  | Aragonese Union (CHA) | 3,119 | 14.21 | +8.54 | **3** | +2 |
|  | Aragonese Party (PAR) | 2,966 | 13.51 | –15.99 | **3** | –3 |
|  | United Left of Aragon (IU) | 1,138 | 5.18 | –4.06 | **1** | –1 |
|  | | | | | | |
|  | Upper Aragonese Territory Regenerationist Group (ARTA) | 362 | 1.65 | *New* | 0 | ±0 |
|  | Humanist Party (PH) | 34 | 0.15 | *New* | 0 | ±0 |
| Blank ballots | | 888 | 4.04 | +2.20 |  | |
|  | | | | | | |
| Total | | 21,954 |  | | 21 | ±0 |
|  | | | | | | |
| Valid votes | | 21,954 | 98.97 | –0.29 |  | |
| Invalid votes | | 229 | 1.03 | +0.29 | |
| Votes cast / turnout | | 22,183 | 57.66 | –10.42 | |
| Abstentions | | 16,287 | 42.34 | +10.42 | |
| Registered voters | | 38,470 |  | | |
|  | | | | | | |
| Sources | | | | | | |

### Teruel

*Population: 29,320*

 Summary of the 13 June 1999 City Council of Teruel election results
|  | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
| Parties and alliances | | Popular vote | | | Seats | |
| | Votes | % | ±pp | Total | +/− |
|  | People's Party (PP) | 5,813 | 39.25 | –6.02 | **9** | –1 |
|  | Spanish Socialist Workers' Party (PSOE) | 3,886 | 26.24 | –6.07 | **6** | –1 |
|  | Aragonese Party (PAR) | 2,740 | 18.50 | +9.01 | **4** | +2 |
|  | Aragonese Union (CHA) | 991 | 6.69 | +1.49 | **1** | ±0 |
|  | United Left of Aragon (IU) | 835 | 5.64 | –0.12 | **1** | ±0 |
|  | | | | | | |
|  | Humanist Party (PH) | 52 | 0.35 | *New* | 0 | ±0 |
| Blank ballots | | 492 | 3.32 | +1.36 |  | |
|  | | | | | | |
| Total | | 14,809 |  | | 21 | ±0 |
|  | | | | | | |
| Valid votes | | 14,809 | 99.13 | –0.18 |  | |
| Invalid votes | | 130 | 0.87 | +0.18 | |
| Votes cast / turnout | | 14,939 | 60.35 | –7.17 | |
| Abstentions | | 9,816 | 39.65 | +7.17 | |
| Registered voters | | 24,755 |  | | |
|  | | | | | | |
| Sources | | | | | | |

### Zaragoza

*Population: 603,367*

 Summary of the 13 June 1999 City Council of Zaragoza election results
|  | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
| Parties and alliances | | Popular vote | | | Seats | |
| | Votes | % | ±pp | Total | +/− |
|  | People's Party (PP) | 125,693 | 42.30 | –4.48 | **15** | ±0 |
|  | Spanish Socialist Workers' Party (PSOE) | 88,482 | 29.78 | +10.97 | **10** | +4 |
|  | Aragonese Union (CHA) | 40,333 | 13.57 | +7.61 | **4** | +2 |
|  | Aragonese Party (PAR) | 23,009 | 7.74 | –4.79 | **2** | –2 |
|  | | | | | | |
|  | United Left of Aragon (IU) | 12,926 | 4.35 | –8.93 | 0 | –4 |
|  | Humanist Party (PH) | 729 | 0.25 | *New* | 0 | ±0 |
| Blank ballots | | 5,961 | 2.01 | +0.31 |  | |
|  | | | | | | |
| Total | | 297,133 |  | | 31 | ±0 |
|  | | | | | | |
| Valid votes | | 297,133 | 99.50 | –0.01 |  | |
| Invalid votes | | 1,506 | 0.50 | +0.01 | |
| Votes cast / turnout | | 298,639 | 58.46 | –8.62 | |
| Abstentions | | 212,193 | 41.54 | +8.62 | |
| Registered voters | | 510,832 |  | | |
|  | | | | | | |
| Sources | | | | | | |


abstract: The 1955–56 Iowa Hawkeyes men's basketball team represented the University of Iowa in intercollegiate basketball during the 1955–56 season. After opening the season 3–5, the team won 17 consecutive games to finish with a 20–6 record, and won their second straight Big Ten title. The Hawkeyes also made their second consecutive trip to the Final Four, defeating Temple before falling to the unbeaten, back-to-back National champion San Francisco Dons in the title game.

text:
# 1955–56 Iowa Hawkeyes men's basketball team

1955–56 Big Ten Conference men's basketball standings
|  | Conf | | | | |  |  | Overall | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Team | W |  | L |  | PCT |  |  | W |  | L |  | PCT |
| No. 4 Iowa | 13 |  | 1 |  | .929 |  |  | 20 |  | 6 |  | .769 |
| No. 10 Illinois | 11 |  | 3 |  | .786 |  |  | 18 |  | 4 |  | .818 |
| Ohio State | 9 |  | 5 |  | .643 |  |  | 16 |  | 6 |  | .727 |
| Purdue | 9 |  | 5 |  | .643 |  |  | 16 |  | 6 |  | .727 |
| Michigan State | 7 |  | 7 |  | .500 |  |  | 13 |  | 9 |  | .591 |
| Indiana | 6 |  | 8 |  | .429 |  |  | 13 |  | 9 |  | .591 |
| Minnesota | 6 |  | 8 |  | .429 |  |  | 11 |  | 11 |  | .500 |
| Michigan | 4 |  | 10 |  | .286 |  |  | 9 |  | 13 |  | .409 |
| Wisconsin | 4 |  | 10 |  | .286 |  |  | 6 |  | 16 |  | .273 |
| Northwestern | 1 |  | 13 |  | .071 |  |  | 2 |  | 20 |  | .091 |
|  | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| Rankings from AP Poll | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |

The **1955–56 Iowa Hawkeyes men's basketball team** represented the University of Iowa in intercollegiate basketball during the 1955–56 season. After opening the season 3–5, the team won 17 consecutive games to finish with a 20–6 record (13–1 in Big Ten), and won their second straight Big Ten title. The Hawkeyes also made their second consecutive trip to the Final Four, defeating Temple before falling to the unbeaten, back-to-back National champion San Francisco Dons in the title game.

## Roster

The group of seniors on this team  Sharm Scheuerman, Bill Logan, Carl Cain, Bill Seaberg and Bill Schoof  are known to Hawkeye fans as the "Fabulous Five."

| 1955–56 Iowa Hawkeyes men's basketball team | |
| --- | --- |
| Players | Coaches |
| Pos. # Name Height Weight Year Previous school Hometown  21 Carl Cain 6 ft 3 in (1.91 m)  Sr Freeport High School Freeport, IL  22 Bill Seaberg 6 ft 2 in (1.88 m)  Sr  Moline, IL  24 Augie Martel 5 ft 10 in (1.78 m)  Jr    31 Bill Logan 6 ft 6 in (1.98 m)  Sr Keokuk High School Keokuk, IA  33 Bill Schoof 6 ft 6 in (1.98 m)  Sr  Homewood, IL  F/C 35 Bob George   Sr    42 Tom Payne   So    46 Sharm Scheuerman 6 ft 2 in (1.88 m)  Sr Rock Island High School Moline, IL | Head coach Assistant coach(es)  ---  Legend* **(C)** Team captain * **(S)** Suspended * **(I)** Ineligible * **(W)** Walk-on |

## Schedule/results

| Date
time, TV | Rank# | Opponent# | Result | Record | High points | High rebounds | High assists | Site (attendance)
city, state |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Regular season | | | | | | | | |
| 12/4/1955*
 | No. 4 | Nebraska | **W** 60–51 | 1–0
 | 16  Logan |  |  | Iowa Field House
Iowa City, IA |
| 12/9/1955*
 | No. 4 | SMU | **W** 80–62 | 2–0
 | 17  Seaberg |  |  | Iowa Field House
Iowa City, IA |
| 12/12/1955*
 | No. 4 | at Colorado | **L** 57–60 | 2–1
 | 18  Seaberg |  |  | Balch Fieldhouse
Boulder, CO |
| 12/17/1955*
8:00 pm | No. 4 | Loyola (Los Angeles) | **W** 84–61 | 3–1
 | 17  Logan |  |  | Iowa Field House
Iowa City, IA |
| 12/27/1955*
 | No. 6 | at Washington | **L** 71–76 | 3–2
 |  |  |  | Hec Edmundson Pavilion
Seattle, WA |
| 12/29/1955*
 | No. 6 | at Stanford | **L** 52–54 | 3–3
 |  |  |  | Old Pavilion
Palo Alto, CA |
| 12/30/1955*
 | No. 6 | at California | **L** 45–70 | 3–4
 |  |  |  | Harmon Gym
Berkeley, CA |
| 1/7/1956
 |  | No. 20 Michigan State | **L** 64–65 | 3–5
(0–1) |  |  |  | Iowa Field House
Iowa City, IA |
| 1/9/1956
 |  | No. 10 Ohio State | **W** 88–73 | 4–5
(1–1) |  |  |  | Ohio Expo Center Coliseum
Columbus, OH |
| 1/14/1956
 |  | Minnesota | **W** 84–62 | 5–5
(2–1) |  |  |  | Iowa Field House
Iowa City, IA |
| 1/21/1956
 | No. 20 | Michigan | **W** 78–67 | 6–5
(3–1) |  |  |  | Yost Field House
Ann Arbor, MI |
| 1/23/1956
 | No. 20 | Purdue | **W** 67–63 | 7–5
(4–1) |  |  |  | Lambert Fieldhouse
West Lafayette, IN |
| 2/4/1956*
 | No. 19 | Wichita | **W** 98–86 | 8–5
 |  |  |  | Iowa Field House
Iowa City, IA |
| 2/6/1956
 | No. 19 | Wisconsin | **W** 78–74 | 9–5
(5–1) |  |  |  | Wisconsin Field House
Madison, WI |
| 2/11/1956
 | No. 17 | at Northwestern | **W** 70–65 | 10–5
(6–1) |  |  |  | McGaw Hall
Evanston, IL |
| 2/13/1956
 | No. 17 | Purdue | **W** 88–75 | 11–5
(7–1) |  |  |  | Iowa Field House
Iowa City, IA |
| 2/18/1956
7:30 pm | No. 15 | Wisconsin | **W** 80–66 | 12–5
(8–1) |  |  |  | Iowa Field House
Iowa City, IA |
| 2/20/1956
 | No. 15 | at Indiana | **W** 87–83 | 13–5
(9–1) |  |  |  | The Fieldhouse
Bloomington, IN |
| 2/25/1956
 | No. 13 | at Minnesota | **W** 83–73 | 14–5
(10–1) |  |  |  | Williams Arena
Minneapolis, MN |
| 2/27/1956
 | No. 13 | Northwestern | **W** 86–68 | 15–5
(11–1) | 21  Logan |  |  | Iowa Field House
Iowa City, IA |
| 3/3/1956
 | No. 10 | No. 2 Illinois | **W** 96–72 | 16–5
(12–1) |  |  |  | Iowa Field House
Iowa City, IA |
| 3/5/1956
 | No. 10 | Indiana | **W** 84–73 | 17–5
(13–1) | 21  Seaberg |  |  | Iowa Field House (14,900)
Iowa City, IA |
| NCAA tournament | | | | | | | | |
| 3/16/1956*
 | No. 4 | vs. Morehead State
*Midwest Regional semifinal* | **W** 97–83 | 18–5
 | 28  Cain | 14  Cain |  | Iowa Field House
Iowa City, IA |
| 3/17/1956*
 | No. 4 | vs. No. 9 Kentucky
*Midwest Regional Final* | **W** 89–77 | 19–5
 | 34  Cain | 13  Logan |  | Iowa Field House
Iowa City, IA |
| 3/22/1956*
 | No. 4 | vs. No. 15 Temple
*National semifinal* | **W** 83–76 | 20–5
 | 36  Logan | 18  Schoof |  | McGaw Hall
Evanston, IL |
| 3/23/1956*
 | No. 4 | vs. No. 1 San Francisco
*National Championship* | **L** 71–83 | 20–6
 | 17  *Tied* | 15  Logan |  | McGaw Hall
Evanston, IL |
| *Non-conference game. #Rankings from AP Poll. (#) Tournament seedings in parentheses.
MW=Midwest. | | | | | | | | | | | |

## Rankings

Ranking movements
**Legend:** ██ Increase in ranking ██ Decrease in ranking
— = Not ranked
|  | Week | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Poll | Pre | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | Final |
| AP | Not released | 5 | 4 | 10 | 6 |  |  | 20 | 13 | 19 | 17 | 15 | 13 | 10 | 5 | 4 |
| Coaches | 5 | 5 | 4 | 6 | 5 | 16 |  |  | 13 | 12 | 16 | 13 | 12 | 9 | 4 | Not released |

## Awards and honors

## InfoBox

| 1955–56 Iowa Hawkeyes men's basketball | |
| --- | --- |
|  | |
| NCAA tournament, Runner-up
Big Ten Champions | |
| National Championship Game,
L 71-83 vs. San Francisco | |
| Conference | Big Ten Conference |
| Ranking | |
| Coaches | No. 4 |
| AP | No. 4 |
| Record | 20–6 (13–1 Big Ten) |
| Head coach |  |
| MVP | Carl Cain |
| Home arena | Iowa Field House |
|


title: Wildhaus-Alt St. Johann

abstract: Wildhaus-Alt St. Johann is a municipality in the Wahlkreis (constituency) of Toggenburg in the canton of St. Gallen in Switzerland. It was formed on 1 January 2010 through the merger of Alt St. Johann and Wildhaus.

text:
# Wildhaus-Alt St. Johann

**Wildhaus-Alt St. Johann** is a municipality in the *Wahlkreis* (constituency) of Toggenburg in the canton of St. Gallen in Switzerland. It was formed on 1 January 2010 through the merger of Alt St. Johann and Wildhaus.

## Demographics

The former municipalities that would become Wildhaus-Alt St. Johann had a combined population of 2,624 (as of December 2020).

## Historic population

The historical population is given in the following table:

| year | population
(Alt St. Johann) | population
(Wildhaus) | population total |
| --- | --- | --- | --- |
| 1850 | 1,623 | 1,163 | 2,786 |
| 1900 | 1,504 | 1,096 | 2,600 |
| 1950 | 1,434 | 1,150 | 2,584 |
| 2000 | 1,453 | 1,278 | 2,731 |
|

## Weather

Wildhaus has an average of 157 days of rain or snow per year and on average receives 1,640 mm (65 in) of precipitation. The wettest month is August during which time Wildhaus receives an average of 202 mm (8.0 in) of rain or snow. During this month there is precipitation for an average of 14.7 days. The month with the most days of precipitation is June, with an average of 15.8, but with only 199 mm (7.8 in) of rain or snow. The driest month of the year is October with an average of 100 mm (3.9 in) of precipitation over 14.7 days.

## Heritage sites of national significance

The paleolithic cave, *Wildenmannlisloch* in Alt St. Johann and the birthplace of the Reformer Huldrych Zwingli at Lisighus 167 in Wildhaus are listed as Swiss heritage sites of national significance.

## InfoBox

| Wildhaus-Alt St. Johann | |
| --- | --- |
| Municipality | |
| Wildhaus-Alt Sankt Johann | |
|  | |
| Location of Wildhaus-Alt St. Johann | |
| Wildhaus-Alt St. JohannWildhaus-Alt St. Johann | |
| Coordinates: 47°11′N 9°17′E / 47.183°N 9.283°E / 47.183; 9.283 | |
| Country | Switzerland |
| Canton | St. Gallen |
| District | Toggenburg |
| Government | |
| Mayor | Rolf Züllig
(as of 2010) |
| Area | |
| Total | 87.53 km2 (33.80 sq mi) |
| Elevation | 895 m (2,936 ft) |
| Population (31 December 2018) | |
| Total | 2,625 |
| Density | 30/km2 (78/sq mi) |
| Time zone | UTC+01:00 (Central European Time) |
| Summer (DST) | UTC+02:00 (Central European Summer Time) |
| Postal code(s) | 9656 Alt St. Johann
9658 Wildhaus |
| SFOS number | 3359 |
| ISO 3166 code | CH-SG |
| Surrounded by | Amden, Grabs, Nesslau-Krummenau, Quarten, Stein, Walenstadt |
| Website | www.wildhaus-altstjohann.ch
SFSO statistics |