title: Muisca art

abstract: This article describes the art produced by the Muisca. The Muisca established one of the four grand civilisations of the pre-Columbian Americas on the Altiplano Cundiboyacense in present-day central Colombia. Their various forms of art have been described in detail and include pottery, textiles, body art, hieroglyphs and rock art. While their architecture was modest compared to the Inca, Aztec and Maya civilisations, the Muisca are best known for their skilled goldworking. The Museo del Oro in the Colombian capital Bogotá houses the biggest collection of golden objects in the world, from various Colombian cultures including the Muisca. The first art in the Eastern Ranges of the Colombian Andes goes back several millennia. Although this predates the Muisca civilisation, whose onset is commonly set at 800 AD, nevertheless, some of these styles persevered through the ages. During the preceramic era, the people of the highlands produced petrographs and petroglyphs representing their deities, the abundant flora and fauna of the area, abstract motives and anthropomorphic or anthropo-zoomorphic elements. The self-sufficient sedentary agricultural society developed into a culture based on ceramics and the extraction of salt in the Herrera Period, usually defined as 800 BC to 800 AD. During this time, the oldest existing form of constructed art was erected; the archaeoastronomical site called El Infiernito by the catholic Spanish conquistadors. The Herrera Period also marked the widespread use of pottery and textiles and the start of what would become the main motive for the Spanish conquest; the skilled fine goldworking. The golden age of Muisca metallurgy is represented in the Muisca raft, considered the masterpiece of this technology and depicts the initiation ritual of the new psihipqua of Muyquytá, the southern part of the Muisca Confederation. This ceremony, performed by xeques (priests) and caciques wearing feathered golden crowns and accompanied by music and dance, took place on a raft in Lake Guatavita, in the northern part of the flat Bogotá savanna. Accounts of such ceremonies created the legend of El Dorado among the Spanish, leading them on a decades-long quest for this mythical place. The rich art elaborated by the Muisca has inspired modern artists and designers in their creativity. Muisca motives are represented as murals, in clothing and as objects found all over the former Muisca territories as well as in animated clips and video games. The art of the indigenous inhabitants of the Altiplano Cundiboyacense is well studied by many different researchers who published their work right from the beginning of colonial times. The conquistador who made first contact with the Muisca, Gonzalo Jiménez de Quesada, wrote in his memoires about a skilled and well-organised civilisation of traders and farmers. Friar Pedro Simón described the relation between art and the religion and later contributions in the analysis of the various artforms have been made by Alexander von Humboldt, Joaquín Acosta and Liborio Zerda in the 19th century, Miguel Triana, Eliécer Silva Celis and Sylvia M. Broadbent in the 20th century and modern research is dominated by the work of Carl Henrik Langebaek Rueda, Javier Ocampo López and many others.

text:
# Muisca art

This article describes the **art** produced by the **Muisca**. The Muisca established one of the four grand civilisations of the pre-Columbian Americas on the Altiplano Cundiboyacense in present-day central Colombia. Their various forms of art have been described in detail and include pottery, textiles, body art, hieroglyphs and rock art. While their architecture was modest compared to the Inca, Aztec and Maya civilisations, the Muisca are best known for their skilled goldworking. The Museo del Oro in the Colombian capital Bogotá houses the biggest collection of golden objects in the world, from various Colombian cultures including the Muisca.

The first art in the Eastern Ranges of the Colombian Andes goes back several millennia. Although this predates the Muisca civilisation, whose onset is commonly set at 800 AD, nevertheless, some of these styles persevered through the ages.

During the preceramic era, the people of the highlands produced petrographs and petroglyphs representing their deities, the abundant flora and fauna of the area, abstract motives and anthropomorphic or anthropo-zoomorphic elements. The self-sufficient sedentary agricultural society developed into a culture based on ceramics and the extraction of salt in the Herrera Period, usually defined as 800 BC to 800 AD. During this time, the oldest existing form of constructed art was erected; the archaeoastronomical site called *El Infiernito* ("The Little Hell") by the catholic Spanish conquistadors. The Herrera Period also marked the widespread use of pottery and textiles and the start of what would become the main motive for the Spanish conquest; the skilled fine goldworking. The golden age of Muisca metallurgy is represented in the Muisca raft, considered the masterpiece of this technology and depicts the initiation ritual of the new *psihipqua* of Muyquytá, the southern part of the Muisca Confederation. This ceremony, performed by *xeques* (priests) and *caciques* wearing feathered golden crowns and accompanied by music and dance, took place on a raft in Lake Guatavita, in the northern part of the flat Bogotá savanna. Accounts of such ceremonies created the legend of *El Dorado* among the Spanish, leading them on a decades-long quest for this mythical place.

The rich art elaborated by the Muisca has inspired modern artists and designers in their creativity. Muisca motives are represented as murals, in clothing and as objects found all over the former Muisca territories as well as in animated clips and video games. The art of the indigenous inhabitants of the Altiplano Cundiboyacense is well studied by many different researchers who published their work right from the beginning of colonial times. The conquistador who made first contact with the Muisca, Gonzalo Jiménez de Quesada, wrote in his memoires about a skilled and well-organised civilisation of traders and farmers. Friar Pedro Simón described the relation between art and the religion and later contributions in the analysis of the various artforms have been made by Alexander von Humboldt, Joaquín Acosta and Liborio Zerda in the 19th century, Miguel Triana, Eliécer Silva Celis and Sylvia M. Broadbent in the 20th century and modern research is dominated by the work of Carl Henrik Langebaek Rueda, Javier Ocampo López and many others.

## Background

The central highlands of the Eastern Ranges of the Colombian Andes, called Altiplano Cundiboyacense, was inhabited by indigenous groups from 12,500 BP, as evidenced from archaeological finds at rock shelter El Abra, presently part of Zipaquirá. The first human occupation consisted of hunter-gatherers who foraged in the valleys and mountains of the Andean high plateau. Settlement in the early millennia of this Andean preceramic age was mainly restricted to caves and rock shelters, such as Tequendama in present-day Soacha, Piedras del Tunjo in Facatativá and Checua that currently is part of the municipality Nemocón. Around 3000 BC, the inhabitants of the Andean plains started to live in open space areas and constructed primitive circular houses where they elaborated the stone tools used for hunting, fishing, food preparation and primitive art, mostly rock art. The type site for this transition is the archaeological site Aguazuque, in the northwest of Soacha, close to Bogotá.

Abundant evidence for the domestication of guinea pigs has been found at Tequendama and Aguazuque where the small rodents formed part of the diet of the people, who consumed mainly white-tailed deer, hunted on the plains surrounding the various lakes and rivers. The diet was greatly expanded when early agriculture was introduced, possibly influenced by migrations from the south; present-day Peru. The main cultivated product was maize in various forms and colours, while tubers formed a significant other part of the food source. The fertile soils of especially the Bogotá savanna proved advantageous for the development of this agriculture, still evidenced today by the widespread farmfields outside the Colombian capital.

## Pre-Muisca art

The first forms of art recognised on the Altiplano are petrographs and petroglyphs in various locations on the Altiplano, mainly at the rock shelters of the Bogotá savanna. El Abra, Piedras del Tunjo and Tequendama are among the oldest sites where rock art has been discovered. The Herrera Period, commonly defined from 800 BC to 800 AD, was the age of the first ceramics. The oldest Herrera pottery has been discovered in Tocarema and dates to 800 BC. Herrera art is also represented by the archaeoastronomical site, called *El Infiernito* by the Spanish. On a field outside Villa de Leyva, menhirs in the shape of aligned phalluses were erected. This site, the oldest remaining of constructed art, dated at 500 BC, formed an important place for religious rituals and festivities where great quantities of the alcoholic drink chicha was consumed. The evidence for festivities at this site are from a later date, already in the Muisca Period.

The goldworking in the northern parts of South America, mainly in present-day Colombia, is thought to originate from regions more to the south; the north of Peru and Ecuador, during a large timespan from 1600 to 1000 BC. The development of different goldworking cultures in southern Colombia happened around 500 BC. The late Herrera Period showed the first evidences of goldworking on the Altiplano. Golden artefacts have been found in Tunja and Cómbita in Boyacá and Guatavita in Cundinamarca with estimated ages ranging from 250 to 400 AD.

## Muisca art

The Muisca period is commonly set commencing from 800 AD and lasting until the Spanish conquest of the Muisca in 1537, although regional variations of the start dates are noted. The Early Muisca Period, roughly defined from 800 to 1000 AD, showed an increase in long-distance trade with the Caribbean coastal indigenous populations, mummification and the introduction of goldworking. The transition between Early Muisca and Late Muisca is defined by a more complex society, interregional trade of pottery, population growth and settlements of larger sizes closer to the agricultural lands. When the Spanish conquistadors arrived on the Altiplano, they described a concentration of settlements on the flatlands of the Bogotá savanna.

### Zoomorphic figurines

As the Tairona of the Colombian Caribbean coast, the Muisca made the zoomorphic figurines based on the fauna with their habitat of the area. Main animals used for their figures were the frog and serpents. The serpents were made in zig-zag shapes with eyes on top of the head. Many serpentiform objects have the typical forked tongue of the snake represented as well as the fawns clearly added. Some of the snakes have beards, moustaches or even a human head. Researcher Gerardo Reichel-Dolmatoff theorised in his book *Orfebrería y chamanismo* in 1988 that the basis for the beards and moustaches may have been the abundant fish present on the Altiplano and essential part of the diet of the Muisca and their ancestors, as evidenced in Aguazuque; *Eremophilus mutisii*.

Frogs (*iesua*, meaning "food from the Sun" in Muysccubun) and toads were important animals in the concept of nature and the relation with the spiritual world for the Muisca. They represented the start of the rainy season, which is illustrated in the use in the Muisca calendar; the symbols for the first (*ata*), ninth (*aca*) and holy twentieth (*gueta*) month of the years are derived from toads. The common year of the complex lunisolar calendar consisted of twenty months. The frogs are shown in many different settings and forms of art; painted on ceramics, in the hieroglyphs of the rock art and as figurines. In many cases they are shown in combination with everyday activities and were used to represent humans, mostly women.

### Goldworking

The Muisca were famous for their goldworking. Although in the Muisca Confederation gold deposits were not abundant, the people obtained a lot of gold through trading, mainly in La Tora (called Barrancabermeja today) and other locations at the Magdalena River. The earliest radiocarbon dates of goldworking of the Muisca are derived from carbon traces in the cores of golden noserings and provided ages of between 600 and 800 AD. The oldest evidences for Muisca goldworking were found in Guatavita, Fusagasugá and El Peñon, all in present-day Cundinamarca. The goldwork bears similarity but is not identical to the metallurgy of the Quimbaya of the Cauca and Magdalena Valleys.

Based on the stylistic variability and metallurgic technology analysed in Muisca goldworking, three processes have been concluded;

* the Herrera people elaborated golden and copper objects such as crowns, and other offering figures from alluvial resources using the first molds and hammers and possibly matrixes.
* Around 400 AD, the metallurgy became more advanced, using the *tumbaga* alloy and an increase in the production of offering figures is noted.
* The last phase of skilled goldworking is characterised by more detailed goldworking using gold from trade with other indigenous groups.

With the indigenous groups closer to the Caribbean Coast, the people traded highly valuable sea snails. Ironically, the sea snails were worth more than the price of gold to the Muisca, due to the distance from their location far inland high in the Andes. The skilled goldworking of the Muisca formed the basis for the legend of *El Dorado* that became widespread among the Spanish conquistadors; this eventually drew them into the heart of Colombia—an ill-fated expedition that took almost a year and cost the lives of about 80% of their men.

#### *Tunjos*

*Tunjos* (from Muysccubun: *tunxo*) are small votive offering figures produced in great quantities by the Muisca. They are found in various places on the Altiplano, mainly in lakes and rivers, and are the most common object housed in museum collections outside Colombia. The word *tunjo* was used first in the literature about the Muisca in 1854, by scholar Ezequiel Uricoechea. The figurines are mostly anthropomorphic with other examples being zoomorphic. The *tunjos* were mostly elaborated using *tumbaga*; an alloy of gold, copper and silver, some with traces of lead or iron. The majority of ceramic or stone *tunjos* has been described from Mongua, close to Sogamoso. The *tunjos* served three purposes; as decoration of temples and shrines, for offering rituals in the sacred lakes and rivers in the Muisca religion, and as pieces in funerary practices; to accompany the dead to the afterlife. Ceramic human *tunjos* were kept in the houses (*bohíos*) of the Muisca, together with emeralds.

The precious metals silver and gold were not common in the Eastern Ranges, while copper was mined in Gachantivá, Moniquirá and in the mountains to the south of the Bogotá savanna at Sumapaz. The process of elaborating the fine filigree figures took place by creating a mold of obsidian, shale or clay, filling the open space with bee wax, obtained through trade with the neighbouring indigenous peoples from the Llanos Orientales to the east of the Altiplano; the Achagua, Tegua and Guayupe. The bee wax occupied the voids of the mold and the mold was heated by fires. The bee wax would melt, leaving an open space where the *tumbaga* or sometimes gold was poured into, a process called lost-wax casting. Using this method, modern *tunjos* are still fabricated in the centre of Bogotá.

Between 1577 and 1583, various colonial writers have reported in their chronicles the use of *tunjos* for offering pieces. The descriptions from the early colonial period of the New Kingdom of Granada have been collected first by Vicenta Cortés Alonso in 1958 and later by Ulises Rojas in 1965. The reports of the late 16th century show that the religious practices of the Muisca were still alive, despite the intensive catholic conversion policies. *Caciques* of Tuta, Toca, Duitama, Iguaque, Ramiriquí, Chitagoto, Onzaga, Tunja and Cucunubá participated in these rituals. The religious leader of Sogamoso was still the most important in these days.

#### Muisca raft

The Muisca raft is the masterpiece of the Muisca goldworking and has become illustrative for the fine techniques used. The 19.1 centimetres (7.5 in) by 10 centimetres (3.9 in) object was found in 1969 in a ceramic pot hidden in a cave in the municipality of Pasca, in the southwest of the Bogotá savanna and has become the centerpiece in the Museo del Oro in Bogotá. The raft is interpreted as picturing the initiation ritual of the new *zipa* in the sacred Lake Guatavita, where the new ruler would cover himself in gold dust and jump from a small boat into the waters of the 3,000 metres (9,800 ft) high post-glacial lake to honour the gods. This ceremony was accompanied by priests (Muysccubun: *xeque*) and formed the basis for the *El Dorado* legend that drew the Spanish conquistadors towards the high Andes. The raft has been constructed using the lost-wax casting method and is made of *tumbaga* of around 80% gold, 12% silver and 8% copper. It contains 229 grams of gold.

The Muisca raft is also featured in the coat of arms of two municipalities of Cundinamarca; Sesquilé, where Lake Guatavita is located, and Pasca, where the raft was found.

Coat of arms of SesquiléLake GuatavitaCoat of arms of PascaThe Muisca raft is thought to represent the initiation ritual of the new *zipa* in **Lake Guatavita, Sesquilé** and has been found hidden in a cave in **Pasca**, both in Cundinamarca

#### Jewelry

The Muisca society was in essence egalitarian with slight differences in terms of use of jewelry. The guecha warriors, priests and *caciques* were allowed to wear multiple types of jewelry, while the common people used less jewels. Golden or *tumbaga* jewelry existed of diadems, nose pieces, breast plates, earrings, pendants, tiaras, bracelets and masks.

### Architecture

While the other three grand pre-Columbian civilisations—the Maya, Aztec and Inca—are known for their grand architecture in the form of pyramids, stelae, stone cities and temples, the modest Muisca architecture has left very little traces in the present. The houses (called *bohíos* or *malokas*) and temples of the people, where spiritual gatherings took place honouring the gods and sacrificing *tunjos*, emeralds and children, were made of degradable materials such as wood, clay and reed. The circular structures were built on top of slightly elevated platforms to prevent them from flooding on the frequently inundated plains; small settlements of ten to one hundred houses were surrounded by wooden poles forming an enclosure, called *ca* in Muysccubun. Two or more gates gave entrance to the villages. The houses and temples themselves were built around a central pole of wood attached to the roof; the temples were constructed using the wood of *Guaiacum officinale* tree, giving high quality construction. The floors of the open spaced houses were covered with straw or, for the *caciques*, with ceramic floors. Cloths were attached to the roof and painted with red and black colours. The houses and sacred places were adorned with *tunjos* and emeralds, and in some cases with the remains of human sacrifices.

#### Roads

The roads the Muisca merchants and *xeques* used to traverse the Altiplano and access surrounding areas, were dug in the top soil without pavement, making them hard to recognise in the archaeological record. The roads leading to the religious sites, such as Lake Tota, were marked with stones surrounding the pathway, which are still visible today. Cable bridges of vines and bamboo connected the banks of the many rivers of the Andes. The roads crossing the mountains of the Eastern Ranges were narrow, which created a problem for the Spanish conquistadors who used horses to travel long distances.

#### Remaining antiquities

A few structures built by the Muisca still exist today; the Cojines del Zaque ("cushions of the zaque") in Tunja are two round stones with inclined upper parts used for religious ceremonies. Of the Goranchacha Temple, a circle of pillars remained, located on the terrains of the UPTC, also in Tunja. The holiest temple of the Muisca, the Sun Temple in sacred City of the Sun Suamox had been destroyed by fire when the Spanish conquerors looted the shrine and has been rebuilt based on archaeological research by Eliécer Silva Celis. The temple is part of the Archaeology Museum of the city in Boyacá.

### Mummies

Mummification was a tradition that many other pre-Columbian civilisations practiced. On the Altiplano, the habit of conserving the dead started in the Herrera Period, around the 5th century AD. The Muisca continued this culture and prepared their deceased beloved members of the society by putting the bodies above fires. The heat would dry the body and the phenol conserve the organs and protect them from decomposition, a process that took up to eight hours. After drying, the bodies were wrapped in cotton cloths and placed in caves, buried, or in some cases placed on elevated platforms inside temples, such as the Sun Temple. The position of the mummies was with their arms folded across the chest and the hands around the chin, while the legs were placed over the abdomen. During the preparation of the mummies, the Muisca played music and sang songs honouring their dead. The habit of mummification continued well into the colonial period; the youngest mummies found date from the second half of the 18th century.

To prepare the dead for the afterlife, the mummies were surrounded with ceramic pots containing food, *tunjos* and cotton bags and mantles. The guecha warriors were richly venerated with golden arms, crowns, emeralds and cotton. When the *caciques* and *zaque* and *zipa* died, their mummified bodies were placed in mausoleums and surrounded with golden objects. The highest regarded members of society were accompanied by their many wives, by slaves and their children. The mummy of a baby described from a cave in Gámeza, Boyacá, had a teether around the neck. Other mummies of children were richly decorated with gold and placed in caves, as was the case with a young girl described by Liborio Zerda.

The art of mummification was also practiced by other Chibcha-speaking groups in the Eastern Ranges; the Guane mummies are well studied, and also the U'wa and farther north the Chitarero of the department of Norte de Santander mummified their dead. The Carib-speaking Muzo buried their mummies with the head towards the west, while the Zenú and Panche, like the Muisca commonly oriented the faces of their mummies to the east. Some of the Muisca mummies were directed towards the south.

When the guecha warriors fought battles with neighbouring groups, most notably the Panche, and also against the Spanish conquistadors, they carried the mummies of their ancestors on their backs, to impress the enemy and receive fortune in battle.

### Music and dance

The Muisca played music, sang and danced mainly as part of religious, burial and initiation rituals, with harvests and sowing and after the victory in battles. Also during the construction of their houses, the Muisca performed music and dances. The early Spanish chronicles noted that the music and singing was monotonous and sad. As musical instruments they used drums, flutes made of shells or ceramics, trumpets of gold, zampoñas and ocarinas. At the rituals, the people would be dressed in feathers, animal skins (mainly jaguar) and decorated their bodies with paint. At the dances the women and men held hands and both the commoners and the higher social classes participated in these activities. The main deities associated with the dances were Huitaca and Nencatacoa.

### Ceramics

The use of ceramics on the Altiplano started in the Herrera Period, with the oldest evidences of ceramic use dated at 3000 BP. The many different clays of the rivers and lakes of the valleys on the high plateau made a variety of ceramic types possible.

The Muisca constructed ceramic pottery for cooking, the extraction of salt from brines, as decorative ritual pieces and for the consumption of their alcoholic beverage; chicha. Large ceramic jars were found around the sacred archaeoastronomical site of *El Infiernito*, used for massive rituals where the people celebrated their festivities drinking chicha. Also musical instruments such as ocarinas were made of ceramics. The ceramic pots and sculptures were painted with zoomorphic figures that were common in the Muisca territory; frogs, armadillos, snakes and lizards. Main ceramic production centres were located close to the abundance of clays, in Tocancipá, Gachancipá, Cogua, Guatavita, Guasca and Ráquira.

### Textiles

The Muisca, as the indigenous groups in the west of Colombia, developed a variety of textiles from fique or cotton. Cords were made of fique or human hair. The people of the cold climate Altiplano did not have a major cotton production, yet traded most of their cotton with their neighbours; the Muzo in the west, Panche in the southwest, Guane in the northwest, and the Guayupe in the east. From the raw cotton, the Muisca women made fine cotton mantles that were traded on the many markets in the Muisca territory.

The mantles of the Muisca were decorated with various colours. The colours were obtained from seeds; the seed of the avocado for green, flowers; saffron for orange and indigo weed for blue, fruits, crust and roots of plants, from animals as the cochineal insect producing purple colours, and minerals as the blue and green clays of Siachoque, the coloured earth of Suta and the yellow sediments of Soracá. Also curuba, the flowers of the potato plant (*Solanum andigenum*) and other colouring materials (*Rumex obtusifolia*, *Bixa orellana*, *Arrabidaea chica* and more) were used. The colours were applied using pencils, applying coloured threads or using stamps. The textiles were produced using various techniques, similar to the Aymara of southern South America and the Mesoamerican cultures. Small textiles functioned as money, just like the *tejuelos* of gold or salt was used.

The culture of mantle-making in the Muisca mythology is said to have been taught by Bochica, who trained the people in the use of spindles. Nencatacoa protected the weavers and painters of the mantles.

### Hieroglyphs

A script for text was not used by the Muisca, but the numerals were written with hieroglyphs. They have been analysed by various authors, such as Joaquín Acosta, Alexander von Humboldt and Liborio Zerda, and appear as rock art and on textiles. The frog is the most important and is represented in the numbers from one (*ata*) to twenty (*gueta*) five times, because the Muisca didn't have hieroglyphs for the numbers 11 to 19, so used the numerals one to nine again in combination with ten; fifteen was thus ten-and-five; *qhicħâ hɣcſcâ*.

### Body art

Tattoos were common for the Muisca and an expression of their identity. The people used *Bixa orellana* to paint their bodies, just like the Arawak, Carib and Tupi.

### Rock art

Many examples of rock art by the Muisca have been discovered on the Altiplano. The first rock art has been discovered by conquistador Gonzalo Jiménez de Quesada during the Spanish conquest of the Muisca. The rock art consists of petroglyphs (carvings) and petrographs (drawings). The petrographs were made using the index finger. Pioneer in the study of the rock art has been Miguel Triana. Later contributions have been done by Diego Martínez, Eliécer Silva Celis and others. It is theorised that the rock art has been made under the influence of ayahuasca (yahé).

The rock art of Soacha-Sibaté, in the southwest of the Bogotá savanna, has been studied in detail between 1970 and 2006, after initial studies by Triana. In these petrographs certain motives have been described; *triangular heads* are pictographs of human figures where the heads are painted in a triangular shape. They are applied using red colours and demonstrate various sizes. Similar motives are noted in Mongua, Tenjo and Tibacuy. In most cases of the rock art on the Altiplano, the body extremities, such as hands, are shown in simple shapes. In some cases however, the hands are elaborated with much more detail using spirals, concentric circles and more strokes, identified as *complex hands*. Apart from Sibaté, these shapes are encountered also in Saboyá and Tibaná in Boyacá. A third class of petrographs has been named *radial representations*. This motive shows the main figures with concentric square or circular lines drawn around them. The concentric circular drawings have been interpreted as representing the main deities of the Muisca religion; Chía (the Moon) and Sué, her husband the Sun. *Rhomboidal motives* are found in Sibaté, but their exact purpose has not yet been concluded. Both in Soacha and in Sibaté a fifth type of petrographs has been identified; *winged figures*. These motives resemble the birds that are described in *tunjos* and ceramics of the Altiplano.

The same scholar has performed detailed analysis of the rock art in Facatativá; the Piedras del Tunjo Archaeological Park. The many petrographs in this location are painted using red, yellow, ochre, blue, black and white colours. The motives show a possible tobacco plant, commonly used by the Muisca, zig-zag patterns, anthropomorphic figures, concentric lines similar to those in Soacha and Sáchica, zoomorphic motives and anthropo-zoomorphic composites in the shape of frogs.

Research in the 1960s by Eliécer Silva Celis on the rock art of Sáchica showed phytomorphic designs, masked human figures, singular and concentric rings, triangulated heads, and faces where the eyes and noses were drawn, but the mouths absent. The majority of the petrographs found here are abstract figures. The colours red, black and white dominate the rock paintings in Sáchica. The black has been analysed also at *El Infiernito* and is thought to refer to a pre-Muisca origin. Radial structures drawn on the heads of the anthropomorphic petrographs are interpreted as feathers. Feathers were precious objects for the Muisca and used by the *xeques* and *caciques* during the *El Dorado* ritual in Lake Guatavita.

Hand imprints, similar to the famous Cueva de las Manos in Argentina, yet less pronounced and in quantity, have been discovered on rock faces in Soacha and Motavita.

#### Muisca rock art on the Altiplano

As of 2006, 3487 locations of rock art had been discovered in Cundinamarca alone, of which 301 on the Bogotá savanna. Other locations have been found over the years. The rock art of the Archaeological Park of Facatativá is heavily vandalised. Plans for the preservation of the unique cultural heritage have been formulated since the mid-2000s. The petrographs of Soacha are endangered by the mining activities in the fastly growing suburb of Bogotá, as is happening with other mining districts; Chía, Sibaté, Tunja, Sáchica and others.

| Settlement | Department | Altitude (m)<br>urban centre | Type | Image | Map |
| --- | --- | --- | --- | --- | --- |
| El Abra | Cundinamarca | 2570 | petroglyphs |  |  |
| Facatativá<br>P. del Tunjo | Cundinamarca | 2611 | petrographs |  |  |
| Tenjo | Cundinamarca | 2587 | petrographs |  |  |
| Tibacuy | Cundinamarca | 1647 | petrographs |  |  |
| Berbeo | Boyacá | 1335 | petroglyphs |  |  |
| Sáchica | Boyacá | 2150 | petrographs |  |  |
| Bojacá | Cundinamarca | 2598 | petrographs |  |  |
| La Calera | Cundinamarca | 2718 | petrographs |  |  |
| Chía | Cundinamarca | 2564 | petrographs |  |  |
| Chipaque | Cundinamarca | 2400 | petrographs |  |  |
| Cogua | Cundinamarca | 2600 | petrographs |  |  |
| Cota | Cundinamarca | 2566 | petrographs |  |  |
| Cucunubá | Cundinamarca | 2590 | petrographs |  |  |
| Guachetá | Cundinamarca | 2688 | petrographs |  |  |
| Guasca | Cundinamarca | 2710 | petrographs |  |  |
| Guatavita | Cundinamarca | 2680 | petrographs |  |  |
| Machetá | Cundinamarca | 2094 | petrographs |  |  |
| Madrid | Cundinamarca | 2554 | petrographs |  |  |
| Mosquera | Cundinamarca | 2516 | petrographs |  |  |
| Nemocón<br>Checua | Cundinamarca | 2585 | petrographs |  |  |
| San Antonio<br>del Tequendama | Cundinamarca | 1540 | petrographs |  |  |
| San Francisco | Cundinamarca | 1520 | petrographs |  |  |
| Sibaté | Cundinamarca | 2700 | petrographs |  |  |
| Soacha | Cundinamarca | 2565 | petrographs |  |  |
| Subachoque | Cundinamarca | 2663 | petrographs |  |  |
| Suesca | Cundinamarca | 2584 | petrographs |  |  |
| Sutatausa | Cundinamarca | 2550 | petrographs |  |  |
| Tausa | Cundinamarca | 2931 | petrographs |  |  |
| Tena | Cundinamarca | 1384 | petrographs |  |  |
| Tenjo | Cundinamarca | 2587 | petrographs |  |  |
| Tequendama | Cundinamarca | 2570 | petrographs |  |  |
| Tibiritá | Cundinamarca | 1980 | petrographs |  |  |
| Tocancipá | Cundinamarca | 2605 | petrographs |  |  |
| Une | Cundinamarca | 2376 | petrographs |  |  |
| Zipacón | Cundinamarca | 2550 | petrographs |  |  |
| Zipaquirá | Cundinamarca | 2650 | petrographs |  |  |
| Bosa | Cundinamarca | 2600 | petrographs |  |  |
| Usme | Cundinamarca | 2600 | petrographs |  |  |
| Belén | Boyacá | 2750 | petrographs |  |  |
| Gámeza | Boyacá | 2750 | petrographs |  |  |
| Iza | Boyacá | 2560 | petrographs |  |  |
| Mongua | Boyacá | 2975 | petrographs |  |  |
| Motavita | Boyacá | 2690 | petrographs |  |  |
| Ramiriquí | Boyacá | 2325 | petrographs |  |  |
| Saboyá | Boyacá | 2600 | petrographs |  |  |
| Tibaná | Boyacá | 2115 | petrographs |  |  |
|

## Modern Muisca-based art

In the centre of Bogotá the process of production of *tunjos* is still alive. Using the same methods as the Muisca must have used, the votive offer figurines are crafted. Artistic representations of Muisca creativity are not as common as the Maya, Aztec and Inca. Still, modern interpretations of their art are produced. In Bosa, a locality in the west of Bogotá, a mural depicts the various deities. Another mural showing the gods and goddesses of the Muisca is made in the Hotel Tequendama, named after preceramic archaeological site and rock shelter Tequendama, in the centre of Bogotá. Other stylistic art of these deities are produced by professional graphic designers in Colombia. The Muisca are featured as one of the playable nations in the videogame *Europa Universalis IV*, where a specially developed expansion set *El Dorado* can be played; seven cities of gold in the Americas with the leaders of the main civilisations represented. In the main game, all the Muisca rulers, from Michuá and Meicuchuca till Tisquesusa, Sagipa and Aquiminzaque are included. Conquest of Paradise (DLC), about the conquest of the New World, is another expansion for the world diplomacy and strategy game. Other names are Muyquytá, Busbanzá, Cerinza, Charalá, Chipatá, Cuxininegua, Duitama, Guecha, *iraca*, Onzaga, Paipa, Saboyá, Soacha, Tenza, Tibana, Tibirita, Toca, Tomagata, Tunduma, Tutazúa, Uzathama, *zaque*, *zipa*, Tibacuy, Aguazuque and Zipacón. Artist Zamor has published about the Muisca and Colombian-Australian artist María Fernanda Cardoso made a piece about the importance of frogs within the culture, called "Dancing Frogs". In the 19th century, writer and later Colombian president Santiago Pérez de Manosalbas published a work called *Nemequene*, about *zipa* Nemequene.

### Bibliography

#### General Muisca & Herrera

#### Goldworking

* Cooper, Jago; Langebaek Rueda, Carl Henrik (2013), *The Lost Kingdoms of South America - Episode 3 - Lands of Gold*, retrieved 2016-07-08
* Langebaek Rueda, Carl Henrik (2003), "The Political Economy of Pre-Columbian Goldwork: Four Examples from Northern South America", *Gold and Power in Ancient Costa Rica, Panama, and Colombia - Jeffrey Quilter & John W. Hoopes* (in Spanish), Dumbarton Oaks Research Library and Collection, Washington, D.C., pp. 245–278
* Langebaek Rueda, Carl Henrik (1995a), "Heterogeneidad vs. homogeneidad en la arqueología colombiana: una nota crítica y el ejemplo de la orfebrería - Heterogeneity vs. homogeneity in the Colombian archaeology: a critical note and the example of the metallurgy", *Revista de antropología y arqueología* (in Spanish), **11**: 3–36
* Legast, Anne (2000), "La figura serpentiforme en la iconografía muisca", *Boletín Museo del Oro* (in Spanish), **46**: 22–39
* Lleras, Roberto; Gutiérrez, Javier; Pradilla, Helena (2009), "Metalurgia temprana en la Cordillera Oriental de Colombia - Early metallurgy in the Eastern Cordillera, Colombia", *Boletín de Antropología*, **23** (40), Universidad de Antioquia: 169–185, doi:10.17533/udea.boan.6480
* Londoño, Eduardo (1989), *Santuarios, santillos, tunjos: objetos votivos de los Muiscas en el siglo XVI* (in Spanish), pp. 92–120
* Pineda Camacho, Roberto (2005), *Laberinto de la identidad - símbolos de transformación y poder en la orfebrería prehispánica en Colombia* (in Spanish), pp. 16–92

#### Architecture

#### Mummies

* Martínez Martín, Abel Fernando; Martínez Santamaría, Luz (2012), "Sobre la momificación y los cuerpos momificados de los muiscas - On mummification and the mummified bodies of the Muisca", *Revista Salud Historia Sanidad*, 7 (in Spanish), **1**: 61–80, ISSN 1909-2407
* Ortega Loaiza, Natalia; Grisales Cardona, Diana Fernanda; Uribe Botina, Alejandra; Blandón Hernández, Juan Camilo (2012), *Los rituales fúnebres indígenas - The indigenous burial rituals* (in Spanish), pp. 1–15

#### Music

#### Ceramics and textiles

* Cortés Moreno, Emilia (1990), *Mantas Muiscas*, pp. 60–75
* Fernández Sacama, Martha (2013), "La manta Muisca como objeto de evocación - The Muisca Manta as an evocation object", *KEPES*, **9**: 285–296
* Ocampo López, Javier (1970), "La artesanía popular boyacense y su importancia en la geografía turística y económica", *El Correo Geográfico* (in Spanish), **1** (2), ACOGE, Tunja, Colombia: 87–92
* Peña Gama, Claudia, *Diseño precolumbino Muisca* (in Spanish), pp. 1–11
* Uscategui Mendoza, Nestor (1961), "Algunos colorantes vegetales usados por las tribus indígenas de Colombia", *Revista Colombiana de Antropología* (in Spanish), **10**, ICANH: 332–340

#### Numerals and archaeoastronomy

#### Rock art

#### Modern Muisca-based art


title: Uncle Nino

abstract: Uncle Nino is a 2003 American film directed by Robert Shallcross, produced by David James, and starring Joe Mantegna, Anne Archer, Pierrino Mascarino, Trevor Morgan, and Gia Mantegna. The film deals with a dysfunctional family, who have lost their way, and a distant relative played by Pierrino Mascarino intends to bring them closer together.

text:
# Uncle Nino

***Uncle Nino*** is a 2003 American film directed by Robert Shallcross, produced by David James, and starring Joe Mantegna, Anne Archer, Pierrino Mascarino, Trevor Morgan, and Gia Mantegna.

The film deals with a dysfunctional family, who have lost their way, and a distant relative played by Pierrino Mascarino intends to bring them closer together.

## Plot

A father, Robert Micelli (Joe Mantegna), has become a stranger to his family and thinks only of his lawn and job. After decades of no contact, Robert's Uncle Nino (Pierrino Mascarino) flies to the United States for an unexpected visit, with a suitcase full of homemade Italian wine. Nino helps the family realize the true value of family.

## Cast

## InfoBox

| Uncle Nino | |
| --- | --- |
| Film poster | |
| Directed by | Robert Shallcross |
| Written by | Robert Shallcross |
| Produced by | David James |
| Starring | Joe Mantegna
Anne Archer
Pierrino Mascarino
Trevor Morgan
Gia Mantegna |
| Cinematography | Hugo Cortina |
| Edited by | Dan Schalk |
| Music by | Larry Pecorella |
| Distributed by | Lange Film Releasing |
| Release date | * October 21, 2003 (2003-10-21) |
| Running time | 104 minutes |
| Country | United States |
| Language | English |


title: Georgie Leahy

abstract: Seán "Georgie" Leahy was an Irish hurling manager, coach, selector and player. His league and championship career with the Kilkenny senior team lasted just one season from 1970 until 1971. Leahy first played competitive hurling with the James Stephens club in his teens, winning a county junior championship medal in 1955. He progressed onto the senior team and was in the twilight of his club career when he won a county senior championship medal in 1969. Success at club level saw Leahy come to the attention of the inter-county selectors. He made his debut on the inter-county scene at the age of seventeen when he first linked up with the Kilkenny minor team. An All-Ireland runner-up in this grade, he later joined the senior team during the 1970-71 league. Leahy was an All-Ireland runner-up later that year, however, he won a Leinster medal as a non-playing substitute. After beginning his coaching career as a sixteen year old, Leahy became more involved in team management and coaching in his retirement from playing. At club level he enjoyed championship and league successes with Galmoy, Tullaroan, Barrow Rangers, Mooncoin, Conahy Shamrocks and Castletown. In 1976 Leahy was the sole trainer, coach and selector when he guided James Stephens to the All-Ireland title. He repeated the feat with Glenmore in 1991, becoming the first person to manage two different clubs to All-Ireland titles. At inter-county level Leahy enjoyed much success as a coach and a selector at all grades with Kilkenny between 1972 and 1978. With the senior team he was a selector with the All-Ireland-winning teams in 1972, 1974 and 1975. As an under-21 selector he won back-to-back All-Ireland titles in 1974 and 1974, having earlier coached the minor team to the All-Ireland title in 1972. During that same period Leahy was a selector on four Railway Cup-winning Leinster teams. Leahy later worked as a manager, coach, trainer and selector with numerous inter-county teams, including Waterford, Wexford, Laois, Carlow, Armagh, Antrim, Offaly, Westmeath and Meath.

text:
# Georgie Leahy

**Seán "Georgie" Leahy** (1938 – 6 June 2017) was an Irish hurling manager, coach, selector and player. His league and championship career with the Kilkenny senior team lasted just one season from 1970 until 1971.

Leahy first played competitive hurling with the James Stephens club in his teens, winning a county junior championship medal in 1955. He progressed onto the senior team and was in the twilight of his club career when he won a county senior championship medal in 1969.

Success at club level saw Leahy come to the attention of the inter-county selectors. He made his debut on the inter-county scene at the age of seventeen when he first linked up with the Kilkenny minor team. An All-Ireland runner-up in this grade, he later joined the senior team during the 1970-71 league. Leahy was an All-Ireland runner-up later that year, however, he won a Leinster medal as a non-playing substitute.

After beginning his coaching career as a sixteen year old, Leahy became more involved in team management and coaching in his retirement from playing. At club level he enjoyed championship and league successes with Galmoy, Tullaroan, Barrow Rangers, Mooncoin, Conahy Shamrocks and Castletown. In 1976 Leahy was the sole trainer, coach and selector when he guided James Stephens to the All-Ireland title. He repeated the feat with Glenmore in 1991, becoming the first person to manage two different clubs to All-Ireland titles.

At inter-county level Leahy enjoyed much success as a coach and a selector at all grades with Kilkenny between 1972 and 1978. With the senior team he was a selector with the All-Ireland-winning teams in 1972, 1974 and 1975. As an under-21 selector he won back-to-back All-Ireland titles in 1974 and 1974, having earlier coached the minor team to the All-Ireland title in 1972. During that same period Leahy was a selector on four Railway Cup-winning Leinster teams.

Leahy later worked as a manager, coach, trainer and selector with numerous inter-county teams, including Waterford, Wexford, Laois, Carlow, Armagh, Antrim, Offaly, Westmeath and Meath.

## Career statistics

| Team | Year | National League | | | Leinster | | All-Ireland | | Total | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | Division | Apps | Score | Apps | Score | Apps | Score | Apps | Score |
| Kilkenny | 1970-71 | Division 1A | 2 | 0-01 | 0 | 0-00 | 0 | 0-00 | 2 | 0-01 |
| Total | | | **2** | **0-01** | **0** | **0-00** | **0** | **0-00** | **2** | **0-01** |

## Honours

### As a player

James Stephens Kilkenny

### In management

James Stephens Kilkenny Offaly Leinster

## InfoBox

Seán "Georgie" Leahy
| Personal information | | | |
| --- | --- | --- | --- |
| Irish name | *Seán Ó Laocha* | | |
| Sport | Hurling | | |
| Position | Full forward | | |
| Born | 1938
Kilkenny, Ireland | | |
| Died | 6 June 2017 (aged 78)
Kilkenny, Ireland | | |
| Nickname | Georgie | | |
| Occupation | P&T employee | | |
| Club(s) | | | |
| Years | **Club** | | |
|  | James Stephens | | |
| Club titles | | | |
| Kilkenny titles | 1 | | |
| Inter-county(ies)\* | | | |
| Years | **County** | **Apps (scores)** |
| 1970-1971 | Kilkenny | 0 (0-00) |
| Inter-county titles | | | |
| Leinster titles | 1 | | |
| All-Irelands | 0 | | |
| NHL | 0 | | |
| All Stars | 0 | | |
| \*Inter County team apps and scores correct as of 17:26, 6 June 2017. | | | |


title: William A. Haseltine House

abstract: The William A. Haseltine House is a house located in northeast Portland, Oregon listed on the National Register of Historic Places. It was designed by architect Jamieson Parker.

text:
# William A. Haseltine House

The **William A. Haseltine House** is a house located in northeast Portland, Oregon listed on the National Register of Historic Places.

It was designed by architect Jamieson Parker.

## InfoBox

|  | |
| --- | --- |
| William A. Haseltine House | |
| U.S. National Register of Historic Places | |
| Portland Historic Landmark | |
|  | |
|  | |
|  | |
| Location | 3231 NE U.S. Grant Place<br>Portland, Oregon |
| Coordinates | 45°32′17″N 122°37′56″W / 45.538040°N 122.632195°W / 45.538040; -122.632195 |
| Area | 0.3 acres (0.12 ha) |
| Built | 1935 |
| Architect | Jamieson Parker |
| Architectural style | Colonial Revival, Georgian Revival |
| NRHP reference No. | 91001551 |
| Added to NRHP | October 17, 1991 |


title: Wally Roker

abstract: Christian Waldemar "Wally" Roker was an American vocal group singer, best known as a member of The Heartbeats and sometimes called "The Godfather of Doo-Wop". He helped establish Scepter Records, worked in promotion and management for several other record labels, and helped set up the Doo-Wop Hall of Fame.

text:
# Wally Roker

**Christian Waldemar** "**Wally**" **Roker** (April 14, 1937  December 2, 2015) was an American vocal group singer, best known as a member of The Heartbeats and sometimes called "The Godfather of Doo-Wop". He helped establish Scepter Records, worked in promotion and management for several other record labels, and helped set up the Doo-Wop Hall of Fame.

## Life and work

He was the son of Danish-born Frederik Waldemar Frederiksen, and Edna Hennemann, born in the Virgin Islands, who took the name Roker from a later marriage. Wally Roker was brought up by his mother and stepfather in New York City. He started singing in a vocal group, the Hearts, with Vernon Sievers, Albert Crump and Robbie Tatum, in Jamaica, Queens, in 1953. With Roker handling bass vocals, they added lead singer James Sheppard (later of Shep and the Limelites), and changed their name to the Heartbeats when they found out there was another group of the same name. The group first recorded in 1955, and had their biggest hit, "A Thousand Miles Away", the following year. The Heartbeats released a succession of singles through the late 1950s on various labels, including Hull, Rama, Gee and Roulette, before splitting up in 1960.

Roker had been in charge of much of the group's business arrangements. After they split up, Roker worked in A&R for Florence Greenberg of Scepter Records, and introduced her to songwriter Luther Dixon, who went on to write several hits for the Shirelles on Scepter. In 1965 he moved to Chicago, and in 1970 to Los Angeles, where he worked for several record labels including ABC. He worked in various capacities as record executive, producer, publisher, and manager, for the band Tower of Power among others. He also set up the Roker Record Group, with several labels within it. He helped establish the Doo-Wop Music Hall of Fame in Los Angeles, and became its Director of Music Marketing. He also appeared in reunion concerts with other members of the Heartbeats.

He died at the age of 78, following brain surgery.


title: Windows Media Player Playlist

abstract: WPL is a computer file format that stores multimedia playlists. It is a proprietary file format used in Microsoft Windows Media Player versions 9–12. The elements of WPL files are represented in XML format. The top-level element, smil, specifies that the file's elements follow the SMIL structure. The file is saved with the "wpl" filename extension and its MIME type is application/vnd.ms-wpl.

text:
# Windows Media Player Playlist

**WPL** (**Windows Media Player Playlist**) is a computer file format that stores multimedia playlists. It is a proprietary file format used in Microsoft Windows Media Player versions 9–12. The elements of WPL files are represented in XML format. The top-level element, `smil`, specifies that the file's elements follow the SMIL (Synchronized Multimedia Integration Language) structure.

The file is saved with the "wpl" filename extension and its MIME type is *application/vnd.ms-wpl*.

## Example

Here is an example of a wpl file.

```
<?wpl version="1.0"?>
<smil>
    <head>
        <meta name="Generator" content="Microsoft Windows Media Player -- 11.0.5721.5145"/>
        <meta name="AverageRating" content="33"/>
        <meta name="TotalDuration" content="1102"/>
        <meta name="ItemCount" content="3"/>
        <author/>
        <title>Bach Organ Works</title>
    </head>
    <body>
        <seq>
            <media src="\\server\vol\music\Classical\Bach\OrganWorks\cd03\track01.mp3"/>
            <media src="\\server\vol\music\Classical\Bach\OrganWorks\cd03\track02.mp3"/>
            <media src="SR15.mp3" tid="{35B39D45-94D8-40E1-8FC2-9F6714191E47}"/>
        </seq>
    </body>
</smil>

```
Other playlist file formats * ASX \- Windows media
* M3U \- The most common playlist format
* PLS \- SHOUTcast
* XSPF \- Xiph.Org Foundation

## InfoBox

WPL
| Filename extension | .wpl |
| --- | --- |
| Internet media type | application/vnd.ms-wpl |
| Developed by | Microsoft |
| Type of format | Playlist |
| Extended from | XML |


title: Windows Messaging

abstract: Windows Messaging, initially called Microsoft Exchange Client, is an email client that was included with Windows 95, Windows 98, and Windows NT 4.0. In Windows 98, it was not installed by default but was available as a separate program in the setup CD. It is incompatible with Windows 2000, Windows ME, Windows XP, and later versions.

text:
# Windows Messaging

**Windows Messaging**, initially called *Microsoft Exchange Client*, is an email client that was included with Windows 95 (beginning with OSR2), Windows 98, and Windows NT 4.0.

In Windows 98, it was not installed by default but was available as a separate program in the setup CD. It is incompatible with Windows 2000, Windows ME, Windows XP, and later versions.

## History

Microsoft Exchange gained wide usage with the release of Windows 95, as this was the only mail client that came bundled with it. In 1996, it was renamed to Windows Messaging, because of the upcoming release of Microsoft Exchange Server, and continued to be included throughout later releases of Windows up until the initial release of Windows 98, which by then included Outlook Express 4.0 as the default mail client.

The Windows Messaging email client had two branches of successors:

* In software bundled with Windows itself, these were Internet Mail and News in Windows 95 (and bundled with Internet Explorer 3), which was succeeded by Outlook Express 4.0 in Windows 98 (bundled with Internet Explorer 4.0 in Windows 95) and throughout newer Windows systems. These did not use the .pst file type.
* Microsoft Outlook became the professional-grade and more direct successor of MS Exchange Client, which still uses the .pst file type.

## Microsoft Fax

Microsoft Fax, also called Microsoft at Work Fax (AWF), is the fax component to provide Send-and-Receive Fax capability; sent and received faxes were stored in the same .pst file as other messages, the first attempt of unified messaging by Microsoft; also the ability to act as fax server, which is not available in later versions of Windows until Windows Vista.

## InfoBox

Windows Messaging
|
|  |
| Developer(s) | Microsoft |
|  | |
| Stable release | 4.00.835.1374 (version 5.0) / October 14, 1996 |
|  | |
| Operating system | Microsoft Windows |
| Type | Email client |
| License | Proprietary EULA |
| Website | Exchange update for Windows 95 |


title: Windows Meeting Space

abstract: Windows Meeting Space was a peer-to-peer collaboration program developed by Microsoft for Windows Vista as a replacement for Windows NetMeeting and it enables application sharing, collaborative editing, desktop sharing, file sharing, projecting, and simple text-based or ink-based instant messaging across up to 10 users connected to the same network or across the Internet. Meeting Space has the ability to automatically set up an ad hoc wireless network if a connection to a network or the Internet are not available and also enables participants to invite other people to meeting sessions. It is the first application for the new peer-to-peer framework in Windows Vista and hence requires IPv6. NetMeeting features such as microphone support and the ability to set up audio or video conferences are not available. Meeting Space is included in all editions of Windows Vista, but its functionality is unavailable in the Starter edition; in the Home Basic edition, it only allows users to join—but not create—sessions. With the release of Windows 7, Microsoft discontinued Meeting Space and recommended Microsoft Office Live Meeting as a replacement.

text:
# Windows Meeting Space

**Windows Meeting Space** (codenamed **Windows Shared View** and formerly **Windows Collaboration**) was a peer-to-peer collaboration program developed by Microsoft for Windows Vista as a replacement for Windows NetMeeting and it enables application sharing, collaborative editing, desktop sharing, file sharing, projecting, and simple text-based or ink-based instant messaging across up to 10 users connected to the same network or across the Internet. Meeting Space has the ability to automatically set up an ad hoc wireless network if a connection to a network or the Internet are not available and also enables participants to invite other people to meeting sessions. It is the first application for the new peer-to-peer framework in Windows Vista and hence requires IPv6.

NetMeeting features such as microphone support and the ability to set up audio or video conferences are not available. Meeting Space is included in all editions of Windows Vista, but its functionality is unavailable in the Starter edition; in the Home Basic edition, it only allows users to join—but not create—sessions. With the release of Windows 7, Microsoft discontinued Meeting Space and recommended Microsoft Office Live Meeting as a replacement.

## History

Meeting Space is a result of Microsoft's peer-to-peer collaboration efforts—with an emphasis on mobile computing—discussed during WinHEC 2004 when Windows Vista was codenamed "Longhorn." At that time, it was reported that Windows Vista would enable users to create "ad hoc wireless networks for file sharing and to discover people who are connected nearby." Meeting Space relies on this functionality for its services.

Meeting Space was later demonstrated by Jim Allchin and Darryn Dieken at PDC 2005 where it projected a shared PowerPoint presentation. Allchin said this demonstration was not to illustrate functions of the application itself—development of which was not complete—but to illustrate select capabilities of the peer-to-peer framework in Windows Vista. In a later interview with Paul Thurrott, Allchin expressed desire for developers to create applications supporting peer-to-peer capabilities.

With the release of Windows 7, Microsoft discontinued Windows Meeting Space and recommended Microsoft Office Live Meeting as a replacement.

## Overview and features

On starting a session, a workspace, which contains a presentation area, is displayed. A list of notes are also shown. A list of users in the local subnet, with whom a collaboration session can be started, are automatically detected by using the *People Near Me* functionality, based on WS-Discovery in the peer-to-peer networking implementation in Windows Vista. Users outside the local subnet must be sent an e-mail or file invitation to participate. Applications can be shared in the session, which will be local to that session only. When an application is shared, Windows Meeting Space switches into presentation mode so that participants can see what the presenter is working on and collaboratively edit or review the shared application instance.

## InfoBox

Windows Meeting Space
|
|  |
|
| Developer(s) | Microsoft |
| Operating system | Microsoft Windows |
| Predecessor | NetMeeting |
| Successor | Microsoft Office Live Meeting |
| License | Microsoft EULA |


title: Wim van Sinderen

abstract: Wim van Sinderen is a Dutch journalist and curator, working as photography curator at the Fotomuseum Den Haag.

text:
# Wim van Sinderen

**Wim van Sinderen** (born 10 January 1958) is a Dutch journalist and curator, working as photography curator at the Fotomuseum Den Haag.

## Live and work

Van Sinderen was born in Dokkum on January 10, 1958. From 1976 to 1982 he attended the Teacher Training College 'Ubbo Emmius' in Leeuwarden, where he received his BA in English language and literature and Fine Arts.

In 1981 Van Sinderen came into prominence as spokesman of a young artist group, called *Jonge Friezen.* A year earlier they had started a new cultural magazine, called *Het Bestaan* (The Existence). He took part is several exhibitions in those days and published his first book.

In 1982 Van Sinderen started his career as Photo Editor for the Amsterdam music magazine *Vinyl*. He was curator at the Kunsthal from the start in April 1992, where he worked with the director Wim van Krimpen. In 2002 he started as Senior Curator at Fotomuseum Den Haag.

## Publications

* Wim van Sinderen (ed.) *Fotografen in Nederland : een anthologie 1852–2002,* 2002
* Wim van Sinderen (et al.), *Helena van der Kraan.* The Hague Museum of Photography, Den Haag : Terra, 2005. ISBN 90-5897-373-5.
* Leonard Freed, William Ewing, Wim van Sinderen, Nathalie Herschdorfer. *Leonard Freed: Worldview* with Lausanne: Musée de l'Élysée, 2007. ISBN 978-3-86521-463-8
* Maartje van den Heuvel & Wim van Sinderen. *Photography! A Special Collection at Leiden University*. Leiden: Leiden University & The Hague Museum of Photography, 2010. ISBN 978-90-89101-91-4

## InfoBox

| Wim van Sinderen | |
| --- | --- |
| Wim van Sinderen – Friso Keuris, 2020 | |
| Born | 1958<br>Dokkum |
| Nationality | Dutch |
| Occupation(s) | Photography curator, Journalist |
| Known for | Senior Curator Fotomuseum Den Haag |


title: Winger Township, Polk County, Minnesota

abstract: Winger Township is a township in Polk County, Minnesota, United States. It is part of the Grand Forks-ND-MN Metropolitan Statistical Area. The population was 177 at the 2000 census. The township was named after a place called Winger, in Norway.

text:
# Winger Township, Polk County, Minnesota

**Winger Township** is a township in Polk County, Minnesota, United States. It is part of the Grand Forks-ND-MN Metropolitan Statistical Area. The population was 177 at the 2000 census.

The township was named after a place called Winger, in Norway.

## Geography

According to the United States Census Bureau, the township has a total area of 35.6 square miles (92.3 km2), of which 35.1 square miles (91.0 km2) is land and 0.5 square mile (1.3 km2) (1.38%) is water.

## Demographics

As of the census of 2000, there were 177 people, 67 households, and 48 families residing in the township. The population density was 5.0 people per square mile (1.9/km2). There were 81 housing units at an average density of 2.3/sq mi (0.9/km2). The racial makeup of the township was 96.61% White, 2.82% Native American, and 0.56% from two or more races.

There were 67 households, out of which 31.3% had children under the age of 18 living with them, 59.7% were married couples living together, 7.5% had a female householder with no husband present, and 26.9% were non-families. 19.4% of all households were made up of individuals, and 7.5% had someone living alone who was 65 years of age or older. The average household size was 2.64 and the average family size was 3.06.

In the township the population was spread out, with 29.4% under the age of 18, 5.1% from 18 to 24, 22.0% from 25 to 44, 28.2% from 45 to 64, and 15.3% who were 65 years of age or older. The median age was 38 years. For every 100 females, there were 90.3 males. For every 100 females age 18 and over, there were 104.9 males.

The median income for a household in the township was $34,583, and the median income for a family was $36,250. Males had a median income of $23,125 versus $28,125 for females. The per capita income for the township was $13,028. About 13.0% of families and 11.6% of the population were below the poverty line, including none of those under the age of eighteen and 6.7% of those 65 or over.

## InfoBox

| Winger Township, Minnesota | |
| --- | --- |
| Township | |
| Winger Township, MinnesotaLocation within the state of MinnesotaWinger Township, MinnesotaWinger Township, Minnesota (the United States) | |
| Coordinates: 47°33′8″N 96°0′31″W / 47.55222°N 96.00861°W / 47.55222; -96.00861 | |
| Country | United States |
| State | Minnesota |
| County | Polk |
| Area | |
| Total | 35.6 sq mi (92.3 km2) |
| Land | 35.1 sq mi (91.0 km2) |
| Water | 0.5 sq mi (1.3 km2) |
| Elevation | 1,230 ft (375 m) |
| Population (2000) | |
| Total | 177 |
| Density | 5.0/sq mi (1.9/km2) |
| Time zone | UTC-6 (Central (CST)) |
| Summer (DST) | UTC-5 (CDT) |
| ZIP code | 56592 |
| Area code | 218 |
| FIPS code | 27-70888 |
| GNIS feature ID | 0666019 |


title: Wingerode

abstract: Wingerode is a municipality in the district of Eichsfeld in Thuringia, Germany. In 1996, Wingerode celebrated its 850th anniversary. It was founded in 1146. In 1174 Henry the Lion, Duke of Bavaria and Saxony, bought the village from Volkenroda Abbey. Since the 17th century, the local Ignatius chapel has been the object of pilgrimages. Wingerode belonged to the Electorate of Mainz until the secularization of 1802 and was subject to the jurisdiction of the von Hanstein family. From 1802 to 1807, the village was Prussian, and then it came to the Kingdom of Westphalia. From 1815 to 1945 it was part of the Prussian Province of Saxony. At the end of World War II, it was in the Soviet occupation zone and in 1949 became part of East Germany. From 1961 until reunification in 1990, Wingerode was affected by the closure of the nearby inner German border. Since 1990, the municipality is part of the re-established state of Thuringia.

text:
# Wingerode

**Wingerode** is a municipality in the district of Eichsfeld in Thuringia, Germany. In 1996, Wingerode celebrated its 850th anniversary. It was founded in 1146.

In 1174 Henry the Lion, Duke of Bavaria and Saxony, bought the village from Volkenroda Abbey. Since the 17th century, the local Ignatius chapel has been the object of pilgrimages. Wingerode belonged to the Electorate of Mainz until the secularization of 1802 and was subject to the jurisdiction of the von Hanstein family. From 1802 to 1807, the village was Prussian, and then it came to the Kingdom of Westphalia. From 1815 to 1945 it was part of the Prussian Province of Saxony. At the end of World War II, it was in the Soviet occupation zone and in 1949 became part of East Germany. From 1961 until reunification in 1990, Wingerode was affected by the closure of the nearby inner German border. Since 1990, the municipality is part of the re-established state of Thuringia.

## InfoBox

| Wingerode | |
| --- | --- |
| Municipality | |
|  | |
| Location of Wingerode within Eichsfeld district | |
| Wingerode Wingerode | |
| Coordinates: 51°23′26″N 10°14′27″E / 51.39056°N 10.24083°E / 51.39056; 10.24083 | |
| Country | Germany |
| State | Thuringia |
| District | Eichsfeld |
| Municipal assoc. | Leinetal |
| Government | |
| Mayor (202228) | Erhardt Wehr |
| Area | |
| Total | 9.77 km2 (3.77 sq mi) |
| Elevation | 310 m (1,020 ft) |
| Population (2022-12-31) | |
| Total | 1,147 |
| Density | 120/km2 (300/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| Postal codes | 37327 |
| Dialling codes | 03605 |
| Vehicle registration | EIC |
| Website | www.vg-leinetal.de |


title: Winton Square

abstract: Winton Square in Stoke-on-Trent, Staffordshire, England, houses Stoke-on-Trent railway station, the North Stafford Hotel, and several other historic structures. The square was built in 1848 for the North Staffordshire Railway, whose headquarters were in the station building, and is a significant example of neo-Jacobean architecture. Today, all the buildings and structures in the square are listed buildings and the square is a designated conservation area.

text:
# Winton Square

**Winton Square** in Stoke-on-Trent, Staffordshire, England, houses Stoke-on-Trent railway station, the North Stafford Hotel, and several other historic structures. The square was built in 1848 for the North Staffordshire Railway, whose headquarters were in the station building, and is a significant example of neo-Jacobean architecture. Today, all the buildings and structures in the square are listed buildings and the square is a designated conservation area.

## History and design

Prior to the construction of the railways, the land now occupied by Winton Square was known as Winton's Wood in Shelton, a previously independent town now part of Stoke-on-Trent. The area formed part of the glebe land attached to the nearby Church of St. Peter ad Vincula and was named for church rector John Winton. The land remained under the ownership of the church until it was purchased by The North Staffordshire Railway (NSR) in 1846 with the intention of building its principal station and headquarters there.

The square was designed by the NSR's London-based surveyor-architect, Henry Arthur Hunt, and built by John Jay in 1848 for the NSR, which had its headquarters on the upper floor of the station until 1923, when it was amalgamated into the London, Midland and Scottish Railway. The square is described by railway historian Gordon Biddle as "the only piece of town planning to have been deliberately undertaken by a railway company in order to set off its station", in comparison to continental Europe and the United States, where such town planning was more common. Sir Nikolaus Pevsner, in the Staffordshire edition of *The Buildings of England*, described it as "the finest piece of Victorian axial planning in the country". Pevsner also describes the station and the hotel as the best example of neo-Jacobean architecture in Staffordshire. The square was arguably the main focal point for the town of Stoke-upon-Trent prior to its amalgamation into the much larger city of Stoke-on-Trent in 1910. It is Stoke's only complete square with four blocks of structures, one on each side of the square.

At some point in the 20th century, a row of London Plane trees, was planted and formal car-parking space was created.

The square was designated a conservation area in 1972. The hotel and all the buildings besides the station are now in private ownership, but the character of the square has changed little since the 19th century.

## Buildings and structures

The main feature of the square is the station, a grade II\* listed building. The station is built from red brick in the style of an Elizabethan manor house. The most prominent features include three large Dutch-style gables and a large ornate first-floor bay window, which covers most of the centre gable. Above the window is a parapet into which the NSR's coat of arms is engraved, and below is a row of seven Tuscan columns which protrude out from the main structure. On the opposite side of the square is the North Stafford hotel, built in a complementary style to the station, though less elaborate. It is a three-storey building built in an Elizabethan-style E-shaped plan and, like the station, constructed mainly of brick. It is a grade II\* listed building.

In the centre of the square, between the station and the hotel, is a statue of Josiah Wedgwood, a famous local potter. The statue is bronze, standing on a stone plinth, and is a grade II listed building. It was erected in 1862 by Edward Davies and became a listed building in 1972. The statue was paid for by subscription, and Winton Square was chosen as its site both to reflect the importance of the railways to local industry and because the square was on the boundary between Stoke and Hanley, both of which claimed to be Wedgwood's home. The square is completed by two rows of railway houses, also built by Hunt for the NSR in 1848. The houses, intended for senior NSR employees, are built in a similar style to the station and the hotel but without competing with them. The houses, which are symmetrical on opposite sides of the station are built in an "L" shape and are now used as offices; both terraces are grade II listed buildings.

## InfoBox

Winton Square
| The Grade II\* listed Stoke-on-Trent railway station, located on the square | |
| --- | --- |
| Namesake | Winton's Wood |
| Location | Stoke-on-Trent, Staffordshire, England |
| Postal code | ST4 2AD |
| Coordinates | 53°00′30″N 2°10′50″W / 53.0082°N 2.1805°W / 53.0082; -2.1805 |
| Construction | |
| Commissioned | 1846 |
| Completion | 1848 (1848) |
| Other | |
| Designer | Henry Arthur Hunt |


title: Winston H. Bostick

abstract: Winston H. Bostick was an American physicist who discovered plasmoids, plasma focus, and plasma vortex phenomena. He simulated cosmical astrophysics with laboratory plasma experiments, and showed that Hubble expansion can be produced with repulsive mutual induction between neighboring galaxies acting as homopolar generators. His work on plasmas was claimed to be evidence for finite-sized elementary particles and the composition of strings, but this is not accepted by mainstream science.

text:
# Winston H. Bostick

**Winston H. Bostick** (March 5, 1916 – January 19, 1991) was an American physicist who discovered plasmoids, plasma focus, and plasma vortex phenomena. He simulated cosmical astrophysics with laboratory plasma experiments, and showed that Hubble expansion can be produced with repulsive mutual induction between neighboring galaxies acting as homopolar generators. His work on plasmas was claimed to be evidence for finite-sized elementary particles and the composition of strings, but this is not accepted by mainstream science.

## Biography

Winston H. Bostick, born in Freeport, Illinois, received both his B.S. and Ph.D. degrees from the University of Chicago. His Ph.D. thesis on cosmic rays was completed under the direction of Nobel laureate Arthur Compton. While working at the MIT Radiation Laboratory from 1941 to 1948, he helped build a microwave linear electron accelerator. As an associate professor of Tufts University from 1948 to 1954, he researched magnetic pinch effects, which led to his later work on plasma pinch effects. His discoveries of plasmoids and other plasma-related effects began between 1954 and 1956 at the Lawrence Livermore Laboratory, where he continued to act as consultant. A 1956 *New York Times* front page story featured Bostick's "plasma gun". He served as professor of physics at the Stevens Institute of Technology from 1956 until receiving professor emeritus status at his retirement in 1981, and as head of the physics department from 1968. While visiting Tijuana, Mexico, in 1991, he died of lung cancer at age 74.

## Scientific contributions

In 1956 Bostick demonstrated the existence of "plasmoids", force-free, charge-carrying "strings". Ten years later he postulated an electron composed of helical plasmoids forming vortex "loops" around a "ring", similar to the Parson Magneton. Bostick maintained that this model could account for atomic structure, strong and weak forces within the nucleus, and that it was a physical basis for string theory, but this view received no support from the mainstream scientific community and is considered fringe science.

1. Laurence, William L. (1956-12-12). "Physicist 'Creates' Universe in a Test Tube; Atom Gun Produces Galaxies and Gives Clues to Creation COSMOS 'CREATED' IN A TEST TUBE". *The New York Times*. ISSN 0362-4331. Retrieved 2024-08-27.
2. "Physicists Depict New Concepts Of Universe and Its Basic Laws". *The New York Times*. 1957-02-03. ISSN 0362-4331. Retrieved 2024-08-27.
3. "Dr. Winston Bostick, Atomic Physicist, 74". *The New York Times*. 1991-01-25. ISSN 0362-4331. Retrieved 2024-08-27.
4. Winston H. Bostick, "Experimental Study of Ionized Matter Projected across a Magnetic Field", *Physical Review*, V104, N2, pp. 292-299 (Oct 1956).
5. *pubs.aip.org* https://pubs.aip.org. Retrieved 2024-08-27. `{{cite web}}`: Missing or empty `|title=` (help)

## InfoBox

| Winston H. Bostick | |
| --- | --- |
| Born | (1916-03-05)March 5, 1916
Freeport, Illinois, US |
| Died | January 19, 1991(1991-01-19) (aged 74)
Tijuana, Mexico |
| Alma mater | University of Chicago |
| Known for | plasmoids
plasma focus
Magnetic explanation of Hubble expansion |
| **Scientific career** | |
| Fields | Physicist |
| Institutions | Massachusetts Institute of Technology
Tufts University
Los Alamos National Laboratory
Lawrence Livermore Laboratory
Stevens Institute of Technology |
| Doctoral advisor | Arthur Compton |
|  | |


title: Witches' Stone

abstract: Witches' Stone is an historic stone in the Scottish parish of St Martins, Perth and Kinross. It marks the location where Macbeth meets with two witches in William Shakespeare's tragedy. It is first mentioned in text in 1806, when William Mackenzie, father of architect William Macdonald Mackenzie, was the landowner. The stone, which first appeared on Ordnance Survey maps in 1866, stands around 4 feet (1.2 m) high and has a groove on its top, believed to be the result of a chain being used on it.

text:
# Witches' Stone

**Witches' Stone** is an historic stone in the Scottish parish of St Martins, Perth and Kinross. It marks the location where Macbeth meets with two witches in William Shakespeare's tragedy. It is first mentioned in text in 1806, when William Mackenzie, father of architect William Macdonald Mackenzie, was the landowner.

The stone, which first appeared on Ordnance Survey maps in 1866, stands around 4 feet (1.2 m) high and has a groove on its top, believed to be the result of a chain being used on it.

## InfoBox

| Witches' Stone | |
| --- | --- |
| Witches' StoneLocation in the United KingdomWitches' StoneLocation in Scotland | |
| Location | St Martins, Perth and Kinross, Scotland |
| Coordinates | 56°28′09″N 3°21′59″W / 56.469133°N 3.366258°W / 56.469133; -3.366258 |
|  | |


title: Wisely Series

abstract: The Wisely Series is a series of Chinese-language adventure-science fiction novels written by the Hong Kong novelist Ni Kuang. The protagonist of the series is Wisely. In total, there are 161 stories about Wisely recorded in 156 novels. Of these, only 150 stories in 145 novels are written by Ni Kuang; the remaining ones are written by other writers with Ni Kuang's permission. Some of these stories have been adapted into media, such as the films The Legend of Wisely (1987), The Cat (1992) and The Wesley's Mysterious File (2002), and the television series The New Adventures of Wisely (1998) and The 'W' Files (2004).

text:
# Wisely Series

| Wisely Series | |
| --- | --- |
|  | |
| Traditional Chinese | 衛斯理系列 |
| Simplified Chinese | 卫斯理系列 |
| Transcriptions  Standard Mandarin  Hanyu Pinyin Wèisīlǐ Xìliè  Yue: Cantonese  Jyutping Wai⁶si¹lei5 Hai⁶-lit⁶ | |
|  | |

The ***Wisely Series*** is a series of Chinese-language adventure-science fiction novels written by the Hong Kong novelist Ni Kuang. The protagonist of the series is Wisely (sometimes also spelt "Wesley"). In total, there are 161 stories about Wisely recorded in 156 novels. Of these, only 150 stories in 145 novels are written by Ni Kuang; the remaining ones are written by other writers with Ni Kuang's permission. Some of these stories have been adapted into media, such as the films *The Legend of Wisely* (1987), *The Cat* (1992) and *The Wesley's Mysterious File* (2002), and the television series *The New Adventures of Wisely* (1998) and *The 'W' Files* (2004).

## Publishing history

Ni Kuang wrote 150 *Wisely* stories in the form of 145 novels, most of which have a serial number to reflect the chronological order of their year of publication. There are 11 other *Wisely* stories written by other writers with Ni Kuang's permission. There are a total of 161 *Wisely* stories in 156 novels. The first 94 stories (excluding the prequel *Young Wisely* with serial number 0), were first published in serial form in the Hong Kong newspaper *Ming Pao* from 1963–92 (with a discontinuation from 1973–78). The stories written from 1992–2004 were published in the form of printed books.

According to Ni Kuang, when he decided to publish the *Wisely Series* as a collection in the 1970s, he discovered that *Ming Pao* did not retain all the copies of his previous works. Luckily for him, he encountered a reader, Wen Naijian (溫乃堅), who collected all the copies of his stories published in *Ming Pao*. He was thus able to have his works republished and released in a multi-volume collection. He expressed his gratitude to Wen in the preface, "These books would not have been published without Mr Wen Naijian's help."

In Hong Kong, books 1–80 were published by Ming Chuang Publishing Company (明窗出版社; under Media Chinese International) while books 81–131 were published by Qin+Yuan Publishing Company (勤+緣出版社). In Taiwan, the books before book 67 were initially published by Yuanjing Publishing Company (遠景出版社) and later by Storm & Stress Publishing Company (風雲時代出版社). The books after book 67 were published by Crown Publishing Company (皇冠出版社).

Ni Kuang announced his decision to stop writing the *Wisely Series* after book 131 was published. His friend, Taiwanese writer Yeh Lee-hwa, wrote the *Wisely Memoirs* (衛斯理回憶錄) as an epilogue to the series, and to explain Wisely's life and clarify ambiguities in the stories.

*Wisely Series* has been banned in Mainland China.

## Overview of the stories

The novels are narrated from the point of view of Wisely (sometimes also spelt "Wesley"), the protagonist in the series. They are set in a modern era (1960s–2000s) in a city that is evidently based on Hong Kong. According to Ni Kuang, the character's name was inspired by Wesley Village (衛斯理村) along Tai Hang Road near Jardine's Lookout in Hong Kong. The village was named after John Wesley (1703–91), an English cleric who founded the Methodist movement within Anglican Christianity.

Wisely was born in a wealthy family who run a trading company. Little is known about his parents; it is assumed that they died early. The head of the family is Wisely's grandfather. Wisely is the chairman of the company's board of directors. He lets his general manager run the company and spends his time travelling around the world and solving mysteries. He has several extraordinary adventures throughout his life, including encounters with aliens and supernatural beings.

## List of *Wisely* novels by Ni Kuang

## Adaptations

The novel series has been adapted into comic series, radio dramas, films and television series since the 1980s.

### Comics

* 1984–86 version illustrated by Li Chi-tak (利志達) and published by Sichen Publishing Company (斯辰出版社).
* 1984–86 version illustrated by Li Chi-tak and published by Sanyingshe Publishing Company (三英社出版社).
* 1988 version illustrated by Li Chi-tak and Yeung Hau-wing (楊孝榮), and published by Morning Star Publishing Company (晨星出版社).
* 1995 version illustrated by Wee Tian Beng (黄展鸣) and published by China Times Publishing Company (時報文化出版社).
* 2004 version illustrated by Xu Jingchen (許景琛) and published by Yisi Wenhua Publishing Company (意思文化出版社).

### Radio dramas

* 1981–84 version broadcast on Hong Kong's RTHK. Chung Wai-ming voice-played Wisely.
* 1987–88 version broadcast on Hong Kong's CRHK. Chu Chi-chung voice-played Wisely.
* 2004 version broadcast on China's GZBN.
* 2005 version broadcast on Taiwan's Voice of Han.

### Films

* *The Seventh Curse* (原振俠與衛斯理), a 1986 Hong Kong film starring Chow Yun-fat.
* *The Legend of Wisely* (衛斯理傳奇), a 1987 Hong Kong film starring Sam Hui.
* *A Tale from the East* (漫畫奇俠), a 1990 Hong Kong fantasy film. Ni Kuang made a guest appearance as Wisely.
* *Bury Me High* (衛斯理之霸王卸甲), a 1991 Hong Kong film starring Chin Kar-lok.
* *The Cat* (衛斯理之老貓), a 1992 Hong Kong film starring Waise Lee.
* *Young Wisely* (少年衛斯理之天魔之子), a 1993 Hong Kong film starring David Wu.
* *Young Wisely 2* (少年衛斯理II聖女轉生), a 1994 Hong Kong film starring David Wu.
* *The Wesley's Mysterious File* (衛斯理之藍血人), a 2002 Hong Kong film starring Andy Lau.

### Television series

* *The Legend of Wisely* (衛斯理傳奇), a 1983 Taiwanese television series produced by CTS, starring Yang Kuang-yu.
* *The New Adventures of Wisely* (卫斯理传奇), a 1998 Singaporean television series produced by TCS, starring Michael Tao.
* *The 'W' Files* (衛斯理), a 2003 Hong Kong television series produced by TVB, starring Gallen Lo.
* *Wesley the Young Adventurer* (少年王衛斯理/冒險王), a 2003 Chinese television series starring Nicky Wu.
* *The Great Adventurer Wesley* (冒險王衛斯理), a 2018 Chinese online/television series starring Shawn Yue.

## InfoBox

*Wesley Series*
| see list of novels  --- | |
| --- | --- |
| Author | Ni Kuang |
| Original title | 衛斯理系列 |
| Country | Hong Kong |
| Language | Chinese |
| Genre | Adventure fiction, detective fiction, science fiction |
| Published | 1963–2004 |
| Media type | Print |


title: Wizard Chan

abstract: Fuayefika Maxwell known professionally as ‘Wizard Chan’ is a Nigerian Afro-Teme and reggae singer, songwriter and music producer. He released his first official single titled 'Halo Halo' in 2020. However, he rose to limelight with the hit single ‘Earth Song’ which was released in December 2022. In 2023, he won awards at The Headies and the Galaxy Music Awards.

text:
# Wizard Chan

**Fuayefika Maxwell** (born 26, June) known professionally as ‘Wizard Chan’ is a Nigerian Afro-Teme and reggae singer, songwriter and music producer. He released his first official single titled 'Halo Halo' in 2020. However, he rose to limelight with the hit single ‘Earth Song’ which was released in December 2022. In 2023, he won awards at The Headies and the Galaxy Music Awards.

## Early life

Maxwell was born on 26 June in Okrika, Rivers State, to the family of Chief & Mrs Fuayefika, as the last of five children. He is an indigene of Port Harcourt, and also spent most of his childhood there. He acquired his secondary education from De World International Secondary School, Rivers State. He graduated from Wisconsin International University College in Accra, Ghana where he studied Marketing. He returned to Nigeria after graduation and went to Sokoto for his NYSC.

## Music career

Maxwell started writing songs as a child. He was a member of the choir and recorded his first unofficial song in December 2011 after his secondary education . With time, he started by making covers of various hit songs and posting it on social media platforms.

In 2020, he officially started his music career by debuting his first single titled ‘Halo Halo’. In October 2020, he released another single ‘Truth’. However, he did not gain much recognition until December 2022 when he released the single titled ‘Earth Song’. The song gained him popularity and climbed the charts as one of the Top 20 Songs in Nigeria on Apple Music.

## Discography

### Singles

* Halo Halo
* Truth
* Y.O.L.O
* Miss You -- Thousand Voice ft Wizard Chan (2022)
* Earth Song
* Highlife
* Moses ft Boma Nime
* Drumline -- 01FRNCH ft Wizard Chan
* Beast of Our nation -- King Perryy ft Wizard Chan & Tuzi

## Awards and nominations

| Year | Award | Category | Nominee | Result | Ref |
| --- | --- | --- | --- | --- | --- |
| 2023 | The Headies | Best Alternative Song of the year | Earth song | Won |  |
| | | Best Songwriter of the Year | Himself | Nominated |  |
| | Galaxy Music Awards | Best Alternative Song of the year | Earth song | Won |  |

## InfoBox

| Wizard Chan | |
| --- | --- |
| Birth name | Fuayefika Maxwell |
| Born | <br>Port Harcourt, Rivers State, Nigeria |
| Genres |  |
| Occupations | * Singer * songwriter |
| Instruments | * Vocals * piano |
| Years active | 2020–present |
| Labels | Chan Empire |


title: Wizard Entertainment

abstract: Wizard Entertainment Inc., formerly known as Wizard World, was a producer of multi-genre fan conventions across North America. The company that became Wizard Entertainment began in 1991 as Wizard Press, the publisher of the monthly magazine Wizard. That company evolved into a multi-title publishing company with diversified interests in branded products and related convention operations. By 2011, the company had discontinued its print division to focus exclusively on its convention business. By 2015, the company had expanded to producing 25 annual conventions around the U.S. In 2021, Wizard sold its convention events business to FanExpo.

text:
# Wizard Entertainment

**Wizard Entertainment Inc.**, formerly known as **Wizard World**, was a producer of multi-genre fan conventions across North America.

The company that became Wizard Entertainment began in 1991 as **Wizard Press**, the publisher of the monthly magazine *Wizard*. That company evolved into a multi-title publishing company with diversified interests in branded products and related convention operations. By 2011, the company had discontinued its print division to focus exclusively on its convention business. By 2015, the company had expanded to producing 25 annual conventions around the U.S. In 2021, Wizard sold its convention events business to FanExpo.

## Corporate history

Gareb Shamus founded *Wizard* magazine in January 1991 shortly after he graduated from college. The company was originally based in Congers, New York.

*Wizard* magazine was successful, and the company expanded its publishing operations with more magazines devoted to other elements of the collectible industry. Wizard purchased the Chicago Comicon in 1997 to expand from its core publishing business into trade/consumer conventions.

In early 2011, the company made some major corporate transitions. First, through an arrangement with Strato Malamas of the holding company GoEnergy, it became a publicly traded company known as **Wizard World**. At the same time, it abruptly canceled *Wizard* magazine and its other remaining publication, *ToyFare*, to focus on its convention business.

Shamus was pushed out as company CEO in late 2011; his position was taken in March 2012 by John Macaluso. In 2015, the company lost $4.25 million in revenue and cut back from 25 to 19 convention events in 2016. Less than a week after the announcement of the losses, Macaluso resigned as CEO and was replaced by John D. Maatta.

In 2018, Wizard World was renamed **Wizard Entertainment, Inc.**

In 2021, after selling its last few conventions to FanExpo, Wizard Entertainment essentially ceased to exist.

## Publishing

*Wizard* started as a price guide to comics but evolved into focusing squarely on pop culture, specifically targeting young adult males. (The magazine ultimately featured a price guide to comics and action figures in the back of the magazine.) With its high-end production values and embodiment of the comic speculator boom, *Wizard* was an instant hit, with a monthly circulation of more than 100,000 copies (although by early 2006, circulation was down to around 50,000).

The magazine also spawned several ongoing magazines dedicated to similar interests, such as *InQuest Gamer* (launched 1995), for collectible game cards; *ToyFare: The Toy Magazine*, for toys and action figures (launched 1997); *Anime Insider* (launched 2001) for anime and manga; and *Toy Wishes* (launched 2001) for mainstream toy enthusiasts.

On January 24, 2011, after 20 years of publication, the company announced that *Wizard* would cease print publication and become an all-digital magazine called *Wizard World*, launching in February 2011. At that point Wizard Entertainment also ceased publication of its sister magazine, *ToyFare*.

### Black Bull Entertainment

In 2000, Wizard founder Shamus forayed into the world of actual comic book publishing, creating the imprint **Black Bull Entertainment**, featuring several well-known creators, including Mark Waid, Chris Eliopoulos, Nelson DeCastro, and Garth Ennis. The first Black Bull title was the limited series *Gatecrasher: Ring of Fire*. Black Bull's titles included:

* *Beautiful Killer* (2002–2003), #1–3
* *Gatecrasher* (2000–2001), #1–6
* *Gatecrasher: Ring of Fire* (2000), #1–4
* *Just a Pilgrim* (2001), #1–5
* *Just a Pilgrim: Garden of Eden (2002), #1–4*
* *The New West* (2005), #1–2
* *Shadow Reavers* (2001–2002), #1–5

Black Bull published comics through 2005.

## Conventions

### Beginnings and growth

Wizard purchased the Chicago Comicon in 1996; the renamed "Wizard World Chicago" was the template for a new kind of convention that shifted its focus from actual comic books to ancillary elements of pop culture fandom: celebrity performers, films, television, video games, and toys – "comic conventions" almost in name only. By 2006, Wizard World Chicago boasted a weekend attendance of over 58,000 people.

In May 2002, Wizard branched out from Chicago and produced Wizard World East at the Pennsylvania Convention Center in Philadelphia. And in 2003 the company produced Wizard World Texas, adding Wizard World Los Angeles in 2004 and Wizard World Boston in 2005.

In 2007–2008, Wizard held conventions in Los Angeles, Philadelphia, Chicago, and Texas. In 2008, Wizard began adding an academic forum called "Wizard World University," integrating scholarly panels into its conventions, beginning with the November convention in Arlington, Texas.

### "Con Wars" / growing pains

Beginning in 2005, Wizard CEO Gareb Shamus made a concerted push to dominate the North American convention circuit. First, Wizard announced that it would be holding a comic book convention in Atlanta from June 30–July 2, 2006, the same dates on which the long-running Charlotte, North Carolina-based Heroes Convention was scheduled to take place. This caused an outcry amongst the comic book community, as Atlanta is only a four-hour drive from Charlotte, and several comic book creators voiced concerns about an attempt by a large, corporate event to force out an independent comic book convention. As a result of the outcry, many prominent creators signed up to appear at HeroesCon 2006 rather than the competing Wizard con. Wizard ultimately announced that it would postpone the planned Atlanta convention until 2007.

In 2009, Wizard canceled its Texas event and postponed the Los Angeles convention. That spring and summer, however, Shamus/Wizard acquired the Paradise Comics Toronto Comicon and the Big Apple Comic Con, New York City's longest-running comic book, science fiction, fantasy, horror, and pop culture convention.

Wizard Entertainment's 2010 planned North American Comic Con tour included city stops in Toronto, Anaheim, Philadelphia, Chicago, New York City, Boston, New Jersey, and Austin. As part of a "major offensive against Reed Exhibitions' New York Comic Con," Wizard scheduled "three East Coast shows in a row — the New England Comic-Con in Boston on October 1-3, Big Apple the same weekend, and the new New Jersey Comic-Con the weekend after, on October 15-17." The 2010 Big Apple Comic Con was scheduled for October 7–10, the same dates as the previously scheduled New York Comic Con. After a public outcry, Wizard ended up moving the dates of its 2010 New York convention to October 1–3. (Additionally, the planned Wizard 2010 New Jersey convention was canceled.)

Despite Wizard World's setbacks in Atlanta/Charlotte and New York City, by late 2010, it was apparent that the company's strategy was to blanket the U.S. with Wizard conventions, including buying previously existing small-scale shows in various locations.

### Going public; further expansion

Wizard went public in 2011; its financial statements proved that it was doubling down on dominating the North American convention market:

> The majority of our target audience is male-oriented and are major buyers of many types of entertainment and media.... We believe that this male demographic consists of tens of millions consumers in the United States and has hundreds of billions in spending power.... Our competitors are local one-time event comic cons. We have a competitive advantage over these comic cons because they do not have our economies of scale and operating efficiencies.... Further, the size of our Comic Cons and the volume at which we produce them give us the leverage to negotiate discounts on such things as hotels and other travel expenses.... We also believe that the size and volume of our Comic Con tours create a barrier to entry of new industry participants because, due to their size, such new industry participants would find it difficult to enter into certain markets, such as the larger metropolitan cities.

Wizard's 2011 convention calendar included "a show-a-month schedule" and guest-lists of "nerd-lebrities of various levels of fame,... turning their shows into autograph-focused events." Ultimately, however, Wizard scaled back its 2011 operations to seven shows — New Orleans, Toronto, Big Apple (New York), Philadelphia, Mid-Ohio, and Austin — ultimately canceling scheduled conventions in Los Angeles, Miami, Atlanta, and Central Canada. In addition, previously announced new Wizard conventions in New Jersey, Cincinnati, Cleveland, and Nashville never materialized.

Wizard skipped New York altogether in 2012, returning in 2013 with a "Wizard World New York Experience" focused on "celebrities, creators, sports stars, music, exhibitors, parties and other attractions" — very little comics content. The rest of Wizard's 2013 convention schedule included Portland, St. Louis, Philadelphia, Wizard World Chicago, Ohio Comic Con, Nashville, Austin, and New Orleans. In September 2013, Wizard World announced seven new stops for the 2014 tour: Sacramento, Louisville, Minneapolis, Atlanta, San Antonio, Richmond, and Tulsa. Wizard gave up the New York market after 2013 due to the dominance of the New York Comic Con; in 2014 the Big Apple con was reacquired by its founder, Michael Carbonaro.

The explosion in Wizard-produced conventions brought accusations that the entertainment behemoth was deliberately trying to push its competitors out of business. On the other hand, many praised Wizard's professional and standardized approach to producing conventions.

### Convention contraction

In 2015, Wizard produced 25 conventions but lost $4.25 million in revenue. The 2016 schedule, cut back to 19 events, included Wizard cons in Portland, Cleveland, Las Vegas, St. Louis, Madison, Minneapolis, Des Moines, Philadelphia, Sacramento, Albuquerque, Columbus, Orlando, Chicago, Richmond, Austin, Tulsa, and Pittsburgh.

By 2018, the company was producing thirteen annual conventions around the U.S.

### Post-pandemic woes; sale of convention business

The COVID-19 pandemic hit Wizard Entertainment hard — as it did the convention business worldwide. Most 2020 conventions scheduled for after mid-March of that year were canceled, and many moved online in 2021.

Wizard World held only six in-person conventions in 2021, and that August the company announced it would be selling the convention events business to FanExpo, with the final Wizard World Chicago show occurring in October.

## InfoBox

Wizard Entertainment, Inc.
|
|  |
| Formerly | * Wizard Press (1991–2011) * Wizard World, Inc. (2011–2018) |
| Traded as | OTCQB: WIZD |
| Industry | Entertainment |
| Founded | 1991 (Wizard Press) |
| Founder | Gareb Shamus (Wizard Press) |
| Defunct | 2021 (2021) |
| Fate | Conventions sold to FanExpo |
| Successor | FanExpo |
| Headquarters | Los Angeles, California, U.S. |
| Area served | North America |
| Products | Hobbyist magazines (1991–2011) |
| Services | Fan conventions (1997–2021) |
| Website | wizardworld.com |