title: Origami (magic trick)

abstract: Origami is a magic stage illusion with a Japanese paperfolding theme, designed by Jim Steinmeyer. It was originally performed in 1986 by Canadian illusionist Doug Henning, using a working prop constructed by illusion builder John Gaughan. Illusionist David Copperfield later introduced presentational changes that would be widely copied by other performers.

text:
# Origami (magic trick)

**Origami** is a magic stage illusion with a Japanese paperfolding theme, designed by Jim Steinmeyer. It was originally performed in 1986 by Canadian illusionist Doug Henning, using a working prop constructed by illusion builder John Gaughan. Illusionist David Copperfield later introduced presentational changes that would be widely copied by other performers.

## Effect

> In 1986, the wonderful Doug Henning, my former boss, introduced the Origami illusion, which means that it's been twenty-five years since that debut.
>
> Of course, at that time, I had no understanding how popular or how imitated this illusion would become. For the record, there are no "plans" for the illusion; I've always licensed it through specific associates and the illusion is protected by US patent. This hasn't prevented some magicians from building, selling and performing embarrassing and inferior versions of it. And it hasn't stopped magicians from performing it when they never really understood it. But I try to remind myself that imitation, even poor imitation, is the sincerest form of flattery.

Jim Steinmeyer (2011)

### Doug Henning version

*Origami* was first performed by Canadian magician Doug Henning in 1986. At that time, designer Jim Steinmeyer was employed as a magic consultant by Henning.

In the original presentation, Henning displays a small box, 12 inches square and decorated with Japanese-style prints, on top of a thin table. He explains that the box is held together by two ivory skewers and a wooden pole.

At this point, a male assistant appears on stage carrying a large mirror, which is mounted at the rear of the table and reflects the back of the box. Henning explains that the purpose of the mirror is to allow the audience to see the routine from the back. The ivory skewers and wooden pole are now removed from the box and placed against the mirror.

Henning tells the audience that the *Origami Box* is so named because it *"unfolds, like an Origami work of art."* He proceeds to unfold the box into a larger orange and black box. He further explains that the box holds just as much when it is folded down small as when it is opened up large. To demonstrate, a female assistant wearing a turquoise costume appears on stage and climbs into the box. Henning points out that she barely fits inside the larger box; and then proceeds to fold the box down into its original smaller size. As he does so, he recites a short poem:

> *"A little box, proved otherwise*
> *The world at large, made small in size!"*

The female assistant has disappeared from the table and it seems impossible that she can be inside the 12-inch box. Henning now takes the ivory skewers and wooden pole and inserts them back into the box, cross ways, length ways, and vertically. He now rotates the table, showing the back for the first time. There is no sign of the assistant.

Henning jokes that, the next time they travel, he will take his assistant as carry-on luggage. He now tells the audience that the Japanese believe that whatever can be folded can also be unfolded. As he does so, he begins to unfold the box, and recites the rest of the poem:

> *"And as they gazed, the wonder grew*
> *The more they saw, the less they knew*
> *Each fold and crease had not explained*
> *All wonders of the world contained!"*

The assistant emerges from the box, now dressed in a different outfit and wearing a mask.

### David Copperfield version

David Copperfield introduced a number of presentational changes to *Origami* in 1989, devised by his choreographer, co-director and on-stage assistant Joanie Spina. The choreography, background music and presentational patter used in this version have all since been widely copied by other performers.

Copperfield displays a red box, around 12 inches square, on a thin table. It is penetrated by three Samurai swords - *"side to side, front to back, and even from top to bottom."* A male assistant mounts a mirror at the back of the table, and Copperfield explains that this enables the audience to *"see the box from around the sides and from the back at all times."*

Copperfield asks the audience to watch very carefully *"because we're going to do this very slowly."*

The lights are extinguished, leaving the stage in darkness. A musical soundtrack of Peter Gabriel's "Mercy Street" plays. The lighting is slowly restored to reveal Copperfield, in silhouette, holding one of the Samurai swords. Behind him, a female assistant clothed in red is seen, sitting on the stage floor. Copperfield removes each of the swords from the box with a flourish and mounts them on a nearby rack, before unfolding the box to its expanded state. The larger box is white.

Copperfield moves across to the female assistant, takes her hand and lifts her to her feet. The two embrace briefly, to the tempo of the music, and she then steps up onto the table. The two embrace again. The assistant then steps into the box, which Copperfield then folds back into a 12-inch cube. He takes each sword in turn, with a flourish, and stabs them through slits in the center of each face of the box; the first from front to back, the second from side to side, and then stands on the table to insert the third sword from top to bottom. He now rotates the table full circle to show all sides.

Then he removes the swords, unfolds the box once again to its full size, and the assistant steps out onto the table unharmed. She is now wearing a white costume, matching the expanded box. Copperfield lifts her from the table and they embrace one last time as the lights are dimmed.

### Greg Frewin version

Illusionist Greg Frewin developed a version of *Origami* in which a black cloth is placed over the mirror; the mirror is then broken and three of the broken shards are used to penetrate the box. Finally, the mirror is restored.

## Construction

The original *Origami* prop was constructed by illusion builder John Gaughan. Current authorized versions are licensed to Gaughan and to Wellington Enterprises of New Jersey, United States.

The design of the prop is protected by US Patent #593178, issued in 2009 and expiring in 2023.


title: Nawal Soufi

abstract: Nawal Soufi is a Moroccan-Italian social worker and human rights activist. She also has been active in immigration and is a sympathizer of the Palestinian cause.

text:
# Nawal Soufi

**Nawal Soufi** (Arabic: نوال الصوفي ; born 1988 in Morocco) is a Moroccan-Italian social worker and human rights activist. She also has been active in immigration and is a sympathizer of the Palestinian cause.

## Biography

Soufi was born in Morocco of Moroccan parents but just after a few weeks after the birth they moved to Catania at the foot of Etna in Italy. She was only fourteen when she began her social career helping Moroccan immigrants and Italian homeless to survive in their daily lives. she continued her social work activities when she grew up. She earned a degree in political science and international relations, while working part-time as an interpreter in Sicilian courts and prisons.

She was affected by the Palestinian struggle and the Arab Spring. In December 2012 she traveled to Syria and headed a humanitarian convoy which helped about 800 families there. She offered her help for the Syrians who were trying to take refuge in Italy.

## Activities

Soufi became known in 2013 when she saved a boat lost in the Mediterranean Sea, with hundreds of Syrian refugees aboard, in danger of getting drowned. She received a call demanding rescue from one of the immigrants.

Honored by this achievement she made aid for illegal migrants her daily struggle. In this way she managed to successfully save more than 2 million migrants, lost at sea, to that date.

## Awards

Soufi has won several awards for the documentaries she made in Syria and Libya in 2014. These include the " Pioneer Woman - Donna di Frontiera " and "Border Woman" Award from the jurors of the Marzamemi International Frontier Film Festival.

Soufi was awarded the European Citizens' Prize in 2016. She won the prize of initiative artisans of hope in 2017 chaired by Emir Mohammed bin Rashid Al Maktoum in Dubai a distinction aimed at promoting Arab skills working for positive change through projects and initiatives.

The remarkable intention of a young woman is the subject of a book *Nawal, the angel of refugees*, released in 2015 in Italy.


title: Roger Judrin

abstract: Roger Judrin was a French writer and literary critic.

text:
# Roger Judrin

**Roger Judrin** (born 26 July 1909 – 14 December 2000) was a French writer and literary critic.

## Biography

Roger Judrin studied at the Lycée Henri-IV, followed the lessons of philosopher Alain and became a professor in 1933. Married in 1939, he was taken prisoner in 1940 in Strasbourg, sent to Pomerania to the camp of Neubrandenburg, from which he eventually escaped. He returned to France and settled in Compiègne in October 1941, where he lived until his death. From that date to 1970, he was a professor of Classical Letters at Lycée Pierre-d'Ailly.

Close to Jean Paulhan, with whom he maintained a long correspondence, he collaborated from 1953 to the *Nouvelle Revue Française* where he published remarked texts about Jean de La Fontaine, Louis de Rouvroy, Saint-Simon and Stendhal. He thus asserted himself as a great critic, with acute eyes and incisive style.

A discreet but prolific writer, he published numerous works belonging to genres as varied as novel, new, poetry, essay and biography. Among these works are a study on Montaigne, a biography of Saint-Simon and a collection of political portraits (*Feu nos maîtres*) (our deceased masters).

Adopting willingly the brief form, Judrin published collections of aphorisms in the minds of the moralists, small philosophical and literary portraits and poetic notations inspired by oriental wisdom (*Boussoles*, *Ténèbres d'or*, *Printemps d'hiver*).

He was praised by Paul Morand and Jacques Chardonne, who lauded him "an abrupt and natural writer", and was closely associated with Marcel Arland. Georges Perros. After Paulhan's death, he left Gallimard for Éditions de la Table ronde, which he helped to found.

## Bibliography

* Alfred Eibel, Dossier "Roger Judrin", *Matulu* issue 1 March 1971.
* 10 July 1997, dans les "Nuits magnétiques", France-Culture diffuse l'émission-portrait "A l'ombre de Roger Judrin" produshed by Catherine Soullard.
* 23 April 1994, France-Culture broadcast "Une vie une œuvre Marcel Arland", produced by Catherine Soullard, with among others, Roger Judrin as guest.
* Michel Mourlet, "A la rencontre de Judrin", in *Écrivains de France, |XX*, réédition augmentée, France Univers, Paris, 2011

## InfoBox

| Roger Judrin | |
| --- | --- |
| Born | 26 July 1909
Paris |
| Died | 14 December 2000(2000-12-14) (aged 91)
Compiègne |
| Occupation(s) | Novelist
Essayist |


title: USS Randolph (1776)

abstract: The first USS Randolph was a 32-gun frigate in the Continental Navy named for Founding Father Peyton Randolph, the president of the First Continental Congress. Attaining only moderate success in her career, Randolph was destroyed by an explosion of her gunpowder stores during a naval action on 8 March 1778.

text:
# USS Randolph (1776)

The first **USS *Randolph*** was a 32-gun frigate in the Continental Navy named for Founding Father Peyton Randolph, the president of the First Continental Congress. Attaining only moderate success in her career, *Randolph* was destroyed by an explosion of her gunpowder stores during a naval action on 8 March 1778.

## Construction

Construction of the first *Randolph* was authorized by the Continental Congress on 13 December 1775. The frigate, designed by Joshua Humphreys, was launched on 10 July 1776, by Wharton and Humphreys at Philadelphia, Pennsylvania. Patriot Nicholas Biddle, with his extensive naval experience, was appointed captain of the *Randolph* on 11 July; he formally assumed command of the frigate in mid-October.

## Maiden voyage

Seamen were scarce and recruiting was slow, delaying the ship's maiden voyage. In desperation, captured British seamen were pressed into service at Philadelphia; the resulting riot forced the soldiers assigned to escort the sailors to fire into the prison windows. Finally manned, *Randolph* sailed down the Delaware River on 3 February 1777, and three days later rounded Cape Henlopen, on her first assignment escorting a large group of American merchantmen to sea to obtain supplies and funds for the American cause. On the 15th, the convoy separated, with some of *Randolph's* charges heading for France and the rest setting course for the West Indies.

The frigate herself turned northward with plans to intercept HMS *Milford*, a British frigate responsible for the loss of several New England vessels involved in blockade running. A ship matching the *Milford*'s description was captured; after Biddle identified it as a French man-o'-war, he set it free. Then, as she continued the search, *Randolph* sprung her foremast. While the crew labored to jury-rig a replacement, the ship's mainmast broke and toppled into the sea.

Continuing the hunt was out of the question as the ship had lost much of her maneuverability and speed. Now seeking to avoid the Royal Navy's warships, Biddle ordered the ship south towards the Carolina coast. An epidemic of fever broke out as the *Randolph* limped along, and many members of the crew died and were hastily buried at sea. Biddle also had to deal with a failed uprising by the British captives on his ship before reaching Charleston, South Carolina, on the afternoon of 11 March.

## Second voyage

Twice, after her repairs had been completed and as she was about to get underway, the frigate was kept in port by lightning-splintered mainmasts. Meanwhile, more and more crewmen were lost to sickness, desertion, and the lure of higher pay on merchant vessels.

Recruiting was stimulated by the issuing of bounties, and *Randolph* was finally readied for sea - this time with her masts protected by lightning rods. She departed Charleston on 16 August and was positioned by Biddle at the mouth of the harbor awaiting favorable winds to put to sea. Two days later, a party from the frigate boarded a departing merchantman, *Fair American*, and took back into its service a pair of deserters among the ship's crew.

Inshore winds kept *Randolph* trapped until the breeze shifted on 1 September, wafting the frigate across Charleston Bar. At dusk, on the 3rd, a lookout spotted five vessels: two merchant ships, two brigs, and a sloop. After a nightlong chase, she caught up with her quarry the next morning and took four prizes. The first, a 20-gun privateer, *True Briton*, was laden with rum for the British troops at New York; *Severn*, the second prize, had been recaptured by *True Briton* from a North Carolina privateer while sailing from Jamaica to London with a cargo of sugar, rum, ginger, and logwood. The two brigs, *Charming Peggy*, a French privateer on escort duty, and *L’Assomption*, laden with salt, had also been captured by *True Briton* while plying their way from Martinique to Charleston.

*Randolph* and her prizes reached Charleston on the morning of 6 September. While the frigate was in port having her hull scraped, the president of South Carolina's General Assembly, John Rutledge, suggested to Biddle that *Randolph* should join forces with the State Navy and break the British naval blockade of Charleston. Biddle accepted temporary command of the fleet, which, besides *Randolph*, included *General Moultrie*, *Notre Dame*, the converted *Fair American*, and *Polly*.

The American ships sailed on 14 February 1778, but encountered no British warships. Biddle then ordered his captains to proceed to the West Indies, hoping to intercept British merchantmen. After two days, they captured (and were subsequently forced to burn) a dismasted and unsalvageable New England merchantman which had been captured by a British privateer while headed for St. Augustine, Florida. Thereafter, game was scarce. They encountered only neutral ships until *Polly* took a small schooner on 4 March bound from New York to Grenada. Biddle had the ship repurposed as a tender.

## Loss

On the afternoon of 7 March, *Randolph*'s lookouts spotted sail on the horizon. At 21:00 that evening, an unidentified ship, now flying British colors, came up on the *Randolph* as the largest ship in the convoy, and demanded they hoist their colors. The *Randolph* then hoisted American colors and fired a broadside into the British ship after Biddle and his officers gambled that they were challenging an inferior sloop-of-war. The stranger turned out to be the HMS *Yarmouth*.

As a 64-gun, two-deck ship of the line, *Yarmouth* had double the number of guns as *Randolph*. *Yarmouth*'s guns were also significantly heavier as she mounted 32-pound cannons on her main deck, 18-pounder guns on her upper deck, and 9-pounder guns on her quarterdeck and forecastle, giving her almost five times the weight of shot that *Randolph* could fire. The *Randolph* and *General Moultrie* engaged *Yarmouth* until the *Randolph*'s magazine exploded with a blinding flash. Burning debris up to six feet long struck *Yarmouth*, which significantly damaged her sails and rigging and caused several casualties.

The damage caused to *Yarmouth'*s sails and rigging prevented her from pursuing the remaining South Carolina ships as they slipped away in the darkness.

The loss of the *Randolph* resulted in 311 deaths, including Biddle's. *Yarmouth* picked up four survivors off of wreckage on 12 March. Casualties aboard *Yarmouth* amounted to five men killed and 12 wounded.

*This article incorporates text from the public domain* Dictionary of American Naval Fighting Ships*. The entry can be found here.*

## InfoBox

|  | |
| --- | --- |
| History | |
| United States | |
| Name | USS *Randolph* |
| Namesake | Peyton Randolph |
| Ordered | 13 December 1775 |
| Builder | Wharton and Humphreys |
| Launched | 10 July 1776 |
| Fate | Sunk by explosion, 7 March 1778 (311 killed/4 survived) |
| General characteristics | |
| Type | Frigate |
| Length | 132 ft 9 in (40.46 m) |
| Beam | 34 ft 6 in (10.52 m) |
| Draft | 18 ft (5.5 m) |
| Depth | 10 ft 6 in (3.20 m) |
| Complement | 315 |
| Armament | 26 x 12 pdrs; 10 x 6 pdrs |
| Service record | |
| Commanders: | Capt. Nicholas Biddle |
| Operations: |  |


title: Leptothelaira

abstract: Leptothelaira is a genus of flies in the family Tachinidae.

text:
# Leptothelaira

***Leptothelaira*** is a genus of flies in the family Tachinidae.

## Species

## InfoBox

| *Leptothelaira* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Tachinidae |
| Subfamily: | Dexiinae |
| Tribe: | Voriini |
| Genus: | *Leptothelaira*
Mesnil & Shima, 1979 |
|
| Type species | |
| *Leptothelaira longicaudata*
Mesnil & Shima, 1979 | |


title: Osipy-Zakrzewizna

abstract: Osipy-Zakrzewizna is a village in the administrative district of Gmina Wysokie Mazowieckie, within Wysokie Mazowieckie County, Podlaskie Voivodeship, in north-eastern Poland.

text:
# Osipy-Zakrzewizna

**Osipy-Zakrzewizna** \[ɔˈɕipɨ zakʂɛˈvizna\] is a village in the administrative district of Gmina Wysokie Mazowieckie, within Wysokie Mazowieckie County, Podlaskie Voivodeship, in north-eastern Poland.

## InfoBox

| Osipy-Zakrzewizna | |
| --- | --- |
| Village | |
| View of the village | |
| Osipy-Zakrzewizna | |
| Coordinates: 52°55′38″N 22°28′26″E / 52.92722°N 22.47389°E / 52.92722; 22.47389 | |
| Country | Poland |
| Voivodeship | Podlaskie |
| County | Wysokie Mazowieckie |
| Gmina | Wysokie Mazowieckie |


title: Vrgada

abstract: Vrgada is an island off the coast of Croatia in the Adriatic Sea. It is located halfway between Zadar and Šibenik, in the archipelago northwest of Murter and south of Biograd na moru, 2.5 nautical miles (4.6 km) from the mainland. It has area of 3.7 square kilometres. and population of 249. The only settlement on the island is also named Vrgada and is surrounded with pine forest. Main industries are agriculture and fishing. On northeast coast, there are several small coves.

text:
# Vrgada

**Vrgada** (Croatian pronunciation: \[vř̩ɡaːda\]) is an island off the coast of Croatia in the Adriatic Sea. It is located halfway between Zadar and Šibenik, in the archipelago northwest of Murter and south of Biograd na moru, 2.5 nautical miles (4.6 km) from the mainland. It has area of 3.7 square kilometres (1 square mile). and population of 249. The only settlement on the island is also named Vrgada and is surrounded with pine forest. Main industries are agriculture and fishing. On northeast coast, there are several small coves.

## InfoBox

Vrgada
|  | |
| --- | --- |
|  | |
| Vrgada | |
| Geography | |
| Location | Adriatic Sea |
| Coordinates | 43°51′08″N 15°30′08″E / 43.852231°N 15.50231°E / 43.852231; 15.50231 |
| Area | 3.7 km2 (1.4 sq mi) |
| Highest elevation | 112 m (367 ft) |
| Highest point | Srabljinovac |
| Administration | |
| **Croatia** | |
| Demographics | |
| Population | 249 |
| Pop. density | 67.29/km2 (174.28/sq mi) |


title: Origami Polyhedra Design

abstract: Origami Polyhedra Design is a book on origami designs for constructing polyhedra. It was written by the origami artist and mathematician John Montroll, and it was published in 2009 by A K Peters.

text:
# Origami Polyhedra Design

***Origami Polyhedra Design*** is a book on origami designs for constructing polyhedra. It was written by the origami artist and mathematician John Montroll, and it was published in 2009 by A K Peters.

## Topics

There are two traditional methods for making polyhedra out of paper: polyhedral nets and modular origami. In the net method, the faces of the polyhedron are placed to form an irregular shape on a flat sheet of paper, with some of these faces connected to each other within this shape; it is cut out and folded into the shape of the polyhedron, and the remaining pairs of faces are attached together. In the modular origami method, many similarly-shaped "modules" are each folded from a single sheet of origami paper, and then assembled to form a polyhedron, with pairs of modules connected by the insertion of a flap from one module into a slot in another module. This book does neither of those two things. Instead, it provides designs for folding polyhedra, each out of a single uncut sheet of origami paper.

After a brief introduction to the mathematics of polyhedra and the concepts used to design origami polyhedra, book presents designs for folding 72 different shapes, organized by their level of difficulty. These include the regular polygons and the Platonic solids, Archimedean solids, and Catalan solids, as well as less-symmetric convex polyhedra such as dipyramids and non-convex shapes such as a "sunken octahedron" (a compound of three mutually-perpendicular squares). An important constraint used in the designs was that the visible faces of each polyhedron should have few or no creases; additionally, the symmetries of the polyhedron should be reflected in the folding pattern, to the extent possible, and the resulting polyhedron should be large and stable.

## Audience and reception

Reviewer Tom Hagedorn writes that "The book is well designed and organized and makes you want to start folding polyhedra," and that its instructions are "clear and easy to understand"; he recommends it to anyone interested in origami, polyhedra, or both. Reviewer Rachel Thomas recommends it to origami folders, to demonstrate to them the beauty of geometric forms, and to mathematicians, to show these forms in a new light and demonstrate the creativity of origami design. The book can also be used as a source for mathematical school projects, and to provide hands-on experience with geometry concepts such as length, angles, surface area, and volume; some of its designs are suitable for students as young as middle school, although others require more experience as an origami folder.

## InfoBox

Origami Polyhedra Design
|  | |
| --- | --- |
| Author | John Montroll |
| Publisher | A K Peters |
| Publication date | 2009 |


title: National Wildfire Coordinating Group

abstract: The National Wildfire Coordinating Group (NWCG) was formed in the United States as a result of the aftermath of a major wildfire season in 1970, including the Laguna Fire. The 1970 fire season underscored the need for a national set of training and equipment standards which would be standardized across the different agencies. NWCG included representatives from the United States Forest Service, the Bureau of Land Management, the National Park Service, the Bureau of Indian Affairs, the U.S. Fish and Wildlife Service, and the National Association of State Foresters. After a series of meetings in the early 1970s, the NWCG was officially chartered by the Secretaries of the Interior and Agriculture in 1976. Among the notable results of the NWCG has been the adoption of the Interagency Fire Qualifications Rating system, more commonly known among firefighters as the "red card" qualification system; the establishment of the series of training classes associated with the red card system; the establishment of an interagency fire training center at Marana, Arizona; the publication of training manuals such as the Fireline Handbook; and the Resource Ordering Status System. NWCG was formed independently of two other programs which also formed in the 1970s out of the need for greater interagency coordination: the Boise Interagency Fire Center, and the FIRESCOPE program in southern California.

text:
# National Wildfire Coordinating Group

The **National Wildfire Coordinating Group** (**NWCG**) was formed in the United States as a result of the aftermath of a major wildfire season in 1970, including the Laguna Fire.

The 1970 fire season underscored the need for a national set of training and equipment standards which would be standardized across the different agencies. NWCG included representatives from the United States Forest Service, the Bureau of Land Management, the National Park Service, the Bureau of Indian Affairs, the U.S. Fish and Wildlife Service, and the National Association of State Foresters.

After a series of meetings in the early 1970s, the NWCG was officially chartered by the Secretaries of the Interior and Agriculture in 1976.

Among the notable results of the NWCG has been the adoption of the Interagency Fire Qualifications Rating system, more commonly known among firefighters as the "red card" qualification system; the establishment of the series of training classes associated with the red card system (such as the basic wildland fire course, S-130/S-190); the establishment of an interagency fire training center at Marana, Arizona; the publication of training manuals such as the Fireline Handbook; and the Resource Ordering Status System.

NWCG was formed independently of two other programs which also formed in the 1970s out of the need for greater interagency coordination: the Boise Interagency Fire Center (now the National Interagency Fire Center), and the FIRESCOPE program in southern California.

## SmoC

The NWCG oversees the Smoke Committee (SmoC), an advisory group that addresses strategies and guidance for addressing smoke within fire and fuels programs nationwide.

The Committee's web page describes itself as *a forum where air resource and wildland fire management programs and member agencies will discuss and attempt to resolve technical, regulatory and policy matters of joint interest concerning fire emissions and air quality impacts on firefighter and public safety and health from planned and unplanned fires.*

## National Incident Management Organization

In 2003, an Interagency Team identified strategies to improve incident management. The NWCG accepted the conclusions of the study in 2005 and the National Incident Management Organization (NIMO) was formed. The NIMO is a seven-member team of professional incident managers with complex incident management as their primary focus. In addition to incident management NIMO provides training, leadership development and other support activities.


title: Multimodal Architecture and Interfaces

abstract: Multimodal Architecture and Interfaces is an open standard developed by the World Wide Web Consortium since 2005. It was published as a Recommendation of the W3C on October 25, 2012. The document is a technical report specifying a multimodal system architecture and its generic interfaces to facilitate integration and multimodal interaction management in a computer system. It has been developed by the W3C's Multimodal Interaction Working Group.

text:
# Multimodal Architecture and Interfaces

***Multimodal Architecture and Interfaces*** is an open standard developed by the World Wide Web Consortium since 2005. It was published as a Recommendation of the W3C on October 25, 2012. The document is a technical report specifying a multimodal system architecture and its generic interfaces to facilitate integration and multimodal interaction management in a computer system. It has been developed by the W3C's Multimodal Interaction Working Group.

## Description

The *Multimodal Architecture and Interfaces* recommendation introduces a generic structure and a communication protocol to allow the modules in a multimodal system to communicate with each other.

This specification proposes an event-driven architecture as a general frame of reference focused in the control flow data exchange. It can be used to determine the basic infrastructures needed to command the application's multimodal services.

The architecture is also proposed to facilitate the task of implementing several types of multimodal services providers on multiple devices: mobile devices and cell phones, home appliances, Internet of Things objects, television and home networks, enterprise applications, web applications, "smart" cars or on medical devices and applications.

### Logical structure

*Multimodal Architecture and Interfaces* is the specified description of a larger services infrastructure called The Runtime Framework which provides the main functions that a multimodal system can need. This framework is at a higher level of abstraction than the MMI architecture. The MMI Runtime Framework is the runtime support and communication modules of the multimodal system while MMI Architecture is the description and the specification of its main modules, its interfaces and its communication modes.

The *Multimodal Architecture and Interfaces* specification is based on the MVC design pattern, that proposes to organize the user interface structure in three parts: the *Model*, the *View* and the *Controller*. This design pattern is also shown by the Data-Flow-Presentation architecture from the Voice Browser Working Group.

A particularity of this architecture is that although the presentation layer represented by the*View* has traditionally been associated with graphical interfaces; this recommendation abstraction generalizes the *View* to the broader context of the multimodal interaction, where the user can use a combination of visual, auditory, biometric and / or tactile modalities.

The MMI Architecture recommendation distinguishes three types of components: the ***Interaction Manager*** – IM, the ***Data Component*** – DC and the ***Modality Components*** – MC. This distinction is similar to the separation between the *Controller*, the *Model* and the presentation documents of the *View* in the MVC pattern.

Another characteristic is recursion. The modules are black boxes and it is possible to encapsulate several components in a more complex component, which communicate with an ***Interaction Manager*** at a higher level. In this way, the architecture follows the nested dolls principle .

The specification also covers the issues of a distributed implementation on multiple material resources in a network or a centralized implementation, with all the modules installed in a single material support. Information sharing between modules is loose coupled. This promotes low dependence between modules, reducing the impact of changes in one module on other modules, and facilitating the modules' reuse. In this way, the modules have little or no knowledge of the functioning of any other modules and the communication between modules is done through the exchange of messages following a precise communication protocol provided by the architecture's API.

## The MMI architecture modules

### The interaction manager

The interaction manager is a logical component, responsible for all message exchanges between the components of the system and the multimodal Runtime Framework. It is a communication bus and also an event handler.

Each application can configure at least one Interaction Manager to define the required interaction logic. This controller is the core of the multimodal interaction:

* It manages the specific behaviors triggered by the events exchanged between the various input and output components.
* It manages the communication between the modules and the client application.
* It ensures consistency between multiple inputs and outputs and provides a general perception of the application's current status.
* It is responsible for data synchronization.
* It is responsible for focus management.
* It manages communication with any other entity outside the system.

### The modality components

The modality components are responsible for specific tasks, including handling inputs and outputs in various ways, such as speech, writing, video, etc..

These are logical entities that handles the input and output of different hardware devices (microphone, graphic tablet, keyboard) and software services (motion detection, biometric changes) associated with the multimodal system. For example, (see figure below), a modality component **A** can be charged at the same time of the speech recognition and the audio input management. Another modality component **B** can manage the complementary command inputs on two different devices: a graphics tablet and a microphone. Two modality components **C**, can manage separately two complementary inputs given by a single device: a camcorder. And finally, a modality component **D**, can use an external recognition web service and only be responsible for the control of communication exchanges needed for the recognition task.

In all four cases the system has a generic modality component for the detection of a voice command input, despite the differences in implementation. Any modality component can potentially wrap multiple features provided by multiple physical devices but also more than one modality component could be included in a single device. To this extent the modality component is an abstraction of the same kind of input handled and implemented differently in each case.

For this reason, the W3C recommendation currently does not describe in detail the structure or implementation of the modality components. It focuses only on the need of a communication interface with the Interaction Manager and the need of an implementation that follows a specific communication protocol: the Life-Cycle Events.

### The data component

The data component's primary role is to save the public data of the application that may be required by one or several modality components or by other modules (e.g., the Framework's session module).

The data component can be an internal module **A** or an external module **B** to the Interaction Manager (see Figure). This depends on the implementation chosen by each application. However, the Interaction Manager is the only module that has direct access to the Data Component and only the Interaction Manager can view and edit the data and communicate with external servers if necessary. As a result, the Modality Components must use the Interaction Manager as an intermediary to access the public data of the multimodal application.

However, for the storage of private data, each Modality Component can implement its own Data Component. This private Data Component can also access external servers **B** (see Figure) and keep the data that the Modality Component may require, for example, in the speech recognition task. This can be the case of an implementation following the principle of nested dolls given by the MMI architecture recommendation.

## Communication protocol between different modules

In the MMI architecture, the communication protocol is asynchronous, bi-directional and based on the exchange of event notifications that are raised by the system following a user action or some internal activity.

This protocol defines the exchange mode and how to establish and end the communication between modules. In the case of this specification, it is reflected in the Life-Cycle Events. These are six standard control events that are proposed for controlling devices and material services (such as a video player or a sound reproduction device) and two notifications proposed for monitoring the current status of the multimodal system.

### The Standard Life-Cycle Events

The specification recommends eight standard Life-Cycle Events specified as pairs of Request \> Response exchanges:

Indicates the creation of a cycle of interaction (context) between zero, one or more users with one or multiple modality components. The context is the longest period of interaction in which the modules must keep the information available. The context is associated with the semantics of the user's and system's activity during the interaction cycle. This allows to the implementation decide whether to keeping the information still makes sense for the execution of the current activity. Usually the context is created from user input. The event is normally sent by one or more modality components to the interaction manager that must answer the query. For example, a modality component responsible for managing the inputs associated with the finger gesture ( touchmove ) in a web page viewed on a touch screen. At the beginning of the physical interaction, the modality component will send the query:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:newContextRequest requestID="myReq1" source="myPointerMC.php" target="myIM.php" data="myMCStatus.xml" />
</mmi:mmi>

```
At this request the Interaction Manager will respond:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:newContextResponse requestID="myReq1" source="myIM.php" target="myPointerMC.php" context="myContextID1" status="success" />
</mmi:mmi>

```
It is also possible that the Interaction Manager is at the origin of the request. In this case the syntax remains the same but the value of ***source*** and ***target*** properties must change. Sent by the interaction manager, the event marks the end of the cycle of interaction (context) and request the freed of the resources that were allocated to the current interaction context. The ClearContext event may be associated with the end of user or system activity. For example:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:clearContextRequest requestID="myReq2" source="myPointerMC.php" target="myIM.php" context="myContextID1" />
</mmi:mmi>

```
Upon receipt the request, the modality component may give as an answer:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:clearContextResponse requestID="myReq2" source="myPointerMC.php" target="myIM.php" context="myContextID1" status="success" />
</mmi:mmi>

```
Sent by the interaction manager, this event control signals to the modality component that it must be prepared to start its task and that it can load data that will be required to perform its work. For example:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0" xmlns:svg="http://www.w3.org/2000/svg">
<mmi:prepareRequest requestID="myReq3" source="myIM.php" target="myDisplayMC.php" context="myContextID2">
<mmi:content>
<svg:svg width="100%" height="100%" version="1.1">
<rect width="300" height="100" style="fill:rgb(0,0,255);stroke-width:1; stroke:rgb(0,0,0)"/>
</svg:svg>
</mmi:content>
</mmi:prepareRequest>
</mmi:mmi>

```
If there are multiple documents or data to be loaded during the preparation phase, the Interaction Manager could trigger the PrepareRequest event several times without starting the task after each request. Nevertheless, each request call must be answered. In our example, if the content has been properly preloaded the answer is:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:prepareResponse requestID="myReq3" source="myDisplayMC.php" target="myIM.php" status="success" context="myContextID2">
</mmi:prepareResponse>
</mmi:mmi>

```
Sent by the Interaction Manager this control event signals to the Modality Component that it may start its task. For example:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:startRequest requestID="myReq4" source="myIM.php" target="myPlayerMC.php" context="myContextID3" data="myPlayerParams.xml">
<mmi:contentURL href="myAnimation.swf"/>
</mmi:startRequest>
</mmi:mmi>

```
If during the execution of its work the Modality Component receives a new StartRequest event it may either start the new task, or report the failure. In the case of a successful execution the answer must be:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:startResponse requestID="myReq4" source="myPlayerMC.php" target="myIM.php" status="success" context="myContextID3">
</mmi:startResponse>
</mmi:mmi>

```
In the case of a failure, the response may be for example:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:startResponse requestID="myReq4" source="myPlayerMC.php" target="myIM.php" status="failure" context="myContextID3">
<mmi:statusInfo>
NoContent
</mmi:statusInfo>
</mmi:startResponse>
</mmi:mmi>

```
Sent by the Interaction Manager, this control event signals to the Modality Component that it should stop its current task. For example:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:cancelRequest requestID="myReq5" source="myIM.php" target="mySpokerMC.php" context="myContextID4" Immediate="true"/>
</mmi:mmi>

```
The Modality Component response may be:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:cancelResponse requestID="myReq5" source="mySpokerMC.php" target="myIM.php" context="myContextID4" status="success" data="myMCStatus.xml"/>
</mmi:mmi>

```
Sent by the Interaction Manager, this control event signals to the Modality Component that it must pause its current task. For example, the request for a Modality Component that manages the input of a graphics tablet may be:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:pauseRequest requestID="myReq6" source="myIM.php" target="myWriterMC.php" context="myContextID5" immediate="false"/>
</mmi:mmi>

```
And the response of the Modality Component may be:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:pauseResponse requestID="myReq6" source="myWriterMC.php" target="myIM.php" context="myContextID5" status="success" data="myMCStatus.xml"/>
</mmi:mmi>

```
Sent by the Interaction Manager, this control event signals to the Modality Component that the task previously paused should resume:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:resumeRequest requestID="myReq7" source="myIM.php" target="myWriterMC.php" context="myContextID5"/>
</mmi:mmi>

```
The Modality Component's response may be:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:resumeResponse requestID="myReq7" source="myWriterMC.php" target="myIM.php" context="myContextID5" status="success"/>
</mmi:mmi>

```
It is sent either by the Interaction Manager or by the Modality Components. This event indicates whether the cycle of interaction is still running, that is, if the context is "alive". For example, a Modality Component may need to monitor the status of the system to stop a process in case of fault or standby. In this case, it may send to the Interaction Manager :
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:statusRequest requestID="myReq8" source="myRecorderMC.php" target="myIM.php" requestAutomaticUpdate="true" />
</mmi:mmi>

```
Given that the request don't have the ***context*** parameter, the controller should return the system or the host server status and not the status of the current interaction context. To this request, the Interaction Manager may respond:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
<mmi:statusResponse requestID="myReq8" source="myIM.php" target="myRecorderMC.php" status="alive" AutomaticUpdate="true" />
</mmi:mmi>

```

### The Notifications

The specification also recommends two types of notifications, which one, the Extension Notification, can contain control or command data to handle devices or material services. For this reason this notification is regarded like an exception, a standard control event that is not described as a pair Request \> Response (in a previous version it was called the Data Event). The two notifications are:

This event is used to communicate application-specific control data or any other needed data. It can be generated either by the Interaction Manager or by a Modality Component. It ensures the extensibility of the architecture by giving a generic API dedicated to the application-specific needs. For example, a Modality Component that handles a DVD player may indicate to the system an interaction with the DVD's main menu:
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
     <mmi:extensionNotification requestID="myReq9" source="myPlayerMC.php" target="myIM.php" context="myContextID6" name="playerNavigation">
     <applicationdata>
         <data id="menu" selected="true" />
     </applicationdata>
     </mmi:extensionNotification>
</mmi:mmi>

```
This notification is sent by the Modality Component to the Interaction Manager when it has finished its task. For example, when a recognizer Modality Component has finished the image recognition task (finding a face):
```
<mmi:mmi xmlns:mmi="http://www.w3.org/2008/04/mmi-arch" version="1.0">
     <mmi:doneNotification requestID="myReq10" source="myDetectorMC.php" target="myIM.php" context="myContextID7" status="success">
         <mmi:data>
           <data id="detectionList">
               <users>
                   <user id="u58" confidence=".85" />
                   <user id="u32" confidence=".75" />
                   <user id="u87" confidence=".60" />
               </users>
           </data>
         </mmi:data>
     </mmi:doneNotification>
</mmi:mmi>

```

### Standards and notes of W3C

* MMIF: Multimodal Interaction Framework by James A. Larson, T.V. Raman and Dave Raggett, Ed., W3C, 2003. This W3C Note proposes a framework that describes the main generic components of a multimodal system. This framework is a basis for developing multimodal applications, it suggest which language to use, which scripts, which styles and other useful resources.
* SCXML: State Chart XML. A State Machine Notation for Control Abstraction by Jim Barnett et al. Ed. W3C, 2006. SCXML is a state machine language for a general use and based on events. It can be used: as a dialog control language invoking different types of recognition; as a metalanguage for voice applications that can also control access to databases and business logic modules, such as a multimodal control language combining VoiceXML dialogues with other modalities, including keyboard, mouse, ink, vision, haptic devices, etc.; as a management language for extended call centers and finally as a control language for general processes in other contexts not involving speech processing.
* CCXML: Voice Browser Call Control Version 1.0 by R.J. Auburn Ed., W3C, 2005. CCXML allows the control of voice calls in dialog systems. It can handle various types of media for example in systems using VoiceXML.
* EMMA: Extensible Multimodal Annotation markup language by Michael Johnson and al. Ed., W3C, 2005. EMMA is an XML format to mark up the interpretation of user input with application-specific information such as the level of trust, the timestamp, the input modality and relevant options to the recognition of the input data.
* MMIUse: Multimodal Interaction Use Cases by Emily Candell and Dave Raggett, Ed., W3C, 2002. This W3C's Note describes several use cases for multimodal interaction and presents them in terms of the multiple device capacities and required events for each use case. It helps to assemble the various components of a multimodal application in which a user can interact with multiple modalities, for example, using speech, writing, shortcuts, voice commands to have an audio or visual output result.
* SMIL: Synchronized Multimedia Integration Language Version 2.1 by Dick Bulterman and al. Ed. W3C, 2005. SMIL is a language that allows you to write interactive multimedia presentations describing the temporal behavior of the presentation, by combining links to the media describing the layout of the presentation on the screen. It also provides timing and synchronization to other languages that can need it.
* VoiceXML: Voice Extensible Markup Language Version 2.0 by Scott McGlashan and al. Ed., W3C, 2004. It allows to create pages with which a user can interact with his voice or any sound. It allows, also the creation of a dialog between the user and a web page with a synthesized speech, digitized audio signal, a voice input or a DTMF tone.
* HTML: HyperText Markup Language Version 4.01 by Raggett and al. Ed., W3C, 1999. It is used to describe the presentation and the text of web pages and include in the pages of links to additional texts, media resources (images, video, sound) and interactive media resources ( forms, animations, interactive universe 3D ) . This description is made with tags written in a structured code and can be completed by information about a given graphic style ( CSS ) or a programmed interaction by a script ( ECMAScript ).
* SVG: Scalable Vector Graphics 1.1 by Jon Ferraiolo and al. Ed., W3C, 1995. SVG is a file format for describing adaptable vector graphics.
* XMLSig: XML-SignatureSyntax and Processing by Eastlake and al. Ed., W3C, 2001. It is used to authenticate the author of the web page and ensure its integrity through digital signatures on XML documents.

### Other standards

### Scholar references

### Publishers

## InfoBox

*Multimodal Architecture and Interfaces*
| Developed by | MMI Working Group<br>(World Wide Web Consortium) |
| --- | --- |
| Initial release | April 22, 2005 |
| Latest release | Recommendation<br>October 25, 2012 |
| Type of format | Recommendation |
| Standard | Last Version |
| Website | http://www.w3.org/2002/mmi/ |


title: Roger Dachez

abstract: Roger Dachez is a professor at the Paris Cité University and president of the Jean-Alfred Fournier Institute in Paris. He is a physician, an historian and a freemason.

text:
# Roger Dachez

**Roger Dachez** (born in 1955) is a professor at the Paris Cité University and president of the Jean-Alfred Fournier Institute in Paris. He is a physician, an historian and a freemason.

## Main publications

He is the author of numerous research articles on the historical origins and the traditional sources of freemasonry.

* 2001: *Des maçons opératifs aux francs-maçons spéculatifs. Les origines de l'Ordre maçonnique*, coll. "L'Encyclopédie maçonnique", Paris, EDIMAF, ISBN 2-903846-87-1
* 2003: *Histoire de la franc-maçonnerie française*, Paris, PUF, coll. "Que sais-je ?" ISBN 2-13-055807-0
* 2003: *Les Francs-maçons de la légende à l'histoire*, Éditions Tallandier, ISBN 2-84734-111-0
* 2003: *Les Plus Belles Pages de la franc-maçonnerie*, Éditions Dervy
* 2004: *Histoire de la médecine de l'Antiquité au XXe*, Tallandier.
* 2006: *Les Mystères de Channel row*, novel written with Alain Bauer, Éditions JC Lattes
* 2007: *Les 100 mots de la franc-maçonnerie*, written with Alain Bauer, PUF, coll. "Que sais-je ?".
* 2008: *L'Invention de la franc-maçonnerie*, Véga.
* 2009: *Le Convent du sang*, novel written with Alain Bauer, Éditions JC Lattes, coll. "Crimes et loges".
* 2010: *Le Rite écossais rectifié* with Jean-Marc Pétillot, PUF, coll. "Que sais-je ?", (ISBN 978-2-13-058196-3)
* 2013: Alain Bauer; Michel Barat; Roger Dachez. *Les promesses de l'aube*. Paris: Dervy.
* 2015: Roger Dachez. *Franc-maçonnerie: Régularité et reconnaissance, histoire et postures*. Paris: Conform.


title: Politics of Ogun State

abstract: The politics of Ogun State function within the framework of a presidential republic, with the Governor of Ogun State as both head of state and head of government. Ogun State is known for a politically engaged citizenry. The official seat of government is in Abeokuta. Under the Constitution, the executive power is vested in the Governor. Such authority may also be exercised through the Deputy Governor or Commissioners. Legislative power is vested in a 26-member unicameral House of Assembly. Judicial power is exercised solely by the judiciary of Ogun State.

text:
# Politics of Ogun State

The **politics of Ogun State** function within the framework of a presidential republic, with the Governor of Ogun State as both head of state and head of government. Ogun State is known for a politically engaged citizenry. The official seat of government is in Abeokuta. Under the Constitution, the executive power is vested in the Governor. Such authority may also be exercised through the Deputy Governor or Commissioners. Legislative power is vested in a 26-member unicameral House of Assembly. Judicial power is exercised solely by the judiciary of Ogun State.

## Political institutions

As with the federal government of Nigeria, power in Ogun State is divided into three main branches: executive, legislative, and judicial.

### Executive

The Executive branch of government in Ogun State is part of the government that is responsible for the daily administration of the state. The Executive branch consists mainly of executive council, ministries and various parastatals. It is headed by the Governor, who is both the chief of state and head of government. The governor is elected in the same manner as the President to no more than two consecutive four-year terms.

Each of the ministries is led by a Commissioner appointed by the Governor. Ogun State House of Assembly has the duty to confirm the Governor's appointments. Though parastatals have heads also appointed by the Governor, they are overseen by ministries run by Perm Secs who report to Commissioners.

Main office-holders
| Office | Name | Party | Since |
| --- | --- | --- | --- |
| Governor | Dr. Prince Dapo Abiodun | All Progressive Congress | 29 May 2019 |
| Deputy Governor | Engr. Mrs Noimot Salako Oyedele | All Progressives Congress | 29 May 2019 |

### Legislative

The legislative powers in the state lie with the Ogun State House of Assembly. A unicameral body of 26 members elected every four years. The Assembly is presided over by a Speaker, assisted by other Principal Officers. All of whom are elected from among the House membership by the legislators.

Following general elections in April 2015, the current House of Assembly was formed. All Progressives Congress (APC) emerged as the largest party with 17 seats and 9 seats for the Peoples Democratic Party. Members of the House of the Assembly are elected from single-member constituencies. The 8th House of Assembly was inaugurated on 1 June 2015.

### Judicial

Rivers State has an independent judiciary, which interprets and applies the law in the state. It is composed of a number of courts, each specialized for a different task. Most judicial appointments including that of Chief Judge are made by the Governor, but acting upon the recommendation of the National Judicial Council. As the third arm, the judiciary plays a stabilizing role in the affairs of polity. It is equipped to adjudicate disputes between people or the government at various levels. Presently, there are 10 judicial divisions within the High Court of Justice, and about 20 judges carrying out their professional work.

## Political parties and elections

The main political players are the People's Democratic Party and the All Progressives Congress. These parties along with several minor ones put forward candidates for elections to the executive, legislative and local government councils. Alliance for Democracy first governed the state in 1999, by 2003 Peoples Democratic Party took over and by 2011 All progressives Congress took over.

## Local government

At local level, the state is divided into local government areas. There are 23 LGAs that handle local administration under an elected Chairman or Mayor. Each of the local government areas has its own administrative seat and is further split into wards. Council elections are organized through the Ogun State Independent Electoral Commission.

| Rank | LGA | Population (1991) | Rank | Population (2006) |
| --- | --- | --- | --- | --- |
| 2 | Ifo | 215,055 | 1 | 539,170 |
| 1 | Ado-Odo/Ota | 234,647 | 2 | 527,242 |
| 4 | Ijebu North | 148,342 | 3 | 280,520 |
| 3 | Shagamu | 155,726 | 4 | 255,885 |
| N/A | Abeokuta South | N/A | 5 | 250,295 |
| 5 | Obafemi-Owode | 135,774 | 6 | 235,071 |
| 6 | Abeokuta North | 93,966 | 7 | 198,793 |
| N/A | Egbado North | N/A | 8 | 183,844 |
| N/A | Egbado South | N/A | 9 | 168,336 |
| N/A | Ijebu Ode | N/A | 10 | 157,161 |
| N/A | Ipokia | N/A | 11 | 150,387 |
| 7 | Odogbolu | 88,384 | 12 | 125,657 |
| N/A | Ikenne | N/A | 13 | 119,117 |
| 8 | Odeda | 86,950 | 14 | 109,522 |
| 10 | Ijebu East | 61,120 | 15 | 109,321 |
| N/A | Imeko Afon | N/A | 16 | 82,952 |
| 9 | Ogun Waterside | 61,919 | 17 | 74,222 |
| N/A | Ijebu North East | N/A | 18 | 68,800 |
| N/A | Remo North | N/A | 20 | 59,752 |
| N/A | Ewekoro | N/A | 19 | 55,093 |
|  | **Ogun State** | 2,333,726 | 16 | 3,751,140 |
|


title: Leptothele bencha

abstract: Leptothele bencha is a species of spiders in the family Euagridae first described by Robert Raven & Peter J. Schwendinger in 1995, and is native to the Malay Peninsula.

text:
# Leptothele bencha

***Leptothele bencha*** is a species of spiders in the family Euagridae first described by Robert Raven & Peter J. Schwendinger in 1995, and is native to the Malay Peninsula.

## InfoBox

| *Leptothele bencha* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Subphylum: | Chelicerata |
| Class: | Arachnida |
| Order: | Araneae |
| Infraorder: | Mygalomorphae |
| Family: | Euagridae |
| Genus: | *Leptothele*
Raven & Schwendinger, 1995 |
| Species: | ***L. bencha*** |
| Binomial name | |
| ***Leptothele bencha***
Raven & Schwendinger, 1995 | |
|


title: Osanai

abstract:
小山内 Osanai is a Japanese surname. Notable people with the surname include:
  - Kaoru Osanai, Japanese theatre director, playwright and actor
  - Mamo Osanai, Japanese golfer
  - Seiichi Osanai, Japanese sport wrestler
  - Takaya Osanai, Japanese footballer

text:
# Osanai

**Osanai** (written: 小山内 or 長内) is a Japanese surname. Notable people with the surname include:

* Kaoru Osanai (小山内 薫, 1881–1928), Japanese theatre director, playwright and actor
* Mamo Osanai (小山内 護, born 1970), Japanese golfer
* Seiichi Osanai (長内 清一, born 1953), Japanese sport wrestler
* Takaya Osanai (小山内 貴哉, born 1993), Japanese footballer

## Fictional characters

* Kirihito Osanai (小山内 桐人) protagonist of the manga series *Ode to Kirihito*
* Shōko Osanai (小山内 梢子), protagonist of the visual novel *Aoi Shiro*


title: Wrong Turn (song)

abstract: "Wrong Turn" is a song by Belgian singer and songwriter Blanche. It was released as a digital download on 25 May 2018 by PIAS Belgium. The song was written by Ellie Delvaux, Pierre Dumoulin and Andras Vleminckx.

text:
# Wrong Turn (song)

"**Wrong Turn**" is a song by Belgian singer and songwriter Blanche. It was released as a digital download on 25 May 2018 by PIAS Belgium. The song was written by Ellie Delvaux, Pierre Dumoulin and Andras Vleminckx.

## Background

"Wrong Turn" has been described as a "smooth mid-tempo electro-pop song" that describes how sometimes one needs to find the right direction in life. The music video was released on 19 June 2019 and was directed by Nur Casadevall Castello and produced by CANADA & Blink.

## Charts

| Chart (2018) | Peak
position |
| --- | --- |
| Belgium (Ultratip Bubbling Under Wallonia) | 25 |

## Release history

| Region | Date | Format | Label |
| --- | --- | --- | --- |
| Belgium | 25 May 2018 |  | PIAS Belgium |

## InfoBox

| "Wrong Turn" | |
| --- | --- |
| Single by Blanche | |
| Released | 25 May 2018 |
| Recorded | 2018 |
| Genre | Electropop Contemporary R&B |
| Length | 3:23 |
| Label | PIAS Belgium |
| Songwriter(s) |  |
| Producer(s) | Pat Wimberly |
| Blanche singles chronology | |
| "City Lights"
(2017) "**Wrong Turn**"
(2018) "Soon"
(2018) | |
|  | |
| Music video | |
| "Wrong Turn" on YouTube | |
|  | |


title: Mrs. Fang

abstract: Mrs. Fang is a 2017 documentary film directed by Wang Bing. It chronicles the last 10 days of the life of Fang Xiuying, a bedridden 68-year-old woman who suffers from advanced Alzheimer's disease. It won Golden Leopard at the 2017 Locarno Festival.

text:
# Mrs. Fang

***Mrs. Fang*** is a 2017 documentary film directed by Wang Bing. It chronicles the last 10 days of the life of Fang Xiuying, a bedridden 68-year-old woman who suffers from advanced Alzheimer's disease. It won Golden Leopard at the 2017 Locarno Festival.

## InfoBox

| Mrs. Fang | |
| --- | --- |
|  | |
|  | |
| Chinese name | |
| Simplified Chinese | 方绣英 |
| Transcriptions | |
|  | |
|  | |
| Directed by | Wang Bing |
| Written by | Wang Bing |
| Produced by | Pierre-Olivier Bardet, Yang Wang, Kong Lihong |
| Cinematography | Wang Bing, Shan Xiaohui, Ding Bihan |
| Edited by | Wang Bing, Dominique Auvray |
| Release date |  |
| Running time | 86 minutes |
| Country | China |
| Language | Mandarin |


title: Mundoor Sethumadhavan

abstract: Mundoor Sethumadhavan is a Malayalam language novelist and short story writer from Kerala, India. His novel Kaliyugam was made into a Malayalam movie in 1973, directed by K. S. Sethumadhavan. Mundoor has written 5 novels and more than 500 short stories. In his official career as a teacher, Mundoor has received State Government Award for Best Teacher for the year 1994 and Joseph Mundasseri Award for Best Creative Teacher for the year 1995. In 2015, for outstanding contributions in the field of Malayalam literature, he has been awarded Kerala Sahitya Akademi Award for Overall Contributions.

text:
# Mundoor Sethumadhavan

**Mundoor Sethumadhavan** is a Malayalam language novelist and short story writer from Kerala, India. His novel *Kaliyugam* was made into a Malayalam movie in 1973, directed by K. S. Sethumadhavan. Mundoor has written 5 novels and more than 500 short stories.

In his official career as a teacher, Mundoor has received State Government Award for Best Teacher for the year 1994 and Joseph Mundasseri Award for Best Creative Teacher for the year 1995. In 2015, for outstanding contributions in the field of Malayalam literature, he has been awarded Kerala Sahitya Akademi Award for Overall Contributions.

## Biography

Sethumadhavan was born in 1942 April 10 at Mundoor, Palakkad district, to Marath Govindan Nair and Vazhayil Devaki Amma. His primary education was at Parli School, 7 km from his home.

After completing TTC, he first became a teacher at Parali Odannur Government LP School. After graduation and B.Ed., his first appointment as teacher was at Elappully Government LP School. He retired from Kumarapuram Teachers Training College in 1997.

He was always been associated with progressive movements in his life.

Mundoor's first novel *Nirangal* was published while he was teaching at Mundoor LP School. His novel 'Kaliyugam' was made into a Malayalam movie in 1973, directed by K. S. Sethumadhavan. *Mannu* published in 1962 was his first story. He has published five novels, and more than 500 stories in 20 collections. The stories *Amma Koyyunnu* and *Mayilpeeli* have been included in the school textbooks of the Government of Kerala.

### Personal life

He and his wife Kadapath Ambika have one daughter. They live in their house *Akshara* in Palakkad city.

## Selected works

* *Kaliyugam* (novel)
* *Nirangal* (novel)
* *Maranagadha* (novel)
* *Ee janmam*
* *Anasooyayude swapnangal*
* *Akasam ethra akaleyanu*
* *Kettuvo aa nilavili*
* *Kilimakale paaduka* (children's literature)
* *Amma koyyunnu* ISBN 9788194271475(children's literature)
* *Mahayanam* ISBN 9780000170156 (novel)
* *Katha poya kalam* ISBN 9788184234978 (Short story collection)
* *Oramavasi divasam sandyakk*, ISBN 9788182646131 (Short story collection)
* *Karimpanayude pattu*, ISBN 9788184232172 (Short story collection)
* *Mundoor* ISBN 8184231628 (Short story collection)
* *Mundoor Sethumadhavante thiranjedutha kathakal* (70 Selected Works of Mundoor Sethumadhavan )

## Awards and honors

## InfoBox

| Mundoor Sethumadhavan | |
| --- | --- |
| Native name | മുണ്ടൂർ സേതുമാധവൻ |
| Born | Sethumadhavan
(1942-04-10) 10 April 1942
Mundoor, Palakkad district, British India |
| Occupation | teacher, writer |
| Nationality | Indian |
| Citizenship | India |
| Genre | Short stories, Novel, Children's literature |
| Notable awards | Kerala Sahitya Akademi Award for Overall Contributions |
| Spouse | Ambika |
| Children | 1 |
| Parents | Govindan Nair, Devaki Amma |


title: Mundos Opuestos (Chilean TV series)

abstract: Mundos Opuestos is a Chilean reality show produced and broadcast on Canal 13. 22 participants initially entered production, being isolated in a house in Pirque, southeast of Santiago de Chile. The premise of the competition is that participants will be divided into two groups, one about living "the life of the future" and the other about living "the life of the past". The two worlds present in the house were separated by a glass wall, allowing both groups to observe the actions of the other, the direct interaction between the two groups of participants is given in the courtyard, known as "the present". Participants of the two existing groups compete each week in various physical tests to determine which group will live in the past, and which will live in the future and to determine which participant will be eliminated from the competition. The winners of the first version of Mundos Opuestos were Sebastian Roca and Viviana Flores. The reality show premiered on 15 January 2012 at 11:00 pm and the grand final was on 27 June 2012 at 10:30 pm. This show was a total success in Chile, being watched by 2.9 million viewers per episode, with the second season premiered on 13 January 2013.

text:
# Mundos Opuestos (Chilean TV series)

***Mundos Opuestos*** is a Chilean reality show produced and broadcast on Canal 13. 22 participants (10 famous and 12 unknown) initially entered production, being isolated in a house in Pirque, southeast of Santiago de Chile. The premise of the competition is that participants will be divided into two groups, one about living "the life of the future" and the other about living "the life of the past". The two worlds present in the house were separated by a glass wall, allowing both groups to observe the actions of the other, the direct interaction between the two groups of participants is given in the courtyard, known as "the present". Participants of the two existing groups compete each week in various physical tests to determine which group will live in the past, and which will live in the future and to determine which participant will be eliminated from the competition.

The winners of the first version of *Mundos Opuestos* were Sebastian Roca and Viviana Flores. The reality show premiered on 15 January 2012 at 11:00 pm and the grand final was on 27 June 2012 at 10:30 pm. This show was a total success in Chile, being watched by 2.9 million viewers per episode, with the second season premiered on 13 January 2013.

## Season 1

| Contestant | Original Teams | New Teams | Merged Team | Finish |
| --- | --- | --- | --- | --- |
| **Tamara Sepúlveda**
22, model | Infinito |  |  | 1st Eliminated |
| **Daniela Muñoz**
20, Football player | Eternidad | | | 2nd Eliminated |
| **Fernando Poblete**
31, Educational assistant | Infinito | | | 3rd Eliminated |
| **Ivana Simunovic**
19, Commercial engineer student | Eternidad | | | Quit |
| **Tony Kamo**
46, Mentalist | Eternidad | | | Quit |
| *Camila Nash*
25, *Calle 7* contestant | Eternidad | | | 4th Eliminated |
| **Francisco Huaiquipán**
33, Football player | Eternidad | | | Quit |
| **Nicole "Luli" Moreno**
24, model | Infinito | | | Quit |
| **Marcelo Marocchino**
23, model | Eternidad | | | 5th Eliminated |
| **Michelle Carvalho**
18, model | Eternidad | | | Quit |
| **Romina Reyes**
27, Stylist | Eternidad | | | 6th Eliminated |
| *Francisco "Murci" Rojas*
37, Football player | Eternidad | Chronos | | 7th Eliminated |
| *Yamna Lobos*
29, Dancer | Infinito | Chronos | | 8th Eliminated |
| **Mario "Chapu" Moreno**
37, Member of the Marea Roja | Eternidad | Eternia | | 9th Eliminated |
| **Camila Nash**
25, *Calle 7* contestant | Eternidad | Chronos | | 10th Eliminated |
| **Francisco "Murci" Rojas**
37, Football player | Eternidad | Chronos | | 11th Eliminated |
| **Wilma González**
27, model | Infinito | Eternia | | 12th Eliminated |
| **Nelson Tapia**
45, Football player | None | Chronos | | 13th Eliminated |
| **Paz Gómez**
23, *Calle 7* contestant | None | Eternia | | 14th Eliminated |
| **Juan "Chispa" Lacassie**
23, Skater | Infinito | Eternia | | Quit |
| **Yamna Lobos**
29, Dancer | Infinito | Chronos | Individuales | 15th Eliminated |
| **Thiago Cunha**
30, Dancer | Eternidad | Eternia | | 16th Eliminated |
| **Mariana Marino**
31, model | Infinito | Eternia | | 17th Eliminated |
| **Agustín Pastorino**
30, model | None | Eternia | | 18th Eliminated |
| **Dominique Gallego**
22, model | Eternidad | Chronos | | 19th Eliminated |
| **Angélica Sepúlveda**
31, *1810* contestant | None | Chronos | | 20th Eliminated |
| **José Luis "Joshe" Bibbó**
27, model | Infinito | Chronos | | 21st Eliminated |
| **Andrés Longton**
29, Brother of Arturo Longton, lawyer | Infinito | Chronos | | 22nd Eliminated |
| **Stephanie "Fanny" Cuevas**
19, Peddler | Infinito | Chronos | | Runner-up |
| **David Dubó**
25, Karateka | Infinito | Eternia | | Runner-up |
| **Viviana Flores**
20, Justin Bieber Impressionist | Infinito | Eternia | | **Winner** |
| **Sebastián Roca**
30, Student | Eternidad | Chronos | | **Winner** |

## Season 2

| Contestant | Original Team | New Team | Merged Team | Finish |
| --- | --- | --- | --- | --- |
| **Carolina Nicolich**
20, Gipsy | Olimpo |  |  | 1st Eliminated |
| **Branislav Tepes**
26, Great-grandson of Vlad the Impaler | Nirvana | | | 2nd Eliminated |
| **Claudia Schmidt**
38, model | Nirvana | | | Removed |
| **Tamara Primus**
26, *Calle 7* contestant | Olimpo | | | Quit |
| **Sofía Jaramillo**
23, Winner of *Mundos Opuestos: Colombia* | Nirvana | | | Quit |
| **Juan "Yoan Amor" Briones**
24, Singer | Olimpo | | | 3rd Eliminated |
| **Alejandra Díaz**
30, model | Olimpo | | | 4th Eliminated |
| **Rosa Barros**
21, Stallholder | Nirvana | | | Quit |
| **Juana María "Yendy" Rodríguez**
23, Housekeeper of *Los Mendez* | Olimpo | | | 5th Eliminated |
| **Juan "Chispa" Lacassie**
24, Skater | None | | | Removed |
| **Mauricio Israel**
51, presenter | Nirvana | | | 6th Eliminated |
| **María Auxiliadora "Mariuxi" Domínguez**
30, *Yingo* contestant | Olimpo | | | 7th Eliminated |
| *Diego Pérez*
33, Audiovisual communicator | Nirvana | | | Quit |
| **Jonathan Morales**
24, Electrician | Nirvana | | | 8th Eliminated |
| *Mariela Montero*
32, model | Olimpo | | | 9th Eliminated |
| **Damián Bodenhöfer**
29, Son of Bastián Bodenhöfer | Nirvana | | | 10th Eliminated |
| **Nadia Barrientos**
27, model | Nirvana | | | 11th Eliminated |
| **Jorge Olivares**
30, *Protagonistas de la Fama* contestant | Nirvana | | | 12th Eliminated |
| **Carla Pinto**
29, Daughter of Carlos Pinto | Nirvana | Gigantes | | 13th Eliminated |
| **Diego Pérez**
33, Audiovisual communicator | Nirvana | Gigantes | | 14th Eliminated |
| **Angélica Jaramillo**
27, model | Nirvana | Titanes | | 15th Eliminated |
| **Cristián Labbé Jr.**
33, Son of Cristián Labbé | Olimpo | Gigantes | | 16th Eliminated |
| **Valentina Roth**
21, model | None | Gigantes | | Quit |
| **Valentín Benet**
25, model | Nirvana | Titanes | | 17th Eliminated |
| **Pilar Bezanilla**
19, Student | Nirvana | Gigantes | Individuales | 18th Eliminated |
| **Mario Ortega**
28, *Amor Ciego 2* winner | None | Titanes | | 19th Eliminated |
| **Mariela Montero**
32, model | Olimpo | Gigantes | | 20th Eliminated |
| **Sebastián Ramírez**
26, *Pareja Perfecta* contestant | Nirvana | Gigantes | | 21st Eliminated |
| **Simone Mardones**
21, *CQC, Chile* cast | Nirvana | Titanes | | 22nd Eliminated |
| **Juan Pablo Úbeda**
32, Football player | Olimpo | Titanes | | 23rd Eliminated |
| **Michelle Carvalho**
21, model | None | Titanes | | 24th Eliminated |
| **Richard Rubin**
30, TV personality | Olimpo | Titanes | | 25th Eliminated |
| **Katherina Contreras**
23, *Calle 7* contestant | Olimpo | Titanes | | 26th Eliminated |
| **Melina Figueroa**
22, model | Olimpo | Titanes | | 27th Eliminated |
| **Arturo Longton**
34, *La Granja* contestant | Nirvana | Titanes | | 28th Eliminated |
| **Rubén Hilcker**
22, Student | Olimpo | Gigantes | | 29th Eliminated |
| **Rocío Marengo**
33, model | Nirvana | Gigantes | | Runner-up |
| **Andrés Longton**
30, Brother of Arturo Longton | Olimpo | Titanes | | Runner-up |
| **Stephanie "Fanny" Cuevas**
20, *Mundos Opuestos 1* contestant | Olimpo | Gigantes | | **Winner** |
| **Artur Logunov**
23, actor | Olimpo | Gigantes | | **Winner** |

## Mundos Opuestos around the World

| Country | Name / Official Website | Channel | Winners |
| --- | --- | --- | --- |
| Chile | **Mundos opuestos**
Official website | Canal 13 | First edition, 2012: Viviana Flores and Sebastián Roca
Second edition, 2013: Stephanie Cuevas and Artur Logunov |
| Colombia | Mundos Opuestos (Colombia) | RCN
-Official website | First edition, 2012: Sofia Jaramillo and Wesley Burger |
| Croatia | TBA
- | Nova TV | First edition, 2014: *Coming Soon* |
| Mexico | Mundos Opuestos
- | TV Azteca | First edition, 2015: *Coming Soon* |
| Paraguay | Mundos opuestos (programa de televisión paraguayo) | RPC Canal 13 | First edition, 2017: Nicolás Neumann and Liliana Cornet |
| Turkey | TBA
- | ATV Avrupa | First edition, 2014: *Coming Soon* |
| United States | Opposite Worlds
- | SyFy | First edition, 2014: Frank Sansonetti |

## Rules

There is a contestant who is "protected for the times". They are the only participant who has immunity, and not at risk of being eliminated. They can move freely between the past, present and future; but cannot deliver goods from the future to the past or vice versa. They have a blue suit to differentiate her from other participants. In case of a tie, they are the sole decider of the nominee to the council of past and future.

"*Punished for the times*": The participant with the fewest votes via public text message, who becomes nominated for elimination.

"*The Present*": A place where all participants can visit. However, no participant may circulate in the present between midnight and 10:00 am.

"*Secret room*": Located in the future and delivers additional amenities and surprises. Available to the couple of competitors from the winning team who has won the "Wellness Challenge" of the week. Also the room allows couples to communicate with family members or close friends via video.

## InfoBox

| *Mundos Opuestos* | |
| --- | --- |
| Created by | Sergio Nakasone |
| Presented by | Sergio Lagos
Karla Constant |
| Country of origin | Chile |
| Original language | Spanish |
| No. of seasons | 2 |
| Production | |
| Executive producer | Juan Pablo Planas |
| Production company | Canal 13 |
| Original release | |
| Network | Canal 13 |
| Release | 15 January (2012-01-15)
27 June 2012 (2012-06-27) |


title: Émil Abossolo-Mbo

abstract: Emil Abossolo M'Bo is a Cameroonian-French actor who has portrayed in French, African and American productions. He is known in particular for his roles in Workers for the Good Lord, Africa Paradis and in the French series Plus belle la vie.

text:
# Émil Abossolo-Mbo

**Emil Abossolo M'Bo** (born 29 August 1958) is a Cameroonian-French actor who has portrayed in French, African and American productions. He is known in particular for his roles in *Workers for the Good Lord*, *Africa Paradis* and in the French series *Plus belle la vie.*

## Early and personal life

Abossolo was born on 29 August 1958 in Yaoundé, the capital city of Cameroon. His father took him to the movie theatre when he was 6 years old. Since that day acting has been his passion. Abossolo has been living in France for over twenty years now. He has a son named Akeva.

## Career

Abossolo is a multi–lingual actor. He speaks five languages (English, French, Spanish, Portuguese and his native language Beti). His career started on stage, where he played *Hamlet*, *Titus Andronicus* and *La Tragédie du Roi Christophe*. He starred in several French television shows such as *La Brigade des Mineurs* and *Plus Belle la Vie*. Internationally he is mostly known for his appearances in the television show *Highlander: The Series*, *Queen of Swords*, and *The Young Indiana Jones Chronicles*. More recently, Emil has been playing in African productions. He played in *Ezra*, the movie that received the 2007 Stallion of Yennenga at the Panafrican Film and Television Festival of Ouagadougou in Burkina Faso, West Africa.

## Theater

| Year | Title | Author | Director | Notes |
| --- | --- | --- | --- | --- |
| 1995 | *Le Retour au désert* | Bernard–Marie Koltès | Jacques Nichet | Opéra national de Montpellier |
|

## Filmography

| Year | Title | Role | Director | Notes |
| --- | --- | --- | --- | --- |
| 1984 | *Greystoke: The Legend of Tarzan, Lord of the Apes* | Primate | Hugh Hudson |  |
| 1987 | *Cinéma 16* | A musician | Alain Dhouailly | TV series (1 episode) |
| 1989 | *Mama, There's a Man in Your Bed* | Husband 2 | Coline Serreau |  |
| 1990 | *In the Eye of the Snake* | Bruce | Max Reid |  |
| 1991 | *Night on Earth* | Passenger | Jim Jarmusch |  |
| | *Cauchemar Blanc* | The black | Mathieu Kassovitz | Short |
| 1992 | *The Young Indiana Jones Chronicles* | Joseph | Simon Wincer & Carl Schultz | TV series (1 episode) |
| 1993 | *La joie de vivre* | Arsène | Roger Guillot |  |
| | *Un Pygmée dans la baignoire* | The Midgets | Léandre-Alain Baker | Short |
| 1994 | *Highlander: The Series* | Luther | Paolo Barzman | TV series (1 episode) |
| 1995 | *Comment épouser un héritage ?* | The director | Patrice Ambard | TV movie |
| 1996 | *Tout doit disparaître* | Théo | Jean-Marc Moutout | Short |
| | *Navarro* | The Togolese | Patrick Jamain | TV series (1 episode) |
| 1997 | *Ma 6-T va crack-er* | The gym teacher | Jean-François Richet |  |
| | *La soupe* | The man | Antoine Santana | Short |
| | *Les arnaqueuses* | Barnabé | Thierry Binisti | TV movie |
| | *Highlander: The Series* | Jocko | Dennis Berry | TV series (1 episode) |
| | *P.J.* | Mamadou | Gérard Vergez | TV series (2 episodes) |
| 1998 | *Madeline* | Circus Barker | Daisy von Scherler Mayer |  |
| | *Passion interdite* | The theater teacher | Thierry Binisti (2) | TV movie |
| | *Marie Fransson* | René | Jean-Pierre Prévost | TV series (1 episode) |
| 2000 | *Les Savates du bon Dieu* | Maguette | Jean-Claude Brisseau |  |
| | *La mule* |  | Jean-Stéphane Sauvaire | Short |
| | *Oncle Paul* | Omar | Gérard Vergez (2) | TV movie |
| 2001 | *Paris: XY* | Kalala Wa Kalala | Zeka Laplaine |  |
| | *Les morsures de l'aube* | Baptiste | Antoine de Caunes |  |
| | *L'afrance* | Guest artist | Alain Gomis |  |
| | *Le bal des pantins* |  | Herman Van Eyken |  |
| | *L'aîné des Ferchaux* | African reception | Bernard Stora | TV movie |
| | *Queen of Swords* | Lamorena | Paolo Barzman (2) | TV series (1 episode) |
| 2002 | *Funeral* |  | Newton Aduaka | Short |
| | *Brigade des mineurs* | The prosecutor | Miguel Courtois | TV series (1 episode) |
| 2003 | *Clandestin* | The voice | Philippe Larue | Short |
| | *Mister Bird* |  | Fabien Dufils | Short |
| 2004 | *Casablanca Driver* | The cop | Maurice Barthélemy |  |
| | *Bien agités !* | Marabou | Patrick Chesnais | TV movie |
| 2005 | *Les Saignantes* | Minister of State | Jean-Pierre Bekolo |  |
| | *Kirikou and the Wild Beasts* | The uncle | Bénédicte Galup & Michel Ocelot | Voice |
| | *L'évangile selon Aîmé* | The uncle | André Chandelle | TV movie |
| | *Père et maire* | Parlaban | Gilles Béhat | TV series (1 episode) |
| 2005–08 | *Plus belle la vie* | Damien Mara | Christophe Andrei, Roger Wielgus, ... | TV series (59 episodes) |
| 2006 | *Sounds of Sand* | Lassong | Marion Hänsel |  |
| | *Africa Paradis* | Yokossi | Sylvestre Amoussou |  |
| 2007 | *Hitman* | General Ajunwa | Xavier Gens |  |
| | *Juju Factory* |  | Balufu Bakupa-Kanyinda |  |
| | *Ezra* |  | Newton Aduaka (2) |  |
| | *Les Bleus* | Professor Hassan | Didier Le Pêcheur | TV series (1 episode) |
| | *Les prédateurs* | Sassou N'Guesso | Lucas Belvaux | TV series (2 episodes) |
| 2009 | *À domicile* | The father | Bojina Panayotova | Short |
| | *The Director, the Officer, and the Immigrant* | Emile | David Louis Zuckerman | Short |
| | *Adresse inconnue* | Ghislain Marie | Alain Wermus | TV series (1 episode) |
| 2010 | *A Screaming Man* | The district chief | Mahamat Saleh Haroun | Philadelphia Film Festival – Best Actor |
| | *Kennedy's Brain* | Nuno Da Silva | Urs Egger | TV movie |
| | *Kali* | M. Jacobb | Richard Johnson | TV series (1 episode) |
| 2011 | *Qui sème le vent* | Aboubacar | Frédéric Garson | TV movie |
| 2012 | *One Man's Show* | Emil | Newton Aduaka (3) |  |
| 2013 | *Aya of Yop City* | Kossi / Dieudonné / Gervais | Marguerite Abouet & Clément Oubrerie | Voices |
| | *Aimé malgré lui* | Kazadi Roger | Didier Ndenga | TV series (1 episode) |
| 2014 | *1001 Grams* | Observer | Bent Hamer |  |
| | *Intime conviction* | Momo | Rémy Burkel | TV movie |
| 2015 | *Une famille formidable* | Ghislain Beaumont | Joël Santoni | TV series (1 episode) |
|

1. "Personnes | Africultures : Abossolo-Mbo Emil". *Africultures* (in French). Retrieved 2023-12-28.
2. "Le blog de l'actualité culturelle africaine - Cultur'Afrique.net" (in French). Retrieved 2023-12-28.

## InfoBox

| Emil Abossolo M'Bo | |
| --- | --- |
|  | |
| Born | (1958-08-29) 29 August 1958<br>Yaoundé, Cameroon |
| Occupation | Actor |
| Years active | 1984–present |
| Children | 1 |