title: Ptycholepiformes

abstract: Ptycholepiformes are an extinct order of prehistoric ray-finned fish that existed during the Triassic period and the Early Jurassic epoch. The order includes the genera Acrorhabdus, Ardoreosomus, Boreosomus, Chungkingichthys, Ptycholepis, and Yuchoulepis. Although several families have been proposed, some studies place all these genera in the same family, Ptycholepididae. Ptycholepiformes had a widespread distribution during the Early Triassic, but were restricted to mainly Europe and North America afterwards. They are known from both marine and freshwater deposits.

text:
# Ptycholepiformes

**Ptycholepiformes** are an extinct order of prehistoric ray-finned fish that existed during the Triassic period and the Early Jurassic epoch. The order includes the genera *Acrorhabdus*, *Ardoreosomus*, *Boreosomus*, *Chungkingichthys*, *Ptycholepis*, and *Yuchoulepis*. Although several families have been proposed, some studies place all these genera in the same family, **Ptycholepididae**.

Ptycholepiformes had a widespread distribution during the Early Triassic, but were restricted to mainly Europe and North America afterwards. They are known from both marine and freshwater deposits.

## Appearance

Typical features of ptycholepiforms are the fusiform body covered in rhombic ganoid scales, the anterior position of the dorsal fin. In most coeval ray-fins the dorsal fin has a more posterior position), usually situated opposite to the anal fin. Moreover, ptycholepiforms show a series of elongate, horizontal suborbital bones. The skull is usually relatively large.

The scales are typically equipped with distinct longitudinal ridges. In *Ptycholepis*, the scales are low, whereas in genera, such as *Ardoreosomus* and *Boreosomus*, the scales are deeper. Peg-and-socket articulation between scales is present.

Species reached body sizes between 10 centimetres (0.33 ft) and 45 centimetres (1.48 ft).

## Systematics

The evolutionary relationships of Ptycholepiformes are poorly known, but most cladistic analyses place them outside of the Neopterygii. A close relationship between Ptycholepididae and the Carboniferous to Early Triassic Acrolepididae was proposed based on some similarities, but support from phylogenetic analyses is scarce.

* **Order****Ptycholepidiformes** Andrews et al. 1967
    + **Family** *incertae sedis*
    + **Family****Boreosomidae** Gardiner 1967
        - Genus †*Acrorhabdus* Stensiö,1921
            * *Acrorhabdus asplundi* Stensiö, 1921
            * *Acrorhabdus bertili* Stensiö, 1921 (type species)
            * *Acrorhabdus latistriatus* Stensiö, 1921
        - Genus †*Boreosomus* Stensiö 1921 \[*Diaphorognathus* Brough 1933\]
            * *Boreosomus arcticus* (Woodward, 1912) \[*Acrolepis arctica* Woodward 1912\] (type species)
            * *Boreosomus gillioti* (Priem, 1924) \[*Diaphorognathus gillioti* (Priem 1924); *Gyrolepis gillioti* Priem 1924\]
            * *Boreosomus merlei* Beltan, 1957
            * *Boreosomus piveteaui* Stensiö, 1921
            * *Boreosomus reuterskioeldi* Stensiö, 1921
            * *Boreosomus scaber* Stensiö, 1921
    + **Family****Chungkingichthyidae** Su 1974
    + **Family****Ptycholepididae** Brough, 1939 corrig.
        - Genus †*Ptycholepis* Agassiz, 1832 non Gray 1842 ex Richardson, 1843
            * *Ptycholepis barboi* Bassani, 1886
            * *Ptycholepis bollensis* Agassiz, 1833 (type species)
            * *Ptycholepis calloviensis* Kaznyshkin, 1990
            * *Ptycholepis curta* Egerton, 1854
            * *Ptycholepis gracilis* Davis, 1884
            * *Ptycholepis magna* Bürgin, 1992
            * *Ptycholepis marshii* Newberry, 1878
            * *Ptycholepis monilifer* Woodward, 1895
            * *Ptycholepis prisca* Bürgin, 1992
            * *Ptycholepis schaefferi* Bürgin, 1992
        - Genus †*Yuchoulepis* Su, 1974
            * *Yuchoulepis gansuensis* Su, 1993
            * *Yuchoulepis szechuanensis* Su, 1974 (type species)

## Timeline of genera

## InfoBox

| Ptycholepiformes
Temporal range: | |
| --- | --- |
|  | |
| *Ptycholepis bollensis* fossil | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Ptycholepiformes
Andrews et al. 1967 |
|
| Families | |
|  | |


title: Paw Paw, Kentucky

abstract: Paw Paw is an unincorporated community located in Pike County, Kentucky, United States. The community was named after the common pawpaw.

text:
# Paw Paw, Kentucky

**Paw Paw** is an unincorporated community located in Pike County, Kentucky, United States.

The community was named after the common pawpaw.

## InfoBox

| Paw Paw | |
| --- | --- |
| Unincorporated community | |
| Paw PawLocation within the state of KentuckyPaw PawPaw Paw (the United States) | |
| Coordinates: 37°26′15″N 82°6′38″W / 37.43750°N 82.11056°W / 37.43750; -82.11056 | |
| Country | United States |
| State | Kentucky |
| County | Pike |
| Elevation | 984 ft (300 m) |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| ZIP codes | 41551 |
| GNIS feature ID | 500279 |


title: Megan Rooney

abstract: Megan Rooney is a South African-born, London-based artist who creates paintings, sculptures, installations, performances and poetry. Rooney is known for integrating contrasting disciplines, such as painting, sculpture performance, into a single work. She received her MFA from Goldsmiths, University of London in 2011 and, prior to that, completed her BA at the University of Toronto in Canada. Her work has been shown in solo museum exhibitions at the Salzburger Kunstverein, Salzburg (2020–21); Museum of Contemporary Art, Toronto (2020); and Kunsthalle Düsseldorf (2019). Her performances include SUN DOWN MOON UP, as part of the Park Nights programme at Serpentine Galleries, London in 2018; and EVERYWHERE BEEN THERE, created in collaboration with choreographer Temitope Ajose-Cutting and musician Paolo Thorsen-Nagel, at the Kunsthalle Düsseldorf in 2019 and the Museum of Contemporary Art, Toronto in 2020. Peter Gabriel chose her painting And Still (Time) to represent his song "And Still", the eleventh single on his eighth album i/o, released in 2023.

text:
# Megan Rooney

**Megan Rooney** (born 1985) is a South African-born, London-based artist who creates paintings, sculptures, installations, performances and poetry. Rooney is known for integrating contrasting disciplines, such as painting, sculpture performance, into a single work. She received her MFA from Goldsmiths, University of London in 2011 and, prior to that, completed her BA at the University of Toronto in Canada. Her work has been shown in solo museum exhibitions at the Salzburger Kunstverein, Salzburg (2020–21); Museum of Contemporary Art, Toronto (2020); and Kunsthalle Düsseldorf (2019).

Her performances include *SUN DOWN MOON UP*, as part of the Park Nights programme at Serpentine Galleries, London in 2018; and *EVERYWHERE BEEN THERE*, created in collaboration with choreographer Temitope Ajose-Cutting and musician Paolo Thorsen-Nagel, at the Kunsthalle Düsseldorf in 2019 and the Museum of Contemporary Art, Toronto in 2020.

Peter Gabriel chose her painting And Still (Time) to represent his song "And Still", the eleventh single on his eighth album i/o, released in 2023.

## Selected exhibitions

In 2019 she exhibited: *Where water comes together with other water*, in the group exhibition 15th Biennale de Lyon Art Contemporain, Lyon, France.

### Solo exhibitions

## InfoBox

| Megan Rooney | |
| --- | --- |
|  | |
| Born | 1985 (age 3839) |
| Nationality | Canadian |
| Education | Goldsmiths, University of London; University of Toronto |


title: Pyū to Fuku! Jaguar

abstract: Pyū to Fuku! Jaguar Pyū to Fuku! Jaguar is a Japanese gag manga series written and illustrated by Kyosuke Usuta. The story is about Kiyohiko "Piyohiko" Saketome, an aspiring musician whose daily life takes a bizarre turn when he meets Jaguar, an eccentric man obsessed with recorders. It was serialized in Shueisha's Weekly Shōnen Jump from August 2000 to August 2010, with its chapters collected in 20 tankōbon volumes. It was adapted into a series of flash-original video animations (OVAs) and a film, released from 2007 to 2009. A live-action film, starring Jun Kaname as Jaguar, was released in January 2008.

text:
# Pyū to Fuku! Jaguar

***Pyū to Fuku! Jaguar*** (Japanese: ピューと吹く! ジャガー, Hepburn: *Pyū to Fuku! Jagā*, "Flute-Blower! Jaguar") is a Japanese gag manga series written and illustrated by Kyosuke Usuta. The story is about Kiyohiko "Piyohiko" Saketome, an aspiring musician whose daily life takes a bizarre turn when he meets Jaguar, an eccentric man obsessed with recorders. It was serialized in Shueisha's *Weekly Shōnen Jump* from August 2000 to August 2010, with its chapters collected in 20 *tankōbon* volumes. It was adapted into a series of flash-original video animations (OVAs) and a film, released from 2007 to 2009. A live-action film, starring Jun Kaname as Jaguar, was released in January 2008.

## Plot

The story starts out with Kiyohiko "Piyohiko" Saketome trying to take a band audition. In his way he sees a strange man named Jaguar carrying a big case, which turns out to be holding only a small recorder. Piyohiko tries not to get distracted by him but fails, because when Jaguar plays his recorder, the most beautiful, passionate guitar-like sound comes out of it. He tries more and more record companies, but every time he meets Jaguar and somehow manages to miss his audition. Finally, Piyohiko gets accepted at a record company only to find out that he will be staying at his new dorm with Jaguar as his roommate. Jaguar becomes a teacher and sets up a recorder class at their music school, and Piyohiko somehow ends up in that class instead of the guitar class he wanted. From thereon in, the story is an episodic chronicle of Piyohiko and Jaguar's lives, where they get into hijinks with fellow musicians and other bizarre characters.

## Characters

Jaguar Junichi (ジャガージュン市, *Jagā Jun'ichi*) Voiced by: Keiji Fujiwara Portrayed by: Jun Kaname Jaguar is a strange man who likes to play the recorder. He and Piyohiko are roommates in Gari Dormitories, where he runs a recorder class. He is a musical genius, able to play any instrument with astounding skill. His performances can conjure up vivid images in people's minds. Jaguar can even make his recorder sound like a guitar if he wants. Jaguar appears to have no purpose in life but to teach his recorder class, although his lessons are so lazy that it is the same as doing no work at all. However, he is strangely transcendent and nothing at all seems to truly bother him. He always wins his battles, and can always convince people to see his way. He contrasts Hammer, who has the same lazy lifestyle but is always the loser. Later on, it is revealed that Jaguar is one of several children brainwashed in an experiment to create a band so amazing that it could shake the world, and bring world peace using the power of music. The laboratory where this experiment took place was called the Hotel Riverside Laboratory, also known as "Softcream". Jaguar's "father", one of the scientists at the lab, opposed the brainwashing and released all of the children. Kiyohiko Saketome (酒留清彦, *Saketome Kiyohiko*) *Nickname:Piyohiko (ピヨ彦 Piyohiko)* Voiced by: Junichi Kanemaru Portrayed by: Manabu Ōmura Piyohiko is a normal man who dreams of being a great guitarist. Even though he thinks flutes are lame, he is in the Flute Class (mostly because of Jaguar) and, ironically, his family owns a flute shop (and his father is as weird as Jaguar). Hammer (ハマー, *Hamā*) / Hiromitsu Hamawatari (浜渡 浩満, *Hamawatari Hiromitsu*) Voiced by: Katsuyuki Konishi Portrayed by: Hiroaki Ogi A Hip hop ninja who lives in the attic above Jaguar and Piyohiko's room. He wants more than anything to be cool and popular, but goes about it in a way that always ends in failure and humiliation. He is known for ending his sentences with "Yo", adding -dono to people's names, and referring to himself in the first person as Sessha (拙者, *an archaic word for "I"*). Despite this he refuses to admit he is a ninja, because it would be bad for his trendy image. Takana Shirakawa (白川高菜, *Shirakawa Takana*) Voiced by: Izumi Kasagi Portrayed by: Mai Takahashi A female student who once belonged to the Idol department before joining the flute department. She is also the internet idol *Chim Li* (チムリー) and is highly self-conscious. When she is talked to by others, she abuses or hits them because she is very shy. Since she is good at her way of abusing, she tends to act as a sadist automatically. As a result, she will please those whom she abused. Porgy (ポギー, *Pogī*) / Wataru Hogi (保木 渡流, *Hogi Wataru*) Voiced by: Mitsuaki Madono Bassist and lyricist in the popular band July (ジュライ, *Jurai*). He likes to show off his poetry skills to his squealing fangirls. After meeting Jaguar, though, he is never the same again. Jaguar destroys Porgy's confidence in his poetry by first beating him in a poetry contest, then telling him that his poems are nothing but pretty lies. Porgy becomes unable to write and is kicked out of July, eventually spending his life stalking Jaguar and challenging him to poetry contests as his masked alter-ego Wrestler Mask (レスラー仮面, *Resuraa Kamen*). He is also trying to get back his position in July, but they have already replaced him with a new bassist. Billy (ビリー, *Birī*) Voiced by: Yūji Ueda A man who looks like a typical delinquent, with a regent hairstyle. He is aggressive toward Jaguar and his friends, but is really a soft-hearted guy who is just lonely and friendless. He is Hamidento's guardian and tries to be a good father, but does not notice that Hamii does not appreciate it. Like Hammer, he strives to get attention but fails miserably. Hamidento (ハミデント, *Hamidento*) *Nickname:Hamī (ハミー)* Voiced by: Yūji Ueda A cute little robot under the care of Billy. He does not acknowledge Billy as a parent at all, and while he pretends to be cute and loveable around him, a mean side of him comes out when Billy is not around. He smokes and sometimes acts like a teenage delinquent, and has everyone he knows ranked in order of respect. Jaguar is inexplicably high on the list, Hammer is always on the bottom. He also has amazing fighting power. Hamii is the series' mascot character. Chichijirou Saketome (酒留父字郎, *Saketome Chichijirō*) Piyohiko's father, a maker of weird and rare flutes. Is close buddies with Jaguar due to their shared interest in flutes and desire to make Piyohiko play them. Piyohiko's dislike of flutes is most likely because of his father, who hopes for him to take over his business. Chichijirou is so laughably uncreative when designing flutes that to him, every one of Piyohiko's average ideas seems like a stroke of genius. Michael (間池留, *Maikeru*) A mysterious Caucasian man whom Jaguar treats as his father. His name is written Ma-ike-ru, with Japanese characters for "between", "pond" and "stop". He sometimes turns transparent, and there are many not-so-subtle hints that he is a ghost. Jaguar believes his "father" is Japanese, and most certainly not a ghost.

## Media

### Manga

Written and illustrated by Kyosuke Usuta, *Pyū to Fuku! Jaguar* was serialized in Shueisha's *shōnen* manga magazine *Weekly Shōnen Jump* from August 22, 2000, to August 23, 2010. Shueisha collected its 435 individual chapters in 20 *tankōbon* volumes published from September 4, 2001, to December 3, 2010.

#### Volumes

| No. | Release date | ISBN |
| --- | --- | --- |
| 01 | September 4, 2001 | 978-4-08-873164-3 |
| 02 | January 5, 2002 | 978-4-08-873214-5 |
| 03 | June 4, 2002 | 978-4-08-873276-3 |
| 04 | December 4, 2002 | 978-4-08-873353-1 |
| 05 | June 4, 2003 | 978-4-08-873422-4 |
| 06 | December 4, 2003 | 978-4-08-873538-2 |
| 07 | June 4, 2004 | 978-4-08-873611-2 |
| 08 | December 3, 2004 | 978-4-08-873684-6 |
| 09 | June 3, 2005 | 978-4-08-873819-2 |
| 10 | December 2, 2005 | 978-4-08-873885-7 |
| 11 | June 2, 2006 | 978-4-08-874109-3 |
| 12 | February 2, 2007 | 978-4-08-874317-2 |
| 13 | July 4, 2007 | 978-4-08-874384-4 |
| 14 | January 4, 2008 | 978-4-08-874466-7 |
| 15 | July 4, 2008 | 978-4-08-874542-8 |
| 16 | February 4, 2009 | 978-4-08-874617-3 |
| 17 | July 3, 2009 | 978-4-08-874703-3 |
| 18 | January 4, 2010 | 978-4-08-874786-6 |
| 19 | July 2, 2010 | 978-4-08-870073-1 |
| 20 | December 3, 2010 | 978-4-08-870147-9 |

### Video games

Two video games based on the series have been released by Konami. The first game, *Pyū to Fuku! Jaguar: Ashita no Jump*, is an RPG for the PlayStation 2 released on March 18, 2004. *Pyū to Fuku! Jaguar: Byō to Daru! Megane-kun* (ピューと吹く！ジャガー 〜ビョ〜と出る！メガネくん〜), an action game for the Game Boy Advance, was released on April 29 of the same year.

Characters from *Jaguar* have also appeared in the Nintendo DS game *Jump Super Stars* and its sequel *Jump Ultimate Stars*, with Jaguar featured as a playable character in both games.

Jaguar Junichi appears as a support character in *J-Stars Victory VS*, a fighting game for the PlayStation 4, PlayStation 3, and PlayStation Vita. Its European and North American release marks the first release of *Pyu to Fuku! Jaguar* material outside Japan. The English title of the manga is officially given in the game as *Phwoo! Blows the Jaguar*.

### Original video animation

A 3-episode Flash-animated original video animation series produced by Kaeruotoko Shokai was released from November 19, 2007, to January 21, 2008. Another 3-episode original video animation titled *Pyū to Fuku! Jaguar: Return of Yaku Ichinenburi* (ピューと吹く! ジャガー リターン・オブ・約1年ぶり, *Pyū to fuku! Jagā ritān Obu yaku 1-nen-buri*) was released from December 8, 2008, to February 23, 2009.

### Live-action film

A live-action film was released on January 12, 2008. The DVD was released on June 23, 2008.

### Anime film

An anime film titled *Pyū to Fuku! Jaguar: Ima, Fuki ni Yukimasu* (ピューと吹く! ジャガー ～いま, 吹きにゆきます～) was released on January 10, 2009. The end credits music used for the film was "No You Girls", known in Japan as "Katherine: Girls Never Know" (キャサリン～ガールズ・ネヴァー・ノウ～), by Franz Ferdinand.

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## InfoBox

| Pyū to Fuku! Jaguar | |
| --- | --- |
| Seventh *tankōbon* volume cover | |
| ピューと吹く!ジャガー | |
| Genre |  |
| Manga | |
| Written by | Kyosuke Usuta |
| Published by | Shueisha |
| Imprint | Jump Comics |
| Magazine | *Weekly Shōnen Jump* |
| Demographic | *Shōnen* |
| Original run | August 22, 2000August 23, 2010 |
| Volumes | 20 |
| Original video animation | |
| Directed by | Frogman |
| Studio | Kaeruotoko Shokai |
| Released | November 19, 2007  January 21, 2008 |
| Episodes | 3 |
| Live-action film | |
| *Pyū to Fuku! Jaguar: The Movie* | |
| Directed by | Makkoi Saitou |
| Studio | Office Crescendo |
| Released | January 12, 2008 (2008-01-12) |
| Runtime | 99 minutes |
| Original video animation | |
| *Pyū to Fuku! Jaguar: Return of Yaku Ichinenburi* | |
| Directed by | Frogman |
| Studio | Kaeruotoko Shokai |
| Released | December 8, 2008  February 23, 2009 |
| Episodes | 3 |
| Anime film | |
| *Pyū to Fuku! Jaguar: Ima, Fuki ni Yukimasu* | |
| Directed by | Frogman |
| Studio | Kaeruotoko Shokai |
| Released | January 10, 2009 (2009-01-10) |
| Runtime | 78 minutes |


title: Neranwood, Queensland

abstract: Neranwood is a suburb in the City of Gold Coast, Queensland, Australia. In the 2021 census, Neranwood had a population of 79 people.

text:
# Neranwood, Queensland

**Neranwood** is a suburb in the City of Gold Coast, Queensland, Australia. In the 2021 census, Neranwood had a population of 79 people.

## History

The name *Neranwood* is a contraction of the name of the Nerang Hardwood Company which established a sawmill in the area in 1923.

Neranwood Provisional School opened on 15 June 1925 and closed on 31 December 1928.

A private tramway was built to transport the timber from the sawmill to the railway siding at Mudgeeraba. It had two locomotives called Alison and Kathleen. However, the project was not economically viable and the sawmill and tramway closed in 1928. Local people used the tramway sleepers for firewood.

A telephone and telegraph office was established in 1924.

## Demographics

In the 2016 census, Neranwood had a population of 67 people.

In the 2021 census, Neranwood had a population of 79 people.

## Education

There are no schools in Neranwood. The nearest primary school is Mudgeeraba Creek State School in neighbouring Mudgeeraba to the north-east. The nearest secondary school is Robina State High School in Robina to the north-east.

## Amenities

There are a number of parks in the area:

## InfoBox

| Neranwood
City of Gold Coast, Queensland | |
| --- | --- |
| Lowry Court, 2016 | |
| Neranwood | |
|  | |
| Coordinates | 28°07′02″S 153°18′43″E / 28.1172°S 153.3119°E / -28.1172; 153.3119 (Neranwood (centre of suburb)) |
| Population | 79 (2021 census) |
| • Density | 24.7/km2 (63.9/sq mi) |
| Postcode(s) | 4213 |
| Area | 3.2 km2 (1.2 sq mi) |
| Time zone | AEST (UTC+10:00) |
| Location |  |
| LGA(s) | City of Gold Coast |
| State electorate(s) | Mudgeeraba |
| Federal division(s) | Wright |
| **Suburbs around Neranwood:**  Numinbah Valley Advancetown Mudgeeraba  Numinbah Valley Neranwood Austinville  Springbrook Austinville Austinville | |


title: Putative amino acid permease family

abstract: The putative amino acid permease (PAAP) family belongs to the APC superfamily. The PAAP family consists of many proteins, all of a uniform topology with a 5 + 5 TMS repeat in a 2 + 3 + 2 + 3 arrangement. These proteins show similarity to members of the LIVCS family in the APC Superfamily. A representative list of recognized members of the PAAP family is available in the Transporter Classification Database.

text:
# Putative amino acid permease family

The **putative amino acid permease (PAAP) family** (TC# 2.A.120) belongs to the APC superfamily. The PAAP family consists of many proteins, all of a uniform topology with a 5 + 5 TMS repeat in a 2 + 3 + 2 + 3 arrangement. These proteins show similarity to members of the LIVCS family (TC# 2.A.26) in the APC Superfamily. A representative list of recognized members of the PAAP family is available in the Transporter Classification Database.


title: Proscedes torquigera

abstract: Proscedes torquigera is a moth in the family Depressariidae, and the only species in the genus Proscedes. It was described by Alexey Diakonoff in 1954. It is found in New Guinea.

text:
# Proscedes torquigera

***Proscedes torquigera*** is a moth in the family Depressariidae, and the only species in the genus ***Proscedes***. It was described by Alexey Diakonoff in 1954. It is found in New Guinea.

## InfoBox

| *Proscedes torquigera* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Depressariidae |
| Subfamily: | Stenomatinae |
| Genus: | *Proscedes*
Diakonoff, 1954 |
| Species: | ***P. torquigera*** |
| Binomial name | |
| ***Proscedes torquigera***
Diakonoff, 1954 | |
|


title: IoT forensics

abstract: IoT Forensics or IoT Forensic Science, a branch of digital forensics, that deals with the use of any digital forensics processes and procedures relating to the recovery of digital evidence which originates from one or more IoT devices for the purpose of preservation, identification, extraction or documentation of digital evidence with the intention of reconstructing IoT-related events. These events may reside across one or more configurable computing resources that are within close proximity to the location where the event has taken place. IoT forensics aims to extend that of digital forensics with key focus on reconstructing events involving IoT devices for obtaining a digital or electronic evidence. A key goal of IoT forensics is to identify and extract digital information from devices belonging to the Internet of things field, using a forensically sound and legally acceptable process.

text:
# IoT forensics

**IoT Forensics** or **IoT Forensic Science**, a branch of digital forensics, that deals with the use of any digital forensics processes and procedures relating to the recovery of digital evidence which originates from one or more IoT devices for the purpose of preservation, identification, extraction or documentation of digital evidence with the intention of reconstructing IoT-related events. These events may reside across one or more configurable computing resources that are within close proximity to the location where the event has taken place (e.g., edge gateway).

IoT forensics aims to extend that of digital forensics with key focus on reconstructing events involving IoT devices for obtaining a digital or electronic evidence.

A key goal of IoT forensics is to identify and extract digital information from devices belonging to the Internet of things field, using a forensically sound and legally acceptable process.

## Overview

Unlike traditional digital forensics approaches, IoT forensics is characterized by a wider range of potential source of evidence: with respect to the traditional analysis of servers, computers and smartphones, IoT forensics is extracting the information directly from smart environment data including monitoring systems, traffic lights, medical implants, smart home devices and more IoT scenarios.

Moreover, IoT forensics potential source of evidence can be very different in nature with respect to digital forensics common use cases: network traffic, cloud data, devices logs and more information can be extracted and used as source of evidence if extracted successfully and processed in the correct way.

IoT forensics can be identified as a combination of three separate digital forensics schemes:

* IoT device level forensics: Process of extracting evidence from the IoT devices (i.e. in the device memory). A lot of devices can be included in this process: examples are sensors, health implants, smart meters, smart home appliances, smart cameras, networked vehicles, RFIDs, and drones. Being the devices differ in hardware and functionalities, device level evidence identification and acquisition is often challenging and not always feasible.
* Network forensics: Process of identifying and extracting evidence from network log, devices traffic traces and communication patterns. With respect to the traditional network investigations, IoT network forensics branch includes additional network models such as body area network or personal area network (i.e. Bluetooth or ZigBee devices). For each type of network, there needs to be appropriate forensic methods for the investigations, involving different tools and appropriate network protocol analysis.
* Cloud forensics: Process of extrapolating information in the cloud used by the devices. Since IoT devices are usually limited in memory, most of the information is stored in proprietary cloud applications that may contain a massive amount of potential evidences (i.e. devices activities). Given the amount of information that can be recovered from the different entities involved in the cloud, cloud forensics plays an important role in the IoT forensics domain: system logs, access logs, chat logs, sessions, cookies, user authentication and application data are examples of the information that can be retrieved from cloud services related to each IoT device.

## IoT forensics process

An IoT forensics investigation process should be conducted using the standard guidelines so that the collected evidence can be admissible on the court. The process is analogous to digital forensics process, but faces challenges caused by the peculiarities of the IoT devices. The full process can be split temporally into six different phases: Evidence identification, evidence collection, evidence preservation, evidence analysis, attack and deficit attribution, and evidence presentation. Each of the different phases of the forensic process may introduce several challenges when applied to the limitations of the IoT devices.

### Evidence identification and collection

Evidence identification and its subsequent collection are the first phases for investigators during forensic processes. Search and seizure is an important step in any forensic examination: in the particular case of the IoT forensics, detecting presence of IoT systems is not always immediate considering that these devices are usually of small dimensions and are designed to work passively and autonomously.

Most of the information on IoT devices is usually sent to cloud servers, considering the very limited physical memory of the device itself. This brings new challenges for the forensic investigators that sometimes can not even know where the data is located, as it is distributed among many servers in multiple data centers. Moreover, after the identification step, cloud evidence collection is not always feasible given the different jurisdictions under which the data could be located. Data center locations of cloud service providers are usually distributed in order to reduce costs and increase service efficiency. For this reason a forensic investigator often faces multi-jurisdiction issues during the data collection when the information is stored in the cloud.

In the case of network forensics some of the evidence can be collected from network devices like routers or firewalls, but most of the network potential sources of evidence exists only in flight. For example, network traffic can be captured only at the time it passes through a device processing it. There are devices and procedures for storing network traffic as raw data but it is impractical to capture and save all network data due to its volume. The question of privacy and legal issues of data acquisition in network forensics is even larger than in the cloud forensics case, as the network data might include a lot of information that is not related to the legal case in question. Current research in IoT network forensics is working on the development of tools based on the most popular network traffic softwares (e.g. tcpdump, Wireshark) to extract information from network devices (i.e. Wi-Fi access points), in order to avoid the storage of the full traffic still maintaining potential evidence for forensic investigation.

At the device level, once the IoT device in question has been identified, the evidence should be extracted in its physical memory. Digital forensics traditional process guidelines suggest to turn off the evidentiary devices in order to prevent the alteration of data. Given the cloud services almost substituting the storage (ROM) of the IoT devices, most of the physical information is nevertheless located in volatile memory like RAM. The creation of an evidence copy of such memory must be done without powering down the device, which goes against traditional best-practices and is not always feasible since most of the devices have limited energy capabilities. Moreover, unplugged IoT devices may become unaccessible and need proper reconfiguration before the use, hence modifying system logs information causing loss of potential evidences. For these reasons the approach to follow when dealing with IoT device level forensics is performing live forensics data acquisition.

Recent research in IoT forensics presents several frameworks and useful tools that can be used by forensics investigator for the identification and collection of evidences. The majority of the existing tools however require a proactive process (i.e. installing the software) and is thus not always usable for forensic investigations, unless they have been set up before the crime occurs.

### Evidencepreservation

After the evidence identification and its subsequent collection, the forensic investigator should preserve the gathered data and guarantee its integrity during the full process from right after the collection to the final presentation.

While the preservation of data using proper techniques (i.e. hashing) is feasible in traditional digital forensics, it represents a hard challenge and needs particular attention in IoT environments. Autonomous interactions between the different devices introduce challenges to identify scope of a compromise and the boundaries of a crime scene.

IoT forensics evidence preservation requires modern and distributed techniques to preserve and avoid the corruption of the collected evidence. For this reason the current research focuses on applying proper blockchain solutions to the evidence preservation phase, so to store the evidence in distributed nodes in the network avoiding possible attacks to its integrity.

### Evidence analysis and attack attribution

This phase involves all the analysis steps required by the investigators that should process and connect all the collected evidences in order to reach an outcome for the investigation. In the case of IoT evidence, the big volume of data that are usually collected in the acquisition phase make it almost impossible to provide an end-to-end analysis of the evidences. Moreover, the majority of IoT devices in the network do not store any metadata including temporal information such as creation or modification times. This makes even harder to verify the provenance and to ensure the integrity of the collected data.

In the particular case of IoT device physical memory analysis, several tools can be used by electronically connecting to the devices.

The trends in the current research in the network forensics field in the particular case of IoT forensics involves the application of artificial intelligence and machine learning techniques to deal with the massive amount of data that can be extracted from devices network traffic traces.

In the attack and deficit attribution phase, the evidence collected and analysed are summarized to lead to the final outcome of the investigation. In traditional digital forensics the involved source of evidence are usually extracted from personal devices and hence lead to a restricted number of suspects. The same does not hold for IoT forensics evidence that, if moreover extracted from the cloud, can be located in physical servers accessed by multiple users at the same time.

### Evidence presentation

The last phase of any forensic investigation process is the final presentation of the collected and analysed evidences in front of the jury court. IoT forensics evidence presentation is not as simple as traditional forensic cases, in particular for finding a proper human readable representation of the evidence itself that is usually under abstract forms. Depending on legal systems it could be needed to present the collected evidence in front of the jurors in the courtroom, most probably having a very restricted knowledge of network/cloud forensics, based often on their personal experience with IoT devices. This introduces challenges for the investigator organizing the evidences in order to produce an evidence report to be easily understandable for non-experts. The investigator should moreover pay particular attention in the processing phase, especially when using analytic functions, because the procedure could modify the structure of the data and alter its meaning, hence invalidating the full process.

## IoT forensics vs. security

IoT forensics should not be confused with IoT security. IoT forensics takes care of finding evidences for forensics purposes: the evidences are not always related to IoT devices attacks or to their security, but can be used for proving/disproving a traditional forensic crime (i.e. a person detected in a room from IoT devices evidence). In the other side, IoT security takes care of the risks related to the presence of IoT devices and of attacks that may target them: it protects the devices from external attacks and prevents the devices to perform attacks to other entities.


title: Nowy Folwark, Bytów County

abstract: Nowy Folwark is a settlement in the administrative district of Gmina Parchowo, within Bytów County, Pomeranian Voivodeship, in northern Poland. It lies approximately 8 kilometres (5 mi) north of Parchowo, 21 km (13 mi) north-east of Bytów, and 61 km (38 mi) west of the regional capital Gdańsk. For details of the history of the region, see History of Pomerania.

text:
# Nowy Folwark, Bytów County

**Nowy Folwark** \[ˈnɔvɨ ˈfɔlvark\] is a settlement in the administrative district of Gmina Parchowo, within Bytów County, Pomeranian Voivodeship, in northern Poland. It lies approximately 8 kilometres (5 mi) north of Parchowo, 21 km (13 mi) north-east of Bytów, and 61 km (38 mi) west of the regional capital Gdańsk.

For details of the history of the region, see History of Pomerania.

## InfoBox

| Nowy Folwark | |
| --- | --- |
| Settlement | |
| Nowy Folwark | |
| Coordinates: 54°16′4″N 17°42′40″E / 54.26778°N 17.71111°E / 54.26778; 17.71111 | |
| Country | Poland |
| Voivodeship | Pomeranian |
| County | Bytów |
| Gmina | Parchowo |
| Population | 18 |


title: What Do I Know?

abstract: "What Do I Know?" is a song by English singer-songwriter Ed Sheeran. It was included on his third studio album ÷ (2017), serving as the tenth track. After the album's release it charted at number 9 on the UK Singles Chart. Sheeran performed the song live with the cast of People Just Do Nothing on the telethon for Comic Relief 2017.

text:
# What Do I Know?

"**What Do I Know?**" is a song by English singer-songwriter Ed Sheeran. It was included on his third studio album  (2017), serving as the tenth track. After the album's release it charted at number 9 on the UK Singles Chart.

Sheeran performed the song live with the cast of *People Just Do Nothing* on the telethon for Comic Relief 2017.

## Background

The song is the tenth track on Sheeran's third studio album , which was released in March 2017, three years on from his previous release . In an interview with *People* magazine, Sheeran said that the song was "basically written on the spot" in a meeting with one of his record label executives. He said, "That was a weird song because that song was written trying to peacock in front of my label head. He'd come down to my house for the day, and I'd started writing that song, and in my head I was like 'I want to show him how fast I can write a song'. So that song came from just trying to write a song really quickly, to show him that I could write a song".

In an interview with Zane Lowe, Sheeran said that the song is a "knee-jerk reaction" to things that had happened in 2016: "I'm not a hugely outwardly political person, and I don't want to be. I'm a singer, and I know if like I had a political opinion, people would be like, 'Shut up mate! Sing your song.' ... My whole mantra in life is always like 'love is everything'. I love love, I love when people are happy. So my whole point of this song is basically not to say 'fuck everyone, everything is going to shit' It's just like love can change everything, love can change the world in the moment, but I don't know anything, what do I know, don't quote me. Basically being able to say anything "political" I want to say, but then being like \[shrug\]."

Sheeran also said that he intended to end concerts on the North American leg of his ÷ Tour with "What Do I Know?", saying 'I really want to close shows with that one because I feel like walking away from a gig having "love can change the world" in your head is a good thing'.

## Comic Relief version

Sheeran recorded a version of the song for Comic Relief 2017 with Kurupt FM from the BBC TV series *People Just Do Nothing*. He also performed the song live on the telethon after his appeal video was shown.

## Charts

## Certifications

Certifications for *What Do I Know*
| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Australia (ARIA) | 2× Platinum | 140,000 |
| Canada (Music Canada) | 2× Platinum | 160,000 |
| Denmark (IFPI Danmark) | Gold | 45,000 |
| Italy (FIMI) | Gold | 25,000 |
| Poland (ZPAV) | Platinum | 50,000 |
| United Kingdom (BPI) | Platinum | 600,000 |
| United States (RIAA) | Gold | 500,000 |
| Sales+streaming figures based on certification alone.<br> | | |

## InfoBox

| "What Do I Know?" | |
| --- | --- |
| Song by Ed Sheeran | |
| from the album | |
| Released | 3 March 2017 (2017-03-03) |
| Recorded | 2016 |
| Genre |  |
| Length | 3:57 |
| Label |  |
| Songwriter(s) |  |
| Producer(s) | * Ed Sheeran * Johnny McDaid |


title: Psychoorganic syndrome

abstract: Psychoorganic syndrome (POS), also known as organic psychosyndrome, is a progressive disease comparable to presenile dementia. It consists of psychopathological complex of symptoms that are caused by organic brain disorders that involve a reduction in memory and intellect. Psychoorganic syndrome is often accompanied by asthenia. Psychoorganic syndrome occurs during atrophy of the brain, most commonly during presenile and senile age. There are many causes, including cerebrovascular diseases, CNS damages to traumatic brain injury, intoxication, exposure to organic solvents such as toluene, chronic metabolic disorders, tumors and abscesses of the brain, encephalitis, and can also be found in cases of diseases accompanied by convulsive seizures. Psychoorganic syndrome may occur at any age but is most pronounced in elderly and senile age. Depending on the nosological entity, the main symptoms of psychoorganic syndrome are expressed differently. For example, in atrophic cases such as Alzheimer's disease, the symptoms are more geared towards a memory disorder, while in Pick's disease, mental disorders are more commonly expressed.

text:
# Psychoorganic syndrome

**Psychoorganic syndrome** (**POS**), also known as **organic psychosyndrome**, is a progressive disease comparable to presenile dementia. It consists of psychopathological complex of symptoms that are caused by organic brain disorders that involve a reduction in memory and intellect. Psychoorganic syndrome is often accompanied by asthenia.

Psychoorganic syndrome occurs during atrophy of the brain, most commonly during presenile and senile age (e.g. Alzheimer's disease, senile dementia). There are many causes, including cerebrovascular diseases, CNS damages to traumatic brain injury, intoxication, exposure to organic solvents such as toluene, chronic metabolic disorders, tumors and abscesses of the brain, encephalitis, and can also be found in cases of diseases accompanied by convulsive seizures. Psychoorganic syndrome may occur at any age but is most pronounced in elderly and senile age.

Depending on the nosological entity, the main symptoms of psychoorganic syndrome are expressed differently. For example, in atrophic cases such as Alzheimer's disease, the symptoms are more geared towards a memory disorder, while in Pick's disease, mental disorders are more commonly expressed.

## Symptoms

Patients with psychoorganic syndrome often complain about headaches, dizziness, unsteadiness when walking, poor tolerance to the heat, stuffiness, atmospheric pressure changes, loud sounds, neurological symptoms.

The common reported psychological symptoms include:

* loss of memory and concentration
* emotional lability
* Clinical fatigue
* long term major depression
* severe anxiety
* reduced intellectual ability

The cognitive and behavioral symptoms are chronic and have little response to treatment.

Depending on lesion location, some patients may experience visual complications.

## Cause

Psycho-organic syndrome is typically diagnosed in individuals following 5–10 years of consistent exposure to chemicals like xylene, toluene, and styrene, which are generally found in paint, plastic and degreasing products.

Patients work and environmental history must be evaluated for exposure to organic chemicals. A traumatic brain injury may also lead to POS.

Although the cause varies in each individual case, localization of the atrophy in the brain can occur due to aging and without external causes.

Prevention includes proper and regular use of Preventive Personal Equipment (PPE) in work environments that involve organic chemicals and limiting alcohol and drug substance intake.

## Mechanism

Psychoorganic syndrome is a combination of various symptoms that are caused by organic changes in the brain. The exact component of the solvents that causes the neurological disorder is difficult to isolate due to worker generally being exposed to mixtures of various grades, compositions, and purity of solvents.

At the initial stage, asthenia is prevalent and the progress of the disorder is slow. Acute onset can be diagnosed when a large amount of psychological symptoms surface. The final stage of the disorder is made up of numerous disorders, including dementia, Korsakov's syndrome, and includes severe personality change such as depression, anxiety, memory loss, and drastic change in intellect. Level of kindness, happiness, and insight are greatly affect in the final stage.

The disorder stems from a defect in brain tissue, usually atrophy from another neurological disorder.

> "In pathological findings, focal or diffuse signs of atrophy without inflammation or severe vascular insufficiency are present. Basic clinical picture depends on the localization of atrophy in brain."

Although the exact mechanism that solvents have on the nervous system are not fully understood, the metabolism of the solvents in the body that turn them into toxic intermediates are important. Some evidence shows that genetic polymorphisms affect the activity of metabolic enzymes that metabolize foreign chemicals.

## Diagnosis

Along with occupational and environmental evaluation, a neurological exam, ECHO, EEG, CT-San, and X-ray of the brain may be conducted to determine disorder. Neuroimaging that detects cerebral atrophy or cardiovascular subcortical alterations can help point to psychoorganic syndrome. Strong CNS lesions are detected in POS patients. However, this is found to be difficult as many psychiatric disorders, like dementia, have common diagnosis.

Diagnosing POS is an ongoing and developing in the medical and psychiatric industry. Exact diagnosis is difficult due to many symptoms mirroring other psychological disorders in the older aged patients.

### Various symptom diagnosis

CT scan or MRI can confirm dementia via observation of ventricular dilation and cortical substance degeneration.

Pick's disease can be confirmed via CT scan or MRI with atrophy of frontal and temporal lobe roots.

Alzheimer's is a disease confirmed by atrophy of the parietal and temporal lobe ganglia along with changes in the cortical ganglia found in a CT scan or MRI.

## Treatment

In a confirmed medical diagnosis, therapy is used to isolate and begin treating the cause of the disorder. Thereafter, psychiatric medication is used a secondary step in treatment. Medications include antipsychotic, antidepressant, or sedation-inducing, varying on the patients severity.

Treatment of psychoorganic syndrome is directed at the main disease. Nootropics like piracetam, have had positive effects on patients. Vitamin therapy, antioxidants, neurotropic, and cerebroprotective have also found to be effective when put on a repeat course.

## History

POS was suggested to be associated with long term and high level solvent exposure in early studies conducted in Scandinavia. These studies found neurological deficits such as personality changes and memory loss were tied to these exposures. However, these studies were highly criticized and found biased, causing doubt in the existence of the syndrome.

Furthermore, various health organizations had difficulty coming to an agreement on the definition of the syndrome. In 1985, the syndrome was defined and provided clear criteria that could be used by patients and medical professionals to help identify the syndrome and isolate ways of prevention.

## Recent research

In a 2007 clinical study conducted in Sweden on 128 subjects who had constant high exposure to solvents in their work environments, a definite link to POS was unable to be determined. However, the subject who had diagnosis of POS showed increased neurological symptoms with increased brain atrophy in as little as 3 years of exposure.


title: Payroll service bureau

abstract:
A financial bureau is an accounting business whose main focus is the preparation of finance for other businesses. In the United States such firms are often run by Certified Public Accountants, though a typical financial processing company will refer to itself as a bureau rather than a CPA firm, to distinguish its finance from the general tax and accounting that are generally not offered by a financial bureau. The typical client of a bureau is a small business - one just large enough for finance to be complicated to the point of a hassle, but one still small enough to not merit its own full-time finance department. The tasks that can generally be expected of just about all finance bureaus in the USA are as follows:
  - Printing of employee pay checks on time for payday
  - Direct deposit of pay into employee bank accounts, when desired
  - Appropriate calculation and withholding of federal, state, and local taxes
  - Calculation of financial taxes to be paid by employer
  - Filing of quarterly and annual finance reports
  - Depositing of withheld amounts with tax authorities
  - Printing and filing of year-end employee tax documents such as Form W-2. Additional may be offered and vary from firm to firm.
  - Management of retirement and savings plans
  - Health benefits or "cafeteria" plans
  - Timekeeping, either online or in the physical form of "time clocks"
  - Producing export files containing finance/general ledger data to be imported into a client's accounting software
  - Human Resources (HR) tracking/reporting
  - Workers' Compensation Insurance intermediary In the United States, it is usual and customary that any penalties or liabilities incurred by a bureau's mistakes are borne by the bureau. In practice, they are more successful at having penalties and other fees abated than most other businesses, mainly because tax authorities have a stake in the success and longevity of bureaus simply because they make the tax man's job easier. There are several ways a bureau can move money from the client to the people whom the client must pay. The simplest way is when a bureau prints checks on blank check stock, printing the client's account number in MICR digits at the bottom of the check, resulting in the funds being drawn directly from the client when the check is cashed. Other bureaus initiate automated clearing house (ACH) transactions from the client, and remit payment either electronically or in the form of paper checks against the bureau's holding account. Because finance transactions can be enormous, bureaus often consider the interest earned ("float") on those amounts in the interim to be a substantial source of revenue. The interim is the period of time between when the funds are collected from the employer (client), and either when the paper checks are cashed, or when electronic payments become due on their due dates.

text:
# Payroll service bureau

A **financial bureau** is an accounting business whose main focus is the preparation of finance for other businesses. In the United States such firms are often run by Certified Public Accountants, though a typical financial processing company will refer to itself as a bureau rather than a CPA firm, to distinguish its finance from the general tax and accounting that are generally not offered by a financial bureau. The typical client of a bureau is a small business - one just large enough for finance to be complicated to the point of a hassle, but one still small enough to not merit its own full-time finance department.

The tasks that can generally be expected of just about all finance bureaus in the USA are as follows:

* Printing of employee pay checks on time for payday
* Direct deposit of pay into employee bank accounts, when desired
* Appropriate calculation and withholding of federal, state, and local taxes
* Calculation of financial taxes to be paid by employer (such as Social Security and Medicare in the US)
* Filing of quarterly and annual finance reports
* Depositing of withheld amounts with tax authorities
* Printing and filing of year-end employee tax documents such as Form W-2.

Additional may be offered and vary from firm to firm.

* Management of retirement and savings plans
* Health benefits or "cafeteria" plans
* Timekeeping, either online or in the physical form of "time clocks"
* Producing export files containing finance/general ledger data to be imported into a client's accounting software
* Human Resources (HR) tracking/reporting
* Workers' Compensation Insurance intermediary

In the United States, it is usual and customary that any penalties or liabilities incurred by a bureau's mistakes are borne by the bureau. In practice, they are more successful at having penalties and other fees abated than most other businesses, mainly because tax authorities have a stake in the success and longevity of bureaus simply because they make the tax man's job easier.

There are several ways a bureau can move money from the client to the people whom the client must pay. The simplest way is when a bureau prints checks on blank check stock, printing the client's account number in MICR digits at the bottom of the check, resulting in the funds being drawn directly from the client when the check is cashed. Other bureaus initiate automated clearing house (ACH) transactions from the client, and remit payment either electronically or in the form of paper checks against the bureau's holding account. Because finance transactions can be enormous (thousands to hundreds of thousands per pay period per client), bureaus often consider the interest earned ("float") on those amounts in the interim to be a substantial source of revenue. The interim is the period of time between when the funds are collected from the employer (client), and either when the paper checks are cashed, or when electronic payments (in the case of taxes) become due on their due dates.

## Different types of bureaus

In the United States, there are several nationwide chains for financial processing. Then there are countless local bureaus which vary in scope and size. Because local bureaus tend to only a very narrow geographic area and often see themselves as competing together against the nationwide giants rather than one another, they often band together and form alliances and trade associations whereby they share expertise and consolidate their negotiating power with their vendors.

There are specific and distinct perceived differences between having finance processed by a national chain and a local bureau. National chains have experience under their belts, and have a standard set of well documented processes. Local bureaus vary in their ability to accommodate special needs, they also add a level of service that can be lost in the national arena. Local bureaus have opportunities to at meeting specific local and national needs. This is also particularly true in regions whose needs are heavily influenced by a single industry.

In addition to the national and local bureau options, there are also financial providers who can accommodate any industry, versus providers who maintain a very niched or specialized focus on a single industry. The existence of single-industry financial bureaus is dependent on the finance complexities of the industry itself and the desire or need to handle unique requirements. Companies should always perform their due diligence when selecting a bureau and compare both traditional providers along with those who focus on their industry.

It is common practice in the US bureau industry to purchase and resell private-labeled products to and from other vendors to enhance the offering. Specifically, products such as time clocks, ATM "pay" cards, savings or cafeteria plans, Workers' Compensation insurance and finance data-entry websites, are actually the products of companies with expertise in these specific, and are generally branded so that the customer is unaware of the third party's influence. This type of arrangement is desirable to bureaus, as it allows them to show a competitive portfolio of that rivals that of the national chains.

Businesses may decide to outsource their finance functions to reduce the costs involved in having financial trained employees in-house, as well as the costs of systems and software needed to process finance.

In the UK, finance bureaus will deal with all HM Revenue & Customs inquiries and deal with employee's queries. Financial bureaus also produce reports for the businesses' account department and payslips for the employees and can also make the payments to the employees if required. Some may decide that a smaller or local bureau can offer a more consistent and personal than a large nationwide bureau that deals with several thousand financial can.

Another reason many UK businesses outsource is because of the ever-increasing complexity of finance legislation. Annual changes in tax codes, PAYE and National Insurance bands as well as more and more statutory payments and deductions having to go through the finance often mean there is a lot to keep abreast of in order to maintain compliance with the current legislation. Unlike in the USA, fines and penalties for compliance issues remain the responsibility of an employer, even if they have outsourced their administration.

## Bureau software

At the heart of every bureau is the computer system that performs the calculations. Bureau software is created solely for finance professionals and has one purpose: to mass-produce accurate financials for many companies simultaneously. There are only a handful of bureau software vendors in the United States, and the choice of computer system used by the bureau is often a deciding factor for their clients, as the software choice often determines what the bureau can regularly render. The software choice is also significant in that bureau trade associations are often formed based on the choice of software, as they generally face the same challenges and offer the same in the same manner.

The common wisdom of "newer is better" that applies to most software, does not apply in the bureau industry. Due to the complexity and potential for expensive errors that goes with, moving clients from one system to another, it is very common for older software to be in just as much use as newer software. Clients generally have a low tolerance for errors, simply because finance is a high-dollar affair that can become very expensive when mistakes are made - and this results in significant apprehensiveness on the part of the bureau to simply switch from one software package to another. A bureau software package that has been in for ten years may be based on obsolete operating systems such as DOS and lack Internet functionality, but on the other hand, such software has the advantage of a proven history and a body of real-world experience using it.


abstract: As minor planet discoveries are confirmed, they are given a permanent number by the IAU's Minor Planet Center (MPC), and the discoverers can then submit names for them, following the IAU's naming conventions. The list below concerns those minor planets in the specified number-range that have received names, and explains the meanings of those names. Official naming citations of newly named small Solar System bodies are approved and published in a bulletin by IAU's Working Group for Small Bodies Nomenclature (WGSBN). Before May 2021, citations were published in MPC's Minor Planet Circulars for many decades. Recent citations can also be found on the JPL Small-Body Database (SBDB). Until his death in 2016, German astronomer Lutz D. Schmadel compiled these citations into the Dictionary of Minor Planet Names (DMP) and regularly updated the collection. Based on Paul Herget's The Names of the Minor Planets, Schmadel also researched the unclear origin of numerous asteroids, most of which had been named prior to World War II. This article incorporates text from this source, which is in the public domain: SBDB New namings may only be added to this list below after official publication as the preannouncement of names is condemned. The WGSBN publishes a comprehensive guideline for the naming rules of non-cometary small Solar System bodies.

text:
# Meanings of minor planet names: 541001–542000

As minor planet discoveries are confirmed, they are given a permanent number by the IAU's Minor Planet Center (MPC), and the discoverers can then submit names for them, following the IAU's naming conventions. The list below concerns those minor planets in the specified number-range that have received names, and explains the meanings of those names.

Official naming citations of newly named small Solar System bodies are approved and published in a bulletin by IAU's Working Group for Small Bodies Nomenclature (WGSBN). Before May 2021, citations were published in MPC's *Minor Planet Circulars* for many decades. Recent citations can also be found on the JPL Small-Body Database (SBDB). Until his death in 2016, German astronomer Lutz D. Schmadel compiled these citations into the *Dictionary of Minor Planet Names* (DMP) and regularly updated the collection.

Based on Paul Herget's *The Names of the Minor Planets*, Schmadel also researched the unclear origin of numerous asteroids, most of which had been named prior to World War II.  This article incorporates text from this source, which is in the public domain: SBDB New namings may only be *added to this list below after official publication* as the preannouncement of names is condemned. The WGSBN publishes a comprehensive guideline for the naming rules of non-cometary small Solar System bodies.

## 541001–541100

| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| *There are no named minor planets in this number range* | | | |

## 541101–541200

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| 541132 Leleākūhonua | 2015 TG387 | Leleākūhonua is a life form mentioned in the Hawaiian creation chant, the Kumulipo. The name compares the orbit to the flight of migratory birds and evokes a yearning to be near Earth. *Me he manu i ke ala pō\`aiapuni lā, he pa\`a mau nō ia i ka hui me kona pūnana i kumu mai ai.* | JPL **·** 541132 |
| 541185 Boldogkői | 2011 BO44 | Zsolt Boldogkői (b. 1961), a Hungarian molecular biologist. | IAU **·** 541185 |
| 541200 Komjádibéla | 2011 BJ107 | Béla Komjádi (1892–1933), a Hungarian water polo player and coach. | IAU **·** 541200 |

## 541201–541300

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| *There are no named minor planets in this number range* | | | |

## 541301–541400

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| *There are no named minor planets in this number range* | | | |

## 541401–541500

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| 541487 Silviapablo | 2011 OG18 | Silvia (born 2006) and Pablo (born 2010) are the children of the Spanish amateur astronomer Juanjo Gonzalez. | IAU **·** 541487 |

## 541501–541600

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| 541508 Liucixin | 2011 QK37 | Liu Cixin (b. 1963) is a Chinese science-fiction writer. He received the 2015 Hugo Award for his novel *The Three-Body Problem*. | IAU **·** 541508 |
| 541550 Schickbéla | 2011 SR68 | Béla Schick (1877–1967) was a Hungarian-born American pediatrician, known for his Schick test he developed in 1913 | IAU **·** 541550 |
| 541565 Gucklerkároly | 2011 SW194 | Károly Guckler (1858–1923) was a Hungarian forester, best known for the reforestation of the Hármashatár hill in Budapest city, Hungary. | IAU **·** 541565 |
| 541571 Schulekfrigyes | 2011 SM232 | Frigyes Schulek (1841–1919) was a Hungarian architect, full professor at the Technical University of Budapest, and a member of the Hungarian Academy of Sciences. | IAU **·** 541571 |
| 541575 Mikhailnazarov | 2011 SX247 | Mikhail A. Nazarov (1949–2016), a former head the Laboratory of Meteoritics at the Vernadsky Institute, Russian Academy of Sciences | IAU **·** 541575 |
| 541582 Tóthimre | 2011 TZ5 | Imre Tóth (born 1957) is a Hungarian astronomer and planetary scientist, known for his research on the coma and nucleus of comets using observations made by the Hubble telescope. | IAU **·** 541582 |
| 541587 Paparó | 2011 TG16 | Margit Paparó (born 1950), a Hungarian astronomer and an observer of pulsating variable stars. She has also discovered supernova SN 1976C. | IAU **·** 541587 |

## 541601–541700

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| 541618 Magyaribéla | 2011 UY125 | Béla Magyari (1949–2018) was a Hungarian pilot, aeronautical engineer, colonel in the Hungarian Air Force, member of the Hungarian Astronomical Association, president of the Hungarian Astronautical Society, and a backup cosmonaut of the Soyuz 36 mission, who also worked for the Hungarian Space Office. | IAU **·** 541618 |
| 541627 Halmospál | 2011 UE155 | Paul Halmos (1916–2006) was a Hungarian-American mathematician. | IAU **·** 541627 |
| 541631 Kirbulychev | 2011 UT172 | Kir Bulychev was a pen name of Igor Vsevolodovich Mozheiko (1934–2003), a Russian orientalist historian and a well-known science fiction writers | IAU **·** 541631 |
| 541691 Ranschburg | 2011 VC3 | Jenő Ranschburg (1935–2011) was a Hungarian psychologist, writer, and science popularizer. | IAU **·** 541691 |

## 541701–541800

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| 541741 Fado | 2011 WD118 | Fado, a Portuguese musical genre with roots in historical music from urban Lisbon. *Fado* also translates to "destiny" or "fate" in English. | IAU **·** 541741 |
| 541776 Oláhkatalin | 2011 YZ12 | Katalin Oláh (born 1948),0 a Hungarian astronomer at the Konkoly Observatory. Her research includes binary stars, as wells as the spots, the differential rotation, and the cycling activity of stars. | IAU **·** 541776 |

## 541801–541900

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| 541842 Amygreaves | 2012 BF24 | Amy Greaves (born 2003), the granddaughter of British amateur astronomer Norman Falla, who discovered this minor planet. | IAU **·** 541842 |
| 541878 Jessicatallulah | 2012 BX130 | Jessica Tallulah Jane Forward (born 2005), the granddaughter of British amateur astronomer Norman Falla, who discovered this minor planet. | IAU **·** 541878 |
| 541897 TRAPPIST | 2012 CK | TRAPPIST (Transiting Planets and Planetesimals Small Telescopes) are two 0.6-meter robotic telescopes located at the La Silla Observatory in Chile and at the Oukaïmeden Observatory in Morocco used for searching for comets and exoplanets. | IAU **·** 541897 |

## 541901–542000

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| Named minor planet | Provisional | *This minor planet was named for...* | Ref **·** Catalog |
| --- | --- | --- | --- |
| 541982 Grendel | 2012 FF87 | Lajos Grendel (1948–2018) was a Slovakian-Hungarian writer and university teacher. | IAU **·** 541982 |
| 541983 Matthiaspenselin | 2012 GN5 | Matthias Penselin (born 1963) is a German science teacher and astronomer. | IAU **·** 541983 |
| 541992 Lukácsbéla | 2012 GE26 | Béla Lukács (born 1947) is a Hungarian theoretical physicist. | IAU **·** 541992 |

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title: Giải mã

abstract: Giải mã (Decode) is the debut studio album by Vietnamese singer-songwriter and record producer Vũ Cát Tường, released on December 23, 2014. The album includes 9 self-composed songs of Vũ Cát Tường, including new songs and songs that were previously known. The 9 songs in the album have written in Pop, Neo soul, R&B, Ballad,... Musician Huy Tuấn is the main producer of the album.

text:
# Giải mã

***Giải mã (Decode)*** is the debut studio album by Vietnamese singer-songwriter and record producer Vũ Cát Tường, released on December 23, 2014. The album includes 9 self-composed songs of Vũ Cát Tường, including new songs ( Phai, Niềm yêu khác, Anh và anh, Hẹn yêu, Chơ vơ, Hôn) and songs that were previously known ( Yêu xa, Vết mưa, Đông). The 9 songs in the album have written in Pop, Neo soul, R&B, Ballad ,... Musician Huy Tuấn is the main producer of the album.

## The meaning of the name "Giải mã (Decode)"

Vũ Cát Tường said: "My daily life revolves around programming problems, code writing, circuits and numbers. My original personality is so dry that a romantic name for the album is only a little difficult to think. If the nature of science is observation, research, and analysis, the way I feel about youthful love follows the same process. I am on my way of understanding my life, explaining the meetings and separation. So the album has no better name than "Giải mã (Decoding)"." The songs in this album were all composed by Vũ Cát Tường with her true nostalgia and emotions about life.

## Track listing

| No. | Title | Songwriter | Music producer | Length |
| --- | --- | --- | --- | --- |
| 1 | Phai | Vũ Cát Tường | Huy Tuấn | 3:24 |
| 2 | Niềm yêu khác | | | 4:50 |
| 3 | Anh và anh | | | 3:53 |
| 4 | Yêu xa | | | 4:53 |
| 5 | Hẹn yêu | | | 3:15 |
| 6 | Chơ vơ | | | 4:35 |
| 7 | Vết mưa | | | 3:30 |
| 8 | Đông | | | 3:19 |
| 9 | Hôn | | | 4:11 |

## InfoBox

| Giải mã | |
| --- | --- |
|  | |
| Studio album by Vũ Cát Tường | |
| Released | December 23, 2014 (2014-12-23) |
| Genre |  |
| Length | 35:29 |
| Label | UMG |
| Producer | Huy Tuấn |
| Vũ Cát Tường chronology | |
| ***Giải mã***
(2014) *Stardom*
(2018) | |
|  | |
| Singles from  *Giải mã (Decode)* | |
| 1. "Vết mưa"
Released: November 15, 2013 2. "Yêu xa"
Released: October 2, 2014 3. "Anh và anh"
Released: March 29, 2015 | |
|  | |


title: Neelam Saxena Chandra

abstract: Neelam Saxena Chandra is an Indian poet and author. She has written novels, short stories, children's stories, and poetry in English and Hindi.

text:
# Neelam Saxena Chandra

**Neelam Saxena Chandra** (born 27 June 1969) is an Indian poet and author. She has written novels, short stories, children's stories, and poetry in English and Hindi.

## Biography

Chandra has authored four novels, a novella, five collections of short stories, 25 collections of poetry, and 10 books for children. She has received several awards including the *"Rabindranath Tagore International Award"* in 2014. given by Xpress Publications. She was awarded a prize in a poetry contest organized by the Consulate General of the United States, Mumbai, on the topic *Poetry for Social Change*. The song *Mere Sajan Sun Sun*, for which she was the lyricist won a 'Popular Choice Award' in the Folk Fusion category at the Radio City Freedom Awards. She was shortlisted for the IPR Annual Award 2020.

She is an IES Officer (1992 batch), and has also served as Joint Secretary of Union Public Service Commission (UPSC). She served as Executive Director of Pune Metro and now serves as Assistant Divisional Railway Manager (ADRM) of Pune Division.

## Awards and recognition

## InfoBox

| Neelam Saxena Chandra | |
| --- | --- |
| Neelam Saxena | |
| Born | (1969-06-27) 27 June 1969
Nagpur, Maharashtra, India |
| Occupation | Writer, author, bureaucrat |
| Language | English, Hindi |
| Nationality | Indian |
| Alma mater | Visvesvaraya National Institute of Technology
Hislop College |
| Genre | Poetry, fiction |
| Notable awards |
Radio City Freedom Awards |
| Spouse | Prafulla Chandra |
| Children | Simran Chandra |
| Website | |
| neelamsaxenachandra.com | |


title: Puerto Chale

abstract: Puerto Chale is a town located on the Pacific coast side of La Paz Municipality in the Mexican state of Baja California Sur. Hurricane Norbert made landfall in Puerto Chale on October 11, 2008, with 105 mph winds, a Category 2 hurricane. It had a population of 373 inhabitants in the 2010 census and is located at an elevation of 1 meter above sea level.

text:
# Puerto Chale

**Puerto Chale** is a town located on the Pacific coast side of La Paz Municipality in the Mexican state of Baja California Sur. Hurricane Norbert made landfall in Puerto Chale on October 11, 2008, with 105 mph winds, a Category 2 hurricane. It had a population of 373 inhabitants in the 2010 census and is located at an elevation of 1 meter (3 ft.) above sea level.

24°25′21″N 111°33′12″W / 24.42250°N 111.55333°W / 24.42250; -111.55333


title: Prom at the Palace

abstract: The Prom at the Palace was a classical music concert held in London in 2002, in commemoration of the Golden Jubilee of Elizabeth II. It was held at Buckingham Palace Garden on 1 June 2002 and formed part of the Golden Jubilee Weekend. It was the classical equivalent of the Party at the Palace, a pop/rock music event. Its name reflects the popular season of classical concerts held at the Royal Albert Hall, The Proms. The event was broadcast by the BBC and shown in more than 40 countries. It was directed by Nicholas Kenyon.

text:
# Prom at the Palace

The **Prom at the Palace** was a classical music concert held in London in 2002, in commemoration of the Golden Jubilee of Elizabeth II. It was held at Buckingham Palace Garden on 1 June 2002 and formed part of the Golden Jubilee Weekend. It was the classical equivalent of the Party at the Palace, a pop/rock music event. Its name reflects the popular season of classical concerts held at the Royal Albert Hall, The Proms. The event was broadcast by the BBC and shown in more than 40 countries. It was directed by Nicholas Kenyon.

## Event and venue

The concert was held in Buckingham Palace Garden as part of the Golden Jubilee celebrations. The event was touted as the greatest classical concert in Britain in many years, in part due to the quality of performers gathered on a single stage. Tickets were determined by a lottery and 3,000 telephone lines were set up to deal with the calls from applicants. Around two million applications were submitted to attend either the Party or the Prom at the Palace. Twelve thousand people attended the latter, including 125 guests in the royal box, among whom were eighteen members of the royal family.

This was the first time that the Queen had ever opened the garden up to the public and heralded similar celebrations, both during the Golden Jubilee Year of 2002 and in 2006 for her 80th birthday celebrations, which included a party for fellow octogenarians and a Children's Prom at the Palace.

## Performers

Orchestras at the Prom included HM Royal Marines Portsmouth, the BBC Symphony Orchestra and the BBC Symphony Chorus, and the London Adventist Chorale. The compere, Michael Parkinson, asked the audience to stand as the Queen, wearing a lime green suit, entered the Royal Box with the Duke of Edinburgh and took her place with the royal family. Individual performers included Dame Kiri Te Kanawa, Julian Bliss, Ashley Wass, Zenaida Yanowsky, Roberto Bolle, Angela Gheorghiu, Thomas Allen, Mstislav Rostropovich and Roberto Alagna.

## Concert

The concert was the opening of the Golden Jubilee Weekend. In Buckingham Palace Garden, 12,000 guests each sat in their seats and ate a picnic dinner. They were provided with hampers packed with champagne, smoked salmon wrap, Jubilee chicken and strawberries and cream by the palace. The performances were done on a large stage constructed specially for the event. The performances were synchronized for ballet presentations inside the Palace and broadcast to the crowds in the garden. The concert ended with "Pomp and Circumstance March No. 1", followed by the national anthem "God Save the Queen". At the end, the Queen stepped outside the palace to greet 40,000 people who were watching the event on wide screens in The Mall.

## InfoBox

Prom at the Palace
| Commemoration concert by various artists | |
| --- | --- |
| Logo | |
| Venue | Buckingham Palace Garden, London, England |
| Date(s) | 1 June 2002 (2002-06-01) |
| Duration | 2 hours |


title: Shelley's sunbird

abstract: Shelley's sunbird is a species of bird in the family Nectariniidae. It is found in Democratic Republic of the Congo, Malawi, Mozambique, Tanzania, Zambia and Zimbabwe. The species is named after George Ernest Shelley, an English geologist and ornithologist and nephew of poet Percy Bysshe Shelley. The subspecies C. s. hofmanni has been recognized by the International Ornithological Congress (IOC) as a separate species, Hofmann's sunbird.

text:
# Shelley's sunbird

**Shelley's sunbird** (***Cinnyris shelleyi***) is a species of bird in the family Nectariniidae. It is found in Democratic Republic of the Congo, Malawi, Mozambique, Tanzania, Zambia and Zimbabwe. The species is named after George Ernest Shelley, an English geologist and ornithologist and nephew of poet Percy Bysshe Shelley.

The subspecies *C. s. hofmanni* has been recognized by the International Ornithological Congress (IOC) as a separate species, Hofmann's sunbird.

## InfoBox

| Shelley's sunbird | |
| --- | --- |
|  | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Aves |
| Order: | Passeriformes |
| Family: | Nectariniidae |
| Genus: | *Cinnyris* |
| Species: | ***C. shelleyi*** |
| Binomial name | |
| ***Cinnyris shelleyi***
Alexander, 1899 | |
|
| Synonyms | |
| * *Nectarinia shelleyi* * *Nectarinia hofmanni* | |


title: Nowy Dzików

abstract: Nowy Dzików is a village in the administrative district of Gmina Stary Dzików, within Lubaczów County, Subcarpathian Voivodeship, in south-eastern Poland. It lies approximately 5 kilometres (3 mi) south-east of Stary Dzików, 13 km (8 mi) north-west of Lubaczów, and 72 km (45 mi) east of the regional capital Rzeszów.

text:
# Nowy Dzików

**Nowy Dzików** \[ˈnɔvɨ ˈd͡ʑikuf\] is a village in the administrative district of Gmina Stary Dzików, within Lubaczów County, Subcarpathian Voivodeship, in south-eastern Poland. It lies approximately 5 kilometres (3 mi) south-east of Stary Dzików, 13 km (8 mi) north-west of Lubaczów, and 72 km (45 mi) east of the regional capital Rzeszów.

## InfoBox

| Nowy Dzików | |
| --- | --- |
| Village | |
| Nowy Dzików | |
| Coordinates: 50°13′N 22°58′E / 50.217°N 22.967°E / 50.217; 22.967 | |
| Country | Poland |
| Voivodeship | Subcarpathian |
| County | Lubaczów |
| Gmina | Stary Dzików |


title: Misty Keasler

abstract: Misty Keasler is an American photographer based in Dallas, Texas. Her work is included in the collection of the Modern Art Museum of Fort Worth, the Dallas Museum of Art, and the Museum of Fine Arts Houston. Keasler graduated from Columbia College Chicago in 2001, and received an MFA in Photography from Bard College in 2010. In 2003, she was awarded both the Lange-Taylor Prize and the Dallas Museum of Art DeGolyer Award. She has enjoyed photography from an early age, and recalls early memories of family visits when her grandfather would take Polaroid photographs that were "not great" in quality, but that she was captivated by the "magical" way the image appeared. She was given her first camera, a Polaroid, at age 7. Keasler considers herself both an artist and a documentarian, but not a photojournalist. Her work is often long-term, and invites viewers to think about socially significant issues and form their own conclusions, rather than to elicit a particular response through her photographs. Her work covers a range of often grotesque subjects, including garbage dumps, taxidermy, Japanese love hotels, and American haunted houses; and draws attention to how our cultures and values are reflected in our public and private spaces. Her work is held in the permanent collections of the Modern Art Museum of Fort Worth, the Kiyosato Museum of Photographic Arts, the Museum of Fine Arts, Houston, and the Amon Carter Museum of American Art.

text:
# Misty Keasler

**Misty Keasler** (born 1978) is an American photographer based in Dallas, Texas.

Her work is included in the collection of the Modern Art Museum of Fort Worth, the Dallas Museum of Art, and the Museum of Fine Arts Houston.

Keasler graduated from Columbia College Chicago in 2001, and received an MFA in Photography from Bard College in 2010. In 2003, she was awarded both the Lange-Taylor Prize and the Dallas Museum of Art DeGolyer Award.

She has enjoyed photography from an early age, and recalls early memories of family visits when her grandfather would take Polaroid photographs that were "not great" in quality, but that she was captivated by the "magical" way the image appeared. She was given her first camera, a Polaroid, at age 7.

Keasler considers herself both an artist and a documentarian, but not a photojournalist. Her work is often long-term, and invites viewers to think about socially significant issues and form their own conclusions, rather than to elicit a particular response through her photographs. Her work covers a range of often grotesque subjects, including garbage dumps, taxidermy, Japanese love hotels, and American haunted houses; and draws attention to how our cultures and values are reflected in our public and private spaces.

Her work is held in the permanent collections of the Modern Art Museum of Fort Worth, the Kiyosato Museum of Photographic Arts, the Museum of Fine Arts, Houston, and the Amon Carter Museum of American Art.

## Half Life

Misty Keasler's work photographing garbage dumps started in 2003, when she received a grant from Duke University's Center for Documentary Studies alongside Charles d'Ambrosio to photograph in Guatemala City, Guatemala. Their project, *Guatemala City Dump: Life at the Rim*, documenting a makeshift village in Guatemala City inhabited by displaced Mayan people, was awarded the 2003 Lange-Taylor Prize. After completion of that project, Keasler was commissioned by Harper's Magazine to photograph a garbage dump in Manila, Philippines. In January 2009, she traveled to Lagos, Nigeria to document the process of e-waste import and disposal, photographing the conditions and workers present in two garbage dumps. She made the images in her project Half Life over 12 years in these three locations, spending "weeks at a time" on location to ensure that her images "dignify \[her\] subjects".

## Love Hotels

In 2003, Keasler worked for several months as a teacher in Japan, where she was inspired to photograph love hotels for their offbeat aesthetic after reading about them in Lonely Planet. With the help of two translators, she gained access to photograph rooms in several hotels, and even the diaries left in rooms by visitors. She describes these images as both a study of private and public space, a topic common to much of her other work, as well as a study of the nature of sex and romance in modern Japan.

## Haunt

Keasler was first inspired to photograph haunted houses during a visit to Thrillvania in Terrell, Texas. Inspired to take photographs of the rooms as they appeared to visitors, she was eventually allowed access during the Summer of 2015 to shoot photographs of the rooms and portraits of the costumed actors for a feature in D Magazine. After photographing Thrillvania, Keasler was able to extend her project to other immersive haunted houses and attractions throughout the country, ultimately including them in her book and exhibition, Haunt. Using a Hasselblad camera and analogue film, she took photographs in ambient light that required long exposure times, and collaborated with Laura Steele to retouch the photographs in post-production to better convey the visitor experience. She took portraits with a "full studio setup," often flying cross-country to work with actors and costume and makeup crews on days when the attractions were closed.

The 13 haunt attractions featured in her work include:

Keasler aims to draw attention to the details present in such an immersive environment, explaining that most details are lost on visitors in the moment, but that these details, rather than the "spectacle of the room" are what makes the experience so unsettling.

(more exhibitions: http://photography-now.com/artist/misty-keasler)

## Publications

* *Love Hotels: the Hidden Fantasy Rooms of Japan* (2006)
* *HAUNT* (2017)

## Selected exhibitions

**Solo Exhibitions:**

The Guatemala City Dump Project, Houston Center for Photography, 2005.

Bard College MFA Thesis Show, Annandale-on-Hudson, NY, 2010.

Black Box, The Public Trust, Dallas, 2013.

Love Hotels, Museum of Contemporary Photography, Chicago, 2017, Photographs Do Not Bend (PNDB) Gallery, Dallas, 2007, Jenkins Johnson Gallery, New York, 2007.

HAUNT, Modern Art Museum of Fort Worth, Fort Worth, 2017, David Shelton Gallery, Houston, 2018.

Low Lands, The Public Trust, Dallas, 2019.

**Group Exhibitions:**

Infected Landscape, Julie Saul Projects, 2006.

The Art of Caring: A Look at Life Through Photography, New Orleans Museum of Art, 2009.

Life in Space, Dallas Museum of Art, 2009.

Pictures of Me, PNDB Gallery, Dallas, 2011.

Big Pictures, Amon Carter Museum of American Art, Fort Worth, 2013.

Framing Desire, Modern Art Museum of Fort Worth, 2015.

Basically Forever, Tokyo Metropolitan Museum of Photography, 2014.


title: Puerto Rico Highway 135

abstract: Puerto Rico Highway 135 (PR-135) is a rural road that travels from Adjuntas, Puerto Rico to Lares. This highway begins at PR-123 north of downtown Adjuntas and ends at PR-128 in Bartolo.

text:
# Puerto Rico Highway 135

**Puerto Rico Highway 135** (**PR-135**) is a rural road that travels from Adjuntas, Puerto Rico to Lares. This highway begins at PR-123 north of downtown Adjuntas and ends at PR-128 in Bartolo.

## Major intersections

| Municipality | Location | km | mi | Destinations | Notes |
| --- | --- | --- | --- | --- | --- |
| Lares | Bartolo | 0.0 | 0.0 | PR-128 Lares, Yauco | Western terminus of PR-135; western terminus of the Ruta Panorámica concurrency; the Ruta Panorámica continues toward Yauco |
| | | 3.3 | 2.1 | PR-4428 Bartolo |  |
| | | 4.5 | 2.8 | PR-399 Bartolo |  |
| | | 5.4 | 3.4 | PR-374 Río Prieto |  |
| Río Guayo | | 5.4 | 3.4 | Puente Sifonte | |
| Adjuntas | Guayo | 8.6 | 5.3 | PR-525 (Ruta Panorámica) Limaní | Eastern terminus of the Ruta Panorámica concurrency; the Ruta Panorámica continues toward Adjuntas |
| | LimaníYahuecas
Guayo tripoint | 8.7 | 5.4 | PR-529 Yahuecas |  |
| | Yahuecas | 12.7 | 7.9 | PR-548 Guayabo Dulce |  |
| | 13.1 | 8.1 |
PR-129 north Lares |  |
| | Yayales | 17.9 | 11.1 | PR-131 Guilarte |  |
| | CapáezYahuecas line | 19.3 | 12.0 | PR-526 Capáez |  |
| | Río Grande de Arecibo | 22.4–
22.5 | 13.9–
14.0 | Puente de las Cabañas | |
| | Juan González | 22.5 | 14.0 | PR-123 Adjuntas, Utuado | Eastern terminus of PR-135 |
| 1.000 mi = 1.609 km; 1.000 km = 0.621 mi
 | | | | | |

## InfoBox

| Highway 135 | |
| --- | --- |
| *Ruta 135* | |
| Route information | |
| Maintained by Puerto Rico DTPW | |
| Length | 22.5 km (14.0 mi) |
| Existed | 1953–present |
| Major junctions | |
| West end | PR-128 in Bartolo |
| Major intersections |  |
| East end | PR-123 in Juan González |
|  | |
| Location | |
| Country | United States |
| Territory | Puerto Rico |
| Municipalities | Lares, Adjuntas |
|  | |
| Highway system | |
|  | |
| PR-134   PR-136 | |