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Amphiprion is a genus of ray-finned fish which comprises all but one of the species of clownfish or anemonefish in the subfamily Amphiprioninae of the family Pomacentridae. The following species are classified in the genus Amphiprion: Amphiprion akallopisos Bleeker, 1853 Amphiprion akindynos Allen, 1972 Amphiprion allardi Klausewitz, 1970 Amphiprion barberi Allen, Drew & Kaufman, 2008 Amphiprion bicinctus Rüppell, 1830 Amphiprion chagosensis Allen, 1972 Amphiprion chrysogaster Cuvier, 1830 Amphiprion chrysopterus Cuvier, 1830 Amphiprion clarkii Amphiprion ephippium Amphiprion frenatus Brevoort, 1856 Amphiprion fuscocaudatus Allen, 1972 Amphiprion latezonatus Waite, 1900 Amphiprion latifasciatus Allen, 1972 Amphiprion leucokranos Allen, 1973 Amphiprion mccullochi Whitley, 1929 Amphiprion melanopus Bleeker, 1852 Amphiprion nigripes Regan, 1908 Amphiprion ocellaris Cuvier, 1830 Amphiprion omanensis Allen & Mee, 1991 Amphiprion pacificus Allen, Drew & Fenner, 2010 Amphiprion percula Amphiprion perideraion Bleeker, 1855 Amphiprion polymnus Amphiprion rubrocinctus Richardson, 1842 Amphiprion sandaracinos Allen, 1972 Amphiprion sebae Bleeker, 1853 Amphiprion thiellei Burgess, 1981 Amphiprion tricinctus Schultz & Welander, 1953

George W. S. Trow

George William Swift Trow, Jr. was an American essayist, novelist and media critic. He worked for The New Yorker for 30 years, wrote numerous essays and several books, he is best known for his long essay on television and its effect on American culture, "Within the Context of No Context," first published in The New Yorker on November 17, 1980, published as a book. This was one of the few times. Trow was born in an upper-middle-class family in Greenwich, the son of Anne and George William Swift Trow, his father was a newspaperman. His great-great paternal grandfather, John Fowler Trow, was a New York-based publisher, known today was the namesake of New York City directories. Trow studied at Phillips Exeter Academy, graduated from Harvard University in 1965. There, he was president of The Harvard Lampoon, he served as an editor for its offshoot, the National Lampoon, working with young humorists like Michael O'Donoghue, Henry Beard, Douglas Kenney. He served on active duty in the U. S. Coast Guard.

In 1966, Trow took a position at The New Yorker, writing articles for the magazine in the section "The Talk of the Town," and contributing short fiction. He worked under editors William Robert Gottlieb, whom he saw as mentors. In 1994, when new editor Tina Brown invited Roseanne Barr to oversee a special issue on women, Trow quit the magazine in protest, he abandoned the house he was building in Germantown, New York, traveled around North America, living in Texas and Newfoundland. Several years before his death, he moved to Italy. In 2006 he died there, having secluded himself for a decade. Trow was ambitious: throughout his life, he was "striving to be part of the'10 percent of people at Harvard who wear tuxedos to their own little events in their own little buildings and you can see them out on their balconies with their tuxedos and their very beautiful girls who are similarly there from the Vanderbilts and the Astors.'" Throughout his career, Trow analyzed mainstream American cultural institutions to understand how the culture had changed from the newspaper-reading, eastern Establishment-dominated world of his childhood in the 1940s and early 1950s, to the ahistorical, tabloid sensibility born in the Jazz Age and propagated by television.

The appeal and value of Trow's work can be difficult to communicate, because the style "in its essence resists summary. Summary, of course, flees from detail, whereas for Trow the details are the notes without which there is no song." Some critics have found Trow's works elitist. "Within the Context of No Context", edited by New Yorker editor William Shawn, was published in book form in 1981 accompanied by Trow's profile of music mogul Ahmet Ertegün. In 1997, "No Context" was reprinted with a new introductory essay, "Collapsing Dominant". In "No Context", Trow pointed out the role of television in the destruction of American public culture and Americans' sense of history. "Middle-distance" institutions that had long given Americans' lives real contexts, had disappeared as people stayed home to watch television. Their replacements, television shows, were false contexts designed to be just compelling enough to keep people watching. What remained as real contexts for Americans to live in were "the grid of two hundred million" and "the grid of intimacy".

Celebrities had a real life in both grids, only they could now be complete. Deprived of real context, everyone else now wanted to be celebrities themselves. Trow argued that as marketers segmented the viewers into demographically defined groups, pitched advertisements and shows to particular niches, viewers for the first time learned to see themselves as part of an age-related demographic group rather than as part of a linear flow of people from the past into the future. In consequence, demography had replaced history as the default context for understanding the world. Things were now valued not on an absolute scale, but by discovering if one was in tune with one's group. Trow illustrates this point with a reference to Family Feud, where a contestant was asked to guess "what a poll of a hundred people had guessed would be the height of the average American woman. Guess what they guessed. Guess what they guessed the average is.""No Context" ends with a narrative memoir of Trow's experiences working two summers as a guide at the 1964 New York World's Fair.

His summary of the Fair: "At the Fair, one could see the world of television impersonating the world of history.”In an obituary for Trow, the novelist and screenwriter Michael Tolkin is quoted as saying that "No Context" is no longer fashionable because "It's not a polemic for change. It's just a cold description of. There aren't many books that are unafraid to be that negative."In his essay "The Harvard Black Rock Forest," Trow criticizes another mainstream American institution, Harvard University. The Black Rock Forest, 50 miles north of New York City along the Hudson River, had been donated to Harvard as a nature preserve for scientific studies. Trow writes about the Harvard administration's indifference to the property except as a profit opportunity, its eventual rescue and dedication to educational nature studies. In addition to his nonfiction, Trow wrote casuals

Luis Ruspoli, 7th Marquis of Boadilla del Monte

Don Luis Ruspoli dei Principi Ruspoli y Morenés was a Spanish aristocrat, second son of Carlos Ruspoli, 4th Duke of Alcudia and Sueca, wife, María de Belén Morenés y Arteaga, 18th Countess of Bañares. He was 7th Marquis of Boadilla del Monte, 2nd Baron of Mascalbó, he married in Madrid December 2, 1960, divorced in 1983, Doña María del Carmen Sanchíz y Núñez-Robres, 13th Marquise of La Casta, daughter of Hipólito Sánchiz y Quesada, 4th Count of Valdemar, of the Marquises of Vasto, his wife, Doña María del Pilar Núñez-Robres y Rodríguez de Valcárcel of the Marquises of Montortal and Montenuevo, Counts of Pestagua, had four children: Donna Mónica Ruspoli dei Principi Ruspoli y Sanchíz, married in 1988 with Don Alonso Dezcallar y Mazarredo, Spanish ambassador, had issue: Doña Mónica Dezcallar y Ruspoli, Mazarredo y Sanchíz Doña Belén Dezcallar y Ruspoli, Mazarredo y Sanchíz Luis Carlos Ruspoli, 6th Duke of Alcudia and Sueca Donna María de Belén Ruspoli dei Principi Ruspoli y Sanchíz, married in 1996 with Cesare Passi y Ferrero di Cambiano, Count Passi di Preposulo and had issue: Don Alejandro Passi y Ruspoli, Ferrero di Cambiano y Sanchíz, dei Conti Passi di Preposulo Donna María del Carmen Passi y Ruspoli, Ferrero di Cambiano y Sanchíz, dei Conti Passi di Preposulo Don Luca Passi y Ruspoli, Ferrero di Cambiano y Sanchíz, dei Conti Passi di Preposulo' Don Santiago Ruspoli dei Principi Ruspoli y Sanchíz, unmarried and without issue.



Cemu is a closed-source Wii U video game console emulator developed by Exzap running as the Core and GPU developer, with Petergov Running as a core and audio emulation developer. It was released on October 13, 2015 for Microsoft Windows; the emulator updates once every two to four weeks, with Patreon supporters receiving updates a week before the public release. Though it is still under development, it is able to run certain games smoothly. In January 2017, it was reported that Cemu is capable of running games in 4K resolution through graphic packs. Developers of Cemu expected that The Legend of Zelda: Breath of the Wild would be playable with only a few months worth of work, had a rudimentary version of the game's tutorial playable within weeks of its release; as of July 2017, the game is now playable and is able to be completed with physics, particle effects, reduced crashes. Cutscenes are available with a community-made addon called Cemuhook. Included in Cemuhook is an optional feature that allows performance increases at the cost of intermittent texture bugs.

On December 26, 2017, an update added support for multi-threaded CPU emulation, which enabled Breath of the Wild to be played at 60 frames per second. RPCS3, the first PlayStation 3 emulator Xenia, the first Xbox 360 emulator Citra, the first Nintendo 3DS emulator List of video game emulators Official website

Elementary Calculus: An Infinitesimal Approach

Elementary Calculus: An Infinitesimal approach is a textbook by H. Jerome Keisler; the subtitle alludes to the infinitesimal numbers of the hyperreal number system of Abraham Robinson and is sometimes given as An approach using infinitesimals. The book is available online and is published by Dover. Keisler's textbook is based on Robinson's construction of the hyperreal numbers. Keisler published a companion book, Foundations of Infinitesimal Calculus, for instructors which covers the foundational material in more depth. Keisler defines all basic notions of the calculus such as continuity and integral using infinitesimals; the usual definitions in terms of ε-δ techniques are provided at the end of Chapter 5 to enable a transition to a standard sequence. In his textbook, Keisler used the pedagogical technique of an infinite-magnification microscope, so as to represent graphically, distinct hyperreal numbers infinitely close to each other. An infinite-resolution telescope is used to represent infinite numbers.

When one examines a curve, say the graph of ƒ, under a magnifying glass, its curvature decreases proportionally to the magnification power of the lens. An infinite-magnification microscope will transform an infinitesimal arc of a graph of ƒ, into a straight line, up to an infinitesimal error; the derivative of ƒ is the slope of that line. Thus the microscope is used as a device in explaining the derivative; the book was first reviewed by Errett Bishop, noted for his work in constructive mathematics. Bishop's review was harshly critical. Shortly after, Martin Davis and Hausner published a detailed favorable review, as did Andreas Blass and Keith Stroyan. Keisler's student K. Sullivan, as part of her Ph. D. thesis, performed a controlled experiment involving 5 schools which found Elementary Calculus to have advantages over the standard method of teaching calculus. Despite the benefits described by Sullivan, the vast majority of mathematicians have not adopted infinitesimal methods in their teaching.

Katz & Katz give a positive account of a calculus course based on Keisler's book. O'Donovan described his experience teaching calculus using infinitesimals, his initial point of view was positive, but he found pedagogical difficulties with approach to nonstandard calculus taken by this text and others. G. R. Blackley remarked in a letter to Prindle, Weber & Schmidt, concerning Elementary Calculus: An Approach Using Infinitesimals, "Such problems as might arise with the book will be political, it is revolutionary. Revolutions are welcomed by the established party, although revolutionaries are."Hrbacek writes that the definitions of continuity and integral implicitly must be grounded in the ε-δ method in Robinson's theoretical framework, in order to extend definitions to include nonstandard values of the inputs, claiming that the hope that nonstandard calculus could be done without ε-δ methods could not be realized in full. Błaszczyk et al. detail the usefulness of microcontinuity in developing a transparent definition of uniform continuity, characterize Hrbacek's criticism as a "dubious lament".

Between the first and second edition of the Elementary Calculus, much of the theoretical material, in the first chapter was moved to the epilogue at the end of the book, including the theoretical groundwork of nonstandard analysis. In the second edition Keisler introduces the extension principle and the transfer principle in the following form: Every real statement that holds for one or more particular real functions holds for the hyperreal natural extensions of these functions. Keisler gives a few examples of real statements to which the principle applies: Closure law for addition: for any x and y, the sum x + y is defined. Commutative law for addition: x + y = y + x. A rule for order: if 0 < x < y 0 < 1/y < 1/x. Division by zero is never allowed: x/0 is undefined. An algebraic identity: 2 = x 2 − 2 x y + y 2. A trigonometric identity: sin 2 ⁡ x + cos 2 ⁡ x = 1. A rule for logarithms: If x > 0 and y > 0 log 10 ⁡ = log 10 ⁡ x + log 10 ⁡ y. Criticism of nonstandard analysis Influence of nonstandard analysis Nonstandard calculus Increment theorem Bishop, Errett, "Review: H. Jerome Keisler, Elementary calculus", Bull.

Amer. Math. Soc. 83: 205–208, doi:10.1090/s0002-9904-1977-14264-x Blass, Andreas, "Review: Martin Davis, Applied nonstandard analysis, K. D. Stroyan and W. A. J. Luxemburg, Introduction to the theory of infinitesimals, H. Jerome Keisler, Foundations of infinitesimal calculus", Bull. Amer. Math. Soc. 84: 34–41, doi:10.1090/S0002-9904-1978-14401-2Blass writes: "I suspect that many mathematicians harbor, somewhere in the back of their minds, the formula ∫ 2 + 2 for arc length". "Often, as in the examples above, the nonstandard definition of a

Henry Hamilton Blackham

Henry Hamilton Blackham was an Irish–Australian writer and pioneer. Blackham was born in Newry, Northern Ireland on 14 January 1817. In 1840, along with his parents Richard and Sarah and his five younger siblings, he emigrated to Australia. Travelling on board the'Birman' for 108 days they arrived in Port Adelaide, they settled in the One Tree Hill area of South Australia and purchased land for farming which they called Trevilla. In 1851 Blackham married Elizabeth Kathleen Lynch, they had five children and were both involved in building a local church and schoolhouse. Blackham was the uncle of Australian cricketer Jack Blackham. Blackham's poems were featured in newspapers and anthologies of Australian poetry, his poetry featured various themes including homesickness and travel. In the poem'Forsaken Homes and Graves' Blackham describes his thoughts while walking through the Australian countryside, it was published in "Australian Ballads and Rhymes". Blackham wrote a popular novella set during the Irish Rebellion of 1798 called "Reminiscences of Father Looney", serialised in the South Australian magazine from 1841 to 1842.

In 1932 Blackham's cousin Aodh de Blácam published a collection of his poems called'Bard of Clanrye', this publication was financed by another of Blackham's cousins Robert J. Blackham. One poem featured in'Bard of Clanrye' called'Homeland' expresses Blackham's feelings of being so far away from the land he grew up in. Blackham is buried in the cemetery at the One Tree Hill Wesleyan Church. Review of Bard of Clanrye, Book of the week; the Advocate February 2, 1933 Obituary of H. H. Blackham; the Bunyip March 2, 1900