Maurizio Bolognini is a post-conceptual media artist. His installations are concerned with the aesthetics of machines, are based on the minimal and abstract activation of technological processes that are beyond the artist's control, at the intersection of generative art, public art and e-democracy. Maurizio Bolognini was born in Italy. Before working as a media artist, he received degrees in urban planning and social sciences from the University of Birmingham, UK, the University IUAV of Venice, he worked extensively as a researcher in the field of structured communication techniques, electronic democracy. His research interests and a wide range of artworks have focused on three main dimensions of digital technologies: — the possibility of delegating his artistic action to the infinite time of the machine, such as in his Programmed Machines. From the beginning, this series introduced the concept of infinity into his work, focused on "the experience of the disproportion between artist and the artwork, made possible by computer-based technologies".

Some of these works were developed through intense cooperation with Artmedia, the Laboratory of the Aesthetics of Media and Communication, University of Salerno, the Laboratory Museum of Contemporary Art, Sapienza University of Rome. In 2003 the MLAC published a monograph book on Bolognini's work. In 2004 Artmedia organized a show, aimed to highlight a European tendency in new media art, based on the concept of the technological sublime; the show included works by Roy Ascott, Maurizio Bolognini, Fred Forest, Richard Kriesche and Mit Mitropoulos. In 1988, Bolognini began using personal computers to generate flows of continuously expanding random images. In the 1990s, he left them to run ad infinitum. About his Programmed Machines he wrote: "I do not consider myself an artist who creates certain images, I am not a conceptual artist. I am one whose machines have traced more lines than anyone else, covering boundless surfaces. I am not interested in the formal quality of the images produced by my installations but rather in their flow, their limitlessness in space and time, the possibility of creating parallel universes of information made up of kilometres of images and infinite trajectories.

My installations serve to generate out-of-control infinities."The Programmed Machines are considered among his most significant works. These Machines were exhibited in Europe and the United States. In 2003 some sixty Machines were exhibited in three simultaneous shows arranged at the Laboratory Museum of Contemporary Art in Rome, the CACTicino Center for Contemporary Art in Switzerland, the Williamsburg Art & Historical Center in New York. In 2005 the Villa Croce Museum of Contemporary Art, dedicated a retrospective and a monograph to these works. Since 2000, Bolognini has concentrated on combining the Programmed Machines with communication devices, as in the Collective Intelligence Machines; these are interactive installations connecting some of his generative machines to the mobile telephone network, to allow a real-time Delphi-like interaction by members of the public. These installations delegate choices to both electronic devices and processes of communication and e-democracy with the aim of involving the audience in new forms of “generative and public art”.

Maurizio Bolognini's work has been considered relevant to the theory of the technological sublime and the aesthetics of flux, has been seen as a further development of conceptual art within neo-technological art. Conceptual art Post-conceptual Generative art New Media Art Public art Systems art Electronic art Interactive art Official site for Maurizio Bolognini

"Hey Baby" or "Hey Baby" is a song written and recorded by American musician Jimi Hendrix, from his second posthumous album Rainbow Bridge. The song is a slower and more melodic piece, which features the prominent use of chorus- and tremolo-effects on guitar. Hendrix uses an idealized feminine figure. Commentators have seen the song as representative of his post-Band of Gypsys musical direction. "Hey Baby" was in development for over two years and Hendrix had recorded several demo and jam versions, before debuting it in concert on April 25, 1970. On July 1, he recorded, it was one of the tracks. In 1971, longtime Hendrix recording engineer Eddie Kramer, drummer Mitch Mitchell selected the Electric Lady version as the closing track for Rainbow Bridge; the song received positive comments from critics, who saw it as expressing hope, along with new guitar textures. In 1997, "Hey Baby" was included on First Rays of the New Rising Sun, the most comprehensive attempt at presenting Hendrix's unfinished album.

During the 1970 The Cry of Love Tour, Hendrix performed the song regularly. Several live recordings have been released along with videos of Hendrix performing it in concert; as early as October 1968 at TTG Studios in Hollywood, Hendrix began recording demos for a song titled "The New Rising Sun". Although it is a different song, Hendrix biographer John McDermott believed that "Hey Baby" was developed from ideas found in "The New Rising Sun". In the months following the TTG sessions, Hendrix attempted more recordings of the song at the Record Plant in New York City. Preliminarily titled "Hey Gypsy Boy" and "Hey Country Boy", they were closer to "Hey Baby" musically and lyrically. Hendrix used a minor-key chord progression reminiscent of "All Along the Watchtower", but they lacked the distinctive guitar intro section to "Hey Baby". In February 1970, Hendrix jammed on an informal "Hey Baby" at the Record Plant, with drummer Buddy Miles and percussionist Juma Sultan. Hendrix sang the song included some Spanish flamenco-style flourishes on electric guitar.

After parting ways with Miles, Hendrix began preparing songs with original Jimi Hendrix Experience drummer Mitch Mitchell and Band of Gypsys bassist Billy Cox, for the upcoming The Cry of Love Tour. McDermott described Cox's and Mitchell's approaches as "delicate interplay... more subtle and intricate", needed for R&B-influenced songs, such as "Hey Baby". The trio debuted the song at the Forum in Los Angeles on April 25, 1970. Unlike the studio version, Hendrix begins the song with solo guitar reminiscent of "the acoustic-guitar introductions found in Spanish flamenco music as, Hendrix explores arabesques and altered scales", according to music writer Keith Shadwick; the solo guitar became a regular feature of Hendrix's live performances of "Hey Baby" and its length varied to suit his mood and the audience reaction. Hendrix chronicler Harry Shapiro described Hendrix's guitar sound as having a "pitch and sway like waves rolling against a deserted sandy beach in early morning". During late-1969 and 1970, Hendrix was making extensive use of a Uni-Vibe guitar effects unit, able to emulate the wavering chorus- and tremolo-effects of a Leslie speaker.

This effect had been used on the demos for "The New Rising Sun". Writers Dave Whitehill and Dave Rubin commented: "the thick chorusing does give it a lot more cohesiveness and depth it's effective in the introduction, where the guitar has to carry the full musical weight itself.""Hey Baby" is composed of an intro section and a main section with a bridge. The intro is one of the longest in a Hendrix song. In the intro, Hendrix takes a chromatic approach with guitar runs and chords at a moderately slow tempo of 66 beats per minute. After several key and time signature changes, he lands on A minor, which begins the chord progression at a somewhat faster tempo of 81 bpm for the remainder of the song: A minor–G–F–D. Lyrically, "Hey Baby" echoes a recurring Hendrix theme of an idealized feminine figure, as heard in "May This Be Love", "Little Wing", "Angel". Journalist Charles Shaar Murray felt that the figure goes beyond "Hendrix's own personal saviour, but a redeemer for all of humanity". Shapiro described the hope of "a promised land, a new beginning": Poet David Henderson called the R&B-style bridge section or refrain, which begins with "Girl, I'd like to come along", "the essence of the lyrics of this deceptively straightforward song".

The released studio version of "Hey Baby" was recorded at Hendrix's newly constructed Electric Lady Studios in New York City's Greenwich Village on July 1, 1970. Supporting Hendrix on guitar and vocal were his regular Cry of Love touring partners. Sultan and an unnamed second percussionist paticipated in the recording; the vocal was recorded live and Hendrix never completed a final finished vocal track. During the July 1 session, "Hey Baby" was preceded by "Bolero", an instrumental on which Hendrix had been working. "Bolero" incorporates some Spanish flamenco-style flourishes and McDermott believed that Hendrix intended the instrumental and "Hey Baby" to flow together as a medley. In mid-1970, Hendrix included the song with the title "The New Rising Sun " on a list of potential tracks for his planned fourth studio album; when Mitchell and recording engineer Eddie Kramer were reviewing songs for The

Hawaiian Vaccinium is a monophyletic group comprising three species endemic to the archipelago of Hawaii: Vaccinium reticulatum, Vaccinium dentatum and Vaccinium calycinum known in Hawaii as O’helo. While Vaccinium as a larger group is characterized by an inferior ovary and brightly-colored berries, that are indehiscent; the Hawaiian group has been traditionally distinguished as having uniquely well-developed calyx lobes and longer calyx tube depth, more cylindrical corolla shape, reduced or absent staminal awns, longer pedicel length, compared with temperate relatives, much longer leaf persistence. They are terrestrial or epiphytic shrubs 1 - 6 feet in height up to 10 feet, ranging throughout the Hawaiian islands over high elevation; the three species thrive in many plant communities, except for Vaccinium reticulatum, which tends to thrive around lava flows, yet is not limited to them. Within the group, distinct taxa vary in berry color, bloom color, foliage shape and size, pedicel length.

Vaccinium reticulatum and Vaccinium dentatum are evergreen. All three species tend to fruit and flower throughout the year, but maximum flower and fruit production occurs during May - July. Outcrossing between all three species has been successful, many hybrids have been described. All three species are capable of selfing, but resulting seed viability differs throughout the species complex; this group is thought to be derived from within section Myrtillus of Vaccinium proper, is thought to have a North American origin of dispersal. However, confidence in the existing molecular evidence for this hypothesis is low, therefore the status of the sister group to the Hawaiian clade is still unknown. Hawaii is known as a historical hotspot for adaptive radiation because of immense biological opportunity over small, isolated areas advantageous for plants that colonized the islands when they were first formed by volcanic activity. Endemic Hawaiian plant lineages that have undergone adaptive radiation exhibit patterns associated with a loss of dispersal capacity: small populations, isolated to one island, if not one small area of one island, exhibiting "explosive" diversity in a small space, reflecting probable "rapid speciation" or an accelerated rate of evolution.

However, there is much debate and controversy surrounding the definition and characterization of adaptive radiation. All three species of Hawaiian Vaccinium show the opposite pattern of adaptive radiation: they are widespread throughout the Hawaiian islands, have retained their dispersal capacity, thus suggesting, among other hypotheses, a recent dispersal to the archipelago. However, the extent of Hawaiian Vaccinium’s diversification at population levels is not well known. Another characteristic typical of lineages that have undergone adaptive radiation is the ability to self-fertilize. Selfing is well established in | Hawaiian Vaccinium. Seed viability among self-fertilized individuals varies, between the three species. Controlled experiments found that while selfing is successful in Vaccinium calycinum, Vaccinium reticulatum and Vaccinium dentatum show much poorer seed viability on average due to morphological conditions in the calyx. Researchers have hypothesized that the self-compatible gene is not yet fixed in entire populations of Vaccinium calycinum and Vaccinium reticulatum.

The evolutionary history of the larger group Vaccinium has long been complete mystery for plant systematists and evolutionary biologists: species that have been found to be genetically related to not fall into groups traditionally described by morphological similarity, nor do they follow geographic pattern. What is certain is that the plant species traditionally understood to form the genus Vaccinium do not form a monophyly. Given this information, it is difficult to speculate with confidence upon the evolutionary history of Hawaiian Vaccinium, though there is some confidence that there is a single common ancestor of the group. Hawaiian Vaccinium was placed in a section named Macropelma, which traditionally included the three Hawaiian species and a mysterious South Pacific Island species known as Vaccinium cereum. Vaccinium cereum was described by Sleumer as the type specimen for section Macropelma. There is much ongoing debate as to the taxonomic placement of these four species as more information about their genetic relationships becomes available.

The key distinctive morphological feature separating Vaccinium cereum from the Hawaiian taxa is the pseudo-10-locular ovary, similar to ovary structure common of Asian Vaccinium species, as opposed to the 5-locular present in most New World species and the Hawaiian taxa. It was long believed that this pseudo-10-locular ovary was the plesiomorphic condition of the ancestor of Hawaiian Vaccinium, the three Hawaiian taxa proliferated from V. cereum. However, as noted above, the Hawaiian taxa are hypothesized with moderate confidence to belong in the Myrtillus section, North American. Combined evidence including molecular work done by Kron and Powell, together with Sam Vander Kloet’s detailed examination of morphological variation throughout the four species has concluded that Vaccinium cereum is a hybrid species, with origins shared between Vaccinium calycinum, a member of the Hawaiian taxa and Vaccinium fragile, a taxon of East Asian origin in section Eococcus. If Hawaiian Vaccinium is confirmed to be derived f

False Evidence titled Madelon of the Redwoods, is a 1919 American silent drama film, directed by Edwin Carewe. It stars Viola Dana, Wheeler Oakman, Joseph King, was released on April 21, 1919. Viola Dana as Madelon MacTavish Wheeler Oakman as Burr Gordon Joseph King as Lot Gordon Edward J. Connelly as Sandy MacTavish J. Patrick O'Malley as Richard MacTavish Peggy Pearce as Dorothy Fair Virginia Ross as Samanthy Brown On March 17, 1919, the Santa Cruz Evening News reported that Viola Dana and Wheeler Oakman, for Metro Pictures, had finished filming on location at Hopkins' Big Trees in Felton and were headed south to film the interior segments of Madelon of the Redwoods. According to Derek Whaley, Metro repurposed defunct buildings in a part of the park called Welch Grove to serve as a "pioneer town" for the film. False Evidence on IMDb False Evidence at the TCM Movie Database False Evidence at the American Film Institute Catalog lobby poster

Luigi de Franchis, C. R. was a Roman Catholic prelate who served as Bishop of Bishop of Vico Equense. Luigi de Franchis was ordained a priest in the Congregation of Clerics Regular of the Divine Providence. On 1 October 1607, he was appointed during the papacy of Pope Paul V as Bishop of Vico Equense. On 24 January 1611, he was appointed during the papacy of Pope Paul V as Bishop of Nardò, he served as Bishop of Nardò until his death in 1617. Catholic Church in Italy Cheney, David M. "Diocese of Vico Equense". Catholic-Hierarchy.org. Retrieved January 4, 2019. Chow, Gabriel. "Titular Episcopal See of Vico Equense". GCatholic.org. Retrieved January 4, 2019. Cheney, David M. "Diocese of Nardò-Gallipoli". Catholic-Hierarchy.org. Retrieved June 16, 2018. Chow, Gabriel. "Diocese of Nardò-Gallipoli". GCatholic.org. Retrieved June 16, 2018

Marino Zorzi, born in Venice, was the 50th Doge of the Republic of Venice, from 23 August 1311 to his death. He was married to Agneta Querini. Considered to have been a devout man, he had served as an ambassador to Rome, he may have been elected to decrease tensions in the city caused by the attempted revolt of Bajamonte Tiepolo as well as tensions with Rome, still angry with Venice over her occupation of the city of Ferrara. Zorzi had not been the first choice as Doge; the elderly Zorzi did not succeed in re-establishing good relations with the Papacy and his short reign was characterized by several natural calamities. His reign lasted only eleven months, Zorzi, considered a saint in his lifetime, died in 1312, his garments were sought after as holy relics. His dogaressa, Agnese, is known to have intervened to have the silk-masters of Lucca train apprentices and supervise the production of silk fabris in the workshops of the Venetian fraglia