RSX-11 is a discontinued family of multi-user real-time operating systems for PDP-11 computers created by Digital Equipment Corporation. In widespread use through the late 1970s and early 1980s, RSX-11 was influential in the development of operating systems such as VMS and Windows NT, it was designed for process control, but was popular for program development. RSX-11 began as a port to the PDP-11 architecture of the earlier RSX-15 operating system for the PDP-15 minicomputer, first released in 1971; the main architect for RSX-15 was Dennis “Dan” Brevik. Commenting on the RSX acronym, Brevik says: "At first I called the new system DEX-15, it was an acronym for'Digital's Executive - for the PDP-15.' The homonymic relation between DEC, DEX and deques appealed to my sense of whimsy. People adopted the acronym without question, but in a short time I was asked to submit the choice to the corporate legal department for a trademark search and registration. They sent me a memo that DEX was trademarked by some paper company and I would have to rename the product.
I pointed out to them that software and paper mills didn't seem to have a hell of a lot of connection, but they wouldn't budge. So I sat down with pencil and paper, in a few moments came up with better than a dozen candidate acronyms and names. My purpose was to come up with a good acronym and find some appropriate words to justify it. For example, X always appealed to me as part of an acronym because it is pronounced so forcefully, inferring some power and drama. I used a lot of X's; these potential acronyms were submitted back to the legal department. At the time I had no favorite. In a week or so they came back with a subset of my list, it was left to me to make the final choice. Bob Decker and I met in my office one afternoon to discuss the choice. Bob was a marketeer. I chalked all the candidates on the blackboard and we started going through them one by one, pronouncing each out loud, savoring the sound, trying to get the feel of each one. After ten minutes or so we had narrowed down the selection to three.
Bob sat back in silence as I kept looking at each acronym, seeing how it flowed off my tongue, what impression it gave me, most the overall feeling about it. After three or four minutes a strong feeling came over me about one of them, it felt right. I looked at Bob and announced, "It's RSX". I went to the board and erased all the rest until the only writing left was RSX, it looked right. I have no memory about the other candidate acronyms, they are lost forever, I suppose. Well, maybe there's just a chance that the legal department kept copies of the correspondence - after all they are lawyers and they seem to hold on to everything. Oh, by the way, the acronym stood for'Real-Time System Executive.' Years, changed to'Resource Sharing Executive,' which I think is better.... And, how RSX got its name, on the 3rd floor of building 5 in the old mill." The porting effort first produced small paper tape based real-time executives which gained limited support for disks. RSX-11B evolved into the fledged RSX-11D disk-based operating system, which first appeared on the PDP-11/40 and PDP-11/45 in early 1973.
The project leader for RSX-11D up to version 4 was Henry Krejci. While RSX-11D was being completed, Digital set out to adapt it for a small memory footprint giving birth to RSX-11M, first released in 1973. From 1971 to 1976 the RSX-11M project was spearheaded by noted operating system designer Dave Cutler at his first project. Principles first tried in RSX-11M appear in designs led by Cutler, DEC's VMS and Microsoft's Windows NT. Under the direction of Ron McLean a derivative of RSX-11M, called RSX-20F, was developed to run on the PDP-11/40 front-end processor for the KL10 PDP-10 CPU. Meanwhile, RSX-11D saw further developments: under the direction of Garth Wolfendale the system was redesigned and saw its first commercial release. Support for the 22-bit PDP-11/70 system was added. Wolfendale from the UK set up the team that designed and prototyped the IAS operating system in the UK. Development and release of IAS was led by Andy Wilson, in Digital's UK facilities. Below are estimated release dates for RSX-11 and IAS.
Data is taken from the printing date of the associated documentation. General availability date is expected to come after; when manuals have different printing dates, the latest date is used. RSX-11S is a proper subset of RSX-11M, so release dates are always assumed to be the same as the corresponding version of RSX-11M. On the other side, RSX-11M Plus is an enhanced version of RSX-11M, so it is expected to be than the corresponding version of RSX-11M. RSX-11 is proprietary software. Copyright is asserted in source code and documentation alike, it was developed internally by Digital. Therefore, no part of it is open source; however a copy of the kernel source with all comments removed is present in every RSX distribution, because it was used during the system generation process. The notable exception to this rule is Micro-RSX, which came with a pre-generated autoconfiguring binary kernel. Commented kernel source code was available as a separate product to those who had a binary license, for reference purposes.
Ownership of RSX-11S, RSX-11M, RSX-11M Plus and Micro/RSX was transferred from Digital to Mentec Inc. in March 1994 as part of a broader agreement. Mentec Inc. was the US subsidiary of Men
The Honan Chapel, is a Catholic collegiate church built in the Celtic-Romanesque style located on the grounds of University College Cork, Ireland. Completed in 1916, it was designed by leading members of the Celtic Revival and Irish Arts and Crafts movement, many of whom incorporated elements of the Art Nouveau style; the chapel was commissioned by John Robert O'Connell, the executor of the estate of Isabella Honan, the last member of a wealthy Catholic Cork family who donated substantial amounts of money to the college. O'Connell oversaw its architecture, the design of its exterior carvings and statuettes, its interior windows, floor and liturgical collection; the chapel building was designed by James F. McMullen, built by John Sisk and Sons. Today it known for it interiors, including the mosaic flooring, altar plates, liturgical collection, its nineteen stained glass windows. A further eight windows were designed by A. E. Child, Catherine O'Brien and Ethel Rhind of "An Túr Gloine" cooperative studio, founded by Sarah Purser in 1903.
Population growth and migration in the early 20th century led to the development of a number of suburbs around Cork city. This necessitated the building of churches to serve the people living in the new urban areas, the Honan was the first church built in Cork in the new century; the reasons for its development were different to those for other contemporary churches, resulting from a longstanding educational disagreement between the Protestant and Catholic hierarchies. Queens College Cork, known as University College Cork since 1911, was incorporated in 1845 as part of a series of new universities known as the Queen's Colleges, under a charter that excluded Catholic students; this ended in 1911 when the Queen's Colleges folded as legal entities, as a result students of both denominations were allowed to attend. The Irish Universities Act of 1908 stipulated that government funding could not be allocated towards "any church, chapel, or other place of religious worship or observance"; these terms were seen by some as restrictive on Catholic students, including Sir Bertram Windle, the university's president, John O'Connell, a Celtic revivalist, member of the Irish Arts and Crafts Committee, fellow of the Royal Society of Antiquaries, member of the Royal Irish Academy, who described the act as "absurd and scandalous".
The 1908 legislation meant that any centre for Catholic students in an Irish university could only be attained through private funding. Isabella Honan was the sister-in-law of Robert Honan, the last male heir of a wealthy merchant family who had made their money in the 19th century as butter merchants; when Robert died in 1909, he left his fortune to Isabella, who gave £10,000 in trust to O'Connell, stipulating that the money should be used to fund a centre of worship for Catholic students in UCC. When she died in August 1913, she bequeathed a further £40,000 for various causes in the city and county, named O'Connell as the sole executor of her will; these monies became known as the Honan Fund, were intended for charitable and educational purposes in Cork. O'Connell used some of the money to fund scholarships for Catholic students at UCC, acquired the site of St Anthony's Hall from the Franciscan order to develop an accommodation block for male Catholic students. O'Connell's interest was in ecclesiastical archaeology, he was acquainted with several members of the Irish Arts and Crafts and Celtic revival movements.
He sought not just to contravene to the 1908 act, but to construct a chapel, "something more than sufficient...a church designed and fashioned on the same lines and on the same plan as those which their forefathers had built for their priests and missioners all over Ireland nearly a thousand years ago." O'Connell, who became a priest in 1929 after the death of his wife, disliked the contemporary approach to church building, which he described as "machine made" and international in style, preferring a coherence nationalist approach to style and form, produced with the finest craftsmanship, uniquely Irish in character. He aspired that work on the chapel was "carried out in Cork, by Cork labour and with materials obtained from the City or County of Cork"; the chapel and its grounds were created as a separate legal entity to the university. O'Connell was assisted by Windle, who provided other supports; the chapel is dedicated to Cork's patron Saint Finbarr, patron saint of the city and of the Diocese of Cork.
The grounds are reputedly located close to an early Christian monastic site founded by Finbarr. The Cork-based firm of James Finbarre McMullen and Associates were the main architects on the project, their other works in the city include the Eye, Ear & Throat Hospital, Western Rd. St. Finbarre's West Total Abstinence Club, Bandon Road, remodelling at Holy Trinity Church, Fr. Mathew Quay; the contractor John Sisk of Cork, was the principal builder, completed the build on 18 May 1915 at a cost of £8,000. The building's plans were drawn in 1914, the foundation stone laid on 18 May 1915 by Thomas A. O'Callaghan D. D. Bishop of Cork; the stone reads, in part, that the chapel was built "by the charity of Isabella Honan for the scholars and students of Munster". The chapel was consecrated on 5 November 1916, the year most of its decorative features were designed or installed; the final windows were placed in situ in 1917. The
Ülle Kaljuste is an Estonian stage, film and radio actress. Born Ülle Side in Tallinn, she attended Tallinn Secondary School No. 2, graduating in 1975. Afterward, she attended the Tallinn State Conservatory of Performing Arts Department, graduating in 1980. Graduating classmates included actors Roman Baskin, Guido Kangur, Arvo Kukumägi, Ain Lutsepp, Anne Veesaar, Paul Poom. Shortly after graduation, she began an engagement at the Vanalinnastuudio which lasted from 1980 until 1989. Since 1998, she has been a performer at the Estonian Drama Theatre in Tallinn. Among her more memorable international roles in theatre were in works by: William Shakespeare, Eugene O'Neill, Edward Albee, Henrik Ibsen, Bertolt Brecht, Anton Chekhov, Neil Simon, Tennessee Williams and Tom Stoppard, among many others. Roles Estonian playwrights and authors include works by: Andrus Kivirähk, Paul-Eerik Rummo, Jaan Kross, Madis Kõiv and Hendrik Toom. Ülle Kaljuste made her film debut in the 1981 Estonian television movie Onu Tik-Taki seiklused, directed by Virve Koppel.
In 1985, she made her screen debut in the 1985 musical comedy Savoy Ball, directed by Ago-Endrik Kerge. In 1992 Kaljuste was cast in the role of Emma in the Mati Põldre-directed biographical drama Need vanad armastuskirjad which explored the life of Raimond Valgre, an Estonian composer of the 1930s and the 1940s. In 1990, she played the title role in the Aimée Beekman and Vladimir Beekman penned and Kaljo Kiisk directed feature film drama Regina for Tallinnfilm, she would go one to appear in television series. From 2006 until 2009 she appeared on the Kanal 2 television series Kelgukoerad as the character Signe. In 1980, she married to conductor Tõnu Kaljuste, she resides in Tallinn and Laulasmaa. 1986 annual award of the Estonian Theatre Association 1996 Best Actress Award of 1993 1996 Best Supporting Actress for Estonian Film Week, Pärnu 2000 Little Ants, Estonian Drama Theatre Prize 2001 2001 Drama Festival 2002 Big Ants, Estonian Drama Theatre Prize 2005 Big Ants, Estonian Drama Theatre Prize 2006 Estonian Theatre Award 2008 Big Ants, Estonian Drama Theatre Prize 2009 Radio Theatre Actor Award 2011 Order of the White Star, IV Class 2011 Little Ants, Estonian Drama Theatre Prize Need vanad armastuskirjad Idioot Surnuaiavahi tütar Ülle Kaljuste on IMDb