The Situationist International was an international organization of social revolutionaries made up of avant-garde artists and political theorists, prominent in Europe from its formation in 1957 to its dissolution in 1972. The intellectual foundations of the Situationist International were derived from anti-authoritarian Marxism and the avant-garde art movements of the early 20th century Dada and Surrealism. Overall, situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism; the situationists recognized that capitalism had changed since Karl Marx's formative writings, but maintained that his analysis of the capitalist mode of production remained fundamentally correct. In their expanded interpretation of Marxist theory, the situationists asserted that the misery of social alienation and commodity fetishism were no longer limited to the fundamental components of capitalist society, but had now in advanced capitalism spread themselves to every aspect of life and culture.

They rejected the idea that advanced capitalism's apparent successes—such as technological advancement, increased income, increased leisure—could outweigh the social dysfunction and degradation of everyday life that it inflicted. Essential to situationist theory was the concept of the spectacle, a unified critique of advanced capitalism of which a primary concern was the progressively increasing tendency towards the expression and mediation of social relations through objects; the situationists believed that the shift from individual expression through directly lived experiences, or the first-hand fulfillment of authentic desires, to individual expression by proxy through the exchange or consumption of commodities, or passive second-hand alienation, inflicted significant and far-reaching damage to the quality of human life for both individuals and society. Another important concept of situationist theory was the primary means of counteracting the spectacle; when the Situationist International was first formed, it had a predominantly artistic focus.

However, that focus shifted more towards revolutionary and political theory. The Situationist International reached the apex of its creative output and influence in 1967 and 1968, with the former marking the publication of the two most significant texts of the situationist movement, The Society of the Spectacle by Guy Debord and The Revolution of Everyday Life by Raoul Vaneigem; the expressed writing and political theory of the two aforementioned texts, along with other situationist publications, proved influential in shaping the ideas behind the May 1968 insurrections in France. The term "situationist" refers to the construction of situations, one of the early central concepts of the Situationist International. Situationist theory sees the situation as a tool for the liberation of everyday life, a method of negating the pervasive alienation that accompanied the spectacle; the founding manifesto of the Situationist International, Report on the Construction of Situations, defined the construction of situations as "the concrete construction of momentary ambiances of life and their transformation into a superior passional quality."

Internationale Situationniste No. 1 defined the constructed situation as "a moment of life concretely and deliberately constructed by the collective organization of a unitary ambiance and a game of events". The situationists argued; the experimental direction of situationist activity consisted of setting up temporary environments favorable to the fulfillment of true and authentic human desires in response. The Situationist International resisted use of the term "situationism", which Debord called a "meaningless term", adding "here is no such thing as situationism, which would mean a doctrine for interpreting existing conditions"; the situationists maintained a philosophical opposition to all ideologies, conceiving of them as abstract superstructures serving only to justify the economic base of a given society. In The Society of the Spectacle, Debord asserted ideology was "the abstract will to universality and the illusion thereof", "legitimated in modern society by universal abstraction and by the effective dictatorship of illusion".

The situationist movement had its origins as a left wing tendency within Lettrism, an artistic and literary movement led by the Romanian-born French poet and visual artist Isidore Isou, originating in 1940s Paris. The group was influenced by the preceding avant-garde movements of Dadaism and Surrealism, seeking to apply critical theories based on these concepts to all areas of art and culture, most notably in poetry, pai

The Speos Artemidos is an archaeological site in Egypt. It is located about 2 km south of the Middle Kingdom tombs at Beni Hasan, about 28 km south of Al Minya. Today, the site is a small village known as Istabl Antar. There are two temples here, they are cut out of the rock into the cliffs on the eastern side of the Nile. One of the temples, built by the pharaoh Hatshepsut, has an architrave bearing a long dedicatory text with her famous denunciation of the Hyksos. Nearby is a small shrine bearing the name of Alexander IV of Macedon. An earlier temple was located here, but no traces older than that of Hatshepsut have been found; the decorations inside have been usurped by Seti I in his name replacing that of Hatshepsut. Cut from the living rock, Hatshepsut's temple is composed of two chambers connected by a short passageway; the outer portico is rectangular and had eight stone columns arranged in two rows Unfortunately, only three of the four columns forming the facade are still intact and none of the internal pillars remain.

The rock face above the external pillars of the portico is dressed and inscribed with text bearing Hatshesput's name. It includes the famous text in which she denounces the Hyksos and records her actions in rebuilding the damage they had caused thus legitimising her own reign. Within the portico only the southern wall bears any inscription; the text referred to Hatshepsut but was usurped by Seti I who added further dedications. The smaller inner sanctuary is square with a statue niche at the back, it was not inscribed by Hatshepsut and Brand has suggested that it was in fact Seti who first excavated the passageway and sanctuary. Seti altered the text to replace Hatshepsut's name with his own and changed representations of the Queen to depictions of himself, but Fairman and Grdseloff argued that there was no clear evidence that Tuthmosis III defaced the chapel when he was expunging her name from other monuments late in his reign despite the existence of his name on some of the pillars of the portico.

This conclusion is queried by Brand who suggests that an image of the queen had been vandalised by Tuthmosis and recarved to depict Seti. Fairman and Grdseloff did not find evidence that Akhenaten had defaced the name of Amun but Brand concluded that Seti had repaired this damage and notes at least one instance where an earlier version of one of the arms of Amun was still visible. Brand notes that Seti replaced an image of a priest with that of the god Thoth and concludes that this was the result of the increasing influence of this god's temple in Hermopolis during the reign of Seti. Brand notes that Seti added three scenes to the depictions of the coronation of Hatshepsut but found no evidence that he had usurped these scenes from Hatshepsut. Fakhry, Ahmed, A new speos from the reign of Hatshepsut and Thutmosis III at Beni-Hasan, In: Annales du Service des Antiquités de l’Égypte, Issue 39, S. 709 – 723 Brand, Peter James The monuments of Seti I: epigraphic and art historical analysis Gardiner, Alan Henderson, Davies’s copy of the great Speos Artemidos inscription, In: Journal of Egyptian Archaeology Issue 32, S. 43 – 56 Fairman, H. W..

Texts of Hatshepsut and Sethos I inside Speos Artemidos, In: Journal of Egyptian Archaeology, Issue 33, S. 12 – 33 Goedicke, Hans. "The Speos Artemidos Inscription of Hatshepsut and Related Discussions". Oakville, CT: HALGO, 2004. Print

The US Air Force's aerospaceplane project encompassed a variety of projects from 1958 until 1963 to study a reusable spaceplane. A variety of designs were studied during the lifetime of the project, including most of the early efforts on liquid air cycle engines and a nuclear-powered ramjet; the effort was started due to the work of Weldon Worth at the Wright-Patterson AFB, who published a short work outlining a manned spaceplane. AF officials were interested enough to start SR-89774 for a reusable spaceplane in 1957. By 1959 this work had resulted in the Recoverable Orbital Launch System, or ROLS, based around a LACE engine, known at the time as a Liquid Air Collection System, or LACES. Further work showed that more performance could be gained by extracting only the oxygen from the liquid air, a system they referred to as Air Collection and Enrichment System, or ACES. A contract to develop an ACES testbed was placed with Marquardt and General Dynamics, with Garrett AiResearch building the heat exchanger for cooling the air.

The original ACES design was complex. From there it was pumped into a high-pressure tank, where the oxygen was separated and the rest was dumped overboard. In late 1960 and early 1961 a 125 N demonstrator engine was being operated for up to 5 minutes at a time. In early 1960 Air Force offered a development contract to build a spaceplane with a crew of three that could take off from any runway and fly directly into orbit and return, they wanted the design to be in operation in 1970 for a total development cost of only $5 billion. Boeing, Convair, Goodyear, North American, Republic all responded. Most of these designs instead used a scramjet for power; the scramjet had first been outlined at about the same time as the original LACES design in a NASA paper of 1958, many companies were interested in seeing it develop none more than Marquardt, whose ramjet business was dwindling with the introduction of newer jet engines and who had started work on the scramjet. Both Alexander Kartveli and Antonio Ferri were proponents of the scramjet approach.

Ferri demonstrated a scramjet producing net thrust in November 1964 producing 517 pounds-force, about 80% of his goal. That year a review suggested that the basic concepts of the aerospaceplane were far too new for development of an operational system to begin, they pointed out that far too much was being spent on development of the aircraft, not nearly enough on basic research. Moreover, the designs were all sensitive to weight, any increase could result in all of the designs not working. In 1963 the Air Force changed their priorities in SR-651 and focused on development of a variety of high-speed engines. Included were LACES and ACES engines, as well as scramjets, turboramjets and a "normal" ramjet with an intake suitable for use up to Mach 8. In October a further review concluded that the technology was too new for anyone to predict when any such aerospaceplane could be built, funding was wound down in 1964. Aerospaceplane - 1961. Aerospace Projects Review, Volume 2, No 5. Aspects of the Aerospace Plane.

Flight International, 2 January 1964, pages 36-37

Cape Jaffa is a headland in the Australian state of South Australia located at the south end of Lacepede Bay on the state's south east coast about 20 kilometres south west of the town centre of Kingston SE. The cape is described as being "a low sandy point" with "its sea face is about One nautical mile long" and having a "wooded range rises near the S part of the cape and reaches a height of 77 metres at Mount Benson, about 8.5 nautical miles S E". A settlement known as King's Camp in some sources and as Cape Jaffa in other sources is located about 0.5 nautical miles to the north west of the cape. This settlement includes a jetty fitted with a marina; the southern coastline of the cape forms part of the Bernouilli Conservation Reserve. Cape Jaffa Lighthouse Cape Jaffa unpatrolled beach Kings Camp unpatrolled beach

The 2015 BYU Cougars women's soccer team represented BYU during the 2015 NCAA Division I women's soccer season. The Cougars were coached for a 21st consecutive season by Jennifer Rockwood, co-coach in 1995 and became the solo head coach in 1996. Before 1995 BYU women's soccer competed as a club team and not as a member of the NCAA; the Cougars enter the 2015 season having won three consecutive West Coast Conference championships and having made the NCAA Tournament each of the last three seasons and in 16 of the 20 seasons that Rockwood has been the head coach. The Cougars come in having been picked to win the 2015 WCC women's soccer crown. On the last day of the season BYU won their fourth consecutive WCC soccer title to automatically qualify for the NCAA Tournament. BYU advanced to the second round of the College Cup. BYU finished the season at 16–3–2; every BYU women's soccer home games was shown live on TheW.tv. Information on these television broadcasts and other internet streams can be found below.

For a second consecutive season the Cougar IMG Sports Network will air BYU Cougars women's soccer games. Greg Wrubell provided play-by-play for most games. Former men's Colette Jepson Smith acted as analysts. Cougar IMG increased the number of games broadcast from 13 to at least 21; the Cougars expanded their broadcast territory. After being online in 2014, Cougar IMG broadcasts began airing on ESPN 960, joining BYU baseball on the network. 20 of the 21 Cougar IMG broadcasts were streamed online at byucougars.com and on the ESPN 960 player. The UNLV match was available only on the ESPN 960 player. On September 24 BYU Radio picked up the Cougar IMG broadcasts, simulcasting 8 of the matches, giving the Cougars nationwide coverage on Sirius XM 143 and on Dish Network. *- Denotes WCC game x- Denotes Cougar IMG Sports Network/ESPN 960 broadcast y- Television Broadcast z- Internet Stream Broadcasters: Greg Wrubell & Amber Wadsworth Series History: BYU leads series 10–1–1Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Greg Wrubell & Hugh Van Wagenen Series History: BYU leads series 3–1Broadcasters: Greg Wrubell & Colette Jepson Smith Series History: BYU leads series 3–2–1Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Greg Wrubell & Hugh Van Wagenen Series History: Nebraska leads series 3–1Broadcasters: - video onlyGreg Wrubell & Colette Jepson Smith Series History: BYU leads series 19–7–1Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Robbie Bullough & Erica Owens Series History: BYU leads series 3–1Broadcasters: Greg Wrubell & Jennie Smith BYU and Stanford were scheduled to play each other in the final match of the Outrigger Resorts Soccer Classic, but mother nature had other plans.

Rain from Tropical Depression Kilo made the pitch unplayable. The two teams decided to reschedule with a home-and-home series beginning in Stanford September 7. Series History: BYU leads series 11–0Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Greg Wrubell & Hugh Van Wagenen Series History: BYU leads series 14–1–1Broadcasters: Robbie Bullough & Hugh Van Wagenen Series History: BYU leads series 1–0Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Greg Wrubell & Hugh Van Wagenen Series History: BYU leads series 4–0–1Broadcasters: Dave Grant Greg Wrubell & Colette Jepson Smith Series History: BYU leads series 5–2Broadcasters: Kevin Nielsen & Colette Jepson Smith Series History: BYU leads series 7–0Broadcasters: Video only Greg Wrubell & Colette Jepson Smith Series History: BYU leads series 5–4Broadcasters: Adam Linnman & Erin Dees Greg Wrubell & Colette Jepson Smith Series History: BYU leads series 5–2Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Greg Wrubell & Hugh Van Wagenen Series History: BYU leads series 5–1Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Greg Wrubell & Hugh Van Wagenen Series History: BYU leads series 6–0Broadcasters: George Devine & Joe Dugan Greg Wrubell & Colette Jepson Smith Series History: Santa Clara leads series 6–1–2Broadcasters: David Gentile Series History: Series 3–3Broadcasters: Jarom Jordan, Natalyn Lewis, & Lauren Francom Greg Wrubell & Hugh Van Wagenen Series History: BYU leads series 5–1Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Greg Wrubell & Hugh Van Wagenen Series History: BYU leads series 4–0–1Broadcasters: Robbie Bullough & Amber Wadsworth Greg Wrubell & Hugh Van Wagenen Series History: BYU leads series 1–0Broadcasters: Spencer Linton, Natalyn Lewis, & Lauren Francom Robbie Bullough & Hugh Van Wagenen Series History: Stanford leads series 4–3Broadcasters: Jack Follman and Kevin Denny Greg Wrubell & Colette Jepson Smith

Lansdown Crescent is a well-known example of Georgian architecture in Bath, England, designed by John Palmer and constructed by a variety of builders between 1789 and 1793. The buildings have a clear view over central Bath, being sited on Lansdown Hill near to, but higher than, other well-known Georgian buildings including the Royal Crescent, St James's Square and The Circus, Bath, it forms the central part of a string of curved terraces, including Lansdown Place East and West, Someset Place, which were the northern-most boundary of the development of Georgian Bath. The crescent was laid out by John Palmer who ensured that the three-storey fronts of the buildings were of uniform height and had matching doors and windows; the attic rooms are under a slate mansard roof. Other builders were able to construct the houses behind the facade; the commission was from Charles Spackman, leading to the original name of the terrace being Spackman's Buildings. During World War I the crescent was painted by Walter Sickert.

An unexploded bomb, dropped during the Bath Blitz of World War II was discovered in 2016, which required evacuation of the residents while it was made safe and safely removed. In 2016 decorative finials from the railings in front of the houses, removed and melted down during World War II were replaced after public fundraising; the grass in front of the crescent is sometimes used to graze sheep. The crescent, a grade I listed building, comprises 20 houses, each having four floors together with servants' quarters in the basement, it is arranged as a concave crescent, is flanked by Lansdown Place West and Lansdown Place East, both convex crescents and grade II listed buildings in their own right. The two central houses, numbers 10 and 11, have a paired entrance with four Tuscan columns with a cornice and frieze above them; the central point between the windows of the first floor has a blind niche. There is an archway connecting 20, Lansdown Crescent and 1, Lansdown Place West, a Grade I listed structure, and, thought to date from the time that William Beckford owned both properties.

Beckford bought a house in The Crescent in 1822 buying a further two houses in the crescent to form his residence. Having acquired all the land between his home and the top of Lansdown Hill, north of the city centre, he created a garden over half a mile in length and built Beckford's Tower at the top. Dick Parsons Army marksman. Lansdown Crescent Association