The Armidale School is an independent Anglican co-educational early learning and secondary day and boarding school, located in Armidale, on the New England Tablelands of northern New South Wales, Australia. Administration of the schools is formalised as a company limited by guarantee that operates under the Corporations Act. Founded in 1894 as the New England Proprietary School, The Armidale School has a non-selective enrolment policy and caters for 640 students, including 250 boarders from Years 6 to 12. TAS has classes of students in Transition, Junior School for children in Kindergarten to Year 5 which offers the International Baccalaureate Primary Years Program, a Middle School for those in Years 6 to 8 and a Senior School from Years 9 to 12. In 1993, The Armidale School became the first school in Australia to provide internet access for its students; the School is affiliated with the Association of Heads of Independent Schools of Australia, the Junior School Heads Association of Australia, the Australian Boarding Schools' Association, is one of only three Round Square schools in the state of New South Wales.
TAS is the only member of the Athletic Association of the Great Public Schools of New South Wales located outside of the Sydney metropolitan area. The Armidale School was founded in 1894 as a boarding school for the sons of the gentry, however the origins of the school can be traced to 1838, when Patrick Grant, a magistrate at Maitland, conceived the idea of a proprietary school for boys in the Hunter Region; this idea was taken over by prominent members of the Church of England in the northern districts of New South Wales, 500 pounds was obtained from the Society for Promoting Christian Knowledge, as a result of the efforts of the first Bishop of Australia, William Grant Broughton. In 1840, a site for the school was purchased in Newcastle. Nothing more came of the plan until the appointment of William Tyrrell, as the first Bishop of Newcastle in 1846; the property was passed on to Tyrrell, in 1854 the land was resumed by the Hunter River Railway Company. By 1877, the school had still not been established, Bishop Tyrrell began to push the matter further.
Subsequently, a plan was drawn up and land selected at Blandford, near Murrurundi. In 1881, it was determined that the plan to build the School at Blandford was unaffordable, a suggestion was made that it should be built on the New England Tablelands at Armidale; the additional capital required, to the amount of 6,000 pounds, was raised by James Ross, Archdeacon of Armidale, his leading laymen. On 5 June 1891, The New England Proprietary School Limited was incorporated with 100 pound shares, offered at 50 pounds each, allowing each shareholder to nominate one pupil for each share purchased; the Directors purchased 20 acres in Armidale in September 1891, adding to the 10 acres obtained in 1889. The foundation stone of the main building, designed by noted architect Sir John Sulman, was laid on 22 February 1893, by the Governor of N. S. W; the Rt. Hon. Victor Albert George, Earl of Jersey; the Opening Ceremony was performed by the Rt. Rev Arthur Vincent Green, Bishop of Grafton and Armidale on 15 May 1894.
The name of the company and School was changed in 1896 to The Armidale School. That year, TAS joined the Athletic Association of the Great Public Schools of New South Wales in Sydney, has remained a member since. In 1950, the School site was transferred to the Trustees of the Church of England Diocese of Armidale, was administered by a School Council comprising members from the Diocese, Old Boys' Union and P&F. through to 2009. On 1 January 2010 the School was incorporated as a company limited by guarantee under the Corporations Act with the name: The Armidale School. In March 2015, the School announced it would commence full co-education, began taking enrolments for Year 12 students, who would begin tuition in October 2015, for Year 6-11 students, to begin tuition in 2016; this expanded upon an co-educational Junior School, was announced following a nine-week consultation process. The school started 2016 including 14 boarders; the Armidale School is situated on a single 18 hectares campus in Armidale, a university city on the New England Tablelands of New South Wales, midway between Sydney and Brisbane.
The school features a mix of historic and modern buildings, all of which reflect design elements of the outstanding original building designed by noted architect Sir John Sulman in 1892. Other notable buildings are the 1902 Chapel, designed by Cyril Blacket, the War Memorial Assembly Hall, which features three magnificent stained glass windows designed by Napier Waller; the facilities of the school include the Michael Hoskins Creative Arts Centre, which incorporates a 240-seat performing arts theatre, drama classrooms and visual arts studios. The centre is used by various local and visiting performing arts organisations including as the'home' of the Armidale Drama & Music Society. Other facilities include a heated indoor swimming pool, rifle range, cattle stud, gymnasium, music centre, computer rooms, climbing wall, weights room, an indoor cricket centre, several indoor and outdoor basketball courts, seven tennis courts and soccer fields, cricket wickets. TAS has six school boarding houses, named Abbott, Dangar and White, an as yet unnamed 64-bed girls' boarding house which opened its doors in 2018.
The senior boys' boarding houses each accommodate up to 60 students, with 10 to 15 boys in each year group. In the lower years boys are acco
Lucas Johnson was an American artist and major force in the Texas art scene from the late 1960s to the early 2000s. Self-taught, he mastered numerous techniques, including egg tempera and ink drawing, silverpoint and acrylic painting, the printmaking disciplines of aquatint, lithography, serigraphy and mezzotint, he was inspired by politics, music and the culture of Mexico, where he lived for a decade. His unique vision found expression in a wide range of subjects, from haunting, shamanic beings and quirky aquatic life to enigmatic, volcanic landscapes and still lifes of the orchid species he collected and cultivated. Johnson was born in Hartford, Connecticut on October 24, 1940. At the age of seven, his family relocated to California. At some point in elementary school, the youngster visited the Huntington Library on a class field trip; this first encounter with serious art Thomas Gainsborough's The Blue Boy, would shape Johnson's life. After graduating high school, Johnson enrolled at the University of California-Los Angeles to pursue a degree in marine biology.
But, realizing his true calling as that of an artist, he dropped out before his junior year. Johnson traveled as a young man, working his way across the country with a series of odd jobs, he taught skiing, herded cattle and harvested wheat, before landing in New Orleans in 1960. By studying books, he taught himself basic art techniques, honed his craft making paintings for tourists in Jackson Square. During his stay in New Orleans, Johnson befriended figurative artist George Tooker, who encouraged the young painter to try his hand at egg tempera, Tooker's medium of choice. Johnson left New Orleans for New York, where he met a group of writers that included poet and editor Daniel Halpern, the poet Joel Cohen. In 1962, at Cohen's invitation, Johnson accompanied the wheelchair-bound writer to Mexico City; when Cohen returned to the U. S. Johnson stayed in Mexico, he would live there for the next ten years. In Mexico, Johnson immersed himself in the country's humanist and socio-political art traditions becoming a first-rate artist.
His circle of friends included Mexican and expatriate writers, artists and actors, including poet Margaret Randall, composer Conlon Nancarrow, Surrealist painter Leonora Carrington, Sculptor Naomi Siegmann, humanist draftsman José Luis Cuevas. At the time, Mexico City's avant garde art community was rebelling against its predecessors, the "Big Three" of the mural movement, Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. Painters of the new generation were looking to widen their horizons by embracing European and American artistic influences. Within a year of his arrival, Johnson was exhibiting in galleries and other venues alongside leading Mexican artists. Among the sites showcasing his work were the Galeria Sagitario, a co-op, of sorts, the Galeria de Arte Misrachi, a venue specializing in Mexican "Old Masters." Johnson exhibited only drawings, which were lauded as the product of a consummate draftsman. He would start showing his paintings in 1967, they were received with similar enthusiasm.
In the mid-1960s, Johnson made the acquaintance of Dorman and Diane David, a Houston-based brother and sister who owned a rare bookstore and art gallery. Dorman visited Mexico in search of historical documents and Texana. From 1964 until it closed in 1972, David Gallery featured Johnson's paintings and drawings in solo shows. In 1972, Johnson and his third wife Patricia Covo, a native Mexican of European heritage, returned to the U. S. first to New Mexico and to Houston, Texas. In Houston's vibrant art scene of the era, Johnson's reputation grew and he developed a following. Covo Johnson founded a gallery, Covo de Iongh, in 1975, she represented her husband's work, that of Mexican artists, until the gallery ceased operations in 1978. Johnson signed on with Moody Gallery in 1975, he exhibited there until his death. Johnson's oeuvre has been characterized as "imagist", a term that refers to a short-lived, early-20th century poetic style. Related to Surrealism, Imagism was advanced by T. S. Eliot, Ezra Pound and H.
D. among others. Similar to Surrealism, Imagist art, whether written or visual, employs recognizable figures and objects, but juxtaposes them in fantastic or unreal ways, as metaphors. Mysterious figures, landscapes, as well as aquatic and plant life were all source material and subject matter for Johnson's work, he would focus on one subject for a time, move on to the next. Strange characters engaged in ceremony populated the early paintings. Fantastic marine life and imagined, inspired him in the mid-1980s, when he created the Gulf Coast Estuary series. Volcanoes, which he thought of as self-portraits surfaced in the pieces of the 1980s. Ten years he produced a series of dark symbolic dreamscapes known as Drawings from the Underworld, his final body of work stemmed from a lifelong interest in plant forms, orchids, in particular. While the meticulous and delicate drawings are rendered in black and gray tones, Johnson's paintings burst with vivid colors: reds, oranges and greens. Johnson married three times.
The marriage to first wife, Sharon Johnston, his high school sweetheart, lasted for less than a year and ended before his cross-country trek. His second wife, artist Helen Bickham, was teaching English at Mexico City's Instituto Politécnico Nacional when she and Johnson met, they married in 1964 and divorced in 1971. He met his third wife, former gallerist and Houston Chronicle art critic, Patricia Covo, while she was managing
A clamshell is a one-piece container consisting of two halves joined by a hinge area which allows the structure to come together to close. Clamshells are made of shaped plastic material, in a way, similar to a blister pack; the name of the clamshell is taken from the shell of a clam, which it resembles both in form and function. Clamshell containers can be made of a variety of plastics such as polystyrene, polyester, PVC, foam sheets, etc; the material can be injection molded into the desired shapes. A single piece of material is used for the top and bottom with a "living hinge", integral to the material, rather than added separately. Folding cartons made of paperboard or molded pulp can be of a clamshell shape, it can be made of cellulose fiber such as sugarcane-bagasse, wood pulp, etc. Clamshells can use a variety of means of sealing; some snaps, or have a friction fit. Others use adhesive, pressure-sensitive tape, staples, or are heat-sealed; when plastic clamshell containers are securely heat sealed, they are tamper resistant and deter package pilferage.
These security packages are intentionally difficult to open, sometimes requiring customers to use scissors or a knife to open. Trauma shears have been demonstrated as effective at opening packaging of this type; this can be frustrating to the point of wrap rage. Foam food container Solander box
In real algebraic geometry, Harnack's curve theorem, named after Axel Harnack, gives the possible numbers of connected components that an algebraic curve can have, in terms of the degree of the curve. For any algebraic curve of degree m in the real projective plane, the number of components c is bounded by 1 − m 2 ≤ c ≤ 2 + 1; the maximum number is one more than the maximum genus of a curve of degree m, attained when the curve is nonsingular. Moreover, any number of components in this range of possible values can be attained. A curve which attains the maximum number of real components is called an M-curve – for example, an elliptic curve with two components, such as y 2 = x 3 − x, or the Trott curve, a quartic with four components, are examples of M-curves; this theorem formed the background to Hilbert's sixteenth problem. In a recent development a Harnack curve is shown to be a curve whose amoeba has area equal to the Newton polygon of the polynomial P, called the characteristic curve of dimer models, every Harnack curve is the spectral curve of some dimer model.
Dmitrii Andreevich Gudkov, The topology of real projective algebraic varieties, Uspekhi Mat. Nauk 29, 3–79, English transl. Russian Math. Surveys 29:4, 1–79 Carl Gustav Axel Harnack, Ueber die Vieltheiligkeit der ebenen algebraischen Curven, Math. Ann. 10, 189–199 George Wilson, Hilbert's sixteenth problem, Topology 17, 53–74 Kenyon, Richard. "Dimers and Amoebae". Annals of Mathematics. 163: 1019–1056. ArXiv:math-ph/0311005. Doi:10.4007/annals.2006.163.1019. MR 2215138. Mikhalkin, Amoebas of algebraic varieties, arXiv:math/0108225, MR 2102998
Ian Thornley is a Canadian rock guitarist and songwriter. He is best known for his band Big Wreck as well as Thornley, his solo project during the 2000s. Born and raised in Toronto, Thornley studied jazz music at Boston's Berklee College of Music in the 1990s, formed the band Big Wreck in 1993 with classmates David Henning, Brian Doherty, Forrest Williams, they soon relocated from Boston to Toronto and signed a US record deal with Atlantic Records. Their 1997 debut album, In Loving Memory Of... was a significant hit that year on rock radio in both Canada and the United States. Big Wreck released a follow-up in 2001 called The Pleasure and the Greed, but went on to break up in 2002. Thornley subsequently returned to Toronto, where he played as a session musician on albums by Nickelback, Sarah Harmer and Stephen Fearing before launching a new band, who released their first album, Come Again, in 2004; the follow-up record, Tiny Pictures, was released in Canada on February 2009 via 604 Records. The album was mixed by Nick Raskulinecz.
Thornley auditioned with Velvet Revolver for the position of their lead singer. However, this did not materialize as he did not feel comfortable being a lead singer without playing guitar; the band chose Scott Weiland as their lead singer. In the fall of 2010, Ian Thornley started touring with ex-bandmate Brian Doherty from Big Wreck. Ian had stopped calling his band "Thornley" and was touring under his full name. On November 26, 2010, they were billed as "Ian Thornley and Big Wreck" at the Edmonton Grey Cup Festival. Ian Thornley left 604 Records in 2011 and signed with Anthem/SRO. During this time, he reunited with his former Big Wreck bandmate, Brian Doherty, to resurrect the group, they began work on a new album entitled Albatross, released on March 6, 2012. His group toured around Canada as Big Wreck from April to July 2012; the album "Albatross" debuted at No. 5 on the Canadian Albums Chart. This is the highest peak position for Big Wreck or Ian Thornley on the Canadian Albums Chart. On February 5, Big Wreck performed at the Sound Academy in Toronto for Canada's Official Super Bowl XLVI party.
They completed two tours in 2012 across Canada from BC to Ontario in the Spring/Summer, they joined Theory of a Deadman for the Jingle Bell Rock tour in the Fall/Winter of 2012. The released their fourth studio album, Ghosts, in Canada on June 10, 2014 and in the US on July 15, 2014; the album has since been released in South Africa. The album debuted at # 5 on the Canadian Albums Chart; the album debuted at #4 on the Billboard Heatseekers chart, the band's highest position on that chart in their history. Thornley released Secrets in October 2015, his early influences were "folk blues like country blues and acoustic styles", the electric blues of Buddy Guy. At the age of 15, he got into rock and roll, he cites Bruce Cockburn as an influence to his guitar playing. Ian's first concert was Bruce Springsteen, it was after that show that he knew, what he wanted to do. Https://www.facebook.com/ianfletcherthornley/
Franziska Barbara of Welz-Wilmersdorf was baroness of Wilhermsdorf. She was the daughter of Francis of Welz-Eberstein, Count of Welz, Baron of Eberstein, Anna Barbara de Gun, daughter of William Gunn, Freiherr von Ulm, she married in 1689 the much older Count Wolfgang Julius of Hohenlohe-Neuenstein, widower of Sophie Eleonore of Holstein-Sonderburg-Plön. Wolfgang Julius died in 1698 after nine years of marriage at the age of 76; the marriage remained childless. The legacy of her husband fell to John Frederick I of Hohenlohe-Öhringen. Three years in 1701, she married a 35-year-old second husband, Count Philip Ernest of Hohenlohe-Waldenburg-Schillingsfürst. Franziska Barbara retained her residence at Wilhermsdorf, she had renovated the palace considerably. Under her rule Wilhermsdorf experienced its heyday, she realized the construction of the church Julius Wolfgang had planned in the years between 1706 and 1714. Between 1707 and 1718, she built the school house in Burgmilchlingstraße, the hospital in Spitalstraße, the Consultant House building and the Gottesacke Church.
In Wilhermsdorf she is described as the "benefactress of Wilhermsdorf" today. On 3 April 1718, she died at the age of 51 years, she was ceremoniously buried in a magnificent sarcophagus in the crypt of the main Protestant church. From her second marriage to Philip Ernest she had at least one daughter: Caroline Juliane of Hohenlohe-Waldenburg-Schillingsfürst, married Christian Otto of Limburg-Styrum. After her death Philip Ernest married Maria Anna of Oettingen-Wallerstein. After Philip Ernest's death, was the fiefs Wilhermsdorf and Neidhardswinden fell to his underage children. In 1733, Philip Ernest's son took up the rule of Wilhermsdorf. He, remained childless, so that in 1769, Wilhermsdorf fell to Philip Ferdinand of Limburg-Styrum, the son of Franziska Barbara's daughter Caroline Juliane. General information on the history of the market in Wilhermsdorf