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The New School for Social Research

The New School for Social Research is an educational institution, part of The New School in New York City, United States. The university was founded in 1919 as a home for progressive thinkers; the New School for Social Research explores and promotes global peace and justice as more than theoretical ideals. The New School for Social Research enrolls more than 1,000 students from all regions of the United States and from more than 70 countries; the program was founded with the start of the college in 1919. In 1933, what became known as the University in Exile, had become a haven for scholars, dismissed from teaching positions by the Italian fascists or had to flee Nazi Germany; the University in Exile was founded by the director of the New School, Alvin Johnson, through the generous financial contributions of Hiram Halle and the Rockefeller Foundation. The University in Exile and its subsequent incarnations have been the intellectual heart of the New School. Notable scholars associated with the University in Exile include psychologists Erich Fromm, Max Wertheimer and Aron Gurwitsch, political philosophers Hannah Arendt and Leo Strauss, social psychologist Everett Dean Martin, philosopher Hans Jonas.

Following the collapse of totalitarian regimes in Europe, the University in Exile was renamed the Graduate Faculty of Political and Social Science. In 1964 John R. Everett became the President of the New School for Social Research, which position he held until he retired in 1982. Harry Gideonse was Chancellor of the New School for Social Research from 1966 until 1975, when he retired, it was renamed the "New School for Social Research" in 2005 this time taking the original name of the university. It is worthwhile to note that The New School in its founding days in 1919 was known as The New School for Social Research; this name continued until 1997, when the university adopted a new name and started being known as New School University. This continued until 2005, when a big new rebranding occurred, with the school in general turning to The New School, its present name, its various colleges were regrouped under various names like College of Performing Arts, Eugene Lang College of Liberal Arts, Parsons School of Design and The New School for Public Engagement.

The university continued with a separate new institution The New School for Social Research under the general banner of The New School. Official website

Wayne DuMond

Wayne Eugene DuMond was an American criminal convicted of murder and rape. He was born in DeWitt, is buried in the Mt. Pleasant Cemetery of Ethel, Arkansas. DuMond had three wives, his second wife, staunchly supported him throughout his imprisonment in Arkansas, but died in a car crash January 8, 1999, after the approval of his parole but prior to the approval of his release plan. His final wife, Terry Sue, met him while he was in prison in Arkansas, visiting him as part of a church group which supported his release from prison. During his parole, after he was widowed, they married and lived together in Missouri, where he committed his final crimes. DuMond's case received intense nationwide attention in late 2007, when his parole became an issue for presidential candidate Mike Huckabee during the 2008 presidential campaign. Lois Davidson, mother of DuMond rape/murder victim Carol Sue Shields, appeared in a one-minute video entitled "Lois Davidson tells her story", posted on YouTube; the commercial attacked Huckabee's efforts to get DuMond released from prison early.

A decorated Vietnam-era military veteran, DuMond told reporters that he "helped slaughter a village of Cambodians". On August 8, 1972, DuMond was charged with murder in Oklahoma, he committed the crime with help from two other men. DuMond used the 17-year-old daughter of one of his accomplices to entice the victim to an isolated location, where DuMond and his accomplices beat him to death with a claw hammer. Prosecutors did not charge DuMond after he agreed to testify against the two others, though he admitted in court that he was among those who attacked the murder victim. On October 19, 1973, DuMond was charged with molesting a teenage girl in the parking lot of a shopping center in Tacoma, Washington; the second-degree assault charge resulted in a five-year deferred sentence and mandatory drug counseling during the five-year probation. On September 28, 1976, DuMond was charged with raping a woman in Arkansas; the charges were dropped before trial with the condition. DuMond received his second sexual assault conviction from a rape perpetrated in Forrest City, Arkansas in 1984.

The victim, Ashley Stevens, was a 17-year-old cheerleader and a third cousin of then-Governor Bill Clinton. In March 1985, after his arrest but before his trial, DuMond claimed he was attacked in his home by two men and castrated. No arrests were made in the incident. Phil Ostermann, the Arkansas State Police investigator who handled the castration case, noted in his report that Dr. Jeff Whitfield of the Elvis Presley Trauma Center in Memphis examined DuMond after the incident, was asked by DuMond's wife whether it was possible the castration was self-inflicted. Whitfield responded that it was possible, he had noted similar cases of self-mutilation in the past. Fletcher Long, the attorney who prosecuted DuMond for the rape of Ashley Stevens, was skeptical that DuMond could have castrated himself, but he doubted DuMond's account because there was no evidence of a struggle, or that he had been tied up, there was a two-thirds-empty half-gallon bottle of Jim Beam whiskey at the scene of the supposed assault.

While in prison, DuMond sued the St. Francis County and the local sheriff who publicly displayed DuMond's severed testicles and flushed them down the toilet. DuMond was sentenced 20 years in prison. After Clinton was elected president, a right-wing campaign alleged that Clinton had framed DuMond for rape. Prominent among those pushing for DuMond to be pardoned were Guy Reel, author of Unequal Justice: Wayne DuMond, Bill Clinton, the Politics of Rape in Arkansas. Many of the arguments advanced by DuMond's supporters have since been shown to be incorrect. Dunleavy claimed that: DuMond was a "Vietnam veteran with no record" despite arrests for violent crime and previous rape charges going back to 1972. Dunleavy referred to the young woman, a minor at the time of the assault, on the record as the "so-called victim", asserted "that rape never happened". At the time of the trial, only ABO blood typing evidence was presented, which indicated that DuMond, along with 28 percent of the population, could have produced the semen.

In 1987 the victim's jeans were given to Dr. Moses Schanfield. Using protein-based immunoglobulin allotyping, a technique less specific than current standard DNA tests, Schanfield examined a semen spot on the jeans. Dunleavy claimed Schanfield told him, "No way, nada. No way DuMond was the donor of that sperm. Not in a million years." However, the court documents do not accord with that. In DuMond vs. Lockhart, the Court wrote: Dr. Schanfield had genetic allotyping performed on the semen found on the victim's pant leg. Schanfield concluded that based on the test, there was a ninety-nine plus percent probability that DuMond was not the rapist because the semen lacked a genetic marker which DuMond possessed. However, Dr. Schanfield's conclusion was based on the assumption that vagin

Jian Fang Lay

Jian Fang Lay-Hong, is a right-handed Australian ladies table tennis player. She plays penhold, with a long pimple rubber at one side for use of attacking, blocking as well as chopping, she is number 1 female player in Australia, as well as number 141 in the world. Born in Wenzhou, Lay moved to Melbourne in the early 1990s and became a three-time Victorian champion as well as winning several titles in other Victorian tournaments, she was selected in the Australian national team in 1994 and participated in the Sydney, Athens and London Olympic Games. Lay competed at the 2002 and 2006 Commonwealth Games, where she took home a total of three silver and two bronze medals. In June 2008, she returned to the position of number one female tennis table player in Victoria and Australia after staying at the number 3 spot since 2007, she was first qualified for the Beijing Olympics after beating Stephanie Sang at the Oceania Qualifiers at Nouméa, New Caledonia. List of table tennis players Australian Olympic Committee profile She has a 2 sons named Daniel and Nathan Lay.

Nathan attends Parade College. He is in Year 7 in Lynch house

Toiletpaper magazine

Stylized as TOILETPAPER, Toiletpaper is a biannual magazine co-created by Italian artist Maurizio Cattelan and photographer Pierpaolo Ferrari. Founded in 2010, the magazine is presented as a limited edition book and its website offers a post-internet collaged exhibition of animated and video content; the photography-based publication contains no articles or advertisements, each issue revolves around a basic theme, such as love or greed. The brightly-coloured, surreal images vary in style and reference, include word play and optical illusions. Hailed as "a new frontier of media and creative eco-sustainability," Toiletpaper is interpreted as a democratized art platform whose accessible images circulate in books and throughout social media, while being applied to design and home decor products. To celebrate their purported "one-millionth" magazine sale and Ferrari opened their first Toiletpaper pop-up shop in Milan. Cattelan and Ferrari first collaborated in 2009 on W Magazine’s Art Issue. In an interview with Vogue Italia, Ferrari mentions that Toiletpaper is a passion project between he and Cattelan, which emerged as a mental outburst from a common obsession.

"Each picture springs from an idea a simple one, becomes a complex orchestration of people who build tableaux vivants."At the opening night of Cattelan's retrospective at the Guggenheim, a Hummer stretch limo with the word “toiletpaper” printed on the side was parked outside the museum to announce the magazine's launch. Funded by Greek collector Dakis Joannou’s Deste Foundation, Toiletpaper is presented in book-form with all visual material designed by its creative team, which includes art direction by Micol Talso and set design by Michela Natella. Cattelan and Ferrari describe how they use their digital cameras like filmmakers to explore their models and sets from multiple angles. Reflecting the duo’s aversion to traditional and exclusionary practices of art display, Toiletpaper photographs are mass produced as salable merchandise. In keeping with their democratizing mission, Cattelan is quoted saying, “Pierpaolo and I are like sadistic scientists: everything around us can be infected by the ‘TP’ virus.”Naming the project organically, Ferrari recalls that Cattelan came up with the title of the magazine while in the bathroom, quipping, “Sooner or all magazines end up in the toilet.”

Cattelan is a contemporary Conceptual artist who began his career as a furniture-maker in Forlì, Italy. The "court jester of the art world" was born in Padua, Italy, on September 21, 1960. With no formal art training, he "considers himself an'art worker' rather than an artist." Known for his macabre humour and interrogation of social mores, he derives inspiration from the Dadaist and Surrealist movements. His absurdist sculptures and installations depict celebrities, art historical figures, or taxidermied animals set in surreal scenes, his oeuvre engages controversial subjects such as suicide, anxiety and the decadence of American culture. He has participated in several Venice Biennales, the 2004 Whitney Biennial, exhibited in numerous solo exhibitions, including at the Solomon R. Guggenheim Museum, New York. Cattelan was thrust into the political spotlight when President Donald Trump requested a Vincent van Gogh landscape from The Guggenheim Museum and their chief curator, Nancy Spector countered instead with his 18-karat solid gold toilet installation entitled America.

Ferrari is an Italian photographer and raised in Milan, Italy. Working for agencies like BBDO and Saatchi & Saatchi, he has made a name for himself shooting for international clients like Nike, Heineken, MTV, Mercedes Benz, BMW, his art is recognized by its colourful surrealism, which he accredits to the style to his early mentors. Requiring complete creative freedom when working for a client, he notes, “If you call me, you have a picture in mind and you want me to do that picture—you need to call someone else. Someone, good at interpreting your ideas. We want to know the feeling that you’re going for, but after that we go our own way.” His work has been featured in advertisements for Kenzo and Alitalia, in publications including The New York Times, Bloomberg Pursuits and Wallpaper*. In June 2010 Toiletpaper began as an artist book and magazine containing only full-spreads of colour photographs that appropriated commercial photographic and Surrealist aesthetics. William S. Rubin describes surrealism as a methodological approach to a topic of interest.

While Dada was formed in 1916 as a criticism of the art culture in Europe, Surrealism stems from a similar mindset in the sense that it parodies or exaggerates an idea without losing its ground in reality. Toiletpaper pokes fun at the art world with its photo-collages that fuse the languages of commercial and fine art photography, with provocative staged vignettes. Photographs are rejected for not being “Toiletpaper enough,” with Cattelan likening the creation process to distilling perfume, he elaborates, "It's not about time frame. An uncanny ambiguity.” Discussing the improvisational nature of Toiletpaper, set-designer Natella muses, "Once I have an idea in mind, I design the sets and I have my team research the objects and props. It’s a collaborative process and I love to go on set and improvise.” Toiletpaper's aesthetic and visual content forces viewers to confront the reality of our disposable cultures. Toiletpaper was published by the Deste Foundation for Contemporary Art, now by Damiani, the publishing branch of

Papal Basilica of Saint Mary of the Angels in Assisi

The Basilica of Saint Mary of the Angels is a Papal minor basilica situated in the plain at the foot of the hill of Assisi, Italy, in the frazione of Santa Maria degli Angeli. The basilica was constructed in the Mannerist style between 1569 and 1679, enclosing the 9th century little church, the Porziuncola, the most sacred place for the Franciscans, it was here that the young Francis of Assisi understood his vocation and renounced the world in order to live in poverty among the poor, thus started the Franciscan movement. After the death of Saint Francis in 1226, the friars built several small huts around the Porziuncola. In 1230, a refectory and some adjacent buildings were added. In the course of time, little porticoes and accommodations for the friars were added around the Porziuncola; some foundations of these were discovered during excavations under the floor of the present basilica between 1967 and 1969. As vast numbers of pilgrims came flocking to Assisi to receive the "Pardon of Assisi", the small space of the Porziuncola became inadequate to house all these pilgrims.

The necessity grew to build a church incorporating the Porziuncola. The buildings around the shrine were taken down by order of Pope Pius V, except the Chapel of the Transito, the cell in which St. Francis had died. Construction of the basilica started on 25 March 1569; this majestic church, the seventh largest Christian church, was designed in a bold Mannerist style, which prefigured the Baroque style, by two famous architects, Galeazzo Alessi and Vignola. The work progressed due to constant lack of money, as the building was financed with donations; the noteworthy dome, resting on an octagonal drum with eight windows and cornices, was finished in 1667. Construction of the church was completed in 1679. In 1684 a bell tower was added, it was intended to have a twin tower, but the second was never built. On 15 March 1832 the central nave, a part of a lateral aisle and the choir collapsed during a violent earthquake; the dome was left with a wide crack. The apse and the side chapels were left standing.

Reconstruction of the basilica started in 1836 by the architect Luigi Poletti and it was finished and reopened for worship in 1840. He remodeled the façade in a neoclassical style. Between 1924 and 1930 this façade was given back its original pre-Baroque style by Cesare Bazzani; the gold-plated statue of the Madonna degli Angeli by the sculptor Colasanti and cast by Ferdinando Marinelli Artistic Foundry, was put on top of the façade in 1930. On 11 April 1909, the church was raised by Pope Pius X to the status of "patriarchal basilica and papal chapel"; the basilica has a rectangular ground plan, divided into a central nave and two lateral aisles, flanked by ten side chapels, with at the far end a transept, a long choir in a semi-circular apse, protruding from the ground plan. The Porziuncola is situated directly under the dome; the interior is simple and yet elegant, with only a few decorations, in stark contrast with the decorations of the side chapels. The nave and the aisles were rebuilt in neoclassical Doric style by Luigi Poletti.

The apse holds the precious wooden choir, carved by Franciscan brothers starting in 1689, the papal cathedra and the papal altar. The Chapel of the Transito, the cell in which St. Francis died, is still preserved, it is situated against the right columns of the dome. The side chapels were decorated by great artists from several periods, including Antonio Circignani, Francesco Appiani, Ventura Salimbeni; the chiesetta of Porziuncola is the most sacred place for Franciscans. Francis was given this little church, dating from the 9th century, by the Benedictine monks; the church is decorated by artists from different periods. Above the entrance is the fresco by Johann Friedrich Overbeck depicting St. Francis receiving from the Christ and the Virgin the indulgence, known as the “Pardon of Assisi”; the side wall on the right side shows fragments of two frescoes by an unknown Umbrian artist. The austere interior is decorated in a simple Gothic style with frescoes from the 14th and the 15th century; the most outstanding work is the six-part fresco in the apse of this little church, painted by Ilario da Viterbo.

At the back, above the entrance, is a fresco depicting the Crucifixion by Pietro Perugino. The Cappella del Transito is the small room where St. Francis died on 3 October 1226, it was a little hut serving as a primitive infirmary for the sick. It is decorated at the outside by the fresco of The transito by Domenico Bruschi. On the inside, above the small altar, is the rope of St. Francis. Behind the altar, there is a glazed terracotta statue of St. Francis by Andrea della Robbia. On the walls there is a fresco by Giovanni Spagna, depicting the earliest followers of St. Francis, with their names above each portrait. A new crypt was constructed behind the altar between 1965 and 1970. During the excavations, foundations of the original little huts, surrounding the Porziuncola, were exposed; the crypt's altar rests on a multiple-branched tree trunk, sculpted by Francesco Prosperi. Behind the altar stands an enameled, bas-relief tabernacle by Andrea della Robbia, expressing with an extreme finesse the emotions of the figures.

The upper portion section includes St Francis receiving the Stigmata, the Coronation of Mary (with the angel musician

Richard Bulkeley (died 1621)

Sir Richard Bulkeley of Beaumaris and Lewisham was a Welsh politician who sat in the House of Commons of England in 1563 and from 1604 to 1614. Bulkeley was the eldest son of Sir Richard Bulkeley, of Beaumaris and Anglesey by his first wife Margaret née Savage, he was appointed Constable of Beaumaris Castle in 1561 and elected first Mayor of Beaumaris in 1562. In 1563, he was elected Member of Parliament for Anglesey, a position he obtained through the influence of his father, he was appointed High Sheriff of Anglesey for 1570. His father's sudden death gave rise to much scandal: he was on bad terms with his stepmother Agnes Needham and accused her of poisoning his father. While Agnes had undoubtedly been unfaithful to her husband, she was acquitted of murder. Bulkeley was knighted in Whitehall, London in 1577, became embroiled in various power struggles in Wales including with the Earl of Leicester and Owen Wood of Rhosmor. Wood accused him of oppressing the townspeople of Beaumaris, being involved with the 1586 Babington plot.

Bulkeley was exonerated by the Privy Council on these charges, but was censured in the Star Chamber for molesting Wood. He is known for being a courtier of Queen Elizabeth, entertained her in Lewisham — see Honor Oak, she appointed him one of the Council of the Marches of Wales in 1602. In 1604 Bulkeley was elected MP for Anglesey again, was re-elected in 1614, he was one of the Council of the Marches of Wales again in 1617. In 1618, he founded the family seat at Baron Hill. Bulkeley was buried at Beaumaris 28 June 1621, aged 88 and was succeeded by his son Richard. Bulkeley married twice: firstly Catherine, the daughter of Sir William Davenport Kt. of Brome Hall and secondly on 18 February 1576 Mary, the daughter of William Burgh, 2nd Baron Burgh of Gainsborough, de jure 6th Baron Strabolgi and his wife Lady Katherine Clinton, daughter of Edward Clinton, 1st Earl of Lincoln. His son, was created Viscount Bulkeley in 1644, in recognition of his support for the Royalist cause. Three successive viscounts carried the forename Richard.

Bulkeley's younger half-brother was Lancelot Bulkeley Archbishop of Dublin. Of his daughters, Catherine married Sir Edwin Sandys, Penelope married Sir Edwin Sandys. Stephen, Leslie, ed.. "Bulkeley, Richard". Dictionary of National Biography. 7. London: Smith, Elder & Co. History of Parliament: BULKELEY, Richard I, of Beaumaris and Lewisham, Kent