Santa Cecilia in Trastevere is a 5th-century church in Rome, Italy, in the Trastevere rione, devoted to the Roman martyr Saint Cecilia. The first church on this site was founded in the 3rd century, by Pope Urban I. Tradition holds; the baptistery associated with this church, together with the remains of a Roman house of the early Empire, was found during some excavations under the Chapel of the Relics. By the late fifth century, at the Synod of 499 of Pope Symmachus, the church is mentioned as the Titulus Ceciliae. On 22 November 545, Pope Vigilius was celebrating the Feast of the saint in the church, when the emissary of Empress Theodora, Anthemius Scribo, captured him. Pope Paschal I rebuilt the church in 822, moved here the relics of St Cecilia from the Catacombs of St Calixtus. More restorations followed in the 18th century; the Cardinal priest, assigned to Santa Cecilia in Trastevere is Gualtiero Bassetti. His predecessors include: are Pope Stephen III, Pope Martin IV, Adam Easton, Pope Innocent VIII, Thomas Wolsey, Pope Gregory XIV, Michele Mazzarino, Giuseppe Doria Pamphili, Mariano Rampolla, Carlo Maria Martini.
Since 1527, a community of Benedictine nuns has lived in the monastery next to Santa Cecilia, has had charge of the basilica. The inscriptions found in Santa Cecilia, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella; the church has a façade built in 1725 by Ferdinando Fuga, which incloses a courtyard decorated with ancient mosaics, columns and a cantharus. Its decoration includes the coat of arms and the dedication to the titular cardinal who paid for the facade, Francesco Cardinal Acquaviva d'Aragona. Among the artifacts remaining from the 13th century edifice are a mural painting depicting the Last Judgment by Pietro Cavallini in the choir of the nuns, the ciborium in the presbytery by Arnolfo di Cambio; the Gothic ciborium is surrounded by four marble columns white and black, decorated with statuettes of angels, saints and evangelists. The Last Judgement fresco which remains today, covering the entire width of the west wall of the entrance, is part of a cycle of Old and New Testament scenes by Cavallini on the north and south nave walls, based on remaining fragments of an Annunciation scene and stories of the life of Jacob.
The frescoes were plastered over in a remodeling under Cardinal Francesco Acquaviva in 1724, which included building an enclosed choir, the floor of which cuts off part of the Last Judgement. Rediscovered in 1900, the fresco may be viewed during limited weekday hours for a small 2,50 euro fee paid to the Benedictine nuns who of the church; the apse has remains of 9th century mosaics depicting the Redeemer with Saints Paul, Paschal I, Peter and Agatha. The ceiling of Cappella dei Ponziani was decorated God the Father with evangelists by Antonio del Massaro; the Cappella delle Reliquie was provided with an altarpiece by Luigi Vanvitelli. The nave is frescoed with the Apotheosis of Santa Cecilia by Sebastiano Conca; the church contains two altarpieces by Guido Reni: Saints Valerian and Cecilia and a Decapitation of Saint Cecilia. Under the ciborium of di Cambio that shelters the main altar, is a glass case enclosing the white marble sculpture of St Cecilia by the late-Renaissance sculptor Stefano Maderno.
A marble slab in the pavement in front of the case, quotes Maderno's sworn statement that he has recorded the body as he saw it when the tomb was opened in 1599. The statue depicts the three axe strokes described in the 5th-century account of her martyrdom, it underscores the incorruptibility of her cadaver, which miraculously still had congealed blood after centuries. This statue could be conceived as proto-Baroque, since it depicts no idealized moment or person, but a theatric scene, a naturalistic representation of a dead or dying saint, it is striking, because it precedes by decades the similar high-Baroque sculptures by Gian Lorenzo Bernini and Melchiorre Cafà. The crypt is decorated in cosmatesque style, contains the relics of St. Cecilia and her husband St. Valerian. In the apse of the crypt are the remains of an altar whose inscription indicates that it was dedicated by Pope Gregory VII on 3 June 1080. Jacobus Laderchius, S. Cæciliæ virg. Et mart. Acta et Transtyberina basilica 2 vols..
Vincenzo Forcella, Inscrizioni delle chiese di Roma, pp. 17-46. Bertha Ellen Lovewell, The Life of St. Cecilia. Torquato Picarelli, Basilica e casa romana di Santa Cecilia in Trastevere. Torquato Piccarelli, Monografia storica anecdotica della chiesa, cripta, e casa di S. Cecilia in Trastevere. Neda Parmegiani and Alberto Pronti, Il complesso di S. Cecilia in Trastevere. Anna Maria Panzera, The Basilica of Santa Cecilia in Trastevere. Valentina Oliva, La basilica di Santa Cecilia. Media related to Santa Cecilia in Trastevere at Wikimedia Commons Official website with visiting hours Chris Nyborg, "Santa Cecilia in Trastevere" Armellini, Mariano, "S. Cecilia in Trastevere", Le chiese di Roma dal secolo IV al XIX, Tipo
Computer art is any art in which computers play a role in production or display of the artwork. Such art can be an image, animation, video, CD-ROM, DVD-ROM, video game, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques; as a result, defining computer art by its end product can thus be difficult. Computer art is bound to change over time since changes in technology and software directly affect what is possible. On the title page of the magazine Computers and Automation, January 1963, Edmund Berkeley published a picture by Efraim Arazi from 1962, coining for it the term "computer art." This picture inspired him to initiate the first Computer Art Contest in 1963. The annual contest was a key point in the development of computer art up to the year 1973.
The precursor of computer art dates back to 1956–1958, with the generation of what is the first image of a human being on a computer screen, a pin-up girl at a SAGE air defense installation. Desmond Paul Henry invented the Henry Drawing Machine in 1960. By the mid-1960s, most individuals involved in the creation of computer art were in fact engineers and scientists because they had access to the only computing resources available at university scientific research labs. Many artists tentatively began to explore the emerging computing technology for use as a creative tool. In the summer of 1962, A. Michael Noll programmed a digital computer at Bell Telephone Laboratories in Murray Hill, New Jersey to generate visual patterns for artistic purposes, his computer-generated patterns simulated paintings by Piet Mondrian and Bridget Riley and became classics. Noll used the patterns to investigate aesthetic preferences in the mid-1960s; the two early exhibitions of computer art were held in 1965: Generative Computergrafik, February 1965, at the Technische Hochschule in Stuttgart and Computer-Generated Pictures, April 1965, at the Howard Wise Gallery in New York.
The Stuttgart exhibit featured work by Georg Nees. A third exhibition was put up in November 1965 at Galerie Wendelin Niedlich in Stuttgart, showing works by Frieder Nake and Georg Nees. Analogue computer art by Maughan Mason along with digital computer art by Noll were exhibited at the AFIPS Fall Joint Computer Conference in Las Vegas toward the end of 1965. In 1968, the Institute of Contemporary Arts in London hosted one of the most influential early exhibitions of computer art called Cybernetic Serendipity; the exhibition included many of whom regarded as the first digital artists, Nam June Paik, Frieder Nake, Leslie Mezei, Georg Nees, A. Michael Noll, John Whitney, Charles Csuri. One year the Computer Arts Society was founded in London. At the time of the opening of Cybernetic Serendipity, in August 1968, a symposium was held in Zagreb, under the title "Computers and visual research", it took up the European artists movement of New Tendencies that had led to three exhibitions in Zagreb of concrete and constructive art as well as op art and conceptual art.
New Tendencies changed its name to "Tendencies" and continued with more symposia, exhibitions, a competition, an international journal until 1973. Katherine Nash and Richard Williams published Computer Program for Artists: ART 1 in 1970. Xerox Corporation’s Palo Alto Research Center designed the first Graphical User Interface in the 1970s; the first Macintosh computer is released in 1984, since the GUI became popular. Many graphic designers accepted its capacity as a creative tool. Andy Warhol created digital art using a Commodore Amiga where the computer was publicly introduced at the Lincoln Center, New York in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image adding colour by using flood fills. Technology restricted output and print results: early machines used pen-and-ink plotters to produce basic hard copy. In the early 1960s, the Stromberg Carlson SC-4020 microfilm printer was used at Bell Telephone Laboratories as a plotter to produce digital computer art and animation on 35-mm microfilm.
Still images were automatically photographed. A series of still images were drawn to create a computer-animated movie, early on a roll of 35-mm film and on 16-mm film as a 16-mm camera was added to the SC-4020 printer. In the 1970s, the dot matrix printer was used to reproduce varied arbitrary graphics; the first animations were created by plotting all still frames sequentially on a stack of paper, with motion transfer to 16-mm film for projection. During the 1970s and 1980s, dot matrix printers were used to produce most visual output while microfilm plotters were used for most early animation. In 1976, the inkjet printer was invented with the increase in use of personal computers; the inkjet printer is now the most versatile option for everyday digital color output. Raster Image Processing is built into the printer or supplied as a software package for the computer. Basic inkjet device
Hungry for Music is a charitable nonprofit organization located in Washington, D. C. that works to support music education and cultural enrichment, acquires and provides musical instruments to underprivileged children around the world. Hungry for Music was founded and is directed by Jeff Campbell, became a nonprofit 501 charity organization in 1994. To date, the nonprofit has distributed thousands of free musical instruments to underprivileged children and schools; the organization acquires income, in part, through the sale of compact discs the organization produces. Campbell has had success in acquiring major artists for the compilation compact discs, including licensed songs from performers such as Bruce Springsteen, Bob Dylan, Paul Simon and others. Other sources of income include conducting membership sales and concerts. Hungry for Music was granted a Resources and Equipment grant from the National Educational Association in 2011. Hungry for music is supported by many notable donors, including Vanguard, Hard Rock Cafe, BMI, Violins Etc. Strathmore, Austin Grill, Tau Beta Sigma fraternity, Mark's Kitchen and National Chamber Ensemble, among others.
Black Angel is a 1946 American crime film noir directed by Roy William Neill and starring Dan Duryea, June Vincent and Peter Lorre. A falsely convicted man's wife, an alcoholic composer and pianist, team up in an attempt to clear her husband of the murder of a blonde singer, Mavis Marlowe, Martin's wife, their investigation leads them to face-to-face confrontations with a determined policeman, Captain Flood, a shifty nightclub owner, Mr. Marko, who Catherine and Martin suspect may be the real killer. Dan Duryea as Martin Blair June Vincent as Catherine Bennett Peter Lorre as Marko Broderick Crawford as Captain Flood Constance Dowling as Mavis Marlowe Wallace Ford as Joe Hobart Cavanaugh as Hotel Caretaker Freddie Steele as Lucky John Phillips as Kirk Bennett Ben Bard as Bartender Junius Matthews as Dr. Courtney Marion Martin as Millie Archie Twitchell as George Mitchell Maurice St. Clair as Dancer Vilova as Dancer Robert Williams as Second Detective Dark City: The Film Noir, by Spencer Selby, calls Black Angel: "Important, stylish B-noir, featuring Dan Duryea as the ironic central character".
Writer Cornell Woolrich hated this adaption of his story which, aside from the conclusion, differed from his book. This was the final film for the prolific Neill, whose directing career encompassed over 100 films starting in 1917. Eddie Muller. Dark City The Lost World of Film Noir. St. Martin Press. ISBN 0-312-18076-4. Spencer Selby. Dark City The Film Noir. mcFarland Classics. ISBN 0-7864-0478-7. Black Angel on IMDb Black Angel at AllMovie Black Angel at the TCM Movie Database Black Ange film trailer on YouTube
Shirin-Tagab is the district center in the Faryab Province, Afghanistan. The population was 141,642 in 2013. Ethnic composition includes 10 % Tajik and 80 % Uzbek; this Turkmen populated township is 33 km to the south of Dawlatabad. The valley of Shirin-Tagab hosts many villages with a central township comprising two hundred shops; the Shirin-Tagab road in a point, 20 km from Maymana, branches off the river's stream valley. In 1969 it was named Deh-e Now; the people had developed a bazaar with eight caravanseries. Livestock and grain are the main items of transactions in the bazaar before the war; because most of the central and northern districts in Faryab Province have a salty water supply, many civilians bring water from the Shirin Tagab bazaar. Map of Settlements IMMAP, 2011