Life.

He was born Bartolomeo Cincani and later changed his name to Bartolomeo Montagna. The first known written record of his existence is from 1459 and list him as a minor. The first known documentation of him as an adult is in 1480 as a witness of a will. Differences in two documents regarding his father's property from 1467 and 1469 imply he became an adult between those two years. Because of the lack of formal documentation of his birth and confusion on the age of legal adulthood in Vicenza at that time, there is much debate as to his actual birthdate. Some scholars have agreed on close to 1450 while others place him closer to 1453-1454.  His family originated in Brescia, Italy and later moved to Biron around 1450 before settling in Vicenza sometime by 1460. His brother, Baldissera, was a goldsmith. For most of his life through his death he was a resident of Vicenza and lived in a house he purchased directly across from the Church of San Lorenzo in 1484. From 1469-1475 Montagna was in Venice before returning to Vicenza and starting his career as a painter. In 1509, he moved from Vicenza to Padua likely due to the war in Vicenza, and remained there until 1514.  The identity of his wife is unknown, but they had three sons. One of his sons, Benedetto Montagna, was also an artist famous for his engravings. His other two sons, Filippo and Paolo are mentioned in some contracts but absent from his will. Bartolomeo Montagna died on October 11, 1523. He left the majority of his possessions and his practice to his son, Benedetto.

Career.

Because the birthdate of Montagna is unknown, there is also debate as to when exactly he began his career and how old he was at the time. Throughout his career, his works are characterized by a simple, laconic nature. His figures often appear solemn and plastic in form.

Early Works (1480s-1499).

His first known documented commission was for two paintings for the Scuola Grande di San Marco in Venice. The paintings were contracted to depict the Deluge (flood myth) and another scene from Genesis, however their final status is unknown as they were destroyed in a fire in 1485. The next known record of Montagna's work is for an altarpiece in the hospital of Vicenza, of which the current whereabouts are also unknown.  His first extant painting is from September 1487 (as inscribed on the back of the work) for a painting of The "Virgin and Child with Saint Sebastian and Roch". A small work intended for private use, it depicts the figures in a marble enclosure with a Vicentine landscape in the background. This painting also shows Montagna's first known use of trachyte marble, a unique texture of marble, which is seen in most of his works. Around this time, he was also commissioned to do the high altarpiece of San Bartolomeo of Vicenza, of which the exact date is often debated. This shows influences from multiple works of Giovanni Bellini located Venice that are also undated. In 1490 he painted an altarpiece for the Certosa di Pavia in Padua showing the "Virgin and Child Enthroned with Saint John the Baptist and Jerome". In 1491 he painted the altarpiece, the semi-dome, and other wall frescos for the oratory dedicated to St. Blaise at the church of Santi Nazaro e Celso in Verona. The semidome depicts St. Blaise with companions and the walls depict other scenes from the legends of St. Blaise. These works are noted for their realistic gaunt figures. From 1497-1499 he was paid monthly to work on an altarpiece for the Squarzi family. His final payment was in the form of a piece of property which he kept until 1503. This was located in a chapel in the Church of San Michele and entitled "Madonna and Child Enthroned with Saints". The outlines of this painting are very bold compared to his other works and it features detailed drapery. His early works are generally characterized by the use of trachyte marble architecture and a particular positioning of the Virgin's hand, showing the middle and ring-finger touching and widely separated from the index and pinky finger. They also are usually distinguished by their symmetry, organization, equally distributed light, and plastic-like quality to the figures.

Maturity (1499 - 1507).

An altarpiece in San Michele at Vicenza ("Virgin and Child with Four Saints and Music-making Angels") from 1499 is considered by many art historians to be a turning point in Montagna's style. This development in his style is characterized by change in tone and use of warmer and richer colors. This particular painting depicts an outdoor scene and is a variation of a work by Giovanni Bellini. Around this time he also completed another Bellinesque altarpiece for San Bartolomeo in Vicenza, "Madonna and Child with Saint Monica and Mary." In 1500 Montagna completed a Pieta in the Church of the Madonna del Monte. The painting depicts the Virgin Mary holding Christ's dead body and Mary Magdalen kissing his feet. They are flanked by St. John and St. Joseph. This features dull color and the use continuous lines as a compositional element, a growing trend in renaissance paintings. This painting is characterized by a less rigid form than Montagna's previous works. In the same year he also completed the "Virgin and St. Joseph Adoring Christ" in the Church of Orgiano. This depicts the infant Jesus sitting upright, flanked by the soft figures of the Virgin and St. Joseph.  Around this time the Bishop of Vicenza, Cardinal Battista Zeno, also commissioned Montagna to create a painting of the "Virgin and Child with Eight Saints" for the Cathedral of Vicenza. This work was lost after 1779 but is documented in multiple records. In 1504 Montagna travelled to Verona to complete frescos for the choir and vaults of the depicting many scenes of St. Blaise. Due to the success of this work, in 1507 he was commissioned to do the altarpiece for the Church of San Sebastiano in Verona, depicting the "Virgin and Child Enthroned with St. Sebastian and St. Jerome." This work is characterized by brightly colored architecture, an oddly shaped throne, and elaborate outfits. After returning to Vicenza, Montagna completed a painting of "Madonna between Saint Anthony and John the Evangelists" for San Lorenzo. This is often considered the height of Montagna's paintings.  Montagna's style at this time is noted for its eccentric qualities despite the trend of a more mellow style that was adopted by his peers. His paintings frequently featured bright colors, decorative architecture, detailed drapery, and sharp angles. Despite the bright colors and sharp angles, the human figures pictured in them were often fuller and softer.

Late Works (1507-1522).

The last known dated painting of Montagna's is from 1507 although there are many paintings that have been dated by scholars after this time. Paintings from the last 15 years of his life are often considered a decline from the height of his career. His style was noticeably different in the years he spent in Padua (1509-1514), showing more landscapes, sunsets and warm colors incorporated with his signature architecture look. His style was more inconsistent, but often included fuller figures, deep shadows and less angular details. Examples of works Montagna's time in Padua featuring this style are the "Exhumation of St. Anthony" for the Scuola di San Antonio and the "Virgin and Child with Four Saints" in Saint Maria in Vanzo. In 1517 Montagna returned to Vicenza. In 1522 he was commissioned by the Scuola di San Giuseppe to paint an altarpiece for Cologna Veneta. This depicts the Virgin, Child, 3 shepherds, and St. Joseph and St. Sebastian.

Influences.

There is no written record of Montagna's training as a painter but there are many speculations and debates about his influences. In the second edition of Vasari's Lives, Vasari mentions that Montagna learned to draw from Andrea Mantegna but does not specify if he did this as an actual pupil or if he just privately studied Mantegna's works. It is generally agreed on that Montagna was influenced by Giovanni Bellini, Antonello da Messina, and Alvise Vivarni. It is generally accepted that Bellini had the most prolific influence on Montagna's works, but to whether he was actually a pupil of any of these artists and in what order is highly debated. Montagna's use of intricate and angular drapery is linked to the works of Vivarni. His works inspired by Antonello are characterized by rounded forms whereas those inspired by Bellini feature thinner and sharper figures. His transition to use of brighter and richer colorings later in life are also attributed to Bellini's influence. A drawing with a previously mistranslated note was attributed to Montagna, but has now been identified as a gift from Bellini to Montagna. This still however does not confirm Bellini as Montagna's master as it was common among artists of the renaissance to gift each other drawings. Many of Montagna's paintings borrow compositions from these mentioned artists, a common practice in Italian renaissance painting.

List of Works.

Permanent Collections that hold works by Bartolomeo Montagna  "Madonna and Child" (c. 1490-1510) - Rijksmuseum, Amsterdam  "Madonna and Child" (c. 1485-1523) - Walters Art Museum, Baltimore  "Madonna and Child; Madonna and Child" - Musei Civici, Belluno  "Virgin, Jesus and Several Saints"; "Virgin and Child"; "St Jerome"; "St Sebastian and St Roch -" Accademia Carrara, Bergamo  "Virgin Enthroned, with the Child Jesus and Two Saints" (1515); "Resurrected Christ and Mary Magdalene -" Berlin State Museums, Berlin  "Head and Hands of a Praying Madonna -" Bremen  "Saint Sebastian" (pen and brown ink/paper) - Fitzwilliam Museum, Cambridge  "Virgin and the Child Jesus on a Throne -" Glasgow  "The Virgin and Child with a Saint" (c. 1483-1499) - Walker Art Gallery, Liverpool  "Holy Family" (c. 1500, oil/wood)- Courtauld Gallery, London  "Saint Zeno, Saint John the Baptist and a Female Martyr" (c. 1495, oil/wood/canvas); "The Virgin and Child" (c. 1485-1487, tempera/wood);"The Virgin and Child" (c. 1504-1506, oil/wood/canvas) - National Gallery, London  "Saint Jerome"; "Saint Paul -" Museo Poldi Pezzoli, Milan  "Virgin with the Child and Saints" (1498, oil/canvas); "Saint Jerome" (c. 1500, oil/canvas) "-" Pinacoteca di Brera, Milan  "Madonna Adoring the Child" (oil/wood); "Saint Justina of Padua" (c. 1490-1500, fragment oil/wood) - Metropolitan Museum of Art, New York City  "Saint Jerome in Penitence -" National Gallery of Canada, Ottawa  "Christ Carrying the Cross" (c. 1503, oil/wood); "The Incident in the Story of the Vestal Claudia" (tempera/wood), "The Marriage of Antiochus and Stratonice" (c. 1490-1495, tempera/wood), "The Virgin and Child" (c. 1480-1489, tempera/wood) "-" Ashmolean Museum of Art and Archaeology - University of Oxford, Oxford  "Ecce Homo" (c. 1500, oil/wood); "Three Children Playing Musical Instruments -" Louvre, Paris  "Adoration of the Child Jesus -" Strasbourg  "Landscape with Castle" (c. 1495-1505, oil/wood) "-" National Museum of Western Art, Tokyo  "Jesus between Saint Roch and Saint Sebastian"; "Madonna with Saint Sebastian and Saint Jerome -" Venice  "Madonna and Child with Saint Joseph" (c. 1520, tempera/canvas) - Museo Correr, Venice  "Saint Peter Blessing with a Donor" (c. 1505, oil/wood) - Gallerie dell'Accademia, Venice  "Madonna and Child -" Musei Civici, Verona  "Maria Vergine col Bambino tra le sante Lucia e Maddalena" (altar painting) - Vicenza Cathedral, Vicenza  "Madonna with the Child and Saint John"; "Madonna and Child"; "Madonna with Four Saints" (oil/wood); "Nativity"; "Madonna with Saint John and Saint Jerome"; "Christ Bearing the Cross" (oil/wood); "Madonna"; "Holy Family"; "Madonna with the Child and Saint John as a Child"; "Madonna and Child with Saint Monica and Mary" (c. 1482, oil/wood) - Musei Civici, Vicenza  "Madonna and Child" (c. 1490, oil/wood) - National Gallery of Art, Washington, D.C.  "The Virgin and Child" (tempera/panel) - Worcester Art Museum, Worcester, MA

Bartolomeo (or Bartolommeo) Montagna (,, ; 1450?– 11 October 1523) was an Italian Renaissance painter who mainly worked in Vicenza. He also produced works in Venice, Verona, and Padua. He is most famous for his many Madonnas and his works are known for their soft figures and depiction of eccentric marble architecture. He is considered to be heavily influenced by Giovanni Bellini, in whose workshop he might have worked around 1470. Benedetto Montagna, a productive engraver, was his son and pupil and active until about 1540. He was mentioned in Vasari's "Lives" as a student of Andrea Mantegna but this is widely contested by art historians.

Bartolomeo Montagna (* um 1450 in Orzinuovi bei Brescia; † 11. Oktober 1523 in Vicenza) war ein für seine Zeit bedeutender italienischer Maler der Renaissance.


Basic ADLs.

Basic ADLs consist of self-care tasks that include:  Basic ADLs include the things many people do when they get up in the morning and get ready to go out of the house: get out of bed, go to the toilet, bathe, dress, groom, and eat.  There is a hierarchy to the ADLs: "... the early loss function is hygiene, the mid-loss functions are toilet use and locomotion, and the late loss function is eating. When there is only one remaining area in which the person is independent, there is a 62.9% chance that it is eating and only a 3.5% chance that it is hygiene."  Although not in wide general use, a mnemonic that some find useful is DEATH: dressing/bathing, eating, ambulating (walking), toileting, hygiene.

Instrumental ADLs.

Instrumental activities of daily living (IADLs) are not necessary for fundamental functioning, but they let an individual live independently in a community:  Occupational therapists often evaluate IADLs when completing patient assessments. The American Occupational Therapy Association identifies 12 types of IADLs that may be performed as a co-occupation with others:

Role of therapy.

Occupational therapists teach and rebuild the skills required to maintain, regain or increase a person's independence in all Activities of Daily Living that have declined because of health conditions (physical or mental), injury or age-related debility.  Physical therapists use exercises to assist patients in maintaining and gaining independence in ADLs. The exercise program is based on what components patients are lacking such as walking speed, strength, balance, and coordination. Slow walking speed is associated with increased risk of falls. Exercise enhances walking speed, allowing for safer and more functional ambulation capabilities. After initiating an exercise program it is important to maintain the routine otherwise the benefits will be lost. Exercise for patients who are frail is essential for preserving functional independence and avoiding the necessity for care from others or placement in a long term care facility.

Assistance.

Assisting in activities of daily living are skills required in nursing and as well as other professions such as nursing assistants. This includes assisting in patient mobility, such as moving an activity intolerant patient within bed. For hygiene, this often involves bed baths and assisting with urinary and bowel elimination.

Evaluation.

There are several evaluation tools, such as the Katz ADL scale, the Older Americans Resources and Services (OARS) ADL/IADL scale, the Lawton IADL scale and the Bristol Activities of Daily Living Scale.  In the domain of disability, measures have been developed to capture functional recovery in performing basic activities of daily living. Among them, some measures like the Functional Independence Measure are designed for assessment across a wide range of disabilities. Others like the Spinal Cord Independence Measure are designed to evaluate participants in a specific type of disability.  Most models of health care service use ADL evaluations in their practice, including the medical (or institutional) models, such as the Roper-Logan-Tierney model of nursing, and the resident-centered models, such as the Program of All-Inclusive Care for the Elderly (PACE).

Research.

ADL evaluations are used increasingly in epidemiological studies as an assessment of health in later-life that does not necessarily involve specific ailments. Studies using ADL differ from those investigating specific disease outcomes, as they are sensitive to a broader spectrum of health effects, at lower-levels of impact. ADL is measured on a continuous scale, making the process of investigation fairly straightforward.  Sidney Katz initially studied 64 hip fracture patients over an 18-month period. Comprehensive data on treatments, patient progression, and outcomes were collected during this study. After analyzing the study data, the researchers discovered that the patients they viewed as being most independent could perform a set of basic activities – ranging from the most complex bathing activity, to the least complex feeding activity. From these data, Katz developed a scale to assess patients' ability to live independently. This was first published in the 1963 in the "Journal of the American Medical Association"; the paper has since been cited over 1,000 times.  Although the scale offers a standardized measure for psychological and biological function, the process of arriving at this assumption has been criticised. Specifically, Porter has argued for a phenomenological approach noting that: Katz et al. (1963) made a claim that became the basis for the ontological assumptions of the ADL research tradition. In their suggestion that there was an "ordered regression [in skills] as part of the natural process of aging" (p. 918), there was an implicit generalization, from their sample of older persons with fractured hips, to all older persons. Porter emphasizes the possible disease-specific nature of ADLs (being derived from hip-fracture patients), the need for objective definition of ADLs, and the possible value of adding additional functional measures.  A systematic review examined the effectiveness of imparting activities of daily life skills programmes for people with chronic mental illnesses:

Common ADLs include feeding ourselves, bathing, dressing, grooming, work, homemaking, cleaning oneself after defecating and leisure. A number of national surveys collect data on the ADL status of the U.S. population. While basic definitions of ADLs have been suggested, what specifically constitutes a particular ADL for each individual may vary. Adaptive equipment and devices may be used to enhance and increase independence in performing ADLs.

Die Aktivitäten des täglichen Lebens ("ATL", auch "ATLs") sind ein Grundbegriff der Gesundheits- und Krankenpflege. Sie bezeichnen wiederkehrende Tätigkeiten zur Erfüllung der physischen und psychischen menschlichen Grundbedürfnisse, die bei Erkrankungen und im Alter Schwierigkeiten bereiten können. Die ATLs wurzeln in bedürfnistheoretischen Überlegungen Abraham Maslows und sind der Ansatz Liliane Juchlis (1983), die damit auf Nancy Ropers, Winifred W. Logans und Alison Tierneys Theorie ("Pflegemodell der Lebensaktivitäten", 1976) Bezug nimmt, und so auch in der Tradition Virginia Hendersons ("14 Grundbedürfnisse") steht. Monika Krohwinkel hat Ropers Modell ebenfalls bearbeitet und kommt damit zu ihren Aktivitäten und existenziellen Erfahrungen des Lebens. Durch Heinrich Schipperges, Eduard Seidler und Antje Grauhan wurde bereits nach dem Zweiten Weltkrieg an der Schwesternschule der Universität Heidelberg die alte Hippokratische Tradition der Medizin mit modernen Pflegetheorien, so auch mit der Theorie von Nancy Roper, Winifred W. Logan und Alison Tierney und damit den ATLs verbunden.


Biography.

Victor was born in a family subjected to repression by Joseph Stalin's regime. At the age of 8 he took an interest in the painting, at the age of 10 - in the photography.  After completing his secondary education and doing his military service Sydorenko entered Kharkov Art-Industrial Institute (the Kharkov State Academy of Design and Arts) from which in 1979 he graduated with the degree with distinction. The student of the professor, the winner of The USSR State Prize, B.Kosarev, in 1981 he became the post-graduate student of the creative workshops of the Art School of the USSR. (The supervisor of studies – the academician, the professor, the member of Academy of arts of the USSR, the Winner of The USSR State Prize, S.Grigorev) At the same time Victor worked as an art director of the film "The Anatomy of the miracle", director V.Ivanov).

Work.

Victor Sydorenko is one of leaders of Modern Ukrainian Art. Victor's pathway from realism to neoavant-gardism is first of all a tribute to the full freedom of creativity of the last generation that grown and was working at a totalitarian regime. Time, Memory and History are the central idea of the project, which extrapolated their polyvariance and different readings into the language of visual images and construction. Such specific realities of our time as the memory problems, a heritage of posttotalitarian rudiments, the questions of identification of the person in the modern world which is becoming more and more complicated, the prospects of the person in new globalised model of life-construction, enter into the sphere of creative interests of the artist. Besides, the research orientation of its creativity also concerns the past, but with underlined deideologized relation to a cultural heritage, with the use of possibilities of an arsenal of new media.  From the moment of creation of the project "Amnesia" (1995) the idea of «the renewal in memory of fragments of the past» will not leave Victor Sidorenko's creative consciousness and every following project will be constructed on the basis of the concrete experience of the childhood, adolescence, youth.  The totalitarianism theme in its any forms and displays becomes the object of research of the Sydorenko in the project «Ritual dances» (1997). The author considers it as the global phenomenon of the ideological unfreedom, whether a political mode, whether sectarianism, religious dictatorship in which everything is directed on absorption of the person not only in spiritual way, but also in physical one. The project meaningly excludes any spatial and time concreteness and it is deprived of reflexions concerning the Soviet past. Its main task is to display the especial sensation of a paroxysm, crisis and spiritual degradation which are present at consciousness of the person living in the totalitarian validity.  Total collapse of system of traditional-humanistic values is presented in the project "Cytochronismus" (2002) in which impressive craquelures personifie «asthenic syndrome». The artist gets into the theme of microstructures of the world and of the communication with the real world, influences, and also actions of spiritual space.  With his project "Millstones of Time", kept in neoclassic trend he created an outstanding, multilayered work, which special feature is its work in process. This becomes obvious in its ability to gain different modifications depending from concrete exhibitional space without losing its main concept, as well as in presupposed consistent flexibility of perception of all its media components. This supports the fair thesis that the integrity of optics of the "current moment" is rather the totality of fragments understood in the process, in movement of feelings and modeled by thinking, imagination, nostalgically seeking the unity and coherency.  The searches of own identity in social collective are finished by the triumph of the unification. This is how the artist suggests to decipher the word-hybrid taken out in the name of an exposition of "Authentification" (2006). Victor Sydorenko does not stop here: the mechanism which is put in action and is generating metaphors, forces the author to make out a mummification prototype in a banal hairstyle. This triumph of a body looks like the transformation of a trunk into a preform for the plaster dummy which will definitively replace the person in society is cast. Only this dummy still has a chance to survive and find immortality.  In the project "Levitation" (2008–2009), the artist gives an advantage to the optical illusive game which is created by dense and viscous red colour and by the space with large-format picturesque planes and installation. Man's figures stretched out and soaring in air, are forcing to lose reference points and coordinates, and even yourself.

Victor Sydorenko (; born 31 December 1953 in Taldy-Kurgan, Kazakhstan, then part of the USSR) is a painter, curator, teacher, an author of objects and photocompositions and also scientific and publicistic texts. Since 1997 he is the member and the vice-president of Ukrainian Academy of Arts. In 2001 Sydorenko has founded and has headed Modern Art Research Institute of Ukrainian Academy of Arts.

Wiktor Dmytrowytsch Sydorenko (; * 31. Dezember 1953 in Taldyqorghan, Kasachische SSR) lebt und arbeitet als Künstler in der Ukraine. Er ist dort Mitglied der Vereinigung ukrainischer Künstler und Dozent an der Akademie der Künste der Ukraine.


Biography.

Early life and career.

Boring attended the Minnesota School of Art and the Chicago Art Institute. In 1937, he began "ghosting" (drawing for hire without credit) on such comic book features as Slam Bradley and Doctor Occult for the Jerry Siegel-Joe Shuster studio. In 1938, Siegel and Shuster's character Superman was published in "Action Comics" #1, for the DC Comics predecessor National Allied Publications, and Boring became a ghost on the soon spun off "Superman" comic strip, eventually becoming the credited artist.

Superman comic books.

In 1942, the by-then-named National Comics hired Boring as a staff artist, teaming him as penciler the following year with inker Stan Kaye. The two would work together for nearly 20 years during a period fans and historians call the Golden Age of comic books. In 1948, following Siegel and Shuster's departure from the company over a Superman rights lawsuit, Mort Weisinger, the editor of the Superman line, brought in Boring as well as Al Plastino and Curt Swan. During this mid-1940s period, he often signed his work for rival Novelty Press' "Blue Bolt Comics" as Jack Harmon. Boring's "Superman Covers Atom Bomb Test!" cover for "Action Comics" #101 (Oct. 1946) was an early example of nuclear weapons in popular culture. A more detailed origin story for Superman by Boring and writer Bill Finger was presented in "Superman" #53 (July 1948) to mark the character's tenth anniversary. Boring co-created the Fortress of Solitude in "Action Comics" #241 (June 1958) with writer Jerry Coleman and Bizarro World in "Action Comics" #263 (April 1960) with Otto Binder.  Boring was the primary Superman comic book penciller through the 1950s. Swan succeeded him the following decade, though Boring returned for sporadic guest appearances in the early 1960s and then again in late 1966 and early 1967. One critic wrote of Boring's 1950s Superman art, "Comics legend Wayne Boring played a major role in visually defining the most well known super-hero in the world during the peak of Superman's popularity." Another writer echoed, "Boring's bravura brushwork defined many of its key elements and made Superman look more powerful and imposing, now standing a heroic nine heads tall, and brought a fresh realism, a sleek sci-fi vision and a greater seriousness of tone."  Boring was let go from DC in 1967 along with many other prominent writers and artists who had made demands for health and retirement benefits. From 1968 to 1972, Boring ghosted backgrounds for Hal Foster's "Prince Valiant" Sunday comic strip and took over the art on writer Sam Leff's 1961–71 United Feature Syndicate strip "Davy Jones". Afterward, Boring drew three issues of Marvel Comics' "Captain Marvel", then left the field to semi-retire as a bank security guard, though he would continue to draw commissioned work. He briefly returned to DC to pencil some stories in "All-Star Squadron Annual" #3 (1984), "Superman" #402 (Dec. 1984), and "Action Comics" #561 and 572 (Nov. 1984 and Oct. 1985).  Boring died of a heart attack, following a brief comeback announced in one of his last published works, penciling a Golden Age Superman story written by Roy Thomas and inked by Jerry Ordway in "Secret Origins" vol. 2 #1 (April 1986). His final work was "All-Star Squadron" #64 (Dec. 1986) a recreation of "Superman" #19.

Awards.

In 1985, DC Comics named Boring as one of the honorees in the company's 50th anniversary publication "Fifty Who Made DC Great".  He was posthumously inducted into the Will Eisner Hall of Fame in 2007.

Bibliography.

Comics work (interior pencil art) includes:

Wayne Boring (June 5, 1905 – February 20, 1987) was an American comic book artist best known for his work on Superman from the late 1940s to 1950s. He occasionally used the pseudonym Jack Harmon.

Wayne Boring (auch "Jack Harmon"; * 5. Juni 1905 in Minnesota; † 1987 Pompano Beach, Florida) war ein US-amerikanischer Künstler und Comiczeichner. Boring wurde vor allem als Zeichner zahlreicher Abenteuer des Comichelden Superman bekannt, dessen berühmtestes Erkennungszeichen, das sogenannte "Superman-Logo", ein stilisiertes rotes S auf gelbem Grund, das auf der Brust des Helden prangt, Boring in Abwandlung des weitaus weniger auffälligen ursprünglichen Superman-Logos aus dem Jahre 1938 er in den 1940er Jahren schuf.


Examples.

In an audio receiver receiving a bit stream of data, an example of a syncword is 0x0B77 for an AC-3 encoded stream.  An Ethernet packet begins with the Ethernet preamble, 56 bits of alternating 1 and 0 bits, allowing the receiver to synchronize its clock to the transmitter, followed by a one-octet start frame delimiter byte and then the header.  A receiver uses a physical layer preamble, also called a physical layer training sequence, to synchronize on the signal by estimating frequency and clock offsets. Some documentation uses "preamble" to refer to a signal used to announce a transmission, to wake-up receivers in a low-power mode. While some systems use exactly the same signal for both physical-layer training and wake-up functions, others use 2 different signals at 2 different times for these 2 functions, or have only one or the other of these signals.  The Bisync protocol of the 1960s used a minimum of two ASCII "SYN" characters (0x16...0x16) to achieve character synchronization in an undifferentiated bit stream, then other special characters to synchronize to the beginning of a frame of characters.  The syncwords can be seen as a kind of delimiter. Various techniques are used to avoid delimiter collision, orin other wordsto "disguise" bytes of data at the data link layer that might otherwise be incorrectly recognized as the syncword. For example, HDLC uses bit stuffing or "octet stuffing", while other systems use ASCII armor or Consistent Overhead Byte Stuffing (COBS).

Alternatives.

In some communication systems, a receiver can achieve character synchronization from an undifferentiated bit stream, or start-of-header synchronization from a byte stream, without the overhead of an explicit syncword. For example, the FSK441 protocol achieves character synchronization by synchronizing on any "space" characters in the messagein effect, every "space" character in the message does double duty as a syncword. For example, CRC-based framing achieves character and start-of-header synchronization.  In a self-synchronizing code, every character is, in effect, a syncword, and can be used to achieve character synchronization in an undifferentiated bit stream.

Preamble.

In digital communication, preamble is a sequence of known bits sent in each frame. It is used for frame synchronization such as in Ethernet frames, as well as for channel estimation.

In computer networks, a syncword, sync character, sync sequence or preamble is used to synchronize a data transmission by indicating the end of header information and the start of data. The syncword is a known sequence of data used to identify the start of a frame, and is also called "reference signal" or "midamble" in wireless communications.

Eine Datenpräambel oder Präambel ist ein Signal, das in einem Rechnernetz übertragenen Nachrichten vorangestellt wird. Je nach Netzwerkprotokoll dient die Präambel unterschiedlichen Zwecken: In einigen dient sie der zeitlichen Abstimmung der Kommunizierenden, zur Synchronisation des Taktes (vgl. Ethernet), in anderen kündigt sie die nachfolgende Nachricht an (vgl. Wise Media Access Control).


History.

Origin of name.

The district is named after Major James Abbott, the first deputy commissioner of Hazara (1849–1853).

Hazara.

During British rule Abbottabad became the capital of Hazara division, which was named after and contained the Hazara valley, a small valley in the outermost Himalayas, between the Indus in the west and Kashmir in the east.  The current Abbottabad District was originally a tehsil of Hazara, the Imperial Gazetteer of India described it as follows:  In 1976 the tehsils of Mansehra and Battagram were separated into the new Mansehra District, while the tehsil of Haripur became a separate district in 1991.

Demography.

The population counted in 1998 census was. According to an estimate this had risen to 1.05 million in 2008.  The major language of the area is Hindko, which in the 1981 census was the mother tongue of % of households. The variety spoken in the city of Abbottabad has formed the basis of a literary language. It is very close to the Hindko varieties of Mansehra: the two share 86% of their basic vocabulary. In the Galliat region in the southeast of the district, the language is still known as "Hindko" but becomes more distinct and gradually transitions into the dialects of Pahari. Other languages are overall more common in urban areas: in the 1998 census, 2.3% of the population reported their language as Punjabi (rising to % in urban areas), while the share of Pashto was % (% in urban areas) and that of Urdu – % (% in urban areas).

Parks and protected areas.

Under the Khyber Pakhtunkhwa Wildlife (Protection, Preservation, Conservation and Management) Act of 1975, two areas have been designated with the district: Ayubia National Park and Qalandarabad game reserve. Both areas cover only 6% of the landed area of the district.  The Ayubia National Park was established in 1984, this park covers an area of over 3,312 ha.  The Qalandarabad game reserve was established in 1980 with an area of 8,940ha.

Subdivisions.

Abbottabad district is divided into three tehsils, Abbottabad Tehsil, Havelian Tehsil and Sherwan Teshsil as well as one urban administration area – Nawanshehr. There are fifty-one Union Councils in the district, 38 in Abbottabad tehsil and 13 in Havelian.

Election 2008.

With the announcement by the Election commission of Pakistan that elections would be held on 8 January 2008 more than a dozen candidates filed their nomination papers in Abbottabad.

Political campaigns.

Abbottabad was the centre of the Sooba Hazara movement that started after national assembly passed 18th amendment to change the name of province from North West Frontier Province (NWFP) to Khyber Pakhtunkhwa. The former governor of the province has been vocal in this opposition to the new name

Provincial assembly.

The district is represented in the provincial assembly by four elected MPAs (PK-36 to PK-39):

Education.

According to the "Alif Ailaan Pakistan District Education Rankings" "2015", Abbottabad is ranked 31 out of 148 districts in terms of education. For facilities and infrastructure, the district is ranked 72 out of 148.

Abbottabad District () is a district of the Pakistani province of Khyber Pakhtunkhwa. It is part of Hazara Division and covers an area of 1,969 km, with the city of Abbottabad being the principal town. Neighbouring districts are Mansehra to the north, Muzaffarabad to the east, Haripur to the west, and Rawalpindi to the south.

Der Distrikt Abbottabad (; ) ist ein Distrikt in der pakistanischen Provinz Khyber Pakhtunkhwa. Die Hauptstadt ist Abbottabad. Eine weitere Stadt ist Havelian.


Accidents.

1960 loss of coolant.

On 13 October 1960, while operating in the Barents Sea, "K-8" suffered a ruptured steam generator tube, causing a loss-of-coolant accident. While the crew jury-rigged a system to supply emergency cooling water to the reactor, preventing a reactor core meltdown, large amounts of radioactive gas leaked out which contaminated the entire vessel. The gas radiation levels could not be determined because instrumentation could not measure such large scales. Three of the crew suffered visible radiation injuries, and many crewmen were exposed to doses of up to 1.8–2 Sv (180–200 rem).

1970 Bay of Biscay fire.

During the large-scale "Ocean-70" naval exercise, K-8 suffered fires in two compartments simultaneously on 8 April 1970. Due to short circuits that took place in III and VII compartments simultaneously at a depth of, a fire spread through the air-conditioning system. Both nuclear reactors were shut down.  The captain ordered his entire crew to abandon ship but was countermanded once a towing vessel arrived. Fifty-two crewmen, including the commander, Captain 2nd Rank Vsevolod Borisovich Bessonov, re-boarded the surfaced submarine that was to be towed. This was the first loss of a Soviet nuclear-powered submarine, which sank in rough seas as it was being towed in the Bay of Biscay of the North Atlantic Ocean. Eight mariners had already died due to certain compartments being locked to prevent further flooding as well as the spread of the fire as soon as it was detected. All hands on board died due to CO poisoning and the flooding of the surfaced submarine during 80 hours of damage control in stormy conditions. Seventy-three crewmen survived. "K-8" sank with four nuclear torpedoes out of total 24 on board to a depth of approximately northwest of Spain.

K-8 was a of the Soviet Northern Fleet that sank in the Bay of Biscay with her nuclear weapons on board on April 12, 1970. A fire on April 8 had disabled the submarine and it was being towed in rough seas. Fifty-two crewmen were killed attempting the salvage of the boat when it sank.

Das K-8 war ein Atom-U-Boot der sowjetischen Marine aus der Zeit des Kalten Krieges. Es war das zweite Atom-U-Boot, dessen Bau die Sowjetunion unter der Bezeichnung Projekt 627A in Auftrag gegeben hatte. Sein Untergang im Jahr 1970 war der erste Verlust der sowjetischen Nuklear-Marine.


Plot.

A twelve-year-old boy James (Trevor Morgan) lives with his father Nathan (Ray Liotta) and stepmother Mary (Catherine McCormack). He lost his mother in a car accident two years earlier. The memories of the accident still haunt him and make him freeze with panic. He has not been able to talk about his feelings about the accident and the death of his mother because his father is always away from home and he does not want to talk to his stepmother.  One day playing an imaginary game behind the house of Maddy Bennet (Vanessa Redgrave), he breaks her fence. Maddy demands that he fix it. Soon the two become good friends. Maddy also lost her son Bobby in 1974 in the Vietnam War. She tells her experiences of losing her son to James. She forces James to talk about his mother and face his fears. She tells him that her son Bobby talks to her.  James's parents do not like the stories Maddy tells James and forbid him from seeing her. James becomes distraught at the "loss" of his friend. Meanwhile, Maddy has a heart attack, and James's parents permit him to nurse her back to health. Soon after her recovery, though, she dies. James becomes reconciled with his father, who now talks to him more, and with his stepmother.

Production.

Set on the Maine coast, the movie was filmed in mid-1999 in Nova Scotia, Canada, at Lunenburg and Crystal Crescent Beach. It debuted in September 2000 at the Toronto International Film Festival, but was not released in the U.S. until 2002.

A Rumor of Angels is a 2000 American film directed by Peter O'Fallon, starring Vanessa Redgrave and Ray Liotta. The story is based upon the 1918 novel "Thy Son Liveth: Messages From a Soldier to His Mother" by Grace Duffie Boylan. Although the novel tells the story of what a mother learned from her son about death after he dies in a French battlefield during World War I, the movie is set in the latter part of the 20th century.

Die Wahrheit über Engel (Originaltitel: "A Rumor of Angels") ist ein US-amerikanisches Filmdrama von Peter O’Fallon aus dem Jahr 2000. Das Drehbuch beruht auf dem Roman „Thy Son Liveth Messages From A Soldier To His Mother“ von Grace Duffie Boylan aus dem Jahr 1918.


History.

After the Napoleonic Wars, Tsar Alexander I ordered architect Osip Bove to reconstruct parts of the city which had been destroyed by French troops. Bove laid out a new garden from 1819-1823, on the site of the riverbed of the Neglinnaya River, which was channeled underground.

Layout.

Upper Garden.

Towards the main entrance to the park is the Tomb of the Unknown Soldier with an eternal flame brought from the Field of Mars in Leningrad. Created in 1967, it contains the body of a soldier who fell during the Great Patriotic War at the kilometer 41 marker of Leningradskoe Shosse, the nearest point the forces of Nazi Germany penetrated towards Moscow. Post Number One, where the honor sentinels stand on guard, used to be located in front of Lenin's Mausoleum, but was moved to the Tomb of The Unknown Soldier in the 1990s. The middle section of the upper garden contains a faux ruined grotto built underneath the Middle Arsenal Tower. Although not constructed until 1841, this was part of Bove's original design. The garden's cast iron gate and grille were designed to commemorate the Russian victories over Napoleon, and its rocks are rubble from buildings destroyed during the French occupation of Moscow.  In front of the grotto is an obelisk erected on July 10 1914, a year after the tercentenary of the Romanov dynasty was celebrated. The monument made of granite from Finland listed all of the Romanov Tsars and had the coats of arms of the (Russian) provinces. Four years later, the dynasty was gone, and the Bolsheviks (per Lenin’s directive on Monumental propaganda) removed the imperial eagle, and re-carved the monument with a list of 19 socialist and communist philosophers and political leaders, personally approved by Lenin. Originally in the Lower Garden, it was relocated to its present location in 1966. There is discussion to remove Lenin's and reinstall an obelisk duplicating the original.  The wrought iron grille, enclosing this part of the garden, has a design of fasces, which are intended to commemorate the military victory over Napoleon.  The northern part of the garden is adjacent to the large underground shopping complex at Manege Square.

Middle Garden.

The most prominent feature of the Middle Garden is the outlying Kutafya Tower of the Moscow Kremlin. There is an entrance to the park opposite the tower directly to the Moscow Metro system.

Lower Garden.

Laid out in 1823, the Lower Garden stretches to the road leading to the Borovitskaya Tower, one of two vehicular and pedestrian entrances to the Kremlin.

Alexander Gardens () was one of the first urban public parks in Moscow, Russia. The park comprises three separate gardens, which stretch along all the length of the western Kremlin wall for between the building of the Moscow Manege and the Kremlin.

Der Alexandergarten ( – "Alexandrowski sad" ()) ist eine an den Kreml und den Roten Platz angrenzende öffentliche Parkanlage im historischen Zentrum der russischen Hauptstadt Moskau. Sie liegt unmittelbar an dem rund 865 Meter langen nordwestlichen Abschnitt der Kremlmauer. In der Mitte wird der Garten von einer historischen Brücke überspannt, die vom Kutafja-Turm aus über den Troizkaja-Turm in den Kreml führt. Gleich daneben befindet sich der Eingang zu den Metrostationen "Alexandrowski Sad" und "Biblioteka imeni Lenina". An seinem nördlichen Ende grenzt der Alexandergarten an den Manegeplatz.


Family.

Brooks was born in Anchorage, Alaska, on October 24, 1958. He grew up as an Army brat in a prominent military family in California. His father, Major General Leo A. Brooks Sr., and brother, Brigadier General Leo A. Brooks Jr., both retired after careers in the United States Army. His uncle, Francis K. Brooks, was the majority leader of the Vermont House of Representatives and a member of the Vermont Senate. Brooks attended Thomas Jefferson High School in Alexandria, Virginia for two years, and then Jesuit High School in Carmichael, California, where he graduated in 1976. He was a varsity basketball player, and decided to follow his brother to United States Military Academy at West Point to earn a commission as an officer.

Military service.

At West Point, Brooks was the academy's first African-American Cadet First Captain, the highest position (Cadet Brigade Commander) a cadet can hold, an appointment that brought much public visibility at an early age in life. He graduated from West Point in 1980. After graduating, Brooks served in South Korea and Kosovo among other places. In Kosovo, he concurrently served as the deputy commander of the U.S. force in Kosovo (Task Force Falcon) and as commander of the 1st Brigade, 3rd Infantry Division based at Fort Stewart in Georgia. From that position he moved to the Joint Chiefs of Staff at the Pentagon. While serving there he was temporarily assigned to be Deputy Director of Operations at United States Central Command (CENTCOM). Returning to the Pentagon and the Joint Staff in April 2003, he became the Lead Strategic Planner for the Global War on Terrorism working closely with the CIA, the Departments of State, Treasury and Justice, the FBI and the military's United States Special Operations Command (SOCOM).  In his role as Deputy Director of Operations, Brooks also became the spokesperson of CENTCOM, the main force in the Middle East. At that time he was the youngest general officer in the army. From 2006 to 2008 Brooks served as the Deputy Commanding General of 1st Cavalry Division, serving for fifteen months in Baghdad as second-in-command of the main effort (Multinational Division – Baghdad) stabilizing the Iraqi capital city and province during what is now called "The Surge." Upon return from Iraq, he took command of the 1st Cavalry Division until April 2008. Following an assignment as the Deputy Commanding General of the Army's III (Third) Corps at Fort Hood, Texas, he again took command of a combat unit, serving as the Commanding General of the historic 1st Infantry Division at Fort Riley in Kansas from April 2009 to May 2011. He deployed the unit to Iraq for a year, serving as U.S. Division – South, responsible for securing the heavily Shi'ite areas of the southern half of the country. The headquarters was in Basra, Iraq. Following two years in a second division-level command, Brooks took command of U.S. Army Central and Third Army responsible for all U.S. Army operations throughout the Middle East and Central Asia (from Egypt to Kazakhstan). During this time, Brooks oversaw the reduction of forces in Iraq as well as the build up of forces in Afghanistan.  As the Commanding General of United States Army Pacific and as a part of the "Asia Pivot" of the Obama administration foreign policy, Brooks envisioned and executed the "Pacific Pathways" program. The program consists of a single United States Army unit that would move to different countries of the Asia and Pacific regions for up to three months at a time to develop first-hand understanding of the region. While initially criticized in some circles, the innovative approach has met high acclaim from the countries of the region and the units involved in the missions.  In March 2016, Brooks was nominated to command United States Forces Korea, the U.S.-South Korea Combined Forces Command, and United Nations Command, succeeding General Curtis Scaparrotti. He served until October 2018, and was succeeded by Robert B. Abrams. Brooks retired on January 1, 2019, following the completion of his command assignment in Korea.

Vincent Keith Brooks (born October 24, 1958) is a retired United States Army general who last commanded United States Forces Korea, United Nations Command, and ROK-U.S. Combined Forces Command. He previously served as the commanding general of United States Army Pacific and prior to that as the commanding general of Third Army. Brooks was the United States Central Command Deputy Director of Operations during the War in Iraq, and frequently briefed the media, which raised his public profile. He also served as the Chief of Army Public Affairs The Pentagon. He was the deputy commander of 1st Cavalry Division in Baghdad during the 2006–2008 "surge" and upon returning to the United States became the commanding general of the same division. He later was commanding general of the 1st Infantry Division. Brooks assumed command in Korea on April 30, 2016 and was succeeded by Robert B. Abrams in November 2018, and he retired on January 1, 2019.

Vincent Keith Brooks (* 24. Oktober 1958 in Anchorage, Alaska) ist ein General der US Army und kommandiert seit dem 2. Juli 2013 die U.S. Army Pacific. Zuvor war er seit dem 3. Juni 2011 Kommandierender General der 3. US-Armee. Brooks war während des Irak-Krieges 2003 stellvertretender Direktor für Operationen des "US Central Command", in Doha (Katar). Eine Bekanntheit erlangte er dabei durch die täglich von ihm geführte Pressekonferenz.


Biography.

Stone was born into a prominent family at "Poynton Manor" in Charles County, Maryland. He was the second son in the large family of David (1709–1773) and Elizabeth Jenifer Stone. His brothers Michael J. Stone and John Hoskins Stone also had important political careers. His uncle was Daniel of St. Thomas Jenifer. Thomas read law at the office of Thomas Johnson in Annapolis, was admitted to the bar in 1764 and opened a practice in Frederick, Maryland.  In 1768 Stone married Margaret Brown (1751–1787), the younger sister of Dr. Gustavus R. Brown (see Rose Hill), thought to be the richest man in the county. Soon after, Stone purchased his first 400 acres (1.6 km2) and began the construction of his estate named "Habre de Venture". The family would make their home there, and they would have three children: Margaret (1771–1809), Mildred (1773–1837) and Fredrik (1774–1793). Stone's law practice kept him away from home, so he brought in his younger brother Michael to manage development of the plantation.  As the American Revolution neared, Stone joined the Committee of correspondence for Charles County. From 1774 to 1776, he was a member of Maryland's Annapolis Convention. In 1775, the convention sent Stone as a delegate to the Continental Congress. He was re-elected and attended regularly for several years. On May 15, 1776, he voted in favor of drafting a declaration of independence, in spite of restrictions from the Maryland convention that prevented their delegates from supporting it. In June the restriction was lifted, so Maryland's delegates were free to vote for Independence. Previously, Stone had been in favor of opening diplomatic relations with Great Britain and not going to war, as he was not only a pacifist but a conservative reluctant to start a gruesome war.  That same year Stone was assigned to the committee that drafted the Articles of Confederation, and he was struck with a personal tragedy. His wife Margaret visited him in Philadelphia, which was in the midst of a smallpox epidemic. She was inoculated for the disease, but an adverse reaction to the treatment made her ill. Her health continued to decline for the rest of her life.  After Stone signed the Declaration of Independence, he took his wife home and declined future appointment to the Congress, except for part of 1784, when the meetings were at Annapolis.  Stone accepted election to the Maryland Senate from 1779 until 1785, at first in order to promote the Articles of Confederation, which Maryland was the last state to approve. But he gave up the practice of law to care for Margaret and their growing children. As her health continued to decline, he gradually withdrew from public life. When Margaret died in 1787, he became depressed and died less than four months later in Alexandria, Virginia, reportedly of a "broken heart". Thomas was buried at his plantation home, which still stands. The family's plantation utilized slaves for generations.  After his death, the plantation remained in the family for five generations until 1936 when it sold privately. In 1977 the main structure was severely damaged by fire. The National Park Service purchased the property and restored it to its original plans. "Habredeventure" today is the centerpiece of the Thomas Stone National Historic Site, and is operated as a museum by the NPS. The site, located on 6655 Rose Hill Road in Port Tobacco Village, Maryland, opened to the public in 1997.

Thomas Stone (1743 – October 5, 1787) was an American planter and lawyer who signed the United States Declaration of Independence as a delegate for Maryland. He later worked on the committee that formed the Articles of Confederation in 1777. He acted as President of Congress for a short time in 1784.

Thomas Stone (* 1743 auf dem Gut „Poynton Manor“ im Charles County, Maryland, Kolonie des Königreichs Großbritannien; † 5. Oktober 1787 in Alexandria, Virginia, USA) war ein britisch-US-amerikanischer Jurist und Plantagenbesitzer. Als Unterzeichner der Unabhängigkeitserklärung für Maryland ist er einer der Gründerväter der Vereinigten Staaten. Er wirkte an der Erarbeitung der Konföderationsartikel mit und war dann Präsident des US-Kongresses.


History.

transmediale was founded in 1988 under the name of VideoFilmFest (VideoFest as of 1989) within the framework of Berlinale, as a side event of the Internationales Forum des Jungen Films section. Its founders, Hartmut Horst and video artist and activist Micky Kwella, sought to create a platform for electronic media productions, which were excluded from classic film festivals such as Berlinale. Over the course of the following 30 years, the festival evolved steadily and independently of Berlinale: from its initial focus on video culture it turned to cultivating an artistic and critical dialogue with television and multimedia, eventually emerging as a leading international platform for media art. In 1997, its name was changed to transmedia, and finally to transmediale in 1998. The change reflected the programmatic extension of the festival, which by then encompassed a broad spectrum of multimedia art forms such as Internet and Software Art.  In 2001, transmediale underwent far-reaching structural changes; further additions to the program and a new venue, Haus der Kulturen der Welt, led to a continuous increase in attendance. transmediale.02 was the first edition to feature an extensive exhibition in which media art could be experienced in a sensuous and physical way. In 2006, the festival's subheading changed from “international media art festival” to “festival for art and digital culture”—a decision reflective of a shift towards a more open approach that would include art, technology, and everyday life in an increasingly digitalized world instead of the previous, narrower focus on media art alone.  The transmediale Award was introduced in 2001 to honour visionary works and projects centering around technology-led societies. In order to do justice to the rising number of submissions of theoretical works, the competition was complemented by the Vilém Flusser Theory Award at transmediale.08. Named after philosopher and media theorist Vilém Flusser, it promoted “outstanding, media-theoretical and research-based artworks” until 2011. In 2012, it was converted into a residency program for artistic research; the transmediale Award and Open Web Award were discontinued. Kristoffer Gansing, the festival's artistic director between 2012 and 2020, recounted his ambitions for the festival in an interview in Ocula Magazine with Terence Sharpe: 'When I first came on board [...] my idea was to bring a curatorial coherency to what I saw as a festival dissipating into a kind of 'creative crowd' without much focus, so I brought in more exhibitions.'  In addition, club transmediale was founded as a side event of transmediale in 1999. Since then, CTM has developed into an independent festival that presents electronic and experimental music in various Berlin venues once a year.

Themes.

As of 2001, transmediale has followed annually changing thematic headlines:

Organisation.

transmediale was founded by Hartmut Horst and Micky Kwella in 1988. From 2001 to 2007, art historian and curator Andreas Broeckmann took over the artistic direction of the festival. He was superseded by media and arts researcher Stephen Kovats, who led transmediale until 2011. As of April 2011, curator and media researcher Kristoffer Gansing has been the artistic director of the festival. Dr. Nora O Murchú will take over as artistic director in 2021.  Since 2004, Kulturstiftung des Bundes has been funding transmediale (alongside documenta, Berlin Biennale and others) as a Beacon of Contemporary Culture. The host organization of the festival is Kulturprojekte Berlin GmbH, which was operated under the name of Kulturveranstaltungs-GmbH until 2005.  In 2011, transmediale/resource was established as a framework for transmediale's year-round activities. Its aim is to provide a sustainable structure for feedback, research, and reflection beyond the timeframe of the festival. In addition to varying cooperative projects and network activities, transmediale/resource includes the Vilém Flusser Residency Program for Artistic Research, online publication format transmediale/journal and pre-festival program Vorspiel, presented in collaboration with CTM and a network of organizations, galleries, independent project spaces, and venues all over Berlin.

Places.

Until 1992, VideoFilmFest took place at MedienOperative as well as Deutsche Akademie der Künste in East Berlin. In 1993, it moved to Podewil, which is also where the transmediale offices have been located since 1997. From 2002 to 2005, Haus der Kulturen der Welt became the festival's main location. In 2006, transmediale relocated to Akademie der Künste, only to return to Haus der Kulturen der Welt in 2008, where it has remained since.

transmediale is an annual festival for art and digital culture in Berlin, usually held over five days at the end of January and the beginning of February. The 2017 edition marked its 30-year anniversary.

Die transmediale ist ein Festival für Medienkunst und digitale Kultur, das einmal jährlich an fünf Tagen Ende Januar bis Anfang Februar in Berlin stattfindet. Mit der Ausgabe 2017 feierte die transmediale ihr 30. Jubiläum.


History.

Foundation and early years.

Munster was officially founded in 1879, at the same time as Leinster and Ulster, with Connacht being founded ten years later in 1889. The first Interprovincial matches between Leinster, Ulster and Munster, however, were held in 1875. The founding of the Munster branch of the IRFU was intended to organise and oversee the game within the

Games against touring sides.

Munster has a great tradition of competitiveness and impassioned displays against touring sides. The first touring side to play Munster were the famous Original All Blacks led by Dave Gallaher, who lined out against Munster in the Markets Field, Limerick in November 1905. Munster were defeated that day 33–0. Throughout the years, Munster were to record a number of near-misses and last minute defeats against South Africa, Australia and New Zealand. The first tangible result against a touring side was to come in 1958, when the Wallabies were held to a 3–3 draw in Thomond Park. Munster became the first Irish provincial side to defeat a major touring team when they defeated Australia 11–8 in Musgrave Park, Cork on 25 January 1967. Munster were captained that day by Tom Kiernan.

Against New Zealand.

Munster first played the All Blacks in 1905, losing 33–0 on the occasion. They have played each other many times since then. Munster drew with New Zealand 3–3 in 1973 and, in 1978, became, at the time, the only Irish side to have beaten the All Blacks. The 12–0 victory occurred on Tuesday 31 October 1978 at Thomond Park, in front of a crowd of 12,000, though many times that number still claim to have been present, such was the occasion. Christy Cantillon scored a try with Tony Ward converting. Ward also added a drop-goal in each half. Until the national team's victory on 5 November 2016, it was the only time an All Blacks team lost to

Against Australia.

Like the All Blacks, Munster have played Australia many times. They first met in 1947, where Australia won 6–5. Munster claimed their first victory over the Wallabies in 1967 when they won 11–8. In 1992, Australia, reigning world champions, having won the 1991 Rugby World Cup, visited Munster as part of a European Tour. Munster won 22–19 in a rough encounter in Cork. Ten years later, London newspaper The Daily Telegraph recounted part of the legend in a feature on Munster prop Peter Clohessy: "The then Wallabies coach, Bob Dwyer, who was not a man who readily accepted that opposition sides could legitimately score

Professional era.

On 26 August 1995, the International Rugby Board declared rugby union an "open" game, removing all restrictions on payments or benefits to those connected with the game. This was done due to a committee conclusion having an open game was the only way to end the hypocrisy of shamateurism, and keep control of the sport. The threat to amateur rugby union mostly prevalent in the Southern hemisphere, particularly in Australia

European success (1999–2008).

Munster's first appearance in the Heineken Cup's final was in the 1999–2000 Heineken Cup, where they lost by one point to Northampton at Twickenham. Nevertheless, the season was most memorable with a 25–31 win over Toulouse in Bordeaux.  Their good form and bad luck continued in the following season, 2000–01, with a semi-final defeat to Stade Français, again by one point, where a try from John O'Neill was disallowed by the referee, as he deemed the ball to be out over the dead-ball line. In the 2001–02 Heineken Cup, Munster lost the last match of their pool

2008–2014.

In 2008, Munster signed Doug Howlett, the all-time leading try scorer for New Zealand. That season's Heineken Cup saw Munster finish top in their group, and they went on to reach the final for the second time in three years beating Saracens in the semi-final. The final, again held at the Millennium Stadium, saw Munster defeat Toulouse 16–13 to claim their second Heineken Cup title in 3 years. Munster finished third in the Celtic League in the 2007–08 season. In May 2008, Director of Coaching Declan Kidney left to take up the head coach job with Ireland. Munster ensured continuity by promoting Australian Tony McGahan to the position from within the coaching setup.  In the 2008–09 Heineken Cup, Munster once again topped their group and reached the semi-final, but lost to arch-rivals Leinster 25–6, a match attended by a then world record crowd of over 82,200. On 30 April 2009, Munster clinched the Celtic League for the second time in their history, after their closest challengers Ospreys

Champions Cup era.

Munster were drawn in Pool 1 of the 2014–15 European Rugby Champions Cup, alongside Saracens, Clermont Auvergne and Sale Sharks. A late drop-goal from Ian Keatley gave Munster a 26–27 away win against Sale Sharks in Round 1 on 18 October 2014. Munster beats Saracens 14–3 in Round 2 on 24 October 2014. Clermont Auvergne beat Munster 9–16 at Thomond Park in Round 3 on 6 December 2014, becoming the first French team to beat Munster at their home stadium. In the reverse fixture on 14 December 2014, Clermont beat Munster 26–19. Saracens beat Munster 33–10 on 17 January 2015 in Round

Pro14 expansion.

When the draw for the 2017–18 European Rugby Champions Cup was made, Munster were drawn in Pool 4 alongside Leicester Tigers, Racing 92 and Castres Olympique. It marked the third season in a row in which Munster will face Leicester and the second season in a row in which they will play Racing 92. On 30 June 2017, it was confirmed after weeks of speculation that Director of Rugby Rassie Erasmus and Defence Coach Jacques Nienaber would leave the province in December of that year.  In August 2017, Celtic Rugby Limited and the South African Rugby Union confirmed that the two South African teams that had been cut from the southern hemisphere Super Rugby competition, Cheetahs and Southern Kings, would be joining an expanded Pro14 league ahead of the 2017–18 season. Due to the addition of two new teams, the league format was changed to feature two conferences, A and B, with Munster being placed in Conference A alongside Cardiff Blues, Ospreys, Glasgow Warriors, Connacht, Cheetahs and Zebre.  In October 2017, Munster confirmed that then-South

Current standings.

European Rugby Champions Cup.

Pool

Colours and crest.

The 'three crowns' flag of Munster alludes to the three constituent historic kingdoms of Munster; Thomond in the north, Desmond in the south, and Ormond in the east. A revamped logo was introduced for the 2003–04 season which included the addition of a stag with the three crowns. The new crest was designed by the Limerick graphic design and branding agency Designer's Ink, who received a Gold Award in the Irish Design Effectiveness Awards for the branding and implementation of Munster Rugby. The crest was designed to maintain the three crowns and the new red stag symbolises strength and competitiveness. The

Home grounds.

Munster have two main stadia where they play their home matches – Thomond Park in Limerick and Irish Independent Park in Cork. Thomond Park is the bigger of the two, with a capacity of around 25,600, which can be expanded up to 26,267 with temporary seating, while Irish Independent Park holds 8,008. As well as Munster, Shannon and UL Bohemians play at the grounds of Thomond Park. Thomond Park is famous for its atmosphere and unique history – its noise during play and complete silence when a player (home or away) is kicking at

Supporters.

The strength of Munster's support was demonstrated during Munster's 2006 and 2008 Heineken Cup final wins. News reports detailed the lengths that fans were willing to go to secure tickets to the game, with some Munster fans travelling to Biarritz to buy up the French allocation of tickets. On the day of the game the Millennium Stadium in Cardiff was filled with a capacity crowd of 74,500. Of those numbers it is estimated that somewhere between 55,000 and 65,000 were Munster fans with the remainder being neutrals and Biarritz supporters. The Millennium Stadium was intended to be a neutral venue but commentators on the day remarked that it could hardly be counted as such. In North America there is an official supporters club called Munster Rugby USA.  Munster played in the most attended semi-final match of the Heineken Cup. 82,208 spectators attended their 2008–09 Heineken Cup semi-final against Irish rivals Leinster, which was played in Croke Park, Dublin. This was also, at the time, the largest crowd ever at a club rugby union match. The record was broken in a league game between English sides Saracens and Harlequins in 2012.  Munster's appearance in the 2002 final of the Heineken Cup

Munster A.

Munster A is the team that represents Munster in the Celtic Cup and in the All-Ireland Inter-Provincial Championship. Pre-professionalism and a formal Celtic league structure, the main Munster team competed in the AIPC. Since the advent of professionalism the provinces have fielded lesser teams in order to concentrate on the Celtic League. The team is composed of Senior Munster squad players requiring gametime, Academy players and All-Ireland League players called up from their club.  Having been beaten finalists in the 2009–10 British and Irish Cup, losing 23–14 to Cornish Pirates, Munster A secured success

Honours.

Munster

Record against Pro14 and European Cup opponents.

"Correct as

Notable players.

British and Irish Lions.

The following Munster players

The '200' Club.

The following table shows the players who won

Overseas players.

Note: Flags indicate national union as has been

Individual records.

"(Correct as of 29 February 2020)" Bold

ERC Elite Team Awards.

The ERC issued awards to teams

ERC Elite Player Awards.

"All players are Irish unless otherwise noted."

ERC 15 European Player Award.

This award recognises the best European

European Dream Team.

In 2010, the following Munster players were selected in

Scoring.

The ERC issued awards to players who

Pro14 Team of the Year.

Golden Boot.

The Pro14 Golden Boot is awarded to the kicker who has successfully converted

Munster Rugby () is one of the four professional provincial rugby teams from the island of Ireland. They compete in the Pro14 and the European Rugby Champions Cup. The team represents the IRFU Munster Branch, which is one of four primary branches of the IRFU, and is responsible for rugby union throughout the geographical Irish province of Munster. The team motto is "To the brave and faithful, nothing is impossible." This is derived from the motto of the MacCarthy clan – "Forti et Fideli nihil difficile". Their main home ground is Thomond Park, Limerick, though some games are played at Irish Independent Park, Cork.

Munster Rugby (ir. Rugbaí Mumhan) ist eine professionelle Rugby-Union-Mannschaft aus der Provinz Munster in Irland. Sie spielt in der internationalen Meisterschaft Pro14 und nimmt an europäischen Pokalwettbewerben teil. Die Mannschaft vertritt die "Irish Rugby Football Union Munster Branch", eine von vier Teilverbänden der Irish Rugby Football Union (IRFU). Heimstadien sind der Thomond Park in Limerick und der Musgrave Park in Cork. Die größten Erfolge sind drei Meistertitel der Pro14 / Celtic League und zwei Pokalsiege im Heineken Cup.


Early life.

Born in Keokuk, Iowa, into an upper-middle-class family, he was the son of a musician father, Dr. Frank L. Nagel, who was of German descent, and a mother, Frances (née Murphy), who was a locally praised singer. Nagel's mother died early in his life, and he always attributed his artistic inclination to growing up in a family environment that encouraged self-expression. His father, Frank, became dean of the music conservatory at Highland Park College and when Nagel was three, the family moved to Des Moines.  After graduating from Highland Park College in Des Moines, Iowa, Nagel left for California to pursue a career in the relatively new medium of motion pictures where he garnered instant attention from the Hollywood studio executives. With his frame, blue eyes, and wavy blond hair; the young, Midwestern Nagel was seen by studio executives as a potentially wholesome matinee idol whose unpretentious all-American charm would appeal to the nation's nascent film-goers.

Film career.

Nagel was immediately cast in film roles that cemented his "unspoiled lover" image. His first film was the 1918 retelling of "Little Women", which quickly captured the public's attention and set Nagel on a path to silent film stardom. His breakout role came in the 1920 film, "The Fighting Chance", opposite Swedish starlet Anna Q. Nilsson. In 1918, Nagel joined The Lambs, the historical theater club.  In 1927, Nagel starred alongside Lon Chaney Sr., Marceline Day, Henry B. Walthall and Polly Moran in the now lost Tod Browning directed horror film, "London After Midnight". Unlike many other silent films stars, Nagel had little difficulty transitioning to sound films. His baritone voice was judged to be perfect for sound, so he appeared in about thirty films in only two years. He described the time as a "great adventure." He was working so steadily that one night when he and his wife planned to go to the movies, he was in the movie playing at Grauman's, Loew's, and Paramount's theaters. "We couldn't find a theater where I wasn't playing. So we'd go back home. I was an epidemic." He spent the next several decades being very well received in high-profile films as a character actor. He was also frequently heard on radio and made many notable appearances on television.

AMPAS & SAG.

On May 11, 1927, Nagel was among 35 other film industry insiders to found the Academy of Motion Picture Arts and Sciences (AMPAS); a professional honorary organization dedicated to the advancement of the arts and sciences of motion pictures. Fellow actors involved in the founding included: Mary Pickford, Douglas Fairbanks, Richard Barthelmess, Jack Holt, Milton Sills, and Harold Lloyd. He served as president of the organization from 1932 to 1933. He was also a founding member of the Screen Actors Guild (SAG). Nagel was elected to The Lambs, the New York-based theater organization, in 1918.  Nagel was the host of the 3rd Academy Awards ceremony held on November 5, 1930, the 5th Academy Awards on November 18, 1932, and a co-host with Bob Hope at the 25th Academy Awards ceremony on March 19, 1953. The 21-year gap between his appearances in 1932 and 1953 is a record for an Oscar ceremonies host.

Radio and television.

Nagel was the announcer for "Alec Templeton Time", a musical variety program on NBC Radio in the summer of 1939. He was the host on "Silver Theatre", a summer replacement program that began June 8, 1937.  From 1937 to 1947, he hosted and directed the radio program "Silver Theater". He then hosted the popular TV game show "Celebrity Time" from 1948 to 1952 and the DuMont Television Network program "Broadway to Hollywood" from 1953 to 1954. In 1961, again on television but in an acting role, he made a guest appearance on the popular courtroom drama "Perry Mason", portraying the character Nathan Claver, an art collector and murderer, in the episode "The Case of the Torrid Tapestry".  Templeton later hosted his own TV show "It's Alec Templeton Time" on the DuMont Television Network from June 1955 to August 1955. From September 14, 1955 to June 1, 1956, Nagel hosted "Hollywood Preview", a 30-minute show on the DuMont Television Network which featured Hollywood stars with clips of upcoming films.

Personal life.

Nagel married and divorced three times. His first wife, actress Ruth Helms, gave birth to a daughter, Ruth Margaret (October 29, 1920-June 14, 2013). His second wife was actress Lynn Merrick. His third wife was Michael Coulson Smith, who gave birth to a son Michael (1949-2020).  Nagel died in 1970 in New York City at the age of 72. A spokesman for the office of the Chief Medical Examiner said that Nagel's death was "due to natural causes", more specifically, a heart attack and emphysema. He added that no autopsy was planned. Nagel was cremated at Garden State Crematory in North Bergen, New Jersey. His remains are interred at the Lutheran Cemetery in Warsaw, Illinois.

Awards and honors.

In 1940, Nagel was given an Honorary Academy Award for his work with the Motion Picture Relief Fund. For his contributions to film, radio, and television, Conrad Nagel was given three stars on the Hollywood Walk of Fame at 1719 Vine Street (motion pictures), 1752 Vine Street (radio), and 1752 Vine Street (television).

Conrad Nagel (March 16, 1897 – February 24, 1970) was an American film, stage, television and radio actor. He was considered a famous matinée idol and leading man of the 1920s and 1930s. He was given an Academy Honorary Award in 1940 and three stars on the Hollywood Walk of Fame in 1960.

Conrad Nagel (* 16. März 1897 in Keokuk, Iowa; † 24. Februar 1970 in New York City) war ein US-amerikanischer Filmschauspieler des Stummfilms und frühen Tonfilms. Er war Gründungsmitglied und Präsident der Academy of Motion Picture Arts and Sciences.


Identification.

"H. whitei" is a small fish, reaching a maximum size of. Distinctive characteristics include a narrow head, moderate to high coronet, a long snout (about half of overall head length), moderately sized spines above the eyes, and low single or double cheek spines. Further spines on the body can be quite variable, ranging from low and rounded to moderately developed and sharp.  Individuals of this species are generally pale to dark brown or black, although some are entirely yellow. Often, they have pale, saddle-like markings at the first, fourth and eighth trunk rings, and on tail rings with enlarged spines. The underside of the snout typically has fine bars and dusky lines which get broader near the eyes. The nasal spine and surrounding area is pale.

Habitat.

"H. whitei" inhabits shallow, weedy inshore areas, usually at depths of. Its natural habitats include "Zostera" seagrass beds, sponges, kelp holdfasts, macroalgae, and corals, but it can also be found under jetties and on other anthropogenic structures, such as shark nets. Evidence from Port Stephens indicates that juveniles prefer gorgonian habitats ("Euplexaura" sp.), while adults prefer "sponges" and "soft coral" habitats. This species is known to show a preference for more complex habitats, likely because their camouflage is more effective in these environments, making avoiding predators easier. Additionally, prey of "H. whitei" are significantly more abundant in complex habitats, increasing food availability. Observed increases in the use of artificial habitats by "H. whitei" are likely driven by the continued loss of their natural habitats.

Ecology.

Feeding and predation.

This carnivorous species feeds on small crustaceans such as harpacticoid, caprellid and cyclopoid copepods, gammarid amphipods, caridean shrimp, and mysids, similar to other seahorse species.  Predators of "H. whitei" include invertebrates, fishes, sea turtles, waterbirds and marine mammals. Most of the species’ predators are considered generalist feeders, suggesting that "H. whitei" are not specifically targeted as prey.

Reproduction.

"H. whitei" is an ovoviviparous species, with females using an ovipositor to transfer eggs into a male's brood pouch, where they are fertilized and protected until the male gives birth to live young. Males may brood 100-250 embryos at a time, and after a three-week gestation period, give birth to about 150 young. Males brood several times a season. Newborns are about long and morphologically similar to adults. They grow rapidly and are able to reproduce early. This species displays strong site fidelity and seasonal monogamous mating.

Population.

Population information for "H. whitei" is available from two estuaries in Australia: Port Stephens and Port Jackson. Surveys in Port Stephens indicate a steep decline in "H. whitei" abundance, with two site surveys (the Pipeline and Seahorse Gardens) estimating 95-98% population decline from 2006-2015. This trend has been correlated with significant declines in preferred seahorse habitat. Population surveys in Port Jackson also indicate a decline, with a site survey (the protective swimming enclosure of Manly Harbour) estimating 40% population decline from 2008-2015. Based on the available survey data, it is expected that overall population declines of 50-70% have occurred.

Threats.

The major threat experienced by "H. whitei" is habitat loss. This species occurs along some of the most highly populated estuaries in Australia, in which habitats tend to be the most impacted by coastal development, pollution, destructive boat anchoring and sedimentation. Impacts are likely amplified by the species’ site fidelity and specific habitat preferences.  Since this species is protected in Australia, there has been no reported legal trade of them in the last five years. Small numbers caught in bycatch may be illegally traded, but this is not thought to pose a significant conservation threat.

Conservation.

"H. whitei" is protected under the New South Wales Fisheries Management Act (1999), and all Hippocampus species are listed under Appendix II of the Convention on International Trade in Endangered Species (CITES), which regulates the legal import and export of seahorses.

"Hippocampus whitei", commonly known as White's seahorse, New Holland seahorse, or Sydney seahorse, is a species of marine fish of the family Syngnathidae. It is thought to be endemic to the Southwest Pacific, from Sydney, New South Wales and southern Queensland (Australia) to the Solomon Islands. It lives in shallow, inshore habitats, both natural and anthropogenic. This species is ovoviviparous, with males brooding eggs in a brood pouch before giving birth to live young.

Whites Seepferdchen ("Hippocampus whitei") ist ein zwölf Zentimeter langes Seepferdchen, das an der Küste des östlichen Australiens (Mittleres Queensland bis New South Wales) lebt. Es lebt an Schwämmen in Riffen und in Seegraswiesen, immer in der Nähe der Küste, in ruhigen Buchten, meist in Tiefen bis zwanzig Metern, seltener tiefer.


Orbit and classification.

"Mithra" orbits the Sun at a distance of 0.7–3.7 AU once every 3 years and 3 months (1,192 days). Its orbit has an eccentricity of 0.66 and an inclination of 3° with respect to the ecliptic. In 1974, "Mithra" was first identified as at Crimea–Nauchnij. The body's observation arc begins 8 months prior to its official discovery observation, with a precovery taken at the Japanese Kiso Observatory in January 1987.

Close approaches.

As a potentially hazardous asteroid, it has a low minimum orbit intersection distance with Earth of or 18 lunar distances. On 14 August 2000, it passed from Earth.

Physical characteristics.

Rotation period and shape.

Radar imaging using a delay-Doppler technique at the Arecibo and Goldstone observatories rendered a rotation period of hours. Based on the radar analysis, "Mithra" is also a strong candidate for a contact binary, which is composed of two distinct lobes in mutual contact, held together by their weak gravitational attraction. They typically show a, dumbbell-like shape "(also see 4769 Castalia)". A large number of near-Earth objects are believed to be contact-binaries.

Diameter and albedo.

According to the survey carried out by the NEOWISE mission of NASA's Wide-field Infrared Survey Explorer, "Mithra" measures 1.85 kilometers in diameter and its surface has a high albedo of 0.297, while the "Collaborative Asteroid Lightcurve Link" assumes a standard albedo for stony asteroids of 0.20 and calculates a diameter of 2.25 kilometer with an absolute magnitude of 15.6.

Naming.

This minor planet was named after Mithra "(also see Mitra)", deity in the proto-Indo-Iranian religion. The mystery religion of Mithraism was practiced in the Roman Empire between the 1st and 4th century. Considered to be a rival of early Christianity, both religions shared similar characteristics such as elevation and the ritual of baptism. In the Hellenistic world, Mithra was conflated with Apollo. The asteroid 1862 Apollo is the namesake of this asteroid's orbital group. The approved naming citation was published by the Minor Planet Center on 5 September 1990 ().

4486 Mithra, provisional designation, is an eccentric asteroid and suspected contact-binary, classified as near-Earth object and potentially hazardous asteroid, approximately 2 kilometers in diameter. It belongs to the Apollo group of asteroids and is a relatively slow rotator.

(4486) Mithra ist ein Erd- und marsbahnkreuzender Apolloasteroid. Er wurde am 22. September 1987 von Eric Elst und W. G. Schkodrow entdeckt.


GranTurismo.

GranTurismo (2007–2019).

Unveiled at the 2007 Geneva Motor Show, the GranTurismo has a drag coefficient of 0.33. The model was initially equipped with a 4.2-litre () V8 engine developed in conjunction with Ferrari. The engine generates a maximum power output of and is equipped with a 6-speed ZF automatic transmission. The 2+2 body has been derived from the Maserati M139 platform, also shared with the Maserati Quattroporte V, with double-wishbone front suspension and a multilink rear suspension. The grand tourer emphasises comfort in harmony with speed and driver-enjoyment.

GranTurismo S (2008–2012).

The better equipped S variant was unveiled at the 2008 Geneva Motor Show and features the enlarged 4.7-litre () V8 engine shared with the Alfa Romeo 8C Competizione, rated at at 7,000 rpm and of torque at 4,750 rpm. At the time of its introduction, it was the most powerful road legal Maserati offered for sale (excluding the homologation special MC12). The engine is mated to the 6-speed sequential semi-automatic transmission shared with the Ferrari F430. With the transaxle layout weight distribution improved to 47% front and 53% rear. The standard suspension set-up is fixed-setting steel dampers, with the Skyhook adaptive suspension available as an option along with a new exhaust system, and upgraded Brembo brakes. The seats were also offered with various leather and Alcantara trim options. The upgrades were made to make the car more powerful and more appealing to the buyers while increasing performance, with acceleration from happening in 4.9 seconds and a maximum speed of. Aside from the power upgrades, the car featured new sideskirts, unique 20-inch wheels unavailable on the standard car, a small boot lip spoiler and black headlight clusters in place of the original silver. The variant was available in the North American market only for MY2009 with only 300 units offered for sale.

GranTurismo MC (2009–2010).

The GranTurismo MC is the racing version of the GranTurismo S developed to compete in the FIA GT4 European Cup and is based on the Maserati MC concept. The car included a 6-point racing harness, fuel tank, front and rear brake discs with 6-piston callipers at the front and 4-piston callipers at the rear, 18-inch racing wheels with 305/645/18 front and 305/680/18 rear tires, carbon fibre body work and lexan windows throughout along with a race interior. All the weight saving measures lower the weight to about. The car shares the 4.7-litre V8 engine from the GranTurismo S but is tuned to generate a maximum power output of along with the 6-speed sequential transmission.  The GranTurismo MS was unveiled at the Paul Ricard Circuit in France. It went on sale in October, 2009 through the Maserati Corse programme. 15 GranTurismo MC racecars were developed, homologated for the European Cup and National Endurance Series, one of which was taken to be raced by GT motorsport organization Cool Victory in Dubai in January, 2010.

GranTurismo MC Sport Line (2009–2019).

Introduced in 2008, the GranTurismo MC Sport Line is a customisation programme based on the GranTurismo MC concept. Changes include front and rear carbon-fibre spoilers, carbon fibre mirror housings and door handles, 20-inch wheels, carbon fibre interior (steering wheel rim, paddle shifters, instrument panel, dashboard, door panels), stiffer springs, shock absorbers and anti-roll bars with custom Maserati Stability Programme software and lower height than GranTurismo S. The programme was initially offered for the GranTurismo S only, with the product line expanded to all GranTurismo variants and eventually all Maserati vehicles in 2009.

GranTurismo Sport (2012–2019).

Replacing both the GranTurismo S and S Automatic, the Granturismo Sport was unveiled in March 2012 at the Geneva Motor Show. The revised 4.7L engine is rated at. The Sport features a unique MC Stradale inspired front fascia, new headlights and new, sportier steering wheel and seats. The ZF six-speed automatic gearbox is now standard, while the six-speed sequential transaxle is available as an option. The latter has steering column mounted paddle shifters, a feature that's optional with the automatic gearbox. New redesigned front bumper and air splitter lowers drag coefficient from.

GranTurismo MC Stradale (2011–2019).

In September, 2010, Maserati announced plans to unveil a new version of the GranTurismo - the MC Stradale - at the 2010 Paris Motor Show. The strictly two-seat MC Stradale is more powerful than the GranTurismo at, friction reduction accounts for the increase, says Maserati, due to the strategic use of “diamond-like coating", an antifriction technology derived from Formula 1, on wear parts such as the cams and followers. It is also 110 kg lighter (1,670 kg dry weight) from the GranTurismo, and more aerodynamic than any previous GranTurismo model - all with the same fuel consumption as the regular GranTurismo. In addition to two air intakes in the bonnet, the MC Stradale also receives a new front splitter and rear air dam for better aerodynamics, downforce, and improved cooling of carbon ceramic brakes and engine. The body modifications make the car longer.  The MC Race Shift 6-speed robotised manual gearbox (which shares its electronics and some of its hardware from the Ferrari 599 GTO) usually operates in an "auto" mode, but the driver can switch this to'sport' or 'race' (shifting happening in 60 milliseconds in 'race' mode), which affects gearbox operations, suspension, traction control, and even the sound of the engine. The MC Stradale is the first GranTurismo to break the barrier, with a claimed top speed of.  The push for the Maserati GranTurismo MC Stradale came from existing Maserati customers who wanted a road-legal super sports car that looked and felt like the GT4, GTD and Trofeo race cars. It has been confirmed by the Maserati head office that only 497 units of 2-seater MC Stradales were built in total from 2011–2013 in the world, Europe: 225 units, China: 45 units, Hong Kong: 12, Taiwan: 23 units, Japan: 33 units, Oceania: 15 units and 144 units in other countries.  US market MC's do not have the "Stradale" part of the name, and they are sold with a fully automatic six-speed transmission rather than the one available in the rest of the world. US market cars also do not come with carbon fibre lightweight seats like the rest of the world.  The MC Stradale's suspension is 8% stiffer and the car rides slightly lower than the GranTurismo S following feedback from racing drivers who appreciated the better grip and intuitive driving feel of the lower profile. Pirelli has custom-designed extra-wide 20-inch P Zero Corsa tyres to fit new flow-formed alloy wheels.  The Brembo braking system with carbon ceramic discs weighs around 60% less than the traditional system with steel discs. The front is equipped with 380 x 34 mm ventilated discs, operated by a 6 piston caliper. The rear discs measure 360 x 32 mm with four piston calipers. The stopping distance is 33 m at 100 km/h (62 mph) with an average deceleration of 1.2g.  At the 2013 Geneva Motor Show, an update to the GranTurismo MC Stradale was unveiled. It features an updated V8 engine rated at at 7,000 rpm and of torque at 4,750 rpm, as well as the MC Race Shift 6-speed robotized manual gearbox which shifts in 60 milliseconds in 'race' mode. The top speed is. All models were built at the historic factory in viale Ciro Menotti in Modena.

GranCabrio (2010–2019).

The GranCabrio (GranTurismo Convertible in the United States and Canada) is a convertible version of the GranTurismo S Automatic, equipped with a canvas folding roof. The GranCabrio retains the four seat configuration of the GranTurismo coupé, and is thus Maserati's first ever four-seater convertible.  The GranCabrio was unveiled at the 2009 Frankfurt Motor Show, with production beginning in 2010. It is built in the Viale Ciro Menotti Maserati factory. European sales were to begin in February 2010, with the United States receiving its first cars a month later. Planned sales for 2010 were 2,100 units, of which two thirds were intended to go stateside.  The GranCabrio is powered by the same 4.7-litre V8 engine (rated at at 7,000 rpm and at 4,750 rpm) that is fitted to the GranTurismo S Automatic.

GranCabrio Sport (2011–2019).

At the 2011 Geneva Motor Show, Maserati unveiled a new version of the GranCabrio, with an enhanced level of performance and handling. This version also has the 4.7-litre V8, coupled with the ZF six-speed automatic transmission and fitted with the slightly uprated version of the V8 engine, with torque. To hint at the car's more sporting nature, the headlights have black surrounds and other details such as the bars in the grille are also finished in black. There are also larger sideskirts as well as tiny winglets on the lower front corners. New front bumper and air splitter substantially lower drag coefficient from original.

GranCabrio Fendi.

The Fendi is a version of the GranCabrio designed by Silvia Venturini Fendi.  It was unveiled at the 2011 Frankfurt Motor Show.

GranCabrio MC (2013–2019).

The GranCabrio MC four-seater open-top is longer than GranCabrio with front end inspired directly by MC Stradale and equipped with much improved aerodynamics compared to standard models. Power comes from 4.7 L 90° V8 delivering and of torque. Top speed is and acceleration from 0–100 km/h (62 mph) happens in 4.9 seconds. The only transmission is a MC Auto Shift, 6-speed ZF automatic. Wheels are 20 inch MC Design units. It premiered on 27 September 2012 at the Paris Motor Show.

Specifications.

The architecture of the GranTurismo and GranCabrio derives from the M139 platform of the fifth generation Quattroporte, shortened about in the wheelbase and in the rear overhang. Like on the Quattroporte the engine is pushed back beyond the front wheel's centerline, inside the wheelbase—in the front mid-engine, rear-wheel-drive layout. This confers a 49%/51% front/rear weight distribution to automatic transmission cars. "MC SportShift" sequential transmission variants have a further rear-biased 47%/53% weight distribution, due to the gearbox mounted at the rear with the differential—in the transaxle layout.  The chassis is made of stamped and boxed steel sections, and is complemented by two aluminium subframes: one at the front supporting the engine and providing suspension attaching points, and a tubular one at the rear supporting both suspension and differential (or the entire transmission in transaxle cars). Structural body panels are steel, the bonnet is aluminium and the boot lid is a single sheet moulding compound piece.  The suspension system consists of unequal length control arms with forged aluminium arms and cast aluminium uprights, coil springs and anti-roll bars on both axles. Dampers are either fixed-rate and set up for handling or "Skyhook" adaptive. The Skyhook system uses aluminium-bodied gas dampers, allowing automatic and continuous damping rate adjustment by means of proportioning valves.

Engines.

The engines are from Ferrari/Maserati F136 V8 family.

Transmissions.

Depending on the model two transmission are available on the GranTurismo and GranCabrio: a conventional torque converter 6-speed automatic or a 6-speed automated manual gearbox.  As on the Quattroporte, the automatic transmission is a 6HP26 unit supplied by ZF. This transmission includes Auto Normal Mode, Auto Sports Mode, Auto ICE Mode, and Manual Mode. Auto Normal mode shifts gears automatically at low rpm to achieve the most comfortable ride and at higher rpm when driving style becomes more sporty. AutoSport Mode changes gears 40% faster than in Normal Mode, downshifts when lifting off as a corner approaches; then it activates the stability control, stiffening Skyhook suspension, and opening exhaust valves when the engine is over 3,000 rpm (in the GranTurismo S Automatic). Auto ICE mode is for low-grip conditions; it reduces maximum torque at the wheel, prevents 1st gear starts, and only allows gear changes below 1,000 rpm.  The automated manual transmission includes Manual Normal and Manual Sport, Manual Sport with MC-Shift, Auto Normal, Auto Sport, Auto ICE modes.

The Maserati GranTurismo and GranCabrio ("Tipo M145") are a series of a grand tourers produced by the Italian automobile manufacturer Maserati from 2007 to 2019. They succeeded the 2-door V8 grand tourers offered by the company, the Maserati Coupé and Spyder. The model was initially equipped with a 4.2-litre () V8 engine developed in conjunction with Ferrari. The GranTurismo platform was derived from Maserati M139 platform of Maserati Quattroporte V, with double-wishbone front and rear suspension. The grand tourer emphasizes comfort in harmony with speed and driver-enjoyment.

Der Maserati GranTurismo ist ein viersitziges Coupé des italienischen Autoherstellers Maserati, das zwischen 2007 und 2019 in Modena gebaut wurde.