Course.

The Mitis River originates in Lake Mitis in the Notre Dame Mountains, at an elevation of. Lake Mitis is a large reservoir long formed from the Superior, Croix and Inferior lakes. The Mitis dam and the hamlet of Lac-Mitis are at the source of the river. The river is swelled by many tributaries as it flows north for. Towards its mouth, in the Price municipality near Mont-Joli, the river meanders before being crossed by the Mitis-1 and Mitis-2 dams. It ends in the Baie Mitis on the south shore of the Saint Lawrence. Its mouth is near Sainte-Flavie, about east of Rimouski.  The Mitis River is between the Matane and Rimouski rivers. It gives its name to La Mitis Regional County Municipality. The main tributaries are the Neigette and Mistigougèche rivers. The average flow is, a steady rate due to the two dams built in the first half of the 20th century. The river can be accessed from a path that runs along its length. The river bed has fairly large rocks and red clay, but little gravel. The clay gives the clear river water a slightly reddish tinge after a heavy rainfall.

Name.

The name was given by the Listuguj Miꞌgmaq First Nation of Restigouche, who used to use it as a route to the Saint Lawrence. It appears in the title deed of the "Seigneurie de Mitis", dated 6 May 1675.

Dams.

In the early 20th century Jules-André Brillant (1888–1973), a local entrepreneur, formed the Compagnie de Pouvoir du Bas-Saint-Laurent (Lower Saint Lawrence Power Company). He found investors in Rimouski, purchased the Elsie Reford Falls and had a dam built above the falls. On 22 October 1922 the 2.75 MW turbine came into service. It was formally inaugurated in a ceremony on 1 July 1923 attended by various notables. The company grew into the largest power supplier in the region with a network of transmission lines serving Matane, Mont-Joli, Rimouski and beyond. A 3 MW turbine was added in 1930. The second dam, now called Mitis-2, was completed in 1947 below the first dam.  In 1963 the government of Quebec nationalized the production of electricity and created Hydro-Québec as a public utility, which took over management of the Mitis-1 and Mitis-2 dams. In 1965 a salmon capture station was installed at the foot of Mitis-2, with a system to transport the fish above the dams to a point about upstream near the mouth of the Neigette River. With this change the salmon population grew rapidly from an estimated 20 fish in 1965 to 1,200 by 1992.

Activities.

The river is used for fishing, canoeing and swimming. Inflatable boats can be used to descend the river from the lake. The Parc de la Rivière Mitis is opposite the historical Jardins de Métis. The regional park has just over of hiking trails. It also provides a dozen camping sites beside the Saint Lawrence.

Fishing.

The river is one of 22 salmon rivers in the Gaspé Peninsula. Historians think that the Malécites / Maliseet Indians fished for eel and salmon at the mouth of the river, although they may not have had permanent villages. Fish are numerous, and include Atlantic salmon ("Salmo salar"), longnose dace ("Rhinichthys cataractae"), Eastern blacknose dace ("Rhinichthys atratulus"), slimy sculpin ("Cottus cognatus"), American eel ("Anguilla rostrata") and brook trout ("Salvelinus fontinalis"). George Stephen, co-founder of the Canadian Pacific Railway, established the first fishing camp on the river in 1886. His niece Elsie Reford converted the camp into the Jardins de Métis. At that time salmon could only reach upstream, where they were stopped by a waterfall. Salmon were also affected until 1979 by logs being floated downstream.  The river was opened to the public for salmon fishing in 1977. In 1993 it became a ZEC ("zone d'exploitation contrôlée": controlled use zone), Zec de la Rivière-Mitis, managed by the Mitis River Sport Fishing Management Corporation. There are three fishing areas, one private and the other two open to the public, with 33 pools, mostly fished with waders. The ZEC de la rivière Mitis covers about of the river. Lake Mitis has a large population of lake trout ("Salvelinus namaycush"). Brook trout is found in Lake Mitis and in several water bodies and streams in the region.  In May 2015 the Ministry of Forests, Wildlife and Parks of Quebec announced a sport fishing catch-and-release program for large salmon on sixteen of Quebec's 118 salmon rivers. These were the Mitis, Laval, Pigou, Bouleau, aux Rochers, Jupitagon, Magpie, Saint-Jean, Corneille, Piashti, Watshishou, Little Watshishou, Nabisipi, Aguanish and Natashquan rivers. The Quebec Atlantic Salmon Federation said that the measures did not go nearly far enough in protecting salmon for future generations. In view of the rapidly declining Atlantic salmon population catch-and-release should have been implemented on all rivers apart from northern Quebec.

The Mitis River () is a salmon river in the Bas-Saint-Laurent region of Quebec, Canada. It flows to the south shore of the Saint Lawrence River. There are two hydroelectric dams on the river at a point where a waterfall used to prevent salmon from going further upstream. A system to capture and transport salmon upstream was installed in 1965, and the river now has a healthy salmon population along its whole length.

La rivière Mitis ou simplement la Mitis est une rivière située dans l'est du Québec dans la municipalité régional de comté de La Mitis au Bas-Saint-Laurent. Elle est un affluent du littoral sud du fleuve Saint-Laurent où elle se déverse à la hauteur de Grand-Métis.


Plot summary.

"Wizard" takes place in 2100, seventy-five years after the events in "Titan". Cirocco has become an alcoholic, apparently due to the strain of being the "Wizard". Gaby Plauget has taken up the slack, carrying out special projects for Gaea such as building the Circum-Gaea Highway, in return for which she gets some of the benefits Cirocco enjoys, including apparently perpetual youth.  Gaea herself is bored. She arranges for streams of people looking for miracle cures to come to her from Earth, and then sets them a task: do something "heroic" (for example, travel once round the circumference of the great wheel), and their wishes will be granted. This is her way of ensuring an enduring supply of entertainment, as she arranges hazards for them to overcome or die trying. It also serves as a way for her to be useful to Humanity by providing cures for diseases, so that they do not turn on her and destroy her. Meanwhile, she sits in the hub with her sycophants and watches old movies.  "Chris Major" and "Robin the Nine-Fingered" are two such pilgrims. Chris suffers from psychotic episodes which are often accompanied by paranormal "luck". Robin, a member of a group of latter day witches living in an O'Neill orbital habitat, has a strange epilepsy that only manifests itself in gravity higher than the Moon's. She claims that she bit off one of her fingers to drive away the fits, though it is later revealed she cut it off. On leaving Gaea, both are subjected to Gaea's near-fatal practical joke, being dropped through one of the spokes of the wheel-shaped habitat, taking about an hour to fall to the rim, reaching a high but survivable terminal velocity in the dense atmosphere. Robin experiences this, but is rescued by one of the Angels who live in the spokes. This Angel is sexually attracted to humans, to Robin's horror. Chris blacks out and his "luck" causes him to survive. His next memory is of the Titanide festival. It is implied that he fell onto one of the blimps that travel around the rim.  With Gaby, Cirocco and four Titanides they set out on a heroic trek. Gaby and Cirocco have a hidden agenda: they want to canvass the regional brains in order to overthrow Gaea, whom they see as being irretrievably insane.  During the trip, we begin to learn what drove Cirocco to her alcoholism. As the price for the discontinuation of the Angel/Titanide War, Gaea has made the Titanides dependent on Cirocco to have children. Only her saliva can activate the eggs they produce, so that they can be implanted in a host mother to grow. The responsibility for an entire race's survival is more than Cirocco can bear; with resignation from her position as Wizard impossible and suicide ruled out by her love for the Titanides, her only release is alcohol-fueled oblivion.  The hazards of the trip include "buzz-bombs", living creatures with pulse jet engines that live high up on the support cables. They attack living beings, including humans and Titanides, attempting to capture them as food, and present a particular threat to pilgrims with their barbed noses and razor-sharp wings. Slowly the journey reduces the crew, killing first one of the Titanides and then, in an attack plotted by the crazed crewmember Gene, Gaby, too, is killed. All are separated. Cirocco and her Titanide companion Hornpipe are left on the Rim surface, while Robin and Chris are trapped underground, with the Titanide Valiha, who is not only pregnant but has been badly injured. Eventually Robin has to leave Chris to tend Valiha, and climb back to the surface for help. She finds herself in one of the Arctic cold zones of the habitat, and almost dies before being rescued.  Cirocco undergoes a complete transformation. She musters her considerable powers to rescue all the remaining expedition members. Robin and Chris go to confront Gaea, only to be told she has cured them anyway, and they can get lost. Robin discovers that Gaea has also restored her missing finger. Cirocco also confronts Gaea, who offers to restore Gaby to life. Cirocco considers this, but realizes that the result would be a puppet of Gaea. She kills the body Gaea had been using to talk to people with bullets, then burns it. As Gaea is in reality an intelligence living in the hub, itself, the death of this body does not kill her; but it is Cirocco's way of resigning. Hereinafter, she is no longer the Wizard; she is the "Demon". She escapes by falling through a spoke, to be rescued by her friends the Angels. Gaea's response is to bombard the rim with the cathedrals that she had been replicating with human help.

Wizard is a 1980 science fiction novel by American writer John Varley. It is the second book in his Gaea Trilogy. It was nominated for the Hugo Award for Best Novel in 1981.

Sorcière (titre original : "Wizard") est un roman de John Varley publié en 1980, deuxième volume de la "trilogie de Gaïa".


Terminology.

From a video game development standpoint, a sandbox game is one that incorporates elements of sandbox design, a range of game systems that encourage free play. Sandbox design can either describe a game or a game mode, with an emphasis on free-form gameplay, relaxed rules, and minimal goals. Sandbox design can also describe a type of game development, where a designer slowly adds features to a minimal game experience, experimenting with each element one at a time. There are "a lot of varieties" of sandbox design, based on "a wide range of dynamic interactive elements". Thus, the term is used often, without a strict definition. Game designers sometimes define a sandbox as what it is not, where a game can "subtract the missions, the main campaign, the narrative or whatever formatively binds the game's progression, and you have a sandbox."  In game design, a sandbox is a metaphor for playing in a literal sandbox. Game historian Steve Breslin describes "the metaphor [as] a child playing in a sandbox... produc[ing] a world from sand", compared to games with more fully formed content. This metaphor between the virtual and literal sandbox is noted by architectural scholar Alexandra Lange, with a sandbox describing any bounded environment that offers freedom to explore and construct. This can distinguish it from conventional ideas of a game, where the metaphorical sandbox is a "play space in which people can try on different roles and imaginary quests... rather than a 'game' to play."  In describing video games, sandbox design is often associated with the open world gameplay mechanic and vice versa, but these are two disparate concepts. Open worlds are those where the player's movement in the virtual world is typically not limited by the game allowing the player to roam freely through it. "Adventure" on the Atari 2600 is considered an open world game as the player can explore the entire game world save for through locked gates from the start, but it is not considered to have sandbox design as the player's actions are generally restricted. Similarly, games like "Microsoft Flight Simulator" are also open world since the player can take their plane anywhere in the game's virtual world, but as there is no creative aspects to the game, would not be considered a sandbox.

Gameplay.

Sandbox design can incorporate several different game mechanics and structures, including open worlds, nonlinear storytelling, emergent behaviors, and automation of believable agents. It represents a shift away from linear gameplay. This freedom is always a question of degree, as a sandbox design "engenders a sense of player control, without actually handing over the reins entirely".  Player creativity is often included in sandbox design. When a player is allowed to use a game as a sandbox, they gain the freedom to be creative with their gameplay. A sandbox will have a combination of game mechanics and player freedom that can lead to emergent gameplay, where a player discovers solutions to challenges that may not be intended by the developers. A sandbox sometimes gives the player "transformative" power over the game world, where "the free movement of play alters the more rigid structure in which it takes shape." Will Wright describes this generative aspect of sandbox designs, leading to a measurable increase in player possibilities. John Smedley describes this type of emergent gameplay more succinctly, having seen in EverQuest "how hungry people are for sandboxes -- for building stuff". "Gamasutra" notes the growth of player-generated content as a "particular brand of sandbox design: that game design is so fun in itself that, if properly packaged, it can well be reinterpreted as gameplay itself".  Some games offer a separate sandbox mode, where the player can use a game's creative systems with fewer constraints. "This mode has few restrictions on what he may do and offers no guidance on what he should do." For example, a sandbox mode might unlock unlimited resources, or disable enemy threats. A sandbox mode is separate from the campaign mode, without a main narrative progression. In one sense, an approach to this design is to "enable the player to continue after the main storyline has been 'won'."  Many games tutorials utilize this type of design, since "sandboxes are game play much like the real game, but where things cannot go too wrong too quickly or, perhaps, even at all. Good games offer players, either as tutorials or as their first level or two, sandboxes." The game designers allows players to experiment in a safe environment, as "the point about open ended/sandbox design and when they work best in teaching the player is through learning by doing".  Cohesive narratives in sandbox design can be difficult since the player can progress through the game in a non-linear manner. Some sandbox designs empower players to create their own stories, which is described as sandbox storytelling. Sandbox stories can either replace or enhance a main plot. Some games give players "pure agency by giving them tools and a sandbox", sacrificing the story in favor of player creativity. Where the game systems are reactive enough, this "does not remove the narrative, but rather transforms predetermined narrative into dynamic, responsive narrative". According to Ernest Adams, "in sandbox storytelling, the idea is to give the player a big open world populated with opportunities for interesting interactions... in any order". Sandbox stories can also be told through shorter quests, conversations, collectibles, and encounters, all of which reward players for engaging with the world. This side-content becomes an "extremely common and an excellent format for sandbox gameplay: one central campaign (itself perhaps multi-threaded), plus a large number of side-missions". In general, sandbox storytelling occurs when the player can move through the story independently of their movement through the game space.  Designers also refer to sandbox worlds and sandbox game spaces, which create the feeling of a large open world. The concept of an open world is much older than the term sandbox. Overall, "a sandbox design usually means that the game space is not divided into discrete units", which emphasizes continuity and exploration. This can sometimes overwhelm the player, which is why successful game designers draw on "urban design principles that can be used to build successful sandbox spaces". As a best practice "when creating these sandbox worlds, [designers] should divide them up into distinct areas to aid the player's navigation and orientation." Overall, a sandbox world should "provide the player with a large open set of spaces in which to play, and give him or her things to do". "The more a game's design tends towards a sandbox style, the less a player will feel obliged to follow the main quest."  Game designers often need to create more dynamic game systems to support sandbox-style gameplay. Physics systems are part of the sandbox experience of several games. The popularity of voxels has also shown another system that can create "colorful sandboxes to dismantle and reconstruct."  There is also the value of more robust artificial intelligence. "Gamasutra" notes how "a sandbox means that the whole game becomes more of a simulation where AI plays an important role." This means that "believable and self-motivated characters have become key to sandbox play, because they produce a rich space for interactivity and greatly help establish the open-world aesthetic." Game designer John Krajewski observes for "a game that features sandbox-style play, the AI needs to provide enough different and interesting characters to interact with in the world, and the size of the world doesn't have to get very big before it becomes unfeasible to hard code them all."  An open-ended sandbox experience is sometimes contrasted with goal-oriented gameplay. Sandbox design usually minimizes the importance of goals. Rather than 'winning' a game, a sandbox design allows player to 'complete' a game by exploring and actualizing all of its options. This lack of victory condition may define sandbox as not a game at all. "For many, a game needs rules and a goal to be a game, which excludes sandbox/simulators." In sandbox mode, "the game resembles a tool more than a conventional video game".

Criticism.

Sandbox design has been criticized for providing a lack of satisfying goals for players. According to Ernest Adams, "plunking the player down in a sandbox and saying, 'have fun' isn't good enough. Especially at the beginning of a game, the player should have a clear sense of what to do next and, in particular, why." Christopher Totten observes that "sandbox elements can be mistakenly taken as fair replacements of narrative content; indeed, many games have missed their potential because they imagined that free-play would compensate for a lack of narrative. But even for our idealized child, playing around in a physical sandbox gets old pretty quick." Critics point to repetitive in-game tasks, arguing that an "overabundance of mundane events can get in the way of enjoying the sandbox." "Gamasutra" notes that the quality of sandbox gameplay varies because "the great risk of the sandbox is that it can be boring." This is because "sand by itself is not much fun. Automated, complex, and perhaps most of all, "directed" responsiveness is essential to sandbox play, and the more complex and responsive the world, the more interesting the sandbox."

History.

Prior to 2000, the bulk of what were considered sandbox games game from two genres:  Two games at the turn of the 20th century redefine the notion of what a sandbox game is.  These two games would become a major influence on many different games and genres to come. In 2007, Game designer Warren Spector noted the influence of Will Wright on numerous designers, but was surprised that there weren't more who "mimic Wright's games or his sandbox-style, saying titles in the "Grand Theft Auto" look-alike genre are about the closest most developers have come to doing so." This influence led to a trend, and by 2010 critics were noting that "almost every blockbuster game now contains a considerable'sandbox' element." This trend was linked to the rise of dynamic storytelling in sandbox worlds, as well as AI that is dynamic enough to supplement scripted content. These trends would continue, with journalists comparing the ubiquity of sandbox level design to the trend of shooters in the mid 2000s. "Even franchises that used to be linear are adopting the same sandbox design philosophies", with "a sandbox approach to level design, creating wide-open spaces that give players the opportunity to tackle objectives however they see fit."  Another major shift in sandbox games came with the release of "Minecraft", which was first introduced in 2009 in beta form and its first full release in 2011. At its core, "Minecraft" is a voxel-based survival game, where players collect resources to built tools that help them to collect better resources, and to construct shelters to protect them from hostile creatures. However, there are no limits on how players can build these structures, and using the vast array of resources available in the game, players can build nearly anything they could imagine, and has been compared to digital Lego bricks. Players' use of "Minecraft" in this way led to the developers to add a dedicated "Creative Mode" that stripped the survival elements from the game so that players could build without any hazards or other artificial limits. "Minecraft" became a massive success, having sold more than 180 million copies by May 2019 and being the best selling personal computer game of all time.  With time, sandbox design had become a mainstay in survival games, as well as a popular subset of shooters, and RPGs, Long-time series such as Metal Gear had made the "shift to an open-world sandbox design," where the game dynamically "adds more missions as the story progresses and players complete the available side-ops". Other long-running series such as Hitman were celebrated for their sandbox design. The series became influential, creating a new template of games "that echo the same emphasis on sandbox design, open-ended mission structure, and sneaking". In 2020, PC Gamer noted as "a triumph of sandbox design". They observe that "because of its sandbox nature, Mount & Blade’s quests are procedurally generated around a number of set templates," which leads to a game where "the simulation is the story".  Pure sandbox games, aimed to offer no goals but allow players to create works to be shared with others, is "Second Life" (2003), a large massively multiplayer online game set in a virtual world where users could create various sections of the world as their own. Works varied from artistic expressions to The game was purposely developed as a community-driven world, so while the developers established some of the fundamentals of the in-game economies, much of how the workings and economics of the rest of "Second Life"s world was set by the players, which created several issues around pricing, gambling, and taxes, among other aspects. The game ultimately drew use by business as well seeking create space within it. More recent sandbox games have been aimed at provided interactive works that can be shared with others. "Garry's Mod" allows players to tinker with the Source engine from Valve to make animations and games, while games like "LittleBigPlanet" and "Dreams" (2019) from Media Molecule give uses assets and primitive programming elements to craft games that can be shared with others.

Use in education.

Some sandbox games have gained favorable use in education settings for inspiring studies to use creativity and critical thinking skills.  Part of Microsoft's rationale for acquiring Mojang, the developers of "Minecraft", for in 2014 was for its potential application in Science, technology, engineering, and mathematics (STEM) education, according to CEO Satya Nadella on its acquisition in 2014, as the game already helps to pique children's curiosity. Microsoft subsequently enhanced the "MinecraftEDU" version of the game into its "Minecraft: Education Edition" that gives teachers and students numerous pre-made resources to work from, and the ability for teachers to monitor and assist students in their work, but otherwise allowing students to create and learn following several lesson plans developed by Microsoft.

A sandbox game is a video game with a gameplay element that gives the player a great degree of creativity to complete tasks towards a goal within the game, if such a goal exists. Some games exist as pure sandbox games with no objectives; these are also known as non-games or software toys. More commonly, sandbox games results from these creative elements being incorporated into other genres and allowing for emergent gameplay. Sandbox games are often associated with open world concepts which gives the player freedom of movement and progression in the game's world. The "sandbox" term derives from the nature of a sandbox that lets children create nearly anything they want within it.

Le jeu sandbox (« jeu bac à sable » en français) est un genre de jeu vidéo dont le "gameplay" est basé sur les gameplay non linéaire et émergent et qui fait principalement appel à la curiosité et à la créativité du joueur, le tout avec ou sans objectif prédéfini.


Biography.

'Abū 'Abdullāh Muḥammad ibn 'Alī ibn Muḥammad ibn `Arabī al-Ḥātimī aṭ-Ṭāʾī () was a Sufi mystic, poet, and philosopher born in Murcia, Spain on the 17th of Ramaḍān (26 July 1165 AD).  Ibn Arabi was Sunni, although his writings on the Twelve Imams were also popularly received among Shia. It is debated whether or not he ascribed to the Zahiri "madhab".  After his death, Ibn Arabi's teachings quickly spread throughout the Islamic world. His writings were not limited to the Muslim elites, but made their way into other ranks of society through the widespread reach of the Sufi orders. Arabi's work also popularly spread through works in Persian, Turkish, and Urdu. Many popular poets were trained in the Sufi orders and were inspired by Arabi's concepts.

Family.

Ibn Arabi's paternal ancestry was from the Arabian tribe of Tayy, and his maternal ancestry was North African Berber. Al-Arabi writes of a deceased maternal uncle, Yahya ibn Yughan al-Sanhaji, a prince of Tlemcen, who abandoned wealth for an ascetic life after encountering a Sufi mystic. His father, ‘Ali ibn Muḥammad, served in the Army of Muhammad ibn Sa'id ibn Mardanish, the ruler of Murcia. When Ibn Mardanīš died in 1172 AD, his father shifted allegiance to the Almohad Sultan, Abū Ya’qūb Yūsuf I, and returned to government service. His family then relocated from Murcia to Seville. Ibn Arabi grew up at the ruling court and received military training.  As a young man Ibn Arabi became secretary to the governor of Seville. He married Maryam from an influential family.

Education.

Ibn Arabi writes that as a child he preferred playing with his friends to spending time on religious education. He had his first vision of Jesus in his teens and later wrote of the experience as "the differentiation of the universal reality comprised by that look". Later he had several more visions of Jesus and called him his "first guide to the path of God". His father, on noticing a change in him, had mentioned this to philosopher and judge, Ibn Rushd (Averroes), who asked to meet Ibn Arabi. Ibn Arabi said that from this first meeting, he had learned to perceive a distinction between formal knowledge of rational thought and the unveiling insights into the nature of things. He then adopted Sufism and dedicated his life to the spiritual path. When he later moved to Fez, in Morocco, Mohammed ibn Qasim al-Tamimi became his spiritual mentor. In 1200 he took final leave from his master Yūsuf al-Kūmī, then living in the town of Salé.

Pilgrimage to Mecca.

Ibn Arabi left Spain for the first time at age 36 and arrived at Tunis in 1193. While there, he received a vision in year 1200 instructing him to journey east. After a year in Tunisia, he returned to Andalusia in 1194. His father died soon after Ibn Arabi arrived at Seville. When his mother died some months later he left Spain for the second time and travelled with his two sisters to Fez, Morocco in 1195. He returned to Córdoba, Spain in 1198, and left Spain crossing from Gibraltar for the last time in 1200. After visiting some places in Maghreb, he left Tunisia in 1201 and arrived for the Hajj in 1202. He lived in Mecca for three years, and there began writing his work "Al-Futūḥāt al-Makkiyya" ()'The Meccan Illuminations'.

Journeys north.

After spending time in Mecca, he traveled throughout Syria, Palestine, Iraq and Anatolia.  In 1204, Ibn Arabi met Shaykh Majduddīn Isḥāq ibn Yūsuf (شيخ مجد الدين إسحاق بن يوسف), a native of Malatya and a man of great standing at the Seljuk court. This time Ibn Arabi was travelling north; first they visited Medina and in 1205 they entered Baghdad. This visit offered him a chance to meet the direct disciples of Shaykh ‘Abd al-Qādir Jīlānī. Ibn Arabi stayed there only for 12 days because he wanted to visit Mosul to see his friend ‘Alī ibn ‘Abdallāh ibn Jāmi’, a disciple of the mystic Qaḍīb al-Bān (471-573 AH/1079-1177 AD; قضيب البان). There he spent the month of Ramaḍan and composed "Tanazzulāt al-Mawṣiliyya" (تنزلات الموصلية), "Kitāb al-Jalāl wa’l-Jamāl" (كتاب الجلال والجمال, "The Book of Majesty and Beauty") and "Kunh mā lā Budda lil-MurīdMinhu".

Return south.

In the year 1206 Ibn Arabi visited Jerusalem, Mecca and Egypt. It was his first time that he passed through Syria, visiting Aleppo and Damascus.  Later in 1207 he returned to Mecca where he continued to study and write, spending his time with his friend Abū Shujā bin Rustem and family, including Niẓām.  The next four to five years of Ibn Arabi's life were spent in these lands and he also kept travelling and holding the reading sessions of his works in his own presence.

Death.

On 22 Rabī‘ al-Thānī 638 AH (8 November 1240) at the age of seventy-five, Ibn Arabi died in Damascus.

Islamic law.

Although Ibn Arabi stated on more than one occasion that he did not prefer any one of the schools of Islamic jurisprudence, he was responsible for copying and preserving books of the Zahirite or literalist school, to which he has been ironically and erroneously ascribed. Ibn Arabi shared Ghazali's views that Islamic law was only a temporary means to a higher goal, eschewing the heavy focus on worldly matters such as financial transactions and regulations regarding clothing.  Ibn Arabi did delve into specific details at times, and was known for his view that religiously binding consensus could only serve as a source of sacred law if it was the consensus of the first generation of Muslims who had witnessed revelation directly.

Al-Insān al-kāmil.

The doctrine of perfect man ("Al-Insān al-Kāmil") is popularly considered an honorific title attributed to Muhammad having its origins in Islamic mysticism, although the concept's origin is controversial and disputed. Arabi may have first coined this term in referring to Adam as found in his work "Fusus al-hikam", explained as an individual who binds himself with the Divine and creation.  Taking an idea already common within Sufi culture, Ibn Arabi applied deep analysis and reflection on the concept of a perfect human and one's pursuit in fulfilling this goal. In developing his explanation of the perfect being, Ibn Arabi first discusses the issue of oneness through the metaphor of the mirror.  In this philosophical metaphor, Ibn Arabi compares an object being reflected in countless mirrors to the relationship between God and his creatures. God's essence is seen in the existent human being, as God is the object and human beings the mirrors. Meaning two things; that since humans are mere reflections of God there can be no distinction or separation between the two and, without God the creatures would be non-existent. When an individual understands that there is no separation between human and God they begin on the path of ultimate oneness. The one who decides to walk in this oneness pursues the true reality and responds to God's longing to be known. The search within for this reality of oneness causes one to be reunited with God, as well as, improve self-consciousness.  The perfect human, through this developed self-consciousness and self-realization, prompts divine self-manifestation. This causes the perfect human to be of both divine and earthly origin. Ibn Arabi metaphorically calls him an Isthmus. Being an Isthmus between heaven and Earth, the perfect human fulfills God's desire to be known. God's presence can be realized through him by others. Ibn Arabi expressed that through self manifestation one acquires divine knowledge, which he called the primordial spirit of Muhammad and all its perfection. Ibn Arabi details that the perfect human is of the cosmos to the divine and conveys the divine spirit to the cosmos.  Ibn Arabi further explained the perfect man concept using at least twenty-two different descriptions and various aspects when considering the Logos. He contemplated the Logos, or "Universal Man", as a mediation between the individual human and the divine essence.  Ibn Arabi believed Muhammad to be the primary perfect man who exemplifies the morality of God. Ibn Arabi regarded the first entity brought into existence was the reality or essence of Muhammad ("al-ḥaqīqa al-Muhammadiyya"), master of all creatures, and a primary role-model for human beings to emulate. Ibn Arabi believed that God's attributes and names are manifested in this world, with the most complete and perfect display of these divine attributes and names seen in Muhammad. Ibn Arabi believed that one may see God in the mirror of Muhammad. He maintained that Muhammad was the best proof of God and, by knowing Muhammad, one knows God.  Ibn Arabi also described Adam, Noah, Abraham, Moses, Jesus, and all other prophets and various "Awliya Allah" (Muslim saints) as perfect men, but never tires of attributing lordship, inspirational source, and highest rank to Muhammad. Ibn Arabi compares his own status as a perfect man as being but a single dimension to the comprehensive nature of Muhammad. Ibn 'Arabi makes extraordinary assertions regarding his own spiritual rank, but qualifying this rather audacious correlation by asserting his "inherited" perfection is only a single dimension of the comprehensive perfection of Muhammad.

Reaction.

The reaction of Ibn 'Abd as-Salam, a Muslim scholar respected by both Ibn Arabi's supporters and detractors, has been of note due to disputes over whether he himself was a supporter or detractor. All parties have claimed to have transmitted Ibn 'Abd as-Salam's comments from his student Ibn Sayyid al-Nas, yet the two sides have transmitted very different accounts. Ibn Taymiyyah, Al-Dhahabi and Ibn Kathir all transmitted Ibn 'Abd as-Salam's comments as a criticism, while Fairuzabadi, Al-Suyuti, Ahmed Mohammed al-Maqqari and Yusuf an-Nabhani have all transmitted the comments as praise.

Works.

Some 800 works are attributed to Ibn Arabi, although only some have been authenticated. Recent research suggests that over 100 of his works have survived in manuscript form, although most printed versions have not yet been critically edited and include many errors. A specialist of Ibn 'Arabi, William Chittick, referring to Osman Yahya's definitive bibliography of the Andalusian's works, says that, out of the 850 works attributed to him, some 700 are authentic while over 400 are still extant.

The Meccan Illuminations (Futūḥāt al-Makkiyya).

According to Claude Addas, Ibn Arabi began writing "Futūḥāt al-Makkiyya" after he arrived in Mecca in 1202. After almost thirty years, the first draft of "Futūḥāt" was completed in December 1231 (629 AH), and Ibn Arabi bequeathed it to his son. Two years before his death, Ibn ‘Arabī embarked on a second draft of the "Futūḥāt" in 1238 (636 AH), of which included a number of additions and deletions as compared with the previous draft, that contains 560 chapters. The second draft, which the most widely circulated and used, was bequeathed to his disciple, Sadr al-Din al-Qunawi. There are many scholars attempt to translate this book from Arabic into other languages, but there is no complete translation of "Futūḥāt al-Makkiyya" to this day.

The Bezels of Wisdom (Fuṣūṣ al-Ḥikam).

There have been many commentaries on Ibn 'Arabī's "Fuṣūṣ al-Ḥikam": Osman Yahya named more than 100 while Michel Chodkiewicz precises that "this list is far from exhaustive." The first one was "Kitab al-Fukūk" written by Ṣadr al-Dīn al-Qunawī who had studied the book with Ibn 'Arabī; the second by Qunawī's student, Mu'ayyad al-Dīn al-Jandi, which was the first line-by-line commentary; the third by Jandī's student, Dawūd al-Qaysarī, which became very influential in the Persian-speaking world. A recent English translation of Ibn 'Arabī's own summary of the "Fuṣūṣ, Naqsh al-Fuṣūṣ" (The Imprint or Pattern of the Fusus) as well a commentary on this work by 'Abd al-Raḥmān Jāmī, "Naqd al-Nuṣūṣ fī Sharḥ Naqsh al-Fuṣūṣ" (1459), by William Chittick was published in Volume 1 of the "Journal of the Muhyiddin Ibn 'Arabi Society" (1982).

Critical editions and translations of Fuṣūṣ al-Ḥikam.

The "Fuṣūṣ" was first critically edited in Arabic by 'Afīfī (1946) that become the standard in scholarly works. Later in 2015, Ibn al-Arabi Foundation in Pakistan published the Urdu translation, including the new critical of Arabic edition.  The first English translation was done in partial form by Angela Culme-Seymour from the French translation of Titus Burckhardt as "Wisdom of the Prophets" (1975), and the first full translation was by Ralph Austin as "Bezels of Wisdom" (1980). There is also a complete French translation by Charles-Andre Gilis, entitled "Le livre des chatons des sagesses" (1997). The only major commentary to have been translated into English so far is entitled "Ismail Hakki Bursevi's translation and commentary on Fusus al-hikam by Muhyiddin Ibn 'Arabi", translated from Ottoman Turkish by Bulent Rauf in 4 volumes (1985–1991).  In Urdu, the most widespread and authentic translation was made by Shams Ul Mufasireen Bahr-ul-uloom Hazrat (Muhammad Abdul Qadeer Siddiqi Qadri -Hasrat), the former Dean and Professor of Theology of the Osmania University, Hyderabad. It is due to this reason that his translation is in the curriculum of Punjab University. Maulvi Abdul Qadeer Siddiqui has made an interpretive translation and explained the terms and grammar while clarifying the Shaikh's opinions. A new edition of the translation was published in 2014 with brief annotations throughout the book for the benefit of contemporary Urdu reader.

Legacy.

In fiction.

In the Turkish television series "" Ibn Arabi portrayed by Ozman Sirgood.

References.

Bibliography.

Books by Ibn Arabi.

This is a small selection of his many books.

Ibn ʿArabi () (26 July 1165 – 16 November 1240), full name Abū ʿAbd Allāh Muḥammad ibn ʿAlī ibn Muḥammad ibnʿArabī al-Ḥātimī aṭ-Ṭāʾī (), was an Arab Andalusian Muslim scholar, mystic, poet, and philosopher, whose works have grown to be very influential beyond the Muslim world. Out of the 850 works attributed to him, some 700 are authentic while over 400 are still extant. His cosmological teachings became the dominant worldview in many parts of the Islamic world.

Abū ʿAbd Allāh Muḥammad ibn ʿAlī ibn Muḥammad ibn ʿArabī al-Ḥātimī aṭ-Ṭāʾī (en ), mieux connu sous le nom d'Ibn ʿArabi, né le, à Murcie, et mort le, à Damas, également appelé (, en arabe), est un ouléma, théologien, juriste, poète, soufi, métaphysicien et philosophe andalou, auteur de 846 ouvrages présumés. Son œuvre domine la spiritualité islamique depuis le, et il peut être considéré comme le pivot de la pensée métaphysique de l'islam. Il est le plus grand penseur de la doctrine ésotérique du « "Wahdat al-wujud" » (Unicité de l'Être). Il eut quelques ennemis dans le domaine exotérique. Dans l'ésotérisme islamique, il est considéré comme le « sceau de la Sainteté ». Selon certains auteurs, Dante Alighieri, dans la "Divine Comédie", aurait été influencé par son œuvre.


Personal life.

In 2003, he married Jessica Chambers after they met at KublaCon 2002.

Career.

Chambers is best known for his work for Games Workshop, where he worked from March 1990 to March 2004. He worked extensively on various "Warhammer 40,000" rulebooks and sourcebooks, and also authored multiple fiction novels set in the same universe. Chambers was the lead designer on a number of "Warhammer" "40,000" spin-off games, such as Necromunda (1995) and Battlefleet Gothic (1999), produced by Specialist Games. These games were released at a time of major growth for Games Workshop and "were designed with expansions and more miniatures sales in mind".  In 2003, Chambers joined Mongoose Publishing as the lead designer of the company's development team for the "" tabletop miniatures game. "Starship Troopers" won "Best New Game" in the 2005 Origins Awards.  Chambers was the Lead Story Writer for Blizzard Entertainment, for "". According to Megan Farokhmanesh, "much of the groundwork on "Wings of Liberty" was done, but it was Andy Chambers who finished the title".  Between 2005 and 2018, Chambers wrote several books and novellas set in "Warhammer" "40,000" and the majority were about the "Dark Eldar." Antony Jones, for "SFBook" in his review of "Path of the Renegade (Dark Eldar Book 1)", wrote "I loved how the author manages to elevate the Dark Eldar above that of humanity by describing games played with human captives as they watch them around a human size maze, the humans think they are really escaping but in reality being directed at every turn and watched over by their Eldar masters - very much like mice overlooked by people in white coats. [...] There aren't many novels that focus purely on the evil and even fewer that manage to pull it of effectively but Chambers does an excellent job here, it's one of the best examples I've read".  On 14 May 2012 "Dust Warfare", written by Andy Chambers, was released by Fantasy Flight Games. In June 2013, Fantasy Flight Games announced that New Zealand-based Battlefront Miniatures would take over distribution of both "Dust Warfare" and "Dust Tactics."  In 2015, Chambers became a Creative Director at Reforged Studios. Chambers, Tuomas Pirinen, and Ryan Miller created the skirmish board game "Warforged: First Contact" for Reforged Studios and Ninja Division Publishing who planned to bring it to market through a Kickstarter campaign. While the campaign beat its goal of $60,000, the campaign was cancelled before the Kickstarter ended. There has been no update on the game since April 2017.  Chambers and David Lewis received a nomination together in the 2017 Origins Awards "Miniatures" category for "Dropfleet Commander" by Hawk Wargames. In 2017, he created "Blood Red Skies", an air combat miniature game, which was released by Warlord Games. He also created multiple expansions for the game between 2017 and 2019. Matt Jarvis, in a review of "Blood Red Skies: Battle of Britain" for "Tabletop Gaming," wrote "abstracting altitude, position, damage levels and more into a single visual cue is a brilliant touch, making the slick ruleset effortless to execute and every battle look cinematic – closing in on a plane with its nose already pointed at the floor is an exciting moment, especially when combined with the simple but effective rules for tailing. [...] With a bit of tightening up, Blood Red Skies could be a strong contender for an involving tournament and spectator game – at the moment, it’s just a little too loose for anything but casual play. [...] But you know what? None of that really mattered a smidge while I was actually playing Blood Red Skies, because I was just having such a fun time watching my squadrons zip through clouds, around anti-air defences and unleash bursts of machine-gun fire on enemy pilots who would similarly dance around, whizzing between the tips of wings to try and zero in". Chambers also designed "Strontium Dogs", a skirmish game, which was released by Warlord Games in 2018.  In 2019, Chambers was a contributor to "Frostgrave: The Wizard’s Conclave." In his chapter “The Abandoned Workshop”, "warbands vie for control of powerful magical construct that is guarding a workshop full of potions. The conflict with the construct takes place in a confined space, with warbands trying to avoid attacks while gathering treasure".

Andy Chambers (born 20 October 1966) is an English author and game designer best known for his work on over 30 Games Workshop rulebooks and sourcebooks.

Andy Chambers, né le, est un concepteur de jeux de figurines et de jeux vidéo d'inspiration futuriste, et un auteur de science-fiction britannique.


History.

A first church devoted to St. Michael Archangel was built on the location of the Lombard Palace chapel (to this period belongs the lower section of the bell tower), but it was destroyed by a fire in 1004. The current construction was begun in the late 11th century (crypt, choir and transept) and was completed by 1155. The vaults of the nave, originally with two grossly squared groin-vaulted spans, were replaced in 1489 by the design of master architect Agostino de Candia in four rectangular spans, and the structure was created by his father the renown Pavia master mason Iacopo da Candia.  The basilica was the seat of numerous important events, including the coronations of Louis III (900) and Frederick Barbarossa (1155), among the others.

Architecture.

San Michele Maggiore can be considered the prototype of other important medieval churches in Pavia such as San Pietro in Ciel d'Oro and San Teodoro. However, it differentiates from latter in the use of sandstone instead of bricks, and for the Latin cross plan with a nave and two aisles and a much extended transept. San Michele's transept, provided with a true façade, a false apse and a barrel vault different from the rest of the church, constitutes a nearly independent section of the edifice. Also its length (38 m, compared to the 55 m of the whole basilica), contributes to this impression.  At the crossing of nave and transept is the octagonal dome, a 30 m-high asymmetrical structure supported on squinches, in the Lombard-Romanesque style. It is reportedly the earliest example of this form in Lombardy. The façade is decorated by numerous sandstone sculptures, of religious or profane themes; they are however now much deteriorated. The façade has five double and two single mullioned windows and a cross, which are a 19th-century reconstruction of what was thought be the original scheme. Bas reliefs in horizontal bands portray human, animal and fantastic figures. Over the minor portals are portrayed St. Ennodius, bishop of Pavia, and St. Eleucadius, archbishop of Ravenna. In the lunettes are angels which, according to a caption sculpted there, have the role of ambassadors of the faithful's words into heaven.  The nave has four spans. The aisles have matronaea with statical function. The four chapels in correspondence of the second and four spans of the aisles are a later addition. under the apse, which has a large 16th-century fresco, is the high altar (1383) housing the remains of Sts. Ennodius and Eleucadius. The presbytery has fragments of a notable pavement mosaic with the Labours of the Months and mythological themes.  The crypt, with a nave and two aisles, is located immediately under the altar: it houses beautifully decorated capitals and the monument of the Blessed Martino Salimbene (1491).

External links.

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The Basilica of San Michele Maggiore is a church of Pavia, one of the most striking example of Lombard-Romanesque style. It dates from the 11th and 12th centuries.

La basilique San Michele Maggiore ("Saint-Michel Majeur") est une église de Pavie, en Italie du Nord, l'un des meilleurs exemples de style roman lombard. Elle date des.


History.

Avicenna (980–1037), seeing color as of vital importance both in diagnosis and in treatment, discussed chromotherapy in "The Canon of Medicine". He wrote that "color is an observable symptom of disease" and also developed a chart that related color to the temperature and physical condition of the body. His view was that red moved the blood, blue or white cooled it, and yellow reduced muscular pain and inflammation.  American Civil War General Augustus Pleasonton (1801–1894) conducted his own experiments and in 1876 published his book "The Influence Of The Blue Ray Of The Sunlight And Of The Blue Color Of The Sky" about how the color blue can improve the growth of crops and livestock and can help heal diseases in humans. This led to modern chromotherapy, influencing scientist Dr. Seth Pancoast (1823–1889) and Edwin Dwight Babbitt (1828–1905) to conduct experiments and to publish, respectively, "Blue and Red Light; or, Light and Its Rays as Medicine" (1877) and "The Principles of Light and Color".  In 1933, Indian-born American-citizen scientist Dinshah P. Ghadiali (1873–1966) published "The Spectro Chromemetry Encyclopaedia", a work on color therapy. Ghadiali claimed to have discovered why and how the different colored rays have various therapeutic effects on organisms. He believed that colors represent chemical potencies in higher octaves of vibration, and for each organism and system of the body there is a particular color that stimulates and another that inhibits the work of that organ or system. Ghadiali also thought that, by knowing the action of the different colors upon the different organs and systems of the body, one can apply the correct color that will tend to balance the action of any organ or system that has become abnormal in its function or condition. Dinshah P. Ghadiali's son, Darius Dinshah, continues to provide information about color therapy via his Dinshah Health Society, a nonprofit organization dedicated to advancing non-pharmaceutical home color therapy, and his book "Let There Be Light".  Science writer Martin Gardner had described Ghadiali as "perhaps the greatest quack of them all". In 1925, Ghadiali was accused of rape and arrested in Seattle and sentenced under the Mann Act for five years at the United States Penitentiary, Atlanta. According to Gardner, photographs of Ghadiali at work in his laboratory are "indistinguishable from stills of a grade D movie about a mad scientist".  Throughout the 19th century "color healers" claimed colored glass filters could treat many diseases, including constipation and meningitis.

Colored chakras.

Practitioners of ayurvedic medicine believe the body has seven "chakras", which some claim are'spiritual centers', and are thought to be located along the spine. New Age thought associates each of the chakras with a single color of the visible light spectrum, along with a function and organ or bodily system. According to this view, the chakras can become imbalanced and result in physical diseases, but application of the appropriate color can allegedly correct such imbalances.

Scientific reception.

Chromotherapy is regarded by health experts as quackery.  According to a book published by the American Cancer Society, "available scientific evidence does not support claims that alternative uses of light or color therapy are effective in treating cancer or other illnesses".  Photobiology, the term for the scientific study of the effects of light on living tissue, has sometimes been used instead of the term chromotherapy in an effort to distance it from its roots in Victorian mysticism and to strip it of its associations with symbolism and magic. Light therapy is a specific treatment approach using high intensity light to treat specific sleep, skin and mood disorders.  A review of the existing research on chromotherapy found that there is not evidence to support a causal link between specific colours to health outcomes, there is not enough evidence to support a causal link between specific colours and emotional or mental states, and there is no research to suggest there exists one-to-one relationships between specific colours and emotions.  Chromotherapy has been accused of oversimplifying psychological responses to colours, making sweeping statements based on myths or beliefs that lack empirical support. Guidelines for chromotherapy lack consistency and appear to be subjective judgements that have inconclusive and nonspecific applicability in healthcare systems. While twelve colours have been reported as beneficial for health and wellbeing, a rigorous definition of each of these colours has yet to be provided, making it impossible to know if all colour therapists are using the same wavelengths for these colours.  Chromotherapy has also been criticized for its lack of falsifiability and verifiability. Critics have further suggested that some positive results from the therapy are actually placebo effects, where the mere introduction of a treatment led to health improvements unrelated to the colours.  More recently, concern regarding the theory has questioned the risks associated with the emergence of light-emitting diode (LED) based lamps that have been created for use in chromotherapy, these lamps are classified as low risk for exposure and do not require any warnings to accompany the products. However, certain chromotherapy procedures require the individual to place the lamps near their eyes, which is not the recommended use for these lights and may alter the exposure duration to a level that can cause risk of retinal damage. With no consensus or regulation regarding how these products are to be used and whether eyewear is required, this treatment puts participants at risk for serious eye damage.

Chromotherapy, sometimes called color therapy, colorology or cromatherapy, is an alternative medicine method, which is considered pseudoscience. Chromotherapists claim to be able to use light in the form of color to balance "energy" lacking from a person's body, whether it be on physical, emotional, spiritual, or mental levels.

La, chromothérapie, chromatothérapie, ou « cure des couleurs » sont les différents noms usuels d'une pseudo-médecine utilisant des lumières colorées projetées sur le corps ou de façon localisée. Cette pratique prône le traitement de maux et maladies par des longueurs d'onde (« couleurs ») obtenues au travers de filtres ou autres moyens. L'efficacité de ces techniques n'ayant pas pu être prouvée, celles-ci sont considérées comme des pseudo-sciences et comme du charlatanisme, et ne doivent pas être confondues ou assimilées avec des méthodes à l'efficacité avérée de photothérapie.


Plot.

Megan (Audrina Patridge) enlists the help of her sorority sisters Cassidy (Briana Evigan), Jessica (Leah Pipes), Ellie (Rumer Willis), Claire (Jamie Chung), and Chugs (Margo Harshman) to pull a prank on her boyfriend, Garrett (Matt O'Leary). While having sex with him, Megan fakes her death. Garrett and the girls bring her to a lake, where they intend to dump her body. When Jessica mentions they need to release the air out of her lungs so that her body will not float to the surface, Garrett stabs Megan in the chest with a tire iron, resulting in her actual death. Garrett and the girls cover up the incident and dump Megan's body and the tire iron in a nearby mine shaft. Everyone swears to never mention the incident to anyone, much to Cassidy and Ellie's dismay.  Eight months later, the girls are graduating from college and Cassidy has grown apart from the rest of the group. After the ceremony, the girls all receive a text message on their cell phones with a picture of the bloody tire iron. Suspicion immediately falls on Garrett, but Chugs defends him. Maggie (Caroline D'Amore), Megan's younger sister, arrives wanting to honor her sister's memory. Later, Chugs arrives for her appointment with her therapist. However, a cloaked figure wielding a tire iron murders both of them.  In the sorority's shower room, Claire and Jessica talk about the night Megan was murdered. After they leave, a sorority girl named Joanna, who overheard their conversation, is murdered. At the graduation party that night, Claire's ex-boyfriend Mickey is attacked and murdered by the killer, which Ellie witnesses. Cassidy, Claire, Jessica, and Ellie regroup and all receive a text containing the video of Megan's death and a message telling them to be at the mine shaft in twenty minutes or the video will be sent to the police. The girls drive to the mine shaft and encounter Garrett, who has cut his wrists and begins threatening them. Thinking Garrett is the one stalking them, Jessica runs him over with her vehicle. They discover afterward that Garrett has been receiving the same text messages they have. Ellie suspects that Megan is the killer, believing that she did not actually die and is seeking revenge. The girls lower Cassidy down the shaft to prove that Megan is dead. Megan's body is missing and Cassidy finds a message written in blood which reads, "Theta Pi must die".  Back at the now empty sorority house, the girls receive a text from Chugs' cell phone telling them that she is dead and Claire is murdered with a flare gun. While searching the house for Jessica's boyfriend, Kyle (Matt Lanter), the girls run into Maggie and their house mother, Mrs. Crenshaw (Carrie Fisher). Maggie claims that Kyle had been with her prior to Jessica's return. Jessica confesses Megan's murder, infuriating Maggie and Mrs. Crenshaw. Mrs. Crenshaw tells the girls to lock themselves in Jessica's bedroom and to call the police while she searches for the killer. Maggie leaves the room to find Megan and convince her to stop killing. After many failed attempts to shoot the killer, Mrs. Crenshaw is killed by the hooded figure. With no cell phones around, Cassidy and Jessica decide to find Mickey's body and use his. Downstairs, the killer confronts Maggie and throws a Molotov cocktail at her, setting the house on fire. Cassidy and Jessica run into Kyle, who injures Jessica. After knocking him unconscious, Cassidy and Jessica flee to an under-renovation bathroom where they find Megan's decomposing corpse hanging in the shower. Kyle, wearing the same cloak as the killer, finds them and knocks Jessica unconscious. He is killed with an axe by Andy (Julian Morris), Cassidy's boyfriend. Jessica regains consciousness and Cassidy realizes that Andy is the killer. Andy stabs Jessica in the mouth with a tire iron, killing her. Andy explains that he had hoped for a bright future with Cassidy, but because she was involved with Megan's death, he feared that she would be found out, so he decided to kill everyone who knew about it. Andy reveals that Ellie was the one who confided in him about Megan's murder and will likely report it to the police, and tells Cassidy they need to kill Ellie. Cassidy plays along and tells Andy that Ellie is in the basement.  Cassidy fetches Ellie from upstairs but they are discovered and attacked by Andy. Cassidy stuns Andy but hears Maggie screaming for help, who is trapped behind the flames. As Andy attempts to kill Maggie, the floor then crumbles underneath Cassidy and she is left hanging over the burning basement. Andy is about to finish her off when Ellie appears and shoots him with Mrs. Crenshaw's shotgun. He falls backward onto the burning floor, which collapses underneath him and he falls to his death into the flames. Maggie and Ellie save Cassidy and the three girls escape from the burning sorority house just as the fire department arrives.  15 months later, the sorority house is being renovated from the fire and Maggie is now a Theta Pi sister. A man comes into view and the camera reveals scars on his wrists, implying that Garrett is still alive.

Production.

"Sorority Row" entered pre-production in January 2008. Principal photography began on October 16, 2008 in the Pittsburgh area. Although set in Anytown, USA, producers of the film wanted to take advantage of Pennsylvania state tax credits (much like the 2009 remake of "My Bloody Valentine") and the strength of local film crews. The film was mostly shot at night in Munhall, one block from the Carnegie Library of Homestead, where about 10 houses were dressed to resemble a sorority row. The graduation scene for the film's school Rosman University, a fictional east coast school (named after the writer/director of "The House on Sorority Row") was shot outside of Soldiers & Sailors Memorial Hall in Pittsburgh's Oakland neighborhood. Interiors of the Theta Pi sorority were filmed on sets built in a warehouse near Crafton, Pennsylvania. Filming ended on March 26, 2009. The film was officially completed on May 2, 2009.

Soundtrack.

The film's soundtrack was released by E1 Music on August 31, 2009, and featured music by musical artists such as Shwayze, Ladytron, Lykke Li, Aimee Allen, and Camera Obscura, among others. The album received 2.5 out of 5 stars from Allmusic, stating: "Of the 15 tracks, only a few are even remotely memorable (Ladytron's "Ghosts," Camera Obscura's "Tears for Affairs," and Dragonette's "booty" anthem "I Get Around" come to mind), but there's hardly a dull moment."

Release.

A teaser trailer premiered at the 2009 San Diego Comic-Con International along with the main cast discussing the film's premise and how it felt working with the crew. "Sorority Row" was released on September 9, 2009 in the UK and September 11, 2009 in the USA.

Home media.

The DVD and Blu-ray were released on January 11, 2010 in the UK and on February 23, 2010 in the US.

Reception.

Critical response.

Rotten Tomatoes, a review aggregator website, reports an approval rating of 25% based on 80 reviews, with an average rating of 3.99/10. The site's consensus reads; "Though it's slick and stylish, "Sorority Row" offers nothing new to the slasher genre and misses the mark both in its attempts at humor and thrills." Metacritic rated it 24/100 based on 11 reviews.

Box office.

The film grossed $5,059,802 during its opening weekend, placing sixth in the process. It then fell 49% during its second weekend of release, while finishing with $8,965,282 in total. Internationally, its performance was mixed compared to its domestic run. It did manage fourth place in its debut in the UK, while it missed the top ten in both Australia and Mexico.

Sorority Row is a 2009 American slasher film directed by Stewart Hendler and starring Briana Evigan, Leah Pipes, Rumer Willis, and Carrie Fisher. Based on the script for the 1982 slasher "The House on Sorority Row" by Mark Rosman, it is a re-imagining. The film focuses on a group of sorority sisters who are stalked and murdered on the night of their graduation, one year after covering up the accidental death of a fellow sister.

Sœurs de sang ou Serment Mortel au Québec ("Sorority Row") est un film d'horreur américain réalisé par et sorti en 2009. Il s'agit d'un remake du film "The House on Sorority Row" de Mark Rosman, sorti en 1983.


Members.

Among the recorded members of the Memphis Jug Band at various times were Will Shade (harmonica, guitar, washtub bass, vocals), Charlie Burse (guitar, tenor guitar, vocals), Charlie Nickerson (vocals, piano), Charlie Pierce (fiddle), Charlie Polk (jug), Tewee Blackman (guitar, vocals), "Hambone" Lewis (jug), Jab Jones (piano, jug, vocals), Johnny Hodges (Johnny Hardge) (piano), Ben Ramey (kazoo, vocals), Will Weldon (guitar, vocals), Memphis Minnie (guitar, vocals), Vol Stevens (vocals, fiddle, mandolin), Milton Robie (fiddle), Otto Gilmore (Gilmer) (drums and woodblocks), and Robert Burse (washboard, drums). Vocals were provided by Hattie Hart, Memphis Minnie, Jennie Mae Clayton (Shade's wife), and Minnie Wallace. The Memphis Jug Band accompanied Memphis Minnie on two sides for Victor Records in 1930, one of her first recording sessions. Some members also contributed to gospel recordings, either uncredited or as part of the Memphis Sanctified Singers. The large membership pool gave the Memphis Jug Band the flexibility to play a mixture of ballads, dance tunes, knock-about novelty numbers, and blues.

Band name.

The group recorded under several names for various record labels: the Picaninny Jug Band, the Memphis Sanctified Singers, the Carolina Peanut Boys, the Dallas Jug Band, the Memphis Sheiks, and the Jolly Jug Band. Other releases were credited to individual members of the band—Hattie Hart, Minnie Wallace, Will Weldon, Charlie Nickerson, Vol Stevens, Charlie Burse, "Poor Jab" Jones, and Will Shade—but were performed with accompaniment by other members of the band.

Sound.

The remarkable sound of the Memphis Jug Band was partly due to its unusual instruments. The first recorded jug bands, based in Louisville, Kentucky, were jazz-oriented groups with a jug taking the place of a tuba or trombone. The Memphis Jug Band borrowed from this model but added kazoo as a prominent lead instrument, similar in sound to a trumpet in a jazz band. Another variation from the Louisville sound was a focus on country blues songs, like those favored by Jim Jackson and other Memphis-area solo artists. (The Memphis Jug Band recorded Jackson's hit song "Kansas City Blues" twice and performed it on the television program "Blues Street" in 1958.) This is the basic jug band sound that was adopted by other Memphis-area groups, like Gus Cannon's Jug Stompers, Jed Davenport's Beale Street Jug Band and Jack Kelly's South Memphis Jug Band.  The band initially played mostly country blues, but its repertoire expanded as new members contributed their own styles. Songs led by Charlie "Bozo" Nickerson, such as "Everybody's Talking About Sadie Green" and "Cave Man Blues," were boisterous and funny; songs led by Charlie Burse, such as "Little Green Slippers" and "Insane Crazy Blues," were more musically complex and jazz-oriented; songs led by Charlie Pierce sounded like Appalachian fiddle tunes, backed by impressive jug playing and shouted challenges from his bandmates. Will Shade continued playing straightforward country blues songs for the rest of his life, but he also introduced some jazz elements, as in his 1962 field recording of "Jump and Jive", which incorporates lyrics from Cab Calloway's "Jumpin' Jive".  The blues scholar Paul Oliver noted that the "raspy, buzzing sound" of some of the jug band instruments was close to the musical aesthetic of Africa and that the jug and kazoo represented the voices of animals or ancestral spirits. However, many of the Memphis Jug Band's influences are more readily apparent in popular musical styles of their time.

Performances.

The Memphis Jug Band played wherever they could find engagements and busked in local parks and markets. They were popular with white and black audiences, playing at country clubs and parties at the Peabody Hotel. The band was a favorite of former mayor Edward Hull "Boss" Crump and was shown performing at one of Crump's parties in a "Life" magazine photo feature in 1941.

Commercial recordings.

Between 1927 and 1934, the Memphis Jug Band made more than eighty commercial recordings, first for Victor Records, then (as the Picaninny Jug Band) for the Champion-Gennett label, and finally for OKeh Records. The Victor recordings were made in Memphis and Atlanta, Georgia, between 1927 and 1930; the Champion-Gennett recordings were made in Richmond, Indiana, in August 1932; and the final sessions for Okeh were held in Chicago in November 1934. By that time, their style of music was no longer in demand by record companies, as commercial styles were moving toward a more urban sound.  Two of their 1920s recordings were included on the influential "Anthology of American Folk Music", released in 1952 (a third is on the unreleased fourth volume). Their 1928 recording of "Stealin', Stealin'" was included on the compilation album "The Country Blues" issued by Folkways Records in 1959. The song became one of the group's best known, especially after the Grateful Dead recorded it as its first single, in 1966.  The other jug band song on "The Country Blues" was Gus Cannon's "Walk Right In", which was a hit for the Rooftop SIngers in 1962. Capitalizing on the success of that recording, the Memphis label Stax Records invited Cannon, then 79 years old, to record a full-length album the following year. Will Shade, the leader of the Memphis Jug Band, backed Cannon on jug, and former member Milton Roby played washboard.  Twenty-eight of the group's commercial recordings from 1927 to 1934 were reissued by Yazoo Records in 1980 on the double album "Memphis Jug Band". It was reissued in 1991 on CD with a reduced and reprogrammed 23-track listing.

Field recordings.

During the folk revival of the 1950s, Shade made several field recordings. His ongoing activity as a performer and his accessible location in Memphis made him a popular starting point for scholars looking for other musicians in the area. Shade would often gather musicians at his apartment at Fourth and Beale for informal recording sessions featuring former musical rivals (including his former romantic rival Furry Lewis), playing together in different combinations. Shade continued using the name Memphis Jug Band, even for recordings consisting only of him and one or two other members. His wife, Jennie Mae Clayton, who sang on some of the earliest Memphis Jug Band recordings, also sang on some of these field recordings.  The following are commercially available field recordings from this period:

Legacy.

The Memphis Jug Band was key in developing the jug band format, which evolved into the blues combo that is the basis of much popular music today. Their legacy, like that of other acoustic blues musicians of their era, has been overshadowed by the electric blues of the 1950s. Modern jug bands still play many Memphis Jug Band songs, but generally the only songs recognizable to a wider audience are those that were covered by rock groups in the 1960s.  The Memphis Jug Band was awarded a Brass Note on the Beale Street "Walk of Fame" in 2009. It was among the first set of inductees into the Jug Band Hall of Fame, an informal website run by jug band musicians, in 2010.

The Memphis Jug Band was an American musical group active from the mid-1920s to the late 1950s. The band featured harmonica, kazoo, fiddle and mandolin or banjolin, backed by guitar, piano, washboard, washtub bass and jug. They played slow blues, pop songs, humorous songs and upbeat dance numbers with jazz and string band flavors. The band made the first commercial recordings in Memphis, Tennessee, and recorded more sides than any other prewar jug band.

Le Memphis Jug Band est un groupe de musique populaire américaine, en activité entre la fin des années 1920 et le milieu des années 1930.


Composition.

"Ain't We Got Fun" follows the structure of a foxtrot. The melody uses mainly quarter notes, and has an unsyncopated refrain made up largely of variations on a repeated four-note phrase. The "Tin Pan Alley Song Encyclopedia" describes it as a "Roaring Twenties favourite" and praises its vibrancy, "zesty music," and comic lyrics.  Philip Furia, connecting Kahn's lyrics to the song's music, writes that: Critical appraisals vary regarding what view of poverty the song's lyrics take. Nicholas E. Tawa summarizes the refrain "Ain't we got fun" as a "satirical and jaunty rejoinder" toward hard times. Diane Holloway and Bob Cheney, authors of "American History in Song: Lyrics from 1900 to 1945", concur, and describe the black humor in the couple's relief that their poverty shields them from worrying about damage to their nonexistent Pierce Arrow luxury automobile.  Yet George Orwell highlights the lyrics of "Ain't We Got Fun" as an example of working class unrest: After quoting a few of the song's lines Orwell refers to the era as a time when "people had not yet settled down to a lifetime of unemployment mitigated by endless cups of tea," a turn of phrase which the later writer Larry Portis contests.  However, others concentrate on the fun that they got. Stephen J. Whitfield, citing lyrics such as "Every morning / Every evening / Ain't we got fun," writes that the song "set the mood which is indelibly associated with the Roaring Twenties," a decade when pleasure was sought and found constantly, morning, evening, and "In the meantime / In between time." Philip Furia and Michael Lasser see implicit references to sexual intercourse in lyrics such as "the happy chappy, and his bride of only a year." Looked at in the context of the 1920s, an era of increasing sexual freedom, they point out that, while here presented within the context of marriage (in other songs it is not), the sexuality is notably closer to the surface than in previous eras and is presented as a delightful, youthful pleasure.  There are several variations on the lyrics. For example, "American History in Song" quotes the lyrics: The sheet music published in 1921 by Jerome K. Remick and Co. leaves this chorus out completely, whereas a recording for Edison Records by Billy Jones keeps the reference to the Pierce Arrow, but then continues as in the sheet music: "There's nothing surer / The rich get rich and the poor get laid off / In the meantime,/ In between time/ Ain't we got fun?"

Reception and performance history.

It premièred in the Fanchon and Marco show "Satires of 1920", where it was sung by Arthur West, then entered the vaudeville repertoire of Ruth Roye. A hit recording by Van and Schenck increased its popularity, and grew into a popular standard.  The song appears in the F. Scott Fitzgerald novel "The Great Gatsby", when Daisy Buchanan and Gatsby meet again after many years, and the latter insists Klipspringer, his apparently permanent "guest," to play it for them. It also appears in Dorothy Parker's 1929 short story, "Big Blonde." Warner Brothers used the song in two musicals during the early 1950s: The Gus Kahn biopic "I'll See You in My Dreams" and "The Eddie Cantor Story". Woody Allen used the song in his 1983 film "Zelig".

"Ain't We Got Fun" is a popular foxtrot published in 1921 with music by Richard A. Whiting, lyrics by Raymond B. Egan and Gus Kahn.

Ain't We Got Fun? est une chanson populaire, publiée en 1921, sur un air de foxtrot composé par Richard A. Whiting et écrite par Raymond B. Egan et Gus Kahn. Elle est chantée pour la première fois en 1920 dans la revue "Satires of 1920", puis reprise ensuite par plusieurs vaudevilles et enregistrée par de nombreux chanteurs. Elle est le symbole de ce que les Américains nomment les "Roaring Twenties" (que nous nommons les années folles). En tant que telle, on la retrouve dans la littérature marquante de l'époque comme dans "Gatsby le Magnifique" ("The Great Gatsby") de F. Scott Fitzgerald ou dans la nouvelle, "Big Blonde", de Dorothy Parker. Au cinéma, elle est chantée par Doris Day et Gordon MacRae dans "By the Light of the Silvery Moon" de David Butler en 1953.


Story.

Bounty Bob is a member of the Royal Canadian Mounted Police on a mission to search through all of Nuclear Ned's abandoned uranium mines for the treacherous Yukon Yohan. Bob must claim each section of each mine by running over it. There are a wide variety of futuristic obstacles that he must deal with such as matter transporters, hydraulic scaffolds, and jet-speed floaters, plus he must also avoid radioactive creatures that have been left behind in the mines.

Gameplay.

As Bounty Bob, the player's goal is to inspect every section of each mine in search of the evil Yukon Yohan while avoiding the radioactive creatures that inhabit the mine. As Bounty Bob walks over a section of flooring, it fills with color. To complete the level, every section of flooring must be colored. There are ten mines in total (eleven in the ColecoVision port). Each level is timed and must be completed before the player runs out of oxygen.  Along the way, Bob encounters many objects left behind by past miners. By collecting these, bonus points are achieved and the radioactive creatures smile and turn green. While in this state, Bob can collect them and earn extra points.  Obstacles in each mine aid and hinder Bob's progress. Ladders allow him to climb up or down to the next platform, Matter transporters teleport him to other matter transporters in that mine, chutes slide Bob off a platform (often against his will), and pulverizers crush Bob if he gets in their way.  Most levels contain some custom element, which varies from level to level.

Development.

Big Five Software co-founders Bill Hogue and Jeff Konyu programmed computer games from 1980-82 for Radio Shack's TRS-80 Model I home computer. They created games patterned after arcade games, such as "Super Nova" ("Asteroids"), "Attack Force" ("Targ"), "Cosmic Fighter" ("Astro Fighter"), "Galaxy Invasion" ("Galaxian"), "Meteor Mission II" ("Lunar Rescue"), "Robot Attack" ("Berzerk"), and "Defense Command" ("Missile Command").  Hogue was originally going to write Miner 2049er for the TRS-80 Model I, but Radio Shack discontinued it in mid-1982, so he instead developed the game on the Atari 800. The game required 16k at a time when cartridges were a normal 8k, so the company had to produce their own circuit boards holding two EPROMs. Early versions of the cartridges had a bug in the elevator code. Due to a production delay, it was first released on the Apple II.

Ports.

"Miner 2049er" was ported to the Apple II, IBM PC (as a self-booting disk), Commodore 64, VIC-20, Atari 5200, Atari 2600, TI-99/4A, and ColecoVision. For the Atari 2600, two separate cartridges were published by Tigervision, each containing three selected levels: "Miner 2049er" and "Miner 2049er Volume II".

Reception.

"ANALOG Computing" in 1982 called "Miner 2049er" "one of those rare games which looks as if it were designed, not just thrown together", praising its animation and large number of levels, and concluded that it "is a must-play game for the Atari". "Softline" in 1983 stated that the Apple version was a good port of the Atari version, which "You already knew... was a great game".  The game reached #1 on the Softsel Hot List in 1983. The same year, "Softline" readers named the game the fourth most-popular Apple and sixth most-popular Atari program of 1983. "Miner 2049er" was awarded "1984 Electronic Game of the Year" at the 5th annual Arkie Awards, where the judges noted that the game was available on so many platform that it had become "the most widely played home electronic game of all time", and that "no home-arcade title has had the impact" that the game had. It also won an Outstanding Software Award from "Creative Computing" that year.

Legacy.

"Miner 2049er" has been cited as the inspiration behind the "Miner Willy" and "Crystal Caves" series of games produced by Software Projects and Apogee Software respectively.

Sequels.

Development of two games followed that featured Bounty Bob. The first, named "Scraper Caper", had Bob acting as a fireman in a side-scrolling building, but that version was scrapped and they started over with an unnamed new game where Bob was chased by fireballs in 3D. Neither was considered appealing enough to release, and in 1985 an official sequel was released, "Bounty Bob Strikes Back". However, it never achieved the same level of success as its predecessor, and it was Hogue's last game.

Re-releases.

A Game Boy version of the game with different graphics and levels was released by Mindscape in 1991.  "Miner 2049er" was re-released in 2007 by Magmic for the mobile market. This version contains both a recreation of Hogue's original and the second a modernized version. The remake received an IGN Editor's Choice Award and won the Best Revival category in the Best of 2007 IGN awards. In 2011, Magmic added support for iOS devices.  Also in 2007 Hogue released an emulator coded in C++ with both Bounty Bob games in one package for Windows. The emulator was made available free of charge on the Big Five website. Hogue states that as neither game used any Atari ROM routines they are not necessary for the emulator to run.

Miner 2049er is a platform video game created by Bill Hogue that was released in 1982 by Big Five Software. It was developed for the Atari 8-bit family and widely ported to other systems. The title "Miner 2049er" evokes a 21st-century take on the California Gold Rush of around 1849, in which the gold miners and prospectors were nicknamed "49ers".

Miner 2049er est un jeu vidéo sorti en 1983 sur ColecoVision et Commodore 64 puis réédité en 1992 sur Game Boy. Il s'agit d'un jeu de plates-formes développé par Big 5 Software puis édité tour à tour par Micro Fun, Reston Software et Mindscape.


History.

In 1973, after releasing their album entitled "Trinity," the other members of Ekseption asked Rick van der Linden to leave the band. At this time Ekseption were quite famous which led Philips, their record-company, to give van der Linden the opportunity to find a new band.  In January 1974 van der Linden started rehearsals with Peter de Leeuwe, who had previously played drums with Ekseption. The pair split up again soon after, since van der Linden considered de Leeuwe to lacking in skill. De Leeuwe was replaced in February by Pierre van der Linden (a second-cousin of Rick), who had left Focus in October, 1973. To complete the trio, Rick asked Jaap van Eik, a self-taught musician considered to be one of the best Dutch bass players, to join the band. Originally named Ace (in the tradition of Cream and Flash to highlight their supergroup status), they had to change the name to Trace when they discovered a British band had already trademarked the name.  In May 1974 the trio recorded their first single, a prog rock version of Dizzy Gillespie's "Tabu," backed by an original theme, "Progress," which saw release in July 1974. On 9 September 1974 the group released its eponymous, first album. Their second album "Birds" was released on 1 January 1975, and featured future Marillion drummer Ian Mosley. A third album, "The White Ladies", was released in 1976 with Rick van der Linden being supported by all of the former members of Ekseption except trumpeter Rein van den Broek. In 1978 van den Broek rejoined the group, which became Ekseption once again.

Discography.

"Trace" (1974).

Personnel:

"Birds" (1975).

Personnel:  All tracks written & arranged by Rick van der Linden except as noted

"The White Ladies" (1976).

Personnel:

Trace was a Dutch progressive rock trio founded by Rick van der Linden in 1974 after leaving Ekseption. They released three albums before merging back into Ekseption.

Trace est un groupe de rock progressif néerlandais. Il est formé en 1974 par le claviériste Rick van der Linden après son départ d'Ekseption. Ils comptent trois albums avant de retourner à la formation Ekseption, et de mettre un terme au groupe en 1978.