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352_11	The Way Things Work (1988), text by David Macaulay and Neil Ardley; winner of the 1989 Boston Globe-Horn Book Award, commended by the Association for Library Service to Children (ALSC) as a notable book, 1989 Black and White (1990); Caldecott Medal Winner (1991) Ship (1994) Shortcut (1995) Rome Antics (1997) The New Way Things Work (1998) Pinball Science (1998) (CD-ROM video game) Building the Book Cathedral (1999) Building Big (2000) Angelo (2002) Mosque (2003) The Way We Work (7 October 2008); Honor, 2009 Boston Globe-Horn Book Award Built to Last (2010) Jet Plane: How It Works (2012) Castle: How It Works (2012) Toilet: How It Works (2013) Eye: How It Works (2013) How Machines Work: Zoo Break! (2015) The Way Things Work Now (2016) Crossing on Time: Steam Engines, Fast Ships, and a Journey to the New World (2019) Mammoth Science: The Big Ideas That Explain Our World, Tested by Mammoths (2020)
352_12	Artwork exhibitions David Macaulay: The Art of Drawing Architecture. The National Building Museum. (June 2007 to May 2008) Building Books: The Art of David Macaulay. The Currier Museum of Art. (2009) Television Castle (1983), PBS, host and narrator Cathedral (1986), PBS, host and narrator Pyramid (1988), PBS, host and narrator Roman City (1994), PBS, host and narrator Mill Times (2001), PBS, host and narrator The Way Things Work (2001–2002), BBC, 26 episodes, animated and based on the book References External links Official David Macaulay Website A biography of David Macaulay at WGBH, Boston, MA David Macaulay bio at the NCBLA : "An Illustrated Journey through Rome"
352_13	1946 births 20th-century American writers 21st-century American writers American children's book illustrators American children's writers British children's book illustrators Caldecott Medal winners Children's non-fiction writers English children's writers English illustrators Information graphic designers Living people MacArthur Fellows National Humanities Medal recipients People from Burton upon Trent Rhode Island School of Design alumni Rhode Island School of Design faculty Writers from Lancashire Writers from Rhode Island Writers who illustrated their own writing
353_0	Inigo Jones (; 15 July 1573 – 21 June 1652) was the first significant architect in England and Wales in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. As the most notable architect in England and Wales, Jones was the first person to introduce the classical architecture of Rome and the Italian Renaissance to Britain. He left his mark on London by his design of single buildings, such as the Queen's House which is the first building in England designed in a pure classical style, and the Banqueting House, Whitehall, as well as the layout for Covent Garden square which became a model for future developments in the West End. He made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson. Early life and career
353_1	Beyond the fact that he was born in Smithfield, London, into the Welsh-speaking family of Inigo Jones Snr., a Welsh cloth worker, and baptised at the church of St Bartholomew-the-Less, little is known about Jones's early years. He did not approach the architectural profession in the traditional way, namely either by rising up from a craft or through early exposure to the Office of Works, although there is evidence that Christopher Wren obtained information that recorded Jones as an apprentice joiner in St Paul's Churchyard. At some point before 1603, a rich patron (possibly the Earl of Pembroke or the Earl of Rutland) sent him to Italy to study drawing after being impressed by the quality of his sketches. From Italy he travelled to Denmark where he worked for Christian IV on the design of the palaces of Rosenborg and Frederiksborg.
353_2	Jones first became famous as a designer of costumes and stage settings, especially after he brought "masques" to the stage. Under the patronage of Queen Anne of Denmark (the consort of King James I), he is credited with introducing movable scenery and the proscenium arch to English theatre. Between 1605 and 1640, he was responsible for staging over 500 performances, collaborating with Ben Jonson for many years, despite a relationship fraught with competition and jealousy: the two had arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over a span of two decades.) Over 450 drawings for the scenery and costumes survive, demonstrating Jones's virtuosity as a draughtsman and his development between 1605 and 1609 from initially showing "no knowledge of Renaissance draughtsmanship" to exhibiting an "accomplished Italianate manner" and understanding of Italian set design, particularly that of Alfonso and
353_3	Giulio Parigi. This development suggests a second visit to Italy, circa 1606, influenced by the ambassador Henry Wotton. Jones learned to speak Italian fluently and there is evidence that he owned an Italian copy of Andrea Palladio's I quattro libri dell'architettura with marginalia that refer to Wotton. His architectural work was particularly influenced by Palladio. To a lesser extent, he also held to the architectural principles of the ancient Roman writer Vitruvius.
353_4	Jones's first recorded architectural design is for a monument to Frances, Lady Cotton, commissioned by Rowland Cotton, circa 1608–1611, at Norton-in-Hales, Shropshire showing early signs of his classical intentions. In July 1606, Jones made scenery for a masque at Theobalds for the Earl of Salisbury. In the following years, Jones made drawings for the Earl of Salisbury's New Exchange in the Strand, where work commenced in June 1608, and the central tower of St. Paul's Cathedral, displaying a similar practical architectural inexperience and immature handling of themes from sources including Palladio, Serlio and Sangallo. In 1609, having perhaps accompanied Salisbury's son and heir, Viscount Cranborne, around France, he appears as an architectural consultant at Hatfield House, making small modifications to the design as the project progressed, and in 1610, Jones was appointed Surveyor to Prince Henry. He devised the masques the Barriers and the Masque of Oberon for the Prince and was
353_5	possibly involved in some alterations to St James's Palace.
353_6	On 27 April 1613, Jones was appointed the position of Surveyor of the King's Works and shortly after, embarked on a tour of Italy with the Earl of Arundel, destined to become one of the most important patrons in the history of English art. On this trip, Jones was exposed to the architecture of Rome, Padua, Florence, Vicenza, Genoa and Venice among others. His surviving sketchbook shows his preoccupation with such artists as Parmigianino and Schiavone. He is also known to have met Vincenzo Scamozzi at this time. His annotated copy of Palladio's Quattro libri dell'architettura also demonstrates his close interest in classical architecture: Jones gave priority to Roman antiquity rather than observing the contemporary fashion in Italy. He was probably the first native born to study these Roman remains first hand and this was key to the new architecture Jones introduced in England and Wales.
353_7	Masques Jones worked as a producer and architect for Masques from 1605 to 1640, but his most known work in this field came from his collaboration with poet and playwright Ben Jonson. Having worked together for fifteen years, the two debated and had disagreements about their line of work and about what was most integral in a masque. While Jonson argued that the most important aspect of a masque was the written word that the audience heard, Jones argued that the visual spectacle was the most important aspect, and that what the audience saw was more important. Jones also felt that the architect had just as much creative freedom and right as the writer or poet of the masque. In defence of this Jones stated that masques were "nothing but pictures with light and motion," making little to note of the words spoken.
353_8	Jones's work on masques with Jonson is credited to be one of the first instances of scenery introduced in theatre. In his masques, curtains were used and placed in between the stage and the audience, and that they were to be opened to introduce a scene. Jones was also known for using the stage and theatre space in its entirety, putting his actors throughout different parts of the theatre, such as placing them below the stage, or elevating them onto a higher platform. Jones settings on the stage also incorporated different uses of light, experimenting with coloured glasses, screens and oiled paper to create a softer source of light on the stage. Jones is also known for introducing to English audiences moving scenery through what is called 'machina versatilis', helping to create motion among a stable scene without any noticeable Stagehands and of creating a representation of the ethereal.
353_9	These elements of stage design and of theatre production would later have influence beyond the English court, as those working in the public stage would take up these ideas and apply them to the early modern stage and for its larger audience. Architecture
353_10	In September 1615, Jones was appointed Surveyor-General of the King's Works, marking the beginning of Jones's career in earnest. Fortunately, both James I and Charles I spent lavishly on their buildings, contrasting hugely with the economical court of Elizabeth I. As the King's Surveyor, Jones built some of his key buildings in London. In 1616, work began on the Queen's House, Greenwich, for James I's wife, Anne. With the foundations laid and the first storey built, work stopped suddenly when Anne died in 1619. Jones provided a design for the queen's funeral hearse or catafalque, but it was not implemented. Work at Greenwich resumed in 1629, this time for Charles I's Queen, Henrietta Maria. It was finished in 1635 as the first strictly classical building in England, employing ideas found in the architecture of Palladio and ancient Rome. This is Jones's earliest-surviving work.
353_11	Between 1619 and 1622, the Banqueting House in the Palace of Whitehall was built, a design derived from buildings by Scamozzi and Palladio, to which a ceiling painted by Peter Paul Rubens was added several years later. The Whitehall palace was one of several projects where Jones worked with his personal assistant and nephew by marriage John Webb. The Queen's Chapel, St. James's Palace, was built between 1623 and 1627, for Charles I's Roman Catholic wife, Henrietta Maria. Parts of the design originate in the Pantheon of ancient Rome and Jones evidently intended the church to evoke the Roman temple. These buildings show the realisation of a mature architect with a confident grasp of classical principles and an intellectual understanding of how to implement them.
353_12	The other project in which Jones was involved is the design of Covent Garden square. He was commissioned by the Earl of Bedford to build a residential square, which he did along the lines of the Italian piazza of Livorno. It is the first regularly planned square in London. The Earl felt obliged to provide a church and he warned Jones that he wanted to economise. He told him to simply erect a "barn" and Jones's oft-quoted response was that his lordship would have "the finest barn in Europe". In the design of St Paul's, Jones faithfully adhered to Vitruvius's design for a Tuscan temple and it was the first wholly and authentically classical church built in England. The inside of St Paul's, Covent Garden was gutted by fire in 1795, but externally it remains much as Jones designed it and dominates the west side of the piazza.
353_13	Jones also designed the square of Lincoln's Inn Fields, and a house in the square, the Lindsey House built in 1640, is often attributed to Jones. Its design of a rusticated ground floor with giant pilasters above supporting the entablature and balustrade served as a model for other town houses in London such as John Nash's Regent's Park terraces, as well as in other English and Welsh towns such as Bath's Royal Crescent.
353_14	Another large project Jones undertook was the repair and remodelling of St Paul's Cathedral. Between the years of 1634 and 1642, Jones wrestled with the dilapidated Gothicism of Old St Paul's, casing it in classical masonry and totally redesigning the west front. Jones incorporated the giant scrolls from Vignola and della Porta's Church of the Gesù with a giant Corinthian portico, the largest of its type north of the Alps, but was destroyed in the Great Fire of London in 1666. Also around this time, circa 1638, Jones devised drawings completely redesigning the Palace of Whitehall, but the execution of these designs was frustrated by Charles I's financial and political difficulties.
353_15	More than 1000 buildings have been attributed to Jones but only a very small number of those are certain to be his work. According to architecture historian John Summerson, the modern concept of an architect's artistic responsibility for a building did not exist at that time, and Jones's role in many instances may be that of a civil servant in getting things done rather than as an architect. Jones's contribution to a building may also simply be verbal instructions to a mason or bricklayer and providing an Italian engraving or two as a guide, or the correction of drafts. In the 1630s, Jones was in high demand and, as Surveyor to the King, his services were only available to a very limited circle of people, so often projects were commissioned to other members of the Works. Stoke Bruerne Park in Northamptonshire was built by Sir Francis Crane, "receiving the assistance of Inigo Jones", between 1629 and 1635. Jones is also thought to have been involved in another country house, this time
353_16	in Wiltshire. Wilton House was renovated from about 1630 onwards, at times worked on by Jones, then passed on to Isaac de Caus when Jones was too busy with royal clients. He then returned in 1646 with his student, John Webb, to try and complete the project. Contemporary equivalent architects included Sir Balthazar Gerbier and Nicholas Stone.
353_17	One of Jones's design work was "double cube" room, and it was also the foundation stone of his status as the father of British architecture. Jones, as the pioneer in his era, had strong influence during their time. His revolutionary ideas even effect beyond the Court circle, and today, many scholars believe that he also started the golden age of British architecture.
353_18	Political and civic life On 16 February 1621, in a by-election caused by the ejection of an existing member Sir John Leedes, Jones was elected M.P. in the Parliament of England for New Shoreham in west Sussex, a borough constituency controlled by the Earl of Arundel, and sat till the dissolution of that parliament in February 1622. He was named to a committee to improve lighting and increase seating in the House of Commons' chamber, resulting in a new gallery being erected in St Stephen's Chapel during the summer recess and was also responsible for a new ceiling put in the House of Lords chamber in 1623. He also served as a Justice of the Peace (J.P.) for the county of Middlesex and borough of Westminster from 1630 until at least 1640. He was made a freeman of the borough of Southampton in 1623 and in 1633 was offered, but declined, a knighthood by Charles I. Later life
353_19	Jones's full-time career effectively ended with the outbreak of the English Civil War in 1642 and the seizure of the King's houses in 1643. Jones was captured at the third siege of Basing House in October 1645. Unfortunately, as one of the last great strongholds to the Cavaliers, the great mansion inside was destroyed by Cromwell's army and even the walls were broken into many pieces. His property was later returned to him (c. 1646) but Jones ended his days, unmarried, living in Somerset House. He was, however, closely involved in the design of Coleshill House, in Berkshire, for the Pratt family, which he visited with the young apprentice architect Roger Pratt, to fix a new site for the proposed mansion. He died on 21 June 1652 and was subsequently buried with his parents at St Benet Paul's Wharf, the Welsh church of the City of London. John Denham and then Christopher Wren followed him as King's Surveyor of Works. A monument dedicated to him in the church, ironically portraying St
353_20	Paul's Cathedral and other buildings, was destroyed in the Great Fire in 1666.
353_21	Legacy He was an influence on a number of 18th-century architects, notably Lord Burlington and William Kent. There is an Inigo Jones Road in Charlton, south east London (SE7), near Charlton House, some of whose features were allegedly designed by him. A bridge in Llanrwst, North Wales, named "Pont Fawr" is also known locally as "Pont Inigo Jones"—Inigo Jones's Bridge. He is also said to be responsible for the Masonic Document called "The Inigo Jones Manuscript", from around 1607. A document of the Old Charges of Freemasonry. List of architectural works
353_22	Design for the completion of the central tower, old St Paul's Cathedral, not executed (c. 1608) Design for the New Exchange in the Strand, London, not executed (c.1608) The Queen's House, Greenwich (1616–1619), work suspended on the death of Anne of Denmark completed (1630–1635) for Henrietta Maria of France Design for the Star Chamber building, not executed (1617) Gateway at Oatlands Palace (1617), now at Chiswick House Gateway at Arundel House (1618), demolished Banqueting House, Whitehall (1619–22) Prince's Lodging, Newmarket for Henry Frederick, Prince of Wales (1619), demolished The Queen's Chapel, St. James's Palace (1623–27), for Henrietta Maria of France Fort Amsterdam (1625) – The Dutch East India Company asked Jones to design a stone fortification on the Hudson River, which he did, but the fort was built (by Cryn Fredericks) out of wood instead and was torn down in 1790. The Cockpit Theatre, Palace of Whitehall (1629) demolished
353_23	Stoke Park Pavilions, Northamptonshire, attributed (c. 1629–35) Somerset House Chapel (1630–35), demolished Covent Garden, London, houses on the north and east side as well as St Paul's, Covent Garden on the west (1631–1637) only the church survives Old St Paul's Cathedral, new west front and remodelling of the nave and transepts (1634–42) destroyed in the Great Fire of London Wilton House, Wiltshire (1636–40) the interior burnt c.1647, rebuilt to the designs of John Webb (1648) Sir Peter Killigrew's House, Blackfriars, London (1630s) not known if built Palace of Whitehall, various schemes for the complete rebuilding of the palace (c. 1637–39) Lord Maltravers's House, Lothbury, London (1638) if built destroyed in the Great Fire of London Temple Bar, London, design for triumphal arch, not executed (1638)
353_24	Screen in Winchester Cathedral (c.1638), removed by the dean in 1820, and its central portion is now found in the Museum of Archaeology and Anthropology, Cambridge, incorporated into the building as an architectural feature. Design for a row of house in Lothbury for Thomas Howard, 21st Earl of Arundel (c.1638), destroyed in the Great Fire of London Lindsey House, Lincoln's Inn Fields now numbers 59 & 60, attributed (c. 1638–40) Milton Manor House, Milton, Abingdon, Oxfordshire Coleshill House, Berkshire (designed by Jones and executed by Roger Pratt)
353_25	Gallery of architectural works See also List of architects Lists of people from London In-I-Go Jones References Sources
353_26	Anderson, Christy, Inigo Jones and the Classical Tradition (Cambridge, 2007). Chaney, Edward, The Evolution of the Grand Tour: Anglo-Italian Cultural Relations since the Renaissance, London, Routledge, 2000. Chaney, Edward, 'Evelyn, Inigo Jones, and the Collector Earl of Arundel', John Evelyn and his Milieu, eds F. Harris and M. Hunter (The British Library, 2003). Chaney, Edward, Inigo Jones's 'Roman Sketchbook''', 2 vols, London, The Roxburghe Club, 2006. Chaney, Edward, "Roma Britannica and the Cultural Memory of Egypt: Lord Arundel and the Obelisk of Domitian", in Roma Britannica: Art Patronage and Cultural Exchange in Eighteenth-Century Rome, eds. D. Marshall, K. Wolfe and S. Russell, British School at Rome, 2011, pp. 147–70. Chaney, Edward and Timothy Wilks, The Jacobean Grand Tour: Early Stuart Travellers in Europe (I.B. Tauris: London, 2014). Colvin, Howard, "A Biographical Dictionary of British Architects: 1600 to 1840", 1954 Gotch, A J, "Inigo Jones", 1968.
353_27	Hart, Vaughan. Art and Magic in the Court of the Stuarts. London, Routledge, 1994. Hart, Vaughan. ‘Imperial Seat or Ecumenical Temple? On Inigo Jones's use of ‘Decorum’ at St Paul's Cathedral’, Architectura, 1995, vol.25 no.2, pp. 194–213. Hart, Vaughan, Inigo Jones: The Architect of Kings, London and New Haven, Yale University Press, 2011. Hart, Vaughan, Tucker, Richard. ‘"Immaginacy set free": Aristotelian Ethics and Inigo Jones's Banqueting House at Whitehall’, RES: Journal of Anthropology and Aesthetics, vol.39, Spring 2002, pp. 151–67. Hart, Vaughan, Tucker, Richard. ‘Ornament and the work of Inigo Jones’, Architectura, vol.32, Autumn 2002, pp. 36–52. Leapman, Michael. Inigo: The Troubled Life of Inigo Jones, Architect of the English Renaissance. London, Headline Book Publishing, 2003. Orgel, Stephen and Strong, Roy C., Inigo Jones: The Theatre of the Stuart Court, 1973
353_28	Worsley, Giles, Inigo Jones and the European Classicist Tradition'', New Haven and London, Yale University Press, 2007.
353_29	External links Biography of Inigo Jones, Royal Institute of British Architects. Oxford Dictionary of National Biography "An Early Drawing by Inigo Jones and a monument in Shropshire" The Burlington Magazine, Vol. 115, No. 843, June 1973 Inigo Jones at the National Portrait Gallery, London Inigo Jones' Tulip Stairs, Queen's House, Greenwich, photo gallery at Atlas Obscura H. Flitcroft, H. Hulsbergh, I. Cole, P. Fourdrinier, "The designs of Inigo Jones : consisting of plans and elevations for publick and private buildings", 1727 1573 births 1652 deaths 16th-century English architects 17th-century English architects Architects from London English people of Welsh descent People from the City of London Theatre in England
354_0	The Palm Center Business and Technology Center, commonly known as Palm Center, is a municipally-owned services complex in southeast Houston, Texas. It is from NRG Stadium and is in proximity to the Third Ward area. As of 2011 the complex includes a former shopping center, which is one story tall, and the Park at Palm Center (PAPC). The complex is at the intersection of Martin Luther King Boulevard and Griggs Road. Tenants include small businesses, government agencies, and nonprofits. History
354_1	Shopping center It opened as the Palms Center in September 1955. Keiji Asakura, an architect, described it as "the first of its kind that we know today as a shopping center, which means you drive up park and shop." Oscar Holcombe and Sterling T. Hogan, Sr. had the shopping center built to serve White Houstonians living in newly developed neighborhoods in Southeast Houston that were not in proximity to the shopping places in Downtown Houston. Irving R. Klein & Associates had designed the center, Stanley Krenek and James Bishop served as the project architects, and Fisher Construction Company completed the structural framework; Holcombe and Hogan had selected Klein & Associates in 1954. The construction of Palm Center started after that of Gulfgate Mall, but Palm Center opened first. Hogan stated that market surveys at the time stated that the Griggs and South Park Boulevard area would have immense growth, so the developers chose this location.
354_2	At the time of opening there were 41 stores and 2,000 parking spots. Albert Thomas, a member of the U.S. House of Representatives, cut the ribbon to the facility. J.C. Penney, Oshman's, Walgreen’s, and Woolworth had stores at the time of opening. The library had opened around that time. Collins Tuttle & Co., a real estate company headquartered in New York, purchased Palm Center from Holcombe and Hogan. In 1969 Helmsley-Spear acquired Palm Center. The white neighborhoods quickly became majority black due to white flight in the 1970s. The neighborhoods' rapid changes harmed area retail businesses. Prior to the 1980s many tenants left Palms Center. J. R. Gonzales of the Houston Chronicle wrote "the center resembled a ghost town by the early 1980s." The J.C. Penney, the final tenant, closed in 1984.
354_3	City-owned complex
354_4	In the mid-1980s the City of Houston acquired the complex. In 1987 the city began to redevelop Palm Center to attract small businesses as part of the Target of Opportunity program, funded by loans made by the federal government. The Palms Center Management Company and the Tillman Trotter Foundation cooperated with the city government in this endeavor. The small business center opened in 1989. The city government engaged in a memorandum of understanding with the Houston Business Development, Inc. (HBDi), an entity created by the city government several years prior, in 1992, so that it would handle the redevelopment and management of the complex. That year the Department of Housing and Urban Development (HUD) stated that the Houston redevelopment program had over-reported the number of jobs created and not accurately report spending; the HUD stated in a report that the city overpaid the private development team that renovated Palm Center $1 million and that there was $800,000 in other
354_5	unnecessary expenses. The city paid $572,000 in punitive costs to the HUD. The center received its current name in 1993, and that year HBDi began managing Palm Center.
354_6	The HUD approved the construction of a building for light manufacturing and the use of the community development funds for renovation of of space. There were 10 offices for start-up businesses and 25 other offices for prospective tenants available by July 1994. By 1996 the organization in the Palm Center complex was the nonprofit management organization in charge of it, HSBDC. By that year, the city had only attracted three additional tenants. Carroll Parrott Blue, a research professor at the University of Houston, applied for a grant from the National Endowment for the Arts (NEA) to improve the center; she did so on behalf of the university's Third Ward Arts Initiative. The NEA gave a $100,000 grant, scheduled to be spent at the new park at Palm Center. The university consulted 64-year-old Paulette Wagner, the president of the MacGregor Trails Civic Club in the Riverside Terrace community, for ideas on what to do.
354_7	In the fall of 2012 a solar-powered kitchen was to be installed in the Palm Center Park. It was designed by UH architecture and graphics communications students. Since 2015, METRORail light rail has served the Palm Center area with a station at the Palm Center Transit Center on the Purple Line. Tenants The Alice McKean Young Neighborhood Library of the Houston Public Library is within Palm Center. The groundbreaking for the new Young Library building was held on Friday December 19, 2014. The Harris Health System Dental Center is in Palm Center. Harris County Constable Precinct 7 has its offices in Palm Center. A branch of the Harris County Tax Office is in the same complex. There is a U.S. post office and an office of Neighborhood Centers, Inc. within Palm Center. The Houston Business Development, Inc. (HBD) and the Business Information Center (BIC) are in Palm Center. Over 40 small businesses are in the complex.
354_8	The Houston Texans YMCA was built on of land, on the site of a previous building that had been abandoned; this building had the original Palms Center sign. The YMCA announced plans to open the new Texans YMCA, which replaced the South Central YMCA, on March 25, 2008. Groundbreaking occurred in December 2008. The opening of the facility, the United States's first YMCA named after an athletic team, was scheduled for January 3, 2011. Previously Kelsey-Seybold operated the Palm Center clinic at 5290 Griggs. In April 2003 Kelsey-Seybold announced it was closing. The doctors moved to the Kelsey-Seybold main campus. References Smith, Zachary. "Palm Center: A Window into Southeast Houston" (Archive). Houston History. Volume 11, No. 3. p. 2-7. See profile page Notes Further reading "41 Stores Open Tomorrow in Palms Center." Houston Chronicle. Wednesday August 31, 1955. Section D, Page 1, "Palms Center Section." External links Houston Texans YMCA
354_9	Shopping malls in Houston Shopping malls established in 1955 1955 establishments in Texas
355_0	Mesoamerica, along with Mesopotamia and China, is one of three known places in the world where writing is thought to have developed independently. Mesoamerican scripts deciphered to date are a combination of logographic and syllabic systems. They are often called hieroglyphs due to the iconic shapes of many of the glyphs, a pattern superficially similar to Egyptian hieroglyphs. Fifteen distinct writing systems have been identified in pre-Columbian Mesoamerica, many from a single inscription. The limits of archaeological dating methods make it difficult to establish which was the earliest and hence the forebear from which the others developed. The best documented and deciphered Mesoamerican writing system, and the most widely known, is the classic Maya script. Earlier scripts with poorer and varying levels of decipherment include the Olmec hieroglyphs, the Zapotec script, and the Isthmian script, all of which date back to the 1st millennium BC. An extensive Mesoamerican literature has
355_1	been conserved, partly in indigenous scripts and partly in postconquest transcriptions in the Latin script.
355_2	Pre-Classic and Classic Period In Mesoamerica, writing emerged during the Pre-classic Period, with Zapotec and Maya writing flourishing during the Classic Period. Olmec writing Early Olmec ceramics show representations of something that may be codices, suggesting that amatl bark codices, and by extension well-developed writing, existed in Olmec times. It was also long thought that many of the glyphs present on Olmec monumental sculpture, such as those on the so-called "Ambassador Monument" (La Venta Monument 13), represented an early Olmec script. This suspicion was reinforced in 2002 by the announcement of the discovery of similar glyphs at San Andres.
355_3	In September 2006, a report published in Science magazine announced the discovery of the Cascajal block, a writing-tablet-sized block of serpentine with 62 characters unlike any yet seen in Mesoamerica. This block was discovered by locals in the Olmec heartland and was dated by the archaeologists to approximately 900 BCE based on other debris. If the authenticity and date can be verified, this will prove to be the earliest writing yet found in Mesoamerica. Zapotec writing
355_4	Another candidate for earliest writing system in Mesoamerica is the writing system of the Zapotec culture. Rising in the late Pre-Classic era after the decline of the Olmec civilization, the Zapotecs of present-day Oaxaca built an empire around Monte Albán. On a few monuments at this archaeological site, archaeologists have found extended text in a glyphic script. Some signs can be recognized as calendric information but the script as such remains undeciphered. Read in columns from top to bottom, its execution is somewhat cruder than that of the later Classic Maya and this has led epigraphers to believe that the script was also less phonetic than the largely syllabic Maya script. These are, however, speculations.
355_5	The earliest known monument with Zapotec writing is a "Danzante" stone, officially known as Monument 3, found in San José Mogote, Oaxaca. It has a relief of what appears to be a dead and bloodied captive with two glyphic signs between his legs, probably representing his name. First dated to 500–600 BCE, this was earlier considered the earliest writing in Mesoamerica. However doubts have been expressed as to this dating and the monument may have been reused. The Zapotec script went out of use only in the late Classic period. Epi-Olmec or Isthmian script
355_6	A small number of artifacts found in the Isthmus of Tehuantepec show examples of another early Mesoamerican writing system. They can be seen to contain calendric information but are otherwise undeciphered. The longest of these texts are on La Mojarra Stela 1 and the Tuxtla Statuette. The writing system used is very close to the Maya script, using affixal glyphs and Long Count dates, but is read only in one column at a time as is the Zapotec script. It has been suggested that this Isthmian or Epi-Olmec script is the direct predecessor of the Maya script, thus giving the Maya script a non-Maya origin. Another artifact with Epi-Olmec script is the Chiapa de Corzo stela which is the oldest monument of the Americas inscribed with its own date: the Long Count on the stela dates it to 36 BCE.
355_7	In a 1997 paper, John Justeson and Terrence Kaufman put forward a decipherment of Epi-Olmec. The following year, however, their interpretation was disputed by Stephen Houston and Michael D. Coe, who unsuccessfully applied Justeson and Kaufman's decipherment system against epi-Olmec script from the back of a hitherto unknown mask. The matter remains under dispute. Abaj Takalik and Kaminaljuyú scripts
355_8	In the highland Maya archaeological sites of Abaj Takalik and Kaminaljuyú writing has been found dating to Izapa culture. It is likely that in this area in late Pre-Classic times an ancient form of a Mixe–Zoquean language was spoken, and the inscriptions found here may be in such a language rather than a Maya one. Some glyphs in this scripts are readable as they are identical to Maya glyphs but the script remains undeciphered. The advanced decay and destruction of these archaeological sites make it improbable that more monuments with these scripts will come to light making possible a decipherment. Maya writing
355_9	Maya writing is attested from the mid-preclassic period in the center of Petén in the Maya lowlands, and lately scholars have suggested that the earliest Maya inscriptions may in fact be the oldest of Mesoamerica. The earliest inscriptions in an identifiably Maya script date back to 200–300 BCE. Early examples include the painted inscriptions at the caves of Naj Tunich and La Cobanerita in El Petén, Guatemala. The most elaborate inscriptions are considered to be those at classic sites like Palenque, Copán and Tikal. The Maya script is generally considered to be the most fully developed Mesoamerican writing system, mostly because of its extraordinary aesthetics and because it has been partially deciphered. In Maya writing, logograms and syllable signs are combined. Around 700 different glyphs have been documented, with some 75% having been deciphered. Around 7000 texts in Maya script have been documented.
355_10	Maya writing first developed as only utilizing logograms, but later included the use of phonetic complements in order to differentiate between the semantic meanings of the logograms and for context that allows for syllabic spelling of words. Post-classic inscriptions are found at the Yucatán peninsula in sites such as Chichén Itza and Uxmal but the style is not nearly as accomplished as the classic Maya inscriptions. Other potential Mesoamerican writing systems Two other potential writing systems of the pre-classic period have been found in Mesoamerica: The Tlatilco cylinder seal was found during the time frame of the Olmec occupation of Tlatilco, and appears to contain a non-pictographic script. The Chiapa de Corzo cylinder seal found at that location in Mexico also appears to be an example of an unknown Mesoamerican script.
355_11	Certain iconographic elements in Teotihuacano art have been considered as a potential script, although it is attested sparsely and in individual glyphs rather than texts. If it indeed is a writing system, it is "one whose usage is non-textual and only restricted to naming people and places". In this aspect, it resembles later Central Mexican writing systems such as Mixtec and Aztec. Post-Classic Period During the post-classic period, the Maya glyphic system continued to be used, but much less so. Other post-classic cultures such as the Aztec did not have fully developed writing systems, but instead used semasiographic writing. Mixtec writing
355_12	The Mixtec writing emerged during the 13th century, much later than the systems previously mentioned. Mixtec is a semasiographic system that was used by the pre-Hispanic Mixtecs. Many of its characteristics were later adopted by the Mexica and Mixteca-Puebla writing systems. The origin of the Mixteca-Puebla is the subject of debate amongst experts. The Mixtec writing system consisted of a set of figurative signs and symbols that served as guides for storytellers as they recounted legends. These storytellers were usually priests and other members of the Mixtec upper class. Mixtec writing has been categorized as being a mixture of pictorial and logographic, rather than a complete logogram system.
355_13	Mixtec writing has been preserved through various archaeological artifacts that have survived the passage of time and the destruction of the Spanish conquest. Among these objects are four pre-Hispanic codices written on tanned deer skin covered with stucco. These codices are read in boustrophedon, a zigzag style in which the reader follows red lines that indicate the way to read. Most of the current knowledge about the writing of the Mixtecans is due to the work of Alfonso Caso, who undertook the task of deciphering the code based on a set of pre-Columbian and colonial documents of the Mixtec culture. Although the Mixtecs had a set of symbols that allowed them to record historical dates, they did not use the long count calendar characteristic of other southeast Mesoamerican writing systems. Instead, the codices that have been preserved record historical events of this pre-Columbian people, especially those events related to expansionism in the era of Ocho Venado, lord of Tilantongo.
355_14	Aztec writing The Aztec writing system is adopted from writing systems used in Central Mexico. It is related to Mixtec writing and both are thought to descend from Zapotec writing. The Aztecs used semasiographic writing, although they have been said to be slowly developing phonetic principles in their writing by the use of the rebus principle. Aztec name glyphs for example, do combine logographic elements with phonetic readings. Post-Columbian Period When Europeans arrived in the 16th century, they found several writing systems in use that drew from Olmec, Zapotec, and Teotihuacano traditions. Books and other written material were commonplace in Mesoamerica when Hernán Cortés arrived in 1519. Archaeologists have found inside elite Mayan homes personal objects inscribed with the owners' names. In public areas large stone pillars and inscribed monuments have been found clearly meant for the general public.
355_15	Early post-Columbian sources preserve and document aspects of indigenous literature (e.g., Ximenez's manuscript of the Popol Vuh) and writing (Diego de Landa's Relación de las cosas de Yucatán contained Maya calendar signs and a syllabary). As European Franciscan missionaries arrived they found that the Cholutecans used rebus principles as a way to translate information into Latin as a teaching aid for the Indians to learn Christian prayers. A number of colonial-era Aztec codices are preserved, most notably the Codex Mendoza, the Florentine Codex, and the works by Diego Durán. Codex Mendoza (around 1541) is a mixed pictorial, alphabetic Spanish manuscript. The Florentine Codex, compiled 1545-1590 by Franciscan friar Bernardino de Sahagún includes a history of the Spanish conquest of the Aztec Empire from the Mexica viewpoint, with bilingual Nahuatl/Spanish alphabetic text and illustrations by native artists. There are also the works of Dominican Diego Durán (before 1581), who drew on
355_16	indigenous pictorials and living informants to create illustrated texts on history and religion. The colonial-era codices often contain Aztec pictograms or other pictorial elements.
355_17	Later indigenous literature employed Latin script exclusively, e.g., the Books of Chilam Balam that date from the 17th c. onwards. Already by the mid-16th c., use of the Latin script for Mesoamerican languages seems to have been well established. For writing Maya, colonial manuscripts conventionally adopt a number of special characters and diacritics thought to have been invented by Francisco de la Parra around 1545. The original manuscript of the Popol Vuh is also dated to this period (but only indirectly, by its content). The first major work of Mayan literature known to be originally written in Latin script are the Annals of the Cakchiquels (since 1571).
355_18	Since the mid 1990s, Maya intellectuals attended workshops organized by Linda Schele to learn about Maya writing, and with digital technologies, Maya writing may indeed face a resurrection. Most notably, this includes work on the representation of Maya glyphs in Unicode since 2016 (not yet concluded by 2020). The goal of encoding Maya hieroglyphs in Unicode is to facilitate the modern use of the script. For representing the degree of flexibility and variation of classical Maya, the expressiveness of Unicode is insufficient (e.g., wrt. the representation of infixes), so, for philological applications, different technologies are required. References
355_19	Michael D. Coe and Justin Kerr, The Art of the Maya Scribe, Thames and Hudson. 1997. Martinez, Ma. del Carmen Rodríguez; Ponciano Ortíz Ceballos; Michael D. Coe; Richard A. Diehl; Stephen D. Houston; Karl A. Taube; Alfredo Delgado Calderón; "Oldest Writing in the New World", in Science, 15 September 2006, 313, no. 5793, pp. 1610–1614. Nielsen, Jesper, Under slangehimlen, Aschehoug, Denmark, 2000. Sampson, Geoffrey. Writing Systems: A Linguistic Introduction. Hutchinson (London), 1985. External links Corpus of Maya Hieroglyphic Inscriptions Program, at the Peabody Museum of Archaeology and Ethnology, Harvard University. Corpus of Maya Hieroglyphic Inscriptions, volumes 1–9. Published by the Peabody Museum Press and distributed by the Harvard University Press. Logographic writing systems Proto-writing
356_0	Identity () is a novel by Franco-Czech writer Milan Kundera, published in 1998. Kundera moved to France in 1975. Identity is set primarily in France and was his second novel to be written in French with his earlier novels all in Czech. The novel revolves around the intimate relationship between Chantal and her marginally younger partner Jean-Marc. The intricacies of their relationship and its influences on their sense of identity brings out Kundera's philosophical musings on identity not as an autonomous entity but something integral shaped by the identities of others and their relations to your own. Plot summary
356_1	The novel follows an intimate relationship between woman Chantal and Jean-Marc, alternating perspectives with each chapter. It begins with Chantal at a hotel on the coast of Normandy awaiting the arrival the next day of her partner. When he arrives they struggle to find each other, misattributing their loved one's identity to stranger on the beach who upon closer examination bears little resemblance. Upon their meeting, Chantal is upset by her disturbing slightly sexual dream as well as the way a man looked at her in a cafe. She also has many musings about fathers and observes children on the beach. This is a reoccurring theme within the novel and references her anxieties about the death of her child with a previous partner. She feels this period of her life was her prime, allowing a sense of unease and decline to shape her sense of self throughout the novel.
356_2	Jean-Marc asks why she is upset and she responds that "men don't turn to look at me anymore." This remark serves as the crucial instant of the novel. It revels a self identity of Chantal that alienates Jean-Marc's perception of his lover and thus himself. Chantal later begins receiving love letters that are a rude intrusion into her relationship and force her to think of how she appears to others. It creates in her a changed behaviour motivated by a feeling that someone is constantly observing her. She hides the letters in her underwear draw and does not tell Jean-Marc. As the letters continue and the couple show close intimacy but also a weary underlying anxiety about the other's identity, Chantal's acute observations of a moved shawl in her bedroom and specific details from the letters lead her to the conclusion that Jean-Marc is the secret correspondent.
356_3	From Jean-Marc's perspective, he revels in third person narration that his first letter sought only to relieve Chantal of the feeling that men no longer turned to look at her. Yet her refusal to tell him about the letters and her changed behaviour and more sensual dressing saw Jean-Marc become jealous. She acts differently and he perceives her as a different person in a range of contexts, this multiplicity of perceived identities challenges Jean-Marc's singular perception of his lover's identity. He feels he has transformed "a beloved woman into the simulacrum of a beloved woman." This challenges his own sense of identity turning him into a simulacrum as well. After confirming with a graphologist that the letters were written by Jean-Marc in a different style, she confronts him when he was just about to admit the ruse. An implication of this confrontation is that Jean-Marc, who lives in Chantal's apartment, feels closer to his fears of becoming a beggar.
356_4	The final section of the novel reveals the disorientation of each characters' sense of identity is initiated by a confusion of the other's identity. Major themes Identity The nature and susceptibility to change of personal identity is the primary philosophical question of the novel. Kundera asks whether one's identity over time is hinged on those around them. He looks at the diachronic question of self in philosophy, which asks what makes your identity something continuous over time. His use of the relationship between Chantal and Jean-Marc to rupture their identity shows a challenge to an answer to the diachronic question which is that being perceived by others as the same person influences identity over time.
356_5	Crowds The theme of crowds in the novel is used to create a conflict between the influences of the masses on one's identity and the influence of your own and those close to you. Chantal's desire to have mass appeal is represented by the imaginary crowd that desires easy aesthetic appeal (kitsch), her desire to be accepted in this way overshadows her care for her real relationship with Jean-Marc, leaving her with no real sense of self or meaningful relationships. The emphasis she places on how men see her physical appearance in passing overshadows Jean-Marc's love for her as a person not a superficial entity. In this way, Chantal's preoccupation with crowds and strangers leads her to place her identity in the hands of an anonymous crowd that desires kitsch aesthetic appeal, leaving her without a true sense of self. In the final chapters, Jean-Marc loses sight of Chantal in a crowded subway, this literally and figuratively shows how Chantal has lost herself in a crowd of strangers.
356_6	Vision and perception Visual perception of someone at any one moment is taken as the defining sign of their identity within this novel. This creates a precarious and ephemeral sense of identity that gives the impression of shifting with the light.
356_7	Critical reception Due to the relative obscurity of this novel in Kundera's oeuvre, the critical receptions are limited to reviews at the time of the publication, 1998. The general response to the novel seeks to compare it to Kundera's more famous novels, specifically The Unbearable Lightness of Being and The Book of Laughter and Forgetting. Due to Identity's very different stylistic choices and linear narrative, the book is very different to these earlier successes, challenging what readers expected from a Kundera novel. Newspaper reviewers with a general or non academic audience referenced the book's lack of character development and minimal characters and plot overall. Reviewers from the Times and the Guardian looked more favourably at the simple narrative and complex philosophical questions, these reviewers also looked at the narrative form as an intentional way of reflecting the confusion of the plot. References
356_8	1998 novels Novels by Milan Kundera French-language novels 20th-century Czech novels HarperCollins books
357_0	Moisés Salinas Fleitman is a scholar of developmental and social psychology, a multi-cultural educator, a Zionist political activist, and the former Chief diversity officer at Central Connecticut State University and Rector (academia) at ORT University Mexico. Early life Born in Mexico City, Mexico in 1966, Salinas was involved in Zionist activities from age 15 when he attended the Aluma Institute for Jewish Education, which was a program in Jewish education and leadership. He then served as a youth councilor in the Dor Hadash Zionist Organization in Mexico City. Later (1985-6), he served as Secretary General of the movement that had about 150 members, and designed educational activities for youth aged 10–18.
357_1	Salinas first came to Israel in 1984-5 when he attended the Machon L'Madrichei Chutz La'Aretz, the Institute for Youth Leaders Abroad in Jerusalem, which was a program in Zionist leadership and education. He returned to Israel in 1986 to study at the Hebrew University of Jerusalem, earning his BA in Educational Psychology in 1991. While studying, he was an active participant of the Peace Now (Hebrew: ) movement and a member of the Mapam party student wing.
357_2	Political activities Salinas moved to Israel in 1986. In 1988, he became the youngest board member of the Magshimim Federation, and he coordinated several programs for the Jewish Agency Youth and Hechalutz department for Latin America. In 2004, Salinas became one of 14 young Zionist leaders worldwide to be honored with the first Herzl Awards from the World Zionist Organization for his contributions to the Zionist movement. In about 2003, Salinas founded the Hartford chapter of the American Zionist Movement. He was profiled in the Jewish Ledger and selected as one of Connecticut's Jewish Movers and Shakers in 2005. He served as a board member of the national American Zionist federation, as well as a board member of Meretz USA and the Jewish Academic Network for Israeli-Palestinian Peace. He served as president of Meretz USA/Partners for Progressive Israel in 2010.
357_3	Academic activities Salinas completed his Ph.D. in educational psychology at the University of Texas in Austin. He most recently served as associate professor of developmental and social psychology at Central Connecticut State University. He has published in a variety of publications, including the Journal of Black Psychology and Computers and Education. He has co-authored papers with psychologists Claude Steele, Joshua Aronson, and Richard Valencia. He has received awards from the American Education Research Association Grant in 2003, from the Carnegie Academy for the Scholarship of Teaching and Learning award in 2002, and a The Pew Charitable Trusts Teaching Leadership Award in 1997. In 2008 he was named Chief Diversity Officer at CCSU. In 2011, Salinas resigned from his position at CCSU when he pleaded no contest to a misdemeanor sexual assault charge from one of his former students. He received a one-year suspended jail sentence and a two-year conditional discharge.
357_4	He then became Academic Dean at Hebraica University in Mexico City in August 2011. In 2015, he was named Rector (academia) at ORT University Mexico, the first institution in Latin America focused on Social Responsibility, Entrepreneurship and Leadership. Selected publications
357_5	Books Salinas, M.F., & Salinas, J.I. (2013). Tu hijo en el centro: Una nueva visión educativa para la era digital [Your child at the center: a new educational vision for the digital era]. Mexico, D.F.: Random House. Salinas, M.F. & Abu-Rabi (Eds.) (2010), Resolving the Israeli-Palestinian Conflict: Perspectives on the Peace Process. Amherst, NY: Cambria Press. Salinas, M.F. (2007). Planting hatred, sowing pain: the psychology of the Israeli Palestinian conflict. Westport, CT: Greenwood/Praeger. Salinas, M.F. (2003). The politics of stereotype: Affirmative action and psychology. Westport, CT: Greenwood/Praeger. Valencia, R. R., & Salinas, M. F. (2003). Cultural bias in intelligence tests: Is it a closed issue? In R. R. Valencia and L. Suzuki (Eds.), Intelligence Testing and Minority Students. New York: Sage Publications.
357_6	Aronson, J., Steele, C. M., Salinas, M. F., & Lustina, M. J. (2003). The effect of stereotype threat on the standardized test performance of college students. In E. Aronson (Ed.), Readings About the Social Animal. (8th ed., pp. 415–430). New York: Worth Publishers.
357_7	Other publications Aronson, J., Steele, C.M., Salinas, M.F., & Lustina, M.J. (2003). The effect of stereotype threat on the standardized test performance of college students. In E. Aronson (Ed.) Readings About the Social Animal. (9th ed., pp. 415–430). New York: Worth Publishers. Salinas, M. F. (2005). Attitudes. In N. J. Salkind (Ed.), The Encyclopedia of Human Development, Vol. 1. Thousand Oaks, CA: Sage Salinas, M. F., & Kane, S. E. (2005). Achievement, Long Term Learning and Lerner-Centered instruction in Higher Education. In P. Lemma (Ed.), Effective teaching: Systematic Reflections on the scholarship of teaching, 2. New Britain, CT: CCSU.Adam, M. (2004). Re-Acculturating Racial Stereotypes. Education Digest, 70(1), 38-42. Salinas, M.F.,(2006). From Dewey to Gates: A model to integrate pedagogical principles in the selection and use of instructional technology. Computers and Education.
357_8	Valencia, R.R, Villareal, B. & Salinas, M.F. (2002). Cultural bias in intelligence testing for Mexican Americans. In R. R. Valencia (Ed.) Chicano School Failure and Success, 2nd ed.. London: Falmer Press. Valencia, R.R. & Salinas, M.F. (2000). Test Bias. In R. R. Valencia and L. Suzuki,(Eds.) Intelligence Testing and Minority Students. New York: Sage Publications. Salinas, M.F. (1998). Stereotype threat: The role of effort withdrawal and apprehension on the intellectual underperformance of Mexican-Americans. Dissertation Abstracts International, 59 (06), 1908A. (University Microfilms No. AAT98-38106) Davis, C., Aronson, J. & Salinas, M.F. (2006). Black racial identity as a moderator of stereotype threat: Identity in context. Journal of Black Psychology, 32, 4. 399-418.
357_9	References External links Salinas page at Central Connecticut State University Moises Salinas homepage Education Digest Hispanic Outlook Magazine Social Psychology Network 1966 births Living people People from Mexico City Mexican emigrants to Israel Mexican Jews Mexican psychologists Mexican Zionists Israeli Jews Israeli psychologists Israeli people of Mexican-Jewish descent Central Connecticut State University faculty
358_0	Deformer is a music project led by Dutch music producer Mike Redman since the early nineties. They were amongst the first generation of Jungle producers in the Netherlands and are known for merging different music genres that would later be described as Breakcore. They pioneered with using Sranan Tongo in their Jungle productions as well as primarily using Gabber sounds. Their experimental electronic (dance) music is often Horror influenced.
358_1	Career Deformer first started producing tracks under the name FXecute. In 1995 they changed their name to Deformer. All tracks during that period were produced on Amiga 2000 and Atari computers using Akai S950 samplers. Jungle, Breakbeat and Rave music were primary and samples from cult and obscure horror films were used to create a rather dark atmosphere which became a Deformer signature. To create a unique sound within Jungle music production, Deformer mostly avoided to use the famous ‘Amen Break’ and Mike Redman recorded his own live drums which he later sampled in a similar tradition. Deformer performed in underground clubs, creating a buzz in the alternative dance scene after the mid nineties.
358_2	In 1999 that some of their tracks were officially released. Their debut ‘FXecutioners’, released on Mike Redman’s independent record label Redrum Recordz received critical acclaim. It was a mixture between jungle, progressive drum and bass and dark trip hop. Around 2000 Redman asked members of the Rap group Redrum Squad to take part during the live performances of Deformer. Turntablist Eni-Less, MC P-Mode and DJ Mack completed the line up accompanied by mostly two dancers they call ‘Freaqks‘ and occasional guest artists. The Deformer live shows were very horror influenced. During the bigger live shows the Freaqks would often spray fake blood into the audience, dance with prosthetics like chopped off heads and the stage would be decorated with fake corpses. Deformer also used a giant gorilla prop on stage with a person in it to move it across the stage. The show element was of great importance and no other act within their field has previously done such a thing. Deformer were resident
358_3	during the popular ‘Illy Noiz’ Drum and Bass parties in Rotterdam led by DJ Mack.
358_4	Hailing from Rotterdam city Deformer integrated the local Gabber sound to their formula and the track ‘Slasher’ became a blueprint for future productions. The sound was different at the time and during that period the artwork for Drum and Bass records was usually very clean and mostly consisted of abstract computer graphics. Deformer took an opposite approach and made record sleeves that would more easily be associated with the artwork of Death Metal records. The cover for the maxi single ‘Meatcleaver’ was banned in several countries; it shows a monkey’s head composed of pornographic images. Due to the unorthodox record sleeves Deformer often failed to reach the more mainstream audience that buy Drum and bass records. Deformer is known for going against the grain and also like to induct hidden messages in their recordings and artwork. For example; in their 2005 album ‘Revolution Theory’ there is a hidden track before position 1 on the CD. This can only be found when rewinded in an
358_5	external cd player. ‘Meatcleaver’ has reversed speech in the track, the artwork contains almost unrecognizable pop icons.
358_6	The Deformer logo is a monkey with six arms. Inspired by the Asian ‘three wise monkeys’ proverb. Where the monkeys originally cover their eyes, ears and mouth (see no evil, hear no evil, speak no evil) Deformer’s monkey accents the eyes, ears and mouth distorting the proverb to ‘See, hear, scream!’ combining the three wise monkeys into one furious ape.
358_7	In 2006 Deformer won a prize for Best Dance Act and in 2008 they released a record with Rap group Public Enemy. They collaborated with DJ Starscream (Slipknot), 6Blocc and Heavy metal band Living Colour. They performed at renowned festivals like; Lowlands and Outlook. Deformer shared the stage with sounding names like: Amon Tobin, Venetian Snares, Andy C, Technical Itch and many others. In 2009 Deformer introduced the subgenre ‘Defcore’ with the track ‘Extreme Deformity’, a mixture of Dubstep and Gabber. In 2011, they developed an audiovisual project called ‘Videopacolypz’ and released an accompanying album. Videopacolypz was created with the minimal sounds coming from the Videopac game console that was originally released in 1978.
358_8	Mike Redman has previously collaborated with Dutch Breakcore producer Bong-Ra on his acclaimed ‘Bikini Bandits Kill Kill Kill’ album, but in 2011 Deformer and Bong-Ra joined forces and founded the group Wormskull. They released the album entitled ‘Sound of Hell’ on German record label Ad Noiseam the same year. The band Wormskull, with Balázs Pándi on drums, combines live music with electronica and like Deformer, uses obscure cult, horror and exploitation film samples.
358_9	Deformer currently consists of just Mike Redman and occasional guest artists during live shows. Redman usually wears a deformed mask during the performances. In 2012 ‘Hybrid’ was released on PRSPCT Recordings. In 2014 Redman collaborated with American Horror-icon, director and producer Charles Band, founder of film company Full Moon Features. They produced the album ‘Full Moon Deformed’. Deformer still performs on an international basis. References External links Deformer Discogs Deformer Soundcloud Deformer Bandcamp Deformer Songkick Deformer YouTube Dutch rock music groups
359_0	George Biskup (August 23, 1911 – October 17, 1979) was an American prelate of the Roman Catholic Church. He served as Bishop of Des Moines, Iowa (1965–1967) and Archbishop of Indianapolis (1970–1979). Biography Early life and ministry George Joseph Biskup was born in Cedar Rapids, Iowa, to Frank and Julia (née Kuda) Biskup. He had an older brother, Leonard, and a younger sister, Helen. His father died when he was young and his mother had to go to work to support her young family. Biskup was educated at St. Wenceslaus School through high school. He studied at Loras College in Dubuque, from where he obtained a Bachelor of Arts degree in 1933. He then furthered his studies at the Pontifical Gregorian University in Rome, where Biskup was ordained to the priesthood on March 19, 1937.
359_1	Upon his return to Iowa, Biskup served as a curate at St. Raphael's Cathedral in Dubuque until 1939. Biskup took up graduate studies in the fine arts at the University of Iowa while serving as the administrator of Holy Trinity Parish in Walford. He was a member of the faculty at Loras College (1939–1948) where he founded the art department and served as artist in residence. Biskup was then called to Rome as an official of the Congregation for the Oriental Churches. During his years in Rome he was made a Monsignor. Again returning to Iowa, he was named pastor of St. Joseph's Church in Key West and chancellor of the Archdiocese of Dubuque in 1951. He became vicar general of the archdiocese in 1952, and served as a chaplain at the Presentation Sisters Convent (1952–1958).
359_2	Auxiliary Bishop of Dubuque On March 9, 1957, Biskup was appointed Titular Bishop of Hemeria and Auxiliary Bishop of Dubuque by Pope Pius XII. He received his episcopal consecration on the following April 24 from Archbishop Amleto Giovanni Cicognani at St. Raphael's Cathedral. Archbishop Leo Binz of Dubuque and Bishop Loras Lane of Rockford served as co-consecrators. He was consecrated in the same liturgy as James Casey, another priest of the Archdiocese of Dubuque, who was to be the Bishop of Lincoln. In addition to his episcopal duties, he served as pastor of the Church of the Nativity in Dubuque from 1958 to 1965. Biskup attended all four sessions of the Second Vatican Council (Vatican II; 1962-1965). He was named the administrator of the archdiocese sede vacante after Archbishop Binz was transferred to the Archdiocese of St. Paul.
359_3	Bishop of Des Moines Biskup was named the fifth Bishop of Des Moines on February 3, 1965. He was installed on the following March 19 in St. Ambrose Cathedral. In 1966 he purchased from the Des Moines Golf and Country Club in West Des Moines to construct Dowling Catholic High School. He also started to implement the changes in the Church as a result of Vatican II.
359_4	Archbishop of Indianapolis Biskup was appointed Coadjutor Archbishop of Indianapolis, Indiana, and Titular Archbishop of Tamalluma on July 20, 1967. He was formally received into the archdiocese at Saints Peter and Paul Cathedral on October 10, 1967, and also served as pastor of Holy Cross Church in Indianapolis. Following the resignation of Archbishop Paul Schulte, Biskup succeeded him as the third Archbishop of Indianapolis on January 3, 1970. He supported the concept of Total Catholic Education and established lay boards of education to govern parochial schools. It was also during Biskup's tenure that the archdiocese became nationally known for its holistic approach to Catholic education under then-superintendent of Catholic schools, the Rev. Gerald Andrew Gettelfinger. After nine years as archbishop, Biskup resigned on March 20, 1979. He died seven months later at St. Vincent Hospital in Indianapolis, aged 68. He is buried at Calvary Chapel Mausoleum in Indianapolis. References
359_5	1911 births 1979 deaths People from Cedar Rapids, Iowa Participants in the Second Vatican Council 20th-century Roman Catholic archbishops in the United States Roman Catholic Archdiocese of Dubuque Roman Catholic bishops of Des Moines Roman Catholic archbishops of Indianapolis Loras College faculty
360_0	Fishers is a city in Fall Creek and Delaware townships, Hamilton County, Indiana, United States. As of the 2010 census the population was 76,794, and by 2019 the estimated population was 95,310. A suburb of Indianapolis, Fishers has grown rapidly in recent decades: about 350 people lived there in 1963, 2,000 in 1980, and only 7,500 as recently as 1990. After the passage of a referendum on its status in 2012, Fishers transitioned from a town to a city on January 1, 2015. The first mayor of Fishers, Scott Fadness, along with the city's first clerk and city council were sworn in on December 21, 2014. History 19th century In 1802, William Conner settled what is now Fishers. Conner built a log cabin and a trading post along the White River. The land that Conner settled is now known as Conner Prairie and is preserved as a living history museum.
360_1	Settlers started moving to the area after Indiana became a state in 1816 and the Delaware Indians gave up their claims in Indiana and Ohio to the United States government in 1818 in the Treaty of St. Mary's. At the treaty William Conner served as an interpreter for Chief William Anderson, his father-in-law. At the time William Conner was married to Mekinges Conner, princess and daughter of Chief William Anderson. In 1823, Hamilton County was chartered by the Indiana General Assembly and Delaware Township was established and surveyed. After the state of Indiana moved its capital to Indianapolis from Corydon in 1825, the community started to grow. After the move, John Finch established a horse-powered grinding mill, a blacksmith shop, and the area's first school. The next year the area's first water mill was constructed.

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