title: Hemocytometer

text: where the volume of the diluted sample (after dilution) divided by the volume of the original mixture in the sample (before dilution) is the dilution factor. For example, if the volume of the original mixture was 20μL and it was diluted once (by adding 20μL dilutant), then the second term in parentheses is 40μL/20μL. The volume of the squares counted is the one shown in the table at the top, depending on the size (see figure on the right). The number of cells counted is the sum of all cells counted across squares in one chamber. The proportion of the cells counted applies if not all inner squares within a set square are counted (i.e., if only 4 out of the 20 in a corner square are counted, then this term will equal 0.2). When counting large squares with a volume of 100 nanoliter (nL), a multiplication by 10000 leads to the desired cell count per milliliter.


title: Hemocytometer

text: For most applications, the four large corner squares are only used. The cells that are on or touching the top and left lines are counted, but the ones on or touching the right or bottom lines are ignored.


title: Hemocytometer

text: The original suspension must be mixed thoroughly before taking a sample. This ensures the sample is representative, and not just an artifact of the particular region of the original mixture it was drawn from.


title: Hemocytometer

text: An appropriate dilution of the mixture with regard to the number of cells to be counted should be used. If the sample is not diluted enough, the cells will be too crowded and difficult to count. If it is too dilute, the sample size will not be enough to make strong inferences about the concentration in the original mixture.


title: Hemocytometer

text: By performing a redundant test on a second chamber, the results can be compared. If they differ more than 2 times the counting error (square root of the count), the method of taking the sample may be unreliable (e.g., the original mixture is not mixed thoroughly).


title: Hemocytometer

text: The counting chamber should be filled by capillary action after the chamber lid (special cover-slip with certified thickness and flatness) has been put in place. This avoids the risk that the cells could sediment/stick to the glass or some volume to evaporate before the cover-slip is placed on top and resulting in an overestimation of the cell concentration. Sedimentation is less of a problem with bacteria but evaporation, more prevalent in low-humidity air-conditioned laboratories, still has to be minimized.


title: Nabucco

text: Nabucco (, short for Nabucodonosor ; ) is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on the biblical books of 2 Kings, Jeremiah, Lamentations and Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu. However, Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of "Nabucodonosor", the opera was first performed at La Scala in Milan on 9 March 1842.


title: Nabucco

text: "Nabucco" is the opera that is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that "Nabucco" was born under a lucky star."


title: Nabucco

text: The opera follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian king Nabucco (Nebuchadnezzar II). The historical events are used as background for a romantic and political plot. The best-known number from the opera is the "Chorus of the Hebrew Slaves" ("Va, pensiero, sull'ali dorate" / "Fly, thought, on golden wings"), a chorus that is regularly given an encore in many opera houses when performed today.


title: Nabucco

text: The success of Verdi's first opera, "Oberto", led Bartolomeo Merelli, La Scala's impresario, to offer Verdi a contract for three more works. After the failure of his second opera "Un giorno di regno" (completed in 1840 towards the end of a brutal two-year period during which both of his infant children and then his 26-year-old wife died), Verdi vowed never to compose again.


title: Nabucco

text: In "An Autobiographical Sketch", written in 1879, Verdi tells the story of how he came to be twice persuaded by Merelli to change his mind and to write the opera. The duration of 38 years since the event may have led to a somewhat romanticized view; or, as Verdi scholar Julian Budden writes: "he was concerned to weave a protective legend about himself [since] it was all part of his fierce independence of spirit." However, in "" ("Where there's a will ...") – written ten years closer to the event – the zoologist Michele Lessona provides a different account of the events, as allegedly recounted by Verdi himself.


title: Nabucco

text: After a chance meeting with Merelli close to La Scala, the impresario gave him a copy of Temistocle Solera's libretto which had been rejected by the composer Otto Nicolai. Verdi describes how he took it home, and threw "it on the table with an almost violent gesture. ... In falling, it had opened of itself; without my realising it, my eyes clung to the open page and to one special line: 'Va, pensiero, sull'ali dorate'."


title: Nabucco

text: While it has been noted that "Verdi read it enthusiastically" (and certainly he states that, while he attempted to sleep, he was kept awake and read and re-read the libretto three times), others have stated that he read the libretto very reluctantly or, as recounted by Lessona, that he "threw the libretto in a corner without looking at it anymore, and for the next five months he carried on with his reading of bad novels ... [when] towards the end of May he found himself with that blessed play in his hands: he read the last scene over again, the one with the death of Abigaille (which was later cut), seated himself almost mechanically at the piano ... and set the scene to music."


title: Nabucco

text: Nevertheless, Verdi still refused to compose the music, taking the manuscript back to the impresario the next day. But Merelli would not accept the refusal; he immediately stuffed the papers back into Verdi's pocket and according to the composer, "not only threw me out of his office, but slammed the door in my face and locked himself in". Verdi claims that gradually he worked on the music: "This verse today, tomorrow that, here a note, there a whole phrase, and little by little the opera was written" so that by the autumn of 1841 it was complete. At the very least, both Verdi's and Lessona's versions end with a complete score.


title: Nabucco

text: The opening performances, limited to only eight because the season was coming to an end, were "a colossal success." But, when the new season opened on 13 August 1842, around 60 performances had been added by the end of that year. Numerous Italian and foreign theatres put on this opera in the years immediately following, including La Fenice in Venice in December 1842. In 1843 Donizetti conducted it in Vienna, and other stagings took place that year in Lisbon and Cagliari. But the definitive name of "Nabucco" for the opera (and its protagonist) was first used at a performance at the San Giacomo Theatre of Corfu in September 1844. Nonetheless, a more plausible alternative for the establishment of this abbreviated form claims that it was the result of a revival of the opera in Teatro del Giglio of Lucca.


title: Nabucco

text: The opera was first given in London at Her Majesty's Theatre on 3 March 1846 under the name of "Nino", since the depiction of biblical characters on stage "was not considered proper". In the US it appeared at the Astor Opera House in New York on 4 April 1848.


title: Nabucco

text: "Nabucco" is frequently heard around the world today. It has been on the Metropolitan Opera's roster since it was first presented there during the 1960/61 season. When the Metropolitan opened its season in September 2001, eleven days after the destruction of the World Trade Center, the chorus began by singing "Va, pensiero" in honor of the victims of the attack.


title: Nabucco

text: "Nabucco" is also regularly performed at the Arena di Verona. Among the performances preserved on DVD are those at the Arena di Verona (1981 and 2007); La Scala (1987), Opera Australia (1996), Vienna State Opera (2001), Metropolitan Opera (2002), Genoa's Teatro Carlo Felice (2004), Teatro Municipale di Piacenza (2004), and Austria's St. Margarethen Opera Festival (2007).


title: Nabucco

text: Many other companies have also performed it, including San Francisco Opera in 1982, Sarasota Opera in 1995 and 2019, London's Royal Opera House in 1996, Lyric Opera of Chicago in 1997 and 2016, the New National Theatre Tokyo in 1998, Teatro Colón in 2000, Baltimore Opera in 2006, and the Teatro Regio di Parma in 2008 as part of their on-going "Festival Verdi". "Nabucco" was presented by the Michigan Opera Theatre and the San Diego Opera as part of their 2009–2010 seasons. The Israeli Opera celebrated its 25th anniversary in 2010 with "Nabucco" at Masada, and performed it again in June 2019, accompanied by the Jerusalem Symphony Orchestra, in the Sultan's Pool, just outside the wall surrounding the Old City of Jerusalem. It was performed at the Royal Opera House, Covent Garden in 1972 with Colin Davis, and in March 2013 with director for a new co-production with La Scala, which was relayed to cinemas and subsequently released on DVD. Seattle Opera produced its first-ever staging of "Nabucco" in August 2015.


title: Nabucco

text: "Nabucco" is scored for two flutes (one doubling piccolo), two oboes (one doubling English horn), two clarinets in A, two bassoons, four horns in D, two trumpets in D, three trombones (two tenor, one bass), one cimbasso, timpani, bass drum, cymbals, side drum, triangle, two harps, strings, and an onstage banda.


title: Nabucco

text: The Israelites pray as the Babylonian army advances on their city ("Gli arredi festivi giù cadano infranti" / "Throw down and destroy all festive decorations"). The High Priest Zaccaria tells the people not to despair but to trust in God ("D'Egitto là su i lidi" / "On the shores of Egypt He saved the life of Moses"). The presence of a hostage, Fenena, younger daughter of Nabucco, King of Babylon, may yet secure peace ("Come notte a sol fulgente" / "Like darkness before the sun"). Zaccaria entrusts Fenena to Ismaele, nephew of the King of Jerusalem and a former envoy to Babylon. Left alone, Fenena and Ismaele recall how they fell in love when Ismaele was held prisoner by the Babylonians, and how Fenena helped him to escape to Israel. Nabucco's supposed elder daughter, Abigaille, enters the temple with Babylonian soldiers in disguise. She, too, loves Ismaele. Discovering the lovers, she threatens Ismaele: if he does not give up Fenena, Abigaille will accuse her of treason. If Ismaele returns Abigaille's love, however, Abigaille will petition Nabucco on the Israelites' behalf. Ismaele tells Abigaille that he cannot love her and she vows revenge. Nabucco enters with his warriors ("Viva Nabucco" / "Long live Nabucco"). Zaccaria defies him, threatening to kill Fenena if Nabucco attacks the temple. Ismaele intervenes to save Fenena, which removes any impediment from Nabucco destroying the temple. He orders this, while Zaccaria and the Israelites curse Ismaele as a traitor.


title: Nabucco

text: Nabucco has appointed Fenena regent and guardian of the Israelite prisoners, while he continues the battle against the Israelites. Abigaille has discovered a document that proves she is not Nabucco's real daughter, but the daughter of slaves. She reflects bitterly on Nabucco's refusal to allow her to play a role in the war with the Israelites and recalls past happiness ("Anch'io dischiuso un giorno" / "I too once opened my heart to happiness"). The High Priest of Bel informs Abigaille that Fenena has released the Israelite captives. He plans for Abigaille to become ruler of Babylon, and with this intention has spread the rumour that Nabucco has died in battle. Abigaille determines to seize the throne ("Salgo già del trono aurato" / "I already ascend the golden throne").


title: Nabucco

text: Zaccaria reads over the Tablets of Law ("Vieni, o Levita" / "Come, oh Levite!"), then goes to summon Fenena. A group of Levites accuse Ismaele of treachery. Zaccaria returns with Fenena and his sister Anna. Anna tells the Levites that Fenena has converted to Judaism, and urges them to forgive Ismaele. Abdallo, a soldier, announces the death of Nabucco and warns of the rebellion instigated by Abigaille. Abigaille enters with the High Priest of Bel and demands the crown from Fenena. Unexpectedly, Nabucco himself enters; pushing through the crowd, he seizes the crown and declares himself not only king of the Babylonians but also their god. The high priest Zaccaria curses him and warns of divine vengeance; an incensed Nabucco in turn orders the death of the Israelites. Fenena reveals to him that she has embraced the Jewish religion and will share the Israelites' fate. Nabucco is furious and repeats his conviction that he is now divine ("Non son più re, son dio" / "I am no longer King! I am God!"). A crashing thunderbolt strikes Nabucco down, and he promptly loses his senses. The crown falls from his head and is picked up by Abigaille, who pronounces herself ruler of the Babylonians.


title: Nabucco

text: Abigaille is now Queen of Babylon. The High Priest of Bel presents her with the death warrant for the Israelites, as well as for Fenena. Nabucco, still insane, tries to reclaim the throne without success. Though his consent to the death warrant is no longer necessary, Abigaille tricks him into signing it. When Nabucco learns that he has consigned his (true) daughter to death, he is overcome with grief and anger. He tells Abigaille that he is not in fact her father and searches for the document evidencing her true origins as a slave. Abigaille mocks him, produces the document and tears it up. Realizing his powerlessness, Nabucco pleads for Fenena's life ("Oh di qual onta aggravasi questo mio crin canuto" / "Oh, what shame must my old head suffer"). Abigaille is unmoved and orders Nabucco to leave her.


title: Nabucco

text: The Israelites long for their homeland ("Va, pensiero, sull'ali dorate" / "Fly, thought, on golden wings"). The high priest Zaccaria once again exhorts them to have faith: God will destroy Babylon. The Israelites are inspired by his words.


title: Nabucco

text: Nabucco awakens, still confused and raving. He sees Fenena in chains being taken to her death. In despair, he prays to the God of the Hebrews. He asks for forgiveness, and promises to rebuild the temple in Jerusalem and convert to Judaism if his prayers are answered ("Dio di Giuda" / "God of Judah!"). Miraculously, his strength and reason are immediately restored. Abdallo and loyal soldiers enter to release him. Nabucco resolves to rescue Fenena and the Israelites as well as to punish the traitors.


title: Nabucco

text: Fenena and the Israelite prisoners are led in to be sacrificed (Orchestral Interlude & "Va! La palma del martirio" / "Go, win the palm of martyrdom"). Fenena serenely prepares for death ("O dischiuso è il firmamento" / "O open is the firmament"). Nabucco rushes in with Abdallo and other soldiers. He declares that he will rebuild the Temple of Jerusalem and worship the God of the Israelites, ordering the destruction of the idol of Bel. At his word, the idol falls to the ground of its own accord and shatters into pieces. Nabucco tells the Israelites that they are now free and all join in praise of Jehovah. Abigaille enters, supported by soldiers. She has poisoned herself. She begs forgiveness of Fenena, prays for God's mercy and dies. Zaccaria proclaims Nabucco the servant of God and king of kings.


title: Nabucco

text: The historical Nebuchadnezzar II (c. 634–562 BC) took Jerusalem in 597 BC, but the madness plot of the opera differs from both archeological and biblical records of him. In the Book of Daniel, his madness lasts for seven years before his conversion to Judaism.


title: Nabucco

text: But in the opera it only lasts for the time between the order to kill Fenena and the Jews, and it being carried out.


title: Nabucco

text: The biblical story of seven years of madness followed by conversion bears more similarity to the Dead Sea Scrolls' story of Nabonidus (556–539 BC), father of Belshazzar in the Cylinders of Nabonidus, than to the historical Nebuchadnezzar. Nabonidus was the last king of Babylon, five kings later than Nebuchadnezzar, and Belshazzar was a temporary regent during Nabonidus' reign.


title: Nabucco

text: Historical and biblical records agree that the Jews were freed and their temple was rebuilt not by the Babylonians but by Cyrus the Great following his conquest of Babylon in 539 BC.


title: Nabucco

text: Babylonians addressed their own god as "Bel" (Italian: Belo), related to the deity Marduk, who assumed the title of "lord" after his exaltation. The title "Bel" was in fact used also in connection with Nergal.


title: Nabucco

text: The opera was an instant success, dominating Donizetti's and Giovanni Pacini's operas playing nearby. While the public went mad with enthusiasm, the critics tempered their approval of the opera. One critic who found "Nabucco" revolting was Otto Nicolai, the composer to whom the libretto was first offered. A Prussian, Nicolai felt at odds with emotional Italian opera while he lived near Milan. After refusing to accept the libretto proposal from Merelli, Nicolai began work on another offer called "Il Proscritto". Its disastrous premiere in March 1841 forced Nicolai to cancel his contract with Merelli and return to Vienna. From there he learned of the success of "Nabucco" and was enraged. "Verdi's operas are really horrible," he wrote. "He scores like a fool – technically he is not even professional – and he must have the heart of a donkey and in my view he is a pitiful, despicable composer ... "Nabucco" is nothing but "rage, invective, bloodshed and murder." However, Nicolai's opinions were in the minority. "Nabucco" secured Verdi's success.


title: Nabucco

text: At the 1845 premiere of the opera in Paris critics complained about the excessive use of brass instruments and this word play epigram appeared:


title: Nabucco

text: Music historians have perpetuated a powerful myth about the famous "Va, pensiero" chorus sung in the third act by the Hebrew slaves. Scholars have long believed the audience, responding with nationalistic fervor to the slaves' powerful hymn of longing for their homeland, demanded an encore of the piece. As encores were expressly forbidden by the Austrian authorities ruling northern Italy at the time to prevent public protests, such a gesture would have been extremely significant. However, recent scholarship puts this and the corresponding myth of "Va, pensiero" as the national anthem of the Risorgimento to rest. Although the audience did indeed demand an encore, it was not for "Va, pensiero" but rather for the hymn "Immenso Jehova", sung by the Hebrew slaves in Act 4 to thank God for saving His people. In light of these revelations, Verdi's position as the musical figurehead of the Risorgimento has been correspondingly revised. At Verdi's funeral however, the crowds in the streets spontaneously broke into "Va, pensiero". When his body was moved to the crypt of the Casa di Riposo, "Va, pensiero" was conducted by Arturo Toscanini with a chorus of 820 singers, with a crowd of estimated 300,000 in attendance.


title: Nabucco

text: The overture, often played outside the context of the complete work in orchestral concerts, mostly consists of themes from the opera, including the Chorus of Hebrew Slaves and the warlike music when the Israelites curse Ismaele for his betrayal.


title: Nabucco

text: A stage band is used extensively in the opera, both for the march accompanying Nabucco on his arrival and for Fenena's funeral march.


title: Nabucco

text: Propulsive energetic rhythms are a notable feature of much of the music, contrasted with more lyrical moments, providing dramatic pace.


title: Nabucco

text: Both the bass Zaccaria in his prayer "Vieni o Levita", a quiet piece with the unusual accompaniment of six cellos, and the baritone Nabucco in his mad scene and other passages, are given music of great expressiveness, providing outstanding opportunities for the singers, but the tenor role of Ismaele is comparatively minor, unusual for a Verdi opera. The music for Abigaille is extremely demanding, requiring a soprano who can sing both very low and very high with dramatic force and is also capable of virtuoso vocal decoration. More than any of the soloists, however, the chorus, used in a new and dramatic fashion, is at the centre of the opera.


title: Mrs Wilson (TV series)

text: Mrs Wilson (formerly known as The Wilsons) is a 2018 British historical drama serial, executive-produced by and starring Ruth Wilson. The actress plays her real-life grandmother, a widow who uncovers a mysterious and secret life following the death of her husband. It first aired on BBC One in the United Kingdom on 27 November 2018 and debuted in the United States on PBS "Masterpiece" on 31 March 2019. It aired in Ireland on RTÉ2 in May–June 2021.


title: Mrs Wilson (TV series)

text: In 1963, Alison Wilson's happy home life is shattered upon the death of her husband, novelist and former MI6 officer Alexander "Alec" Wilson. Everything she knew about her husband of 22 years quickly unravels when she discovers she is not the only Mrs Wilson. She tries to shield her two sons as she reconciles her marriage with her husband's activities as a foreign intelligence officer.


title: Anscombe's quartet

text: Anscombe's quartet comprises four data sets that have nearly identical simple descriptive statistics, yet have very different distributions and appear very different when graphed. Each dataset consists of eleven ("x","y") points. They were constructed in 1973 by the statistician Francis Anscombe to demonstrate both the importance of graphing data when analyzing it, and the effect of outliers and other influential observations on statistical properties. He described the article as being intended to counter the impression among statisticians that "numerical calculations are exact, but graphs are rough."


title: Anscombe's quartet

text: The quartet is still often used to illustrate the importance of looking at a set of data graphically before starting to analyze according to a particular type of relationship, and the inadequacy of basic statistic properties for describing realistic datasets.


title: Anscombe's quartet

text: It is not known how Anscombe created his datasets. Since its publication, several methods to generate similar data sets with identical statistics and dissimilar graphics have been developed.


title: Anscombe's quartet

text: One of these, the "Datasaurus Dozen", consists of points tracing out the outline of a dinosaur, plus twelve other data sets that have the same summary statistics. "Datasaurus Dozen" was created by Justin Matejka and George Fitzmaurice. The process is described in their paper “Same stats, different graphs: generating datasets with varied appearance and identical statistics through simulated annealing“.


title: Anscombe's quartet

text: The Datasaurus Dozen, just like Anscombe's Quartet, shows why visualizing data is important, as the summary statistics can be the same, while the data distributions can be very different.


title: Mukul Dev

text: Mukul Dev (born 17 September 1970) is an Indian television and film actor. He is known for his work in Hindi films, Punjabi films, TV serials and music albums. He has also acted in few Bengali, Malayalam, Kannada and Telugu films.


title: Mukul Dev

text: He received the 7th Amrish Puri Award, for excellence in acting for his role in "Yamla Pagla Deewana".


title: Mukul Dev

text: Mukul Dev made his acting debut on TV through a serial "Mumkin" playing the role of Vijay Pandey in 1996. He also acted in Doordarshan's "Ek Se Badh Kar Ek", a comedy Bollywood countdown show,


title: Mukul Dev

text: He made his film debut in the film "Dastak" as ACP Rohit Malhotra in the same year which also introduced crowned Miss Universe Sushmita Sen. He appeared in several films such as "Qila" (1998), "Wajood" (1998), "Kohram" (1999) and "Mujhe Meri Biwi Se Bachaao" (2001). He acted in several television serials in the 2000s such as "Kahin Diyaa Jale Kahin Jiyaa" (2001), "Kahaani Ghar Ghar Kii" (2003), "Pyar Zindagi Hai" (2003) and participated in a dance competition show "Kabhi Kabhii Pyaar Kabhi Kabhii Yaar" (2008). In recent years he has played supporting roles in films like "Yamla Pagla Deewana" (2011), "Son of Sardaar" (2012), "R... Rajkumar" (2013) and "Jai Ho" (2014).


title: Periodic function

text: A periodic function is a function that repeats its values at regular intervals. For example, the trigonometric functions, which repeat at intervals of formula_1 radians, are periodic functions. Periodic functions are used throughout science to describe oscillations, waves, and other phenomena that exhibit periodicity. Any function that is not periodic is called aperiodic.


title: Periodic function

text: for all values of in the domain. A nonzero constant for which this is the case is called a period of the function. If there exists a least positive constant with this property, it is called the fundamental period (also primitive period, basic period, or prime period.) Often, "the" period of a function is used to mean its fundamental period. A function with period will repeat on intervals of length , and these intervals are sometimes also referred to as periods of the function.


title: Periodic function

text: Geometrically, a periodic function can be defined as a function whose graph exhibits translational symmetry, i.e. a function is periodic with period if the graph of is invariant under translation in the -direction by a distance of . This definition of periodicity can be extended to other geometric shapes and patterns, as well as be generalized to higher dimensions, such as periodic tessellations of the plane. A sequence can also be viewed as a function defined on the natural numbers, and for a periodic sequence these notions are defined accordingly.


title: Periodic function

text: for all values of formula_5. This function repeats on intervals of length formula_1 (see the graph to the right).


title: Periodic function

text: Everyday examples are seen when the variable is "time"; for instance the hands of a clock or the phases of the moon show periodic behaviour. Periodic motion is motion in which the position(s) of the system are expressible as periodic functions, all with the "same" period.


title: Periodic function

text: For a function on the real numbers or on the integers, that means that the entire graph can be formed from copies of one particular portion, repeated at regular intervals.


title: Periodic function

text: A simple example of a periodic function is the function formula_7 that gives the "fractional part" of its argument. Its period is 1. In particular,


title: Periodic function

text: The trigonometric functions sine and cosine are common periodic functions, with period formula_1 (see the figure on the right). The subject of Fourier series investigates the idea that an 'arbitrary' periodic function is a sum of trigonometric functions with matching periods.


title: Periodic function

text: According to the definition above, some exotic functions, for example the Dirichlet function, are also periodic; in the case of Dirichlet function, any nonzero rational number is a period.


title: Periodic function

text: Since the cosine and sine functions are both periodic with period formula_1, the complex exponential is made up of cosine and sine waves. This means that Euler's formula (above) has the property such that if formula_13 is the period of the function, then


title: Periodic function

text: A function whose domain is the complex numbers can have two incommensurate periods without being constant. The elliptic functions are such functions. ("Incommensurate" in this context means not real multiples of each other.)


title: Periodic function

text: Periodic functions can take on values many times. More specifically, if a function formula_7 is periodic with period formula_16, then for all formula_5 in the domain of formula_7 and all positive integers formula_19,


title: Periodic function

text: If formula_21 is a function with period formula_16, then formula_23, where formula_24 is a non-zero real number such that formula_25 is within the domain of formula_7, is periodic with period formula_27. For example, formula_28 has period formula_29 therefore formula_30 will have period formula_31.


title: Periodic function

text: Some periodic functions can be described by Fourier series. For instance, for "L" functions, Carleson's theorem states that they have a pointwise (Lebesgue) almost everywhere convergent Fourier series. Fourier series can only be used for periodic functions, or for functions on a bounded (compact) interval. If formula_7 is a periodic function with period formula_16 that can be described by a Fourier series, the coefficients of the series can be described by an integral over an interval of length formula_16.


title: Periodic function

text: Any function that consists only of periodic functions with the same period is also periodic (with period equal or smaller), including:


title: Periodic function

text: One subset of periodic functions is that of antiperiodic functions. This is a function formula_7 such that formula_37 for all formula_38. For example, the sine and cosine functions are formula_39-antiperiodic and formula_1-periodic. While a formula_41-antiperiodic function is a formula_42-periodic function, the converse is not necessarily true.


title: Periodic function

text: A further generalization appears in the context of Bloch's theorems and Floquet theory, which govern the solution of various periodic differential equations. In this context, the solution (in one dimension) is typically a function of the form


title: Periodic function

text: where formula_44 is a real or complex number (the "Bloch wavevector" or "Floquet exponent"). Functions of this form are sometimes called Bloch-periodic in this context. A periodic function is the special case formula_45, and an antiperiodic function is the special case formula_46. Whenever formula_47 is rational, the function is also periodic.


title: Periodic function

text: In signal processing you encounter the problem, that Fourier series represent periodic functions and that Fourier series satisfy convolution theorems (i.e. convolution of Fourier series corresponds to multiplication of represented periodic function and vice versa), but periodic functions cannot be convolved with the usual definition, since the involved integrals diverge. A possible way out is to define a periodic function on a bounded but periodic domain. To this end you can use the notion of a quotient space:


title: Periodic function

text: That is, each element in formula_49 is an equivalence class of real numbers that share the same fractional part. Thus a function like formula_50 is a representation of a 1-periodic function.


title: Periodic function

text: Consider a real waveform consisting of superimposed frequencies, expressed in a set as ratios to a fundamental frequency, f: F = [f f f ... f] where all non-zero elements ≥1 and at least one of the elements of the set is 1. To find the period, T, first find the least common denominator of all the elements in the set. Period can be found as T = . Consider that for a simple sinusoid, T = . Therefore, the LCD can be seen as a periodicity multiplier.


title: Periodic function

text: If no least common denominator exists, for instance if one of the above elements were irrational, then the wave would not be periodic.


title: Ajdin Hrustic

text: Ajdin Hrustic (; born 5 July 1996) is an Australian professional footballer who plays as an attacking midfielder for Serie A club Hellas Verona and the Australia national team.


title: Ajdin Hrustic

text: Born in Dandenong, Victoria Hrustic played youth football with South Melbourne and Schalke 04 before moving to FC Groningen, where he made his professional debut in 2017. In 2020 he signed for the German football club Eintracht Frankfurt.


title: Ajdin Hrustic

text: In June 2015, Hrustic signed a three-year contract with FC Groningen, his first senior professional deal. He made his competitive debut for the club as a substitute in a draw against AZ Alkmaar on 2 April 2017. His first goal for the club came two weeks later, with a shot from long range to seal a 5–1 win over PEC Zwolle.


title: Ajdin Hrustic

text: On 28 September 2020, Hrustic signed a contract with German Bundesliga side Eintracht Frankfurt that will keep him at the club through to 2023, and was given the No. 7 jersey. He made his debut on 19 December 2020 in a 2–0 victory against FC Augsburg, coming off the bench for Aymen Barkok.


title: Ajdin Hrustic

text: Hrustic scored his first goal for Eintracht Frankfurt against Mainz 05, on 9 May 2021, with an improvised finish where he managed to chip the ball over goalkeeper Robin Zentner.


title: Ajdin Hrustic

text: On 18 May 2022, Hrustic became the first Australian player to win the UEFA Europa League in its history, after Eintracht Frankfurt triumphed over Scottish opponent Rangers in the 2022 final, winning a penalty shootout 5–4 after the match ended 1-1 after extra time, with Hrustic converting his team's second penalty of the shootout. He became the first Australian since Harry Kewell in 2005 to win a major UEFA competition.


title: Ajdin Hrustic

text: Due to his Bosnian and Romanian heritage, Hrustic was eligible to represent Bosnia and Herzegovina and Romania internationally. He was contacted by the Football Association of Bosnia and Herzegovina in May 2017, but ultimately rejected the offer and expressed his wish to represent the Socceroos.


title: Ajdin Hrustic

text: Hrustic was called up to an Australian under-23 development squad in March 2017. This was the first time Hrustic had been involved with Football Federation Australia in several years, having previously not been involved with the Australian setup since moving to Europe.


title: Ajdin Hrustic

text: On 22 May 2017, Hrustic was named in the Australian national side's 30-man preliminary squad for the month of June, including the 2017 FIFA Confederations Cup, a friendly against Brazil and a 2018 FIFA World Cup qualifier against Saudi Arabia. He was retained in the final 23-man squad. He made his Socceroos debut on the losing side of a 4–0 friendly against Brazil, coming on as a 57th-minute substitute.


title: Ajdin Hrustic

text: On 4 June 2021, Hrustic scored his first goal for Australia against Kuwait in a 2022 FIFA World Cup qualifying match, bending the ball off the inside of the post and in from a 30-odd-metre free-kick. His second goal also came off a free-kick bouncing off the crossbar to go in underneath the goal against Japan in 2021.


title: Ajdin Hrustic

text: Hrustic was born in Dandenong a suburb of Melbourne, Australia to a Bosnian father and a Romanian mother.


title: Mil V-12

text: The Mil V-12 (NATO reporting name: Homer), given the project number "Izdeliye 65" ("Item 65"), is the largest helicopter ever built. The designation "Mi-12" would have been the name for the production helicopter and was not applied to the V-12 prototypes.


title: Mil V-12

text: Design studies for a giant helicopter were started at the Mil OKB in 1959, receiving official sanction in 1961 by the GKAT ("Gosudarstvenny Komitet po Aviatsionnoy Tekhnike" - State Committee on Aircraft Technology) instructing Mil to develop a helicopter capable of lifting . The GKAT directive was followed by a more detailed specification for the V-12 with hold dimensions similar to the Antonov An-22, intended to lift major items of combat materiel as well as 8K67, 8K75 and 8K82 inter-continental ballistic missiles (ICBM).


title: Mil V-12

text: Design limitations forced Mil to adopt a twin rotor system but design studies of a tandem layout, similar to the Boeing CH-47 Chinook, revealed major problems. The single rotor layouts also studied proved to be non-viable, leading to the transverse layout chosen for the finished article.


title: Mil V-12

text: The transverse rotor system of the V-12, which eliminates the need for a tail rotor, consists of two Mil Mi-6 transmission systems complete with rotors mounted at the tips of the approximately span inverse tapered wings. Although the first use by Mil, the transverse system had been used by several of the early helicopters, including the Focke-Wulf Fw 61, Focke-Achgelis Fa 223 Drache and Kamov Ka-22 Vintokryl convertiplane.


title: Mil V-12

text: Construction of the V-12 first prototype, after exhaustive testing with test-rigs and mock-ups including a complete transmission system, began at Panki in 1965. The airframe was largely conventional, using stressed skin construction methods with high strength parts machined from solid metal blocks. The large fuselage accommodated the cabin and crew section in the extreme nose, housing a pilot, co-pilot, flight engineer and electrical engineer in the lower cockpit, with the navigator and radio operator in the upper cockpit.


title: Mil V-12

text: At the aft end of the fuselage access to the cabin is gained by large clamshell doors and a drop down cargo ramp with inbuilt retractable support jacks. Doors in the fuselage also give access to the cargo hold: two on the starboard side and three on the port side. Above the rear fuselage is a very large fin and rudder, with a moderately sized tailplane with dihedral fitted with end-plate fins (not fitted for the first flight).


title: Mil V-12

text: The fixed undercarriage consists of large paired main-wheel units on oleo-pneumatic levered shock absorbers mounted at the junction of a strut system supporting the rotor systems and wings and connected to the centre fuselage by a tripod strut structure with the nose-leg attached aft of the crew section. A pair of bumper wheels are mounted at the rear of the fuselage keel and fixed support pads ensure that the cargo ramp is extended to the correct angle. Long braced struts also connected the transmission units to the rear fuselage forward of the fin. Cargo handling is done by means of a forklift or electric hoists on traveling beams.


title: Mil V-12

text: The power system and wings are mounted above the centre fuselage with interconnecting shafts ensuring synchronisation of the main rotors which overlap by about . Drag and lift losses are reduced by the inverse taper wings with minimum chord in regions of strongest down-wash. The interconnecting shafts also ensured symmetrical lift distribution in the event of an engine failure. To optimise control in roll and yaw the rotors are arranged to turn in opposite directions with the port rotor turning anti-clockwise and the starboard rotor turning clockwise, ensuring that the advancing blades pass over the fuselage.


title: Mil V-12

text: Each power unit comprises two Soloviev D-25VF turbo-shaft engines mounted below the main gearboxes which each drive five-bladed diameter rotors and their synchronisation shafts which run from wing-tip to wing-tip. Each paired engine pod has large access panels which open up for maintenance access and also form platforms for servicing crews to operate from.


title: Mil V-12

text: Control of the V-12 presented several problems to the designers and engineers due to the sheer size as well as the rotor layout. The pilot and co-pilot sat in the lower flight deck with a wide expanse of windows to give excellent visibility. Using conventional cyclic stick, collective lever and rudder pedals the pilots input their commands in a conventional fashion. Roll control is by differential collective pitch change on the left and right rotors, ensuring that sufficient lift is generated to prevent inadvertent sink. Yaw in the hover or low air speeds is achieved by tilting the rotor discs forward and backward differentially depending on direction of yaw required. At higher air speeds differential rotor control is gradually supplanted by the large aerodynamic rudder on the fin. Ascent and descent are controlled by the collective lever increasing or decreasing the pitch of both rotors simultaneously. Large elevators on the tailplane help control the fuselage attitude and provide reaction to pitching moments from the wing and variation on rotor disc angle.


title: Mil V-12

text: The control system is complex due to the sheer size of the aircraft and the need to compensate for aeroelastic deformation of the structure, as well as the very large friction loads of the control rods, levers etc. To keep the control forces felt by the pilots to a minimum, the control system has three distinct stages. Stage one is the direct mechanical control from pilot input forces which are fed into a second stage, intermediate powered control system with low-powered hydraulic boosters transferring commands to stage three, the high-powered rapid action control actuators at the main gearboxes operating the swashplates directly.


title: Mil V-12

text: Construction of the first prototype was completed in 1968. A first flight on 27 June 1967 ended prematurely due to oscillations caused by control problems; one set of main wheels contacted the ground hard bursting a tyre and bending a wheel hub. The cause of the oscillations proved to be a harmonic amplification of vibrations in the cockpit floor feeding back into the control column when a roll demand was input into the cyclic stick. It was widely but erroneously reported in the Western press that the aircraft had been destroyed.


title: Mil V-12

text: The first prototype, given the registration SSSR-21142, made its first flight on 10 July 1968 from the Mil factory pad in Panki to the Mil OKB test flight facility in Lyubertsy. In February 1969, the first prototype lifted a record payload to . On 6 August 1969, the V-12 lifted to a height of , also a world record.


title: Mil V-12

text: The second prototype was also assembled at the Mil experimental production facility in Panki but sat in the workshop for a full year awaiting engines, flying for the first time in March 1973 from Panki to the flight test facilities in Lyubertsy. Curiously the second prototype was also registered SSSR-21142.


title: Mil V-12

text: The prototype V-12s outperformed their design specifications, setting numerous world records which still stand today, and brought its designers numerous awards such as the prestigious Sikorsky Prize awarded by the American Helicopter Society for outstanding achievements in helicopter technology. The V-12 design was patented in the United States, United Kingdom, and other countries.


title: Mil V-12

text: Despite all of these achievements the Soviet Air Force refused to accept the helicopter for state acceptance trials for many reasons, the main one being that the V-12's most important intended mission no longer existed, i.e. the rapid deployment of heavy strategic ballistic missiles. This also led to a reduction in Antonov An-22 production.


title: Mil V-12

text: In May–June 1971, the first prototype V-12 SSSR-21142 made a series of flights over Europe culminating in an appearance at the 29th Paris Air Show at Le Bourget wearing exhibit code H-833.


title: Mil V-12

text: All development on the V-12 was stopped in 1974. The first prototype remained at the Mil Moscow Helicopter Plant in Panki-Tomilino, Lyuberetsky District near Moscow and is still there today (7 March 2017) at . The second prototype was donated to Central Air Force Museum east of Moscow for public display.


title: Mil V-12

text: The V-12 first prototype has held eight world records, four of which are still current, in the FAI E1 General class for rotorcraft powered by turbine engines. The aircraft was crewed by:


title: Mitsubishi Electric

text: , established on 15 January 1921, is a Japanese multinational electronics and electrical equipment manufacturing company headquartered in Tokyo, Japan. It is one of the core companies of Mitsubishi. The products from MELCO include elevators and escalators, high-end home appliances, air conditioning, factory automation systems, train systems, electric motors, pumps, semiconductors, digital signage, and satellites.


title: Mitsubishi Electric

text: In the United States, products are manufactured and sold by Mitsubishi Electric United States headquartered in Cypress, California.


title: Mitsubishi Electric

text: MELCO was established as a spin-off from the Mitsubishi Group's other core company Mitsubishi Heavy Industries, then Mitsubishi Shipbuilding, as the latter divested a marine electric motor factory in Kobe, Nagasaki. It has since diversified to become the major electronics company.


title: Mitsubishi Electric

text: MELCO held the record for the fastest elevator in the world, in the 70-story Yokohama Landmark Tower, from 1993 to 2005.


title: Mitsubishi Electric

text: In 2015 the company acquired DeLclima, an Italian company that designs and produces HVAC and HPAC units, renamed Mitsubishi Electric Hydronics & IT Cooling Systems SpA in 2017.


title: Mitsubishi Electric

text: In early 2020, MELCO was identified as a victim of the year-long cyberattacks perpetrated by the Chinese hackers.


title: Mitsubishi Electric

text: MELCO is consistently innovative. In 2021, the World Intellectual Property Organization (WIPO)’s annual World Intellectual Property Indicators report ranked Mitsubishi Electric's number of patent applications published under the PCT System as 3rd in the world, with 2,661 patent applications being published during 2020. This position is down from their previous ranking as 2nd in 2019 with 2,334 applications.


title: Mitsubishi Electric

text: Some product lines of MELCO, such as air conditioners, overlap with the products from Mitsubishi Heavy Industries partly because the companies share the same root.


title: Mitsubishi Electric

text: Until September 2016, the company had a corporate team which is now known as the Nagoya Diamond Dolphins. Mitsubishi continues to sponsor the team.


title: Mitsubishi Electric

text: Mitsubishi Electric signed a title sponsorship deal with the AFF Championship (renaming the competition as the AFF Mitsubishi Electric Cup) from the 2022 edition onwards.


title: Dick Fight Island

text: "Dick Fight Island" is set in Pulau Yong'Unda, a fictional archipelago made up of eight islands, that was not discovered by the outside world until the end of the 20th century. The king of the archipelago is decided in a contest held every four years called "The Great Wyrm Tournament", with each of the eight clans that make up the people of the archipelago sending out their own champion. The champions face each other in a series of one-on-one fights, the winner being the person who can make the other orgasm first. Thus, the champions go into their fights with armor that "was designed for the manhood, growing larger and more elaborate by the year." However, in keeping with local custom, the men wear clothes displaying the buttocks, this being considered a proud statement of manliness. The story's central character is Harto, a member of the Jewel Tribe, who has been studying abroad for four years and has returned to take part in the tournament. Harto has learned a "secret trick" that he hopes will allow him to win the tournament. Meanwhile, Harto's boyfriend, Matthew, follows him to Pulau Yong'Unda, jealous of the fact that Harto is being touched by other men.


title: Dick Fight Island

text: The second volume explores the events following "The Great Wyrm Tournament," and the relationships that blossom as a result of the tournament's events.


title: Dick Fight Island

text: The series has attracted positive reviews. Briana Lawrence writing for The Mary Sue, praised the premise, humor and plot. She wrote: "What really works for me with "Dick Fight Island" is that we, the readers, know this is an over-the-top idea, but the characters take great pride in what they do. To them, this is a legitimate fight for the crown and they've been training for this moment for years. And yes. The training is extremely sexual. ... I can't believe a manga with a title like Dick Fight Island amplified its premise with PLOT. It could've easily just thrown these men into an arena and had them clash their swords — which DOES happen, TRUST me — but the battles are made more interesting because as you read you realize, wow, this bonkers manga is actually giving a fantasy realm methodology behind "let's touch dicks." I have characters I want to keep up with and, oh my lord, do I have FAVORITES?! Who I am CONCERNED about?! And ROOTING FOR?!"


title: Dick Fight Island

text: Writing for Anime News Network, Rebecca Silverman gave the first volume a rating of 3 out of 5 stars, saying: "It's actually kind of fun. It's not my usual thing, but it has a good sense of humor about its ludicrous factor (in fact, I'd argue that it's deliberately silly; just look at that dick armor – some of it has axe blades on it), and it feels like the creator has made an attempt to actually create a fantasy culture rather than letting the concept do all the work." In the same article, Lynzee Loveridge reviewed it, writing: "I laughed a handful of times and the art is all very attractive. So hey, this manga is exactly what it says on the tin and I appreciate its unabashed confidence." However, she did not give it a star rating arguing: "The very premise of a '1-5' system cannot account for things like cultural cock battles. Exactly what metric do we attribute to gladiator-style games of chicken where the first one to ejaculate loses?"


title: Dick Fight Island

text: The first volume of "Dick Fight Island" released in English topped the Amazon best-seller charts in the "Romance Manga" and "Yaoi & LGBTQ+ Manga" categories, and was second in the "Action & Adventure Manga" category. Ike responded to the news by thanking fans on Twitter in English, and posting a GIF of one of the characters from the series.


title: Dick Fight Island

text: The second volume released in English trended on Twitter when a display card at a branch of bookshop Barnes & Noble declared it was approved by the "SpongeBob SquarePants" character Squidward Tentacles. The volume topped the Amazon best-seller "Yaoi & LGBTQ+ Manga" chart.


title: Dick Fight Island

text: "Dick Fight Island, Vol. 1", by Reibun Ike. Published in English by SuBLime Manga. Released May 11, 2021. ISBN 9781974717200


title: TV Patrol

text: TV Patrol is a Philippine television newscast produced by ABS-CBN News. It premiered on March 2, 1987, at the former ABS-CBN television network, replacing "Balita Ngayon". "TV Patrol" is the flagship national newscast of the network and is the longest-running Filipino language evening newscast. The newscast is anchored by Bernadette Sembrano, Henry Omaga-Diaz and Karen Davila. Previous anchors include Noli de Castro, Korina Sanchez, Ted Failon, Mel Tiangco, and Julius Babao.


title: TV Patrol

text: The program formerly aired on ABS-CBN until May 5, 2020, when the network was forced to cease and desist its broadcasting operations by orders of the National Telecommunications Commission after its legislative franchise expired on May 4. It was also simulcast through the network's flagship AM station DZMM and on its provincial AM stations.


title: TV Patrol

text: "TV Patrol" currently broadcasts on cable and satellite via Kapamilya Channel, TeleRadyo and ANC, on free-to-air television via A2Z, and online through the ABS-CBN News' website, Facebook, iWantTFC, TFC IPTV and Kapamilya Online Live. It is also aired internationally through The Filipino Channel on cable and satellite.


title: TV Patrol

text: Following the People Power Revolution in February 1986 and the resumption of operations months later, ABS-CBN News executives, among them then-News Manager Angelo Castro Jr., began holding meetings with higher-ups on plans to launch an all-new news program that will serve as a replacement to "Balita Ngayon". On March 1, 1987, ABS-CBN announced the launch of "TV Patrol" during the public variety extravaganza "Ang Pagbabalik ng Bituin" () at Luneta Park, Manila.


title: TV Patrol

text: "TV Patrol" premiered on March 2, 1987, at 6:00 p.m. (UTC +8), replacing "Balita Ngayon", with Noli de Castro, Mel Tiangco, and Robert Arevalo as the original anchors. Segment anchors included Ernie Baron, who served as the newscast's chief meteorologist and provided viewers trivia pertaining to science and history, and actress-personality Angelique Lazo who first hosted Star News, an entertainment news segment. However, on June 1, 1987, Arevalo left the newscast and was replaced by Frankie Evangelista, who served as a segment host for "PULSO: Pangkalahatang Ugnayan Laan sa Opinyon" ().


title: TV Patrol

text: With the introduction of international broadcasts in 1989 to the Pacific islands of Guam and Saipan, and later with the birth of The Filipino Channel in 1994, TV Patrol became the first Philippine newscast and program to be broadcast overseas.


title: TV Patrol

text: In 1993, Christine Bersola joined the newscast to host Star News, replacing Lazo, until 1996. In 1995, Korina Sánchez joined the newscast, replacing Tiangco who left ABS-CBN for GMA Network. De Castro would eventually become the sole anchor of the newscast in 1996, reducing its airtime to 30 minutes.


title: TV Patrol

text: On January 4, 1999, the newscast returned its airtime to one hour. On February 14, 2000, TV Patrol started its simulcast over AM radio stations DZMM (Manila), DYAB (Cebu), and DXAB (Davao) and began its online presence through the ABS-CBN News website. On February 5, 2001, De Castro left the newscast to run for Senator.


title: TV Patrol

text: On March 5, 2001, Korina Sanchez, Henry Omaga-Diaz, and Aljo Bendijo took over as the new anchors. On April 21, 2003, Julius Babao replaced Omaga-Diaz and Bendijo. In the same year, TV Patrol also simulcasted on ABS-CBN's UHF station Studio 23 (owned by the AMCARA Broadcasting Network), which lasted for a few months. The program also adopted the ABS-CBN News slogan "Subok na Maaasahan" () in 2004.


title: TV Patrol

text: On November 22, 2004, the program was relaunched as "TV Patrol World" with Julius Babao, Karen Davila and Ted Failon as its main anchors, while special segments are anchored by Bernadette Sembrano, Ernie Baron and Phoemela Baranda, respectively. Baron died of a heart attack on January 23, 2006, and months later, he was replaced by Kim Atienza as the newscast's resident weatherman.


title: TV Patrol

text: In March 2007, TV Patrol World began their simulcast on DZMM TeleRadyo, the then newly launched sister cable television channel of DZMM. On November 25 of the same year, ABS-CBN aired a documentary special for TV Patrol's 20th anniversary entitled "TV Patrol: 20 Taon ng Pagpapatrol" (). It was produced by ABS-CBN and Jesuit Communications.


title: TV Patrol

text: On June 30, 2010, TV Patrol World was reverted to its original title ("TV Patrol") and introduced their first main website its Facebook and Twitter pages.


title: TV Patrol

text: On October 4 of the same year, a new program segment, "Winner sa Life!" () with Winnie Cordero was launched with reports on lifestyle and tips on proper living.


title: TV Patrol

text: On November 3, 2010, ABS-CBN announced the return of veteran former anchors Noli de Castro and Korina Sánchez as weeknight anchors of TV Patrol, replacing Julius Babao and Karen Davila; they joined Ted Failon on November 8.


title: TV Patrol

text: On July 29, 2012, a documentary special entitled "Mga Nagbabagang Balita: 25 Taon ng TV Patrol" () was aired in celebration of its 25th anniversary. It was replayed on August 12.


title: TV Patrol

text: On August 3, 2015, former "TV Patrol Weekend" anchor Bernadette Sembrano was named as the new co-anchor, replacing Sanchez who initially went on an indefinite leave earlier in the year before eventually leaving the newscast for good.


title: TV Patrol

text: On March 2, 2017, TV Patrol celebrated its 30th anniversary through a live newscast in its studio in Manila, and its sister stations in Tacloban and Zamboanga City. Sembrano was situated at the ABS-CBN studio in Manila while Failon was in Tacloban and de Castro in Zamboanga.


title: TV Patrol

text: Beginning August 24, 2017, the show featured celebrities as "Star Patrol" guest anchors, a segment that has been returned after quite some time. Yassi Pressman, Toni Gonzaga, Bela Padilla, Kim Chiu, Bianca Gonzales, Erich Gonzales, Kylie Verzosa, Mariel de León, Janella Salvador, Aiko Meléndez, Karylle, Karla Estrada, and Anne Curtis filled in the slot of Fullido occasionally. Earlier in 2015, actresses Yam Concepción and Loren Burgos, and athlete Gretchen Ho took the helm as pinch-hitters for the segment.


title: TV Patrol

text: On March 16, 2020, "TV Patrol" began to air on a late night timeslot (as a replay), temporarily replacing the timeslot of late-night newscast "Bandila" due to the enhanced community quarantine in Luzon caused by the COVID-19 pandemic in the Philippines. On the same day, it began to be simulcast on the ANC, the first ever simulcast since the cable channel's 1996 launch. The decision to adopt late night replays led to yet another adjustment, with the telecast frequently extending their airtime to at least two hours. This led to a shift in Primetime Bida's schedule during the enhanced community quarantine.


title: TV Patrol

text: On May 5, 2020, "TV Patrol" was the last program to be aired on ABS-CBN, MOR, and S+A before they signed-off indefinitely that night (DZMM and its television counterpart, TeleRadyo, also aired this edition of the newscast but signed off together at 8:20 p.m. following "S.R.O.: Suhestyon, Reaksyon at Opinyon"), following the cease and desist order of the National Telecommunications Commission (NTC) to close the free TV and radio broadcasting operations of ABS-CBN as the network's broadcasting franchise expired the day before.


title: TV Patrol

text: The special edition focused on the cease and desist order of the NTC closing the network's free TV and radio broadcasting operations and featured statements by ABS-CBN president and chief executive officer Carlo Katigbak and chairman Mark Lopez, appealing the cease and desist order. The program also aired without commercial breaks.


title: TV Patrol

text: As a result, on May 7, 2020, the newscast temporarily migrated to ANC, The Filipino Channel, Cine Mo!, and on social media platforms such as Facebook, YouTube, and iWant, with ANC assuming the program's production. TeleRadyo would return simulcasting the newscast on May 8, 2020.


title: TV Patrol

text: "TV Patrol" was supposed to simulcast on Kapamilya Channel, the network's "ad interim" replacement to ABS-CBN for cable and satellite providers beginning June 15, 2020, but the newscast was instead excluded from its programming schedule until July 27. According to Atienza and Fullido, this was because the newscast is already broadcasting on ANC, other digital channels, and social media platforms. "TV Patrol" was shortened to an airtime of 110 to 90 minutes during this period.


title: TV Patrol

text: On August 30, 2020, it was announced by ABS-CBN Corporation that Ted Failon would be leaving the network as part of its retrenchment program; his final appearance was on August 31 via Zoom. The departure of Failon also led the August 31, 2020 edition to end with the song "Tinig ng mga Nawalan" (English: Voice of the Lost), sung by Kathryn Bernardo and Daniel Padilla in support for the retrenched employees. From September 7 to October 2, former weekday anchors Julius Babao, Karen Davila, Henry Omaga-Diaz, and current weekend anchor Alvin Elchico rotated as the third anchor on the weeknight edition while Failon's replacement was yet to be determined.


title: TV Patrol

text: On September 30, 2020, Davila announced on her Instagram account that former anchor Henry Omaga-Diaz was named as the permanent replacement to Failon beginning on October 5; ABS-CBN confirmed the development on October 4.


title: TV Patrol

text: From April 21 to May 4, 2021, De Castro, Sembrano, and Omaga-Diaz were on self-quarantine, with Sembrano later testing positive for COVID-19. Given this, Elchico, Hernandez, Davila, Babao, and Jorge Cariño rotated as the three temporary weeknight anchors. The newscast temporarily aired live from the ABS-CBN Outside Area, while Fullido and Atienza were seen via Zoom, instead of the regular news studio. On May 5, the news studio was used once again for broadcast, although De Castro, Atienza, and Fullido are the only anchors using it, four days after Sembrano announced that she had recovered from the disease.


title: TV Patrol

text: On October 1, 2021, Atienza made his final appearance as the program's resident weather presenter, bidding his farewell to the newscast after 17 years on ABS-CBN, as he transferred to rival network GMA Network on October 4.


title: TV Patrol

text: Six days later on October 7, de Castro also made his final appearance as the main anchor of TV Patrol to once again run for Senator; however, he later withdrew his candidacy.


title: TV Patrol

text: On October 8, ABS-CBN News confirmed that former anchor Karen Davila was named as the permanent replacement to de Castro; she joined Omaga-Diaz and Sembrano on October 11. With her arrival, Omaga-Diaz was promoted as the lead anchor.


title: TV Patrol

text: On October 25, TV Patrol launched three new segments: "Winning Moment" with Winnie Cordero, "Alam N'yo Ba?" () with Boyet Sison, and the returning "Mga Kwento ni Marc Logan" () with Marc Logan, until Sison's death on April 16, 2022. On December 13, former PAGASA Weather Specialist Ariel Rojas joined as the resident weather meteorologist, following of the coverage of Typhoon Rai (Odette).


title: TV Patrol

text: On December 31, former anchor Julius Babao made his final appearance on the newscast as a relief anchor and announced that he would be leaving the network. Later, Babao moved to TV5 where he would anchor the late-afternoon rival newscast "Frontline Pilipinas".


title: TV Patrol

text: Beginning on January 1, 2022, as the newscast celebrates its 35th anniversary, TV Patrol officially began simulcast on A2Z, marking its return to free-to-air television, almost two years since the newscast made its last broadcast on ABS-CBN. With this historic return came a brand new opening billboard, logo, and on-air graphics for the weekday edition. Another new segment was launched: "Uso at Bago" () with Migs Bustos.


title: TV Patrol

text: On May 27, 2022, The FTA broadcast on TeleRadyo resumed as part of that channel's 15th anniversary on Philippine Television, until its discontinuation on November 1, 2022.


title: TV Patrol

text: Initially being aired during special occasions since its inception, the weekend editions premiered on May 9, 2004, at 6:30 p.m. and May 15, 2004, at 7:30 p.m. as "TV Patrol Sabado" and "TV Patrol Linggo", respectively, with Ces Oreña-Drilon and Henry Omaga-Diaz as the first anchors. At the beginning, both editions were complemented by "The Weekend News" as ABS-CBN's weekend newscasts with TV Patrol Sabado and TV Patrol Linggo as the early-evening newscast and The Weekend News as the late-night newscast until the latter was cancelled more than a year later. During this period, the weekend editions used to occupy middle evening time slots between 8:00 and 10:00 p.m. Oreña-Drilón left the weekend edition for "ABS-CBN Insider" in 2005 and was replaced by Bernadette Sembrano.


title: TV Patrol

text: On May 6, 2015, Webb left the network to join CNN Philippines. Zen Hernandez became her permanent replacement on July 9, 2016.


title: TV Patrol

text: Beginning March 21, 2020, the program expanded to 45 minutes in weekends, and on March 28 began airing on both DZMM TeleRadyo and the ABS-CBN News Channel for the first time in 16 years (Sundays only, with program beginning a Saturday broadcast on ANC beginning April 25 that same year). The broadcast's return to DZMM TeleRadyo was the first to be aired there after ten years of absence.


title: TV Patrol

text: On May 9, 2020, the weekend edition began to be aired in Cine Mo! after ABS-CBN went off-air on May 5, 2020, due to cease and desist order from the National Telecommunications Commission after its franchise expired on May 4, 2020, while on TeleRadyo it began to broadcast on Saturdays. The newscast also extended its broadcast time to 50 minutes, and later on to a full hour.


title: TV Patrol

text: On August 1, 2020, the weekend edition began airing on the Kapamilya Channel. On October 31, 2020, the weekend edition expanded its airtime from 45 minutes to an hour.


title: TV Patrol

text: On January 1, 2022, the weekend edition silently returned on free-to-air television via simulcast on A2Z, ahead of the newscast's relaunch on January 3. This marks the return of a newscast to free-to-air television, almost two years since the newscast made its last broadcast on ABS-CBN replacing "Balita Pilipinas Primetime" on GMA News TV Channel 11.


title: TV Patrol

text: On January 8, 2022, the brand new opening billboard, logo, and on-air graphics were applied for the weekend edition.


title: TV Patrol

text: On May 28, 2022, the Free-to-Air feed on TeleRadyo returned, beginning with the Saturday broadcast, on the same year, until October 30, 2022, due to the discontinuation of the said channel on November 1 on the same year.


title: TV Patrol

text: "TV Patrol" originally used Vangelis' "Pulstar" as its very first theme music, from March 2, 1987, to November 4, 1994.


title: TV Patrol

text: On November 7, 1994, "Pulstar" was replaced by Ryan Cayabyab's "ABS-CBN News Theme," which served as the theme of "TV Patrol" and the ABS-CBN News and Public Affairs division until 1996. The theme was used as a theme music for "The World Tonight" which airs on the ABS-CBN News Channel (ANC) from 1999 up to 2018, with slight and more modern re-composition.


title: TV Patrol

text: In 1996, when Noli de Castro became the sole anchor of the newscast, it adopted Gari Communications' "Allegro" from KPIX-TV, a CBS-owned TV station in San Francisco, California, although the news theme had also been used by KBAK-TV.


title: TV Patrol

text: On March 5, 2001, when de Castro left the show for the elections and Korina Sanchez, Henry Omaga Diaz and Aljo Bendijo replaced him as the new anchors, the Filipino composition of "Allegro" was done with elements from the orchestra version and combined the elements of the original 1996–2001 version, the 1994–96 ABS-CBN News Theme, and the ABS-CBN's jingle.


title: TV Patrol

text: The theme underwent re-compositions in 2002 (which was also the 2004–2006 "TV Patrol Sabado/Linggo" theme), 2003, 2004, and 2006, which was rearranged and composed by Neocolours' Jimmy Antiporda.


title: TV Patrol

text: The theme music used since June 30, 2010 incorporates the elements of "Pulstar," "TV Patrol's" 2001 theme, and "TV Patrol World's" 2004 and 2006 theme music and has been the newscast's longest-used theme music.


title: TV Patrol

text: From 1988 to 2020, the regional editions of the newscast that are delivered in other Philippine languages, collectively credited as "TV Patrol Regional", were broadcast on all ABS-CBN Regional stations nationwide, with simulcast on the network's four provincial Radyo Patrol AM Radio stations, DYAB TeleRadyo Cebu and selected MOR FM radio stations.


title: TV Patrol

text: All regional editions aired in the late afternoon until ABS-CBN ceased free TV and radio operations on May 5, 2020, with selected editions simulcast over The Filipino Channel for overseas viewers. Several newscasts were also aired nationwide from August 2016 to January 2018 on the ABS-CBN Regional Channel via Sky Cable, Destiny Cable, and Sky Direct. The ABS-CBN Regional YouTube page also includes archived videos of past editions for those who have not watched the program as well as for overseas viewers.


title: TV Patrol

text: On May 8, 2020, the regional editions resumed broadcasts through their respective Facebook pages and the ABS-CBN Regional YouTube channel. However, on July 15, 2020, ABS-CBN announced that the company would go into retrenchment on August 31 in light of the denial of its bid for a legislative franchise, laying-off much of its employees. It was further revealed on July 17, 2020, during an interview on "Failon Ngayon sa TeleRadyo" that the regional division of ABS-CBN News would fold after regular business hours on the said retrenchment date. Included in the shutdown is the halt of all its regional programs and their respective TV Patrol editions with their last broadcasts aired on August 28, 2020.


title: TV Patrol

text: "TV Patrol Weekend" airs in Australia with a delayed telecast the next morning on SBS WorldWatch every Sunday and Monday, while "TV Patrol" is aired every Tuesday to Saturday. Prior to the WorldWatch channel launch, "TV Patrol" was aired on SBS' "World Watch" news block via SBS and SBS Viceland.


title: TV Patrol

text: "TV Patrol" weeknight and weekend editions are aired worldwide via The Filipino Channel, with the weeknight edition also broadcast to overseas Filipino viewers on KNLA-CD/KNLA (Crossings TV), KIKU-TV, KBTV-CD (Crossings TV), and KTSF/KCNZ-CD (Crossings TV).


title: TV Patrol

text: In October 1988, early in the program's run, Meg Mendoza of the "Manila Standard" criticized the show's format, stating that "we still prefer ["GMA Balita"] since we can't stand the blood and gore being shown... Sensationalism may be good for the ratings but there's no substitute to honest and intelligent reporting."


title: TV Patrol

text: In 1989, poet and literary critic Virgilio S. Almario was critical of "TV Patrol's" use of Filipino "siyokoy" words, loanwords from the Spanish or English language that are formed through a misunderstanding of Spanish grammar. As examples, Almario highlighted the use of the words "aspeto," "parliyamento," "pesante," and "konsernado," which he respectively corrected as "aspekto," "parlamento," "magsasaka," "paisano" or "magbubukid," and "konsernido." However, he still commends the program for "passionately" delivering news in the Filipino language.


title: TV Patrol

text: The national "TV Patrol" and its anchors and reporters throughout the two decades of broadcast got various local, national, and even international recognitions, such as the Asian TV Awards, New York Festivals, and the International Emmy Awards, as reported in the ABS-CBN Corporate Annual Reports. On its 1987 launch, "TV Patrol" got a winning nod from the 1st Star Awards for Television formed by the Philippine Movie Press Club (PMPC). Main anchor Noli de Castro won the Best Male News Anchor that year. The provincial editions of "TV Patrol Regional" and their respective news teams also got notable local and national recognitions (including from KBP Golden Dove Awards and Catholic Mass Media Awards.) Among the award-winning provincial editions and regional news teams hail from "TV Patrol North Luzon", "TV Patrol Palawan", "TV Patrol Panay", "TV Patrol Negros", "TV Patrol Central Visayas", "TV Patrol Eastern Visayas", "TV Patrol South Central Mindanao" and "TV Patrol Southern Mindanao".


title: Grasshopper Manufacture

text: The company was founded on March 30, 1998 in Suginami, Japan. Its founder, Goichi Suda, gave two reasons why he chose the name ""Grasshopper:"" The first being a reference to the song of the same name by UK band Ride, which he was listening to on repeat when forming the company. The second reason is that originally he wanted to use a Japanese word ""battamon"" as the company name. ""Batta"" means ""grasshopper"" and ""mon"" is ""a thing"" and when you put the words together, it means ""copy or fake."" However, he later changed his mind and stuck to Grasshopper instead. The word ""Manufacture"" was added in because his game company was about "building things."


title: Grasshopper Manufacture

text: Headed by Suda, GhM were responsible for several original titles, ones that are also fraught with financial risk, but ultimately gained international mainstream attention in 2005 for the GameCube, Microsoft Windows and PlayStation 2 game "killer7". Following releases included "" (released in Japan, Europe), the Nintendo DS game "Contact", the Wii game "No More Heroes" and its sequel "", and "Shadows of the Damned". Potential losses were often made up by the development of games based on popular anime franchises, such as "", "", and "". In May 2007, Suda announced during a speech at the 2007 Game Developers Conference that Grasshopper was at the time working on three titles for the Wii, two of which were released: "No More Heroes" and "Fatal Frame IV". There is no available information on the status of the third Wii game in development then.


title: Grasshopper Manufacture

text: Grasshopper was said to be working on an Xbox 360 title, and presented a concept for a PlayStation 3 game called "Kurayami", a non-linear action adventure inspired by the worrying and confused universe of the Czech writer Franz Kafka, whom Suda admires. This was later cancelled and reincorporated ideas were put into the game "Shadows of the Damned". In 2010, Yasuhiro Wada joined Grasshopper Manufacture as COO. He then left Grasshopper, and founded the company Toybox in 2011. During development of "Shadows of the Damned", the employee count of Grasshopper would double to 140.


title: Grasshopper Manufacture

text: On 30 January 2013, Grasshopper Manufacture was acquired by GungHo Online Entertainment. Their first title released under GungHo was "Let It Die". In 2018, the company would post a notice of an absorption-type split over issues in management, confirming that new Grasshopper Manufacture, Inc. would now operate independently of GungHo and work on their own intellectual property such as "No More Heroes" under Goichi Suda's management. The old Grasshopper Manufacture, Inc. (currently Supertrick Games) would retain a majority of Grasshopper staff at the time, which would be assigned to work on GungHo-owned IP such as "Let It Die". Grasshopper Manufacture would subsequently downsize to a more indie scaled studio, hosting 20 employees as of 2019.


title: Grasshopper Manufacture

text: The company's first title developed after the split was "", a spinoff entry in the "No More Heroes" series, marketed as a return for the franchise, a tribute to indie games and a commemorative title for Grasshopper Manufacture's history. The game was followed up with "No More Heroes III", the first proper mainline installment for the franchise since 2010. The game retains the core development team from the previous title and was developed in collaboration with outsourced staff, being self-published by Grasshopper Manufacture, with physical distribution assistance from Nintendo. As a pair, the games mark Goichi Suda's return to a directorial role, having not directed a game since the original "No More Heroes" in 2007.


title: Grasshopper Manufacture

text: Grasshopper was acquired from GungHo by NetEase Games by October 2021. In announcing the acquisition, Grasshopper stated they have plans for at least three major games in the next ten years. In May 2022, it was revealed that Grasshopper opened a new studio named Yabukiri Studio, while they teased the announcement of a new game.


title: Sheridan Le Fanu

text: Joseph Thomas Sheridan Le Fanu (; 28 August 1814 – 7 February 1873) was an Irish writer of Gothic tales, mystery novels, and horror fiction. He was a leading ghost story writer of his time, central to the development of the genre in the Victorian era. M. R. James described Le Fanu as "absolutely in the first rank as a writer of ghost stories". Three of his best-known works are the locked-room mystery "Uncle Silas", the lesbian vampire novella "Carmilla", and the historical novel "The House by the Churchyard".


title: Sheridan Le Fanu

text: Sheridan Le Fanu was born at 45 Lower Dominick Street, Dublin, into a literary family of Huguenot, Irish and English descent. He had an elder sister, Catherine Frances, and a younger brother, William Richard. His parents were Thomas Philip Le Fanu and Emma Lucretia Dobbin.


title: Sheridan Le Fanu

text: Both his grandmother Alicia Sheridan Le Fanu and his great-uncle Richard Brinsley Sheridan were playwrights (his niece Rhoda Broughton would become a successful novelist), and his mother was also a writer, producing a biography of Charles Orpen. Within a year of his birth, his family moved to the Royal Hibernian Military School in the Phoenix Park, where his father, a Church of Ireland clergyman, was appointed to the chaplaincy of the establishment. The Phoenix Park and the adjacent village and parish church of Chapelizod would appear in Le Fanu's later stories.


title: Sheridan Le Fanu

text: In 1826 the family moved to Abington, County Limerick, where Le Fanu's father Thomas took up his second rectorship in Ireland. Although he had a tutor, who, according to his brother William, taught them nothing and was finally dismissed in disgrace, Le Fanu used his father's library to educate himself. By the age of fifteen, Joseph was writing poetry which he shared with his mother and siblings but never with his father. His father was a stern Protestant churchman and raised his family in an almost Calvinist tradition.


title: Sheridan Le Fanu

text: In 1832 the disorders of the Tithe War (1831–36) affected the region. There were about six thousand Catholics in the parish of Abington and only a few dozen members of the Church of Ireland. (In bad weather the Dean cancelled Sunday services because so few parishioners would attend.) However, the government compelled all farmers, including Catholics, to pay tithes for the upkeep of the Protestant church. The following year the family moved back temporarily to Dublin, to Williamstown Avenue in a southern suburb, where Thomas was to work on a Government commission.


title: Sheridan Le Fanu

text: Although Thomas Le Fanu tried to live as though he were well-off, the family was in constant financial difficulty. Thomas took the rectorships in the south of Ireland for the money, as they provided a decent living through tithes. However, from 1830, as the result of agitation against the tithes, this income began to fall, and it ceased entirely two years later. In 1838 the government instituted a scheme of paying rectors a fixed sum, but in the interim, the Dean had little besides rent on some small properties he had inherited. In 1833 Thomas had to borrow £100 from his cousin Captain Dobbins (who himself ended up in the debtors' prison a few years later) to visit his dying sister in Bath, who was also deeply in debt over her medical bills. At his death, Thomas had almost nothing to leave to his sons, and the family had to sell his library to pay off some of his debts. His widow went to stay with the younger son, William.


title: Sheridan Le Fanu

text: Sheridan Le Fanu studied law at Trinity College Dublin, where he was elected Auditor of the College Historical Society. Under a system peculiar to Ireland he did not have to live in Dublin to attend lectures, but could study at home and take examinations at the university when necessary. He was called to the bar in 1839, but he never practised and soon abandoned law for journalism. In 1838 he began contributing stories to the "Dublin University Magazine", including his first ghost story, entitled "The Ghost and the Bone-Setter" (1838). He became the owner of several newspapers from 1840, including the "Dublin Evening Mail" and the "Warder".


title: Sheridan Le Fanu

text: On 18 December 1844 Le Fanu married Susanna Bennett, the daughter of a leading Dublin barrister, George Bennett, and granddaughter of John Bennett, a justice of the Court of King's Bench. Future Home Rule League MP Isaac Butt was a witness. The couple then travelled to his parents' home in Abington for Christmas. They took a house in Warrington Place near the Grand Canal in Dublin. Their first child, Eleanor, was born in 1845, followed by Emma in 1846, Thomas in 1847 and George in 1854.


title: Sheridan Le Fanu

text: In 1847 Le Fanu supported John Mitchel and Thomas Francis Meagher in their campaign against the indifference of the government to the Irish Famine. Others involved in the campaign included Samuel Ferguson and Isaac Butt. Butt wrote a forty-page analysis of the national disaster for the "Dublin University Magazine" in 1847. His support cost him the nomination as Tory MP for County Carlow in 1852.


title: Sheridan Le Fanu

text: In 1856 the family moved from Warrington Place to the house of Susanna's parents at 18 Merrion Square (later number 70, the office of the Irish Arts Council). Her parents retired to live in England. Le Fanu never owned the house, but rented it from his brother-in-law for £22 per annum (which he still failed to pay in full).


title: Sheridan Le Fanu

text: His personal life also became difficult at this time, as his wife suffered from increasing neurotic symptoms. She had a crisis of faith and attended religious services at the nearby St. Stephen's Church. She also discussed religion with William, Le Fanu's younger brother, as Le Fanu had apparently stopped attending services. She suffered from anxiety after the deaths of several close relatives, including her father two years before, which may have led to marital problems.


title: Sheridan Le Fanu

text: In April 1858 she suffered a "hysterical attack" and died the following day in unclear circumstances. She was buried in the Bennett family vault in Mount Jerome Cemetery beside her father and brothers. The anguish of Le Fanu's diaries suggests that he felt guilt as well as loss. From then on he did not write any fiction until the death of his mother in 1861. He turned to his cousin Lady Gifford for advice and encouragement, and she remained a close correspondent until her death at the end of the decade.


title: Sheridan Le Fanu

text: In 1861 he became the editor and proprietor of the "Dublin University Magazine", and he began to take advantage of double publication, first serialising in the "Dublin University Magazine", then revising for the English market. He published both "The House by the Churchyard" and "Wylder's Hand" in this way. After lukewarm reviews of the former novel, set in the Phoenix Park area of Dublin, Le Fanu signed a contract with Richard Bentley, his London publisher, which specified that future novels be stories "of an English subject and of modern times", a step Bentley thought necessary for Le Fanu to satisfy the English audience. Le Fanu succeeded in this aim in 1864, with the publication of "Uncle Silas", which he set in Derbyshire. In his last short stories, however, Le Fanu returned to Irish folklore as an inspiration and encouraged his friend Patrick Kennedy to contribute folklore to the "D.U.M."


title: Sheridan Le Fanu

text: Le Fanu died of a heart attack in his native Dublin on 7 February 1873, at the age of 58. According to Russell Kirk, in his essay "A Cautionary Note on the Ghostly Tale" in "The Surly Sullen Bell", Le Fanu "is believed to have literally died of fright"; but Kirk does not give the circumstances. Today there is a road and a park in Ballyfermot, near his childhood home in southwest Dublin, named after him.


title: Sheridan Le Fanu

text: Le Fanu worked in many genres but remains best known for his horror fiction. He was a meticulous craftsman and frequently reworked plots and ideas from his earlier writing in subsequent pieces. Many of his novels, for example, are expansions and refinements of earlier short stories. He specialised in tone and effect rather than "shock horror" and liked to leave important details unexplained and mysterious. He avoided overt supernatural effects: in most of his major works, the supernatural is strongly implied but a "natural" explanation is also possible. The demonic monkey in "Green Tea" could be a delusion of the story's protagonist, who is the only person to see it; in "The Familiar", Captain Barton's death seems to be supernatural but is not actually witnessed, and the ghostly owl may be a real bird. This technique influenced later horror artists, both in print and on film (see, for example, the film producer Val Lewton's principle of "indirect horror"). Though other writers have since chosen less subtle techniques, Le Fanu's finest tales, such as the vampire novella "Carmilla" and the short story "Schalken the Painter", remain some of the most powerful in the genre. He had enormous influence on one of the 20th century's most important ghost story writers, M. R. James, and although his work fell out of favour in the early part of the 20th century, towards the end of the century interest in his work increased and remains comparatively strong.


title: Sheridan Le Fanu

text: His earliest twelve short stories, written between 1838 and 1840, purport to be the literary remains of an 18th-century Catholic priest called Father Purcell. They were published in the "Dublin University Magazine" and were later collected as "The Purcell Papers" (1880). They are mostly set in Ireland and include some classic stories of gothic horror, with gloomy castles, supernatural visitations from beyond the grave, madness, and suicide. Also apparent are nostalgia and sadness for the dispossessed Catholic aristocracy of Ireland, whose ruined castles stand as a mute witness to this history. Some of the stories still often appear in anthologies:


title: Sheridan Le Fanu

text: Revised versions of "Irish Countess" and "Schalken" were reprinted in Le Fanu's first collection of short stories, the very rare "Ghost Stories and Tales of Mystery" (1851).


title: Sheridan Le Fanu

text: An anonymous novella "Spalatro: From the Notes of Fra Giacomo", published in the "Dublin University Magazine" in 1843, was added to the Le Fanu canon as late as 1980, being recognised as Le Fanu's work by W. J. McCormack in his biography of that year. "Spalatro" has a typically Gothic Italian setting, featuring a bandit as the hero, as in Ann Radcliffe (whose 1797 novel "The Italian" includes a repentant minor villain of the same name). More disturbing, however, is the hero Spalatro's necrophiliac passion for an undead blood-drinking beauty, who seems to be a predecessor of Le Fanu's later female vampire Carmilla. Like Carmilla, this undead femme fatale is not portrayed in an entirely negative way and attempts, but fails, to save the hero Spalatro from the eternal damnation that seems to be his destiny.


title: Sheridan Le Fanu

text: Le Fanu wrote this story after the death of his elder sister Catherine in March 1841. She had been ailing for about ten years, but her death came as a great shock to him.


title: Sheridan Le Fanu

text: Le Fanu's first novels were historical, "à la" Sir Walter Scott, though with an Irish setting. Like Scott, Le Fanu was sympathetic to the old Jacobite cause:


title: Sheridan Le Fanu

text: Le Fanu published many novels in the contemporary sensation fiction style of Wilkie Collins and others:


title: Sheridan Le Fanu

text: In addition to M. R. James, several other writers have expressed strong admiration for Le Fanu's fiction. E. F. Benson stated that Le Fanu's stories "Green Tea", "The Familiar", and "Mr. Justice Harbottle" "are instinct with an awfulness which custom cannot stale, and this quality is due, as in "The Turn of the Screw", to Le Fanu's admirably artistic methods in setting and narration". Benson added, "[Le Fanu's] best work is of the first rank, while as a 'flesh-creeper' he is unrivalled. No one else has so sure a touch in mixing the mysterious atmosphere in which horror darkly breeds". Jack Sullivan has asserted that Le Fanu is "one of the most important and innovative figures in the development of the ghost story" and that Le Fanu's work has had "an incredible influence on the genre; [he is] regarded by M. R. James, E. F. Bleiler, and others as the most skilful writer of supernatural fiction in English."


title: Sheridan Le Fanu

text: Le Fanu's work influenced several later writers. Most famously, "Carmilla" influenced Bram Stoker in the writing of "Dracula". M. R. James' ghost fiction was influenced by Le Fanu's work in the genre. Oliver Onions's supernatural novel "The Hand of Kornelius Voyt" (1939) was inspired by Le Fanu's "Uncle Silas".


title: Sheridan Le Fanu

text: There is an extensive critical analysis of Le Fanu's supernatural stories (particularly "Green Tea", "Schalken the Painter", and "Carmilla") in Jack Sullivan's book "Elegant Nightmares: The English Ghost Story from Le Fanu to Blackwood" (1978). Other books on Le Fanu include "Wilkie Collins, Le Fanu and Others" (1931) by S. M. Ellis, "Sheridan Le Fanu" (1951) by Nelson Browne, "Joseph Sheridan Le Fanu" (1971) by Michael H. Begnal, "Sheridan Le Fanu" (third edition, 1997) by W. J. McCormack, "Le Fanu's Gothic: The Rhetoric of Darkness" (2004) by Victor Sage and "Vision and Vacancy: The Fictions of J. S. Le Fanu" (2007) by James Walton.


title: Sheridan Le Fanu

text: Le Fanu, his works, and his family background are explored in Gavin Selerie's mixed prose/verse text "Le Fanu's Ghost" (2006). Gary William Crawford's "J. Sheridan Le Fanu: A Bio-Bibliography" (1995) is the first full bibliography. Crawford and Brian J. Showers's "Joseph Sheridan Le Fanu: A Concise Bibliography" (2011) is a supplement to Crawford's out-of-print 1995 bibliography. With Jim Rockhill and Brian J. Showers, Crawford has edited "Reflections in a Glass Darkly: Essays on J. Sheridan Le Fanu". Jim Rockhill's introductions to the three volumes of the Ash-Tree Press edition of Le Fanu's short supernatural fiction ("Schalken the Painter and Others" [2002], "The Haunted Baronet and Others" [2003], "Mr Justice Harbottle and Others" [2005]) provide a perceptive account of Le Fanu's life and work.


title: Sheridan Le Fanu

text: Julian Moynahan's "Anglo-Irish: The Literary Imagination in a Hyphenated Culture" (Princeton University Press, 1995) includes a study of Le Fanu's mystery writing.


title: Consonance and dissonance

text: In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term "sonance" has been proposed to encompass or refer indistinctly to the terms "consonance" and "dissonance".


title: Consonance and dissonance

text: In both cases, the distinction mainly concerns simultaneous sounds; if successive sounds are considered, their consonance or dissonance depends on the memorial retention of the first sound while the second sound (or pitch) is heard. For this reason, consonance and dissonance have been considered particularly in the case of Western polyphonic music, and the present article is concerned mainly with this case. Most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. This may be justifiable in a psychophysiological context, but much less in a musical context properly speaking: dissonances often play a decisive role in making music pleasant, even in a generally consonant context—which is one of the reasons why the musical definition of consonance/dissonance cannot match the psychophysiologic definition. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of "dissonance" and of "noise". (See also Noise in music and Noise music.)


title: Consonance and dissonance

text: While consonance and dissonance exist only between sounds and therefore necessarily describe intervals (or chords), such as the perfect intervals, which are often viewed as consonant (e.g., the unison and octave), Occidental music theory often considers that, in a dissonant chord, one of the tones alone is in itself deemed to be the dissonance: it is this tone in particular that needs "resolution" through a specific voice leading procedure. For example, in the key of C Major, if F is produced as part of the dominant seventh chord (G, which consists of the pitches G, B, D and F), it is deemed to be "dissonant" and it normally resolves to E during a cadence, with the G chord changing to a C Major chord.


title: Consonance and dissonance

text: Scientific definitions have been variously based on experience, frequency, and both physical and psychological considerations. These include:


title: Consonance and dissonance

text: Two notes played simultaneously but with slightly different frequencies produce a beating "wah-wah-wah" sound. This phenomenon is used to create the Voix céleste stop in organs. Other musical styles such as Bosnian ganga singing, pieces exploring the buzzing sound of the Indian tambura drone, stylized improvisations on the Middle Eastern mijwiz, or Indonesian gamelan consider this sound an attractive part of the musical timbre and go to great lengths to create instruments that produce this slight "roughness".


title: Consonance and dissonance

text: Sensory dissonance and its two perceptual manifestations (beating and roughness) are both closely related to a sound signal's amplitude fluctuations. Amplitude fluctuations describe variations in the maximum value (amplitude) of sound signals relative to a reference point and are the result of wave interference. The interference principle states that the combined amplitude of two or more vibrations (waves) at any given time may be larger (constructive interference) or smaller (destructive interference) than the amplitude of the individual vibrations (waves), depending on their phase relationship. In the case of two or more waves with different frequencies, their periodically changing phase relationship results in periodic alterations between constructive and destructive interference, giving rise to the phenomenon of amplitude fluctuations.


title: Consonance and dissonance

text: "Amplitude fluctuations can be placed in three overlapping perceptual categories related to the rate of fluctuation. Slow amplitude fluctuations (≈≤20 per second) are perceived as loudness fluctuations referred to as beating. As the rate of fluctuation is increased, the loudness appears constant, and the fluctuations are perceived as "fluttering" or roughness. As the amplitude fluctuation rate is increased further, the roughness reaches a maximum strength and then gradually diminishes until it disappears (≈≥75–150 fluctuations per second, depending on the frequency of the interfering tones).


title: Consonance and dissonance

text: Assuming the ear performs a frequency analysis on incoming signals, as indicated by Ohm's acoustic law, the above perceptual categories can be related directly to the bandwidth of the hypothetical analysis filters, For example, in the simplest case of amplitude fluctuations resulting from the addition of two sine signals with frequencies "f" and "f", the fluctuation rate is equal to the frequency difference between the two sines |"f"-"f"|, and the following statements represent the general consensus:


title: Consonance and dissonance

text: Along with amplitude fluctuation rate, the second most important signal parameter related to the perceptions of beating and roughness is the degree of a signal's amplitude fluctuation, that is, the level difference between peaks and valleys in a signal. The degree of amplitude fluctuation depends on the relative amplitudes of the components in the signal's spectrum, with interfering tones of equal amplitudes resulting in the highest fluctuation degree and therefore in the highest beating or roughness degree.


title: Consonance and dissonance

text: For fluctuation rates comparable to the auditory filter bandwidth, the degree, rate, and shape of a complex signal's amplitude fluctuations are variables that are manipulated by musicians of various cultures to exploit the beating and roughness sensations, making amplitude fluctuation a significant expressive tool in the production of musical sound. Otherwise, when there is no pronounced beating or roughness, the degree, rate, and shape of a complex signal's amplitude fluctuations remain important, through their interaction with the signal's spectral components. This interaction is manifested perceptually in terms of pitch or timbre variations, linked to the introduction of combination tones.


title: Consonance and dissonance

text: "The beating and roughness sensations associated with certain complex signals are therefore usually understood in terms of sine-component interaction within the same frequency band of the hypothesized auditory filter, called critical band."


title: Consonance and dissonance

text: Generally, the sonance (i.e., a continuum with pure consonance at one end and pure dissonance at the other) of any given interval can be controlled by adjusting the timbre in which it is played, thereby aligning its partials with the current tuning's notes (or "vice versa"). The sonance of the interval between two notes can be maximized (producing consonance) by maximizing the alignment of the two notes' partials, whereas it can be minimized (producing dissonance) by mis-aligning each otherwise nearly aligned pair of partials by an amount equal to the width of the critical band at the average of the two partials' frequencies.(


title: Consonance and dissonance

text: Controlling the sonance of pseudo-harmonic timbres played in pseudo-just tunings in real time is an aspect of dynamic tonality. For example, in William Sethares' piece "C to Shining C]" (discussed at ), the sonance of intervals is affected both by tuning progressions and timbre progressions, introducing tension and release into the playing of a single chord.