title: Nathan (son of David)

text: Nathan was the first child of Bathsheba that she was given the right to name. Her first child died as an infant before being given a name, and Shammuah and Shobab were given names by David and Nathan the prophet. Biblical writer Carl Hagensick suggests that she chose the name Nathan in honour of Nathan the prophet, her counselor.


title: Nathan (son of David)

text: "And these be the names of those that were born to him in Jerusalem; Shammuah, and Shobab, and Nathan, and Solomon,"


title: Nathan (son of David)

text: "And these were born to him in Jerusalem: Shimea, and Shobab, and Nathan, and Solomon, four, of Bathshua the daughter of Ammiel:"


title: Nathan (son of David)

text: "Now these are the names of his children which he had in Jerusalem; Shammua, and Shobab, Nathan, and Solomon,"


title: Nathan (son of David)

text: There are also instances in the Hebrew Bible where the name Nathan is mentioned, but it is unknown whether it is referring to Nathan the prophet or Nathan the son of David. One instance of this appears in the first book of the Book of Kings. In it states


title: Nathan (son of David)

text: "Azariah son of Nathan—in charge of the district governors;" when listing the chief officials of Israel under the reign of Solomon. The passage does not specify if it is the son of Nathan the prophet or Nathan the son of David.


title: Nathan (son of David)

text: In the New Testament, the genealogy of Jesus according to the Gospel of Luke traces Jesus' lineage back to King David through the line of Nathan, which the Gospel of Matthew traces it through Solomon, the line of Joseph, his legal father. Specifically, in the genealogy of Jesus according to Luke, Jesus' lineage connects to Nathan through the biblical figure Heli, the son of Matthat. Meanwhile, the Gospel of Matthew makes no mention of Nathan. Rather, in Jesus' lineage is connected to Jacob which eventually relates Jesus to Solomon rather than Nathan.


title: Nathan (son of David)

text: One conventional explanation for these differences, from as early as John of Damascus, is that Nathan is the ancestor of the Virgin Mary, while Solomon is the ancestor of Mary's husband Joseph. The blood curse on the line of Jeconiah who was a descendant in the line of Solomon, so the genealogy in Matthew is tainted with a blood curse from Jeconiah all the way to Joseph. No descendant of Jeconiah would qualify as King of Israel.


title: Nathan (son of David)

text: Another explanation for these differences is yibbum, as offered by St. John Damascene: "One ought also to observe this, that the law was that when a man died without seed, this man's brother should take to wife the wife of the dead man and raise up seed to his brother." From this he proposes it is possible that "on the death of Mathan, Melchi, of the tribe of Nathan, the son of Levi and brother of Panther, married the wife of Mathan, Jacob's mother, of whom he begat Heli. Therefore Jacob and Heli became brothers on tile mother's side, Jacob being of the tribe of Solomon and Heli of the tribe of Nathan. Then Heli of the tribe of Nathan died without any children, and Jacob his brother, of the tribe of Solomon, took his wife and raised up seed to his brother and begat Joseph. Joseph, therefore, is by nature the son of Jacob, of the line of Solomon, but by law he is the son of Heli of the line of Nathan."


title: Nathan (son of David)

text: One other explanation frequently proposed by modern scholars is that biblical genealogy is often based on theology rather than factual history. For example, the title "Son of God" is used frequently. However, this title would not have been used in the earliest Gospel writings. This explains the differences in genealogies, as Matthew and Luke wrote for different audiences.


title: Nathan (son of David)

text: Nathan is a son born to David and Bathsheba. The first book of the Books of Chronicles has a passage that states the sons of David born to him in Hebron, before recounting their sons and then nine more sons and one daughter of David who were also born to him in Jerusalem.


title: Nathan (son of David)

text: It then lists 4 sons of David and Bathsheba. However we know that their first son died. In 2 Samuel 11 this son is never named. It is therefore possible that he was called Shimea (or Shammua and ) but equally possible, more likely even, that this is a surviving son, although the Bible does not mention him again. We also know from that Solomon was their second son. Assuming that Solomon is mentioned last as the most important, if the others are listed in order this would make Nathan the fourth or fifth son born by Bathsheba (= Bathshua) and therefore tenth or eleventh of David's sons.


title: Nathan (son of David)

text: 1 Chronicles 3:6-9 recounts the others born in Jerusalem. "There were also Ibhar, Elishua, Eliphelet, Nogah, Nepheg, Japhia, Elishama, Eliada and Eliphelet—nine in all. All these were the sons of David, besides his sons by his concubines. And Tamar was their sister."


title: 16 Divisions

text: The 16 Divisions of construction, as defined by the Construction Specifications Institute (CSI)'s MasterFormat, is the most widely used standard for organizing specifications and other written information for commercial and institutional building projects in the U.S. and Canada. In 2004, MasterFormat was updated and expanded to 50 Divisions. It provides a master list of divisions, and section numbers and titles within each division, to follow in organizing information about a facility's construction requirements and associated activities. Standardizing the presentation of such information improves communication among all parties involved in construction projects.


title: Digital painting

text: Digital painting is an established art medium that typically combines a computer, a graphics tablet, and software of choice. The artist uses painting and drawing with the stylus that comes with the graphics tablet to create 2D paintings within a digital art software. There are multiple techniques and tools that are utilized by digital artists, the first being digital brushes. These come standard with all digital art programs, but users can create their own by altering their shape, texture, size, and transfer. Many of these brushes are created to represent traditional styles like oils, acrylics, pastels, charcoal, and airbrushing, but not all. Other effective tools include layers, lasso tools, shapes, and masks. Digital painting has evolved to not just mimic traditional art styles, but fully become its own technique.


title: Digital painting

text: Digital painting is used by amateur and professional artists alike. Its use is particularly prevalent in commercial production studios that create games, television, and film. There are multiple reasons for this which applies to amateur artists as well. Digital painting enables artists to experiment with different techniques and colors easily as its use of layers, the undo function, and save files, make it a non-destructive work process. Artists can always return to an earlier state within the art piece so nothing is ever truly lost. This not only saves time but also materials while giving the artist more freedom to create.


title: Digital painting

text: There are multiple differences between traditional and digital painting. The first is that traditional painters paint on a surface such as a canvas or paper and digital artist paints on a screen. This is a big difference because there’s a gap between the stylus nib and the screen sensor. This is called parallax. Newer tablets have reduced parallax to a minimum level resulting in very little displacement between the nib and the results of the nib. Traditional painters also have to be more intentional, having to plan their surfaces and media to get the size and effect that they want, whereas digital artists have the freedom to alter their paintings throughout the entire process. Digital painting also takes up much less space. With traditional painting, it’s typical to have an easel, a palette, a place to put brushes, water to clean the brushes, rags, etc. Whereas with digital painting all that’s needed is a tablet, which is often small enough to fit in the painter’s lap.


title: Digital painting

text: Digital painting requires one of two types of hardware. The first is with a graphics tablet connected to a computer and the second is with a standalone tablet. Graphic tablets can then be broken down into two categories: tablets without a screen and tablets with a screen. The first don’t have their own screen, so the surface area of the tablet is mapped to the computer display. These can be more difficult to use as there’s a disconnect between the surface that’s being drawn on and the screen displaying the image. The second have screens, which are typically easier to use, but are considerably more expensive. Tablets can also have both pressure sensitivity and tilt-response. Meaning both the pressure and the angle of the stylus affect the digital brush. There are many companies that produce graphics tablets, the most notable being Wacom, XP-Pen, and Huion.


title: Digital painting

text: Standalone tablets have increased portability as they don’t need to be tied down to a computer, but they are usually smaller than equivalently priced graphics tablets. Some tablets that can be used for digital painting include iPads, Microsoft Surfaces, and the Wacom Mobile Studio.


title: Digital painting

text: There are many different types of software that digital painters utilize. These range from programs that are intended to mimic traditional painting programs such as Corel Painter to image manipulation software such as Adobe Photoshop. There are different benefits to each digital painting program so it depends on how the artist wishes to work and which tools are important to them. It also depends on the cost of these programs with many switching to a subscription based model instead of a single once off purchase such as Clip Studio Paint, formerly known as Manga Studio.


title: Digital painting

text: Many of the digital painting software for computers have an app version for standalone tablets, but there are also apps designed entirely for them. Procreate is one of these apps.


title: Digital painting

text: There are other methods in which artists digitally paint too; they can range from using different programs to achieve different effects. As in doing certain aspects in one program and then transferring to another for another aspect, this is typically more how 3D artists work. More commonly practiced would be doing the initial stages of a painting on a piece of paper or canvas and then photographing or scanning it into the digital painting software to then further complete the piece.


title: Digital painting

text: The earliest graphical manipulation program was called Sketchpad. Created in 1963 by Ivan Sutherland, a grad student at MIT, Sketchpad allowed the user to manipulate objects on a CRT (cathode ray tube). Sketchpad eventually led to the creation of the Rand Tablet for work on the GRAIL project in 1968, and the very first tablet was created. Other early tablets, or digitizers, like the ID (intelligent digitizer) and the BitPad were commercially successful and used in CAD (Computer Aided Design) programs. Modern day tablets are the tools of choice by digital painters. WACOM is the industry leader in tablets which can range in size from 4” x 6” all the way to 12” x 19” and are less than an inch thick. Other brands of graphic tablets are Aiptek, Monoprice, Hanvon, Genius, Adesso, Trust, Manhattan, Vistablet, DigiPro, etc.


title: Digital painting

text: All these graphic tablets have the basic functions of a mouse, so they can be used as a mouse, not only in graphic editors but also as a replacement for a mouse, and they are compatible with practically all Windows and Mac software.


title: Digital painting

text: The idea of using a tablet to communicate directions to a computer has been an idea since 1968 when the RAND (Research and Development) company out of Santa Monica, developed the RAND tablet that was used to program.


title: Digital painting

text: Digitizers were popularized in the mid 1970s and early 1980s by the commercial success of the ID (Intelligent Digitizer) and BitPad manufactured by the Summagraphics Corp. These digitizers were used as the input device for many high-end CAD (Computer Aided Design) systems as well as bundled with PC's and PC based CAD software like AutoCAD.


title: Digital painting

text: An early commercial program that allowed users to design, draw, and manipulate objects was the program MacPaint. This program's first version was introduced on January 22, 1984, on the Apple Lisa. The ability to freehand draw and create graphics with this program made it the top program of its kind during 1984. The earlier versions of the program were called MacSketch and LisaSketch, and the last version of MacPaint was MacPaint 2.0 released in 1998.


title: Digital painting

text: Much of MacPaint's universal success was attributed to the release of the first Macintosh computer which was equipped with one other program called MacWrite. It was the first personal computer with a graphical user interface and lost much of the bulky size of its predecessor, the Lisa. The Macintosh was available at about $2500 and the combination of a smaller design made the computer a hit, exposing the average computer user to the graphical possibilities of the included MacPaint.


title: Digital painting

text: Another early image manipulation program was Adobe Photoshop. It was first called Display and was created in 1987 by Thomas Knoll at the University of Michigan as monochrome picture display program. With help from his brother John, the program was turned into an image editing program called Imagepro, but later changed to Photoshop. The Knolls agreed on a deal with Adobe systems and Apple, and Photoshop 1.0 was released in 1991 for Macintosh. Adobe systems had previously release Adobe Illustrator 1.0 in 1986 on the Apple Macintosh. These two programs, Adobe Photoshop and Adobe Illustrator are currently two of the top programs used in the productions of digital paintings. Illustrator introduced the uses of Bezier curves which allowed the user to be incredibly detailed in their vector drawings.


title: Digital painting

text: In 1988, Craig Hickman created a paint program called Kid Pix, which made it easier for children to create digital art. The program was originally created in black in white, and after several revisions was released in color in 1991. Kid Pix was one of the first commercial programs to integrate color and sound in a creative format. While the Kid Pix was intentionally created for children, it became a useful tool for introducing adults to the computer as well.


title: Digital painting

text: In recent years there has been a growth in the websites which support painting digitally online. The user is still drawing digitally with the use of software: often the software is on the server of the website which is being used. However, with the emergence of HTML5, some programs now partly use the client's web browser to handle some of the processing. The range of tools and brushes can be more limited than free standing software. Speed of response, quality of colour and the ability to save to a file or print are similar in either media.


title: Law enforcement in France

text: Law enforcement in France has a long history dating back to AD 570 when night watch systems were commonplace. Policing is centralized at the national level. Recently, legislation has allowed local governments to hire their own police officers which are called the ""police municipale".


title: Law enforcement in France

text: There are two national police forces called ""Police nationale" and ""Gendarmerie nationale". The Prefecture of Police of Paris provides policing services directly to Paris as a subdivision of France's Ministry of the Interior. Within these national forces, only certain designated police officers have the power to conduct criminal investigations which are supervised by investigative magistrates.


title: Law enforcement in France

text: The municipal policemen are "Agent de police judiciaire adjoint" (see below). There are also local police in the rural zones, as for the rural policemen the "police rurale" as such does not exist. Note the heterogeneity of local police both in means and in equipment.


title: Law enforcement in France

text: The leadership of both agencies is centralized and they both have conventional deviance control responsibilities respectively except in different geographical locations in France. The "Police Nationale" is responsible for Paris and other urban areas whereas the "gendarmerie" is responsible for small towns and rural areas with fewer than 20,000 inhabitants. The existence of two national police forces with similar goals and attributions, but somewhat different zones of activity, has at times created friction or competition between the two. Their merging has sometimes been suggested.


title: Law enforcement in France

text: With the development of suburban dwellings, this had increasingly proved inadequate. Furthermore, the shifting of a town from a police to a "gendarmerie" zone was often controversial, because, typically, a "gendarmerie" unit serves a wide area.


title: Law enforcement in France

text: A redistribution of authority was thus decided and implemented between 2003 and 2005. Large conurbations are now handled entirely by the police. Rural and suburban areas, and some smaller cities with populations ranging from 5,000 to 16,000, are handled by the "gendarmerie".


title: Law enforcement in France

text: In French, the term "police" not only refers to the forces, but also to the general concept of "maintenance of law and order" (policing).


title: Law enforcement in France

text: Also, the mayor ("le maire") has administrative police power in a "commune" (municipality), which means that the mayor can order the police to enforce municipal bylaws.


title: Law enforcement in France

text: A judge has police power in his courtroom (i.e. the judge can order people who disrupt the trial to be expelled from the proceedings).


title: Law enforcement in France

text: Until 1984, the National Police were involved in prehospital rescue operations and casualty transport (called "police-secours"). Prehospital aid is now performed by fire services; however, mountain rescue is shared between the gendarmerie's PGHM ("pelotons de gendarmerie de haute montagne", High Mountain Platoons of the Gendarmerie) and the National Police's CRS ("compagnies républicaines de sécurité"; Republican [national] security companies).


title: Law enforcement in France

text: Many other countries have followed the French model and have established separate police agencies with the same role but different jurisdictions.


title: Law enforcement in France

text: A local precinct of the "police nationale" (called "commissariat") or the "gendarmerie nationale" (called "brigade") may not be capable of conducting complex investigations. For this reason, both the police and the gendarmerie maintain regional services dedicated to criminal investigations ("police judiciaire"); these are known as "regional services of judiciary police" ("Services régionaux de la Police judiciaire") in the police, "research sections" ("Sections de recherche de la Gendarmerie nationale") in the gendarmerie. In addition, both the police and the gendarmerie maintain laboratories dedicated to forensics. The forensics service of the police is called "Police technique et scientifique" (Technical and Scientific Police). It is the equivalent of the American CSI Units.


title: Law enforcement in France

text: Most criminal enquiries are conducted by the police. Justice may choose either service; sometimes, if the judiciary is disappointed by the results or the methods of one service, it may give the enquiry to the other service.


title: Law enforcement in France

text: The National Police also features some central offices with national jurisdiction, charged with specific missions, such as the national anti-terrorist division.


title: Law enforcement in France

text: Both the police and the "gendarmerie" have police tactical units. The "gendarmerie" has the foremost and best-known, the GIGN; the police have the RAID and the BRI groups. The gendarmerie also has armoured and paratroop squadrons.


title: Law enforcement in France

text: Both the police and the gendarmerie have crowd and riot control forces: the CRS (Compagnies Républicaines de Sécurité) for the police, the "gendarmerie mobile" for the gendarmerie. They intervene throughout the country.


title: Law enforcement in France

text: One reason for giving commission to a military force to handle matters of civilian police is that the military is not allowed to go on strike, contrary to civilian public servants such as the police personnel, which enables the government to always have an instrument of law enforcement at hand.


title: Law enforcement in France

text: Another advantage of the gendarmerie is that, being career soldiers, they have the authority to use armed force in a much less restricted way than the police (in popular culture so-called "licence to kill").


title: Law enforcement in France

text: The gendarmes have free housing facilities inside their respective gendarmerie brigades (precincts) or live in barracks ("casernes"), which is not the case for the police.


title: Law enforcement in France

text: The Administrative police () ensure the maintenance of public order and prevent crime, and are not involved the search for, or arrest of perpetrators of a particular offense.


title: Law enforcement in France

text: It comprises a variety of actions undertaken under the direction and supervision of the executive branch, notably the prefect, police and gendarmerie forces conduct a variety of actions ensuring public order. They include:


title: Law enforcement in France

text: The Judicial police () is responsible for investigating, prosecuting, and punishing perpetrators of criminal offenses. Responsibilities include:


title: Law enforcement in France

text: In order to better fulfill these missions, the "Direction Centrale de la Police Judiciaire" of the French National Police regroups all the units specialized in criminal enquiries. The "gendarmerie" counterpart are the "sections de recherche" (research sections).


title: Law enforcement in France

text: The powers of French police and "gendarmerie" forces are constrained by statute law. The rules of procedure depend on the stage of enquiry:


title: Law enforcement in France

text: In particular, except for crimes "in flagrante delicto", law enforcement forces may not conduct searches or arrests without a specific commission from the investigative magistrate. Depending on legal status of cases, not all law enforcement officers are able to act; some powers are restricted to those with special legal qualifications (see next section).


title: Law enforcement in France

text: The procedures that police and "gendarmerie" officers follow when conducting criminal inquiries are set by the () and applicable jurisprudence. Criminal inquiries are conducted under the supervision of the judiciary (depending on the phase, under the supervision of the public prosecutor or of an investigative judge).


title: Law enforcement in France

text: There are three judiciary qualifications: "officer of judicial police" ( or OPJ), "agent of judicial police" ( or APJ) and "agent of judicial police assistant" (APJ ). The qualifications of OPJ and APJ can only be exercised if they are affected to a position where these are needed, and, for the OPJs by nominal decision of the general prosecutor of their area. These prerogatives are temporarily suspended when they engage, in an organized force, in an operation of public order (i.e. riot control).


title: Law enforcement in France

text: These ministerial nomination decisions may only be taken after the approval of a specific commission. The current rules also warrant the completion of an examination pertaining to legal matters.


title: Law enforcement in France

text: Most other members of the National Police and "gendarmerie" are APJs. The remaining members of the National Police, as well as members of municipal police forces, are APJ assistants.


title: Law enforcement in France

text: Only OPJs may serve search (this includes anybody search more invasive than external palpation) and put somebody in custody ("garde à vue") for 24 hours; APJs may only assist them in these tasks. Suspects apprehended by an APJ must be brought before an OPJ which will in turn have to inform the public prosecutor. According to the law, any citizen can apprehend the author of a crime or of an offense that can be punished by a prison sentence (citizen's arrest) and lead him or her to an OPJ. However, this is problematic in case of a "simple" citizen due to the estimation of what can be punished by a prison sentence or not, and due to possible abuse (abuses are a restriction of individual freedom and can be sued for illegal confinement).


title: Law enforcement in France

text: The quality of officer of judiciary police may be withdrawn by the judiciary if the officer has behaved in an inappropriate fashion. The general prosecutor grades OPJs and these grades are taken into account for possible promotions.


title: Bodie Olmos

text: Bodie James Olmos (born August 27, 1975) is an American actor. He is the son of Edward James Olmos and Kaija Keel, and grandson of Howard Keel.


title: Bodie Olmos

text: His older brother is actor Mico Olmos, and his younger sister is Daniela Olmos. His first on screen appearance was on "The Ballad of Gregorio Cortez" in 1982 when he was 7 years old. His most recent appearance on television is alongside his father in "Battlestar Galactica" as Lieutenant Junior Grade Brendan "Hotdog" Costanza. He also acted in a film directed by his father named "Walkout".


title: FIFA 17

text: FIFA 17 is a football simulation video game developed and published by Electronic Arts under the EA Sports label. It was released in September 2016 for Microsoft Windows, PlayStation 3, PlayStation 4, Xbox 360 and Xbox One. This is the first "FIFA" game in the series to use the Frostbite game engine. Borussia Dortmund player Marco Reus serves as the cover athlete on the game.


title: FIFA 17

text: The new features in "FIFA 17" include new attacking techniques, physical player overhaul, active intelligence system and set piece rewrite. EA also announced at Gamescom 2016 that Squad Building Challenges and FUT Champions will be in "FIFA" Ultimate Team, but not in the Xbox 360 and PlayStation 3 editions of the game.


title: FIFA 17

text: Commentary is once again provided by Martin Tyler and Alan Smith with Alan McInally (in-game score updates), Geoff Shreeves (injury reports), and Mike West (classified results for major leagues). Commentary in other languages (such as Spanish and French) is also provided.


title: FIFA 17

text: EA Sports announced at E3 2016 that they will have all 20 Premier League managers' likenesses in the game. New goal celebrations, such as Paul Pogba's 'Dab' and Mesut Özil's 'M' celebration, feature in the game.


title: FIFA 17

text: On 23 June 2016, EA Sports announced that the J1 League and J.League Cup will be featured in the game for the first time. On 4 September 2016, EA Sports announced at Brasil Game Show 2016 that 18 Campeonato Brasileiro Série A teams will be featured in their respective league (Corinthians and Flamengo, who signed an exclusivity deal with Konami for "Pro Evolution Soccer", do not appear). Five Série B teams are also in the game. The Brazilian teams in the game have generic player names which the user cannot change. Women's teams, who were introduced in "FIFA 16", also return, with the Norway women's national football team being added to the series but they removed stadium Camp Nou and added El Libertador in FIFA 17


title: FIFA 17

text: "FIFA 17" introduced a new single-player story campaign mode, "The Journey", for PS4, Xbox One and Windows. Players assume the role of Alex Hunter (voiced and modeled by Adetomiwa Edun), a young footballer trying to make his mark in the Premier League. The player is able to select any Premier League club to play for at the beginning of the season. The player can only play in an upfield position as a right winger, striker, left winger, or central attacking midfielder. The story mode also features a dialogue wheel, similar to the "Mass Effect" series. The game even has a few cameos from other footballers such as James Rodriguez, Marco Reus, and Harry Kane.


title: FIFA 17

text: Alex Hunter is a 17-year-old male from Clapham, London. Hunter's grandfather is former English striker Jim Hunter, who scored 22 goals in the 1968–69 season. Under his grandfather's guidance, Hunter's life goal is to play as a footballer in the Premier League. During a football match between two young teams, one of which features Hunter and his best friend, Gareth Walker, after a penalty shoot-out in which either Hunter or Walker scores the winning penalty, a scout remarks about Alex Hunter's talent to Jim Hunter. Seven years later, Alex Hunter and Gareth Walker take on the exit trial which can be failed depending on how Alex Hunter performs. If the player fails they will have to redo the exit trial. If they succeed then Hunter signs for a Premier League club. Hunter soon learns that Walker has joined the same club.


title: FIFA 17

text: Both players attend the club's pre-season tour of the United States, where they play against Real Madrid, Borussia Dortmund and Paris Saint-Germain. In the regular season, after starting most games as a substitute, Alex Hunter is loaned out to one of Newcastle United, Aston Villa, or Norwich City as a result of the major signing of either Harry Kane or Ángel Di María by Alex's parent club. When Hunter gets loaned out he is reunited with Danny Williams who also participated in the exit trial despite already being offered a pro contract. The two get close in Hunter's loan spell and quickly become close friends. When Hunter is recalled by his parent club he immediately finds out that Gareth Walker is heading to their rivals.


title: FIFA 17

text: After returning from loan, Hunter is able to receive sponsorship deals from Adidas, each deal being received whenever Hunter hits a milestone number of followers in the Twitter-based social media menu of the game mode. The deals include new boots, a photoshoot, and the chance to appear in an Adidas advertisement alongside Di María. After a successful season in the starting eleven, Hunter gets to start in the final of the FA Cup, in which he faces Gareth Walker for the second time since his departure from the club. Before the game, Hunter and Walker encounter in the tunnel. Regardless of the result, Walker and Hunter shake hands after the game and they become reconciled. Later, in Hunter's flat, Hunter discovers that he has been named to the list of likely players to be called up to the England national team.


title: FIFA 17

text: The first demo of the game came out on 13 September 2016, and included eleven teams: Chelsea, Manchester City, Manchester United, Barcelona, Real Madrid, Paris Saint-Germain, Lyon, Inter Milan, Juventus, Bayern Munich, and Gamba Osaka.


title: FIFA 17

text: Marco Reus, Eden Hazard, James Rodríguez and Anthony Martial were announced as the official ambassadors of the game. After a global cover vote conducted by EA Sports, Reus emerged as the winner.


title: FIFA 17

text: The game received positive reviews upon release, with gameplay, the Frostbite engine, sound, and presentation all critically acclaimed. "FIFA 17" has been the fastest selling edition of the franchise.


title: BA CityFlyer

text: BA CityFlyer is a British regional airline, and a wholly owned subsidiary of British Airways with its head office based in Didsbury, Manchester, England. It operates a network of domestic and European services from its base at London City Airport. All services operate with BA's full colours, titles and flight numbers. BA Cityflyer Limited holds a United Kingdom Civil Aviation Authority Type A Operating Licence, meaning that it is permitted to carry passengers, cargo and mail on aircraft with 20 or more seats.


title: BA CityFlyer

text: British Airways' sale of BA Connect to Flybe in 2007 did not include the London City Airport operations and its associated fleet of ten Avro RJ100 regional jet aircraft. This led to British Airways' decision to resurrect erstwhile Gatwick-based CityFlyer Express (which BA had integrated into its Gatwick mainline short-haul operation in 2001, following the acquisition of CityFlyer Express in 1999) as a new wholly owned subsidiary to take over this operation, . BA Cityflyer was awarded an Air Operators Certificate on 8 February 2007, and started operations on 25 March 2007.


title: BA CityFlyer

text: In summer 2008, two Avro RJ85 aircraft were added to the fleet for performance and economic reasons - this included overcoming payload restrictions in the summer that could limit existing aircraft to 60 passengers on some days.


title: BA CityFlyer

text: In the second half of 2008, BA CityFlyer announced an order for 11 aircraft from the Embraer E-Jet family compromising of six 76 seat Embraer 170 and five 98 seat Embraer 190SR aircraft, plus options for three additional 190SRs with the first aircraft due in the second half of 2009. The first Embraer 190SR was received in 2010.


title: BA CityFlyer

text: In February 2016, BA CityFlyer announced that it would commence operating flights from London-Stansted in May 2016. In January and February 2017, it announced that it would commence summer seasonal services from Manchester, Bristol, Edinburgh, Dublin and Birmingham to a variety of destinations in Spain, Italy, Greece and France. This marks the return of BA to the regions after an absence of nearly 10 years. Flights will also operate in the summer between London City and Manchester, operating with Embraer 190SR aircraft.


title: BA CityFlyer

text: In 2018, the airline reported nearly doubled profits, with profits increasing 28% and revenue up by 18%. Recently, the airline has pulled out from operating at both Birmingham and Bristol on weekends and has made several changes to its schedule increasing frequency and adding new services to Rome.


title: BA CityFlyer

text: In July 2020, in light of the COVID-19 pandemic it was announced that the crew base at Edinburgh Airport would close on 31 October 2020, with the loss of several ground based office jobs and the option for cabin crew and pilots to relocate to London City Airport. On 9 December 2020, it was announced that BA Cityflyer would operate from Southampton Airport starting in May 2021 with flights to 14 European destinations mostly operating on weekends.


title: BA CityFlyer

text: In addition to their scheduled flights from London City, the airline also operates a number of scheduled and charter flights from Edinburgh, Glasgow, London-Stansted and Belfast City airports primarily to leisure destinations. In 2021, BA Cityflyer started operating 14 weekend flights from Southampton.


title: BA CityFlyer

text: On 13 February 2009, BA CityFlyer Flight 8456 (an Avro RJ100, registered G-BXAR, flying from Amsterdam) suffered a nose-gear collapse whilst landing at London City Airport. None of the 67 passengers or five crew members were seriously injured in the incident, but three passengers suffered minor injuries, two of whom were kept in hospital overnight. After a normal approach the nose landing-gear fractured as it was lowered onto the runway, due to the presence of a fatigue-crack in the upper internal bore of the landing-gear main fitting. It was found that the crack had formed as a result of poor surface finish during manufacture, and the incomplete embodiment of a manufacturer's service bulletin, which the landing-gear maintenance records showed as being implemented at its last overhaul in June 2006. The aircraft was damaged beyond economic repair, and was written off by insurers in May 2009.


title: 2D computer graphics

text: 2D computer graphics is the computer-based generation of digital images—mostly from two-dimensional models (such as 2D geometric models, text, and digital images) and by techniques specific to them. It may refer to the branch of computer science that comprises such techniques or to the models themselves.


title: 2D computer graphics

text: 2D computer graphics are mainly used in applications that were originally developed upon traditional printing and drawing technologies, such as typography, cartography, technical drawing, advertising, etc. In those applications, the two-dimensional image is not just a representation of a real-world object, but an independent artifact with added semantic value; two-dimensional models are therefore preferred, because they give more direct control of the image than 3D computer graphics (whose approach is more akin to photography than to typography).


title: 2D computer graphics

text: In many domains, such as desktop publishing, engineering, and business, a description of a document based on 2D computer graphics techniques can be much smaller than the corresponding digital image—often by a factor of 1/1000 or more. This representation is also more flexible since it can be rendered at different resolutions to suit different output devices. For these reasons, documents and illustrations are often stored or transmitted as 2D graphic files.


title: 2D computer graphics

text: 2D computer graphics started in the 1950s, based on vector graphics devices. These were largely supplanted by raster-based devices in the following decades. The PostScript language and the X Window System protocol were landmark developments in the field.


title: 2D computer graphics

text: 2D graphics models may combine geometric models (also called vector graphics), digital images (also called raster graphics), text to be typeset (defined by content, font style and size, color, position, and orientation), mathematical functions and equations, and more. These components can be modified and manipulated by two-dimensional geometric transformations such as translation, rotation, and scaling.


title: 2D computer graphics

text: In object-oriented graphics, the image is described indirectly by an object endowed with a self-rendering method—a procedure that assigns colors to the image pixels by an arbitrary algorithm. Complex models can be built by combining simpler objects, in the paradigms of object-oriented programming.


title: 2D computer graphics

text: In Euclidean geometry, a "translation (geometry)" moves every point a constant distance in a specified direction. A translation can be described as a rigid motion: other rigid motions include rotations and reflections. A translation can also be interpreted as the addition of a constant vector to every point, or as shifting the origin of the coordinate system. A "translation operator" is an operator formula_1 such that formula_2


title: 2D computer graphics

text: If "T" is a translation, then the image of a subset "A" under the function "T" is the translation of "A" by "T". The translation of "A" by "T" is often written "A" + v.


title: 2D computer graphics

text: In a Euclidean space, any translation is an isometry. The set of all translations forms the translation group "T", which is isomorphic to the space itself, and a normal subgroup of Euclidean group "E"("n" ). The quotient group of "E"("n" ) by "T" is isomorphic to the orthogonal group "O"("n" ):


title: 2D computer graphics

text: Since a translation is an affine transformation but not a linear transformation, homogeneous coordinates are normally used to represent the translation operator by a matrix and thus to make it linear. Thus we write the 3-dimensional vector w = ("w", "w", "w") using 4 homogeneous coordinates as w = ("w", "w", "w", 1).


title: 2D computer graphics

text: To translate an object by a vector v, each homogeneous vector p (written in homogeneous coordinates) would need to be multiplied by this translation matrix:


title: 2D computer graphics

text: Because addition of vectors is commutative, multiplication of translation matrices is therefore also commutative (unlike multiplication of arbitrary matrices).


title: 2D computer graphics

text: In linear algebra, a "rotation matrix" is a matrix that is used to perform a rotation in Euclidean space.


title: 2D computer graphics

text: rotates points in the "xy"-Cartesian plane counterclockwise through an angle "θ" about the origin of the Cartesian coordinate system. To perform the rotation using a rotation matrix "R", the position of each point must be represented by a column vector v, containing the coordinates of the point. A rotated vector is obtained by using the matrix multiplication "R"v. Since matrix multiplication has no effect on the zero vector (i.e., on the coordinates of the origin), rotation matrices can only be used to describe rotations about the origin of the coordinate system.


title: 2D computer graphics

text: Rotation matrices provide a simple algebraic description of such rotations, and are used extensively for computations in geometry, physics, and computer graphics. In 2-dimensional space, a rotation can be simply described by an angle "θ" of rotation, but it can be also represented by the 4 entries of a rotation matrix with 2 rows and 2 columns. In 3-dimensional space, every rotation can be interpreted as a rotation by a given angle about a single fixed axis of rotation (see Euler's rotation theorem), and hence it can be simply described by an angle and a vector with 3 entries. However, it can also be represented by the 9 entries of a rotation matrix with 3 rows and 3 columns. The notion of rotation is not commonly used in dimensions higher than 3; there is a notion of a "rotational displacement", which can be represented by a matrix, but no associated single axis or angle.


title: 2D computer graphics

text: Rotation matrices are square matrices, with real entries. More specifically they can be characterized as orthogonal matrices with determinant 1:


title: 2D computer graphics

text: The direction of vector rotation is counterclockwise if θ is positive (e.g. 90°), and clockwise if θ is negative (e.g. -90°).


title: 2D computer graphics

text: If a standard right-handed Cartesian coordinate system is used, with the "x" axis to the right and the "y" axis up, the rotation R("θ") is counterclockwise. If a left-handed Cartesian coordinate system is used, with "x" directed to the right but "y" directed down, R("θ") is clockwise. Such non-standard orientations are rarely used in mathematics but are common in 2D computer graphics, which often have the origin in the top left corner and the "y"-axis down the screen or page.


title: 2D computer graphics

text: See below for other alternative conventions which may change the sense of the rotation produced by a rotation matrix.


title: 2D computer graphics

text: In Euclidean geometry, uniform scaling (isotropic scaling, homogeneous dilation, homothety) is a linear transformation that enlarges (increases) or shrinks (diminishes) objects by a scale factor that is the same in all directions. The result of uniform scaling is similar (in the geometric sense) to the original. A scale factor of 1 is normally allowed, so that congruent shapes are also classed as similar. (Some school text books specifically exclude this possibility, just as some exclude squares from being rectangles or circles from being ellipses.)


title: 2D computer graphics

text: More general is scaling with a separate scale factor for each axis direction. Non-uniform scaling (anisotropic scaling, inhomogeneous dilation) is obtained when at least one of the scaling factors is different from the others; a special case is directional scaling or stretching (in one direction). Non-uniform scaling changes the shape of the object; e.g. a square may change into a rectangle, or into a parallelogram if the sides of the square are not parallel to the scaling axes (the angles between lines parallel to the axes are preserved, but not all angles).


title: 2D computer graphics

text: A scaling can be represented by a scaling matrix. To scale an object by a vector "v" = ("v, v, v"), each point "p" = ("p, p, p") would need to be multiplied with this scaling matrix:


title: 2D computer graphics

text: Such a scaling changes the diameter of an object by a factor between the scale factors, the area by a factor between the smallest and the largest product of two scale factors, and the volume by the product of all three.


title: 2D computer graphics

text: The scaling is uniform if and only if the scaling factors are equal ("v = v = v"). If all except one of the scale factors are equal to 1, we have directional scaling.


title: 2D computer graphics

text: In the case where "v = v = v = k", the scaling is also called an enlargement or dilation by a factor k, increasing the area by a factor of k and the volume by a factor of k.


title: 2D computer graphics

text: Scaling in the most general sense is any affine transformation with a diagonalizable matrix. It includes the case that the three directions of scaling are not perpendicular. It includes also the case that one or more scale factors are equal to zero (projection), and the case of one or more negative scale factors. The latter corresponds to a combination of scaling proper and a kind of reflection: along lines in a particular direction we take the reflection in the point of intersection with a plane that need not be perpendicular; therefore it is more general than ordinary reflection in the plane.


title: 2D computer graphics

text: In projective geometry, often used in computer graphics, points are represented using homogeneous coordinates. To scale an object by a vector "v" = ("v, v, v"), each homogeneous coordinate vector "p" = ("p, p, p", 1) would need to be multiplied with this projective transformation matrix:


title: 2D computer graphics

text: Since the last component of a homogeneous coordinate can be viewed as the denominator of the other three components, a uniform scaling by a common factor "s" (uniform scaling) can be accomplished by using this scaling matrix:


title: 2D computer graphics

text: A convenient way to create a complex image is to start with a blank "canvas" raster map (an array of pixels, also known as a bitmap) filled with some uniform background color and then "draw", "paint" or "paste" simple patches of color onto it, in an appropriate order. In particular the canvas may be the frame buffer for a computer display.


title: 2D computer graphics

text: Some programs will set the pixel colors directly, but most will rely on some 2D graphics library or the machine's graphics card, which usually implement the following operations:


title: 2D computer graphics

text: Text, shapes and lines are rendered with a client-specified color. Many libraries and cards provide color gradients, which are handy for the generation of smoothly-varying backgrounds, shadow effects, etc. (See also Gouraud shading). The pixel colors can also be taken from a texture, e.g. a digital image (thus emulating rub-on screentones and the fabled "checker paint" which used to be available only in cartoons).


title: 2D computer graphics

text: Painting a pixel with a given color usually replaces its previous color. However, many systems support painting with transparent and translucent colors, which only modify the previous pixel values.


title: 2D computer graphics

text: The two colors may also be combined in more complex ways, e.g. by computing their bitwise exclusive or. This technique is known as "inverting color" or "color inversion", and is often used in graphical user interfaces for highlighting, rubber-band drawing, and other volatile painting—since re-painting the same shapes with the same color will restore the original pixel values.


title: 2D computer graphics

text: The models used in 2D computer graphics usually do not provide for three-dimensional shapes, or three-dimensional optical phenomena such as lighting, shadows, reflection, refraction, etc. However, they usually can model multiple "layers" (conceptually of ink, paper, or film; opaque, translucent, or transparent—stacked in a specific order. The ordering is usually defined by a single number (the layer's "depth", or distance from the viewer).


title: 2D computer graphics

text: Layered models are sometimes called "2-D computer graphics". They make it possible to mimic traditional drafting and printing techniques based on film and paper, such as cutting and pasting; and allow the user to edit any layer without affecting the others. For these reasons, they are used in most graphics editors. Layered models also allow better spatial anti-aliasing of complex drawings and provide a sound model for certain techniques such as "mitered joints" and the even–odd rule.


title: 2D computer graphics

text: Layered models are also used to allow the user to suppress unwanted information when viewing or printing a document, e.g. roads or railways from a map, certain process layers from an integrated circuit diagram, or hand annotations from a business letter.


title: 2D computer graphics

text: In a layer-based model, the target image is produced by "painting" or "pasting" each layer, in order of decreasing depth, on the virtual canvas. Conceptually, each layer is first rendered on its own, yielding a digital image with the desired resolution which is then painted over the canvas, pixel by pixel. Fully transparent parts of a layer need not be rendered, of course. The rendering and painting may be done in parallel, i.e., each layer pixel may be painted on the canvas as soon as it is produced by the rendering procedure.


title: 2D computer graphics

text: Layers that consist of complex geometric objects (such as text or polylines) may be broken down into simpler elements (characters or line segments, respectively), which are then painted as separate layers, in some order. However, this solution may create undesirable aliasing artifacts wherever two elements overlap the same pixel.


title: 2D computer graphics

text: Modern computer graphics card displays almost overwhelmingly use raster techniques, dividing the screen into a rectangular grid of pixels, due to the relatively low cost of raster-based video hardware as compared with vector graphic hardware. Most graphic hardware has internal support for blitting operations or sprite drawing. A co-processor dedicated to blitting is known as a "Blitter chip".


title: 2D computer graphics

text: Classic 2D graphics chips and graphics processing units of the late 1970s to 1980s, used in 8-bit to early 16-bit, arcade games, video game consoles, and home computers, include:


title: 2D computer graphics

text: Many graphical user interfaces (GUIs), including macOS, Microsoft Windows, or the X Window System, are primarily based on 2D graphical concepts. Such software provides a visual environment for interacting with the computer, and commonly includes some form of window manager to aid the user in conceptually distinguishing between different applications.


title: 2D computer graphics

text: The user interface within individual software applications is typically 2D in nature as well, due in part to the fact that most common input devices, such as the mouse, are constrained to two dimensions of movement.


title: 2D computer graphics

text: 2D graphics are very important in the control peripherals such as printers, plotters, sheet cutting machines, etc. They were also used in most early video games; and are still used for card and board games such as solitaire, chess, mahjongg, etc.


title: 2D computer graphics

text: 2D graphics editors or "drawing programs" are application-level software for the creation of images, diagrams and illustrations by direct manipulation (through the mouse, graphics tablet, or similar device) of 2D computer graphics primitives. These editors generally provide geometric primitives as well as digital images; and some even support procedural models. The illustration is usually represented internally as a layered model, often with a hierarchical structure to make editing more convenient. These editors generally output graphics files where the layers and primitives are separately preserved in their original form. MacDraw, introduced in 1984 with the Macintosh line of computers, was an early example of this class; recent examples are the commercial products Adobe Illustrator and CorelDRAW, and the free editors such as xfig or Inkscape. There are also many 2D graphics editors specialized for certain types of drawings such as electrical, electronic and VLSI diagrams, topographic maps, computer fonts, etc.


title: 2D computer graphics

text: Image editors are specialized for the manipulation of digital images, mainly by means of free-hand drawing/painting and signal processing operations. They typically use a direct-painting paradigm, where the user controls virtual pens, brushes, and other free-hand artistic instruments to apply paint to a virtual canvas. Some image editors support a multiple-layer model; however, in order to support signal-processing operations like blurring each layer is normally represented as a digital image. Therefore, any geometric primitives that are provided by the editor are immediately converted to pixels and painted onto the canvas. The name "raster graphics editor" is sometimes used to contrast this approach to that of general editors which also handle "vector graphics". One of the first popular image editors was Apple's MacPaint, companion to MacDraw. Modern examples are the free GIMP editor, and the commercial products Photoshop and Paint Shop Pro. This class too includes many specialized editors—for medicine, remote sensing, digital photography, etc.


title: 2D computer graphics

text: With the resurgence of 2D animation, free and proprietary software packages have become widely available for amateurs and professional animators. The principal issue with 2D animation is labor requirements. With software like RETAS UbiArt Framework and Adobe After Effects, coloring and compositing can be done in less time.


title: 2D computer graphics

text: Various approaches have been developed to aid and speed up the process of digital 2D animation. For example, by generating vector artwork in a tool like Adobe Flash an artist may employ software-driven automatic coloring and in-betweening.


title: 2D computer graphics

text: Programs like Blender allow the user to do either 3D animation, 2D animation or combine both in its software allowing experimentation with multiple forms of animation.


title: Spent nuclear fuel

text: Spent nuclear fuel, occasionally called used nuclear fuel, is nuclear fuel that has been irradiated in a nuclear reactor (usually at a nuclear power plant). It is no longer useful in sustaining a nuclear reaction in an ordinary thermal reactor and depending on its point along the nuclear fuel cycle, it may have considerably different isotopic constituents. The term "fuel" is slightly confusing, as it implies a combustion of some type, which does not occur in a nuclear power plant. Nevertheless, this term is generally accepted.


title: Spent nuclear fuel

text: In the oxide fuel, intense temperature gradients exist that cause fission products to migrate. The zirconium tends to move to the centre of the fuel pellet where the temperature is highest, while the lower-boiling fission products move to the edge of the pellet. The pellet is likely to contain many small bubble-like pores that form during use; the fission product xenon migrates to these voids. Some of this xenon will then decay to form caesium, hence many of these bubbles contain a large concentration of .


title: Spent nuclear fuel

text: In the case of mixed oxide (MOX) fuel, the xenon tends to diffuse out of the plutonium-rich areas of the fuel, and it is then trapped in the surrounding uranium dioxide. The neodymium tends to not be mobile.


title: Spent nuclear fuel

text: Also metallic particles of an alloy of Mo-Tc-Ru-Pd tend to form in the fuel. Other solids form at the boundary between the uranium dioxide grains, but the majority of the fission products remain in the uranium dioxide as solid solutions. A paper describing a method of making a non-radioactive "uranium active" simulation of spent oxide fuel exists.


title: Spent nuclear fuel

text: 3% of the mass consists of fission products of U and Pu (also indirect products in the decay chain); these are considered radioactive waste or may be separated further for various industrial and medical uses. The fission products include every element from zinc through to the lanthanides; much of the fission yield is concentrated in two peaks, one in the second transition row (Zr, Mo, Tc, Ru, Rh, Pd, Ag) and the other later in the periodic table (I, Xe, Cs, Ba, La, Ce, Nd). Many of the fission products are either non-radioactive or only short-lived radioisotopes, but a considerable number are medium to long-lived radioisotopes such as Sr, Cs, Tc and I. Research has been conducted by several different countries into segregating the rare isotopes in fission waste including the "fission platinoids" (Ru, Rh, Pd) and silver (Ag) as a way of offsetting the cost of reprocessing; this is not currently being done commercially.


title: Spent nuclear fuel

text: The fission products can modify the thermal properties of the uranium dioxide; the lanthanide oxides tend to lower the thermal conductivity of the fuel, while the metallic nanoparticles slightly increase the thermal conductivity of the fuel.


title: Spent nuclear fuel

text: About 1% of the mass is Pu and Pu resulting from conversion of U, which may be considered either as a useful byproduct, or as dangerous and inconvenient waste. One of the main concerns regarding nuclear proliferation is to prevent this plutonium from being used by states, , to produce nuclear weapons. If the reactor has been used normally, the plutonium is reactor-grade, not weapons-grade: it contains more than 19% Pu and less than 80% Pu, which makes it not ideal for making bombs. If the irradiation period has been short then the plutonium is weapons-grade (more than 93%).


title: Spent nuclear fuel

text: 96% of the mass is the remaining uranium: most of the original U and a little U. Usually U would be less than 0.8% of the mass along with 0.4% U.


title: Spent nuclear fuel

text: Reprocessed uranium will contain U, which is not found in nature; this is one isotope that can be used as a fingerprint for spent reactor fuel.


title: Spent nuclear fuel

text: If using a thorium fuel to produce fissile U, the SNF (Spent Nuclear Fuel) will have U, with a half-life of 159,200 years (unless this uranium is removed from the spent fuel by a chemical process). The presence of U will affect the long-term radioactive decay of the spent fuel. If compared with MOX fuel, the activity around one million years in the cycles with thorium will be higher due to the presence of the not fully decayed U.


title: Spent nuclear fuel

text: For natural uranium fuel, fissile component starts at 0.7% U concentration in natural uranium. At discharge, total fissile component is still 0.5% (0.2% U, 0.3% fissile Pu, Pu). Fuel is discharged not because fissile material is fully used-up, but because the neutron-absorbing fission products have built up and the fuel becomes significantly less able to sustain a nuclear reaction.


title: Spent nuclear fuel

text: Some natural uranium fuels use chemically active cladding, such as Magnox, and need to be reprocessed because long-term storage and disposal is difficult.


title: Spent nuclear fuel

text: Spent reactor fuel contains traces of the minor actinides. These are actinides other than uranium and plutonium and include neptunium, americium and curium. The amount formed depends greatly upon the nature of the fuel used and the conditions under which it was used. For instance, the use of MOX fuel (Pu in a U matrix) is likely to lead to the production of more Am and heavier nuclides than a uranium/thorium based fuel (U in a Th matrix).


title: Spent nuclear fuel

text: For highly enriched fuels used in marine reactors and research reactors, the isotope inventory will vary based on in-core fuel management and reactor operating conditions.


title: Spent nuclear fuel

text: When a nuclear reactor has been shut down and the nuclear fission chain reaction has ceased, a significant amount of heat will still be produced in the fuel due to the beta decay of fission products. For this reason, at the moment of reactor shutdown, decay heat will be about 7% of the previous core power if the reactor has had a long and steady power history. About 1 hour after shutdown, the decay heat will be about 1.5% of the previous core power. After a day, the decay heat falls to 0.4%, and after a week it will be 0.2%. The decay heat production rate will continue to slowly decrease over time.


title: Spent nuclear fuel

text: Spent fuel that has been removed from a reactor is ordinarily stored in a water-filled spent fuel pool for a year or more (in some sites 10 to 20 years) in order to cool it and provide shielding from its radioactivity. Practical spent fuel pool designs generally do not rely on passive cooling but rather require that the water be actively pumped through heat exchangers. If there is a prolonged interruption of active cooling due to emergency situations, the water in the spent fuel pools may therefore boil off, possibly resulting in radioactive elements being released into the atmosphere.


title: Spent nuclear fuel

text: The use of different fuels in nuclear reactors results in different SNF composition, with varying activity curves.


title: Spent nuclear fuel

text: Long-lived radioactive waste from the back end of the fuel cycle is especially relevant when designing a complete waste management plan for SNF. When looking at long-term radioactive decay, the actinides in the SNF have a significant influence due to their characteristically long half-lives. Depending on what a nuclear reactor is fueled with, the actinide composition in the SNF will be different.


title: Spent nuclear fuel

text: An example of this effect is the use of nuclear fuels with thorium. Th-232 is a fertile material that can undergo a neutron capture reaction and two beta minus decays, resulting in the production of fissile U-233. Its radioactive decay will strongly influence the long-term activity curve of the SNF around a million years. A comparison of the activity associated to U-233 for three different SNF types can be seen in the figure on the top right. The burnt fuels are Thorium with Reactor-Grade Plutonium (RGPu), Thorium with Weapons-Grade Plutonium (WGPu) and Mixed Oxide fuel (MOX, no thorium). For RGPu and WGPu, the initial amount of U-233 and its decay around a million years can be seen. This has an effect in the total activity curve of the three fuel types. The initial absence of U-233 and its daughter products in the MOX fuel results in a lower activity in region 3 of the figure on the bottom right, whereas for RGPu and WGPu the curve is maintained higher due to the presence of U-233 that has not fully decayed. Nuclear reprocessing can remove the actinides from the spent fuel so they can be used or destroyed (see Long-lived fission product#Actinides).


title: Spent nuclear fuel

text: According to the work of corrosion electrochemist David W. Shoesmith, the nanoparticles of Mo-Tc-Ru-Pd have a strong effect on the corrosion of uranium dioxide fuel. For instance his work suggests that when hydrogen (H) concentration is high (due to the anaerobic corrosion of the steel waste can), the oxidation of hydrogen at the nanoparticles will exert a protective effect on the uranium dioxide. This effect can be thought of as an example of protection by a sacrificial anode, where instead of a metal anode reacting and dissolving it is the hydrogen gas that is consumed.


title: Spent nuclear fuel

text: Spent nuclear fuel is stored either in spent fuel pools (SFPs) or in dry casks. In the United States, SFPs and casks containing spent fuel are located either directly on nuclear power plant sites or on Independent Spent Fuel Storage Installations (ISFSIs). ISFSIs can be adjacent to a nuclear power plant site, or may reside away-from-reactor (AFR ISFSI). The vast majority of ISFSIs store spent fuel in dry casks. The Morris Operation is currently the only ISFSI with a spent fuel pool in the United States.


title: Spent nuclear fuel

text: Nuclear reprocessing can separate spent fuel into various combinations of reprocessed uranium, plutonium, minor actinides, fission products, remnants of zirconium or steel cladding, activation products, and the reagents or solidifiers introduced in the reprocessing itself. If these constituent portions of spent fuel were reused, and additional wastes that may come as a byproduct of reprocessing are limited, reprocessing could ultimately reduce the volume of waste that needs to be disposed.


title: Spent nuclear fuel

text: Alternatively, the intact spent nuclear fuel can be directly disposed of as high-level radioactive waste. The United States has planned disposal in deep geological formations, such as the Yucca Mountain nuclear waste repository, where it has to be shielded and packaged to prevent its migration to humans' immediate environment for thousands of years. On March 5, 2009, however, Energy Secretary Steven Chu told a Senate hearing that "the Yucca Mountain site no longer was viewed as an option for storing reactor waste."


title: Spent nuclear fuel

text: In Switzerland, the Federal Council approved in 2008, the plan for the deep geological repository for radioactive waste.


title: Spent nuclear fuel

text: Algae has shown selectivity for strontium in studies, where most plants used in bioremediation have not shown selectivity between calcium and strontium, often becoming saturated with calcium, which is present in greater quantities in nuclear waste. Strontium-90 is a radioactive byproduct produced by nuclear reactors used in nuclear power. It is a component of nuclear waste and spent nuclear fuel. The half life is long, around 30 years, and is classified as high-level waste.


title: Spent nuclear fuel

text: Researchers have looked at the bioaccumulation of strontium by "Scenedesmus spinosus" (algae) in simulated wastewater. The study claims a highly selective biosorption capacity for strontium of S. spinosus, suggesting that it may be appropriate for use of nuclear wastewater. A study of the pond alga "Closterium moniliferum" using non-radioactive strontium found that varying the ratio of barium to strontium in water improved strontium selectivity.


title: Spent nuclear fuel

text: Spent nuclear fuel stays a radiation hazard for extended periods of time with Half-lifes as high as 24,000 years. For example 10 years after removal from a reactor, the surface dose rate for a typical spent fuel assembly still exceeds 10,000 rem/hour – far greater than the fatal whole-body dose for humans of about 500 rem received all at once.


title: Spent nuclear fuel

text: There is debate over whether spent fuel stored in a pool is susceptible to incidents such as earthquakes or terrorist attacks that could potentially result in a release of radiation.


title: Spent nuclear fuel

text: In the rare occurrence of a fuel failure during normal operation, the primary coolant can enter the element. Visual techniques are normally used for the postirradiation inspection of fuel bundles.


title: Spent nuclear fuel

text: Since the September 11 attacks the Nuclear Regulatory Commission has instituted a series of rules mandating that all fuel pools be impervious to natural disaster and terrorist attack. As a result, used fuel pools are encased in a steel liner and thick concrete, and are regularly inspected to ensure resilience to earthquakes, tornadoes, hurricanes, and seiches.


title: Kirribilli House

text: Kirribilli House is the secondary official residence of the Prime Minister of Australia. Located in the Sydney harbourside suburb of , New South Wales, the house is at the far eastern end of Kirribilli Avenue. It is one of two official Prime Ministerial residences, the primary official residence being The Lodge in Canberra, Australian Capital Territory. The house, gardens and grounds are listed on the Commonwealth Heritage List.


title: Kirribilli House

text: Although Kirribilli was never intended to be the Prime Minister's official primary place of residence, John Howard, Tony Abbott and Scott Morrison have used the house as such.


title: Kirribilli House

text: In 1854, merchant Adolphus Frederic Feez purchased a parcel of land at the tip of Kirribilli Point for £200. The land had been sliced off the grounds of adjacent Wotonga House, which now forms part of Admiralty House, but was then in private ownership. Feez built the picturesque Gothic-style structure now known as Kirribilli House – a twin-gabled dwelling or cottage ornée – on the land's highest spot. The house features steeply pitched roofs, fretwork, bargeboards and bay windows. It passed through many private hands until it was purchased in 1919 for £10,000 by Arthur Wigram Allen. Allen planned to subdivide the land but after much public agitation the then Prime Minister of Australia, Billy Hughes, resumed the property for Government purposes in 1920.


title: Kirribilli House

text: The property was used by the staff of the Governor-General of Australia (who occupied neighbouring Admiralty House) until 1930, when it was leased to tenants. In 1956 Kirribilli House was set aside as a residence for the use of Australia's Prime Ministers, when they need to perform public duties and extend official hospitality on behalf of the government during stays in Sydney; the official Prime Ministerial residence is The Lodge in Canberra. Kirribilli House is situated on the North Shore of Sydney Harbour, in the suburb of Kirribilli. It commands impressive views across to the Sydney Harbour Bridge, Circular Quay and the Sydney Opera House and has been visited over the years by many important international dignitaries.


title: Kirribilli House

text: Adolphus Frederic Feez, who built Kirribilli House in 1855, was born in Germany in 1826. He went first to London in 1849 and is listed on the Certificate of Arrival as being a merchant and an architect. In 1851 he immigrated to Sydney on the ship "Envelope". He established himself as a successful merchant and was a partner in the trading company called Rabone, Feez and Co. His brother was Albrecht Feez, who later became a prominent citizen in Rockhampton.


title: Kirribilli House

text: Feez lived in Kirribilli House for several years which was then called Sophienberg. He then moved to Balmain. He married Frederica and had two children while living in Sydney. While on a business trip to Fiji he died in 1869 at the age of only 43. Frederica returned with her children to live in Germany.


title: Kirribilli House

text: The next residents of Kirribilli House from about 1858 were Thomas and Esther Lawry. Thomas Lawry was born in 1821. He was employed by the Ordnance Department in Sydney at a young age, and remained there for the rest of his life. He was also appointed as a magistrate by the Governor. He married Esther Hughes in 1858 and the couple had two children. In 1859 the birth of a daughter at Sophienberg was recorded in the newspaper so it appears that the house continued to be called by this name after the Lawrys purchased it.


title: Kirribilli House

text: Esther Lawry’s maiden name was Esther Matilda Hosking Hughes and she was the step granddaughter of Samuel Terry, the very wealthy convict entrepreneur. In 1858 Esther inherited a considerable amount of money from her grandmother Rosetta Terry.


title: Kirribilli House

text: In 1865 Thomas Lawry died at the age of 44. The death notice records that the name of the house was still Sophienberg. Two years later in 1867 Esther married James Taylor, who was the Commissary-General of Ordnance. This couple then lived in the house with Esther’s two children, one of whom was Thomas Terry Trewyn Lawry. In 1891 James Taylor died. By this time the house had been named "Kirribilli" and was located in Campbell Street as the map on the left shows. In 1900 Esther died, and the house was left to her son Thomas Terry Trewyn Lawry.


title: Kirribilli House

text: Thomas Terry Trewyn Lawry was born in 1864. He seemed to have rather poor health and did not marry. In 1907 at the age of only 42 he died of heart failure. As he had no children he left his property to relatives and others. He made a very complex will leaving Kirribilli house to several people one of whom was Laura Lamotte. Laura married William Donald McCrea in 1909. Laura and William lived in the house for some time but she then wanted to sell the property. There was some disagreement about the sale with the other beneficiaries and the matter was taken to the Equity Court. The Court resolved that the property should be sold and it was put on the market in 1919. The House was bought by Arthur Wigram Allen who planned to subdivide the land. In 1920 he produced a brochure with a photo of the house and the planned subdivision.


title: Kirribilli House

text: There was public outcry about the sale of the house and the Government under the then Prime Minister Billy Hughes decided to resume it. The property has remained in Government ownership since then.


title: Fosse Way

text: The Fosse Way was a Roman road built in Britain during the first and second centuries AD that linked Isca Dumnoniorum (Exeter) in the southwest and Lindum Colonia (Lincoln) to the northeast, via Lindinis (Ilchester), Aquae Sulis (Bath), Corinium (Cirencester), and Ratae Corieltauvorum (Leicester).


title: Fosse Way

text: The word "Fosse" is derived from the Latin , meaning 'ditch'. For the first few decades after the Roman invasion of Britain in 43 CE, the Fosse Way marked the western frontier of Roman rule in Iron Age Britain. It is possible that the road began as a defensive ditch that was later filled in and converted into a road, or possibly a defensive ditch ran alongside the road for at least some of its length.


title: Fosse Way

text: The road joined Akeman Street and Ermin Way at Cirencester, crossed Watling Street at "Venonis" (High Cross) south of Leicester, and joined Ermine Street at Lincoln.


title: Fosse Way

text: The Antonine Itinerary (a 2nd-century Roman register of roads) includes the section between High Cross and Lincoln, and lists intermediate points at "Verometo" (Willoughby on the Wolds), "Margiduno" (Castle Hill near Bingham), "Ad Pontem" (East Stoke) and "Crocolana" (Brough).


title: Fosse Way

text: From Lincoln to Ilchester in Somerset, a distance of , the route is never more than from a straight line.


title: Fosse Way

text: Excavations between 2010 and 2019 by the University of Exeter at Ipplepen in Devon and Calstock in Cornwall suggest that the road network extended much further into the southwest peninsula than previously thought.


title: Fosse Way

text: Many sections of the Fosse Way form parts of modern roads and lanes, and parish, district or county boundaries, but some parts are now only accessible on foot.


title: Fosse Way

text: Several place names on the route have the suffix "-cester" or "-chester", which is derived from Old English / (ultimately from Latin meaning 'military camp'). Some settlements are named after the road itself, such as "Fosse-", or "-on-Fosse", while others have a more generic form, such as "Street", "Strete", "-le-Street", "Stratton", "Stretton", "Stratford", and "Stretford", derived from Old English / (ultimately from Latin , meaning 'paved road'). The route runs from in Exeter to in Lincoln.


title: Fosse Way

text: Between Lincoln and Leicester the A46 follows the route of the Fosse Way. The A46 deviates from Fosse Way at East Goscote, to follow the Leicester Western Bypass. The original alignment, which is still visible as an unclassified road called "Fosse Way", passes through Syston, continuing as the minor road "Melton Road" through Thurmaston, before merging with the A607 (the old A46), continuing into the city centre on the old alignment, first as Melton Road then Belgrave Road and Belgrave Gate. The alignment terminates at the Clock Tower, and picks up again at Narborough Road (the A5460), on the other side of the River Soar. A stretch of the road between Widmerpool & Newark-on-Trent has been upgraded to a dual carriageway which was completed in 2012. The new route deviates in several sections off the historic road line.


title: Fosse Way

text: South of Leicester, apart from a short deviation near Narborough where the original course is no longer visible, the B4114 (originally the A46 but renumbered when the M69 was opened) follows the route. A short distance north of the A5, the B4114 diverges from the line of the Fosse Way to pass through the village of Sharnford, while for the route of the Fosse Way is followed by a minor road, named Roman Road which, although single track, runs along a much wider and slightly domed strip of land with deep ditches either side (the "agger"). The modern road ends at a picnic site car park, and a further southwards can be explored on foot.


title: Fosse Way

text: The junction of Fosse Way with Watling Street, now the A5, is at High Cross (Roman name ). Watling Street is the county boundary between Leicestershire and Warwickshire.


title: Fosse Way

text: While the Selly Oak bypass (A38) is named New Fosse Way, the original A38 (now B384) follows the alignment of a Saxon salt road rather than a Roman road.


title: Fosse Way

text: The Fosse Way follows the B4455 across Warwickshire, through Street Ashton, Stretton-under-Fosse, Brinklow, Bretford, Stretton-on-Dunsmore, Princethorpe and the site of a Roman town near Chesterton, until it joins the A429 near the boundary with Gloucestershire. The route then follows the A429 through Stretton-on-Fosse, Moreton-in-Marsh, Stow-on-the-Wold, Northleach and Fossebridge, to Cirencester, where it crosses Akeman Street and Ermin Way.


title: Fosse Way

text: South of Cirencester the Fosse Way follows a short section of the A433, then goes cross country. The Fosse Way crosses the River Thames and under the first South Wales railway Golden Valley Line which was constructed via Gloucester. The road continues and later forming the county boundary between Gloucestershire and Wiltshire, across the old airfield at RAF Kemble, then becomes fragmented sections of country lanes; two sections on this stretch are byways rather than maintained roads, and at points on these routes it widens to as much as .


title: Fosse Way

text: It passes near the Iron Age hill fort of Bury Camp and becomes another section of the county boundary, crossing second the South Wales railway which is the South Wales Main Line, next the site of an old chapel and spring at Fosse Lodge in Dunley, and then the M4. Thereafter it passes through The Shoe and Nettleton Shrub where remains of a posting-station have been found, and arrives at Batheaston. Thereupon it turns due west to follow the River Avon into Bath.


title: Fosse Way

text: Between Bath and Shepton Mallet the line of the Fosse Way follows parts of the A367, through Clandown, Radstock, Westfield and Stratton-on-the-Fosse. It runs across open country and farm tracks parallel to the A37 north of Shepton Mallet, near the Iron Age hill fort of Maesbury. At Beacon Hill south of Oakhill, it crossed the Roman road along the Mendip ridgeway from Old Sarum to the lead and silver mines at Charterhouse. The Fosse Way passes through the eastern suburbs of Shepton Mallet on a short stretch of the A361 to Cannard's Grave, where it picks up the A37.


title: Fosse Way

text: The Fosse Way follows the A37 through Street-on-the-Fosse and Lydford-on-Fosse on a direct route to Ilchester. The route leaves the A37 north of the A303 junction just north of Ilchester, and follows a small track (previously part of the A37 from before the by-pass opened and broken by the present-day A372 and A303), before picking up the B3151 through the town. It leaves the B3151 onto Ilchester's High Street, then follows West Street and Roman Road, a minor road that was formerly part of the A303, towards the present-day A303 west of town.


title: Fosse Way

text: The Roman road from Ilchester to Dorchester, Dorset continues on the line of A37 through Yeovil to the south east. Other minor Roman roads lead from Ilchester and Lydford-on-Fosse towards Street and the A39 route along the Polden Hills, leading to Roman salt works on the Somerset Levels, and ports at Combwich, Crandon Bridge and Highbridge.


title: Fosse Way

text: After Ilchester the Fosse Way is followed by a section of the A303 under the ramparts of the Iron Age hill fort of Ham Hill, occupied by the Second Legion after the conquest of the Durotriges in Dorset.


title: Fosse Way

text: The alignment leaves major roads after Petherton Bridge over the River Parrett, and follows country lanes to Over Stratton and Dinnington, where in 2002 members of the Channel 4 television programme "Time Team" uncovered a mosaic next to the road.


title: Fosse Way

text: The route crosses a stream called Stretford Water, climbs the ridge, and follows a short section of the A30 at Windwhistle Hill. Then it turns on to the B3167 through the hamlets of Street and Perry Street, joins the A358, crosses the River Axe at what used to be called Stratford (now called Weycroft), and on to Axminster.


title: Fosse Way

text: The location of the end of the Fosse Way is uncertain. There are further alignments on the A358 at Ball's Farm and Musbury south of Axminster, which imply a Roman road did continue along the River Axe toward Axmouth and Seaton. These sections are labelled "Fosse Way" on Ordnance Survey maps.


title: Fosse Way

text: The crossroads in Axminster was controlled by a Roman fort at Woodbury Farm, now on the southern edge of the town. The route to the west crosses the Rivers Axe and Yarty to Kilmington, continuing on segments of the A35 and minor local lanes to Honiton. From Honiton the route leads south-west along the old A30, to Strete Ralegh, where there is a short break, then a clear alignment along the former A30, now a minor road, towards Exeter.


title: Tradition and the Individual Talent

text: "Tradition and the Individual Talent" (1919) is an essay written by poet and literary critic T. S. Eliot. The essay was first published in "The Egoist" (1919) and later in Eliot's first book of criticism, "The Sacred Wood" (1920). The essay is also available in Eliot's "Selected Prose" and "Selected Essays"."


title: Tradition and the Individual Talent

text: While Eliot is most often known for his poetry, he also contributed to the field of literary criticism. In this dual role, he acted as a cultural critic, comparable to Sir Philip Sidney and Samuel Taylor Coleridge. "Tradition and the Individual Talent" is one of the more well known works that Eliot produced in his critic capacity. It formulates Eliot's influential conception of the relationship between the poet and preceding literary traditions.


title: Tradition and the Individual Talent

text: This essay is divided into three parts: first the concept of "Tradition," then the Theory of Impersonal Poetry, and finally the conclusion.


title: Tradition and the Individual Talent

text: Eliot presents his conception of tradition and the definition of the poet and poetry in relation to it. He wishes to correct the fact that, as he perceives it, "in English writing we seldom speak of tradition, though we occasionally apply its name in deploring its absence." Eliot posits that, though the English tradition generally upholds the belief that art progresses through change – a separation from tradition, literary advancements are instead recognised only when they conform to the tradition. Eliot, a classicist, felt that the true incorporation of tradition into literature was unrecognised, that tradition, a word that "seldom... appear[s] except in a phrase of censure," was actually a thus-far unrealised element of literary criticism.


title: Tradition and the Individual Talent

text: For Eliot, the term "tradition" is imbued with a special and complex character. It represents a "simultaneous order," by which Eliot means a historical timelessness – a fusion of past and present – and, at the same time, a sense of present temporality. A poet must embody "the whole of the literature of Europe from Homer," while, simultaneously, expressing their contemporary environment. Eliot challenges the common perception that a poet's greatness and individuality lie in their departure from their predecessors; he argues that "the most individual parts of his [the poet's] work may be those in which the dead poets, his ancestors, assert their immortality most vigorously." Eliot claims that this "historical sense" is not only a resemblance to traditional works but an awareness and understanding of their relation to his poetry.


title: Tradition and the Individual Talent

text: This fidelity to tradition, however, does not require the great poet to forfeit novelty in an act of surrender to repetition. Rather, Eliot has a much more dynamic and progressive conception of the poetic process: novelty is possible only through tapping into tradition. When a poet engages in the creation of new work, they realise an aesthetic "ideal order," as it has been established by the literary tradition that has come before them. As such, the act of artistic creation does not take place in a vacuum. The introduction of a new work alters the cohesion of this existing order, and causes a readjustment of the old to accommodate the new. The inclusion of the new work alters the way in which the past is seen; elements of the past that are noted and realised. In Eliot’s own words, "What happens when a new work of art is created is something that happens simultaneously to all the works of art that preceded it." Eliot refers to this organic tradition, this developing canon, as the "mind of Europe." The private mind is subsumed by this more massive one.


title: Tradition and the Individual Talent

text: This leads to Eliot’s so-called "Impersonal Theory" of poetry. Since the poet engages in a "continual surrender of himself" to the vast order of tradition, artistic creation is a process of depersonalisation. The mature poet is viewed as a medium, through which tradition is channelled and elaborated. He compares the poet to a catalyst in a chemical reaction, in which the reactants are feelings and emotions that are synthesised to create an artistic image that captures and relays these same feelings and emotions. While the mind of the poet is necessary for the production, it emerges unaffected by the process. The artist stores feelings and emotions and properly unites them into a specific combination, which is the artistic product. What lends greatness to a work of art are not the feelings and emotions themselves, but the nature of the artistic process by which they are synthesised. The artist is responsible for creating "the pressure, so to speak, under which the fusion takes place." And, it is the intensity of fusion that renders art great. In this view, Eliot rejects the theory that art expresses metaphysical unity in the soul of the poet. The poet is a depersonalised vessel, a mere medium.


title: Tradition and the Individual Talent

text: Great works do not express the personal emotion of the poet. The poet does not reveal their own unique and novel emotions, but rather, by drawing on ordinary ones and channelling them through the intensity of poetry, they express feelings that surpass, altogether, experienced emotion. This is what Eliot intends when he discusses poetry as an "escape from emotion." Since successful poetry is impersonal and, therefore, exists independent of its poet, it outlives the poet and can incorporate into the timeless "ideal order" of the "living" literary tradition.


title: Tradition and the Individual Talent

text: Another essay found in "Selected Essays" relates to this notion of the impersonal poet. In "Hamlet and His Problems" Eliot presents the phrase "objective correlative." The theory is that the expression of emotion in art can be achieved by a specific, and almost formulaic, prescription of a set of objects, including events and situations. A particular emotion is created by presenting its correlated objective sign. The author is depersonalised in this conception, since he is the mere effecter of the sign. And, it is the sign, and not the poet, which creates emotion.


title: Tradition and the Individual Talent

text: The implications here separate Eliot's idea of talent from the conventional definition (just as his idea of Tradition is separate from the conventional definition), one so far from it, perhaps, that he chooses never to directly label it as talent. The conventional definition of talent, especially in the arts, is a genius that one is born with. Not so for Eliot. Instead, talent is acquired through a careful study of poetry, claiming that Tradition, "cannot be inherited, and if you want it, you must obtain it by great labour." Eliot asserts that it is absolutely necessary for the poet to study, to have an understanding of the poets before them, and to be well versed enough that they can understand and incorporate the "mind of Europe" into their poetry. But the poet's study is unique – it is knowledge that "does not encroach," and that does not "deaden or pervert poetic sensibility." It is, to put it most simply, a poetic knowledge – knowledge observed through a poetic lens. This ideal implies that knowledge gleaned by a poet is not knowledge of facts, but knowledge which leads to a greater understanding of the mind of Europe. As Eliot explains, "Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum."


title: Tradition and the Individual Talent

text: Unwittingly, Eliot inspired and informed the movement of New Criticism. This is somewhat ironic, since he later criticised their intensely detailed analysis of texts as unnecessarily tedious. Yet, he does share with them the same focus on the aesthetic and stylistic qualities of poetry, rather than on its ideological content. The New Critics resemble Eliot in their close analysis of particular passages and poems.


title: Tradition and the Individual Talent

text: Eliot's theory of literary tradition has been criticised for its limited definition of what constitutes the canon of that tradition. He assumes the authority to choose what represents great poetry, and his choices have been criticised on several fronts. For example, Harold Bloom disagrees with Eliot's condescension towards Romantic poetry, which, in "The Metaphysical Poets" (1921) he criticises for its "dissociation of sensibility." Moreover, many believe Eliot's discussion of the literary tradition as the "mind of Europe" reeks of Euro-centrism. However, it should be recognized that Eliot supported many Eastern and thus non-European works of literature such as the "Mahabharata". Eliot was arguing the importance of a complete sensibility: he didn't particularly care what it was at the time of tradition and the individual talent. His own work is heavily influenced by non-Western traditions. In his broadcast talk "The Unity of European Culture," he said, "Long ago I studied the ancient Indian languages and while I was chiefly interested at that time in Philosophy, I read a little poetry too; and I know that my own poetry shows the influence of Indian thought and sensibility." His self-evaluation was confirmed by B. P. N. Sinha, who writes that Eliot went beyond Indian ideas to Indian form: "The West has preoccupied itself almost exclusively with the philosophy and thoughts of India. One consequence of this has been a total neglect of Indian forms of expression, i.e. of its literature. T. S. Eliot is the one major poet whose work bears evidence of intercourse with this aspect of Indian culture" (qtd. in "The Composition of" The Four Quartets). He does not account for a non-white and non-masculine tradition. As such, his notion of tradition stands at odds with feminist, post-colonial and minority theories.


title: Tradition and the Individual Talent

text: Harold Bloom presents a conception of tradition that differs from that of Eliot. Whereas Eliot believes that the great poet is faithful to his predecessors and evolves in a concordant manner, Bloom (according to his theory of "anxiety of influence") envisions the "strong poet" to engage in a much more aggressive and tumultuous rebellion against tradition.


title: Tradition and the Individual Talent

text: In 1964, his last year, Eliot published in a reprint of "The Use of Poetry and the Use of Criticism", a series of lectures he gave at Harvard University in 1932 and 1933, a new preface in which he called "Tradition and the Individual Talent" the most juvenile of his essays (although he also indicated that he did not repudiate it.)


title: GO:OD AM

text: GO:OD AM is the third studio album by American rapper Mac Miller. It was released on September 18, 2015, by REMember Music and Warner Bros. Records. The album features guest appearances from Ab-Soul, Chief Keef, Lil B, Miguel, and Little Dragon.


title: GO:OD AM

text: "GO:OD AM" was supported by two singles: "100 Grandkids" and "Weekend". Miller began his international tour in support of the album on September 20, 2015, which started at his hometown of Pittsburgh, Pennsylvania. The album received generally positive reviews from critics, and debuted at number four on the US "Billboard" 200.


title: GO:OD AM

text: On January 14, 2014, Miller announced that he was parting ways with Rostrum Records. On May 11, 2014, Miller released his tenth mixtape "Faces". On October 21, 2014, news surfaced that Miller signed a recording contract with Warner Bros. Records, including a distribution deal for his label REMember Music. On July 30, 2015, Miller announced that he had completed his third studio album. On August 5, 2015, he revealed the album title, release date, as well as a music video for the lead single "100 Grandkids".


title: GO:OD AM

text: On September 4, 2015, Miller released a mobile app that functions as an alarm and plays snippets of new music leading up to the album's release. Fans can also purchase a "Breakfast Special Edition" of the LP, packaging in a cereal box complete with cereal, a plastic cereal bowl, and a surprise item in addition to the CD and digital download. In the days leading up to the album's release, Miller hosted a series of free social events to promote the album, deemed "Homecoming Weekend". The festival culminated with the album release show and subsequent international tour. Miller toured internationally in support of the album on The GO:OD AM Tour, and it started at his hometown of Pittsburgh, Pennsylvania.


title: GO:OD AM

text: The album's first single, "100 Grandkids", was released on August 7, 2015. On August 7, 2015, the music video was released for "100 Grandkids". The album's second official single, "Weekend" featuring Miguel, was released January 11, 2016.


title: GO:OD AM

text: The album's first promotional single, "Break the Law", was released on August 17, 2015. The album's second promotional single, "Clubhouse", was released on September 10, 2015.


title: GO:OD AM

text: "GO:OD AM" was met with generally positive reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received an average score of 71, based on 14 reviews. Aggregator AnyDecentMusic? gave it 6.7 out of 10, based on their assessment of the critical consensus.


title: GO:OD AM

text: David Jeffries of AllMusic said, "Getting sober and ridding himself of depression are topics that "GO:OD AM" touches upon, but rather than his past, the 'show and prove' Miller is driven by his rebirth on an interesting and infectious LP that's also his strongest to date". Meghan Garvey of "Billboard" said, "On major-label debut "GO:OD AM", his third and best studio album, Miller grapples frankly with fame, addiction, recovery and the struggle to be a decent person over taut, melancholy production that channels both bleary inebriation and hard-fought optimism". Andrew Gretchko of "HipHopDX" said, "If Miller's second album was a stepping stone that allowed him to climb above his partying past, "GO:OD AM" serves as a wakeup call for those that think his music is still best suited for frat parties. With a bright future ahead of him, Miller has positioned himself for career longevity, so long as he can keep his demons behind him". Chris Dart of "Exclaim!" stated, "If there's one flaw with this album, it's its length. If you make a 70-minute album, all 70 of those minutes better be phenomenal, and that's not the case here. Dropping two or three songs would be enough to turn this very good record into a brilliant one". Brian Duricy of "PopMatters" said, "Relying on his individuality yields his greatest results, but the album's most passable moments too". Tayler Montague of "Pitchfork" said, "We might not learn a lot of specifics about him, but there's a lot of honesty in his music if you look for it".


title: GO:OD AM

text: C. J. Rucker of "The Source" said, ""GO:OD AM" is the most transparent music Mac Miller has ever made and in doing so he has created a sonically cohesive and impressive album". Michael Madden of "Consequence" said, "Beyond rapping, producing, and singing, Mac must see himself as a total package, and at 70 minutes long, "GO:OD AM" was always bound to have a lot of elements clashing for space. Somehow, it still feels balanced. It's essentially an offbeat stoner rap album, but there's still plenty of melody, in Mac's own singing and the guest appearances from the likes of Miguel on "Weekend" and Nagano on "The Festival", as well as in the EDM of "Jump" at the end of the album". Lanre Bakare of "The Guardian" said, "It's musically adventurous in a way that recalls Chance the Rapper's "Surf" project, but takes fewer detours into psych and jazz". Michael G. Barilleaux of "RapReviews" said, "At the end of the day Mac Miller is without a doubt capable of bringing more to the table than shallow, boring rap. Unfortunately, he doesn't do much to prove that on "GO:OD AM"". Christopher R. Weingarten of "Rolling Stone" said, ""GO:OD A.M." is a 70-minute studio album that would have been better served as two mixtape diary entries until the sober Miller discovered a smarter way to channel his newfound enthusiasm".