title: Geoffrey de Havilland

text: De Havilland controlled the company until it was bought by the Hawker Siddeley Company in 1960. His financial backer, Alan Butler, remained a very involved chairman until he retired in 1950.


title: Geoffrey de Havilland

text: De Havilland retired from active involvement in his company in 1955, though remaining as president. He continued flying up to the age of 70 making his final flight in a DH85 Leopard Moth, G-ACMA. He died aged 82, of a cerebral haemorrhage, on 21 May 1965 at Watford Peace Memorial Hospital, Hertfordshire.


title: Geoffrey de Havilland

text: De Havilland was made an OBE (Military Division) in the 1918 Birthday Honours, and was honoured with a CBE (Civil Division) in the 1934 Birthday Honours. He was decorated with the Air Force Cross (AFC) in the 1919 New Year Honours, in recognition of his service in the First World War. He was knighted in the 1944 New Year Honours, and was invested with his knighthood by George VI at Buckingham Palace on 15 February 1944. He was appointed to the Order of Merit (OM) in November 1962. He received numerous national and international gold and silver medals and honorary fellowships of learned and engineering societies, including the Gold Medal of the Royal Aero Club in 1947 and again in 1963.


title: Geoffrey de Havilland

text: A statue of de Havilland was erected in July 1997 near the entrance to the College Lane campus of the University of Hertfordshire in Hatfield. He was a benefactor of the university, having given land adjoining the A1 to Hertfordshire County Council in 1951 for its precursor, the Hatfield Technical College. The statue was unveiled by the Duke of Edinburgh. The De Havilland campus (also known as De Hav) at the university was also named in his honour.


title: Geoffrey de Havilland

text: The actresses Olivia de Havilland and Joan Fontaine were de Havilland's cousins; his father, Charles, and their father, Walter, were half-brothers. His younger brother, Hereward de Havilland, was also a noted pioneer aviator and test pilot. Sir Anthony de Havilland (1969 - ) is a direct descendent of James de Havilland (1553 - 1613) who migrated from Guernsey to Poole in Dorset and was granted the trade license for Poole.


title: Geoffrey de Havilland

text: In 1909, Geoffrey de Havilland married Louise Thomas, who had formerly been governess to de Havilland's sisters. They had three sons, Peter, Geoffrey and John. Two of the sons died as test pilots in de Havilland aircraft. His youngest son, John, died in an air collision involving two Mosquitoes in 1943. Geoffrey Jr carried out the first flights of the Mosquito and Vampire and was killed in 1946 flying the jet-powered DH 108 Swallow while diving at or near the speed of sound. Louise suffered a nervous breakdown following these deaths and died in 1949. De Havilland remarried in 1951, to Joan Mary Frith (1900–1974). They remained married until his death.


title: Geoffrey de Havilland

text: In 1975, de Havilland's 1961 autobiography, "Sky Fever", was re-published by Peter and Anne de Havilland. It was originally published by Hamish Hamilton.


title: Voyage of the James Caird

text: The voyage of the "James Caird" was a journey of from Elephant Island in the South Shetland Islands through the Southern Ocean to South Georgia, undertaken by Sir Ernest Shackleton and five companions to obtain rescue for the main body of the stranded Imperial Trans-Antarctic Expedition of 1914–1917. Historians regard the voyage of the crew in a ship's boat through the "Furious Fifties" as one of the greatest small-boat journeys ever completed.


title: Voyage of the James Caird

text: In October 1915, pack ice in the Weddell Sea had sunk the main expedition ship "Endurance", leaving Shackleton and his 27 companions adrift on a floe. They drifted northward until April 1916, when the floe on which they were camped broke up; they made their way in the ship's boats to Elephant Island. Shackleton decided to sail one of the boats with a small crew to South Georgia to seek help. It was not the closest human settlement but the only one that did not require them to sail into the prevailing westerlies.


title: Voyage of the James Caird

text: Of the three boats, the "James Caird" was deemed the most likely to survive the journey. (Shackleton had named it after Sir James Key Caird, a Dundee philanthropist whose sponsorship had helped finance the expedition.) Before its voyage, the ship's carpenter, Harry McNish, strengthened and adapted the boat to withstand the seas of the Southern Ocean, sealing his makeshift wood and canvas deck with lamp wick, oil paint and seal blood.


title: Voyage of the James Caird

text: After surviving a series of dangers, including a near capsizing, the small crew and boat reached the southern coast of South Georgia after a 17-day voyage. Shackleton, Tom Crean and Frank Worsley crossed the island's mountains to a whaling station on the north side. Here they organised the relief of three men left on the south side of the island and of the larger Elephant Island party. Ultimately, the entire "Endurance" crew returned home, without loss of life. After the First World War, in 1919, the "James Caird" was moved from South Georgia to England. Since 1922 it has been on regular display at Shackleton's alma mater, school, Dulwich College.


title: Voyage of the James Caird

text: On 5 December 1914, Shackleton's expedition traveled via the ship "Endurance" from South Georgia for the Weddell Sea, on the first stage of the Imperial Trans-Antarctic Expedition. They were making for Vahsel Bay, the southernmost explored point of the Weddell Sea at 77° 49' S, where a shore party was to land and prepare for a transcontinental crossing of Antarctica. Before reaching its destination, the ship became trapped in pack ice, and by 14 February 1915 was held fast, despite prolonged efforts to free her. During the following eight months the crew stayed with the ship as she drifted northward in the ice until, on 27 October, she was crushed by the pack's pressure, finally sinking on 21 November.


title: Voyage of the James Caird

text: As his 27-man crew set up camp on the slowly moving ice, Shackleton's focus shifted to how best to save his party. His first plan was to march across the ice to the nearest land, and try to reach a point that ships were known to visit. The march began, but progress was hampered by the nature of the ice's surface, later described by Shackleton as "soft, much broken up, open leads intersecting the floes at all angles".


title: Voyage of the James Caird

text: After struggling to make headway over several days, they abandoned the march; the party established "Patience Camp" on a flat ice floe, and waited as the drift carried them further north, towards open water. They had managed to salvage the three boats, which Shackleton had named after the principal backers of the expedition: "Stancomb-Wills", "Dudley Docker" and "James Caird". The party waited until 8 April 1916, when they finally took to the boats as the ice started to break up. Over a perilous period of seven days they sailed and rowed through stormy seas and dangerous loose ice, to reach the temporary haven of Elephant Island on 15 April.


title: Voyage of the James Caird

text: Elephant Island, on the eastern limits of the South Shetland Islands, was remote from anywhere that the expedition had planned to go, and far beyond normal shipping routes. No relief ship would search for them there, and the likelihood of rescue from any other outside agency was equally negligible. The island was bleak and inhospitable, and its terrain devoid of vegetation, although it had fresh water, and a relative abundance of seals and penguins to provide food and fuel for immediate survival. The rigours of an Antarctic winter were fast approaching; the narrow shingle beach where they were camped was already being swept by almost continuous gales and blizzards, which destroyed one of the tents in their temporary camp, and knocked others flat. The pressures and hardships of the previous months were beginning to tell on the men, many of whom were in a run-down state both mentally and physically.


title: Voyage of the James Caird

text: In these conditions, Shackleton decided to try to reach help, using one of the boats. The nearest port was Stanley in the Falkland Islands, away, but made unreachable by the prevailing westerly winds. A better option was to head for Deception Island, away at the western end of the South Shetland chain. Although it was uninhabited, Admiralty records indicated that this island held stores for shipwrecked mariners, and was also visited from time to time by whalers. However, reaching it would also involve a journey against the prevailing winds—though in less open seas—with ultimately no certainty when or if rescue would arrive. After discussions with the expedition's second-in-command, Frank Wild, and ship's captain Frank Worsley, Shackleton decided to attempt to reach the whaling stations of South Georgia, to the north-east. This would mean a longer boat journey of across the Southern Ocean, in conditions of rapidly approaching winter, but with the help of following winds it appeared feasible. Shackleton thought that "a boat party might make the voyage and be back with relief within a month, provided that the sea was clear of ice, and the boat survive the great seas".


title: Voyage of the James Caird

text: The South Georgia boat party could expect to meet hurricane-force winds and waves—the notorious Cape Horn Rollers—measuring from trough to crest as much as . Shackleton therefore selected the heaviest and strongest of the three boats, the long "James Caird". It had been built as a whaleboat in London to Worsley's orders, designed on the "double-ended" principle pioneered by Norwegian shipbuilder Colin Archer. Knowing that a heavily-laden open sea voyage was now unavoidable, Shackleton had already asked the expedition's carpenter, Harry McNish to modify the boats during the weeks the expedition spent at Patience Camp. Using material taken from "Endurance's" fourth boat, a small motor launch which had been broken up with this purpose in mind before the ship's final loss, McNish had raised the sides of the "James Caird" and the "Dudley Docker" by 8–10 inches (20–25 cm). Now in the primitive camp on Elephant Island, McNish was again asked if he could make the "James Caird" more seaworthy. Using improvised tools and materials, McNish built a makeshift deck of wood and canvas, sealing his work with oil paints, lamp wick, and seal blood. The craft was strengthened by having the mast of the "Dudley Docker" lashed inside, along the length of her keel. She was then fitted as a ketch, with her own mainmast and a mizzenmast made by cutting down the mainmast from the "Stancomb-Wills", rigged to carry lug sails and a jib. The weight of the boat was increased by the addition of approximately 1 long ton (1 tonne) of ballast, to lessen the risk of capsizing in the high seas that Shackleton knew they would encounter. Worsley believed that too much extra ballast (formed from rocks, stones and shingle taken from the beach) was added, making the boat excessively heavy, giving an extremely uncomfortable 'stiff' motion and hampering the performance for sailing upwind or into the weather. However he acknowledged that Shackleton's biggest concern was preventing the boat capsizing during the open-ocean crossing.


title: Voyage of the James Caird

text: The boat was loaded with provisions to last six men one month; as Shackleton later wrote, "if we did not make South Georgia in that time we were sure to go under". They took ration packs that had been intended for the transcontinental crossing, biscuits, Bovril, sugar and dried milk. They also took two 18-gallon (68-litre) casks of water (one of which was damaged during the loading and let in sea water), two Primus stoves, paraffin, oil, candles, sleeping bags and odd items of spare clothing.


title: Voyage of the James Caird

text: Shackleton's first choices for the boat's crew were Worsley and Tom Crean, who had apparently "begged to go". Crean was a shipmate from the Discovery Expedition, 1901–04, and had also been with Scott's Terra Nova Expedition in 1910–13, where he had distinguished himself on the fatal polar march. Shackleton was confident that Crean would persevere to the bitter end, and had great faith in Worsley's skills as a navigator, especially his ability to work out positions in difficult circumstances. Worsley later wrote: "We knew it would be the hardest thing we had ever undertaken, for the Antarctic winter had set in, and we were about to cross one of the worst seas in the world".


title: Voyage of the James Caird

text: For the remaining places Shackleton requested volunteers, and of the many who came forward he chose two strong sailors in John Vincent and Timothy McCarthy. He offered the final place to the carpenter, McNish. "He was over fifty years of age", wrote Shackleton of McNish (he was in fact 41), "but he had a good knowledge of sailing boats and was very quick". Vincent and McNish had each proved their worth during the difficult boat journey from the ice to Elephant Island. They were both somewhat awkward characters, and their selection may have reflected Shackleton's wish to keep potential troublemakers under his personal charge rather than leaving them on the island where personal animosities could fester.


title: Voyage of the James Caird

text: Before leaving, Shackleton instructed Frank Wild that he was to assume full command as soon as the "James Caird" departed, and that should the journey fail, he was to attempt to take the party to Deception Island the following spring. The "James Caird" was launched from Elephant Island on 24 April 1916. The wind was a moderate south-westerly, which aided a swift getaway, and the boat was quickly out of sight of the land.


title: Voyage of the James Caird

text: Shackleton ordered Worsley to set a course due north, instead of directly for South Georgia, to get clear of the menacing ice-fields that were beginning to form. By midnight they had left the immediate ice behind, but the sea swell was rising. At dawn the next day, they were from Elephant Island, sailing in heavy seas and force 9 winds. Shackleton established an on-board routine: two three-man watches, with one man at the helm, another at the sails, and the third on bailing duty. The off-watch trio rested in the tiny covered space in the bows. The difficulties of exchanging places as each watch ended would, Shackleton wrote, "have had its humorous side if it had not involved us in so many aches and pains". Their clothing was designed for Antarctic sledging rather than open-boat sailing. It was not waterproof, and contact with the icy seawater left their skins painfully raw.


title: Voyage of the James Caird

text: Success depended on Worsley's navigation, which was based on brief sightings of the sun as the boat pitched and rolled. The first observation was made after two days, and showed them to be north of Elephant Island. The course was changed to head directly for South Georgia. They were clear of floating ice but had reached the dangerous seas of the Drake Passage, where giant waves sweep round the globe, unimpeded by any land. The movement of the ship made preparing hot food on the Primus nearly impossible, but Crean, who acted as cook, somehow kept the men fed.


title: Voyage of the James Caird

text: The next observation, on 29 April, showed that they had travelled . Thereafter, navigation became, in Worsley's words, "a merry jest of guesswork", as they encountered the worst of the weather. The "James Caird" was taking on water in heavy seas and in danger of sinking, kept afloat by continuous bailing. The temperature fell sharply, and a new danger presented itself in the accumulations of frozen spray, which threatened to capsize the boat. In turns, they had to crawl out on to the pitching deck with an axe and chip away the ice from deck and rigging. For 48 hours they were stopped, held by a sea anchor, until the wind dropped sufficiently for them to raise sail and proceed. Despite their travails, Worsley's third observation, on 4 May, put them only from South Georgia.


title: Voyage of the James Caird

text: On 5 May the worst of the weather returned, and brought them close to disaster in the largest seas so far. Shackleton later wrote: "We felt our boat lifted and flung forward like a cork in breaking surf". The crew bailed frantically to keep afloat. Nevertheless, they were still moving towards their goal, and a dead reckoning calculation by Worsley on the next day, 6 May, suggested that they were now from the western point of South Georgia. The strains of the past two weeks were by now taking their toll on the men. Shackleton observed that Vincent had collapsed and ceased to be an active member of the crew, McCarthy was "weak, but happy", McNish was weakening but still showing "grit and spirit".


title: Voyage of the James Caird

text: On 7 May Worsley advised Shackleton that he could not be sure of their position within ten miles. To avoid the possibility of being swept past the island by the fierce south-westerly winds, Shackleton ordered a slight change of course so that the "James Caird" would reach land on the uninhabited south-west coast. They would then try to work the boat round to the whaling stations on the northern side of the island. "Things were bad for us in those days", wrote Shackleton. "The bright moments were those when we each received our one mug of hot milk during the long, bitter watches of the night". Late on the same day floating seaweed was spotted, and the next morning there were birds, including cormorants which were known never to venture far from land. Shortly after noon on 8 May came the first sighting of South Georgia.


title: Voyage of the James Caird

text: As they approached the high cliffs of the coastline, heavy seas made immediate landing impossible. For more than 24 hours they were forced to stand clear, as the wind shifted to the north-west and quickly developed into "one of the worst hurricanes any of us had ever experienced". For much of this time they were in danger of being driven on to the rocky South Georgia shore, or of being wrecked on the equally menacing Annenkov Island, five miles from the coast. On 10 May, when the storm had eased slightly, Shackleton was concerned that the weaker members of his crew would not last another day, and decided that whatever the hazard they must attempt a landing. They headed for Cave Cove near the entrance to King Haakon Bay, and finally, after several attempts, made their landing there. Shackleton was later to describe the boat journey as "one of supreme strife"; historian Caroline Alexander comments: "They could hardly have known—or cared—that in the carefully weighted judgement of authorities yet to come, the voyage of the "James Caird" would be ranked as one of the greatest boat journeys ever accomplished".


title: Voyage of the James Caird

text: As the party recuperated, Shackleton realised that the boat was not capable of making a further voyage to reach the whaling stations, and that Vincent and McNish were unfit to travel further. He decided to move the boat to a safer location within King Haakon Bay, from which point he, Worsley and Crean would cross the island on foot, aiming for the station at Stromness.


title: Voyage of the James Caird

text: On 15 May the "James Caird" made a run of about to a shingle beach near the head of the bay. Here the boat was beached and up-turned to provide a shelter. The location was christened "Peggotty Camp" (after Peggotty's boat-home in Charles Dickens's "David Copperfield"). Early on 18 May Shackleton, Worsley and Crean began what would be the first confirmed land crossing of the South Georgia interior. Since they had no map, they had to improvise a route across mountain ranges and glaciers. They travelled continuously for 36 hours, before reaching Stromness. Shackleton's men were, in Worsley's words, "a terrible trio of scarecrows", dark with exposure, wind, frostbite and accumulated blubber soot. Later that evening, 19 May, a motor-vessel (the Norwegian whale catcher "Samson") was despatched to King Haakon Bay to pick up McCarthy, McNish and Vincent, and the "James Caird". Worsley wrote that the Norwegian seamen at Stromness all "claimed the honour of helping to haul her up to the wharf", a gesture which he found "quite affecting".


title: Voyage of the James Caird

text: The advent of the southern winter and adverse ice conditions meant that it was more than three months before Shackleton was able to achieve the relief of the men at Elephant Island. His first attempt was with the British ship "Southern Sky". Then the government of Uruguay loaned him a ship. While searching on the Falkland Islands he found the ship "Emma" for his third attempt, but the ship's engine blew. Then, finally, with the aid of the steam-tug "Yelcho" commanded by Luis Pardo, the entire party was brought to safety, reaching Punta Arenas in Chile on 3 September 1916.


title: Voyage of the James Caird

text: The "James Caird" was returned to England in 1919. In 1921, Shackleton went back to Antarctica, leading the Shackleton–Rowett Expedition. On 5 January 1922, he died suddenly of a heart attack, while the expedition's ship was moored at South Georgia.


title: Voyage of the James Caird

text: Later that year John Quiller Rowett, who had financed this last expedition and was a former school friend of Shackleton's from Dulwich College, South London, decided to present the "James Caird" to the college. It remained there until 1967, although its display building was severely damaged by bombs in 1944.


title: Voyage of the James Caird

text: In 1967, thanks to a pupil at Dulwich College, Howard Hope, who was dismayed at the state of the boat, it was given to the care of the National Maritime Museum, and underwent restoration. It was then displayed by the museum until 1985, when it was returned to Dulwich College and placed in a new location in the North Cloister, on a bed of stones gathered from South Georgia and Aberystwyth. This site has become the "James Caird"s permanent home, although the boat is sometimes lent to major exhibitions and has taken part in the London Boat Show and in events at Greenwich, Portsmouth, and Falmouth. It has travelled overseas to be exhibited in Washington, D.C., New York, Sydney, Australia, Wellington (Te Papa) New Zealand and Bonn, Germany.


title: Voyage of the James Caird

text: The James Caird Society was established in 1994, to "preserve the memory, honour the remarkable feats of discovery in the Antarctic, and commend the outstanding qualities of leadership associated with the name of Sir Ernest Shackleton".


title: Voyage of the James Caird

text: In 2000, German polar explorer Arved Fuchs built a detailed copy of Shackleton's boat—named "James Caird II"—for his replication of the voyage of Shackleton and his crew from Elephant Island to South Georgia. The "James Caird II" was among the first exhibitions when the International Maritime Museum in Hamburg was opened. A further replica, "James Caird III", was built and purchased by the South Georgia Heritage Trust, and since 2008 has been on display at the South Georgia Museum at Grytviken.


title: Icon (computing)

text: In computing, an icon is a pictogram or ideogram displayed on a computer screen in order to help the user navigate a computer system. The icon itself is a quickly comprehensible symbol of a software tool, function, or a data file, accessible on the system and is more like a traffic sign than a detailed illustration of the actual entity it represents. It can serve as an electronic hyperlink or file shortcut to access the program or data. The user can activate an icon using a mouse, pointer, finger, or recently voice commands. Their placement on the screen, also in relation to other icons, may provide further information to the user about their usage. In activating an icon, the user can move directly into and out of the identified function without knowing anything further about the location or requirements of the file or code.


title: Icon (computing)

text: Icons as parts of the graphical user interface of the computer system, in conjunction with windows, menus and a pointing device (mouse), belong to the much larger topic of the history of the graphical user interface that has largely supplanted the text-based interface for casual use.


title: Icon (computing)

text: This category includes stylized drawings of objects from the office environment or from other professional areas such as printers, scissors, file cabinets and folders.


title: Icon (computing)

text: This category includes stylized drawing used to refer to an actions "printer" and "print", "scissors" and "cut" or "magnifying glass" and "search".


title: Icon (computing)

text: Symbol, which is related to its referent only by convention (letters, musical notation, mathematical operators etc.).


title: Icon (computing)

text: This category includes standardized symbols found across many electronic devices, such as the power on/off symbol and the USB icon.


title: Icon (computing)

text: An example of metaphorical representation characterizes all the major desktop-based computer systems including desktop that uses an iconic representation of objects from the 1980s office environment to transpose attributes from a familiar context/object to an unfamiliar one. This is known as skeuomorphism, and an example is the use of the floppy disk to represent saving data; even though floppy disks have been obsolete for roughly a quarter century, it is still recognized as "the save icon".


title: Icon (computing)

text: Metonymy is in itself a subset of metaphors that use one entity to point to another related to it such as using a fluorescent bulb instead of a filament one to represent power saving settings.


title: Icon (computing)

text: Synecdoche is considered as a special case of metonymy, in the usual sense of the part standing for the whole such as a single component for the entire system, speaker driver for the entire audio system settings.


title: Icon (computing)

text: Additionally, a group of icons can be categorised as brand icons, used to identify commercial software programs and are related to the brand identity of a company or software. These commercial icons serve as functional links on the system to the program or data files created by a specific software provider. Although icons are usually depicted in graphical user interfaces, icons are sometimes rendered in a TUI using special characters such as MouseText or PETSCII.


title: Icon (computing)

text: The design of all computer icons is constricted by the limitations of the device display. They are limited in size, with the standard size about a thumbnail for both desktop computer systems and mobile devices. They are frequently scalable, as they are displayed in different positions in the software, a single icon file such as the Apple Icon Image format can include multiple versions of the same icon optimized to work at a different size, in colour or grayscale as well as on dark and bright backgrounds.


title: Icon (computing)

text: The colors used, of both the image and the icon background, should stand out on different system backgrounds and among each other. The detailing of the icon image needs to be simple, remaining recognizable in varying graphical resolutions and screen sizes. Computer icons are by definition language-independent but often not culturally independent; they do not rely on letters or words to convey their meaning. These visual parameters place rigid limits on the design of icons, frequently requiring the skills of a graphic artist in their development.


title: Icon (computing)

text: Because of their condensed size and versatility, computer icons have become a mainstay of user interaction with electronic media. Icons also provide rapid entry into the system functionality. On most systems, users can create and delete, replicate, select, click or double-click standard computer icons and drag them to new positions on the screen to create a customized user environment.


title: Icon (computing)

text: A series of recurring computer icons are taken from the broader field of standardized symbols used across a wide range of electrical equipment. Examples of these are the power symbol and the USB icon, which are found on a wide variety of electronic devices. The standardization of electronic icons is an important safety-feature on all types of electronics, enabling a user to more easily navigate an unfamiliar system. As a subset of electronic devices, computer systems and mobile devices use many of the same icons; they are corporated into the design of both the computer hardware and on the software. On the hardware, these icons identify the functionality of specific buttons and plugs. In the software, they provide a link into the customizable settings.


title: Icon (computing)

text: System warning icons also belong to the broader area of ISO standard warning signs. These warning icons, first designed to regulate automobile traffic in the early 1900s, have become standardized and widely understood by users without the necessity of further verbal explanations. In designing software operating systems, different companies have incorporated and defined these standard symbols as part of their graphical user interface. For example, the Microsoft MSDN defines the standard icon use of error, warning, information and question mark icons as part of their software development guidelines.


title: Icon (computing)

text: Different organizations are actively involved in standardizing these icons, as well as providing guidelines for their creation and use. The International Electrotechnical Commission (IEC) has defined "Graphical symbols for use on equipment", published as IEC 417, a document which displays IEC standardized icons. Another organization invested in the promotion of effective icon usage is the ICT (information and communications technologies), which has published guidelines for the creation and use of icons. Many of these icons are available on the Internet, either to purchase or as freeware to incorporate into new software.


title: Icon (computing)

text: Easily comprehendible icons will make use of familiar visual metaphors directly connected to the Signified: actions the icon initiate or the content that would be revealed. Metaphors, Metonymy and Synecdoche are used to encode the meaning in an icon system.


title: Icon (computing)

text: The Signified can have multiple natures: virtual objects such as Files and Applications, actions within a system or an application (e.g. snap a picture, delete, rewind, connect/disconnect etc...), action in the physical world (e.g. print, eject DVD, change volume or brightness etc...) as well as physical objects (e.g. monitor, compact disk, mouse, printer etc...).


title: Icon (computing)

text: A subgroup of the more visually rich icons is based on objects lifted from a 1970 physical office space and desktop environment. It includes the basic icons used for a file, file folder, trashcan, inbox, together with the spatial real estate of the screen, i.e. the electronic desktop. This model originally enabled users, familiar with common office practices and functions, to intuitively navigate the computer desktop and system. (Desktop Metaphor, pg 2). The icons stand for objects or functions accessible on the system and enable the user to do tasks common to an office space. These desktop computer icons developed over several decades; data files in the 1950s, the hierarchical storage system (i.e. the file folder and filing cabinet) in the 1960s, and finally the desktop metaphor itself (including the trashcan) in the 1970s.


title: Icon (computing)

text: Dr. David Canfield Smith associated the term "icon" with computing in his landmark 1975 PhD thesis "Pygmalion: A Creative Programming Environment". In his work, Dr. Smith envisioned a scenario in which "visual entities", called icons, could execute lines of programming code, and save the operation for later re-execution. Dr. Smith later served as one of the principal designers of the Xerox Star, which became the first commercially available personal computing system based on the desktop metaphor when it was released in 1981. "The icons on [the desktop] are visible concrete embodiments of the corresponding physical objects." The desktop and icons displayed in this first desktop model are easily recognizable by users several decades later, and display the main components of the desktop metaphor GUI.


title: Icon (computing)

text: This model of the desktop metaphor has been adopted by most personal computing systems in the last decades of the 20th century; it remains popular as a "simple intuitive navigation by single user on single system." It is only at the beginning of the 21st century that personal computing is evolving a new metaphor based on Internet connectivity and teams of users, cloud computing. In this new model, data and tools are no longer stored on the single system, instead they are stored someplace else, "in the cloud". The cloud metaphor is replacing the desktop model; it remains to be seen how many of the common desktop icons (file, file folder, trashcan, inbox, filing cabinet) find a place in this new metaphor.


title: Icon (computing)

text: A further type of computer icon is more related to the brand identity of the software programs available on the computer system. These brand icons are bundled with their product and installed on a system with the software. They function in the same way as the hyperlink icons described above, representing functionality accessible on the system and providing links to either a software program or data file. Over and beyond this, they act as a company identifier and advertiser for the software or company.


title: Icon (computing)

text: Because these company and program logos represent the company and product itself, much attention is given to their design, done frequently by commercial artists. To regulate the use of these brand icons, they are trademark registered and are considered part of the company intellectual property.


title: Icon (computing)

text: On some GUI systems (e.g. Windows), on an icon which represents an object (e.g. a file) a certain additional subsystem can add a smaller secondary icon, laid over the primary icon and usually positioned in one of its corners, to indicate the status of the object which is represented with the primary icon. For instance, the subsystem for locking files can add a "padlock" overlay icon on an icon which represents a file in order to indicate that the file is locked.


title: Icon (computing)

text: In order to display the number of icons representing the growing complexity offered on a device, different systems have come up with different solutions for screen space management. The computer monitor continues to display primary icons on the main page or desktop, allowing easy and quick access to the most commonly used functions for a user. This screen space also invites almost immediate user customization, as the user adds favourite icons to the screen and groups related icons together on the screen. Secondary icons of system programs are also displayed on the task bar or the system dock. These secondary icons do not provide a link like the primary icons, instead, they are used to show availability of a tool or file on the system.


title: Icon (computing)

text: Spatial management techniques play a bigger role in mobile devices with their much smaller screen real estate. In response, mobile devices have introduced, among other visual devices, scrolling screen displays and selectable tabs displaying groups of related icons. Even with these evolving display systems, the icons themselves remain relatively constant in both appearance and function.


title: Icon (computing)

text: Above all, the icon itself must remain clearly identifiable on the display screen regardless of its position and size. Programs might display their icon not only as a desktop hyperlink, but also in the program title bar, on the Start menu, in the Microsoft tray or the Apple dock. In each of these locations, the primary purpose is to identify and advertise the program and functionality available. This need for recognition in turn sets specific design restrictions on effective computer icons.


title: Icon (computing)

text: In order to maintain consistency in the look of a device, OS manufacturers offer detailed guidelines for the development and use of icons on their systems. This is true for both standard system icons and third party application icons to be included in the system. The system icons currently in use have typically gone through widespread international acceptance and understandability testing. Icon design factors have also been the topic for extensive usability studies. The design itself involves a high level of skill in combining an attractive graphic design with the required usability features.


title: Icon (computing)

text: The icon needs to be clear and easily recognizable, able to display on monitors of widely varying size and resolutions. Its shape should be simple with clean lines, without too much detailing in the design. Together with the other design details, the shape also needs to make it unique on the display and clearly distinguishable from other icons.


title: Icon (computing)

text: The icon needs to be colorful enough to easily pick out on the display screen, and contrast well with any background. With the increasing ability to customize the desktop, it is important for the icon itself to display in a standard color which cannot be modified, retaining its characteristic appearance for immediate recognition by the user. Through color it should also provide some visual indicator as to the icon state; activated, available or currently not accessible ("greyed out").


title: Icon (computing)

text: The standard icon is generally the size of an adult thumb, enabling both easy visual recognition and use in a touchscreen device. For individual devices the display size correlates directly to the size of the screen real estate and the resolution of the display. Because they are used in multiple locations on the screen, the design must remain recognizable at the smallest size, for use in a directory tree or title bar, while retaining an attractive shape in the larger sizes. In addition to scaling, it may be necessary to remove visual details or simplify the subject between discrete sizes. Larger icons serve also as part of the accessibility features for the visually impaired on many computer systems. The width and height of the icon are the same (1:1 aspect ratio) in almost all areas of traditional use.


title: Icon (computing)

text: Icons can also be augmented with iconographic motion - geometric manipulations applied to a graphical element over time, for example, a scale, rotation, or other deformation. One example is when application icons "wobble" in iOS to convey to the user they are able to be repositioned by being dragged. This is different from an icon with animated graphics, such as a Throbber. In contrast to static icons and icons with animated graphics, kinetic behaviors do not alter the visual content of an element (whereas fades, blurs, tints, and addition of new graphics, such as badges, exclusively alter an icon's pixels). Stated differently, pixels in an icon can be moved, rotated, stretched, and so on - but not altered or added to. Research has shown iconographic motion can act as a powerful and reliable visual cue, a critical property for icons to embody.


title: Icon (computing)

text: In its primary function as a symbolic image, the icon design should ideally be divorced from any single language. For products which are targeting the international marketplace, the primary design consideration is that the icon is non-verbal; localizing text in icons is costly and time-consuming.


title: Icon (computing)

text: Beyond text, there are other design elements which can be dependent upon the cultural context for interpretation. These include color, numbers, symbols, body parts and hand gestures. Each of these elements needs to be evaluated for their meaning and relevance across all markets targeted by the product.


title: Icon (computing)

text: Other graphical devices used in the computer user interface fulfill GUI functions on the system similar to the computer icons described above. However each of these related graphical devices differs in one way or another from the standard computer icon.


title: Icon (computing)

text: The graphical windows on the computer screen share some of the visual and functional characteristics of the computer icon. Windows can be minimized to an icon format to serve as a hyperlink to the window itself. Multiple windows can be open and even overlapping on the screen. However where the icon provides a single button to initiate some function, the principal function of the window is a workspace, which can be minimized to an icon hyperlink when not in use.


title: Icon (computing)

text: Over time, certain GUI widgets have gradually appeared which are useful in many contexts. These are graphical controls which are used across computer systems and can be intuitively manipulated by the user even in a new context because the user recognises them from having seen them in a more familiar context. Examples of these control widgets are scroll bars, sliders, listboxes and buttons used in many programs. Using these widgets, a user is able to define and manipulate the data and the display for the software program they are working with. The first set of computer widgets was originally developed for the Xerox Alto. Now they are commonly bundled in widget toolkits and distributed as part of a development package. These control widgets are standardized pictograms used in the graphical interface, they offer an expanded set of user functionalities beyond the hyperlink function of computer icons.


title: Icon (computing)

text: Another GUI icon is exemplified by the smiley face, a pictogram embedded in a text message. The smiley, and by extension other emoticons, are used in computer text to convey information in a non-verbal binary shorthand, frequently involving the emotional context of the message. These icons were first developed for computers in the 1980s as a response to the limited storage and transmission bandwidth used in electronic messaging. Since then they have become both abundant and more sophisticated in their keyboard representations of varying emotions. They have developed from keyboard character combinations into real icons. They are widely used in all forms of electronic communications, always with the goal of adding context to the verbal content of the message. In adding an emotional overlay to the text, they have also enabled electronic messages to substitute for and frequently supplant voice-to-voice messaging.


title: Icon (computing)

text: These emoticons are very different from the icon hyperlinks described above. They do not serve as links, are not part of any system function or computer software. Instead they are part of the communication language of users across systems. For these computer icons, customization and modifications are not only possible but in fact expected of the user.


title: Icon (computing)

text: A text hyperlink performs much the same function as the functional computer icon: it provides a direct link to some function or data available on the system. Although they can be customized, these text hyperlinks generally share a standardized recognizable format, blue text with underlining. Hyperlinks differ from the functional computer icons in that they are normally embedded in text, whereas icons are displayed as stand-alone on the screen real estate. They are also displayed in text, either as the link itself or a friendly name, whereas icons are defined as being primarily non-textual.


title: Icon (computing)

text: Because of the design requirements, icon creation can be a time-consuming and costly process. There are a plethora of icon creation tools to be found on the Internet, ranging from professional level tools through utilities bundled with software development programs to stand-alone freeware. Given this wide availability of icon tools and icon sets, a problem can arise with custom icons which are mismatched in style to the other icons included on the system.


title: Icon (computing)

text: Icons underwent a change in appearance from the early 8-bit pixel art used pre-2000 to a more photorealistic appearance featuring effects such as softening, sharpening, edge enhancement, a glossy or glass-like appearance, or drop shadows which are rendered with an alpha channel.


title: Icon (computing)

text: Icon editors used on these early platforms usually contain a rudimentary raster image editor capable of modifying images of an icon pixel by pixel, by using simple drawing tools, or by applying simple image filters. Professional icon designers seldom modify icons inside an icon editor and use a more advanced drawing or 3D modeling application instead.


title: Icon (computing)

text: The main function performed by an icon editor is generation of icons from images. An icon editor resamples a source image to the resolution and color depth required for an icon. Other functions performed by icon editors are icon extraction from executable files (exe, dll), creation of icon libraries, or saving individual images of an icon.


title: Icon (computing)

text: These have a file extension of .ICO for Windows and web pages or .ICNS for the Macintosh. If the editor can also make a cursor, the image can be saved with a file extension of .CUR or .ANI for both Windows and the Macintosh. Using a new icon is simply a matter of moving the image into the correct file folder and using the system tools to select the icon. In Windows XP you could go to My Computer, open Tools on the explorer window, choose Folder Options, then File Types, select a file type, click on Advanced and select an icon to be associated with that file type.


title: Icon (computing)

text: Developers also use icon editors to make icons for specific program files. Assignment of an icon to a newly created program is usually done within the Integrated Development Environment used to develop that program. However, if one is creating an application in the Windows API he or she can simply add a line to the program's resource script before compilation. Many icon editors can copy a unique icon from a program file for editing. Only a few can assign an icon to a program file, a much more difficult task.


title: S.T.A.R. Labs

text: Scientific and Technological Advanced Research Laboratories (S.T.A.R. Labs) is a fictional scientific research facility and organization appearing in American comic books published by DC Comics. It first appeared in "Superman" #246 (December 1971) and was created by Len Wein and Curt Swan.


title: S.T.A.R. Labs

text: S.T.A.R. Labs was introduced in "Superman" #246 (December 1971). In the "Superman" comics, Professor Hamilton formerly worked there, and Dr. Kitty Faulkner, also known as the superheroine Rampage, is currently employed there.


title: S.T.A.R. Labs

text: In "Teen Titans", Cyborg's parents, Silas and Eleanor Stone, and his former love interest, Dr. Sarah Charles, all worked for S.T.A.R. Labs.


title: S.T.A.R. Labs

text: Past S.T.A.R. Labs employees are Murray Takamoto, Dr. Jenet Klyburn, Prof Dr. eL Mohammed and Dr. Albert Michaels (the first Atomic Skull). The character of Dr. Klyburn was based on the incoming president of DC Comics, Jenette Kahn.


title: S.T.A.R. Labs

text: The 1993 comics miniseries "S.T.A.R. Corps" was about a group of superhumans who had inadvertently gained their powers in a S.T.A.R. Labs experiment.


title: S.T.A.R. Labs

text: The organization is featured in the 1996 mini-series "The Final Night". As eternal winter threatens the world, thanks to the Sun-Eater, S.T.A.R. Labs keeps their webpage updated with encouragement and various information related to the emergency.


title: S.T.A.R. Labs

text: "52 Aftermath: The Four Horsemen" #1 (October 2007) shows a S.T.A.R. Labs relief operation working, side by side with Waynetech, in the devastated remains of the country of Bialya. All the relief workers are slain by outside forces.


title: S.T.A.R. Labs

text: The latter issues of "DC Universe: Legacies" showcase the life of Metropolis Star Labs security director Jim M.


title: S.T.A.R. Labs

text: S.T.A.R. was founded by scientist Garrison Slate, who wanted a nationwide chain of research laboratories unconnected to the government or any business interests. He succeeded not only on a national scale, but an international one as well: S.T.A.R. Labs currently maintains facilities in Canada, Europe, Australia, and Japan as well as in the United States, with the total number of facilities numbering between twenty and thirty at last recorded count.


title: S.T.A.R. Labs

text: S.T.A.R. Labs is one of the companies providing sponsorship to the superhero team The Conglomerate, a firm of superheroes set up by Claire Montgomery, Maxwell Lord's ex as a rival to Justice League International. The other sponsors included American Steel, Dante Foods, Dupree Chemical, Ferris Aircraft, LexCorp, Ovel Oil, Pax Entertainment, Stagg Enterprises.


title: S.T.A.R. Labs

text: S.T.A.R.'s Detroit location assists in evacuation efforts of the world's coasts during an alien invasion. The same location is the workplace of Silas Stone, the father of Justice League's Cyborg.


title: S.T.A.R. Labs

text: The organization sets up shop in Oregon to assist with the rookie superhero Naomi. At this point they have lost some credibility with the Justice League.


title: S.T.A.R. Labs

text: A partial list of some known locations of S.T.A.R. Labs facilities and their research focuses, where either is known, includes:


title: S.T.A.R. Labs

text: In "" continuity, S.T.A.R. Labs are the main antagonistic force behind the creation of the Titans. Members include Silas Stone, Elinore Stone, Joshua Clay, Larry Trainor, and Niles Caulder with Deathstroke and Jericho/Joseph are their enforcers.


title: Trogir

text: Trogir (; historically known as Traù (from Dalmatian, Venetian and Italian: ); ; Ancient Greek: Τραγύριον, "Tragyrion" or Τραγούριον, "Tragourion") is a historic town and harbour on the Adriatic coast in Split-Dalmatia County, Croatia, with a population of 10,923 (2011) and a total municipal population of 13,192 (2011). The historic city of Trogir is situated on a small island between the Croatian mainland and the island of Čiovo. It lies west of the city of Split.


title: Trogir

text: Since 1997, the historic centre of Trogir has been included in the UNESCO list of World Heritage Sites for its Venetian architecture.


title: Trogir

text: In the 3rd century BC, "Tragurion" was founded as a colony by Ancient Greek colonists on the Illyrian coast from the island of Vis, and it developed into a major port until the Roman period. The name comes from the Greek "tragos" (male goat) and "oros" (hill or mountain). Similarly, the name of the neighbouring island of Bua comes from the Ancient Greek "voua" (herd of cattle). The sudden prosperity of Salona deprived Trogir of its importance.


title: Trogir

text: During the migration of Croats the citizens of the destroyed Salona escaped to Trogir. Initially the Roman Tragurium was one of the Dalmatian City-States. From the 9th century on, Trogir paid tribute to Croatian rulers and to the Byzantine empire. The diocese of Trogir was established in the 11th century (abolished in 1828; it is now part of the Roman Catholic Archdiocese of Split-Makarska and has temporarily been a Latin titular bishopric) and in 1107 it was chartered by the king of Hungary, Croatia and Dalmatia Coloman, gaining thus its autonomy as a town.


title: Trogir

text: In the year 1000 the Republic of Venice received submission from the Tragurium inhabitants and the city started since then to have commerce with the Italian peninsula enjoying cultural and economic improvements. However, in 1105 it acknowledged the supremacy of Hungary, while retaining its municipal freedom, and received a charter in 1108.


title: Trogir

text: In 1123 Trogir was conquered and almost completely demolished by the Saracens. However, Trogir recovered in a short period to experience powerful economic prosperity in the 12th and the 13th centuries, with some autonomy under Venetian leadership. In 1242 King Béla IV of Hungary found refuge there as he fled the Mongols, who were unable to storm the island city. In the 13th and the 14th centuries, members of the Šubić family were most frequently elected dukes by the citizens of Trogir; Mladen III (1348), according to the inscription on the sepulchral slab in the Cathedral of Trogir called "the shield of the Croats", was one of the most prominent Šubićs. In Dalmatian, the city was known as Tragur.


title: Trogir

text: After the War of Chioggia between Genoa and Venice, on 14 March 1381 Chioggia concluded an alliance with Zadar and Trogir against Venice, and finally Chioggia became better protected by Venice in 1412, because the newly (21 July 1412) conquered Šibenik, called Sebenico by the Venetian Republic, became the seat of the main customs office and the seat of the salt consumers office with a monopoly on the salt trade in Chioggia and on the whole Adriatic Sea.


title: Trogir

text: In 1420 the period of a long-term Venetian rule began and lasted nearly four centuries, when "Traù" (as the city was called by the Venetians) was a city with rich economy, as exemplified by numerous Renaissance works of art and architecture. In about 1650 a manuscript of the ancient Roman author Petronius' "Satyricon" was discovered at Trogir which contained the "Cena Trimalchionis" ("Trimalchio's Dinner"). This is the longest surviving portion of the "Satyricon" and a major discovery for Roman literature.


title: Trogir

text: On the fall of Venice in 1797, "Traù" became a part of the Habsburg Empire, which ruled over the city until 1918, with the exception of Napoleon Bonaparte's French rule from 1806 to 1814 (when the city was part of the Napoleonic Kingdom of Italy and Illyrian Provinces).


title: Trogir

text: After World War I, Trogir, together with most parts of Dalmatia, became a part of the State of Slovenes, Croats and Serbs and subsequently the Kingdom of Yugoslavia. During this period Dalmatian Italians, who until 1918 were present in the city, left for Italy. In 1939 it become a part of Banovina of Croatia. During World War II, Trogir was annexed by Italy and was part of the Italian Governorate of Dalmatia from 1941 to 1943 being part of the province of Spalato. After a short period of partisan rule it became part of the Independent State of Croatia under German military supervision from 1943 to 1944. Subsequently Tito's Partisans liberated it for the second time in 1944. After that it belonged to the second Yugoslavia, and from 1991 to Croatia.


title: Trogir

text: Trogir has 2300 years of continuous urban tradition. Its culture was created under the influence of the ancient Greeks, and then the Romans, and Venetians. Trogir has a high concentration of palaces, churches, and towers, as well as a fortress on a small island, and in 1997 was inscribed in the UNESCO World Heritage List. "The orthogonal street plan of this island settlement dates back to the Hellenistic period and it was embellished by successive rulers with many fine public and domestic buildings and fortifications. Its beautiful Romanesque churches are complemented by the outstanding Renaissance and Baroque buildings from the Venetian period", says the UNESCO report.


title: Trogir

text: Trogir is the best-preserved Romanesque-Gothic complex not only in the Adriatic, but in all of Central Europe. Trogir's medieval core, surrounded by walls, comprises a preserved castle and tower and a series of dwellings and palaces from the Romanesque, Gothic, Renaissance and Baroque periods. Trogir's grandest building is the church of St. Lawrence, whose main west portal is a masterpiece by Radovan, and the most significant work of the Romanesque-Gothic style in Croatia.


title: Trogir

text: The St. Peter Church was part of the women's Benedictine monastery which was, according to the legend, founded by the wife of king Bela IV of Hungary. The west front of the church is embellished by a Baroque portal decorated with a bust of St. Peter, the work of Niccolo di Giovanni Fiorentino. The interior was restored in a Baroque style in the second half of the 17th century. The wooden ceiling dating from that period is divided into oval, semioval and hexagon fields, framed by richly decorated borders. It was then that the two side-altars were added, dedicated to Mother Mary and St. Ignatius of Loyola. The high altar from the same period was made of wood, but only the statues of St. Peter and St. Paul have survived to the present day. Set into the pavement of the church one finds tombs of Trogir noble families Andreis and Cipiko.


title: Trogir

text: The St. Sebastian's Church was built in 1476 as a votive church or an offering given by the citizens of Trogir in thanks for deliverance from the plague. The front of this Renaissance building, which was executed by Niccolo di Giovanni Fiorentino, is decorated with the sculptures of St. Sebastian and Christ the Saviour. It displays the coats of arms of Bishop Giacomo Torlon and that of the duke Malipiero. Above the front rises the two-story tower of the town clock. A part of the eastern wall contains the remains of a centrally planned church with six apses dedicated to St. Mary. Against the west walls rests a plaque bearing names of the fallen defenders in the Croatian War for Independence.


title: Trogir

text: The Town Loggia of Trogir was first recorded in documents of the 13th century. It served as a furnished public gathering space, and on certain dates and hours it was used by the communal legal service, as a place were contracts were signed, official announcements made, laws proclaimed, and where law proceedings took place. In 1471, the workshop of Niccolo di Giovanni Fiorentino executed a relief of Justice on the eastern wall, depicting the Venetian lion with S. Lawrence and B. John of Trogir, both guardians of the city. It was, in fact, a monument dedicated to the Republic of Venice. The central field with the lion was removed in 1932. On the south wall, the relief of a horseman depicting Petar Berislavić, viceroy of Croatia (1513–1520), was done by Ivan Meštrović. The Loggia was renovated in 1892.


title: Trogir

text: The Garagnin-Fanfogna Palace is constituted of two blocks of Romanesque and Gothic buildings, incorporated into the ensemble in the second half of the 18th century, after the plans of Ignacije Macanović. The two-story building with the stone stairway situated on the south side originally had an economy purpose. Today its ground floor houses the town "lapidarium" within which the city walls of the Hellenistic Tragurion are presented. On the first floor there is Cata Dujšin-Ribar Gallery. The main entrance to the Palace with a lobby and a staircase was situated on the east side, in the main street, and decorated with a Late Baroque elements characteristic of the Macanović workshop. In the interior there is the original 18th century drawing room embellished with stucco decorations. The library owned by Ivan L. Garagnin (1722–1783), a numismatist and collector of archaeological monuments, is decorated with wall paintings portraying philosophers and writers. The ensemble houses collections of paintings and graphics from the 17th and 18th centuries and the Town Museum.


title: Trogir

text: The Museum of sacred art is hosted in the Late Baroque building on the Trogir main square, dating from the 18th century. There is a rich collection of early Dalmatian and Venetian sacred paintings (14th–15th century) with masterpieces of Gentile Bellini, Paolo Veneziano, Quirizio da Murano and others. Works of local masters, paintings of Blaž Jurjev Trogiranin [Blase, son of George from Trogir] or the 13th century polyptych of the cathedral's high altar are exhibited in the Pinacotheca.


title: Trogir

text: The "Santa Maria de Platea" belongs to the early 9th century hexafoil patern churches. It is the central type building, consisting of a high dome surrounded by six apses, in the manner of Carolingian chapels. In the 17th century visitation four altars were described: the high was dedicated to the Assumption of Mary; the Renaissance one, built in 1463 was dedicated to St. Jerome; the remaining two were dedicated to St. Mary of Loreto and St. Lucy respectively. The church was demolished in the mid 19th century, its only image is preserved on the 18th century French illustrator Ch. L. Clerisseau's drawing. The apses had three niches divided by pilaster strips on the outside surface wheres niches and windows gave rhythm to the tambour of the dome. To the west there was a portico used as a medieval courtroom, street was closed by the city clock tower in the 15th century.


title: Trogir

text: Tourism is the most important economic factor in the Trogir region, covering 50% of the municipal budget with more than 20,000 beds in hotels and private apartments. It is one of the fastest growing ports for sail-tourism in Croatia, and boasts two yacht marinas. There is also a strong fishing and agriculture tradition among the population in surrounding areas.


title: Trogir

text: The most important industry is shipbuilding, with shipyard "Trogir" established at the beginning of the 20th century. The shipyard has a capacity of two ships of 55,000 tons. Between 1990 and 2004, 93 ships were built in the shipyard.


title: Trogir

text: Trogir has also been used as a location for several television productions; it notably featured in two 2010 episodes of the British TV series "Doctor Who". Due to its Venetian architecture, it served as a double for 16th-century Venice in "The Vampires of Venice", and as a double for 19th-century Provence in "Vincent and the Doctor". It also doubled for 19th century Venice in the 2015 BBC miniseries "Jonathan Strange & Mr Norrell", and was used for scenes set in the city of Qarth in the HBO series "Game of Thrones".


title: Trogir

text: Trogir lies from Split Airport, and a regular bus connects Trogir with the airport and Split. In the future, the Split Suburban Railway will be lengthened towards the airport and Trogir.


title: Trogir

text: Water supply to Trogir is sourced from the Jadro River, the source that once supplied the ancient Diocletian's Palace.


title: Trogir

text: Climate in this area has mild differences between highs and lows, and there is adequate rainfall year-round. The Köppen Climate Classification subtype for this climate is "" (Mediterranean climate/Mediterranean climate).


title: Jevon Holland

text: Jevon Holland (born March 3, 2000) is an American football safety for the Miami Dolphins of the National Football League (NFL). He played college football at Oregon, and was drafted by the Dolphins in the second round of the 2021 NFL Draft.


title: Jevon Holland

text: Holland was born in Coquitlam, British Columbia, while his father played and coached in the Canadian Football League. Holland moved to the Bay Area and lived in Pleasanton, California. Holland attended Bishop O'Dowd High School in Oakland, California. He played defensive back and wide receiver in high school. As a senior he had 34 tackles and five interceptions on defense and 35 receptions for 1,012 yards and 12 touchdowns as a receiver. Holland played in the 2018 Polynesian Bowl. He committed to the University of Oregon to play college football.


title: Jevon Holland

text: As a true freshman at Oregon in 2018, Holland played in 13 games and made two starts. For the season he had 42 tackles and a team-high five interceptions. As a sophomore in 2019, he became a starter and started all 14 games. He again led the team with four interceptions and had 66 tackles and a touchdown.


title: Jevon Holland

text: On September 26, 2020, Holland announced that he has opted out of the 2020-21 college football season and has declared for the 2021 NFL Draft.


title: Jevon Holland

text: Holland was selected in the second round (36th overall) by the Miami Dolphins; he was the first safety selected. Though eligible and ranked as the #3 Canadian prospect, he was not selected in the subsequent 2021 CFL Draft. Holland signed his four-year rookie contract with Miami on July 23, 2021.


title: Idhu Namma Aalu (2016 film)

text: Idhu Namma Aalu (; She is my lover) is a 2016 Indian Tamil-language romantic comedy film written, co-produced and directed by Pandiraj. The film stars Nayantara, Silambarasan and Andrea Jeremiah, while Soori and Jayaprakash portray supporting roles. This film was produced by T. Rajender and music was composed by Kuralarasan. This film was highly anticipated from audience and opened with mixed reviews but became an average success at the box office.


title: Idhu Namma Aalu (2016 film)

text: Shiva (Silambarasan) is an IT engineer with Vaasu (Soori) as his driver and colleague. He visits Myla (Nayanthara) for a marriage proposal and instantly likes her. Myla wishes to speak to him privately and asks him about Priya (Andrea Jeremiah), his ex-girlfriend. Shiva accepts his old love for her. He then leaves the house thinking the marriage will not happen, but Myla accepts the marriage proposal. Later, they start speaking on the phone, and Shiva tells his old love story and how they broke up. Myla starts loving Shiva deeply and in the beginning tests him, and later they are love locked couple. One day both their parents fight about a trivial issue, and the marriage is cancelled. Myla attempts suicide as she does not want to give up Shiva but is saved by his father (Jayaprakash). Myla and Shiva reunite and marry. As the story moves, they are made to marry three times. They finally have a child and live happily when the movie ends


title: Idhu Namma Aalu (2016 film)

text: Pandiraj had written a love story and approached Silambarasan to play the lead role in the film, after his friend Poster Nandakumar helped set up a meeting. Reports of a collaboration between Silambarasan and Pandiraj first surfaced in the media during April 2013, and subsequently it was revealed that the pair would work on a romantic film to be produced by T. Rajender under Silambarasan's home production studio. Kuralarasan, Rajender's second son and Silambarasan's younger brother, was signed by Rajendar to make his debut as the film's music composer during July 2013. Pandiraj continued to work on the script throughout the middle of 2013. Comedians Soori and Santhanam were also revealed to be a part of the film, in an official press note, which confirmed that Balasubramaniem and Praveen K. L. would handle the cinematography and editing respectively. Aware that he and Silambarasan had different working styles, Pandiraj revealed that he told the actor that the film had to be completed within four months and Silambarasan was receptive of the idea.


title: Idhu Namma Aalu (2016 film)

text: Silambarasan began filming his portions from October 2013 alongside Soori in Urapakkam, and worked on the film during the day before joining the team of "Achcham Enbadhu Madamaiyada" (2016) during the night time in the period. The first schedule was completed without a lead actress, and the second schedule was briefly delayed as Pandiraj weighed up his options on his casting decision. The film's cinematographer Balasubrameniem had discussed the film's plot with Udhayanidhi Stalin during the making of "Idhu Kathirvelan Kadhal" (2014), and Stalin had convinced the actress of that film, Nayantara, to meet Pandiraj. Subsequently, Nayantara signed on to be a part of the film during November 2013, agreeing to work with Silambarasan for the first time since their break-up, with the news creating increased hype around the project. The team shot at Sathyam Cinemas during late December 2013, with Pandiraj revealing that the film would feature several scenes depicting Silambarasan and Nayantara speaking through phone conversations. By the end of 2013, Pandiraj revealed that 40 percent of the film was completed and disclosed that the film was being developed under the title of "Idhu Namma Aalu", but had no resemblance to the 1988 Bhagyaraj film of the same name.


title: Idhu Namma Aalu (2016 film)

text: By April 2014, the film was seventy percent complete. Pandiraj began casting for a second lead actress during the middle of 2014 and held discussions with Bindu Madhavi and Taapsee Pannu, before finalising on Andrea Jeremiah. Actor Jai also shot for the film, and took part in a single day's shoot with Silambarasan, Nayanthara and Andrea. The project first ran into production troubles during July 2014, when Silambarasan had changed his hairstyle in-between schedule breaks, leaving Pandiraj unhappy. Silambarasan subsequently disclosed to the media that "Idhu Namma Aalu" was his production and that others should not question his involvement in the project. Despite a brief tussle, the final schedule of the talkie portion began in August 2014. In December 2014, Pandiraj announced that the film, including post-production works, were complete and that he was waiting for the songs from Kuralarasan, in order to release the film by February 2015.


title: Idhu Namma Aalu (2016 film)

text: In January 2015, Pandiraj tweeted about his annoyance at Kuralarasan's delay in providing the film's music and stated that a planned teaser scheduled for the month had to be delayed. The director and music composer later exchanged tweets blaming each other for the slow progress of the film. T. Rajendar also submitted a complaint to the Nadigar Sangam during September 2015 remarking that Nayantara was refusing to take part in the shoot of a song. Pandiraj came to her defense, arguing that Nayantara had wasted almost two years on the film due to the producers' poor organization and was still yet to be paid for her work. He further stated that the song in question was an extra kuthu number that the script did not warrant. Silambarasan later shot the song with Adah Sharma during early March 2016, after the actress was given a further small character in the film.


title: Idhu Namma Aalu (2016 film)

text: In his review for The Hindu, a critic Baradwaj Rangan said, "Simbu and Nayanthara are in good form, and they keep us watching. And wondering". Behindwoods rated 2.75 out of 5 stars with the verdict "A breezy youthful entertainer which engages the audience fairly well with a lot of humor". Indiaglitz rated 2.8 out of 5 stars with the verdict "Idhu Namma Aalu is a decent romantic entertainer, mixes the right dosage of fun, love and enough mockery on Simbu who gives it a personal touch with a smile."


title: Idhu Namma Aalu (2016 film)

text: The music was composed by Kuralarasan. There are 6 songs in this movie. Idhu Namma Aalu is a debut film for TR Kulalarasan as a music director, singer and lyricist.


title: Swallow's Nest

text: The Swallow's Nest (, , , ) is a decorative castle located at Gaspra, a small spa town between Yalta and Alupka, in the Crimean Peninsula. It was built between 1911 and 1912, on top of the Aurora Cliff, in a Neo-Gothic design by the Russian architect Leonid Sherwood for the Baltic German businessman Baron von Steingel.


title: Swallow's Nest

text: The castle overlooks the Cape of Ai-Todor on the Black Sea coast and is located near the remains of the Roman castrum of Charax. The Swallow's Nest is one of the most popular visitor attractions in Crimea, having become the symbol of Crimea's southern coastline.


title: Swallow's Nest

text: The building is compact in size, measuring only long by wide. Its original design envisioned a foyer, guest room, stairway to the tower, and two bedrooms on two different levels within the tower. The interior of the guest room is decorated with wooden panels; the walls of the rest of the rooms are stuccoed and painted. An observation deck rings the building, providing a view of the sea, and Yalta's distant shoreline.


title: Swallow's Nest

text: The first building on the Aurora Cliff was constructed for Russian general circa in 1895. The first structure he built was a wooden cottage romantically named the "Castle of Love." Later on, the ownership of the cottage passed to A. K. Tobin, a court doctor to the Russian Tsar.


title: Swallow's Nest

text: In 1911, Baron , a Baltic German noble who had made a fortune extracting oil in Baku, acquired the timber cottage and within a year had it replaced with the current building called "Schwalbennest". The Scots Baronial and Moorish Revival styles had been introduced in the Crimea in the 1820s by Edward Blore, the architect of the Vorontsov Palace (1828–46). Compared to the Alupka and Koreiz palaces, the Swallow's Nest is closer in style to various German fairy-tale-inspired castle follies, such as Lichtenstein Castle, Neuschwanstein Castle and Stolzenfels Castle, although its precarious seaside setting on the cliffs draws parallels with the Belém Tower in Portugal, or Miramare Castle on the Gulf of Trieste outside Trieste, Italy.


title: Swallow's Nest

text: In 1914, von Steingel sold the building to P. G. Shelaputin to be used as a restaurant. For a short time after the 1917 Russian Revolution, the building was used only as a tourist attraction. In 1927, the Swallow's Nest survived a serious earthquake rated at 6 to 7 on the Richter scale. The building was not damaged apart from some small decorative items that were thrown into the sea along with a small portion of the cliff. However, the cliff itself developed a huge crack. In the 1930s, the building was used by a reading club from the nearby "Zhemchuzhina" (Pearl) resort, however it was closed shortly thereafter as a safety precaution due to the damage it had suffered in the quake, remaining closed for the next 40 years.


title: Swallow's Nest

text: Renovation and restoration of the building began in 1968. The project involved the restoration of a small portion of the castle and the addition of a monolithic console concrete plate to strengthen the cliff. Since 1975, a restaurant has operated within the building. In 2011, the Swallow's Nest was closed for three months due to major restoration work estimated to cost 1,200,000 hryvnias ($150,000 USD).


title: Swallow's Nest

text: Owing to its important status as the symbol of the Crimea's southern coast, the Swallow's Nest was featured in several Soviet films. It was used as the setting of "Desyat Negrityat", the 1987 Soviet screen version of Agatha Christie's "And Then There Were None". The building was also featured in the 1983 Polish/Soviet co-production children's film "Mister Blot's Academy" as well as in "Mio in the Land of Faraway", a 1987 joint production by Swedish, Norwegian, and Soviet film companies.


title: Treasurer of the United States

text: The treasurer of the United States is an officer in the United States Department of the Treasury who serves as custodian and trustee of the federal government's collateral assets and the supervisor of the department's currency and coinage production functions. The current treasurer is Marilynn Malerba, who is the first Native American to hold the post.


title: Treasurer of the United States

text: By law, the treasurer is the depositary officer of the United States with regard to deposits of gold, special drawing rights, and financial gifts to the Library of Congress. The treasurer also directly oversees the Bureau of Engraving and Printing (BEP) and the United States Mint, which respectively print and mint U.S. currency and coinage. In connection to the influence of federal monetary policy on currency and coinage production, the treasurer liaises on a regular basis with the Federal Reserve. However, the duty perhaps most widely associated with the treasurer of the United States is affixing a facsimile signature to all Federal Reserve notes. Federal law requires both the treasurer's signature and the treasury secretary's countersignature for Federal Reserve notes to be considered legal tender. Moreover, the Treasurer serves as a senior advisor and representative of the Treasury Department on behalf of the secretary in the areas of community development and public engagement.


title: Treasurer of the United States

text: On July 29, 1775, long before the Department of the Treasury ever existed, the Second Continental Congress established the Treasury Office to manage revolutionary wartime finances. Congress chose George Clymer and Michael Hillegas as joint treasurers of the United Colonies. On August 6, 1776, however, Clymer resigned from his post, thus making Hillegas the sole incumbent. The position received its current name on May 14, 1777, while Hillegas was still in office.


title: Treasurer of the United States

text: The post of U.S. treasurer predates the United States Constitution. The treasurer was originally charged with the receipt and custody of all government funds independent of the treasury secretary, not unlike today's elected state treasurers. Beginning in 1939 however, the Office of the Treasurer and its cash management activities were brought under the direction of a broader Fiscal Service, one that also coordinated governmentwide accounting and debt management. Later in 1974, the cash management function in its entirety was transferred from the treasurer to what is now known as the Bureau of the Fiscal Service as a cost-saving measure. Responsibility for oversight of the Bureau of Engraving and Printing (BEP) and the United States Mint was later assigned to the treasurer in 1981. In 1994, the treasurer was also named National Honorary Director of the U.S. Savings Bonds Campaign and therefore assigned the task of promoting - as opposed to managing - the program.


title: Treasurer of the United States

text: More recently, the requirement of the United States Senate confirmation for the appointment was dropped in August 2012.


title: Treasurer of the United States

text: Since the resignation of Elizabeth Rudel Smith in 1962, the length of time the office has been vacant totals more than 4,700 days, nearly thirteen years, while in the 180+ years prior to that, such time totaled less than a year.


title: Treasurer of the United States

text: Georgia Neese Clark Gray became treasurer on June 21, 1949, making her the first woman to hold the office. Since then, every subsequent treasurer has been a woman, and seven of the past eleven treasurers have also been Hispanic, starting with Romana Acosta Bañuelos in 1971.


title: Sofia Metro

text: The Sofia Metro (, also colloquially called ) is the rapid transit network servicing the Bulgarian capital city Sofia. It began operation on 28 January 1998. , the Sofia Metro consists of four interconnected lines, serving 47 stations, with a total route length of being among the top 20 of the most extensive European metro systems, ranking 19th as of 2020. The Metro links the densely populated districts of Lyulin – Mladost (M1 line – Red) and Nadezhda – Lozenets (M2 line – Blue), and serves the Sofia Airport.


title: Sofia Metro

text: Planned since the 1960s, construction of the metro has started in 80s with demolishing of significant number of buildings. At the beginning of 90s the construction has stopped because of lack of funds. Another factor was the depth at which the construction works had to be carried out: being one of the oldest cities in Europe, Sofia contains many historical layers underneath its central areas. Evidence of antiquity can be clearly seen at the Serdika Station which exhibits a wealth of unearthed Thracian and Roman ruins and modern architecture. During the construction of the enormous complex of the National Palace of Culture two stations forming part of the then future M2 line and their connecting tunnels were built.


title: Sofia Metro

text: The construction of the system began from the route that sees the highest volumes of passenger traffic, that can easily reach up to 38,000 at rush hour.


title: Sofia Metro

text: Due to an increased population, there are a large number of passengers heading toward the city center during weekday mornings, and away from the city centre in the weekday evenings. The necessity of efficient public transport in the direction of the largest passenger flows, transport, and Sofia's environmental problems precipitated the start of the construction of the Sofia Metro. Following the ratification of a technical and economic report on the metro by the Council of Ministers of Bulgaria, and the subsequently approved General City Plan, the general scheme for the development of the lines should consist of three diameters with extensions in the periphery, with a total length of , 63 metro stations, and a 1.1 million daily passenger capacity at the final stage of implementation.


title: Sofia Metro

text: The first long section of M1 line consisting of five stations linking Slivnitsa Boulevard through Lyulin and K. Velichkov Boulevard was inaugurated on 28 January 1998. Opalchenska station entered into service on 17 September 1999 and Serdika station situated on St Nedelya Square followed on 31 October 2000, extending the total system length to . The operational section of the line was further extended with a long section, reaching Obelya housing estate in April 2003.


title: Sofia Metro

text: The extension of M1 line continued in 2005 with the start of the construction of of tunnels and three stations linking St Nedelya Square and the Interped World Trade Center in Izgrev (station Frédéric Joliot-Curie). 2006 saw the start of the construction of another section of the same line (consisting of of tunnels and three stations) linking Izgrev and Mladost I housing estate. The completion of the first three stations was projected for the autumn of 2007, however as a result of various delays it was the second section from the first line (Vasil Levski stadium – Mladost 1) that first entered into service on 8 May 2009, operating for a brief period of time separately from the north-west portion of the line. The remaining section between Serdika and Vasil Levski stadium station finally entered into service on 7 September 2009 establishing an uninterrupted link between Obelya and Mladost 1 stations.


title: Sofia Metro

text: The construction of the stretch from Mladost I to Business Park Sofia station (, three underground stations) began on 25 April 2013, and was completed on 8 May 2015. It cost BGN 85,767,683 (EUR 43,852,320), VAT exclusive, and serves the majority of the second most densely populated area in Sofia. Part of the sections "Sofia Airport" - "Iskarsko Shose" and, Ovcha kupel" -, Krasno selo" are not underground.


title: Sofia Metro

text: The second and fourth lines of the Sofia Metro links the districts of Obelya, Nadezhda, the city centre and Lozenets to the south of the city. Half of the construction cost was covered by the European Union, with the remaining part funded by the state and city budgets. Construction of the section between Nadezhda interchange and Lozenets district via Central railway station and the National Palace of Culture started on 14 December 2008. Work on the section between Obelya residential District and Nadezhda started in February 2010. Both sections of the line entered into service on 31 August 2012.


title: Sofia Metro

text: NDK and European Union stations and their connecting tunnels were partly completed during the construction of the National Palace of Culture and the redevelopment of the surrounding area in the late 1970s and early 1980s.


title: Sofia Metro

text: The construction of Mladost 3 and Inter Expo Center – Tsarigradsko chaussée stations began on 15 February 2009 and was completed on 25 April 2012. The further extension to Sofia Airport comprising two underground and two overground stations and a length of began in 2013, and was completed on 2 April 2015 at the cost of BGN 136,757,630 (EUR 69,923,066), VAT exclusive. This extension was briefly operated as a branch of M1 line, but was soon transferred to M2 line, moving that line's terminus from Obelya to Sofia Airport.


title: Sofia Metro

text: On 20 July 2016, the line was extended southward with and one station, Vitosha, located at Hladilnika neighbourhood. The construction took 2 years.


title: Sofia Metro

text: Provisions have been made for the construction of future branch to Iliyantsi, starting from the existing junction located between Knyaginya Maria Luiza and Han Kubrat stations.


title: Sofia Metro

text: On 26 August 2020, the second line was split into two portions: the M2 line, running from Vitosha station to Obelya station and the M4 line, running from Obelya to Sofia Airport. The trains continue to run the length of both lines but on maps and other metro signage the M4 line is gradually being introduced. The split is in preparation to the future construction of the Moderno predgradie station, which is supposed to physically separate the lines and will allow them to have independent timetables.


title: Sofia Metro

text: The Studentski grad branch is a recently planned branch, starting from Cherni vrah Blvd, passing through Vitosha quarter and entering Studentski grad and near Zimen dvorets complex. Exact route is not yet selected and construction horizon – not set.


title: Sofia Metro

text: The long M3 line is planned to connect the Ovcha Kupel neighbourhood (in southwest Sofia) and the Vasil Levski neighbourhood (in northeast Sofia), with 16 stations in total, including two transfer stations in the city centre, with both of the already operational lines. The first 8 stations of the line entered service on 26 August 2020, and the other 4 on 24 April 2021.


title: Sofia Metro

text: There will be 8 aboveground and 11 underground stations. The project design contract was awarded to the Czech company Metroprojekt Praha a.s.


title: Sofia Metro

text: In March 2014, a tender for construction of the central section of the line was announced. The section is long and includes 7 stations, two of them transfer to lines 1 and 2. With the announcement of the tender, it became clear that the initial plans for 19 stations had been partly amended and 2 of the stations, one at Doyran boulevard and another at Shipka street, will be not be built. The tunnel of the central section shall be excavated by a tunnel boring machine, while the construction of stations shall be awarded to other companies. The construction of the section shall be completed within 45 months. In January 2015, a tender for 20 trains that shall serve the central section of the line was announced. Driverless train operation, with Grade of Automation 3 (GoA 3), and platform screen doors will ensure the safety of the passengers. Unlike Lines 1 and 2, where the trains collect power through a third rail, Line 3 trains will be equipped with pantographs. CAF and Siemens applied bids in the tender for the trains, with Siemens winning it.


title: Sofia Metro

text: In early 2016, construction began on the third metro line of the Sofia Metro using the technology for classic underground metro with high-power support. Under construction are all metro stations in the central section, plus a few in the west and east of downtown Sofia. The third line of the Sofia Metro will have a total of 23 metro stations, as follows: 16 metro stations for the Main Line and 7 metro stations for the Eastern branch.


title: Sofia Metro

text: The price of a single ticket is 1.60 lev, equivalent to ~0.82 euro. It can be issued either by a cashier, or by a vending machine. When obtained, the single ticket must be validated within 30 minutes at a validator. Pre-paid RFID (MIFARE Classic) card also could be bought (at a price of 2 levs) with minimum 10 pre-paid rides (at a price of 12 levs for 10 pre-paid rides). Daily and monthly cards are also available.


title: Sofia Metro

text: The older train sets, type 81-717/714, were manufactured by Metrowagonmash in Mytishchi, Moscow Oblast, Russia and consists of 48 carriages in total. They were delivered in 1990 – some 8 years prior to the opening of the first section of the system. In 2020 the first train sets of this type were refurbished and went into service.


title: Sofia Metro

text: The second generation of rolling stock, type 81-740/741 "Rusich", were also manufactured by Metrowagonmash and delivered between 2005 and 2013, consisting of 120 carriages in total.


title: Sofia Metro

text: The third generation of rolling stock, Siemens Inspiro 30 three-car sets were delivered between 2016 and 2021 and exclusively serve the M3 line.


title: Subhashini Ali

text: Subhasini Ali teetam tevidichi tevidiya (born 29 December 1947) is an Indian politician and a member of the Communist Party of India (Marxist). She is the President of the All India Democratic Women's Association and former Member of Parliament from Kanpur.


title: Subhashini Ali

text: Subhashini Ali is the daughter of Colonel Prem Sehgal and Captain Lakshmi Sehgal teetam tevidichi tevidiya (née Dr. Lakshmi Swaminathan) who were a part of the Indian National Army. She attended Welham Girls' School in Dehradun. She did her bachelor's degree from Women's Christian College in Madras and later did her Masters from the Kanpur University.


title: Subhashini Ali

text: As a trade Unionist and leader of the All India Democratic Women's Association, she was once very influential in the politics of Kanpur where the Communist Party of India (CPI) held sway over trade unions and which elected CPI-supported S.M. Banerjee to Lok Sabha four times from 1957 to 1971. This influence of CPI helped her win the General elections of 1989 to the parliament and she defeated her nearest rival BJP candidate by 56,587 votes from Kanpur. The CPI influence waned after the emergency in 1977 and she lost the General elections of 1996 by 151,090 votes. She finished at the fifth place in the General elections of 2004 polling only 4558 votes (0.74%). She fought the General elections of 2014 from Barrackpore as a CPI(M) candidate but lost.


title: Subhashini Ali

text: She is currently a member of the Central Committee of the Communist Party of India (Marxist). She was inducted to the polit bureau (PB) of Communist Party of India (Marxist) in 2015 thereby becoming the second women member in PB after Brinda Karat.


title: Subhashini Ali

text: Subhashini Ali designed period costumes for 1981 classic, Umrao Jaan, directed by her then-husband Muzaffar Ali. She also dabbles in amateur acting, and her first starring role was in Asoka in 2001, followed by an English feature, The Guru, in 2002, and was seen again in 2005, with her fellow party member, Brinda Karat in the film Amu.


title: Subhashini Ali

text: She inspired the film Anjuman (1986) directed by Muzaffar Ali with her struggles in Kanpur with the AIDWA.


title: Subhashini Ali

text: She was previously married to filmmaker Muzaffar Ali. Their son Shaad Ali is a film maker who is most well-known for directing Saathiya, Bunty aur Babli, Jhoom Barabar Jhoom, and Ok Jaanu. He married Shazmeen Hussain, daughter of famous conceptual artist Rummana Hussain and businessman Ishaat Hussain, in 2006 but they divorced in 2011. In 2013, he married Aarti Patkar.


title: Subhashini Ali

text: Ali is an atheist. She is the cousin of Indian classical dancer Mallika Sarabhai, daughter of her mother’s sister Mrinalini Sarabhai and scientist Vikram Sarabhai.


title: Special access program

text: Special access programs (SAPs) in the U.S. Federal Government are security protocols that provide highly classified information with safeguards and access restrictions that exceed those for regular (collateral) classified information. SAPs can range from black projects to routine but especially-sensitive operations, such as COMSEC maintenance or presidential transportation support. In addition to collateral controls, an SAP may impose more stringent investigative or adjudicative requirements, specialized nondisclosure agreements, special terminology or markings, exclusion from standard contract investigations (carve-outs), and centralized billet systems. Within the Department of Defense, SAP is better known as "SAR" by the mandatory Special Access Required (SAR) markings.


title: Special access program

text: Shortly before America's involvement in World War II Franklin D. Roosevelt signs Executive Order 8381, creating the three security levels for his country's most important documents- Restricted, Confidential, and Secret.


title: Special access program

text: After the conclusion of World War II, President Harry S. Truman issues Executive order 10104, and creates the "Top Secret classification" designation.


title: Special access program

text: Dwight D. Eisenhower issues Executive order 10501. It drops the "restricted" classification level. It removes classification authority from 28 government entities and limits its use in 17 more. There are now explicit guidelines for the remaining three classification levels to prevent a systematic flood of classified documents coming from the Pentagon and other agencies. The Pentagon responds by creating its own "special access" labels to further insulate classified information from outside influence.


title: Special access program

text: In Executive Order number 11652 Richard M. Nixon legitimizes the use of special access controls and the "special access program" is finally made official.


title: Special access program

text: Two types of SAP exist – acknowledged and unacknowledged. The existence of an acknowledged SAP may be publicly disclosed, but the details of the program remain classified. An unacknowledged SAP (or USAP) is made known only to authorized persons, including members of the appropriate committees of the United States Congress. Waived SAPs are a subset of unacknowledged SAPs in the Department of Defense. These SAPs are exempt by statutory authority of the Secretary of Defense from most reporting requirements and, within the legislative branch, the only persons who are required to be informed of said SAPs are the chairpersons and ranking committee members of the Senate Appropriations Committee, Senate Armed Services Committee, House Appropriations Committee, and the House Armed Services Committee. Oftentimes, this notification is only oral.


title: Special access program

text: Only the Director of National Intelligence may create IN-SAPs. Sensitive Compartmented Information (SCI) control systems may be the most well-known intelligence SAPs. The treatment of SCI is singular among SAPs, and it seems there is some disagreement within the government as to whether or not SCI is a SAP. Defense Department sources usually state that it is, and at least one publication refers to a separate SCI-SAP category alongside the three listed above. The Intelligence Community, drawing on the DNI's statutory responsibility to protect intelligence sources and methods, finds a legal basis for SCI separate from that of SAPs, and consequently consider SCI and SAPs separate instances of the more general controlled access program.


title: Special access program

text: SAP documents require special marking to indicate their status. The words SPECIAL ACCESS REQUIRED, followed by the program nickname or codeword, are placed in the document's banner line.


title: Special access program

text: Abbreviations may be used for either element. Portion markings use SAR and the program's abbreviation. For example, a secret SAP with the nickname MEDIAN BELL would be marked SECRET//SPECIAL ACCESS REQUIRED-MEDIAN BELL. Portions would be marked (S//SAR-MB).


title: Special access program

text: Compartments within SAPs may be denoted by a hyphen, and are listed alphanumerically. Subcompartments are separated by spaces, and are also listed alphanumerically. Markings do not show the hierarchy beyond the sub-compartment level. Sub-sub-compartments are listed in the same manner as sub-compartments. A more complex banner line with multiple SAPs and subcompartments might read TOP SECRET//SAR-MB/SC-RF 1532-RG A691 D722.


title: Special access program

text: Older documents used different standard for marking. The banner line might read SECRET//MEDIAN BELL//SPECIAL ACCESS REQUIRED, and the portion marking would read (S//MB). Other variations move the special access warning to a second line, which would read MEDIAN BELL Special Control and Access Required (SCAR) Use Only or some other phrase directed by the program security instructions.


title: Special access program

text: SAP access "ergo" policy on classified security categories "" is understood informally as described as those who need to know have access, access is "on a need to know basis". A SAP can only be initiated, modified, and terminated within their department or agency; the Secretary of State, Secretary of Defense, Secretary of Energy, Secretary of Homeland Security, the Attorney General, the Director of National Intelligence; their principal deputies (e.g. the Deputy Secretary of State in DoS and the Deputy Secretary of Defense in DoD); or others designated in writing by the President. These offices are better known as 'classification authorities.' They retain the right to declassify or revise classification levels.


title: Special access program

text: The U.S. Secretary of Defense is obliged to submit a report, submitted not later than the 1st of March for each year, to the defense committee on special access programs.


title: Special access program

text: The following national or international SAPs, unless otherwise noted, are identified in 32 CFR 154.17:


title: Eton College controversies

text: Eton College is a well-known independent boarding school for boys in Berkshire, England, United Kingdom, sometimes called the most famous school in the world. In 2005, "The Guardian" claimed that "Eton is no stranger to scandalous allegations, nor to claims that it tries to prevent them leaking out."


title: Eton College controversies

text: Tallulah Bankhead, an American actress, made her debut on the London stage at Wyndham's Theatre in 1923 and soon became well known, appearing in many plays in London and across Great Britain's theatres throughout the Roaring Twenties. In the 1920s, the Home Office and MI5 were instructed to look into rumours that she was seducing boys at Eton. The headmaster, Cyril Alington, was unwilling to share what he knew and was anxious to keep the story out of the newspapers. One of the investigators noted on his file: "The headmaster is obviously not prepared to assist the Home Office by revealing what he knows of her exploits with some of the boys. He wants to do everything possible to keep Eton out of the scandal".