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275_20 | As the senior captain in the operation, Williams was subsequently knighted, although historian Tom Wareham considered that Martin's fight had been the harder-fought encounter. Wareham also considered that Beauclerk may not have been rewarded as he was already a member of the nobility. Historian James Henderson considered that Martin may not have been honoured for the engagement due to his youth: he was 23 years old at the time of the battle. The first lieutenants on each British ship were promoted to commanders and Commander Joseph Bullen, volunteering on board Santa Margarita, was promoted to post captain. More than five decades later, the Admiralty recognised the actions with the clasps "SANTA MARGARITA 8 JUNE 1796", "UNICORN 8 JUNE 1796" and "DRYAD 13 JUNE 1796" attached to the Naval General Service Medal, awarded upon application to all British participants still living in 1847. |
275_21 | Following the capture of Moulston's squadron there was little activity in the English Channel or Bay of Biscay almost to the end of the year. On 22 August a squadron under Sir John Borlase Warren drove ashore and destroyed the French frigate Andromaque at the Gironde, and on 24 October Santa Margarita successfully chased down and captured two heavily armed privateers in the same region as the action in June. In December 1796 however, after the British fleet had retired to Spithead for the winter, the main French fleet sailed from Brest for the first time since June 1795 on a major operation named the Expédition d'Irlande, a planned invasion of Ireland. Like their winter campaign of two years previously, and for much the same reasons, this ended in disaster with 12 ships wrecked or captured and thousands of soldiers and sailors drowned without a single successful landing.
Notes
References |
275_22 | Naval battles of the French Revolutionary Wars
Conflicts in 1796
Naval battles involving France
Naval battles involving Great Britain |
276_0 | Igor Mihaljević (born 8 August 1979) is a Croatian heavyweight kickboxer, fighting out of Karlovac.
Biography and career
Mihaljević fought many top class kickboxers as Daniel Ghiță, Cătălin Moroșanu, Tyrone Spong, and his biggest win is over Gary Goodridge.
On 7 April 2012 it was announced that he would fight Gregory Tony for W.A.K.O. Pro Kickboxing world heavyweight title, he lost the fight in round 4 to numerous low kicks.
Titles
Kickboxing
Amateur
2004 Croatian kickboxing championship
Mixed martial arts record
|-
|Win
|align=center| 1–0
| Bojan Spalević
| TKO
| OB-Gula - Fight Night
|
|align=center|1
|align=center|
|Ogulin, Croatia
|MMA debut.
Boxing record |
276_1 | |-
|align="center" colspan=8|5 Wins (2 knockouts, 3 decisions), 9 Losses, 0 Draws
|-
|align=center style="border-style: none none solid solid; background: #e3e3e3"|Res.
|align=center style="border-style: none none solid solid; background: #e3e3e3"|Record
|align=center style="border-style: none none solid solid; background: #e3e3e3"|Opponent
|align=center style="border-style: none none solid solid; background: #e3e3e3"|Type
|align=center style="border-style: none none solid solid; background: #e3e3e3"|Rd., Time
|align=center style="border-style: none none solid solid; background: #e3e3e3"|Date
|align=center style="border-style: none none solid solid; background: #e3e3e3"|Location
|align=center style="border-style: none none solid solid; background: #e3e3e3"|Notes
|-align=center
|Loss
|5-9
|align=left| Fabio Tuiach
| TKO || 1 ,
|2017-07-08 || align=left| Trieste
|align=left|
|-align=center
|Loss
|5-8
|align=left| Sean Turner
| KO || 2 , |
276_2 | |2017-03-10 || align=left| Waterfront Hall, Belfast, Northern Ireland
|align=left|
|-align=center
|Win
|5-7
|align=left| Marin Zulum
| KO || 2 ,
|2017-01-29 || align=left| Sport Hall Graberje, Varazdin
|align=left|
|-align=center
|Loss
|4-7
|align=left| Nathan Gorman
| RTD || 3 ,
|2016-11-26 || align=left| Motorpoint Arena, Cardiff, Wales
|align=left|
|-align=center
|Win
|4-6
|align=left| Mario Jagatić
| PTS || 4,
|2016-11-19 || align=left| Sport Hall Graberje, Varazdin
|align=left|
|-align=center
|Win
|3-6
|align=left| Tom Dallas
| TKO || 2 ,
|2016-10-26 || align=left| Maidstone Leisure Centre, Maidstone, Kent
|align=left|
|-align=center
|Loss
|2-6
|align=left| Con Sheehan
| PTS || 4
|2016-09-24 || align=left| Tudor Grange Leisure Centre, Solihull, West Midlands
|align=left|
|-align=center
|Loss
|2-5
|align=left| Zsolt Bogdan
| TKO || 2 ,
|2016-04-16 || align=left| Sportshall, Sülysáp
|align=left|
|-align=center
|Loss
|2-4
|align=left| David Abraham
| PTS || 4 |
276_3 | |2016-03-12 || align=left| York Hall, Bethnal Green, London
|align=left|
|-align=center
|Loss
|2-3
|align=left| Samuel Kadje
| KO || 3
|2015-11-01 || align=left| Izegem, West-Vlaanderen
|align=left|
|-align=center
|Loss
|2-2
|align=left| AJ Carter
| TKO || 2
|2015-09-05 || align=left| York Hall, Bethnal Green, London
|align=left|
|-align=center
|Win
|2-1
|align=left| Elvir Behlulovic
| PTS || 4
|2015-08-13 || align=left| Joker Gym, Split
|align=left|
|-align=center
|Loss
|1-1
|align=left| Dominic Akinlade
| PTS || 4
|2015-07-04 || align=left| York Hall, Bethnal Green, London
|align=left|
|-align=center
|Win
|1-0
|align=left| Marin Zulum
| PTS || 4
|2015-04-08 || align=left| Varaždin
|align=left| |
276_4 | Kickboxing and Muay Thai record |
276_5 | |- bgcolor="#dddddd"
| 2018-5-12 || Win || Mahmudin Mahić || Noć Gladijatora 2018 || Karlovac || K.O || 1 || 1:45 || 20-22-1
|-
|- bgcolor="FFBBBB"
| 2017-09-16 || Loss ||align=left| Enver Šljivar || W5 Legends Collide || Koper, Slovenia || Decision (Unanimous) || 3 || 3:00 ||19-22-1
|-
|- bgcolor="CCFFCC"
| 2017-05-20 || Win ||align=left| Zoran Radić || Noc Gladijatora || Karlovac, Croatia || Decision || 3 || 3:00 ||19-21-1
|-
|- bgcolor="CCFFCC"
| 2016-10-08 || Win ||align=left| Sean Šturbelj || Bilić-Erić Security Fight Night 8 || Zagreb, Croatia || TKO || 2 || 1:50 ||18-21-1
|-
|- bgcolor="FFBBBB"
| 2016-07-28 || Win ||align=left| Daniel Škvor || Yangame's Fight Night 2016 || Czech Republic || TKO || 1 || ||17-21-1
|-
|- bgcolor="FFBBBB"
| 2015-04-29 || Loss ||align=left| Roman Kryklia || Tatneft Cup 2015 - 1st selection 1/4 final || Kazan, Russia || KO (Knee to the Head) || 2 || ||17-20-1
|-
|- bgcolor="CCFFCC" |
276_6 | | 2015-01-24 || Win ||align=left| Saša Polugić || Tatneft Cup 2015 - 2nd selection 1/8 final || Kazan, Russia || Ext. R. Decision (Unanimous) || 4 || 3:00 ||17-19-1
|-
|- bgcolor="FFBBBB"
| 2014-09-26 || Loss ||align=left| Enver Šljivar || FFC Futures 3, Super Fight || Zagreb, Croatia || Decision (Unanimous) || 3 || 3:00 ||16-19-1
|-
|- bgcolor="FFBBBB"
| 2014-08-15 || Loss ||align=left| Elmir Mehić || No Limit 7 || Zenica, Bosnia and Herzegovina || Decision (Unanimous) || 3 || 3:00 ||16-18-1
|-
|- bgcolor="#FFBBBB"
| 2014-05-17 || Loss ||align=left| Petr Kalenda || Kings Of The Ring - Youngblood || Brno, Czech Republic || Decision (Unanimous) || 3 || 3:00 ||16-17-1
|-
|- bgcolor="#FFBBBB"
| 2013-12-13 || Loss ||align=left| Tomáš Hron || FFC10: Rodriguez vs. Batzelas || Skopje, Macedonia || Decision (Unanimous) || 3 || 3:00||16-16-1
|-
|- bgcolor="#FFBBBB" |
276_7 | | 2013-09-21 || Loss||align=left| Yuksel Ayaydin || La Nuit des Challenges 12 || Lyon, France || Decision (Unanimous) || 5 || 3:00||16-15-1
|-
! style=background:white colspan=9 |
|-
|- bgcolor="#FFBBBB"
| 2013-09-08 ||Loss ||align=left| Uroš Veličević || K-1 Open Challenger || Brežice, Slovenia || Decision (Unanimous)|| 3 ||3:00||16-14-1
|- bgcolor="#CCFFCC"
| 2013-05-24 ||Win ||align=left| Uroš Veličević || FFC05: Rodriguez vs. Simonjič || Osijek, Croatia ||Decision (Unanimous) || 3 ||3:00||16-13-1
|- bgcolor="#CCFFCC"
| 2013-05-10 ||Win ||align=left| Ante Verunica || FFC04: Perak vs. Joni || Zadar, Croatia || Decision (Unanimous) || 3 ||3:00||15-13-1
|- bgcolor="#CCFFCC"
| 2013-04-07 || Win ||align=left| Mladen Kujundžić || 8. Kickboxing memorijal "David Šain" || Poreč, Croatia || Decision (Unanimous) || 3 ||3:00||14-13-1
|- bgcolor="#FFBBBB"
| 2012-08-18 || Loss ||align=left| Rok Štrucl || Admiral Markets Fight Night || Portorož, Slovenia || Decision || 3 || 3:00||13-13-1 |
276_8 | |-
|- bgcolor="#FFBBBB"
| 2012-04-07 || Loss ||align=left| Gregory Tony || K1 Rules World Championship || Sainte-Maxime, Framce || TKO (Low Kicks) || 4 || ||13-12-1
|-
! style=background:white colspan=9 |
|-
|- bgcolor="#FFBBBB"
| 2012-02-10 || Loss ||align=left| Toni Milanović || VVVF - Veni Vidi Vici Fights || Karlovac, Croatia || Decision (Unanimous) || 3 || 3:00||13-11-1
|-
|- bgcolor="#CCFFCC"
| 2011-10-21 || Win ||align=left| Dwight Harkinson || RFC - Romanian Fight Challenge ||Timișoara, Romania ||Decision (Unanimous) || 3 || 3:00||13-10-1
|-
|- bgcolor="#FFBBBB"
| 2011-05-14 || Loss ||align=left| Tyrone Spong || It's Showtime 2011 Lyon || Lyon, France || KO (Left Knee) || 1 || 2:01||12-10-1
|-
|- bgcolor="#FFBBBB"
| 2011-03-27 || Loss ||align=left| Luboš Raušer || Heroe's Gate || Prague, Czech Republic || Decision || 3 || 3:00||12-9-1
|-
|- bgcolor="#FFBBBB" |
276_9 | | 2010-10-29 || Loss ||align=left| Cătălin Moroșanu || Sarajevo Fight Night II || Sarajevo, Bosnia and Herzegovina || Decision (Unanimous) || 3 || 3:00||12-8-1
|-
|- bgcolor="#FFBBBB"
| 2010-04-18 || Loss ||align=left| Igor Jurković || 5. Kickboxing memorijal "David Šain" || Poreč, Croatia || TKO (leg injury) || 2 || ||12-7-1
|- bgcolor="#CCFFCC"
| 2010-02-13 || Win ||align=left| Gary Goodridge || Noc Scorpiona 6 || Karlovac, Croatia || Decision (Unanimous) || 3 || 3:00 ||12-6-1
|-
|- bgcolor="#CCFFCC"
| 2009-04-25 || Win ||align=left| György Mihalik || FFGP || Dubrovnik, Croatia || TKO || 3 || || 11-6-1
|-
|- bgcolor="#FFBBBB"
| 2009-02-28 || Loss ||align=left| Daniel Ghiță || K-1 Rules Tournament 2009 in Budapest || Budapest, Hungary || KO (Low Kicks) || 1|| 0:30||10-6-1
|-
|- bgcolor="#c5d2ea"
| 2008-02-06 || Draw ||align=left| Rani Berbachi || "K-T" Kick tournament || Marseilles, France || Decision Draw ||5 || 3:00||10-5-1
|-
|- bgcolor="#CCFFCC" |
276_10 | | 2008-09-13 || Win ||align=left| Benaid Hodžić || || Solin, Croatia || KO || 1 || ||10-5
|-
|- bgcolor="#FFBBBB"
| 2008-06-07 || Loss ||align=left| Paula Mataele || Dunaujvaros K-1 Max || Dunaújváros, Hungary || Decision || || ||9-5
|-
|- bgcolor="#CCFFCC"
| 2008-04-13 || Win ||align=left| Jasmin Bečirović || 3. Kickboxing memorijal "David Šain" || Poreč, Croatia || Decision (Split) || || ||9-4
|-
|- bgcolor="#FFBBBB"
| 2008-03-21 || Loss ||align=left| Tihamer Brunner || || Karlovac, Croatia || Decision || || ||8-4
|-
|- bgcolor="#CCFFCC"
| 2007-11-18 || Win ||align=left| Daniel Marhold || WFC 4 || Domžale, Slovenia || Decision (Unanimous) || 3 || 3:00||8-3
|-
|- bgcolor="#FFBBBB"
| 2007-09-01 || Loss ||align=left| Goran Radonjić || Night of Thunderman 3, quarter final || Solin, Croatia || TKO || 1 || ||7-3
|-
|- bgcolor="#CCFFCC"
| 2007-03-18 || Win ||align=left| Radovan Obradović || || Karlovac, Croatia || Decision || || ||7-2
|-
|- bgcolor="#CCFFCC" |
276_11 | | 2006-04-29 || Win ||align=left| Mersad Murtić || Noć Gladijatora || Dubrovnik, Croatia || KO || 1 || ||6-2
|-
|- bgcolor="#CCFFCC"
| 2006-03-17 || Win ||align=left| Hrvoje Čokotić || Karlovac Nokaut || Karlovac, Croatia || TKO || 2 || ||5-2
|-
|- bgcolor="#FFBBBB"
| 2006-01-14 || Loss ||align=left| Marin Došen || Pula Sokol Fight Night || Pula, Croatia || Decision (Unanimous) || || ||4-2
|-
|- bgcolor="#CCFFCC"
| 2005-12-18 || Win ||align=left| Igor Alagić || Rijeka Nokaut || Rijeka, Croatia || Decision (Split) || || ||4-1
|-
|- bgcolor="#FFBBBB"
| 2005-05-07 || Loss ||align=left| Ante Lovrić || Obračun u Ringu III || Split, Croatia || Decision (Split) || 3 || 3:00||3-1
|-
|- bgcolor="#CCFFCC"
| 2005-03-11 || Win ||align=left| Josip Ivanović || || Karlovac, Croatia || Decision || || ||3-0
|-
|- bgcolor="#CCFFCC"
| 2005-02-11 || Win ||align=left| Zvone Hundarin || Trbovlje 2 || Trbovlje, Slovenia || TKO || 2 ||||2-0
|-
|- bgcolor="#CCFFCC" |
276_12 | | 2004-11-06 || Win ||align=left| Miro Jurjevič || Trbovlje || Trbovlje, Slovenia || KO || 2 || ||1-0
|-
|-
| colspan=9 | Legend: |
276_13 | See also
List of male kickboxers
List of male mixed martial artists
List of It's Showtime events
References
1979 births
Living people
Croatian male kickboxers
Heavyweight kickboxers |
277_0 | Luh Putu Ayu Saraswati (; born July 6, 1997) popularly known as Ayu Saraswati is an Indonesian People's Consultative Assembly Ambassador, Medical practitioner, Feminist book author, Fashion model and beauty pageant titleholder who won the title of Puteri Indonesia Lingkungan 2020. Since 2020, she serves as the Ambassador and Advisory Council of Ministry of Women Empowerment and Child Protection of The Republic of Indonesia and Ministry of Environment and Forestry of the Republic of Indonesia, that works for #SangGuruKehidupan in advocating for women empowerment, Child protection, elderly care, natural disaster and free healthcare programs. Saraswati is the second delegate from Bali to ever be crowned Puteri Indonesia Lingkungan after Ayu Diandra Sari Tjakra in 2009. She will represent Indonesia at the Miss International 2022 pageant held in Japan.
Early life and education |
277_1 | Saraswati was born in Denpasar, Bali, Indonesia to a Balinese father and Taiwanese mother. Since she was 14 years old, Saraswati is working as a fashion model and pilates instructor. She holds a Master of Medical Science (MMSc) in Biomedical sciences from the Faculty of Medicine of Udayana University, Denpasar – Bali, and currently works as a Medical Practitioner in Sanglah Hospital, where both of her parents work as a Medical Doctor. She is also a book author and Feminist activist that writes Gender, Work and Organization based journal and book. |
277_2 | Beside being chosen as Indonesian People's Consultative Assembly Ambassador, Ministry of Women Empowerment and Child Protection of The Republic of Indonesia Ambassador, and Ministry of Environment and Forestry of the Republic of Indonesia Ambassador. Saraswati often representing Indonesia in world forums such as Youth Gathering Sunburst Youth Camp 2014 in Singapore and the 2013 International Community Development and Global Creative Leadership Summit in New Delhi, India.
Pageantry
Jegeg Bali 2015
Her foray into the world of pageantry began in 2015 when she won Jegeg Bali (Miss Tourism in Bali), where held in Denpasar at the age of eighteen, This also began her charitable activities which she continues to perform to this day. |
277_3 | As Jegeg Bali 2015 she became a charity ambassador for a local non-profit organization (NPO) Smile Foundation of Bali for the past 6 years, Saraswati donating funds and goods annually, helping to cleft lip and cleft palate patients and witnessed first-hand a Palatoplasty cleft surgery.
Puteri Bali 2020
Saraswati joined the contest at the provincial level of the Puteri Indonesia Bali 2020, and ended up was chosen as the winner of Puteri Indonesia Bali 2020, where she also won "Miss Intelligence" special award.
Puteri Indonesia 2020
After qualifying the provincial title of Puteri Indonesia Bali 2020, Saraswati represented the province of Bali in the national beauty contest, Puteri Indonesia 2020, which was held on March 6, 2020. |
277_4 | She was successfully crowned as the winner of Puteri Indonesia Lingkungan 2020 (Miss International Indonesia 2020). by the predecessor of Puteri Indonesia Lingkungan 2019 and Miss International 2019 Top 8 Finalist Jolene Marie Cholock-Rotinsulu of North Sulawesi. and won "Puteri Indonesia Nusa-Bali Islands 2020" special awards. The final coronation night was graced by the reigning Miss International 2019, Sireethorn Leearamwat and Miss International 2017, Kevin Lilliana Junaedy as the guest star.
Saraswati successfully raised her charity foundation called #SangGuruKehidupan, which a Women's empowerment platform across the islands of Indonesia that provide child protection, elderly care and free healthcare programs. Saraswati said: |
277_5 | Miss International 2022
As the winner of Puteri Indonesia Lingkungan 2020, Saraswati will represent Indonesia at the 60th edition of Miss International 2022 pageant, to be held in November 2021 at Pacifico Yokohama, Yokohama City, Kanagawa Prefecture, Japan. By the end of the event, Miss International 2019 Sireethorn Leearamwat of Thailand will crown her successor. Saraswati is expected to continuing the streak of Indonesia's semi-finalists placement in Miss International for the 5th consecutive years since 2016.
Bibliography
Saraswati is a book author and Feminist activist that writes Gender, Work and Organization based journal and book, she writes and published several books and journals on international University press and World Youth Forum, since her debut as an Author in 2013.
Books
Awards and nomination
See also
Puteri Indonesia 2020
Miss International 2022
Raden Roro Ayu Maulida Putri
Jihane Almira Chedid
References |
277_6 | External links
Puteri Indonesia Official Website
Miss International Official Website
Living people
1997 births
Balinese people
Udayana University alumni
Puteri Indonesia winners
Indonesian beauty pageant winners
Indonesian female models
Indonesian activists
Health activists
Elder rights activists
Indonesian Hindus
Indonesian women short story writers
Indonesian short story writers
Indonesian columnists
Women columnists
Indonesian women writers
21st-century women writers
21st-century short story writers
21st-century Indonesian writers
21st-century Indonesian poets
21st-century Indonesian women writers
Women literary critics
Indonesian women poets
Radical feminists
Rhetoricians
American Book Award winners
People from Denpasar
People from Bali
Indonesian people of Chinese descent |
278_0 | John Van Antwerp MacMurray (October 6, 1881 – September 25, 1960) was an American attorney, author and diplomat best known as one of the leading China experts in the U.S. government. He served as Assistant Secretary of State from November 1924 to May 1925, and was subsequently appointed Minister to China in 1925. Although MacMurray had coveted the China post, he soon fell into disagreement with the State Department over U.S. policy towards the ruling Kuomintang government. He resigned the position in 1929 and briefly left the foreign service. Following several years in academia, MacMurray returned to the State Department to become Minister to Estonia, Latvia and Lithuania from 1933 to 1936. He later served as ambassador to Turkey from 1936 to 1941, and then was made a special assistant to the Secretary of State until his retirement in 1944. |
278_1 | In 1935, MacMurray was commissioned to write a memorandum on the conflict between China and Japan. In it, he suggested that the United States, China, and Great Britain were partly to blame for Japan's invasion of China, and argued that unless the United States stopped opposing Japanese domination of China, a war between the two powers was likely. Japan later attacked the United States at Pearl Harbor in December 1941, drawing the US into World War II.
Early life
MacMurray was born in Schenectady, New York to Junius Wilson MacMurray and Henrietta MacMurray (née Van Antwerp). His father was a career soldier, serving as a captain in the Union Army during the American Civil War, and later joining the regular army. MacMurray's father also taught military tactics at the University of Missouri and Cornell University, and was the author of several books. His mother, Henrietta Wiswall Van Antwerp, was the daughter of a bank president. |
278_2 | In 1892, at the age of eleven, MacMurray attended his father's boarding school near Princeton, New Jersey. Later, while he was attending the nearby Lawrenceville School, his father's death dealt a "deep emotional blow", according to historian Arthur Waldron. After graduating in 1898, MacMurray enrolled at Princeton University. The school's president, Woodrow Wilson, encouraged him to pursue a career in academia, noting his aptitude for language and literature. MacMurray was also said to display an independent nature, declining to participate in eating clubs or attend chapel.
In 1903, MacMurray was admitted to the Columbia University Law School, and gained admission to the New York State Bar Association in 1906. He concurrently pursued a master of arts degree in Elizabethan drama at Princeton University, which he received in 1907.
Career |
278_3 | Following his admission to the New York Bar, MacMurray sought a career in government. A letter of commendation from Woodrow Wilson helped MacMurray secure an opportunity to take the foreign service examination. In 1907, he was appointed as Consul-General and Secretary of Legation in Bangkok, Siam, and then became second secretary at the U.S. embassy in St. Petersburg. There he worked under ambassador William Woodville Rockhill, who was credited with helping to shape the United States' open door policy towards China. |
278_4 | Upon returning to Washington in 1911, MacMurray was made chief of the Division of Near Eastern Affairs, a position he held until 1913. He then had several appointments in East Asia: from 1913 to 1917, he was secretary of Legation in Peking, China, and from 1917 to 1919, he was counselor of the embassy in Tokyo. He had been offered a post as Minister to Siam in 1913, but declined in order to pursue the position in Peking. He again returned to the State Department in 1919 to serve as Chief of Division for Far Eastern Affairs from 1919 to 1924. During that time, MacMurray was involved as an observer to negotiations between China and Japan concerning the status of the Shandong Peninsula, and authored a book titled Treaties and Agreements with and Concerning China. The book was a compilation of all treaties and agreements with China from 1894 to 1919, and was published by the Carnegie Endowment for International Peace. |
278_5 | MacMurray briefly served as Assistant Secretary of State from 1924 to 1925. In 1925, he was appointed Minister to China under President Calvin Coolidge, who described him as "our top China expert". He assumed the post in July 1925. MacMurray was well regarded within the diplomatic community in Peking; Sir Ronald Macleay with the British delegation described him as friendly and agreeable, and relatively unburdened by the preconceived ideas and sentimentality towards China that afflicted several of his predecessors. Macleay noted that MacMurray could express himself well and forcefully in diplomatic meetings, but that he was "rather academic", and may have lacked confidence in himself. "I imagine that he allows himself very little freedom of action and refers to Washington on every possible occasion," wrote Macleay. Another British diplomat, Sir Miles W. Lampson, recorded MacMurray's complaints that Washington allowed him little initiative, and seldom adopted his proposals. |
278_6 | Soon after arriving in China, MacMurray fell into disagreement with Washington over U.S. policy towards the ruling Kuomintang (Nationalist) government, which had been demanding immediate revisions to or a cessation of the treaty system in place between the two countries. Whereas Washington wished to make concessions to the Nationalist government, MacMurray favored the enforcement of existing treaties. These differences of opinion led him to resign in November 1929, whereupon he became a professor of International Relations at Johns Hopkins University.
In 1933, MacMurray returned to the foreign service. On September 9 of that year, he was appointed Envoy Extraordinary and Minister Plenipotentiary to Estonia, Latvia and Lithuania—a position he held until 1936. From 1936 to 1941, MacMurray served as Ambassador Extraordinary and Plenipotentiary in Turkey. He returned to Washington in 1942 and worked as a special assistant to the Secretary of State until his retirement in 1944. |
278_7 | 1935 Memorandum |
278_8 | In 1935, as tensions in East Asia were mounting, the Assistant Secretary of State for East Asian Affairs, Stanley Hornbeck, commissioned MacMurray to write a memorandum on the situation. The memorandum, "Developments Affecting American Policy in the Far East", challenged many of the underlying assumptions of U.S. policy towards Japan. The conventional wisdom held that Japan was the unprovoked aggressor in the brewing conflict with China. However, MacMurray posited that Chinese and American policies were partly to blame for Japan's actions; whereas Japan had closely adhered to the treaties and agreements brokered during the Washington Disarmament Conference, the United States, Great Britain and China frequently undermined them. Up until the Japanese invasion of Manchuria in 1931, the "Japanese Government ... was endeavoring in unimpeachable good faith to live up to its undertakings", wrote MacMurray. "The issue of success or failure for the policies evolved at the Washington Conference |
278_9 | was actually in the hands of China herself, of Great Britain, and of the United States." |
278_10 | According to Arthur Waldron, MacMurray found that China in particular "systematically flouted the legal framework that alone guaranteed her international position, and by so doing invited Japan's wrath." MacMurray believed that the United States should have valued Japan's efforts to comply with the treaty agreements, and suggested that the United States should accept Japanese aggression against China, rather than aligning ever more closely with China. Barring that, he wrote, an American war with Japan was likely:
MacMurray's classified memorandum was immediately shelved by the State Department. Following the Second World War, it was available only in select archives. In 1992, the memorandum was published for first time with an introduction by University of Pennsylvania historian Arthur Waldron.
Films and photography |
278_11 | Throughout his diplomatic tours in China, MacMurray captured thousands of photographs and recorded hours of footage of everyday life. A collection consisting of more than 1,600 of MacMurray's photographs taken in rural China between 1913 and 1917 is held by the Princeton University library. |
278_12 | In 1925, just two years after the advent of the Cine-Kodak motion picture camera, MacMurray began making amateur films of life and travels in China, such as his trips to the Great Wall of China and a journey down the Yangtze River. One film depicted the procession of Sun Yat-sen's body from its original burial place in Peking to a new mausoleum in Nanking. Another film recorded in April 1928 captured scenes of daily life in Kalgan, north of Peking. MacMurray, along with his wife and sister, had traveled to Kalgan and Changpeh with Roy Chapman Andrews, an American explorer and naturalist who made multiple expeditions to the Gobi desert. During the civil war in 1928, however, rogue brigands and soldiers had made travel difficult in the region. To secure passage between Kalgan and Changpeh, MacMurray enlisted the aid of local warlord Chang Tso-lin, who provided an escort of 50 cavalry, 8 cars, and 150 camels. |
278_13 | Family
In 1916, MacMurray married Lois R. Goodnow, the daughter of Frank Johnson Goodnow—a legal scholar, president of Johns Hopkins University, and a former advisor to the government of the Republic of China. Goodnow had been one of MacMurray's professors at Columbia University. The couple had three children: Joan Goodnow MacMurray, Frank Goodnow MacMurray, and Lois Van Antwerp MacMurray.
Later life
MacMurray died in September 1960, in Norfolk, Connecticut.
Works
Treaties and Agreements with and Concerning China, 1894-1919: Manchu period (1894-1911)
References
External links
1881 births
1960 deaths
Writers from Schenectady, New York
Princeton University alumni
Columbia Law School alumni
New York (state) lawyers
Ambassadors of the United States to Turkey
Ambassadors of the United States to China
Ambassadors of the United States to Estonia
United States Foreign Service personnel
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279_0 | Kinetic art is art from any medium that contains movement perceivable by the viewer or that depends on motion for its effect. Canvas paintings that extend the viewer's perspective of the artwork and incorporate multidimensional movement are the earliest examples of kinetic art. More pertinently speaking, kinetic art is a term that today most often refers to three-dimensional sculptures and figures such as mobiles that move naturally or are machine operated (see e. g. videos on this page of works of George Rickey, Uli Aschenborn and Sarnikoff). The moving parts are generally powered by wind, a motor or the observer. Kinetic art encompasses a wide variety of overlapping techniques and styles. |
279_1 | There is also a portion of kinetic art that includes virtual movement, or rather movement perceived from only certain angles or sections of the work. This term also clashes frequently with the term "apparent movement", which many people use when referring to an artwork whose movement is created by motors, machines, or electrically powered systems. Both apparent and virtual movement are styles of kinetic art that only recently have been argued as styles of op art. The amount of overlap between kinetic and op art is not significant enough for artists and art historians to consider merging the two styles under one umbrella term, but there are distinctions that have yet to be made. |
279_2 | "Kinetic art" as a moniker developed from a number of sources. Kinetic art has its origins in the late 19th century impressionist artists such as Claude Monet, Edgar Degas, and Édouard Manet who originally experimented with accentuating the movement of human figures on canvas. This triumvirate of impressionist painters all sought to create art that was more lifelike than their contemporaries. Degas’ dancer and racehorse portraits are examples of what he believed to be "photographic realism";. During the late 19th century artists such as Degas felt the need to challenge the movement toward photography with vivid, cadenced landscapes and portraits. |
279_3 | By the early 1900s, certain artists grew closer and closer to ascribing their art to dynamic motion. Naum Gabo, one of the two artists attributed to naming this style, wrote frequently about his work as examples of "kinetic rhythm". He felt that his moving sculpture Kinetic Construction (also dubbed Standing Wave, 1919–20) was the first of its kind in the 20th century. From the 1920s until the 1960s, the style of kinetic art was reshaped by a number of other artists who experimented with mobiles and new forms of sculpture.
Origins and early development |
279_4 | The strides made by artists to "lift the figures and scenery off the page and prove undeniably that art is not rigid" (Calder, 1954) took significant innovations and changes in compositional style. Édouard Manet, Edgar Degas, and Claude Monet were the three artists of the 19th century that initiated those changes in the Impressionist movement. Even though they each took unique approaches to incorporating movement in their works, they did so with the intention of being a realist. In the same period, Auguste Rodin was an artist whose early works spoke in support of the developing kinetic movement in art. However, Auguste Rodin's later criticisms of the movement indirectly challenged the abilities of Manet, Degas, and Monet, claiming that it is impossible to exactly capture a moment in time and give it the vitality that is seen in real life.
Édouard Manet |
279_5 | It is almost impossible to ascribe Manet's work to any one era or style of art. One of his works that is truly on the brink of a new style is Le Ballet Espagnol (1862). The figures' contours coincide with their gestures as a way to suggest depth in relation to one another and in relation to the setting. Manet also accentuates the lack of equilibrium in this work to project to the viewer that he or she is on the edge of a moment that is seconds away from passing. The blurred, hazy sense of color and shadow in this work similarly place the viewer in a fleeting moment. |
279_6 | In 1863, Manet extended his study of movement on flat canvas with Le déjeuner sur l'herbe. The light, color, and composition are the same, but he adds a new structure to the background figures. The woman bending in the background is not completely scaled as if she were far away from the figures in the foreground. The lack of spacing is Manet's method of creating snapshot, near-invasive movement similar to his blurring of the foreground objects in Le Ballet Espagnol.
Edgar Degas |
279_7 | Edgar Degas is believed to be the intellectual extension of Manet, but more radical for the impressionist community. Degas' subjects are the epitome of the impressionist era; he finds great inspiration in images of ballet dancers and horse races. His "modern subjects" never obscured his objective of creating moving art. In his 1860 piece Jeunes Spartiates s'exerçant à la lutte, he capitalizes on the classic impressionist nudes but expands on the overall concept. He places them in a flat landscape and gives them dramatic gestures, and for him this pointed to a new theme of "youth in movement". |
279_8 | One of his most revolutionary works, L’Orchestre de l’Opéra (1868) interprets forms of definite movement and gives them multidimensional movement beyond the flatness of the canvas. He positions the orchestra directly in the viewer's space, while the dancers completely fill the background. Degas is alluding to the Impressionist style of combining movement, but almost redefines it in a way that was seldom seen in the late 1800s. In the 1870s, Degas continues this trend through his love of one-shot motion horse races in such works as Voiture aux Courses (1872). |
279_9 | It wasn't until 1884 with Chevaux de Course that his attempt at creating dynamic art came to fruition. This work is part of a series of horse races and polo matches wherein the figures are well integrated into the landscape. The horses and their owners are depicted as if caught in a moment of intense deliberation, and then trotting away casually in other frames. The impressionist and overall artistic community were very impressed with this series, but were also shocked when they realized he based this series on actual photographs. Degas was not fazed by the criticisms of his integration of photography, and it actually inspired Monet to rely on similar technology.
Claude Monet |
279_10 | Degas and Monet's style was very similar in one way: both of them based their artistic interpretation on a direct "retinal impression" to create the feeling of variation and movement in their art. The subjects or images that were the foundation of their paintings came from an objective view of the world. As with Degas, many art historians consider that to be the subconscious effect photography had in that period of time. His 1860s works reflected many of the signs of movement that are visible in Degas' and Manet's work. |
279_11 | By 1875, Monet's touch becomes very swift in his new series, beginning with Le Bâteau-Atelier sur la Seine. The landscape almost engulfs the whole canvas and has enough motion emanating from its inexact brushstrokes that the figures are a part of the motion. This painting along with Gare Saint-Lazare (1877-1878), proves to many art historians that Monet was redefining the style of the Impressionist era. Impressionism initially was defined by isolating color, light, and movement. In the late 1870s, Monet had pioneered a style that combined all three, while maintaining a focus on the popular subjects of the Impressionist era. Artists were often so struck by Monet's wispy brushstrokes that it was more than movement in his paintings, but a striking vibration. |
279_12 | Auguste Rodin
Auguste Rodin at first was very impressed by Monet's 'vibrating works' and Degas' unique understanding of spatial relationships. As an artist and an author of art reviews, Rodin published multiple works supporting this style. He claimed that Monet and Degas' work created the illusion "that art captures life through good modeling and movement". In 1881, when Rodin first sculpted and produced his own works of art, he rejected his earlier notions. Sculpting put Rodin into a predicament that he felt no philosopher nor anyone could ever solve; how can artists impart movement and dramatic motions from works so solid as sculptures? After this conundrum occurred to him, he published new articles that didn't attack men such as Manet, Monet, and Degas intentionally, but propagated his own theories that Impressionism is not about communicating movement but presenting it in static form. |
279_13 | 20th century surrealism and early kinetic art
The surrealist style of the 20th century created an easy transition into the style of kinetic art. All artists now explored subject matter that would not have been socially acceptable to depict artistically. Artists went beyond solely painting landscapes or historical events, and felt the need to delve into the mundane and the extreme to interpret new styles. With the support of artists such as Albert Gleizes, other avant-garde artists such as Jackson Pollock and Max Bill felt as if they had found new inspiration to discover oddities that became the focus of kinetic art. |
279_14 | Albert Gleizes
Gleizes was considered the ideal philosopher of the late 19th century and early 20th century arts in Europe, and more specifically France. His theories and treatises from 1912 on cubism gave him a renowned reputation in any artistic discussion. This reputation is what allowed him to act with considerable influence when supporting the plastic style or the rhythmic movement of art in the 1910s and 1920s. Gleizes published a theory on movement, which further articulated his theories on the psychological, artistic uses of movement in conjunction with the mentality that arises when considering movement. Gleizes asserted repeatedly in his publications that human creation implies the total renunciation of external sensation. That to him is what made art mobile when to many, including Rodin, it was rigidly and unflinchingly immobile. |
279_15 | Gleizes first stressed the necessity for rhythm in art. To him, rhythm meant the visually pleasant coinciding of figures in a two-dimensional or three-dimensional space. Figures should be spaced mathematically, or systematically so that they appeared to interact with one another. Figures should also not have features that are too definite. They need to have shapes and compositions that are almost unclear, and from there the viewer can believe that the figures themselves are moving in that confined space. He wanted paintings, sculptures, and even the flat works of mid-19th-century artists to show how figures could impart on the viewer that there was great movement contained in a certain space. As a philosopher, Gleizes also studied the concept of artistic movement and how that appealed to the viewer. Gleizes updated his studies and publications through the 1930s, just as kinetic art was becoming popular. |
279_16 | Jackson Pollock
When Jackson Pollock created many of his famous works, the United States was already at the forefront of the kinetic and popular art movements. The novel styles and methods he used to create his most famous pieces earned him the spot in the 1950s as the unchallenged leader of kinetic painters, his work was associated with Action painting coined by art critic Harold Rosenberg in the 1950s. Pollock had an unfettered desire to animate every aspect of his paintings. Pollock repeatedly said to himself, "I am in every painting". He used tools that most painters would never use, such as sticks, trowels, and knives. He thought of the shapes he created as being "beautiful, erratic objects". |
279_17 | This style evolved into his drip technique. Pollock repeatedly took buckets of paint and paintbrushes and flicked them around until the canvas was covered with squiggly lines and jagged strokes. In the next phase of his work, Pollock tested his style with uncommon materials. He painted his first work with aluminum paint in 1947, titled Cathedral and from there he tried his first "splashes" to destroy the unity of the material itself. He believed wholeheartedly that he was liberating the materials and structure of art from their forced confinements, and that is how he arrived at the moving or kinetic art that always existed. |
279_18 | Max Bill
Max Bill became an almost complete disciple of the kinetic movement in the 1930s. He believed that kinetic art should be executed from a purely mathematical perspective. To him, using mathematics principles and understandings were one of the few ways that you could create objective movement. This theory applied to every artwork he created and how he created it. Bronze, marble, copper, and brass were four of the materials he used in his sculptures. He also enjoyed tricking the viewer's eye when he or she first approached one of his sculptures. In his Construction with Suspended Cube (1935-1936) he created a mobile sculpture that generally appears to have perfect symmetry, but once the viewer glances at it from a different angle, there are aspects of asymmetry. |
279_19 | Mobiles and sculpture
Max Bill's sculptures were only the beginning of the style of movement that kinetic explored. Tatlin, Rodchenko, and Calder especially took the stationary sculptures of the early 20th century and gave them the slightest freedom of motion. These three artists began with testing unpredictable movement, and from there tried to control the movement of their figures with technological enhancements. The term "mobile" comes from the ability to modify how gravity and other atmospheric conditions affect the artist's work.
Although there is very little distinction between the styles of mobiles in kinetic art, there is one distinction that can be made. Mobiles are no longer considered mobiles when the spectator has control over their movement. This is one of the features of virtual movement. When the piece only moves under certain circumstances that are not natural, or when the spectator controls the movement even slightly, the figure operates under virtual movement. |
279_20 | Kinetic art principles have also influenced mosaic art. For instance, kinetic-influenced mosaic pieces often use clear distinctions between bright and dark tiles, with three-dimensional shape, to create apparent shadows and movement.
Vladimir Tatlin
Russian artist and founder-member of the Russian Constructivism movement Vladimir Tatlin is considered by many artists and art historians to be the first person to ever complete a mobile sculpture. The term mobile wasn't coined until Rodchenko's time, but is very applicable to Tatlin's work. His mobile is a series of suspended reliefs that only need a wall or a pedestal, and it would forever stay suspended. This early mobile, Contre-Reliefs Libérés Dans L'espace (1915) is judged as an incomplete work. It was a rhythm, much similar to the rhythmic styles of Pollock, that relied on the mathematical interlocking of planes that created a work freely suspended in air. |
279_21 | Tatlin's Tower or the project for the 'Monument to the Third International' (1919–20), was a design for a monumental kinetic architecture building that was never built. It was planned to be erected in Petrograd (now St. Petersburg) after the Bolshevik Revolution of 1917, as the headquarters and monument of the Comintern (the Third International).
Tatlin never felt that his art was an object or a product that needed a clear beginning or a clear end. He felt above anything that his work was an evolving process. Many artists whom he befriended considered the mobile truly complete in 1936, but he disagreed vehemently.
Alexander Rodchenko |
279_22 | Russian artist Alexander Rodchenko, Tatlin's friend and peer who insisted his work was complete, continued the study of suspended mobiles and created what he deemed to be "non-objectivism". This style was a study less focused on mobiles than on canvas paintings and objects that were immovable. It focuses on juxtaposing objects of different materials and textures as a way to spark new ideas in the mind of the viewer. By creating discontinuity with the work, the viewer assumed that the figure was moving off the canvas or the medium to which it was restricted. One of his canvas works titled Dance, an Objectless Composition (1915) embodies that desire to place items and shapes of different textures and materials together to create an image that drew in the viewer's focus. |
279_23 | However, by the 1920s and 1930s, Rodchenko found a way to incorporate his theories of non-objectivism in mobile study. His 1920 piece Hanging Construction is a wood mobile that hangs from any ceiling by a string and rotates naturally. This mobile sculpture has concentric circles that exist in several planes, but the entire sculpture only rotates horizontally and vertically.
Alexander Calder
Alexander Calder is an artist who many believe to have defined firmly and exactly the style of mobiles in kinetic art. Over years of studying his works, many critics allege that Calder was influenced by a wide variety of sources. Some claim that Chinese windbells were objects that closely resembled the shape and height of his earliest mobiles. Other art historians argue that the 1920s mobiles of Man Ray, including Shade (1920) had a direct influence on the growth of Calder's art. |
279_24 | When Calder first heard of these claims, he immediately admonished his critics. "I have never been and never will be a product of anything more than myself. My art is my own, why bother stating something about my art that isn’t true?" One of Calder's first mobiles, Mobile (1938) was the work that "proved" to many art historians that Man Ray had an obvious influence on Calder's style. Both Shade and Mobile have a single string attached to a wall or a structure that keeps it in the air. The two works have a crinkled feature that vibrates when air passes through it. |
279_25 | Regardless of the obvious similarities, Calder's style of mobiles created two types that are now referred to as the standard in kinetic art. There are object-mobiles and suspended mobiles. Object mobiles on supports come in a wide range of shapes and sizes and can move in any way. Suspended mobiles were first made with colored glass and small wooden objects that hung on long threads. Object mobiles were a part of Calder's emerging style of mobiles that were originally stationary sculptures. |
279_26 | It can be argued, based on their similar shape and stance, that Calder's earliest object mobiles have very little to do with kinetic art or moving art. By the 1960s, most art critics believed that Calder had perfected the style of object mobiles in such creations as the Cat Mobile (1966). In this piece, Calder allows the cat's head and its tail to be subject to random motion, but its body is stationary. Calder did not start the trend in suspended mobiles, but he was the artist that became recognized for his apparent originality in mobile construction.
One of his earliest suspended mobiles, McCausland Mobile (1933), is different from many other contemporary mobiles simply because of the shapes of the two objects. Most mobile artists such as Rodchenko and Tatlin would never have thought to use such shapes because they didn't seem malleable or even remotely aerodynamic. |
279_27 | Despite the fact that Calder did not divulge most of the methods he used when creating his work, he admitted that he used mathematical relationships to make them. He only said that he created a balanced mobile by using direct variation proportions of weight and distance. Calder's formulas changed with every new mobile he made, so other artists could never precisely imitate the work.
Virtual movement
By the 1940s, new styles of mobiles, as well as many types of sculpture and paintings, incorporated the control of the spectator. Artists such as Calder, Tatlin, and Rodchenko produced more art through the 1960s, but they were also competing against other artists who appealed to different audiences. When artists such as Victor Vasarely developed a number of the first features of virtual movement in their art, kinetic art faced heavy criticism. This criticism lingered for years until the 1960s, when kinetic art was in a dormant period. |
279_28 | Materials and electricity
Vasarely created many works that were considered to be interactive in the 1940s. One of his works Gordes/Cristal (1946) is a series of cubic figures that are also electrically powered. When he first showed these figures at fairs and art exhibitions, he invited people up to the cubic shapes to press the switch and start the color and light show. Virtual movement is a style of kinetic art that can be associated with mobiles, but from this style of movement there are two more specific distinctions of kinetic art. |
279_29 | Apparent movement and op art
Apparent movement is a term ascribed to kinetic art that evolved only in the 1950s. Art historians believed that any type of kinetic art that was mobile independent of the viewer has apparent movement. This style includes works that range from Pollock's drip technique all the way to Tatlin's first mobile. By the 1960s, other art historians developed the phrase "op art" to refer to optical illusions and all optically stimulating art that was on canvas or stationary. This phrase often clashes with certain aspects of kinetic art that include mobiles that are generally stationary. |
279_30 | In 1955, for the exhibition Mouvements at the Denise René gallery in Paris, Victor Vasarely and Pontus Hulten promoted in their "Yellow manifesto" some new kinetic expressions based on optical and luminous phenomenon as well as painting illusionism. The expression "kinetic art" in this modern form first appeared at the Museum für Gestaltung of Zürich in 1960, and found its major developments in the 1960s. In most European countries, it generally included the form of optical art that mainly makes use of optical illusions, such as op art, represented by Bridget Riley, as well as art based on movement represented by Yacov Agam, Carlos Cruz-Diez, Jesús Rafael Soto, Gregorio Vardanega, Martha Boto or Nicolas Schöffer. From 1961 to 1968, GRAV (Groupe de Recherche d’Art Visuel) founded by François Morellet, Julio Le Parc, Francisco Sobrino, Horacio Garcia Rossi, Yvaral, Joël Stein and Vera Molnár was a collective group of opto-kinetic artists. According to its 1963 manifesto, GRAV appealed |
279_31 | to the direct participation of the public with an influence on its behavior, notably through the use of interactive labyrinths. |
279_32 | Contemporary work
In November 2013, the MIT Museum opened 5000 Moving Parts, an exhibition of kinetic art, featuring the work of Arthur Ganson, Anne Lilly, Rafael Lozano-Hemmer, John Douglas Powers, and Takis. The exhibition inaugurates a "year of kinetic art" at the Museum, featuring special programming related to the artform.
Neo-kinetic art has been popular in China where you can find interactive kinetic sculptures in many public places, including Wuhu International Sculpture Park and in Beijing.
Changi Airport, Singapore has a curated collection of artworks including large-scale kinetic installations by international artists ART+COM and Christian Moeller.
Selected works
Selected kinetic sculptors |
279_33 | Yaacov Agam
Uli Aschenborn
David Ascalon
Fletcher Benton
Mark Bischof
Daniel Buren
Alexander Calder
Gregorio Vardanega
Martha Boto
U-Ram Choe
Angela Conner
Carlos Cruz-Diez
Marcel Duchamp
Lin Emery
Rowland Emett
Arthur Ganson
Nemo Gould
Gerhard von Graevenitz
Bruce Gray
Ralfonso Gschwend
Rafael Lozano-Hemmer
Chuck Hoberman
Anthony Howe
Irma Hünerfauth
Tim Hunkin
Theo Jansen
Ned Kahn
Roger Katan
Starr Kempf
Frederick Kiesler
Viacheslav Koleichuk
Gyula Kosice
Gilles Larrain
Julio Le Parc
Liliane Lijn
Len Lye
Sal Maccarone
Heinz Mack
Phyllis Mark
László Moholy-Nagy
Alejandro Otero
Robert Perless
Otto Piene
George Rickey
Ken Rinaldo
Barton Rubenstein
Nicolas Schöffer
Eusebio Sempere
Jesús Rafael Soto
Mark di Suvero
Takis
Jean Tinguely
Wen-Ying Tsai
Marc van den Broek
Panayiotis Vassilakis
Lyman Whitaker
Ludwig Wilding
Selected kinetic op artists |
279_34 | Nadir Afonso
Getulio Alviani
Marina Apollonio
Carlos Cruz-Díez
Ronald Mallory
Youri Messen-Jaschin
Vera Molnár
Abraham Palatnik
Bridget Riley
Eusebio Sempere
Grazia Varisco
Victor Vasarely
Jean-Pierre Yvaral
See also
Gas sculpture
Lumino kinetic art
Robotic art
Sound art
Sound installation
References
Further reading
External links
Kinetic Art Organization (KAO) - KAO - Largest International Kinetic Art Organisation (Kinetic Art film and book library, KAO Museum planned)
Modern art
Types of sculpture
Motion (physics)
Contemporary art
Visual arts genres |
280_0 | The Mountain Between Us is a 2017 American drama film directed by Hany Abu-Assad and written by Chris Weitz and J. Mills Goodloe, based on the 2011 novel of the same name by Charles Martin. It stars Idris Elba and Kate Winslet as a surgeon and a journalist, respectively, who survive a plane crash, with a dog, and are stranded in the High Uintas Wilderness with injuries and harsh weather conditions. The film premiered on September 9, 2017, at the 2017 Toronto International Film Festival, and was theatrically released in the United States on October 6, 2017, by 20th Century Fox. |
280_1 | Plot
After their flight is canceled due to stormy weather, neurosurgeon Dr. Ben Bass (Idris Elba) and photojournalist Alex Martin (Kate Winslet) hire private pilot Walter (Beau Bridges) to get them from Idaho to Denver for connecting flights to Alex's wedding in New York and Ben's emergency surgery appointment in Baltimore. Walter, who has not filed a flight plan, suffers a fatal stroke mid-flight, and the plane crashes on a mountaintop in the High Uintas Wilderness. Ben, Alex, and Walter's Labrador Retriever survive the crash but Alex has injured her leg quite badly. Ben attends to her cuts and injured knee, and buries the pilot while she is unconscious. |
280_2 | Once conscious, Alex thinks Ben has a better chance of finding help if he leaves her behind, but Ben refuses. Stranded for days with dwindling supplies, Alex grows skeptical that they will be rescued, although Ben wants to wait for help with the plane's wreckage. He agrees to climb a ridge to see if there is any sign of a road, but sees nothing but mountains and narrowly avoids falling down the side.
Alex goes through Ben's things and listens to a message from his wife saying, 'I'm glad to have had this time with you'. Alex is found by a cougar who attacks the dog. She shoots a flare at the big cat, killing it. The dog returns and later, when Ben comes back he tends to the dog’s wounds. They cook the cougar giving them, Ben thinks, ten days of food. |
280_3 | The two argue over waiting for rescue or descending the mountain to find help/a phone signal. Alex starts a lone descent down the mountain. Ben catches up, having located the tail end of the plane he finds a beacon - but it is smashed. The two hike down to the tree-line and spend the night in a cave.
Using her telephoto lens, Alex thinks she sees a cabin. At the same time that Alex falls into freezing water, Ben comes across the empty cabin. He pulls her out, but she remains unconscious and severely dehydrated. Ben again saves her life by fashioning an IV. They stay there for several days while Alex recovers; Ben reveals that his wife died two years prior from a brain tumor. Eventually they have sex. As he sleeps, Alex takes his picture. Later, she again tells Ben to leave her behind to find help. Ben initially agrees but soon returns; they press forward again. |
280_4 | The dog alerts them to a nearby timber yard. On their way toward it, Ben's leg gets caught in a bear trap. Alex cannot free him, but she reaches the yard and collapses in front of an approaching truck. Ben awakens in a hospital and goes to Alex's room, where he finds her with Mark (Dermot Mulroney), her fiancé. After a brief conversation, Ben leaves, heartbroken. |
280_5 | Ben and Alex go their separate ways after the hospital, with Ben keeping the dog. Alex tries calling Ben, but he ignores her calls until she sends him photos she had taken on the mountain, writing that only he can understand them. This encourages Ben to call Alex. They meet at a restaurant in New York, where it is revealed that Alex is now a part-time teacher, and Ben is a consultant at trauma clinics in London because his frostbitten hands will not recover sufficiently for him to perform surgery again. Ben says he did not call Alex because he thought she had married; Alex says she could not go through with it because she fell in love with Ben. Outside the restaurant, Ben admits to Alex that they survived because they fell in love. Alex dismisses her feelings and reminds Ben of something he said on the mountain: "the heart is just a muscle." She tells him she doesn’t know how they could be together in the real world. They hug goodbye, and begin to depart in opposite directions. While |
280_6 | walking away both become distraught, and finally turn and begin running back to each other. A split second before the two embrace, the screen cuts to black and the credits roll. |
280_7 | Cast
Idris Elba as Dr. Ben Bass, a neurosurgeon
Kate Winslet as Alex Martin, a photojournalist
Dermot Mulroney as Mark Robertson, Alex’s fiancé
Beau Bridges as Walter, the pilot of the charter plane
Raleigh and Austin as Walter's dog
Production
The project was first developed in January 2012, with Mexican director Gerardo Naranjo set to direct a script by J. Mills Goodloe. In August 2012, Scott Frank was hired to re-write the script. In November 2014, Hany Abu-Assad replaced Naranjo, and Chris Weitz was later hired to re-write the script. |
280_8 | Abu-Assad has said of the film, "I really didn’t see an epic love story against the background of survival, I think optimism and hope is crucial to survive. And to go on with your life even if you’ve had a lot of bad luck. So if you give (in) to the bad luck, you will die. (But) if you fight the bad luck, you have a better chance to survive and make your life better. This is very simple wisdom, yes? But still very crucial especially in these kind of days, when everybody feels entitled to their good luck."
Casting
The film went through several lead casting changes. In March 2012, it was announced that Michael Fassbender would star as Bass, but by September 2014, Fassbender dropped out due to a scheduling conflict, and Charlie Hunnam replaced him. Margot Robbie also came on board to star as Alex. In November 2014, Robbie dropped out of the project, and Rosamund Pike entered negotiations for the lead role. In December 2015, both Hunnam and Pike dropped out. |
280_9 | In February 2016, Idris Elba came on board, followed by Kate Winslet in June 2016. Dermot Mulroney joined the cast as Winslet's character's fiancé in early February 2017.
Filming
Principal photography started on December 5, 2016, in Vancouver, and continued until February 24, 2017. Elba and Winslet filmed scenes at the Vancouver International Airport and Abbotsford International Airport on December 7, 2016. Filming stopped for Christmas holidays, from December 20, 2016 to January 3, 2017.
Filming resumed around Invermere and Panorama Mountain Village on January 4, 2017. |
280_10 | Most of the filming took place in Canada, on the border of Alberta and British Columbia. Abu-Assad has described the locations as having very cold temperatures, and tough and harsh filming conditions. Many scenes were shot on a mountaintop, and he and the crew had to drive 40 minutes before reaching the film's base camp. When the weather was okay, they could board the helicopter to reach their destination along with their supplies. |
280_11 | Music
German-Iranian composer Ramin Djawadi composed & conducted the music for the film. The official trailer for the movie was released with "Dusk Till Dawn" by Zayn Malik and Sia Furler as the official soundtrack. The score from the film is now released at Lakeshore Records. Soundtrackdreams reviewed, 'The main theme from “The mountain between us” is the best advertisement for this score; a sweeping piano and violin theme, both grandiose and intimate at the same time, a proper dramatic opening that gets emotional from the first minutes without an adjustment period. The first cue is the kind of piece that could have very well sat at the end as the dramatic climax of the movie. The horn buildup towards the end joins the rolling piano in making sure this theme will end up as one of the most memorable he has ever written. |
280_12 | Releases
The film premiered at the 2017 Toronto International Film Festival, on September 9, 2017. The film was initially set for release in the United States on October 20, 2017 but was later moved up to October 6, 2017.
Box office
, The Mountain Between Us has grossed $30.3 million in the United States and Canada, and $30.7 million in other territories, for a worldwide total of $62.3 million, against a production budget of $35 million.
In the United States and Canada, the film was released alongside Blade Runner 2049 and My Little Pony: The Movie, and was expected to gross $11–12 million from 3,088 theaters in its opening weekend. It ended up debuting to $10.1 million, finishing second at the box office, behind Blade Runner 2049 ($32.5 million). The film dropped 47% in its second weekend, making $5.7 million and falling to 5th. |
280_13 | Critical response
On Rotten Tomatoes, the film has an approval rating of 38%, based on 173 reviews, with an average rating of 5.10/10. The site's critical consensus reads, "The Mountain Between Us may be too far-fetched for some viewers to appreciate, but it's elevated by reliably engaging performances from Idris Elba and Kate Winslet." On Metacritic, the film has a weighted average score of 48 out of 100, based on 37 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale. |
280_14 | Jordan Mintzer of The Hollywood Reporter described the film as "an easily digestible love story-cum-survival tale that tosses two excellent actors in the snow and lets them do their thing," before concluding that "what really helps Mountain overcome its far-fetched scenario is the pairing of Winslet and Elba, who know how to turn up the charm tenfold yet make Alex and Ben seem (mostly) like real people." Tim Grierson of ScreenDaily noted that the film "struggles to balance its life-or-death stakes with its far more florid love story," but added that "the considerable chemistry between Kate Winslet and Idris Elba certainly helps sell this tearjerker." |
280_15 | In his review for Variety, Peter Debruge described it as "a movie in which neither the subzero temperature nor the romantic heat penetrates more than skin deep." Also criticizing the film, Steve Pond of TheWrap found it unnecessarily lengthy and said that "a love story cheapens the grand survival story." Ignatiy Vishnevetsky of The A.V. Club criticized the central characters as "a couple of one-note personality-test types" with "zero romantic chemistry," and wrote that the script "actually tones down the howling outrageousness of Martin’s novel, which seems to miss the point. But, structurally, it’s the same junk. Problems pop out of nowhere and resolve themselves, while torturous motivations attempt to explain why characters would withhold basic information from one another for weeks..."
References
External links |
280_16 | 2010s adventure drama films
2010s disaster films
2017 romantic drama films
2010s survival films
2017 films
20th Century Fox films
American adventure drama films
American disaster films
American films
American romantic drama films
American survival films
2010s English-language films
Films about aviation accidents or incidents
Films based on American novels
Films based on romance novels
Films directed by Hany Abu-Assad
Films scored by Ramin Djawadi
Films set in Utah
Films shot in Alberta
Films shot in London
Films shot in Vancouver
Films about interracial romance
Mountaineering films
Films with screenplays by Chris Weitz
Chernin Entertainment films |
281_0 | City, University of London, is a public research university in London, United Kingdom, and a member institution of the federal University of London. It was founded in 1894 as the Northampton Institute, and became a university when The City University was created by royal charter in 1966. The Inns of Court School of Law, which merged with City in 2001, was established in 1852, making it the university's oldest constituent part. City joined the federal University of London on 1 September 2016, becoming part of the eighteen colleges and ten research institutes that then made up that university. |
281_1 | City has strong links with the City of London, and the Lord Mayor of London serves as the university's rector. The university has its main campus in Central London in the London Borough of Islington, with additional campuses in Islington, the city, the West End and East End. The annual income of the institution for 2019–20 was £245.0 million, of which £11.1 million was from research grants and contracts, with an expenditure of £218.4 million. It is organised into five schools, within which there are around forty academic departments and centres, including the Department of Journalism, the Business School, and City Law School which incorporates the Inns of Court School of Law. |
281_2 | City is a founding member of the WC2 University Network which developed for collaboration between leading universities of the heart of major world cities particularly to address cultural, environmental and political issues of common interest to world cities and their universities. The university is a member of the Association of MBAs, EQUIS and Universities UK. Alumni of City include a Founding Father, members of Parliament of the United Kingdom, Prime Ministers of the United Kingdom, governors, politicians and CEOs.
History
Origins |
281_3 | City traces its origin to the Northampton Institute, established in 1852, which was named after the Marquess of Northampton who donated the land on which the institute was built, between Northampton Square and St John Street in Islington. The institute was established to provide for the education and welfare of the local population. It was constituted under the City of London Parochial Charities Act (1883), with the objective of "the promotion of the industrial skill, general knowledge, health and well-being of young men and women belonging to the poorer classes".
Northampton Polytechnic Institute was an institute of technology in Clerkenwell, London, founded in 1894. Its first Principal was Robert Mullineux Walmsley. |
281_4 | Alumni include Colin Cherry, Stuart Davies and Anthony Hunt. Arthur George Cocksedge, a British gymnast who competed in the 1920 Summer Olympics, was a member of the Northampton Polytechnic Institute's Gymnastics Club and was Champion of the United Kingdom in 1920. In 1937 Maurice Dennis of the (Northampton Polytechnic ABC) was the 1937 ABA Middleweight Champion. Frederick Handley Page was a lecturer in aeronautics at the institute. The Handley Page Type A, the first powered aircraft designed and built by him, ended up as an instructional airframe at the school. The novelist Eric Ambler studied engineering at the institute.
The six original departments at the institute were Applied Physics and Electrical Engineering; Artistic Crafts; Domestic Economy and Women's Trades; Electro-Chemistry; Horology (the science of time and art of clock-making); and Mechanical Engineering and Metal Trades. |
281_5 | 20th century
A separate technical optics department was established in 1903–04. In 1909, the first students qualified for University of London BSc degrees in engineering as internal students. The Institute had been involved in aeronautics education since that year, and the School of Engineering and Mathematical Sciences celebrated the centenary of aeronautics at City in 2009. The institute was used for the 1908 Olympic Games; boxing took place there.
In 1957, the institute was designated a "College of Advanced Technology".
The institute's involvement in information science began in 1961, with the introduction of a course on "Collecting and Communicating Scientific Knowledge". City received its royal charter in 1966, becoming "The City University" to reflect the institution's close links with the City of London. The Apollo 15 astronauts visited City in 1971, and presented the Vice-Chancellor, Tait, with a piece of heat shield from the Apollo 15 rocket. |
281_6 | In October 1995, it was announced that City University would merge with both the St Bartholomew School of Nursing & Midwifery and the Charterhouse College of Radiography, doubling the number of students in City's Institute of Health Sciences to around 2,500.
21st century
The university formed a strategic alliance with Queen Mary, University of London, in April 2001. In May 2001, a fire in the college building gutted the fourth-floor offices and roof. In August 2001 City and the Inns of Court School of Law agreed to merge. Following a donation from Sir John Cass's Foundation, a multimillion-pound building was built at 106 Bunhill Row for the Business School.
A new £23 million building to house the School of Social Sciences and the Department of Language and Communication Science was opened in 2004. The reconstruction and redevelopment of the university's Grade II listed college building (following the fire in 2001) was completed in July 2006. |
281_7 | In 2007 the School of Arts received a £10m building refurbishment. A new students' union venue opened in October 2008 called "TEN squared", which provides a hub for students to socialise in during the day and hosts a wide range of evening entertainment including club nights, society events and quiz nights.
In January 2010, premises were shared with the University of East Anglia (UEA) London, following City's partnership with INTO University Partnerships. Since then City has resumed its own International Foundation Programme to prepare students for their pre-university year. City was ranked among the top 30 higher education institutions in the UK by the Times Higher Education Table of Tables.
In April 2011, it was announced that the current halls of residence and Saddler's Sports Centre will be closed and demolished for rebuilding in June 2011. The new student halls and sports facility, now known as CitySport, opened in 2015. |
281_8 | In September 2016 The City University became a member institution of the federal University of London and changed its name to City, University of London.
Campus
City has sites throughout London, with the main campus located at Northampton Square in the Finsbury area of Islington. The Rhind Building which houses the School of Arts and Social Sciences is directly west of Northampton Square. A few buildings of the main campus are located in nearby Goswell Road in Clerkenwell.
Other academic sites are:
The City Law School (incorporating the former Inns of Court School of Law) in Holborn, Camden
Bayes Business School in St Luke's, Islington, and at 200 Aldersgate in Smithfield, City of London
INTO City in Spitalfields, Tower Hamlets
Organisation and administration |
281_9 | The rector of City, University of London, is ex officio the Lord Mayor of the City of London. The day-to-day running of the university is the responsibility of the president. The current president is Sir Anthony Finkelstein.
Schools
City, University of London, is organised into five schools:
The City Law School, incorporating The Centre for Legal Studies and the Inns of Court School of Law
School of Health Sciences, incorporating St Bartholomew School of Nursing & Midwifery
School of Arts and Social Science, including the Department of Journalism
School of Mathematics, Computer Science and Engineering
Bayes Business School (Formerly Cass Business School) |
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