text:
The Luggage

From the beginning, I knew I had to sit on my father’s throne but life has played many tricks with me. If I could hop on a time machine, go back in time and wanted something that would have taken my life on a different path, it would have been to spend more time with my father. Fate has kept my father away from me my entire life. Those few months that I have spent with him are hardly registered in my memory anymore. Even if they were, it would have been harder to cope since my father is someone completely different ever since his brain stroke.
It’s unfathomable to imagine one carrying Mt. Everest on its back but if I had to compare, it would be carrying the luggage full of responsibilities of my six membered family that was bestowed upon me after my fathers’ impairment. I was never raised to be someone capable of lifting such a heavy object and I fumbled constantly until my family gave up on me.
If anyone still had hope on me, it was myself. I just knew it, it was written on the imaginary paper in my rich mind (fueled daily to drag my lazy body)  but it never came to fruition until I met her. Memories of her are hard to discern now a days; it’s like a printed paper that has already been printed once before and the letters are deceitful to eyes and mind. I remember meeting her through the tubes that connect the entire world. I reckon she fell in love with me within few minutes of our conversation and didn't hesitate to confess it to me that very same night. I remember talking to her for endless hours on daily basis as if I was born with the intuition like an infant wired to grasp onto its mother's bosom. It was a part of my life, intertwined. But then one day she was gone as fast as she came into my life. There were no traces of her. If there were any, it was my transformation. She helped me build the strength to lift the luggage and carry it many miles.
Many months have past. Now, my family has new found hope and respect for me. Afterall, I am a coolie carrying the luggage that was left by my father on his throne. I stayed awake many a night longing for the angel who helped me attain my strength. One enlightening night wasn’t any different. It was a starry night as I had my back to the red brick wall, sitting next to my dearest cousin, speaking of things only couple of men would do. As the night grew older, so did our conversations. And then for a while I remained silent. taking in the beauty that was rendered upon us. Stars and moons shining in harmony, giving life and light at the same time for us to continue to survive.
I break the silence, "you reckon that song?".
Pointing at the bright light that occupies our retinas from few blocks away.
It was a late night wedding and the music was as loud as an erupting volcano. Some people didn't have any good sense of time or place. At least both of us loved the song and we didn't waste a minute but started to sing along.
♪♪ Maddening wind hardens,
as my old friend returns.
It has been a long while...
To lose her again, frightens. ♪♪
And suddenly I halted, unable to hold back my tears anymore for the song was her favorite as well. My cousin being the dearest as he is, puts his hand upon my shoulder and asks, “what’s the matter, brother?”. I tell him the tale of her and watched his mouth remain open throughout as if he needed more air to aid his lungs to keep running. I wiped off the tears from my cheek, watch my cousin leave my company and continue to gaze on the stars and wondered whether they know where she is. After considerable amount of time and before the stars started to lose its feature my cousin reappears to show me documentation that hinders my cogitation. There were no one on the other end of the conversation with whom I spend countably infinite hours. My body remained inert, my mind wandered around, trapped inside a maze and I felt my luggage getting a few ton heavier.

title: My First Short Story. Feed, Please?!

question: Was the girl real?

answer: No, she was not.

question: Did the narrator's father die?

answer: He had a stroke.

question: Write a ~4 sentence summary.

answer: A young man loses his father and faces the burdens of taking care of the family his father left behind. He meets a girl who helps him through it, and enables him to rise to his new responsibilities. Then she leaves, and later he breaks down with his cousin and tells him about the girl. His cousin leaves and returns with confirmation the girl never existed; it was all in his own mind.


split: train

text:
ALLYLTRICHLOROSILANE is an organosilicon compound with the formula Cl₃SiCH₂CH=CH₂. It is a colorless or white low-melting solid.[1] It was originally prepared by the Direct process, the reaction of allyl chloride with copper-silicon alloy.[2]

The compound is bifunctional, containing reactive trichlorsilyl and allyl groups. The SiCl₃ group undergoes the usual alcoholysis to give the trialkxoyallylsilane. In the presence of Lewis bases, the reagent allylates aldehydes.

[1]

[2] Hurd, Dallas T. “Preparation of vinyl and allyl chlorosilanes” Journal of the American Chemical Society 1945, volume 67, 1813-14.

title: Allyltrichlorosilane

question: What color is allyltrichlorosilane?

answer: Colorless or white.

question: How does it melt?

answer: Slowly.

question: Which kinds of reactive groups does this bifunctional compound contain?

answer: Trichlorsilyl and allyl groups.

question: What does the SiCl₃ group undergo to give the trialkxoyallylsilane?

answer: Alcoholysis.

question: Write a ~3 sentence summary.

answer: Allyltrichlorosilane is is an organosilicon compound with the formula Cl₃SiCH₂CH=CH₂. It is a colorless or white low-melting solid, and was originally prepared by the Direct process. The compound is bifunctional.


text:
JONCA CREEK is a stream in Ste. Genevieve County in the U.S. state of Missouri.[1] It is a tributary to the River aux Vases.[2]

The stream begins at the junction of the North and South Fork tributary streams at [3] at an elevation of approximately 750 feet.[4] The source area is one quarter mile east of Missouri Route 32 and the stream flows generally to the east. The stream flows past the north side of Hawn State Park and south of the community of Millers.[5] The stream confluence with the River aux Vases is at and elevation of 443 feet.[6]

Jonca Creek most likely has the name of a pioneer citizen.[7]

[1]

[2] _Coffman, MO,_ 7.5 Minute Topographic Quadrangle, USGS, 1980

[3]

[4] _Sprott, MO,_ 7.5 Minute Topographic Quadrangle, USGS, 1964 (1977 rev.)

[5]

[6]

[7]

title: Jonca Creek

question: Where can you find Jonca Creek?

answer: In Ste. Genevieve County, Missouri.

question: Where does the stream begin?

answer: It begins at the junction of the North and South Fork tributary streams at an elevation of approximately 750 feet east of Missouri.

question: Which river does the creek confluence with?

answer: It confluences with River Aux Vases.

question: What likely inspired the naming of Jonca Creek?

answer: The name is most likely inspired by the name of a pioneer citizen.

question: Write a ~5 sentence summary.

answer: Jonca Creek is a stream in Ste. Genevieve County in Missouri, United States. The stream begins at the junction of the North and South Fork tributary, east of Missouri. Jonca Creek confluences with River aux Vases and flows past the north side of Hawn State Park. The name Jonca Creek is most likely inspired by the name of a pioneer citizen.


text:
Down in South Florida, a gentleman with the initials SP was eagerly awaiting the arrival of his

Apple iPhone X ever since he had pre-ordered the handset on October 27th. Yet, when the device finally arrived on the November 3rd launch date, he was underwhelmed. Complaining that the tenth anniversary model was not as useful for his job as the

Samsung Galaxy Note 8 was, SP decided to turn in his iPhone X, making the Galaxy Note 8 his daily driver once again.

In our comments section over the weekend, one of our loyal readers, claiming to be "the biggest Apple fan there is," was so disappointed with the iPhone X, that he returned it today after receiving it on Friday. In his post, he noted that he returned the device to his carrier and was the second person to do so at that particular location on Sunday. His complaints included the notch, which he called "super annoying," and he said the swipe gestures were also annoying. He stated that the OLED screen wasn't much better than the LCD panel used on his

Apple iPhone 6s, but he did like the Animoji.

"I’m the biggest Apple fan there is and even I’m disappointed with the X. Got mine Friday, returned it today (Sunday). The notch was super annoying, the OLED panel isn’t THAT much better than the LCD on my 6S Plus, no battery percentage on the display due to not enough space, annoying swipe gestures, etc. The only really cool/fun part of the phone was the Animoji. No fast charge accessories out of the box also annoyed me. When I went to my carrier to return it, I was the second person in returning an X. Very disappointing weekend."-apple-rulz

Unlike past iPhone models, the Apple iPhone X is not as intuitive, and requires you to learn some key gestures. We suggest that you

check out Apple's guided tour of the iPhone X to learn some of these gestures that you need to memorize in order to operate your iPhone X. The video will also reveal some of the directions that will allow you to run certain features on the device, such as Portrait Lighting. Some of the things that might compel someone to return the phone include the notch at the top of the screen, the fact that many apps have yet to be optimized for the new display, and the price. The latter could set off something known as buyer's remorse. That is the regret that some consumers feel after purchasing an expensive item.

We're sure that the number of returns is very small on a percentage basis. We're also sure that many of you who did buy the iPhone X are extremely satisfied with it. But not everyone can handle change.

question: Which phone did the man prefer?

answer: The Samsung Galaxy Note 8

question: Which phone is the man disappointed in?

answer: The iPhone X

question: What's his complaint about the X?

answer: It's not as intuitive to use.

question: What other annoyance was there?

answer: The phone took a long time to deliver.

question: Write a ~1 sentence summary.

answer: An older gentlemen in South Florida had waited over a week longer than expected for his new iPhone X only to be disappointed by the lack of exciting features as well as the phone's reliance on swipe gestures and lack of intuitive ease.


text:
                                   Hamish the Alley Cat

	What the empirical fuck is that smell!?! It's as if someone jammed way too many roses up my nose when I was not at all prepared for even one fucking rose to be jammed that far up my nose. Why does she do this to herself? I just got here. I have no fucking idea. She is *so* fat. She sits on the couch all day staring at the television, constantly grabbing me and squashing me into her old, saggy tits. It's horribly depressing. For me. I don't give a shit about her. She's too far gone for pity or even any kind of consideration whatsoever. But she “saved me”. So I'm supposed to be grateful? Goddamnit.

	Two weeks ago I was pretty much at the peak of my whole entire alley cat life. There I was, juggling three sweet little pieces of tail, all chivalry followed by indifference or, more often, outright contempt. Everything had been going so smoothly but I was pretty sure they were going to figure things out and then... well, then it was going to turn into a huge fucking hassle.

	And so they did figure it out. The three of them cornered me behind the shitty Chinese seafood restaurant where I used to eat pretty much every day. They'd crept up on me and when I turned around they were staring at me through meaningfully narrowed, female cat-eyes. I'd just eaten a pile of probably rancid lobster claws and was not in the mood for this kind of a showdown. But then something unexpected happened. They all started mewing in like a *real* low register that I'd never heard before. It was terrifying but also I had just about the hugest cat boner pretty much of my whole entire life. I don't know what the fuck they'd sorted out between them but they turned themselves right around and I didn't hesitate for a second before... well, you're not a cat but figure it the fuck out for yourself.

	And then I ended up here. Maybe it was Karma. Don't you doubt for a second that I didn't sin extremely hard with those three alley girls. So yeah, maybe it was Karma. Except that it wasn't 'cause who the fuck actually takes that shit seriously anymore? It was capricious. Just like everything else. Just a goddamn unfortunate coincidence. There I was, sprawled out, spent and nearly unconscious on a pile of fishbones when who happens to stroll down my paradise of an alley but the scourge of alley cats worldwide: the SPCA girl. She scooped me up and took me to her little cat prison which was bad enough. But then I was swapped out of Rikers Island and sent into the goddamn final centre of all of the concentric circles of hell. Suburbia. Holy Hell! Perfumed exactly for what!?!

                                                ..........

	So I feel like you aren't taking me seriously. I'm too callous and I use too many cuss words? I'm not worthy of sympathy because I didn't hesitate before seriously rogering three poor victimy felines in a dirty Chinatown alleyway? Well fuck right off. That's the world I come from. That's where I was born and that's where, god-willing, I'll die if I ever get out of this perfume saturated townhouse. Which, it's looking like the chances are fairly fucking slim...

	But what am I supposed to do? Claw out her eyes and piss all over her Wal-Mart blouse? Well that's not going to open the door or window, is it? Besides, it's not like I have anything against this Titanic of a women. She is *shockingly* desperate. I don't know how she got this way. Probably some asshole treated her like a means to his own typically demented ends and then fucked off. Probably told her he loved her. She probably didn't believe him but was too far gone with nothing else to look forward to and nowhere else to go.

	Except to the SPCA and their collection of messianic felines.

	And so here we sit, watching Fox News, enshrouded in rose-tinged gasoline fumes, staring at Romney and his immaculate hair. It's a post-mortem piece. The election is over. The parrots are suggesting that Romney's failure has somehow managed to transform the Mormon faith into a state of respectability. Which means a state on non-cultishness. This is, of course, ridiculous. Mormonism was never a cult. Much like the rest of the human circus, it is, and always has been, simply an unmitigated shitshow. But no one at Fox cares. And no one seems up to investigating the actually interesting American Cult. The one that, as we speak, is spreading rhizomatically across the country just exactly as fast as Suburbia's slow crawl.

                                             ..........

	Listen. At this point you're probably wondering: how could a cat could come to be so insightful and mercilessly direct? Um, first of all, napping? No, we're not napping. We're observing. And plotting.  And because we're plotting so goddamn hard we have to keep our eyes closed for concentration purposes. And that blank stare? Well that blank stare ain't so blank after all, shitdicks. Next time you're role-playing with the cat in the room, maybe think twice before breaking out the ol' strap-on.

	Just sayin'.

	Anyway, I'm supposed to be telling a story. Which means a beginning, a middle, some sort of a climax, maybe a little *denouement* and than at least an ambiguous fade or maybe actually an end. But does this scenario seem amenable to that kind of a structure? Where are things supposed to go from here? She's going to keep buying me food. And so I'll eat it and won't die until I develop some inevitable cat disease or decide to crawl into the *in-progress* garburator. Which, yeah, is depressing enough but somehow infinitely less depressing than the fact that she'll simply continue to sit on the couch, stinking of that hysterically Brad Pitt-endorsed garbage she sprays all over herself, content to drive me over and over into the depths of her mammarian cavity.

        Until, she seems to hope, forever.

	And that's it. That's the whole story. The two of us: we are the very picture of doom! Here we sit, lit up like angels in the perpetual wash of cable nonsense and runaway newsiness, all comfort and cancer and just waiting for oblivion...

                                               ..........

	So if it's a story you're looking for, you'd best stop hangin' around here. Go downtown. Go take a walk down the darkest, dirtiest alleyway you can find. It won't be the same without me but make no mistake: the heirs to the throne are already there, clawin' the eyeballs out of each other's eyeball sockets, mouths stuffed full of fur and blood, fightin' 'til the very last breath just for the chance to take my place. And they'll keep comin' and comin' for no one knows how long.

There's no shortage of understudies in the Theatre of the Real.

                                               *

title: something I wrote a year ago or so... be warned, there are swears.

question: How did the cat end up there?

answer: Unclear.

question: Write a ~2 sentence summary.

answer: An alley cat recounts his adventures with fellow female alley cats and with the new owner he finds himself with. Although this woman saved him the alley cat is unamused with her perfume and overall sad life.


text:
[“The Black Bowl”, by George Seeley, circa 1907. Published in _Camera Work_, No 20 (1907)]

PICTORIALISM is an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of “creating” an image rather than simply recording it. Typically, a pictorial photograph appears to lack a sharp focus (some more so than others), is printed in one or more colors other than black-and-white (ranging from warm brown to deep blue) and may have visible brush strokes or other manipulation of the surface. For the pictorialist, a photograph, like a painting, drawing or engraving, was a way of projecting an emotional intent into the viewer's realm of imagination.[1]

Pictorialism as a movement thrived from about 1885 to 1915, although it was still being promoted by some as late as the 1940s. It began in response to claims that a photograph was nothing more than a simple record of reality, and transformed into an international movement to advance the status of all photography as a true art form. For more than three decades painters, photographers and art critics debated opposing artistic philosophies, ultimately culminating in the acquisition of photographs by several major art museums.

Pictorialism gradually declined in popularity after 1920, although it did not fade out of popularity until the end of World War II. During this period the new style of photographic Modernism came into vogue, and the public's interest shifted to more sharply focused images. Several important 20th-century photographers began their careers in a pictorialist style but transitioned into sharply focused photography by the 1930s.

Overview

[“The Rose”, by Eva Watson-Schütze, 1905]

Photography as a technical process involving the development of film and prints in a darkroom originated in the early 19th century, with the forerunners of traditional photographic prints coming into prominence around 1838 to 1840. Not long after the new medium was established, photographers, painters and others began to argue about the relationship between the scientific and artistic aspects of the medium. As early as 1853, English painter William John Newton proposed that the camera could produce artistic results if the photographer would keep an image slightly out of focus.[2] Others vehemently believed that a photograph was equivalent to the visual record of a chemistry experiment. Photography historian Naomi Rosenblum points out that “the dual character of the medium—its capacity to produce both art and document—[was] demonstrated soon after its discovery ... Nevertheless, a good part of the nineteenth century was spent debating which of these directions was the medium's true function.”[3]

These debates reached their peak during the late nineteenth and early twentieth centuries, culminating in the creation of a movement that is usually characterized as a particular style of photography: pictorialism. This style is defined first by a distinctly personal expression that emphasizes photography's ability to create visual beauty rather than simply record facts.[4] However, recently historians have recognized that pictorialism is more than just a visual style. It evolved in direct context with the changing social and cultural attitudes of the time, and, as such, it should not be characterized simply as a visual trend. One writer has noted that pictorialism was “simultaneously a movement, a philosophy, an aesthetic and a style.”[5]

Contrary to what some histories of photography portray, pictorialism did not come about as the result of a linear evolution of artistic sensibilities; rather, it was formed through “an intricate, divergent, often passionately conflicting barrage of strategies.”[6] While photographers and others debated whether photography could be art, the advent of photography directly affected the roles and livelihoods of many traditional artists. Prior to the development of photography, a painted miniature portrait was the most common means of recording a person's likeness. Thousands of painters were engaged in this art form. But photography quickly negated the need for and interest in miniature portraits. One example of this effect was seen at the annual exhibition of the Royal Academy in London; in 1830 more than 300 miniature paintings were exhibited, but by 1870 only 33 were on display.[7] Photography had taken over for one type of art form, but the question of whether photography itself could be artistic had not been resolved.

Some painters soon adopted photography as a tool to help them record a model's pose, a landscape scene or other elements to include in their art. It is known that many of the great 19th-century painters, including Delacroix, Courbet, Manet, Degas, Cézanne, and Gauguin, took photographs themselves, used photographs by others and incorporated images from photographs into their work.[8] While heated debates about the relationship between photography and art continued in print and in lecture halls, the distinction between a photographic image and a painting became more and more difficult to discern. As photography continued to develop, the interactions between painting and photography became increasingly reciprocal.[9] More than a few pictorial photographers, including Alvin Langdon Coburn, Edward Steichen, Gertrude Käsebier, Oscar Gustave Rejlander, and Sarah Choate Sears, were originally trained as painters or took up painting in addition to their photographic skills.

It was during this same period that cultures and societies around the world were being affected by a rapid increase in intercontinental travel and commerce. Books and magazines published on one continent could be exported and sold on another with increasing ease, and the development of reliable mail services facilitated individual exchanges of ideas, techniques and, most importantly for photography, actual prints. These developments led to pictorialism being “a more international movement in photography than almost any other photographic genre.”[10] Camera clubs in the U.S., England, France, Germany, Austria, Japan and other countries regularly lent works to each other's exhibitions, exchanged technical information and published essays and critical commentaries in one another's journals. Led by The Linked Ring in England, the Photo-Secession in the U.S., and the Photo-Club de Paris in France, first hundreds and then thousands of photographers passionately pursued common interests in this multi-dimensional movement. Within the span of little more than a decade, notable pictorial photographers were found in Western and Eastern Europe, North America, Asia and Australia.

The impact of Kodak cameras

For the first forty years after a practical process of capturing and reproducing images was invented, photography remained the domain of a highly dedicated group of individuals who had expert knowledge of and skills in science, mechanics and art. To make a photograph, a person had to learn a great deal about chemistry, optics, light, the mechanics of cameras and how these factors combine to properly render a scene. It was not something that one learned easily or engaged in lightly, and, as such, it was limited to a relatively small group of academics, scientists and professional photographers.

[Ad for a Kodak camera, 1888 – “No knowledge of photography is necessary.”] All of that changed in a few years' time span. In 1888 George Eastman introduced the first handheld amateur camera, the Kodak camera. It was marketed with the slogan “You press the button, we do the rest.”[11] The camera was pre-loaded with a roll of film that produced about 100 2.5" round picture exposures, and it could easily be carried and handheld during its operation. After all of the shots on the film were exposed, the whole camera was returned to the Kodak company in Rochester, New York, where the film was developed, prints were made, and new photographic film was placed inside. Then the camera and prints were returned to the customer, who was ready to take more pictures.

The impact of this change was enormous. Suddenly almost anyone could take a photograph, and within the span of a few years photography became one of the biggest fads in the world. Photography collector Michael Wilson observed “Thousands of commercial photographers and a hundred times as many amateurs were producing millions of photographs annually ... The decline in the quality of professional work and the deluge of snapshots (a term borrowed from hunting, meaning to get off a quick shot without taking the time to aim) resulted in a world awash with technically good but aesthetically indifferent photographs.”[12]

Concurrent with this change was the development of national and international commercial enterprises to meet the new demand for cameras, films and prints. At the 1893 World Columbian Exposition in Chicago, which attracted more than 27 million people, photography for amateurs was marketed at an unprecedented scale.[13] There were multiple large exhibits displaying photographs from around the world, many camera and darkroom equipment manufacturers showing and selling their latest goods, dozens of portrait studios and even on-the-spot documentation of the Exposition itself. Suddenly photography and photographers were household commodities.

Many serious photographers were appalled. Their craft, and to some their art, was being co-opted by a newly engaged, uncontrolled and mostly untalented citizenry. The debate about art and photography intensified around the argument that if anyone could take a photograph then photography could not possibly be called art. Some of the most passionate defenders of photography as art pointed out that photography should not and cannot be seen as an “either/or” medium—some photographs are indeed simple records of reality, but with the right elements some are indeed works of art. William Howe Downs, art critic for the _Boston Evening Transcript_, summed up this position in 1900 by saying “Art is not so much a matter of methods and processes as it is an affair of temperament, of taste and of sentiment ... In the hands of the artist, the photograph becomes a work of art ... In a word, photography is what the photographer makes it ‒ an art or a trade.”[14]

All of these elements—the debates over photography and art, the impacts of Kodak cameras, and the changing social and cultural values of the times—combined to set the stage for an evolution in how art and photography, independently and together, would appear at the turn of the century. The course that drove pictorialism was set almost as soon as photographic processes were established, but it was not until the last decade of the 19th century that an international pictorialist movement came together.

Defining pictorialism

[“Fading Away”, by Henry Peach Robinson, 1858]

In 1869 English photographer Henry Peach Robinson published a book entitled _Pictorial Effect in Photography: Being Hints on Composition and Chiaroscuro for Photographers._[15] This is the first common use of the term “pictorial” referring to photography in the context of a certain stylistic element, chiaroscuro ‒ an Italian term used by painters and art historians that refers to the use of dramatic lighting and shading to convey an expressive mood. In his book Robinson promoted what he called “combination printing”, a method he had devised nearly 20 years earlier by combining individual elements from separate images into a new single image by manipulating multiple negatives or prints. Robinson thus considered that he had created “art” through photography, since it was only through his direct intervention that the final image came about. Robinson continued to expand on the meaning of the term throughout his life.

Other photographers and art critics, including Oscar Rejlander, Marcus Aurelius Root, John Ruskin, echoed these ideas. One of the primary forces behind the rise of pictorialism was the belief that straight photography was purely representational ‒ that it showed reality without the filter of artistic interpretation. It was for, all intents and purposes, a simple record of the visual facts, lacking artistic intent or merit.[16] Robinson and others felt strongly that the "usually accepted limitations of photography had to be overcome if an equality of status was to be achieved.[17]

Robert Demachy later summarized this concept in an article entitled “What Difference Is There Between a Good Photograph and an Artistic Photograph?”. He wrote “We must realize that, on undertaking pictorial photography, we have, unwittingly perhaps, bound ourselves to the strict observance of rules hundreds of years more ancient than the oldest formulae of our chemical craft. We have slipped into the Temple of Art by a back door, and found ourselves amongst the crowd of adepts.”[18]

One of the challenges in promoting photography as art was that there were many different opinions about how art should look. After the Third Philadelphia Salon 1900, which showcased dozens of pictorial photographers, one critic wondered “whether the idea of art in anything like the true sense had ever been heard or thought by the great majority of exhibitors.”[19]

While some photographers saw themselves becoming true artists by emulating painting, at least one school of painting directly inspired photographers. During the 1880s, when debates over art and photography were becoming commonplace, a style of painting known as Tonalism first appeared. Within a few years it became a significant artistic influence on the development of pictorialism.[20] Painters such as James McNeill Whistler, George Inness, Ralph Albert Blakelock and Arnold Böcklin saw the interpretation of the experience of nature, as contrasted with simply recording an image of nature, as the artist's highest duty. To these artists it was essential that their paintings convey an emotional response to the viewer, which was elicited through an emphasis on the atmospheric elements in the picture and by the use of “vague shapes and subdued tonalities ... [to convey] a sense of elegiac melancholy.”[21]

[“Spring Showers, the Coach”, by Alfred Stieglitz, 1899-1900]

Applying this same sensibility to photography, Alfred Stieglitz later stated it this way: “Atmosphere is the medium through which we see all things. In order, therefore, to see them in their true value on a photograph, as we do in Nature, atmosphere must be there. Atmosphere softens all lines; it graduates the transition from light to shade; it is essential to the reproduction of the sense of distance. That dimness of outline which is characteristic for distant objects is due to atmosphere. Now, what atmosphere is to Nature, tone is to a picture.”[22]

Paul L. Anderson, a prolific contemporary promoter of pictorialism, advised his readers that true art photography conveyed “suggestion and mystery”, in which “mystery consists in affording an opportunity for the exercise of the imagination, whereas suggestion involves stimulating the imagination by direct or indirect means.”[23] Science, pictorialists contended, might answer a demand for truthful information, but art must respond to the human need for stimulation of the senses.[24] This could only be done by creating a mark of individuality for each image and, ideally, each print.

For pictorialists, true individuality was expressed through the creation of a unique print, considered by many to be the epitome of artistic photography.[25] By manipulating the appearance of images through what some called “ennobling processes”,[26] such as gum or bromoil printing, pictorialists were able to create unique photographs that were sometimes mistaken for drawings or lithographs.

Many of the strongest voices that championed pictorialism at its beginning were a new generation of amateur photographers. In contrast to its meaning today, the word “amateur” held a different connotation in the discussions of that time. Rather than suggesting an inexperienced novice, the word characterized someone who strived for artistic excellence and a freedom from rigid academic influence.[27] An amateur was seen as someone who could break the rules because he or she was not bound by the then rigid rules set forth by long-established photography organizations like the Royal Photographic Society. An article in the British journal _Amateur Photographer_ stated “photography is an art ‒ perhaps the only one in which the amateur soon equals, and frequently excels, the professional in proficiency.”[28] This attitude prevailed in many countries around the world. At the 1893 Hamburg International Photographic Exhibition in Germany, only the work of amateurs was allowed. Alfred Lichtwark, then director of the Kunsthalle Hamburg believed “the only good portraiture in any medium was being done by amateurs photographers, who had the economic freedom and time to experiment.”[29]

In 1948, S.D.Jouhar defined a Pictorial photograph as “mainly an aesthetic symbolic record of a scene _plus_ the artist's personal comment and interpretation, capable of transmitting an emotional response to the mind of a receptive spectator. It should show originality, imagination, unity of purpose, a quality of repose, and have an infinite quality about it”[30]

Over the years other names were given to pictorialism, including “art photography” and _Camerawork_ (both by Alfred Stieglitz), “Impressionist photography” (by George Davison), "new vision (_Neue Vision_), and finally “subjective photography” (_Subjektive Fotographie_) in Germany after the 1940s.[31] In Spain pictorial photographers were sometimes called “interventionists” (_intervencionistas_), although the style itself was not known as “interventionism”.[32]

Gallery

Image:Alice Boughton-Dawn.jpg|Alice Boughton, _Dawn_, 1909 Image:Soul of the Blasted Pine (Brigman).jpg|Annie Brigman, _Soul of the Blasted Pine_, 1908 Image:Clarence Hudson White - Morning - Google Art Project.jpg|Clarence H. White, _Morning_, 1908 Image:PaulHaviland-DorisKEane.jpg|Paul Haviland, _Doris Keane_, 1912 Image:CW05-06 - Robert Demachy, Struggle, 1904.jpg|Robert Demachy, _Struggle_, 1904 Image:The Hand of Man MET DP232988.jpg|Alfred Stieglitz, _The Hand of Man_, 1902 Image:Steichen flatiron.jpg|Edward Steichen, _Flatiron Building_, 1904 Image: Constant Puyo- Eingeschlafen, 1897.jpg|Constant Puyo, _Sommeil_, 1897 Image:Alvin Langdon Coburn-Spiderwebs.jpg|Alvin Langdon Coburn, _Spiderwebs_, 1908 Image:Day, Fred Holland (1864-1933) - 1897 ca. - Ebony and ivory 1.jpg|F. Holland Day, _Ebony and Ivory_, ca.1897 Image:DeMeyer-Casati.jpg|Adolph de Meyer, “Marchesa Casati”, 1912 Image:JosephKeiley-Lenore.jpg|Joseph Keiley, _Lenore_, 1907 Image:Clarence H White-Nude 1908.jpg|Clarence H. White, _Nude_, 1908 Image:Constant Puyo- Montmartre 1906.jpg|Constant Puyo, _Montmartre_, 1906 Image:Torso MET DP258378.jpg|Clarence H. White and Alfred Stieglitz, _Torso_, 1907 Image:Gertrude Kasebier Blessed Art Thou Among Women 1899.jpg| _Blessed Art Thou Among Women_ by Gertrude Käsebier, 1899. Brooklyn Museum

Transition into Modernism

[Jane Reece, _Spaces_, 1922]

The evolution of pictorialism from the 19th century well into the 1940s was both slow and determined. From its roots in Europe it spread to the U.S. and the rest of the world in several semi-distinct stages. Prior to 1890 pictorialism emerged through advocates who were mainly in England, Germany, Austria and France. During the 1890s the center shifted to New York and Stieglitz's multi-faceted efforts. By 1900 pictorialism had reached countries around the world, and major exhibitions of pictorial photography were held in dozens of cities.

A culminating moment for pictorialism and for photography in general occurred in 1910, when the Albright Gallery in Buffalo bought 15 photographs from Stieglitz' 291 Gallery. This was the first time photography was officially recognized as an art form worthy of a museum collection, and it signaled a definite shift in many photographers' thinking. Stieglitz, who had worked so long for this moment, responded by indicating he was already thinking of a new vision beyond pictorialism. He wrote,

  It is high time that the stupidity and sham in pictorial photography be struck a solarplexus blow ... Claims of art won't do. Let the photographer make a perfect photograph. And if he happens to be a lover of perfection and a seer, the resulting photograph will be straight and beautiful – a true photograph.[33]

Soon after Stieglitz began to direct his attention more to modern painting and sculpture, and Clarence H. White and others took over the leadership of a new generation of photographers. As the harsh realities of World War I affected people around the world, the public's taste for the art of the past began to change. Developed countries of the world focused more and more on industry and growth, and art reflected this change by featuring hard-edged images of new buildings, airplanes and industrial landscapes.

Adolf Fassbender, a 20th-century photographer who continued to make pictorial photographs well into the 1960s, believed that pictorialism is eternal because it is based upon beauty first. He wrote “There is no solution in trying to eradicate pictorialism for one would then have to destroy idealism, sentiment and all sense of art and beauty. There will always be pictorialism.”[34]

Pictorialism by country

Australia

One of the primary catalysts of pictorialism in Australia was John Kauffmann (1864–1942), who studied photographic chemistry and printing in London, Zurich and Vienna between 1889 and 1897. When he returned to his home country in 1897, he greatly influenced his colleagues by exhibiting what one newspaper called photographs that could be “mistaken for works of art.”[35] Over the next decade a core of photographer artists, including Harold Cazneaux, Frank Hurley, Cecil Bostock, Henri Mallard, Rose Simmonds[36] and Olive Cotton, exhibited pictorial works at salons and exhibitions across the country and published their photos in the _Australian Photographic Journal_ and the _Australasian Photo-Review_.

Austria

In 1891 the Club der Amateur Photographen in Wien (Vienna Amateur Photographers' Club) held the first International Exhibition of Photography in Vienna. The Club, founded by Carl Sma, Federico Mallmann and Charles Scolik, was founded to foster relationships with photographic groups in other countries. After Alfred Buschbeck became head of the club in 1893, it simplified its name to Wiener Camera-Klub (Vienna Camera Club) and began publishing a lavish magazine called _Wiener Photographische Blätter_ that continued until 1898. It regularly featured articles from influential foreign photographers such as Alfred Stieglitz and Robert Demachy.[37]

As in other countries, opposing viewpoints engaged a wider range of photographers in defining what pictorialism meant. , and Heinrich Kühn formed an organization called Das Kleeblatt (The Trilfolium) expressly to increase the exchange of information with other organizations in other countries, especially, France, Germany and the United States. Initially a small, informal group, Das Kleeblatt increased it influence in the Wiener Camera-Klub through its international connections, and several other organizations promoting pictorialism were created in other cities throughout the region. As in other countries, interest in pictorialism faded after World War I, and eventually most of the Austrian organization slipped into obscurity during the 1920s.[38]

Canada

[1917 exhibition poster]

Pictorialism in Canada initially centered on Sidney Carter (1880–1956), the first of his countrymen to be elected to the Photo-Secession. This inspired him to bring together a group of pictorial photographers in Toronto, the Studio Club in Toronto, with Harold Mortimer-Lamb (1872–1970) and fellow Secessionist Percy Hodgins.[39] In 1907 Carter organized Canada's first major exhibition of pictorial photography at Montreal's Art Association. Carter and fellow photographer Arthur Goss attempted to introduce pictorialist principles to the members of the Toronto Camera Club, although their efforts were met with some resistance.[40]

England

As early as 1853 amateur photographer William J. Newton proposed the idea that “a 'natural object', such as a tree, should be photographed in accordance 'the acknowledged principles of fine art'”.[41] From there other early photographers, including Henry Peach Robinson and Peter Henry Emerson, continued to promote the concept of photography as art. In 1892 Robinson, along with George Davison and Alfred Maskell, established the first organization devoted specifically to the ideal of photography as art ‒ The Linked Ring. They invited like-minded photographers, including Frank Sutcliffe, Frederick H. Evans, Alvin Langdon Coburn, Frederick Hollyer, James Craig Annan, Alfred Horsley Hinton and others, to join them. Soon The Linked Ring was at the forefront of the movement to have photography regarded as an art form.

After The Linked Ring invited a select group of Americans as members, debates broke out about the goals and purpose of the club. When more American than British members were shown at their annual exhibit in 1908, a motion was introduced to disband the organization. By 1910 The Linked Ring has dissolved, and its members went their own way.

France

Pictorialism in France is dominated by two names, Constant Puyo and Robert Demachy. They are the most famous members of the Photo-Club de Paris, a separate organization from the Société française de photographie. They are particularly well known for their use of pigment processes, especially gum bichromate.[42] In 1906, they published a book on the subject, _Les Procédés d'art en Photographie_. Both of them also wrote many articles for the _Bulletin du Photo-Club de Paris_ (1891–1902) and _La Revue de Photographie_ (1903–1908), a magazine which quickly became the most influential French publication dealing with artistic photography during the early 20th century.[43]

Germany

The brothers Theodor and Oskar Hofmeister of Hamburg were among the first to advocate for photography as art in their country. At meetings of the Society for the Promotion of Amateur Photography (Gesellschaft zur Förderung der Amateur-Photographie), other photographers, including Heinrich Beck, George Einbeck, and Otto Scharf, advanced the cause of pictorialism. The Homeisters, along with Heinrich Kühn, later formed The Presidium (Das Praesidium), whose members were instrumental in major exhibitions at the Kunsthalle in Hamburg. Nowadays Karl Maria Udo Remmes represents the style of pictorialism in the field of theatrical backstage photography.

Japan

In 1889 photographers Ogawa Kazumasa, W. K. Burton, Kajima Seibei and several others formed the Nihon Shashin-kai (Japan Photographic Society) in order to promote _geijutsu shashin_ (art photography) in that country. Acceptance of this new style was slow at first, but in 1893 Burton coordinated a major invitational exhibition known as _Gaikoku Shashin-ga Tenrain-kai_ or the _Foreign Photographic Art Exhibition_.[44] The 296 works that were shown came from members of the London Camera Club, including important photographs by Peter Henry Emerson and George Davison. The breadth and depth of this exhibition had a tremendous impact on Japanese photographers, and it “galvanized the discourse of art photography throughout the country.”[45] After the exhibition ended Burton and Kajima founded a new organization, the Dai Nihon Shashin Hinpyō-kai (Greater Japan Photography Critique Society) to advance their particular viewpoints on art photography.

In 1904 a new magazine called _Shashin Geppo_ (_Monthly Photo Journal_) was started, and for many years it was the centerpiece for the advancement of and debates about pictorialism. The meaning and direction of art photography as championed by Ogawa and others was challenged in the new journal by photographers Tarō Saitō and Haruki Egashira, who, along with Tetsusuke Akiyama and Seiichi Katō, formed a new group known as Yūtsuzu-sha. This new group promoted their own concepts of what they called “the inner truth” of art photography.[46] For the next decade many photographers aligned themselves with one of these two organizations.

In the 1920s new organizations were formed that bridged the transition between pictorialism and modernism. Most prominently among these was the Shashin Geijustu-sha (Photographic Art Society) formed by Shinzō Fukuhara and his brother Rosō Fukuhara. They promoted the concept of _hikari to sono kaichō_ (light with its harmony) that rejected an overt manipulation of an image in favor of soft-focused images using silver gelatin printing.[47]

Netherlands

The first generation of Dutch pictorialists, including Bram Loman, Chris Schuver and Carl Emile Mögle, began working around 1890. They initially focused on naturalistic themes and favored platinum printing. Although initially there was no Dutch equivalent of The Linked Ring or Photo-Secession, several smaller organizations collaborated to produce the First International Salon for Art Photography in 1904. Three years later Adriann Boer, Ernest Loeb, Johan Huijsen and others founded the Dutch Club for Art Photography (Nederlandsche Club voor Foto-Kunst), which amassed an important collection of pictorial photography now housed at Leiden University.[48] A second generation of Dutch pictorialists included Henri Berssenbrugge, Bernard Eilers and Berend Zweers.

Russia

Pictorialism spread to Russia first through European magazines and was championed by photography pioneers Evgeny Vishnyakov in Russia and Jan Bulhak from Poland. Soon after a new generation of pictorialists became active. These included Aleksei Mazuin, Sergei Lobovikov, Piotr Klepikov, Vassily Ulitin, Nikolay Andreyev, Nikolai Svishchov-Paola, Leonid Shokin and Alexander Grinberg. In 1894 the Russian Photographic Society was established in Moscow, but differences of opinion among the members led to the establishment of a second organization, the Moscow Society of Art Photography. Both were the primary promoters of pictorialism in Russia for many years.[49][50]

Spain

The main centers of pictorial photography in Spain were Madrid and Barcelona. Leading the movement in Madrid was Antonio Cánovas, who founded the Real Sociedad Fotográfica de Madrid and edited the magazine _La Fotografía_. Cánovas claimed to be the first to introduce artistic photography to Spain, but throughout his career he remained rooted in the allegorical style of the early English pictorialists like Robinson. He refused to use any surface manipulation in his prints, saying that style “is not, cannot be and will never be photography.”.[51] Other influential photographers in the country were Carlos Iñigo, Manual Renon, Joan Vilatobà and a person known only as the Conde de la Ventosa. Unlike the rest of Europe, pictorialism remained popular in Spain throughout the 1920s and 1930s, and Ventosa was the most prolific pictorialist of that period. Unfortunately very few original prints remain from any of these photographers; most of their images are now known only from magazine reproductions.[52]

United States

One of the key figures in establishing both the definition and direction of pictorialism was American Alfred Stieglitz, who began as an amateur but quickly made the promotion of pictorialism his profession and obsession. Through his writings, his organizing and his personal efforts to advance and promote pictorial photographers, Stieglitz was a dominant figure in pictorialism from its beginnings to its end. Following in the footsteps of German photographers, in 1892 Stieglitz established a group he called the Photo-Secession in New York. Stieglitz hand-picked the members of the group, and he tightly controlled what it did and when it did it. By selecting photographers whose vision was aligned with his, including Gertrude Käsebier, Eva Watson-Schütze, Alvin Langdon Coburn, Edward Steichen, and Joseph Keiley, Stieglitz built a circle of friends who had enormous individual and collective influence over the movement to have photography accepted as art. Stieglitz also continually promoted pictorialism through two publications he edited, Camera Notes and Camera Work and by establishing and running a gallery in New York that for many years exhibited only pictorial photographers (the Little Galleries of the Photo-Secession).[53]

While much initially centered on Stieglitz, pictorialism in the U.S. was not limited to New York. In Boston F. Holland Day was one of the most prolific and noted pictorialists of his time. Clarence H. White, who produced extraordinary pictorial photographs while in Ohio, went on to teach a whole new generation of photographers. On the West Coast the California Camera Club and Southern California Camera Club included prominent pictorialists Annie Brigman, Arnold Genthe, Adelaide Hanscom Leeson, Emily Pitchford and William E. Dassonville.[54] Later on, the Seattle Camera Club was started by a group of Japanese-American pictorialists, including Dr. Kyo Koike, Frank Asakichi Kunishige and Iwao Matsushita (prominent members later included Ella E. McBride and Soichi Sunami).[55]

Techniques

[Miron A. Sherling, _Portrait Alexander J. Golovin_, 1916]

Pictorial photographers began by taking an ordinary glass-plate or film negative. Some adjusted the focus of the scene or used a special lens to produce a softer image, but for the most part the printing process controlled the final appearance of the photograph. Pictorialists used a variety of papers and chemical processes to produce particular effects, and some then manipulated the tones and surface of prints with brushes, ink or pigments. The following is a list of the most commonly used pictorial processes. More details about these processes may be found in Crawford (pp. 85–95) and in Daum (pp. 332–334). Unless otherwise noted, the descriptions below are summarized from these two books.

-   Bromoil process: This is a variant on the oil print process that allows a print to be enlarged. In this process a regular silver gelatin print is made, then bleached in a solution of potassium bichromate. This hardens the surface of the print and allows ink to stick to it. Both the lighter and darker areas of a bromoil print may be manipulated, providing a broader tonal range than an oil print.
-   Carbon print: This is an extremely delicate print made by coating tissue paper with potassium bichromate, carbon black or another pigment and gelatin. Carbon prints can provide extraordinary detail and are among the most permanent of all photographic prints. Due to the stability of the paper both before and after processing, carbon printing tissue was one of the earliest commercially made photographic products.
-   Cyanotype: One of the earliest photographic processes, cyanotypes experienced a brief renewal when pictorialists experimented with their deep blue color tones. The color came from coating paper with light-sensitive iron salts.
-   Gum bichromate: One of the pictorialists' favorites, these prints were made by applying gum arabic, potassium bichromate and one or more artist's colored pigments to paper. This sensitized solution slowly hardens where light strikes it, and these areas remain pliable for several hours. The photographer had a great deal of control by varying the mixture of the solution, allowing a shorter or longer exposure and by brushing or rubbing the pigmented areas after exposure.
-   Oil print process: Made by applying greasy inks to paper coated with a solution of gum bichromate and gelatin. When exposed through a negative, the gum-gelatin hardens where light strikes it while unexposed areas remain soft. Artist's inks are then applied by brush, and the inks adhere only to the hardened areas. Through this process a photographer can manipulate the lighter areas of a gum print while the darker areas remain stable. An oil print cannot be enlarged since it has to be in direct contact with the negative.
-   Platinum print: Platinum prints require a two-steps process. First, paper is sensitized with iron salts and exposed in contact with a negative until a faint image is formed. Then the paper is chemically developed in a process that replaces the iron salts with platinum. This produces an image with a very wide range of tones, each intensely realized.

Pictorial photographers

Following are two lists of prominent photographers who engaged in pictorialism during their careers. The first list includes photographers who were predominantly pictorialists for all or almost all of their careers (generally those active from 1880 to 1920). The second list includes 20th-century photographers who used a pictorial style early in the careers but who are more well known for pure or straight photography.

Photographers who were predominantly pictorialists

-   Wayne Albee, 1882–1937, American
-   James Craig Annan, 1846–1946, Scottish
-   Zaida Ben-Yusuf, 1869–1933, American
-   1888–1969, French

-   Alice Boughton, 1866?–1943, American
-   Annie Brigman, 1869–1950, American
-   Alice Burr, 1883-1968, American
-   Vladimír Jindřich Bufka, 1887–1916, Czech
-   Jan Bułhak, 1876–1950, Polish
-   Julia Margaret Cameron1815–1879, English
-   Harold Cazneaux, 1878–1953, Australian
-   Rose Clark, 1852–1942, American
-   Alvin Langdon Coburn, 1882–1966, American/English
-   F. Holland Day, 1864–1933, American
-   George Davison, 1854–1930, English
-   Robert Demachy 1859–1936, French
-   Mary Devens, 1857–1920, American
-   Pierre Dubreuil 1872–1944, French
-   Rudolf Eickemeyer Jr. 1862–1932, American
-   Peter Henry Emerson 1856–1936, English
-   Frederick H. Evans 1853–1943, English
-   Frank Eugene, 1865–1936, American
-   Ogawa Isshin, 1860–1929, Japanese
-   S.D. Jouhar, 1901–1963, British
-   Gertrude Käsebier 1852–1934, American
-   Kajima Seibei, 1866–1924, Japanese

-   Joseph Keiley, 1869–1914
-   Kyo Koike, 1878–1947, Japanese-American
-   Heinrich Kühn, 1866–1944, Austrian
-   Sarah Ladd, 1860–1927, American
-   Adelaide Hanscom Leeson, American
-   Eugene Lemaire 1874–1948, Belgian
-   1872–1929, Belgian

-   Adoph de Meyer, 1868–1949, French/German
-   Léonard Misonne 1870–1943, Belgian
-   Ogawa Kazumasa, 1860–1929, Japanese
-   Constant Puyo 1857–1933, French
-   Jane Reece, 1868?–1961, American
-   Guido Rey, 1861–1935, Italian
-   Henry Peach Robinson, 1830–1901, English
-   Sarah Choate Sears, 1858–1935, American
-   George Seeley, 1880–1955, American
-   Clara Sipprell, 1885–1975, American/Canadian
-   Alfred Stieglitz 1864–1946, American
-   Karl Struss 1886–1981, American
-   Miron A. Sherling 1880–1951, Russian
-   Frank Sutcliffe, 1853–1941, English
-   John William Twycross 1871–1936, Australian
-   Elizabeth Flint Wade, 1849–1915, American
-   Agnes Warburg, 1872–1953, English
-   Eva Watson-Schütze, 1867–1935, American
-   , 1843–1903, Austrian

-   Clarence H. White, 1871–1925, American
-   Myra Albert Wiggins, 1869–1956, American

20th-century photographers who began as pictorialists

-   Ansel Adams, 1902–1984, American
-   Cecil Bostock 1884–1939 Australian
-   Olive Cotton, 1911–2003, Australian
-   Imogen Cunningham, 1883–1976, American
-   Laura Gilpin, 1891–1979, American
-   Margrethe Mather, 1886‒1952, American
-   Karl Maria Udo Remmes, 1954–2014, German
-   Edward Steichen, 1879–1973, American
-   Soichi Sunami, 1885–1971, Japanese-American
-   Edward Weston, 1886–1958, American
-   Stefanie Schneider, born 1968, German American

Sources

-   Anderson, Paul L. _The Fine Art of Photography._ Philadelphia: Lippincott, 1919.
-   Anderson, Paul L. _Pictorial Photography: Its Principles and Practice._ General Books, 2009. (Reprint of 1917 edition).
-   Brown, Julie K. _Contesting Images: Photography and the World's Columbian Exposition._ Tucson: University of Arizona Press, 1994.
-   Bunnell, Peter. _A Photographic Vision: Pictorial Photography, 1889–1923._ Salt Lake City, Utah: Peregrine Smith, 1980.
-   Castillo, Alejandro. _Modern pictorialism. Amanda Bouchenoire and her poetic visions_. México. Ediciones Novarte. 2020. OLID: OL28982611M
-   Crawford, William. _The Keepers of Light, A History & Working Guide to Early Photographic Processes._ Dobbs Ferry, NT: Morgan & Morgan, 1979.
-   Daum, Patrick (Ed.) _Impressionist Camera: Pictorial Photography in Europe, 1888–1918_ (2006).
-   Doty, Robert. _Photo-Secession, Photography as Fine Art_. Rochester, NY: George Eastman House, 1960.
-   Emerson, Peter Henry. “Photography, A Pictorial Art.” _The Amateur Photographer_. Vol 3 (March 19, 1886), pp 138–139.
-   Fulton, Marianne with Bonnie Yochelson and Kathleen A. Erwin. _Pictorialism into Modernism: The Clarence H. White School of Photography._ NY: Rizzoli, 1996.
-   Harker, Margaret. _The Linked Ring: The Secession Movement in Photography in Britain, 1892‒1910._ London" Heinemann, 1979
-   Johnson, Drew Heath. _Capturing Light: Masterpieces of California Photographys, 1850 to the Present._ Oakland: Oakland Museum of Art, 2001.
-   King, S. Carl. _Photographic Impressionists of Spain: A History of the Aesthetics and Technique of Pictorial Photography._ Lewiston, NY: Edwin Meller Press, 1989.
-   Kolton, L. A. (ed.). _Private Realms of Light: Amateur Photography in Canada, 1839–1940._ Toronto: Fitzhenry and Whiteside, 1984.
-   Leijerzapf, Ingeborg Th. _Juwelen voor een fotomuseum / Masterpieces of Dutch Pictorial Photography 1890–1915._ Leiden : Stichting Vrienden van het Prentenkabinet van de Universiteit, 1998.
-   Martin, David and Nicolette Bromberg. _Shadows of a Fleeting World: Pictorial Photography and the Seattle Camera Club._ Seattle: Henry Art Gallery, 2011.
-   McCarroll. Stacey. _California Dreamin': Camera Clubs and the Pictorial Photography Tradition._ Boston: Boston University Art Gallery, 2004.
-   Naef, Weston J. _The Collection of Alfred Stieglitz, Fifty Pioneers of Modern Photography._ NY: Viking Press, 1978.
-   Nori, Claude. _French Photography from Its Origins to the Present._ New York; Pantheon, 1979.
-   Roberts, Pam (ed.) _Alfred Stieglitz: Camera Work, The Complete Photographs 1903–1917_ Cologne: Taschen, 1998.
-   Green, Jonathan. _Camera Work: A Critical Anthology._ NY: Aperture, 1973.
-   Padon, Thomas (ed.). _Truth Beauty, Pictorialism and the Photograph as Art, 1845 ‒ 1945._ Vancouver, BC: Vancouver Art Gallery, 2008.
-   Peterson, Christian A. _After the Photo-Session: American Pictorial Photography 1910–1955._ New York: Norton, 1997.
-   Peterson, Christian A. _Pictorial Photography at the Minneapolis Institute of Arts._
-   Rosenblum, Naomi. _A World History of Photography._ New York: Abbeville Press, 1989.
-   Scharf, Aaron. _Art and Photography._ New York: Penguin, 1991.
-   Sternberger, Paul Spencer. _Between Amateur & Aesthete: The Legitimization of Photography as Art in America, 1880–1900_. Albuquerque: University of New Mexico Press, 2001.
-   Taylor, John. _Pictorial Photography in Britain, 1900–1920._ London: Arts Council of Great Britain, 1978.
-   Tucker, Anne Wilkes (ed). _The History of Japanese Photography._ New Haven: Yale University Press, 2003.
-   Watriss, Wendy (ed.) _Image and Memory: Photography from Latin America, 1866–1994._ Austin: University of Texas Press, 1998.
-   Wilson, Michael and Reed, Dennis. _Pictorialism in California: Photographs 1900–1940._ Malibu: Getty Museum, 1994.

[1] Daum, p 8

[2] Doty, p. 11

[3] In Johnson, p. 121

[4] McCarroll, p. 17

[5] Nordström and David Wooters. “Crafting the Art of the Photograph.” In Pardon, p. 33

[6] Sternberger, p. xi

[7] Harker, p. 16

[8] Scharf, pp. 10–12

[9] Harker, p. 19

[10] McCarroll, p. 10

[11] Wilson, p. 1

[12]

[13] Brown, p. 24

[14] Rosenblum, p. 296

[15] Robinson, 1869

[16] Bunnell, p 2

[17]

[18] Robert Demachy, _Camera Notes_, Vol 3, No 2, Oct 1899, pp 46. Reprinted in Padon, p 120

[19] Sternberger, p 136

[20] Wilson, p 3

[21] Rosenblum, pp 297–299

[22] Alfred Stieglitz, “A Plea for Art Photography in America.” _Photographic Mosaics,_ Vol 28, 1892. In Whelan, p 30

[23] Anderson (1919), p 90

[24]

[25]

[26]

[27] Wilson, p 4

[28]

[29]

[30] Royal Photographic Society Journal, August 1948

[31] Bunnell, p 1

[32] King, p 112

[33]

[34] Petersen, p. 160

[35] Gael Newton, “Australian Pictorial Photography: Seeing the Light”, in Padon, pp 97–99

[36] Rose Simmonds Queensland Pictorial Photographer, Art Museum Queensland, Retrieved 16 May 2016

[37] Manon Hübscher, “The Vienna Camera Club, Catalyst and Crucible”, in Daum, pp 125–129

[38]

[39] Kolton, pp. 4‒11

[40] Kolton, p. 38.

[41] Brian Liddy, “The Origins and Development of Pictorial Photography in Britain.” In Daum, pp 65‒71

[42] Julien Faure-Conorton, _Characterization, contextualization and reception of Robert Demachy’s photographic work (1859–1936)_ (Ph.D. Thesis – in French), Paris, EHESS, 2015, 1136 pp.

[43] Michel Poivert, “An Avant-Garde without Combat: The French Anti-Modernists and the Pre-Modernism of the American Photo-Secession.” In Daum, pp. 31–35

[44] Ryūichi Kaneko, “Pictorial Photography in Japan.” In Padon, pp 81–84

[45]

[46]

[47]

[48] Ingeborg Th. Leijerzapf, “Pictorialism in The Netherlands.” In Daum, pp 139‒147

[49]

[50]

[51] King, p 133

[52] King, p 125

[53] Doty, pp 5–10

[54] McCarroll, pp 15‒30

[55] Martin, pp 10–30

title: Pictorialism

question: How is pictorialism described?

answer: Pictorialism is described as an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries.

question: What advanced the style of pictorialism?

answer: Pictorialism was advanced by the claims that a photograph was nothing more than a simple record of reality, and transformed into an international movement to advance the status of all photography as a true art form.

question: Who was a pioneer in defining pictorialism?

answer: Henry Peach Robinson was a pioneer in defining pictorialism.

question: In order to make a photograph, what did people have to learn?

answer: In order to make a photograph, a person had to learn a great deal about chemistry, optics, light, the mechanics of cameras and how these factors combine to properly render a scene.


text:
MAGNUS FLYTE is the male pseudonym used by writing duo MEG HOWREY and CHRISTINA LYNCH. As Magnus Flyte, they have written two novels, _New York Times_ bestseller _CITY OF DARK MAGIC_[1] and _CITY OF LOST DREAMS,_ both of which are published by Penguin Books.[2][3] The persona of Magnus Flyte is characterized by his obscurity and elusive nature regarding the public, as well as his conflicting biographical details.[4]

Lives and careers

Meg Howrey, who lives in Los Angeles, California, is the author of the novels _The Cranes Dance_ and _Blind Sight_.[5][6] Some of her nonfiction writing has been featured in _Vogue_ and _The Los Angeles Review of Books_. Previously, Howrey was a professional dancer for the Joffrey Ballet and City Ballet of Los Angeles.[7]

Christina Lynch lives near Sequoia National Park and works as a journalist and television writer.[8][9] Previously a Milan correspondent for _W_ magazine, now she teaches English at College of the Sequoias and is the faculty advisor for the school's literary magazine. She also teaches television writing for UCLA Extension and works as an online book coach for Antioch University LA. Her writing has been featured in various magazines and other publications. According to her website, she is currently writing a novel set in Italy in 1956.[10]

Howrey and Lynch first met and became friends at a writers' retreat. The idea to collaborate on a novel came while Howrey was visiting Lynch at her home near Sequoia National Park. The setting for _City of Dark Magic_ was initially inspired by Lynch's stepmother, who lives in Prague and had recently taken a position at the Lobkowicz Palace Museum.[11]

Books and reception

Carolyn Carlson at Penguin Books described _City of Dark Magic_ as a “Very Rare Find.”[12] _Kirkus Reviews_ describes _City of Dark Magic_ as an “exuberant, surprising gem” and a “fast-paced, funny, romantic mystery.”[13]

_City of Dark Magic_, which takes place in Prague, features musicologist Sarah Weston who is hired to catalog Beethoven manuscripts at the Lobkowicz Palace following the on-site death of her mentor Professor Sherbatsky. While trying to investigate the real cause of her mentor's death, she becomes intrigued by Beethoven's “Immortal Beloved” as she unearths clues regarding the individual's identity throughout her employment at the palace.[14]

The sequel to _City of Dark Magic_, titled _City of Lost Dreams_, is set in Vienna, Austria, and recounts Sarah Weston and friends' journey to find the Golden Fleece—not seeking immortality but to find a cure for friend and child prodigy Pollina. Both of Magnus Flyte's books are novels of adventure that incorporate science, magic, history, and art with a strong female lead.[15]

Bibliography

AS MAGNUS FLYTE

-   _City of Dark Magic_ (November 2012)[16]
-   _City of Lost Dreams_ (November 2013)[17]

BY MEG HOWREY

-   _Blind Sight_ (March 2011)
-   _The Cranes Dance_ (May 2012)
-   _The Wanderers_ (March 2017)[18]

BY CHRISTINA LYNCH

-   _Long Hidden: Speculative Fiction from the Margins of History_ (May 2014 anthology)[19]

[1]

[2]

[3]  Penguin Random House|website=www.penguinrandomhouse.com|access-date=2016-12-22}}

[4]

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[6]  Bookreporter.com|website=www.bookreporter.com|access-date=2016-12-22}}

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15]

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[17]

[18]

[19]

title: Magnus Flyte

question: Who is Magnus Flyte?

answer: Magnus Flyte is the male pseudonym used by the writing duo Meg Howrey and Christina Lynch.

question: What are some novels that Meg Howrey has written?

answer: Meg Howrey has written "The Cranes Dance" and "Blind Sight"

question: What books has Magnus Flyte written?

answer: Magnus Flyte has written two books, "City of Dark Magic" and "City of Lost Dreams".

question: Where did the idea for Christina Lynch and Meg Howrey to collaborate on a novel come from?

answer: The idea came while Howrey was visiting Lynch at her home near Sequoia National Park.

question: Write a ~2 sentence summary.

answer: This article details the work of Magnus Flyte, which is the pseudonym used by the writing duo of Meg Howrey and Christina Lynch. They have written two novels, "City of Dark Magic" and "City of Lost Dreams."


text:
_THE CATCH TRAP_ is a novel by Marion Zimmer Bradley, published in 1979. Set in the circus world of the 1940s and 1950s, it tells the story of two trapeze artists, Mario Santelli and Tommy Zane, and the professional relationship they develop which ultimately leads to love.

This rich tale encompasses the exhilarating highs of soaring under the Big Top down to the lows of having to hide their secret relationship from their extended colourful circus family due to the conservative times they live in. What does remain steadfast is their devotion and passion to both their craft and each other.[1][2]

[1]

[2]

title: The Catch Trap

question: When was the book published?

answer: 1979

question: Who is the author?

answer: Marion Zimmer Bradley

question: When is the book set?

answer: During the 1940s and 50s

question: Who are the main characters?

answer: Mario Santelli and Tommy Zane

question: Write a ~2 sentence summary.

answer: The Catch Trap is a novel by Marion Zimmer Bradley, published in 1979. It is set in the circus world during the 1940s and 50s and follows two trapeze artists, Mario Santelli and Tommy Zane, whose professional relationship develops into love.


text:
 [Nacer Chadli]
Nacer Chadli is delighted by his move to West Brom and being a regular after frustrations as life as a squad player at Spurs Credit: Andrew Fox for The Telegraph

Nacer Chadli has lost a bet with Tony Pulis over a Belgium recall and owes him dinner.

But taking West Bromwich Albion’s head coach to a swanky Birmingham restaurant is all the proof Chadli needs to show why he swapped Tottenham Hotspur for The Hawthorns.

His £13 million move in August, a West Brom club record, left many of Chadli’s closest friends bewildered and Spurs team-mates including Toby Alderweireld and Jan Vertonghen were imploring him to stay.

Yet the bitter disappointment of missing Euro 2016 with Belgium and the prospect of gathering dust on the bench convinced Chadli it was a move worth making. Nicknamed ‘The Dolphin’ during his time at Spurs (we will explain why later), Chadli is now loving life as the big fish in a small pond.

"A lot of my friends could not understand me coming here, that is true. Players sometimes prefer to be at a bigger club but being involved, even at a smaller club, would be my choice every time,” he says, sitting at West Brom's training ground this week.

Chadli accelerates away from Swansea's Gylfi Sigurdsson and Jay Fulton Credit:  Reuters/Peter Nicholls

“People don't understand the meaning of playing football. They are not in my position and they probably don't love the game as much as I do. I wanted something new in my life and that’s why I came here.

“It’s not about the money for me. If I wanted money I could have gone to China and Russia because I had those offers. I chose West Brom because they are a good family club and people take good care of you here. Everybody respects each other.”

Losing that bet with Pulis has also been a huge plus point. During talks in the summer, Pulis promised Chadli that he would return to the Belgium national team if he joined West Brom.

Tony Pulis made Chadli the Baggies' record signing last August Credit: WBA

The 27-year-old was recalled by Roberto Martínez in October, after scoring four goals in four games, and he epitomises the new-look West Brom under Pulis.

"I didn't play a lot at Spurs in the last six months before the Euros so it was a logical choice [not to be picked]. I almost expected it, but that was the reason I decided to leave this summer. I didn't think my chances at Spurs would improve to play. I needed to choose for myself,” he says.

“This is a new experience for me and the most important thing was to be involved in the Premier League with games. Football is my job – it’s my life and you need to make the best of it.”

The Belgium winger scored 15 league goals in three seasons with Spurs Credit: JUSTIN TALLIS/AFP

This is Chadli’s first national newspaper interview since becoming Albion’s record signing and he is clearly different to the average footballer.

Two years ago he posed naked for _Cosmopolitan_ magazine to raise awareness of testicular cancer, earning that Dolphin nickname because of his smooth skin. “I had a lot of good reaction. It was for a good cause so I’m proud of it.

“I was asked to do it again for another magazine but it was not for a good cause.  My mom probably saw it but she didn’t talk about it!”

Thoughtful and intelligent, Chadli has also appeared in an advert for _Football Manager _and was best man at Belgium team-mate Axel Witsel’s wedding.

Chadli scored twice against West Ham Credit: REUTERS/Eddie Keogh

He is predominantly dairy-free, after altering his diet in pre-season at Spurs a few seasons ago, and is a firm believer that performing better is all in the mind.

"I like to read and also to watch videos about motivation a lot. I’m especially interested in how to improve your mindset as a sportsman. We improve the body, with the drinks and the foods, but the mental side is different. You have to improve it yourself and work on it. Everybody needs something different,” he says.

"I don't drink a lot of milk or eat a lot of cheese. Maybe once in a while but you need to cut them out. I do like chips, though, obviously coming from Belgium.  It’s a speciality. I haven’t found very good chips in Birmingham yet.”

Chadli’s arrival at Albion was seen as a game-changer by Pulis, who is determined to transform the club into one which consistently finishes in the top ten.

Supporters are already chanting about European excursions next season and Chadli has sprinkled the stardust, frequently playing in a free role behind lone striker Salomon Rondon.

There was one piece of skill against Swansea earlier this month, bypassing defender Neil Taylor with an outrageous flick on the touchline, that took the breath away.

Chadli has been impressed with Pulis and insists the Welshman deserves to be mentioned in the same breath as two of his former managers, Mauricio Pochettino and Steve McClaren (at FC Twente).

“He’s very clever.  He is always talking about what you’re going to do on the matchday and how to do it the best way we can. He’s very clear with a player and that’s something which is very important for a manager. He understands players, what they can and can’t do. He’s very detailed.

“Is he scary? Only when he gets mad! I had a good feeling when I spoke with him in the summer and this is everything I want it to be.”

Chadli is assured of a warm welcome on Boxing Day, with West Brom facing Arsenal at the Emirates. Yet he believes Albion have proved they can box with the heavyweights, after almost halting Chelsea’s relentless charge in their last visit to London

"Against the teams that are the same as us, we have showed we are better as a team,” he says.

“We play better football, score a lot of goals and scoring against us is not easy. We showed we are in good shape and in the last two games against Chelsea and Manchester United we still went for the win. It didn't work out but you can see that we are a strong opponent to beat.

"It's always good to play at the Emirates and we will see if Arsenal fans welcome me back in a special way.”

question: What were Nacer and Tony betting on?

answer: Nacer and Tony were betting over a Belgium recall.

question: Who is Tony Pulis?

answer: Tony Pulis as West Bromwich Albion's head coach.

question: Why is Chadli nicknamed 'The Dolphin?'

answer: Chadli is nicknamed Dolphin for his smooth skin after he posed naked for Cosmopolitan magazine to raise awareness of testicular cancer.

question: What club does Chadli play for?

answer: Chadli plays for West Bromwich Albion.

question: Write a ~4 sentence summary.

answer:
Chadli is moved to West Brom club in August. The disappointment of missing Euro 2016 with Belgium and the prospect of gathering dust on the bench convinces him the move is worth making.

The 27-year-old has been nicknamed 'The Dolphin' for his smooth skin after he posed naked for Cosmopolitan magazine to raise awareness of testicular cancer.

Chadli's shift to Albion is seen as a game-changer by Pulis.


text:
On 25 December 2016, a Tupolev Tu-154 jetliner of the Russian Defence Ministry crashed into the Black Sea shortly after taking off from Sochi International Airport, Russia, while en route to Khmeimim Air Base, Syria. All 92 passengers and crew on board, including 64 members of the Alexandrov Ensemble choir of the Russian Armed Forces, were killed. The aircraft had flown from Chkalovsky Airport and had landed at Sochi to refuel.

Aircraft

The aircraft involved was a Tupolev 154B-2,[1] tail number RA-85572, msn 83A-572,[2] which had been in operation since 1983,[3][4] and had flown for about 7,000 hours before the crash.[5][6]

Crash

The Tupolev had taken off at 05:27 local time () from the Black Sea resort city of Sochi, Russia, where it had landed to refuel, bound for Syria.[7] Two minutes after takeoff, the aircraft crashed into the Black Sea, from the coast. Wreckage was found at a depth of .[8][9] All 92 people on board were killed.[10]

Passengers and crew

Of the 92 passengers and crew on board, 64 were members of the Alexandrov Ensemble choir, the official choir of the Russian Armed Forces, including its director Valery Khalilov.[11] The members of the Ensemble were travelling from Moscow to the Russian military base at Khmeimim near Latakia, Syria, to take part in New Year celebrations.[12]

Among the passengers was Russian humanitarian worker Elizaveta Glinka,[13] the Director of the Department of Culture for the Russian Ministry of Defence Anton Gubankov,[14] seven soldiers (besides Khalilov), nine journalists (three each from Channel One Russia, NTV, and Zvezda), and two civilian officials.

Investigation

[Map of crash site released by the Russian Ministry of Defence] Immediately after the crash, the Investigative Committee of Russia launched a criminal case to probe the cause.

By 27 December, the cockpit voice and flight data recorders had been located, and both were later recovered and sent to Moscow for analysis.[15][16][17] By 28 December, the bodies of 18 people had been recovered from the sea.[18] On 29 December, a third recorder, which backs up data from the CVR and FDR, was found, which, despite being damaged, revealed more information.[19]

One Russian official downplayed the possibility of a terrorist attack as the cause of the crash, focusing more on the possibility of mechanical or human error.[20] After the crash, all Tupolev Tu-154 aircraft in Russia were grounded.[21]

A bright flash was purportedly caught on surveillance cameras along the Sochi coastline before the crash.[22] Witnesses told reporters the plane appeared to experience trouble in gaining altitude, turned 180 degrees, started descending and crashed into the sea.[23][24]

On 27 December it was reported that an investigative source had told the Interfax news agency that Russian investigators believed a fault with the aircraft flaps had caused the crash. The Life.ru news portal was reported to have obtained a recording of the last words of one of the pilots: “Commander, we are going down.” There was no official confirmation.[25][26]

On 29 December it was announced by the Flight Safety Service of the Russian Ministry that a preliminary analysis of data from the cockpit voice recorder showed that no explosion had occurred on board.[27]

On 16 January the Interstate Aviation Committee, the civil authority in aviation accident investigation, announced that its representative would participate in the investigation.[28]

On 19 January Interfax reported that, during the underwater search, remains had also been found of a Soviet Douglas A-20 Havoc/DB-7 Boston bomber, supplied from the U.S. through the Lend-Lease agreement, which crashed on 15 November 1942.[29]

On 31 May 2017, Russia's _Kommersant_ said all the evidence pointed to the pilot, Maj Roman Volkov having suffered from somatogravic illusion. Analysis of the flight data suggested that the pilot had “lost his bearings and ignored his instruments, believing that the jet was climbing too sharply.” Tiredness was thought to be a factor. Experts said that he was already feeling unwell on the ground and had trouble getting the plane on to the correct runway.[30][31][32]

Reactions

Russia observed a national day of mourning on 26 December, at the declaration of President Vladimir Putin.[33][34] Lieutenant Colonel Igor Shevernyov, director of the Military Band Service of the Moscow Military District and inspector general of the band service commented to _RT_ on Khalilov's by noting that it was “an irreparable loss.” “It will be very difficult for us”, said Shevernyov. The NYPD Police Band, which had previously worked with the ensemble in Quebec, also expressed its condolences. The victims were buried in the Federal Military Memorial Cemetery in Mytishchinsky District in Moscow Oblast. Russian Defence Minister Sergey Shoigu ordered that the Moscow Military Music College be given the honorific _Valery Khalilov_.[35]

On 28 December, French satirical weekly magazine _Charlie Hebdo_ published several cartoons mocking the tragedy.[36] In response, a Russian Defense Ministry spokesman said: “If such, I dare say, 'artistry' is the real manifestation of 'Western values', then those who hold and support them are doomed”.[37]

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[36] “French Satirists at Charlie Hebdo Infuriate Russians With Mockery of Dec. 25 Plane Crash”. _The Moscow Times._ 28 December 2016.

[37] “Charlie Hebdo Cover: Russia Angered By Cartoon Of Tu-154 Plane Crash”. _International Business Times._ 28 December 2016.

title: 2016 Russian Defence Ministry Tupolev Tu-154 crash

question: What happened to a Tupolev Tu-154 jetliner on 25 December 2016?

answer: It crashed into the Black Sea shortly after taking off from Sochi International Airport.

question: What is the make of the aircraft?

answer: The aircraft was a Tupolev 154B-2 and has been in operation since 1983.

question: Who were the people in the Tupolev?

answer: They were Elizaveta Glinka, a Russian humanitarian worker, Anton Gubankov, the Director of the Department of Culture for the Russian Ministry of Defence, nine journalists, among others.

question: What was said to be the cause of the crash?

answer: The major evidence points to the pilot, Maj Roman Volkov who was suffering from somatogravic illusion, which caused him to ignore his flight instruments.

question: Write a ~3 sentence summary.

answer:
A Tupolev Tu-154 jetliner of the Russian Ministry crashed into the Black Sea on 25 December 2016 shortly after taking off from Sochi International Airport, Russia.

There were 92 passengers and crew members, most of which were members of the official choir of the Russian Armed Forces.

The cause of the crash was attributed to human error, mainly that of Major Roman Volkov, a pilot suffering from somatogravic illusion.


text: You know those times when your standing at the urinal and you look down at the abundance of piss on the floor, just slightly before you notice your untied shoe lace? It's like sure, you could just tie them up, wash your hands and act like nothing ever happened, but at the same time you're still fully aware of the fact that you have to walk around in someone else's piss until the night ends. I thought i asked you how your life was going, he replied. (sigh) Just fine friend, just fine.

title: Shoe Laces

question: Who is the main character of the story?

answer: This information is not found.

question: Where does the story take place?

answer: The narrator's thoughts are while at the urinal

question: Who is the narrator in dialogue with?

answer: With a friend who has asked him how his life was going?

question: Whose shoes are untied when stepping in piss at the urinal?

answer: The narrator's.

question: Write a ~1 sentence summary.

answer: The narrator's friend asks him how his life was going and the narrator goes on to explain his annoyance when stepping in piss on the floor at the urinal with untied shoe laces.


text:
JONAH PIʻIKOI (January, 1804 – April 26, 1859), also spelled IONA PIʻIKOI, was a Hawaiian high chief and served as a statesman during the Kingdom of Hawaii.

Life

According to Piʻikoi himself, he was born in the month of _Ikuwā,_ around January 1804, at Waimea on the island of Kauaʻi. Piʻikoi's parents were Kawahinemakua and Kiko. He was a _kaukau aliʻi,_ of lower-ranking chiefly descent, but a relative of the Kings of Kauaʻi. His great-grandmother Kahalemanuolono was the sister of Kamakahelei, making Piʻikoi a distant cousin of King Kaumualiʻi of Kauaʻi. His Hawaiian name Piʻikoi translate as “lofty aspirations.”

Piʻikoi began public service as a tobacco lighter of King Kaumualiʻi and later King Kamehameha II. He accompanied Kamehameha II to Oʻahu in 1822, serving as his personal attendant. Returning to Kauaʻi after Kamehameha II's departure to Great Britain, Piʻikoi assisted the newly appointed Governor Kahalaiʻa Luanuʻu in suppressing Humehume's rebellion in 1824.[1] Returning to Oʻahu, he served Kahalaiʻa until his death in 1826 and afterward became a servant of Kamehameha III. Piʻikoi became a _konohiki_ or land agent for Kamehameha III's lands on Oʻahu and gain much profit from managing the land. During the Great Māhele, he was given the duty of separating the King's land from that of the chiefs' He would later serve in the House of Nobles 1845–1859 and on the Privy Council 1852–1855.[2]

Piʻikoi died at his Fort street residence in Honolulu, on April 26, 1859. He was in his fifties and his cause of death was described as aneurysm of the aorta.[3][4] Before his death, he wrote an autobiography _Sketch of J. Piikoi's Life_ which was published by the _Pacific Commercial Advertiser_ on May 12, 1859.[5] His funeral was dated to May 16 and buried in a family tomb near his country residence on the plains of Kewalo.[6][7]

Piʻikoi Street in Honolulu is named after either him or his son. He once owned a large section of around the area where, the land between Waikiki and Honolulu, called the Kewalo area. Piʻikoi built the first two-story wooden house in Kewalo, which is now near the President William McKinley High School.

Marriage and children

Piʻikoi's first wife was Kekahili, daughter of Kamokuiki, and half-sister of High Chief Kapaʻakea. With Kekahili, he had High Chief David Kahalepouli Piʻikoi, the father of David Kawānanakoa, Edward Abnel Keliʻiahonui, and Jonah Kūhiō Kalanianaʻole, who shared his grandfather's Christian name.

His second wife Kamakeʻe (died 1871) was the daughter of Ihu and Keʻekapu.[8] They had two daughters: Lydia (Lilia) Piʻikoi (died 1900) and Maria (Maraea) Piʻikoi (1848–1874). Lydia married three times, to William S. Wond, John Ena and Samuel K. Kamakaia, and her only son was William Piʻikoi Wond (1864–1887), a member of the Royal Hawaiian Band.[9] Lydia's obituary in 1900 called her a daughter of Kekahili instead.[10][11] Maria was married to Thomas Jefferson Cummins, half-brother of John Adams Cummins, and had three daughters: Lydia Kekaulike Cummins, Elizabeth Kamakeʻe Cummins, and Maria Maiopili Cummins. After Piʻikoi's death, his widow Kamakeʻe remarried to W. P. Kamakau.[12]

An unnamed daughter died in the 1848 measles epidemic.

Family tree

[Grandsons of Jonah Piʻikoi at San Mateo. Left to right: Kalanianaʻole, Kawānanakoa and Keliʻiahonui]

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title: Jonah Piʻikoi

question: Summarize Pi'ikoi's public service career.

answer: Pi'ikoi began his public service career as a tobacco lighter of King Kaumuali'i and later King Kamehameha II. He became King Kamehameha II's personal attendant when he was 18 years old. Pi'ikoi assisted the newly appointed Governor Kahalai'a Luanu'u in suppressing the Humehume's rebellion in 1824. After that Pi-ikoi became a successful land agent for Kamehameha III's lands on O'ahu. Later he was given the duty of separating the King's land from that of the chiefs' and serve in the House of Nobles and the Privy Council.

question: Summarize Pi'ikoi's legacy.

answer: Pi'ikoi wrote an autobiography 'Sketch of J Piikoi's Life', it was published in the year of his death. He was buried in a family tomb near his country residence on the plains of Kewalo, where he owned a large section of land between Waikiki and Honululu. Pi'ikoi Street in Honolulu might have been named after him and he built the first two-story wooden house in Kewalo, close to the current President William McKinley High School.

question: What does the text say about the Hawaiian government?

question: Summarize Pi'ikoi's marriages and children.

answer: Pi'ikoi's first wife was Kekahili, she was the daughter of Kamokuiki and half-sister of High Chied Kapa'akea. They had three sons, one of them becoming High Chief. He also married Kamake'e who was the daughter of Ihu and Ke'ekapu. They had two daughters together, Lilia and Maraea. An unnamed daughter died in the 1848 measles epidemic.


text:
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Driving drunk should be something that never crosses your mind. You’re putting yourself and the lives of others in danger. Here at TFM, we were saddened to hear the news that a fellow member of the Greek community passed away on Tuesday after being struck by a drunk driver. Early Sunday morning, 22-year-old Chi Lam, a member of Delta Sigma Phi at San Jose State, was crossing the street in front of his chapter’s house when a drunk driver struck him. The driver fled the scene after crashing into a few other cars. The police later apprehended him at his apartment.

Lam’s family is struggling to pay for his medical bills and the cost of his funeral. A current member of SJSU Delta Sig reached out to us so we could let you know that the fraternity has set up a GoFundMe campaign to help out his family. I encourage you to make any sort of donation you can. Every little bit helps. I also encourage you to help curb members from driving under the influence.

Take this as a reminder to leave your keys in your pocket if you’re drunk. Grab a taxi, an Uber, or call a sober friend. Just do not under any circumstances get behind the wheel. Our prayers go out to the Lam family, Delta Sigma Phi, and anyone else who has been affected by similar tragedies.

To donate, click HERE..

_Image via SJSU Delta Sigma Phi Facebook_

question: What is the purpose of this article?

answer: The purpose of the article is to inform of a death of a fraternity member and to suggest helping out the family with a monetary donation.

question: Who is the author?

answer: The author seems to be a member of TFM.

question: What is the main topic of the article?

answer: The main topic is about the death of a Delta Sigma Phi fraternity member, Chi Lam. He was struck by a drunk driver. His family is struggling to pay for his medical bills and funeral.

question: What is TFM?

answer: The article doesn't specify, but it seems TFM is a fraternity.

question: Write a ~3 sentence summary.

answer: The purpose of the article is to inform of a death of a fraternity member and to suggest helping out the family with a monetary donation. Chi Lam, member of Delta Sigma Phi fraternity was struck by a drunk driver, and was killed. His family is struggling to pay for his medical bills and funeral.


text:
He knew the moment she entered the bar.  If anyone had been watching him in his secluded corner, they would have noticed the slight tightening of his shoulders.  Otherwise, to all the world he was just a morose man staring into his drink with his right hand poised above an open journal as if waiting for dictation.  His statuesque pose opposite the drop of life that entered at that instant.

Watching her movements with his peripheral vision, the man admired the woman’s gracefulness as she danced between the tables and chairs.  She walked past his booth without a glance.  When the woman rounded the corner into the back section, he visually relaxed and let out a tired sigh.  Placing a ten dollar bill on the table, the man gathers his belongings as if to leave.

As he knelt down next to his backpack, the man stops and turns pale.  A chill runs down his spine as he glances over his shoulder.  Surprised emerald eyes stare at him from midst a heart shaped face.  The woman stands at the back corner with her hand braced on the wall, giving the look of a deer caught in headlights. They lock eyes and, for a moment, the universe stops its incessant ticking.  The man recovers first, standing up, brushing his coat, and while eyes still bound together, gestures to the opposite side of the booth.

Breaking eye contact first, she looks around the room in panic.  Seeing no avenue of escaping with dignity, the woman lets out an exasperated huff, the glides over to the secluded table. Motioning the waiter over she orders a Guinness for both her and the man.  They sat in familiar, nearly companionable, silence while they waited for their drinks.  When the beverages arrive, they both thanked the server then grew quiet again.  The Silence fully blossoms around them as they sit alone, together.

With a small smile, the man gazes at the woman.  He takes in her face, neck, shoulders, then follows her arms down to her fingertips. His touch had known every curve and angle. Closing his eyes, he takes a deep breath to both capture this fragment of time and shatter the growing silence.  Clearing her throat in indignation, she startles him back to the present. The man blushes, not used to being caught unawares. Silence, again, settles around them like a wool blanket on a mid-summer’s day.

The door crashes open, breaking their reveries. In strided a conglomerate of shrieking harpies announcing their intention to party the night away.  The woman looks relieved and glancing sheepishly at the man, gets up to go.  One of the birds disengages from the group, hurling herself into the woman’s arms, squealing above the sounds normally heard by the human ear. Not a glance is given the man as they go back to the herd.

Silence once again settles in the corner, bearing all its weight upon the man’s shoulders. He looks tired and beat up, almost lost. He only looks up once as he takes his writings out of his pack. Then he opens his journal and begins to write.

------------------

This was an story prompt for my creative writing class where we had to write a sort of dialogue between two people who once dated in the past and have ran into each other at the bar. We couldn't have them talk about the relationship or how it ended and each of them have something they are holding back from the other person that we can't talk about as well. I had decided to do a "no dialogue" dialogue.

Please tell me what you think, how I can improve, what should be expanded upon.

PS. I'm a Veteran with a traumatic brain injury and while I have always written poems/short stories, my ability to do so has been hampered. My team and I believe that getting back into writing will help with the healing and so I come to Reddit for a little extra push to get better. Thanks! :)

title: The Words Unspoken

question: What is the significance of the title?

answer: The man and the woman have a history but they do not exchange any words about it during this chance encounter, communicating instead via their facial expressions.

question: What is the narrator's relationship with the woman in the bar?

answer: They seem to have been romantically (or at least sexually) involved in the past.

question: Why does the man begin writing in his journal at the end of the story?

answer: The reason isn't stated.

question: Why has the narrator come to the bar?

answer: Unclear, though presumably to get his journal writing done.

question: Write a ~4 sentence summary.

answer: While at the bar, the narrator encounters a former lover of his. They lock eyes, and he gestures for her to have a seat at his table. They sit in silence until a group of women enter the bar, and the woman goes to meet them. The narrator begins writing in his journal.


text:
[Logo of the “Christopher Helm” identification guide books] CHRISTOPHER ALEXANDER ROGER HELM (born Dundee, 1 February 1937 – 20 January 2007) was a Scottish book publisher, notably of ornithology related titles, including the _Helm Identification Guides_.

Born in Dundee, he was raised in Forfar, where his father was a Presbyterian minister. The family moved to Tunbridge Wells at the start of World War II, and he was educated at Harrow School, then, after active duty in Cyprus with the Highland Light Infantry (as National Service), he graduated in classics and law from Gonville and Caius College, Cambridge in 1960.

Having worked for Macmillan, he set up and, in turn, sold each of Croom Helm (founded in 1972, bought by Associated Book Publishers in 1986 and merged into the Routledge imprint in 1992), Christopher Helm Publishers and Pica Press (both of the latter pair being bought by A & C Black, now part of Bloomsbury Publishing Plc).

He was an active member of the council of the British Ornithologists' Union, becoming vice-president in 1995.

In the 1970s, he served as a Labour councillor in the London Borough of Wandsworth.

He married twice: in 1967 to Caroline Price, they had two sons, Alexander (who died from cystic fibrosis) and Zebedee; their marriage was dissolved in 1976; and in 1979 to Amanda Thomas, with whom he had a daughter Annabel and another son, Tom.

title: Christopher Helm

question: What subject does "classics" fall under as a collegiate major?

answer: Literature