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Officials also check if the number of voters checked in at the polling place matches the number of ballots voted, and that the votes plus remaining unused ballots matches the number of ballots sent to the polling place. If not, they look for the extra ballots, and may report discrepancies. |
Secure storage to enable counts in future. |
If ballots or other paper or electronic records of an election may be needed for counting or court review after a period of time, they need to be stored securely. |
Election storage often uses tamper-evident seals, |
although seals can typically be removed and reapplied without damage, especially in the first 48 hours. Photos taken when the seal is applied can be compared to photos taken when the seal is opened. |
Detecting subtle tampering requires substantial training. Election officials usually take too little time to examine seals, and observers are too far away to check seal numbers, though they could compare old and new photos projected on a screen. If seal numbers and photos are kept for later comparison, these numbers and photos need their own secure storage. Seals can also be forged. Seals and locks can be cut so observers cannot trust the storage. If the storage is breached, election results cannot be checked and corrected. |
Experienced testers can usually bypass all physical security systems. Locks |
and cameras |
are vulnerable before and after delivery. |
Guards can be bribed or blackmailed. Insider threats |
and the difficulty of following all security procedures are usually under-appreciated, and most organizations do not want to learn their vulnerabilities. |
Security recommendations include preventing access by anyone alone, |
which would typically require two hard-to-pick locks, and having keys held by independent officials if such officials exist in the jurisdiction; having storage risks identified by people other than those who design or manage the system; and using background checks on staff. |
No US state has adequate laws on physical security of the ballots. |
Starting the tally soon after voting ends makes it feasible for independent parties to guard storage sites. |
Secure transport and internet. |
The ballots can be carried securely to a central station for central tallying, or they can be tallied at each polling place, manually or by machine, and the results sent securely to the central elections office. Transport is often accompanied by representatives of different parties to ensure honest delivery. Colorado transmits voting records by internet from counties to the Secretary of State, with hash values also sent by internet to try to identify accurate transmissions. |
Postal voting is common worldwide, though France stopped it in the 1970s because of concerns about ballot security. Voters who receive a ballot at home may also hand-deliver it or have someone else to deliver it. The voter may be forced or paid to vote a certain way, or ballots may be changed or lost during the delivery process, |
or delayed so they arrive too late to be counted or for signature mis-matches to be resolved. |
Postal voting lowered turnout in California by 3%. |
It raised turnout in Oregon only in Presidential election years by 4%, turning occasional voters into regular voters, without bringing in new voters. |
Election offices do not mail to people who have not voted recently, and letter carriers do not deliver to recent movers they do not know, omitting mobile populations. |
Some jurisdictions let ballots be sent to the election office by email, fax, internet or app. |
Email and fax are highly insecure. |
Internet so far has also been insecure, including in Switzerland, |
Australia, |
and Estonia. |
Apps try to verify the correct voter is using the app by name, date of birth and signature, |
which are widely available for most voters, so can be faked; or by name, ID and video selfie, which can be faked by loading a pre-recorded video. Apps have been particularly criticized for operating on insecure phones, and pretending to more security during transmission than they have. |
The (commonly referred to as TTI) is a university located in Nagoya, Japan. Founded in 1981 by a large endowment from Toyota Motor Corporation, it originally only accepted students with some industrial work experience. |
TTI has a School of Engineering, a Master's Program, and a Doctoral Program. The programs consist of three areas of coursework: Mechanical Systems Engineering, Electronics & Information Science, and Materials Science & Engineering. |
In 2003 Toyota also opened the Toyota Technological Institute at Chicago, jointly with the University of Chicago. This campus is mainly for Ph.D students, studying Machine Learning, Algorithms & Complexity, Computer Vision, Speech Technologies and Computational Biology. |
TSU ranked TTI as the 5th best Japanese university in 2010 and 4th in 2011. In this ranking, TTI has a best employment rate among all Japanese Universities. |
In 2012, TTI was ranked 1st in Asia in terms of average number of publication per faculty by the QS World University Rankings. |
The Locrian mode is either a musical mode or simply a diatonic scale. On the piano, it is the scale that starts with B and only uses the white keys from there. Its ascending form consists of the key note, a half step, two whole steps, a further half step, and three more whole steps. |
\override Score.TimeSignature #'stencil = ##f |
\relative c' { |
\clef treble \time 7/4 |
c4^\markup { C Locrian mode } des es f ges aes bes c2 |
</score> |
History. |
"Locrian" is the word used to describe the inhabitants of the ancient Greek regions of Locris. Although the term occurs in several classical authors on music theory, including Cleonides (as an octave species) and Athenaeus (as an obsolete "harmonia"), there is no warrant for the modern usage of Locrian as equivalent to Glarean's Hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory through the 18th century, or modern scholarship on ancient Greek musical theory and practice. |
The name first came to be applied to modal chant theory after the 18th century, when it was used to describe the mode newly-numbered as mode 11, with final on B, ambitus from that note to the octave above, and with semitones therefore between the first and second, and fourth and fifth degrees. Its reciting tone (or tenor) is G, its mediant D, and it has two participants: E and F. The final, as its name implies, is the tone on which the chant eventually settles, and corresponds to the tonic in tonal music. The reciting tone is the tone around which the melody principally centres, the mediant is named from its position between the final and reciting tone, and the participant is an auxiliary note, generally adjacent to the mediant in authentic modes and, in the plagal forms, coincident with the reciting tone of the corresponding authentic mode. |
Modern Locrian. |
In modern practice, the Locrian may be considered to be a minor scale with the second and fifth scale degrees lowered a semitone. The Locrian mode may also be considered to be a scale beginning on the seventh scale degree of any Ionian, or major scale. The Locrian mode has the formula: |
Its tonic chord is a diminished triad (Bdim in the Locrian mode of the diatonic scale corresponding to C major). This mode's diminished fifth and the Lydian mode's augmented fourth are the only modes to have a tritone above the tonic. |
Overview. |
The Locrian mode is the only modern diatonic mode in which the tonic triad is a diminished chord, which is considered dissonant. This is because the interval between the root and fifth of the chord is a diminished fifth. For example, the tonic triad of B Locrian is made from the notes B, D, F. The root is B and the fifth is F. The diminished-fifth interval between them is the cause for the chord's dissonance. |
\override Score.TimeSignature #'stencil = ##f |
\relative c' { |
\clef treble \time 7/4 |
b4^\markup { B Locrian mode } c d e f g a b2 |
</score> |
The name "Locrian" is borrowed from music theory of ancient Greece. However, what is now called the Locrian mode was what the Greeks called the Diatonic Mixolydian tonos. The Greeks used the term "Locrian" as an alternative name for their "Hypodorian", or "Common" tonos, with a scale running from "mese" to "nete hyperbolaion", which in its diatonic genus corresponds to the modern Aeolian mode. In his reform of modal theory in the "Dodecachordon" (1547), Heinrich Glarean named this division of the octave "Hyperaeolian" and printed some musical examples (a three-part polyphonic example specially commissioned from his friend Sixtus Dietrich, and the Christe from a mass by Pierre de La Rue), though he did not accept Hyperaeolian as one of his twelve modes. The usage of the term "Locrian" as equivalent to Glarean's Hyperaeolian or the ancient Greek (diatonic) Mixolydian, however, has no authority before the 19th century. |
Usage. |
There are brief passages in works by Sergei Rachmaninov (Prelude in B minor, op. 32, no. 10), Paul Hindemith ("Ludus Tonalis"), and Jean Sibelius (Symphony No. 4 in A minor, op. 63) that have been, or may be, regarded as in the Locrian mode. Claude Debussy's "Jeux" has three extended passages in the Locrian mode. |
The theme of the second movement ("Turandot Scherzo") of Hindemith's "Symphonic Metamorphosis of Themes by Carl Maria von Weber" (1943) alternates sections in Mixolydian and Locrian modes, ending in Locrian. |
English folk musician John Kirkpatrick's song "Dust to Dust" was written in the Locrian mode, backed by his concertina. The Locrian mode is not at all traditional in English music, but was used by Kirkpatrick as a musical innovation. |
Björk's "Army of Me" is a rare example of a pop song whose verse is written in the Locrian mode. |
Azekah (, "ʿazeqah") was a town in the Shephelah ("lower stratum of the Judaean range") guarding the upper reaches of the Valley of Elah, about 26 km (16 mi) northwest of Hebron. The current "tell" (ruin) by that name, also known as Tell Zakariya, has been identified with the biblical Azekah, dating back to the Canaanite period. Today, the site lies on the purlieu of Britannia Park. According to Epiphanius of Salamis, the name meant "white" in the Canaanite tongue. The "tell" is pear shaped with the tip pointing northward. Due to its location in the Elah Valley it functioned as one of the main Judahite border cities, sitting on the boundary between the lower and higher Shephelah. Although listed in Joshua 15:35 as being a city in the plain, it is actually partly in the hill country, partly in the plain. |
Biblical history. |
In the Bible, it is said to be one of the places where the Amorite kings were defeated by Joshua, and one of the places their army was destroyed by a hailstorm (). It was given to the tribe of Judah (). In the time of Saul, the Philistines massed their forces between Sokho and Azekah, putting forth Goliath as their champion (). Rehoboam fortified the town in his reign, along with Lachish and other strategic sites (). In a clay tablet inscribed in Assyrian script Azekah is mentioned as being a fortified town, during the time of Sennacherib's military excursion in the country. Lachish and Azekah were the last two towns to fall to the Babylonians before the overthrow of Jerusalem itself (). It was one of the places re-occupied by the people on the return from the Captivity (). |
Identification. |
Although the hill is now widely known as the Tel (ruin) of Azekah, in the early 19th-century the hilltop ruin was known locally by the name of "Tell Zakariyeh". J. Schwartz was the first to identify the hilltop ruin of "Tell-Zakariyeh" as the site of Azekah on the basis of written sources. Schwartz's view was supported by archaeologist William F. Albright, and by 1953, the Government Naming Committee in Israel had already decided upon giving the name "Tel Azekah" to "Khirbet Tall Zakariya". |
In 1838, British-American explorer Edward Robinson passed by the site of "Tell Zakariyeh", which stood to the left of the modern village bearing the same name (Az-Zakariyya, which was depopulated in 1948 and later settled by the moshav Zekharia). French explorer Victor Guérin thought another "Beit Zecharias" to be the village mentioned in the Book of I Maccabees (6:32), and which he locates further to the east at a place called "Beit Zakaria" (Beit Skaria), a view also held by C.R. Conder who thought the site of the battle between Judas Maccabeus and the Grecian army was in none other than the more easterly "Beit Skaria". C.W.M. van de Velde who visited the site between 1851-1852 held the view that this Tell Zakariya and its adjacent Kefr Zakariya are not the same as Josephus' Beit Zacharia, where Judas Maccabeus engaged the invading Grecian army. The matter, however, remains disputed. |
"As for Azekah," Guérin writes, "it has not yet been found with certainty, this name appearing to have disappeared." Scholars believe that the town's old namesake (Azekah) can be seen in its modern-day corruption, "az-Zakariyeh". In contrast, Conder of the Palestine Exploration Fund had strong reservations about connecting the site "Tell Zakariya" with the biblical Azekah. |
In the mosaic layout of the Madaba Map of the 6th century CE (ca. 565 CE), the site is mentioned in conjoined Greek uncials: Το[ποθεσία] του Αγίου Ζαχαρίου, Βεθζαχαρ[ίου] (= [The] site of St. Zacharias, Beth Zachar[ias]). Epiphanius of Salamis writes that, in his day, Azekah was already called by the Syriac name "Ḥǝwarta". |
Modern Israeli archaeologists have noted that, because of the existence of an adjacent ruin now known as "Khirbet Qeiyafa", and which is situated opposite Socho, not to mention the site's "unusual size and the nature of the fortifications," that there are good grounds to suggest that the site in question may actually point to the biblical Azekah. |
Non-Biblical mention. |
Azekah is mentioned in two sources outside of the Bible. A text from the Assyrian king Sennacherib describes Azekah and its destruction during his military campaign. |
Azekah is also mentioned in one of the Lachish letters. Lachish Letter 4 suggests that Azekah was destroyed, as they were no longer visible to the exporter of the letter. Part of the otracon reads: |
Tell Zakariya. |
Conder and Kitchener, citing Sozomenus ("Rel. Pal.", p. 753), mention the non-biblical site of "Caphar Zachariah" () being in the region of Eleutheropolis, and conclude that this would point to the village Zakariya near Tell Zakariya. Theodosius, archdeacon and pilgrim to the Holy Land, produced a Latin map and itinerary of his travels in Palestine, entitled "De Situ Terrae Sanctae" ca. 518-530, in which he wrote: "De Eleutheropoli usque in locum, ubi iacet sanctus Zacharias, milia VI" [= "From Beit Gubrin, as far as to the place where lies the holy [prophet], Zechariah, there are 6 milestones"]. Israeli archaeologist Yoram Tsafrir has identified this "resting place of the holy Zechariah" with the nearby Arab village of the same name, Az-Zakariyya, north of Beit Gubrin. Tsafrir notes that Theodosius' location corresponds with the "Beth Zechariah" inscribed on the Madaba Map, and which site is placed alongside of "Saphitha" (now Kh. es-Safi). J. Gildemeister reasons that one can ask whether it (Kefar Zakariah) is the same place that appears in distorted forms (e.g. Beit Zachariah) in other writings. Robinson thought that Zakariyeh, as applied to a village, referred here to the site of the Caphar Zechariæ mentioned by Sozomen in the region of Eleutheropolis. Most scholars point to the other Khirbet Beit Zakariyyah, towards the east (grid 1617.1190), as the burial place of the said Zachariah, having been found there the ruins of a Byzantine church now turned mosque, and which church is thought to be featured in the Madaba Map. |
Archaeological findings. |
PEF researcher, C.W. Wilson, concluded in 1899 that "Tell Zakariya" was occupied at an early pre-Israelite period, and that it was probably deserted soon after the Roman occupation. The wall which encircles the old ruin shows signs of having been several times rebuilt. In cut and design, the stones appear to have been of Maccabean construction. |
PEF surveyors, Conder and Kitchener, described the ruin in their "magnum opus", the "Survey of Western Palestine", saying that they noted on the south-side of the summit an ancient olive-press, among other ruins. |
Excavations by the English archaeologists Frederick J. Bliss and R. A. Stewart Macalister in the period 1897-1900 at Tel Azekah revealed a fortress, water systems, hideout caves used during Bar Kokhba revolt and other antiquities, such as LMLK seals. The principal areas of excavation were on the summit's southwestern extremity, where were found the foundations of three towers; the southeastern corner of the "tell", where the fortress was located and built primarily of hewn stones; and at an experimental pit located in the center of the summit. Azekah was one of the first sites excavated in the Holy Land and was excavated under the Palestine Exploration Fund for a period of 17 weeks over the course of three seasons. At the close of their excavation Bliss and Macalister refilled all of their excavation trenches in order to preserve the site. The site is located on the grounds of a Jewish National Fund park, Britannia Park. |
In 2008 and 2010, a survey of the site was conducted by Oded Lipschitz, Yuval Gadot, and Shatil Imanuelov, on behalf of Tel-Aviv University's Institute of Archaeology. |
The Lautenschläger Azekah Expedition, part of the regional Elah Valley Project, commenced in the summer of 2012. It is directed by Prof. Oded Lipschits of the Institute of Archaeology of Tel Aviv University, together with Dr Yuval Gadot of TAU and with Prof. Manfred Oeming of Heidelberg University. and is a consortium of over a dozen universities from Europe, North America, and Australia. In its first season 300 volunteers worked for six weeks and uncovered walls, installations, and many hundreds of artifacts. As part of the Jewish National Fund park, whenever possible structures will be conserved and displayed to the public. |
Creem (often stylized as CREEM) was a monthly American music magazine, based in Detroit, whose main print run lasted from 1969 to 1989. It billed itself as "America's Only Rock 'n' Roll Magazine." It was first published in March 1969 by Barry Kramer and founding editor Tony Reay. Influential critic Lester Bangs served as the magazine's editor from 1971 to 1976. It suspended production in 1989 but attained a short-lived renaissance in the early 1990s as a glossy tabloid. |
The magazine is noted for having been an early champion of various heavy metal, punk rock, new wave and alternative bands, especially bands based in Detroit. The term "punk rock" was coined in the May 1971 issue of "Creem," in Dave Marsh's "Looney Tunes" column about ? and the Mysterians. That same issue is sometimes credited with having originated the term "heavy metal" as well; in fact, the term had been used earlier, though "Creem" did help to popularize the term throughout the 1970s. |
History. |
In the winter of 1969, Barry Kramer owned the Detroit record store Full Circle as well as Mixed Media, a head shop/bookstore and was an unsuccessful concert promoter and band manager. In a fit of pique at the local alternative paper having rejected a concert review he had written, he decided to publish his own paper. Tony Reay, a clerk at the record store, became the first editor, naming the publication after his favorite band, Cream. Charlie Auringer became the photo editor and designer, and Dave Marsh joined soon after at age 19. The first issue was distributed only in Detroit as a tabloid-sized newspaper. A deal was struck with a distributor, but many copies were ordered by porn shops who were confused by the faintly suggestive title, and displayed it next to the similarly sized "Screw" magazine. Richard "Ric" Siegel became circulation director and within two years "Creem" had become a glossy color magazine, sized for newsstand distribution, and secured a national distribution deal. |
The original offices were at 3729 Cass Avenue in Detroit for the first two years. An armed robbery of the offices convinced Kramer to move the operation to a 120-acre farm in Walled Lake, Michigan at 13 Mile and Haggerty Road. Just before the move, Lester Bangs was hired, originally to write a feature on Alice Cooper. He had been fired from rival music magazine "Rolling Stone" by publisher Jann Wenner for "disrespecting musicians" after a particularly harsh review of the group Canned Heat. Bangs fell in love with Detroit, calling it "rock's only hope", and remained there for five years. |
Many of the staff members lived in the Walled Lake farmhouse, where there were occasional physical altercations between writers. Marsh had objected to Bangs' poorly housebroken dog, and placed the dog's dung on Bangs' typewriter. This resulted in a fistfight that gave Marsh a gash on his head. Eventually, the magazine was successful enough to move to editorial offices in downtown Birmingham, Michigan. After becoming editor in 1971, Bangs left the magazine in 1976 and never wrote for it again. On January 29, 1981, Kramer died of an accidental overdose of nitrous oxide, and Bangs died a year later on April 30, 1982 in New York City of an accidental Darvon overdose. |
This geographical separation from the majority of the entertainment industry in the United States, then focused primarily in Hollywood and New York City, resulted in a certain irreverence, a deprecatory and humorous tone that permeated the magazine. The magazine became famous for its comical photo captions, which poked fun at rock stars, the industry, and even the magazine itself. Every year, the tall Plexiglas pyramid presented as the American Music Award was dubbed "The Object From Space", and was attributed with the power to force celebrities to look ridiculous while holding it. The location also meant CREEM was among the first national publications with in-depth coverage of many popular Detroit-area artists, such as Bob Seger, Mitch Ryder, Alice Cooper, The MC5, The Stooges, Iggy Pop, and Parliament-Funkadelic, as well as other Midwestern acts such as Raspberries and Cheap Trick. |
Influence. |
"Creem" picked up on punk rock (which many claim the magazine helped to conceptualize, if not invent) and new wave movements early on. "Creem" gave massive exposure to artists like Lou Reed, David Bowie, Roxy Music, Blondie, and The New York Dolls years before the mainstream press. In the 1980s, it also led the pack on coverage of such upcoming rock icons as R.E.M., The Replacements, The Smiths, The Go-Go's and The Cure, among numerous others. It was also among the first to sing the praises of metal acts like Motörhead, Kiss, Judas Priest, and Van Halen. |
Melvins guitarist Roger "Buzz" Osborne taught Kurt Cobain about punk by loaning him records and old copies of "Creem". |
Alice Cooper referenced the magazine in his song "Detroit City" – "But the Riff kept a Rockin', the "Creem" kept a-talkin', and the streets still smokin' today". Thurston Moore of Sonic Youth said: "Having a certain sense of humor in the rock'n'roll culture – "CREEM" nailed it in a way that nobody else was. It informed a lot of people's sensibilities." |
Staff. |
Publishers, editors and writers for "Creem" included Barry Kramer, his partner (later his wife) Connie Warren Kramer, Lester Bangs, Dave Marsh, Billy Altman, Bob Fleck, John Morthland, Ben Edmonds, Ed Ward, Richard Riegel, Ric Siegel, Robert Christgau, Richard Meltzer, Nick Tosches, Greil Marcus, Jeffrey Morgan, Richard C. Walls, Rob Tyner, Patti Smith, Peter Laughner, Cameron Crowe, Trixie A. Balm (a.k.a. Lauren Agnelli), Craig S. Karpel, Linda Barber, Catherine Gisi, Todd Weinstein, Laura Levine, Judy Adams, Jaan Uhelszki, Penny Valentine, Susan Whitall, John "The Mad" Peck, Robot A. Hull, Edward Kelleher (aka, Edouard Dauphin), Rick Johnson, Bruce Malamut, Lotta D. Blooz, John Mendelsohn, Jon Young, Lisa Robinson, Vicki Arkoff, Deborah Frost, Cynthia Rose, Mike Gormley, Sylvie Simmons, Gregg Turner, Chuck Eddy, Mark J. Norton, Alan Niester, Robert Duncan, Alan Madlane (as Alan Madeleine), Judy Wieder, Colman Andrews, Jim Esposito, Dave DiMartino, Bill Holdship and John Kordosh. These last three edited the final versions of "Creem" in the 1980s. |
The magazine moved its office to Los Angeles in January 1987. Holdship and Kordosh were both involved in "Creem"'s move to Los Angeles after it was purchased by Arnold Levitt, but both had already left the magazine before its move to New York City after Levitt licensed the name to a publisher there, and its ultimate demise. Before licensing "Creem" to the New Yorkers, Levitt made Judy Wieder editor-in-chief of a heavy metal version of "Creem", called "Creem Metal", which was originally edited by DiMartino, Holdship and Kordosh and which sold well. A young female audience-targeted spinoff, "Creem Rock-Shots", was also published, as were countless special editions throughout the '80s. Former William Morris agent, musician and journalist Mark J. Petracca (aka Dusty Wright) became the editor during its New York residence over 1992–93. Chris Nadler was the last editor before the magazine was shut down. Steve Peters and David Sprague were the final members remaining in the original editorial chain that reached back to 1969. |
Graphic design. |
The "Creem" logo was designed by Bob Wilson, who also wrote a regular comic strip, "Mike and Barney". The "Mr. Dreamwhip" and "Boy Howdy" icons were designed by underground cartoonist Robert Crumb, reportedly for $50. Both appeared on the cover of the second issue as a black and white drawing titled "Detroit 1969". For the December 1971 issue, Wilson colored the drawing, which appeared in every following issue in a "Creem's Profiles", a parody of the then-popular "Dewar's Profiles", featuring musicians and bands holding cans of "Boy Howdy" beer. |
Change of ownership and disputes. |
Ownership of the magazine, trademark and intellectual property has changed hands numerous times since the death of publisher Barry Kramer in 1981, and the magazine's subsequent bankruptcy. |
Arnold Levitt bought the rights to the magazine in 1986 from Connie Kramer, and added titles including one devoted exclusively to metal along with numerous monthly special editions, before shutting down in 1989. In 1990, he licensed it to a group of Florida investors who published a bimonthly glossy tabloid version, but it was not successful either. |
The release of writer and director Cameron Crowe's semi-autobiographical film "Almost Famous" in 2000, and Philip Seymour Hoffman's portrayal of editor Lester Bangs, rekindled interest in "Creem" and rock journalism of the era. Former "Creem" photographer Robert Matheu formed Creem Media in 2001 with his cousin Jason Turner and Michigan businessman Ken Kulpa. They negotiated a five-year licensing deal with Levitt, with the option to purchase the magazine's intellectual property rights for $100,000. They launched a website and generated new content, primarily to maintain the brand. |
As the five-year deadline of the licensing deal approached, Matheu sought investors, and got a $52,500 investment from Los Angeles disk jockey Chris Carter and Barry Kramer's son J.J. Kramer. Matheu provided the balance of the $100,000. |