MIME https://store.theartofservice.com/itil-2011-foundation-complete-certification-kit-fourth-edition-study-guide-ebook-and-online-course.html.

Internet Message Access Protocol Access to MIME message parts and partial fetch
The IMAP4 protocol allows clients to retrieve any of the individual MIME parts separately and also to retrieve portions of either individual parts or the entire message

File format - MIME types
In AmigaOS and MorphOS the Mime type system works in parallel with Amiga specific Datatype system.

File format - MIME types
There are problems with the MIME types though; several organisations and people have created their own MIME types without registering them properly with IANA, which makes the use of this standard awkward in some cases.

JSON - MIME type Many service providers, browsers, servers, web applications, libraries, frameworks, and APIs use, expect, or recognize the (unofficial) MIME type "text/json" or the content-type "text/javascript"

Base64 - MIME The MIME (Multipurpose Internet Mail Extensions) specification lists Base64 as one of two binary-to-text encoding schemes (the other being quoted-printable). MIME's Base64 encoding is based on that of the RFC 1421 version of PEM: it uses the same 64-character alphabet and encoding mechanism as PEM, and uses the "=" symbol for output padding in the same way, as described at RFC 1521.

Base64 - MIME MIME does not specify a fixed length for Base64-encoded lines, but it does specify a maximum line length of 76 characters. Additionally it specifies that any extra-alphabetic characters must be ignored by a compliant decoder, although most implementations use a CR/LF newline pair to delimit encoded lines.

Base64 - MIME Thus, the actual length of MIME-compliant Base64-encoded binary data is usually about 137% of the original data length, though for very short messages the overhead can be much higher due to the overhead of the headers. Very roughly, the final size of Base64-encoded binary data is equal to 1.37 times the original data size bytes (for headers). The size of the decoded data can be approximated with this formula:

MIME Multipurpose Internet Mail Extensions (MIME) is an Internet standard that extends the format of to support:

Message bodies with multiple parts
MIME Message bodies with multiple parts

MIME Although designed mainly for SMTP protocol, today MIME's use, however, has grown beyond describing the content of and now is often used to describe content type in general including for the web (see Internet media type) and as a storage for rich content in some commercial products (e.g., IBM Lotus Domino and IBM Lotus Quickr).

MIME Virtually all human-written Internet and a fairly large proportion of automated is transmitted via SMTP in MIME format. Internet is so closely associated with the SMTP and MIME standards that it is sometimes called SMTP/MIME .

MIME The content types defined by MIME standards are also of importance outside of , such as in communication protocols like HTTP for the World Wide Web. HTTP requires that data be transmitted in the context of -like messages, although the data most often is not actually .

MIME - Introduction The basic Internet transmission protocol, SMTP, supports only 7-bit ASCII characters (see also 8BITMIME). This effectively limits Internet to messages which, when transmitted, include only the characters sufficient for writing a small number of languages, primarily English. Other languages based on the Latin alphabet typically include diacritics and are not supported in 7-bit ASCII, meaning text in these languages cannot be correctly represented in basic .

MIME - Introduction Mapping messages into and out of MIME format is typically done automatically by an client or by mail servers when sending or receiving Internet (SMTP/MIME) .

MIME - Introduction MIME also specifies rules for encoding non-ASCII characters in message headers, such as "Subject:", allowing these header fields to contain non-English characters.

MIME - Introduction MIME is extensible. Its definition includes a method to register new content types and other MIME attribute values.

MIME - Introduction Similarly, if the quoted printable transfer encoding is used, the ASCII part of the message will be intelligible to users with non-MIME clients.

MIME - MIME-Version The presence of this header indicates the message is MIME-formatted. The value is typically "1.0" so this header appears as

MIME - MIME-Version According to MIME co-creator Nathaniel Borenstein, the intention was to allow MIME to change, to advance to version 2.0 and so forth, but this decision led to the opposite outcome, making it nearly impossible to create a new version of the standard.

MIME - MIME-Version "We did not adequately specify how to handle a future MIME version," Borenstein said. "So if you write something that knows 1.0, what should you do if you encounter 2.0 or 1.1? I sort of thought it was obvious but it turned out everyone implemented that in different ways. And the result is that it would be just about impossible for the Internet to ever define a 2.0 or a 1.1."

MIME - Content-Type This header indicates the Internet media type of the message content, consisting of a type and subtype, for example

MIME - Content-Type Through the use of the multipart type, MIME allows mail messages to have parts arranged in a tree structure where the leaf nodes are any non-multipart content type and the non-leaf nodes are any of a variety of multipart types. This mechanism supports:

MIME - Content-Type simple text messages using text/plain (the default value for "Content-Type: ")

MIME - Content-Type text plus attachments (multipart/mixed with a text/plain part and other non-text parts). A MIME message including an attached file generally indicates the file's original name with the "Content-disposition:" header, so the type of file is indicated both by the MIME content-type and the (usually OS-specific) filename extension

MIME - Content-Type reply with original attached (multipart/mixed with a text/plain part and the original message as a message/rfc822 part)

MIME - Content-Type alternative content, such as a message sent in both plain text and another format such as HTML (multipart/alternative with the same content in text/plain and text/html forms)

MIME - Content-Type image, audio, video and application (for example, image/jpeg, audio/mp3, video/mp4, and application/msword and so on)

MIME - Content-Disposition
The original MIME specifications only described the structure of mail messages. They did not address the issue of presentation styles. The content-disposition header field was added in RFC 2183 to specify the presentation style. A MIME part can have:

an inline content-disposition, which means that it should be automatically displayed when the message is displayed, or

an attachment content-disposition, in which case it is not displayed automatically and requires some form of action from the user to open it.

In addition to the presentation style, the content-disposition header also provides fields for specifying the name of the file, the creation date and modification date, which can be used by the reader's mail user agent to store the attachment.

Thunderbird prior to version 3 also sends out newly composed messages with inline content-disposition for all MIME parts

In HTTP, the Content-Disposition: attachment response header is usually used to hint to the client to present the response body as a downloadable file

MIME - Content-Transfer-Encoding
In June 1992, MIME (RFC 1341, since made obsolete by RFC 2045) defined a set of methods for representing binary data in formats other than ASCII text format. The content-transfer-encoding: MIME header has 2-sided significance:

It indicates whether or not a binary-to-text encoding scheme has been used on top of the original encoding as specified within the Content-Type header:

If such a binary-to-text encoding method has been used, it states which one.

The RFC and the IANA's list of transfer encodings define the values shown below, which are not case sensitive

Suitable for use with normal SMTP:

7bit – up to 998 octets per line of the code range with CR and LF (codes 13 and 10 respectively) only allowed to appear as part of a CRLF line ending. This is the default value.

quoted-printable – used to encode arbitrary octet sequences into a form that satisfies the rules of 7bit. Designed to be efficient and mostly human readable when used for text data consisting primarily of US-ASCII characters but also containing a small proportion of bytes with values outside that range.

base64 – used to encode arbitrary octet sequences into a form that satisfies the rules of 7bit. Designed to be efficient for non-text 8 bit and binary data. Sometimes used for text data that frequently uses non-US-ASCII characters.

Suitable for use with SMTP servers that support the 8BITMIME SMTP extension:

8bit – up to 998 octets per line with CR and LF (codes 13 and 10 respectively) only allowed to appear as part of a CRLF line ending.

Suitable only for use with SMTP servers that support the BINARYMIME SMTP extension (RFC 3030):

binary – any sequence of octets.

There is no encoding defined which is explicitly designed for sending arbitrary binary data through SMTP transports with the 8BITMIME extension. Thus base64 or quoted-printable (with their associated inefficiency) must sometimes still be used. This restriction does not apply to other uses of MIME such as Web Services with MIME attachments or MTOM

MIME - Encoded-Word Since RFC 2822, conforming message header names and values should be ASCII characters; values that contain non-ASCII data should use the MIME encoded-word syntax (RFC 2047) instead of a literal string. This syntax uses a string of ASCII characters indicating both the original character encoding (the "charset") and the content-transfer-encoding used to map the bytes of the charset into ASCII characters.

MIME - Encoded-Word charset may be any character set registered with IANA. Typically it would be the same charset as the message body.

MIME - Encoded-Word encoding can be either "Q" denoting Q-encoding that is similar to the quoted-printable encoding, or "B" denoting base64 encoding.

MIME - Encoded-Word An encoded-word may not be more than 75 characters long, including charset, encoding, encoded text, and delimiters. If it is desirable to encode more text than will fit in an encoded-word of 75 characters, multiple encoded-words (separated by CRLF SPACE) may be used.

MIME - Difference between Q-encoding and quoted-printable
The ASCII codes for the question mark ("?") and equals sign ("=") may not be represented directly as they are used to delimit the encoded-word

Subject: =?iso ?Q?=A1Hola,_se=F1or!?=

is interpreted as "Subject: ¡Hola, señor!".

The encoded-word format is not used for the names of the headers (for example Subject). These header names are always in English in the raw message. When viewing a message with a non-English client, the header names are usually translated by the client.

MIME - Multipart messages
A MIME multipart message contains a boundary in the "Content-Type: " header; this boundary, which must not occur in any of the parts, is placed between the parts, and at the beginning and end of the body of the message, as follows:

Content-Type: multipart/mixed; boundary=frontier

This is a message with multiple parts in MIME format.

Ym9keSBvZiB0aGUgbWVzc2FnZS48L3A+CiAgPC9ib2R5Pgo8L2h0bWw+Cg==

Each part consists of its own content header (zero or more Content- header fields) and a body

Before the first boundary is an area that is ignored by MIME-compliant clients. This area is generally used to put a message to users of old non-MIME clients.

It is up to the sending mail client to choose a boundary string that doesn't clash with the body text. Typically this is done by inserting a long random string.

MIME - Multipart subtypes
The MIME standard defines various multipart-message subtypes, which specify the nature of the message parts and their relationship to one another. The subtype is specified in the "Content-Type" header of the overall message. For example, a multipart MIME message using the digest subtype would have its Content-Type set as "multipart/digest".

The RFC initially defined 4 subtypes: mixed, digest, alternative and parallel. A minimally compliant application must support mixed and digest; other subtypes are optional. Applications must treat unrecognised subtypes as "multipart/mixed". Additional subtypes, such as signed and form-data, have since been separately defined in other RFCs.

The following is a list of the most commonly used subtypes; it is not intended to be a comprehensive list.

MIME - Mixed Multipart/mixed is used for sending files with different "Content-Type" headers inline (or as attachments). If sending pictures or other easily readable files, most mail clients will display them inline (unless otherwise specified with the "Content-disposition" header). Otherwise it will offer them as attachments. The default content-type for each part is "text/plain".

MIME - Digest Multipart/digest is a simple way to send multiple text messages. The default content-type for each part is "message/rfc822".

MIME - Message A message/rfc822 part contains an message, including any headers. Rfc822 is a misnomer, since the message may be a full MIME message. This is used for digests as well as for forwarding.

MIME - Alternative The multipart/alternative subtype indicates that each part is an "alternative" version of the same (or similar) content, each in a different format denoted by its "Content-Type" header

MIME - Alternative Since a client is unlikely to want to send a version that is less faithful than the plain text version, this structure places the plain text version (if present) first. This makes life easier for users of clients that do not understand multipart messages.

MIME - Alternative Most commonly, multipart/alternative is used for with two parts, one plain text (text/plain) and one HTML (text/html). The plain text part provides backwards compatibility while the HTML part allows use of formatting and hyperlinks. Most clients offer a user option to prefer plain text over HTML; this is an example of how local factors may affect how an application chooses which "best" part of the message to display.

MIME - Alternative While it is intended that each part of the message represent the same content, the standard does not require this to be enforced in any way

MIME - Related A multipart/related is used to indicate that each message part is a component of an aggregate whole

MIME - Related One common usage of this subtype is to send a web page complete with images in a single message. The root part would contain the HTML document, and use image tags to reference images stored in the latter parts.

MIME - Report Multipart/report is a message type that contains data formatted for a mail server to read. It is split between a text/plain (or some other content/type easily readable) and a message/delivery-status, which contains the data formatted for the mail server to read.

MIME - Signed A multipart/signed message is used to attach a digital signature to a message. It has exactly two body parts, a body part and a signature part. The whole of the body part, including mime headers, is used to create the signature part. Many signature types are possible, like "application/pgp-signature" (RFC 3156) and "application/pkcs7-signature" (S/MIME).

MIME - Encrypted A multipart/encrypted message has two parts. The first part has control information that is needed to decrypt the application/octet-stream second part. Similar to signed messages, there are different implementations which are identified by their separate content types for the control part. The most common types are "application/pgp-encrypted" (RFC 3156) and "application/pkcs7-mime" (S/MIME).

MIME - Form Data As its name implies, multipart/form-data is used to express values submitted through a form. Originally defined as part of HTML 4.0, it is most commonly used for submitting files via HTTP.

MIME - Mixed-Replace The content type multipart/x-mixed-replace was developed as part of a technology to emulate server push and streaming over HTTP.

MIME - Mixed-Replace All parts of a mixed-replace message have the same semantic meaning. However, each part invalidates - "replaces" - the previous parts as soon as it is received completely. Clients should process the individual parts as soon as they arrive and should not wait for the whole message to finish.

MIME - Mixed-Replace Originally developed by Netscape, it is still supported by Mozilla, Firefox, Chrome, Safari, and Opera, but traditionally ignored by Microsoft. It is commonly used in IP cameras as the MIME type for MJPEG streams.

MIME - Byteranges The multipart/byterange is used to represent noncontiguous byte ranges of a single message. It is used by HTTP when a server returns multiple byte ranges and is defined in RFC 2616.

MIME - Further reading Hughes, L (1998). Internet Protocols, Standards and Implementation. Artech House Publishers. ISBN

MIME - Further reading Johnson, K (2000). Internet Protocols: A Developer's Guide. Addison-Wesley Professional. ISBN

MIME - Further reading Rhoton, J (1999). Programmer's Guide to Internet Mail: SMTP, POP, IMAP, and LDAP. Elsevier. ISBN

Mimeograph The stencil duplicator or mimeograph machine (often abbreviated to mimeo) is a low-cost printing press that works by forcing ink through a stencil onto paper. The mimeograph process should not be confused with the spirit duplicator process.

Mimeograph Mimeographs, along with spirit duplicators and hectographs, were a common technology in printing small quantities, as in office work, classroom materials, and church bulletins. Early fanzines were printed in this technology, because it was widespread and cheap. In the late 1960s, mimeographs, spirit duplicators, and hectographs were gradually displaced by photocopying and offset printing.

Mimeograph - Origins Thomas Edison received US patent 180,857 for "Autographic Printing" on August 8, The patent covered the electric pen, used for making the stencil, and the flatbed duplicating press. In 1880 Edison obtained a further patent, US 224,665: "Method of Preparing Autographic Stencils for Printing", which covered the making of stencils using a file plate, a grooved metal plate on which the stencil was placed which perforated the stencil when written on with a blunt metal stylus.

Mimeograph - Origins The word "mimeograph" was first used by Albert Blake Dick when he licensed Edison's patents in 1887.

Mimeograph - Origins Dick received Trademark Registration no for the term "Mimeograph" in the US Patent Office. It is currently listed as a dead entry, but shows the A.B. Dick Company of Chicago as the owner of the name.

Mimeograph - Origins Over time, the term became generic and is now an example of a genericized trademark. ("Roneograph," also "Roneo machine," was another trademark used for mimeograph machines, the name being a contraction of Rotary Neostyle.)

Mimeograph - Origins Others who worked concurrently on the development of stencil duplicating were Eugenio de Zaccato and David Gestetner, both in Britain. In Britain the machines were most often referred to as "duplicators", though the predominance of Gestetner and Roneo in the UK market meant that some people referred to the machine by one of those two manufacturers' names.

Mimeograph - Origins In 1891, Gestetner patented his Automatic Cyclostyle. This was one of the first rotary machines that retained the flatbed, which passed back and forth under inked rollers. This invention provided for more automated, faster reproductions since the pages were produced and moved by rollers instead of pressing one single sheet at a time.

Mimeograph - Origins By 1900, two primary types of mimeographs had come into use: a single-drum machine and a dual-drum machine. The single-drum machine used a single drum for ink transfer to the stencil, and the dual-drum machine used two drums and silk-screens to transfer the ink to the stencils. The single drum (example Roneo) machine could be easily used for multi-color work by changing the drum - each of which contained ink of a different color. This was spot color for mastheads. Colors could not be mixed.

Mimeograph - Origins The mimeograph became popular because it was much cheaper than traditional print - there was neither typesetting nor skilled labor involved. One individual with a typewriter and the necessary equipment became his own printing factory, allowing for greater circulation of printed material.

1918 illustration of a mimeograph machine
Mimeograph - Origins 1918 illustration of a mimeograph machine

Mimeograph - Origins Jachson & O'Sullivan's "The National" Duplicator. Produced in Brisbane, Queensland during WWII.

Mimeograph - Origins Mimeograph machines used by the Belgian resistance during World War II to produce underground newspapers and pamphlets.

Mimeograph - Mimeography process
The image transfer medium was originally a stencil made from waxed mulberry paper. Later this became an immersion-coated long-fibre paper, with the coating being a plasticized nitrocellulose. This flexible waxed or coated sheet is backed by a sheet of stiff card stock, with the two sheets bound at the top.

Mimeograph - Mimeography process
Once prepared, the stencil is wrapped around the ink-filled drum of the rotary machine. When a blank sheet of paper is drawn between the rotating drum and a pressure roller, ink is forced through the holes on the stencil onto the paper. Early flatbed machines used a kind of squeegee. The ink originally had a lanolin base. and later became an oil in water emulsion.

Mimeograph - Preparing stencils
For printed copy, a stencil assemblage is placed in a typewriter. The typewriter ribbon must be disabled so that the bare, sharp type element strikes the stencil directly. The impact of the type element displaces the wax, making the tissue paper permeable to the oil-based ink. This is called "cutting a stencil."

A variety of specialized styluses were used on the stencil to render lettering, illustrations, or other artistic features by hand against a textured plastic backing plate.

Mistakes can be corrected by brushing them out with a specially formulated correction fluid, and retyping once it has dried. ("Obliterine" was a popular brand of correction fluid in Australia and the United Kingdom.)

Stencils were also made with a thermal process; an infrared method similar to that used by early photocopiers. The common machine was a Thermofax.

A skilled mimeo operator using an electrostencil and a very coarse halftone screen could make acceptable printed copies of a photograph.

During the declining years of the mimeograph, some people made stencils with early computers and dot-matrix impact printers.

Mimeograph - Limitations
In practice, most low-cost mimeo stencils gradually wear out over the course of producing several hundred copies

The Gestetner Company (and others) devised various methods to make mimeo stencils more durable.

Compared to spirit duplication, mimeography produced a darker, more legible image. Spirit duplicated images were usually tinted a light purple or lavender, which gradually became lighter over the course of some dozens of copies. Mimeography was often considered "the next step up" in quality, capable of producing hundreds of copies. Print runs beyond that level were usually produced by professional printers, or as the technology became available, xerographic copiers.

Mimeograph - Durability
Mimeographed images generally have much better durability than spirit duplicated images, since the inks are more resistant to ultraviolet light. The primary preservation challenge is the low-quality paper often used, which would yellow and degrade due to residual acid in the treated pulp from which the paper was made. In the worst case, old copies can literally crumble into small particles when handled. Mimeographed copies have moderate durability when acid-free paper is used.

Mimeograph - Contemporary use
The modern version of a mimeograph, called a digital duplicator, or copyprinter, contains a scanner, a thermal head for stencil cutting, and a large roll of stencil material entirely inside the unit

Mimeograph - Contemporary use
Although mimeographs remain more economical and energy-efficient in mid-range quantities, easier-to-use photocopying and offset printing have replaced mimeography almost entirely in developed countries. Mimeograph machines continue to be used in developing countries because it is a simple, cheap, and robust technology. Many mimeographs can be hand-cranked, requiring no electricity.

Mimeograph - Uses and art
Mimeographs and the closely related but distinctly different spirit duplicator process were both used extensively in schools to copy homework assignments and tests. They were also commonly used for low-budget amateur publishing, including club newsletters and church bulletins. They were especially popular with science fiction fans, who used them extensively in the production of fanzines in the middle 20th century, before photocopying became inexpensive.

Mimeograph - Uses and art
Letters and typographical symbols were sometimes used to create illustrations, in a precursor to ASCII art. Because changing ink color in a mimeograph could be a laborious process, involving extensively cleaning the machine or, on newer models, replacing the drum or rollers, and then running the paper through the machine a second time, some fanzine publishers experimented with techniques for painting several colors on the pad, notably Shelby Vick, who created a kind of plaid "Vicolor."

Mimeograph - Further reading
Hutchison, Howard. Mimeograph: Operation Maintenance and Repair. Blue Ridge Summit: Tab Books, 1979.

Internet security - Multipurpose Internet Mail Extensions (MIME)
MIME transforms non-ASCII data at the sender's site to Network Virtual Terminal (NVT) ASCII data and delivers it to client's Simple Mail Transfer Protocol (SMTP) to be sent through the Internet. The server SMTP at the receiver's side receives the NVT ASCII data and delivers it to MIME to be transformed back to the original non-ASCII data.

Biomimetics Biomimetics is the study of the structure and function of biological systems as models for the design and engineering of materials and machines.

Biomimetics - History The term biomimetics is derived from the Greek word βίος, bios, "life" and the suffix mimetic, "having an aptitude for mimicry", the latter being a word originally used in the 1630s, derived from the Greek μιμητικός, mimetikos, "imitative".

Biomimetics - History Biomimetics was coined by the American biophysicist and polymath Otto Schmitt during the 1950s. It was during his doctoral research that he developed the Schmitt trigger by studying the nerves in squid, attempting to engineer a device that replicated the biological system of nerve propagation. He continued to focus on devices that mimic natural systems and by 1957 he had perceived a converse to the standard view of biophysics at that time, a view he would come to call biomimetics.

Biomimetics - History Biophysics is not so much a subject matter as it is a point of view. It is an approach to problems of biological science utilizing the theory and technology of the physical sciences. Conversely, biophysics is also a biologist's approach to problems of physical science and engineering, although this aspect has largely been neglected.

Biomimetics - History A similar term, 'Bionics' was coined by Jack Steele in 1960 at Wright-Patterson Air Force Base in Dayton, Ohio where Otto Schmitt also worked. Steele defined bionics as "the science of systems which have some function copied from nature, or which represent characteristics of natural systems or their analogues". During a later meeting in 1963 Schmitt stated,

Biomimetics - History Let us consider what bionics has come to mean operationally and what it or some word like it (I prefer biomimetics) ought to mean in order to make good use of the technical skills of scientists specializing, or rather, I should say, despecializing into this area of research

Biomimetics - History In 1969 the term biomimetics was used by Schmitt to title one of his papers, and by 1974 it had found its way into Webster's Dictionary.

Design by Nature - National Geographic
Biomimetics - Videos Design by Nature - National Geographic

Michael Pawlyn: Using nature's genius in architecture from TED 2010
Biomimetics - Videos Michael Pawlyn: Using nature's genius in architecture from TED 2010

Janine Benyus: Biomimicry in Action from TED 2009
Biomimetics - Videos Janine Benyus: Biomimicry in Action from TED 2009

Biomimetics - Videos Robert Full shows how human engineers can learn from animals' tricks from TED 2002

Developmental robotics - From bio-mimetic development to functional inspiration.
While most developmental robotics projects strongly interact with theories of animal and human development, the degrees of similarities and inspiration between identified biological mechanisms and their counterpart in robots, as well as the abstraction levels of modeling, may vary a lot

Formal reasoning - Reason, imagination, mimesis, and memory
Reason and imagination rely on similar mental processes.See for example Ruth M.J

See Mimesis

As reason is symbolic thinking, and peculiarly human, then this implies that humans have a special ability to maintain a clear consciousness of the distinctness of icons or images and the real things they represent. Starting with a modern author, Merlin Donald writesOrigins of the Modern Mind p.172

A dog might perceive the meaning of a fight that was realistically play-acted by humans, but it could not reconstruct the message or distinguish the representation from its referent (a real fight). Trained apes are able to make this distinction; young children make this distinction early – hence, their effortless distinction between play-acting an event and the event itself

In classical descriptions, an equivalent description of this mental faculty is eikasia, in the philosophy of Plato.Jacob Klein A Commentary on the Meno Ch.5 This is the ability to perceive whether a perception is an image of something else, related somehow but not the same, and therefore allows humans to perceive that a dream or memory or a reflection in a mirror is not reality as such

Both Merlin Donald and the Socratic authors such Plato and Aristotle emphasize the importance of mimesis, often translated as imitation or representation. Donald writesOrigins of the Modern Mind p.169

Imitation is found especially in monkeys and apes Mimesis is fundamentally different from imitation and mimicry in that it involves the invention of intentional representations. Mimesis is not absolutely tied to external communication.

Mimēsis is a concept, now popular again in academic discussion, that was particularly prevalent in Plato's works, and within Aristotle, it is discussed mainly in the Poetics. In Michael Davis's account of the theory of man in this work.Introduction to the translation of Poetics (Aristotle)|Poetics by Davis and Seth Benardete p. xvii, xxviii

It is the distinctive feature of human action, that whenever we choose what we do, we imagine an action for ourselves as though we were inspecting it from the outside

This permits voluntary recall of mimetic representations, without the aid of external cues – probably the earliest form of representational thinking.

In a celebrated paper in modern times, the fantasy author and philologist J.R.R. Tolkien wrote in his essay On Fairy Stories that the terms fantasy and enchantment are connected to not only ...the satisfaction of certain primordial human desires... but also ...the origin of language and of the mind.

XHTML Mobile Profile - MIME types
The MIME type for XHTML Mobile Profile is application/vnd.wap.xhtml+xml. Conforming user agents should also accept application/xhtml+xml and text/html. Many desktop browsers will only validate XHTML-MP at display time, if an XML MIME type is specified.

MIME type An 'Internet media type' is a standard identifier used on the Internet to indicate the type of data that a file contains. Common uses include the following:

* email clients use them to identify attachment files,
MIME type * clients use them to identify attachment files,

MIME type * web browsers use them to determine how to display or output files that are not in HTML format,

* search engines use them to classify data files on the web.
MIME type * search engines use them to classify data files on the web.

MIME type A media type is composed of a type, a subtype, and zero or more optional parameters. As an example, an HTML file might be designated text/html; charset=UTF-8. In this example text is the type, html is the subtype, and charset=UTF-8 is an optional parameter indicating the character encoding.

MIME type Internet Assigned Numbers Authority|IANA manages the [ official registry of media types].

MIME type The identifiers were originally defined in RFC 2046, and were called 'MIME types' because they referred to the non-ASCII parts of messages that were composed using the MIME (Multipurpose Internet Mail Extensions) specification. They are also sometimes referred to as 'Content-types'.

MIME type Their use has expanded from sent through Simple Mail Transfer Protocol|SMTP, to other protocols such as Hypertext Transfer Protocol|HTTP, Real-time Transport Protocol|RTP and Session Initiation Protocol|SIP.

MIME type New media types can be created with the procedures outlined in RFC 4288.

MIME type - Limitations
Internet media types are often used as part of a communication protocol between two applications (the source and destination). In this context, internet media type specifiers experience several problems.

The first problem is the ability of the source application (i.e. web server, client) to correctly determine an internet media type for a piece of content. Many applications attempt to heuristically classify a file using its filename extension or with Magic number (programming)|magic numbers. Neither approach is perfect, and may incorrectly classify a content's media type:

* No filename extension: a filename extension classifier will report no media type, or will (incorrectly) report a catch-all type such as application/octet-stream. Files without extension are common on unix systems.

* Filename extension collisions: when multiple formats use the same filename extension, a filename extension classifier will choose one media type arbitrarily. For instance, both Template (file format)#Word Templates|Microsoft Word templates and DOT language|graphviz graph files use the extension .dot.

* Ambiguous container formats: a magic number classifier may give a correct, though non-specific, media type, thus preventing a meaningful interpretation of the content

* Ambiguous magic numbers: an attacker can create a file which is identified simultaneously as two separate internet media types. For instance, the internal structure of a Gifar makes it both a valid GIF|GIF image and JAR (file format)|Java executable.

The second problem is the destination application's ability to trust the internet media type reported by the sender

The destination application has no more knowledge of the content than the source application, and attempts to Content sniffing|infer the media type at the destination are equally difficult. This can lead to incompatibilities between source and destination applications, and in the worst-case, security vulnerabilities such as the Gifar attack or Cross-site scripting attacks. Advanced content sniffing approaches have been proposed to balance interoperability and security in such situations.

MIME type - Type application
* application/ecmascript: ECMAScript/JavaScript; Defined in RFC 4329 (equivalent to application/javascript but with stricter processing rules)

* application/javascript: ECMAScript/JavaScript; Defined in RFC 4329 (equivalent to application/ecmascript but with looser processing rules) It is not accepted in IE 8 or earlier - text/javascript is accepted but it is defined as obsolete in RFC The type attribute of the lt;scriptgt; tag in HTML5 is optional. In practice, omitting the media type of JavaScript programs is the most interoperable solution, since all browsers have always assumed the correct default even before HTML5.

* application/octet-stream: Arbitrary binary data.RFC:2046|RFC Multipurpose Internet Mail Extensions (MIME) Part Two: Media types

* application/ogg: Ogg, a multimedia bitstream container format (digital)|container format; Defined in RFC 5334

* application/pdf: Portable Document Format, PDF has been in use for document exchange on the Internet since 1993; Defined in RFC 3778

* application/rdf+xml: Resource Description Framework; Defined by RFC 3870

* application/font-woff: Web Open Font Format; (candidate recommendation; use application/x-font-woff until standard is official)

* application/xml-dtd: Document Type Definition|DTD files; Defined by RFC 3023

* application/zip: ZIP (file format)|ZIP archive files; Registered[ MIME SUBTYPE NAME: zip]

* audio/basic: μ-law audio at 8kHz, 1 channel; Defined in RFC 2046
MIME type - Type audio * audio/basic: μ-law audio at 8kHz, 1 channel; Defined in RFC 2046

MIME type - Type audio * audio/L24: 24bit Linear PCM audio at 8–48kHz, 1-N channels; Defined in RFC 3190

* audio/mpeg: MP3 or other MPEG audio; Defined in RFC 3003
MIME type - Type audio * audio/mpeg: MP3 or other MPEG audio; Defined in RFC 3003

MIME type - Type audio * audio/ogg: Ogg Vorbis, Speex, Flac and other audio; Defined in RFC 5334

* audio/vorbis: Vorbis encoded audio; Defined in RFC 5215
MIME type - Type audio * audio/vorbis: Vorbis encoded audio; Defined in RFC 5215

* audio/vnd.rn-realaudio: RealAudio; Documented in RealPlayer Help
MIME type - Type audio * audio/vnd.rn-realaudio: RealAudio; Documented in RealPlayer Help

* audio/vnd.wave: WAV audio; Defined in RFC 2361
MIME type - Type audio * audio/vnd.wave: WAV audio; Defined in RFC 2361

* audio/webm: WebM open media format
MIME type - Type audio * audio/webm: WebM open media format

MIME type - Type image * image/pjpeg: JPEG JFIF image; Associated with Internet Explorer; Listed in [ ms775147(v=vs.85)] - Progressive JPEG, initiated before global browser support for progressive JPEGs (Microsoft and Firefox).

MIME type - Type image * image/png: Portable Network Graphics; Registered,[ MIME SUBTYPE NAME: png] Defined in RFC 2083

MIME type - Type model * model/vrml: Web Rule Language|WRL files, VRML files; Defined in RFC 2077

MIME type - Type model * model/x3d+binary: X3D International Organization for Standardization|ISO standard for representing 3D computer graphics, X3DB Binary file|binary files - never Internet Assigned Numbers Authority approved

MIME type - Type model * model/x3d+fastinfoset: X3D International Organization for Standardization|ISO standard for representing 3D computer graphics, X3DB Binary file|binary files (application in process, this replaces any use of model/x3d+binary)

MIME type - Type model * model/x3d-vrml: X3D International Organization for Standardization|ISO standard for representing 3D computer graphics, X3DV VRML files (application in process, previous uses may have been model/x3d+vrml)

MIME type - Type model * model/x3d+xml: X3D International Organization for Standardization|ISO standard for representing 3D computer graphics, X3D XML files

MIME type - Type multipart
* multipart/form-data: Multipart/form-data|MIME Webform; Defined in RFC 2388

For human-readable Writing|text and source code.
MIME type - Type text For human-readable Writing|text and source code.

MIME type - Type text * text/cmd: commands; subtype resident in Gecko (layout engine)|Gecko browsers like Firefox 3.5

* text/csv: Comma-separated values; Defined in RFC 4180
MIME type - Type text * text/csv: Comma-separated values; Defined in RFC 4180

MIME type - Type text * text/javascript (Obsolete): JavaScript; Defined in and made obsolete in RFC 4329 in order to discourage its usage in favor of application/javascript. However, text/javascript is allowed in HTML 4 and 5 and, unlike application/javascript, has cross-browser support. The type attribute of the lt;scriptgt; tag in HTML5 is optional and there is no need to use it at all since all browsers have always assumed the correct default (even in HTML 4 where it was required by the specification).

MIME type - Type video * video/mpeg: MPEG-1 video with multiplexed audio; Defined in RFC 2045 and RFC 2046

MIME type - Type video * video/ogg: Ogg Theora or other video (with audio); Defined in RFC 5334

MIME type - Type video * video/quicktime: QuickTime video; Registered[ Quicktime]

MIME type - Type video * video/x-ms-wmv: Windows Media Video; Documented in [ Microsoft KB ]

MIME type - Prefix vnd * application/vnd.oasis.opendocument.text: OpenDocument Text; Registered[ vnd.oasis.opendocument.text]

MIME type - Prefix vnd * application/vnd.oasis.opendocument.spreadsheet: OpenDocument Spreadsheet; Registered[ vnd.oasis.opendocument.spreadsheet]

MIME type - Prefix vnd * application/vnd.oasis.opendocument.presentation: OpenDocument Presentation; Registered[ vnd.oasis.opendocument.presentation]

MIME type - Prefix vnd * application/vnd.oasis.opendocument.graphics: OpenDocument Graphics; Registered[ vnd.oasis.opendocument.graphics]

MIME type - Prefix vnd * application/vnd.openxmlformats-officedocument.spreadsheetml.sheet: Microsoft Excel 2007 files

MIME type - Prefix vnd * application/vnd.openxmlformats-officedocument.presentationml.presentation: Microsoft Powerpoint 2007 files

MIME type - Prefix vnd * application/vnd.openxmlformats-officedocument.wordprocessingml.document: Microsoft Word 2007 files

* application/vnd.mozilla.xul+xml: Mozilla XUL files
MIME type - Prefix vnd * application/vnd.mozilla.xul+xml: Mozilla XUL files

MIME type - Prefix vnd * application/vnd.google-earth.kml+xml: Keyhole Markup Language|KML files (e.g. for Google Earth)

MIME type - Prefix vnd * application/vnd.google-earth.kmz: Keyhole Markup Language|KMZ files (e.g. for Google Earth)

* application/dart: Dart (programming language)|Dart files
MIME type - Prefix vnd * application/dart: Dart (programming language)|Dart files

* application/vnd.ms-xpsdocument: XPS document
MIME type - Prefix vnd * application/vnd.ms-xpsdocument: XPS document

MIME type - Prefix x * application/x-deb: deb (file format), a software package format used by the Debian project

* application/x-dvi: device-independent document in DVI format
MIME type - Prefix x * application/x-dvi: device-independent document in DVI format

MIME type - Prefix x * application/x-font-ttf: TrueType Font No registered MIME type, but this is the most commonly used

* application/x-mpegURL: .m3u8 variant playlist
MIME type - Prefix x * application/x-mpegURL: .m3u8 variant playlist

* application/x-stuffit: StuffIt archive files
MIME type - Prefix x * application/x-stuffit: StuffIt archive files

MIME type - Prefix x * application/x-www-form-urlencoded Form Encoded Data; Documented in [ HTML 4.01 Specification, Section ]

MIME type - Prefix x * application/x-xpinstall: Add-ons to Mozilla applications (Firefox, Mozilla Thunderbird|Thunderbird, SeaMonkey, and the discontinued Mozilla Sunbird|Sunbird)

* audio/x-aac: .aac audio files
MIME type - Prefix x * audio/x-aac: .aac audio files

* audio/x-caf: Apple's CAF audio files
MIME type - Prefix x * audio/x-caf: Apple's CAF audio files

Internet security - Multipurpose Internet Mail Extensions (MIME)
MIME transforms non-ASCII data at the sender's site to Network Virtual Terminal (NVT) ASCII data and delivers it to client's Simple Mail Transfer Protocol (SMTP) to be sent through the Internet.[ Network Virtual Terminal] The server SMTP at the receiver's side receives the NVT ASCII data and delivers it to MIME to be transformed back to the original non-ASCII data.

Text file - MIME Text files usually have the MIME type text/plain, usually with additional information indicating an encoding

Metal-Organic Framework - Biomimetic design and photocatalysis
Thus, 0D MOFs have accessible biomimetic catalytic centers

Supramolecular - Biomimetics
Many synthetic supramolecular systems are designed to copy functions of biological systems. These biomimetic architectures can be used to learn about both the biological model and the synthetic implementation. Examples include photoelectrochemical systems, catalytic systems, protein design and self-replication.

Reasoning - Reason, imagination, mimesis, and memory
Imitation is found especially in monkeys and apes [... but ...] Mimesis is fundamentally different from imitation and mimicry in that it involves the invention of intentional representations. [...] Mimesis is not absolutely tied to external communication.

Biomimetic 'Biomimetics' is the study of the structure and function of biological systems as models for the design and engineering of materials and machines.

Biomimetic - History The term biomimetics is derived from the Greek word βίος, bios, life and the suffix mimetic, having an aptitude for mimicry, the latter being a word originally used in the 1630s, derived from the Greek μιμητικός, mimetikos, imitative.

Biomimetic - History A similar term, 'Bionics' was coined by Jack Steele in 1960 at Wright-Patterson Air Force Base in Dayton, Ohio where Otto Schmitt also worked. Steele defined bionics as the science of systems which have some function copied from nature, or which represent characteristics of natural systems or their analogues. During a later meeting in 1963 Schmitt stated,

Biomimetic - History In 1969 the term biomimetics was used by Schmitt to title one of his papers,Schmitt O. Third Int. Biophysics Congress Some interesting and useful biomimetic transforms. p and by 1974 it had found its way into Webster's Dictionary.

Biomimetic - Videos *[ Design by Nature - National Geographic]

Biomimetic - Videos *[ Michael Pawlyn: Using nature's genius in architecture] from TED 2010

Biomimetic - Videos *[ Janine Benyus: Biomimicry in Action] from TED 2009

Biomimetic - Videos *[ Robert Full shows how human engineers can learn from animals' tricks] from TED 2002

Beta blocker - Intrinsic sympathomimetic activity
Also referred to as intrinsic sympathomimetic effect, this term is used particularly with beta blockers that can show both agonism and antagonism at a given beta receptor, depending on the concentration of the agent (beta blocker) and the concentration of the antagonized agent (usually an endogenous compound, such as norepinephrine). See partial agonist for a more general description.

Some beta blockers (e.g. oxprenolol, pindolol, penbutolol and acebutolol) exhibit intrinsic sympathomimetic activity (ISA). These agents are capable of exerting low level receptor agonist|agonist activity at the β-adrenergic receptor while simultaneously acting as a receptor site receptor antagonist|antagonist. These agents, therefore, may be useful in individuals exhibiting excessive bradycardia with sustained beta blocker therapy.

Agents with ISA are not used after myocardial infarctions, as they have not been demonstrated to be beneficial. They may also be less effective than other beta blockers in the management of Angina pectoris|angina and tachyarrhythmia.

Calorie restriction - Caloric restriction mimetics
Work on the mechanisms of CR has given hope to the synthesizing of future drugs to increase the human life span by simulating the effects of calorie restriction

Calorie restriction - Caloric restriction mimetics
Sir2, or silent information regulator 2, is a sirtuin, discovered in baker's yeast cells, that is hypothesized to suppress DNA instability

S/MIME S/MIME functionality is built into the majority of modern software and interoperates between them.

S/MIME - Function S/MIME specifies the MIME type application/pkcs7-mime (smime-type enveloped-data) for data enveloping (encrypting) where the whole (prepared) MIME entity to be enveloped is encrypted and packed into an object which subsequently is inserted into an application/pkcs7-mime MIME entity.

S/MIME - S/MIME certificates
While it is technically possible to send a message encrypted (using the destination party certificate) without having one's own certificate to digitally sign, in practice, the S/MIME clients will require you to install your own certificate before they allow encrypting to others.

A typical basic (class 1) personal certificate verifies the owner's identity only insofar as it declares that the sender is the owner of the From: address in the sense that the sender can receive sent to that address, and so merely proves that an received really did come from the From: address given

Depending on the policy of the CA, the certificate and all its contents may be posted publicly for reference and verification. This makes the name and address available for all to see and possibly search for. Other CAs only post serial numbers and revocation status, which does not include any of the personal information. The latter, at a minimum, is mandatory to uphold the integrity of the public key infrastructure.

S/MIME - Obstacles to deploying S/MIME in practice
* Not all software handles S/MIME signatures, resulting in an attachment called 'smime.p7s' that may confuse some people.

This issue is not fully specific to S/MIME – other secure methods of signing webmail may also require a browser to execute code to produce the signature, exceptions are PGP Desktop and versions of GnuPG, who will grab the data out of the webmail, sign it by means of a clipboard, and put the signed data back into the webmail page

** Some organizations consider it acceptable for webmail servers to be in on the secrets; others do not. Some of the considerations are mentioned below regarding malware. Another argument is that servers often contain data that is confidential to the organization anyway, so what difference does it make if additional data, such as private keys used for decryption, are also stored and used on such servers?

** Many make a distinction between private keys used for decryption and those used for digital signatures

* S/MIME is tailored for end-to-end security

** Solutions which store private keys on the gateway server so decryption can occur prior to the gateway malware scan. These unencrypted messages are then delivered to end users.

** Solutions which store private keys on malware scanners so that it can inspect messages content, the encrypted message is then relayed to its destination.

* Due to the requirement of a certificate for implementation, not all users can take advantage of S/MIME, as some may wish to encrypt a message, with a public/private key pair for example, without the involvement or administrative overhead of certificates.

Regardless, neither of these potential dilemmas is specific to S/MIME but rather cipher text in general and do not apply to S/MIME messages that are only signed and not encrypted.

S/MIME signatures are usually detached signatures: the signature information is separate from the text being signed. The MIME type for this is multipart/signed with the second part having a MIME subtype of application/(x-)pkcs7-signature. Mailing list software is notorious for changing the textual part of a message and thereby invalidating the signature; however, this problem is not specific to S/MIME, and a digital signature only reveals that the signed content has been changed.

Carbon monoxide detector - Biomimetic
A biomimetic sensor works in a fashion similar to hemoglobin which darkens in the presence of CO proportional to the amount of carbon monoxide in the surrounding environment

Caloric restriction mimetic
'Calorie restriction mimetics' (CRM) are a hypothetical class of drugs that would in principle mimic the substantial anti-aging effects that calorie restriction (CR) has on many laboratory animals

Candidate compounds include:

*Resveratrol (3,5,4'-trihydroxy-trans-stilbene) is a stilbenoid, a type of natural phenol, and a phytoalexin produced naturally by several plants, including grapes, wines, and especially the roots of the Japanese knotweed|Japanese Knotweed, from which it is extracted commercially

*The antidiabetic drug metformin was proposed as a possible CRM after it was found that mice administered the drug exhibit similar gene expression changes as CR mice

* Rimonabant (Acomplia) is an anti-obesity drug approved for use in the European Union but rejected approval by the FDA

*Lipoic Acid (α-Lipoic Acid, Alpha Lipoic Acid, or ALA) has failed to extend lifespan in normal mice or rats in numerous studies, either alone or as part of combination therapy.

*2-deoxy-D-glucose, or 2DG

* Exanadin (exenatide), a glucagon-like peptide-1 (GLP-1)modulator

* Peroxisome proliferator-activated receptor gamma inhibitors, such as Rosiglitazone and Gugulipids

* Agents that modulate sirtuins (called STAC –sirtuin-activating compounds), for example, fisetin

* Gymnemoside (modulates glucose absorption)

* Adiponectin (together with leptin, it regulates adipose tissue metabolism. It is activated by PPAR inhibitors such as rosiglitazone)

* Modulators of neuropeptide Y (NPY)

* Mannoheptulose (glycolytic inhibitor)

Nanotechnology battery - Biomimetic approaches
* Bionics or biomimicry seeks to apply biological methods and systems found in nature, to the study and design of engineering systems and modern technology. Biomineralization is one example of the systems studied.

Nanotechnology battery - Biomimetic approaches
* Bionanotechnology is the use of biomolecules for applications in nanotechnology, including use of viruses and lipid assemblies.Mashaghi, S.; Jadidi, T.; Koenderink, G.; Mashaghi, A

Hippocampal prosthesis - Bio-mimetic
Being Biomimicry|biomimetic means that the implant must be able to fulfill the properties a real biological neuron

Semi-metal - Classic semimetals
The classic semimetallic elements are arsenic, antimony, bismuth, α-tin (gray tin) and graphite, an allotrope of carbon. The first two (As, Sb) are also considered metalloids but the terms semimetal and metalloid are not synonymous. Semimetals, in contrast to metalloids, can also be chemical compounds, such as Mercury telluride (HgTe), and tin, bismuth, and graphite are typically not considered metalloids.

Outlook Express - Handling of PGP/MIME signed messages
Outlook Express does not correctly handle MIME, and will not display the body of signed messages inline

Outlook Express - Handling of PGP/MIME signed messages
When replying or forwarding a message to a user who has a digital signature, Outlook Express gives an error and does not allow the user to continue if there is no digital signature installed for the sender.

Tivoli Gardens - The Pantomime Theatre
As indicated by the name, it is primarily a scene for pantomime theatre in the classical Italian commedia dell'arte tradition, which is performed daily with a live pit orchestra

Mimer SQL 'Mimer SQL' is an SQL-based relational database management system from the Sweden|Swedish company Mimer Information Technology AB (formerly: Upright Database Technology AB), which has been developed and produced since the 1970s. The Mimer SQL database engine is available for Microsoft Windows, Mac OS X, Linux, Symbian OS, Unix, VxWorks and OpenVMS. Unlike other competing DBMSes, Mimer only implements optimistic concurrency control.

MIME type for MHTML is not well agreed upon. Used MIME types include:
MHTML - MIME type MIME type for MHTML is not well agreed upon. Used MIME types include:

Extended SMTP - 8BITMIME
Prior to the availability of 8BITMIME implementations, mail user agents employed several techniques to cope with the seven-bit limitation, such as binary-to-text encodings (including ones provided by MIME) and UTF-7

Extended SMTP - 8BITMIME
In March 2011, 8BITMIME was published as RFC 6152 corresponding to the then new Internet standard|STD 71.

IMAP - Access to MIME message parts and partial fetch
The IMAP4 protocol allows clients to retrieve any of the individual MIME parts separately and also to retrieve portions of either individual parts or the entire message

File formats - MIME types
In AmigaOS and MorphOS the Mime type system works in parallel with Amiga specific Datatype system.

Common Unix Printing System - MIME databases
During start-up, the CUPS daemon loads two MIME databases: mime.types that defines the known file types that CUPS can accept data for, and mime.convs that defines the programs that process each particular MIME type.Easy Software Products

For example, to detect an HTML file, the following entry would be applicable:

The second line matches the file contents to the specified MIME type by determining that the first kilobyte of text in the file holds printable characters and that those characters include html markup. If the pattern above matches, then the filter system would mark the file as the MIME type text/html.Easy Software Products. CUPS Software Administrators Manual, [ mime.types]. Last accessed January 9, 2007.

source destination cost program

CUPS Software Administrators Manual, [ mime.convs]

application/vnd.cups-postscript application/vnd.cups-raster 50 pstoraster

image/* application/vnd.cups-postscript 50 imagetops

8BITMIME 'Extended SMTP' ('ESMTP'), sometimes referred to as 'Enhanced SMTP', is a definition of protocol extensions to the Simple Mail Transfer Protocol standard. The extension format was defined in IETF publication RFC 1869 (1995) which established a general structure for all existing and future extensions.

8BITMIME ESMTP defines consistent and manageable means by which ESMTP clients and servers can be identified and servers can indicate supported extensions.

8BITMIME - Extensions ESMTP is a protocol used to transport internet mail. It is used as both an inter-server transport protocol and (with restricted behavior enforced) a mail submission protocol.

8BITMIME - Extensions The main identification feature is for ESMTP clients to open a transmission with the command EHLO (Extended HELLO), rather than HELO (Hello, the original RFC 821 standard)

8BITMIME - Extensions Each service extension is defined in an approved format in subsequent RFCs and registered with the Internet Assigned Numbers Authority (IANA). The first definitions were the RFC 821 optional services - SEND, SOML (Send or Mail), SAML (Send and Mail), EXPN, HELP, and TURN. The format of additional SMTP verbs was set and for new parameters in MAIL and RCPT.

8BITMIME - Extensions Some relatively common keywords (not all of them corresponding to commands) used today are:

* ATRN — Authenticated TURN for On-Demand Mail Relay, RFC 2645
8BITMIME - Extensions * ATRN — Authenticated TURN for On-Demand Mail Relay, RFC 2645

8BITMIME - Extensions * DSN — Delivery status notification, RFC 3461 (See Variable envelope return path)

8BITMIME - Extensions * ETRN — Extended version of remote message queue starting command TURN, RFC 1985

* HELP — Supply helpful information, RFC 821
8BITMIME - Extensions * HELP — Supply helpful information, RFC 821

* STARTTLS — Transport layer security, RFC 3207 (2002)
8BITMIME - Extensions * STARTTLS — Transport layer security, RFC 3207 (2002)

8BITMIME - Extensions * SMTPUTF8 — Allow UTF-8 encoding in mailbox names and header fields, RFC 6531

8BITMIME - Extensions * UTF8SMTP — Allow UTF-8 encoding in mailbox names and header fields, RFC 5336 (deprecated)

8BITMIME - Extensions The ESMTP format was restated in RFC 2821 (superseding RFC 821) and updated to the latest definition in RFC 5321 in Support for the EHLO command in servers became mandatory, and HELO designated a required fallback.

8BITMIME - Extensions Non-standard, unregistered, service extensions can be used by bilateral agreement, these services are indicated by an EHLO message keyword starting with X, and with any additional parameters or verbs similarly marked.

8BITMIME - Extensions SMTP commands are case-insensitive. They are presented here in capitalized form for emphasis only. An SMTP server that requires a specific capitalization method is a violation of the standard.

8BITMIME - List of supporting servers
* Postfix (software)|Postfix source code patch may be necessary for RFC 6531 UTF-8 header support.

* Sendmail source code patch necessary for UTF8SMTP support

* [ MailEnable] Support only in Enterprise Edition

* MagicMail Pipe-lining not used, check on the latest status of listed features.

* Courier Mail Server

* [ Maillennium]

* [ SubEtha]

The following servers can be configured to advertise 8BITMIME, but do not perform conversion of 8-bit data to 7-bit when connecting to non-8BITMIME relays:

* Exim and qmail do not translate eight-bit messages to seven-bit when making an attempt to relay 8-bit data to non-8BITMIME peers, as is required by the RFC.[ Qmail bugs and wishlist]. Home.pages.de. Retrieved on This does not cause problems in practice, since virtually all modern mail relays are 8-bit clean.[ The 8BITMIME extension]. Cr.yp.to. Retrieved on

* Microsoft Exchange Server 2003 advertises 8BITMIME by default, but relaying to a non-8BITMIME peer results in a bounce. This is allowed by [ RFC 6152 section 3].

* Microsoft Exchange Internet Mail Service (through version 5.5)

* Netscape Communications Corporation|Netscape Messaging Server 4.15

8BITMIME - ETRN Simple Mail Transfer Protocol#Remote Message Queue Starting|Remote Message Queue Starting is a feature of SMTP that permits a remote host to start processing of the mail queue on a server so it may receive messages destined to it by sending the TURN command

Sympathomimetics 'Sympathomimetic drugs' mimic the effects of transmitter substances of the sympathetic nervous system such as catecholamines, epinephrine (adrenaline), norepinephrine (noradrenaline), dopamine, etc. Such drugs are used to treat cardiac arrest and low blood pressure, or even delay premature labor, among other things.

Sympathomimetics These drugs act at the postganglionic sympathetic terminal, either directly activating postsynaptic receptor (biochemistry)|receptors, blocking breakdown and reuptake, or stimulating production and release of catecholamines.

Sympathomimetics - Mechanisms of action
The mechanisms of sympathomimetic drugs can be direct-acting, such as Adrenergic alpha-agonist|α-adrenergic agonists, beta agonist|β-adrenergic agonists, and dopaminergic agonists; or indirect-acting, such as MAOIs, COMT inhibitors, release stimulants, and reuptake inhibitors that increase the levels of endogenous catecholamines.

Sympathomimetics - Structure-activity relationship
For maximum sympathomimetic activity, a drug must have:

# Amine group two carbons away from an aromatic group

# A hydroxyl group at the chiral beta position in the R-configuration

# Hydroxyl groups in the meta and para position of the aromatic ring to form a catechol which is essential for receptor binding

The structure can be modified to alter binding. If the amine is primary or secondary, it will have direct action, but if the amine is tertiary, it will have poor direct action. Also, if the amine has bulky substituents, then it will have greater beta adrenergic receptor activity, but if the substituent is not bulky, then it will favor the alpha adrenergic receptors.

Sympathomimetics - Adrenergic receptor agonists
Direct stimulation of the α- and β-adrenergic receptors can produce sympathomimetic effects. Salbutamol is a very commonly used direct-acting Beta2-adrenergic receptor agonist|β2-agonist. Other examples include phenylephrine, isoproterenol, and dobutamine.

Sympathomimetics - Dopaminergic agonists
Stimulation of the D1 receptor by dopaminergic agonists such as fenoldopam is used intravenously to treat hypertensive crisis.

Sympathomimetics - Norepinephrine and dopamine transporter blockade
Classical sympathomimetic drugs are amphetamines (including MDMA), ephedrine, and cocaine, which act by blocking and reversing norepinephrine transporter (NET) activity. NET is a transport protein expressed on the surface of some cells that clears noradrenaline and adrenaline from the extracellular space and into cell (biology)|cells, terminating the signaling effects.

A primary or secondary aliphatic amine separated by 2 carbons from a substituted benzene ring is minimally required for high agonist activity. The pKa of the amine is approximately [ Medicinal Chemistry of Adrenergics and Cholinergics]

The presence of hydroxy group in the benzene ring at 3rd and 4th position shows maximum alpha and beta activity

Sympathomimetics - Cross-reactivity
Substances such as cocaine also affect dopamine, and some substances such as MDMA affect serotonin.

Sympathomimetics - Cross-reactivity
Thus, all sympathomimetic amines fall into the larger group of stimulants (see psychoactive drug chart)

Sympathomimetics - Comparison
Parasympatholytic and sympathomimetic are similar, but not identical. For example, both cause mydriasis, but parasympatholytics reduce Accommodation (eye)|accommodation (cycloplegia) while sympathomimetics do not.

Sympathomimetics - Examples
* ephedrine (found in Ephedra)

* pseudoephedrine (also found in Ephedra species)

* cocaine (found in Erythroxylum coca, coca)

* cathinone (found in Catha edulis, khat)

* cathine (also found in C. edulis)

Mimesis 'Mimesis' ( (mīmēsis), from μιμεῖσθαι (mīmeisthai), to imitate, from Wikt:μῖμος|μῖμος (mimos), imitator, actor) is a critical theory|critical and philosophical term that carries a wide range of meanings, which include imitation, representation (arts)|representation, mimicry, imitatio, receptivity, nonsensuous similarity, the act of resembling, the act of expression, and the impression management|presentation of the self.Gebauer and Wulf (1992, 1).

Mimesis In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been reinterpreted many times since then.

Mimesis In art history, mimesis, realism and naturalism are used, often interchangeably, as terms for the accurate, even illusionistic, Realism_(arts)#Illusionistic_realism|representation of the visual appearance of things

Mimesis The Frankfurt school critical theorist T.W.Adorno made use of mimesis as a central philosophical term, interpreting it as a way in which works of art embodied a form of reason that was non-repressive and non-violent.Karla L. Schultz (1990) Mimesis on the move: Theodor W. Adorno's concept of imitation, Peter Lang (publishing company)|Peter Lang AG, ISBN

Mimesis Mimesis has been theorised by thinkers as diverse as Plato, Aristotle, Philip Sidney, Samuel Taylor Coleridge, Adam Smith, Sigmund Freud, Walter Benjamin, Paul Ross, Theodor Adorno, Erich Auerbach, Luce Irigaray, Jacques Derrida, René Girard, Nikolas Kompridis, Philippe Lacoue-Labarthe, Michael Taussig, Merlin Donald, and Homi K. Bhabha|Homi Bhabha.

Mimesis - Plato Plato wrote about mimesis in both Ion (dialogue)|Ion and Republic (Plato)|The Republic (BooksII, III, and X)

Mimesis - Plato In BookII of The Republic, Plato describes Socrates' dialogue with his pupils. Socrates warns we should not seriously regard poetry as being capable of attaining the truth and that we who listen to poetry should be on our guard against its seductions, since the poet has no place in our idea of God.The Republic, 377.

Mimesis - Plato In developing this in BookX, Plato told of Socrates' metaphor of the three beds: one bed exists as an idea made by God (the Platonic ideal); one is made by the carpenter, in imitation of God's idea; one is made by the artist in imitation of the carpenter's.The Republic,

So the artist's bed is twice removed from the truth
Mimesis - Plato So the artist's bed is twice removed from the truth

Mimesis - Plato The poets, beginning with Homer, far from improving and educating humanity, do not possess the knowledge of craftsmen and are mere imitators who copy again and again images of virtue and rhapsodise about them, but never reach the truth in the way the superior philosophers do.

Mimesis - Aristotle Similar to Plato's writings about mimesis, Aristotle also defined mimesis as the perfection and imitation of nature

Mimesis - Aristotle Aristotle's Poetics (Aristotle)|Poetics is often referred to as the counterpart to this Platonic conception of poetry. Poetics is his treatise on the subject of mimesis. Aristotle was not against literature as such; he stated that human beings are mimetic beings, feeling an urge to create texts (art) that reflect and represent reality.

Mimesis - Aristotle Aristotle holds that it is through simulated representation, mimesis, that we respond to the acting on the stage which is conveying to us what the characters feel, so that we may empathy|empathise with them in this way through the mimetic form of dramatic roleplay

Mimesis - Aristotle In short, catharsis can only be achieved if we see something that is both recognisable and distant. Aristotle argued that literature is more interesting as a means of learning than history, because history deals with specific facts that have happened, and which are contingent, whereas literature, although sometimes based on history, deals with events that could have taken place or ought to have taken place.

Mimesis - Aristotle Aristotle thought of drama as being an imitation of an action and of tragedy as falling from a higher to a lower Estates of the realm|estate and so being removed to a less ideal situation in more tragic circumstances than before. He posited the fictional character|characters in tragedy as being better than the average human being, and those of comedy as being worse.

Mimesis - Contrast to diegesis
Mimesis shows, rather than tells, by means of directly represented action that is enacted

The distinction is, indeed, implicit in Aristotle's differentiation of representational modes, namely Mimesis#Mimesis in contrast to diegesis|diegesis (narrative description) versus mimesis (direct imitation) (1980, 110–1).

In his Poetics (Aristotle)|Poetics, the ancient Greek philosopher Aristotle argues that kinds of poetry (the term includes drama, flute music, and lyre music for Aristotle) may be differentiated in three ways: according to their medium, according to their objects, and according to their mode or manner (sectionI); For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality, as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us (sectionIII).

Though they conceive of mimesis in quite different ways, its relation with diegesis is identical in Plato's and Aristotle's formulations; one represents, the other reports; one embodies, the other narrates; one transforms, the other indicates; one knows only a continuous present, the other looks back on a past.

This usage can be traced back to the essay Crimes Against Mimesis

Mimesis - Dionysian imitatio
'Dionysian imitatio' is the influential literary method of imitation as formulated by Greek author Dionysius of Halicarnassus in the 1st century BCE, which conceived it as technique of rhetoric: emulating, adaptating, reworking and enriching a source text by an earlier author.Ruthven (1979) pp. 103–4Jansen (2008)

Mimesis - Dionysian imitatio
Dionysius' concept marked a significant depart from the concept of mimesis formulated by Aristotle's in the 4th century BCE, which was only concerned with imitation of nature instead of the imitation of other authors. Latin orators and rhetoricians adopted the literary method of Dionysius' imitatio and discarded Aristotle's mimesis.

Mimesis - Samuel Taylor Coleridge
Mimesis, or imitation, as he referred to it, was a crucial concept for Samuel Taylor Coleridge's theory of the imagination. Coleridge begins his thoughts on imitation and poetry from Plato, Aristotle, and Philip Sidney, adopting their concept of imitation of nature instead of other writers. His significant departure from the earlier thinkers lies in his arguing that art does not reveal a unity of essence through its ability to achieve sameness with nature. Coleridge claims:

Mimesis - Samuel Taylor Coleridge
Here, Coleridge opposes imitation to copying, the latter referring to William Wordsworth's notion that poetry should duplicate nature by capturing actual speech. Coleridge instead argues that the unity of essence is revealed precisely through different materialities and media. Imitation, therefore, reveals the sameness of processes in nature.

Mimesis - Luce Irigaray
The Belgian feminist Luce Irigaray used the term to describe a form of resistance where women imperfectly imitate stereotypes about themselves so as to show up these stereotypes and undermine them.See [

Mimesis - Michael Taussig
In Mimesis and Alterity (1993), the anthropologist Michael Taussig examines the way that people from one culture adopt another's nature and culture (the process of mimesis) at the same time as distancing themselves from it (the process of alterity). He describes how a legendary tribe, the white Indians, or Kuna (people)|Cuna, have adopted in various representations figures and images reminiscent of the white people they encountered in the past (without acknowledging doing so).

Mimesis - Michael Taussig
To Taussig, this reductionism is suspect, and he argues thus from both sides in his Mimesis and Alterity to see values in the anthropologists' perspective, at the same time as defending the independence of a lived culture from anthropological reductionism.Taussig, 1993:47, 48.

Final Fantasy character jobs - Mime
can replicate the previous action of another party member with the Mimic command.

They appear in many different versions throughout the series:

* Final Fantasy V (Mimes can equip most types of equipment, but they are restricted to lighter weapons, such as rods, staves, knives and boomerangs

* Final Fantasy VI (Characters of Final Fantasy VI#Gogo|Gogo is a Mimic who possesses the class' signature Mimic command, and can be given up to three other commands)

* Final Fantasy VII (characters equipped with the Mime materia can mimic the most recent action performed by another party member)

Mimes cannot Mimic certain special abilities (specifically, those restricted to character-specific special jobs), cannot engage in impossible actions (such as walking over impassable terrain, using abilities on invalid targets, or engaging in actions prohibited by status effect|status ailments), cannot mimic reaction abilities, and cannot mimic other Mimes

* Dissidia Final Fantasy (the hero representing Final Fantasy V, Characters of Final Fantasy V#Bartz Klauser|Bartz Klauser, uses the other player's attacks as his own, and his general appearance is based on the Mime job class)

Drama - Pantomime These stories follow in the tradition of fables and Folklore|folk tales

Double bind - Girard's mimetic double bind
This is, he divides reality in such a way as to neutralize the double bind.” While critical of Freud's doctrine of the unconscious mind, Girard sees the ancient Greek tragedy, Oedipus the King, and key elements of Freud's Oedipus complex, patricide|patricidal and incestuous desire, to serve as prototypes for his own analysis of the mimetic double bind.

Pierrot - Pantomime of Deburau at the Théâtre des Funambules
Most importantly, the character of his Pierrot, as it evolved gradually through the 1820s, eventually parted company almost completely with the crude Pierrots—timid, sexless, lazy, and greedy—of the earlier pantomime.On the early Pierrots, see Storey, Pierrots on the stage, pp

With him [wrote the poet and journalist Théophile Gautier after Deburau's death], the role of Pierrot was widened, enlarged

As in the Bakken pantomimes, that plot hinged upon Cassander's pursuit of Harlequin and Columbine—but it was complicated, in Baptiste's interpretation, by a clever and ambiguous Pierrot

imperturbable sang-froid [again the words are Gautier's], artful foolishness and foolish finesse, brazen and naïve gluttony, blustering cowardice, skeptical credulity, scornful servility, preoccupied insouciance, indolent activity, and all those surprising contrasts that must be expressed by a wink of the eye, by a puckering of the mouth, by a knitting of the brow, by a fleeting gesture.In La Presse, August 31, 1846; tr. Storey, Pierrots on the stage, p. 30.

A pantomime produced at the Funambules in 1828, The Gold Dream, or Harlequin and the Miser, was widely thought to be the work of Nodier, and both Gautier and Banville wrote Pierrot playlets that were eventually produced on other stages—Posthumous Pierrot (1847) and The Kiss (1887), respectively.For a full discussion of the connection of all these writers with Deburau's Pierrot, see Storey, Pierrot: a critical history, pp

Pierrot - Pantomime after Baptiste: Charles Deburau, Paul Legrand, and their successors
Deburau's son, Charles Deburau|Jean-Charles (or, as he preferred, Charles [1829–1873]), assumed Pierrot's blouse the year after his father's death, and he was praised for bringing Baptiste's agility to the role.See, e.g., Gautier in Le Moniteur Universel, August 30, 1858; tr. Storey, Pierrots on the stage, p. 59. (Nadar (artist)|Nadar's photographs of him in various poses are some of the best to come out of his studio—if not some of the best of the era.)For a gallery of these photographs, see

Among the works he produced were Marquis Pierrot (1847), which offers a plausible explanation for Pierrot's powdered face (he begins working-life as a miller's assistant), and the Pantomime of the Attorney (1865), which casts Pierrot in the prosaic role of an attorney's clerk.

Legrand often appeared in realistic costume, his chalky face his only concession to tradition, leading some advocates of pantomime, like Gautier, to lament that he was betraying the character of the type.On the Folies-Nouvelles, Legrand's pantomime, and Champfleury's relationship to both, see Storey, Pierrots on the stage, pp

And one of the last great mimes of the century, Georges Wague (1875–1965), though he began his career in Pierrot's costume, ultimately dismissed Baptiste's work as puerile and embryonic, averring that it was time for Pierrot's demise in order to make way for characters less conventional, more human.Wague, pp

Pierrot - Plays, playlets, pantomimes, and revues
*American (U.S.A.)—'Clements, Colin Campbell': Pierrot in Paris (1923); 'William Faulkner|Faulkner, William': The Marionettes (1920, pub

*Argentinianmdash;'Leopoldo Lugones|Lugones, Leopoldo': The Black Pierrot (1909).

*Austrian—'Noetzel, Hermann': Pierrot's Summer Night (1924); 'Arthur Schnitzler|Schnitzler, Arthur': The Transformations of Pierrot (1908), The Veil of Pierrette (1910; with music by Ernö Dohnányi; see also Stuppner among the Italian composers under '#Music 2|Western classical music (instrumental)' below); 'Franz Schreker|Schreker, Franz': The Blue Flower, or The Heart of Pierrot: A Tragic Pantomime (1909), The Bird, or Pierrot's Mania: A Pantomimic Comedy (1909).

*Belgian—':fr:Arthur Cantillon|Cantillon, Arthur': Pierrot before the Seven Doors (1924).

*Brazilianmdash;':pt:Juacute;lio Ceacute;sar da Silva (escritor)|César da Silva, Júlio': The Death of Pierrot (1915).

*British—'Davy Burnaby|Burnaby, Davy': The Co-Optimists (revue of 1921mdash;which was revised continually up to 1926mdash;played in Pierrot costumes, with music and lyrics by various entertainers; filmed in 1929); 'Cannan, Gilbert': Pierrot in Hospital (1923); 'Cryptos and James T

*Canadian—'Bliss Carman|Carman, Bliss, and Mary Perry King Kennerly': [ Pas de trois] (1914); 'Green, Harry A.': The Death of Pierrot: A Trivial Tragedy (1923); 'Gene Lockhart|Lockhart, Gene': The Pierrot Players (1918; music by Ernest Seitz).

*Dutch—'Martinus Nijhoff|Nijhoff, Martinus': [ Pierrot at the Lamppost] (1918).

*French—'Ballieu, A

*Italian—':it:Giuseppe Adami|Adami, Giuseppe': Pierrot in Love (1924); ':it:Enrico Cavacchioli|Cavacchioli, Enrico': Pierrot, Employee of the Lottery: Grotesque Fantasy ... (1920); 'Zangarini, Carlo': The Divine Pierrot: Modern Tragicomedy ... (1931).

*Japanesemdash;'Michio Itō': The Donkey (1918; music by Lassalle Spier).

*Mexicanmdash;':es:Dariacute;o Rubio|Rubio, Dariacute;o': Pierrot (1909).

*Polish—'Leśmian, Boleslaw': Pierrot and Columbine (c. 1910).

*Portuguesemdash;'Joseacute; de Almada Negreiros|Almada Negreiros, Joseacute; de': Pierrot and Harlequin (1924).

*Russian—'Alexander Blok|Blok, Alexander': The Fairground Booth a.k.a. The Puppet Show (1906); 'Nikolai Evreinov|Evreinov, Nikolai': A Merry Death (1908), Today's Columbine (1915), The Chief Thing (1921; turned into film, La Comeacute;die du bonheur, in 1940).

*Spanishmdash;':es:Santiago Aguilar Oliver|Aguilar Oliver, Santiago': Gypsy, or Pierrot’s Escapade (n.d.).

Pierrot - Plays, pantomimes, variety shows, circus, and dance
Le Mime solitaire (2009; ballet); 'Muller, Jennifer' (head of three-member Works Dance Company, New York): Pierrot (1986; music and scenario by Thea Musgrave [see below under '#Western classical|Western classical: Instrumental']); ':fr:Joseph Russillo|Russillo, Joseph' (works mainly in France): Pierrot (1975; ballet).

*British—'Joan Littlewood|Littlewood, Joan, and the Theatre Workshop': Oh, What a Lovely War! (1963; a musical satire on World War I played in Pierrot costumes); 'Ronald Smith Wilson|Wilson, Ronald Smith': Harlequin, Pierrot Co. (1976).

*Canadian—'Cirque du Soleil' (performs internationally): Corteo (2005–present; It. corteacute;o = cortegrave;ge or funeral procession; Pierrot appears as White Clown), La Nouba (1998–present; as in faire la nouba, i.e., to party; features a Pierrot Rouge [or Acrobatic Pierrot] and a Pierrot Clown).

*Cuban—'Nancy Morejón|Morejón, Nancy': Pierrot and the Moon (1999).

*French—'Baival, C., Paul Ternoise, and Albert Verse': Pierrot's Choice (1950); 'Marcel Marceau|Marceau, Marcel': Pierrot of Montmartre (1952; music by Joseph Kosma); 'The Mime Sime': The Fantasies of Pierrot (2007); 'Jacques Prévert|Prévert, Jacques': Baptiste (1959; choreography by Jean-Louis Barrault).

*Germanmdash;':de:Joachim Lemke|Lemke, Joachim': Pierrot for a Moment (n.d.); ':de:Rainer Kouml;nig|Kouml;nig, Rainer': Pierrot's Version: A Mime Breaks His Silence (n.d.).

*Russian—'Pimonenko, Evgeny' (performs internationally): Your Pierrot (c. 1994–present; act by black-suited Pierrot-juggler-equilibrist, originally of Valentin Gneushev's Cirk Valentin).

*Swedishmdash;'Ivo Crameacute;r|Cramér, Ivo': Pierrot in the Dark (1982; ballet).

*Swissmdash;':de:Pic (Richard Hirzel)|Pic (Richard Hirzel)': Pierrot clown famously associated, from 1980, with the German Circus Roncalli.

*See also '#Pierrot lunaire|Pierrot lunaire' below.

Pantomime Pantomime, The Oxford Encyclopedia of Children's Literature, Jack Zipes (ed.), Oxford University Press (2006) ISBN

Pantomime Pantomime has a long theatrical history in Western culture dating back to classical theatre, and it developed partly from the 16th-century commedia dell'arte tradition of Italy, as well as other European and British stage traditions, such as 17th-century masques. An important part of the pantomime, until the late 19th century, was the harlequinade. The pantomime is performed today throughout Britain and, to a lesser extent, in other English-speaking countries.

Pantomime - History Περὶ Ὀρχήσεως (Latin: De Saltatione) In a speech of the late 1st century AD now lost, the orator Aelius Aristides condemned the pantomime for its erotic content and the effeminacy of its dancing.Mesk, J., Des Aelius Aristides Rede gegen die Tänzer, WS 30 (1908)

Pantomime - History Precursors of pantomime also included the masque, which grew in pomp and spectacle from the 15th to the 17th centuries

Pantomime - Development as a distinctly English entertainment
See also Harlequinade

[ Pantomime, British,] Oxford Encyclopedia of Theatre and Performance, Oxford University Press, 2003, accessed 21 October 2011 Broadbent, chapter 12 In the 17th century, adaptations of the commedia characters became familiar in English entertainments.[ Early pantomime], Victoria and Albert Museum, accessed 21 October 2011 From these, the standard English harlequinade developed, depicting the eloping lovers Harlequin and Harlequinade#Columbine|Columbine, pursued by the girl's father Harlequinade#Pantaloon|Pantaloon and his comic servants Harlequinade#Clown|Clown and Harlequinade#Pierrot|Pierrot

[ Rich, John (1692–1761),] Oxford Dictionary of National Biography, Oxford University Press, 2004; online edition, May 2011, accessed 21 October He gained great popularity for his pantomimes, especially beginning with his 1724 production of The Necromancer; or, History of Dr

129, quoted in the Oxford English Dictionary The majority of these early pantomimes were re-tellings of a story from ancient Greek or Roman literature, with a break between the two acts during which the harlequinade's zany comic business, was performed

Pantomime - Places performed
Modern pantomime is performed in the United Kingdom, Australia, New Zealand, Canada, Zimbabwe, Jamaica, South Africa, India, Republic of Ireland|Ireland, Gibraltar, and Republic of Malta|Malta, mostly during the Christmas and New Year season.Chris Roberts (author)|Chris Roberts, Heavy Words Lightly Thrown: The Reason Behind Rhyme, Thorndike Press, 2006 (ISBN )

Pantomime - United Kingdom and Ireland
Many theatres in cities and towns throughout the United Kingdom and Ireland continue to have an annual professional pantomime. Pantomime is also very popular with amateur theatre|amateur dramatics societies throughout the UK and Ireland, and the pantomime season (roughly speaking, December to February) will see pantomime productions in many village halls and similar venues across the country.

Pantomime - In Australia
Pantomimes in Australia at Christmas were once very popular, but the genre has declined greatly since the middle of the 20th century.

Pantomime - In Canada Christmas pantomimes are performed yearly at the Hudson, Quebec|Hudson Village Theatre in Quebec.

Pantomime - In Jamaica [ Theatre: National Pantomime], Skywritings, No

Pantomime - In the United States
However, certain shows that came from the pantomime traditions, especially Peter and Wendy|Peter Pan, are performed quite often, and a few American theatre companies produce traditional British-style pantomime as well as American adaptations of the form.

A production at Olympic Theatre in New York of Humpty Dumpty ran for over 1,200 performances in 1868, becoming one of the most successful American pantomimes.[ The History of Pantomime], It's-Behind-You.com, 2002, accessed 10 February 2013

In 1993 there was a production of Cinderella at the UCLA Freud Theatre, starring Zsa Zsa Gabor. Stages Repertory Theatre in Houston, Texas, has been performing original pantomime-style musicals during the Christmas holidays since 2008.; ; ; Lythgoe Family Productions has produced pantomimes each winter since 2010 in California.; ; ; ; and

Camouflage - Mimesis In Mimesis (biology)|mimesis (also called masquerade), the camouflaged object looks like something else which is of no special interest to the observer. Mimesis is common in prey animals, for example when a peppered moth caterpillar mimics a twig, or a grasshopper mimics a dry leaf.Forbes, p. 151.

Camouflage - Mimesis Mimesis is also employed by some predation|predators and parasites to lure their prey. For example, a flower mantis mimics a particular kind of flower, such as an orchid.Forbes, p This tactic has occasionally been used in warfare, for example with heavily armed Q-ships disguised as merchant ships.Forbes, pp. 6–42.

Camouflage - Mimesis The common cuckoo, a brood parasite, provides examples of mimesis both in the adult and in the egg

Mime artist A 'mime artist' (from Ancient Greek|Greek μῖμος, mimos, imitator, actor)[ μῖμος],

Mime artist Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Digital Library is someone who uses 'mime' as a theatrical medium or as a performance art, involving miming, or the acting out a story through body motions, without use of speech. In earlier times, in English, such a performer would typically be referred to as a mummer. Miming is to be distinguished from silent comedy, in which the artist is a seamless character in a film or sketch.

Mime artist The performance of pantomime originates at its earliest in Ancient Greece; the name is taken from a single masked dancer called Pantomimus, although performances were not necessarily silent. In Medieval Europe, early forms of mime such as Mummers Play|mummer plays and later dumbshows evolved. In early nineteenth century Paris, Jean-Gaspard Deburau solidified the many attributes that we have come to know in modern times—the silent figure in whiteface.

Mime artist Jacques Copeau, strongly influenced by Commedia dell'arte and Japanese Noh theatre, used masks in the training of his actors. Étienne Decroux, a pupil of his, was highly influenced by this and started exploring and developing the possibilities of mime and developed corporeal mime into a highly sculptural form, taking it outside of the realms of naturalism. Jacques Lecoq contributed significantly to the development of mime and physical theatre with his training methods.

Mime artist - In film Prior to the work of Étienne Decroux there was no major treatise on the art of mime, and so any recreation of mime as performed prior to the twentieth century is largely conjecture, based on interpretation of diverse sources. However, the twentieth century also brought a new Mass media|medium into widespread usage: the motion picture.

Mime artist - In film The restrictions of early motion picture technology meant that stories had to be told with minimal dialogue, which was largely restricted to intertitles. This often demanded a highly stylized form of physical acting largely derived from the stage. Thus, mime played an important role in films prior to advent of talkies (films with sound or speech). The mimetic style of film acting was used to great effect in German Expressionism|German Expressionist film.

Mime artist - In film Silent film comedians like Charlie Chaplin, Harold Lloyd and Buster Keaton learned the craft of mime in the theatre, but through film, they would have a profound influence on mimes working in live theatre decades after their deaths. Indeed, Chaplin may be the most well-documented mime in history.

Mime artist - In film The famous French comedian, writer and director Jacques Tati achieved his initial popularity working as a mime, and indeed his later films had only minimal dialogue, relying instead on many subtle expertly choreographed visual gags. Tati, like Chaplin before him, would mime out the movements of every single character in his films and ask his actors to repeat them.

Mime artist - On stage and street
Mime acts are often comical, but some can be very serious.

Mime artist - In literature
4 Jacob Appel's Pushcart short-listed story, Coulrophobia, depicts the tragedy of a landlord whose marriage slowly collapses after he rents a spare apartment to an intrusive mime artist.Bellevue Literary Review, Vol 5, No

Mime artist - Greek and Roman mime
The first recorded pantomime actor was Telestēs in the play Seven Against Thebes by Aeschylus. Tragic pantomime was developed by Puladēs of Kilikia; comic pantomime was developed by Bathullos of Alexandria.Lust, Annette. [ The Origins and Development of the Art of Mime.] From the Greek Mimes to Marcel Marceau and Beyond: Mimes, Actors, Pierrots and Clowns: A Chronicle of the Many Visages of Mime in the Theatre. 9 March Retrieved 14 February 2010.

Mime artist - Greek and Roman mime
The Roman emperor Trajan banished pantomimists; Caligula favored them; Marcus Aurelius made them priests of Apollo. Nero himself acted as a mime.Broadbent, R. J. (1901) [ A History of Pantomime, Chapter VI.] London. Retrieved 14 February 2010.

Mime artist - In non-Western theatre traditions
While most of this article has treated mime as a constellation of related and historically linked Western world|Western theatre genres and performance techniques, analogous performances are evident in the theatrical traditions of other civilizations.

Classical Indian musical theatre, although often erroneously labeled a dance, is a group of theatrical forms in which the performer presents a narrative via stylized gesture, an array of hand positions, and mime illusions to play different characters, actions, and landscapes. Recitation, music, and even percussive footwork sometimes accompany the performance. The Natya Shastra, an ancient treatise on theatre by Bharata Muni, mentions silent performance, or mukabhinaya.

In Kathakali, stories from Indian epics are told with facial expressions, hand signals and body motions. Performances are accompanied by songs narrating the story while the actors act out the scene, followed by actor detailing without background support of narrative song.

The Japanese Noh tradition has greatly influenced many contemporary mime and theatre practitioners including Jacques Copeau and Jacques Lecoq because of its use of mask work and highly physical performance style.

Butoh, though often referred to as a dance form, has been adopted by various theatre practitioners as well.

Mime artist - Notable mime artists
*Jean-Louis Barrault

*Tom Bergeron[

*Michel Courtemanche

*Jogesh Dutta[ Mime wizard's final act], The Times of India. 22 August Retrieved 31 December 2009.

*Lenka Pichlíková-Burke

*Modris Tenisons[ Modris Tenisons: Režisors un scenogrāfs, dizaina mākslinieks, profesionāla pantomīmas teātra izveidotājs Kauņā.] Retrieved October 6, 2010.

ATC code R01 - R01AA Sympathomimetics, plain
:R01AA11 Tuaminoheptane

ATC code R01 - R01AB Sympathomimetics, combinations excluding corticosteroids
:R01AB08 Tuaminoheptane

ATC code R01 - R01BA Sympathomimetics
:R01BA02 Pseudoephedrine

ATC code R01 - R01BA Sympathomimetics
:R01BA52 Pseudoephedrine, combinations

Mimetoidea The 'Mimetoidea' are a Taxonomic rank|superfamily of Araneomorphae|araneomorph spiders. They contain two family (biology)|families of eight-eyed spiders:

Greek tragedy - Mimesis and catharsis
He uses the concepts of mimesis (, imitation), and catharsis or katharsis (, cleansing) to explain the function of tragedy

Gregory, for instance, argues that there is a close relationship between tragic katharsis and the transformation of pity and fear [...] into essentially pleasurable emotions in the theater.

overall ethical benefit that accrues from such an intense yet fulfillingly integrated

audience of tragedy can allow these emotions an uninhibited flow that ... is satisfyingly attuned to its contemplation of the rich human significance of a wellplotted

play. A katharsis of this kind is not reducible to either ‘‘purgation’’ or

promotes as the most sophisticated view of katharsis, the idea that it provides an education for the emotions. Tragedy ... provides us with the appropriate objects towards which to feel pity or fear.

Amiga support and maintenance software - MIME types
Modern Amiga-like operating systems such as AmigaOS 4.0 and MorphOS can handle also File format#MIME types|MIME types. Any kind of file, due to its peculiar characteristics (thanks to File format#Filename extension|filename extensions), or data embedded into the file itself (for example into file Header (computing)|header) could be associated with a program capable to handle it and this feature improves and completes the capabilities of Amiga to recognize and deal with any kind of file.

San Francisco Mime Troupe
'The San Francisco Mime Troupe' is a theatre of political satire which performs free shows in various parks in the San Francisco Bay Area and around California. The Troupe does not, however, perform silent mime artist|mime, but each year creates an original musical comedy that combines aspects of Commedia dell'Arte, melodrama, and broad farce with topical political themes. The group was awarded the Regional Theatre Award at the 41st Tony Awards.

San Francisco Mime Troupe - Origins
The group debuted with Mime and Word (1959) and The 11th Hour Mime Show (1960).Performed at the Encore Theater after shows by the Actors Workshop of San Francisco, where Ronnie Davis was working on the staff

San Francisco Mime Troupe - Origins
By the early 1970s, the Troupe had earned a reputation for opposing capitalism, sexism, and war.

San Francisco Mime Troupe - Post-Davis history
In the early 70s Mr. Davis left the Troupe when it re-formed as a Collective, the members of which operate as the Artistic Director, at which time the Troupe produced one of its most successful shows, The Independent Female (1970). In the 1980s, the group's productions retaliated against the Ronald Reagan|Reagan administration with a number of productions:

* In Factwino meets The Moral Majority (1981), Factwino, an alcoholic superhero that became a recurring protagonist, bestowed wisdom upon prominent icons, such as Jerry Falwell.

* Steel Town (1984) characterized the plight of steel workers and the decline of steel manufacture in the U.S. For this production, the troupe toured the Midwest, primarily in factory cities.

* In 1987, the troupe's Brechtian style of guerrilla theatre earned them a special Regional Theatre Tony Award|Tony Award for Excellence in Regional Theater.

Some of the Troupe's more recent popular shows include The Minstrel Show or Civil Rights in a Cracker Barrel, which satirized entrenched attitudes among liberals and bigots during the Civil Rights Struggle,Which, when professor Keith Fowler booked it into Massachusetts' Williams College in 1968, elicited comments from the opening night crowd of I've been raped! The next day a panel discussion was held in which professor Paul Gray of Bennington College thrust a KKK hood over his head and shouted, If any of them M--F--s comes near my wife, I'll kill him! Seeing Double, about a two-state solution in the Israeli/Palestinian conflict, Ripped VanWinkle which explores the gap between the optimism of 1968 and the 1988 reality.Offshore, about the real cost of Globalization, Eating It, about genetic engineering and profit driven science, [ Transylvania Avenue], about corporate government feeding on public wealth, [ GodFellas], a farce exposing the dangers of Fundamentalism to Democracy, and [ Making a Killing], about war propaganda, and the plight of Iraqis contaminated by depleted uranium

As well as the park-based shows, the Mime Troupe also tours nationally and internationally, having performed throughout Europe, Asia, South and Central America, and has won several awards. The group also facilitates community workshops. They are a nonprofit making organization. The season traditionally starts on Fourth of July weekend and ends on Labor Day weekend.

Early Mime Troupers include Saul Landau, Arthur Holden, Nina Serrano, Steve Reich, John Connell, Robert Nelson, William T. Wiley, Sandra Archer, Robert Hudson, Wally Hedrick, Judy North, Victoria Hochberg and John Broderick (producer)|John Broderick.

Later veterans include Arthur Holden, Sharon Lockwood, Peter Coyote, Luis Valdez, Barry Shabaka Henley, Bruce Barthol, Joan Holden, Joan Mankin, Daniel Chumley, Jael Weisman, Jim Haynie, John Robb, Emmett Grogan and Bill Graham (promoter)|Bill Graham.

The current San Francisco Mime Troupe Collective comprises [ Velina Brown], Ellen Callas, Michael Carreiro, Ed Holmes, Lisa Hori-Garcia, Lawton Lovely, Pat Moran, Keiko Shimosato, [ Michael Gene Sullivan], and Victor Toman.

San Francisco Mime Troupe - Productions
* 1965: The Exception and the Rule

* 1967: The Vaudeville Show

* 1968: Ruzzante or the Veteran Gorilla Marching Band is Formed

* 1969: Turandot (Brecht)|The Congress of Whitewashers or Turandot

* 1975: Frijoles or Beans To You

* 1981: Americans or Last Tango in Huahuatenango

* 1983: The Uprising At Fuente Ovejuna

* 1990: Uncle Tom's Cabin

* 1991: I Ain't Yo Uncle

* 2001: [ Transylvania Avenue]

* 2002: [ Mr. Smith Goes to Obscuristan]

* 2003:[ Veronique of the Mounties]

* 2004: [ Showdown at Crawford Gulch]

* 2011: [ The Musical!]

Potterne - Recent pantomimes
* February Mystery in Pantoland

Auto-lead Data Format - Mime Type
As this is not an IETF standard, the recommended mime type to use is application/x-adf+xml

Nonsulfonylurea secretagogues - Injectable Incretin mimetics
Incretins are insulin secretagogues. The two main candidate molecules that fulfill criteria for being an incretin are glucagon-like peptide-1 (GLP-1) and gastric inhibitory peptide (glucose-dependent insulinotropic peptide, GIP). Both GLP-1 and GIP are rapidly inactivated by the enzyme dipeptidyl peptidase-4 (DPP-4).

MIME types - Naming Media type consists of top-level type name and subtype name, which is further structured into so-called trees. Media types can optionally define companion data, known as parameters.

MIME types - Naming top-level type name / [ tree. ] subtype name [ +suffix ] [ ; parameters ]

MIME types - Naming The currently registered top-level type names are: application, audio, example, image, message, model, multipart, text, video.

MIME types - Naming Subtype name typically consists of a media type name, but it may or must also contain other content, such as tree prefix (facet), producer's name, product name or suffix - according the different rules in registration trees.

MIME types - Naming Examples: image/svg+xml, application/vnd.oasis.opendocument.text, text/plain; charset=utf-8, video/mp4; codecs=avc

MIME types - Registration trees
All media types should be registered using the IANA registration procedures

MIME types - Standards tree
Media types in the standards tree do not use any tree facet (prefix).

MIME types - Standards tree
Registrations in the standards tree must be either associated with IETF specifications approved directly by the Internet Engineering Steering Group|IESG, or registered by an IANA-recognized standards-related organization.

MIME types - Vendor tree
Vendor tree is used for media types associated with publicly available products. It uses vnd. facet.

The terms vendor and producer are considered equivalent in the context. Industry consortia as well as non-commercial entities can register media types in the vendor tree.

A registration in the vendor tree may be created by anyone who needs to interchange files associated with some software product or set of products. However, the registration belongs to the vendor or organization producing the software that employs the type being registered, and that vendor or organization can at any time elect to assert ownership of a registration done by a third party.

type / 'vnd.' media type name [+suffix] - used in the case of well-known producer

type / 'vnd.' producer's name followed by media type name [+suffix] - producer's name must be approved by IANA

type / 'vnd.' producer's name followed by product's name [+suffix] - producer's name must be approved by IANA

Examples: application/vnd.ms-excel, application/vnd.oasis.opendocument.text for OASIS OpenDocument Text, application/vnd.etsi.asic-s+zip for European Telecommunications Standards Institute|ETSI ASiC

MIME types - Personal or Vanity tree
Personal or Vanity tree includes media types created experimentally or as part of products that are not distributed commercially. It uses prs. facet.

MIME types - Unregistered x. tree
The x. tree may be used for media types intended exclusively for use in private, local environments and only with the active agreement of the parties exchanging them. Types in this tree cannot be registered.

According to RFC 6838 (published in January 2013), any use of types in the x. tree is strongly discouraged. Media types with names beginning with x- are no longer considered to be members of this tree since January 2013.

According to the previous version of RFC obsoleted RFC 2048 (published in November 1996) it should rarely, if ever, be necessary to use unregistered experimental types, and as such use of both x- and x. forms is discouraged. Previous versions of that RFC - RFC 1590 and RFC 1521 stated that the use of x- notation for the subtype name may be used for unregistered and private subtypes, but this recommendation was obsoleted in November 1996.

All media types should be registered using the simplified IANA registration procedures for vendor and personal trees or using the standards procedure for standards tree.

Media types that have been widely deployed (with an unfaceted subtype name beginning with the x- prefix) without being registered, should be, if possible, reregistered with a proper faceted subtype name. If this is not possible, the media type can, after an approval by both the media types reviewer and the IESG, be registered in the proper tree with its unfaceted name.

MIME types - Suffix Suffix is an augmentation to the media type definition to additionally specify the underlying structure of that media type.

MIME types - Suffix Media types that make use of a named structured syntax should use the appropriate IANA-registered +suffix for that structured syntax when they are registered. Unregistered suffixes should not be used (since January 2013). Structured syntax suffix registration procedures are defined in RFC 6838.

MIME types - Suffix The currently registered suffixes are: (in RFC 6839) +xml, +json, +ber, +der, +fastinfoset, +wbxml, +zip, (in RFC 7049) +cbor

MIME types - Suffix +xml suffix is defined since January 2001 (RFC 3023). Formal registration of +xml suffix and other suffixes is defined since January 2013 (RFC 6839).

MIME types - Type application
* application/zip: ZIP (file format)|ZIP archive files; Registered[ MIME SUBTYPE NAME: zip]

* application/example: example in documentation, Defined in RFC 4735

* application/x-nacl: Google Native Client|Native Client web module (supplied via Google Web Store only)

* application/x-pnacl: Google Native Client|Portable Native Client web module (may supplied by any website as it is safer than x-nacl)

* audio/example: example in documentation, Defined in RFC 4735
MIME types - Type audio * audio/example: example in documentation, Defined in RFC 4735

MIME types - Type example
For example types in documentation, not for real code.

MIME types - Type image * image/vnd.djvu: DjVu image and multipage document format.

* image/example: example in documentation, Defined in RFC 4735
MIME types - Type image * image/example: example in documentation, Defined in RFC 4735

MIME types - Type message
* message/example: example in documentation, Defined in RFC 4735

MIME types - Type multipart
* multipart/example: example in documentation, Defined in RFC 4735

* text/example: example in documentation, Defined in RFC 4735
MIME types - Type text * text/example: example in documentation, Defined in RFC 4735

MIME types - Type text * text/rtf: Rich Text Format|RTF; Defined by [ Paul Lindner]

MIME types - Type text * text/vnd.abc: ABC notation|ABC music notation; Registered[ vnd.abc]

MIME types - Type video * video/avi: Covers most Windows-compatible formats including .avi and .divx[ Mime Types List ]

* video/example: example in documentation, Defined in RFC 4735
MIME types - Type video * video/example: example in documentation, Defined in RFC 4735

MIME types - Prefix vnd * application/vnd.debian.binary-package: deb (file format), a software package format used by the Debian project; Registered[ vnd.debian.binary-package]

MIME types - Prefix x * application/x-www-form-urlencoded: Form Encoded Data; Documented in [ HTML 4.01 Specification, Section ]

Buttons (pantomime) 'Buttons' is the name of a character in the Cinderella pantomime. Buttons is the servant of Cinderella's father, Baron Hardup, and is Cinderella's friend. He is often in love with Cinderella and is constantly trying to express his feelings to her, only for her to remain unaware of his love for her or she simply replies she loves him only as the brother she never had.

Buttons (pantomime) Buttons is a strong comedy part and tells many jokes to keep the audience amused and to cheer up the mistreated Cinderella

Buttons (pantomime) He is often dressed in a traditional red or blue bellboy's costume with polished buttons down his front and a pillbox hat. Before he gained his set name, he was called Chips or Pedro. The name Buttons came from the nickname given to Victorian pageboys, whose costume the pantomime character wears. It is interesting to note that the Spanish name for an office bellboy is botones.

Buttons (pantomime) During the mid-1950s, Danny Kaye visited Australia, where he played the part of Buttons in a Cinderella pantomime in Sydney.

Hyperparathyroidism - Calcimimetics
The most common side effects of calcimimetics are mild or moderate nausea and vomiting.

Product naming - Mimetics
Use alternative spellings for common sounds: 2(x)ist, Krispy Kreme.

René Girard - Mimetic desire
After almost a decade of teaching French literature in the United States, Girard began to develop a new way of speaking about literary texts. Beyond the uniqueness of individual works, he tried to discover their common structural properties after noticing that characters in great fiction evolved in a system of relationships otherwise common to the wider generality of novels. But there was a distinction to be made:

Only the great writers succeed in painting these mechanisms faithfully, without falsifying them: we have here a system of relationships that paradoxically, or rather not paradoxically at all, has less variability the greater a writer is. (1994): p. 32.

These laws and this system are the consequences of a fundamental reality grasped by the novelists, which Girard called the mimetic character of desire

Mediation is external when the mediator of the desire is socially beyond the reach of the subject or, for example, a fictional character, as in the case of Amadis de Gaula and Don Quixote

Through their characters, our own behaviour is displayed

This fundamental focus on mimetic desire would be pursued by Girard throughout the rest of his career. It is interesting to note that the stress on imitation in humans was not a popular subject when Girard developed his theories, but today there is independent support for his claims coming from empirical research in psychology and neuroscience (see below).

René Girard - Non-mimetic desires
René Pommier has pointed out a number of problems with the Girardian claim that all desire is mimetic

René Girard - Non-mimetic desires
It should be noted that it's not clear that the first objection really provides a challenge to Girard's theory, as even in repressive societies men are still desired (albeit by women)

King George V School (Hong Kong) - Year 13 pantomime
The Pantomime, otherwise known as the panto, is performed by Year 13 students on the final day of the fall term, prior to the start of the Christmas break. Generally making fun of the school or its teachers, this event is invariably a great comedy show for all students.

ICO (file format) - MIME type
While the Internet Assigned Numbers Authority|IANA-registered MIME type for ICO files is image/vnd.microsoft.icon, it was submitted to IANA in 2003 by a third party and is not recognised by Microsoft software, which uses image/x-icon instead. See the second comment. Erroneous types image/ico, image/icon, text/ico, and application/ico have also been seen in use.

Henry Winkler - Pantomime
Winkler appeared in his first pantomime at the New Wimbledon Theatre, London in 2006, playing Captain Hook in Peter Pan, replacing David Hasselhoff who pulled out when he was offered a TV role by Simon Cowell. He reprised the role in Woking for Christmas For the 2008/2009 season he played Captain Hook at the Milton Keynes Theatre and donned the hook once again for the 2009/2010 panto season at the Liverpool Empire Theatre|Liverpool Empire.

On June 2, 2010, it was announced that Winkler would become the television spokesman for One Reverse Mortgage, a reverse mortgage lender.

In December 2013, Winkler reprised his role of Captain Hook in Peter Pan at the Richmond Theatre in South West London.

Multipurpose Internet Mail Extensions - MIME-Version
We did not adequately specify how to handle a future MIME version, Borenstein said. So if you write something that knows 1.0, what should you do if you encounter 2.0 or 1.1? I sort of thought it was obvious but it turned out everyone implemented that in different ways. And the result is that it would be just about impossible for the Internet to ever define a 2.0 or a 1.1.

Chris Jarvis (presenter) - Pantomime
Jarvis has appeared in pantomimes professionally every year since 1995, and prior to that had performed in several as an amateur. Since 2001, he has written and directed many of these pantomimes as well.

* 1995 'Aladdin' Guildford - Bernie Nolan, Clare Buckfield, Jack Douglas (actor)|Jack Douglas, Richard Gibson,

* 1997 'Jack the Beanstalk' Bromley - Matthew Kelly, Vicki Michelle, Toyah Willcox, Robert Duncan (actor)|Robert Duncan,

* 2002 'Cinderella' Bournemouth - Ruth Madoc, Nicholas Smith (actor)|Nicholas Smith

* 2004 'Jack the Beanstalk' Bournemouth - Christopher Ellison|Chris Ellison, Tom Owen (actor)|Tom Owen, Jackie Piper

* 2005 'Aladdin' Bournemouth - Ray Meagher, Mark Squires

* 2006 'Snow White' Tunbridge Wells - Carol Harrison, Richard Calkin

* 2008 'Cinderella' Swansea - Su Pollard, Sarah Thomas (actress)|Sarah Thomas [ Youtube - Cinderella 08/09 - Swansea Grand Theatre]

* 2009 'Snow White' at the Pavilion Theatre, Bournemouth with Su Pollard [ Bournemouth Echo - Su Pollard and Chris Jarvis launch Bournemouth panto] Tuesday 6 October 2009[ Bournemouth International Centre - Jack and the Beanstalk]

* 2010 'Cinderella' at the Pavilion Theatre, Bournemouth with Amanda Barrie.

* 2011 'Jack the Beanstalk' at the Pavilion Theatre, Bournemouth with Debra Stephenson, Brian Capron, Nick Wilton Kate Weston

* 2012 'Sleeping Beauty' at the Pavilion Theatre, Bournemouth with Su Pollard.

* 2013 'Aladdin' at the Pavilion Theatre, Bournemouth with Scott Maslen, Bobby Crush, Nicholas Khan, Jennifer Saayeng, Richard Vincent, Jamie-Lee Mason

Jarvis has been involved with several televised pantomimes on CBeebies, including 2011's Strictly Cinderella (which he co-wrote, and acted as Baron Hardup),[ CBeebies Christmas Panto - Strictly Cinderella] 2010's Aladdin (in which he plays Emperor Sho Mee) [ BBC Press Office - Aladdin: Chris Jarvis plays Emperor Sho Mee] and 2009's Jack Jill (which he wrote and appeared in a cameo).[ The Guardian TV Radio][ BBC - Press Office - The CBeebies Christmas Pantomime]

Hitmonchan - Mr. Mime Mime are very prideful of their Mime artist|pantomime acts, and will heavily slap anyone that interrupts them while miming.

Nigel Havers - Theatre (pantomime)
* Robin Hood - Theatre Royal, Plymouth (2013)

Nigel Havers - Theatre (pantomime)
* Aladdin - Yvonne Arnaud Theatre (2008)

Mother Goose - Pantomime
Played Cross-dressing|en travesti by Samuel SimmonsTsurumi (1990:30) notes that Simmon's Mother Goose was memorialised at the time in a popular engraving.– a pantomime tradition that survives today– she also raises a ghost in a macabre churchyard scene.

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