Marker

Marker may refer to:

People

Marker (ski bindings)

Marker has been a manufacturer of alpine ski bindings since 1952. Founded by Hannes Marker, the company is known for pioneering releasable binding technology. Marker's first model, the Duplex was followed in 1953 by the Simplex toe binding which was a huge success in the 1950s. New models introduced in the 1980s were major competitors on the alpine racing circuit. Marker remained independent until the 1980s, since then the company ownership switched hands several times until becoming part of the K2 Sports group, which in turn was purchased by Jarden in 2007.

History

Early models

Until the 1950s the ski industry had not split into different disciplines and used the cable binding for all purposes. The "Kandahar" style binding added clips to hold down the foot for downhill runs, and then released for cross-country striding. These bindings had no release system, and could cause serious injuries during even the most minor falls. In the early 1960s, Dr. Richard Spademan had to deal with 150 fractures during a single three-day weekend at Squaw Valley Ski Resort.

Marker (linguistics)

In linguistics, a marker is a free or bound morpheme that indicates the grammatical function of the marked word, phrase, or sentence. Most characteristically, markers occur as clitics or inflectional affixes. In analytic languages and agglutinative languages, markers are generally easily distinguished. In fusional languages and polysynthetic languages, this is often not the case. For example, in Latin, a highly fusional language, the word amo ("I love") is marked by suffix -o for indicative mood, active voice, first person, singular, present tense. Analytic languages tend to have a relatively limited number of markers.

Markers should be distinguished from the linguistic concept of markedness. An unmarked form is the basic "neutral" form of a word, typically used as its dictionary lemma, such as—in English—for nouns the singular (e.g. cat versus cats), and for verbs the infinitive (e.g. to eat versus eats, ate and eaten). Unmarked forms (e.g. the nominative case in many languages) tend to be less likely to have markers, but this is not true for all languages (compare Latin). Conversely, a marked form may happen to have a zero affix, like the genitive plural of some nouns in Russian (e.g. сапог). In some languages, the same forms of a marker have multiple functions, such as when used in different cases or declensions (for example -is in Latin).

Tense

Tense may refer to:

See also

Tenseness

In phonology, tenseness or tensing is the pronunciation of a vowel with a relatively longer duration and with the tongue positioned slightly higher and less centralized in the mouth compared with another vowel, thus causing a phonemic contrast between the two vowels. Contrast between vowels on the basis of tenseness is common in many languages, including English; for example, in most English dialects, [iː] (as in the word beet) is the tense counterpart to the lax /ɪ/ (as in bit), and /uː/ (as in kook) is the tense counterpart to the lax /ʊ/ (as in cook). The opposite quality of tenseness, in which a vowel is produced as relatively more shortened, lowered, and centralized, is called laxness or laxing.

Unlike most distinctive features, the feature [tense] can be interpreted only relatively, often with a perception of greater tension or pressure in the mouth, which, in a language like English, contrasts between two corresponding vowel types: a tense vowel and a lax vowel. An example in Vietnamese is the letters ă and â representing lax vowels, and the letters a and ơ representing the corresponding tense vowels. Some languages like Spanish are often considered as having only tense vowels, but since the quality of tenseness is not a phonemic feature in this language, it cannot be applied to describe its vowels in any meaningful way. The term has also occasionally been used to describe contrasts in consonants.

Tense (artwork)

Tense is the title of an art installation made by Turner Prize nominee Anya Gallaccio in 1990. The work consists of printed rolls of wallpaper featuring an orange motif, "the paper was pasted on the walls, and on the floor Gallaccio made an oblong 'carpet' comprising one ton of Valencia oranges which gradually decayed over the duration of the show."

Considering the work in his 2001 essay, Oranges and Lemons and Oranges and Bananas, British art critic, historian and academic Michael Archer said,: "As a somewhat opportune indication that we are dealing here with continuities as much as breaks and new beginnings, it could be pointed out that Anya Gallaccio’s contribution to Bond’s East Country Yard Show was a ton of oranges spread in a large rectangle on the floor. Together with an orange-motif wallpaper plastering one of the walls, the work made reference to the building’s past as a fruit warehouse and its planned future as a luxury residence."

The work was on display at the 1990 exhibition East Country Yard Show.