text:
Talk:Code

Add Spanish article link
https://es.wikipedia.org/wiki/Código_(comunicación) — Preceding unsigned comment added by 190.1.47.224 (talk) 19:30, 5 October 2016 (UTC)

Code meaning Algorithm
I like the rewrite--the earlier stuff that made a big deal about codes being only symbolic->semantic is far more specialized than the ordinary English usage of the word, and belongs in an article of its own right, perhaps something related to information theory. Please don't place domain-specific stuff like that in articles whose titles are simple words--it implies that the field-specific meaning is the general one.

I also removed a reference that implied that the word "code" could mean "algorithm"; I've never seen this use in my 20 years of programming. "Code" always refers to the actual instruction text, not what it represents. --LDC —Preceding undated comment added 22:02, 17 December 2001 (UTC).

 * I don't understand what this sentence was trying to say:

 * The sense of code referring to the program itself is still sometimes encountered, e.g., "Fortran codes".

 * This usage is the "source code" usage already described. —Preceding unsigned comment added by Lee Daniel Crocker (talk • contribs) 23:16, 17 December 2001 (UTC)

 * It's the difference between "have you got any code that does foo" vs "have you got a code that does foo".

 * True, not very significant and probably better left here in Talk to avoid confusion. —Preceding unsigned comment added by Hagedis (talk • contribs) 01:00, 18 December 2001 (UTC)

 * I've never heard that second usage ("a code..."), and I've been programming for about 20 years. Maybe it's specific to a certain subset of programmers.  --LDC —Preceding undated comment added 01:07, 18 December 2001 (UTC).

 * I've only noticed it with a few Fortran numerical programmers. —Preceding unsigned comment added by Hagedis (talk • contribs) 01:37, 18 December 2001 (UTC)

Morse code
When there are clearly two or more people actively working on a page, it is a good idea to justify your changes here in the Talk page. Why remove the 5-letter Morse code groups; they are a good example of the "data compression" use of codes which is not otherwise covered here. I'm putting them back, but with a better explanation of that fact, unless you can give me a good reason not to. --LDC —Preceding undated comment added 22:15, 17 December 2001 (UTC).

 * They are extemely obscure. I can't find independent reference to it.  they belong more logically in morse code, it seems to me. —Preceding unsigned comment added by Hagedis (talk • contribs) 22:18, 17 December 2001 (UTC)

 * I had learned the Morse code in school 41.116.214.197 (talk) 14:50, 6 January 2024 (UTC)

 * Yes, they do fit better over there; if you can find another good example of the use of codes for brevity (perhaps something like the restaurant codes?), then feel free to replace it, but I think the article needs something on that. --LDC —Preceding undated comment added 22:20, 17 December 2001 (UTC).

Code of honour
I put the code-of-honour etc., definition at the top, since I think it emphasises the basic meaning of the word, which is also behind most of the other definitions. This may be slightly obscured to people who live with the technical usage. —Preceding unsigned comment added by Hagedis (talk • contribs) 23:08, 17 December 2001 (UTC)

 * I certainly agree that we techies can't always be counted on to know the general public perception of a word when there's a technical use. Is law code really the central concept here?
 * My own perception is that "symbolic substitution" is the central concept, and that laws became "codified" (i.e., arranged in organized codes) after-the-fact, by creating a set of symbols for them (numbers and so on). But maybe law codes really did come first.
 * I'd like to see what OED says on the matter. --LDC —Preceding undated comment added 23:13, 17 December 2001 (UTC).

Code and Cipher
I clarified the difference between code and cipher - the most common use is to call it encipher/encrypt if you have secrecy in mind and encode if you don't. I have never seen the ASCII-code called cipher and it is not common practice anymore to distinguish it by word/phrase or byte-level encoding.

I also added references to data compression and error correction.

LDC: If you want to put back the Morse code examples - IMHO it is more appropriate on a Morse code article. -- Rochus —Preceding unsigned comment added by Rochus (talk • contribs) 18:36, 22 January 2003 (UTC)

FYI today: the Morse Code graphic is still here. I like it! It is famous. -- AstroU (talk) 22:04, 8 May 2014 (UTC)

Marked for cleanup
There are so many definitions on this relatively long page, its confusing to sift through them, so I listed it on cleanup. Maybe a disambiguation page should be made, and then new pages for the rather long meanings. —siroχo 04:12, Jul 6, 2004 (UTC)

Merge with "coding theory" ?
Suggest this article should be merged with coding theory. Both cover much the same territory, and both could use some beefing up.

That article goes into rather more detail, but it may be better devolved down to data compression and error correction.

-- Jheald 21:21, 5 March 2007 (UTC).

 * The idea of codes as covered in this article has rather little in common with coding theory. I can consider this proposal dead for lack of support, and will remove the tag. Dicklyon 00:59, 20 April 2007 (UTC)

 * I agree that the article has little in common with coding theory. Rather, I think the sections related to coding theory (Variable length codes, Block codes, Error correcting codes) are not suitable for a general article on codes and should be merged with the article on Coding theory, or deleted in case this article does not contain any additional information. Isheden (talk) 15:33, 9 July 2010 (UTC)

Merge from Encoding
The article on encoding is a list of bullet points which talks about encoding in different domains. Even if the article is expanded to full paragraphs with each covering a domain, the subject of encoding in any domain will be no different from what the domain's code stands for, which the code article attempts to cover. Jay (talk) 13:29, 18 March 2010 (UTC)
 * I agree, and also think the decoding "article" should be merged into this one as well. -- Schapel (talk) 20:46, 3 June 2010 (UTC)

Language
Why isn't natural language among the examples? To me it's the first and foremost code as I use it rather frequently. AFAIK, in German linguistics "code" is a common term for language. This might be different in English but the definition at the beginning of the article still clearly includes natural language. --Mudd1 (talk) 12:07, 27 May 2010 (UTC)

Code
I am not happy with the definition in the front myself.

A code is a rule for converting a piece of information (for example, a letter, word, phrase, or gesture) into another form or representation (one sign into another sign), not necessarily of the same type.

Number 1 - the rule is not defined, neither is the act of converting - what is converted to what, because you do not convert either of them. No. 2. All you do is to pair or to match them in a table the elements of which are sorted to make them become a code. We should start from objects, a group of unsorted objects, such as a set. This set does not mean anything for the person when he examines the properties of the elements of the set one by one, by comparing them as a result of which he can sort them in an order by identifying/judging one and the same property of each member. As a result, you will get an ordered list sorted on that property with the objects associated with the properties serving as a code (code table) for either the property or the object so related and now sorted to become a code - where a one-to-one correspondence of the property and each member (object) is that turns or makes the set a code.

Genezistan (talk) 12:51, 25 November 2010 (UTC)

ERR_NOT_PLACED — Preceding unsigned comment added by 95.77.148.210 (talk) 09:24, 24 November 2013 (UTC)

Current new News
Headline-1: Mysterious 150-year-old writing in rare copy of Homer's 'Odyssey' identified QUOTE: "Italian software engineer wins contest that generates worldwide response" -- AstroU (talk) 22:08, 8 May 2014 (UTC) -- PS:FYI for future editing.
 * http://news.uchicago.edu/article/2014/05/05/mysterious-150-year-old-writing-rare-copy-homers-odyssey-identified

Headline-2: Computer Engineer Cracks 150-Year-Old 'Odyssey' Code QUOTE: "Leave it to an Italian computer engineer to crack a 150-year-old, handwritten code." -- AstroU (talk) 22:12, 8 May 2014 (UTC) -- PS:FYI for future editing.
 * http://www.newsy.com/videos/computer-engineer-cracks-150-year-old-odyssey-code/

 * The code-breaker in Italy says he will continue and try to figure out the identity of the ancient code writer. -- Narnia.Gate7 (talk) 23:18, 8 May 2014 (UTC)

Character encoding
I cleaned up the odd stuff in the section on character encoding a bit (https://en.wikipedia.org/w/index.php?title=Code&type=revision&diff=838616203&oldid=837667159) but I suspect it is too long now. Perhaps someone with a better idea of how to focus this article could have crack at reining it in. To be honest I’m not sure this page makes a ton of sense (a lot of disparate concepts?) so I don’t know how detailed an individual section ought to be. 2601:182:C680:CCC:E93E:6EB7:9017:DC7C (talk) 04:56, 28 April 2018 (UTC)

On reflection, viewing it in context again, I understand better why it was focused on ASCII: it was intended as an "example of the example". Perhaps it should be reverted? :/ 2601:182:C680:CCC:E93E:6EB7:9017:DC7C (talk) 05:03, 28 April 2018 (UTC)

Edit Request 28 March 2022
A character encoding provides a key to unlock (ie. crack) the code. It is a set of mappings between the bytes in the computer and the characters in the character set. Without the key, the data looks like garbage. Mscode054 (talk) 20:07, 28 March 2022 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate. Happy Editing-- IAm Chaos  03:42, 29 March 2022 (UTC)

Semi-protected edit request on 29 March 2022
Change "Character encodings are representations of textual data." to "A character encoding provides a key to unlock (ie. crack) the code. It is a set of mappings between the bytes in the computer and the characters in the character set. Without the key, the data looks like garbage." Mscode054 (talk) 19:49, 29 March 2022 (UTC)
 * Red information icon with gradient background.svg Not done: That would be a direct copyright violation. ScottishFinnishRadish (talk) 19:54, 29 March 2022 (UTC)

title: Talk:Code


text:
Christopher Guest

Christopher Haden-Guest, 5th Baron Haden-Guest (born 5 February 1948), known professionally as Christopher Guest, is a British-American actor, comedian, screenwriter and director. Guest has written, directed, and starred in his series of comedy films shot in mockumentary style. The series of films began with This Is Spinal Tap (which he did not direct) and continued with Waiting for Guffman, Best in Show, A Mighty Wind, For Your Consideration, and Mascots.

Guest holds a hereditary British peerage as the 5th Baron Haden-Guest, and has publicly expressed a desire to see the House of Lords reformed as a democratically elected chamber. Though he was initially active in the Lords, his career there was cut short by the House of Lords Act 1999, which removed the right of most hereditary peers to a seat in the parliament. When using his title, he is normally styled as Lord Haden-Guest. Guest is married to the actress Jamie Lee Curtis.

Early life
Guest was born in New York City, the son of Peter Haden-Guest, a British United Nations diplomat who later became the 4th Baron Haden-Guest, and his second wife, the former Jean Pauline Hindes, an American former vice president of casting at CBS. Guest's paternal grandfather, Leslie, Baron Haden-Guest, was a Labour Party politician, who was a convert to Judaism. Guest's paternal grandmother, a descendant of the Dutch Jewish Goldsmid family, was the daughter of Colonel Albert Goldsmid, a British officer who founded the Jewish Lads' and Girls' Brigade and the Maccabaeans. Guest's maternal grandparents were Jewish emigrants from Russia. Both of Guest's parents had become atheists, and Guest himself had no religious upbringing. In 1938, his uncle, David Guest, a lecturer and Communist Party member, was killed in the Spanish Civil War, fighting in the International Brigades.

Guest spent parts of his childhood in his father's native United Kingdom. He attended the High School of Music & Art (New York City), studying classical music (clarinet) at the Stockbridge School in the village of Interlaken in Stockbridge, Massachusetts. He later took up the mandolin, became interested in country music, and played guitar with Arlo Guthrie, a fellow student at Stockbridge School. Guest later began performing with bluegrass bands until he took up rock and roll. Guest went to Bard College for a year and then studied acting at New York University's Graduate Acting Program at the Tisch School of the Arts, graduating in 1971.

1970s
Guest began his career in theatre during the early 1970s with one of his earliest professional performances being the role of Norman in Michael Weller's Moonchildren for the play's American premiere at the Arena Stage in Washington, DC, in November 1971. Guest continued with the production when it moved to Broadway in 1972. The following year, he began making contributions to The National Lampoon Radio Hour for a variety of National Lampoon audio recordings. He both performed comic characters (Flash Bazbo—Space Explorer, Mr. Rogers, music critic Roger de Swans, and sleazy record company rep Ron Fields) and wrote, arranged, and performed numerous musical parodies (of Bob Dylan, James Taylor, and others). He was featured alongside Chevy Chase and John Belushi in the off-Broadway revue National Lampoon's Lemmings. Two of his earliest film roles were small parts as uniformed police officers in the 1972 film The Hot Rock and 1974's Death Wish.

Guest played a small role in the 1977 All in the Family episode "Mike and Gloria Meet", where in a flashback sequence Mike and Gloria recall their first blind date, set up by Michael's college buddy Jim (Guest), who dated Gloria's girlfriend Debbie (Priscilla Lopez).

Guest also had a small but important role in it Happened One Christmas, the 1977 gender-reversed TV remake of the Frank Capra classic it's a Wonderful Life, starring Marlo Thomas as Mary Bailey (the Jimmy Stewart role), with Cloris Leachman as Mary's guardian angel and Orson Welles as the villainous Mr. Potter. Guest played Mary's brother Harry, who returned from the Army in the final scene, speaking one of the last lines of the film: "A toast! To my big sister Mary, the richest person in town!"

1980s
Guest's biggest role of the first two decades of his career is likely that of Nigel Tufnel in the 1984 Rob Reiner film This Is Spinal Tap. Guest made his first appearance as Tufnel on the 1978 sketch comedy program The TV Show.

Along with Martin Short, Billy Crystal, and Harry Shearer, Guest was hired as a one-year-only cast member for the 1984–85 season on NBC's Saturday Night Live. Recurring characters on SNL played by Guest include Frankie, of Willie and Frankie (coworkers who recount in detail physically painful situations in which they have found themselves, remarking laconically "I hate when that happens"); Herb Minkman, a novelty toymaker with his brother Al (played by Crystal); Rajeev Vindaloo, an eccentric foreign man in the same vein as Andy Kaufman's Latka character from Taxi; and Señor Cosa, a Spanish ventriloquist often seen on the recurring spoof of The Joe Franklin Show. He also experimented behind the camera with pre-filmed sketches, notably directing a documentary-style short starring Shearer and Short as synchronized swimmers. In another short film from SNL, Guest and Crystal appear in blackface as retired Negro league baseball players, "The Rooster and the King".

He appeared as Count Rugen (the "six-fingered man") in The Princess Bride. He had a cameo role as the first customer, a pedestrian, in the 1986 musical remake of The Little Shop of Horrors. As a co-writer and director, Guest made the Hollywood satire The Big Picture.

Upon his father succeeding to the family peerage in 1987, he was known as "the Hon. Christopher Haden-Guest". This was his official style and name until he inherited the barony in 1996.

1990–present
The experience of making This is Spinal Tap directly informed the second phase of his career. Starting in 1996, Guest began writing, directing, and acting in his own series of substantially improvised films. Many of them are considered definitive examples of what came to be known as "mockumentaries"—not a term Guest appreciates.

Together, Guest, his frequent writing partner Eugene Levy, and a small band of actors have formed a loose repertory group, which appears in several films. These include Catherine O'Hara, Michael McKean, Parker Posey, Bob Balaban, Jane Lynch, John Michael Higgins, Harry Shearer, Jennifer Coolidge, Ed Begley Jr., Jim Piddock and Fred Willard. Guest and Levy write backgrounds for each of the characters and notecards for each specific scene, outlining the plot, and then leave it up to the actors to improvise the dialogue, which is supposed to result in a much more natural conversation than scripted dialogue would. Typically, everyone who appears in these movies receives the same fee and the same portion of profits. Among the films performed in this manner, which have been written and directed by Guest, include Waiting for Guffman (1996), about a community theatre group, Best in Show (2000), about the dog show circuit, A Mighty Wind (2003), about folk singers, For Your Consideration (2006), about the hype surrounding Oscar season, and Mascots (2016), about a sports team mascot competition.

Guest had a guest voice-over role in the animated comedy series SpongeBob SquarePants as SpongeBob's cousin, Stanley.

Guest again collaborated with Reiner in A Few Good Men (1992), appearing as Dr. Stone. In the 2000s, Guest appeared in the 2005 biographical musical Mrs Henderson Presents and in the 2009 comedy The Invention of Lying.

He is also currently a member of the musical group The Beyman Bros, which he formed with childhood friend David Nichtern and Spinal Tap's current keyboardist C. J. Vanston. Their debut album Memories of Summer as a Child was released on January 20, 2009.

In 2010, the United States Census Bureau paid $2.5 million to have a television commercial directed by Guest shown during television coverage of Super Bowl XLIV.

Guest holds an honorary doctorate from and is a member of the board of trustees for Berklee College of Music in Boston.

In 2013, Guest was the co-writer and producer of the HBO series Family Tree, in collaboration with Jim Piddock, a lighthearted story in the style he made famous in This is Spinal Tap, in which the main character, Tom Chadwick, inherits a box of curios from his great aunt, spurring interest in his ancestry.

On August 11, 2015, Netflix announced that Mascots, a film directed by Guest and co-written with Jim Piddock, about the competition for the World Mascot Association championship's Gold Fluffy Award, would debut in 2016.

Guest replayed his role as Count Tyrone Rugen in the Princess Bride Reunion on September 13, 2020.

Family

Guest became the 5th Baron Haden-Guest, of Great Saling, in the County of Essex, when his father died in 1996. He succeeded upon the ineligibility of his older half-brother, Anthony Haden-Guest, who was born before his parents married. According to an article in The Guardian, Guest attended the House of Lords regularly until the House of Lords Act 1999 barred most hereditary peers from their seats. In the article Guest remarked: "'There's no question that the old system was unfair. I mean, why should you be born to this? But now it's all just sheer cronyism. The prime minister can put in whoever he wants and bus them in to vote. The Upper House should be an elected body, it's that simple.'"

Guest married actress Jamie Lee Curtis in 1984 at the home of their mutual friend Rob Reiner. They have two daughters, through adoption. Guest was played by Seth Green in the film A Futile and Stupid Gesture.

Recurring cast members
Guest has worked multiple times with certain actors, notably with frequent writing partner Eugene Levy, who has appeared in five of his projects. Other repeat collaborators of Guest include Fred Willard (7 projects); Michael McKean, Bob Balaban, and Ed Begley Jr. (6 projects each); Parker Posey, Jim Piddock, Michael Hitchcock and Harry Shearer (5 projects each); Catherine O'Hara, Larry Miller, John Michael Higgins, Jane Lynch, and Jennifer Coolidge (4 projects each).

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Christopher Guest


text:
Carol Kane

Carolyn Laurie Kane (born June 18, 1952 ) is an American actress. She gained recognition for her role in Hester Street (1975), for which she received an Academy Award nomination for Best Actress. She became known in the 1970s and 1980s in films such as Dog Day Afternoon (1975), Annie Hall (1977), When a Stranger Calls (1979), The Princess Bride (1987), and Scrooged (1988).

Kane appeared on the television series Taxi in the early 1980s, as Simka Gravas, the wife of Latka, the character played by Andy Kaufman, winning two Emmy Awards for her work. She has played the character of Madame Morrible in the musical Wicked, both in touring productions and on Broadway from 2005 to 2014. From 2015 to 2020, she was a main cast member on the Netflix series Unbreakable Kimmy Schmidt, in which she played Lillian Kaushtupper. She currently plays the recurring role of Pelia in Star Trek: Strange New Worlds (2023–present).

Early life
Kane was born on June 18, 1952, in Cleveland, the daughter of Joy, a jazz singer, teacher, dancer, and pianist, and architect Michael Kane. Her family is Jewish, and her grandparents emigrated from Russia, Austria, and Poland. Due to her father's occupation, Kane moved frequently as a child; she briefly lived in Paris at age 8, where she began learning to speak French. Additionally, she resided in Haiti at age 10. Her parents divorced when she was 12 years old.

She attended the Cherry Lawn School, a boarding school in Darien, Connecticut, until 1965. She studied theater at HB Studio and also went to the Professional Children's School in New York City. She became a member of both the Screen Actors Guild and the Actors' Equity Association at age 14. Kane made her professional theater debut in a 1966 production of The Prime of Miss Jean Brodie starring Tammy Grimes, her first job as a member of Actors' Equity.

1971–1979: Career beginnings and early recognition
Kane's on-screen career began while she was still a teenager, when she appeared in minor roles in films such as Desperate Characters and Mike Nichols's Carnal Knowledge in 1971, the latter of which led her to befriend lead actor Jack Nicholson. In 1972, she was cast in her first leading role in the Canadian production Wedding in White, where she played a teenage rape victim who is forced into marriage by her father. She also appeared as a sex worker in Hal Ashby's 1973 film The Last Detail, where she collaborated with Nicholson yet again. In 1975, Kane was cast in Joan Micklin Silver's feature-length debut Hester Street, in which she played a Russian-Jewish immigrant who struggles with her husband to assimilate in late 19th-century New York. For her performance in the film, Kane garnered her sole Academy Award nomination for Best Actress at the 48th Academy Awards, and it remains her favorite of all her roles. Additionally, 1975 saw her appear as a bank teller in Sidney Lumet's crime drama Dog Day Afternoon, which received numerous Academy Award nominations in other categories that same year. This also marked her first on-screen collaboration with Al Pacino, whom she had known prior to the film thanks to their shared background in theater.

Despite this recognition, however, Kane has recounted waiting for approximately a year before being cast in her next role, which she has attributed to the trend of actors being typecast after receiving awards attention. Her return to the screen would come with Gene Wilder's 1977 comedy The World's Greatest Lover, which she has credited for identifying the comedic talents that would become her staple in later years. During the same year, she was cast in Woody Allen's romantic comedy Annie Hall, where she played Allison Portchnik, the first wife of Allen's character Alvy Singer. She also appeared in Ken Russell's film Valentino, which, like The World's Greatest Lover, takes inspiration from the silent film era, as it is a biographical drama loosely inspired by the life of Rudolph Valentino.After this, Kane appeared in the horror films The Mafu Cage (1978) and When a Stranger Calls (1979); ironically, Kane herself is largely averse to horror, and she admits to being unable to watch the latter. In 1979, she also appeared in a cameo role in The Muppet Movie.

1980–1990: Taxi and transition into comedy
From 1980 to 1983, Kane portrayed Simka Dahblitz-Gravas, the wife of Andy Kaufman's character Latka Gravas, on the American television series Taxi. She has theorized that she was cast in Taxi in part due to her work in Hester Street, where a significant portion of her dialogue was spoken in Yiddish, since Simka speaks a fictional language with a nebulously Eastern European accent.

Kane has attributed the on-screen rapport she shared with Kaufman to their different work ethics: where she was trained in the theater and enjoyed rehearsal time, Kaufman was rooted more in stand-up comedy and did not care for rehearsals, a contrast that she believes enhanced their believability as a married couple. However, she maintains that she and Kaufman had a loving relationship on set, and she has spoken fondly of him in retrospective interviews. Kane received two Emmy Awards for her work on Taxi. Her role on the series has largely been credited as the beginning of her pivot towards more comedic roles, as she began to regularly appear in sitcoms and comedy films after the series ended.

In 1984, Kane appeared in episode 12, season 3 of Cheers as Amanda, an acquaintance of Diane Chambers from her time spent in a mental institution. She was also a regular on the 1986 series All Is Forgiven.

In 1987, Kane appeared in Ishtar, Elaine May's notorious box-office flop turned cult classic, playing the frustrated girlfriend of Dustin Hoffman's character. That year also saw her make one of her most recognizable film appearances in Rob Reiner's fantasy romance The Princess Bride, where she played a witch opposite Billy Crystal. In 1988, Kane appeared in the Cinemax Comedy Experiment Rap Master Ronnie: A Report Card alongside Jon Cryer and the Smothers Brothers. During the same year, she was also featured in the Bill Murray vehicle Scrooged, where she portrayed a contemporary version of the Ghost of Christmas Present, depicted in the film as a fairy. For this performance, Variety called her "unquestionably [the] pic's comic highlight". Additionally, she played a potential love interest for Steve Martin's character in the 1990 film My Blue Heaven.

1990–2004: Television and film regularity
Kane became a regular on the NBC series American Dreamer, which ran from 1990 to 1991. In 1993, she appeared in Addams Family Values where she replaced Judith Malina as Grandmama Addams; this role saw her reunite with her Taxi castmate Christopher Lloyd. She also guest starred on a 1994 episode of Seinfeld, as well as a 1996 episode of Ellen. In 1996, she was given a supporting role in the short-lived sitcom Pearl. From there, she continued to appear in a number of film roles throughout the 1990s and early 2000s, including The Pallbearer (1996), Office Killer (1997), Jawbreaker (1999), and My First Mister (2001). In 1998, she voiced Mother Duck in the American version of the animated television film The First Snow of Winter.

In 1999, she made a cameo in the Andy Kaufman biopic Man on the Moon as her Taxi character.

2005–2014: Wicked and career expansion
Kane is also known for her portrayal of the evil headmistress Madame Morrible in the Broadway musical Wicked, whom she played in various productions from 2005 to 2014. Kane made her Wicked debut on the 1st National Tour, playing the role from March 9 through December 19, 2005. She then reprised the role in the Broadway production from January 10 through November 12, 2006. She again played the role for the Los Angeles production which began performances on February 7, 2007. She left the production on December 30, 2007, and later returned on August 26, 2008, until the production closed on January 11, 2009.

In January 2009, she guest starred in the television series Two and a Half Men as the mother of Alan Harper's receptionist.

She then transferred with the Los Angeles company of Wicked to reprise her role once again, this time in the San Francisco production, which began performances January 27, 2009. She ended her limited engagement on March 22, 2009.

In March 2010, Kane appeared in the ABC series Ugly Betty as Justin Suarez's acting teacher.

Kane starred in the off-Broadway play Love, Loss, and What I Wore in February 2010. She made her West End debut in January 2011 in a major revival of Lillian Hellman's drama The Children's Hour at London's Comedy Theatre, where she starred alongside Keira Knightley, Elisabeth Moss and Ellen Burstyn. In May 2012, Kane appeared on Broadway as Betty Chumley in a revival of the play Harvey.

Kane returned to the Broadway company of Wicked from July 1, 2013, through February 22, 2014, a period that included the show's 10th anniversary.

In 2014, she was cast in a recurring role on the television series Gotham as Gertrude Kapelput, the mother of Oswald Cobblepot, also known as Penguin.

2015–present: Unbreakable Kimmy Schmidt and legacy roles
In 2015, Kane was cast in the recurring role of Lillian Kaushtupper, the landlord to the title character of the Netflix series Unbreakable Kimmy Schmidt. Kane joined the cast due in part to her admiration of showrunner Tina Fey, with whom she had previously wanted to collaborate on the NBC series 30 Rock. She was promoted to a series regular for the show's second season. Unbreakable Kimmy Schmidt ran for four seasons, making it one of Kane's longest television roles to date. She reprised the role in the "interactive" television special Kimmy vs the Reverend.

In 2018, Kane was cast in Jacques Audiard's Western film The Sisters Brothers. In 2019, she appeared in Jim Jarmusch's horror comedy The Dead Don't Die, marking another collaboration with Bill Murray. That same year, she was featured in the recurring role of Bianca Nova in season one of the HBO series Los Espookys, where she reunited with her Unbreakable Kimmy Schmidt castmate Fred Armisen.

In 2020, Kane was featured in the ensemble cast of the Amazon series Hunters, which also includes her longtime acquaintance Al Pacino. Additionally, during the same year, she participated in two cast reunion fundraisers, one with the cast of Taxi for the Actors Fund, the other with the cast of The Princess Bride for the Democratic Party of Wisconsin.

It was announced on Star Trek Day 2022 that Kane would join the cast of Star Trek: Strange New Worlds for season two as Chief Engineer Pelia. Prior to her casting, Kane had never seen an episode of the original Star Trek series, though she has said the show's writers thought this oversight improved her performance.

In 2023, Kane was announced as one of the leads in Nathan Silver's upcoming comedy film Between the Temples.

Personal life
Kane was in a relationship with actor Woody Harrelson from 1986 to 1988. The two have remained friends since their break-up, and Harrelson was seen attending Kane's 60th birthday party in 2012.

She has never been married, nor has she had any children. Regarding the latter decision, she has said, "I never felt that I would be calm and stable enough to be the kind of mother I'd like to be. I don't think everyone randomly is mother material."

Kane is often noted for her high, breathy, slow voice, though her vocal timbre has grown raspier with age. Kane, who has often altered her voice to suit various roles, has confessed to disliking it, telling People magazine in 2020 that she wishes her voice was "deep and beautiful and sexy".

title: Carol Kane


text:
C*-algebra

In mathematics, specifically in functional analysis, a C∗-algebra (pronounced "C-star") is a Banach algebra together with an involution satisfying the properties of the adjoint. A particular case is that of a complex algebra A of continuous linear operators on a complex Hilbert space with two additional properties:

 * A is a topologically closed set in the norm topology of operators.
 * A is closed under the operation of taking adjoints of operators.

Another important class of non-Hilbert C*-algebras includes the algebra $$C_0(X)$$ of complex-valued continuous functions on X that vanish at infinity, where X is a locally compact Hausdorff space.

C*-algebras were first considered primarily for their use in quantum mechanics to model algebras of physical observables. This line of research began with Werner Heisenberg's matrix mechanics and in a more mathematically developed form with Pascual Jordan around 1933. Subsequently, John von Neumann attempted to establish a general framework for these algebras, which culminated in a series of papers on rings of operators. These papers considered a special class of C*-algebras that are now known as von Neumann algebras.

Around 1943, the work of Israel Gelfand and Mark Naimark yielded an abstract characterisation of C*-algebras making no reference to operators on a Hilbert space.

C*-algebras are now an important tool in the theory of unitary representations of locally compact groups, and are also used in algebraic formulations of quantum mechanics. Another active area of research is the program to obtain classification, or to determine the extent of which classification is possible, for separable simple nuclear C*-algebras.

Abstract characterization
We begin with the abstract characterization of C*-algebras given in the 1943 paper by Gelfand and Naimark.

A C*-algebra, A, is a Banach algebra over the field of complex numbers, together with a map $ x \mapsto x^* $ for $ x\in A$      with the following properties:

 * It is an involution, for every x in A:
 * $$ x^{**} = (x^*)^* = x $$

 * For all x, y in A:
 * $$ (x + y)^* = x^* + y^* $$
 * $$ (x y)^* = y^* x^*$$

 * For every complex number $$\lambda\in\mathbb{C}$$ and every x in A:
 * $$ (\lambda x)^* = \overline{\lambda} x^* .$$

 * For all x in A:
 * $$ \|x^* x \| = \|x\|\|x^*\|.$$

Remark. The first four identities say that A is a *-algebra. The last identity is called the C* identity and is equivalent to:

$$\|xx^*\| = \|x\|^2,$$

which is sometimes called the B*-identity. For history behind the names C*- and B*-algebras, see the history section below.

The C*-identity is a very strong requirement. For instance, together with the spectral radius formula, it implies that the C*-norm is uniquely determined by the algebraic structure:

 * $$ \|x\|^2 = \|x^* x\| = \sup\{|\lambda| : x^* x - \lambda \,1 \text{ is not invertible} \}.$$

A bounded linear map, π : A → B, between C*-algebras A and B is called a *-homomorphism if

 * For x and y in A

 * $$ \pi(x y) = \pi(x) \pi(y) \,$$

 * For x in A

 * $$ \pi(x^*) = \pi(x)^* \,$$

In the case of C*-algebras, any *-homomorphism π between C*-algebras is contractive, i.e. bounded with norm ≤ 1. Furthermore, an injective *-homomorphism between C*-algebras is isometric. These are consequences of the C*-identity.

A bijective *-homomorphism π is called a C*-isomorphism, in which case A and B are said to be isomorphic.

Some history: B*-algebras and C*-algebras
The term B*-algebra was introduced by C. E. Rickart in 1946 to describe Banach *-algebras that satisfy the condition:

 * $$\lVert x x^* \rVert = \lVert x \rVert ^2$$ for all x in the given B*-algebra. (B*-condition)

This condition automatically implies that the *-involution is isometric, that is, $$\lVert x \rVert = \lVert x^* \rVert $$. Hence, $$\lVert xx^*\rVert = \lVert x \rVert \lVert x^*\rVert$$, and therefore, a B*-algebra is also a C*-algebra. Conversely, the C*-condition implies the B*-condition. This is nontrivial, and can be proved without using the condition $$\lVert x \rVert = \lVert x^* \rVert$$. For these reasons, the term B*-algebra is rarely used in current terminology, and has been replaced by the term 'C*-algebra'.

The term C*-algebra was introduced by I. E. Segal in 1947 to describe norm-closed subalgebras of B(H), namely, the space of bounded operators on some Hilbert space H. 'C' stood for 'closed'. In his paper Segal defines a C*-algebra as a "uniformly closed, self-adjoint algebra of bounded operators on a Hilbert space".

Structure of C*-algebras
C*-algebras have a large number of properties that are technically convenient. Some of these properties can be established by using the continuous functional calculus or by reduction to commutative C*-algebras. In the latter case, we can use the fact that the structure of these is completely determined by the Gelfand isomorphism.

Self-adjoint elements
Self-adjoint elements are those of the form $$ x = x^* $$. The set of elements of a C*-algebra A of the form $$ x^*x $$ forms a closed convex cone. This cone is identical to the elements of the form $$ xx^* $$. Elements of this cone are called non-negative (or sometimes positive, even though this terminology conflicts with its use for elements of $$\mathbb{R}$$)

The set of self-adjoint elements of a C*-algebra A naturally has the structure of a partially ordered vector space; the ordering is usually denoted $$ \geq $$. In this ordering, a self-adjoint element $$ x \in A $$ satisfies $$ x \geq 0 $$ if and only if the spectrum of $$ x $$ is non-negative, if and only if $$ x = s^*s $$ for some $$ s \in A$$. Two self-adjoint elements $$x$$ and $$ y $$ of A satisfy $$ x \geq y $$ if $$ x - y \geq 0 $$.

This partially ordered subspace allows the definition of a positive linear functional on a C*-algebra, which in turn is used to define the states of a C*-algebra, which in turn can be used to construct the spectrum of a C*-algebra using the GNS construction.

Quotients and approximate identities
Any C*-algebra A has an approximate identity. In fact, there is a directed family {eλ}λ∈I of self-adjoint elements of A such that

 * $$ x e_\lambda \rightarrow x $$
 * $$ 0 \leq e_\lambda \leq e_\mu \leq 1\quad \mbox{ whenever } \lambda \leq \mu. $$

 * In case A is separable, A has a sequential approximate identity. More generally, A will have a sequential approximate identity if and only if A contains a strictly positive element, i.e. a positive element h such that hAh is dense in A.

Using approximate identities, one can show that the algebraic quotient of a C*-algebra by a closed proper two-sided ideal, with the natural norm, is a C*-algebra.

Similarly, a closed two-sided ideal of a C*-algebra is itself a C*-algebra.

Finite-dimensional C*-algebras
The algebra M(n, C) of n × n matrices over C becomes a C*-algebra if we consider matrices as operators on the Euclidean space, Cn, and use the operator norm ||·|| on matrices. The involution is given by the conjugate transpose. More generally, one can consider finite direct sums of matrix algebras. In fact, all C*-algebras that are finite dimensional as vector spaces are of this form, up to isomorphism. The self-adjoint requirement means finite-dimensional C*-algebras are semisimple, from which fact one can deduce the following theorem of Artin–Wedderburn type:

Theorem. A finite-dimensional C*-algebra, A, is canonically isomorphic to a finite direct sum
 * $$ A = \bigoplus_{e \in \min A } A e$$

where min A is the set of minimal nonzero self-adjoint central projections of A.

Each C*-algebra, Ae, is isomorphic (in a noncanonical way) to the full matrix algebra M(dim(e), C). The finite family indexed on min A given by {dim(e)}e is called the dimension vector of A. This vector uniquely determines the isomorphism class of a finite-dimensional C*-algebra. In the language of K-theory, this vector is the positive cone of the K0 group of A.

A †-algebra (or, more explicitly, a †-closed algebra) is the name occasionally used in physics for a finite-dimensional C*-algebra. The dagger, †, is used in the name because physicists typically use the symbol to denote a Hermitian adjoint, and are often not worried about the subtleties associated with an infinite number of dimensions. (Mathematicians usually use the asterisk, *, to denote the Hermitian adjoint.) †-algebras feature prominently in quantum mechanics, and especially quantum information science.

An immediate generalization of finite dimensional C*-algebras are the approximately finite dimensional C*-algebras.

C*-algebras of operators
The prototypical example of a C*-algebra is the algebra B(H) of bounded (equivalently continuous) linear operators defined on a complex Hilbert space H; here x* denotes the adjoint operator of the operator x : H → H. In fact, every C*-algebra, A, is *-isomorphic to a norm-closed adjoint closed subalgebra of B(H) for a suitable Hilbert space, H; this is the content of the Gelfand–Naimark theorem.

C*-algebras of compact operators
Let H be a separable infinite-dimensional Hilbert space. The algebra K(H) of compact operators on H is a norm closed subalgebra of B(H). It is also closed under involution; hence it is a C*-algebra.

Concrete C*-algebras of compact operators admit a characterization similar to Wedderburn's theorem for finite dimensional C*-algebras:

Theorem. If A is a C*-subalgebra of K(H), then there exists Hilbert spaces {Hi}i∈I such that
 * $$ A \cong \bigoplus_{i \in I } K(H_i),$$

where the (C*-)direct sum consists of elements (Ti) of the Cartesian product Π K(Hi) with ||Ti|| → 0.

Though K(H) does not have an identity element, a sequential approximate identity for K(H) can be developed. To be specific, H is isomorphic to the space of square summable sequences l2; we may assume that H = l2. For each natural number n let Hn be the subspace of sequences of l2 which vanish for indices k ≥ n and let en be the orthogonal projection onto Hn. The sequence {en}n is an approximate identity for K(H).

K(H) is a two-sided closed ideal of B(H). For separable Hilbert spaces, it is the unique ideal. The quotient of B(H) by K(H) is the Calkin algebra.

Commutative C*-algebras
Let X be a locally compact Hausdorff space. The space $$C_0(X)$$ of complex-valued continuous functions on X that vanish at infinity (defined in the article on local compactness) forms a commutative C*-algebra $$C_0(X)$$ under pointwise multiplication and addition. The involution is pointwise conjugation. $$C_0(X)$$ has a multiplicative unit element if and only if $$X$$ is compact. As does any C*-algebra, $$C_0(X)$$ has an approximate identity. In the case of $$C_0(X)$$ this is immediate: consider the directed set of compact subsets of $$X$$, and for each compact $$K$$ let $$f_K$$ be a function of compact support which is identically 1 on $$K$$. Such functions exist by the Tietze extension theorem, which applies to locally compact Hausdorff spaces. Any such sequence of functions $$\{f_K\}$$ is an approximate identity.

The Gelfand representation states that every commutative C*-algebra is *-isomorphic to the algebra $$C_0(X)$$, where $$X$$ is the space of characters equipped with the weak* topology. Furthermore, if $$C_0(X)$$ is isomorphic to $$C_0(Y)$$ as C*-algebras, it follows that $$X$$ and $$Y$$ are homeomorphic. This characterization is one of the motivations for the noncommutative topology and noncommutative geometry programs.

C*-enveloping algebra
Given a Banach *-algebra A with an approximate identity, there is a unique (up to C*-isomorphism) C*-algebra E(A) and *-morphism π from A into E(A) that is universal, that is, every other continuous *-morphism π ' : A → B factors uniquely through π. The algebra E(A) is called the C*-enveloping algebra of the Banach *-algebra A.

Of particular importance is the C*-algebra of a locally compact group G. This is defined as the enveloping C*-algebra of the group algebra of G. The C*-algebra of G  provides context for general harmonic analysis of G in the case G is non-abelian. In particular, the dual of a locally compact group is defined to be the primitive ideal space of the group C*-algebra. See spectrum of a C*-algebra.

Von Neumann algebras
Von Neumann algebras, known as W* algebras before the 1960s, are a special kind of C*-algebra. They are required to be closed in the weak operator topology, which is weaker than the norm topology.

The Sherman–Takeda theorem implies that any C*-algebra has a universal enveloping W*-algebra, such that any homomorphism to a W*-algebra factors through it.

Type for C*-algebras
A C*-algebra A is of type I if and only if for all non-degenerate representations π of A the von Neumann algebra π(A) (that is, the bicommutant of π(A)) is a type I von Neumann algebra. In fact it is sufficient to consider only factor representations, i.e. representations π for which π(A) is a factor.

A locally compact group is said to be of type I if and only if its group C*-algebra is type I.

However, if a C*-algebra has non-type I representations, then by results of James Glimm it also has representations of type II and type III. Thus for C*-algebras and locally compact groups, it is only meaningful to speak of type I and non type I properties.

C*-algebras and quantum field theory
In quantum mechanics, one typically describes a physical system with a C*-algebra A with unit element; the self-adjoint elements of A (elements x with x* = x) are thought of as the observables, the measurable quantities, of the system. A state of the system is defined as a positive functional on A (a C-linear map φ : A → C with φ(u*u) ≥ 0 for all u ∈ A) such that φ(1) = 1. The expected value of the observable x, if the system is in state φ, is then φ(x).

This C*-algebra approach is used in the Haag–Kastler axiomatization of local quantum field theory, where every open set of Minkowski spacetime is associated with a C*-algebra.

title: C*-algebra