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Crayfish

Crayfish are freshwater crustaceans belonging to the infraorder Astacidea, which also contains lobsters. Taxonomically, they are members of the superfamilies Astacoidea and Parastacoidea. They breathe through feather-like gills. Some species are found in brooks and streams, where fresh water is running, while others thrive in swamps, ditches, and paddy fields. Most crayfish cannot tolerate polluted water, although some species, such as Procambarus clarkii, are hardier. Crayfish feed on animals and plants, either living or decomposing, and detritus.

The term "crayfish" is applied to saltwater species in some countries.

Terminology
The name "crayfish" comes from the Old French word escrevisse (Modern French écrevisse). The word has been modified to "crayfish" by association with "fish" (folk etymology). The largely American variant "crawfish" is similarly derived.

Some kinds of crayfish are known locally as lobsters, crawdads, mudbugs, and yabbies. In the Eastern United States, "crayfish" is more common in the north, while "crawdad" is heard more in central and southwestern regions, and "crawfish" farther south, although considerable overlaps exist.

The study of crayfish is called astacology.

Anatomy
The body of a decapod crustacean, such as a crab, lobster, or prawn (shrimp), is made up of twenty body segments grouped into two main body parts, the cephalothorax and the abdomen. Each segment may possess one pair of appendages, although in various groups, these may be reduced or missing. On average, crayfish grow to 17.5 cm in length. Walking legs have a small claw at the end.

Diet
Crayfish are opportunistic omnivorous scavengers, with the ability to filter and process mud. In aquaculture ponds using isotope analysis they were shown to build body tissue selectively from the animal protein portion of pelleted food and not the other components of the pellet. They have the potential to eat most foods, even nutrient poor material such as grass, leaves, and paper, but can be highly selective and need variety to balance their diet. The personalities of the individual crayfish can be a key determinant in the food preference behaviour in aquaria.

Crayfish all over the world can be seen in an ecological role of benthic dwellers, so this is where most of their food is obtained - at the sediment/water interface in ponds, lakes, swamps, or burrows. When the gut contents are analysed, most of the contents is mud: fine particulate organic matter (FPOM) and mixed particles of lignin and cellulose (roots, leaves, bark, wood). Some animal material can also be identified, but this only contributes a small portion of the diet by volume.

They feed on submerged vegetable material at times, but their ability to catch large living animal material is restricted. They can feed on interstitial organisms if they can be grasped in the small feeding claws. They can be lured into traps with an array of baits from dog biscuits, fish heads, meat, etc., all of which reinforces the fact that they are generalist feeders.

On a day-to-day basis, they consume what they can acquire in their immediate environment in limited space and time available - detritus. At a microbial level, the FPOM has a high surface area of organic particles and consists of a plethora of substrate and bacteria, fungi, micro-algae, meiofauna, partially decomposed organic material and mucus. This mucus or "slime" is a biofilm and can be felt on the surface of leaves and sticks. Also crayfish have been shown to be coprophagic - eating their own faeces, they also eat their own exuviae (moulted carapace) and each other. They have even been observed leaving the water to graze.

Detritus or mud is a mixture of dead plankton (plant and animal), organic wastes from the water column, and debris derived from the aquatic and terrestrial environments. Mostly detritus is in the end phase of decomposition and is recognised as black organic mud. The crayfish usually ingest the material in only a few minutes, as distinct from grazing for many hours. The material is mixed with digestive fluids and sorted by size. The finer particles follow a slower and more exacting route through to the hindgut, compared to the coarser material. The coarser material is eliminated first and often reappears in approximately 10 to 12 hours, whereas the finer material is usually eliminated from 16 to 26 hours after ingestion.

All waste products coming out through the hindgut are wrapped in a peritrophic membrane, so they look like a tube. Such an investment in the wrapping of the microbial free faeces in a protein rich membrane is most likely the reason they are coprophagic. Such feeding behaviour based on selection, ingestion, and extreme processing ensures periodic feeding, as distinct from continuous grazing. They tend to eat to satiation and then take many hours to process the material, leaving minimal chance of having more room to ingest other items. Crayfish usually have limited home range and so they rest, digest, and eliminate their waste, most commonly in the same location each day.

Feeding exposes the crayfish to risk of predation, and so feeding behaviour is often rapid and synchronised with feeding processes that reduce such risks — eat, hide, process and eliminate.

Knowledge of the diet of these creatures was considered too complex since the first book ever written in the field of zoology, The Crayfish by T.H. Huxley (1879), where they were described as "detritivores". This is why most researchers have not attempted to understand the diet of freshwater crayfish. The most complex study which matched the structure and function of the whole digestive track with ingested material was performed in the 1990s by Brett O'Brien on marron, the least aggressive of the larger freshwater crayfish with aquaculture potential, similar to redclaw and yabbies.

Classification and geographical distribution
Crayfish are closely related to lobsters, and together they belong to the infraorder Astacidea. Their phylogeny can be shown in the simplified cladogram below:

Four extant (living) families of crayfish are described, three in the Northern Hemisphere and one in the Southern Hemisphere. The Southern Hemisphere (Gondwana-distributed) family Parastacidae, with 14 extant genera and two extinct genera, live(d) in South America, Madagascar, and Australasia. They are distinguished by the absence of the first pair of pleopods. Of the other three Northern Hemisphere families (grouped in the superfamily Astacoidea), the four genera of the family Astacidae live in western Eurasia and western North America, the 15 genera of the family Cambaridae live in eastern North America, and the single genus of Cambaroididae live in eastern Asia.

North America
The greatest diversity of crayfish species is found in southeastern North America, with over 330 species in 15 genera, all in the family Cambaridae. A further genus of astacid crayfish is found in the Pacific Northwest and the headwaters of some rivers east of the Continental Divide. Many crayfish are also found in lowland areas where the water is abundant in calcium, and oxygen rises from underground springs. Crayfish are also found in some non-coastal wetlands; eight species of crayfish live in Iowa, for example.

In 1983, Louisiana designated the crayfish, or crawfish as they are commonly called, as its official state crustacean. Louisiana produces 100 e6lb of crawfish per year with the red swamp and white river crawfish being the main species harvested. Crawfish are a part of Cajun culture dating back hundreds of years. A variety of cottage industries have developed as a result of commercialized crawfish iconography. Their products include crawfish attached to wooden plaques, T-shirts with crawfish logos, and crawfish pendants, earrings, and necklaces made of gold or silver.

Australia
Australia has over 100 species in a dozen genera. It is home to the world's three largest freshwater crayfish:
 * the Tasmanian giant freshwater crayfish Astacopsis gouldi, which can achieve a mass over 5 kg and is found in rivers of northern Tasmania
 * the Murray crayfish Euastacus armatus, which can reach 2.5 kg, although reports of animals up to 3 kg have been made. It is found in much of the southern Murray-Darling basin.
 * the marron from Western Australia (now believed to be two species, Cherax tenuimanus and C. cainii) which may reach 2.2 kg

Many of the better-known Australian crayfish are of the genus Cherax, and include the common yabby (C. destructor), western yabby (C. preissii), and red-claw crayfish (C. quadricarinatus).

The marron species C. tenuimanus is critically endangered, while other large Australasian crayfish are threatened or endangered.

New Zealand
In New Zealand, two species of Paranephrops are endemic, and are known by the Māori name kōura.

Other animals
In Australia, New Zealand, and South Africa, the term "crayfish" or "cray" generally refers to a saltwater spiny lobster, of the genus Jasus that is indigenous to much of southern Oceania, while the freshwater species are usually called yabbies or kōura, from the indigenous Australian and Māori names for the animal, respectively, or by other names specific to each species. Exceptions include western rock lobster (of the Palinuridae family) found on the west coast of Australia (it is a spiny lobster, but not of Jasus); the Tasmanian giant freshwater crayfish (from the Parastacidae family and therefore a true crayfish) found only in Tasmania; and the Murray crayfish found along Australia's Murray River.

In Singapore, the term crayfish typically refers to Thenus orientalis, a seawater crustacean from the slipper lobster family. True crayfish are not native to Singapore, but are commonly found as pets, or as an invasive species (Cherax quadricarinatus) in the many water catchment areas, and are alternatively known as freshwater lobsters.

In the United Kingdom and Ireland, the terms crayfish or crawfish commonly refer to the European spiny lobster, a saltwater species found in much of the East Atlantic and Mediterranean. The only true crayfish species native to the British Isles is the endangered white clawed crayfish.

Fossil record
Fossil burrows very similar in construction to those of modern crayfish and likely produced by early crayfish are known from the Early Permian (~300-270 million years ago) of equatorial Pangea, in what is now North America (Washington Formation), and Europe (Sardinia). The oldest body fossils assigned to crayfish are known from the Late Triassic (~230-200 million years ago) Chinle Formation of North America, assigned to the species “Enoploclytia” porteri and Camborygma eumekenomos, which are not assigned to any modern families. An indeterminate member of the modern family Cambaridae is known from the Late Jurassic Morrison Formation of North America. The earliest records of other modern families date to the Early Cretaceous, including the parastacid Palaeoechinastacus from Australia which is 115 million years old, the cambaroidid Palaeocambarus from the Yixian Formation of China which is likely around 120 million years old (Barremian-Aptian), and the astacid "Austropotamobius" llopisi from the Las Hoyas site in Spain (Barremian).

Threats to crayfish
Crayfish are susceptible to infections such as crayfish plague and to environmental stressors including acidification. In Europe, they are particularly threatened by crayfish plague, which is caused by the North American water mold Aphanomyces astaci. This water mold was transmitted to Europe when North American species of crayfish were introduced. Species of the genus Astacus are particularly susceptible to infection, allowing the plague-coevolved signal crayfish (native to western North America) to invade parts of Europe.

Acid rain can cause problems for crayfish across the world. In whole-ecosystem experiments simulating acid rain at the Experimental Lakes Area in Ontario, Canada, crayfish populations crashed – probably because their exoskeletons are weaker in acidified environments.

Invasive pest
In several countries, particularly in Europe, native species of crayfish are under threat by imported species, particularly the signal crayfish (Pacifastacus leniusculus). Crayfish are also considered an invasive predatory species, endangering native European species such as the Italian agile frog.

Culinary use
Crayfish are eaten worldwide. Like other edible crustaceans, only a small portion of the body of a crayfish is eaten. In most prepared dishes, such as soups, bisques and étouffées, only the tail portion is served. At crawfish boils or other meals where the entire body of the crayfish is presented, other portions, such as the claw meat, may be eaten.

Research shows that crayfish do not die immediately when boiled alive, and respond to pain in a similar way to mammals. Then the stress hormone cortisol is released and this leads to the formation of lactic acid in the muscles, which makes the meat taste sour. Crayfish can be cooked more humanely by first freezing them unconscious for a few hours, then destroying the central nervous system along their abdomen by cutting the crayfish lengthwise with a long knife down the center of the crayfish before cooking it.

Global crayfish production is centered in Asia, primarily China. In 2018, Asian production accounted for 95% of the world's crawfish supply.

Crayfish is part of Swedish cuisine and is usually eaten in August at special crayfish parties (Swedish Kräftskiva). Documentation of the consumption of crayfish dates to at least the 16th century. On the Swedish west coast, Nephrops norvegicus (Swedish Havskräfta, sea crayfish) is more commonly eaten while various freshwater crayfish are consumed in the rest of the country. Prior to the 1960s, crayfish was largely inaccessible to the urban population in Sweden and consumption was largely limited to the upper classes or farmers holding fishing rights in fresh water lakes. With the introduction of import of frozen crayfish the crayfish party is now widely practiced across all spheres in Sweden and among the Swedish-speaking population of Finland.

In the United States, crayfish production is strongly centered in Louisiana, with 93% of crayfish farms located in the state as of 2018. In 1987, Louisiana produced 90% of the crayfish harvested in the world, 70% of which were consumed locally. In 2007, the Louisiana crayfish harvest was about 54,800 tons, almost all of it from aquaculture. About 70–80% of crayfish produced in Louisiana are Procambarus clarkii (red swamp crawfish), with the remaining 20–30% being Procambarus zonangulus (white river crawfish). Optimum dietary nutritional requirement of freshwater crayfish, or crayfish nutrient specifications are now available for aquaculture feed producers

Like all crustaceans, crayfish are not kosher because they are aquatic animals that do not have both fins and scales. They are therefore not eaten by observant Jews.

Bait
Crayfish are preyed upon by a variety of ray-finned fishes, and are commonly used as bait, either live or with only the tail meat. They are a popular bait for catching catfish, largemouth bass, smallmouth bass, striped bass, perch, pike and muskie. When using live crayfish as bait, anglers prefer to hook them between the eyes, piercing through their hard, pointed beak which causes them no harm; therefore, they remain more active.

When using crayfish as bait, it is important to fish in the same environment where they were caught. An Illinois State University report that focused on studies conducted on the Fox River and Des Plaines River watershed stated that rusty crayfish, initially caught as bait in a different environment, were dumped into the water and "outcompeted the native clearwater crayfish". Other studies confirmed that transporting crayfish to different environments has led to various ecological problems, including the elimination of native species. Transporting crayfish as live bait has also contributed to the spread of zebra mussels in various waterways throughout Europe and North America, as they are known to attach themselves to exoskeleton of crayfishes.

Pets
Crayfish are kept as pets in freshwater aquariums. They prefer foods like shrimp pellets or various vegetables, but will also eat tropical fish food, regular fish food, algae wafers, and small fish that can be captured with their claws. A report by the National Park Service as well as video and anecdotal reports by aquarium owners indicate that crayfish will eat their moulted exoskeleton "to recover the calcium and phosphates contained in it." As omnivores, crayfish will eat almost anything; therefore, they may explore the edibility of aquarium plants in a fish tank. However, most species of dwarf crayfish, such as Cambarellus patzcuarensis, will not destructively dig or eat live aquarium plants.

In some nations, such as the United Kingdom, United States, Australia, and New Zealand, imported alien crayfish are a danger to local rivers. The three most widespread American species invasive in Europe are Faxonius limosus, Pacifastacus leniusculus and Procambarus clarkii. Crayfish may spread into different bodies of water because specimens captured for pets in one river are often released into a different catchment. There is a potential for ecological damage when crayfish are introduced into non-native bodies of water: e.g., crayfish plague in Europe, or the introduction of the common yabby (Cherax destructor) into drainages east of the Great Dividing Range in Australia.

Education
Some public schools in the United States keep live crayfish in the classroom and have the students take care of them in order to give the students a greater understanding of the creatures.

Sentinel species
The Protivin brewery in the Czech Republic uses crayfish outfitted with sensors to detect any changes in their bodies or pulse activity in order to monitor the purity of the water used in their product. The creatures are kept in a fish tank that is fed with the same local natural source water used in their brewing. If three or more of the crayfish have changes to their pulses, employees know there is a change in the water and examine the parameters.

Scientists also monitor crayfish in the wild in natural bodies of water to study the levels of pollutants there.

title: Crayfish


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Gnuplot

gnuplot is a command-line and GUI program that can generate two- and three-dimensional plots of functions, data, and data fits. The program runs on all major computers and operating systems (Linux, Unix, Microsoft Windows, macOS, FreeDOS, and many others). Originally released in 1986, its listed authors are Thomas Williams, Colin Kelley, Russell Lang, Dave Kotz, John Campbell, Gershon Elber, Alexander Woo "and many others." Despite its name, this software is not part of the GNU Project.

Features
gnuplot can produce output directly on screen, or in many formats of graphics files, including Portable Network Graphics (PNG), Encapsulated PostScript (EPS), Scalable Vector Graphics (SVG), JPEG and many others. It is also capable of producing LaTeX code that can be included directly in LaTeX documents, making use of LaTeX's fonts and powerful formula notation abilities. The program can be used both interactively and in batch mode using scripts.

gnuplot can read data in multiple formats, including ability to read data on the fly generated by other programs (piping), create multiple plots on one image, do 2D, 3D, contour plots, parametric equations, supports various linear and non-linear coordinate systems, projections, geographic and time data reading and presentation, box plots of various forms, histograms, labels, and other custom elements on the plot, including shapes, text and images, that can be set manually, computed by script or automatically from input data.

gnuplot also provides scripting capabilities, looping, functions, text processing, variables, macros, arbitrary pre-processing of input data (usually across columns), as well ability to perform non-linear multi-dimensional multi-set weighted data fitting (see Curve fitting and Levenberg–Marquardt algorithm).

The gnuplot core code is programmed in C. Modular subsystems for output via Qt, wxWidgets, and LaTeX/TikZ/ConTeXt are written in C++ and Lua.

The code below creates the graph to the right.

The name of this program was originally chosen to avoid conflicts with a program called "newplot", and was originally a compromise between "llamaplot" and "nplot".

Support of Epidemic daily and weekly formats in Version 5.4.2 is a result of pandemic coronavirus data needs.

Distribution terms
Despite gnuplot's name, it is not named after, part of or related to the GNU Project, nor does it use the GNU General Public License. It was named as part of a compromise by the original authors, punning on gnu (the animal) and newplot (a planned name that was discarded due to already being used).

Official source code to gnuplot is freely redistributable, but modified versions thereof are not. The gnuplot license allows instead distribution of patches against official releases, optionally accompanied by officially released source code. Binaries may be distributed along with the unmodified source code and any patches applied thereto. Contact information must be supplied with derived works for technical support for the modified software.

Permission to modify the software is granted, but not the right to distribute the complete modified source code. Modifications are to be distributed as patches to the released version.

Despite this restriction, gnuplot is accepted and used by many GNU packages and is widely included in Linux distributions including the stricter ones such as Debian and Fedora. The OSI Open Source Definition and the Debian Free Software Guidelines specifically allow for restrictions on distribution of modified source code, given explicit permission to distribute both patches and source code.

Newer gnuplot modules (e.g. Qt, wxWidgets, and cairo drivers) have been contributed under dual-licensing terms, e.g. gnuplot + BSD or gnuplot + GPL.

GUIs and programs that use gnuplot
Several third-party programs have graphical user interfaces that can be used to generate graphs using gnuplot as the plotting engine. These include:

 * gretl, a statistics package for econometrics
 * JGNUPlot, a java-based GUI
 * Kayali a computer algebra system
 * xldlas, an old X11 statistics package
 * gnuplotxyz, an old Windows program
 * wxPinter, a graphical plot manager for gnuplot
 * Maxima is a text-based computer algebra system which itself has several third-party GUIs.

Other programs that use gnuplot include:
 * GNU Octave, a mathematical programming language
 * statist, a terminal-based program
 * gplot.pl provides a simpler command-line interface.
 * feedgnuplot provides a plotting of stored and realtime data from a pipe
 * ElchemeaAnalytical, an impedance spectroscopy plotting and fitting program developed by DTU Energy
 * Gnuplot add-in for Microsoft Excel
 * Calc, the GNU Emacs calculator

Programming and application interfaces
gnuplot can be used from various programming languages to graph data, including C++ (via g3p), Perl (via PDL and other CPAN packages), Python (via gnuplotlib, Gnuplot-py and SageMath), R via (Rgnuplot), Julia (via Gaston.jl), Java (via JavaGnuplotHybrid and jgnuplot), Ruby (via Ruby Gnuplot), Ch (via Ch Gnuplot), Haskell (via Haskell gnuplot), Fortran 95, Smalltalk (Squeak and GNU Smalltalk) and Rust (via RustGnuplot).

gnuplot also supports piping, which is typical of scripts. For script-driven graphics, gnuplot is one of the most popular programs.

Gnuplot output formats
Gnuplot allows the user to display or store plots in several ways:
 * On the console (output modes dumb, sixel)
 * In a desktop window (output modes Qt, wxt, X11, aquaterm, win, ...)
 * Embedded in a web page (output modes SVG, HTML5, PNG, JPEG, animated GIF, ...)
 * File formats designed for document processing (output modes PostScript, PDF, cgm, emf, LaTeX variants, ...)

Further reading and external links

 * Gnuplot 5: an interactive ebook about gnuplot v.5.
 * gnuplotting: a blog of gnuplot examples and tips
 * spplotters: a blog of gnuplot examples and tips
 * gnuplot surprising: a blog of gnuplot examples and tips
 * gnuplot online: WebAssembly compiled online gnuplot v.5.x
 * Visualize your data with gnuplot: an IBM tutorial
 * gnuplot online: WebAssembly compiled online gnuplot v.5.x
 * Visualize your data with gnuplot: an IBM tutorial
 * Visualize your data with gnuplot: an IBM tutorial
 * Visualize your data with gnuplot: an IBM tutorial
 * Visualize your data with gnuplot: an IBM tutorial
 * Visualize your data with gnuplot: an IBM tutorial

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

title: Gnuplot


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Wassenaar Arrangement

The Wassenaar Arrangement on Export Controls for Conventional Arms and Dual-Use Goods and Technologies is a multilateral export control regime established on 12 July 1996, in Wassenaar, near The Hague, Netherlands. According to the Wassenaar Arrangement document, it was "established to contribute to regional and international security and stability by promoting transparency and greater responsibility in transfers of conventional arms and dual-use goods and technologies, thus preventing destabilizing accumulations. Participating states seek, through their national policies, to ensure that transfers of these items do not contribute to the development or enhancement of military capabilities which undermine these goals, and are not diverted to support such capabilities".

It is the successor to the Cold War–era Coordinating Committee for Multilateral Export Controls (CoCom). The Wassenaar Arrangement is considerably less strict than CoCom, focusing primarily on the transparency of national export control regimes and not granting veto power to individual members over organizational decisions. A Secretariat for administering the agreement is located in Vienna, Austria. Like CoCom, however, it is not a treaty, and therefore is not legally binding.

Every six months member countries exchange information on deliveries of conventional arms to non-Wassenaar members that fall under eight broad weapons categories: battle tanks, armoured fighting vehicles, large-calibre artillery, military aircraft, military helicopters, warships, missiles or missile systems, and small arms and light weapons.

There are 42 participating states including many former Comecon (Warsaw Pact) countries, including Russia.

Control lists
The outline of the arrangement is set out in a document entitled "Guidelines & Procedures, including the Initial Elements". The list of restricted technologies is broken into two parts, the "List of Dual-Use Goods and Technologies" (also known as the Basic List) and the "Munitions List". The Basic List is composed of ten categories based on increasing levels of sophistication:

 * Category 1 – Special Materials and Related Equipment
 * Category 2 – Materials Processing
 * Category 3 – Electronics
 * Category 4 – Computers
 * Category 5 – Part 1 – Telecommunications
 * Category 5 – Part 2 – Information Security
 * Category 6 – Sensors and Lasers
 * Category 7 – Navigation and Avionics
 * Category 8 – Marine
 * Category 9 – Aerospace and Propulsion

Basic List has two nested subsections—Sensitive and Very Sensitive. Items of the Very Sensitive List include materials for stealth technology— i.e., equipment that could be used for submarine detection, advanced radar, and jet engine technologies.

Within each of the categories, there are 5 types of controlled item. These are approximately as follows: The types of item B, C, D and E typically refer to the type A items, but there are many exceptions, e.g. some materials may be controlled, even though there is no specific good referred to.
 * A – Physical goods and components
 * B – Plant, test equipment etc. for the production of the goods
 * C – Materials typically from which the goods can be created
 * D – Software used typically for the development, production or use of the goods
 * E – Technology used typically for the development, production or use of the goods

The Wassenaar Arrangement List's categories are typically processed, and merged with other sources, e.g. Category 5.A.2 maps on to US ECCN 5A002, and EU control classification 5A002.

The Munitions List has 22 categories, which are not labeled.

In order for an item to be placed on the lists, member states must take into account the following criteria:
 * Foreign availability outside participating states
 * Ability to effectively control the export of the goods
 * Ability to make a clear and objective specification of the item
 * Controlled by another regime, such as the Australia Group, the Nuclear Suppliers Group, or the Missile Technology Control Regime

Admission requirements
Admission requires states to:

 * Be a producer or exporter of arms or sensitive industrial equipment
 * Maintain non-proliferation policies and appropriate national policies, including adherence to:
 * Non-proliferation policies, such as (where applicable) the Nuclear Suppliers Group, the Missile Technology Control Regime, and the Australia Group
 * Treaty on the Non-Proliferation of Nuclear Weapons, the Biological Weapons Convention, the Chemical Weapons Convention and, where applicable, START I (including the Lisbon Protocol)
 * Maintain fully effective export controls

The Arrangement is open on a global and non-discriminatory basis to prospective adherents that comply with the agreed criteria. Admission of new members requires the consensus of all members.

India joined as the 42nd participating state on 7 December 2017. "Wassenaar Arrangement participating states reviewed the progress of a number of current membership applications and agreed at the plenary meeting to admit India which will become the Arrangement's 42nd participating state as soon as the necessary procedural arrangements for joining the WA are completed", the grouping said in a statement. India's application was supported by Russia, the United States, France and Germany.

2013 amendments
In December 2013, the list of export restricted technologies was amended to include Internet-based surveillance systems. New technologies placed under the export control regime include "intrusion software"—software designed to defeat a computer or network's protective measures so as to extract data or information—as well as IP network surveillance systems.

The purpose of the amendments was to prevent Western technology companies from selling surveillance technology to governments known to abuse human rights. However, some technology companies have expressed concerns that the scope of the controls may be too broad, limiting security researchers' ability to identify and correct security vulnerabilities. Google and Facebook criticised the agreement for the restrictions it will place on activities like penetration testing, sharing information about threats, and bug bounty programs. They argue that the restrictions will weaken the security of participating nations and do little to curb threats from non-participant nations.

Quantum Technologies
In May, 2024, Canada implemented export restrictions on the sale of quantum computers containing more than 34 qubits and error rates below a certain controlled NOT gate error threshold, along with restrictions for quantum computers with more qubits and higher error rates. The same restrictions quickly popped up in the UK, France, Spain and the Netherlands. They offered few explanations for this action, but all of them are Wassenaar states, and the restrictions seem related to national security concerns potentially including quantum cryptography or protection from competition.

Membership
The 42 states that have been participating since December 2017 are:
 * 🇦🇷 Argentina
 * 🇦🇺 Australia
 * 🇦🇹 Austria 🇪🇺
 * 🇧🇪 Belgium 🇪🇺
 * 🇧🇬 Bulgaria 🇪🇺
 * 🇨🇦 Canada
 * 🇭🇷 Croatia 🇪🇺
 * 🇨🇿 Czech Republic 🇪🇺
 * 🇩🇰 Denmark 🇪🇺
 * 🇪🇪 Estonia 🇪🇺
 * 🇫🇮 Finland 🇪🇺
 * 🇫🇷 France 🇪🇺
 * 🇩🇪 Germany 🇪🇺
 * 🇬🇷 Greece 🇪🇺
 * 🇭🇺 Hungary 🇪🇺
 * 🇮🇳 India
 * 🇮🇪 Ireland 🇪🇺
 * 🇮🇹 Italy 🇪🇺
 * 🇯🇵 Japan
 * 🇱🇻 Latvia 🇪🇺
 * 🇱🇹 Lithuania 🇪🇺
 * 🇱🇺 Luxembourg 🇪🇺
 * 🇲🇹 Malta 🇪🇺
 * 🇲🇽 Mexico
 * 🇳🇱 Netherlands 🇪🇺
 * 🇳🇿 New Zealand
 * 🇳🇴 Norway
 * 🇵🇱 Poland 🇪🇺
 * 🇵🇹 Portugal 🇪🇺
 * 🇷🇴 Romania 🇪🇺
 * 🇷🇺 Russia
 * 🇸🇰 Slovakia 🇪🇺
 * 🇸🇮 Slovenia 🇪🇺
 * 🇿🇦 South Africa
 * 🇰🇷 South Korea
 * 🇪🇸 Spain 🇪🇺
 * 🇸🇪 Sweden 🇪🇺
 * 🇨🇭 Switzerland
 * 🇹🇷 Turkey
 * 🇺🇦 Ukraine
 * 🇬🇧 United Kingdom
 * 🇺🇸 United States

🇪🇺 – European Union member state. – NATO member.

title: Wassenaar Arrangement


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Bud

In botany, a bud is an undeveloped or embryonic shoot and normally occurs in the axil of a leaf or at the tip of a stem. Once formed, a bud may remain for some time in a dormant condition, or it may form a shoot immediately. Buds may be specialized to develop flowers or short shoots or may have the potential for general shoot development. The term bud is also used in zoology, where it refers to an outgrowth from the body which can develop into a new individual.

Overview
The buds of many woody plants, especially in temperate or cold climates, are protected by a covering of modified leaves called scales which tightly enclose the more delicate parts of the bud. Many bud scales are covered by a gummy substance which serves as added protection. When the bud develops, the scales may enlarge somewhat but usually just drop off, leaving a series of horizontally-elongated scars on the surface of the growing stem. By means of these scars one can determine the age of any young branch, since each year's growth ends in the formation of a bud, the formation of which produces an additional group of bud scale scars. Continued growth of the branch causes these scars to be obliterated after a few years so that the total age of older branches cannot be determined by this means.

In many plants, scales do not form over the bud, and the bud is then called a naked bud. The minute underdeveloped leaves in such buds are often excessively hairy. Naked buds are found in some shrubs, like some species of the Sumac and Viburnums (Viburnum alnifolium and V. lantana) and in herbaceous plants. In many of the latter, buds are even more reduced, often consisting of undifferentiated masses of cells in the axils of leaves. A terminal bud occurs on the end of a stem and lateral buds are found on the side. A head of cabbage (see Brassica) is an exceptionally large terminal bud, while Brussels sprouts are large lateral buds.

Since buds are formed in the axils of leaves, their distribution on the stem is the same as that of leaves. There are alternate, opposite, and whorled buds, as well as the terminal bud at the tip of the stem. In many plants buds appear in unexpected places: these are known as adventitious buds.

Often it is possible to find a bud in a remarkable series of gradations of bud scales. In the buckeye, for example, one may see a complete gradation from the small brown outer scale through larger scales which on unfolding become somewhat green to the inner scales of the bud, which are remarkably leaf-like. Such a series suggests that the scales of the bud are in truth leaves, modified to protect the more delicate parts of the plant during unfavorable periods.

Types of buds
Buds are often useful in the identification of plants, especially for woody plants in winter when leaves have fallen. Buds may be classified and described according to different criteria: location, status, morphology, and function.

Botanists commonly use the following terms:
 * for location:
 * terminal, when located at the tip of a stem (apical is equivalent but rather reserved for the one at the top of the plant);
 * axillary, when located in the axil of a leaf (lateral is the equivalent but some adventitious buds may be lateral too);
 * adventitious, when located elsewhere, for example on the trunk or roots (some adventitious buds may be former axillary ones that are reduced and hidden under the bark, while other adventitious buds are completely new formed ones).
 * for status:
 * accessory, for secondary buds formed besides a principal bud (axillary or terminal);
 * resting, for a bud that forms at the end of a growth season, and then lies dormant until the onset of the next growth season;
 * dormant or latent, for buds whose growth has been delayed for a rather long time. The term is usable as a synonym of resting, but is better employed for buds waiting undeveloped for years, for example epicormic buds;
 * pseudoterminal, for an axillary bud taking over the function of a terminal bud (characteristic of species whose growth is sympodial: terminal bud dies and is replaced by the closer axillary bud, for examples beech, persimmon, Platanus have sympodial growth).
 * for morphology:
 * scaly or covered (perulate), when scales, also referred to as a perule (lat. perula, perulaei) (which are in fact transformed and reduced leaves) cover and protect the embryonic parts;
 * naked, when not covered by scales;
 * hairy, when also protected by hairs (it may apply either to scaly or to naked buds).
 * for function:
 * vegetative, only containing vegetative structures: a leaf bud is an embryonic shoot containing leaves;
 * reproductive, only containing embryonic flower(s): a flower bud contains a single flower while an inflorescence bud contains an inflorescence;
 * mixed, containing both embryonic leaves and flower(s).

title: Bud


text:
Talk:Georg Philipp Telemann

Stubby
Telemann deserves more that the pathetic little stub I found.....

I've temporarily removed this:

 * Telemann turned down a prestigious job for a better payed job. The result: Bach got the job Telemann turned down.

This may well be true, but it seems pretty useless in its present form. I'll look into it, and if I can verify it, and turn it into something a bit more useful, I'll add it. --Camembert

 * Telemann and Bach both applied for the job as music director in Leipzig, and Telemann was offered and declined the position, which then was given to Bach (so Bach was the second choice, which I guess may show the contemporary view of the importance of these composers). This info can be found in the bio section I added a few days ago. Bobhobbit 21:22, 22 Jun 2005 (UTC)

 * There could have been several reasons for this - one issue may have been a personal "fit" of the personalities of those making the decision with that of the composer that applied, but it is known that at that time Telemann was the bigger 'name.' Whatever - history has shown it was best for both Telemann and Bach that it happened that way. HammerFilmFan (talk) 12:29, 2 March 2011 (UTC) HammerFilmFan

 * Incorrect, the job was first offered to Telemann, then to a couple of others, and only then to Bach, making him 4th or 5th choice. Dunnhaupt 20:34, 2 August 2006 (UTC)

800 works?
"The Guinness Book of World Records lists Telemann as the most prolific composer of all time with more than 800 credited works. Put in other terms, it has been estimated that Telemann wrote more notes than Johann Sebastian Bach and Georg Frideric Handel combined!"

800 isn't really that many-- certainly less than Bach wrote, and probably Handel as well. I think Telemann boasted of having written over 600 suites or concertos alone (I can't remember which, though I wouldn't be surprised if he wrote over 600 of each). Does anybody know of a more accurate estimate of his total output?

 * More than 3,000, but the exact number will probably never be known. Many of the manuscripts were destroyed; the catalogues compiled in the 1980s and 1990s are probably close to complete, and probably contain at least the names of the lost works.  The online New Grove has a good compilation.  Antandrus  (talk) 05:51, 8 February 2006 (UTC)

800 works is decidedly fewer than 1080 (in the Bach catalogue) or even 965 (in Deutsch's Schubert catalogue). How could Guinness be so far off? 3000 is decidedly larger, but how accurate is it? Also, "most prolific composer of all time" seems to imply not just that he wrote more works but that he is more well known, has a bigger "profile." That claim cannot be defended. Most prolific composer of his time, as the New Grove suggests, is believable.

This is ridiculous. Mozart's output is numerically inferior to Bach's, yet it runs to several hours more in total. Likewise, Simon Sechter wrote thousands of pieces, far more than Telemann - but many are incredibly short fugues. I suggest the word 'claimed' be added, since this is obvious a highly contestable statement.

82.40.163.5 (talk) 22:25, 20 April 2008 (UTC) (CRCDraper)

Trivia Section
Could someone please rewrite the Trivia Section... It is of horribly poor quality right now and not fit for wikipedia.

 * I agree; hopefully I fixed it to your satisfaction. I renamed it "works and reputation" (there's nothing trivial about his famous prolificity, and even less so his decline and sudden rise in reputation). Antandrus  (talk) 05:48, 8 February 2006 (UTC)

Prolificacy
New Grove clearly states in the lead to its Telemann article: "The most prolific composer of his time". Again, unless there is a counterexample, I am inclined to accept New Grove's judgment. —Sesquialtera II (talk) 02:13, 9 March 2006 (UTC)

First known concerto for viola
He also wrote a concerto for two violas, etc. (see Goebel's Archiv recording or the complete works edition) - and is it positively his only solo viola concerto? (I suspect so but do not know.) Schissel | Sound the Note! 17:16, 24 August 2006 (UTC)

"Der Schulmeister" spurious?
Are there any references for this edit? --Phrood 13:01, 4 April 2007 (UTC)

External links section and Referencing
I've added more information as to where the links lead. I've also moved the links to free scores and to the catalogues of publishers for the modern editions to the links section, where they more appropriately belong. However, Wikipedia is not the Yellow Pages. I left in the Prima la Musica! link, but really, it's only a catalogue of scores for sale and does not contain any appreciable extra information about Telemann or his works. Something to think about. As I said in the edit summary when I edited the references, this article could use A LOT more improvement in its referencing. Links to commercial sites selling scores far outnumber the listing of sources for the assertions, lists, etc in the article. If some of the informational links, e.g. the detailed biography on baroquemusic.org, were actually used as sources for the article, then they belong in the References section to acknowledge this. Not in the External links section. Presumably the contents of this article did not come out of nowhere. Voceditenore (talk) 06:54, 19 February 2008 (UTC)

TVWV vs. TWV?
Can someone give more precise info on this subject? I entered what I could glean here and in TWV, but I'm not sure. Are Telemann's vocal works identified both by a TWV and a TVWV? Or has TVWV been superseded by TWV? -- Kai Carver (talk) 20:58, 25 April 2009 (UTC) —Preceding unsigned comment added by Kaicarver (talk • contribs)

Composer project review
I've reviewed this article as part of the Composers project review of its B-class articles. This article is a weak B; the musicology needs expansion, and personal details are lacking. My detailed review is on the comments page; questions and comments should be left here or on my talk page.  Magic ♪piano 01:38, 31 January 2009 (UTC)

This paragraph is suspect:

'Telemann traveled widely, absorbing various musical styles and incorporating them into his own compositions. He is known for writing concertos for unusual combinations of instruments, such as multiple violas, trumpets, timpanis, oboes, or harpsichords. Exposure to such a vast musical culture prompted him to incorporate unusual elements into his music as well, most notably the exotic sounds of the Middle East, India, Australia, and even the bleak and distant Siberia. Examples of his avant-garde exhibitionist style includes usage of the darbouka–a Middle Eastern drum–as a substitute for the timpani, an inclusion of a vast array of Indian sitars in his orchestral compositions, frequent sonic effects produced by the Aboriginal didgeridoo, and guest appearances of Siberian throat singers in his more operatic works. He has had great influence on composers many an era later, most notably Claude Debussy.'

Much of the detail would rely on accounts of Telemann's musicological interest, and I wonder whether the ethnomusicological evidence cited above was readily available in his lifetime. Specifically, he could not have known about the Australian didgeridoo.

Works and Reputation
Can we please either clean this section up or get rid of it entirely? It's a garbled mess, the first paragraph makes absolutely no sense, and it seems very disputable. Stjimmy61892 (talk) 15:43, 23 April 2010 (UTC)
 * I've fixed the biography and will clean up and expand the section in a few days. --Jashiin (talk) 09:18, 23 June 2010 (UTC)

Most other major (and prolific) composers have separate sections listing their complete works. I cannot find one for Telemann. So if there is no movement in this direction in the next month or two, I intend to separate the works into a new article/list with a short summary left behind. Zeppelin42 (talk) 23:31, 16 November 2014 (UTC)

Too much "Media"
Good grief - I've never seen soooooo many audio file links in a Media section. Moreover, it looks like something of a promotion for the "Advent Chamber Orchestra" (which I've never even heard of). Would anybody who's worked on the article care to take this on and trim these links? If not, I suppose I'll have to deal with it myself. Cgingold (talk) 23:41, 21 June 2010 (UTC)

 * Please don't "trim" because you think there are too many. I certainly don't believe there are too many, but yes, perhaps we could find a better way to list them (e.g. in a table so that not so much vertical space is used; or perhaps on a separate page). If you feel that the recordings are not representative or "good", then perhaps you have a case to cull (but not based on quantity). Let's certainly wait until more feedback is presented before "trimming". HWV258 . 05:27, 22 June 2010 (UTC)

 * I'm OK with trimming, or even jettisoning the entire section altogether (a link to Commons would be enough). There isn't much point in just listing every recording we have of Telemann's music. It wold make sense if the pieces chosen would be representative of certain points in Telemann's career, or particularly famous, etc. I'm going to start expanding the Works section in a few days, and maybe there will be place for a few recordings there, but obviously not for all of them. --Jashiin (talk) 09:18, 23 June 2010 (UTC)

 * Wikipaper is free, and I don't mind if people have to scroll (especially near the bottom of a page). I disagree that a link to Commons is enough. Never assume that readers (especially children) will click through to something called "Commons". There is however a greater chance of people clicking media on the page they are on. Twenty three recordings represents "too much Media"? By whose measure? Perhaps the other articles don't have enough? HWV258 . 09:32, 23 June 2010 (UTC)

 * You're only addressing the problem of "too many" (by the way, if 23 isn't too much, where would you draw the line? At 50? At 100?), but not the other concerns. Why these particular recordings? More importantly, why these particular pieces? The answer is: because these are the only ones we have. If they were recordings of important and/or representative works - say, showing different types of concertos, different national styles, or simply famous pieces such as the Nouveaux quatuors - the section would look very competent and perfect for the article. But the way things are, the section looks as if we just slammed together everything we had of Telemann's works and put it here because we have to have a Media section. Which just doesn't look very good to me.
 * Personally, I like the approach taken with Bach's works. Johann Sebastian Bach is free to add descriptions of works and an occasional media file to give the listener an idea of these works (that this hasn't been done is just a matter of time, hopefully). And the many media files we have are all either in List of compositions by Johann Sebastian Bach or in articles on individual works. If we created a List of compositions by Georg Philipp Telemann, would you agree to move the audio files there and only keep here the ones that have significance for the upcoming "Works" section? The link to the list would be at the top of the "Works" section and inform the readers that there's a list and some media files as well. --Jashiin (talk) 10:10, 23 June 2010 (UTC)

 * I've started to address the "problem" of "too many"—we can get to other aspects later. I do think it would be better to put most of the recordings on a new list page (when that exists). I'm only worried that we don't rush into something here. "Slammed"? There have been about 20 media links on the page for at least two years, during which time there have been almost 50,000 visits to the page. I haven't seen too many complaints. Now suddenly it's all subjective: "too many", "good grief", "soooooo many". Let's plan the change to make it acceptable for those that use the page and links. HWV258 . 10:27, 23 June 2010 (UTC)
 * Allright then, I'll get to expanding "Works" in a few days, then I'll try to set up a list, and we'll go from there. Agreed? --Jashiin (talk) 10:42, 23 June 2010 (UTC)
 * It would be good to try. Perhaps I can help—I have some experience with composer lists (having construct almost all of the List of compositions by George Frideric Handel). HWV258 . 10:48, 23 June 2010 (UTC)
 * "where would you draw the line?". I'd like all of Telemann's works there. Is there anyone who deep down wouldn't? Why think small or old-fashioned? I don't particularly like the current elongated play button mechanism (which makes it difficult to display many works). Is there any way of making the buttons narrower? Earlier today I tried (very hard) to place the links in a table, but the (normally invisible) borders of the template become visible when placed in a table. If someone can solve that, the current links can easily be placed in a neat table consisting of three columns by eight rows. The problem would go away (for some time at least). HWV258 . 10:48, 23 June 2010 (UTC)

Plagio'
This is one of the worst-referenced articles on a major composer in Wikipedia. Huge chunks are lifted/re-worded from Grove, yet there are no in-line citations. I'm surprised Wiki hasn't received a legal notice from them. This article needs major overhaul to get it referenced properly. HammerFilmFan (talk) 12:52, 2 March 2011 (UTC) HammerFilmFan

Legacy
This fascinating remark -- that Spitta and Schweitzer "praised works they thought were composed by Bach, but which were, in fact, composed by Telemann" really requires some specific examples -- and references as well. If these are not added, somebody (maybe me) will surely delete the fascinating remark.David Couch (talk) 05:37, 12 March 2013 (UTC)

I have now found the source, which was implied by other posters above: Grove Music Online, where the Telemann article was written by Steven Zohn. I am afraid I must agree the current Wikipedia wording seems plagiarized and really needs to be re-written. David Couch (talk) 21:37, 6 April 2013 (UTC)

Concerto Polonois 43:G7, and also clarification re: intellectual rights
The Polish Concerto was and is a pretty important work IMHO. Is there some reason to exclude it from a generalized list of Telemann's works via catalogue, if it has been performed (Musica Antiqua de Koln ... Antique Music of Cologne) and enjoyed by some numbers of persons? It should be included in the concertos for quartet. Does this article even include that category? A good reason for expansion. Because of the generality of listing his works, it would not be uncouth to include this work among the list. I might include it myself if I remember to in a day or so.

Also, the paragraph about Telemann's importance in intellectual property rights seems unparsable. Rather it could hold dual meanings. If you read the paragraph you can see that it could state that Telemann was working in favor of intellectual property rights or it could read that Telemann was working against intellectual property rights. The statement about his "performing" works in public meant for select audiences could be interpreted either way. Some who know for certain may see it in a bias and assume it's a qualified enough statement, however, others who have no idea of the background story may read the statement and still wonder where Telemann played on which side of the issue. I think it should be clarified. I think if we're going to expound on Telemann having an influence on intellectual property rights, then therefore we should know where Telemann stood on intellectual property rights. Because it's not just a simple matter of interpretation. Intellectual property rights have so far shaped everything from the components allowed inside of your technology to the things you're allowed to buy or sell in some countries to the laws being drafted about seemingly far-off things such as internet bandwidth allocation in some countries. If it's such an influential field of study that we need to mention it here while studying ostensibly nothing more than music, then let's expound. Let's at least determine where Telemann stood in regards to intellectual property, or if the issue cannot be settled furthermore, let us therefore settle on presenting all sides of the various arguments so that the reader is not left penniless with vague sentence fragments and more questions than answers. The Wikipedia should provide more answers to questions ratio, IMHO.

Gabriel Arthur Petrie (talk) 21:23, 6 August 2014 (UTC)

Harmonischer Gottes-Dienst
Harmonischer Gottes-Diesnt is a collection of sacred cantatas for the year, it isn't chamber music. — Preceding unsigned comment added by 85.136.9.62 (talk) 17:37, 2 November 2014 (UTC)

Assessment comment
Substituted at 15:58, 29 April 2016 (UTC)

omissions
No mention of "Der getreuer Musikmeister", an amazing achievement by itself. And no mention of his two autobiographies. — Preceding unsigned comment added by Pygormus (talk • contribs) 17:39, 18 August 2016 (UTC)

 * Actually, Der getreue Musikmeister is mentioned once, in the list of works (under "Chamber music"). Admittedly, it deserves more than this, but Telemann was a very busy fellow, and this article has many lacunae of this sort. The Essercizii musici are arguably as important as the Musikmeister, and yet this collection is not mentioned at all. The so-called "Paris" Quartets are not discussed in the text, not even in the context of Telemann's visit to Paris, nor is the quartet genre generally, for which Telemann was especially famous in his lifetime.—Jerome Kohl (talk) 17:55, 18 August 2016 (UTC)

Similarly, there is no mention of any Telemann-themed museums, festivals, streets, schools, societies... any sign of his legacy in our time. I can personally affirm there is a "Telemann Izba" along with a café "U Telemanna" in Pszczyna (Pless), Poland, but that isn't probably the best-known place connected to Telemann. In fact, I hoped to find a hint about the connection here, with no results whatsoever. --Oop (talk) 10:14, 20 August 2016 (UTC)

Reference to score for Der getreue Music-Meister http://ks.petruccimusiclibrary.org/files/imglnks/usimg/3/38/IMSLP330767-PMLP41848-Telemann_-_Der_Getreue_Music=Meister_-Monochrome-.pdf — Preceding unsigned comment added by 98.212.225.42 (talk) 03:58, 17 January 2018 (UTC)

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title: Talk:Georg Philipp Telemann


text:
Six Degrees of Kevin Bacon

Six Degrees of Kevin Bacon or Bacon's Law is a parlor game where players challenge each other to arbitrarily choose an actor and then connect them to another actor via a film that both actors have appeared in together, repeating this process to try to find the shortest path that ultimately leads to prolific American actor Kevin Bacon. It rests on the assumption that anyone involved in the Hollywood film industry can be linked through their film roles to Bacon within six steps. The game's name is a reference to "six degrees of separation", a concept that posits that any two people on Earth are six or fewer acquaintance links apart.

In 2007, Bacon started a charitable organization called SixDegrees.org. In 2020, Bacon started a podcast called The Last Degree of Kevin Bacon.

History
In a January 1994 interview with Premiere magazine, Kevin Bacon mentioned while discussing the film The River Wild that "he had worked with everybody in Hollywood or someone who's worked with them." Following this, a lengthy newsgroup thread which was headed "Kevin Bacon is the Center of the Universe" appeared. In 1994, three Albright College students - Craig Fass, Brian Turtle and Mike Ginelli - invented the game that became known as "Six Degrees of Kevin Bacon" after seeing two movies on television that featured Bacon back to back, Footloose and The Air Up There. During the latter film they began to speculate on how many movies Bacon had been in and the number of people with whom he had worked.

They wrote a letter to talk show host Jon Stewart, telling him that "Kevin Bacon was the center of the entertainment universe" and explaining the game. They appeared on The Jon Stewart Show and The Howard Stern Show with Bacon to explain the game. Bacon admitted that he initially disliked the game because he believed it was ridiculing him, but he eventually came to enjoy it. The three inventors released a book, Six Degrees of Kevin Bacon (ISBN 9780452278448), with an introduction written by Bacon. A board game based on the concept was released by Endless Games.

In popular culture
In 1995 Cartoon Network referenced the concept in a commercial, having Velma (from Scooby-Doo) as the central figure in the 'Cartoon Network Universe'. The commercial cites connections as arbitrary as fake appearances, sharing of clothes, or physical resemblance.

The concept was also presented in an episode of the TV show Mad About You dated November 19, 1996, in which a character expressed the opinion that every actor is only three degrees of separation from Kevin Bacon. Bacon spoofed the concept himself in a cameo he performed for the independent film We Married Margo. Playing himself in a 2003 episode of Will and Grace, Bacon connects himself to Val Kilmer through Tom Cruise and jokes "Hey, that was a short one!". The headline of The Onion, a satirical newspaper, on October 30, 2002, was "Kevin Bacon Linked To Al-Qaeda". Bacon provides the voice-over commentary for the NY Skyride attraction at the Empire State Building in New York City. At several points throughout the commentary, Bacon alludes to his connections to Hollywood stars via other actors with whom he has worked.

In Scream 2, written by Kevin Williamson, a sorority sister played by Portia De Rossi refers to Six Degrees of Kevin Bacon. Bacon himself later starred in The Following, also created and written by Williamson, and broadcast on Fox between 2013 and 2015.

The annual 31 Days of Oscar event on the Turner Classic Movies television channel sometimes includes a "360 Degrees of Oscar" strand where each film shown shares an actor with the previous one. It has been used as recently as 2020.

In 2009, Bacon narrated a National Geographic Channel show The Human Family Tree – a program which describes the efforts of that organization's Genographic Project to establish the genetic interconnectedness of all humans. Bacon appeared in a commercial for the Visa check card that referenced the game. In the commercial, Bacon wants to write a check to buy a book, but the clerk asks for his ID, which he does not have. He leaves and returns with a group of people, then says to the clerk, "Okay, I was in a movie with an extra, Eunice, whose hairdresser, Wayne, attended Sunday school with Father O'Neill, who plays racquetball with Dr. Sanjay, who recently removed the appendix of Kim, who dumped you sophomore year. So you see, we're practically brothers."

In 2011, James Franco made reference to Six Degrees of Kevin Bacon while hosting the 83rd Academy Awards. EE began a UK television advertising campaign in November 2012, based on the Six Degrees concept, where Bacon illustrates his connections and draws attention to how the EE 4G network allows similar connectivity.

In "Weird Al" Yankovic's song "Lame Claim to Fame", one of the lines is, "I know a guy who knows a guy who knows a guy who knows a guy who knows a guy who knows Kevin Bacon." American rapper MC Zappa also makes reference to the game in his 2018 song "Level Up (The Ill Cypher)".

The most highly connected nodes of the Internet have been referred to as "the Kevin Bacons of the Web", inasmuch as they enable most users to navigate to most sites in 19 clicks or less.

Bacon numbers
The Bacon number of an actor is the number of degrees of separation they have from Kevin Bacon, as defined by the game. This is an application of the Erdős number concept to the Hollywood movie industry. The higher the Bacon number, the greater the separation from Kevin Bacon the actor is.

The computation of a Bacon number for actor X is a "shortest path" algorithm, applied to the co-stardom network:
 * Kevin Bacon himself has a Bacon number of 0.
 * Actors who have worked directly with Kevin Bacon have a Bacon number of 1.
 * If the lowest Bacon number of any actor with whom X has appeared in any movie is N, X's Bacon number is N+1.

Examples

 * Elvis Presley was in Change of Habit (1969) with Ed Asner. Ed Asner was in JFK (1991) with Kevin Bacon. Therefore, Asner has a Bacon number of 1, and Presley (who never appeared in a film with Bacon) has a Bacon number of 2.

 * Ian McKellen was in X-Men: Days of Future Past (2014) with Michael Fassbender and James McAvoy. McAvoy and Fassbender were in X-Men: First Class (2011) with Kevin Bacon. Therefore, McAvoy and Fassbender have Bacon numbers of 1, and McKellen has a Bacon number of 2.

Because some people have both a finite Bacon and a finite Erdős number because of acting and publications, there are a rare few who have a finite Erdős–Bacon number, which is defined as the sum of a person's independent Erdős and Bacon numbers.

Photography book
Inspired by the game, the British photographer Andy Gotts tried to reach Kevin Bacon through photographic links instead of film links.

Gotts wrote to 300 actors asking to take their pictures and received permission only from Joss Ackland. Ackland then suggested that Gotts photograph Greta Scacchi, with whom he had appeared in the film White Mischief. Gotts proceeded from there, asking each actor to refer him to one or more friends or colleagues. Eventually, Christian Slater referred him to Bacon. Gotts' photograph of Bacon completed the project, eight years after it began. Gotts published the photos in a book, Degrees (ISBN 0-9546843-6-2), with text by Alan Bates, Pierce Brosnan, and Bacon.

title: Six Degrees of Kevin Bacon


text:
William Rufus Shafter

William Rufus Shafter (October 16, 1835 – November 12, 1906) was a Union Army officer during the American Civil War who received America's highest military decoration, the Medal of Honor, for his actions at the Battle of Fair Oaks. Shafter also played a prominent part as a major general in the Spanish–American War. Fort Shafter, Hawaii, is named for him, as well as the city of Shafter, California and the ghost town of Shafter, Texas. He was nicknamed "Pecos Bill", inspiration for the fictional character of the same name in tall tales.

Early life
Shafter was born in Galesburg, Michigan on October 16, 1835. His ancestors were of Scots-Irish descent and originally were settlers in Vermont. On his father's side, the family was of Scots-Irish descent, as his ancestor came from Northern Ireland and Scotland, arriving in Massachusetts in the year 1670. Subsequently, the Shafters later settled in Vermont. Another source says Shafter was German-American. , and the name is the Americanized form of German Schäffter. He worked as a teacher and farmer in the years preceding the Civil War.

American Civil War and Indian Wars
Shafter served as a 1st lieutenant the U.S. Army's 7th Michigan Volunteer Infantry Regiment at the battles of Ball's Bluff and Fair Oaks. He was wounded at the Battle of Fair Oaks and later received the Medal of Honor for heroism during the battle. He led a charge on the first day of the battle and was wounded towards the close of that day's fighting. In order to stay with his regiment he concealed his wounds, fighting on the second day of the battle. On August 22, 1862, he was mustered out of the volunteer service but returned to the field as major in the 19th Michigan Volunteer Infantry Regiment. He was captured at the Battle of Thompson's Station and spent three months in a Confederate prison. In April 1864 after his release he was appointed colonel of the 17th United States Colored Infantry and led the regiment at the Battle of Nashville.

By the end of the war, he had been promoted to brevet brigadier general of volunteers. He stayed in the regular army when the war ended. During his subsequent service in the Indian Wars, he received his "Pecos Bill" nickname. He led the 24th Infantry, another United States Colored Troops regiment, in campaigns against the Cheyenne, Comanche, Kickapoo and Kiowa Indian warriors in Texas. While commander of Fort Davis, he started a controversial court-martial of second lieutenant Henry Flipper, the first black cadet to graduate from West Point. In May 1897 he was appointed as a brigadier general.

Spanish–American War
Just before the outbreak of the Spanish–American War, Shafter was commander of the Department of California. Shafter was an unlikely candidate for command of the expedition to Cuba. He was approaching 63, weighed over 300 pounds and suffered from gout. Nevertheless, he received a promotion to Major General of Volunteers and command of the Fifth Army Corps being assembled in Tampa, Florida. One possible reason for his being given this command was his lack of political ambitions.

Shafter appeared to maintain a very loose control over the expedition to Cuba from the beginning, commencing with a very disorganized landing at Daiquiri on the southern coast of Cuba. Confusion prevailed over landing priorities and the chain of command. When General Sumner refused to allow the Army's Gatling Gun Detachment - which had priority - to disembark from the transport Cherokee on the grounds that the lieutenant commanding the detachment did not have the rank to enforce his priority, Shafter had to personally intervene, returning to the ship in a steam launch to enforce his demand that the guns come off immediately.

During the disembarkation, Shafter sent forward Fifth Corps' Cavalry Division under Joseph Wheeler to reconnoiter the road to Santiago de Cuba. Apparently disregarding orders, Wheeler brought on a fight which escalated into the Battle of Las Guasimas. Shafter apparently did not realize the battle was even underway nor did he say anything to Wheeler about it afterward.

A plan was finally developed for the attack on Santiago. Shafter would send his 1st Division (at the time, brigade and division numbers were not unique outside their parent formation) to attack El Caney while his 2nd Division and the Cavalry Division would attack the heights south of El Caney known as San Juan Hill. Originally, Shafter planned to lead his forces from the front, but he suffered greatly from the tropical heat and was confined to his headquarters far to the rear and out of sight of the fighting. Unable to see the battle firsthand, he never developed a coherent chain of command. Shafter's offensive battle plans were both simplistic and extremely vague. He seemed to be unaware or unconcerned about the mass killing effect of modern military weapons technology possessed by the Spanish. Further, his intelligence-gathering efforts on Spanish troop dispositions and equipment was extremely meager, though he had a number of sources available to him, including reconnaissance reports by Cuban rebel forces as well as espionage obtained from indigenous Cubans.

During the hurried attack on El Caney and San Juan Heights, American forces, who had packed the available roads and were unable maneuver, suffered heavy losses from Spanish troops equipped with modern repeating smokeless powder rifles and breech-loading artillery, while the short-ranged black-powder guns of U.S. artillery units were unable to respond effectively. Additional casualties were incurred in the actual assault, which was marked by a series of brave but disorganized and uncoordinated advances. After suffering some 1,400 casualties, and aided by a single Gatling Gun detachment for fire support, American troops successfully stormed and occupied both El Caney and San Juan Heights.

The next task for Shafter was the investment and siege of the city of Santiago and its garrison. However, the extent of the American losses were becoming known at Shafter's headquarters back at Sevilla (his gout, poor physical condition, and huge bulk did not allow him to go to the front). The casualties were delivered not only by messenger report, but also by "meat wagons" delivering the wounded and dying to the hospital. Viewing the carnage, Shafter began to waver in his determination to defeat the Spanish at Santiago. He knew his troops' position was tenuous, but again had little intelligence on the hardships of the Spanish inside beleaguered Santiago. Shafter felt the Navy was doing little to relieve the pressure on his forces. Supplies could not be delivered to the front, leaving his men in want of necessities, particularly food rations. Shafter himself was ill, and very weak. With this view of events, Shafter sent a dramatic message to Washington. He suggested that the army should give up its attack and all its gains for the day, and withdraw to safer ground about five miles away. Fortunately, by the time this message reached Washington, Shafter changed his mind, and instead renewed siege operations after demanding the Spanish surrender the city and garrison of Santiago. With the victory of the U.S. Navy at the Battle of Santiago de Cuba, by Admirals William T. Sampson and Winfield Scott Schley, the fate of the Spanish position at Santiago was sealed. Shortly afterward, the Spanish commander surrendered the city.

'Campaigning in Cuba' by George Kennan, 1899 (available on Gutenberg) presents a totally damning account of Shafter's command in the Cuba campaign by a gifted correspondent who was with the troops from Tampa to return:

"Morbidly obese at 300 lbs with gout and probably diabetes at 63, Shafter should have been in a hospice, not a tropical hellhole where malaria, yellow fever and dysentery annihilated most of the invasion force within three weeks. Shafter himself was a basket case. Complete planning /logistical incompetence in Washington meant troops had virtually no medical supplies, or adequate rations or means to boil drinking water, and were forced to sleep on the wet ground in wet winter-weight uniforms as no shelters of hammocks were available. One of the most shameful events in US armed forces history for the waste of enlisted men."

Postwar career and retirement
With disease rampant in the American army in Cuba, Shafter and many of his officers favored a quick withdrawal from Cuba. Shafter personally left Cuba in September 1898. And after a stay in quarantine at Camp Wikoff, Shafter returned to serve as Commander of the Department of California from May 1897 through February 1901.

As Commander he oversaw the supplying of the Army's expedition to the Philippines, which escalated into the Philippine–American War during the last years of Shafter's career. Hostilities broke out on February 4, 1899, and the war lasted through July 2, 1902, past Shafter's retirement. When the war was three months old, the Commander shared his views with the Chicago News:

"It may be necessary to kill half the Filipinos in order that the remaining half of the population may be advanced to a higher plane of life than their present semi-barbarous state affords."

Shafter reiterated his opinion in January 1900: "My plan would be to disarm the natives of the Philippine Islands, even if I have to kill half of them to do it. Then I would treat the rest of them with perfect justice."

Shafter was a member of the Military Order of the Loyal Legion of the United States, the Military Order of Foreign Wars and the Sons of the American Revolution.

Shafter retired in 1901 to a 60 acre farm next to his daughter's land in Bakersfield, California. He died there in 1906 and is buried at San Francisco National Cemetery.

In popular culture
Shafter was portrayed by Rodger Boyce in the 1997 film Rough Riders. Shafter appeared in the 1898 film Surrender of General Toral.

Shafter is also notable for the fact that he has the highest known Bacon Number in the parlor game Six Degrees of Kevin Bacon, at 10.

Medal of Honor citation
Rank and Organization:
 * First Lieutenant, Company I, 7th Michigan Infantry. Place and Date: At Fair Oaks, Va., May 31, 1862. Entered Service At: Galesburg, Mich. Birth: Kalamazoo, Mich. Date of Issue: June 12, 1895.

Citation:
 * Lt. Shafter was engaged in bridge construction and not being needed there returned with his men to engage the enemy participating in a charge across an open field that resulted in casualties to 18 of the 22 men. At the close of the battle his horse was shot from under him and he was severely flesh wounded. He remained on the field that day and stayed to fight the next day only by concealing his wounds. In order not to be sent home with the wounded he kept his wounds concealed for another 3 days until other wounded had left the area.

Military awards

 * Medal of Honor
 * Civil War Campaign Medal
 * Indian Campaign Medal
 * Spanish Campaign Medal

title: William Rufus Shafter


text:
Jumping

Jumping or leaping is a form of locomotion or movement in which an organism or non-living (e.g., robotic) mechanical system propels itself through the air along a ballistic trajectory. Jumping can be distinguished from running, galloping and other gaits where the entire body is temporarily airborne, by the relatively long duration of the aerial phase and high angle of initial launch.

Some animals, such as the kangaroo, employ jumping (commonly called hopping in this instance) as their primary form of an locomotion, while others, such as frogs, use it only as a means to escape predators. Jumping is also a key feature of various activities and sports, including the long jump, high jump and show jumping.

Physics
All jumping involves the application of force against a substrate, which in turn generates a reactive force that propels the jumper away from the substrate. Any solid or liquid capable of producing an opposing force can serve as a substrate, including ground or water. Examples of the latter include dolphins performing traveling jumps, and Indian skitter frogs executing standing jumps from water.

Jumping organisms are rarely subject to significant aerodynamic forces and, as a result, their jumps are governed by the basic physical laws of ballistic trajectories. Consequently, while a bird may jump into the air to initiate flight, no movement it performs once airborne is considered jumping, as the initial jump conditions no longer dictate its flight path.

Following the moment of launch (i.e., initial loss of contact with the substrate), a jumper will traverse a parabolic path. The launch angle and initial launch velocity determine the travel distance, duration, and height of the jump. The maximum possible horizontal travel distance for a projectile occurs at a launch angle of 45°, but any launch angle between 35° and 55° will result in ninety percent of the maximum possible distance. However, the jump angle for humans which maximizes horizontal distance travelled is lower at ~23-26° (see section Standing long jump mechanics below). Muscles (or other actuators in non-living systems) do physical work, adding kinetic energy to the jumper's body over the course of a jump's propulsive phase. This results in a kinetic energy at launch that is proportional to the square of the jumper's speed. The more work the muscles do, the greater the launch velocity and thus the greater the acceleration and the shorter the time interval of the jump's propulsive phase.

Mechanical power (work per unit time) and the distance over which that power is applied (e.g., leg length) are the key determinants of jump distance and height. As a result, many jumping animals have long legs and muscles that are optimized for maximal power according to the force-velocity relationship of muscles. The maximum power output of muscles is limited, however. To circumvent this limitation, many jumping species slowly pre-stretch elastic elements, such as tendons or apodemes, to store work as strain energy. Such elastic elements can release energy at a much higher rate (higher power) than equivalent muscle mass, thus increasing launch energy to levels beyond what muscle alone is capable of.

A jumper may be either stationary or moving when initiating a jump. In a jump from stationary (i.e., a standing jump), all of the work required to accelerate the body through launch is done in a single movement. In a moving jump or running jump, the jumper introduces additional vertical velocity at launch while conserving as much horizontal momentum as possible. Unlike stationary jumps, in which the jumper's kinetic energy at launch is solely due to the jump movement, moving jumps have a higher energy that results from the inclusion of the horizontal velocity preceding the jump. Consequently, jumpers are able to jump greater distances when starting from a run.

Anatomy

Animals use a wide variety of anatomical adaptations for jumping. These adaptations are exclusively concerned with the launch, as any post-launch method of extending range or controlling the jump must use aerodynamic forces, and thus is considered gliding or parachuting.

Aquatic species rarely display any particular specializations for jumping. Those that are good jumpers usually are primarily adapted for speed, and execute moving jumps by simply swimming to the surface at a high velocity. A few primarily aquatic species that can jump while on land, such as mud skippers, do so via a flick of the tail.

Limb morphology
In terrestrial animals, the primary propulsive structure is the legs, though a few species use their tails. Typical characteristics of jumping species include long legs, large leg muscles, and additional limb elements.

Long legs increase the time and distance over which a jumping animal can push against the substrate, thus allowing more power and faster, farther jumps. Large leg muscles can generate greater force, resulting in improved jumping performance. In addition to elongated leg elements, many jumping animals have modified foot and ankle bones that are elongated and possess additional joints, effectively adding more segments to the limb and even more length.

Frogs are an excellent example of all three trends: frog legs can be nearly twice the body length, leg muscles may account for up to twenty percent of body weight, and they have not only lengthened the foot, shin and thigh, but extended the ankle bones into another limb joint and similarly extended the hip bones and gained mobility at the sacrum for a second 'extra joint'. As a result, frogs are the undisputed champion jumpers of vertebrates, leaping over fifty body lengths, a distance of more than eight feet.

Power amplification through stored energy
Grasshoppers use elastic energy storage to increase jumping distance. Although power output is a principal determinant of jump distance (as noted above), physiological constraints limit muscle power to approximately 375 Watts per kilogram of muscle. To overcome this limitation, grasshoppers anchor their legs via an internal "catch mechanism" while their muscles stretch an elastic apodeme (similar to a vertebrate tendon). When the catch is released, the apodeme rapidly releases its energy. Because the apodeme releases energy more quickly than muscle, its power output exceeds that of the muscle that produced the energy. This is analogous to a human throwing an arrow by hand versus using a bow; the use of elastic storage (the bow) allows the muscles to operate closer to isometric on the force-velocity curve. This enables the muscles to do work over a longer time and thus produce more energy than they otherwise could, while the elastic element releases that work faster than the muscles can. The use of elastic energy storage has been found in jumping mammals as well as in frogs, with commensurate increases in power ranging from two to seven times that of equivalent muscle mass.

Classification
One way to classify jumping is by the manner of foot transfer. In this classification system, five basic jump forms are distinguished:
 * Jump – jumping from and landing on two feet
 * Hop – jumping from one foot and landing on the same foot
 * Leap – jumping from one foot and landing on the other foot
 * Assemblé – jumping from one foot and landing on two feet
 * Sissonne – jumping from two feet and landing on one foot

Leaping gaits, which are distinct from running gaits (see Locomotion), include cantering, galloping, and stotting or pronging. Some sources also distinguish bounding as a cyclical motion of repeated jumps, used to maintain energy from one jump to the next.

Standing long jump mechanics
The optimal take off angle for a standing long jump (performed by a human) has been theoretically calculated to be ~22.6°, substantially lower than the optimal take off angle for a projectile (i.e. 45°). This is due to take-off speed decreasing with take-off angle due to the jumper's body configuration. It has been shown that experienced parkour athletes use a take off angle of ~25.6°, whereas beginner traceurs use an angle of ~ 34°. Experienced athletes also swing their arms to a greater extent and rock backwards before taking off. These factors help parkour athletes to carry out longer standing long jumps than beginners.

The (official) male standing long jump world record is 371 cm, and the female record is 292 cm (both as of June 2023). These were achieved by Arne Tvervaag and Annelin Mannes respectively. Standing long jump distances range between 146.2 cm and 219.8 cm (10th to 90th percentile) for 18 year old men, and between 100 cm and 157 cm for 18 year old women.

Height-enhancing devices and techniques

The height of a jump may be increased by using a trampoline or by converting horizontal velocity into vertical velocity with the aid of a device such as a half pipe.

Various exercises can be used to increase an athlete's vertical jumping height. One category of such exercises—plyometrics—employs repetition of discrete jumping-related movements to increase speed, agility, and power.

It has been shown in research that children who are more physically active display more proficient jumping (along with other basic motor skill) patterns.

It is also noted that jumping development in children has a direct relationship with age. As children grow older, it is seen that their jumping abilities in all forms also increase. Jumping development is more easily identifiable in children rather than adults due to the fact that there are less physical differences at a younger age. Adults of the same age may be vastly different in terms of physicality and athleticism making it difficult to see how age affects jumping ability.

In 2021, researchers incorporated ratchets into a robot design and created a robot capable of jumping over thirty meters vertically.

title: Jumping


text:
Grease

Grease may refer to:

Common uses

 * Grease (lubricant), a type of industrial lubricant
 * Grease, any petroleum or fat (including cooking fat) that is a soft solid at room temperature
 * Brown grease, waste vegetable oil, animal fat, grease, etc. that is recovered from a grease trap
 * Yellow grease, in rendering, used frying oils, or lower-quality grades of tallow
 * Hydrogenated vegetable oil, used as a replacement for lard and other rendered animal fats
 * Vegetable shortening, used as a replacement for lard and other rendered animal fats

Slang

 * Grease, a euphemism meaning to bribe, as in "to grease someone's palm"
 * Grease, a slang term for killing, as in "The mob has been known to grease anyone who gets in its way"
 * Pomade, a hair styling wax

Theater

 * Grease (musical), a 1971 musical play

Films

 * Grease (film), 1978 film made from the musical, starring John Travolta and Olivia Newton-John
 * Grease 2, the 1982 film sequel, starring Maxwell Caulfield and Michelle Pfeiffer

Music

 * "Grease" (song), the title song of the 1978 film
 * Grease: The Original Soundtrack from the Motion Picture, the soundtrack album to the 1978 film
 * Grease: The New Broadway Cast Recording (2007 album), the new Broadway cast recording of the musical featuring Max Crumm and Laura Osnes

Series

 * Grease: Live, a U.S. 2016 live TV musical that combines aspects of the 1971 musical play and 1978 film
 * Grease: You're the One that I Want!, a U.S. 2007 reality TV show casting the lead roles in revivals of the musical
 * Grease is the Word, a U.K. 2007 reality TV show casting the lead roles in revivals of the musical

Episodes

 * "Grease", a 1997 episode of the cartoon Extreme Ghostbusters

Other uses in arts, entertainment, and media

 * Grease (video game), a video game based on the 1978 film

Biology and healthcare

 * Grease, or Mud fever, a disease causing irritation and dermatitis in the lower limbs of horses, most commonly in the pastern and heel area
 * Grease moth (Aglossa cuprina), a fat-feeding moth

Computing

 * Grease (networking), or GREASE, a protocol ossification prevention method

title: Grease


text:
Hari

Hari (हरि) is among the primary epithets of the Hindu preserver deity Vishnu, meaning 'the one who takes away' (sins). It refers to the one who removes darkness and illusion, the one who removes all obstacles to spiritual progress.

The name Hari also appears as the 650th name of Vishnu in the Vishnu Sahasranama of the Mahabharata and is considered to be of great significance in Vaishnavism.

Etymology
The Sanskrit word "हरि" (Hari) is derived from the Proto-Indo-European root "*ǵʰel- to shine; to flourish; green; yellow" which also gave rise to the Persian terms zar 'gold', Greek khloros 'green', Slavic zelen 'green' and zolto 'gold', as well as the English words yellow and gold.

The same root occurs in other Sanskrit words like haridrā, 'turmeric', named for its yellow color.

In Hinduism, beginning with Adi Sankara's commentary on the Vishnu sahasranama, hari became etymologized as derived from the verbal root hṛ "to grab, seize, steal", in the context of Vaishnavism interpreted as "to take away or remove evil or sin", and the name of Vishnu rendered as "he who destroys samsara", which is the entanglement in the cycle of birth and death, along with ignorance, its cause;  compare hara as a name of Shiva, translated as "seizer" or "destroyer".

Other names of Hari
There are multiple names of Hari mentioned in the holy scriptures of Hinduism, such as the Bhagavad Gita and Mahabharata. A few names which are used frequently are:

 * Vishnu
 * Narayana
 * Rama
 * Krishna
 * Madhava
 * Damodara
 * Govinda
 * Gopala
 * Keshava
 * Madhusudana
 * Vāsudeva

In Hinduism

 * The Harivamsha ("lineage of Hari") is a text in both the Purana and Itihasa traditions.
 * As the name of tawny-colored animals, hari may refer to lions (also a name of the zodiacal sign Leo), bay horses, or monkeys. The feminine Harī  is the name of the mythological "mother of monkeys" in the Sanskrit epics.
 * Harihara is the name of a fused deity form of both Vishnu (Hari) and Shiva (Hara) in Hinduism.
 * Hari is the name of a class of gods under the fourth Manu (manu tāmasa, "Dark Manu") in the Puranas.
 * Haridasa is the Hari-centered bhakti movement from Karnataka.
 * In the Gaudiya Vaishnava tradition, Hari is a name of both Krishna and Vishnu, invoked in the Hare Krishna mahamantra (Hare could be a vocative form of Hari).
 * The Hari Stuti is a hymn in praise of Vishnu composed by Adi Shankara.
 * The Hari Stotra is a Sanskrit hymn.
 * Hari Om is a mantra and greeting.

In Sikhism
The name "ਹਰਿ" (Hari) is frequently used as a name for Waheguru in the Sri Guru Granth Sahib: ਹਰਿ ਹਰਿ ਹਰਿ ਹਰਿ ਨਾਮੁ ਹੈ ਗੁਰਮੁਖਿ ਪਾਵੈ ਕੋਇ ॥

Hari, Hari, Hari, Hari is the Name (of the Lord); rare are those who, as Gurmukh, obtain it. (SGGS, Ang.1313) In the Varan Bhai Gurdas, an early explanation and interpretation of Sikh theology, Bhai Gurdas also associates the name "ਹਰਿ" (Hari) in the form of Hari Krishan in the Dwapur Yuga with the letter "ਹ" (h) in "ਵਾਹਿਗੁਰੂ" (Waheguru).

However, in the context of the Sri Guru Granth Sahib, the name "Hari" refers to the one monotheistic God of Sikhism, as similar to "Hari" is used in Vaishnavism for Parabrahman as well.

title: Hari