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Talk:LaTeX

Useful / Interesting LaTeX packages
Seeing as we already have a Frontends section, why not add another section for useful packages such as LaTeX-beamer? Liyang 06:52:26, 19 August 2005 (UTC)

First sentence and paragraph lacks clarity.
The first sentence and paragraph lacks clarity and is therefore a bad introduction. A rewrite of some or most of it is needed. Here are some points:

 * The term 'document preparation system' is rarely used (if at all) outside the context of LaTeX, TeX or TeX-related programs/packages (Try a Google search). So only those who already know what LaTeX/TeX is will clearly/fully understand the first sentence. Terms like 'Word processor' and/or 'computer program' are better descriptors for the first sentence. Further clarification can be made in a following sentence by comparing WYSIWYG to markup.

 * The LaTeX Project states here that 'LaTeX is not a word processor.' Apparently their definition of word processor is exclusive to those that use WYSIWYG, but the definition entries for 'word processor' and 'word processing' found in Oxford/Cambridge/Webster are broader and LaTeX (in my opinion) would fall under any of them. The LaTeX Project mentions on the same page (see link above) that LaTeX is a document preparation system. When the wiki-reader clicks on document preparation system in this article, he/she is directed to an article titled 'Word Processor'.

 * The sentence 'It is widely used for the communication and publication of scientific documents in many fields' is a little broad. Clarity can be improved here by explicitly mentioning the submission of articles to scientific journals.

 * The sentence "LaTeX is not the name of a particular editing program, but refers to the encoding or tagging conventions that are used in LaTeX documents." lacks clarity and is recursive. Think about it. Would you ever say, "HTML is not the name of a particular HTML editing program, but refers to the encoding or tagging conventions that are used in HTML documents." Wickedjargon (talk) 20:09, 14 May 2015 (UTC)

 * I have since edited the first paragraph to improve clarity in line with most points above. Wickedjargon (talk) 21:22, 14 May 2015 (UTC)
 * A recent edit has changed the sentence "LaTeX is a word processor and a document markup language." to "LaTeX is not a word processor but a document markup language". I addressed the definition of a "word processor" in my second bullet (above). Despite The LateX Project's homepage's statement that LaTeX is not a word processor, the definition of word processor in Oxford/Cambridge/Webster dictionaries is in line with its usage in this article. The definition is not exclusive to WYSIWYG editors. To quote the US Oxford English dictionary, a word processor is:

 * "a program or machine for storing, manipulating, and formatting text entered from a keyboard and providing a printout."

 * Wickedjargon (talk) 18:10, 17 August 2015 (UTC)

 * I changed this back to "document preparation system". That people won't understand this, is not a reason to post incorrect information. CamilStaps (talk) 18:40, 18 April 2016 (UTC)
 * Please see the definition of word processor here or here. LaTeX seems to fit the scope of this definition. — Preceding unsigned comment added by Wickedjargon (talk • contribs) 07:07, 6 May 2018 (UTC)
 * No, it doesn't. LaTeX (the program, not the language) does not let you manipulate text entered from a keyboard. It reads plain text files and outputs to several formats, like DVI and PDF. The editor is what lets you manipulate the entered text. It can be Vim, notepad, TeXworks, but not LaTeX, just like a Java IDE is not the Java compiler. CamilStaps (talk) 08:17, 6 May 2018 (UTC)

External links modified
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Related AfD
Our article on KaTeX, a javascript library of the Khan Academy for formatting LaTeX-like mathematical expressions, has been nominated for deletion, with the nominator suggesting that one potential outcome might be a merge to this article. Please comment at Articles for deletion/KaTeX with your opinions of this potential merge or on the proposed deletion more generally. —David Eppstein (talk) 19:56, 14 October 2018 (UTC)

Diffrence between TeX and LaTeX
The article should mention the diffrence between them, and the fact that LaTeX only extends TeX and built on top of it, that means that LaTeX is compiled to TeX. Galzigler (talk) 20:20, 19 November 2018 (UTC)

Accessibility
Please can someone add something about how LaTeX works for people using non-visual browsers (such as a blind people using a screen reader)? Andy Mabbett ( Pigsonthewing ); Talk to Andy; Andy's edits 11:11, 9 January 2020 (UTC)

"stylized with the system as"
"LaTeX (/ˈlɑːtɛx/ LAH-tekh or /ˈleɪtɛx/ LAY-tekh), stylized within the system as LaTeX, is a software system for document preparation."

The wording here is a bit clunky. How about "stylized within itself as"? Thoughts? Will change unless anyone has objections. CampWood (talk) 00:22, 11 September 2020 (UTC)

 * INHO, I think "stylized within the system as LaTeX" should be taken out all together, and so the first sentence should read:

 * "LaTeX (/ˈlɑːtɛx/ LAH-tekh or /ˈleɪtɛx/ LAY-tekh) is a software system for document preparation."

 * Is there a reason to indicate this "stylization" in the first sentence of the article? Or even anywhere in the article? There is afterall an image of the LaTeX logo in the infobox of the article on right Wickedjargon (talk) 23:09, 28 October 2020 (UTC)

IPA error
For the pronunciation of the word LaTeX, two options are given: (/ˈlɑːtɛx/ LAH-tekh or /ˈleɪtɛx/ LAY-tekh).

However both incorrectly use x (ch in loch) as the final coda position consonant. The non IPA transcription is also wrong. A more appropriate transcription would be:

(/ˈlɑːtɛks/ LAH-tekhs or /ˈleɪtɛks/ LAY-tekhs — Preceding unsigned comment added by 94.173.243.57 (talk) 17:52, 21 February 2021 (UTC)

 * This is not wrong; it is indeed pronounced with "ch as in loch". I've heard people say "LAH-tek", but "LAH-teks" is wrong and "LAH-tekhs" makes no sense at all. –St.nerol (talk) 19:35, 14 September 2021 (UTC)

 * The footnote should not say (as it currently does) "commonly mispronounced as /ˈlɑːtɛk/ or /ˈleɪtɛk/"; that is inappropriate prescriptivism. If a pronunication is commonly enough used, then it becomes correctly or at least acceptable. See also Pronunciation of GIF. 78.32.131.8 (talk) 02:37, 29 December 2021 (UTC)

Both you and St.nerol are wrong. The Latex Project website as referenced in source 2 says LaTeX is pronounced "to rhyme with «blech» or «Bertolt Brecht»". This is a bit confusing, since the coda of Brecht is /çt/, but the sensible interpretation is that LaTeX is supposed to be pronounced ending in /ç/, since neither /x/ nor /ks/ come close to rhyming with Brecht. Of course /ç/ is not an english phoneme, so how people actually pronounce the word will be different and should be reflected in the article Tasimnal (talk) 10:03, 19 October 2022 (UTC)

 * This is correct. The current version references a source for the pronunciation, but it's misinterpreted. Bertolt Brecht is not pronounced like "Brekt". The pronunciation currently mentioned as "also pronounced as" is the "official" one, and the others are "also pronounced as"-alternatives. The X in LaTeX is pronounced similarly to the J in the spanish Jesus or Juan. Dynolderbo (talk) 10:54, 2 April 2024 (UTC)

title: Talk:LaTeX


text:
The Inquirer

The Inquirer (stylized as TheINQUIRER) was a British technology tabloid website founded by Mike Magee after his departure from The Register (of which he was one of the founding members) in 2001. In 2006 the site was acquired by Dutch publisher Verenigde Nederlandse Uitgeverijen (VNU). Mike Magee later left The Inquirer in February 2008 to work on the IT Examiner.

Historically, the magazine was entirely Internet-based with its journalists living all over the world and filing copy online, though in recent years it has been edited from Incisive Media's offices in London.

Although traditionally a 'red top', under Incisive Media it has put more weight behind its journalism, reducing the number of jibes at companies, and moved instead towards sponsored online debates in association with high-profile organisations, most recently, Intel.

The Inquirer ceased publishing on 19 December 2019, partly due to declining digital advertising revenues.

Sony laptop battery scandal
In 2006 The Inquirer reported laptop battery problems that affected Dell, Sony and Apple as of September 2006, with rumours of problems at Toshiba and Lenovo. In June 2006, The Inquirer published photographs of a Dell notebook PC bursting into flames at a conference in Japan; The New York Times reprinted The Inquirer's photographs. The Inquirer was also the first publication to report Dell's subsequent decision to recall faulty batteries, according to BusinessWeek.

The Inquirer's successful reporting of the story relied on information supplied by readers and later by a confidential source at Dell. "I attribute being on top of the story to old-fashioned print journalism standards – cultivating, and, if you'll excuse the pun, not burning such contacts," The Inquirer ' s founder, Mike Magee, told BusinessWeek.

Rydermark
In July 2006, The Inquirer posted images to show cheating by Nvidia Windows device drivers in Rydermark 2006. The images were alleged to be fake by a number of sources. The Inquirer denied any wrongdoing and quoted the maker of Rydermark calling the allegations against them "irresponsible". About 8 months after the original Rydermark article, The Inquirer ran another article claiming that Rydermark was still being developed, but was near release. In response, one of its critics offered $1,000 to a charity of the Rydermark articles author's choosing if he could produce (breaching his NDA) a version of Rydermark that showed the alleged screenshots in full-motion video before a set deadline (which gave the author 10 and a half hours, beginning at 6:30PM UK time). No one produced the program before the deadline passed.

Independent verification that RyderMark was genuine, first appeared in TweakTown in May 2007. RyderMark developer Ajith Ram denied ever sending the Inquirer Nvidia cheating allegations.

ATI Intel front side bus license revocation
On 24 July 2006, The Inquirer wrote that, in response to AMD's announced intent to purchase ATI, "ATI had its chipset license pulled, or at least not renewed by Intel." ATI responded by stating that its license had not been revoked and that they continue to ship Intel chipsets under license. On 23 August 2006, ATI showed its chipset roadmap to motherboard vendors which showed that next-generation chipsets for the Intel platform are cancelled. On 1 March 2007, AMD said that they would continue developing chipsets for Intel platforms.

Windows 10 Technical Preview eavesdropping
On 3 October 2014, The Inquirer reported on the privacy policy for the Technical Preview the upcoming Microsoft Windows 10 operating system. In the report, it pointed out that the permissions included the ability for Microsoft to monitor individual keystrokes as well as file content from users. The story was picked up by news media around the world causing Microsoft to admit that monitoring was a necessary part of the process, but denying use of a keylogger.

Ed Bott, writing for ZDNet, accused the site of being "a tech tabloid known for its breathless headlines and factually challenged prose" and said of writer Chris Merriman, "there's little evidence that the author has enough background in computer science or security to tell a keylogger from a key lime pie."

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

title: The Inquirer


text:
Talk:Sienese school

This page had been created by mistake.

The correct one can be found at "Sienese School" with a capital S.

Please have this entry removed.

Thank you.

 * We'll set up a redirect from one to the other. Thanks for letting us know & welcome to wikipedia! -- Tarquin 20:18 Oct 18, 2002 (UTC)

title: Talk:Sienese school


text:
Revolutionary Girl Utena

Revolutionary Girl Utena (少女革命ウテナ) is a Japanese anime television series created by Be-Papas, a production group formed by director Kunihiko Ikuhara and composed of himself, Chiho Saito, Shinya Hasegawa, Yōji Enokido and Yūichirō Oguro. The series was produced by J.C.Staff and originally aired on TV Tokyo from April to December 1997. Revolutionary Girl Utena follows Utena Tenjou, a teenaged girl who is drawn into a sword dueling tournament to win the hand of Anthy Himemiya, a mysterious girl known as the "Rose Bride" who possesses the "power to revolutionize the world".

Ikuhara was a director on the television anime adaptation of Sailor Moon at Toei Animation in the 1990s; after growing frustrated by the lack of creative control in directing an adapted work, he departed the company in 1996 to create an original series. While he initially conceived of Utena as a mainstream Shōjo manga (girls' anime and manga) series aimed at capitalizing on the commercial success of Sailor Moon, the direction of the series shifted dramatically during production towards an avant-garde and surrealist tone. The series has been described as a deconstruction and subversion of fairy tales and the magical girl genre of manga, making heavy use of allegory and symbolism to comment on themes of gender, sexuality, and coming-of-age. Its visual and narrative style is characterized by a sense of theatrical presentation and staging, drawing inspiration from the all-female Japanese theater troupe the Takarazuka Revue, as well as the experimental theater of Shūji Terayama, whose frequent collaborator J. A. Seazer created the songs featured in the series.

Revolutionary Girl Utena has been the subject of both domestic and international critical acclaim, and has received many accolades. It has been praised for its treatment of LGBT themes and subject material, and has influenced subsequent animated works. A manga adaptation of Utena written and illustrated by Saito was developed contemporaneously with the anime series, and was serialized in the manga magazine Ciao beginning in 1996. In 1999, Be-Papas produced the film Adolescence of Utena as a follow-up to the television anime series. The series has had several iterations of physical release, including a remaster overseen by Ikuhara in 2008. In North America, Utena was initially distributed by Central Park Media starting in 1998; the license for the series has been held by Crunchyroll since its 2023 acquisition of Right Stuf and its subsidiary Nozomi Entertainment, which acquired the license for Utena in 2010.

Plot
Revolutionary Girl Utena is divided into three story arcs: the "Student Council Saga" (episodes 1–12), the "Black Rose Saga" (episodes 13–24), and the "Apocalypse Saga" (episodes 25–39).

As a child, Utena Tenjou was given a rose-engraved signet ring by a traveling prince, who promised her that they would one day meet again. Inspired by the encounter, Utena vowed to one day "become a prince" herself. Years later, a teenaged Utena is a student at Ohtori Academy, an exclusive boarding school. She finds herself drawn into a sword dueling tournament with the school's Student Council, whose members wear signet rings identical to her own. The duelists compete to win the hand of Anthy Himemiya, a mysterious student known as the "Rose Bride" who is said to possess the "power to revolutionize the world". Utena emerges victorious in her first duel; obliged to defend her position as the Rose Bride's fiancée, she decides to remain in the tournament to protect Anthy from those who seek the power of the Rose Bride for themselves.

After dueling and achieving victory over the council, Utena is confronted by Souji Mikage, a student prodigy who uses his powers of persuasion and knowledge of psychology to manipulate others into becoming duelists. Mikage aims to kill Anthy to install Mamiya Chida, a terminally ill boy, as the Rose Bride. Utena defeats each of Mikage's duelists, and ultimately Mikage himself. Following his defeat, Mikage vanishes from Ohtori Academy, and the denizens of the school seemingly forget that he ever existed. It transpires that Akio Ohtori, the school's chairman and Anthy's brother, was using Mikage as part of a plot to obtain the "power of eternity". Mamiya was in truth a disguised Anthy, who assisted Akio in his manipulation of Mikage.

Akio appears before each of the Student Council members, and takes them to a place he refers to as "the end of the world". Following their encounters with Akio, each of the Council members face Utena in rematches. Utena defeats the Council members once more, and is called to the dueling arena to meet the prince from her past. She discovers that the prince was Akio, and that he intends to use her and Anthy to gain the power of eternity for himself. Utena duels Akio to free Anthy from his influence; Anthy, complicit in her brother's scheme, intervenes and stabs Utena through the back. Akio attempts and fails to open the sealed gate that holds the power; a gravely injured Utena pries the gate open, where she discovers Anthy inside. Utena reaches out to her, and they briefly join hands as the dueling arena crumbles around them.

Utena vanishes from Ohtori Academy, and all save for Akio and Anthy begin to forget her existence. Akio comments that Utena failed to bring about a revolution, and that he intends to begin a new attempt to attain the power of eternity; Anthy responds that Utena has merely left Ohtori Academy, and that she intends to do the same. Anthy solemnly vows to find Utena, and departs from Akio and the school.

Characters
The majority of the characters in Utena are school-aged adolescents whose character arcs focus on their psychological and moral growth into adulthood, in the tradition of a bildungsroman or coming-of-age story. Series writer Yōji Enokido identified characters who reckon with the transition from youth to maturity by attempting to regress and "take back what they can't ever return" as a major theme for the series, and director Kunihiko Ikuhara stated that he developed the cast of Utena using the self-described rule to "never give a character only one personality".

The character designs for the series were created by Chiho Saito based on direction from Ikuhara, which were then adapted for use in the television anime series by Shinya Hasegawa. Hasegawa stated that he was attracted to Utena as a project because of Saito's art style, distinguished by characters with slender bodies, long limbs, pointed chins, and large eyes, as well as by a stylized focus on the dramatized body movement of characters. He commented that Saito's style deviated from the "anime-like" art that was popular in manga of the era, and thus presented a compelling challenge to adapt into anime.

The title character of the series is Utena Tenjou, a middle school-aged girl who seeks to emulate the noble disposition of the prince she encountered in her youth. She is courageous, forthright, and kind, if somewhat naïve and impulsive. Utena is distinguished by her tomboyish demeanor and manner of dress, particularly her insistence on wearing a boys' school uniform. Ikuhara has characterized Utena as embodying the traits of both a romance heroine and a romanticist hero, describing her in this regard as someone "who has at the same time both the romance of a girl and the romance of a boy." Utena is voiced by Tomoko Kawakami in Japanese; the magazine Animage noted the role as playing against type for the actress, having made a career voicing "boisterous -type characters". She secured the role in part because she did not read the character description before auditioning and thus spoke naturally, contrasting other actresses who put on a masculine voice. Kawakami stated that she wished to communicate Utena's "friendly, good nature and how admirable she is to everyone, while not overdoing the boyishness" in her performance.

After Utena is drawn into the dueling tournament with the school's Student Council – president Touga Kiryuu, his sister Nanami Kiryuu, vice president Kyouichi Saionji, fencing team captain Juri Arisugawa, and boy genius Miki Kaoru – she is introduced to Anthy Himemiya, the mysterious "Rose Bride" at the center of the duels. As the Rose Bride, Anthy is submissive to the personality and disposition of whomever is the current champion of the tournament, and possesses seemingly no free will or independent identity of her own. Though at first glance Anthy resembles a stereotypical damsel in distress defined by her passivity and demureness, as the series progresses, she is revealed to occupy a central role in controlling the duels and the school itself with her brother Akio Ohtori. In early development, Ikuhara conceived of Utena and Anthy as a single character: a girl "who wants to be a prince, but at the same time also wanted to remain a princess". He ultimately split the character in two, Anthy becoming "another Utena" who by contrast wishes to "remain a princess". Ikuhara stated that he consciously crafted the plot and visuals of Utena to create a strong impression on the viewer that that the series would climax with Utena saving Anthy, but the lingering question of "but what does she save Anthy from?" becomes, per Ikuhara, the "central issue" of the series.

Context
Kunihiko Ikuhara was a director at Toei Animation on the television anime series Sailor Moon in the 1990s, co-directing its second season with Junichi Sato, and serving as the sole director of its third season, fourth season, and the animated film Sailor Moon R: The Movie. Frustrated by the lack of creative control in producing a series adapted from an existing work, Ikuhara departed Toei in 1996 to create an original series. To this end, Ikuhara assembled Be-Papas, a group of creative professionals from the anime and manga industry. Its membership consisted of Ikuhara, manga artist Chiho Saito, animator and character designer Shinya Hasegawa, scriptwriter Yōji Enokido, and planner Yūichirō Oguro.

Several of the members of Be-Papas had previously worked together: Hasegawa and Enokido had previously worked with Ikuhara on Sailor Moon, where Enokido wrote many of the episodes featuring Sailor Uranus and Sailor Neptune; Hasegawa and Enokido had also both worked on the anime series Neon Genesis Evangelion. Saito was an established manga artist who had not previously worked with the members of Be-Papas, or in anime; Ikuhara decided to base the visuals of the series on her artwork and recruited her to Be-Papas after seeing an illustration from her manga series Magnolia Waltz on the cover of a magazine.

Planning
Initially, Ikuhara envisioned Utena as a mainstream Shōjo manga (girls' anime and manga) series aimed at capitalizing on the commercial success of Sailor Moon; Saito characterized the earliest discussions on Utena as focused on creating a series "that people will like and [will] be profitable". The earliest concepts for Utena deviated significantly from what became the final series: an initial pitch to project financers was titled Revolutionary Girl Utena Kiss, and focused on a group of female warriors called the "Neo Elegansar" who battled "the end of the world". Per Oguro, a basic series concept of "a romantic action show starring a pretty girl who wears boys' clothes" that had a "Takarazuka style" was eventually settled on. A school setting was also determined in this early concept phase, though other concepts such as the duels and the "Rose Bride" would not be formulated until later in development.

Although the concept for Utena originated from Ikuhara, the series as a whole was developed collectively by Be-Papas. The group entered a six-month planning period after Saito joined Be-Papas, which focused on fleshing out the story and setting, as well as determining how Saito's visual style could best be imported into anime. Saito also began to contemporaneously write and illustrate a manga adaptation of Utena while contributing to the development of the anime series.

Utena draws inspiration from several sources – Animage described the series as "influenced by [Ikuhara's] idiosyncrasies" – including the Takarazuka Revue, the artwork of Jun'ichi Nakahara, Hermann Hesse's novel Demian, and the experimental theater of Shūji Terayama. Saito cited the manga series and the 1973 film adaptation of The Three Musketeers as among the influences that informed her contributions to Utena. Ikuhara has stated that although he "wouldn't be able to avoid it being said" that Utena was influenced by Princess Knight and The Rose of Versailles – two manga series famous for their cross-dressing, sword-fighting heroines – throughout the development of Utena, he was possessed of an "immense fear" that the series would be seen merely as a parody of those works. Saito stated that she was hired to join the otherwise all-male Be-Papas in part because they were concerned that without a female perspective they would create a parody of manga, which was not their intention.

Production
Shortly after Saito's manga adaptation of Utena began serialization in 1996, negotiations for the broadcast of the Utena television anime were settled, and production began. Be-Papas served as the primary production staff for Utena, with animation production completed by the animation studio J.C.Staff.

Ikuhara's ambitions for Utena shifted dramatically after the series commenced production. Believing that the series required "a unique individuality" if it was to find an audience, he abandoned his previous goal of a mass-market hit in favor of more non-commercial aspirations. To this end, he began to incorporate a variety of avant-garde elements into the series, such as theatrical-inspired layouts, a recurring shadow play segment that allegorically comments on the events of each episode, and the experimental choral music of composer J. A. Seazer.

Enokido characterized the production of Utena as marked by "an agreeable sense of tension" between the members of Be-Papas. As the direction of the series shifted away from its original commercial focus, production became what Oguro described as a "tug-of-war" between Saito and Ikuhara, as Saito advocated for the original romantic concept for the series over Ikuhara's new, more esoteric vision. Ikuhara and Saito particularly quarreled over whether the series should depict the relationship between Utena and Anthy as a romance, and at one point during production did not speak to each other for a period of three months. Saito was initially opposed, not out of an ideological opposition to depicting a same-sex romance, but because she believed the mainstream audience the series was ostensibly attempting to court would respond poorly to anything other than a male-female romance. Ikuhara would conceal the extent to which he intended to present Utena and Anthy's relationship as a romance from Saito throughout production; Saito ultimately expressed support for how the series presented the relationship between the characters.

Key individuals involved in the production of Utena beyond the membership of Be-Papas included Shingo Kaneko and Tōru Takahashi, who served under Ikuhara as assistant directors. Kaneko described incorporating a "cinematic sensibility" for Utena that actively incorporated twists and tricks; Takahashi was initially recruited to the project as an animator by Hasegawa, as they were attending the same vocational school, but was made a director after he expressed his aspiration to do so to Ikuhara. Hiroshi Nagahama was the conceptual designer for the series, designing the dueling area and the Ohtori Academy school buildings. Nagahama compared the design process for Utena to creating a stage set, with a focus only on what is seen by the audience. Background art was created by Shichirō Kobayashi, based on initial designs by Nagahama, and Mamoru Hosoda and Takuya Igarashi were among the storyboard artists for the series.

Style
Utena is characterized by a high degree of stylization that integrates surrealist and expressionist elements to communicate mood and convey allegorical meaning. Enokido described a sense of "theatrical staging and presentation" as one of the core elements of Utena, while Ikuhara has stated that he wanted from the early stages of development for the series to be "operatic". The series makes use of multiple stylistic flourishes, including the marking of character introductions and other significant plot moments with a decorative black frame anchored by spinning roses, which staff on the series referred to as an "attention mark". Certain recurring segments such as Utena's entry to the dueling arena make use of long segments of animation and music that are identical (or nearly identical) from episode to episode, as analogous to the recurring transformation scenes from Sailor Moon. The duels are themselves heavily stylized, in a manner that scholar and critic Susan J. Napier notes is reminiscent of the ritualized performance style of Noh theater.

Narratively, the series has been described by critics as a deconstruction of fairy tale narratives and a subversion of the magical girl genre of manga. Napier notes how the series uses the narrative and visual aesthetics of these categories, such as princes, castles, romance, beautiful boys, and beautiful girls, to "critique the illusions they offer". Ikuhara has described directing certain early episodes of the series such as "On the Night of the Ball" specifically to be "uncomfortably stereotypical[ly] " to "strongly impress upon the audience that this was a ' manga anime and establish the tropes that the series intended to subvert. In discussing his aspirations for Utena in regards to manga, Ikuhara stated that he wished to create the series as a soukatsu shite (総括して), an "anime that rounded up all the  manga into one" and which expressed all of the broader themes of the genre in a single work.

Releases
Revolutionary Girl Utena was originally broadcast weekly on TV Tokyo from April 2 to December 24, 1997. The series consists of two seasons, respectively composed of episodes 1 to 24 and episodes 25 to 39, and was originally produced on 16 mm film. The series has had several iterations of physical releases in Japan, including a VHS and LaserDisc release beginning in 1997, and a DVD release beginning in 1999. A remastering of the series overseen by Ikuhara was published as two boxed DVD sets released in 2008 and 2009, and as two boxed Blu-Ray sets released in 2013. A limited edition boxed set collecting the entire series on Blu-Ray was released in 2017 in commemoration of the series' 20th anniversary.

In North America, licensing for Utena was overseen by Enoki Films USA; the company produced a proof of concept for potential distributors that localized Utena for Western audiences, giving the characters English names and re-titling the series Ursula's Kiss. North American distribution rights were first acquired by Central Park Media, which released both English dubbed and subtitled editions of the series that preserved the original series title and character names. Central Park released the first thirteen episodes of the series on VHS beginning in 1998; due to licensing issues, the company did not release the series in full until its DVD release beginning in 2002. Central Park's licenses were liquidated after the company declared bankruptcy in 2009, and the North American license to Utena was acquired by Right Stuf under its Nozomi Entertainment label in 2010. The company released the series on DVD in 2011, the remastered edition of the series on Blu-Ray in 2017, and its own 20th anniversary series boxed set in 2018. Right Stuf and its subsidiaries were acquired by Crunchyroll in 2023.

Outside of North America, Utena is licensed by Anime Limited in the United Kingdom and Hanabee in Australia. International broadcast and streaming rights for Utena have alternately been acquired by a variety of channels and streaming services, including FUNimation Channel in 2007, Anime Network in 2009, Neon Alley in 2013, Funimation in 2020, and Crunchyroll in 2021.

Manga
Contemporaneous with the development of the anime series, Chiho Saito wrote and illustrated a manga adaptation of Revolutionary Girl Utena, which was serialized in the manga magazine Ciao beginning in 1996. Saito also published a one-shot in Ciao titled The Rose Seal which depicts Utena before to her transfer to Ohtori Academy, as well as a manga adaptation of the film Adolescence of Utena in Bessatsu Shōjo Comic Special. An English-language translation of the manga has been published by Viz Media, which also serialized the Utena manga in its manga magazine Animerica Extra.

Unlike the majority of manga series that are adapted either into or from an anime, the plots of the Utena manga and anime deviate significantly from each other. These differences in plot, such as the manga's increased focus on the relationship between Utena and Touga, were in part a function of the fact that Saito began to write and illustrate the manga before the anime series went into production. She attempted to incorporate as much material as possible from the scripts Enokido had completed, but was frequently required to use her own judgement in rendering aspects of the story that the anime would ultimately depict in an entirely different manner. Animerica described the production of the manga adaptation as "one that got its inspiration largely through [Saito's] own confusion about what exactly she was supposed to show, and Ikuhara's own vague answers to her questions." Saito changed editors five times during the manga's year-and-a-half long serialization as a result of the confusion around its production.

A sequel to the Utena manga series, Revolutionary Girl Utena: After the Revolution, was announced in 2017 to commemorate the 20th anniversary of the series. Written and illustrated by Saito, the three-chapter series depicts the lives of the primary cast following their departure from Ohtori Academy, and was serialized in the manga magazine Flowers from July 2017 to March 2018.

Soundtrack and music
Shinkichi Mitsumune scored Utena, and the songs in the series are Mitsumune's rearrangements of songs by composer J. A. Seazer. Each episode typically features two songs that play as incidental music: "" ( "Absolute Destiny Apocalypse"), which appears as a recurring theme as Utena enters the dueling arena, and a song unique to each episode that plays during the duel itself. The duel songs function similarly to a Greek chorus, commenting on the motivations of the duelists through allegorical lyrics that feature references to religious, scientific, and arcane subjects. The songs are performed by a choir; Ikuhara and Mitsumune participate on some choruses.

Seazer originally produced the songs featured in the series as part of his experimental theater company (lit.  'Experimental Laboratory of Theatre: Universal Gravitation'). Ikuhara was significantly influenced by Seazer and, an experimental theater company established by dramatist Shūji Terayama where Seazer served as co-director and composer; following Terayama's death, Seazer founded as its successor. Ikuhara had long sought to work with Seazer, describing the experience as "fulfill[ing] the dream I had from my teenage years", but noted that the financers for Utena were strongly opposed to using Seazer's music, owing to its highly avant-garde style. Seazer agreed to participate in Utena in part because he was a fan of Sailor Moon.

The series' theme song is "Rondo-Revolution", written and performed by Masami Okui, and composed and arranged by Toshiro Yabuki. Ikuhara told Okui to "think of this as a song that will play during the story’s last scene" when writing "Rondo-Revolution", though at the time he had not yet decided what the last scene would be beyond a vague concept of two people parting from each other. Ikuhara sent several key phrases to Okui use as lyrics, including "sunlit garden", "revolutionize", "lose everything", "strip down to nothing at all", and "change the world". The series uses two ending themes: episodes 1 to 24 use "Truth", performed by Luca Yumi with lyrics by Shoko Fujibayashi; episodes 25 to 38 use "Virtual Star Embryology", performed by Maki Kamiya with lyrics by Seazer. The final episode uses a scat version of "Rondo-Revolution" performed by Okui as its ending theme.

Film
Shortly after the conclusion of the Utena anime television series, Be-Papas announced plans to release a feature film follow-up to the series. The film, titled Adolescence of Utena, was released in theaters in Japan on August 14, 1999. The film occupies an ambiguous place in the broader Utena canon, and has been alternately interpreted as a stand-alone adaptation that exists in its own continuity, and as a sequel that is contiguous with the events of the anime series.

Stage musicals
Several musical adaptations of Utena have been produced, beginning with Comedie Musicale Utena: La Fillette Révolutionnaire in December 1997. The musical was directed by Yūji Mitsuya, staged at the Hakuhinkan Theater in Tokyo, and featured an all-female Takarazuka-inspired cast. This was followed by Revolutionary Girl Utena Hell Rebirth Apocalypse: Advent of the Nirvanic Beauty in 1999 by director Ei Takatori, and Revolutionary Girl Utena: Choros Imaginary Living Body in 2000, which starred AKB48 member Mayu Watari as Utena.

A series of 2.5D musical adaptations were announced in 2017 as part of a commemoration project to mark the 20th anniversary of the Revolutionary Girl Utena anime. The first musical, Revolutionary Girl Utena: Bud of the White Rose, was staged in 2018 and adapts the Student Council Saga from the original anime. A sequel adapting the Black Rose Saga, Revolutionary Girl Utena: Blooming Rose of Deepest Black, was staged in 2019, with the cast and director of Bud of the White Rose reprising their roles.

Ikuhara has discussed the early stage adaptations of Utena in ambivalent terms, stating that "it looks extremely cheesy" when the theatrical visuals of Utena are rendered as literal theater. He served as a supervisor on the 2018 and 2019 musicals, noting that he had previously refused multiple offers to adapt Utena into a 2.5D musical, but relented after a producer convinced him that it would be a good way to introduce the series to a younger generation.

Other media
Two light novels written by Ichirō Ōkouchi with illustrations by Chiho Saito, titled Shōjo Kakumei Utena: Aoi no Futaki (少女革命ウテナ – 蒼の双樹) and Shōjo Kakumei Utena: Midori no Omoi (少女革命ウテナ – 翠の思い), were published by Shogakukan in 1997 and 1998, respectively. A video game, Shōjo Kakumei Utena: Itsuka Kakumeisareru Monogatari (少女革命ウテナ いつか革命される物語), was developed and published by Sega for the Sega Saturn in 1998. A visual novel with dating sim elements, the game tells an original story about the player character (voiced by Kaoru Fujino), a transfer student at Ohtori Academy. The voice cast of the anime series reprise their roles for the game.

Gender
Utena's desire to "become a prince" does not refer to a literal desire to become royalty or change her gender, but rather to her desire to exhibit qualities of courage, compassion, and strength that represent an ideal of princeliness. "Being a prince" thus constitutes a body of ideas connoting a sense of heroic agency, rather than a reflection of Utena's gender identity or presentation. The series contrasts the notion of the "prince" to that of the "princess", represented by the passive, helpless, and objectified Anthy.

Although the simple juxtaposition of prince and princess archetypes could suggest that Utena is a straightforward "feminist fairy tale", Napier argues that the series "is not simply a work of female empowerment". Napier and other critics argue that Utena uses the prince/princess dichotomy to examine how gender roles restrict the development of both women and men, how the victims of this system come to enforce these restrictions on other victims, and ultimately suggests that being a "prince" is as limiting as being a "princess", as both originate from the same restrictive system. This expression reaches its apex at the climax of the series, when Utena loses her final duel against Akio; though Utena ostensibly fails in her princely attempt to "save" Anthy, her actions cause Anthy to "question the rules governing her own performance as princess", and provokes her departure from Ohtori to a world where "the categories of prince and princess have been deconstructed and do not matter".

In considering depictions of gender in Utena, critic Mari Kotani cites the character of Utena as an example of a (lit.  'battling beauty'), a character archetype originated by psychologist and critic Tamaki Saitō. Kotani argues that Utena is a as her character design "satisfies the lustful eyes of the male voyeur who reads manga for eroticized images of girls", but that any efforts to objectify Utena are complicated by her crossdressing and role as an active protagonist. She argues that the success of Utena lies in its blending of elements of (through its focus on combat) and  (through its focus on romance) vis-à-vis the character of Utena, and how this blending "deftly exposes the structure of sexuality implicit in manga for girls".

Coming-of-age
Adolescence and its attendant struggles of personal growth and development are a common theme in Ikuhara's works, with a frequent focus on teenaged characters who seek personal change yet are bound to their pasts in ways they are not consciously aware of. This focus on the transition from adolescence implicates Utena in the bildungsroman genre; the Student Council's repeated mantra in which they entreat each other to "crack the world's shell" is a modified passage from Hermann Hesse's 1919 novel Demian, a major work of the bildungsroman genre. Typically, characters in Ikuhara's works seek a MacGuffin-like device that purports to solve their struggles by accelerating the process of change; in Utena, this is represented as the "end of the world". The device is ultimately revealed to be either unreal or lacking the power that is ascribed to it, but serves to symbolically represent how the characters are constrained by broader systems of power and coercion.

The actual meaning of the "end of the world" is never strictly defined by the series itself, though Ikuhara has discussed the concept in terms of adolescent psychology, connoting the sense of despair one feels upon reaching adulthood and becoming aware of social realities that disillusion an idealized child-like conception of the world. The "end of the world" is contrasted against the "power to revolutionize the world" and the "power of eternity", also defined only in vague terms within the series, though Ikuhara has described "revolution" in the context of the series as connoting "the power to imagine the future", and "eternity" as "the power to create an enjoyable future". Enokido has noted how each of the characters in Utena seek their own version of "eternity", which he describes as representing the "desire to vicariously re-experience times past", but which ultimately symbolizes the danger of humans being "ruled by sentimentality".

Sexuality
Utena depicts multiple gay and lesbian couplings, all of which are treated as legitimate and normal within the world of the series itself. Ikuhara has stated that he wished for the series to have "a sense of diversity" in this regard, and that the series' normalized depiction of same-sex couples serves to reinforce the core series message of freedom of the self. The series' depiction of sexuality has been considered in relation to its subversion of fairy tale and magical girl tropes, as the trials Utena faces often occur in the context of efforts to pressure her into the "heroic heterosexuality and monogamy" typical of those genres.

Napier argues that although Utena's depiction of same-sex couplings can be interpreted as indicating that "homoerotic relationships can be part of liberation", the relationship between Utena and Anthy can also be interpreted as a metaphor for "the need for integration of two sides of the self". Utena's chivalrous desire to "save" Anthy gives her a blinkered perspective that is only resolved through an archetypically feminine understanding of and empathy for Anthy's situation; Anthy's regressive domesticity is ameliorated after she gains "a dose of masculine assertiveness". Napier notes that while Akio's relationship with Anthy is clearly toxic, the series depicts Utena's overt effort to "save" Anthy as itself cloying and overwhelming, and that it is only when Anthy makes the choice herself to leave Ohtori Academy that she begins on the path to develop "a more integrated personality".

Reception and influence
Revolutionary Girl Utena has been the subject of both domestic and international praise, and has received many accolades. In 1997, the series won the Animation Kobe award in the "Best Television" category. In 2017, Japanese broadcaster NHK conducted a national poll to determine the one hundred greatest anime in commemoration of the hundredth anniversary of the medium, in which Utena placed 30th. Utena was listed as one of the ten "best anime ever" by Anime Insider and ranked fourth on Paste's list of the best anime of all time. Anime News Network's ranking of the 100 greatest anime films of all time placed Adolescence of Utena in eighth; in his review, writer Mike Toole called the television series "the most important anime of the 1990s".

The series has received particular praise for its treatment of LGBT themes and subject material;  reflecting on the series in this regard in 2020, Ikuhara stated that there "are a lot of anime that deal superficially with female-female or male-male relationships, but I think the sense of freedom and of diversity that Utena had is one of the reasons that it has such a big fan base even now." Critics and creators have cited Utena's influence on subsequent animated works, including Revue Starlight, Princess Tutu, Puella Magi Madoka Magica, Mobile Suit Gundam: The Witch from Mercury, Steven Universe, and She-Ra and the Princesses of Power. The series has also been credited with prompting a revival in popularity for the music of J. A. Seazer.

Anime and manga scholar Susan J. Napier notes that Japanese critics frequently compared Utena to the 1996 anime series Neon Genesis Evangelion, given their similar focus on themes of coming-of-age and apocalypse; Adolescence of Utena is sometimes referred to by fans as The End of Utena, referencing the 1997 film The End of Evangelion. Although Napier considers that Evangelion depicts a "pathological apocalypse" where the stakes are the entire world, she characterizes Utena as a "baroque apocalypse, one of adolescent emotion where everything is larger than life, identity is at its most problematic, and life itself is lived in the extremes." Critic Mari Kotani notes the common comparison of Utena to Evangelion, but states that she regards Utena as more directly comparable to early manga, specifically citing the works of Jun'ichi Nakahara and Macoto Takahashi published in the magazine Soleil (magazine).

Official websites

 * Revolutionary Girl Utena — J.C.Staff official Utena page
 * Revolutionary Girl Utena — King Records official Utena page
 * Revolutionary Girl Utena — 2018 stage musical official website

Articles and information

 * Empty Movement – a comprehensive fan website
 * Empty Movement – a comprehensive fan website
 * Empty Movement – a comprehensive fan website
 * Empty Movement – a comprehensive fan website

title: Revolutionary Girl Utena


text:
Intrusion detection system

An intrusion detection system (IDS; also intrusion prevention system or IPS) is a device or software application that monitors a network or systems for malicious activity or policy violations. Any intrusion activity or violation is typically either reported to an administrator or collected centrally using a security information and event management (SIEM) system. A SIEM system combines outputs from multiple sources and uses alarm filtering techniques to distinguish malicious activity from false alarms.

IDS types range in scope from single computers to large networks. The most common classifications are network intrusion detection systems (NIDS) and host-based intrusion detection systems (HIDS). A system that monitors important operating system files is an example of an HIDS, while a system that analyzes incoming network traffic is an example of an NIDS. It is also possible to classify IDS by detection approach. The most well-known variants are signature-based detection (recognizing bad patterns, such as malware) and anomaly-based detection (detecting deviations from a model of "good" traffic, which often relies on machine learning). Another common variant is reputation-based detection (recognizing the potential threat according to the reputation scores). Some IDS products have the ability to respond to detected intrusions. Systems with response capabilities are typically referred to as an intrusion prevention system. Intrusion detection systems can also serve specific purposes by augmenting them with custom tools, such as using a honeypot to attract and characterize malicious traffic.

Comparison with firewalls
Although they both relate to network security, an IDS differs from a firewall in that a conventional network firewall (distinct from a next-generation firewall) uses a static set of rules to permit or deny network connections. It implicitly prevents intrusions, assuming an appropriate set of rules have been defined. Essentially, firewalls limit access between networks to prevent intrusion and do not signal an attack from inside the network. An IDS describes a suspected intrusion once it has taken place and signals an alarm. An IDS also watches for attacks that originate from within a system. This is traditionally achieved by examining network communications, identifying heuristics and patterns (often known as signatures) of common computer attacks, and taking action to alert operators. A system that terminates connections is called an intrusion prevention system, and performs access control like an application layer firewall.

Intrusion detection category
IDS can be classified by where detection takes place (network or host) or the detection method that is employed (signature or anomaly-based).

Network intrusion detection systems
Network intrusion detection systems (NIDS) are placed at a strategic point or points within the network to monitor traffic to and from all devices on the network. It performs an analysis of passing traffic on the entire subnet, and matches the traffic that is passed on the subnets to the library of known attacks. Once an attack is identified, or abnormal behavior is sensed, the alert can be sent to the administrator. NIDS function to safeguard every device and the entire network from unauthorized access.

An example of an NIDS would be installing it on the subnet where firewalls are located in order to see if someone is trying to break into the firewall. Ideally one would scan all inbound and outbound traffic, however doing so might create a bottleneck that would impair the overall speed of the network. OPNET and NetSim are commonly used tools for simulating network intrusion detection systems. NID Systems are also capable of comparing signatures for similar packets to link and drop harmful detected packets which have a signature matching the records in the NIDS. When we classify the design of the NIDS according to the system interactivity property, there are two types: on-line and off-line NIDS, often referred to as inline and tap mode, respectively. On-line NIDS deals with the network in real time. It analyses the Ethernet packets and applies some rules, to decide if it is an attack or not. Off-line NIDS deals with stored data and passes it through some processes to decide if it is an attack or not.

NIDS can be also combined with other technologies to increase detection and prediction rates. Artificial Neural Network (ANN) based IDS are capable of analyzing huge volumes of data due to the hidden layers and non-linear modeling, however this process requires time due its complex structure. This allows IDS to more efficiently recognize intrusion patterns. Neural networks assist IDS in predicting attacks by learning from mistakes; ANN based IDS help develop an early warning system, based on two layers. The first layer accepts single values, while the second layer takes the first's layers output as input; the cycle repeats and allows the system to automatically recognize new unforeseen patterns in the network. This system can average 99.9% detection and classification rate, based on research results of 24 network attacks, divided in four categories: DOS, Probe, Remote-to-Local, and user-to-root.

Host intrusion detection systems
Host intrusion detection systems (HIDS) run on individual hosts or devices on the network. A HIDS monitors the inbound and outbound packets from the device only and will alert the user or administrator if suspicious activity is detected. It takes a snapshot of existing system files and matches it to the previous snapshot. If the critical system files were modified or deleted, an alert is sent to the administrator to investigate. An example of HIDS usage can be seen on mission critical machines, which are not expected to change their configurations.

Signature-based
Signature-based IDS is the detection of attacks by looking for specific patterns, such as byte sequences in network traffic, or known malicious instruction sequences used by malware. This terminology originates from anti-virus software, which refers to these detected patterns as signatures. Although signature-based IDS can easily detect known attacks, it is difficult to detect new attacks, for which no pattern is available.

In signature-based IDS, the signatures are released by a vendor for all its products. On-time updating of the IDS with the signature is a key aspect.

Anomaly-based
Anomaly-based intrusion detection systems were primarily introduced to detect unknown attacks, in part due to the rapid development of malware. The basic approach is to use machine learning to create a model of trustworthy activity, and then compare new behavior against this model. Since these models can be trained according to the applications and hardware configurations, machine learning based method has a better generalized property in comparison to traditional signature-based IDS. Although this approach enables the detection of previously unknown attacks, it may suffer from false positives: previously unknown legitimate activity may also be classified as malicious. Most of the existing IDSs suffer from the time-consuming during detection process that degrades the performance of IDSs. Efficient feature selection algorithm makes the classification process used in detection more reliable.

New types of what could be called anomaly-based intrusion detection systems are being viewed by Gartner as User and Entity Behavior Analytics (UEBA) (an evolution of the user behavior analytics category) and network traffic analysis (NTA). In particular, NTA deals with malicious insiders as well as targeted external attacks that have compromised a user machine or account. Gartner has noted that some organizations have opted for NTA over more traditional IDS.

Intrusion prevention
Some systems may attempt to stop an intrusion attempt but this is neither required nor expected of a monitoring system. Intrusion detection and prevention systems (IDPS) are primarily focused on identifying possible incidents, logging information about them, and reporting attempts. In addition, organizations use IDPS for other purposes, such as identifying problems with security policies, documenting existing threats and deterring individuals from violating security policies. IDPS have become a necessary addition to the security infrastructure of nearly every organization.

IDPS typically record information related to observed events, notify security administrators of important observed events and produce reports. Many IDPS can also respond to a detected threat by attempting to prevent it from succeeding. They use several response techniques, which involve the IDPS stopping the attack itself, changing the security environment (e.g. reconfiguring a firewall) or changing the attack's content.

Intrusion prevention systems (IPS), also known as intrusion detection and prevention systems (IDPS), are network security appliances that monitor network or system activities for malicious activity. The main functions of intrusion prevention systems are to identify malicious activity, log information about this activity, report it and attempt to block or stop it..

Intrusion prevention systems are considered extensions of intrusion detection systems because they both monitor network traffic and/or system activities for malicious activity. The main differences are, unlike intrusion detection systems, intrusion prevention systems are placed in-line and are able to actively prevent or block intrusions that are detected. IPS can take such actions as sending an alarm, dropping detected malicious packets, resetting a connection or blocking traffic from the offending IP address. An IPS also can correct cyclic redundancy check (CRC) errors, defragment packet streams, mitigate TCP sequencing issues, and clean up unwanted transport and network layer options.

Classification
Intrusion prevention systems can be classified into four different types:

 * 1) Network-based intrusion prevention system (NIPS):  monitors the entire network for suspicious traffic by analyzing protocol activity.
 * 2) Wireless intrusion prevention system (WIPS): monitor a wireless network for suspicious traffic by analyzing wireless networking protocols.
 * 3) Network behavior analysis (NBA): examines network traffic to identify threats that generate unusual traffic flows, such as distributed denial of service (DDoS) attacks, certain forms of malware and policy violations.
 * 4) Host-based intrusion prevention system (HIPS): an installed software package which monitors a single host for suspicious activity by analyzing events occurring within that host.

Detection methods
The majority of intrusion prevention systems utilize one of three detection methods: signature-based, statistical anomaly-based, and stateful protocol analysis.

 * 1) Signature-based detection: Signature-based IDS monitors packets in the Network and compares with pre-configured and pre-determined attack patterns known as signatures. While it is the simplest and most effective method, it fails to detect unknown attacks and variants of known attacks.
 * 2) Statistical anomaly-based detection: An IDS which is anomaly-based will monitor network traffic and compare it against an established baseline. The baseline will identify what is "normal" for that network – what sort of bandwidth is generally used and what protocols are used. It may however, raise a False Positive alarm for legitimate use of bandwidth if the baselines are not intelligently configured. Ensemble models that use Matthews correlation co-efficient to identify unauthorized network traffic have obtained 99.73% accuracy.
 * 3) Stateful protocol analysis detection: This method identifies deviations of protocol states by comparing observed events with "pre-determined profiles of generally accepted definitions of benign activity". While it is capable of knowing and tracing the protocol states, it requires significant resources.

Placement
The correct placement of intrusion detection systems is critical and varies depending on the network. The most common placement is behind the firewall, on the edge of a network. This practice provides the IDS with high visibility of traffic entering your network and will not receive any traffic between users on the network. The edge of the network is the point in which a network connects to the extranet. Another practice that can be accomplished if more resources are available is a strategy where a technician will place their first IDS at the point of highest visibility and depending on resource availability will place another at the next highest point, continuing that process until all points of the network are covered.

If an IDS is placed beyond a network's firewall, its main purpose would be to defend against noise from the internet but, more importantly, defend against common attacks, such as port scans and network mapper. An IDS in this position would monitor layers 4 through 7 of the OSI model and would be signature-based. This is a very useful practice, because rather than showing actual breaches into the network that made it through the firewall, attempted breaches will be shown which reduces the amount of false positives. The IDS in this position also assists in decreasing the amount of time it takes to discover successful attacks against a network.

Sometimes an IDS with more advanced features will be integrated with a firewall in order to be able to intercept sophisticated attacks entering the network. Examples of advanced features would include multiple security contexts in the routing level and bridging mode. All of this in turn potentially reduces cost and operational complexity.

Another option for IDS placement is within the actual network. These will reveal attacks or suspicious activity within the network. Ignoring the security within a network can cause many problems, it will either allow users to bring about security risks or allow an attacker who has already broken into the network to roam around freely. Intense intranet security makes it difficult for even those hackers within the network to maneuver around and escalate their privileges.

Limitations

 * Noise can severely limit an intrusion detection system's effectiveness. Bad packets generated from software bugs, corrupt DNS data, and local packets that escaped can create a significantly high false-alarm rate.
 * It is not uncommon for the number of real attacks to be far below the number of false-alarms. Number of real attacks is often so far below the number of false-alarms that the real attacks are often missed and ignored.
 * Many attacks are geared for specific versions of software that are usually outdated. A constantly changing library of signatures is needed to mitigate threats. Outdated signature databases can leave the IDS vulnerable to newer strategies.
 * For signature-based IDS, there will be lag between a new threat discovery and its signature being applied to the IDS. During this lag time, the IDS will be unable to identify the threat.
 * It cannot compensate for weak identification and authentication mechanisms or for weaknesses in network protocols. When an attacker gains access due to weak authentication mechanisms then IDS cannot prevent the adversary from any malpractice.
 * Encrypted packets are not processed by most intrusion detection devices. Therefore, the encrypted packet can allow an intrusion to the network that is undiscovered until more significant network intrusions have occurred.
 * Intrusion detection software provides information based on the network address that is associated with the IP packet that is sent into the network. This is beneficial if the network address contained in the IP packet is accurate. However, the address that is contained in the IP packet could be faked or scrambled.
 * Due to the nature of NIDS systems, and the need for them to analyse protocols as they are captured, NIDS systems can be susceptible to the same protocol-based attacks to which network hosts may be vulnerable. Invalid data and TCP/IP stack attacks may cause a NIDS to crash.
 * The security measures on cloud computing do not consider the variation of user's privacy needs. They provide the same security mechanism for all users no matter if users are companies or an individual person.

Evasion techniques
There are a number of techniques which attackers are using, the following are considered 'simple' measures which can be taken to evade IDS:
 * Fragmentation: by sending fragmented packets, the attacker will be under the radar and can easily bypass the detection system's ability to detect the attack signature.
 * Avoiding defaults: The TCP port utilised by a protocol does not always provide an indication to the protocol which is being transported. For example, an IDS may expect to detect a trojan on port 12345. If an attacker had reconfigured it to use a different port, the IDS may not be able to detect the presence of the trojan.
 * Coordinated, low-bandwidth attacks: coordinating a scan among numerous attackers (or agents) and allocating different ports or hosts to different attackers makes it difficult for the IDS to correlate the captured packets and deduce that a network scan is in progress.
 * Address spoofing/proxying: attackers can increase the difficulty of the Security Administrators ability to determine the source of the attack by using poorly secured or incorrectly configured proxy servers to bounce an attack. If the source is spoofed and bounced by a server, it makes it very difficult for IDS to detect the origin of the attack.
 * Pattern change evasion: IDS generally rely on 'pattern matching' to detect an attack. By changing the data used in the attack slightly, it may be possible to evade detection. For example, an Internet Message Access Protocol (IMAP) server may be vulnerable to a buffer overflow, and an IDS is able to detect the attack signature of 10 common attack tools. By modifying the payload sent by the tool, so that it does not resemble the data that the IDS expects, it may be possible to evade detection.

Development
The earliest preliminary IDS concept was delineated in 1980 by James Anderson at the National Security Agency and consisted of a set of tools intended to help administrators review audit trails. User access logs, file access logs, and system event logs are examples of audit trails.

Fred Cohen noted in 1987 that it is impossible to detect an intrusion in every case, and that the resources needed to detect intrusions grow with the amount of usage.

Dorothy E. Denning, assisted by Peter G. Neumann, published a model of an IDS in 1986 that formed the basis for many systems today. Her model used statistics for anomaly detection, and resulted in an early IDS at SRI International named the Intrusion Detection Expert System (IDES), which ran on Sun workstations and could consider both user and network level data. IDES had a dual approach with a rule-based Expert System to detect known types of intrusions plus a statistical anomaly detection component based on profiles of users, host systems, and target systems. The author of "IDES: An Intelligent System for Detecting Intruders", Teresa F. Lunt, proposed adding an artificial neural network as a third component. She said all three components could then report to a resolver. SRI followed IDES in 1993 with the Next-generation Intrusion Detection Expert System (NIDES).

The Multics intrusion detection and alerting system (MIDAS), an expert system using P-BEST and Lisp, was developed in 1988 based on the work of Denning and Neumann. Haystack was also developed in that year using statistics to reduce audit trails.

In 1986 the National Security Agency started an IDS research transfer program under Rebecca Bace. Bace later published the seminal text on the subject, Intrusion Detection, in 2000.

Wisdom & Sense (W&S) was a statistics-based anomaly detector developed in 1989 at the Los Alamos National Laboratory. W&S created rules based on statistical analysis, and then used those rules for anomaly detection.

In 1990, the Time-based Inductive Machine (TIM) did anomaly detection using inductive learning of sequential user patterns in Common Lisp on a VAX 3500 computer. The Network Security Monitor (NSM) performed masking on access matrices for anomaly detection on a Sun-3/50 workstation. The Information Security Officer's Assistant (ISOA) was a 1990 prototype that considered a variety of strategies including statistics, a profile checker, and an expert system. ComputerWatch at AT&T Bell Labs used statistics and rules for audit data reduction and intrusion detection.

Then, in 1991, researchers at the University of California, Davis created a prototype Distributed Intrusion Detection System (DIDS), which was also an expert system. The Network Anomaly Detection and Intrusion Reporter (NADIR), also in 1991, was a prototype IDS developed at the Los Alamos National Laboratory's Integrated Computing Network (ICN), and was heavily influenced by the work of Denning and Lunt. NADIR used a statistics-based anomaly detector and an expert system.

The Lawrence Berkeley National Laboratory announced Bro in 1998, which used its own rule language for packet analysis from libpcap data. Network Flight Recorder (NFR) in 1999 also used libpcap.

APE was developed as a packet sniffer, also using libpcap, in November, 1998, and was renamed Snort one month later. Snort has since become the world's largest used IDS/IPS system with over 300,000 active users. It can monitor both local systems, and remote capture points using the TZSP protocol.

The Audit Data Analysis and Mining (ADAM) IDS in 2001 used tcpdump to build profiles of rules for classifications. In 2003, Yongguang Zhang and Wenke Lee argue for the importance of IDS in networks with mobile nodes.

In 2015, Viegas and his colleagues proposed an anomaly-based intrusion detection engine, aiming System-on-Chip (SoC) for applications in Internet of Things (IoT), for instance. The proposal applies machine learning for anomaly detection, providing energy-efficiency to a Decision Tree, Naive-Bayes, and k-Nearest Neighbors classifiers implementation in an Atom CPU and its hardware-friendly implementation in a FPGA. In the literature, this was the first work that implement each classifier equivalently in software and hardware and measures its energy consumption on both. Additionally, it was the first time that was measured the energy consumption for extracting each features used to make the network packet classification, implemented in software and hardware.

title: Intrusion detection system


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Oh My Goddess!

Oh My Goddess! (ああっ女神さまっ), or 'Ah! My Goddess!' in some releases, is a Japanese manga series written and illustrated by Kōsuke Fujishima. It was serialized in Kodansha's manga magazine Monthly Afternoon from September 1988 to April 2014, with its chapters collected in 48  volumes. The series follows college sophomore Keiichi Morisato and the goddess Belldandy who moves in with him in a Buddhist temple; after Belldandy's sisters Urd and Skuld move in with them, they encounter gods, demons and other supernatural entities as Keiichi develops his relationship with Belldandy. The manga series has been licensed for English-language release by Dark Horse Comics.

The series was adapted into an original video animation produced by Anime International Company (AIC), and an anime series which aired from 2005 to 2006. Additionally, AIC has developed two OVAs and a film, and OLM, Inc. has also developed an anime series as well. Companies have developed thousands of types of merchandise, such as video games, and a light novel. The OVA was licensed by AnimEigo, while the film was licensed by Geneon Entertainment, and the various TV series were licensed at various points by Media Blasters, ADV Films and Funimation.

As of June 2020, the manga had over 25 million copies in circulation, making it one of the best-selling manga series. In 2009, Oh My Goddess! won the 33rd Kodansha Manga Award for the general category.

Plot
Keiichi Morisato is a college sophomore who accidentally calls the Goddess Help Line. The goddess Belldandy materializes and tells him that her agency has received a system request from him and has been sent to grant him a single wish. Believing that a practical joke is being played on him, he wishes that she will stay with him forever, and his wish is granted.

Since he is unable to live with Belldandy in his male-only dorms, they are forced to look for alternative housing, eventually seeking shelter in an old Buddhist temple. They are allowed to stay there indefinitely after the young monk living there leaves on a pilgrimage to India upon being impressed by Belldandy's intrinsic goodness. Keiichi's life with Belldandy becomes even more hectic when her elder sister Urd and her younger sister Skuld move in as well. A series of adventures ensue as his relationship with Belldandy develops.

Setting
The Oh My Goddess! universe is fashioned loosely around Celtic/Norse Mythology; various names and concepts are recycled for humor. Three worlds exist in the Universe of Oh My Goddess: Heaven (Valhalla), Hell (Niflheim), and Earth. Heaven is the realm of the All Mighty and goddesses, Hell is the realm of Hild and demons, and Earth is the realm of humans. Reality is controlled by an enormous and complex computer system, named Yggdrasil.

Each goddess is assigned Class, Category, and Restrictions. Class indicates power and skill in performing pure magic. First Class goddesses are held to a stricter standard regarding the prohibition to lie. There are also three categories: Administration, Commercial (Field), and Special Duty. Limited and Unlimited restrictions indicates boundaries on permitted actions. Goddesses may be penalized for dereliction of duty and may have their license suspended for a time. A goddess using her powers during suspension will have her license permanently revoked. Belldandy is a Goddess First Class, Second Category, Unlimited License. Urd and Skuld are Goddesses Second Class, First Category, Limited License. Goddesses also wear power limiters, usually in the form of jewelry.

The goddesses' purpose is to bring happiness to everyone around them. Toward that end, Heaven has created the Goddess Technical Helpline (also called Goddess Relief Agency), designed to bring happiness to the people of Earth, especially those with great virtue but terrible misfortune. A competing institution named the Earth Assistance Center, also is staffed by goddesses. In most scenarios, a goddess appears before one that the system has deemed worthy and grants him or her one wish. The wish must be approved by the system, after which a contract is created between the human and the goddess and stored on the Yggdrasil system as a file. The wish contract file is protected by a passcode known to the Goddess. As demons work toward the opposite end, the total happiness on Earth must remain in balance. Heaven and Hell strictly abide by an agreement to work through contracts and to prevent bloodshed between them, each god is linked to a demon by a life contract, thus if one of them is killed, the other perishes as well, with their memories of the contract erased to ensure no one knows who is paired with whom.

Demons have similar class and license restrictions, and are accompanied by familiars instead of angels. A seal exists between the demon world and Earth, named the Gate to the Netherworld. It was "created by the gods and can only be broken by an instrument of the gods." As such, demons require a catalyst to manifest on Earth. The demons possess a system similar to Yggdrasil, named Nidhogg. Both demons and goddesses possess the power to seal beings away. The demons also operate in a fashion similar to goddesses by creating contracts with humans and offering them wishes, but often at a price.

A goddess does not have an angel automatically, but receives one in egg form. When her power matures, the egg hatches into an angel, becoming a lifetime companion. The angel always obeys the goddess, being a reflection of the goddess' inner self.

Other creatures that exist in the Earth plane are a multitude of spirits that are responsible for almost every aspect of life. These include the spirits of Money, Wind, Engine and such. More specific entities include Earth spirits, which are guardians over a specific area of land. Morgan le Fay, a villain from the movie, is probably a high ranking Earth spirit (or a being from another dimension, but that is less likely because her tragic love story with a human must have happened on Earth) who demonstrates great strength fighting Belldandy and Urd, even though her powers are less potent than the ones of goddesses of their level.

Production
Before starting work on Oh My Goddess!, Kōsuke Fujishima created the manga You're Under Arrest!. Miyuki Kobayakawa, one of the principal characters of You're Under Arrest!, was featured as a goddess character in a four-panel gag strip in the manga. While the exact relationship between this initial goddess character and the Oh My Goddess! series is unclear, there are suggestions that Oh My Goddess! can be viewed as a spin-off series. Irrespective of the origin, the concept of a goddess "as a job" interested Fujishima, leading to the first appearance of the Oh My Goddess! series in Kodansha's Monthly Afternoon in September 1988.

Title discrepancy
Translating the original Japanese title of Aa! Megami-sama! (ああっ女神さまっ) proved to be problematic. Fred Patten, in writing the preface to the collection "Watching Anime, Reading Manga: 25 Years of Essays and Reviews", stated that fans were still debating whether "Ah! My Goddess" or "Oh My Goddess!" should be used at the time of writing, approximately 15 years after the first Oh My Goddess! manga was published. When the United States anime import company AnimEigo obtained the original video animation (OVA) rights, they titled the series Oh My Goddess!. This approach was also followed by Toren Smith and Dark Horse Comics when translating the manga, released in concert with the OVA series in 1994. Smith has since stated that he saw the title as a play on "Oh my god!", and felt that there was no problem when translating it. Smith confirmed that his interpretation of the author's intent was correct by consulting with Fujishima. Nevertheless, Kodansha's bilingual release of the manga used ''Ah! My Goddess'', as did Pioneer's North American release of the film, and Media Blasters's 2005 DVD release of the TV series.

Fujishima stated in Animerica that "Oh" was closer to his intent, but acknowledged that the title should be rendered so as to make sense within the country that it is published, and specifically stated that films may warrant different titles than other works. He did, however, state that he would prefer to see consistency between the titles of the manga and those of the animations.

Manga
Written and illustrated by Kōsuke Fujishima, Oh My Goddess! started in Kodansha's manga magazine Monthly Afternoon in September 1988, and finished after a 25-year run on April 25, 2014. Kodansha collected its 308 individual chapters in forty-eight volumes, released from August 23, 1989, to July 23, 2014. The final volume of the manga was also released in Japan as a limited edition box set containing a special edition of volume 48, a mini book of all the Adventures of Mini-Goddess comics that appeared in the first volumes of the manga, a drama CD featuring the anime voice actors, and a selection of high quality prints of past volume covers, and the final volume cover.

A spin-off manga series, titled Aa Shūkatsu no Megami-sama (ああっ就活の女神さまっ), written by Uhei Aoki and illustrated by Kumichi Yoshizuki, focused on Keiichi and Belldandy's lives during a recession, was serialized in Monthly Afternoon from January 25, 2019, to October 25, 2021. Kodansha published the first tankōbon volume on September 20, 2019. The fifth and final volume was released on January 21, 2022.

English release
In North America, the series was licensed for English release by Dark Horse Comics and first published in a left-to-right format. The company initially published the first 112 chapters individually from August 1, 1994, to September 1, 2004. They also serialized individual chapters in their defunct manga anthology, Super Manga Blast!, from March 29, 2000, to April 25, 2001.

The first three volumes were initially published in a single abridged volume, titled "1-555-GODDESS", on November 1, 1996. After this release, the following collected volumes contained the regular unabridged chapters (although with different amount of chapters from their respective Japanese volumes, so that each volume better followed story arcs), starting from volume 4, released on October 15, 1997; the first three volumes were later re-released as unabridged volumes between June 5 and October 7, 2002. The 19th and last volume of this edition, numbered "19/20", which ended on the same chapter as the Japanese volume 20 (129th chapter), was released on January 19, 2005.

From volume 21, released on July 6, 2005, Dark Horse Comics published the volumes following the Japanese right-to-left chapter layout and using a new translation; the first twenty volumes were republished in this format from December 7, 2005, to February 22, 2012. The 48th and last volume was released on October 20, 2015.

In July 2014, Dark Horse Comics announced that they would release a fifteen-volume omnibus edition. The first volume was released on July 29, 2015. As of March 27, 2024, seven volumes have been released.

Light novel
The first novel of the series, ''Oh My Goddess! First End'', was written by Urd's voice actress, Yumi Tōma, with the illustrations done by Fujishima and Hidenori Matsubara, the animation director for several of the series' animated adaptations. The story follows the manga, taking place three years after Belldandy and Keiichi first meet. The novel was first published in Japan on July 20, 2006 by Kodansha; it was then licensed in English by Dark Horse and released in North America on December 12, 2007.

Original video animation
In 1993, Anime International Company, KSS, Tokyo Broadcasting System and Kodansha teamed up to produce a five-episode original video animation (OVA) series based on the manga series. Directed by Hiroaki Gōda and distributed by Pony Canyon, the first episode was released on February 21, 1993, and the final was released on May 17, 1994.

The screenplay was written by Kunihiko Kondo and Nahoko Hasegawa, and the music was provided by Takeshi Yasuda. The character designer was Hidenori Matsubara.

The OVA was licensed for release in North America by AnimEigo, who released all five episodes in individual VHS volumes in both English-language and subtitled Japanese-language editions between June 29, 1994 and August 31, 1994. AnimEigo had released all five episodes on Laserdisc on two laserdiscs in Japanese language with English subtitles and on three laserdiscs in Japanese language with English subtitles on one side and English language on the other side by November 1996. They later released all five episodes across two DVD volumes in 2001, then re-released the episodes in a single "Remastered Collector's Edition" set in 2006. AnimEigo's license expired at the end of February 2010.

In March 2010, TBS announced they were producing a brand new 7-minute OVA for release only with a repackaged and redesigned boxed set for the first season. The first OVA was bundled with the 42nd volume of the manga, released on February 23, 2011. A second OVA was bundled with the 43rd volume, released on September 22, 2011. A third OVA was bundled with the 46th volume, released on August 23, 2013.

Film
A film, titled Ah! My Goddess: The Movie (劇場版ああっ女神さまっ), premiered in Japan in 2000. It saw the return of the main cast, along with several popular characters from the manga who had not appeared in any of the previous anime. It is distributed in Japan by Shochiku and in North America and United Kingdom by Geneon Entertainment in 2001. The plot does not seem to follow any of the existing canon, but uses plot devices from several different story arcs from the manga, mostly the Lord Of Terror arc.

The Adventures of Mini-Goddess
A 48 episode TV series called Adventures of Mini-Goddess (ああっ女神さまっ 小っちゃいって事は便利だねっ) and featuring shrunken versions of Urd, Belldandy, and Skuld in a comedic super deformed style was produced by Oriental Light and Magic and aired on WOWOW from April 6, 1998 through March 29, 1999 as a part of the omnibus show Anime Complex. It is distributed in Japan by Pony Canyon and in North America by Geneon Entertainment. This series departs the most from the original manga storyline, and has almost no continuity with the previous series. The series revolves around the three goddesses and their rat companion Gan-chan, following their adventures in their temple home. The goddesses remain constantly in miniaturized form, for apparent freedom of space and in order to properly interact with Gan-chan.

Ah! My Goddess
Oh My Goddess! saw another TV iteration under the name ''Ah! My Goddess'' in 2005. The episodes, which followed the manga closely, were directed by Hiroaki Gōda, animated by Anime International Company, and produced by Tokyo Broadcasting System (TBS). The season began in Japan, on TBS, on January 6, 2005, and ended on July 7, 2005. Bandai Visual released the episodes in Japan between April and November 2005, as eight DVD compilations each containing three episodes. The two original video animations (OVAs), which had not been broadcast, were released on a special DVD on December 23, 2005. The series was licensed for a Region 1 release by Media Blasters. Six DVD compilations, containing all twenty-six episodes, were released between September 2005 and July 2006. Each DVD contained four episodes, excluding the first two, which contained five each. A premium complete season box set was released on November 7, 2006; the regular set followed on November 27, 2007. MVM Films distributed the series in the United Kingdom, with the individual volumes released between February and December 2007 in six similar DVD compilations. The box set followed in July 2008. Media Blasters confirmed on Facebook that the license to ''Ah! My Goddess'' has been expired, leaving the series out-of-print, but these episodes are still available on Hulu despite the license expiration.

The success of the first season inspired a second season titled ''Ah! My Goddess: Everyone Has Wings, released as Ah! My Goddess: Flights of Fancy'' in North America. Also directed by Hiroaki Gōda, animated by Anime International Company, and produced by Tokyo Broadcasting System, the series covered the adventures of Keiichi and Belldandy in the aftermath of the Lord of Terror fiasco. It premiered on TBS on April 6, 2006 and concluded on September 14, 2006, picking up the story from where the series left off in season one. Season two concluded with episode 22, although the Japanese and North American DVD releases include episodes 23 and 24. It was released to DVD in Japan between July 2006 and February 2007 by Bandai Visual. Media Blasters, who released the first season, passed up on this season and it was licensed to ADV Films instead. ADV Films released the season on six DVD compilations, each containing four episodes, between May 2007 and March 2008. The rights were then transferred to Funimation, who released a box set on November 25, 2008.

In 2007, ''Ah! My Goddess: Fighting Wings, a two-episode special to commemorate the 20th anniversary of the original publication of Oh My Goddess!'', was released. It was directed by Hiroaki Gōda, animated by Anime International Company, and produced by Tokyo Broadcasting System. The episodes aired on December 9, 2007 and Bandai Visual released the episodes on a single DVD in Japan on February 22, 2008.

Soundtracks
The Japanese voice actors of the series are also professional singers. Either in the form of Goddess Family Club or an original soundtrack, the series has led to over a dozen albums.

Video games
An adventure game titled ''Aa! Megami-sama!'' for the NEC PC-9801 was released in 1993 by Banpresto. An enhanced port was later released in 1997 for the PC-FX which added voice and other improvements.

A Dreamcast quiz game titled ''Quiz: Ah! My Goddess - Stay With Fighting Wings'' was released in August 1998 for the Sega Dreamcast. Player plays as Keiichi Morisato answering to questions posed by characters from the anime/manga such as Belldandy, Skuld, Urd, Lind and Peorth.

In February 2007 an ''Ah! My Goddess'' game developed by Marvelous Interactive was released in Japan for the PlayStation 2. The game was only released in Japan and was released in 2 editions, the limited edition (also known as the "Holy Box" edition) and the regular DVD edition.

Reception
As of June 2020, the manga had over 25 million copies in circulation. In 2009, Oh My Goddess won the 33rd Kodansha Manga Award in the general category. Volume 41 of the manga was the tenth best-selling manga in Japan upon its release that week according to the Oricon Japanese Comic Rankings charts. The film ranked #28 on Wizard's Anime Magazine on their "Top 50 Anime released in North America". In the American Anime Awards from 2007, the anime series was a nominee in the category Best Comedy Anime, but lost to FLCL.

title: Oh My Goddess!


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Talk:Max Stirner

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 18:22, 30 October 2022 (UTC)
 * Portrait of Max Stirner.svg

Stirner's racism
A reading of The Ego and His Own reveals a treatment of topics overlooked in accounts of it by anarchists influenced by Stirner. I recall passages describing the purported development of the human race in which I seem to remember phases associated with races described in such terms as "Mongol" and "Negro". Rudolf Steiner, whom, Stirner influenced, describes human spiritual development in similar terms. For completeness, the article should include Stirner's racism, which his admirers choose to ignore. 12:27, 3 February 2023 (UTC)
 * I would take a look at this section of Apio Ludd's introduction to the The Ego and His Own, which addresses the passages you're talking about directly. Ludd says"The apparent racial hierarchy found in the perspective Stirner was mocking comes straight out of Hegel (though Hegel, like most of the progressive thinkers of the time, did not understand race biologically and assumed all humanity could eventually achieve the progressive transformation in which he believed), and Stirner’s mockery is a delightfully politically incorrect joke on the cultural hierarchy Hegel assumed. Stirner’s playful argument is that, even if you assume that there is a history that progresses, by Hegel’s own logic, you have to end up back at egoism. All that progress won’t bring us anywhere else... And his attribution of “Mongolism” to his German contemporaries shows that even one of his tactics for avoiding the censors (using “China” or “Japan” instead of “Germany” whenever he was making a critical reference to the German authorities of his time) was part of the joke." Now, I haven't read Stirner myself, and it's not immediately obvious that Ludd's interpretation is more (or less) trustworthy than your own. But it does seem like multiple people can read the same passages in The Ego and come to different conclusions about whether Stirner was a racist (Ludd would argue Stirner is mocking the racist views you're attributing to him), so reliable secondary sources seem necessary for the inclusion of your interpretation in the article. Alecnotalex (talk) 13:19, 4 February 2023 (UTC)

title: Talk:Max Stirner


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Talk:Manuel Noriega

Photos before his arrest
Does anyone have any photos from before his downfall? Preferably one of him in uniform.

Noreiga's image on infobox
Why is Manuel Noriega's mugshot used on the infobox like he is just an ordinary criminal? Was he not also a leader?

Dictators and terrorists like Fidel Castro and Osama Bin Laden have more "responsible" portraits of them on their article's infoboxes.

This issue needs to be discussed. Jõséhola 21:45, 28 October 2023 (UTC)

 * There is no other recent image of Noriega in this article. Find an alternative one to replace it, or reinstate it where it was in the infobox. Nick Moyes (talk) 13:15, 28 October 2023 (UTC)
 * What Nick said; an official portrait may be preferable, but none seem to exist that are free use, and fair use is hard to justify where the public domain mug shot exists. Vanamonde (Talk) 16:54, 28 October 2023 (UTC)
 * and, yeah I can't find a better image on Wikimedia Commons; I don't know if you do have an idea how we could get one. Jõséhola 21:45, 28 October 2023 (UTC)

 * @Josedimaria237 It's complicated. Normally, for people who are dead there's obviously no chance now of getting one taken! So, under the circumstance where no alternative free image is available, we do permit a copyrighted image to be added directly into English Wikipedia (but not uploaded to Commons). We call this our WP:FAIRUSE policy. However, as the 'mugshot' of Noriega is already freely licenced and available, that possibility no longer applies here. You cannot just copy any old picture off a website, as this would be 'stealing' the copyrighted work of other photographers. I note, however, that on Commons there is a cropped image of Noriega without the police notice that he's holding, but the original image is already so low res that I probably wouldn't consider using that one. I suggest you simply 'undo' your edit that initially removed it. Regards, Nick Moyes (talk) 20:52, 28 October 2023 (UTC)
 * Okay thanks, will do so. Jõséhola 21:45, 28 October 2023 (UTC)

 * @Josedimaria237 OK - thanks for fixing this. ...you dealt with this issue absolutely the right way.
 * (One very minor point: you seem to be signing your posts on a new line, and not getting the indenting right either. If you could just check what you're doing and add your signature immediately after the end of your last sentence, that will keep the talk page neater. Alternatively, use the 'Reply' link and let the system automatically sign your response in the right place without you even having to think about it. Regards, Nick Moyes (talk) 21:38, 28 October 2023 (UTC)
 * Fixed that, I have been wondering why it is always signed that way, I have not been able to make it look neater. Thanks for the observation. Jõséhola 21:45, 28 October 2023 (UTC)

Lots of inaccuracies in this
I spent 4 years in the Canal Zone (74-78) as a CPT and Major and as a company commander I had several dealings with both LTC Noriega and LTC Paredes. Noriega was not only the Guardia G-2/Intel but was the head of the National Police. About half the troops in the Guardia were actually the Police. We did not have a Status of Forces Agreement with Panama and whenever Treaty negotiations were going badly, the Police would police up some Soldiers on trumped up charges and the company commander would have to deal with Noriega directly to get them out of jail -- or at least I had to. At the time the Guardia Staff and the Civilian Government were totally integrated so LTC Paredes was the G-1 which was also like our OPM and he handed out all the Government Jobs so he was probably the most influential of the Guardia General Staff. The G4 controlled all government supplies, purchasing and contracting so was like our GSA controlling a lot of dollars (Panama used US Currency). None of this is very well explained here. Also, how BG Torrijos took power and especially squashed the coops against him is explained at all. Just not a very complete picture of events. The-Expose-inator (talk) 20:24, 12 June 2024 (UTC)

title: Talk:Manuel Noriega


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Talk:Longest word in English

electroencephalographically
According to Merriam-Webster, electroencephalographically is the longest word. (27 letters)

http://www.merriam-webster.com/words-at-play/no-antidisestablishmentarianism-is-not-in-the-dictionary/

Practical research
What is the second longest word in english language? 124.217.25.27 (talk) 23:09, 16 March 2024 (UTC)

Language not correct
Taumatawhakatangihangakoauauotamateaturipukakapikimaungahoronukupokaiwhenuakitanatahu is not English, it is Māori language in new Zealand. Please fix. 121.99.70.75 (talk) 04:38, 19 March 2024 (UTC)

Title
The title says „Longest word in English“, but this list is clearly multiple words, so it should be changed to „Longest words in English“ 24.14.31.178 (talk) 15:54, 9 April 2024 (UTC)

title: Talk:Longest word in English