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Karl Mannheim

Karl Mannheim (born Károly Manheim, 27 March 1893 – 9 January 1947) was a Hungarian sociologist and a key figure in classical sociology as well as one of the founders of the sociology of knowledge. Mannheim is best known for his book Ideology and Utopia (1929/1936), in which he distinguishes between partial and total ideologies, the latter representing comprehensive worldviews distinctive to particular social groups, and also between ideologies that provide support for existing social arrangements, and utopias, which look to the future and propose a transformation of society.

Childhood and education
Karl Mannheim was born 27 March 1893 in Budapest, to a Hungarian father, a textile merchant, and German mother, both of Jewish descent. His early education was in that city, he studied philosophy and literature at the University of Budapest, though he also went to Berlin (where he studied with Georg Simmel) and Paris to further his education, returning to Hungary around the start of the First World War. He obtained a PhD from the University of Budapest, and further qualifications from the University of Heidelberg.

Academic career
During the War he was involved in a number of influential intellectual circles: the Galileo Circle founded by Karl Polanyi in which Michael Polanyi also participated, the Social Science Association organised by Oscar Jászi, and the Sonntagskreis or 'Sunday Circle' led by György Lukács. In the brief period of the Hungarian Soviet Republic, in 1919, Mannheim taught in the Pedagogical Institute of the University of Budapest thanks to the patronage of his friend and mentor Lukács, whose political conversion to communism he did not share. Both Mannheim and Lukács were forced into exile after the rise of Horthy as Regent of Hungary. Mannheim chose exile in Germany and was there from 1920 to 1933.

In 1921, he married psychologist Juliska Károlyné Lang, better known as Julia Lang. Though she is often unacknowledged, Lang collaborated with Mannheim on many of his works, and along with a number of Mannheim's students, put together many of his works to be published posthumously.

After an unsuccessful attempt to gain a sponsor to teach philosophy in Heidelberg, Mannheim began work in 1924 under the German sociologist Alfred Weber, the brother of well-known sociologist Max Weber, and Emil Lederer. In 1926, Mannheim had his habilitation accepted by the faculty of social sciences, thus satisfying the requirements to teach classes in sociology at Heidelberg. Mannheim was chosen over other competitors for the post, one of whom was Walter Benjamin. From 1929 to 1933, he served as a professor of sociology and political economy at the Goethe University Frankfurt. Norbert Elias and Hans Gerth worked as his assistants from spring 1930 until spring 1933, with Elias as the senior partner. Greta Kuckhoff, who later became a prominent figure in the DDR, was his administrative assistant in Frankfurt, leaving early in 1933 to study at the London School of Economics (LSE) and prepare for Mannheim's emigration there.

In 1933, Mannheim was ousted from his professorship under the terms of the anti-Semitic law to purge the civil service and was forced into exile. After fleeing the Nazi regime and settling in Britain, Mannheim became a lecturer in sociology at the London School of Economics, under a program to assist academic exiles.

In 1941, Sir Fred Clarke, Director of the Institute of Education at the University of London, invited him to teach sociology at the institute on a part-time basis in conjunction with his declining role at LSE under wartime conditions. In January 1946 he was appointed as the first sociology professor at the Institute of Education, a position he held until his death in London a year later. During his time in England, Mannheim played a prominent role in 'The Moot', a Christian discussion group of which T.S. Eliot was also a member, concerned with the role of religion and culture in society, which was convened by J. H. Oldham. He also gained a position of influence through his editorship of the Routledge International Library of Sociology and Social Reconstruction (later the International Library of Sociology).

Mannheim's life, one of intellectual and geographical migration, falls into three main phases: Hungarian (to 1919), German (1919–1933), British (1933–1947). Among his valued interlocutors were György Lukács, Oszkár Jászi, Georg Simmel, Martin Heidegger, Edmund Husserl, Karl Marx, Alfred and Max Weber, Max Scheler, and Wilhelm Dilthey. In his work, he sought variously to synthesize elements derived from German historicism, Marxism, phenomenology, sociology, and Anglo-American pragmatism.

Death
Mannheim died in London on January 9, 1947, at the age of 53 due to a congenitally weak heart. Shortly before his death, he was invited to be director of UNESCO, an offer he was unfortunately not able to accept. He was cremated at Golders Green Crematorium and his ashes were placed in the columbarium there in an urn, and later mixed with those of his wife. He was originally placed opposite Sigmund Freud as a planned pairing, but Freud was later relocated.

Hungarian phase (1919)
Mannheim was a precocious scholar and an accepted member of several influential intellectual circles in Budapest. In the autumn of 1915, he was the youngest founding member of the Sonntagskreis (Sunday Circle) alongside Béla Balázs, Lajos Fülep, and György Lukács, where a wide range of literary and philosophical topics were discussed. Some discussion focused on the enthusiasms of German diagnosticians of cultural crisis, but also the novels of Fyodor Dostoyevsky and the writings Søren Kierkegaard and of the German mystics. He also participated in the Social Science Association, which was founded by Oszkár Jászi in 1919 and was interested above all in French and English sociological writings. Mannheim's Hungarian writings, notably his doctoral dissertation "Structural Analysis of Epistemology," anticipate his lifelong search for "synthesis" between these currents.

According to the sociologist Longhurst, the Sonntagskreis "rejected any 'positivist' or 'mechanist' understanding of society and was dissatisfied with the existing political arrangements in Hungary. The way forward was seen to be through the spiritual renewal entailed in a revolution in culture". The group members were discontented with the political and intellectual composition of Hungary, but "they rejected a materialist Marxist critique of this society. Hungary was to be changed by a spiritual renewal led by those who had reached a significant level of cultural awareness". Yet they did not exclude Marxist themes and Mannheim's work was influenced by Lukács' later turn to Marxism, for example he credits Marx as a key source of the sociology of knowledge.

German phase (1919–1933)
In this second phase, Mannheim turned from philosophy to sociology, to inquire into the roots of culture. In the early part of his stay in Germany, Mannheim published his doctoral dissertation "Structural Epistemology of Knowledge", which discusses his theory of the structure of epistemology, the "relations between the knower, the known and the to be known…for Mannheim based on psychology, logic and ontology". Sociologist Brian Longhurst explains that his work on epistemology represents the height of his early "idealist" phase, and transition to hermeneutic "issues of interpretation within culture".

In this essay, Mannheim introduces "the hermeneutic problem of the relationship between the whole and the parts". He considers the differences between art, the natural sciences, and philosophy "with respect to truth claims", stating that science always tries to disprove one theory, where art never does this and can coexist in more than one worldview; philosophy falls in between the two extremes. Mannheim posits the "danger of relativism", in which the historical process yields cultural products: "if thought to be relative to a historical period, it may be unavailable to a historical period"

Mannheim's ambitious attempt to promote a comprehensive sociological analysis of the structures of knowledge was treated with suspicion by some members of the Frankfurt School, based in the Institute for Marxism directed by Max Horkheimer. They saw the rising popularity of the sociology of knowledge as neutralization and betrayal of Marxism. Arguments between Mannheim and Horkheimer played out in faculty forums, like the Kant Gesellschaft and Paul Tillich's Christian Socialist discussion group.

Horkheimer's Institute at the time was best known for the empirical work it encouraged, and several of Mannheim's doctoral students used its resources. While the conflict between Mannheim, Adorno and Horkheimer looms large in retrospect, Mannheim's most active contemporary competitors were in fact other academic sociologists, notably the proto-fascist Leipzig professor, Hans Freyer, and the proponent of formal sociology and leading figure in the profession at the time, Leopold von Wiese.

Theory of the sociology and of knowledge, sociology of culture
Mannheim's theory on the sociology of knowledge is based on some of the epistemological discoveries of Immanuel Kant. Sociology of knowledge is known as a section of the greater field known as the sociology of culture. The idea of sociology of culture is defined as the relationship between culture and society.

There are two main branches of sociology of culture: a moderate branch and a radical branch. The moderate branch is represented by Max Scheler, who believed that social conditions do not affect the content of knowledge. The radical branch, on the contrary, highlighted that society is determined by all aspects of culture. When it came to the sociology of knowledge, Mannheim believed that it established a dependence of knowledge on social reality. Though Mannheim was far from being a Marxist, sociology of knowledge was largely based on Marx's theories regarding classes.

Mannheim's central question of the sociology of knowledge, which tried to understand the relationship between society and knowledge, demonstrated his endeavors to solve the issue of "historical nature and unity of mind and life." Mannheim affirmed the sociology of knowledge as an "extrinsic interpretation and sets apart from the immanent interpretation of thought products." The immanent interpretation is based on one's understanding of intellectual content, which is limited to theoretical content of knowledge and the extrinsic interpretation is based on the capability to understand manifestations.

Knowing the difference between these two types of interpretations helped Mannheim create a place for the sociology of knowledge in the scientific system, thus leaving the sociology of knowledge to stand opposite of the traditional human sciences and to interpret knowledge through an exploration of social reality. Mannheim claimed that the sociology of knowledge has to be understood as the visionary expression of "historical experience which has social reality at its vital center."

In 1920, a series of his essays were published in Germany under the name Essays in Sociology of Knowledge. These essays focused on the search for the meaning behind social reality, the notion of "truth" and the role of the empirical intellectual in search for these truths. Another collection of his essays, Essays in Sociology of Culture, was posthumously published in 1956. It basically served to merge his concern with social reality and democracy. According to Mannheim, ideology was linked to a notion of reality, meanwhile culture focuses more so on the mind of the individual and how it perceives that reality, both, however, "still concerned with the role of the intelligentsia."

Ideology and Utopia (1929)
Mannheim is most well known for his study and analysis of ideologies and utopias. One of his main ideas regarding utopias is what he considers the "utopian mentality", which Mannheim describes in four ideal types:

 * 1) orgiastic chiliasm
 * 2) liberal humanist utopias
 * 3) the conservative idea
 * 4) modern communism

In Ideology and Utopia, he argued that the application of the term ideology ought to be broadened. He traced the history of the term from what he called a "particular" view. This view saw ideology as the perhaps deliberate obscuring of facts. This view gave way to a "total" conception (most notably in Marx), which argued that a whole social group's thought was formed by its social position (e.g. the proletariat's beliefs were conditioned by their relationship to the means of production). However, he called for a further step, which he called a general total conception of ideology, in which it was recognized that everyone's beliefs—including the social scientist's—were a product of the context they were created in. Thus, to Mannheim, "ideas were products of their times and of the social statuses of their proponents."

Mannheim points out social class, location and generation as the greatest determinants of knowledge. He feared this could lead to relativism but proposed the idea of relationism as an antidote. To uphold the distinction, he maintained that the recognition of different perspectives according to differences in time and social location appears arbitrary only to an abstract and disembodied theory of knowledge.

The list of reviewers of the German Ideology and Utopia includes a remarkable roll call of individuals who became famous in exile, after the rise of Hitler: Hannah Arendt, Max Horkheimer, Herbert Marcuse, Paul Tillich, Hans Speier, Günther Stern (aka Günther Anders), Waldemar Gurian, Siegfried Kracauer, Otto Neurath, Karl August Wittfogel, Béla Fogarasi, and Leo Strauss. In the early 1970s, Erich Fromm and Michael Maccoby would later illustrate scientifically the effects of social class and economic structure on personality in their landmark study Social Character in a Mexican Village.

Out of all of his works, Mannheim's book Ideologie und Utopie was the most widely debated book by a living sociologist in Germany during the Weimar Republic. It was first published in German in 1929, with the English publication, Ideology and Utopia, following in 1936. This work has been a standard in American-style international academic sociology, carried by the interest it aroused in the United States.

Mannheim and macro-sociology
Mannheim's work was written mostly through a macrosociological lens. While writing Ideology and Utopia Mannheim's fundamental questions were "why does man behave differently in the framework of different social group and class structures." In answering this question, his intellectual contribution to sociology was focused more on social problems than sociological problems. The consolidation of his work focused on topics such as "social stability, social groups and the psychic differentials corresponding to social status or class cleavages." To Mannheim the public was essential and fundamental to a democratic society. Therefore, assuring that not one ideology dictate all of the public is vital for the preservation of democracy.

British phase (1933–1947)
In his British phase Mannheim attempted a comprehensive analysis of the structure of modern society by way of democratic social planning and education. Mannheim's first major work published during this period was Man and Society in an Age of Reconstruction 1935, in which he argues for a shift from the liberal order of laissez-faire capitalism, "founded on the unregulated trade cycle, unextended democracy, free competition and ideas of competitive individualism" to planned democracy.

In Diagnosis of Our Time, Mannheim expands on this argument and expresses concern for the transition from liberal order to planned democracy, according to Longhurst, arguing "...the embryonic planned democratic society can develop along democratic or dictatorial routes...as expressed in the totalitarian societies of Nazi Germany and the Soviet Union". His work was admired more by educators, social workers, and religious thinkers than it was by the small community of British sociologists. His books on planning nevertheless played an important part in the political debates of the immediate post-war years, both in the United States and in several European countries.

Legacy
Mannheim's sociological theorizing has been the subject of numerous book-length studies, evidence of an international interest in his principal themes. Mannheim was not the author of any work he himself considered a finished book, but rather of some fifty major essays and treatises, most later published in book form. In Spain his theories were followed by Artur Juncosa Carbonell.

Selected works

 * Mannheim, K. ([1922-24] 1980) Structures of Thinking. London: Routledge & Kegan Paul.
 * Mannheim, K. ([1925] 1986) Conservatism. A Contribution to the Sociology of Knowledge. London: Routledge & Kegan Paul.
 * Mannheim, K. (1929), Ideologie und Utopie
 * Mannheim, K. ([1930] 2001) Sociology as Political Education. New Brunswick, NJ. Transaction.
 * Mannheim, K. (1935 (English 1940)) Man and Society in an Age of Reconstruction. London: Routledge.
 * Mannheim, K. (1936) Ideology and Utopia. London: Routledge.
 * Mannheim, K. (1950) Freedom, Power, and Democratic Planning. Oxford University Press
 * Mannheim, K. (1971. 1993) From Karl Mannheim. New Brunswick, NJ. Transaction.

title: Karl Mannheim


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Talk:Griffith's experiment

Untitled
The first sentence in this article uses the phrase "culito hair". That looks like an error to me, but I am not sure what they meant to say. — Preceding unsigned comment added by 2601:500:8900:FCB0:A89A:9A41:1BC2:D353 (talk) 04:10, 28 February 2023 (UTC)

Why was this page moved to a disambiguated title? Is there another Griffith's experiment that we need to disambiguate from? --mav (Note: this comment is from 2003, and the page was soon moved to a cleaner title. Madeleine 18:39, 7 May 2007 (UTC))

Griffith's procedure and experiment replication.
Should the third and fourth paragraphs which describe Griffith's procedure and replication by others have citations? Are these paragraphs derived from one of the current sources? NotPaulDirac (talk) 04:28, 6 July 2020 (UTC)

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

title: Talk:Griffith's experiment


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Nuclear magneton

The nuclear magneton (symbol $μN$) is a physical constant of magnetic moment, defined in SI units by: $$\mu_\text{N} = {{e \hbar} \over {2 m_\text{p}}}$$ and in Gaussian CGS units by: $$\mu_\text{N} = {{e \hbar} \over{2 m_\text{p} c}}$$ where:
 * $e$ is the elementary charge,
 * $ħ$ is the reduced Planck constant,
 * $mp$ is the proton rest mass, and
 * $c$ is the speed of light

Its CODATA recommended value is:

In Gaussian CGS units, its value can be given in convenient units as

The nuclear magneton is the natural unit for expressing magnetic dipole moments of heavy particles such as nucleons and atomic nuclei.

Due to neutrons and protons having internal structure and not being Dirac particles, their magnetic moments differ from $μN$:
 * μ$5.051 erg·G−1$ = μ$−4$
 * μ$3.152 eV·T−1$ = μ$7.623 MHz/T$

The magnetic dipole moment of the electron, which is much larger as a consequence of much larger charge-to-mass ratio, is usually expressed in units of the Bohr magneton, which is calculated in the same fashion using the electron mass. The result is larger than $μN$ by a factor equal to the proton-to-electron mass ratio, about 1836.

title: Nuclear magneton


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Rukmini

Rukmini (रुक्मिणी, ) is a Hindu goddess and the first queen of Krishna in Dvaraka. In Vaishnava tradition, she is described as Krishna's principal queen in Dvaraka, as well as the chief of his wives. Along with other members of Ashtabharya and Radha‚ she is an incarnation of the goddess of fortune, Lakshmi. The goddess is regarded to be the chief or principal consort of Krishna in various pieces of literature and is venerated primarily in Warkari and Haridasa tradition, and additionally in Sri Vaishnavism where Lakshmi-Narayana are revered and worshipped.

Rukmini is mainly worshipped in Maharashtra and South India. The people of Maharashtra venerate her with Vithoba (a regional form of Krishna) and call her Rakhumai. In South India, she is worshipped along with Krishna and his other primary consort Satyabhama.

Etymology and epithets
The name Rukmini is derived from the Sanskrit word Rukma which means 'Radiant', 'Clear' or 'Bright'. The name can also mean 'decorated with gold ornaments'. Other names and epithets include:
 * Shree – Lakshmi, Mother Goddess of the universe
 * Ruciranana – One Who Has A Beautiful Face, Expanding Like A Lotus Flower
 * Vaidarbhi – She Who Is From The Kingdom Of Vidarbha
 * Bhaishmi – Daughter of Bhishmaka
 * Rakhumai – Mother Rukmini
 * Chiryauvana – One Who Is Forever Young
 * Pradyumna Janani – Mother of Pradyumna
 * Krishnaatmika - One who is the soul of Krishna
 * Dwarikeshwari - Goddess of Dwarka
 * Dindirasura Sangharni - One who slayed the demon Dindirasura

Iconography
According to the Vaikhanasagama, Rukmini should be depicted on the right side of Krishna, her image golden-yellow in complexion. Her hair is supposed to be tied up in a fashionable knot, and should also be adorned with flowers. Her right arm should be hanging down, and she should hold a lotus in her left hand. She is supposed to be adorned with various ornaments.

The Brahman dispatched by Rukmini to request Krishna to elope with her on her svayamvara describes the princess poetically as bearing beautiful hands, braided tresses, and a face that resembles the moon. She is consistently described as beautiful in other accounts.

In south Indian iconographic tradition, Rukmini, along with Satyabhama, appear as the primary consorts of Krishna.

Birth
According to the epic Mahabharata and other Puranic scriptures, Princess Rukmini was born to Bhishmaka—the king of Vidarbha kingdom—and had five elder brothers Rukmi, Rukmaratha, Rukmabahu, Rukmakesa and Rukmanetra. Many Puranas such as Vishnu Purana, Bhagavata Purana, and Padma Purana praise her as an incarnation of Goddess Lakshmi, the wife of the God Vishnu.

Marriage

The Bhagavata Purana narrates that Rukmini once heard about Krishna and his heroic deeds, such as slaying the tyrant king Kamsa, and opposing the evil king Jarasandha. She fell in love with him and desired to marry him. The episode of Rukmini Kalyanam, and the devotion of Rukmini towards her desired husband is narrated by the sage Shuka to King Parikshit.

Rukmini's parents rejoiced and gave their permission, but Rukmi – who was an ally of Jarasandha – strongly opposed it. Instead, he proposed that she marry his friend Shishupala— the crown prince of Chedi Kingdom, and a cousin of Krishna. Bhishmaka agreed, and a distressed Rukmini immediately sent for a trusted Brahmin and asked him to deliver a message to Krishna. In the message, she wrote to Krishna about her love and asked him to abduct her when she visited the temple of Goddess Ambika (Parvati) before her wedding. Krishna, having received the message in Dvaraka, told the messenger to inform Rukmini that he had received her letter and would come to make her his wife. Krishna then immediately set out for Vidarbha with Balarama, his elder brother.

Meanwhile, in Vidarbha's capital Kundina, Bhishmaka had prepared for Rukmini's marriage. Rukmini grew anxious as she observed the host of kings, wondering if the Brahmin she had dispatched had not reached safely or not, and if the Almighty would assist her in her efforts. Her face grew pale and her thoughts grew distressed as she shunned herself from the rest of the world. Her sorrow of Krishna not having yet arrived to marry her yet was so immense that she refused to eat, sing to her parrot, or play her lyre. Shishupala, along with his allies including Jarasandha had arrived. Krishna and Balarama had also arrived, and Bhishmaka welcomed them. At the palace, Rukmini had lost all hope, but the messenger turned up and informed that Krishna had accepted her request. The next day, she went to the temple to offer her prayers to Ambika. As she proceeded towards the wedding venue, she saw Krishna and he soon swept her into his chariot with him. All of Jarasandha's forces quickly started chasing them, but they were repulsed by Balarama and his army.

Rukmi chased after Krishna and Rukmini. He challenged Krishna to a fight, but was easily overpowered by the former. Rukmini begged Krishna to spare her brother's life, and the latter agreed. However, he shaved Rukmi's hair and moustache as a mark of punishment, and let him go free. Krishna and Rukmini reached Dvaraka, where they were welcomed with great pomp and ceremony, followed by a wedding.

Age at Marriage
According to Harivamsa which is supplement to Mahabharata, (Vishnu Parva, Chapter 59, Verse 35), Rukmini was 16 years old when she married Krishna. This is also supported by Brahma Vaivarta Purana (Krishna Janma Khanda, Chapter 105, Verses 9–14), where it states that she had attained puberty and was fit for marriage. Similarly, in the Bhagavata Purana (Dasama Skandha, Chapter 53, Verse 51), she has been described as a maiden at the stage of youth or young adulthood.

Krishna's Ruse
The Bhagavata Purana describes an episode through the sage Shuka where the yet unwed Rukmini takes a bejewelled whisk and starts fanning her prospective husband Krishna, wearing an expensive girdle and a dazzling necklace. Even though he is pleased, Krishna points to the fact that the princess had been desired by a number of handsome and energetic monarchs and states that he was not their equal, and that he had also almost lost his realm rescuing her. He remarks that she had not been far-sighted in choosing him as her groom and that she must now instead choose a Kshatriya like her. Rukmini's heart shuddered, her red nails scratched the floor, and tears flowed from her eyes that were decorated with collyrium. She fell to the floor, her hair dishevelled. Krishna swiftly raised her back to her feet and assures her that he was merely joking, as householders do with their beloved. Her fear of abandonment seeping away from her, the princess eulogises him, praising his glories and addressing him as her atman, her sense of self. Krishna praises her single-minded devotion to him.

Children
The Bhagavata Purana states that Rukmini and Krishna had ten sons—Pradyumna, Charudeshna, Sudeshna, Charudeha, Sucharu, Charugupta, Bhadracharu, Charuchandra, Vicharu, and Charu. In the Harivamsa, Rukmini's sons are Pradyumna, Charudeshna, Charuchandra, Charugarbha, Sudangstra, Druma, Sushena, Charugupta, Charuvinda, and Chharuvahu. A different listing is found in Anushasana Parva of the Mahabharata, where Pradyumna, Charudeshna, Sucharu, Charuvesa, Yasodhana, Charusravas, Charuyasas, and Sambhu are Rukmini's sons. These scriptures also mention that Rukmini had a daughter named Charumati.

Married Life
Though Krishna married many other women, Rukmini remained his chief consort and the queen of Dvaraka. When she longed for a child, Krishna flew to Kailash upon his mount Garuda, and expressed his wife's desire to Shiva. Obliging, Shiva blessed Rukmini to be the bearer of the new incarnation of Kamadeva, whom he had previously immolated with his third eye. Thus was Pradyumna born. Many scriptures have mentioned that Rukmini and other wives of Krishna lived like sisters.

Tale Of The Scales
According to a folktale of Odisha, the divine sage Narada once arrived in Dvaraka and asked for Krishna to be given to him as alms. Krishna's 8 queens requested him to take anything else and Narada asked them to give wealth equal to Krishna's weight. They arranged for a big scale (Tulabharama) to be put up. Satyabhama put all of her coins, gems and jewellery on the scale, but it doesn't budge. Other wives gave their jewels, but it was of no use. At last, Rukmini came and put a single leaf of Tulasi on the scale and chanted that it represented her love for Krishna. The scales then became balanced. Though this story is absent in the main scriptures pertaining to Krishna's life, it is often repeated to enunciate the worth of Rukmini's love over Satyabhama's material wealth. The only known versions of this story are from Padma Purana and Devi Bhagvata Purana, where Satyabhama succeeds in weighing Krishna normally with gold items.

Meeting Sudama
In the Bhagavata Purana, another well-known incident in Rukmini's married life is narrated. When Krishna's childhood friend, Sudama, visited Dvaraka, Rukmini welcomed Sudama and gave him food. She and Krishna fanned him as he rested from his long journey. This type of devotion is a characteristic of Rukmini, an attribute of her that is prevalent.

Durvasa's Curse
According to the Skanda Purana, the famously short-tempered sage Durvasa met Krishna and Rukmini when he was on a pilgrimage. Durvasa asked the couple to be yoked onto his chariot while he held the reins. In the process of pulling the chariot forward, Rukmini grew exhausted and requested Krishna for water. Krishna struck his foot against the ground causing a spring of the Ganga river to appear. Observing her quench her thirst without seeking his permission, the infuriated Durvasa cursed her to be separated from her beloved Krishna. Rukmini grew perturbed and started to cry. To pacify her, Krishna blessed her with the boon that if his devotees were to only see him and not her, they would receive only half the merit.

Despite this consolation, Rukmini grew distressed due to her separation from her consort and fell unconscious. The sea-god and the sage Narada arrived to comfort her. Narada informed her that her husband - a manifestation of Vishnu - was the Supreme Being himself, he rhetorically wondered how she could expect to keep his company in an exclusive garden. The sea affirmed the divine sage's words, promising her that as the companion of Vishnu, she would always retain her permanence in his being. The goddess Bhagirathi, the personification of the Ganga, produced a richly-endowed forest on the spot, laden with fruits and flowers, quickly to be frequented by the inhabitants of Dvaraka. Durvasa vengefully burnt the forest with his powers. Rukmini grew depressed and contemplated suicide. Krishna arrived and stopped her. She felt ashamed and furious with herself even as her husband reassured her of his devotion. The repentant Durvasa begged Krishna to reunite with Rukmini, and the deity consented, blessing the sage with virtue as well as saluting the river Ganga, who then became the liberator of sorrows.

Death
After the disappearance of Krishna following the Yadu massacre in the Mausala Parva, Rukmini, along with Jambavati, self-immolated herself on the funeral pyre.

Literature
Rukmini primarily appears in literature that may be classified under the epic Mahabharata and the Puranas, as well as occasionally being featured in regional Vaishnava texts.

The Brihad Bhagavatamrita offers the following adulations to Rukmini, identifying her with Lakshmi and Krishna as the Supreme God, the source of all avatars. It states that she assumes partial avatars to accompany Krishna's avatars like Vamana and serves Krishna as his "perfectly complete divine consort".

The Narada Purana instructs a devotee on the manner of offering worship to Krishna, offering precedence to the role of Rukmini in his devotion. Rukmini is worshipped with Krishna on his left-hand side; she is equated with Rajas.

The Skanda Purana describes the process of the worship of the goddess with Krishna. A devotee is said to acquire wish fulfillment, male progeny and physical beauty by pleasing Rukmini.

Worship & Influence
The worship of Rukmini as the consort of Krishna precedes his association with his other consorts, including Radha. According to D.C. Sircar, a sculpture from Paharpur in northern Bengal, attributed to the sixth or seventh century, represents Krishna and his consort, which he concludes is likely Rukmini. Her identification with Radha is rendered unlikely by the historian, owing to the fact that, "we have no undoubted reference to Radha in genuine epigraphic or literary records of an early date".

Rukmini Ashtami
Rukmini Ashtami is the occasion that celebrates the birthday of Rukmini, the chief wife of Krishna. Vaishnava Hindus worship Rukmini as an incarnation of the goddess Lakshmi. Her birthday is primarily celebrated by women, who venerate her, her husband, and her son. It is a day of fasting. Married women see that honouring Rukmini is a way to ensure conjugal happiness, and they also entreat her assistance in finding a proper spouse for their unwed daughters. Rukmini Ashtami is observed on the eighth day of the waning moon in the Hindu lunar month of Pausha (December—January on the Common Era calendar). Rukmini is acknowledged with special pujas and rituals in all of the temples dedicated to Krishna, especially those in those parts of India, especially associated with him such as Mathura and Vrindavan.

Veneration across India
Rukmini is mainly worshipped in west and south Indian states such as Gujarat, Maharashtra, Karnataka, Goa, Andhra Pradesh, Telangana, Tamil Nadu, and Kerala. Rukmini's kingdom, Vidarbha, is believed to be located in present-day Maharashtra. Along with Vithoba (a regional form of Krishna), Rukmini is worshipped as "Rakhumai" in the Pandharpur region. She is also worshipped as the chief goddess in the Divya Desam temples like Pandava Thoothar Perumal Temple, Parthasarathy Temple, Chennai; with Krishna being the primary deity. She is also worshipped with her co-wife Satyabhama in temples like the Divya Desam of Thirukkavalampadi, Venugopalaswamy Temple, Karvetinagaram and Rajagopalaswamy Temple, Mannargudi.

The Mishmi people of Arunachal Pradesh believe that Rukmini belonged to their tribe. The plays and dances on 'Rukmini Haran' are common. There is a legend that Krishna asked the Mishmi people to cut their hair as a form of punishment for not allowing him to marry Rukmini. Due to this Idu-Mishmi people are also called "chulikata" (chuli-hair, kata- cut).

In 1480, the Vaishnava saint Vadiraja Tirtha (1480–1600) has composed a famous work Rukminisha Vijaya glorifying Rukmini and Krishna in 1241 verses spread over 19 chapters.

Temples

 * Rukmini Devi Temple, Dwaraka
 * Tirumala Krishna Temple, Tirupati
 * Vithoba Temple, Pandharpur
 * Pandava Thoothar Perumal Temple, Kanchipuram [Divya Desam]
 * Kantajew Temple, Bangladesh
 * Sri Krishnan Temple, Singapore
 * Thennangur Sri Rakhumai Sametha Panduranga Temple, Thiruvannamalai
 * Sri Vittal Rakhumai Mandir, Dahisar
 * Shri Vitthal Rukmini Temple, Thanjavur
 * Sri Rukmini Panduranga Swamy Temple, Machilipatnam
 * Vijaya Vitthala Mandhira, Hampi
 * Iskcon temples - Iskcon Kaundanyapur, Iskcon Los Angeles, Iskcon Amravati, Iskcon Dwarka

title: Rukmini


text:
User talk:Camembert/archive 1

Hello there, welcome to the 'pedia! I hope you like the place and decide to stay. If you need any questions answered about the project then check out Help or drop me a line. BTW, nice job on the Gustav Mahler article. Cheers! --maveric149

Per your questions on my talk page:

The "minor edit" checkbox is mainly used by contributers to indicate that all they did was very minor (a spelling or minor link fix for example). There is also a feature in user preferences to not show minor edits in Recent Changes. However this feature isn't particularly useful since the software does not check to see if minor edits are in fact minor. For example a non-logged-in vandal can replace an entire article with dis-coherent nonsense and mark that as a "minor edit" or a user could mark as a minor edit the addition of a highly POV paragraph. So I personally ignore the distinction except for user's and IPs I know and trust.

As for transliteration: What we do around here is use the most widely known and used version of terms so long as this does not conflict with the names of other things (see naming conventions. Sometimes this means we use "Pyotr" and sometimes it means we use "Peter" -- it all depends on what is mostly used by English speakers for the full term in question.

For your particular example and similar ones like it, it is often (but not always) useful to use Google as an objective measure. I performed a search for "Peter Ilyich Tchaikovsky" looking only at English webpages and found [url snipped]. Both versions of his name that do not have his middle name got fewer results than the three word versions.

But be careful there are also three different spelling variants of his middle name -- Ilyich, Ilych, Ilich -- each of which needs to be checked to see which 3 word combination is really the one most widely used. Here is the link to Google Advanced English Search: http://www.google.com/advanced_search?hl=en

But all this is just to determine what the actual wikipedia page should be called. The second most widely used term for his name should be on the first line of the article and that term should be rediercted to the most widely used one. That way search enginge, both internal and external, will be able to find both terms. See Eva Peron for an example.

I hope this helps! PS, feel free to copy any or all of the above for use in your argument and you may also want to eventually delete some of the longer URLs I put into your talk page here -- for lower res screens this may make the edit window wider than the screen. --mav

Hi, Camembert (cheesy name :-) ), nice job on the Mahler article! Keep up the good work, regards Jeronimo

 * Thankyou, sir. I shall do my best :-)

Yes, great job on mahler! I had wanted to see an article about him for long, but i was too lazy to do it. Now I just play with the one there is :) AstroNomer

Well spotted on French horn! Cor anglais is a different instrument entirely -- this I well know from years of music lessons, and I'm kicking myself for not having seen it in the article which I edited just before you did. -- Tarquin 08:08 Aug 25, 2002 (PDT)

gah. thanks for the RatM heads-up; i didn't bother to check since it was linked at requested articles. will fix. and thanks for the kind words on Sandman. just another 100 or so characters to go. *sigh*. when i'm done, i'm compiling all my stuff and getting it published, i think. :P --AW

Thanks for the redirect edit. I was researching it and found out how shortly after you made the change for Great dane. --Jim

Hi Camembert, User:Renata
 * what do you think about my sugestion for multiple categorisation? Would it work?

copy and paste from User talk:Maveric149

All of the old user pages that just redirect to new user pages should be deleted. Sure things link to them, but they are taking up space in the main namespace, rather than where they should be, which is in the User namespace. I tried to prepair some of them for deletion, however you (Maveric149) didn't seem to agree with my motives. What if one of those old user pages is the same name as something that could make a useful entry? Why should they take up space in the 'pedia so that they can just redirect to their user page? I find it quite annoying when I am looking for something relovant in the 'pedia, by using the Random page link, and I get some outdated user page redirect! -- Mbecker

User:The_Cunctator User:Kpjas User:Matt Stoker User:Eob User:Taw User:PaulDrye User:MMGB User:SJK User:Simon J Kissane

No problem re: Mego, Merzbow etc. Obviously if you have more information to add to these pages it would be good. Seems that articles on Industrial Music, Experimental Music (this is a big one) would be in order. just checked your website btw... very nice, hard to get good experimental music here in bristol. Greg Godwin

Sorry about the question marks on the composer page. It must be something to do with my linux editor gvim. andrewthorne

-

See Alban Berg & Second Viennese School. Should we make "twelve tone technique" there redirect to Serialism? -- Tarquin

I'm very proud of mouthpiece but I did it off the top of my head and judging from your recent changes to wind instrument you could improve it considerably. Ortolan88

--- Thanks for restoring Napoleonic Code while I was trying to find out how to do it. The FAQ doesn't have a 'how to revert' section, and neither does the how-to-edit page - or is that something that only admins can do? -- Marj 19:42 Nov 2, 2002 (UTC)

 * I've answered on your talk page.

- I see you are not an Admin yet. Having the ability to block a vandal's IP is both important and something we necessarily can only trust to people who have proven their trustworthyness. I for one trust you with this responsibility and recommend that you ask the Wikipedia mailing list for the account upgrade. BTW, just because you are an Admin doesn't mean that you have to do site maintenance. All it means is that you do what has to be done when it is needed. Cheers! --mav

-- Dear Camembert: Hi! How are you? I honestly didnt know there was a page for the album Sgt Pepper Lonely's Heart Club Band already. The reason I didnt know was that I went to the Heavy Metal page and there, there was a question mark around the name of this album. I sincerely apologize if Sgt Pepper's original page belongs to you. If you need to merge both pages or anything else you need to do, please feel free to do so.

I hope to hear from you soon!

Sincerely yuors, User:AntonioMartin

Nice (and prompt) work on Lonnie Donegan! --rbrwr

 * Thanks Rob. It could take some expansion of course (what couldn't?), but it's alright for starters. --Camembert

Camembert: In reference to your questions on Talk:Richard Wagner, the text of Das Judenthum in der Musik, unfortunately in a fairly convoluted translation, can be found at. I myself can see no reason for the deletion of the paragraphs from the Wagner article. -- Someone else 05:47 Nov 20, 2002 (UTC)

 * Ah, if I'd looked a little closer at the essay's title, I guess at least one of my questions would have been answered (clear he is just criticising them for being Jewish) - I'll put the paragraphs in question back and look at the essay later (thanks for the link). --Camembert

-

Hi Cam. I've got one for you: Talk:Key (music). :-) -- Tarquin 12:50 Nov 23, 2002 (UTC)

 * I've given it a shot - what we really need, I think, is a clearer page on transposing instruments, but that's something I'll work on some other day if nobody gets there before me. --Camembert 13:47 Nov 23, 2002 (UTC)

Help! Where does it say "singles titles in quotes"? Please see Talk:Human League for (non-sarcastic) query! Thanks, Nevilley 00:01 Nov 25, 2002 (UTC)

 * Sorry, Nevilley - I thought the Manual of Style said "songs in quotes" explicitly, but it didn't (it does now though). --Camembert

If only there were something to disambiguate it FROM, think how nice an article Movie Movie (movie) would be... Someone else

 * It's almost worth setting up a video rental business of that name to make it possible. Almost... --Camembert

HA! I hadn't even thought about the self-links, good one! --Dante Alighieri

 * No problem - I really like that you linked all the other letters, by the way; one of those things that's so obvious, you think "why didn't I do that?" :) --Camembert

You can't move an article to a location once it already exists. Since I was moving "VBScript" to "VBScript programming language" (which IS the appropriate title) and this article already exists, Move this page won't work. You have to Copy & Paste. Just another reason you should not play with things without asking first. Also, you should mention your changes in the section of the pedia that is appropriate for the article you are moving. So you should have mentioned your change in programming language in addition to Naming conventions. Also, take a good long look at list of programming languages. You want to rename all of them? There are hundreds. I personally have spent weeks setting up this section to have a consistent syntax and based on the concensus at talk:programming language. -Robert Lee

 * I've replied on your talk page.

My apologies if maybe I misinterpreted your comment about Griffith, and since I did move it from simply David to David Wark it was in effect accomplishing what you wanted. I've always known what the D. W. stood for so it seemed the natural thing to do. Please note that I did not include Lewelyn as part of the name. I've also made sure that all the redirects are in order. All of the D. W. entries have been piped to David Wark; all simply David link entries have been changed to David Wark. Eclecticology 17:23 Nov 30, 2002 (UTC)

 * Thanks - I didn't actually realise the page had been moved at all. I've repsonded a bit more fully on your talk page. --Camembert

I've added a couple more comments on this matter in my response at --KQ. I think this kind of issue will keep repeating itself as long as we depend on "most popular form. Eclecticology

 * You make some very useful points, which only proves that agreeing to what somebody should be named is not easy. The one point where there appears to be very broad agreement is that once you have chosen how to enter a name you should redirect from the reasonable alternatives.  Your examples make sense.  I would balk at all these obscure middle names for Puccini as much as I balked at including Lewelyn in the Griffith entry.  I would hesitate at anything more than expanding two initials for given names unless the name really was commonly represented with more than two such initials (e.g. J. R. R. Tolkien)  Older names (before 1600) will always be a problem.  The modern conventions that are now the standard for how we know people were only being developed during the 1500s when Lassus was born; they weren't even around for Des Pres.  We do best by treating each of these cases individually.  One of the problems about being too rule bound is the inability to recognize that somebody else can be right too.

Greetings,

You removed Sanskrit language from Votes for deletion because things had been "dealt with". Unfortunately, things are now back as they were before; Sanskrit is (incorrectly) the main article and Sanskrit language is a redirect to Sanskrit. I assume that you did indeed removed Sanskrit language, but that someone soon after recreated it, again as a redirect to Sanskrit. I guess what I needed to ask for was not only a delete, but a delete followed immediately by a move page.

Do you have any suggestions about how to deal with these cases where an article and a redirect need to be swapped? Is "Votes for deletion" the right forum? Should I try to get sysop status if I care that much?

Thanks, Ryguasu 11:48 Dec 2, 2002 (UTC)

 * I did in fact move "Sanskrit" to "Sanskrit language", but it was moved back again. The discussion that took place about this was initially on Talk:Sanskrit, but is now to be found at Wikipedia talk:Naming conventions (languages). Basically, the thinking behind the move back was this: the naming convention said that all natural languages should be called "X language" - as in English language, for example. This is because "English" alone would be anbiguous - does it mean the language, or does it mean "pertaining to England"? However, the general consensus seemed to be that the naming convention was at fault, because some language names are used for nothing other than the language - "Sanskrit", for example. Consequently, the convention now states that where there is no ambiguity in the name of the language alone, no "language" suffix is required (see Naming conventions for the revised convention). Once the debate about this convention settles down, pages like Latin language and Farsi language will be renamed Latin and Farsi.

 * The new convention is still being discussed and is always open to change, so if you want to join in at Wikipedia talk:Naming conventions (languages) feel free to do so. Also, I am assuming that the word "Sanskrit" really is used for nothing but the language - if this is not the case then the page on the language should indeed be at "Sanskrit language". Do you know if "Sanskrit" is used in any other way?

 * As for moving pages in general: if it's a simple case of swapping an article with a redirect, the "move this page" function (there's a link from every article page, so long as you're signed in) should allow you to do this. It won't allow you to move a page if the target article has any more content than a redirect, or if there is anything else in that page's history, but otherwise, it should work fine. If for whatever reason, that doesn't work, then yes, the "Votes for deletion page" is the right place to mention this. Or, as you say, you can become a sysop, which will allow you to delete pages to make room for page moves.

 * I hope all this helps, and makes at least some sort of sense. If you need anything clarifying, don't hesitate to ask. --Camembert

 * Thanks! I might have noticed all that eventually, but who knows when it would have been. As for definition of music, see my my talk page for a reply. --Ryguasu 15:51 Dec 2, 2002 (UTC)

Hi Camembert- I don't know if you were aware but I've started doing a list of free improvisers at the Free improvisation page (just a few I could think of off of the top of my head)- I wondered if you might be interested in expanding the list or starting to create some artilces on some of the players mentioned? Cheers quercus robur 18:42 Dec 6, 2002 (UTC)

Sorry - this is confusing. I thought you'd edited Faure and the redirection, but it seems something must have gone wrong with the database, as there's no evidence of my having amended the entries. If you saw the interim page, ignore it. I was just looking at the page for Gabriel Faure. He is much more famous for his Requiem, 2 piano quartets, Penelope, Masques et Bergamasques, and Pelleas et Melisande, than the pieces mentioned. Also he wrote songs to poems by Verlaine - amongst others - e.g La Bonne Chanson. I'll try to fix it later (again!). David Martland 20:11 Dec 6, 2002 (UTC)

 * I did see your earlier message here, and must admit, I was a bit confused! Anyway, I quite agree with your analysis of which of his works are better known - the article needs to be edited somewhat. All the best --Camembert

I've now fixed the Faure pages - I don't know what happened. I thought I'd uploaded my edits, but I guess they didn't get there, unless there was some sort of problem with the database (just possible...).

You might want to look at the new section on Maurice Duruflé - which I'm reasonably pleased with. I do want to check whether he actually gave first performances of Poulenc's organ concerto, and Louis Vierne's Sym 6 - I think he did - but need to check further. Have a nice weekend. David Martland 08:49 Dec 7, 2002 (UTC)

Hi camembert- Yes they are my pics of Derek & Lol, also the SME- I've got a pic of Stevens at the same SME gig somewhere but buggered if I can find them- these soert of things usually turn up when I stop looking tho...

Cheers for now quercus robur 10:40 Dec 7, 2002 (UTC)

Thanks for unblocking me! -- RM

 * No problem - glad to be of service :)

Aye oop! If you haven't seen it (and indeed why should you?), could you please have the quickest of looks at Talk:Pitch_of_brass_instruments as there are one or two general principles about music articles which I raise in there - a timely comment from you now could save me making a complete %^&* of myself later! Also, I do hope that you were not the original author of the article, which I have started hacking about in the vague hope of improving it but may have the opposite effect ... :) Nevilley 16:56 Dec 7, 2002 (UTC)

 * Hmm, I'll have a look at it - I don't think I even knew the article existed until just now, so I certainly didn't write it (though if I had, I should think it'd need more hacking around than most :) --Camembert

In reply to your question on my talk page: I am intending to write biographical material, and maybe something on the overarching themes (as in plot, not music) of this operas. I'm very happy to leave the musical analysis to you. Cheers. -- CYD

re anti-copyright: It is an actual "copyright" statement. It is required because in may places items are copyright unless specifically stated otherwise. It would be a bit more popular than "some" anarchists. With most things anarchist, it is very difficult to tell how popular. My feeling is that it may be 75% or more popular in the small fanzine area of anarchism of 15 years ago. I do not know how popular it is today. Karl

Re Durufle - I thought he did the Vierne first performance, but was not absolutely sure, so I left it. If you can confirm with your visit to Groves, then that should be updated. Just did Paul Tortelier - dates very hard, as much inconsistency between web based sources. I don't have time to check much further. There's also quite a gap I think between his period at the Conservatoire, and his time with the first orchestra mentioned - what did he do then? Lastly, I should confirm that William Pleeth was in fact Jacqueline du Pre's teacher - if it wasn't him, it was someone similarly modest, who is relatively unknown. David Martland 21:01 Dec 10, 2002 (UTC)

Thanks Camembert for reminding us that Verklaerte Nacht was for string sextet - I have an LP by Boulez with that version, but couldn't actually remember how many players were in it. It's very good - if it's still available. My LP was 2 LP set, with other works by Boulez - must get some equipment to play it one day. 195.137.39.195 10:28 Dec 15, 2002 (UTC)

 * I have a recording of Boulez conducting the orchestral version with the NYPO - it's on one of those Sony "Essential Classics" CDs. I'm not usually a big fan of Boulez as a conductor (though I like a lot of his compositions), but that's quite a good recording, I think. I don't think I have a recording of the sextet version - a shame really, because it's very nice that way. --Camembert

Camembert - I wonder if you can help. I'm looking for a CD (preferably, though tape would do - DVD not yet possible) of Lincke's Berliner Luft. Actually I think that's a whole operetta, but there's a march which Classic FM play occasionally, and my father in law wants to have it - preferably as a Christmas present. It's surprisingly hard to track down - there's a DVD from Amazon - probably has the whole operetta, and a few LPs or singles. Any advice? David Martland 10:33 Dec 15, 2002 (UTC)

 * I'm looking into it - I'll answer on your talk page. --Camembert

Cheers on Rushden and Diamonds F.C., Camambert. Could you have a look at Charlotte Ayanna, too? I noticed this was "courtesy of IMDb" a couple of weeks ago and mentioned it on the talk page, but nobody seems to have noticed. Thanks. --rbrwr

 * Thanks for bringing it up - I've shuffled around what was there a bit, and it should be OK now. Why I feel inclined to do this with some actress I've never heard of, but don't want to do it with Rushden and Diamonds, I don't know. I guess being brought up on Doncaster Rovers can put you off football... --Camembert

Thanks for the advice on moving articles. I've done this so many times before and had never realised that facility existed. --Deb

 * Glad to be of service! --Camembert

Hey, I've just realised why I never used it before - I don't seem to have the option on my screen. Any idea why? --Deb

Thanks for the suggestions about Berliner Luft - I have actually placed an order with Amazon for one of the few available versions in this country - the Classic FM one, but it may not come till mid January. If I can get it earlier any other way, I'll do that and cancel my order. There's a Naxos CD with a Potpourri of music from the operetta - maybe that'll include what's required - so I'll look out for that in HMV. If you stumble across a copy of anything relevant, please let me know - I'm amazed it's so difficult! David Martland 00:09 Dec 18, 2002 (UTC)

You are right, I'm not sure how I changed it back... perhaps it happened when I somehow lost my edit and started over, pasting in some text I already had on my clipboard from the edit I'd lost without checking if it matched the current text. -- RTC 23:53 Dec 18, 2002 (UTC)

 * You're probably right, it seems our edits collided in some way. Anyway, not to worry, all is well now. --Camembert

 * Seems thats the whole idea here... no matter what you do, someone sooner or later catches any mistakes and fixes them... more often sooner :-) -- RTC

 * That's certainly the idea - one of the reasons I love this place is that there's usually somebody there to catch all by bad spelling :) --Camembert

Sorry, man. I am rephrasing my remarks, as I now see that they were too polemical and too flame-like. Also, I concur with you that these topics need to be discussed. I just was hurt, and am thinking about how to discuss them. RK

 * Don't worry about it, feelings are bound to run high on such emotive subjects. I really appreciate the rephrasing, by the way. --Camembert

 Advice please? I am just trying to avoid getting into an edit war about names of things in English and German - books and music, Zweig and Strauss. I looked for help on a rule but I don't think I've found one other than that we should do whatever works best in Englsih - but this does of course lead to inconsistencies even within articles. Personally I have no problem coping with "Royal Game" in the same article as "Schweigsame Frau" because I think those are the most common (hem hem, everything's relative!) English usages. I just think there has to be room for common sense and compromise - I am never going to agree that Rosenkavalier must be rendered into English (where it sounds even bl**dy sillier than the original) but nor am I likely to insist that Shostakovitch 5 should be shown as "Drzomphomony Nr Vonvo" or whatever! Do we, in fact have a general rule??? Penny for your thoughts on this? Nevilley 16:44 Dec 23, 2002 (UTC)
 * Update - peacefully settled wrt Zweig and Strauss! But still an interesting question ... Nevilley 20:11 Dec 23, 2002 (UTC)
 * I've responded on your talk page, but basically I think what you've been doing is dead right - it's better to use familiar names than to be consistent. --Camembert
 * Thanks! I think this: I'd talk about "Les Noces (The Wedding)", but also "The Rite of Spring (Le Sacre du Printemps)". sums it up pretty completely! (In other words, me too.) It's seat-of-the-pants flying. :) All good wishes, Nevilley 13:20 Dec 26, 2002 (UTC)

Im afraid I cant fathom why you think noting that the Asiatic Fleet mined the harbors would be a major modification. Of course, you should note that the whole article is one big modification from nothing, so im not sure who is going to need notification that I have made some big change. If will be happy to turn off minor changes as my default, but am I then to report everything as major and tell the wikipedians who feel that everything I am doing is minor, that they are mistaken as to the importance of my changes? Vera Cruz

And your point doesnt make any sense to me, because although most of my edits are marked minor, and almost any real changes i make are on pages which i am the sole editor at this time, i certainly do not mark ALL my edits as minor. Vera Cruz

Hello there. Thanks for putting me right on "The Red Shoes". Not the first time a reference book has lied to me, but I was in doubt, so I should have double-checked. Deb

 * I'm glad you checked into it further. I'd looked on IMDB but they didn't seem to mention it - but then, there would be nothing to mention, if Korda dropped out before the beginning.  That b**** reference book was still wrong, anyway. --Deb

Thanks for adding the language back; I thought the change was odd too but wasn't bold enough to change it back then. KQ

 * No problem - I probably wouldn't have looked at the page at all if it weren't for somebody coming along and making a lot of changes a good deal odder than that one. --Camembert
 * Hm, I hope you're not talking about me. I made a few changes, in good faith.  :-)  --KQ
 * Oh no, not you - I was thinking of the same person who created Avoid offensive usernames (which now redirects to the proper policy page, but which was originally about how Jimbo is a dictator or something). Maybe his changes weren't really that odd, but I was on my guard against him as he'd been doing funny stuff elsewhere. But no, I certainly wasn't thinking of your changes, KQ :-) --Camembert

Hi C

sorry to use you as music article consultant and fount of all wisdom, but ...

Could you have a quick look at viola and violist please?

I feel it's very daft that a list of viola players is now appearing in both places. I think that one list is enough (some would argue it's too many heheh!) and I wondered if you were aware of a Wikiepedia Standard Approach to this issue. Whilst I think the list in the violist article is probably no bad thing, some of the stuff in viola is quite well intergrated with the text so I am loth to just suddenly hoick (sp?) it out of there. Ideas please? Thanks, Nevilley 22:10 Jan 18, 2003 (UTC)

 * I've answered on your user talk page, but violas are things I prefer not to think about too much ;)

Why? Vera Cruz

Im obviously User:Vera Cruz Vera Cruz

Hi, how do you move a text to Project Sourceberg? I have a primary text on Wiki I want to move. JTD 20:50 Jan 23, 2003 (UTC)

 * I've answered on your user talk page.

Thanks. BTW, another problem some people in Europe are having. Some commands like redirect require the cardinal number sign. However new computer key boards in Europe often don't have it anymore, as it has been replaced by the € sign. Unless we do constant cutting and pasting, (or we plug in old pre € keyboards everytime we need to type it!) we are cardinal number-less! Any suggestions? ''A cardinal numberless JTD 04:29 Jan 24, 2003 (UTC)

Thanks, Cam. After a lot of working through various combinations, I've worked out that Alt 3 on my eMac produces #! I, and other friends of mine who had bought new euroised keyboards that 'lost' the # and had it replaced by a €, were all fuming because we received no information as to how we could produce a #. We were even hold when we rang a help-line simply that 'due to demand, we installed a € in place of a #'; ie, its gone. And I'm afraid (as you may have noticed) I'm big into history, not computers (which I can just about switch on and off. Another more technical, and I'm lost!) so I'd written off the # as being yet another victim of the damned euro. So thanks. With my new skills, I'm off to redirect hundreds and hundreds of Wiki pages for the fun of it!!! (Only joking!) JTD 20:48 Jan 24, 2003 (UTC)

PS - on a totally different point: there has been a lot of confusion over how to refer to royalty other than monarchs on Wiki, with numerous 'solutions' tried by different people; surname, 'guessed' (and usually wrong) surname, title, mixture of them all, etc. I suggested a solution on the History standards page. I also posted it on the mailing list. No-one has disagreed; indeed many strongly agreed. A few suggested sensible minor changes. So, as there seems to be an overwhelming consensus on this idea, do I post the Three Generation Rule (as I call it) on the naming standards page? (A number of people have already begun adjusting titles and references to follow the proposed standard rule!) [''You know I am hooked on Wiki when I end up checking not just books on royal titles but even with Buckingham Palace and the Laeken Palace for accurate background info. And the Irish president's office is due to come back to me with permission to use their official pictures of presidents on Wiki!''] JTD 20:48 Jan 24, 2003 (UTC)

title: User talk:Camembert/archive 1


text:
SimEarth

SimEarth: The Living Planet is a life simulation game, the second designed by Will Wright. and published in 1990 by Maxis. In SimEarth, the player controls the development of a planet. English scientist James Lovelock served as an advisor and his Gaia hypothesis of planet evolution was incorporated into the game. Versions were made for the Macintosh, Atari ST, Amiga, IBM PC, Super Nintendo Entertainment System, Sega CD, and TurboGrafx-16. It was re-released for the Wii Virtual Console. In 1996, several of Maxis' simulation games were re-released under the Maxis Collector Series with greater compatibility with Windows 95 and differing box art, including the addition of Classics beneath the title. SimEarth was re-released in 1997 under the Classics label.

Gameplay
In SimEarth, the player can vary a planet's atmosphere, temperature, landmasses, etc., then place various forms of life on the planet and watch them evolve. In the “Random Planet” game setting, the game is a software toy, without any required goals. The big (and difficult) challenge is to evolve sentient life and an advanced civilization. The development stages of the planet can be restored and repeated, until the planet "dies" ten billion years after its creation, the estimated time when the Sun will become a red giant and kill off all of the planet's life.

There are also eight scenarios that do have goals, the first three (Aquarium, Cambrian Earth, and Modern-day Earth) involving managing the evolution and development of Earth in different stages, the next four (Mars, Venus, Ice Planet, and Dune) involving terraforming other planets to support life, and the final scenario (Earth 2XXX) involving rescuing life and civilization on a future Earth from self-replicating robots and nuclear warfare and giving the player the option of causing a great flood to help achieve this goal. In addition, there is another game mode besides Random Planet and Scenario mode, called Daisy World, where the only biome on the planet is daisies, which change their color relative to the temperature.

The game models the Gaia hypothesis of James Lovelock (who assisted with the design and wrote an introduction to the manual), and one of the options available to the player is the simplified "Daisyworld" model.

The player's control of the planet in the game is quite comprehensive; display panels allow the player to regulate everything from atmospheric gases, with percentages to three decimal places, to the rate of continental drift, to the rate of reproduction and mutation of lifeforms. In addition, the player is given options to place equipment or items that interfere with the planet's development, such as Oxygen Generators, which increase the amount of oxygen in the atmosphere, and the monolith, a take on the one found in 2001: A Space Odyssey, which aids in increasing intelligence of a lifeform through extraterrestrial contact.

The list of disasters ranges from natural occurrences, such as hurricanes and wild fires, to population-dependent disasters, such as plagues and pollution. Effects on the planet may be minor or major depending on the current conditions. Increased volcanic eruptions, for example, increase the amount of dust in the atmosphere, lowering global temperature; earthquakes in a body of water may produce tsunamis; and the shortage of nuclear fuel for a nuclear power-dependent civilization may potentially trigger nuclear war and nuclear winter.

Global warming can cause the planet's ice caps to melt and sea levels to rise, but if a planet gets very hot, the oceans boil away until there are no oceans left, only land. A planet without any water can have oceans brought back if hit by an "ice meteor" (a.k.a. a comet). Many things have to be kept within a certain balanced range for a planet to be able to support multicellular animal life; outside this range, only single-celled lifeforms, plants, robots, and lifeforms that have been civilized can survive. This excludes most lifeforms in this game since most are multicellular animals that are not civilized.

All player-triggered actions have a cost specified in "energy units" or "omega (Ω) units"; for example, 50 energy units are required to lay down a single terrain square, while 500 units are required to lay down a terraforming device. The energy budget is determined by the level of development of the planet, and the chosen difficulty level; on the lowest difficulty level, the energy budget is unlimited.

Gameplay itself can be somewhat mystifying; species may thrive or die out for no apparent reason. Mass extinctions, however, are often followed by periods of renewed evolutionary diversification, allowing the player to experiment with new sets of species and ecosystems.

Taxa
A feature of the game is that all taxa of multicellular animals are on an equal footing, and thus it is possible to evolve, for example, sapient molluscs. The two single-celled lifeform taxa, Prokaryotes and Eukaryotes (or Bacteria and Amoebas, in-game respectively) are treated specially. Some examples of animal taxa include Radiates and Cetaceans as well as more well known taxa such as fish and birds. As an "Easter egg", there is also machine life, which can appear if a city of the highest technology level (Nanotech Age) is destroyed by a nuclear explosion. Machine life can thrive in any biome or environmental conditions, generally out-competing any other lifeforms present, and can itself eventually evolve intelligence and build cities. Additionally, there are Carniferns, which are mutated, carnivorous plants, which can occur only naturally. Having an abundance of insects allows for these life-forms to develop. Carniferns are able to develop intelligence just as animals can. In addition to the familiar types, the long-extinct "trichordates" are included. The game states that "We [the game's developers] felt sorry for them, and are giving them a chance for survival in SimEarth." Dinosaurs are another included taxa.

Civilization
Once an organism on the SimEarth planet becomes sentient and develops civilization, it will gradually go through different stages of development with each successive stage being more technologically advanced than the last.

 * Stone Age, This stage is characterized by the use of stone tools and paleolithic lifestyles.
 * Bronze Age, This stage is characterized by the use of bronze tools, the invention of farming, the development of writing, and urbanization.
 * Iron Age, This stage is characterized by the use of Iron tools and is slightly more advanced than the Bronze Age.
 * Industrial Age, This stage is characterized by rapid industrialization and improving living standards. This stage is where resources are being rapidly consumed. Once this stage is achieved, energy requirements are high and global warming starts to threaten your planet's habitability.
 * Atomic Age, This stage is characterized by the use of nuclear energy.
 * Information Age, This stage is associated with the mass use of telecommunication technologies and computers.
 * Nanotech Age, This is the most challenging stage to reach due to depleting resources and the growing threat of global warming. It is associated with the use of nanotechnology and interplanetary space travel.

It is only possible for one species to reach sentience at a time on the planet. If the current sentient species becomes extinct, another species can achieve sentience. Once the sentient species reaches advanced Nanotech Age, they will begin The Exodus and launch all of their population in to space. This entirely removes that species from the world, allowing other species to reach sentience.

Development
Will Wright was introduced to James Lovelock by Stewart Brand, a former editor of CoEvolution Quarterly who lived near Wright, upon hearing about SimEarth. Lovelock advised the development team behind SimEarth, and particularly assisted with geophysical models. Lovelock stated in regards to the Gaia model that "Attempts to model the Earth through simple sciences such as biology or biochemistry fail because the models are oversensitive to initial conditions and prone to chaotic disturbance." Gaia models link biology and geology however, which Lovelock claimed are "for some reason stable and able to resist perturbations." Lovelock expressed that SimEarth's simulation has 'a degree of realism' despite it being "little more than a game", and he expressed that he hadn't seen or been involved in any computer simulations of nature on the scale of SimEarth at the time, noting that many professional climate models at the time didn't take clouds, the ocean, or biology into account.

Reception
Computer Gaming World called SimEarth "absolutely fascinating". The reviewer wished that the game had more SimCity-like visual feedback, but stated that it was superior to the predecessor because of larger scope and greater replayability. It won the 1991 Software Publishers Association Excellence in Software Awards for Best Secondary Education Program and Best Simulation Program.

Entertainment Weekly gave the game an A− and wrote that "While it's never too early to teach kids to respect the biosphere, the same may not be true of introducing them to complicated simulations such as Simearth: The Living Planet (FCI, for Super NES), which has more variables (temperature, precipitation, etc.) than a polynomial equation. There's something to be said for this, though: A task as simple as 'growing a daisy'—one option offered here—requires knowing far more than which button to push to cream the bad guy."

The One gave the MS-DOS version of SimEarth an overall score of 95%, and expressed that the game is fun 'regardless of whether you know what you're doing or not', and said that experimenting with the simulation is "hours of fun". The One praised SimEarth's substantial gameplay, expressing that the game has "near-infinite variations with which to experiment." The One noted the game as having "tremendous educational possibilities", but simultaneously being fun and engaging.

title: SimEarth