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Emission spectrum

The emission spectrum of a chemical element or chemical compound is the spectrum of frequencies of electromagnetic radiation emitted due to electrons making a transition from a high energy state to a lower energy state. The photon energy of the emitted photons is equal to the energy difference between the two states. There are many possible electron transitions for each atom, and each transition has a specific energy difference. This collection of different transitions, leading to different radiated wavelengths, make up an emission spectrum. Each element's emission spectrum is unique. Therefore, spectroscopy can be used to identify elements in matter of unknown composition. Similarly, the emission spectra of molecules can be used in chemical analysis of substances.

Emission
In physics, emission is the process by which a higher energy quantum mechanical state of a particle becomes converted to a lower one through the emission of a photon, resulting in the production of light. The frequency of light emitted is a function of the energy of the transition.

Since energy must be conserved, the energy difference between the two states equals the energy carried off by the photon. The energy states of the transitions can lead to emissions over a very large range of frequencies. For example, visible light is emitted by the coupling of electronic states in atoms and molecules (then the phenomenon is called fluorescence or phosphorescence). On the other hand, nuclear shell transitions can emit high energy gamma rays, while nuclear spin transitions emit low energy radio waves.

The emittance of an object quantifies how much light is emitted by it. This may be related to other properties of the object through the Stefan–Boltzmann law. For most substances, the amount of emission varies with the temperature and the spectroscopic composition of the object, leading to the appearance of color temperature and emission lines. Precise measurements at many wavelengths allow the identification of a substance via emission spectroscopy.

Emission of radiation is typically described using semi-classical quantum mechanics: the particle's energy levels and spacings are determined from quantum mechanics, and light is treated as an oscillating electric field that can drive a transition if it is in resonance with the system's natural frequency. The quantum mechanics problem is treated using time-dependent perturbation theory and leads to the general result known as Fermi's golden rule. The description has been superseded by quantum electrodynamics, although the semi-classical version continues to be more useful in most practical computations.

Origins
When the electrons in the atom are excited, for example by being heated, the additional energy pushes the electrons to higher energy orbitals. When the electrons fall back down and leave the excited state, energy is re-emitted in the form of a photon. The wavelength (or equivalently, frequency) of the photon is determined by the difference in energy between the two states. These emitted photons form the element's spectrum.

The fact that only certain colors appear in an element's atomic emission spectrum means that only certain frequencies of light are emitted. Each of these frequencies are related to energy by the formula: $$E_{\text{photon}} = h\nu,$$ where $$E_{\text{photon}}$$ is the energy of the photon, $$\nu$$ is its frequency, and $$h$$ is the Planck constant. This concludes that only photons with specific energies are emitted by the atom. The principle of the atomic emission spectrum explains the varied colors in neon signs, as well as chemical flame test results (described below).

The frequencies of light that an atom can emit are dependent on states the electrons can be in. When excited, an electron moves to a higher energy level or orbital. When the electron falls back to its ground level the light is emitted.

The above picture shows the visible light emission spectrum for hydrogen. If only a single atom of hydrogen were present, then only a single wavelength would be observed at a given instant. Several of the possible emissions are observed because the sample contains many hydrogen atoms that are in different initial energy states and reach different final energy states. These different combinations lead to simultaneous emissions at different wavelengths.

Radiation from molecules
As well as the electronic transitions discussed above, the energy of a molecule can also change via rotational, vibrational, and vibronic (combined vibrational and electronic) transitions. These energy transitions often lead to closely spaced groups of many different spectral lines, known as spectral bands. Unresolved band spectra may appear as a spectral continuum.

Emission spectroscopy
Light consists of electromagnetic radiation of different wavelengths. Therefore, when the elements or their compounds are heated either on a flame or by an electric arc they emit energy in the form of light. Analysis of this light, with the help of a spectroscope gives us a discontinuous spectrum. A spectroscope or a spectrometer is an instrument which is used for separating the components of light, which have different wavelengths. The spectrum appears in a series of lines called the line spectrum. This line spectrum is called an atomic spectrum when it originates from an atom in elemental form. Each element has a different atomic spectrum. The production of line spectra by the atoms of an element indicate that an atom can radiate only a certain amount of energy. This leads to the conclusion that bound electrons cannot have just any amount of energy but only a certain amount of energy.

The emission spectrum can be used to determine the composition of a material, since it is different for each element of the periodic table. One example is astronomical spectroscopy: identifying the composition of stars by analysing the received light. The emission spectrum characteristics of some elements are plainly visible to the naked eye when these elements are heated. For example, when platinum wire is dipped into a sodium nitrate solution and then inserted into a flame, the sodium atoms emit an amber yellow color. Similarly, when indium is inserted into a flame, the flame becomes blue. These definite characteristics allow elements to be identified by their atomic emission spectrum. Not all emitted lights are perceptible to the naked eye, as the spectrum also includes ultraviolet rays and infrared radiation. An emission spectrum is formed when an excited gas is viewed directly through a spectroscope.

Emission spectroscopy is a spectroscopic technique which examines the wavelengths of photons emitted by atoms or molecules during their transition from an excited state to a lower energy state. Each element emits a characteristic set of discrete wavelengths according to its electronic structure, and by observing these wavelengths the elemental composition of the sample can be determined. Emission spectroscopy developed in the late 19th century and efforts in theoretical explanation of atomic emission spectra eventually led to quantum mechanics.

There are many ways in which atoms can be brought to an excited state. Interaction with electromagnetic radiation is used in fluorescence spectroscopy, protons or other heavier particles in particle-induced X-ray emission and electrons or X-ray photons in energy-dispersive X-ray spectroscopy or X-ray fluorescence. The simplest method is to heat the sample to a high temperature, after which the excitations are produced by collisions between the sample atoms. This method is used in flame emission spectroscopy, and it was also the method used by Anders Jonas Ångström when he discovered the phenomenon of discrete emission lines in the 1850s.

Although the emission lines are caused by a transition between quantized energy states and may at first look very sharp, they do have a finite width, i.e. they are composed of more than one wavelength of light. This spectral line broadening has many different causes.

Emission spectroscopy is often referred to as optical emission spectroscopy because of the light nature of what is being emitted.

History
In 1756 Thomas Melvill observed the emission of distinct patterns of colour when salts were added to alcohol flames. By 1785 James Gregory discovered the principles of diffraction grating and American astronomer David Rittenhouse made the first engineered diffraction grating. In 1821 Joseph von Fraunhofer solidified this significant experimental leap of replacing a prism as the source of wavelength dispersion improving the spectral resolution and allowing for the dispersed wavelengths to be quantified.

In 1835, Charles Wheatstone reported that different metals could be distinguished by bright lines in the emission spectra of their sparks, thereby introducing an alternative to flame spectroscopy. In 1849, J. B. L. Foucault experimentally demonstrated that absorption and emission lines at the same wavelength are both due to the same material, with the difference between the two originating from the temperature of the light source. In 1853, the Swedish physicist Anders Jonas Ångström presented observations and theories about gas spectra. Ångström postulated that an incandescent gas emits luminous rays of the same wavelength as those it can absorb. At the same time George Stokes and William Thomson (Kelvin) were discussing similar postulates. Ångström also measured the emission spectrum from hydrogen later labeled the Balmer lines. In 1854 and 1855, David Alter published observations on the spectra of metals and gases, including an independent observation of the Balmer lines of hydrogen.

By 1859, Gustav Kirchhoff and Robert Bunsen noticed that several Fraunhofer lines (lines in the solar spectrum) coincide with characteristic emission lines identified in the spectra of heated elements. It was correctly deduced that dark lines in the solar spectrum are caused by absorption by chemical elements in the solar atmosphere.

Experimental technique in flame emission spectroscopy
The solution containing the relevant substance to be analysed is drawn into the burner and dispersed into the flame as a fine spray. The solvent evaporates first, leaving finely divided solid particles which move to the hottest region of the flame where gaseous atoms and ions are produced through the dissociation of molecules. Here electrons are excited as described above, and the spontaneously emit photon to decay to lower energy states. It is common for a monochromator to be used to allow for easy detection.

On a simple level, flame emission spectroscopy can be observed using just a flame and samples of metal salts. This method of qualitative analysis is called a flame test. For example, sodium salts placed in the flame will glow yellow from sodium ions, while strontium (used in road flares) ions color it red. Copper wire will create a blue colored flame, however in the presence of chloride gives green (molecular contribution by CuCl).

Emission coefficient
Emission coefficient is a coefficient in the power output per unit time of an electromagnetic source, a calculated value in physics. The emission coefficient of a gas varies with the wavelength of the light. It has unit m⋅s−3⋅sr−1. It is also used as a measure of environmental emissions (by mass) per MW⋅h of electricity generated, see: Emission factor.

Scattering of light
In Thomson scattering a charged particle emits radiation under incident light. The particle may be an ordinary atomic electron, so emission coefficients have practical applications.

If $X dV dΩ dλ$ is the energy scattered by a volume element $dV$ into solid angle $dΩ$ between wavelengths $λ$ and $λ + dλ$ per unit time then the emission coefficient is $X$.

The values of $X$ in Thomson scattering can be predicted from incident flux, the density of the charged particles and their Thomson differential cross section (area/solid angle).

Spontaneous emission
A warm body emitting photons has a monochromatic emission coefficient relating to its temperature and total power radiation. This is sometimes called the second Einstein coefficient, and can be deduced from quantum mechanical theory.

title: Emission spectrum


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Talk:History of Brazil/Archive 1

I've added a lot of new content detailing Brazilian history between 1889-1964. I'd appreciate it if someone took a look at it. It's hard to find editors for subjects that are not controversial on this site, like the history of Brazil.

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--- Is anyone else interested in Brazilian history?

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 * Yes, though I don't know very much about it. Thanks for your contributions! -- Infrogmation 05:13 Apr 8, 2003 (UTC)

-- You're welcome. Thanks for going through it.

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Does anyone want to add content? I'm having trouble finding people interested in Brazilian history.

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History of Brazil Series

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

title: Talk:History of Brazil/Archive 1


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Frederic George Stephens

Frederic George Stephens (10 October 1827 – 9 March 1907) was a British art critic, and one of the two 'non-artistic' members of the Pre-Raphaelite Brotherhood.

Life
Stephens was born to Septimus Stephens of Aberdeen and Ann (née Cook) in Walworth, London and grew up in nearby Lambeth. Because of an accident in 1837, he was physically disabled and was educated privately. He later attended University College School, London. In 1844 he entered the Royal Academy Schools where he first met John Everett Millais and William Holman Hunt. He joined their Pre-Raphaelite Brotherhood in 1848, often modelling for them in pictures including Millais's Ferdinand Lured by Ariel (1849) and Ford Madox Brown's Jesus Washing Peter's Feet (1852–1856; Tate, London). There is a pencil portrait of Stephens by Millais dated 1853 in the collection of the National Portrait Gallery.

Stephens was so disappointed by his own artistic talent that he took up art criticism and stopped painting. In later life he claimed to have destroyed all his paintings, but three of them are now in the Tate Gallery, London: The Proposal (The Marquis and Griselda) (1850–51), Morte d'Arthur (1849), and Mother and Child (circa 1854–1856), along with a pencil drawing of his stepmother Dorothy (1850), a study for an oil portrait he exhibited at the Royal Academy in 1852. He also exhibited a portrait of his father (1852–53) at the Academy in 1854. A large pen-and-ink drawing illustrating a subject from Geoffrey Chaucer's The Pardoner's Tale, Dethe and the Riotours (1848–1854), which he gave to Dante Gabriel Rossetti in 1854, is now in the Ashmolean Museum, Oxford.

He communicated the aims of the Brotherhood to the public. He became the art critic and later the art editor of the Athenaeum from 1860–1901, while also writing freelance for other art-history periodicals including The Art Journal and The Portfolio. He also wrote for journals on the continent and the United States – notably, the pro-Pre-Raphaelite journal The Crayon, from 1856–1859. His contributions to the Brotherhood's magazine The Germ were made under the pseudonyms Laura Savage and John Seward. During this time he was heavily influenced by Dante Gabriel Rossetti, whom he allowed to write reviews of his own work under Stephens's name.

Stephen's first work of art history, Normandy: its Gothic Architecture and History was published in 1865, and Flemish Relics, a history of Netherlandish art, appeared in 1866. Monographs on William Mulready (1867) and on Edwin Landseer (1869) followed. In 1873 he started writing series of almost 100 articles on British collecting for the Athenaeum; these treated major collections and small collectors alike thus encouraging middle-class art patronage and the growing Victorian interest for contemporary art.

He was also Keeper of the Prints and Drawings in the British Museum and wrote most entries in the first volumes of the Catalogue of Prints and Drawings in the British Museum, Division I: Political and Personal Satires, from 1870 onward. In 1875, Stephens began to characterise himself as an art historian rather than a critic and in 1877 he started to write contributions for the Grosvenor Gallery catalogues, which he continued to do until 1890. When Rossetti died Stephens co-wrote his obituary for the Athenaeum published on 15 April 1882.

Stephens was a loyal supporter of his former tutor Holman Hunt over many years, but the two fell out over Hunt's painting The Triumph of the Innocents (1885), which Hunt had asked Stephens to box and transport for him, and which had been lost for some time in transit and damaged. Hunt became increasingly paranoid, and interpreted a money gift from Stephens for his newborn son to be a slight, sending it back. The friendship between the two was broken when Stephens reviewed The Triumph of the Innocents and criticised it for its mixing of hyper-realism and fantasy.

Almost twenty years later Hunt retaliated by launching a scathing attack on Stephens in the second edition of his Pre-Raphaelitism and the Pre-Raphaelite Brotherhood (1914). In 1894, Stephens published a Portfolio monograph on Rossetti. He contributed essays on art to Henry Duff Traill's Social England: a Record of the Progress of the People (1893–1897) placing Pre-Raphaelitism in a continuing tradition of British art. This contradicted the Brotherhood's view that they had flowered uniquely from a pallid past. In 1895 he published a book on Lawrence Alma-Tadema and his review of the posthumous exhibition of Millais in 1898 took the painter to task for poorly thought-out works.

Other artists about whom he wrote include Thomas Bewick, Edward Burne-Jones, George Cruikshank, Thomas Gainsborough, William Hogarth, Edwin Landseer, William Mulready, Samuel Palmer, Joshua Reynolds, Thomas Rowlandson, Sir Anthony van Dyck, and Thomas Woolner.

Stephens' conservative views on modern art and his strong dislike of Impressionism ended his forty-year association with the Athenaeum.

Stephens married the artist Rebecca Clara Dalton in 1866. From 1866–1905, the couple lived at 10 Hammersmith Terrace, Hammersmith, west London. Their son was the railway engineer Holman Fred Stephens (1868–1931). Stephens died at home on 9 March 1907 and is buried in Brompton Cemetery. Much of his collection of art and books was auctioned at Fosters in 1916, after his widow's death, but his son bequeathed several works of art to the Tate Gallery.

He is sometimes cited as the great exponent of writer's block: He started to write a political sonnet for the first number of The Germ magazine. On 13 October 1849 he had completed 11½ lines, which he showed to James Collinson, who said they were "the best of all." By 12 November it had "attained the length of 12 lines, with the reservation of a tremendous idea for the final two." The magazine appeared in January 1850 but the poem was never published.

title: Frederic George Stephens


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Central Coast (California)

The Central Coast is an area of California, roughly spanning the coastal region between Point Mugu and Monterey Bay. It lies northwest of Los Angeles and south of the San Francisco Bay Area, and includes the rugged, rural, and sparsely populated stretch of coastline known as Big Sur.

From south to north, there are six counties that make up the Central Coast: Ventura, Santa Barbara, San Luis Obispo, Monterey, San Benito, and Santa Cruz.

The Central Coast is the location of the Central Coast American Viticultural Area.

Geographically, the actual midpoint of the California coast lies north of Santa Cruz, near Año Nuevo State Park in San Mateo County. Neither the popular use of the term Central Coast nor that of the California North Coast include the San Francisco Peninsula counties of San Mateo and San Francisco.

History
The Central Coast area was inhabited by Chumash, Ohlone, Esselen, Salinan, and other Native American people since at least 10,000 BC. Many of these communities were coastal, where the people utilized marine resources and dwelt near freshwater inflows to the Pacific Ocean. For example, there were significant communities near the mouth of Morro Creek and Los Osos Creek.

Juan Rodríguez Cabrillo sailed north along the coast and landed in Santa Barbara County in 1542.

After the Spanish established the California missions in 1770, they baptized and forced the native population to labor at the missions. While living at the missions, the aboriginal population was exposed to diseases unknown to them, like smallpox and measles, for which they had no immunity, devastating the Native American population and their culture. Many of the remaining Native Americans assimilated with Spanish and Mexican ranchers in the nineteenth century.

Under Spanish law, the indigenous people were technically free individuals, but they could be compelled by force to labor without pay. With the help of the soldiers who guarded the mission, the Indians who lived near the mission were forcibly relocated, conscripted, and trained as plowmen, shepherds, cattle herders, blacksmiths, and carpenters on the mission. Disease, starvation, over work, and torture decimated the tribe.

Overview
The region is known primarily for agriculture and tourism. Major crops include wine grapes, lettuce, strawberries, and artichokes. The Salinas Valley is one of the most fertile farming regions in the United States. Tourist attractions include Cannery Row in Monterey, the Monterey Bay Aquarium, the theatres, galleries and white sand beaches of Carmel-by-the-Sea, the golf courses of Pebble Beach and the Monterey Peninsula, the rugged coastline of Big Sur and Hearst Castle in San Simeon. Further south is Morro Rock and the port city of Morro Bay, which is adjacent to college town San Luis Obispo. The Santa Ynez Valley is home to the Central Coast Film Society, which celebrates filmmakers, cinema and media arts that are from the region, also known as "Hollywood's Backyard."

The area is not densely populated. The largest city in the region is Oxnard in Ventura County, with a population estimated at 203,007 in 2013.

Education
University of California campuses are found in Santa Barbara and Santa Cruz, near the south and north edges of the region respectively. California State University, Monterey Bay, founded in 1994, uses facilities donated when Fort Ord was converted from military to civilian uses. California Polytechnic State University, in San Luis Obispo, was founded in 1901. California State University Channel Islands opened in Camarillo in 2002, as the 23rd campus in the California State University system.

Population
The six counties that make up the Central Coast region had an estimated population of 2,348,601 according to the 2020 census.

Counties by population

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Major cities
The following cities had a population over 20,000 as of the 2020 census:

 * Oxnard - 202,063
 * Salinas - 163,542
 * Thousand Oaks - 126,966
 * Simi Valley - 126,356
 * Ventura - 110,763
 * Santa Maria - 109,707
 * Santa Barbara - 88,665
 * Camarillo - 70,741
 * Santa Cruz - 62,956
 * Watsonville - 52,590
 * San Luis Obispo - 47,063
 * Lompoc - 44,444
 * Hollister - 41,678
 * Moorpark - 36,284
 * Goleta - 32,690
 * Seaside - 32,366
 * Paso Robles - 31,490
 * Santa Paula - 30,657
 * Monterey - 30,218
 * Atascadero - 29,773
 * Soledad - 24,925
 * Marina - 22,359
 * Port Hueneme - 21,954

Transportation
Travel is almost entirely by private automobile. Because of its position roughly halfway between the major cities of Los Angeles and San Francisco, San Luis Obispo is home to America's first motel. The major highway is U.S. Route 101, which runs north–south from Los Angeles, through most of the major communities of the Central Coast, to San Francisco. State Route 1, a smaller but much more scenic route, connects the coastal communities, running through San Simeon, Morro Bay, and Big Sur. Amtrak maintains train service with the Coast Starlight and Pacific Surfliner routes along the Union Pacific Railroad Coast Line that also transports freight. There are no major airports, although Monterey, Santa Barbara, Santa Maria and San Luis Obispo have regional airports with commuter service. Greyhound buses serve most of the region.

Monterey-Salinas Transit (MST) operates bus services throughout Monterey County as far south as Big Sur on the coast and King City in the Salinas Valley. MST also offers connection service to San Jose Diridon Station, downtown Santa Cruz, and Paso Robles and Templeton in Northern San Luis Obispo County via regional routes. Santa Cruz Metro offers services within Santa Cruz County, including connections to San Jose and San Jose State and connection to MST service in Watsonville, heading south to Salinas.

title: Central Coast (California)


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Central Coast (New South Wales)

The Central Coast is a peri-urban region lying on the Pacific Ocean in northern-eastern New South Wales, Australia. The region is situated north of Sydney, which is filled with subtropical national parks, forests and also encompasses the major coastal waterways of Brisbane Water, Tuggerah Lakes and southern Lake Macquarie. The region's hinterland, which has fertile valleys, rural farmland and wineries, and also includes the Watagan Mountains. The Central Coast is known for its regional coastal towns like Terrigal, The Entrance, Ettalong Beach, Budgewoi and Bateau Bay with resorts and holiday parks, which feature many expansive beaches and lagoons with surfing and coastal tracks, as well as scenic views. Gosford is the main commercial hub and gateway.

The Central Coast includes major localities, villages and towns such as Gosford, Wyong, Terrigal, Woy Woy and The Entrance. The area is the third-largest urban area in New South Wales and the ninth-largest urban area in Australia. Geographically, the Central Coast is generally considered to include the region bounded by the Hawkesbury River in the south, the Watagan Mountains in the west and the southern end of Lake Macquarie, lying on the Sydney basin.

History
The region has been inhabited for thousands of years by Aboriginal people. The local Kuringgai people were the first Aboriginal people to come in contact with British settlers. An Aboriginal man from the region named Bungaree became one of the most prominent people of the early settlement of New South Wales. He was one of the first Aboriginal people to learn English and befriended the early governors Phillip, King and Macquarie. He accompanied explorer Matthew Flinders in circumnavigating Australia. Macquarie later declared Bungaree "The King of the Broken Bay Tribes".

In addition to Kuringgai-speaking people (referred to as the "Pittwater tribes" and "Broken Bay tribes" by early colonists), Awabakal lived around Lake Macquarie, and Darkinyung people lived inland, to the west of the Mooney Mooney Creek. The Kuringgai (Guriŋgai), Awaba and Darkinyung languages are related to each other, but are distinct from the Dharrug and Sydney languages that were spoken south of the Central Coast. Post-settlement disease, disruption and war greatly reduced the numbers of Aboriginal people.

In 1811, the Governor of New South Wales, Lachlan Macquarie, gave the first land grant in the region to William Nash, a former marine of the First Fleet. No further grants were made in the area until 1821.

Geography
The region is a network of towns that have been linked in recent years by expanding suburban development. The main urban cluster of the region surrounds the northern shore of Brisbane Water and includes the Coast's largest population centre, Gosford, stretching east to the retail centre of Erina. Other major commercial "centres" on the Coast are Wyong, Tuggerah, Lakehaven, The Entrance, Terrigal, Bateau Bay and Woy Woy.

On 2 December 2005, the Central Coast was officially recognised as a stand-alone region rather than an extension of Greater Sydney or the Hunter Valley, a few years after the Central Coast got its definition, it officially got recognised to be part of Regional NSW instead of Greater Sydney by the NSW Government.

Climate
The Central Coast has a humid subtropical climate (Köppen climate classification: Cfa), with warm humid summers and mild winters. Rainfall is spread fairly evenly throughout the year, but is slightly more frequent during autumn. Winter is the driest time, with often minimal to no rain.

Population
The Australian Bureau of Statistics publishes population census data and regular population estimates on the Central Coast under a Significant Urban Area. In 2021, the estimated population of this region was 343,180, with population forecasts projecting it will grow by more than 20 per cent to 415,050 by 2035.

The median age was 43, with an Aboriginal and Torres Strait Islander population of 4.9%. The main countries of birth were Australia (78.9%), United Kingdom (4.6%), and New Zealand (1.7%). ABS currently includes the Central Coast region population wholly within Greater Sydney which results in Greater Sydney's population being larger than that of Greater Melbourne, however the NSW government definition for the Central Coast region it has its own regional population definition as a stand alone region.

Education
The Central Coast has two campuses of the University of Newcastle located at Ourimbah and Gosford Hospital. There are three campuses of the Hunter Institute of TAFE located at Gosford, Wyong and Ourimbah along with multiple private colleges. The Central Coast has a large number of primary and secondary school institutions.

Television
The Central Coast has four broadcast translators across the region, located at Bouddi (between Killcare & MacMasters Beach), Gosford and Wyong (Forresters Beach), and Mount Sugarloaf (Newcastle). Due to the Central Coast being split between the Sydney (metro) and Northern NSW (regional) licence areas, these translators carry stations from both areas.

In total eight television stations service the Central Coast:
 * ABC New South Wales (ABN)
 * SBS New South Wales (SBS)
 * Seven Sydney (ATN)
 * Nine Sydney (TCN)
 * 10 Sydney (TEN)
 * Seven Northern NSW (NEN)
 * Nine Northern NSW (NBN)
 * 10 Northern NSW (NRN) – Network 10 affiliate

Each station broadcasts a primary channel and several multichannels. Of the three main networks, NBN produces a bulletin containing local, national and international news screening every night at 6:00pm on the Nine Network. Both WIN Television and the Seven Network produce short local updates to fulfill local content quotas. Foxtel is also available via satellite.

Radio
The Central Coast has a number of local radio stations. The three large commercial stations are Triple M Central Coast, Star 104.5, Hit101.3 Central Coast, all being part of national networks.

The ABC has an outreach station on 92.5 FM that operates a locally produced breakfast show from 6am to 9am weekdays, outside this it broadcasts Sydney programming from ABC 702 AM. A 24-hour Country music station TodayCountry94one is based in Gosford and broadcasts online and in syndication across the country. It also has a Christian radio station Rhema FM on 94.9 MHz. As at January 2021, The Central Coast has a locally based internet Radio Station providing locals with a radio station being broadcast by local presenters from their place of business/home.

In most locations on the Central Coast, Sydney and Newcastle radio stations can be received at reasonable levels particularly on the AM band.

Print
The Central Coast is not serviced by its own daily print newspaper though has three weekly local newspapers as well as a fortnightly paper and several popular monthly newsletters.

A series of locally owned local papers have grown in popularity over time. Central Coast Community News services the Central Gosford region and the Coast Community Chronicle services the northern part of the region and the Pelican Post services the postcodes of 2256 and 2257. All are published by a local independent publishing house Central Coast Newspapers bucking the trend in declining newspaper sales. The Peninsula News run by a community association services the southern part of the region centred around the Woy Woy area with a fortnightly paper. Previously the major print publication of the region was the weekly Central Coast Express Advocate, published by News Limited's News Local, though that ceased printing in 2019. It is now purely a subscription-based online service.

Theatre
The area has three operating theatres. Laycock Street Theatre, located in North Gosford, has a proscenium arch configuration and seats 392 patrons. The venue also contains a multi-purpose space suitable for conferences, board meetings, annual general meetings, cabaret and small musical acts. The resident amateur theatre group, the Gosford Musical Society, currently contribute 5 shows a year.

The largest theatre on the Central Coast is The Art House, Wyong, which opened in May 2016 and replaced the old Wyong Memorial Hall which was used mainly by Wyong Musical Theatre Company and Wyong Drama Group. The Art House is a multipurpose venue with a 500-seat proscenium arch theatre with a 12m x 9m stage and automated fly tower as well as a 285m2 studio space with retractable tiered seating for 130 people and AV link to the main theatre. The Art House also features a 500m2 space suited to functions and events, as well as an exhibition wall ideal for visual art and photography displays. The opening of this venue saw a sudden growth in arts companies producing theatre in the region including Endless Night Theatre Company, Gosford Theatre Company, Nate Butler's Studio, Salt House Theatre Company, and the regions only youth theatre body, Jopuka Productions.

In late 2018, the Elderslee Foundation purchased a large building along the Tuggerah Strait close to Wyong which has subsequently been renovated and repurposed into a community facility, including office facilities, hot desks, training rooms, a commercial kitchen and art exhibition space for use by the community and the Red Tree Theatre, a small adaptable space for forums, seminars, concerts, theatre rehearsals and productions. The Red Tree Theatre features a 144-seat ranked auditorium equipped with professional standard lighting and sound.

The Peninsula Theatre at Woy Woy features a 122-seat raked auditorium, 49m2 stage area and professional standard staging, lighting and sound capabilities.

Sport
Central Coast Mariners represent the Central Coast in the A-League. The Mariners have been A-League premiers twice (2007–08 and 2011–12), and were A-League champions in 2013 as well as in 2023 and again in 2024. The Mariners play out of Central Coast Stadium at Gosford, the largest stadium on the Central Coast with a capacity of 20,059.

The Wyong Roos currently play in the Intrust Super Premiership at Morry Breen Oval in Kanwal. They are the feeder team of the Sydney Roosters National Rugby League team, who have developed an agreement to play one regular season fixture per year at Central Coast Stadium for five years, starting in 2015. The South Sydney Rabbitohs also play regular games.

The Central Coast Rhinos played in the Australian Ice Hockey League from 2006 to 2008 and the Australian International Ice Hockey Cup from 2009 to 2012. They played out of Erina Ice Arena at Erina Fair, which is the Central Coast's only ice rink. The Erina Ice Arena has been closed since the 19th of August 2019 for renovations and is looking to reopen on the 2nd of January 2021.

Other teams include the Central Coast Crusaders – the elite senior basketball program of the Central Coast region and the Central Coast Centurions – the Central Coast's junior rugby league representative team who compete in the S.G. Ball Cup and the Harold Matthews Cup.

Several attempts have been made to have teams enter other national competitions. The most notable of these was the attempt to enter the Central Coast Bears as the 16th team into the NRL. This attempt was financed by a consortium led by John Singleton, but the Gold Coast Titans were ultimately successful. The Northern Eagles, a merger of NRL clubs Manly Sea Eagles and North Sydney Bears began their tenure playing half of their games at Gosford; however, within three years the team was solely playing back at Brookvale. South Sydney were also unsuccessfully approached to play out of Gosford, despite the few games that are played on the Central Coast attracting large crowds. The Central Coast Storm rugby league team play in a number of NSWRL lower grade competitions, and the Central Coast Waves rugby union team plays in the Shute Shield. The Central Coast Rays rugby union club who competed in the ill-fated Australian Rugby Championship's only season late in 2007, called Central Coast Stadium home.

The Central Coast has numerous sporting ovals, golf courses, skate parks, tennis courts and swimming pools that are open to the public and one target shooting facility. Attempts are underway to build a series of bicycle paths. A velodrome is also open to the public at West Gosford. National parks on the Central Coast have a large range of walking paths and mountain bike trails. Water sports like sailing, rowing and water skiing are popular activities on the Central Coast lakes. Attempts are being made to attract pro golf tournaments to Magenta Shores (a new resort north of The Entrance). In 2011, the frigate HMAS Adelaide (FFG 01) was scuttled off North Avoca Beach as an artificial reef.

Health

The Central Coast has two large public hospitals with emergency departments. The Gosford Hospital is the largest hospital in the region that is located near the Gosford CBD with 460 beds, Wyong Hospital is the second largest hospital of the Central Coast which has 274 beds, it is located at Hamlyn Terrace that is approximately 8 km north of the Wyong town centre, along the Pacific Highway with 274 beds. Additionally, there is a small public hospital in Woy Woy and a Health Care Centre at Long Jetty. The largest private hospital on the Central Coast is Gosford Private Hospital located at North Gosford. Brisbane Waters Private in Woy Woy, Tuggerah Lakes Private at Kanwal and Berkeley Vale Private are also major healthcare providers. The region has 21 aged care facilities. New South Wales Ambulance has seven ambulance stations on the Central Coast located at Bateau Bay, Doyalson, Ettalong, Point Clare, Terrigal, Toukley and Wyong.

Telecommunications
The Central Coast falls in the fixed phone 43xx xxxx region and is classified Regional 1 for billing with the exception of northern suburbs Gwandalan and Summerland Point, which fall in the fixed phone region for Newcastle and Lower Hunter 49xx xxxx. Fixed-line telephone service is universally available. 3G, 4G and 5G mobile network services are available from Optus, Telstra and Vodafone, though numerous black spots exist due to the topography and remoteness of some parts of the region. Steps to improve coverage areas along the railway have been announced by the Federal Government.

ADSL and good quality fixed-wireless broadband services are widely available; however, significant blackspots continue to exist. High speed ADSL2 is available at most exchanges through Telstra. Few other providers exist, leading to an expensive high speed broadband offering for the region. Many areas experience very slow and/or unreliable ADSL connections due to the age and quality of the infrastructure.

Fibre optic based broadband services are available in some areas serviced by the National Broadband Network NBN. These include Kincumber, Gosford, East Gosford, West Gosford, Springfield, Berkeley Vale, Tumbi Umbi and Long Jetty.

In 2011, the region was selected as one of the early roll out regions for the National Broadband Network's fibre to the premise installation which will offer stable speeds of 100/40 Mbit/s down/up load respectively. Two Points Of Interconnect (POI) are located in the region at Gosford and Berkley Vale exchanges. The regional rollout will radiate out from these two super exchanges. Services in areas around the two POI are now available. The rollout of the NBN to the remainder of the region is in question following a change of government in September 2013. Trials of fibre to the node technology are planned for Umina Beach and Woy Woy.

Governance
The Central Coast is administered by one local government area which is the Central Coast Council. It has an estimated population of 348,930 as of June 2022, growing by 1% annually. Politically, the Central Coast Council has administered the area since 12 May 2016, when the Gosford City Council and the Wyong Shire Council merged. In September 2006, the New South Wales government released a revised long-term plan for the region that saw the Central Coast classified as an urban area, along with Wollongong and the Hunter Region, but is not considered a metropolitan area. , Scot MacDonald served as the parliamentary secretary for the Hunter and Central Coast. In November 2015 both Gosford City and Wyong Shire councils controversially voted to merge following a NSW Independent Pricing and Regulatory Tribunal assessment which found the Gosford City and Wyong Shire Councils did not meet the stand-alone operating criteria for the NSW State government's "Fit for the Future" plans for the Local Area Councils within the state. Despite local opposition and concerns over Wyong Shire, in effect, being subsumed within the Gosford City Council, and claims of councillors being bullied into the merger, as part of the process, merging into a single Central Coast Council local government area passed all administrative and legislative requirements and came into effect in 2016. As of mid-2020, the amalgamation process had cost $49 million. The newly amalgamated Central Coast Council held elections in September 2017.

Transport
The Central Coast is serviced by an extensive and burgeoning road system. A combination of bus and rail provide limited public transport options for locals. The region also has a number of taxis operated by Central Coast Taxis. Transport has been a constant issue for the region and has been cited as high a priority over the last 20 years in regional plans and priorities by local, state and federal government agencies, with incremental investments largely in road infrastructure.

Roads

The main access to the Central Coast by road is by the 127 km Pacific Motorway that carries the designation National Highway 1. From January 2013 it officially has been renamed as the M1 Pacific Motorway. The freeway provides the most important road link between Sydney and the northern areas of New South Wales such as Central Coast, Hunter, Mid North Coast and Northern Rivers. The Pacific Motorway is part of the Sydney to Brisbane corridor. The Pacific Motorway is approximately 3 lanes wide from the southern end of the Central Coast to as far north as Doyalson. The section between the Tuggerah interchange and Doyalson interchange was widened to 3 lanes in each direction in 2020 and another section between the Kariong interchange and Peats Ridge interchange was also widened to 3 lanes in each direction in 2020.
 * Pacific Motorway (Sydney - Newcastle Freeway)

The roads that link Kariong with Doyalson (Pacific Highway, Dane Drive, Masons Parade, York Street, George Street, The Entrance Road, Oakland Avenue, Coral Street, Wilfred Barrett Drive, Budgewoi Road and Scenic Road) became known as the Central Coast Highway from 9 August 2006.
 * Central Coast Highway

The Central Coast's roads are maintained by the Central Coast Council as well as state roads by the NSW government; however, due to the relatively large geography maintenance issues often arise.

Rail
The western and south-eastern towns and suburbs of the Central Coast are on the Main Northern railway line. The rail line is primarily used to provide mass transport for those that commute to Sydney or Newcastle and as such services are most frequent during peak commuter times (typically one hour before Sydney and Newcastle peak times in the morning and one hour after in the evening due to the distance). Gosford station is the largest and main railway station in the region, which is considered a rest stop for long rail services to Sydney, Newcastle, Tamworth, Armidale, Taree, Port Macquarie, Coffs Harbour, Grafton, Casino, Gold Coast and Brisbane. The line has connections with most bus services as well as taxis. Trains terminate at both Gosford and Wyong stations which are also utilised by long-distance services.

Central Coast railway stations on the Northern NSW line are (from south to north):

North South
 * Warnervale
 * Wyong
 * Tuggerah
 * Ourimbah
 * Lisarow
 * Niagara Park
 * Narara
 * Gosford
 * Point Clare
 * Tascott
 * Koolewong
 * Woy Woy
 * Wondabyne

Bus
Bus services in the region are operated by Busways which has depots at Kincumber and Charmhaven, Red Bus Services and Coastal Liner. All companies serve their own individual areas covering almost all areas of the region and rarely overlapping.

Busways operates services using Lake Haven, Tuggerah, Erina Fair and Gosford as central points. In the south services cover as far south as Woy Woy, Umina, Ettalong and Pearl Beach/Patonga, and also stretch out to Kincumber, Erina, Avoca Beach and Terrigal in the east. Occasional services are conducted to Kariong, then to Mangrove Mountain in the west. Busways' northern services cover from Gosford and north to Tuggerah (through the Narara Valley and Ourimbah), then continue north to Wyong via Tuggerah, which in turn services the northern section of Lake Haven, Charmhaven, Gorokan, Toukley, Noraville, Budgewoi, Buff Point, San Remo, Blue Haven and Gwandalan. Further services also utilise routes which goes as far north as Swansea and Charlestown in the Hunter.

Red Bus Services operate services mainly between Wyong and The Entrance as well as The Entrance and Gosford, although some services do reach Ourimbah and Wyong Hospital at Hamlyn Terrace. Its services also operate to West Gosford, Wyoming, Holgate, Matcham, Point Frederick and Springfield. Although most services operate to/from Wyong Hospital via Berkeley Vale and Westfield Tuggerah, one service (Route 29) operates from Bay Village to Wyong Hospital via The Entrance, Magenta Shores, Toukley, Gorokan and Lake Haven. Red Bus have around 25 buses that are suitable for wheelchairs.

Coastal Liner operate limited route bus services around Westfield Tuggerah, Wyong, Hamlyn Terrace, Woongarrah, Warnervale, Dooralong and Jilliby. Routes 10 (Tuggerah-Wyee via Hue Hue Road and Wyong), 12 (Tuggerah-Jilliby via Dicksons and Mandalong Roads) and 13 (Tuggerah-Dooralong via Jilliby Road) all operate only on weekdays with limited services. Route 11 is the most popular service, linking Lake Haven with Warnervale via Hamlyn Terrace and Woongarah. This service on weekdays occasionally extends to Westfield Tuggerah and Wyong Station via Hue Hue Road.

CDC NSW operate services between Cheero Point, Mooney Mooney with the bus line extending to Sydney areas such as Brooklyn and sometimes as far as Hornsby. The bus route is isolated from rest of the Central Coast bus network.

Retail and commercial
The Central Coast is home to Erina Fair, the largest single level shopping mall in the Southern Hemisphere and the largest regional shopping mall in Australia. It provides many of the area's amenities such as restaurants, cinema, fast food and shopping. Another large shopping mall exists to the north, Westfield Tuggerah.

Other smaller local shopping malls are located throughout the region, including at Woy Woy, Umina Beach, Kincumber, Gosford, Wyoming, Bateau Bay, Wyong and Lake Haven.

title: Central Coast (New South Wales)


text:
Portable sawmill

Portable sawmills are sawmills small enough to be moved easily and set up in the field. They have existed for over 100 years but grew in popularity in the United States starting in the 1970s, when the 1973 oil crisis and the back-to-the-land movement had led to renewed interest in small woodlots and in self-sufficiency. Their popularity has grown exponentially since 1982, when the portable bandsaw mill was first commercialized.

History
Arguably, as once used in early Canadian forest logging, the donkey engine was one of the earliest portable sawmills. It was used to winch and haul log booms across lakes and water, then winch itself across land or water to its next site, and finally it would be reconfigured to run a saw to mill the timber.

The first dedicated portable sawmills were typified by the "One Man Farmer's Sawmills" that featured large circular blades and were marketed during the early twentieth century by companies like Sears, Montgomery Ward and JC Penney. These mail-order examples were "private label" machines manufactured by the Belsaw Company. Another company that built such mills was the American Sawmill Machinery Company. Many early sawmills were designed to be belt-driven from a steam traction engine (which could also be used to transport the saw).

Prior to the advent of the portable mill, small-scale sawmills were generally cobbled-together affairs constructed and operated by (almost always) two men with a penchant for tinkering. This was, and remains, a traditional occupation for Amish men; unlike most mechanical systems, small sawmills typically do not use electricity.

More recently, with the invention of the Wood-Mizer in 1982, portable bandsaw mills represented a dramatic shift in design. Unlike traditional mills, they used a thin-kerf blade of the type used on a band saw rather than a circular blade, which reduced weight and cost, and reduced the size and weight of the bearings and support blocks. The smaller kerf on these blades dramatically increased the yield from a given log. Use of band blades also allowed for a different design where the head, consisting of the blade and a power source, moves back and forth while the log remains stationary. This is in contrast to traditional mills where the log moves on a trolley while the blade remains fixed. Many companies now manufacture and sell personal and portable sawmills.

Larger mills have recently come on the market which are portable only in sections. These cut faster and can handle larger logs but do require additional set up.

Advantages
Portable mills can be trailered and set up on site, next to the trees being cut. Some businesses transport their mill to harvest urban timber where moving the logs would be impractical.

Disadvantages
Purchasing bandsaw blades and having them sharpened is more expensive than circular saw blades such as those used on a swingblade sawmill.

Most trailered mills position the log on top of the trailer; some models have hydraulic log loading arms and some do not. Raising heavy logs without hydraulics can be a problem. There are portable mills with rails on the ground allowing a log to be positioned easily without hydraulics.

Uses
The portable mills can cut lumber with speed and accuracy, though the subsequent steps of planing and drying must still be performed to produce finished lumber. Commodity lumber in standard sizes can be made this way.

The more common use, however, is in the production of specialty timber products not readily available through lumber yards. The most common ways they are used to generate an income are - sawing lumber for customers as a mobile service, cutting and selling lumber locally, and cutting lumber that is directly used to create a final product. Portable mills are particularly effective for truing up logs for use in log building, replacing the traditional use of a drawknife, which is inordinately time-consuming. They are also used for low-volume production of specialty hardwoods used in furniture, and can be used to produce the large timbers used in post-and-beam framing techniques.

Portable sawmill owners often use their mills to build their own projects, finding that the money saved by producing their own lumber for their projects justifies the expense of the mill.

Portable mills have also been used in conjunction with salvage logging operations. In salvage logging, logs that were lost underwater during nineteenth-century river-borne log drives are recovered by divers. These logs are often worth many thousands of dollars. The thin kerf blade of the portable sawmill allows for much higher board foot yields from these valuable logs.

Types

 * Bandsaw mill
 * Chainsaw mill
 * Swingblade sawmill

Related machinery
Timberjigs allow a chainsaw equipped with a ripping chain to be used like a sawmill.

title: Portable sawmill


text:
Talk:Hungarians

1,400,000 Hungarians in Slovakia
Is a complete fabrication, last census says 422,065.. the "cited" 2011 census was 458,065 and not 1.5 million, fix this 178.41.220.144 (talk) 20:01, 17 July 2022 (UTC)

Protected edit request on 30 July 2022
Recently there are many vandalism by Slovakian anonym IPs.

https://en.wikipedia.org/wiki/Special:Contributions/46.34.234.18 https://en.wikipedia.org/w/index.php?title=Hungarians&diff=1101311283&oldid=1101309253 https://en.wikipedia.org/w/index.php?title=Hungarians&diff=prev&oldid=1101305099 — Preceding unsigned comment added by OrionNimrod (talk • contribs) 11:54, 30 July 2022 (UTC)

Why do the most Slavic ethnic groups have a higher frequency odf Asian ancestry than modern Hungarians?
See the frequency of Haplogroup Q and haplogroup N: https://www.eupedia.com/europe/european_y-dna_haplogroups.shtml --Pharaph (talk) 19:51, 1 July 2023 (UTC)

title: Talk:Hungarians


text:
Talk:Yves Klein

Untitled
Any chance of a bit more about this "chapbook containing only empty pages"? Does it have a name, or a date or something? I've never heard of it (not that I'm an expert or anything), and can't find anything on the web (I know I'm probably just looking in the wrong places). --Camembert

Not exactly empty
The book I know of wasn't exactly empty. He published a catalog that consisted of colored squares of paper attached to pages with names of paintings. Apparently there is no consistency to which colored squares were attached to which page/title. That's vague, but I don't have my books on me right now to look up.

The book is probably Yves: Peintures. 1954. An early effort of mine. Feel free to rewrite it.Trevelyanhouse (talk) 10:20, 12 June 2008 (UTC)

Replaced image
I took out a monochrome work that was "in the style of Yves Klein" and replaced it with a monochrome piece that was by Klein himself. It was a nice picture, but off topic, especially when the actual thing is so readily available. —The preceding unsigned comment was added by Drewcifer3000 (talk • contribs).
 * Hmmm... excepting of course that a photograph of one of Klein's paintings would be a derivative work and so potentially copyright. And indeed, that image has now been deleted for lack of copyright tagging.
 * The image in the style of Yves Klein, gave an accurate impression of the how the monochrome canvasses looked. An argument could still be made for copyright infringement but it would be difficult to justify. Someone might like to consider restoring one of these earlier images. -- Solipsist 12:15, 12 May 2007 (UTC)

Klein and Judo
It seems to me that Klein, the artist, is completely eclipsing the judoist. It seems Klein's passion for Judo shaped much of the artist in him (and vice-versa). It's very hard to find reliable sources (I think most of his books would serve as sources for his involvement in Judo, but they are very expensive!!!)... Although we have to strive to impartiality in wikipedia, we can share our opinions in the talk page (thanks goodness)... What Klein achieved, the 4th degree black-belt, bestowed by the Kodokan is an incredibly amazing feat for a western at that time... Even today it's very, very hard to receive this rank by the Kodokan itself. For example, the Judoka that traveled the world doing fights against any discipline and finally settled in Brazil, and who happened to teach it to the Gracies, thus starting what would be called Brazilian Jiu-Jitsu was the same rank of Klein himself!

The following are some info I came upon on judoforum.com. I'm putting it here in case anyone wants to research further or improve the article:

David Waterhouse wrote this (shortened version):

 * The literature on Yves Klein as an artist is by now quite large, in English as well as in French and German. I may mention the following:
 * Paul Wember (1969): Yves Klein. Köln: M.Dumont Schauberg.
 * Institute for the Arts, Rice University, ed. (1982): Yves Klein, 1928-1962. A Retrospective. Houston: Institute for the Arts, Rice University, in association with The Arts Publisher, Inc., New York.
 * Hannah Weitemeier (1995): Yves Klein, 1928-1962. International Klein Blue. Translated by John William Gabriel. Köln: Benedikt Taschen.
 * Sidra Stich (1995): Yves Klein. London: Hayward Gallery.
 * Nicolas Charlet (2000): Yves Klein. Translated by Michael Taylor. Paris: Société nouvelle Adam Biro.

 * All these refer to Klein’s passion for judo; and it partly inspired his approach to life and to art. Apart from his book on kata, he alludes to judo and to Zen in other published and unpublished writings: for example, “The ordinary judoka does not practice spiritually but physically and emotionally. The true judoka practices spiritually and with a pure sensibility. Since life is then a constant victory, he wins, he always wins.” In December 1953 Kanō Risei wrote to him: “I have decided to grant you the fourth dan, considering specifically your pure and simple enthusiam for Judo, your coming to Japan — a very distant country geographically, and your future project for the cause of developing the true Judo of the Kodokan in Europe. I look forward to your brilliant success in France and in the other countries of Europe... Judo of the Kodokan, as you already know, is not only a sport in the narrow sense of the word, but a moral ideal: it is the accomplishment of the perfect personality. You must understand this and do your best, in the future, for the cause of Franco-Japanese friendship by means of this sport, and for the development of this noble spirit and excellent techniques of the true Judo of the Kodokan in Europe”.

 * Klein’s rejection by the French judo establishment of the day was a great blow to him. He had been planning a second book on judo, he proposed to Kanō Risei a French translation of Illustrated Kodokan Judo, he briefly operated his own judo club, and he continued teaching judo for a few years: but increasingly he devoted himself to art. He was a pioneer in the production of monochrome paintings and other works using especially his “International Klein Blue” (which happens to resemble the blue of modern competition jūdōgi).

Finarashi pointed us to two of his books on Judo
 * Yves Klein has recieved more attention lately. His book has been reprinted both in french and italian.

 * "I fondamenti del judo : il corpo e lo spazio per il grande artista del Novecento", Klein, Yves (1928 - 1962) and Valenti, Stefano, Milano, Italy, Isbn Edizioni, 2007, 250p, ISBN 8876380620
 * "Les fondements du judo", Klein, Yves (1928 - 1962), Paris, France, Dilecta, 2006, 207p, ISBN13 9782916275116

 * Both available through net at less than $30 + postage.

 * The original edition is fetching prices around $2000. So a lot higher prices than either Canon of Judo or Fighting Judo.

I (Loudenvier :-) ) don't know much about Klein, that's why I'm refraining from incorporating this on his article, but I think it would be very nice for the completeness of his wikipedia biography if others, more knowledgeable than me on him could do this. Loudenvier (talk) 16:23, 28 January 2009 (UTC)

Max Heindel
It has been shown fairly conclusively (see Thomas McEvilley in exhib. cat. Yves Klein, New York, Chicago, Paris 1982/83) that Klein's work can be entirely explained as an attempt to give visual shape to the writings and ideas of the Rosicrucian mystic Max Heindel. It is therefore odd that the article does not mention Heindel. 87.79.173.159 (talk) 09:54, 27 February 2010 (UTC)
 * Since you seem to have the supporting reliable sources, why don't you add this to the article yourself? This is after all one of the basic ideas behind Wikipedia: one editor may well be aware of facts that no one else has come across yet.—Jerome Kohl (talk) 20:08, 27 February 2010 (UTC)

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"Aero works" as "Leap into the Void" and redundancy with the "Void" section?
Two points:

1. I replaced "Aero works" with "Leap into the Void" because the section described only one such work. In a search of the internet for "Aero works" and "Klein", I failed to find any others. If there are others and the section is added to describe them, then the original title could be reinstated.

2. The paragraph on the "Void" seems as if it belongs in the "Void" section or is that just a coincidence? Help! Robert P. O'Shea (talk) 07:21, 5 November 2021 (UTC)

title: Talk:Yves Klein


text:
Pagbilao

Pagbilao, officially the Municipality of Pagbilao, is a 1st class municipality in the province of Quezon, Philippines. According to the 2020 census, it has a population of 78,700 people.

It is located on the northern shore of Tayabas Bay on Luzon, just east of Lucena, the provincial capital.

Pagbilao is 9 km from Lucena and 139 km from Manila.

Etymology
The name of Pagbilao is said to have been derived from the Tagalog words papag (bamboo beds) and bilao (winnowing basket).

Barangays
Pagbilao is politically subdivided into 27 barangays. Each barangay consists of puroks and some have sitios.

 * Alupaye
 * Añato
 * Antipolo
 * Bantigue
 * Barangay 1 Castillo (Poblacion)
 * Barangay 2 Daungan (Poblacion)
 * Barangay 3 Del Carmen (Poblacion)
 * Barangay 4 Parang (Poblacion)
 * Barangay 5 Santa Catalina (Poblacion)
 * Barangay 6 Tambak (Poblacion)
 * Bigo
 * Binahaan
 * Bukal
 * Ibabang Bagumbungan
 * Ibabang Palsabangon (detour)
 * Ibabang Polo
 * Ikirin
 * Ilayang Bagumbungan
 * Ilayang Palsabangon
 * Ilayang Polo
 * Kanlurang Malicboy
 * Mapagong
 * Mayhay
 * Pinagbayanan
 * Silangang Malicboy
 * Talipan
 * Tukalan

Economy

Most of the land area in Pagbilao are for agricultural use consisting of coconut, rice and poultry farms. Some lands are used for industrial purposes which include mostly of industrial plants and ice plants.

The Province of Quezon announced that they are planning to make an industrial park or economic zone in the Barangays of Alupaye and Bantigue of Pagbilao. It will really help the employment of the people of Quezon Province.

Commerce has rapidly grown especially in the downtown area but is starting to spread in other parts of the town. There are also a growing number of commercial establishments. La Suerte Mega Warehouse, for instance, is considered the largest center of commerce in Pagbilao.

In terms of tourism, there is an observed growth in Pagbilao. Many hotels can be found especially in highways or beachfronts in Barangay Bantigue.

The DEPED-Division of Quezon Province has its main office in town. Both the DepEd division and municipal government are top employers in the municipality.

The Pagbilao Power Station, which is also one of the largest job providers in the town, is located in Isla Grande in Pagbilao.

Elected officials
Municipal council (2019–2022):
 * Mayor: Shierre Ann Portes-Palicpic
 * Vice Mayor: Joseph C. Garcia
 * Councilors:
 * Michael E. Martinez
 * Manuel D. Luna
 * Joahnnes R. Mercado
 * Aldrien R. Calabia
 * Lolito M. Merle
 * Apolinar R. Martinez
 * Bernardita D. Ayaton
 * Jacinto A. Piñon
 * Wilfredo C. Zafra (ABC)
 * Joseph Manuel G. Luce (SKMF)

Transportation

The municipality is connected with Manila by the Pan-Philippine Highway. Until 2014, there were also daily rail services to and from Naga and Legazpi provided by the Philippine National Railways. A new Pagbilao station has already been set for construction under the PNR South Long Haul project, a reconstruction of the PNR South Main Line that passes through the area.

In order to spur development in the municipality, the Toll Regulatory Board declared Toll Road 5 the extension of South Luzon Expressway. A 420-kilometer, four lane expressway starting from the terminal point of the now under construction SLEX Toll Road 4 at Barangay Mayao, Lucena City in Quezon to Matnog, Sorsogon, near the Matnog Ferry Terminal. On August 25, 2020, San Miguel Corporation announced that they will invest the project which will reduce travel time from Lucena to Matnog from 9 hours to 5.5 hours.

Another expressway that will serve Pagbilao is the Quezon-Bicol Expressway (QuBEx), which will link between Lucena and San Fernando, Camarines Sur.

Communications
Pagbilao has numerous mobile phone, internet and cable services providers. The following are: • Dito Telecommunity

• Globe Telecom, Inc.

• Smart Communications

• MyCaTV Inc.

Education
Pagbilao has numerous primary and secondary educational institutions. The following are: • Elementary Schools

• Bagumbungan Elementary School

• Bantigue Elementary School

• Bigo Elementary School

• Binahaan Elementary School

• Bukal Elementary School

• Malicboy East Elementary School

• Malicboy West Elementary School

• Mapagong-Alupaye Elementary School

• Pagbilao Central Elementary School

• Pagbilao East Elementary School

• Pagbilao West Elementary School

• Palsabangon Elementary School

• Parang-Pinagbayanan Elementary School

• Polo North Elementary School

• Polo South Elementary School

• Talipan Elementary School

• Secondary Schools

• Pagbilao Grande Island National High School

• Silangang Malicboy National High School

• Pagbilao National High School

• Talipan National High School

• Tertiary Schools

• Quezon National Agricultural School

• Private Schools

• Alcastle Educational School, Inc.

• Casa del Niño Jesus de Pagbilao

• Pagbilao Family Kiddie School

• Lord's Angel Learning School

• Pagbilao Academy, Inc.

• CVE Colleges, Inc.

title: Pagbilao


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User:An A & Yellow kewibe

An A & Yellow Kewibe are dinosaurs roaming in the country of the Philippines, they are brothers, and they are of different species. Anyway, they became human, and became us ! Hahahahahaha! Jokes lang! Ako po si An A, ako ay naging tao kamakelan lamang hahahahaha! Mahal ko kayo! Ako naman po si GIntong Kewibe, o DIlaw na Kewibe, wateber.

title: User:An A & Yellow kewibe


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The Rape of the Lock

The Rape of the Lock is a mock-heroic narrative poem written by Alexander Pope. One of the most commonly cited examples of high burlesque, it was first published anonymously in Lintot's Miscellaneous Poems and Translations (May 1712) in two cantos (334 lines); a revised edition "Written by Mr. Pope" followed in March 1714 as a five-canto version (794 lines) accompanied by six engravings. Pope boasted that this sold more than three thousand copies in its first four days. The final form of the poem appeared in 1717 with the addition of Clarissa's speech on good humour. The poem was much translated and contributed to the growing popularity of mock-heroic in Europe.

Description
The poem of The Rape of the Lock satirises a minor incident of life, by comparing it to the epic world of the gods, and is based on an event recounted to Alexander Pope by his friend John Caryll. Arabella Fermor and her suitor, Lord Petre, were each a member of aristocratic recusant Catholic families, at a time in England when, under such laws as the Test Act, all denominations except Anglicanism suffered legal restrictions and penalties. (For example, Petre, being a Catholic, could not take the place in the House of Lords that would otherwise have been rightfully his.) Petre had cut off a lock of Arabella's hair without permission, and the consequent argument had created a breach between the two families. The poem's title does not refer to the extreme of sexual rape, but to an earlier definition of the word derived from the Latin rapere (supine stem raptum), "to snatch, to grab, to carry off" —in this case, the theft and carrying away of a lock of hair. In terms of the sensibilities of the age, however, even this non-consensual personal invasion might be interpreted as bringing loss of reputation and dishonour.

Pope, also a Catholic, wrote the poem at the request of friends in an attempt to "comically merge the two" worlds, the heroic with the social. He utilised the character Belinda to represent Arabella and introduced an entire system of "sylphs", or guardian spirits of virgins, a parodised version of the gods and goddesses of conventional epic. Pope derived his sylphs from the 17th-century French Rosicrucian novel Comte de Gabalis. Pope, writing pseudonymously as Esdras Barnivelt, also published A Key to the Lock in 1714 as a humorous warning against taking the poem too seriously.

Pope's poem uses the traditional high stature of classical epics to emphasise the triviality of the incident. The abduction of Helen of Troy becomes here the theft of a lock of hair; the gods become minute sylphs; the of Achilles' shield becomes an excursus on one of Belinda's petticoats. He also uses the epic style of invocations, lamentations, exclamations and similes, and in some cases adds parody to imitation by following the framework of actual speeches in Homer's Iliad. Although the poem is humorous at times, Pope keeps a sense that beauty is fragile, and emphasizes that the loss of a lock of hair touches Belinda deeply.

The humour of the poem comes from the storm in a teacup being couched within the elaborate, formal verbal structure of an epic poem. It is a satire on contemporary society which showcases the lifestyle led by some people of that age. Pope arguably satirises it from within rather than looking down judgmentally on the characters. Belinda's legitimate rage is thus alleviated and tempered by her good humour, as directed by the character Clarissa.

Dedicatory letter
Pope added to the second edition the following dedicatory letter to Mrs. Arabella Fermor:

"Madam,

It will be in vain to deny that I have some regard for this piece, since I dedicate it to You. Yet you may bear me witness, it was intended only to divert a few young Ladies, who have good sense and good humour enough to laugh not only at their sex's little unguarded follies, but at their own. But as it was communicated with the air of a secret, it soon found its way into the world. An imperfect copy having been offered to a Bookseller, you had the good nature for my sake to consent to the publication of one more correct: This I was forced to, before I had executed half my design, for the Machinery was entirely wanting to complete it.

The Machinery, Madam, is a term invented by the Critics, to signify that part which the Deities, Angels, or Dæmons are made to act in a poem: For the ancient poets are in one respect like many modern ladies: let an action be never so trivial in itself, they always make it appear of the utmost importance. These Machines I determined to raise on a very new and odd foundation, the Rosicrucian doctrine of Spirits.

I know how disagreeable it is to make use of hard words before a lady; but 'tis so much the concern of a poet to have his works understood and particularly by your sex, that you must give me leave to explain two or three difficult terms.

The Rosicrucians are the people I must bring you acquainted with. The best account I know of them is in a French book called Le Comte de Gabalis, which both in its title and size is so like a novel, that many of the fair sex have read it for one by mistake. According to these gentlemen, the four elements are inhabited by spirits, which they call Sylphs, Gnomes, Nymphs, and Salamanders. The Gnomes or Dæmons of Earth delight in mischief; but the Sylphs, whose habitation is in the air, are the best-conditioned creatures imaginable. For they say, any mortals may enjoy the most intimate familiarities with these gentle spirits, upon a condition very easy to all true adepts, an inviolate preservation of Chastity.

As to the following Cantos, all the passages of them are as fabulous as the Vision at the beginning or the Transformation at the end; (except the loss of your Hair, which I always mention with reverence). The human persons are as fictitious as the airy ones, and the character of Belinda, as it is now managed, resembles you in nothing but in Beauty."

Summary
In the beginning of this mock-epic, Pope declares that a "dire offence" (Canto 1 line 1) has been committed. A lord has assaulted a "gentle belle" (line 8), causing her to reject him. He then proceeds to tell the story of this offence.

While Belinda is still asleep, her guardian Sylph Ariel forewarns her that "some dread event impends". Belinda then awakes and gets ready for the day with the help of her maid, Betty. The Sylphs, though unseen, also contribute: "These set the head, and those divide the hair, some fold the sleeve, whilst others plait the gown" (146–147). Here Pope also describes Belinda's two locks of hair "which graceful hung behind". The Baron, one of Belinda's suitors, greatly admires these locks and conspires to steal one. Building an altar, he places on it "all the trophies of his former loves" (line 40), sets them on fire and fervently prays "soon to obtain, and long possess" (line 44) the lock.

Ariel, disturbed by the impending event although not knowing what it will be, summons many sylphs to her and instructs them to guard Belinda from anything that may befall her, whether she "forget her prayers, or miss a masquerade, Or lost her heart, or necklace, at a ball" (line 108–109). So protected, Belinda arrives at Hampton Court and is invited to play a game of ombre.

The conspiring Baron acquires a pair of scissors and tries to snip off one of her locks, but he is prevented by the watchful Sylphs. This happens three times, but in the end the Baron succeeds (also cutting a Sylph in two although Pope reassures us, parodying a passage in Paradise Lost, that "airy substance soon unites again" [line 152]). When Belinda discovers her lock is gone, she falls into a tantrum, while the Baron celebrates his victory.

A gnome named Umbriel now journeys to the Cave of Spleen and from the Queen receives a bag of "sighs, sobs, and passions, and the war of tongues" (canto 4 line 84) and a vial filled "with fainting fears, soft sorrows, melting griefs, and flowing tears" (line 85–86) and brings them to Belinda. Finding her dejected in the arms of the woman Thalestris, Umbriel pours the contents over them both.

Many people, moved by Belinda's grief, demand the lock back, but the Baron is unrepentant and refuses. Clarissa admonishes them to keep their good humour, but they will not listen and instead a battle ensues with glares, songs and wits as weapons. Belinda fights with the Baron and throws snuff up his nose to subdue him. When she demands that he restore the lock, however, it is nowhere to be found. It has been made a constellation and is destined to outlast the contestants.

The Rape of the Bucket
Pope was familiar with John Ozell's English-language translation (made in 1710) of Alessandro Tassoni's early 17th-century Italian mock-heroic poem La secchia rapita (The Trophy Bucket ). Although Ozell and Pope belonged to different political factions and later exchanged bitter insults, the publication of Ozell's translation of a pioneering Italian mock-heroic poem shortly before the appearance of The Rape of the Lock led to the supposition that it could have influenced Pope's poem. Pope's original two-canto version was published anonymously in 1712. Following the success of Pope's expanded five-canto version of The Rape of the Lock in 1714, Ozell's publisher Edmund Curll seized the opportunity to profit from its popularity by retitling his translation The Rape of the Bucket in a 1715 "second edition".

It is generally acknowledged that Tassoni's poema eroicomico was the model for Boileau's Le Lutrin (The Lectern, 1674–83). Both deflate an epic struggle to the size of a petty domestic squabble, but where Tassoni starts with an actual war and gives it an ignoble cause, Boileau begins with the trifling cause and compares it humorously with a Classical conflict. Narration of "What mighty contests rise from trivial things" is also Pope's method in The Rape of the Lock, and Boileau's work has been seen in its turn as Pope's model. The appearance of Ozell's translation of Tassoni's work in 1710, prior to The Rape of the Lock, has led to the perception of a more direct connection between these two mock-heroic poems (reinforced by Curll's opportunistic retitling of Ozell's translation).

Introducing his 1825 translation of the whole of Tassoni's The Rape of the Bucket, James Atkinson had compared the three mock-heroic poems (in Italian, French and English). He believed that "there is little of similarity among them... The Secchia Rapita indeed differs essentially from the Rape of the Lock, both in spirit, and execution. There is nothing in the latter that can be compared with the humour of the former, or with the admirably grotesque pictures with which it abounds".

Translations
Translations of Pope's poem into French, Italian and German were all made in the first half of the 18th century. Others in those languages followed later, as well as in Dutch, Czech, Estonian, Hungarian, Polish, Swedish and Danish. The work had originally come to European notice through an anonymous prose version, La Boucle de Cheveux Enlevée, published anonymously in 1728 and now ascribed either to Marthe-Marguerite, Marquise de Caylus, or to Pierre Desfontaines. Despite there being a playful French model for this kind of writing in Boileau's Lutrin, the translator claims of Pope's work in the preface that "I do not believe that there can be found in our language anything more ingenious, in this playful genre." A verse translation by Jean-François Marmontel followed in 1746.

The first German translation, Der merckwürdige Haar-Locken-Raub (1739), was a rendering of the French prose version of 1728. Luise Gottsched's verse translation, Der Lockenraub, was begun in the 1730s, again using a French prose version. However, she revised it totally once she managed to obtain the original text in English and in this way pioneered an interest in English literature in the German-language area. From then on, "Pope became very popular as a model for German poets from the 1750s onwards and remained an important source of inspiration throughout the second half of the 18th century," and in particular as a model for mock heroic poetry. Early Italian verse translations of the poem include Andrea Bonducci's Il Riccio Rapito (Florence 1739), followed by Antonio Schinella Conti's version, begun much earlier and finally published in Venice in 1751. The vogue for Pope's work went on to blossom at the start of the 19th century with separate translations by Federico Federici (Faziola 1819), Vincenzo Benini (Milan 1819), Sansone Uzielli (Livorno 1822), and Antonio Beduschi (Milan 1830).

Scandinavian versions appeared near the start of the 19th century, beginning with the Swedish Våldet på Belindas låck (Stockholm, 1797) by Johan Lorens Odhelius (1737–1816). It was followed in 1819 by Den bortröfvade hårlocken by Jonas Magnus Stjernstolpe (1777–1831), and by the Danish imitation Belinde, eller den røvede Haarlok by Anton Martini (1773–1847) in 1829.

Parody and interpretation
In 1717 Giles Jacob published his bawdy parody, The Rape of the Smock, the plot of which turns on voyeurism and enforced seduction, building on erotic undertones present in Pope's poem which were to be taken up by its illustrators, and reached an apotheosis in Aubrey Beardsley's work.

The 1714 edition of The Rape of the Lock and those that followed from Lintot's press had come with six woodcuts designed by Louis Du Guernier. Although the work of this artist has been described as unimaginative, he goes beyond his literal brief in making Belinda sleep in unwarranted décolletage in the first canto, while in the second giving the "painted vessel" on its way down the Thames the tilted perspective of the Ship of Fools. Furthermore, Du Guernier's frontispiece owes its iconography to a print by Étienne Baudet after a painting by Francesco Albani of Venus at her Toilette, making for an identification of Belinda with the goddess.

The German translation of the poem published from Leipzig in 1744 had five copperplate engravings by Anna Maria Werner (1689–1753), the court painter of Saxony. It has been observed, however, that the places they depict are not specifically English and that the scene of the game of ombre in Canto 3 is "clearly based on a Leipzig coffee-house", complete with lapdogs tumbling on the floor.

Meanwhile, in Britain most illustrations of the work were descending into "high kitsch and low camp". The 1798 edition, for example, illustrated by a variety of contemporary artists, is particularly noted now for Thomas Stothard's watercolour in which fairies are pictured with wings. Advised by William Blake to make the sylphs like butterflies, Stothard decided to "paint the wing from the butterfly itself" and immediately went out to catch one.

Oil paintings by two artists rise a little above this judgment. Henry Fuseli's erotic The Dream of Belinda (1789–1790) goes beyond the actual episode to incorporate other imagery from the poem and some details peculiar only to Fuseli, such as the white moths in copulation in the lower foreground. He also illustrated the Cave of Spleen episode from Canto 4, but this met with contemporary scepticism and the original is now lost. Only Thomas Holloway's print remains to suggest that critics might have been right in seeing in it more "burlesque than sublimity". In the following century, Charles Robert Leslie's 1854 period piece, Sir Plume Demands the Restoration of the Lock, takes place in a cluttered drawing room in which the kind of lap dog present in many previous pictures feeds from a dish on the floor.

The nine photo-engravings with which Aubrey Beardsley "embroidered" the 1896 edition of the poem drew on the French rococo style, in which there was a contemporary revival of interest. Well received at the time, their enduring popularity can be attributed to their reinterpreting of the poem in ways only a very few had managed earlier.

Influence
Pope's fanciful conclusion to his work, translating the stolen lock into the sky, where "'midst the stars [it] inscribes Belinda's name", alludes to the similar myth about the hair of the (real-world) Berenice II of Egypt, said to have been taken up to the heavens as the constellation Coma Berenices. This celestial conclusion contributed to the eventual naming of three of the moons of Uranus after characters from The Rape of the Lock: Umbriel, Ariel, and Belinda. The first two are major bodies, named in 1852 by John Herschel, a year after their discovery. The inner satellite Belinda was discovered in 1986, and is the only other of the planet's twenty-seven moons taken from Pope's poem rather than Shakespeare's works.

Modern adaptations of The Rape of the Lock include Deborah Mason's opera-ballet, on which the composer worked since 2002. Its premiere was as an opera-oratorio in June 2016, performed by the Spectrum Symphony of New York city and the New York Baroque Dance Company. There was a 2006 performance at Sheffield University's Drama Studio of a musical work based on Pope's poem composed by Jenny Jackson.

title: The Rape of the Lock