text:
Talk:Tirana

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On mosques
On the Curiosities page linked to from the article, the form 'Et'hem Bey' is used, not 'Ethem Bey' as in the text of the article.

Is there also a mosque called Suleyman Pasha mosque? Or is it the same as Ethem Bey mosque? --Andres 15:08, 11 Aug 2003 (UTC)

 * The Suleyman Pasha mosque is the same as the Ethem Bey mosque. I think Ethem as opposed to Et'hem spelling is more common, which is why I changed it. If/When someone chooses the write an article they can mention both names I guess. Dori 15:29, 11 Aug 2003 (UTC)

 * The mosque of Suleyman Pasha was the largest of the Tirana mosques. It was badly damaged during the Battle of Tirana in 1944 and subseqently demolished.  Its site is to the north-east of Etham Bey.  (OJG) —Preceding unsigned comment added by 82.13.99.155 (talk • contribs) 16:57, 2 October 2005 (UTC)

It doesn't seem possible that Mullah Bey was the nephew of Sulejman Pasha Bargjini. If Bargjini built a mosque in 1614, and somehow his nephew was 70 years younger than him, he would need to live to age 130 to start construction on the Et'hem Bey mosque in 1795. I only looked at one source so far (Hauptstädte in Südosteuropa, edited by Harald Heppner, p. 139) but this only confirms what is written on wikipedia, which doesn't make sense. Pentalith (talk) 18:26, 26 July 2012 (UTC)

Population
How old is the number of inhabitants? The last one I came across is from 1998 when the official number was about 420,000 but the estimated real number was 650,000. Andres 11:55, 12 Aug 2003 (UTC)

I found even the number 700 000:

http://www.colisee.org/article.php3?id_article=238

http://www.hri.org/news/balkans/ata/1999/99-02-14.ata.html

http://www.balkantrade.org/country/albania.htm

http://www.ogonspegeln.se/albania_market.html

http://www.gak.at/article/articleview/1041/1/39/

Andres 12:16, 12 Aug 2003 (UTC)

 * I don't know as I don't think there has been an official census or anything. Plus, I think the number is in constant flux. Many people have migrated from the North, but it is not known how many. They live in and around Tirana, and many of their "houses" are illegal, so I doubt they would want anything to do with the government (such as letting them know that they came from another city and they are now living there). Dori 13:03, 12 Aug 2003 (UTC)

I see. The problem is that any number of population requires reference at least to the year. Usually the number of people registered is meant. When it is census data or estimation then this is specially noted. As in Tirana the official number is substantially different from the real number, that estimation is important. As far as I know, the current estimation is 700 000. In fact probably the number is greater than that and rapidly increasing. On the other hand, there is bound to be some official number. Andres 14:41, 12 Aug 2003 (UTC)

 * OK, changing it to 700,000 estimate. If anyone complains they can change it. Dori 21:43, 12 Aug 2003 (UTC)

 * The largest number i've heard is about 800,000 but you never know. 700,000 sounds a reasonable estimate. Xhamlliku 03:48, 7 March 2005 (UTC)

well,we cant say anything until next registration of the population,but I do actually think that the number goes to 800.000.And belive me,I am living in this city,and ive seen many migrations this years from the other parts of the country to Tirana.--Jurgenalbanian (talk) 14:08, 31 December 2008 (UTC)

Situated on the Ishm ?
Could anyone confirm that Tirana is really situated on the Ishm? (Should Ishm not be Ishëm or Ishmi? And is Tirana not situated on a tributary of it? Fransvannes 15:42, 20 Nov 2003 (UTC)

 * The river running through the city is Lana, but Ishm or one of its tributaries runs through the district (I can't find a decent enough map to verify this and it's been a while since I took my geography class in Albania -- this map (1.2MB) is a bit too detailed). It is either Ishm (indefinite) or Ishmi (definite); I believe Ishëm is a mispelling derived from the way it is pronounced. Dori 16:47, Nov 20, 2003 (UTC)

Lana is a stream, tiny river, no major shipping along - looks like sewer in places. main water channel running through Tirane.

Kodra e Gjatë
no mention of Tirana being separated from the coastal plain of Durres to the west by long range of hills known as the Kodra e Gjatë. mention of mountains to the east but not this range to the west in Geography section also could do with an article and English name Gjatë Hills (literally Tall Hills in Albanian). — Preceding unsigned comment added by 202.161.123.221 (talk) 12:20, 11 July 2018 (UTC)

Kodra e Gjatë Mountain Country Albania Albania Prefecture Qarku in Tiranës Coordinates 41.31194 ° N 19.66056 ° E Highest point - altitude 491 m above sea level Width 14.6 km Elevation 399 m Time zone CET (UTC + 1) - summer time CEST (UTC + 2) GeoNames 3185589 Albania relief location map.jpg Red pog.svg Kodra e Gjatë is a mountain in Albania. [1] It is located in the Qarku Prefecture of Tiranë, in the central part of the country, 13 km west of the capital Tirana. The top of Kodra e Gjatë is 491 meters above sea level, [1] or 399 meters above the surrounding terrain [a]. The width at the base is 14.6 km. [B]

The terrain around Kodra e Gjatë is hilly south but north is flat. [C] The highest point nearby is Kodra e Tufinës, 654 meters above sea level, 20.0 km east of Kodra e Gjatë. [D] Around Kodra e Gjatë is it densely populated, with 570 inhabitants per square kilometer. [3] The nearest larger community is Tirana, 13.3 km east of Kodra e Gjatë.

The area around Kodra e Gjatë consists largely of agricultural land. [4] Mediterranean climate prevails in the area. [5] The annual average temperature in the funnel is 15 ° C. The warmest month is July, when the average temperature is 27 ° C, and the coldest is December, at 6 ° C. [6] The average annual average is 1 469 millimeters. The rainy month is February, with an average of 175 mm rainfall, and the driest is August, with 37 mm rainfall. [7] There is some small lakes and reservoir and forts in the Kodra hills and it has only a few important passes like Vore, which link Tirana to the coasr. — Preceding unsigned comment added by 202.161.123.221 (talk) 12:23, 11 July 2018 (UTC)

About the name!
The whole idea that Suleymon created the town after his victory at Tehran does not hold much weight, nor is it looked at with any truth in Albania today. Venetian records in the early 1400 make mentions of a town in the area called Tirana along with earlier Byzantine records who make mentions of a castle in the area.

''An often-repeated explanation is that ‘Tirana’ was so named by Sulejman Pasha, the Turkish military leader at the time of Turkey’s conquest of Persia in the 17th century, after Tehran, the capital of Persia (now Iran). Such a theory would, however, seem to be contradicted by the evidence of Tirana’s name in its current form appearing in a 1418 Venetian document.'' The history of Tirana a fusion of Islamic and Christian influences —Preceding unsigned comment added by IskanderBey (talk • contribs) 03:00, 16 June 2005 (UTC)

Here is more on the theories of origins of the name

The three hypothesis for the origins of Tirana's name '' 1- “Tirana “, it is thought that comes from the word “ Theranda”, mentioned in the ancient Greek and Latin sources, that aborigines called Te Ranat, because the field was formed as a result of stiff materials that the waters from the surrounding mountains brought.

2- “Tirana“ comes from “Tirkan“. Tirkan was a castle in Dajti‘s mountainside. Even nowadays, there exist the ruins of this ancient castle that dates with the beginning of the I-century B.C. This is thought to have been the castle that the Byzantium historian Prokop (VI-century) called the Castle of Tirkan.

3- “Tirana“ comes from old Greek, “Tyros” which means dairy. It is thought that this variant remained, because in the field of Tirana, the shepherds of the nearby areas used to trade dairy products.

For the first time Tirana’s name in the nowadays form was mentioned in 1418 in a Venetian document.

For the first time the registration of lands was done under the ottoman invasion in 1431-1432. Tirana had 60 inhabited areas with near 1000 houses and 7300 inhabitants. In the XV -century as Marin Barleti mentions, there was Tirana e Madhe and Tirana e Vogël (Big and Small Tirana).

In the registrations of 1583, the area of Tirana resulted to have 110 inhabited areas, 2900 houses and 20,000 inhabitants.

Sulejman Pasha, whose background was from Mullet, established Tirana in 1614. First, he constructed a mosque, a bakery and a hamam (Turkish sauna).'' History of Tirana —Preceding unsigned comment added by IskanderBey (talk • contribs) 03:49, 16 June 2005 (UTC)

 * So should I change this? —Preceding unsigned comment added by IskanderBey (talk • contribs) 00:22, 17 June 2005 (UTC)

well,I dont really know much about the foundation of Tirana,but I know a legend for its name.I am going to write it,hope I wont bore you :P Once,a traveler was traveling near the place where today is situated the city of Tirana.He saw a villager who was cleaning the sand(in albanian it is called "tir rërë".He was away from the villager so he shouted: "Where are we?".The villager thought that the traveler was asking "what are you doing",so he answered "Po tir ranë"(which means I am cleaning sand ,but it is dialectal).So the traveler thought that the villager said "Në Tiranë"(In Tiranë),so the name of that place remained Tirana. Well,I dont know how exact this is,because it is just a legend,but it would be cool adding it,so the people would read it just for curiosity.--Jurgenalbanian (talk) 14:22, 31 December 2008 (UTC)
 * I think your claim needs further research and verification. Actually the most credible account of the origin of the name Tirana is still indeed it being a jocular reference to Tehran which was started by its founder Sulejman Bargjini. The source you have provided is not credible, and the same source implies the Ottomans had captured Tehran, which is not a historical fact either. Bargjini's goal was to capture Tehran after reaching Tabriz and he vowed to do so the following year, and after failing to do so he founded Tirana (Tehran) in Albania - this would also be consistent with a Turkish pronunciation of Tehran. The alleged existence of the "Venetian record", which supposedly counters this fact, is a recent claim that was started by someone in Wikipedia and it has never been verified by anyone aside from the link. Internet sources that make this same revisionist claim are all based on this Wikipedia article! Albania itself does not have much indigenous historical record to support or counter the claim on the etymology, and in fact the sources are Turkish in origin as Albania was an Ottoman territory for centuries, ending in 1912. Simply put it is contradictory to say that a single hand written Venetian document mentions "the port of Tirana" in a document supposedly dating to 1418, and then claiming that Tirana was founded in 1618 - which - oh yea coincides with a peak period of warfare between Persia and the Ottoman empire in the region of Tabriz from 1585-1639 (the exact time period in which Tirana was founded, by all accounts) And finally, there is a 2500 year time period between the alleged "greek" source for the name and the alleged "venetian" document from 1418. How is it that in this 2500 year period we never see a single reference which refers to this area as "Tirana" or some similar name? The only thing we know for certain is that the name Tirana suddenly appears in reliable historical records starting around 1618, during the Ottoman-Persian conflicts, exactly at the time when the city Tirana was founded by Bargjini Xoltron (talk) 07:20, 6 December 2018 (UTC)
 * Interesting: American Trivia show Jeopardy! supports the Tehran-Tirana naming connection, episode/Show #2129 - Thursday, December 2, 1993 Final Jeopardy! QuestionXoltron (talk) 04:07, 15 December 2018 (UTC)

 * You're talking to a blocked editor who posted this about 12 years ago. Doug Weller  talk 14:03, 15 December 2018 (UTC)

Tirana or Tiranë
In English, I've always known the city as Tirana; but after doing this edit I noticed that the form "Tiranë" is used in many articles. Is there a reason for doing so, or can I safely change all those mentions to "Tirana" ?

There are even articles on the Tiranë District and the Tiranë County, which I guess should be moved to Tirana District and Tirana County. I've proposed both moves. - Best regards, Evv 21:26, 26 January 2007 (UTC)

 * Tiranë should be used, just like you would use Krujë, Gjirokastër, or Shkodër. - PG-Rated 06:26, 5 March 2007 (UTC)

 * I've seen both spellings in English language publications, so I have no problem with either (after all British and American spellings co-exist). Elsewhere, it's been argued that letters not used in English shouldn't be used in English Wiki - even in proper names. I wouldn't spend any time trying to change them, perhaps put the alternative in brackets (once). There's far more important improvements needed for the article. Folks at 137 06:37, 5 March 2007 (UTC)
 * I was surprised the article is called Tirana. In English, I have only ever seen "Tiranë" used; to me, "Tirana" smacks of Italian colonialism. —Angr 19:47, 19 November 2007 (UTC)
 * Tirana vs Tiranë - the former is the same with an indefinite article, isn't it? Check the Albanian page (Shqip) for Tirana. It's the same with Kosova vs Kosovë - the English name reamins Kosovo but Kosovans want it to be called "Kosova" (not Kosovë). If you're native Albanian, please clarify, if I am wrong. (Removed the SineBot message as it was me who forgot to sign it first.) (Added Kosovo example).--Atitarev (talk) 04:25, 18 February 2008 (UTC)

Tirana is definite and Tiranë is indefinite.--Jurgenalbanian (talk) 14:25, 31 December 2008 (UTC)

There seems to be an unofficial tradition in English-language reference of referring to Albanian cities by the definite form if feminine and the indefinite if masculine: Shkodra, Tirana, Lezha (feminine) but Burrel, Durrës, Berat (masculine). I don't know if there's any logic to it, but it's the nearest thing to a standard that seems to exist.--Kenji Yamada (talk) 10:33, 13 September 2009 (UTC)

Tirana is called in midlle albanian dialect Tiron ( it means in albanian you are alive ).Tirana has 24 castles standing from the illyrian roman times. The article on Tirana is created from ignorants who do not know a thing about Tirana. Explanation east north of Tirana is the Saint George region  the houses there are still with pelasgian, etruscan style. South of tirana is petrela and Arbana mentioned from the romans and other as proper ilyricum. For more read more to understand more. — Preceding unsigned comment added by 217.73.141.161 (talk) 19:49, 31 October 2018 (UTC)

Incorrect addition
This edit is incorrect. There is nothing in p.42 to substantiate the content entered. I have full faith that Alexi will revise the page. --  S ulmues (talk) 22:23, 15 October 2010 (UTC)

It's in p. 42 of the pdf file (or p. 33 of the scanned document) I've provided the full quote.Alexikoua (talk)

Northern Epirus
From my talk page, presumably by User:Bachusbreak

The origins of the city's name remain shrouded in mystery. The name on coins minted in Hellenistic Scodra (during the rule of Genthius) have the legend (Greek: ΣΚΟΝΔΡΙΝΩΝ).[1] Some believe the name has a Latin[who?]  root, while others[who?]  that it was Illyrian. In early 20th century, Shkodër was referred to in English by the Italian name Scutari.[2] In Greek, it is known as Σκουτάριον -  Greek Illyrian colonies   - simile references in all albanian articles. Its the history It has not to do with connotations with political claims on the territories --188.4.215.159 (talk) 14:20, 2 August 2011 (UTC)

 * Now who disputes that there were Greek colonies and settlements across half of Mediterranean? It's about inclusion of Northern Epirus in the article about Tirana. As far as I know, Tirana is not in Northern Epirus, it does not have a significant Greek population, and it hasn't had it recently. We're not supposed to add any tangentially related template to an article about a European capital. And this one smells irredentist, doesn't it? No such user (talk) 14:52, 2 August 2011 (UTC)

Discusion at talk Tirana

 * I cant understood which is your argue with an uncontested template, it makes it clear that is about cities and towns in Albania with Greek-speaking communities, outside the political definition of "Northern Epirus"

Remoning this goes against :Administrators' noticeboard/Edit warring see it down at the alleged redirection

--Alvarri (talk) 13:23, 3 August 2011 (UTC)

Tirana climate
2 dry months in the summer isn´t properly a feature of humid subtropical climates but of mediterranean ones (Csa (Koppen-Geiger) is the correct term. — Preceding unsigned comment added by 188.37.171.168 (talk) 10:27, 7 March 2017 (UTC)

Qark/Municipality confusion
I want to clarify for all users and editors. The page here refers to the municipality of Tirana and not to the County/Qark of Tirana. For more context, Albania is made of 61 municipalities and 12 Qarks (the largest division). INSTAT updates regularily only the population of the Counties and not of the municipalities.

Now here is the wikipedia link the municipalities of Albania.

https://en.wikipedia.org/wiki/Municipalities_of_Albania

Here is the link for the Counties/Qarqet of Albania.

https://en.wikipedia.org/wiki/Counties_of_Albania

Here is the link for the County/Qark of Tiranë. As you can see, it also includes the municipalities of Kamëz, Kavajë, Rrogozhinë and Vorë.

https://en.wikipedia.org/wiki/Tirana_County

I hope this clarifies things. Vargmali (talk) 16:26, 5 May 2018 (UTC)

Semi-protected edit request on 29 July 2021
“The remaining 29.1% of the population reported having no religion or did not provided an adequate answer.”

Change provided to provide 2600:1700:34B0:C3C0:899B:EA93:3F50:2387 (talk) 05:07, 29 July 2021 (UTC)
 * ✅. ‑‑Volteer1 (talk) 10:15, 29 July 2021 (UTC)

Etymology
How come that the article on capital of Albania does not have a section on etymology? Super  Ψ   Dro  12:22, 29 August 2022 (UTC)

Gentian kabadhi
0698 7318 33 91.230.254.111 (talk) 20:25, 18 September 2023 (UTC)

title: Talk:Tirana


text:
Connect Four

Connect Four (also known as Connect 4, Four Up, Plot Four, Find Four, Captain's Mistress, Four in a Row, Drop Four, and Gravitrips in the Soviet Union) is a game in which the players choose a color and then take turns dropping colored tokens into a six-row, seven-column vertically suspended grid. The pieces fall straight down, occupying the lowest available space within the column. The objective of the game is to be the first to form a horizontal, vertical, or diagonal line of four of one's own tokens. It is therefore a type of m,n,k-game (7, 6, 4) with restricted piece placement. Connect Four is a solved game. The first player can always win by playing the right moves.

The game was created by Howard Wexler, and first sold under the Connect Four trademark by Milton Bradley in February 1974.

Gameplay
"Object: Connect four of your checkers in a row while preventing your opponent from doing the same. But, look out – your opponent can sneak up on you and win the game!"

A gameplay example (right), shows the first player starting Connect Four by dropping one of their yellow discs into the center column of an empty game board. The two players then alternate turns dropping one of their discs at a time into an unfilled column, until the second player, with red discs, achieves a diagonal four in a row, and wins the game. If the board fills up before either player achieves four in a row, then the game is a draw.

Mathematical solution
Connect Four is a two-player game with perfect information for both sides, meaning that nothing is hidden from anyone. Connect Four also belongs to the classification of an adversarial, zero-sum game, since a player's advantage is an opponent's disadvantage.

One measure of complexity of the Connect Four game is the number of possible games board positions. For classic Connect Four played on a 7-column-wide, 6-row-high grid, there are 4,531,985,219,092 (about 4½trillion) positions for all game boards populated with 0 to 42 pieces.

The game was first solved by James Dow Allen (October 1, 1988), and independently by Victor Allis (October 16, 1988). Allis describes a knowledge-based approach, with nine strategies, as a solution for Connect Four. Allen also describes winning strategies in his analysis of the game. At the time of the initial solutions for Connect Four, brute-force analysis was not deemed feasible given the game's complexity and the computer technology available at the time.

Connect Four has since been solved with brute-force methods, beginning with John Tromp's work in compiling an 8-ply database. The artificial intelligence algorithms able to strongly solve Connect Four are minimax or negamax, with optimizations that include alpha-beta pruning, move ordering, and transposition tables. The code for solving Connect Four with these methods is also the basis for the Fhourstones integer performance benchmark.

The solved conclusion for Connect Four is first-player-win. With perfect play, the first player can force a win,  on or before the 41st move by starting in the middle column. The game is a theoretical draw when the first player starts in the columns adjacent to the center. For the edges of the game board, column 1 and 2 on left (or column 7 and 6 on right), the exact move-value score for first player start is loss on the 40th move, and loss on the 42nd move, respectively. In other words, by starting with the four outer columns, the first player allows the second player to force a win.

Rule variations
There are many variations of Connect Four with differing game board sizes, game pieces, and gameplay rules. Many variations are popular with game theory and artificial intelligence research, rather than with physical game boards and gameplay by persons.

The most commonly-used Connect Four board size is 7 columns × 6 rows. Size variations include 5×4, 6×5, 8×7, 9×7, 10×7, 8×8, Infinite Connect-Four, and Cylinder-Infinite Connect-Four.

Several versions of Hasbro's Connect Four physical gameboard make it easy to remove game pieces from the bottom one at a time. Along with traditional gameplay, this feature allows for variations of the game. Some earlier game versions also included specially-marked discs, and cardboard column extenders, for additional variations to the game.

PopOut
PopOut starts the same as traditional gameplay, with an empty board and players alternating turns placing their own colored discs into the board. During each turn, a player can either add another disc from the top, or if one has any discs of their own color on the bottom row, remove (or "pop out") a disc of one's own color from the bottom. Popping a disc out from the bottom drops every disc above it down one space, changing their relationship with the rest of the board and changing the possibilities for a connection. The first player to connect four of their discs horizontally, vertically, or diagonally wins the game.

Pop 10
Before play begins, Pop 10 is set up differently from the traditional game. Taking turns, each player places one of their own color discs into the slots filling up only the bottom row, then moving on to the next row until it is filled, and so forth until all rows have been filled.

Gameplay works by players taking turns removing a disc of one's own color through the bottom of the board. If the disc that was removed was part of a four-disc connection at the time of its removal, the player sets it aside out of play and immediately takes another turn. If it was not part of a "connect four", then it must be placed back on the board through a slot at the top into any open space in an alternate column (whenever possible) and the turn ends, switching to the other player. The first player to set aside ten discs of their color wins the game.

Five-in-a-Row
The Five-in-a-Row variation for Connect Four is a game played on a 6 high, 9 wide grid. Two additional board columns, already filled with player pieces in an alternating pattern, are added to the left and right sides of the standard 6-by-7 game board. The game plays similarly to the original Connect Four, except players must now get five pieces in a row to win. This is still a 42-ply game since the two new columns added to the game represent twelve game pieces already played, before the start of a game.

Power Up
In this variation of Connect Four, players begin a game with one or more specially-marked "Power Checkers" game pieces, which each player may choose to play once per game. When playing a piece marked with an anvil icon, for example, the player may immediately pop out all pieces below it, leaving the anvil piece at the bottom row of the game board. Other marked game pieces include one with a wall icon, allowing a player to play a second consecutive non-winning turn with an unmarked piece; a "×2" icon, allowing for an unrestricted second turn with an unmarked piece; and a bomb icon, allowing a player to immediately pop out an opponent's piece.

Other versions
Hasbro also produces various sizes of Giant Connect Four, suitable for outdoor use. The largest is built from weather-resistant wood, and measures 120 cm in both width and height. Connect Four was released for the Microvision video game console in 1979, developed by Robert Hoffberg. It was also released for the Texas Instruments 99/4 computer the same year.

With the proliferation of mobile devices, Connect Four has regained popularity as a game that can be played quickly and against another person over an Internet connection.

In 2007, Milton Bradley published Connect Four Stackers. Instead of the usual grid, the game features a board to place colored discs on. Just like standard Connect Four, the object of the game is to try get four in a row of a specific color of discs.

In 2008, another board variation Hasbro published as a physical game is Connect 4x4. This game features a two-layer vertical grid with colored discs for four players, plus blocking discs. The object of the game is also to get four in a row for a specific color of discs.

In 2013, Bay Tek Games released a Connect Four ticket redemption arcade game under license from Hasbro. There are standard and deluxe versions of the game. Two players move and drop the checkers using buttons. If only one player is playing, the player plays against the computer. Both the player that wins and the player that loses get tickets. The player that wins gets to play a bonus round where a checker is moving and the player needs to press the button at the right time to get the ticket jackpot.

In 2015, Winning Moves published Connect Four Twist & Turn. This game variant features a game tower instead of the flat game grid. The tower has five rings that twist independently. Gameplay is similar to standard Connect Four where players try to get four in a row of their own colored discs. However, with Twist & Turn, players have the choice to twist a ring after they have played a piece. It adds a subtle layer of strategy to the gameplay.

In 2018, Bay Tek Games released their second Connect Four arcade game, Connect 4 Hoops. Players throw basketballs into basketball hoops, and they show up as checkers on the video screen. The game can be played by two players, or by one player against the computer. Both the player that wins and the player that loses get tickets.

In 2018, Hasbro released Connect 4 Shots. This version requires the players to bounce coloured balls into the grid until one player achieves four in a row.

Popular culture

 * Broadcaster and writer Stuart Maconie—while working at the NME—started a rumour that Connect Four was invented by David Bowie, which became an urban myth.
 * On The Hub's game show Family Game Night, there is a game under the name "Connect 4 Basketball" in which teams use colored balls.
 * In the video game A Way Out, Vincent and Leo can play Connect Four as a minigame.

Reviews

 * Games and Puzzles
 * Family Games: The 100 Best

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

title: Connect Four


text:
ISO 3166-2:NL

ISO 3166-2:NL is the entry for the Kingdom of the Netherlands in ISO 3166-2, part of the ISO 3166 standard published by the International Organization for Standardization (ISO), which defines codes for the names of the principal subdivisions (e.g., provinces or states) of all countries coded in ISO 3166-1.

Currently for the kingdom, ISO 3166-2 codes are defined for 3 countries, 12 provinces and 3 special municipalities.

The kingdom consists of the 3 countries + the country of the Netherlands which is composed of the provinces and the special municipalities.

Each code consists of two parts, separated by a hyphen. The first part is NL, the ISO 3166-1 alpha-2 code of the Netherlands. The second part either of the following:

 * two letters: provinces or countries
 * two letters and a digit: special municipalities

Current codes
Subdivision names are listed as in the ISO 3166-2 standard published by the ISO 3166 Maintenance Agency (ISO 3166/MA).

ISO 639-1 codes are used to represent subdivision names in the following administrative languages:
 * (nl): Dutch
 * (fy): West Frisian

Provinces

 * Notes

Countries and special municipalities
Besides being included as subdivisions of the Netherlands in ISO 3166-2, the countries and special municipalities are also officially assigned their own country codes in ISO 3166-1.

Changes
The following changes to the entry have been announced in newsletters by the ISO 3166/MA since the first publication of ISO 3166-2 in 1998:

title: ISO 3166-2:NL


text:
Steve Di Giorgio

Steve Di Giorgio (born November 7, 1967) is an American bass guitarist. He is known for his work with numerous heavy metal bands such as Sadus (of whom he was one of the co-founders), Death, Testament, Megadeth, Sebastian Bach, Iced Earth, Autopsy, Obituary, Control Denied, Dragonlord and Charred Walls of the Damned, and he has performed on over 50 albums as a guest, session or full-time band musician.

Career
Di Giorgio has played bass guitar in heavy metal and death metal bands such as Death, Autopsy, Control Denied, Ephel Duath, Obscura, Artension, Faust, Memorain, Painmuseum, Suicide Shift, Soen, Vintersorg, Dragonlord, Iced Earth, Sebastian Bach, Obituary, Megadeth, and is a founding member of Sadus. He is a founding member of the jazz band Dark Hall and has played bass in other bands such as Testament, Futures End, Synesis Absorption, Mythodea, Charred Walls of the Damned, Anatomy of I, Gone in April, and Spirits of Fire. Along with his bass duties in Sadus, he also plays keyboards. In October 2019, he founded the fusion-world-metal group Quadvium with fellow fretless bass player Jeroen Paul Thesseling. A year later, he formed the death metal supergroup Act of Denial.

Musical style and influences
Within his genre, Di Giorgio is respected for his highly technical playing skills. He is also credited with being the first bassist to bring fretless bass playing into the heavy/extreme metal genre, and often plays bass by using his fingers, although he has been seen using a pick on certain songs. Di Giorgio has stated that his main influences as a bassist are Geddy Lee, Chris Squire, Geezer Butler, Steve Harris, Stanley Clarke, Jaco Pastorius, Billy Sheehan, Dave Pegg and Charles Meeks.

Personal life
Di Giorgio has been married for years, and is the father of a daughter who was born in April 1994. The family currently resides in Antioch, California.

Equipment
Di Giorgio endorses Ibanez Guitars and primarily plays a number of different fretted and fretless BTB basses. He previously played two custom Mjolnir basses by Thor Bass; a custom made 5-string fretless model which he has converted to a 3-string and a custom-built 6 string fretless. He's also played custom ESP basses, mostly a F-series fretless 5-string bass in a dark green finish, but also uses a very unusual double-neck construction with a fretted and a fretless neck in one body. He currently uses an EBS Fafner head as his main sound, but has also used Ampeg and Randall in the past.

 * Di Giorgio's bass guitars:
 * 4001 Custom Rickenbacker (1981)
 * Fully Custom Homemade Fender-Like Fretless (1991)
 * 4001 Rickenbacker (1975)
 * Custom Carvin BB75F (1996)
 * Custom Carvin BB75 (1999)
 * ESP – LTD F-205 (1999)
 * ESP Custom Forest 5-string Fretless (1999)
 * ESP Doubleneck Bass
 * Thor Bass Mjolnir 5-string fretless (2008), since converted to be played with only 3 strings.
 * Thor Bass Mjolnir 6-string Fretless (2010)
 * Thor Bass Freyja 7-string Fretted (2013)
 * 4003W Rickenbacker modified with a fretless ebony fretboard by Larry Davis (2014)
 * Ibanez BTB1605E with a fretless neck (2016)
 * Ibanez SDGB1 Steve Di Giorgio signature bass (2023)

Discography

 * Sadus – Illusions (1988)
 * Autopsy – Severed Survival (1989, session)
 * Sadus – Swallowed in Black (1990)
 * Autopsy – Fiend for Blood (1991, session)
 * Death – Human (1991)
 * Sadus – A Vision of Misery (1992)
 * Death – Individual Thought Patterns (1993)
 * Sadus – Elements of Anger (1997)
 * Testament – The Gathering (1999)
 * Control Denied – The Fragile Art of Existence (1999)
 * James Murphy – Feeding the Machine (1999)
 * Testament – First Strike Still Deadly (2001)
 * Dragonlord – Rapture (2001)
 * Iced Earth – Horror Show (2001)
 * Vintersorg – Visions from the Spiral Generator (2002)
 * Artension – Future World (2004)
 * Lunaris – Cyclic (2004, guest)
 * Quo Vadis – Defiant Imagination (2004, session)
 * Takayoshi Ohmura – Nowhere to Go (2004)
 * Vintersorg – The Focusing Blur (2004)
 * PainmuseuM – Metal for Life (2005)
 * Various artists – Roadrunner United (2005)
 * Rob van der Loo – Freak Neil inc. Characters (2005, guest)
 * Sadus – Out for Blood (2006)
 * Scariot – Momentum Shift (2007, session)
 * Sebastian Bach – Angel Down (2007)
 * Necro – Death Rap (2007)
 * Roger Staffelbach's Angel of Eden – The End of Never (2007, session)
 * Futures End – Memoirs of a Broken Man (2009)
 * Faust – From Glory To Infinity  (2009)
 * Charred Walls of the Damned – Charred Walls of the Damned (2010)
 * Heathen – The Evolution of Chaos (2010, guest)
 * Christian Muenzner – Timewarp (2011, guest)
 * Charred Walls of the Damned – Cold Winds on Timeless Days (2011)
 * Johnny Newman – More than Ever (2011)
 * Anatomy of I – Substratum (2011)
 * Sylencer – A Lethal Dose of Truth (2012, guest)
 * Synesis Absorption – Forever Untouched (2012)
 * Ephel Duath – On Death And Cosmos (2012)
 * Soen – Cognitive (2012)
 * Memorain – Evolution (2012)
 * Mythodea – Mythodea (2013)
 * Artlantica – Across the Seven Seas (2013, session)
 * Jeff Hughell – Chaos Labyrinth (2013, guest on track 3)
 * Gone in April – Threads of Existence (2016)
 * Testament – Brotherhood of the Snake (2016)
 * Counter-World Experience – Pulsar (2016, guest on track 7)
 * Art X - The Redemption of Cain (2016)
 * Spirits of Fire – Spirits of Fire (2019)
 * Geoda – Here and Now (2019)
 * Testament – Titans of Creation (2020)
 * Act of Denial – Negative (2021)
 * Megadeth – The Sick, the Dying... and the Dead! (2022, session)

title: Steve Di Giorgio


text:
Talk:Pointing device

Alternative definition
The alternative definition seems strange to me. It's sort of like saying "A pointing device is any object that points at something." What was the intent behind the added sentence? -- hike395 15:15, 11 Aug 2003 (UTC)

 * It is odd to suggest that any pointer device is related to computers, if that is not the case. - Patrick 21:06, 11 Aug 2003 (UTC)

 * I see your point. It's a good one. It can be solved by adding "In computer science, " to the beginning of the article. My concern with the extra sentence is the policy that Wikipedia is not a dictionary. A sentence that says that pointing devices are generic devices that point is pretty dictionary-like. Can anything more be said about it (Do pointing devices cause global warming? :-) ) If not, I would recommend removal.

 * A dictionary entry would just say that it is a device that points, more encyclopedic is mentioning existing kinds, as it does. - Patrick 06:42, 13 Aug 2003 (UTC)

That 3D pointing device section looks like an ad for PhaseSpace products. 67.84.146.125 19:23, 30 December 2006 (UTC)

Second picture
Someone who knows what that is needs to add a caption. Otherwise I'll just put one in that says "What." --212.2.171.132 00:11, 25 April 2007 (UTC)

classification of touchpad
In my opinion, touchpad should be categorized in "Based on motion of an object". Because it is more like a mouse than a touchscreen. They are both based on motion of an object. The only difference is one is mouse, the other is finger. Actually you can't operate a touchpad just by touching without moving. -- Benwu232 (talk) 03:33, 22 September 2011 (UTC)

BarMouse is missing
See | here, PC Magazine from April 26 2012.--Blaua (talk) 13:51, 7 July 2014 (UTC)

Outline
The outline was changed in favor of a better overview. This design was arbitrary and there are other reasonable alternatives. If someone has other suggestions or ideas, feel free to change the outline again. — Preceding unsigned comment added by DanielSc (talk • contribs) 11:45, 28 November 2016 (UTC)

"Left button" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Left button and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 October 5 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Steel1943 (talk) 06:01, 5 October 2022 (UTC)

title: Talk:Pointing device


text:
A Tale of a Tub

A Tale of a Tub was the first major work written by Jonathan Swift, composed between 1694 and 1697 and published in 1704. The Tale is a prose parody divided into sections of "digression" and a "tale" of three brothers, each representing one of the main branches of western Christianity. A satire on the Roman Catholic and Anglican churches and English Dissenters, it was famously attacked for its profanity and irreligion, starting with William Wotton, who wrote that it made a game of "God and Religion, Truth and Moral Honesty, Learning and Industry" to show "at the bottom [the author's] contemptible Opinion of every Thing which is called Christianity." The work continued to be regarded as an attack on religion well into the nineteenth century. One commentator complained that Swift must be "a compulsive cruiser of Dunghils … Ditches, and Common-Shores with a great Affectation [sic] for every thing that is nasty. When he spies any Objects that another Person would avoid looking on, that he Embraces".

The Tale was enormously popular, presenting both a satire of religious excess and a parody of contemporary writing in literature, politics, theology, Biblical exegesis, and medicine through its comically excessive front matter and series of digressions throughout. The overarching parody is of enthusiasm, pride, and credulity. At the time it was written, politics and religion were still closely linked in England, and the religious and political aspects of the satire can often hardly be separated. "The work made Swift notorious, and was widely misunderstood, especially by Queen Anne herself who mistook its purpose for profanity." It "effectively disbarred its author from proper preferment" in the Church of England.

Overview
A Tale of a Tub comprises the tale itself, an allegory of the Reformation in the story of brothers Peter, Martin, and Jack as they attempt to make their way in the world, along with various digressions interspersed throughout. Each brother represents one of the primary branches of Christianity in the West. This part of the book is a pun on "tub", which Alexander Pope says was a common term for a Dissenter's pulpit, and a reference to Swift's own position as a clergyman. Peter (named for Saint Peter) stands in for the Roman Catholic Church. Jack (named for John Calvin, but whom Swift also connects to John of Leiden) represents the various dissenting Protestant churches such as Baptists, Presbyterians, Quakers, Congregationalists and Anabaptists. The third brother, middle born and middle standing, is Martin (named for Martin Luther), whom Swift uses to represent the 'via media' of the Church of England. The brothers have inherited three wonderfully satisfactory coats (representing religious practice) by their father (representing God), and they have his will (representing the Bible) to guide them. Although the will says that the brothers are forbidden from making any changes to their coats, they do nearly nothing but alter their coats from the start. In as much as the will represents the Bible and the coat represents the practice of Christianity, the allegory of the narrative is supposed to be an apology for the Anglican church's refusal to alter its practice in accordance with Puritan demands and its continued resistance to ally with the Roman church.

From its opening (once past the prolegomena, which comprises the first three sections), the book alternates between Digression and Tale. However, the digressions overwhelm the narrative, both in their length and in the forcefulness and imaginativeness of writing. Furthermore, after Chapter X (the commonly anthologised "Digression on Madness"), the labels for the sections are incorrect. Sections then called "Tale" are Digressions, and those called "Digression" are also Digressions.

A Tale of a Tub is an enormous parody with a number of smaller parodies within it. Many critics have followed Swift's biographer Irvin Ehrenpreis in arguing that there is no single, consistent narrator in the work. One difficulty with this position, however, is that if there is no single character posing as the author, then it is at least clear that nearly all of the "personae" employed by Swift for the parodies are so much alike that they function as a single identity. In general, whether a modern reader would view the book as consisting of dozens of impersonations or a single one, Swift writes the Tale through the pose of a Modern or New Man. See the abridged discussion of the "Ancients and Moderns", below, for more on the nature of the "modern man" in Swift's day.

Swift's explanation for the title of the book is that the Ship of State was threatened by a whale (specifically, the Leviathan of Thomas Hobbes) and the new political societies (the Rota Club is mentioned). His book is intended to be a tub that the sailors of state (the nobles and ministers) might toss over the side to divert the attention of the beast (those who questioned the government and its right to rule). Hobbes was highly controversial in the Restoration, but Swift's invocation of Hobbes might well be ironic. The narrative of the brothers is a faulty allegory, and Swift's narrator is either a madman or a fool. The book is not one that could occupy the Leviathan, or preserve the Ship of State, so Swift may be intensifying the dangers of Hobbes's critique rather than allaying them to provoke a more rational response.

The digressions individually frustrate readers who expect a clear purpose. Each digression has its own topic, and each is an essay on its particular sidelight. In his biography of Swift, Ehrenpreis argued that each digression is an impersonation of a different contemporary author. This is the "persona theory," which holds that the Tale is not one parody, but rather a series of parodies, arising out of chamber performance in the Temple household. Prior to Ehrenpreis, some critics had argued that the narrator of the Tale is a character, just as the narrator of a novel would be. Given the evidence of A. C. Elias about the acrimony of Swift's departure from the Temple household, evidence from Swift's Journal to Stella about how uninvolved in the Temple household Swift had been, and the number of repeated observations about himself by the Tale's author, it seems reasonable to propose that the digressions reflect a single type of man, if not a particular character.

In any case, the digressions are each readerly tests; each tests whether or not the reader is intelligent and sceptical enough to detect nonsense. Some, such as the discussion of ears or of wisdom being like a nut, a cream sherry, a cackling hen, etc., are outlandish and require a militantly aware and thoughtful reader. Each is a trick, and together they train the reader to sniff out bunk and to reject the unacceptable.

Cultural setting
During the Restoration the print revolution began to change every aspect of British society. It became possible for anyone to spend a small amount of money and have his or her opinions published as a broadsheet, and to gain access to the latest discoveries in science, literature, and political theory, as books became less expensive and digests and "indexes" of the sciences grew more numerous. The difficulty lay in discerning truth from falsehood, credible claims from impossible one. Swift writes A Tale of a Tub in the guise of a narrator who is excited and gullible about what the new world has to offer, and feels that he is quite the equal or superior of any author who ever lived because he, unlike them, possesses 'technology' and newer opinions. Swift seemingly asks the question of what a person with no discernment but with a thirst for knowledge would be like, and the answer is the narrator of Tale of a Tub.

Swift was annoyed by people so eager to possess the newest knowledge that they failed to pose sceptical questions. If he was not a particular fan of the aristocracy, he was a sincere opponent of democracy, which was often viewed then as the sort of "mob rule" that led to the worst abuses of the English Interregnum. Swift's satire was intended to provide a genuine service by painting the portrait of conspiracy minded and injudicious writers.

At that time in England, politics, religion and education were unified in a way that they are not now. The monarch was the head of the state church. Each school (secondary and university) had a political tradition. Officially, there was no such thing as "Whig and Tory" at the time, but the labels are useful and were certainly employed by writers themselves. The two major parties were associated with religious and economic groups. The implications of this unification of politics, class, and religion are important. Although it is somewhat extreme and simplistic to put it this way, failing to be for the Church was failing to be for the monarch; having an interest in physics and trade was to be associated with dissenting religion and the Whig Party. When Swift attacks the lovers of all things modern, he is thereby attacking the new world of trade, of dissenting religious believers, and, to some degree, an emergent portion of the Whig Party.

Authorial background
Born of English parents in Ireland, Jonathan Swift was working as Sir William Temple's secretary at the time he composed A Tale of a Tub (1694–1697). The publication of the work coincided with Swift's striking out on his own, having despaired of getting a good "living" from Temple or Temple's influence. There is speculation about what caused the rift between Swift and his employer, but, as A. C. Elias persuasively argues, it seems that the final straw came with Swift's work on Temple's Letters. Swift had been engaged to translate Temple's French correspondence, but Temple, or someone close to Temple, edited the French text to make Temple seem both prescient and more fluent. Consequently, the letters and the translations Swift provided did not gibe, and, since Swift could not accuse Temple of falsifying his letters, and because the public would never believe that the retired state minister had lied, Swift came across as incompetent.

Even though Swift published the "Tale" as he left Temple's service, it was conceived earlier, and the book is a salvo in one of Temple's battles. Swift's general polemic concerns an argument (the "Quarrel of the Ancients and the Moderns") that had been over for nearly ten years by the time the book was published. The "Quarrel of the Ancients and Moderns" was a French academic debate of the early 1690s, occasioned by Fontenelle arguing that modern scholarship had allowed modern man to surpass the ancients in knowledge. Temple argued against this position in his "On Ancient and Modern Learning" (where he provided the first English formulation of the commonplace that modern critics see more only because they are dwarfs standing on the shoulders of giants), and Temple's somewhat naive essay prompted a small flurry of responses. Among others, two men who took the side opposing Temple were Richard Bentley (classicist and editor) and William Wotton (critic).

The entire discussion in England was over by 1696, and yet it seems to have fired Swift's imagination. Swift saw in the opposing camps of Ancients and Moderns a shorthand of two general ways of looking at the world (see the historical background, below, for some of the senses in which "new men" and "ancients" might be understood). The Tale of a Tub attacks all who praise modernity over classical learning. Temple had done as much, but Swift, unlike Temple, has no praise for the classical world, either. There is no normative value in Rome, no lost English glen, no hearth ember to be invoked against the hubris of modern scientism. Some critics have seen in Swift's reluctance to praise mankind in any age proof of his misanthropy, and others have detected in it an overarching hatred of pride. At the same time, the Tale revived the Quarrel of Ancients and Moderns at least enough to prompt Wotton to come out with a new edition of his pamphlet attacking Temple, and he appended to it an essay against the author of A Tale of a Tub. Swift was able to cut pieces from Wotton's "Answer" to include in the fifth edition of the Tale as "Notes" at the bottom of the page. Swift's satire also gave something of a framework for other satirists in the Scriblerian circle, and Modern vs. Ancient is picked up as one distinction between political and cultural forces.

If Swift hoped that the Tale of a Tub would win him a living, he would have been disappointed. Swift himself believed that the book cost him any chance of high position within the church. It is most likely, though, that Swift was not seeking a clerical position with the Tale. Instead, it was probably meant to establish him as a literary and political figure and to strike out a set of positions that would win the notice of influential men. This it did. As a consequence of this work, and his activity in Church causes, Swift became a familiar of Robert Harley, future Earl of Oxford, and Henry St. John, the future Viscount Bolingbroke. When the Tories gained the government in 1710, Swift was rewarded for his work. By 1713–14, however, the Tory government had fallen, and Swift was made Dean of Saint Patrick's Cathedral, Dublin—an appointment he considered an exile.

Nature of the satire
Upon publication the public realised both that there was an allegory in the story of the brothers and that there were particular political references in the Digressions. A number of "Keys" appeared soon thereafter, analogous to contemporary services like CliffsNotes or Spark Notes. "Keys" offered the reader a commentary on the Tale and explanations of its references. Edmund Curll rushed out a Key to the work, and William Wotton offered up an "Answer" to the author of the work.

Swift's targets included indexers, note-makers, and, above all, people who saw "dark matter" in books. Attacking criticism generally, he appears delighted that one of his enemies, William Wotton, offered to explain the Tale in an "answer" to the book and that one of the men he had explicitly attacked, Curll, offered to explain the book to the public. In the fifth edition of the book in 1710, Swift provided an apparatus to the work that incorporated Wotton's explanations and Swift's narrator's notes. The notes appear to occasionally provide genuine information and just as often to mislead, and William Wotton's name, a defender of the Moderns, was appended to a number of notes. This allows Swift to make the commentary part of the satire itself, as well as to elevate his narrator to the level of self-critic.

The Tale's satire is most consistent in attacking misreading of all sorts. Both in the narrative sections and the digressions, the single human flaw that underlies all the follies Swift attacks is over-figurative and over-literal reading, both of the Bible and of poetry and political prose. The narrator is seeking hidden knowledge, mechanical operations of things spiritual, spiritual qualities to things physical, and alternate readings of everything.

Within the "tale" sections of the book, Peter, Martin, and Jack fall into bad company (becoming the official religion of the Roman empire) and begin altering their coats (faith) by adding ornaments. They then begin relying on Peter to be the arbitrator of the will. He begins to rule by authority (he remembered the handyman saying that he once heard the father say that it was acceptable to don more ornaments), until such a time that Jack rebels against the rule of Peter. Jack begins to read the will (the Bible) overly literally. He rips the coat to shreds to restore the original state of the garment which represents the "primitive Christianity" sought by dissenters. He begins to rely only upon "inner illumination" for guidance and thus walks around with his eyes closed, after swallowing candle snuffs. Eventually, Peter and Jack begin to resemble one another, and only Martin is left with a coat that is at all like the original.

An important factor in the reception of Swift's work is that the narrator of the work is an extremist in every direction. Consequently, he can no more construct a sound allegory than he can finish his digressions without losing control (eventually confessing that he is insane). For a Church of England reader, the allegory of the brothers provides small comfort. Martin has a corrupted faith, one full of holes and still with ornaments on it. His only virtue is that he avoids the excesses of his brothers, but the original faith is lost to him. Readers of the Tale have picked up on this unsatisfactory resolution to both "parts" of the book, and A Tale of a Tub has often been offered up as evidence of Swift's misanthropy.

As has recently been argued by Michael McKeon, Swift might best be described as a severe sceptic, rather than a Whig, Tory, empiricist, or religious writer. He supported the Classics in the Quarrel of the Ancients and the Moderns, and he supported the established church and the aristocracy, because he felt the alternatives were worse. He argued elsewhere that there is nothing inherently virtuous about a noble birth, but its advantages of wealth and education made the aristocrat a better ruler than the equally virtuous but unprivileged commoner. A Tale of a Tub is a perfect example of Swift's devastating intellect at work. By its end, little seems worth believing in.

Formally, the satire in the Tale is historically novel for several reasons. First, Swift more or less invented prose parody. In the "Apology for the &c." (added in 1710), Swift explains that his work is, in several places, a "parody," which is where he imitates the style of persons he wishes to expose. What is interesting is that the word "parody" had not been used for prose before, and the definition he offers is arguably a parody of John Dryden defining "parody" in the Discourse of Satire (the Preface to Dryden's translations of Juvenal's and Persius' satires). Prior to Swift, parodies were imitations designed to bring mirth, but not primarily in the form of mockery. Dryden imitated the Aeneid in "MacFlecknoe" to describe the apotheosis of a dull poet, but the imitation made fun of the poet, not Virgil.

Swift's satire offers no resolutions. While he ridicules any number of foolish habits, he never offers the reader a positive set of values to embrace. While this type of satire became more common as people imitated Swift, later, Swift is quite unusual in offering the readers no way out. He does not persuade to any position, but he does persuade readers from an assortment of positions. This is one of the qualities that has made the Tale Swift's least-read major work.

Historical background
In the historical background to the period of 1696–1705, the most important political events might be the Restoration of Charles II in 1660, the Test Act, and the English Settlement or Glorious Revolution of 1688–1689. Politically, the English had suffered a Civil War that had culminated with the beheading of the king, years of the Interregnum under the Puritan, Oliver Cromwell, and then Parliament inviting the king back to rule in 1660. Upon Charles II's death, his brother, James II of England took the throne. However, when James, a Roman Catholic, married a Roman Catholic as his second wife, the English parliament invited William of Orange to rule in his stead, forcing James to flee the country under military threat. Parliament decided on the way in which all future English monarchs would be chosen. This method would always favour Protestantism over blood line.

For politically aware Englishmen, Parliament had essentially elected a king. Although officially he was supreme, there could be no doubt that the Commons had picked the king and could pick another instead. Although there was now a law demanding that all swear allegiance to the monarch as head of the church, it became less and less clear why the nation was to be so intolerant.

Religious conflict at the time was primarily between the Church of England and the dissenting churches. The threat posed by the dissenters was keenly felt by Establishment clerics like Jonathan Swift. It was common enough for Puritans and other dissenters to disrupt church services, to accuse political leaders of being the anti-Christ, and to move the people toward violent schism, riots, and peculiar behaviour including attempts to set up miniature theocracies. Protestant dissenters had led the English Civil War. The pressure of dissenters was felt on all levels of British politics and could be seen in the change of the British economy.

The Industrial Revolution was beginning in the period between the writing and publication of A Tale of a Tub, though no one at the time would have known this. What Englishmen did know, however, was that what they called "trade" was on the rise. Merchants, importers/exporters, and "stock jobbers" were growing very wealthy. It was becoming more common to find members of the aristocracy with less money than members of the trading class. Those on the rise in the middle class professions were perceived as being more likely to be dissenters than members of the other classes were, and such institutions as the stock exchange and Lloyd's of London were founded by Puritan traders. Members of these classes were also widely ridiculed as attempting to pretend to learning and manners that they had no right to. Further, these "new men" were not, by and large, the product of the universities nor the traditional secondary schools. Consequently, these now wealthy individuals were not conversant in Latin, were not enamored of the classics, and were not inclined to put much value on these things.

Between 1688 and 1705, England was politically unstable. The accession of Queen Anne led to a feeling of vulnerability among Establishment figures. Anne was rumoured to be immoderately stupid and was supposedly governed by her friend, Sarah Churchill, wife of the Duke of Marlborough. Although Swift was a Whig for much of this period, he was allied most nearly with the Ancients camp (which is to say Establishment, Church of England, aristocracy, traditional education), and he was politically active in the service of the Church. He claims, both in "The Apology for the &c." and in a reference in Book I of Gulliver's Travels, to have written the Tale to defend the crown from the troubles of the monsters besetting it. These monsters were numerous. At this time, political clubs and societies were proliferating. The print revolution had meant that people were gathering under dozens of banners, and political and religious sentiments previously unspoken were now rallying supporters. As the general dissenting position became the monied position, and as Parliament increasingly held power, historically novel degrees of freedom had brought an historically tenuous equipoise of change and stability.

Publication history
The Tale was originally published in 1704 by John Nutt. Swift had used Benjamin Tooke previously when publishing for Sir William Temple. He would use Tooke for both the fifth edition of the Tale (1710) and later works. Tooke's successor, Benjamin Motte, published Swift's Gulliver's Travels. This difference in printer is only one of the things that led to debate over authorship of the work. The first, second and third editions of the Tale appeared in 1704; with the fifth edition following in 1710. In "The Apology for the &c.", Swift indicates that he originally gave his publisher a preliminary copy of the work, while he kept a blotted copy at his own hand and lent other copies including one to Thomas Swift, Jonathan's "parson cousin". As a consequence, the first edition appeared with many errors. The second edition was a resetting of the type. The third edition was a reprint of the second, with corrections, and the fourth edition contained corrections of the third.

The first substantially new edition of the work is the fifth edition of 1710. This is largely the text modern editors will use. It was in this edition that the Notes and the "Apology for the &c." ("&c." was Swift's shorthand for Tale of a Tub: Nutt was supposed to expand the abbreviation out to the book's title but did not do so; the mistake was left) were added, which many contemporary readers and authors found a heating up of an already savage satire.

Authorship debate
Although today very little of this debate remains, questions of the authorship of the Tale occupied many notable critics both in the 18th and 19th centuries. Famously, Samuel Johnson said A Tale of a Tub was a work of true genius (in contrast to Gulliver's Travels where once one imagines "big people and little people" the rest is easy) and too good to be Swift's. In the 19th century, many critics who saw misanthropy and madness in Swift's later work wished to reject the Tale as his. In a way, a critic's view on who wrote the Tale reflected that critic's politics. Swift was such a powerful champion of Tory, or anti-Whig, causes that fans of the Tale were eager to attribute the book to another author from nearly the day of its publication.

The work appeared anonymously in 1704. It was Swift's habit to publish anonymously throughout his career, partially as a way of protecting his career, and partially his person. As a struggling churchman, Swift needed the support of nobles to gain a living. Additionally, nobles were still responsible for Church affairs in the House of Lords, so his political effectiveness in church affairs depended upon the lords. Swift needed to be at some distance from the sometimes bawdy and scatological work that he wrote.

The Tale was immediately popular and controversial. Consequently, there were rumours of various people as the author of the work—Jonathan Swift then being not largely known except for his work in the House of Lords for the passage of the First Fruits and Fifths bill for tithing. Some people thought that William Temple wrote it. Francis Atterbury said people at Oxford thought it had been written by Edmund Smith and John Philips, though he thought it was by Jonathan Swift. Some people thought it belonged to Lord Somers. However, Jonathan Swift had a cousin, also in the church, named Thomas Swift. Thomas and Jonathan were in correspondence during the time of the composition of the Tale, and Thomas Swift later claimed to have written the work. Jonathan responded by saying that Thomas had no hand in anything but the smallest of passages, and he would welcome hearing Thomas 'explain' the work, if he had written it. The controversy over authorship is aggravated by the choice of publisher. Not only did Swift use Tooke after the publication of the Tale, he had used Tooke before its publication as well, so the appearance of the work in John Nutt's shop was atypical.

Stylistically and in sentiment, the Tale is undeniably Swift's. Most important in this regard is the narrative pose and the creation of narrative parody. The dramatic pretense of writing as a character is in keeping with Jonathan Swift's lifelong practice. Furthermore, Thomas Swift has left few literary remains. Thomas Swift's authorship is examined in the summary of A. C. Guthkelch and D. Nichol Smith's A Tale of a Tub (1920 and 1958), where they say, "all the evidence for Thomas Swift's participation in the Tale... [is] nothing but rumour and [Edmund] Curll's Key." Indeed, in 1710 Swift had the fifth edition republished by Tooke, and he explained in a letter how the rumour had been started. He said that, when the publication initially took place, Swift was abroad in Ireland and "that little Parson-cousin of mine" "affected to talk suspiciously, as if he had some share in it." In other words, anonymity conspired with Thomas Swift's desire for fame to create the confusion. Afterward, only critical preference seems to account for anyone holding Thomas Swift the author.

Robert Hendrickson notes in his book British Literary Anecdotes that "Swift was always partial to his strikingly original The Tale of a Tub (1704). On reading the work again in later years, he exclaimed 'Good God! What a genius I had when I wrote that book!'"

title: A Tale of a Tub


text:
Talk:Sony

Headquarters location for Sony Group Corporation is wrong
The headquarters location and image listed for Sony Group Corporation on the Sony Wikipedia page is wrong. The correct headquarters location is "Headquarters（Sony City） 1-7-1 Konan Minato-ku, Tokyo, 108-0075 Japan" (source: https://www.sony.com/en/SonyInfo/CorporateInfo/Data/Map/ ).

The Sony City Minato Mirai location that is currently listed is not Sony Group's headquarters location. Refer to the above link to see that it is not listed as the headquarters location. 240B:11:3B40:1500:6109:CC9F:F508:BAA9 (talk) 06:42, 7 December 2022 (UTC)
 * Red information icon with gradient background.svg Not done: Don't see the error here. The street address given by Sony in that link still says Minato, Tokyo, which is what our infobox also says. Not sure what you are referring to when you say "The Sony City Minato Mirai location that is currently listed" as there currently does not appear to be any instances of the word "Mirai" in this article. Cannolis (talk) 04:54, 21 December 2022 (UTC)

Semi-protected edit request on 12 July 2023
Change “Net income” to “¥943.622 billion”.

The net income is incorrectly stated as “¥943,622 trillion” for FY2022 when it was actually “¥943.622 **billion**”. Source: https://www.sony.com/en/SonyInfo/IR/library/presen/er/pdf/22q4_sony.pdf

Else Sony’s net income is somehow an order of magnitude higher than its revenue and around the GDP of all of Japan; the former being extremely unlikely and the latter I believe being logically impossible given Sony is based in Japan. 157.131.168.236 (talk) 04:35, 12 July 2023 (UTC)

 * Correction to my last paragraph (request for edit itself is unchanged): ¥943,622 trillion can be interpreted as ¥943.622 quadrillion given the rest of the page uses “.” convention to indicate fractional values. That then is of course an absurdly unlikely value. I say this all not to be pedantic or to harp on what I believe is a small typo, but to hopefully just add more support as to why I believe this is technically incorrect. 157.131.168.236 (talk) 04:41, 12 July 2023 (UTC)

✅. Nice catch! Xan747 (talk) 00:09, 13 July 2023 (UTC)

 * Thank you for making a change; however, the value is still incorrect. The decimal is correct now, but it should be “billion” not “trillion”. 157.131.168.236 (talk) 01:32, 13 July 2023 (UTC)
 * . SkyWarrior  03:43, 13 July 2023 (UTC)

New cat
Please could somebody add Category:Companies in the Nikkei 225 ? 78.148.152.27 (talk) 22:56, 12 March 2024 (UTC)

 * Should be easy enough — Preceding unsigned comment added by 92.16.44.93 (talk) 21:19, 25 March 2024 (UTC)

✅  Nate  • ( chatter ) 01:02, 27 March 2024 (UTC)

MY friend I see here 197.157.187.80 (talk) 02:24, 16 April 2024 (UTC)

Semi-protected edit request on 27 June 2024
2806:2A0:900:8A16:B929:98AE:A68B:FF53 (talk) 00:16, 27 June 2024 (UTC)
 * Red question icon with gradient background.svg Not done: it's not clear what changes you want to be made. Please mention the specific changes in a "change X to Y" format and provide a reliable source if appropriate.  JTP (talk • contribs) 00:27, 27 June 2024 (UTC)

title: Talk:Sony


text:
Graham Coxon

Graham Leslie Coxon (born 12 March 1969) is an English guitarist, singer and songwriter who came to prominence as a founding member of the rock band Blur. As the group's lead guitarist and secondary vocalist, Coxon is featured on all of Blur's studio discography (although 2003's Think Tank only features his playing on one album track, plus two B-side tracks, due to his temporary departure from the band during recording sessions for the album). He has also led a solo career since 1998, producing and playing all instrumentation on his solo albums. As well as being a musician, Coxon is a visual artist: he designed the cover art for all his solo albums as well as Blur's 13 (1999).

Coxon plays several instruments and records his albums with little assistance from session musicians. Q magazine critic Adrian Deevoy has written: "Coxon is an astonishing musician. His restless playing style – all chord slides, rapid pulloffs, mini-arpeggios and fractured runs – seems to owe more to his saxophone training than any conventional guitar tuition." An innovative lead guitarist, he has been described by Oasis bandmember Noel Gallagher as "one of the most talented guitarists of his generation." Coxon was voted the 15th greatest guitarist of the last 30 years in a 2010 BBC poll.

Early life
Coxon was born on 12 March 1969 in Rinteln, West Germany, where his father, Bob Coxon, was stationed as a clarinet player and band leader in the British Army. As a child, he moved first to Spondon, Derby, England, a period during which he became a fan of Derby County. He then moved to Colchester, Essex, England, where he grew up and met fellow Blur member Damon Albarn at The Stanway School, then known as Stanway Comprehensive, at the age of 11. At the beginning of their relationship, Coxon would play the saxophone on Albarn's original songs before playing the guitar in several small Colchester bands. He appeared on the popular BBC children's show Blue Peter twice.

Blur
Coxon studied Fine Arts at Goldsmiths College, London, for two years, where early on he met bassist Alex James. In his time there he mixed with upcoming talents such as Damien Hirst, Michael Landy, Sam Taylor-Wood, and Abigail Lane, some of the future leading lights of the Britart movement. His musical interests were heavily influenced by Pink Floyd founder Syd Barrett, whose work he had discovered by 1986.

He quit college due to the increasing success of his band at the time, Seymour, which later changed its name to Blur because the recording company, Food Records, thought Seymour was too 'student-ish'. They presented a list to the band of preferred names which included "The Shining Path" and "Blur". As well as providing all guitars, backing vocals, and occasional drums, Coxon's lo-fi and alternative musical style and tastes influenced the band's less commercial music in the late 1990s. He sang lead vocals on songs including "Red Necks", "You're So Great" from the album Blur, and "Coffee & TV", as well as a section of the chorus of "Tender", the bridge of "Lonesome Street" and a section of "Thought I Was a Spaceman" on The Magic Whip.

During the 1995 period of the media-dubbed 'Battle of Britpop', Coxon became increasingly weary and suspicious of the music industry. His behaviour was occasionally awkward, such as refusing to appear in the video for Blur song "Country House" unless he could dress as a milkman and take no part in any action with which he felt uncomfortable.

In November 2001, Coxon was admitted to the Priory Hospital for 28 days to be treated for alcoholism. During this time, Blur began the recording sessions that would produce the material for their next album, Think Tank. In February 2002, Coxon rejoined the band in the studio for the rest of the recording of Think Tank but after five days was asked by then manager Chris Morrison not to go back into the studio as the other members of the band had reported that the session was not going too well with him present. Coxon took this as a sign and left the band. As he stated in an interview in 2006, "I had a breakthrough, I think my life just became calmer, I gave up drinking. My priorities changed as I had a young daughter. The group didn't want me to record for the Think Tank album, so I took it as a sign to leave". His last contribution to Blur was a song called "Battery in Your Leg", the closing song on Blur's 2003 album Think Tank, before leaving the line-up. Damon Albarn later revealed that the song "Sweet Song" was written after he had been looking at a photograph of Coxon.

After Damon Albarn's revealing that he and Coxon had rebuilt their relationship, on 9 December 2008, Blur announced that the whole band would reunite for a show at Hyde Park on 3 July 2009. More dates were announced and the band played festival dates at Glastonbury, T in the Park and Oxegen 2009 as well as headlining shows in Manchester, Newcastle, Wolverhampton, Goldsmiths College and the East Anglian Railway Museum in Colchester. Blur also played one show in Lyon, France.

On 17 April 2010, the band released their first single since 2003, "Fool's Day", for the Record Store Day event as a 7" limited to 1000 copies. The band released the single as a free download on their official website the next day. More recently Blur announced via the NME website that they would reunite every so often and record more singles, preferably on 7 inch. However, Damon also stated that an album was not on its way as they were all too busy with their own individual projects.

On 19 February 2015, Coxon and the band announced on social media that they would be releasing their eighth studio album on 27 April, titled The Magic Whip, Blur's first album in 12 years and first in 16 years in their original lineup.

Solo work
Coxon had already released three solo albums while a member of Blur before his 2002 departure. His first, The Sky Is Too High was released on his own Transcopic label in 1998. This was followed by The Golden D in 2000 and Crow Sit on Blood Tree in 2001. After going solo full-time, he released The Kiss of Morning in 2002. The album was promoted with the single "Escape Song". In 2004, Coxon released his fifth solo album Happiness in Magazines, produced by ex-Blur and The Smiths producer Stephen Street. This proved to be his most successful album to date, and he received the NME Award for Best Solo Artist in 2005.

In March 2006 he released his sixth solo album, called Love Travels at Illegal Speeds, again produced by Stephen Street. It marked Coxon's first album away from his now-defunct indie label 'Transcopic'. The LP was preceded by the singles "Standing on My Own Again" on 27 February and "You & I". Coxon embarked on a tour of the UK, starting at Newcastle University. He was also involved in a single supporting the England national football team at the 2006 FIFA World Cup. The song was a re-working of the Sham 69 hit "Hurry Up Harry", and was released as "Sham 69 and The Special Assembly" (as well as Coxon and Sham 69, Virgin Radio DJ Christian O'Connell, who had run a competition on his show to find a band to record a song in support of the team, was involved in the recording of the song). "Hurry Up England" entered the UK Singles Chart at No. 10.

In October 2006, Coxon released a double live album Burnt to Bitz: At the Astoria immediately after his sold-out London Astoria show. The album features 27 songs, with at least one song from each of his albums. In July 2007 Coxon released a single with Paul Weller, called "This Old Town". The single peaked at No. 39 in the UK Singles Chart.

Coxon's seventh 15-track studio album titled The Spinning Top, produced again by Stephen Street, was released on 11 May 2009. Coxon stated that the LP, which is primarily acoustic, followed a narrative – the story of a man from birth to death. "The album is mainly an acoustic journey although there is, of course, some explosive electric guitar action," he explained. "There are some guests too! Robyn Hitchcock supplies some counter-attack guitar, Jas Singh plays dilruba and jori with his friends Gurjit Sembhi on taus and Jaskase Singh on esraj. Danny Thompson plays the legendary Victoria, Graham Fox gives plenty of swing on the drums and sizzle cymbals and Louis Vause tinkles the ivories." Pre-release response had been positive, with Monday Field of Frank Booth Review dubbing the album "a staggering artistic achievement, and Coxon's best solo release to date."

His eighth solo album A+E was released in April 2012.

Coxon wrote and recorded the score for the 2017 Channel 4 / Netflix television series The End of the F***ing World; it was his first original score. The soundtrack was released in January 2018. In September of the same year, Coxon embarked on a solo tour in North America that featured some of the songs from his score.

In February 2020, Coxon released an album for the fictional band Bloodwitch, to be a part of the soundtrack of the Netflix series I Am Not Okay with This, featuring singer Tatyana Richaud.

In 2021, Coxon published Superstate, a graphic novel accompanied by a studio album of the same name, bringing the concept of a dystopian futuristic universe. The cover art, much like most of his solo works, was illustrated by himself.

Following in 2023, the folk rock band The Waeve, consisting of Graham Coxon and Rose Elinor Dougall as members, released their debut self-titled album, with an England-wide tour.

Transcopic and other contributions
Coxon's independent label, Transcopic, was co-managed with his friend, and then business partner, Jamie Davis. Davis now runs Independent label Ark Recordings. Coxon illustrated and designed all of his own album art, and collaborated with his friend Nick Craske creating abstract digital work for the release of The Spinning Top; they also filmed two music videos, "Sorrow's Army" and "'In The Morning". Coxon also continued painting a series of personal work, most of which remained unseen until 2004, when he exhibited at the ICA in London.

Coxon has also been involved in remixing other peoples tracks, including Idlewild and Lowgold both of which were released as b-sides and the latter remix was later re-released on the bands anthology release Keep Music Miserable.

In September 2006, Coxon revealed a musical soundscape, "english shoes squeek", created especially for "Verheaven" an exhibition at London's Riflemaker Gallery of the work of artist Julie Verhoeven.

Coxon appeared on John McCusker's Under One Sky, providing the song "All Has Gone".

In 2009, Coxon was involved in the creation of the Pete Doherty solo album Grace/Wastelands. Doherty had entered a period of sobriety, during which he holed up with Coxon to work on his debut solo album, Grace/Wasteland, (released 24 March 2009) a diverse collection of 12 songs that bounce between reggae and Doherty's standard post-punk. Coxon played on all but one track on the album.

Coxon has also produced albums by Mower and Assembly Line People Programme from his Transcopic label.

In 2013, Coxon was involved in a musical project where artists re-recorded the classic Beatles album Please Please Me. He recorded the song "Baby It's You" live as part of a 10-hour recording session hosted by BBC Radio 2 to mark the 50th anniversary of a challenge set by recording company EMI to The Beatles to record a whole studio album in one session.

In February 2019, Coxon became involved with the writing process of the Duran Duran album Future Past, which reached No.3 on the UK Album Charts and No.1 on the UK Independent charts. He told the UK Independent Newspaper that Duran Duran are "All really nice and they’re not, as individuals, dissimilar to Blur." Coxon performed with Duran Duran at the 2021 Billboard Awards Show.

Instruments and equipment
Coxon has primarily used Fender Telecasters throughout his career, particularly a '52 reissue and a customised 1968 model with a Gibson PAF humbucker in the neck position, the latter was reissued by Fender as the Graham Coxon signature model although with some minor changes. Since the Blur reunion in 2009 he almost exclusively used a vintage Telecaster Deluxe. During the Leisure era Coxon also used Gibson Les Pauls and a Fender Jaguar, whilst on some later songs, such as No Distance Left to Run and This Is a Low, Coxon uses a Gibson ES-335. He has occasionally used a heavily modified Fender Musicmaster which can be seen in the Coffee & TV and Beetlebum videos. Coxon plays all the instruments featured in his solo work, and has used a variety of guitars, notably Gibson SGs, and a Burns London Sonic. He has been recently seen playing a Telecaster Custom.

Graham recently received a custom-made guitar from Gray Guitars; it is a Telecaster-type instrument and features a semi-acoustic body and P90 style pickups.

Coxon's playing makes significant use of effects pedals such as distortion, delay (a significant example being "Essex Dogs") and flange (as heard in the pre-chorus of "Girls & Boys"). He uses a custom made Mike Hill pedalboard which over the years has included: Akai Headrush E2, Boss BF-2 Flanger, Boss CS-3 Compressor/Sustainer, Boss DD-3 Digital Delay, Boss DM-2 Analogue Delay, Boss OD-3, Boss NS-2 Noise Suppressor, Boss PN-2 Tremolo/Pan, Boss RV-5 Digital Reverb, Boss TR-2 Tremolo, Boss TU-2 Tuner, Boss VB-2 Vibrato, DOD Punkifier, Electro-Harmonix HOG, Electro-Harmonix Holy Grail, Line 6 FM4 Filter Modeller, ProCo RAT, Shin-Ei FY-2 Companion Fuzz, T-Rex Mudhoney Distortion.

For amplification, he uses two Marshall 1959 SLP heads going in to individual 1968 4x12 cabinets.

A detailed gear diagram of Graham Coxon's 1993 Blur guitar rig is well-documented.

Other artistic endeavours
Coxon is a visual artist and designs all his album sleeves. He has also designed album sleeves for other artists. In July 2006, he wrote and had published a foreword for a new edition of Herman Hesse's Narcissus and Goldmund novel. His work also featured on the cover of English folk singer Kate Rusby's album The Girl Who Couldn't Fly.

In October 2022 his memoir Verse, Chorus, Monster! was published by Faber and Faber.

Personal life
Coxon became a teetotaler after recovering from alcoholism. He is in a relationship with musician Rose Elinor Dougall, with whom he has a daughter.

Solo discography

 * Solo studio albums
 * The Sky Is Too High (1998)
 * The Golden D (2000)
 * Crow Sit on Blood Tree (2001)
 * The Kiss of Morning (2002)
 * Happiness in Magazines (2004)
 * Love Travels at Illegal Speeds (2006)
 * The Spinning Top (2009)
 * A+E (2012)
 *  The End of the F***ing World (Original Songs And Score) (2018)
 *  The End of the F***ing World 2 (Original Songs And Score) (2019)
 *  I Am Not Okay with This (as Bloodwitch)  (Original Songs And Score) (2020)
 * Superstate (2021, in association with Z2 Comics)

title: Graham Coxon


text:
Arithmetization of analysis

The arithmetization of analysis was a research program in the foundations of mathematics carried out in the second half of the 19th century which aimed to abolish all geometric intuition from the proofs in analysis. For the followers of this program, the fundamental concepts of calculus should also not make references to the ideas of motion and velocity. This ideal was pursued by Augustin-Louis Cauchy, Bernard Bolzano, Karl Weierstrass, among others, who considered that Isaac Newton's calculus lacked rigor.

History
Kronecker originally introduced the term arithmetization of analysis, by which he meant its constructivization in the context of the natural numbers (see quotation at bottom of page). The meaning of the term later shifted to signify the set-theoretic construction of the real line. Its main proponent was Weierstrass, who argued the geometric foundations of calculus were not solid enough for rigorous work.

Research program
The highlights of this research program are:
 * the various (but equivalent) constructions of the real numbers by Dedekind and Cantor resulting in the modern axiomatic definition of the real number field;
 * the epsilon-delta definition of limit; and
 * the naïve set-theoretic definition of function.

Legacy
An important spinoff of the arithmetization of analysis is set theory. Naive set theory was created by Cantor and others after arithmetization was completed as a way to study the singularities of functions appearing in calculus.

The arithmetization of analysis had several important consequences:
 * the widely held belief in the banishment of infinitesimals from mathematics until the creation of non-standard analysis by Abraham Robinson in the 1960s, whereas in reality the work on non-Archimedean systems continued unabated, as documented by P. Ehrlich;
 * the shift of the emphasis from geometric to algebraic reasoning: this has had important consequences in the way mathematics is taught today;
 * it made possible the development of modern measure theory by Lebesgue and the rudiments of functional analysis by Hilbert;
 * it motivated the currently prevalent philosophical position that all of mathematics should be derivable from logic and set theory, ultimately leading to Hilbert's program, Gödel's theorems and non-standard analysis.

Quotation

 * "God created the natural numbers, all else is the work of man." — Kronecker

title: Arithmetization of analysis


text:
Talk:The 3DO Company

3do
Okay, I know 3DO is in the process of going under, but I think using their logo is a copyvio. I won't revert the article yet (to the version before the addition of the image), but I really think this is a copyvio. Please let me know if I'm wrong, or else I'll remove the image in the next few days. —Frecklefoot 15:28, 11 Aug 2003 (UTC)

 * Employees were laid off, and the company's game brands and other intellectual properties were sold to rivals like Microsoft, Namco, Crave, and Ubisoft, and also to founder Trip Hawkins, who paid US$405,000 for rights to some older brands and the company's "Internet patent portfolio".

Was Trip the founder? I was under the impression he took over the company in the 90s and kept it floating with money out of his already rich pocket, but I have no sources right now saying either way. Anyone confirm/deny? - Bdice 21:44, 10 Oct 2004 (UTC)

 * Yes, he was most certainly the founder, I have 1993 articles and reference works confirming that.

TerokNor 22:24, 11 Oct 2004 (UTC)

3D0
does 3d0 have a home page They used to but they don't anymore

$250 games?
The cost of the games could reach to the price of $250

What 3DO games cost $250? I confess I actually owned one of these things and I never saw a game retail for more than $60. yeah right

Some games cost 100$ (SF2) — Preceding unsigned comment added by 96.21.82.37 (talk) 17:43, 14 September 2012 (UTC)

List
We should have a list of all games 3DO made not just mention a couple I checked this article because I wanted to check a game. Jamhaw 21:05, 11 September 2006 (UTC)jamhaw

http://en.wikipedia.org/wiki/List_of_3DO_games M8gen 10:33, 22 November 2006 (UTC)

NAME DEFINED
3do means Three Dimensional Operable in case someone would like to add it. M8gen 10:37, 22 November 2006 (UTC)

Expand?
These guys were big enough to get a full article. —The preceding unsigned comment was added by 76.209.228.89 (talk) 22:52, 11 December 2006 (UTC).

Article needs more
This is such a small and limited article for such a huge mover and shaker in the video game idustry. I would like to see more on their downfall and their constant whoring of the army men franchise.

2.5DO
When the first fully functional chipset was delivered by the foundry 3DO used for its custom graphic ASIC, the software developers testing the shockingly disappointing 3D capabilities of the sytem deemed it "2.5DO". When the Playstation came on the scene with its breakthrough 3D graphics capabilities, this prophetic moniker was born out and then some. Travismillman (talk) 22:56, 7 August 2008 (UTC)

3 Dimensional Operating System?
I thought 3DO was a pun on 'audio, video', as if 'three-deo' followed suit. Can someone post a citation for this first theory? VanillaSeagull (talk) 01:39, 12 February 2013 (UTC)

Edit warring
If 3DO really was "Dissloved into GoAnimate 3D Softwares" then please provide a source. And for Indrian, the only reason I warned you as well is that it was a bit harsh to jump straight in whith the assumption that the edits were vandalism - AGF and all that. Chaheel Riens (talk) 09:24, 19 February 2016 (UTC)
 * Have you checked his edit history? He is repeatedly adding false release information to a half dozen obscure console articles.  This is vandalism, and AGF has noting to do with it.  The 3DO bankruptcy is common knowledge to anyone with a basic understanding of recent video game history and you should be helping protect this article rather than excusing good editors of engaging in edit-warring or 3RR violations. Indrian (talk) 15:32, 19 February 2016 (UTC)

Source

 * https://web.archive.org/web/20000613220748/http://headline.gamespot.com/news/99_03/30_vg_tdo/index.html
 * https://archive.org/details/Game_Players_PC_Entertainment_Vol.6_No.2_March-April_1993_U/page/n51/mode/2up

title: Talk:The 3DO Company


text:
Battle of Tolvajärvi

The Battle of Tolvajärvi (['tol.va.jær.vi]; Tolvajärven–Ägläjärven taistelu, Битва при Толваярви) was fought on 12 December 1939 between Finland and the Soviet Union. It was the first large offensive victory for the Finns in the Winter War.

The battle took place on territory of so-called Ladoga Karelia (Laatokan Karjala) which today is part of the Republic of Karelia.

Location and intent
The Finnish plan was to encircle the Soviet division by two pincer-attacks over the frozen lakes Hirvasjärvi and Tolvajärvi. The northern attack over Hirvasjärvi was to begin at 08:00 and the second would start when the first had brought results. This was later changed and both attacks were to begin at 08:00.

The Soviet main effort was to make a front assault with two regiments 609th and 364th over the Tolvajärvi lake onto the Finnish positions of the 16th regiment near Tolvajärvi village, while the Soviet 718th regiment was to make a 20 km flanking maneuver from the north to the Finnish rear across thick wooded areas.

There was a thick fog over a single narrow unimproved rural muddy road towards Tolvajärvi that was winding amongst some dozens of small lakes. Just before the battle a big snow storm brought some 40-50 cm of snow. Due to thick fog, aviation did not take part in the battle. Due to mud, many tanks got stuck and also did not actively participate in the battle and were lost during withdrawal.

Composition

 * Finnish side (4,000):
 * Talvela Group of the 4th Corps (16th Infantry Regiment)
 * Rjasjanen detachment (4 separate battalions and one artillery battalion of the 6th Artillery Regiment)

The Finnish side consisted of 7 infantry battalions and 30 pieces of artillery.

The Finnish 16th Infantry Regiment was composed of workers out of Tampere city and headed by the chief of police of Tampere.

 * Soviet side (20,000):
 * 139th Rifle Division of the 8th Army (718th, 609th, 364th Rifle regiments)

The Soviet side consisted of 9 infantry battalions, 60 artillery pieces, one scout battalion, one signal battalion, one sapper battalion, 30 tanks, and 376 planes.

Battle
The northern group consisting of two battalions soon met Soviet resistance. In fact, they met the Soviet 718th Rifle Regiment of the 139th Rifle Division, which was preparing to make its own attack on the Finnish flank. By noon, the Finnish troops withdrew to their own lines. Although this attack did not fulfill its objectives, it prevented the 718th from attacking the Finnish flank, and also from sending reinforcements to the south.

While the second battalion of the Finnish 16th (infantry) Regiment (II/JR 16) was preparing to attack along the road, it was interrupted by an attack from the Soviet 609th Regiment. The Finns were still able to attack after they got some artillery support. The Finnish attack continued towards a hotel located on a thin isthmus between the two lakes. Pajari decided to commit his reserves in a pincer attack at the Soviet troops around the hotel. In the end, the hotel was captured and in it were found a dead Soviet regimental commander and all the regiment's papers.

The Finns withdrew over the lakes for the night. In the morning, Colonel Talvela demanded a new attack and the Soviet 139th Rifle Division was pushed back and later (20–22 December) destroyed around Ägläjärvi (now Yaglyayarvi in Russia) (some 20 km east from Tolvajärvi). Contact was also made with the Soviet 75th Rifle Division, which had been sent as reinforcements.

Aftermath
Finnish losses were over 100 dead and 250 wounded. The Soviet losses are thought to be over 5000 dead and a lot of equipment: the guns of two artillery batteries, AT-guns, some twenty tanks (amongst others T-26s) and 60 machine guns. The battle was an important offensive victory for the Finns and was very important for the morale of the whole Finnish Army. No major battles were fought in this region after the successful Finnish counter-attack. Only a few shots were fired occasionally. The Finns held the line to the end of the Winter War.

Two commanders from Finnish side were promoted. Paavo Talvela was promoted from colonel to major general on 18 December 1939. Aaro Pajari was promoted to colonel on 18 December 1939. General Belyaev was dismissed from commanding on 16 December 1939, but preserved his rank. In June 1940 after re-attestation he was granted the rank of major general.

title: Battle of Tolvajärvi