text:
Fipple

The term fipple specifies a variety of end-blown flute that includes the flageolet, recorder, and tin whistle. The Hornbostel–Sachs system for classifying musical instruments places this group under the heading "Flutes with duct or duct flutes." The label "fipple flute" is frequently applied to members of the subgroup but there is no general agreement about the structural detail of the sound-producing mechanism that constitutes the fipple, itself.

Nomenclature
The accompanying illustration of the mouthpiece of a recorder shows a wooden block (A) with a channel carved into the body of the instrument (B), together forming a duct that directs a ribbon of air across an opening toward a sharp edge (C). The edge splits the air in a manner that alternately directs it into and outside of the tube, setting the contained column of air into periodic vibration. This flow-controlled "air reed" is a definitive characteristic of all flutes, which therefore all have an edge or equivalent air-splitting device.

As is clear from the Hornbostel-Sachs heading, there are several ways in which a duct can be formed. These include the player's lips controlling the stream of air as it is directed to the edge, without mechanical assistance. Common examples of this are the end-blown ney and the side-blown concert flute. The first attested use of the term fipple is in a comparison between the recorder and the transverse flute by Francis Bacon, published in 1626. "Recorders…were it not for the fipple, that straitneth the air…would yeeld no sound. … Some kinds of winde-instruments, are blowne at a small hole in the side, which straitneth the breath at the first entrance, the rather in respect of their traverse, and stop above the hole, which performeth the fipples part, as is seene in flutes and fifes, which will not give a sound by a blast at the end, as recorders &c., doe."

By this description, the fipple is a plug that nearly closes one end of the pipe, open only for the duct that "straightens” the channel of air blown axially into the instrument. The solid "stop” near the mouth hole or embouchure on a pipe that is blown transversely is analogous to it. This provides historical justification for using the term "fipple flute" to designate a recorder (cf. the German term Blockflöte). Subsequent authors have used the term in that sense but differ in the element of the mechanical aggregate illustrated above that they regard specifically as the fipple. That word is used variously to designate the block, the edge, the full block-duct-edge structure, and the entire instrument. This ambiguity is detailed in the article headed Fipple in Grove Music Online, which concludes, "Since nobody can agree what the term means, to avoid further confusion its use should be abandoned." In the text below, what might otherwise be termed a fipple flute is referred to as a duct flute.

Sound production
A whistle sound is produced by the interaction between the air reed and the air column in the segment of the instrument that projects just beyond the edge. The dimensions of the entire body of the instrument determine its timbre and pitch. Various additional structural details permit the player to alter both these factors. One example of this is the set of finger holes that laterally pierce the body of a recorder and are opened or closed to change the length of the vibrating air column.

The recorder can be used to illustrate further nuance in the design of duct flutes. By definition, the duct is formed by a channel carved into the body of the instrument, and the block. This passage is alternately termed a windway and ends at an opening referred to as a window, bounded by the edge on the opposite side. This rigid structure affords intrinsically less dynamic and intonational flexibility than does, for example, a transverse flute embouchure. This can be offset by other structural details. In the case of the recorder, their presence or absence often differentiates between mass-produced and artisan-built instruments. In a broader context, the difference between one type of duct flute and another is determined both by gross and finer structural detail.

History
Duct flutes have a long history: an example of an Iron Age specimen, made from a sheep bone, exists in Leeds City Museum.

L.E. McCullough notes that the oldest surviving whistles date from the 12th century, but that, "Players of the feadan are also mentioned in the description of the King of Ireland's court found in Early Irish law dating from the 7th and 8th centuries A.D."

The Tusculum whistle is a 14-cm whistle with six finger holes, made of brass or bronze, found with pottery dating to the 14th and 15th centuries; it is currently in the collections of the National Museums Scotland.

One of the earliest surviving recorders was discovered in a castle moat in Dordrecht, the Netherlands in 1940, and has been dated to the 14th century. It is largely intact, though not playable. A second more or less intact 14th century recorder was found in a latrine in northern Germany (in Göttingen): other 14th-century examples survive from Esslingen (Germany) and Tartu (Estonia). There is a fragment of a possible 14th-15th-century bone recorder in Rhodes (Greece); and there is an intact 15th-century example from Elblag (Poland).

Duct flutes
The following flutes have a duct structure:
 * Bangsi Alas
 * Diple (or dvojnice)
 * Flabiol
 * Flageolet (forerunner of the tin whistle)
 * Fujara
 * Hydraulophone
 * Khloy
 * Khlui
 * Kuisi
 * Several Indigenous American flutes, including the double chamber instrument commonly known as the Native American Flute, the latter usually have an edge slanted toward the inside of the instrument, and a primary air chamber before the constricted air canal or windway, created with a separate mobile piece tied to the instrument's body, an external block, making a roof instead of a floor for the windway.
 * Ocarinas, and among them the Gemshorn
 * Flue pipes of the pipe organ
 * Pipe (as with tabor)
 * Recorder
 * Salamuri
 * Shvi
 * Slide whistle (aka swanee or swannee whistle, piston flute, jazz flute)
 * Sopilka, Ukrainian folk instruments with several variants, including twin-piped instruments (superficially resembling the aulos) and modern "chromatic" instruments with 10 holes
 * Souravli
 * Spilåpipa
 * Stabule
 * Telenka, Ukrainian overtone flute
 * Tin whistle (or penny whistle)
 * Txistu
 * Frula

title: Fipple


text:
Talk:Dalnegorsk

List of countries and links
I changed the sentence: to: Is there a particular reason why it was reverted? Bobblewik 22:48, 5 September 2005 (UTC)
 * ''production is exported to  Great Britain , Italy, France, Japan, Australia, Korea, China, and other countries in Europe and Asia
 * ''production is exported to  Britain , Italy, France, Japan, Australia, Korea, China, and other countries in Europe and Asia
 * Sorry, I did not notice the UK bit. I only noticed that a few links to the years were unwikified.  I have nothing againts the UK corrections, of course, but I am a bit curious what the reason for removing links to the years was.—Ëzhiki (erinaceus amurensis) 17:31, September 7, 2005 (UTC)

 * People link full dates so that date format preferences work, it is not really a link at all. This produces a common recommendation to link dates. However it does not work with for a year on its own but many people see date links and mistakenly assume at all dates must be linked. This is covered in the manual of style. If you like having year links in this article, that is fine by me.

 * My main concern was the correction of the country term. If you do object to the correction, I would be grateful if you could undo the revert of it. Keep up the good work. Regards. Bobblewik 19:14, 7 September 2005 (UTC)
 * No, of course I have no objections. Sorry I could not undo it myself—I am currently away and am able to access WP only sporadically.  As for the years, the links are useful to those who are interested in finding out what else happened on the same date/year (or just year), but I understand some people prefer not to see individual years linked.  I guess it's the matter of personal preferences.—Ëzhiki (erinaceus amurensis) 15:05, September 9, 2005 (UTC)

Not necessarily Chinese
The article says "...during the cleansing of Chinese names in Primorsky Krai." I would strongly disagree with the opinion that all the names swept away from maps in the seventies were Chinese. Most of them were Manchurian or Udege. I do not want to correct the article staightaway until there is anybody to support my view, as to some it could be sentitive. Samnikal 13:53, 3 February 2006 (UTC)
 * I'll gladly support you if you can provide sources to support this claim. Sources I have only mention Chinese ("Tetyukhe" is definitely of Chinese origin), but you being located in Primorye certainly have access to better and more complete sources than I do.  I was unable to find anything about cleansing of Manchu and/or Udege names, but if you can, by all means go ahead and update the article.—Ëzhiki (ërinacëus amurënsis) 15:30, 3 February 2006 (UTC)
 * It would be interesting to know whether there was a Balhae or a Mohe (especially Yulou Mohe: Hangul : 우루말갈 Hanja/Hanzi : 虞婁靺鞨 pinyin : Yúlóu Mòhé)settlement in the vicinity of Dalnegorsk because the area was occupied by Balhae Kingdom under King Seon's reign (818-830) and during that period, the present-day Dalnegorsk district was part of Anbyeon Prefecture (Hangul : 안변부, Hanja :安邊府) The capitals and the prefectures of Balhae Kingdom. After the fall of Balhae in 926, i can not be able to determine without whether that region became part of Liao Dynasty Empire or was occupied by Jurchens (ancestors of the Manchus) (probably Jianzhou Jurchens or Wild Jurchens). These are my knowledge on that area. Regards.Whlee 16:12, 28 February 2007 (UTC)

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

title: Talk:Dalnegorsk


text:
Bochō Yamamura

Bochō Yamamura (山村 暮鳥) was a Japanese writer, poet and songwriter.

Bochō was born Tsuchida Hakkujū to a peasant family in present-day Takasaki, Gunma and struggled to become educated; his family's poverty prevented him from finishing elementary school. Nevertheless, he continued to study and educate himself to the point where he was hired to teaching at his former primary school as the age of fifteen. In 1902 he converted to Anglicanism, though some scholars have suggested he did so in order to gain access to a university education. He gained the public's attention thanks to his acutely sensitive poetry. Suffering from tuberculosis, out of work, and living a sad vagabond life, he kept writing poetry, fairy tales and songs for children with a humanity-filled, warm style. In his last years, he composed a number of simply-worded and yet highly inspirational odes to nature.

Bochō was one of the earliest Japanese writers to be described as a Futurist in a 1916 article by Sakutarō Hagiwara.

title: Bochō Yamamura


text:
Ridings

Ridings may refer to:

 * Ridings (surname)
 * Riding (division), an area of government, a division of a county or an electoral district
 * The Ridings Centre, a shopping centre in Wakefield, West Yorkshire, UK
 * The Ridings School in Halifax, West Yorkshire, UK
 * The Ridings High School near Bristol, UK
 * Ridings FM, a radio station serving the Wakefield District of West Yorkshire, England
 * Yorkshire Ridings Society, a group calling for the wider recognition of the historic borders of Yorkshire
 * Two Ridings Community Foundation, an English charity in Yorkshire
 * Ridings Mill, Virginia, an unincorporated community in the United States

title: Ridings


text:
Yuji Hayami

Yuji Hayami (早見 裕司) is a Japanese science fiction and fantasy writer.

Life
Born in Aomori Prefecture, he started writing in 1982 for SF Izumu magazine. Afterwards he collaborated on a number of published works. In 1988 he published his first novel, Summer Road (Natsukaidô-Samârôdo), followed by various other fantasy books, often set in large cities or characterized by a surreal streak.

Hayami also worked on a number of novelizations of science fiction or horror manga and anime. In the latter field, his work on the tie-ins for the anime series Vampire Princess Miyu became so popular that the original characters and situations were in later entries of the series modified to account for his personal additions to the canon.

title: Yuji Hayami


text:
Royal Crescent

The Royal Crescent is a row of 30 terraced houses laid out in a sweeping crescent in the city of Bath, England. Designed by the architect John Wood, the Younger, and built between 1767 and 1774, it is among the greatest examples of Georgian architecture to be found in the United Kingdom and is a Grade I listed building. Although some changes have been made to the various interiors over the years, the Georgian stone facade remains much as it was when first built.

The 500 ft crescent has 114 Ionic columns on the first floor with an entablature in a Palladian style above. It was the first crescent of terraced houses to be built and an example of "rus in urbe" (the country in the city) with its views over the parkland opposite.

Many notable people have either lived or stayed in the Royal Crescent since it was built over 240 years ago, and some are commemorated on special plaques attached to the relevant buildings. Of the crescent's 30 townhouses, 10 are still full-size townhouses; 18 have been split into flats of various sizes; One is the No. 1 Royal Crescent museum, and The Royal Crescent Hotel & Spa, at the centre of the crescent, is made up of No. 16 and No.15.

Design and construction
The street that is known today as "the Royal Crescent" was originally named "The Crescent." It is claimed that the adjective "Royal" was added at the end of the 18th century after Prince Frederick, Duke of York and Albany had stayed there. He initially rented number one and later bought number 16. The Royal Crescent is close to Victoria Park and linked via Brock Street to The Circus which had been designed by John Wood, the Elder.

The land on which the Royal Crescent stands was bought from Sir Benet Garrard of the Garrard baronets, who were the landlords, in December 1766. Between 1767 and 1775 John Wood designed the great curved facade with Ionic columns on a rusticated ground floor. Each original purchaser bought a length of the façade, and then employed their own architect to build a house behind the facade to their own specifications; hence what can appear to be two houses is occasionally just one. This system of town planning is betrayed at the rear and can be seen from the road behind the Crescent: while the front is uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration. This architecture, described as "Queen Anne fronts and Mary-Anne backs", occurs repeatedly in Bath. It was the first crescent of terraced houses to be built and an example of "rus in urbe" (the country in the city) with its views over the parkland opposite.

In front of the Royal Crescent is a ha-ha, a ditch on which the inner side is vertical and faced with stone, with the outer face sloped and turfed, making an effective but invisible partition between the lower and upper lawns. The ha-ha is designed so as not to interrupt the view from Royal Victoria Park, and to be invisible until seen from close by. It is not known whether it was contemporary with the building of the Royal Crescent, however it is known that when it was first created it was deeper than it is at present. The railings between the crescent and the lawn were included in the Heritage at Risk Register produced by English Heritage but have been restored and removed from the register.

In 2003, the archaeological television programme Time Team dug the Royal Crescent in search of a Roman cemetery and the Fosse Way. The remains of a Roman wall were found behind the crescent and evidence of possible Iron and Bronze Age settlement on the lawn in front.

History

In the late 19th century five cast iron lamp columns with decorative scrollwork were added. In 1921, architect Robert Tor Russell used the Crescent as a source of inspiration to design the central business district of Connaught Place, New Delhi, India.

During the Bath Blitz of World War II, known as the Baedecker Raids or Baedeker Blitz, some bomb damage occurred, the most serious being the gutting of numbers 2 and 17 by incendiaries. After World War II, during a period of redevelopment which is described as the Sack of Bath, the City Council considered plans that would have seen the Crescent transformed into Council offices. These were unsuccessful.

During the 20th century many of the houses which had formerly been the residences of single families with maids or other staff were divided into flats and offices. However, the tradition of distinguished gentlefolk retiring to the crescent continued. The whole crescent was designated as a Grade I listed building in 1950. Number 16 became a guest house in 1950. In 1971 it was combined with number 15 to become the Royal Crescent Hotel occupying the central properties of the Crescent, which were renovated and additional rooms in pavilions and coach houses within the gardens included in the accommodation. It was sold in 1978 to John Tham, the chairman of the London Sloane Club, and restored. It was later purchased by Von Essen Hotels, which became insolvent in 2011. In September 2011 it was expected that London & Regional Properties would purchase the hotel, but negotiations ended in January 2012 without a deal. On 2 April 2012, investment company the Topland Group announced that it had purchased the Royal Crescent Hotel.

In the 1970s the resident of No 22, Miss Amabel Wellesley-Colley, painted her front door yellow instead of the traditional white. Bath City Council issued a notice insisting it should be repainted. A court case ensued which resulted in the Secretary of State for the Environment declaring that the door could remain yellow. Other proposals for alteration and development including floodlighting and a swimming pool have been defeated.

Notable residents
The first resident of Number 1 was Thomas Brock, Town Clerk of Chester, for whom Brock Street was named. His sister Elizabeth had married the architect of the Crescent, John Wood, the Younger. Brock's first tenant at No. 1 was Henry Sandford, a retired Irish MP who rented the house from 1776 until his death in Bath in 1796. Sandford was described as a 'gentleman of the most benevolent disposition'. William Wilberforce stayed at Number 2 in 1798. Christopher Anstey, a well-known writer of the time, was resident in number 4 from 1770 until 1805, although the plaque to him is placed on number 5. Jean Baptiste, Vicomte du Barre took over number 8 in 1778 and hosted parties and gambling. He died in a duel on Claverton Down and is buried in the churchyard at the Church of St Nicholas in Bathampton. From 1768 to 1774 number 9 was home to Philip Thicknesse, a soldier of fortune. Number 11 was home to the family of Thomas Linley, a singing-master and conductor of the concerts from 1771. His eldest daughter Elizabeth Ann Linley, a singer in her own right, eloped with the playwright and poet Richard Brinsley Sheridan. The centre house of the crescent (#16) was used as a residence and to host blue stocking events by Elizabeth Montagu.

In the nineteenth century the popularity of the Crescent and 'taking the waters' at the Roman Baths diminished somewhat. Amongst the residents of Royal Crescent during this time were the electoral reformer Francis Burdett who lived at number 16 from 1814 to 1822 and his daughter Angela Burdett-Coutts, 1st Baroness Burdett-Coutts. The retired Admiral William Hargood lived at number 9 from 1834 until 1839 and in 1866 the same house was home to Edward Bulwer-Lytton. The jurist and explorer Thomas Falconer briefly lived at number 18 before his death in 1882. A few years later the house next door at number 17 became home to Isaac Pitman who developed the most widely used system of shorthand, now known as Pitman shorthand. English professor George Saintsbury took up residence at number 1A in 1916.

Current use
The houses and flats in the Crescent are a mixture of tenures. After World War II when there was a shortage of housing and the city council bought up older properties, including some in Royal Crescent, as public housing to rent out. The Housing Act 1985 changed the succession of Council Houses and facilitated the transfer of council housing to not-for-profit housing associations. Several were subsequently sold into private ownership, however one remains in council ownership.

No. 1 Royal Crescent is a historic house museum, owned and maintained by the Bath Preservation Trust through its membership to illustrate how wealthy owners of the late 18th century might have furnished and occupied such a house. It was purchased in 1967 by Major Bernard Cayzer, a member of the family that made its fortune through the Clan shipping line. He donated it to the Trust with an amount of money for its restoration and furnishing. The restoration was led by Philip Jebb. The Bath Preservation Trust was working during 2012–13 to re-unite Number One with its original servants' wing at Number 1A Royal Crescent, which has been in use as a separate dwelling for many years. No. 1 serves as the Trust's headquarters. Number 15 and 16 are still used as a hotel.

Bath and North East Somerset council made an order banning coaches and buses from the crescent, after many years of complaints by residents that the tours given to tourists were disruptive, particularly because of the amplified commentary given by tour guides on open top buses.

Architecture
The crescent is 500 ft long and each building is almost 50 ft high, including small rooms with dormer windows in the attic. The ground floor is plain emphasising the columns and windows of the first floor. The 114 columns are 30 in in diameter reaching 47 ft, each with an entablature 5 ft deep in a Palladian style. The central house (now the Royal Crescent Hotel) boasts two sets of coupled columns with a single window between them which is the middle of the crescent.

They are built of Bath stone. They have slate roofs but were originally stone tiled. The appearance of each house is very similar with only minor variations between them, for example, some have small balconettes on the first floor. Many of the windows have been restored to their original style with glazing bars rather than the horned plate glass sash windows which had been installed in the 19th or early 20th centuries. Some of the window sills had also been lowered. This has been reversed at Number 1 but policy has since changed with a decision to keep the alterations which were made in the 19th century. In front of the houses are cast iron railings which are mirrored by those on the opposite side of the road at the top of Victoria Park. The road is surfaced with pennant stone laid when the crescent was constructed.

Film and television
In 1965, the black comedy The Wrong Box (1966) used the Crescent extensively as a location, standing in for London.

The 1965 film Catch Us If You Can had a sequence filmed outside the Crescent, and in one of its houses.

In 2007, a TV edition of Jane Austen's Persuasion included many scenes shot at the Crescent, where the Elliot family was supposedly living while in Bath.

The Crescent featured in the 2008 film The Duchess, starring Keira Knightley.

The fictional heroine of 2008 BBC1 archaeology thriller Bonekickers was depicted as living in the Crescent.

In 2014, the hotel in the Crescent was a location for BBC1 series Our Girl.

In 2020, the Crescent was first used in the Netflix series Bridgerton and continued to be used in later seasons.

The ITV television series McDonald & Dodds is set in Bath and makes frequent use of the Crescent as interstitial scenery as well as a shooting location.

title: Royal Crescent


text: User talk:68.81.32.74

title: User talk:68.81.32.74


text:
Palace of Fine Arts

The Palace of Fine Arts is a monumental structure located in the Marina District of San Francisco, California, originally built for the 1915 Panama–Pacific International Exposition to exhibit works of art. It was constructed from concrete and steel, and the building was claimed to be fireproof. According to a metal plate at the rotunda, it was rebuilt under B.F. Modglin, local manager of MacDonald & Kahn, between 1964 and 1967. In the years 1973 and 1974, the columniated pylons were added. It is the only structure from the exposition that survives on site.

The most prominent building of the complex, a 162 feet open rotunda, is enclosed by a lagoon on one side and adjoins a large, curved exhibition center on the other side, separated from the lagoon by colonnades. As of 2019, the exhibition center (one of San Francisco's largest single-story buildings) is used as a venue for events such as weddings or trade fairs.

Conceived to evoke a decaying ruin of ancient Rome, the Palace of Fine Arts became one of San Francisco's most recognizable landmarks. Early 2009 marked the completion of a renovation of the lagoons and walkways and a seismic retrofit.

History
The Palace of Fine Arts was one of ten palaces at the heart of the Panama-Pacific Exhibition. The exhibition also included the exhibit palaces of Education, Liberal Arts, Manufactures, Varied Industries, Agriculture, Food Products, Transportation, Mines, and Metallurgy, and the Palace of Machinery. The Palace of Fine Arts was designed by Bernard Maybeck. He was tasked with creating a building that would serve as a quiet zone where exhibition attendees could pass through between visiting the crowded fairgrounds and viewing the paintings and sculptures displayed in the building behind the rotunda. Maybeck designed what was essentially a fictional ruin from another time. He took his inspiration from Roman and Ancient Greek architecture (specifically Piranesi's etching of the remnants of the so-called Temple of Minerva Medica in Rome), and also from Böcklin's symbolism painting Isle of the Dead.

While most of the exposition was demolished when the exposition ended, the Palace was so beloved that a Palace Preservation League, founded by Phoebe Apperson Hearst, was founded while the fair was still in progress.

For a time the Palace housed a continuous art exhibit, and during the Great Depression, W.P.A. artists were commissioned to replace the decayed Robert Reid murals on the ceiling of the rotunda. From 1934 to 1942 the exhibition hall was home to eighteen lighted tennis courts. During World War II, it was requisitioned by the military for the storage of trucks and jeeps. At the end of the war, when the United Nations was created in San Francisco, limousines used by the world's statesmen came from a motor pool there. From 1947 on, the hall was put to various uses: as a city Park Department warehouse; as a telephone book distribution center; as a flag and tent storage depot; and even as temporary Fire Department headquarters.

While the Palace had been saved from demolition, its structure was not stable. Originally intended to only stand for the duration of the Exhibition, the colonnade and rotunda were not built of durable materials, and thus framed in wood and then covered with staff, a mixture of plaster and burlap-type fiber. As a result of the construction and vandalism, by the 1950s the simulated ruin was a crumbling ruin.

In 1964, the original Palace was completely demolished, with only the steel structure of the exhibit hall left standing. The buildings were then reconstructed until 1974 in permanent, light-weight, poured-in-place concrete, and steel I-beams were hoisted into place for the dome of the rotunda. All the decorations and sculptures were constructed anew. The only changes were the absence of the murals in the dome, two end pylons of the colonnade, and the original ornamentation of the exhibit hall.

In 1969, the former Exhibit Hall became home to the Exploratorium interactive museum, and, in 1970, also became the home of the 966-seat Palace of Fine Arts Theater. In 2003, the City of San Francisco along with the Maybeck Foundation created a public-private partnership to restore the Palace and by 2010 work was done to restore and seismically retrofit the dome, rotunda, colonnades, and lagoon. Within January 2013, the Exploratorium closed in preparation for its permanent move to the Embarcadero.

In 1992 and 1996, the popular U.S. game show Wheel of Fortune taped shows at the Palace for broadcast in November.

In April 2020, during the coronavirus pandemic, plans were announced to convert the Palace of Fine Arts into a temporary shelter for 162 homeless people. The decision was reversed shortly afterward, following protests by local residents and concerns that the lodging conditions would be inadequate.

Design
Built around a small artificial lagoon, the Palace of Fine Arts is composed of a wide, 1100 ft pergola around a central rotunda situated by the water. The lagoon was intended to echo those found in classical settings in Europe, where the expanse of water provides a mirror surface to reflect the grand buildings and an undisturbed vista to appreciate them from a distance.

Ornamentation includes Bruno Zimm's three repeating panels around the entablature of the rotunda, representing "The Struggle for the Beautiful", symbolizing Greek culture. While Ulric Ellerhusen supplied the weeping women atop the colonnade and the sculptured frieze and allegorical figures representing Contemplation, Wonderment, and Meditation.

The underside of the Palace rotunda's dome features eight large insets, which originally contained murals by Robert Reid. Four depicted the conception and birth of Art, "its commitment to the Earth, its progress and acceptance by the human intellect," and the four "golds" of California (poppies, citrus fruits, metallic gold, and wheat).

In popular culture
The Palace of Fine Arts has been seen in films such as Vertigo (1958), Time After Time (1979), Bicentennial Man (1999), The Room (2003), and Twisted (2004). It also served as the backdrop for set pieces in So I Married An Axe Murderer (1993) and The Rock (1996). Additionally, the Palace has appeared in the Indian films My Name is Khan (2010) and Vaaranam Aayiram (2008). It also appears in Season 7, Episode 2 of Mission: Impossible, and in Season 8, Episode 7 of Mannix. It was incorporated into the imagery of the Sept of Baelor in Season 1, Episode 9 of Game of Thrones.

Lucasfilm headquarters was constructed near the Palace of Fine Arts, which has been noted for its similarity to the city of Theed on Naboo as it appears in the film Star Wars: Episode I – The Phantom Menace (1999).

In the 2000s, a smaller replica of the rotunda of the Palace of Fine Arts was built in Disney's California Adventure in Anaheim, serving as the entrance to a theater showing the film Golden Dreams about the history of California. The attraction closed on September 7, 2008, and was demolished in 2009 to make way for The Little Mermaid ~ Ariel's Undersea Adventure dark ride. The rotunda entrance remained, but it was repainted and serves as an entrance to the ride.

title: Palace of Fine Arts


text:
Talk:Spey River

Untitled
Chatty? Is that a city? moink 21:08, 5 Mar 2004 (UTC)

title: Talk:Spey River


text:
Albert Einstein Award

The Albert Einstein Award (sometimes mistakenly called the Albert Einstein Medal because it was accompanied with a gold medal) was an award in theoretical physics, given periodically from 1951 to 1979, that was established to recognize high achievement in the natural sciences. It was endowed by the Lewis and Rosa Strauss Memorial Fund in honor of Albert Einstein's 70th birthday. It was first awarded in 1951 and, in addition to a gold medal of Einstein by sculptor Gilroy Roberts, it also included a prize money of $15,000, which was later reduced to $5,000. The winner was selected by a committee (the first of which consisted of Einstein, Oppenheimer, von Neumann, and Weyl ) of the Institute for Advanced Study, which administered the award. Lewis L. Strauss used to be one of the trustees of the institute.

This award should not be confused with many others named after the famous physicist, such as the Albert Einstein World Award of Science given by the World Cultural Council (since 1984), the Albert Einstein Medal given by the Albert Einstein Society (since 1979), nor with the Hans Albert Einstein Award, named after his son and given by the American Society of Civil Engineers (since 1988). It was established much earlier than these, while Einstein was still alive and was a professor at the Institute for Advanced Study. It has been called "the highest of its kind in the United States" by The New York Times. Some considered it as "the prestigious equivalent of a Nobel Prize".

title: Albert Einstein Award


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User talk:Ezod

Hi there. Welcome to Wikipedia! Drop us a note at New user log to introduce yourself.

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Happy editing, Isomorphic 21:12, 5 Mar 2004 (UTC)

Thanks for the quality edits on Couchsurfing. Kslays 14:15, 9 May 2006 (UTC)

Copmputer vison
Hi, in May you tagged the Computer vision article for cleanup (on good grounds). Since then it has undergone some rewrite and I am about to remove the tag. Can you please have a look. If there still are serious problems, please be more specific. Regards --KYN 11:51, 10 August 2006 (UTC)

Casey Fenton
The article Casey Fenton has been speedily deleted from Wikipedia. This was done because the article seemed to be about a person, group of people, band, club, company, or web content, but it did not indicate how or why the subject is notable, that is, why an article about that subject should be included in Wikipedia. Under the criteria for speedy deletion, articles that do not assert notability may be deleted at any time. If you can indicate why the subject is really notable, you are free to re-create the article, making sure to cite any verifiable sources.

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ويكيبيديا مصرى

 * I have put a proposal and started an active project for ويكيبيديا مصرى wikipedia Masri. If this may interest you, I would be very grateful for any help you can offer in this project, many thanks.--Ghaly (talk) 19:27, 7 April 2008 (UTC)

 * To vote on the proposal please press here.--Ghaly (talk) 19:23, 8 April 2008 (UTC)

Proposed deletion of Boom Boom Room
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RfC: New helper policy
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title: User talk:Ezod


text:
Depth

Depth(s) may refer to:

Science and mathematics

 * Depth (ring theory), an important invariant of rings and modules in commutative and homological algebra
 * Depth in a well, the measurement between two points in an oil well
 * Color depth (or "number of bits" or "bit depth"), in computer graphics
 * Market depth, in financial markets, the size of an order needed to move the market a given amount
 * Moulded depth, a nautical measurement
 * Sequence depth, or coverage, in genetic sequencing
 * Depth (coordinate), a type of vertical distance
 * Tree depth

Art and entertainment

 * Depth (video game), an asymmetrical multiplayer video game for Microsoft Windows
 * Depths (novel), a 2004 novel by Henning Mankell
 * Depths (Oceano album), 2009
 * Depths (Windy & Carl album), 1998
 * "Depths" (Law & Order: Criminal Intent), an episode of Law & Order: Criminal Intent
 * Depth, the Japanese title for the PlayStation game released in Europe under the name Fluid
 * Depths of Wikipedia, social media account dedicated to interesting or unusual Wikipedia content

title: Depth


text: User talk:136.182.2.222

title: User talk:136.182.2.222


text:
The Children Act (novel)

The Children Act is a novel by the English writer Ian McEwan. It was published on 2 September 2014. The title is a reference to the Children Act 1989, a UK Act of Parliament. The book has been compared to Charles Dickens's Bleak House, with its similar settings, and opening lines.

Plot
Fiona Maye is a respected High Court Judge specialising in Family Law and living in Gray's Inn Square. While reviewing a case, she is approached by her husband, Jack, who tells her that because of their lack of physical intimacy he would like to embark on a sexual affair, with her permission, with a 28 year old statistician. Fiona is horrified and refuses to agree to Jack's terms. Fiona had developed a horror of the body after presiding over a case in which she ruled that conjoined twins should be separated despite the fact that one twin would immediately die due to her verdict. Though her peers lauded her elegant solution to the case, Fiona is privately troubled by it and nevertheless refuses to share this detail with Jack. In the middle of their fight, Fiona receives a call about an emergency case of a young teenager with leukemia who refuses a blood transfusion as a member of Jehovah's Witnesses. Jack leaves the apartment.

Going to work Fiona finds herself pondering her marriage, her childlessness (in part due to her dedication to her career). Impulsively she decides to change the locks to her home despite knowing that this is illegal. Returning home she realizes that Jack has not returned or tried to contact her.

The following day Fiona hears arguments for the case involving Adam, the young Jehovah's Witness. As he is only three months shy of his 18th birthday Fiona decides to visit him in the hospital to try to ascertain whether he is capable of denying treatment or not. She finds him a precocious and kind boy and he reads her poetry and plays a tune on his violin with her, with Fiona joining him by singing to his playing in an encore. Returning to court she rules that the hospital be allowed to give him the blood transfusion. Feeling elated with her decision she walks home and, upon returning, discovers that Jack has returned feeling foolish about his attempts to leave her. Fiona realizes that everything will eventually go back to normal and is ultimately disappointed that he returned at a time when she was happy and actually anticipating being alone.

Months later Fiona's marriage is still tense. She begins to receive letters, at first at her work, and later at her apartment, from Adam Henry, telling her he is now grateful for her ruling and that he sees the hypocrisy in his parents and has become disillusioned with religion. Fiona decides to ignore the letters. Travelling to Newcastle to oversee local cases, she is surprised to find that Adam has followed her there, desperate to talk to her. Adam eventually confesses that he has left home and wants to live with Fiona. She refuses his request and tells him to call his mother. Arranging for a taxi and a train ticket she goes to kiss him on the cheek goodbye, but the two end up kissing on the lips. Panicked after the kiss, Fiona calls her husband to arrange for dinner when she returns and the two begin to reconcile.

Returning home Fiona and Jack slowly grow closer to one another. Fiona receives another letter from Adam, a religious poem, which implies that he thinks of her as Satan for tempting him away from religion and has returned to the faith. Like his other letters, Fiona ignores it.

Fiona prepares for a Christmas concert to be performed before her colleagues. The night before the concert she and Jack reconcile with a kiss and promise to dedicate themselves to each other anew. Going to the concert, before she performs, Fiona is informed that Adam has died after his leukemia returned and he refused treatment, now being of the age of majority. Fiona performs at the concert and then runs home. When Jack returns she tells him of the case, the kiss, and his death, feeling guilty for kissing Adam and then turning him away causing him to go back to his religious convictions. She falls asleep crying in her own bed, but when she wakes up Jack has followed her and he promises to love her as she reveals further details about her guilt.

Inspiration
McEwan explains his inspiration in an essay he wrote for The Guardian which begins, "'Some years ago I found myself at dinner with a handful of judges – a bench is the collective noun. They were talking shop, and I was politely resisting the urge to take notes... How easily, I thought at the time, this bench could be mistaken for a group of novelists discussing each other's work, reserving harsher strictures for those foolish enough to be absent. At one point, our host, Sir Alan Ward, an appeal court judge, wanting to settle some mild disagreement, got up and reached from a shelf a bound volume of his own judgments. An hour later, when we had left the table for coffee, that book lay open on my lap. It was the prose that struck me first. Clean, precise, delicious. Serious, of course, compassionate at points, but lurking within its intelligence was something like humour, or wit, derived perhaps from its godly distance, which in turn reminded me of a novelist's omniscience.'"

Reception
Reviews for the novel are mixed:
 * The Guardian's Kate Kellaway believes this to be "the best novel he has written since On Chesil Beach" and goes on to say, "He leads us in one direction, then points us in another. And what one especially prizes is this ability to turn on his heel, change everything within a sentence or a well-placed word. From the start of this masterly novel, there is a larger sense, as Fiona lies on her chaise longue, that an elegantly established equilibrium is about to be rocked" and concludes "He keeps us tensely guessing – everything hingeing on Fiona's decision about the boy. And it will not spoil the plot to say that this is a novel which, above all, considers what it might mean to be saved – and not in the sense in which Jehovah's witnesses have claimed the word."
 * Tessa Hadley, also writing in The Guardian, enjoys the novel's presentation of "a succession of particular cases from the family division in all their fascinating detail, along with the legal precedents and the issues they raise." but complains that "the digressions make the flow of life in The Children Act feel oddly halting, and, although the plotting is intricate, there's nothing in the writing of Fiona's private life that is as interesting as the legal arguments...The problem is the novel's prose seems not so much to imitate the flow of Fiona's experience, as to offer a fairly pedestrian summary."
 * James Walton in The Telegraph criticizes the McEwan, concluding that, "By my reckoning, there are at least three highly implausible twists as he strives, with diminishing returns, to push The Children Act into a novel. None is justified either by his obvious desire to remind us of religion's annoying persistence, or by Fiona's childlessness, often a sign of human incompleteness in his work. The book still contains plenty of good, typically precise writing...Yet, in the end – especially given the choice of Jehovah's Witnesses as the chief target – the feeling persists that McEwan's considerable intellectual and literary firepower is here being used for little more than shooting fish in a barrel."
 * Sam Leith in Literary Review writes "The writer's hand is always there: you're aware of McEwan's workmanlike crisscrossing of his themes – parenting, moral responsibility, the austerity of law and messiness of life, the moving power of art (the boy's poetry; Fiona's piano-playing) and so on. It never descends to being a thesis novel, but you're definitely conscious of McEwan moving the pieces around on the chessboard. Scene by scene, The Children Act is grounded and plausible. McEwan's prose has all the quiet mastery to which his readers have become accustomed. Fiona herself is completely realised, and the description of the fissure in her marriage entirely convincing and well developed. But Adam – at least to my mind – is less well rounded and the connection between the two sides of the story seems willed rather than organic. The whole assemblage still feels, by Ian McEwan's own highest standards, a little bit thin."
 * Cressida Connoelly in The Spectator was even more negative, with the strapline "Improbable, unconvincing and lazy – Ian McEwan's latest is unforgivable...The characterisation is scant and the writing poor, and he never gives religion a chance"
 * Nick Romeo in The Daily Beast was also negative: "He seems to behold his characters more than inhabit them, and this creates a sterile distance, a sense of reading a summary of others' misfortune. Her case just feels like one of many, not fundamentally different than the ones she considers. The story is schematic and contrived rather than palpable and lived."

Film adaptation
A film adaptation of the novel was released in 2017. It is directed by Richard Eyre and stars Emma Thompson and Stanley Tucci.

title: The Children Act (novel)


text:
Vittorio Catani

Vittorio Catani (17 July 1940 – 23 November 2020) was an Italian science fiction writer.

Career
Born in Lecce, he lived and worked in Bari, Italy. Formerly a bank clerk, he started publishing essays and fiction in 1962, especially within the fantasy and science fiction genres. His first novel, Gli universi di Moras, won the Premio Urania in 1990.

He has been published in most major newspapers and magazines, and his works have been translated in a number of European countries. He contributed to the daily newspaper La Gazzetta del Mezzogiorno, the environmental quarterly "Villaggio Globale", and was one of the editors of "www.fantascienza.com" and "www.carmillaonline.com".

His second science fiction novel, Il Quinto Principio, was published in December 2009, again by Urania.

Catani died in Bari on 23 November 2020, at the age of 80.

Works

 * L'eternità e i mostri (1972, short stories collection)
 * Il gioco dei mondi (1985, essay on science fiction)
 * Gli universi di Moras (1990, novel, winner of Premio Urania)
 * I guastatori dell'Eden (1993, novel)
 * Replay di un amore (1994, novel)
 * Cronache dal futuro (1995, a boy's guide to Italian fantasy fiction)
 * Tra cielo e Terra (1998, short stories collection)
 * Accadde... domani (2001, short stories and vignettes collection)
 * Storie dal villaggio globale. 21 racconti tra ecologia e fantascienza (2004, short environmental stories collection)
 * Vengo solo se parlate di Ufi (2004, essays on science fiction)
 * L'essenza del futuro (2007, 63 short stories and novelettes collection 1955/2007)
 * Per dimenticare Alessia (2007, novel, not science fiction)
 * Mi sono perso col cosmo tra le mani (2008, essays on science fiction)
 * I suoni del silenzio (2009, 3 short stories collection)
 * Il Quinto Principio (2009, novel)

title: Vittorio Catani


text:
Louis Racine

Louis Racine (born 6 November 1692, Paris; died 29 January 1763, Paris) was a French poet of the Age of the Enlightenment.

The second son and the seventh and last child of the celebrated tragic dramatist Jean Racine, he was interested in poetry from childhood but was dissuaded from trying to make it his career by the poet Boileau on the grounds that the gift never existed in two successive generations. However, in 1719 Racine became a member of the Académie des Inscriptions and published his first major poem, La Grâce, in 1722. But, because of the poem's Jansenist inspiration, Cardinal de Fleury, chief minister of Louis XV, blocked the poet's admission to the Académie Française, and instead Racine was induced to accept the post of inspector-general of taxes at Marseille in Provence.

For the next 24 years, although he continued to write poetry, Racine worked as a tax inspector in various provincial towns and cities, marrying in 1728. His most important poem, La Religion, in which he was careful to avoid further accusations of Jansenism, was published in 1742. He eventually retired from government service in 1746, aged 54, and returned to Paris where he devoted himself to his writing.

In November 1755, he lost his only son and his daughter-in-law when they were swept away by the tsunami from the Lisbon earthquake while on honeymoon at Cadiz in Spain. This tragedy, commemorated by the French poet Écouchard-Lebrun, is said to have broken Racine's spirit. He sold his large library, gave up writing, and devoted himself now to the practice of religion. It was around this time that Racine wrote his last published work, an essay on the famous feral child of 18th-century France Marie-Angélique Memmie Le Blanc whom he had interviewed and written of in his philosophical poem L'Épître II sur l'homme (1747) (Second Epistle on Man).

Louis Racine was characterised by Voltaire, the leading French intellectual of his day, as le bon versificateur Racine, fils du grand Racine ("the good versifier Racine, son of the great Racine"). His Oeuvres complètes (complete works) were collected in six volumes and published in Paris in 1808. He was said by his contemporaries to have been a very personable, humble man who was sincerely pious and fluent in seven languages.

title: Louis Racine


text:
User talk:Pbr90

For some time now, it appears that with the Bank Mergers go the files for which they might be held accountable. The degree of coverup at Banks and Insurance Companies appear to match the government in their style, and use of such tactics to insulate and immunize themselves of any wrongdoing. This increasingly common phenomenon surely deserves a good watch since there is considerable evidence that it is far off the road of good faith, no doubt, a lesson learned during the redlining years. I wonder how much of the Merger Market is due to the fact that wrongdoing needs to be subrogated into the coverture of its parent. It's done enough to make its own industry, perhaps called "Hide and Seek" Companies, or "Buried Treasures" Companies? It sounds like the beginning of a beautiful relationship for fancied Super Sleuths and Bond look alikes, heaven at last - what a mine field! Wow, a multitude of sins in the money pit of adaptable CEO's and their "cash rich funny farms."

title: User talk:Pbr90


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Jonah Goldberg

Jonah Jacob Goldberg (born March 21, 1969) is an American conservative syndicated columnist, author, political analyst, and commentator. The founding editor of National Review Online, from 1998 until 2019, he was an editor at National Review. Goldberg writes a weekly column about politics and culture for the Los Angeles Times. In October 2019, Goldberg became the founding editor of the online opinion and news publication The Dispatch.   Goldberg has authored the No. 1 New York Times bestseller Liberal Fascism, released in January 2008; The Tyranny of Cliches: How Liberals Cheat in the War of Ideas, released in 2012; and Suicide of the West, which was published in April 2018 and also became a New York Times bestseller, reaching No. 5 on the list the following month.

Goldberg is also a regular contributor on news networks such as CNN and MSNBC, appearing on various television programs including Good Morning America, Nightline, Hardball with Chris Matthews, Real Time with Bill Maher, Larry King Live, Your World with Neil Cavuto, the Glenn Beck Program, and The Daily Show with Jon Stewart. Goldberg was an occasional guest on a number of Fox News shows such as The Five, The Greg Gutfeld Show, and Outnumbered. He was also a frequent panelist on Special Report with Bret Baier. From 2006 to 2010, Goldberg was a frequent participant on bloggingheads.tv. Goldberg has been a noted critic of President Donald Trump, fellow Republicans, and the conservative media complex during and after the Trump presidency. In November 2021, Goldberg and his colleague Steve Hayes resigned from Fox News in protest over Tucker Carlson's documentary Patriot Purge. Goldberg described the documentary as "a collection of incoherent conspiracy-mongering, riddled with factual inaccuracies, half-truths, deceptive imagery, and damning omissions."

Early life and education
Goldberg was born on the Upper West Side of New York City's Manhattan borough to Lucianne Goldberg (née Steinberger), a literary agent who died in 2022 and advised Linda Tripp to illegally record conversations with Monica Lewinsky, and Sidney Goldberg, who died in 2005, an editor and media executive. In speaking about his upbringing, Goldberg has said that his mother was an Episcopalian and that his father was Jewish and that he was raised Jewish. After graduating from high school in 1987, Goldberg left New York City to attend Goucher College in Towson, Maryland, from which he earned his bachelor's in 1991, majoring in political science. Goldberg's class at Goucher, which was a women's college until 1986, was the second to admit men. While at Goucher, Goldberg was active in student politics and served as the co-editor of the school newspaper, The Quindecim, for two years. Goldberg and Andreas Benno Kollegger were the first men to run the paper. He later interned for Scripps Howard News Service, United Press International, and other news organizations. He also worked for Delilah Communications, a publishing house in New York.

Career
After graduating, Goldberg taught English in Prague for less than a year before moving to Washington D.C. in 1992 to take a job at the American Enterprise Institute. While at AEI he worked for Ben J. Wattenberg. He was the researcher for Wattenberg's nationally syndicated column and for Wattenberg's book, Values Matter Most. He also worked on several PBS public affairs documentaries, including a two-hour special hosted by David Gergen and Wattenberg. Goldberg was also invited to serve on Goucher College's Board of Trustees immediately after graduating in 1991, a position he held for three years.

In 1994, Goldberg became a founding producer for Wattenberg's Think Tank with Ben Wattenberg. That same year he moved to New River Media, an independent television production company, which produced "Think Tank" as well as numerous other television programs and projects. Goldberg worked on a large number of television projects across the United States, as well as in Europe and Japan. He wrote, produced, and edited two documentaries for New River Media, Gargoyles: Guardians of the Gate and Notre Dame: Witness to History.

He joined National Review as a contributing editor in 1998. By the end of that year, he was asked to launch National Review Online (NRO) as a sister publication to National Review. He served as editor of NRO for several years and later became editor-at-large.

Clinton–Lewinsky scandal
Goldberg's mother Lucianne Goldberg was involved in the Clinton–Lewinsky scandal as detailed in The New Yorker. Goldberg has spoken of his mother and the Lewinsky scandal:

"My mother was the one who advised Linda Tripp to record her conversations with Monica Lewinsky and to save the dress. I was privy to some of that stuff, and when the administration set about to destroy Lewinsky, Tripp, and my mom, I defended my mom and by extension Tripp ... I have zero desire to have those arguments again. I did my bit in the trenches of Clinton's trousers."

These tapes became the focal point of the Lewinsky scandal.

Writing for National Review and other publications
Beginning in 1998, Goldberg was an editor and wrote a twice-weekly column at National Review, which is syndicated to numerous papers across the United States, and at Townhall.com. National Review consists of fellow contributors such as Ramesh Ponnuru, Richard Brookhiser, and Kevin D. Williamson.

Goldberg also wrote the "Goldberg File" at National Review, a column that was generally lighter and more focused on humor and cultural commentary. Goldberg's column often made pop-culture references to works including Star Trek and Battlestar Galactica, of which he has said he is a fan. Goldberg was also a frequent contributor at the National Review blog The Corner, often authoring posts with light-hearted, comedic and pop-culture references.

Goldberg left National Review in May 2019.

Aside from being a member of the USA Today Board of Contributors, he has written for The New Yorker, The Wall Street Journal, Commentary, The Public Interest, The Wilson Quarterly, The Weekly Standard, The New York Post, and Slate. The Los Angeles Times added Goldberg to its editorial lineup in 2005.

In 2020, Goldberg co-founded The Dispatch, an online news publication aimed at offering political, social and cultural analysis from a center-right perspective.

Online media
Goldberg is the host of The Remnant with Jonah Goldberg, an interview podcast that covers a variety of topics in the spheres of politics, conservative theory, and current events. Goldberg is a frequent participant in programs produced by Ricochet, including the podcast GLoP Culture which features Goldberg, John Podhoretz, and Ricochet co-founder Rob Long. From 2006 to 2010, he was a frequent participant on Bloggingheads.tv.

Books
Goldberg's first book, Liberal Fascism: The Secret History of the American Left, from Mussolini to the Politics of Meaning, was published in January 2008. It reached No. 1 on the New York Times Best Seller list of hardcover nonfiction in its seventh week on the list. Some historians have denounced the book as being "poor scholarship", "propaganda", and not scholarly. Other reviewers described the book as "provocative". The audiobook version of Liberal Fascism was narrated by Johnny Heller. Goldberg followed the book with The Tyranny of Clichés: How Liberals Cheat in the War of Ideas in 2012. The paperback edition of Tyranny of Cliches came out on April 30, 2013. Goldberg himself narrated the audiobook version. His most recent work, Suicide of the West, was released in 2018.

Pulitzer claim controversy
In May 2012, Goldberg was touted as a "two-time Pulitzer prize nominee" in the book jacket of his second book, The Tyranny of Cliches: How Liberals Cheat in the War of Ideas. NBC News reporter Bill Dedman pointed this out as misleading because Goldberg had in fact only been an entrant in the Pulitzer contest and had never been nominated as a finalist, as the moniker "Pulitzer nominee" claimed. Becoming an entrant in the Pulitzer contest requires only that either the author of a written work submit an entry form along with a small fee or that someone else do so on their behalf. Following Dedman's reporting, Goldberg and his publishing company acknowledged the false claim and subsequently removed the line from the book jacket.

Frequent topics
Some frequent topics of his articles include censorship, meritocracy, liberty, federalism and interpretation of the Constitution. He has attacked the ethics and morals of liberals and Democrats, and his disagreements with libertarians also appear often in his writings. In the years of the Trump presidency, his writings turned critical of the Trump movement and the moral rot within the Republican Party. He was a supporter of the Iraq War and has advocated American military intervention elsewhere in the world. He has defended historical colonialism in places such as Africa as more beneficial than it is generally given credit for; in one column, he suggested that U.S. imperialism on the continent could help solve its persistent problems. When he wrote in October 2006 that invading Iraq was a mistake, he called it a "noble" mistake and still maintained that liberal opponents of the war policy wanted America to fail: "In other words, their objection isn't to war per se; it's to wars that advance U.S. interests. ... I must confess, one of the things that made me reluctant to conclude that the Iraq war was a mistake was my distaste for the shabbiness of the arguments on the antiwar side."

He popularized and expanded on a commentary by the late Time writer William Henry III. Henry had written on the subject of multiculturalism and cultural equality, stating that "it is scarcely the same thing to put a man on the moon as to put a bone in your nose". Goldberg stated that "[m]ulticulturalism—which is simply egalitarianism wrapped in rainbow-colored paper—has elevated the notion that all ideas are equal, all systems equivalent, all cultures of comparable worth."

He has criticized the idea of "social justice" as meaning "anything its champions want it to mean" or "'good things' no one needs to argue for and no one dare be against".

Relations with other writers and public figures
Goldberg has publicly feuded with people on the political left, like Juan Cole, over U.S. Iraq policy, and Air America Radio commentators such as Janeane Garofalo, who has accused him of being a chickenhawk on the Iraq War. On February 8, 2005, Goldberg offered Cole a wager of $1,000 "that Iraq won't have a civil war, that it will have a viable constitution, and that a majority of Iraqis and Americans will, in two years' time, agree that the war was worth it". Cole refused to accept and the wager was never made. Goldberg later conceded that if Cole had accepted the bet, Cole would have won.

Goldberg and Peter Beinart of The New Republic hosted a conservative vs. liberal WebTV show, What's your Problem?, from 2007 to 2010. It originally could be found on National Review Online and later moved to Bloggingheads.tv.

Relations with Fox News
Regarding Fox News, Goldberg said, "Look, I think liberals have reasonable gripes with Fox News. It does lean to the right, primarily in its opinion programming but also in its story selection (which is fine by me) and elsewhere. But it's worth remembering that Fox is less a bastion of ideological conservatism and more a populist, tabloidy network." Goldberg has criticized liberals for applying a double standard to Fox News, arguing they have no "problem with the editorializing of MSNBC's Keith Olbermann or Chris Matthews, they think it's just plain wrong for conservatives to play that game".

During the Trump years and beyond, while Goldberg defended certain news hosts and shows on Fox News, he became more sympathetic towards critiques of Fox News, especially regarding their opinion hosts, including Tucker Carlson, Sean Hannity, and Mark Levin. On November 21, 2021, Goldberg and colleague Steve Hayes announced that they were severing their ties to Fox News in protest of its support for Tucker Carlson's Patriot Purge, which they described as "a collection of incoherent conspiracy-mongering, riddled with factual inaccuracies, half-truths, deceptive imagery, and damning omissions."

Donald Trump
During the years of the Trump Presidency, Goldberg remained very critical of conservative media's embrace of him. On Trump's defenders in the media, Goldberg said this:

"For nearly five years now, it has been obvious that Trump was unfit for the job and the arguments marshaled in his defense were cynical rationalizations that, for some, eventually mutated into sincerely held delusions. Sure, some deluded themselves from the beginning, but I’ve talked to too many Republican politicians and conservative media darlings who admitted it in private."

During the Trump Presidency, Goldberg became increasingly critical of both the Republican Party's embrace of President Trump and their abandonment of pre-Trump principles.

Personal life
Goldberg is married to Jessica Gavora, chief speechwriter and former senior policy adviser to former Attorney General John Ashcroft. They have one daughter, and they live in the Palisades, Washington, D.C. neighborhood.

Goldberg's brother, Joshua, died in 2011 from accidental injuries. Goldberg's father, Sidney, died in 2005, and was survived by his wife, Jonah's mother, Lucianne. Lucianne Goldberg died on October 26, 2022.

title: Jonah Goldberg


text:
Slot time

Slot time is a concept in computer networking. It is at least twice the time it takes for an electronic pulse (OSI Layer 1 - Physical) to travel the length of the maximum theoretical distance between two nodes. In CSMA/CD networks such as Ethernet, the slot time is an upper limit on the acquisition of the medium, a limit on the length of a packet fragment generated by a collision, and the scheduling quantum for retransmission.

Since a pulse's runtime will never exceed slot time (the maximum theoretical time for a frame to travel a network), the network interface controller, or NIC waits a minimum of slot time before retransmitting after a collision happened, in order to allow any pulse that was initiated at the time that the waiting NIC was requested to send, to reach all other nodes. By allowing the pulse to reach the waiting NIC, a local collision occurs (i.e. while still sending) rather than a late collision occurring (after sending may or may not have ended). By having the collision occur at the NIC (local) and not on the wire (late) CSMA/CD implementation recover the situation by retransmitting later.

Some times for Ethernet slot time include:

See DIFS for information on 802.11x slot times.

title: Slot time


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Eusèbe Renaudot

Eusèbe Renaudot (20 July 1646 – 1 September 1720) was a French theologian and Orientalist.

Biography
Renaudot was born in Paris, and brought up and educated for a career in the church. After being educated by the Jesuits, and joining the Oratorians in 1666, he was in poor health, left his order, and never took more than minor orders. Despite his interest in theology and his title of abbé, much of his life was spent at the French court, where he attracted the notice of Colbert and was often employed in confidential affairs.

He was a prominent supporter of Jacques-Bénigne Bossuet, in the controversies with Richard Simon, François Fénelon and the Jesuits. In later life his attitudes became Gallican and Jansenist. He became a member of the Académie française (1689), the Academy of Inscriptions (1691), and the Accademia della Crusca of Florence.

Works
The learning in Eastern languages which he acquired in his youth and maintained amid the distractions of court life did not bear fruit until he was sixty-two.

Renaudot's best-known books are Historia Patriarcharum Alexandrinorum (Paris, 1713 which is translation of original work by Severus Ibn al-Muqaffa) and Liturgiarum orientalium collectio (2 vols., 1715–16). The latter argued for continuous Christian belief in the sacraments, the topic on which most of his theological writings turned, and which was then, in consequence of the controversies attaching to Antoine Arnauld's Perpétuité de la foy de l'Église, a major matter of debate between French Catholics and Protestants.

Other works were Gennadii Patriarchae Constantinopolitani Homiliae de Eucharistia (Paris, 1709) and Anciennes relations des Indes et de la Chine (Paris, 1718, see fr ).

title: Eusèbe Renaudot


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Talk:Popular science

Addition of E.O. Wilson under Notable English-language popularizers of science
I suggest adding Edward O. Wilson to the list of "Notable English-language popularizers of science". E.O. Wilson wrote may books aimed at general audiences, covering biology, life sciences, and the general condition on the planet Earth. See: https://en.wikipedia.org/wiki/E._O._Wilson Tony (talk) 19:39, 27 November 2016 (UTC)

Deletion
I removed the following from the original article. I thought it was a little of the mark (ike9898): "Popular science is a term for the modern sciences, most notably study into Quantum Physics and the Chaos Theory and includes links with Time Travel theory, Superstring Theory, Cloning as well working out so-called trivial things such as why cornflakes don't stay crisp when the milk is added, and why buses come in threes.

21:25, 5 March 2004 Ike9898

Related article

 * Science magazine

21:25, 5 March 2004 Ike9898

"Pop" science
Before encountering this article, I had generally understood "popular science," or "pop" science to refer to purported statements of "fact" that the general public commonly believe to meet the criteria of science, but which don't, some examples being that we only use 10 percent of our brain, and that the Coriolis force causes water to drain in a particular direction.

This article suggests, however, that popular science can also simply mean science that has been popularized.

If one wished to specifically document incorrect or misleading statements thought to be scientific but which are not, where would be the most appropriate place? The article at pseudoscience is inappropriate, because it isn't a question of something being scientifically valid, it is a question of whether or not something is thought to be true science.

Any thoughts? AdmN 17:39, 26 Aug 2004 (UTC)

 * List of common misconceptions. Mitch Ames (talk) 23:46, 4 March 2010 (UTC)

Removal of external links
I removed the external link to the Popular Science magazine as I couldn't see how it would help understanding of the subject. Okay, that magazine is called "Popular Science", whose subject area is popular science, but that's as far as it goes - it's not ABOUT the subject area of popular science. (Hope I'm making sense here!). (In any case, there's a disambiguation-type link at the top of the page for anyone that happens to be looking for that particular magazine.)

And as there was just this one external link, it seemed logical to just get rid of that section. (Is that a reasonable thing to do? Or should there just be an empty section lying around? Sorry, I'm a bit inexperienced in some aspects of Wikipedia!)

Finbarr Saunders 18:30, 2 August 2005 (UTC)

A bit negative
The tone of this piece seems very negative. A lot of popular science, including most of the work by the authors cited, is very good! It's like having an article on football which emphsises that some footballers cheat by diving, without mentioning any of the good stuff. And I definitely subscribe to the view that "popular science" means real science that is true but has been presented for a wide audience, not that it means popular myths.

Charlie T 20 August 2006

 * I agree. This basically depicts science journalism, outside of professional journals, as uniformly misleading and boarderline propoganda. —Preceding unsigned comment added by 71.166.65.242 (talk) 01:25, 10 July 2008 (UTC)

 * I agree too. Also, popular science does not always speak with "factual authority". A lot of popular science writing (written by actual scientists) is careful to explain how science works and that nothing can be "proven", only supported with ever more evidence.
 * 00:36, 27 September 2009 24.145.178.73

 * "By contrast, popular science emphasizes uniqueness and generality, taking a tone of factual authority…" is definitely an example of abusive "generality" "taking a tone of factual authority". The idea is not uninteresting but should absolutely be deeply rewritten as conditional from beginning to conclusion. (The phrase "often be quite dramatic", though conditional, is grossly exaggerated). This I cannot do because of my limited mastery of English. --Dominique Meeùs (talk) 05:26, 22 October 2016 (UTC)

Gary Larson
Shouldn't he be added to the list? Hasn't he popularized science through his Far Side comics?

02:14, 9 January 2007 69.120.13.232

Types of scientific fallacy
Why is this page listed in this category?

Popular science is not bad science. Like all science, it can sometimes be done badly. Also bad science, pseudoscience and voodoo science etc. appeal to the popular audience, but through their non-scientific nature are not really science, and therefore not popular science.

(I hope it makes some sense)--ZayZayEM 08:58, 6 March 2007 (UTC)

 * No, popular science is definitely not bad science or scientific myth. It is regular science written in simple terms for people who want to learn about scientific developments but do not have the scientific or mathematical background. I think it should be taken out of this category, but I don't know how.
 * 00:32, 27 September 2009 24.145.178.73

Scientific myths
Might scientific myths better fit in with folk science? Zagubov 18:16, 6 March 2007 (UTC)

Third opinion on image
This has moved from a one-on-one dispute, as another editor has now removed the image. However, I'd say to leave the image out, as it's a bit specific for this article. An image would be great, but this one isn't the best to use. JeremyMcCracken (talk) (contribs) 20:11, 11 May 2008 (UTC)
 * Thanks for the attention here Jeremy. I probably don't need to say this but I agree with you.  Equazcion •✗/C • 05:15, 12 May 2008 (UTC)

Removed red links
I've removed the following entries. If they're just red-links, they can't be that notable. If someone wants to start articles for these folks, feel free to put these links back in. Matt Deres (talk) 02:14, 4 July 2008 (UTC)

 * Robert Bud, curator of bioscience at the Science Museum, London
 * Mary Gribbin, author

Categorizing popularizers of science?
Would it not be appropriate to establish a Category:Popularizers of science as a sub-category of Category:Science writers? __meco (talk) 22:36, 4 March 2010 (UTC)
 * I've started Category:Science communicators. Fgnievinski (talk) 05:58, 1 July 2015 (UTC)
 * Do you think that Category:Science writers needs to be split in Category:Popular-science writers? Fgnievinski (talk) 05:58, 1 July 2015 (UTC)

Jad Abumrad
I'd like to make a case for Jad Abumrad to be on the list. He's the co-host of Radiolab with Robert Krulwich (who's already on the list). The show has been going on since 2002 and is currently attracting 1.8M listeners.

The radioshow is mostly on scientific subjects or philosophical subjects with a scientific bent. It promotes interest in science in a very low key way, but thoughtful, and makes it accessible and intriguing to large numbers of listeners. — Preceding unsigned comment added by Tharapita (talk • contribs) 19:37, 5 July 2011 (UTC)

Should we create Category:Popular science?
We have Category:Popular science books. I think it needs a parent category here, and we probably need categories for popular science media in general (documentaries, magazines) as well as popular science people (activists?). Thoughts? --Piotr Konieczny aka Prokonsul Piotrus| reply here 01:11, 20 March 2015 (UTC)
 * Agreed; I went ahead and got it started. Fgnievinski (talk) 04:55, 1 July 2015 (UTC)

Upmerge Category:Popular science books into Category:Science books?
Please weigh in here: Categories_for_discussion/Log/2015_June_24. Thanks. Fgnievinski (talk) 05:00, 1 July 2015 (UTC)

Popular science is a subset of Vulgarisation?
See this definition on Wiktionary:

"The process of making something accessible and attractive to the general public"

So popular science as Neil deGrasse Tyson does it would be a form of vulgarization but vulgarization can apply to other domains outside of hard science where technical detail and jargon (such as in theology?) can make things difficult to understand for the uninitiated.

That is unless "science" here is being applied in the very broad sense of the word as a study of things without the scientific method being of importance.

--JamesPoulson (talk) 07:47, 24 January 2016 (UTC)

Order of list
Please make sure entries are in alphabetical order by surname.

Nolween (talk) 00:04, 2 September 2016 (UTC)

Combine with Science Communication
Why are there two different articles about essentially the same thing? Popular science should be combined with Science communication.--Sanya3 (talk) 01:13, 8 December 2016 (UTC)

Divulgation redirects here - so this page should explain it
I find one thing annoying with Wikipedia quite often. Some page uses a term, and links to the term. Meanwhile, the term page gets merged into some other page, and a redirect is made, or the page evolves into something else in other ways. In case of Divulgation, it originally redirected to Public awareness of science (which at this point actually has a link to Wiktionary for the word under external links) but was then changed to point to this page. Neither page seems to explain the term, but at least the original target still has a link to Wiktionary, although I am not sure this covers the word in an encyclopaedic sense. And when coming from the redirect to Popular science, there is exactly one occurrence of the word on this page, namely the statement of the fact that the redirect took place. 5.186.55.135 (talk) 09:05, 5 December 2022 (UTC)

title: Talk:Popular science


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Upgrade

Upgrading is the process of replacing a product with a newer version of the same product. In computing and consumer electronics an upgrade is generally a replacement of hardware, software or firmware with a newer or better version, in order to bring the system up to date or to improve its characteristics.

Computing and consumer electronics
Examples of common hardware upgrades include installing additional memory (RAM), adding larger hard disks, replacing microprocessor cards or graphics cards, and installing new versions of software. Many other upgrades are possible as well.

Common software upgrades include changing the version of an operating system, an office suite, of an anti-virus program, or of various other tools.

Common firmware upgrades include the updating of the iPod control menus, the Xbox 360 dashboard, or the non-volatile flash memory that contains the embedded operating system for a consumer electronics device.

Users can often download software and firmware upgrades from the Internet. Often the download is a patch—it does not contain the new version of the software in its entirety, just the changes that need to be made. Software patches usually aim to improve functionality or solve problems with security. Rushed patches can cause more harm than good and are therefore sometimes regarded with skepticism for a short time after release. Patches are generally free.

A software or firmware upgrade can be major or minor and the release version code-number increases accordingly. A major upgrade will change the version number, whereas a minor update will often append a ".01", ".02", ".03", etc. For example, "version 10.03" might designate the third minor upgrade of version 10. In commercial software, the minor upgrades (or updates) are generally free, but the major versions must be purchased.

Companies usually make software upgrades for the following reasons: 1.) to support industry regulatory requirements 2.) to access emerging technologies with new features, and tools 3.) to meet the demands of changing markets 4.) to continue to receive comprehensive product support.

Risks
Although developers usually produce upgrades to improve a product, there are risks involved—including the possibility that the upgrade will worsen the product.

Upgrades of hardware involve a risk that new hardware will not be compatible with other pieces of hardware in a system. For example, an upgrade of RAM may not be compatible with existing RAM in a computer. Other hardware components may not be compatible after either an upgrade or downgrade, due to the non-availability of compatible drivers for the hardware with a specific operating system. Conversely, there is the same risk of non-compatibility when software is upgraded or downgraded for previously functioning hardware to no longer function.

Upgrades of software introduce the risk that the new version (or patch) will contain a bug, causing the program to malfunction in some way or not to function at all. For example, in October 2005, a glitch in a software upgrade caused trading on the Tokyo Stock Exchange to shut down for most of the day. Similar  have occurred: from important government systems to freeware on the internet.

Upgrades can also worsen a product subjectively. A user may prefer an older version even if a newer version functions perfectly as designed. This may happen for a variety of reasons, including the user is already accustomed to the behavior of the old version or because the upgrade removed some features (see iPhone jack removal controversy or OtherOS).

A further risk of software upgrades is that they can brick the device being upgraded, such as if power fails while the upgrade is in the middle of being installed. This is an especially big concern for embedded devices, in which upgrades are typically all-or-nothing (the upgrade is a firmware or filesystem image, which isn't usable if it's only partially written), and which have limited ability to recover from a failed upgrade. Solutions to this generally involve keeping multiple copies of firmware, so that one can be upgraded while the other remains intact as a backup, but there are still holes which can cause this to fail. Tools such as Mender.io, Sysup, SWUpdate, RAUC, and OSTree provide more complete solutions that implement upgrades in a safe atomic way, and reduce or eliminate the need to customize bootloaders and other components. Desktop systems are more likely to use something like snapshots or restore points; these are more efficient as they only require a small fraction of space to store the changes from the old system to the new one, but the lack of a turnkey implementation for embedded systems makes this impractical.

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Address space

In computing, an address space defines a range of discrete addresses, each of which may correspond to a network host, peripheral device, disk sector, a memory cell or other logical or physical entity.

For software programs to save and retrieve stored data, each datum must have an address where it can be located. The number of address spaces available depends on the underlying address structure, which is usually limited by the computer architecture being used. Often an address space in a system with virtual memory corresponds to a highest level translation table, e.g., a segment table in IBM System/370.

Address spaces are created by combining enough uniquely identified qualifiers to make an address unambiguous within the address space. For a person's physical address, the address space would be a combination of locations, such as a neighborhood, town, city, or country. Some elements of a data address space may be the same, but if any element in the address is different, addresses in said space will reference different entities. For example, there could be multiple buildings at the same address of "32 Main Street" but in different towns, demonstrating that different towns have different, although similarly arranged, street address spaces.

An address space usually provides (or allows) a partitioning to several regions according to the mathematical structure it has. In the case of total order, as for memory addresses, these are simply chunks. Like the hierarchical design of postal addresses, some nested domain hierarchies appear as a directed ordered tree, such as with the Domain Name System or a directory structure. In the Internet, the Internet Assigned Numbers Authority (IANA) allocates ranges of IP addresses to various registries so each can manage their parts of the global Internet address space.

Examples
Uses of addresses include, but are not limited to the following:
 * Memory addresses for main memory, memory-mapped I/O, as well as for virtual memory;
 * Device addresses on an expansion bus;
 * Sector addressing for disk drives;
 * File names on a particular volume;
 * Various kinds of network host addresses in computer networks;
 * Uniform resource locators in the Internet.

Address mapping and translation
Another common feature of address spaces are mappings and translations, often forming numerous layers. This usually means that some higher-level address must be translated to lower-level ones in some way. For example, a file system on a logical disk operates using linear sector numbers, which have to be translated to absolute LBA sector addresses, in simple cases, via addition of the partition's first sector address. Then, for a disk drive connected via Parallel ATA, each of them must be converted to logical cylinder-head-sector address due to the interface historical shortcomings. It is converted back to LBA by the disk controller, then, finally, to physical cylinder, head and sector numbers.

The Domain Name System maps its names to and from network-specific addresses (usually IP addresses), which in turn may be mapped to link layer network addresses via Address Resolution Protocol. Network address translation may also occur on the edge of different IP spaces, such as a local area network and the Internet.

An iconic example of virtual-to-physical address translation is virtual memory, where different pages of virtual address space map either to page file or to main memory physical address space. It is possible that several numerically different virtual addresses all refer to one physical address and hence to the same physical byte of RAM. It is also possible that a single virtual address maps to zero, one, or more than one physical address.

title: Address space


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User talk:Tofubar

Please stop inserting junk into articles. Adam Bishop 21:26, 5 Mar 2004 (UTC)

Ok how do I make turkish coffee?

title: User talk:Tofubar