text:
GC-45 howitzer

The GC-45 (Gun, Canada, 45-calibre) is a 155 mm howitzer designed by Gerald Bull's Space Research Corporation (SRC) in the 1970s. Versions were produced by a number of companies during the 1980s, notably in Austria and South Africa.

The most publicized use of the design was in Iraq, where the GHN-45 variant used by some Iraqi artillery units had a longer range than any coalition cannon systems. This initially caused considerable worry on the part of the allied forces in the Persian Gulf War.

Design history
The GC-45's general design followed several decades of work by Bull with fin-stabilized artillery shells, starting at the Canadian Armament Research and Development Establishment (CARDE) and later at Project HARP. In these efforts accuracy was not a huge concern, the objective was muzzle velocity, and the test articles were finned darts representing missiles, a low-cost alternative to wind tunnels. Yet with the removal of the rifling and the soft-metal driving band on the shell itself, the shell could be designed purely for ballistics, as opposed to having the external constraint of the driving band. A system combining some sort of rifling for accuracy without a driving band would result in a longer-range weapon. However, such a design was never achieved.

After years of research at his Quebec firing range, Bull could never settle on to a solution. The resulting Extended Range, Full Bore (ERFB) ammunition was key to SRC's designs: a "pointy" looking shell with much lower drag at supersonic speeds. For longer range applications he added a base bleed system (invented in Sweden) that could be screwed onto the standard shell, as well as an even longer-ranged system with a rocket booster.

The gun designed to fire it had a 1400 cuin chamber, a 45-calibre rifled barrel with 1/20 right hand twist fitted with a conventional muzzle brake. Its breech was a conventional screw with interrupted thread.

Key performance data, from the Firing Table are:
 * ERFB-BB shell, weight 105.9 lbs, M11 Zone 10 muzzle velocity 897 m/s, QE 898 mils, time of flight 112 s, range 39.6 km. Probable error in range 212 m, in line 36 m.
 * ERFB shell, weight 100.4 lbs, M11 Zone 10 muzzle velocity 897 m/s, QE 881 mils, time of flight 99 s, range 29.9 km. Probable error in range 189 m, in line 42 m.
 * HE M107 shell, weight 95 lbs, M119 Zone 8 muzzle velocity 675 m/s, QE 764 mils, time of flight 65 s, range 17.8 km. Probable error in range 59 m, in line 12 m.

The dispersion of the EFRB shell is more than three times that of the FH-70 field howitzer at its maximum range of only 5 km less, and is twice as great as FH-70s at 20 km. Its maximum range with the M107 projectile is the same as any 39 calibre 155-mm gun and its dispersion about the same. (The "dispersion" figure means that 50% of shells will fall up to the stated distance either side of the mean point of impact, but 100% will fall within 4 times the probable error either side.) Dispersion of this magnitude significantly reduces the tactical value of the equipment.

In 1977, Bull's work put him in touch with (what is today) the Denel SOC Ltd company of South Africa. Denel designed a new mobile mounting that was able to handle the increased recoil. It used a sole-plate to lift the carriage to take the four wheels off the ground. The chassis had the option of being powered by a small diesel engine acting as an auxiliary power unit, driving hydraulics that could set up the gun in two minutes, and move it short distances. This feature had previously been included in the 1960s design FH-70 carriage by Vickers. Bull, meanwhile, started production of $30 million worth of rounds, shipping them via Spain to avoid the international arms embargo against South Africa.

At first, the U.S. chose to overlook Bull's actions and, according to him, the Central Intelligence Agency actively mediated the deal between Space Research and the South Africans. However, when the Carter administration joined the international efforts to sanction South Africa's apartheid government, Bull was arrested by U.S. Customs agents in 1980. The investigation did not go far, and active work on the case was ended by direct intervention of the White House. Bull pleaded guilty and was sentenced to a year in prison, serving six months. Having expected some sort of "slap on the wrist", he was embittered and made statements to different newspapers that he would never set foot in North America again. He left Canada and moved to Brussels where he continued his work.

Production
Armscor continued work on their version of the gun, and these were put into service in South Africa in 1982 as the G5. They started replacing a variety of older guns, such as locally-built World War II-era Ordnance QF 25 pounders. The G5s saw service against Cuban and People's Armed Forces for the Liberation of Angola forces in the Angolan conflict, where they were used very effectively.

Noricum, the arms division of the Austrian steel company Voest-Alpine, purchased the design rights to the GC-45 after SRC moved to Europe. They made a number of detail changes to improve mass production, resulting in the GHN-45 (Gun, Howitzer, Noricum), which was offered in a variety of options like the APU and fire control systems. The first foreign sale was an order for eighteen guns with ammunition to the Royal Thai Navy for use by their Marine Corps. Other "aboveboard" customers included China, Singapore and Israel. All of these companies worked on local production under a variety of names, the Soltam 845P in Israel, ODE FH-88 from Singapore, and PLL01/WA021 in China.

Once out of prison, Bull was soon contacted by China. The Chinese People's Liberation Army also used the Noricum version, producing it as the PLL01, which entered service in 1987. They also mounted it on a locally designed tracked chassis to produce the PLZ-45 (also known as the Type 88), along with an ammo-carrier based on the same chassis.The PLZ-45 did not enter service with the PLA primarily because their existing artillery was all based on Soviet-standard 152 mm ammunition. However, two major batches of PLZ-45s were sold to the Kuwait and Saudi Arabia.

Also Bull was contacted by Iraq, which was constantly being attacked by Iranian artillery during the Iran–Iraq War. Iraq placed a US$300 million contract for 110 guns from Noricum in Austria and 41,000 rounds subcontracted by SRC to PRB in Belgium. Deliveries were made in 1984 and 1985. The number of guns was eventually raised to 200. Iran and Iraq were under arms embargo at the time, so the guns were shipped to Jordan, and from there to Iraq. These sales led to the "Noricum affair" in 1990, when eighteen of Noricum's managers were placed on trial for illegal arms sales. A further 100 guns were manufactured in South Africa.

In Iraq the guns had a similar effect on the ongoing Iran–Iraq War as the G5 had in Angola, stopping any push by the Iranians deeper into Iraq. They became desperate to get more of these guns into the field as soon as possible, and requested that Bull improve deliveries any way he could. Bull then arranged a deal to deliver the G5, which fired the same ammunition as the GHN-45, from South Africa. By the time of the Gulf War, about 124 of these weapons had been added to the Iraqi long-range artillery, supplanting their older 130 mm M-46s and chaotic mix of other weapons. Bull and Saddam Hussein became partners in a number of future ventures. These ventures are generally believed to be the cause of Bull's assassination, for which the Israeli Mossad or Iranian agencies are the prime suspects.

During the Gulf War, however, the GHN-45s proved less effective than anticipated by either side. Air strikes had disrupted the Iraqi command and control facilities, and because most of their gun tractors had been withdrawn to serve with logistics units in an attempt to re-supply the front line troops, they were unable to withdraw when under fire. Immobile and unsupported, the majority of the guns were destroyed at their positions either by air strikes or Multiple Launch Rocket Systems (MLRS) counter-battery fire.

Bull continued work on the GC-45, producing a much more practical version known as the FGH-155. In addition to a number of detail changes and deeper rifling, the FGH-155 allowed standard M107 ammunition to be fired using a plastic adaptor ring. Bull also felt that the FGH-155's carriage was suitable for a larger gun, and worked on the FGH-203, an 8" (203 mm) gun adapted from U.S. standards in a fashion similar to the original GC-45 work. The increase in projectile weight gave the new weapon a range of over 50,000 meters with normal ERFB-BB ammunition, making it one of the longest-range artillery pieces in the world. The gun was also purchased by the Iraqis, who mounted it in a self-propelled form to create the Al-Fao.

The Denel G5 version has also seen continued development. The gun has been placed on an OMC 6x6 chassis as the G6 howitzer, and won major export sales to the United Arab Emirates and Oman. In response to an Indian requirement, the G5 was mounted on a 4x4 truck, resulting in the T5, though none had been ordered. It is also fitted into a turret that can fit on any suitable vehicle. The turret is marketed as the T6 which has already been fitted on the T-72. Denel also used the basic ERFB ammunition concept to develop a 105 mm gun, the G7 howitzer, which allows artillery to be downsized to improve mobility.

Bharat Forge, an Indian firm of Kalyani Group, has recently purchased Noricum and brought the entire manufacturing workshop to India. It has made Bharat-52, a 52 caliber variant of the 155mm howitzer to meet the Indian Army's long delayed field artillery requirement.

Current operators

 * 🇨🇳 China
 * 🇮🇷 Iran
 * 🇮🇶 Iraq
 * 🇮🇱 Israel
 * 🇯🇴 Jordan
 * 🇰🇼 Kuwait
 * 🇲🇲 Myanmar
 * 🇴🇲 Oman
 * 🇵🇰 Pakistan
 * 🇸🇦 Saudi Arabia
 * 🇸🇬 Singapore
 * 🇿🇦 South Africa
 * 🇹🇭 Thailand
 * 🇮🇩 Indonesia
 * UAE

title: GC-45 howitzer


text:
Battiadae

The Battiadae, or Battiads, were the ruling dynasty of the Greek city-state of Cyrene, in modern Libya. Battus I, who founded Cyrene in 631 BC, was also the founder of the dynasty. The Battiads were overthrown in 440 BC.

List of members
The kings of Cyrene are shown in bold, all dates BC.
 * Battus I (c. 631–600 BC), founder of Cyrene.
 * Arcesilaus I (c. 600–583 BC), son of Battus I.
 * Battus II "the Blessed" (c. 583–560 BC), son of Arcesilaus I.
 * Arcesilaus II "the Cruel" (c. 560–550 BC), son of Battus II.
 * Perseus, younger brother of Arcesilaus II, he rebelled against him and left Cyrene to found Barke in c.560 with three other brothers.
 * Zacynthius, younger brother of Arcesilaus II, he rebelled against him and left Cyrene to found Barke in c.560 with three other brothers.
 * Aristomedon, younger brother of Arcesilaus II, he rebelled against him and left Cyrene to found Barke in c.560 with three other brothers.
 * Lycus, younger brother of Arcesilaus II, he rebelled against him and left Cyrene to found Barke in c.560 with three other brothers.
 * Learchus, younger brother of Arcesilaus II. Unlike his other brothers, he remained in Cyrene, but murdered Arcesilaus II and ruled as regent. He was murdered by Eryxo, Arcesilaus II's widow. According to Plutarch, he was only a friend of Arcesilaus II.
 * Eryxo, wife of Arcesilaus II, she murdered Learchus.
 * Battus III "the Lame" (c. 550–530 BC). During his reign, most of the royal prerogatives were transferred to citizens by the reformer Demonax of Mantinea.
 * Pheretima, wife of Battus III, mother of Arcesilaus III.
 * Arcesilaus III (c. 530–515 BC), son of Battus III and Pheretima.
 * Battus IV (c. 515–465 BC)
 * Arcesilaus IV (c. 465–440 BC)

A famous descendant of Battus and thus one of the Battiadae was Callimachus, the Greek poet and the best known member of the Neoteroi.

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

title: Battiadae


text:
Formal sum

In mathematics, a formal sum, formal series, or formal linear combination may be:
 * In group theory, an element of a free abelian group, a sum of finitely many elements from a given basis set multiplied by integer coefficients.
 * In linear algebra, an element of a vector space, a sum of finitely many elements from a given basis set multiplied by real, complex, or other numerical coefficients.
 * In the study of series (mathematics), a sum of an infinite sequence of numbers or other quantities, considered as an abstract mathematical object regardless of whether the sum converges.
 * In the study of power series, a sum of infinitely many monomials with distinct positive integer exponents, again considered as an abstract object regardless of convergence.

title: Formal sum


text:
Orsha

Orsha (Орша; Орша, ; Orša, Orsza) is a city in Vitebsk Region, Belarus. It is situated on the fork of the Dnieper River and Arshytsa River, and it serves as the administrative center of Orsha District. As of 2024, it has a population of 102,759.

History

Orsha was first mentioned in 1067 as Rsha, making it one of the oldest towns in Belarus. The town was named after the river, which was originally also named Rsha, probably from a Baltic root *rus 'slowly flowing.'

In 1320, Orsha became a part of the Grand Duchy of Lithuania. Between 1398–1407, the Orsha castle was built. On 8 September 1514 the famous Battle of Orsha occurred, between allied Grand Duchy of Lithuania with Kingdom of Poland and Muscovite army. The Muscovites suffered significant defeat; however, the victorious Grand Duchy of Lithuania did not fully avail its victory.

In 1555, Mikołaj "the Black" Radziwiłł founded a Calvinist (Protestant) order in Orsha, one of the first in the Belarusian lands. From the sixteenth to eighteenth centuries Orsha was a notable religious centre, with dozens of Orthodox, Protestant and Catholic churches and orders. The town was also home to a large Jewish population.

Orsha was granted Magdeburg Rights in 1620. In 1630, Spiridon Sobol opened the first printing house at the Kuciejna monastery, which became a well-known centre of Cyrillic-alphabet publishing. The town was damaged during the Russo-Polish War (1654-1667), which was a disaster for the Grand Duchy of Lithuania. During the First Polish partition the city was taken over by the Russian Empire in 1772, and became part of the Mogilyov Gubernia. Under Russian rule, it was stripped of its Magdeburg Rights in 1776 and went into cultural and economic decline. The population dropped sharply to just about 2,000 inhabitants. The city symbol in 1781 was changed to one which included the symbol of the Russian empire and five arrows.

In 1812, the city was badly burned during Napoleon's invasion. At the time of Orsha had been taken under control of French troops, there was a French writer Marie-Henri Beyle (also known under the pen name Stendhal) in a rank of intendant. According to the census of 1897, on a total population of 13,161, about 7,000 are Jews. During the First World War, the city was occupied by German forces in February–October 1918. From 2 February 1919, Orsha became a part of Homyel region (Vitebsk region, 1920) of Soviet Russia. After the formation of the Soviet Union, it was transferred to the Byelorussian SSR in 1924.

The population before World War II was about 37,000. The city was occupied by Germany on 16 July 1941. The occupiers founded several concentration camps in the city, where an estimated 19,000 people were killed.

Orsha was one of the centers of the Belarusian strikes in April 1991. Hundreds of thousands of coal miners had been on strike across the Soviet Union since March 1. On April 3, the day after the central government had imposed consumer price increases, workers at several Minsk factories walked out raising the miners' demand for wages indexed to inflation. Virtually the entire labor force of that city followed on the 4th, joined soon thereafter by strikes across the Belarusian SSR. Mass demonstrations voted for additional demands (including the dissolution of the Union and Belarusian governments and the end of the Communist Party's privileges) and elected delegates from each enterprise to citywide strike committees, which in turn sent representatives to a central Belarusian Strike Committee (SKB). On April 23, the SKB resumed the general strike after the deadline for its demands to be met had passed. The next morning, Gorbachev, Yeltsin, and leaders of eight of the other Soviet republics published a joint declaration in the papers agreeing to democratic elections for the Soviet parliament and the presidency, a new union treaty that would "radically increase the role of the union republics," and measures to soften the impact of the price increase, but also the introduction of a "special work regime" in many industries.

In response, the Orsha strike committee issued a proposal for all local workers to block the railway junction, strategically located on the line linking Moscow and Leningrad to Eastern and Western Europe. This was quickly endorsed by votes to "lie down on the rails" at a citywide meeting at the railway station. On the 25th, the Belarusian authorities concentrated the republic's KGB and riot police forces on Orsha, but were resisted by the strikers who sent fuel trains primed to explode down the tracks. Gorbachev mobilized the nearby military forces in Pskov with instructions to restore order over the railway; however many officers declared their refusal to comply, and brigade commander Gennady Sidorov professed a "lack of understanding" of the mission. Meanwhile, workers in other cities throughout Belarus held rallies threatening to retaliate if a drop of blood was shed in Orsha. Fearing a clash, and seizing on the government's offer to negotiate with its representatives and grant it radio and air time, the SKB suspended the general strike that evening.

Sports
The bandy club Start has produced players for the Belarus national bandy team.

Population change

 * 16th-17th century: est. 5,000
 * 1776: less than 2,000
 * 1939: 37,000
 * 1970: 100,000
 * 2004: 125,000

Transportation

Orsha became an important transportation center after the construction of a Dnieper River port. The coming of railway lines in the second half of the nineteenth century greatly contributed to the city growth:

 * 1871: Moscow–Minsk–Brest
 * 1902: Zhlobin–Mogilev–Vitebsk
 * 1923: Orsha-Krychaw
 * 1927: Orsha-Lepel

Today, Orsha is a major railway node where the Minsk–Moscow crosses the northern Vitebsk line, which branches south to Mogilev and Krychaw. All trains from Moscow and Saint-Petersburg bound for Western Europe pass through Orsha.

The city is also a junction of the important motorways: The M1 (E30) Moscow-Brest and the M8/M20 (E95) Saint Petersburg - Odessa.

Military
OSGOEINT reported on the 571st Aircraft Repair Plant (ARP) located at Orsha Airfield (Balbasovo Air Base). Accordingly, the 571st ARP repairs Mi-8-17 HIP, Mi-24-35 HIND, as well as the Tu-134 CRUSTY and possibly the IL-76 CANDID. The report goes on to mention recent investment agreements with Ukraine where private firms planned on providing $12 million to finance facility upgrades during the 2012-2016 period. Press reporting stated that the investors planned on building a modern warehouse terminal as well as office buildings for customs services, banking, and a leasing company.

Notable people

 * Francis Dzierozynski, Jesuit
 * Piotra Holub (Golub Petr Semionovich) (1913–1953), artist, author of many well-known Soviet propaganda posters, such as "Болтун находка для шпиона" and many others
 * Uladzimir Karatkievich, Belarusian writer
 * Mikhail Marynich, opposition politician, who was imprisoned in Orsha
 * Georgy Mondzolevsky, 2-time Olympic volleyball champion
 * Gershon Shufman, Hebrew author, known as 'Gimel Shufman'
 * Frida Vigdorova, Soviet writer and journalist, famous for writing "White book" after Joseph Brodsky trial, in support of human rights in USSR (ru:Вигдорова, Фрида Абрамовна)
 * Lev Vygotsky (1896–1934), psychologist
 * Nathan Zarkhi (1900–1935), Soviet playwright and film writer
 * Faina Chiang, became first lady of the Republic of China in 1978.
 * Igor Zhelezovsky, Olympic medalist speed skater
 * Alina Talay (born 1989), track and field athlete
 * Vyacheslav Zarenkov (born 1951), Belarusian entrepreneur

Twin towns – sister cities
Orsha is twinned with:

 * 🇷🇺 Asha, Russia
 * 🇲🇩 Bălți, Moldova
 * 🇮🇹 Bondeno, Italy
 * 🇺🇦 Cherkasy, Ukraine
 * 🇷🇺 Dubna, Russia
 * 🇷🇺 Gagarin, Russia
 * 🇷🇺 Ivanovo, Russia
 * 🇷🇺 Ivanteyevka, Russia
 * 🇷🇺 Kardymovsky District, Russia
 * 🇷🇺 Koptevo (Moscow), Russia
 * 🇷🇺 Krasnogvardeysky (Saint Petersburg), Russia
 * 🇱🇻 Mārupe, Latvia

 * 🇧🇬 Pernik, Bulgaria
 * 🇷🇺 Pushkin, Russia
 * 🇨🇳 Qingdao, China
 * 🇨🇳 Shishou, China
 * 🇹🇷 Silifke, Turkey
 * 🇷🇺 Smolensk, Russia
 * 🇦🇲 Spitak, Armenia
 * 🇱🇹 Telšiai, Lithuania
 * 🇷🇺 Tver, Russia
 * 🇫🇷 Vaulx-en-Velin, France
 * 🇷🇺 Volgodonsk, Russia
 * 🇷🇺 Vyazma, Russia
 * 🇨🇳 Yiwu, China
 * 🇷🇺 Zapadnoye Degunino (Moscow), Russia

title: Orsha


text:
Talk:Girton College, Cambridge

I'm possibly going to make some more changes to this page, as it seems like a slightly random collection of things and not a lot of fact.

The site was purchased originally, not rented from Trinity College (I'm not sure who it was bought from, but it wasn't Trinity). There is no evidence at all the site was designed as a madhouse. If anyone would like to provide any evidence for that it can go back in, but from the various histories of the college I've never heard such a thing.

That "unoffical song" I believe must have only existed for a short time, as I went to Girton and never heard it. Also do we care what the sun said in some random article? Mrjeff 14:11, 7 Feb 2005 (UTC)

Girton song
Would be good to find out roughly when this is from, I'm a 4th year student & its been around since I've been here and when i was a fresher it was known by everyone in higher years... Which only puts it back to prob at least 7 years... Maybe we can track down when it originated? 131.111.8.104

We sang that song in freshers week last term! I like the entry, it was up to date - good effort.

I sang the song throughout my time at Girton including on the steps to Senate house at graduation!

When I was there (c 1980), we were still singing :

 * ''"Play up!" all the College cried;
 * ''"Pass out to the wing, girls!
 * ''That's the sort of thing, girls!"
 * ''Run! I thought I should have died!
 * Knocked it through the Newnham goal!

-- Beardo 05:25, 15 June 2007 (UTC)

 * I don't know the song at all but the tune must be Knocked 'em in the Old Kent Road; the words (and, I think, the spirit) fit exactly. Can anyone confirm first hand? Brother Francis 11:37, 15 June 2007 (UTC)

 * This is correct. PeterBrett (talk) 09:29, 22 September 2008 (UTC)

 * Someone recently deleted the song without explanation. I've reinstated it. It is an important part of Girton identity. Perhaps we should also include the song that Beardo mentions; I remember that being sung by the choir. 87.115.0.126 (talk) 09:22, 5 November 2008 (UTC)

external reference removed
I've removed the external reference to the varsity (Student newspaper) article - this is a minor event of little relevance and a clear example of sensationalist reporting. The selection of just one (negative) press article is also hardly neutral.

Furthermore, the case has now been dropped by the CPS. SJMurdoch 11:16, 1 March 2006 (UTC)

Full text of grant of arms
"To All and Singular to whom these Presents shall come Sir Henry Farnham Burke Knight Commander of the Royal Victorian Order, Companion of the Most Honourable Order of the Bath Garter Principal King of Arms and Arthur William Stewart Cochrane Esquire, Member of the Royal Victorian Order Norroy King of Arms Send Greeting Whereas Edith Helen Major, Spinster, Mistress of Girton College in the University of Cambridge, and Master of Arts of Trinity College Dublin, hath represented unto Edmund Bernard Viscount FitzAlan of Derwent, Knight of the Most Noble Order of the Garter, Knight Grand Cross of the Royal Victorian Order, Companion of the Distinguished Service Order, One of His Majesty’s Most Honourable Privy Council and Deputy to the Most Noble Bernard Marmaduke Duke of Norfolk, Earl Marshal and Hereditary Marshal of England that by Letters Patent under the Great Seal bearing date the twenty fourth day of August that the Members of the Governing Body of Girton College Cambridge should for ever thereafter be one body politic and corporate by the name and style of the Mistress and Governors of Girton College, and by the same name should have perpetual succession and a Common Seal, that the Mistress and Governors of the said College being desirous that their Common Seal should contain fit and proper Armorial Ensigns which should bear suitable allusion of the founders and benefactors of the said college requested the favour of his Lordship’s Warrant for Our granting and assigning such Armorial Ensigns as might be proper to be borne and used by them and their successors upon Seal Shields or otherwise according to the Laws of Arms and forasmuch as His Lordship did by Warrant under this hand and the Seal of the Earl Marshal bearing Warrant dated the twentieth day of December following authorise and direct Us to grant and assign such Armorial Ensigns accordingly Know ye therefore that We the said Garter and Norroy in pursuance of His Lordship’s Warrant and by virtue of the Letters Patent of Our several Offices to each of Us respectively granted do by these Presents grant and assign unto The Mistress and Governors of Girton College the Arms following that is to say: Quarterly Vert and Argent a cross flory countercharged a Roundel Ermine and in the second and third quarters a Crescent Gules, as the same are in the margin here of more plainly depicted to be borne and used for ever, hereafter by the Mistress and Governors of Girton College and by their Successors upon Seals Shields or otherwise according to the Laws of Arms. In witness whereof We the said Garter and Norroy Kings of Arms have to these presents subscribed Our names and affixed the Seals of Our several Offices this fourteenth day of February in the Eighteenth year of the Reign of Our Sovereign Lord George the Fifth by the Grace of God of Great Britain Ireland and the British Dominions beyond the Seas King Defender of the Faith &c. and in the year of Our Lord One thousand nine hundred and twenty eight."

This was quoted fully on the main page; I abbreviated it to the essentials. PeterBrett (talk) 09:14, 22 September 2008 (UTC)

First in England?
Is there a particular reason for calling it the first residential college for women in England? The Girton website claims that it was "Britain's first residential college for women offering an education at degree level." That's both geographically more broad but also more restrictive in the type of college. Is there another one that opened earlier, in Scotland or Wales, but didn't offer degrees? GoldenRing (talk) 12:14, 16 October 2013 (UTC)

ELLEN WORDSWORTH DARWIN, NEE CROFTS : THE SECOND WIFE OF SIR FRANCIS DARWIN
Does anyone know of any connection with 'Girton': college or is she buried in the immediate area?

Martin

2.27.124.217 (talk) 17:48, 4 January 2014 (UTC)

Site of Girton College.
According to this site, the area of Girton College is 18.6 hectares. It would seem to be sensible to use the detailed information from Parks and Gardens UK to enhance this article. Any comments or suggestions? Michael Glass (talk) 04:55, 3 May 2016 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 3 external links on Girton College, Cambridge. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added tag to http://www-lib.girton.cam.ac.uk/about/index.html
 * Added tag to http://www-lib.girton.cam.ac.uk/about/SCONUL.htm
 * Added tag to http://www-lib.girton.cam.ac.uk/about/civic_trust.htm
 * Added archive https://web.archive.org/web/20110928184534/http://www.therp.co.uk/site/media/2011/04/Peoples6.pdf to http://www.therp.co.uk/site/media/2011/04/Peoples6.pdf
 * Added archive https://web.archive.org/web/20100925063722/http://www.greenpebble.co.uk:80/girtoncollege.htm to http://www.greenpebble.co.uk/girtoncollege.htm
 * Added archive https://web.archive.org/web/20110128215239/http://girtoncollegechoir.com/ to http://www.girtoncollegechoir.com

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 09:40, 12 January 2017 (UTC)

Invitation to Women in Red's Role Models editathon on Women's Colleges
''Please forward this invitation to all potentially interested contacts

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Girton College, Cambridge. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Corrected formatting/usage for http://www.greenpebble.co.uk/girtoncollege.htm
 * Added archive https://web.archive.org/web/20120704133056/http://www.mus.cam.ac.uk/people/academicstaff/ to http://www.mus.cam.ac.uk/people/academicstaff/

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 14:49, 4 September 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Girton College, Cambridge. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added tag to http://www.cambridge-news.co.uk/Students-complain-ball-cancelled-college-Thomas/story-28891087-detail/story.html
 * Added archive https://web.archive.org/web/20140223045825/http://www.hitchinhistoricals.org.uk/publications/pioneeringwomen.php to http://www.hitchinhistoricals.org.uk/publications/pioneeringwomen.php

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 00:00, 18 October 2017 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Girton College, Cambridge. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120925070212/http://www.architecture.com/Awards/RIBAAwards/Winners2006/East/GirtonCollegeLibraryCambridge.aspx to http://www.architecture.com/Awards/RIBAAwards/Winners2006/East/GirtonCollegeLibraryCambridge.aspx
 * Added archive https://web.archive.org/web/20110606060236/http://www.forestry.gov.uk/fr/INFD-6HTK9B to http://www.forestry.gov.uk/fr/INFD-6HTK9B

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 22:35, 11 December 2017 (UTC)

A Commons file used on this page has been nominated for deletion
The following Wikimedia Commons file used on this page has been nominated for deletion: Participate in the deletion discussion at the nomination page. Community Tech bot (talk) 23:42, 25 July 2018 (UTC)
 * Arianna Huffington May 2014.jpg

title: Talk:Girton College, Cambridge


text:
White Nationalist Party

The White Nationalist Party (WNP) was a British White Nationalist political party, founded in May 2002 as "the British political wing of Aryan Unity".

Development
The party was formed by Eddy Morrison, and Kevin Watmough "a key figure in Combat 18" and webmaster of Redwatch; the new party was effectively the Yorkshire branch of the National Front, and the party conducted most of its activities in Yorkshire. The national youth leader of the White Nationalist Party was Ronnie Cooper, a teen from the South Yorkshire area who was exposed for his fascist beliefs by the Sunday People newspaper in 2003. Cooper is now understood to be a serving member of the Royal Navy.

Although largely Yorkshire-based it also sought to expand elsewhere. In 2003 the group applied to march in Glasgow but it was rejected by the city council.

The WNP also sought to campaign in amongst loyalists in Northern Ireland, posting stickers and delivering leaflets in Ballymena, Coleraine, Antrim town and Ballymoney in the run-up to the Twelfth in 2003. The group, which emphasised its anti-Irish republican nature by using slogans such as "hang IRA scum" in its literature, claimed to have 80 members in the province in May of that year. In a move condemned by local politicians WNP flags were also placed on lampposts in Ballymena around the same time. Most of the party's stickers and flags were removed by parties of residents organised in opposition by the left wing loyalist Progressive Unionist Party, which publicly condemned racism.

In 2004 the party also revealed plans to host a Blood & Honour music festival in Northern Ireland although a counter-campaign was organised to encourage venues to turn down the booking. The proposed gigs did not take place however.

The WNP was severely weakened in 2004 when the England First Party (EFP) broke away under Mark Cotterill. The WNP had intended to use that name when the Electoral Commission refused to register WNP as an official name; but after a dispute between Cotterill on the one side and Eddy Morrison and John G. Wood (the WNP's national organiser) on the other, the EFP group broke away to become a separate, English nationalist, party.

The WNP under Morrison and John G. Wood courted John Tyndall, although he refused to join as he did not feel that divisions were helpful. Eventually Eddy Morrison left the party and with John G. Wood and Kevin Watmough in 2005 formed the similar British People's Party.

Policies and ideology
The White Nationalist Party's inspiration was "unashamedly nationalist socialist" and opposed to "all democracy". The WP had a list of 32 policies, based on principles which included repatriation, opposition to populism, Zionism and homosexuality, and adherence to David Lane's fourteen words. The group is now vehemently opposed to the British National Party, viewing them as race traitors.

title: White Nationalist Party


text:
Talk:Regular temperament

Diophantine approximation
Hmmm - don't know how interesting it is for musicians, but the explanation with abelian groups could do with some diophantine approximation development.

Charles Matthews 13:35, 2 Mar 2004 (UTC)

 * Heaven forbid! This article is already overloaded with an excess of mathematical jargon such that it is incomprehensible for us normal folk. What this article REALLY needs is a worked example showing what you're talking about using prime generators to produce real frequency numbers. Abelian groups are overkill, the article is choking to death on them! Dlw20070716 (talk) 12:18, 28 July 2011 (UTC)

Some questions and comments:

 * "Regular temperament is a system of musical tuning such that each frequency ratio is obtainable as a product of powers of a finite number of generators, or generating frequency ratios."

The first clause seems to be implying that an interval can only be rational, I'm assuming that is unintended? Are you allowing for irrational generators?

 * "If the generators are all of the prime numbers up to a given prime p, we have what is called p-limit just intonation. However, normally we aspire to adjust the tuning of one or more of these primes, to produce an actual "tempering" of the justly tuned ratios, as in meantone."

The first sentence of this paragraph - read in the context of the first paragraph - implies that a just intonation is a regular temperament. This seems backwards. The second sentence implies that a temperament is a tuning adjustment of a p-limit just intonation, which seems more correct.

 * "In mathematical terminology, the products of these generators defines a free abelian group. The number of independent generators is the rank of an abelian group, but one less than this number is sometimes called the dimension of the temperament. A "0-dimensional" tuning system with a single generator is normally regarded as having approximated an octave after a certain number of steps, and therefore of constituting an equal temperament. A linear or one-dimensional temperament has two generators, one of which is usually taken to be an octave or some equal subdivision of an octave; in the strict sense of linear temperament, a term due to Erv Wilson, one of the generators is taken to be an octave. A temperament with two generators can, however, always be called a "rank two" temperament."

It seems to me, that the dimension being equivalent to one less than the rank makes semantic sense *only* if the interval of equivalence - whether octave, tempered octave, tritave etc (or a subdivision of said interval of equivalence) is one of the generators? This paragraph seems to be implying that this needn't necessarily be so, maybe it's just the way it's written, or is there a good reason to allow for non-interval-of-equivalence generators not to be counted as a dimension?

 * "In studying regular temperaments, it is generally advantageous to regard the temperament as having both a map from p-limit just intonation for some prime p, and a tuning map to particular values for the generators."

Can we have an explanation of what a "tuning map" is? Some examples of both mappings would be really hepful for clarification here.

 * "From that point of view, it is no longer required that the generator of the temperament be independent, which is demoted to a mere matter of tuning; we are only interested in the rank of the group which is the image under the first map."

What is "first map" referring to? What does "image under" mean? Overall, this whole paragraph is unintelligible without further explanation and the example given doesn't help to clarify it for me.

Babygrow 17:34, 13 February 2006 (UTC)

 * Perhaps the author of this article could try to imagine a quartet of rock musicians in from of him as he/she rewrites this article to be understandable. Anyone tempted to use terms named after mathematicians need not apply. I'm pretty sure that no mathematical concepts more complicated than logarithms are involved. Dlw20070716 (talk) 12:27, 28 July 2011 (UTC)

Errors in the first paragraph
First, as another noted, temperament generators are generally NOT ratios. The term "frequency ratio" should be replaced by "interval". "Product of powers" should be replaced by "sum".

Also, 12-TET is rank-1, therefore it has only one generator, which is the 100¢ semitone. Musically, it seems like the fifth should be the generator. But mathematically, it isn't. Because you can't get a major 2nd or a minor 3rd by stacking fifths, without octave-reducing. But octave reduction means using the octave as an additional generator. But it's rank-1, so there can be only one generator. That's the semitone, because every 12-TET interval is obtainable by adding up semitones.

I would suggest moving the 12-TET example to later in the article, since it's so counter-intuitive, and using meantone as an example in the first paragraph.

I would also suggest explaining why temperaments are useful musically -- they approximate just intonation better than equal temperaments do, but have fewer wolf intervals than just intonation does. In just intonation, some chords sound great, some sound awful (because of the wolves). In a rank-2 temperament, most chords sound quite good, a few sound awful. In an equal temperament, all chords sound pretty good.SeventhHarmonic (talk) 22:46, 14 January 2017 (UTC)

 * Good points. On the first point, yes indeed. No need to say any more. Why not just "be bold" and fix it? But looking a bit further ahead, I think the whole lede needs to be rewritten. I have a draft in my user space which I meant to share but forgot. On those particular points, yes that makes sense that you can treat 12 equal as having a single generator which is just a single step of the equal temperament. But that's an unusual way of thinking about it though mathematically valid. I think another way of looking at it, which doesn't involve the octave as a generator, is to think of the octave as an equivalence relation. So you treat all notes that are a multiple of octaves apart as "equivalent". I think that's how musicians intuitively think about them, and also how it is presented in the literature. That gives us a way to think of it as "1-D" while still using the more musically motivated interval of the fifth as a generator.

 * Also agree that it's good to explain why the temperaments are useful. Anyway here is my draft for the lede, which explains the whole idea of a temperament. To explain it properly I found it was necessary to explain many other topics. The main prerequisites for understanding the idea are:

 * Generators of a scale
 * Just intonation
 * Musical equivalence
 * Tempering a musical interval
 * Vanishing commas
 * Graphing a tuning in 1D, 2D and higher dimensions.

 * Lede here: User:Robertinventor/Regular tunings and temperaments

 * It's rather long for a lede. But hard to see how it can be shortened significantly without impairing understanding. Splitting it into two articles could help perhaps. But a newbie reader will need to go through all those concepts and understand them, so if it is split into two articles, they will need clear guidance as to which article they need to read first before they read this one. I think this is a bit of a tricky one, to know how to do it, and welcome any suggestions. Do feel free to fix any obvious uncontroversial errors in my draft and to discuss anything that needs to be fixed that may need more thought Thanks! Robert Walker (talk) 12:55, 2 February 2017 (UTC)

New article
There appear to me to be two serious problems with this article. The second, and in my opinion less serious, is the issue of comprehensibility raised in several of the above comments. The first, and more serious, in my opinion, is that "regular temperament", as traditionally used in most of the literature on the theory and history of temperaments means something significantly different from the concept described in the article. I have now finished writing an article, Regular tuning and temperament, in which I have attempted to remedy these defects (and for whose title I have purloined the suggestion of Robert Walker in his comment above). In my comments below I have elaborated a little further on what I see as the major problems with the current version of the article.

First, there is a large body of literature, dating from at least as early as the mid to late 19th century, and continuing right up to the present day (12 instances of which are cited here), in which a regular tuning is defined to be one in which all fifths have the same size (with the possible exception of one per octave, if diminished sixths are taken to qualify as "fifths"). While it's true that the intervals of such a tuning will generate an abelian group that constitutes a "regular tuning" as defined by the article, only those of ranks 1 and 2 can be obtained in this way. Those of rank 3 or more cannot. Moreover, the intervals of tunings not classifed as "regular" according to traditional usage will generate tunings which are classed as "regular tunings" as described in this article. In Ptolemy's syntonic diatonic scale, for instance, the perfect fifths between the first and fifth, third and seventh, fourth and eighth, fifth and ninth, and sixth and tenth degrees of the scale are all perfectly just, whereas that between the second and sixth degrees is flatter than just by a syntonic comma. Its tuning is therefore not regular according to the traditional definition. All the intervals of this scale, however, can be constructed from combinations of octaves and perfectly just major and minor thirds, and together generate the rank 3 tuning comprising all 5-limit intervals, which is a "regular tuning" according to the definition adopted by the article.

The concept of "regular temperament" described in this article appears to have been developed mostly in the first decade of this century in internet forums and mailing lists, and on enthusiasts' websites. While much of this material seems to have remained accessible, a fair proportion of it would appear to me to be quite difficult for those who were in on the original development to comprehend. If it weren't for two papers published recently in respectable academic journals by Milne, Sethares and Plamondon I would find it difficult to see how anyone could write an article on the concept that would satisfy Wikipedia's policy on verifiabily. But even though I'm willing to grant that this can probably be done, the fact that the article is devoted entirely to this recently developed concept, and completely ignores the more traditional and much better documented one, means that it fails badly to satisfy Wikipedia's policy on neutral point of view.

Secondly, I strongly agree with the comments of editors Dlw20070716 and Babygrow above that the article's reliance on unexplained jargon makes it unnecessarily incomprehensible to all but a minuscule proportion of its potential readership. I was a professional mathematician for 40 years (I'm now retired) and am reasonably well acquainted with all the mathematical concepts mentioned in the article. I took up the study of music about 15 years ago, and have completed the AMEB's grade-5 music theory examination (with distinction). When I looked up this article I had long been interested in the history and theory of tuning and temperament, and had already consulted quite a few good sources in the mainstream literature on those topics. With that background, I expected to have few problems understanding the article, but instead found it almost totally incomprehensible, at least initially. Probably the main cause of my confusion was my assumption that the article was simply giving a more general mathematical treatment of the traditional concept of "regular temperament" that I was already reasonably familiar with. It wasn't until I realised that the concept being described by the article was a significantly different concept from the traditional one that I was able to winkle out a reasonably good understanding of it, mainly from the papers of Milne et al. cited above.

The article I've written is divided into two main sections. The first deals with the traditional concept of regular tuning and temperament, while the second deals with the one described in this article. I think everything mentioned in this article is covered more comprehensively, and I hope more understandably, in the second section of the new article. So I would propose that after an appropriate time has elapsed for interested editors to compare the two, the text of this article be replaced with a redirect to the new one. David Wilson (talk · cont) 12:57, 27 October 2018 (UTC)

Proposed "merger"
As foreshadowed in my comments immediately above, I propose that this article's page be turned into a redirect to the article Regular tuning and temperament. This will complete what is effectively a merger of this article into that one.
 * Since a consensus for this merge seems unlikely, I hereby withdraw it.
 * David Wilson (talk · cont) 01:19, 21 December 2018 (UTC)

The chief rationale for doing this is that the latter article explains the meaning of the term "regular temperament" as it is currently used in mainstream literature on the theory of music, whereas this one ignores that meaning completely. It concentrates instead on a meaning given to the term more recently by a relatively small number of musical theorists who appear to have been working chiefly in the area of microtonal music.

The redirect will not result in the subject matter covered in this article's being hidden from view, because that material is covered at least as comprehensively by the article the redirect will point to. David Wilson (talk · cont) 12:16, 7 November 2018 (UTC)

 * David, as someone who is active in the microtonal community, there are some issues with this current page that ought to be corrected and are wrong even from the perspective of microtonal theory. I was just about to edit the errors on this page when I saw you had made another one and are proposing to merge the two.
 * Regarding your new page, it seems to me like it has valid material; both pages cite theorists that are either active in the microtonal community (such as Secor, Erlich, sometimes Milne) or who are often cited in the microtonal community (Bosanquet, Blackwood, Barbour, Ellis, etc). So now I'm in limbo, as I'm not sure what to edit. However, I would much rather see that page merged into this one than the other way around; the two are roughly equivalent but "regular temperament" is a much more common term than "regular tuning."
 * Finally, your ideas about the use of the Smith normal form are very interesting! Are you using it as a canonical representation for a temperament matrix? We tend to use Hermite form for that, but perhaps Smith form has its merits as well. If you are interested, there is a Facebook group where we discuss tuning-math, you are certainly welcome to join and we would love to have you. See here: https://www.facebook.com/groups/497105067092502 - Best, Battaglia01 (talk) 22:21, 12 November 2018 (UTC)

 * (edit conflict) I would have no objection to the merger proceeding in the opposite direction. The effect of either merger is essentially to replace the current text of the article Regular temperament with that of Regular tuning and temperament as Wikipedia's article on the subjects treated.  I would be just as happy for that article to bear the former title as the latter.
 * I wouldn't lay any claim to the ideas in the section of the latter article on finding minimal sets of generators as being "mine". Finding such a minimal set of generators is a stock standard problem in the theory of finitely generated abelian groups, and I played no role in developing the now well-established techniques for solving it—including the one outlined in the article.
 * I've never come across the term "temperament matrix" before, so I can only make an educated guess as to what it might mean. I presume it refers to a matrix of a temperament mapping with respect to some bases of its domain and codomain (and presumably with the basis of the domain being the logarithms of the primes, or the primes themselves, if a multiplicative representation is being used).  If so, then the Smith normal form mentioned in the article isn't one for any such matrix.  It is instead the Smith normal form of the matrix of the relations satisfied by the original set of generators.  I don't attach any special significance to it beyond the fact that the rank of its kernel is immediately recognisable by inspection, and tells you the rank of the group generated by the original set of generators.  It's also true that you don't have to proceed all the way to obtaining the Smith normal form to solve the original problem.  It's sufficient, in this case, to reduce the original matrix to lower triangular form—i.e. column-style Hermite normal form.  Once the original matrix has been reduced to such a form, the unimodular matrix you've postmultiplied it by will have the properties needed to solve the original problem.
 * David Wilson (talk · cont) 23:30, 14 November 2018 (UTC)
 * Hello David - apologies for missing this, I hadn't "watched" the page so I didn't see your reply. My main point is that most of us in the microtonal theory community are using the same exact group-theoretic formalism that you are. For some prime p, the set of p-limit (or "p-smooth" to mathematicians) rationals forms a free abelian group under multiplication, representing a finite-rank subgroup of just intonation. In the group-theoretic sense, a temperament is, then, a torsionfree quotient group of this group, where the kernel is the vanishing commas.
 * An equivalent way to define a temperament is to first look at surjective homomorphisms from this group to the free abelian group Z^n, for some n of rank less than the original group. These can be represented by integer mapping matrices similar to yours. A "temperament," then, is an equivalence class of homomorphisms which have the same kernel (or, equivalently, which have row-equivalent matrices, each of which can be considered as representing a different basis for the temperament). This is equivalent to the first definition, but is sometimes a useful perspective as the row vectors form a sort of "dual group" representing rank-1 mappings (assuming your intervals are column vectors), which you can combine to form higher-rank temperaments.
 * There is some ambiguity with the term "temperament" in the literature. Sometimes the term is used to denote individual tunings, such as "quarter-comma meantone" or "third-comma meantone," as though they were distinct "temperaments." Sometimes, the entire equivalence class of tunings is considered a temperament in the abstract sense, such as the generic "meantone temperament" being the 5-limit temperament in which 81/80 vanishes, regardless of the particular tuning. Likewise, Secor's "miracle temperament" is usually considered as an abstract 11-limit entity in which certain commas vanish, and for which a range of tunings is acceptable. We have sometimes called these equivalence classes of tunings that share a common kernel "temperament classes," to avoid ambiguity with the other definition in which we consider each tuning a distinct "temperament."
 * I don't mind what convention we use. The one where a temperament involves a particular tuning seems to be most common. It would probably be best to have a section which addresses these different usages.
 * Beyond that, I could give some more examples of the group theory stuff, but you already seem to be more than familiar with all these concepts, and with important papers such as Erlich's and Secor's. So all I'll say is, most of the "modern" stuff not included in those papers is really just variations on this theme. For example, these days it is very common to look at temperaments derived from subgroups of the rationals that are not full p-limits - for example, the subgroup generated by primes <2,3,7,11,13>, skipping 5. But of course this doesn't really change much about the group-theoretic formalism.
 * My view is that this current page needs to be changed to reflect the above. I think that much of the material on the new page you've written is an excellent starting point.
 * The new page has a few minor quibbles I would change - for example, you say a regular temperament has every 3/2 tuned the same way. Typically, however, it is defined so that this property holds for each rational number, so that every instance of that rational is tuned the same way. Or more simply, we want the "tuning map" from the group of tempered intervals to the real numbers (representing a tuning in cents) to be a group homomorphism. So the criterion that the tuning map is "regular" just means that it is a linear map.
 * Likewise, you seem to be defining a temperament as a tuning of the chromatic scale (which I assume means 12 notes). This is another sense in which the term "temperament" has also been used historically - not just as a particular abstract "temperament class," and not even as a particular tuning of said "temperament class," but as a particular, finite set of pitches derived from that. However this is not the universal definition in the literature, and for example some of the other material cited on your page (such as Secor's miracle temperament) doesn't even fit this definition. Miracle temperament is not usually considered to be a 12-note tuning - it is typically considered as an abstract group of pitches, of which a 21-note chromatic scale is commonly used (along with 31 and 41 notes). So I would want to change the definition to reflect this variance in the usage.
 * That being said the general focus seems to be in the ballpark, so if what stuff I've written above seems sensible to you, I would vote in favor of the merger. Battaglia01 (talk) 03:18, 28 November 2018 (UTC)
 * Apologies for the delay in getting back to this. Unfortunately, the Wikipedia editor completely lost an earlier very long reply I was in the process of preparing.

 * I'm concerned that the third last and second last paragraph of your immediately preceding comment seem to imply that the article should treat the microtonal community's redefintions of the terms "regular tuning" and "regular temperament" as if they are the only ones of current significance.  This is simply not true, and the current version of the article Regular temperament's implict assumption that it is was the subject of the first of the two objections I raised against it.

 * There's a large body of what I would call "mainstream literature" on the theory of music, a small selection of which is cited in footnote 4 of the Regular tuning and temperament article, where "regular temperaments" are defined simply to be tunings whose fifths are all the same size. Even when it's not stated explicitly that the chromatic scale is the object of the tuning, it's nevertheless always obvious that it's what's being assumed. As I noted in the second of my objections, and as you appear to recognise in your preceding remarks, the concept traditionally referred to by this term in this literature is significantly different from what is now being referred to  by the microtonal community's recent use of the term. I'm  very strongly of the opinion that any Wikipedia article on this subject must treat the former as a now very well-established concept, and clearly differentiate it from the latter.  I would very strongly object to its being treated as no longer current, or having been superseded by, or being merely a special case of, the microtonal community's concept.  None of  those things is true.

 * The traditional definition of "regular temperament" is not simply a historical curiosity, now superseded by the microtonal community's version. It's the one currently given in Mark Lindley's entry Temperaments in New Grove and Jeremy Montagu's entry, Temperament, in the Oxford Companion to Music. It's also the only one I've been able to find in any treatises devoted to the subject of scales and temperament—including Barbour's Tuning and Temperament: A Historical Survey (1951), Lloyd & Boyle's Intervals, scales and temperaments (1978), Jorgensen's Tuning: containing the perfection of eighteenth-century temperament, the lost art of nineteenth-century temperament, and the science of equal-temperament, complete with instructions for aural and electronic tuning (1991), Lindley & Turner-Smith's Mathematical Models of Musical Scales: A New Approach (1993), Donahue's A Guide to Musical Temperament (2005), Di Veroli's  Unequal Temperaments: Theory, History and Practice (3rd ed., 2013), and Dolata's Meantone Temperaments on Lutes and Viols (2016). There's also a large body of relatively recent musical literature which, while not exactly being treatises on temperament itself, do nevertheless deal with it to some extent, and adopt exactly the same definition of "regular temperament" as the aforementioned treatises—Duffin's How Equal Temperament Ruined Harmony And Why You Should Care (2007) and the Dolmetsch music dictionary, for example.  In none of this literature—with the exception of those noted below—have I ever come across an instance of any version of the microtonal community's definition of "regular temperament" being used.

 * The exceptions are Milne, Sethares and Plamondon's journal articles, Isomorphic Controllers and Dynamic Tuning: Invariant Fingering Over a Tuning Continuum (2007), Tuning Continua and Keyboard Layouts (2008), their slightly earlier Open University research report, The X_System (2006), and miscellaneous online resources such as the Facebook group you mention, the Xenharmonic wiki, the Tuning-Math mailing list, Graham Breed's website, Gene Ward Smith's Xenharmony web pages, Joe Monzo's Tonalsoft Encyclopedia, and the like.  But although these latter online resources might be very useful for understanding the material they cover, I don't see how—with the possible exception of the Tonalsoft encyclopedia—they could be regarded as satisfying Wikipedia's criteria for reliable sources, which explicitly exclude personal websites, open wikis, internet forum postings, social media postings and the like from normally being considered reliable.

 * In the Regular tuning and temperament article, I've treated the the traditional concepts of regular tuning and regular temperament and the ones recently developed by the microtonal community in completelty separate sections—the first in the Description and examples section, and the second in the More recent alternative concept section—, and tried to make it clear that they're quite different pairs of concepts.  The presumption that the chromatic scale (or some extension of it) is the object of a regular tuning, for instance, is limited to the first four paragraphs of the lead, where the traditional concepts are introduced, and the Description and examples section, where they're described in more detail.  In the More recent alternative concept section, that condition is explicitly dropped, as is the requirement that a regular tuning must contain an octave or a fifth of any sort, whether tempered or just.  If the present version of the article doesn't make this clear, then it certainly needs to be amended so that it does.

 * I'm certain that the Description and examples section of the article contains a reasonably accurate account of the concepts of regular tuning and regular temperament as they're presented in the traditional music theory literature I've cited above. Nevertheless, like all material in any Wikipedia article, it is of course subject to future improvements and corrections, provided only that these can be verified by consulting reliable sources.

 * The material in the More recent alternative concept section is mostly based on my reading of the journal articles of Milne et al., again cited above. While I've tried to be conscientious in not misrepresenting anything I've read, I'm somewhat less certain of how successful I've been.
 * David Wilson (talk · cont) 05:53, 20 December 2018 (UTC)

 * David, thanks for the reply. I tried to express, in my last reply, that the present definition of "regular temperament" on this current page is *not* the one used in microtonal community -- the one that talks about "syntonic" temperament (Milne's term) and so on. So, when you talk about the microtonal community's "redefinition" of the term, I don't know which particular subset of the community you are talking about. For example, the definitions presented in Milne's work are very different from those in the other communities you mention, and I would agree that some of what Milne's done (such as the "syntonic temperament") is a redefinition in the sense that other work is not.

 * However, this is somewhat irrelevant since I agree, of course, that online xenharmonic discussion forums are not a "reliable" source. Rather, my point is that papers you are already citing as reliable use the term in the way I describe.

 * Two important references you didn't mention in your reply above, which use the definition of "regular temperament" I mentioned, are Erlich's "A Middle Path" paper, another is Secor's papers on Miracle temperament. You have already cited these papers as reliable in your current version of the page, so my point is that the term is already being used the way I describe (or something equivalent) in papers you've already considered reliable enough to cite. Certainly these papers are cited, routinely, in the other discussion forums you mention (the Yahoo! tuning list, and so on).

 * My point isn't so much that the modern definition has "superceded" the old one, it's that historically, authors simply did not study tuning systems generated by anything other than a perfect fifth before a certain point in time. If you only consider such tuning systems, then saying "each instance of the perfect fifth must be tuned identically" and "each instance of the generator(s) must be tuned identically" is the same thing.

 * When authors started considering temperaments generated by things other than a perfect fifth, they typically used the definition where the generators are tuned identically, not just the "perfect fifths." And again, this isn't just a modern "microtonal internet community" thing; Secor's paper on miracle temperament is 43 years old.

 * I would have no problem putting *all* of these definitions in a section about the history of regular temperament, what scales were considered at which points in time, and how different authors have used the term. Furthermore, I would consider the page to be inadequate if it *didn't* have that.

 * But my main objection with the way the page is now is that you seem to be claiming that there is some context in which people used the term "regular temperament" to include tuning systems *not* generated by fifth, but simultaneously demanded that *only* the fifths be tuned identically.

 * I don't think this particular combination of criteria has *ever* appeared in the literature. If it has, I would be interested in seeing a citation.

 * But my understanding is, either people only cared about fifths and focused on that, or they extended their focus to other generating intervals and changed the identical-tuning criterion to all generators, not just fifths.

 * The correct thing to do in this case would be to add a note that earlier authors did not consider regular temperaments generated by intervals other than that of a perfect fifth, hence the criterion that all instances of the "perfect fifth" are the same size is equivalent to the criterion that all instances of each "generator" are the same size. Battaglia01 (talk) 18:45, 20 December 2018 (UTC)

 * Despite my best efforts, it's obvious that I've completely failed to articulate my position clearly. I hasten to reassure you that I accept full responsibility for this and don't intend my recognition of this fact to be in any way an adverse reflection on your comments.   Nevertheless, I'm unwilling to engage in further discussion along these lines.  I've therefore withdrawn my proposal to merge the two articles.  To avoid having two overlapping articles with conflicting material, and since I'm the sole author of the Regular tuning and temperament article (apart from a single edit which wikilinked the word "secor"), I've moved it back to my user space.
 * I suggest you now simply proceed with your original plan of amending the Regular temperament article. If you think there's anything in the Regular tuning and temperament article worth making use of, please feel free to do so.
 * David Wilson (talk · cont) 03:24, 21 December 2018 (UTC)
 * Until very recently I had been completely baffled by the following statement of yours, because I could not think of anything I had written that even remotely resembled making the claim you say I appear to have made:
 * " … you seem to be claiming that there is some context in which people used the term "regular temperament" to include tuning systems *not* generated by fifth, but simultaneously demanded that *only* the fifths be tuned identically."
 * However, just recently, I've realised that you're probably referring to the following statement of mine:
 * "There are, however, some more extended scales for which the construction of regular tunings requires two or more chains of fifths offset from each other by intervals which cannot be formed from combinations of whole numbers of fifths and octaves."
 * There are two classes of historically discussed systems I was referring to in that statement:
 * Implementations of just intonation in which several interleaved chains of just perfect fifths are offset from one another by intervals of a whole number of just major thirds.  Several such systems are described on pages 108–13 of J. Murray Barbour's Tuning and Temperament: A Historical Survey.
 * Equal divisions of the octave in which the number, $n$, of unit intervals making up the octave, and the number $m$, making up the fifth are not coprime. In this case, the "generator", the unit interval of size $1/n$ of an octave, cannot be expressed as a combination of a whole number of fifths and a whole number of octaves.   If  $g def = gcd( m, n )$, then the system will comprise $g$ interleaved chains of fifths, offset from one another by a whole number of unit intervals, and each containing $n/g$ notes per octave.  Of the systems Barbour discusses on  pages 113–32 of Tuning and Temperament, 24-, 25-, 28-, 34-, 36-, 58-, 84-, 87-, 112-, and 612-EDO are of this type, and of these, all except 25-, 28- and 84-EDO are said by Barbour to have been discussed by others before him.
 * I have not claimed (and would certainly never do so) that anyone has ever "demanded that only the fifths be tuned identically" in systems they regard as regular. I merely contend that in both traditional and current mainstream literature on the theory of music, "regular temperament" is in fact defined to mean one whose fifths are all the same size.  In theory it would be possible for someone to take a system satisfying this definition, declare various of its intervals of different sizes to be its major thirds (for instance), while maintaining, consistently with the definition, that it was a regular sytem.  In practice I'm not aware of anyone's having ever done such a thing.
 * Barbour, for instance, defines "regular temperament" to mean one in which "all fifths save one are of the same size", but he takes all the major thirds of any given temperament to be the same size (usually, but not always, the one which is closest to its just value).  The interval Barbour is referring to with his "save one" is in fact a diminished sixth rather than a fifth, and presumably that's the reason why many theorists don't feel it necessary to mention it as an exception to the specification that all fifths be of the same size.
 * David Wilson (talk · cont) 09:35, 28 December 2018 (UTC)
 * David - I see what you are saying now. My point was just that the way this was originally written, you were using the definition of "regular temperament" where all the fifths are the same size, but if you are going to go into something like miracle temperament -- which I think is certainly a good thing -- this criterion is necessary but not sufficient (and does not match the definition used by those two authors). So I thought that was worth mentioning.
 * It looks like you changed this beginning on the version of the article on your userspace, so this may not be relevant anymore. The bigger point I wanted to make is that, yes, sure, I agree there is sort of an "online microtonal community" that uses terms loosely, but I wasn't trying to cite that in my comments.
 * Beyond that, I thought what you had was good, I just wanted to change a few things for wording. Perhaps the best way is for me to make a revision to your page, and see what you think? Perhaps we can move forward that way. Battaglia01 (talk) 20:01, 5 January 2019 (UTC)
 * It looks like you changed this beginning on the version of the article on your userspace, so this may not be relevant anymore. The bigger point I wanted to make is that, yes, sure, I agree there is sort of an "online microtonal community" that uses terms loosely, but I wasn't trying to cite that in my comments.
 * Beyond that, I thought what you had was good, I just wanted to change a few things for wording. Perhaps the best way is for me to make a revision to your page, and see what you think? Perhaps we can move forward that way. Battaglia01 (talk) 20:01, 5 January 2019 (UTC)

 * Hello David, I agree with much of what you and the other commenters say here and would like to help. I am also more of a mathematician than a musician.  Here are my brief thoughts: (1) can you point to mainstream literature using the term regular temperament?  Not doubting you, but I couldn't find any (with only a very quick look).  It isn't covered in Grade 5 Theory, that's for sure :-)  (2) I believe that mainstream literature may use tuning and temperament interchangeably; I think it's important to note that the newer theory you refer to makes a clear distinction between them.  (3) I think there's a case for 2 pages; the first part of your new page would be one of them: focussing on the mainstream use, which I think is mainly about tunings; the second would focus on the newer theory and would make use of the second part of your page and the old page, and is mostly about temperaments.  (4) Your presentation of the newer theory is quite different from how I would do it, so would like to talk about that.  Limmata (talk) 21:52, 14 November 2018 (UTC)
 * Concerning (1): Of the 13 sources listed in footnote 4 in the Regular tuning and temperament article, 10 use the term "regular temperament" precisely as described in the article's lead. The three others, (Lindley, 1984; Jorgensen, 1991; and Lindley, 2001), use the expression "regular meantone temperament" to refer to the same concept.   A Google Books or Google Scholar search on the expression "regular temperament" will return a plethora of other sources (along with lots of false positives).  Contrary to Norman Carey's apparent attribution—in his 1998 Ph.D. thesis, Distribution Modulo 1 and Musical Scales—of coinage of the term to J. Murray Barbour in the middle of the 20th century, it had already been used in exactly the same sense as early as 1895 by Ernest Bergholt in an article spanning several issues of Musical opinion and music trade review.
 * Concerning (2): While it's true that some writers of mainstream music literature use the terms "tuning" and "temperament" as interchangeable synonyms, it's certainly not true, in general, of most. Of the sources cited in footnote 4, Barbour (1951), Lindley (1984) and (2001), Lindley & Turner-Smith (1993), Jorgensen (1991), Duffin (2007), Blood (2013), Di Veroli (2013) and Dolata (2016) quite clearly use the terms "temperament" and "tuning" to mean different things, the former term referring to a special instance of the latter in which at least some consonances are tempered rather than pure.  Of all the sources cited in the article, the only ones I'm aware of that unequivocally do use the terms "tuning" and "temperament" as synonyms are  Bosanquet (1876) and (1889), Ellis (1885), and Lloyd & Boyle (1978). Of course, it's also true that in the vast majority of modern mainstream western music literature it's implicitly assumed that the notes of the chromatic scale have been tuned to equal temperament.  Since this is both a temperament and a tuning, according to the standard terminology, it may well be referred to indiscriminately as either, thus giving rise to an erroneous impression that the terms are completely interchangeable.
 * Concerning (3): In my opinion, the concepts referred to by traditional terminology and that adopted by modern microtonal theorists are sufficiently closely related that it's preferable for them both to be treated in the same article. Although I'd be willing to entertain the idea of having separate articles, I'm very strongly of the opinion that if either of the articles is to carry the title "regular temperament", it must be the one on the traditional use of that term, and not the one on modern microtonal theorists' redifinition of it. On this point, it's simply not true that the modern mainstream use of "regular temperament" is "mainly about tunings".
 * Concerning (4): The material on the modern microtonal concepts, like everything in Wikipedia's article space, is open to improvement by anyone sufficiently familiar with whatever's verifible from reliable sources. I'd be very interested in seeing an outline of how you would have treated the topic.
 * David Wilson (talk · cont) 05:35, 23 November 2018 (UTC)

title: Talk:Regular temperament


text:
Walloomsac River

The Walloomsac River from the Native American name, Wal-loom-sac is a 16.8 mi tributary of the Hoosic River in the northeastern United States. It rises in southwestern Vermont, in the Green Mountains east of the town of Bennington in Woodford Hollow at the confluence of Bolles Brook and City Stream where it is labeled Walloomsac Brook on maps but is locally known as "The Roaring Branch". The river then flows west toward Bennington and passes the downtown area to the north. For many years this section was intermittent due to the water having been diverted to power mills in town (ca. 1810). This divergence gave the name Walloomsac to a portion of the river flowing through town on the present course of South Stream. The combined Walloomsac / South Stream joins the Roaring Branch northwest of town. From here the river flows westward as the Walloomsac River and joins the Hoosic River below Hoosick Falls, New York.

Bridges
The river is crossed by the following roads / railroads via bridges.

Vermont

 * Walloomsac Brook
 * - "Woodford Bridge", west of Long Trail/Appalachian Trail trailhead, washed away in flood waters related to Hurricane Irene in August 2011, and another bridge east of downtown Bennington

 * The Roaring Branch
 * just north of its eastern terminus and SPUI interchange at Route 9 (2 one-way bridges)
 * North Branch Street - the bridge there is known locally as the Brooklyn Bridge
 * Park Street
 * Railroad bridge between US Route 7 and Benmont Avenue
 * Railroad bridge between US Route 7 and Benmont Avenue

 * Walloomsac River
 * Benmont Avenue
 * Hunt Street foot bridge (washed away in flood waters related to Hurricane Irene in August 2011)
 * via the western leg of the "Bennington Bypass"
 * Silk Road via the Silk Covered Bridge
 * Murphy Road via two bridges at Paper Mill Village including the Paper Mill Village Covered Bridge
 * River Road via the Burt Henry Covered Bridge

New York

 * Cottrell Road in two places
 * Caretakers Road
 * Factory Hill Road
 * Railroad bridges in three places
 * Railroad bridges in three places

Tributaries
Traveling upstream from the confluence with the Hoosic River, the following tributaries feed the Walloomsac:
 * Little White Creek
 * Paran Creek
 * Walloomsac River (original path through downtown Bennington, name ends at confluence of Roaring Brook and South Stream):
 * Roaring Brook
 * Barney Brook
 * South Stream
 * Jewett Brook
 * Roaring Branch (of South Stream)
 * Roaring Branch of the Walloomsac River (so named on maps from US 7 to VT 9, locally this name continues to Bolles Brook)
 * Furnace Brook
 * Stratton Brook
 * Basin Brook
 * Walloomsac Brook (so named on maps from VT 9 to confluence of Bolles Brook and City Stream)
 * Bolles Brook
 * Bickford Hollow Brook
 * Hell Hollow Brook
 * City Stream
 * Stamford Stream

title: Walloomsac River


text:
Daniel J. Boorstin

Daniel Joseph Boorstin (October 1, 1914 – February 28, 2004) was an American historian at the University of Chicago who wrote on many topics in American and world history. He was appointed the twelfth Librarian of the United States Congress in 1975 and served until 1987. He was instrumental in the creation of the Center for the Book at the Library of Congress.

Repudiating his youthful membership in the Communist Party, Boorstin became a political conservative and a prominent exponent of consensus history. He argued in The Genius of American Politics (1953) that ideology, propaganda, and political theory are foreign to America. His writings were often seen, along with those of historians such as Richard Hofstadter, Louis Hartz and Clinton Rossiter, as belonging to the "consensus school", which emphasized the unity of the American people and downplayed class and social conflict. Boorstin especially praised inventors and entrepreneurs as central to the American success story.

Biography
Boorstin was born in 1914, in Atlanta, Georgia, into a Jewish family. His father, Samuel, was a lawyer who participated in the defense of Leo Frank, a Jewish factory superintendent who was accused and convicted of the rape and murder of a 13-year-old girl. After Frank's 1915 lynching led to a surge of anti-Semitic sentiment in Georgia, the family moved to Tulsa, Oklahoma, where Boorstin was raised. He graduated from Tulsa's Central High School in 1930, at the age of 15.

Although Samuel wanted his son to go to the University of Oklahoma, become an attorney and join his own law firm, Daniel wanted to go to Harvard Law School. He graduated with highest honors (summa cum laude) from Harvard College in 1934, then studied at Balliol College, Oxford, as a Rhodes Scholar, receiving BA and BCL degrees in 1936 and 1937. The American National Biography Online states that he joined the Communist Party in 1938 then left it in 1939, when Russia and Germany invaded Poland. In 1940, he earned an SJD degree at Yale University.

Boorstin moved away from his earlier leftist views. In 1953, after being subpoenaed by the House Un-American Activities Committee, Boorstin became a cooperating witness and gave the committee the names of other Party members in his cell. His lectures were later boycotted by some students due to his testimony to the HUAC.

Boorstin was hired as an assistant professor at Swarthmore College in 1942, where he stayed for two years. In 1944, he was hired by the University of Chicago, where he was a professor until 1969. He was the Pitt Professor of American History and Institutions at the University of Cambridge in 1964. He served as director and senior historian of the National Museum of History and Technology of the Smithsonian Institution (now known as the National Museum of American History, Behring Center) from 1969 to 1975. During this period, Boorstin became an active participant in the Republican Party, rubbing shoulders with high-profile politicians such as Spiro Agnew and Henry Kissinger, and speaking at the party's national platform committee at its annual convention in 1972. Boorstin served on President Nixon's Commission on the American Revolution Bicentennial in 1968-69. President Gerald Ford nominated Boorstin to be Librarian of Congress, in 1975. On April 9, 1941, he married a Wellesley College graduate, Ruth Carolyn Frankel (1917–2013). She quickly became his partner and editor for his first book, The Mysterious Science of the Law, published in the same year. In his “Author’s Note” for The Daniel J. Boorstin Reader (Modern Library, 1995), he wrote, “Essential to my life and work as a writer was my marriage in 1941 to Ruth Frankel who has ever since been my companion and editor for all my books.” Her obituary in The Washington Post (December 6, 2013) quotes Boorstin as saying, “Without her, I think my works would have been twice as long and half as readable.”

Boorstin, with Ruth as his regular collaborator, wrote more than 20 books, including two major trilogies, one on the American experience and the other on world intellectual history. The first trilogy was entitled The Americans with three volumes: on the "colonial experience," on the "national experience," and on the "democratic experience." The books were largely celebratory of cultural, social and technological developments in American history, and featured striking story-telling about figures such as Frederic Tudor, the so-called "Ice King" of the early nineteenth century. They exemplified Boorstin's attempts to write for a general audience rather than his academic peers. The Americans: The Democratic Experience, the final book in the trilogy, received the 1974 Pulitzer Prize in history. Boorstin's second trilogy, The Discoverers, The Creators and The Seekers, examines the scientific, artistic and philosophic histories of humanity, respectively.

Within the discipline of social theory, Boorstin's 1961 book The Image: A Guide to Pseudo-events in America is an early description of aspects of American life that were later termed hyperreality and postmodernity. In The Image, Boorstin describes shifts in American culture – mainly due to advertising – where the reproduction or simulation of an event becomes more important or "real" than the event itself. He goes on to coin the term pseudo-event, which describes events or activities that serve little to no purpose other than to be reproduced through advertisements or other forms of publicity. This book also describes the type of false stories that came to be called "fake news" in the 2010s. The idea of pseudo-events anticipates later work by Jean Baudrillard and Guy Debord. The work is an often-used text in American sociology courses, and Boorstin's concerns about the social effects of technology remain influential.

Boorstin has been credited with saying, "Ideas need no passports from their place of origin, nor visas for the countries they enter... We, the librarians of the world, are servants of an indivisible world ... Books and ideas make a boundless world."

When President Ford nominated Boorstin to be Librarian of Congress in 1975, the nomination was supported by the Authors Guild but opposed by liberals, who objected to his perceived conservatism and his opposition to the social revolution of the late 1960s and early 1970s. He was attacked by the American Library Association because Boorstin "was not a library administrator". The Senate confirmed the nomination without debate.

Boorstin retired in 1987, saying that he wanted to do full-time writing. He died of pneumonia February 28, 2004, in Washington D.C. He was survived by Ruth, his three sons, Paul, Jonathan and David, six grandchildren and three great-grandchildren. David Levy, a history professor at the University of Oklahoma, said humorously in one of his lectures after Boorstin's death: "One can only imagine what he might have achieved, if he had only listened to his father’s advice about where to go to college."

Boorstin's approach to history
Professor Levy delivered a lecture about Boorstin in April 2014 at an Oklahoma University event, the President's Day of Learning. He had several observations about Boorstin's approach to American history that seem to explain why many contemporary historians opposed his appointment to head the Library of Congress. According to Levy:
 * Boorstin believed that the main points of American history were made by what the people agreed upon, rather than what they fought over.
 * He emphasized continuities in history, rather than radical changes.
 * He distrusted doctrinaire thinking; his writings minimized the role of pure thinkers and emphasized the role of problem solvers.
 * He was conservative in politics and his approach to culture, and was revolted by what he saw as vulgarities in American life and advertising.
 * He observed the transformative power of seemingly mundane cultural advances as air conditioning, telephones, catalog shopping, canned food and typewriters.

Smithsonian Institution Career
Boorstin became director of the Smithsonian Institution's National Museum of History and Technology (MHT) on October 1 1969, after its founding director Frank A. Taylor assumed a pan-institutional role as Director General of Museums. Boorstin stepped down as director of MHT in 1973 to assume the position of Senior Historian, "so that he could devote more time to research and writing." He served the Smithsonian until his 1975 presidential appointment as Librarian of Congress.

As MHT director, Boorstin presided over several landmark exhibitions, including the 1970 show, “Do it the Hard Way: Rube Goldberg and Modern Times,” honoring the illustrator and artist, Rube Goldberg. Boorstin conceived of the exhibition, one of his first as MHT director. At a preview of the show, Boorstin remarked: “There have been exhibits of Einstein and Dr. Salk and Isaac Newton, but the exhibits here show us not only how to enrich and deepen man, but how to amuse him. This show is about the ways we've discovered to give ourselves a headache. It tells us where technology leads us and misleads us, and touches the life of every American. Rube Goldberg foresaw the road to the electric toothbrush.”

One of Boorstin's most influential public programs at MHT were the Frank Nelson Doubleday Lectures, which began in 1972 focusing on 'technology and the frontiers of knowledge' and featured speakers such as writers Saul Bellow, Isaac Asimov, and Arthur C. Clarke, and technologists like Sony's founder Akio Morita.

Completed during his Smithsonian tenure and published in June 1973, The Americans: The Democratic Experience was awarded the Pulitzer Prize in early 1974. Boorstin was the first Smithsonian employee to receive the award.

Impact on the Library of Congress
John Y. Cole, in the obituary of Boorstin he wrote for the American Antiquarian, credited Boorstin with bringing new intellectual energy to the Library of Congress (LOC), opening the institution to, "the public, to scholars, and to new constituencies.

In 1976, Boorstin held a press conference to announce that he had discovered the contents of President Lincoln's pockets when he was assassinated in 1865. They had been in a wall safe in the Librarian's office. Boorstin had these artifacts put on public display, where they have become the most popular attraction for tourists visiting the American Treasures of the Library of Congress exhibition in the Library's Jefferson Building. He was instrumental in creating the American Folklife Center in 1976, and the Center for the Book in the Library of Congress in 1977.

In 1979, the LOC and the Kennedy Center opened a Performing Arts Library in the Kennedy Center. In 1980, Boorstin set up the Council of Scholars, a new link between the LOC and the world of scholarship. Another major event during Boorstin's tenure at the LOC was the construction and implementation of LOC's James Madison Memorial Building during 1980-1982. He obtained private contributions to open the Mary Pickford Theater in the Madison Building in 1983. The theater was intended to increase public awareness of the LOC's large collection of motion pictures.

In 1984, Boorstin and Architect of the Capitol George White teamed up to persuade Congress to appropriate $81.5 million for rehabilitating two of the LOC's older structures, the Jefferson (1897) and Adams (1939) Buildings. In 1986, Boorstin appeared before Congress to oppose legislation that would have made drastic cuts in the LOC budget. His pleas resulted in substantially restoring the proposed cuts. It also resulted in his being called, "an intellectual Paul Revere."

Overall, Boorstin proved so persuasive that the Federal appropriation increased from $116 million to more than $250 million during his administration.

Honors
His book, The Americans: The Colonial Experience (1958) won the Bancroft Prize for best book on history. The Society of American Historians awarded Boorstin the Francis Parkman Prize for The Americans: The National Experience (1965). Boorstin was awarded the Order of the Sacred Treasure, First Class, by the Japanese government in 1986. He received the Golden Plate Award of the American Academy of Achievement in 1986. He was awarded a Pulitzer Prize for writing The Americans: The Democratic Experience (1973).

He was a member of both the American Academy of Arts and Sciences and the American Philosophical Society.

He was inducted into the Tulsa Hall of Fame in 1989, and received the Oklahoma Book Award in 1993 for The Creators. He was posthumously inducted into the Georgia Writers Hall of Fame in 2023.

He held twenty honorary degrees, including an honorary Doctor of Laws from the University of Tulsa and Doctor of Letters from Oglethorpe University in 1994.

Books

 * The Mysterious Science of the Law: An Essay on Blackstone's Commentaries (1941)
 * The Lost World of Thomas Jefferson (1948)
 * The Genius of American Politics (University of Chicago Press, 1953) ISBN 0226064913
 * The Americans: The Colonial Experience (1958)
 * America and the Image of Europe: Reflections on American Thought (1960)
 * A Lady's Life In The Rocky Mountains: Introduction (1960)
 * The Image: A Guide to Pseudo-events in America (1962)
 * The Americans: The National Experience (1965)
 * The Landmark History of the American People: From Plymouth to Appomattox (1968)
 * The Decline of Radicalism: Reflections of America Today (1969)
 * The Landmark History of the American People: From Appomattox to the Moon (1970)
 * The Sociology of the Absurd: Or, the Application of Professor X (1970)
 * The Americans: The Democratic Experience (1973)
 * Democracy and Its Discontents: Reflections on Everyday America (1974)
 * The Exploring Spirit: America and the World, Then and Now (1976)
 * The Republic of Technology (1978)
 * A History of the United States with Brooks M. Kelley and Ruth Frankel (1981)
 * The Discoverers: A History of Man's Search to Know His World and Himself (1983)
 * Hidden History (1987)
 * The Creators: A History of Heroes of the Imagination (1992)
 * Cleopatra's Nose: Essays on the Unexpected (1994)
 * The Seekers: The Story of Man's Continuing Quest to Understand His World (1998)

title: Daniel J. Boorstin