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Voiced dental, alveolar and postalveolar trills

The voiced alveolar trill is a type of consonantal sound used in some spoken languages. The symbol in the International Phonetic Alphabet that represents dental, alveolar, and postalveolar trills is ⟨r⟩, and the equivalent X-SAMPA symbol is. It is commonly called the rolled R, rolling R, or trilled R. Quite often, ⟨r⟩ is used in phonemic transcriptions (especially those found in dictionaries) of languages like English and German that have rhotic consonants that are not an alveolar trill. That is partly for ease of typesetting and partly because $⟨r⟩$ is the letter used in the orthographies of such languages.

In many Indo-European languages, a trill may often be reduced to a single vibration in unstressed positions. In Italian, a simple trill typically displays only one or two vibrations, while a geminate trill will have three or more. Languages where trills always have multiple vibrations include Albanian, Spanish, Cypriot Greek, and a number of Armenian and Portuguese dialects.

People with ankyloglossia may find it exceptionally difficult to articulate the sound because of the limited mobility of their tongues.

Features
Features of the voiced alveolar trill:

 * Its place of articulation may be
 * dental (behind the upper front teeth),
 * alveolar (at the alveolar ridge), or
 * post-alveolar (behind the alveolar ridge).

 * It is most often apical, which means it is pronounced with the tip of the tongue.

Voiced alveolar fricative trill
In Czech, there are two contrasting alveolar trills. Besides the typical apical trill, written r, there is another laminal trill, written ř, in words such as rybáři 'fishermen' and the common surname Dvořák. Its manner of articulation is similar to but is laminal and the body of the tongue is raised. It is thus partially fricative, with the frication sounding rather like but less retracted. It sounds like a simultaneous and, and some speakers tend to pronounce it as , , or. In the IPA, it is typically written as ⟨r⟩ plus the raising diacritic, ⟨r̝⟩, but it has also been written as laminal ⟨r̻⟩. (Before the 1989 IPA Kiel Convention, it had a dedicated symbol ⟨ɼ⟩.) The Kobon language of Papua New Guinea also has a fricative trill, but the degree of frication is variable.

Features
Features of the voiced alveolar fricative trill:
 * Its manner of articulation is fricative trill, which means it is a non-sibilant fricative and a trill pronounced simultaneously.
 * Its place of articulation is laminal alveolar, which means it is articulated with the blade of the tongue at the alveolar ridge.


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CRV7

The CRV7, short for "Canadian Rocket Vehicle 7", is a 2.75-inch (70 mm) folding-fin ground attack rocket produced by Bristol Aerospace in Winnipeg, Manitoba. It was introduced in the early 1970s as an upgraded version of the standard U.S. 2.75-inch air-to-ground rocket. It was the most powerful weapon of its class, the first with enough energy to penetrate standard Warsaw Pact aircraft hangars. The CRV7 remains one of the most powerful air-to-ground attack rockets to this day, and has slowly become the de facto standard for Western-aligned forces outside the United States. Beginning in 2021, 83,303 stored Canadian CRV7s are slated for disposal, having been removed from service from 2005 to 2007. In 2024 the Department of National Defence is considering donating the rockets to Ukraine as military aid to defend against the Russian invasion of Ukraine. An estimated 8,000 rockets have functioning warheads, while the remainder could be used for parts or modification.

Development
The CRV7 was an offshoot of late 1950s research at CARDE into high-performance solid fuel rockets, research performed as a part of a general program studying anti-ballistic missiles. With Aerojet's assistance, CARDE and Bristol developed the "Propulsion Test Vehicle" to test new fuel and engine designs. This program led to the development of the Black Brant sounding rocket, which first flew in 1965 and has had a long and successful career since then. Engineer Jose Tharayil from Bristol Aerospace is considered the driving force behind the CRV7's development and production.

In the early 1970s, CARDE and Bristol decided to use the same propellant and engine design for a new 2.75-inch rocket to equip the Canadair CF-104 Starfighter. The resulting RLU-5001/B (C-14) engine was first delivered by Bristol in production form in 1973. It had a total impulse of 2,320 lbf·s (10.3 kN·s) and a burn time of 2.2 seconds. The empty weight of the rocket is 6.6 kg, and it is normally equipped with a 10 lb (4.5 kg) high-explosive warhead taken from U.S. rockets.

Compared to the U.S. Mk 40 FFAR Mighty Mouse rockets the CRV7 replaced, the higher energy fuel and newer fuselage design led to a longer and much flatter trajectory, with twice the energy on impact. Its maximum effective range is over 4,000 m, allowing launch from beyond the envelope of most short-range anti-aircraft weapons. In comparison, the Mighty Mouse or Hydra 70 requires launches from much shorter ranges, potentially placing the launch aircraft within the range of ground-based weapons arranged around the target.

Unguided rockets are normally spin stabilized like rifle bullets. The spin is imparted by small fins at the rear of the rocket body that flip out into the airstream once the rocket leaves its launch tube. The fins take a short time to open and more time to start the rocket spinning. During this period, the rockets can drift significantly from their original aim point. The CRV7 solved this problem by adding small vanes projecting into the rocket exhaust to start the rocket spinning even before it left the launch tube, greatly increasing accuracy. A salvo of CRV7's will impact the target area in one-third the footprint of older designs.

The weapon was originally quoted to have a dispersion of 4 milliradians, but testing with the McDonnell Douglas CF-18 Hornet demonstrated it was even lower, at 3 milliradians. This is considerably better than the autocannon that arm most aircraft; the widely used 20mm M61 Vulcan is rated at 8 milliradians, while the much larger and considerably heavier 30mm GAU-8 Avenger is rated at 5 milliradians.

The CRV7 had just been introduced into Royal Canadian Air Force service when it was entered as a part of a general competition in France. One part of the competition required the contestants to hit a tower with unarmed rockets. The Canadian pilot hit it on his first try, but aimed as if firing the much lower-powered Mk 40 and was therefore close enough that the rocket motor was still firing. The remaining unburned propellant shattered, allowing more surface area of the rocket motor to burn, in turn increasing the pressure and rate of combustion until it became a deflagration that destroyed the tower. The pilot was disqualified because the judges refused to believe it was unarmed.

Engine development
The aluminium-based fuel in the C-14 engine generated considerable amounts of smoke. While suitable for high-speed aircraft that quickly clear the plume, it is not suitable for slower aircraft and helicopters which would be flying in the smoke for some period of time. This problem led to the development of the RLU-5002/B (C-15) engine, which did not include aluminium and produced considerably less smoke, with a slightly lower impulse of 2,185 lbf·s (9.7 kN·s). The original C-15 used a tail-mounted igniter that was ejected by the rocket when it was fired. In some cases the igniter would hit the aircraft, causing minor damage. To address this, the RLU-5002A/B (HEPI) was introduced, with a "Head-End Permanent Igniter" that is not ejected on launch.

The latest C-17 and C-18 engines for helicopter use offer somewhat lower impulse at 1,905 lbf·s (8.5 kN·s), but with almost no smoke at all.

Warheads
The primary warhead for the original CRV7 was the U.S. M151 High Explosive Point Detonating (HEPD) round, a simple impact-fired 10 lb (4.5 kg) high-explosive shell. Like the U.S. 2.75-inch (70 mm) weapons, the CRV7 could also be equipped with the M156 Smoke or M257/278 Illumination (flare) rounds. Bristol also introduced their own WTU-5001/B Practice round, consisting of an 8 lb flat-ended soft steel rod encased in a nylon fairing, and later introduced a similar version with a hardened steel rod, the WTU-5001A/B. These rounds matched the ballistics of the M151 for training purposes and were widely used during the development and introduction of the weapon to the Canadian Forces.

Bristol followed this with the 16 lb WDU-50001/B "Anti-Bunkerette" round, a semi-armor-piercing high-explosive incendiary (SAPHEI/HEISAP) warhead designed for use against reinforced concrete buildings, specifically hardened aircraft shelters. Its heavy steel shell allows the round to penetrate the hangar wall before the 75 g incendiary warhead is ignited. The round can penetrate 13 ft of earth, 3 ft of concrete, and 1 in of steel, in series.

The CRV7's kinetic energy was so high that testers were surprised to find that practice rounds fitted with an 8 in steel rod were penetrating outdated Centurion tanks used for target practice. This resulted in the development of a dedicated antitank warhead that replaced the steel rod in the practice warhead with a tungsten rod. This new antitank warhead could penetrate a Soviet T-72 main battle tank armour from any attack angle. Further study into this effect led to the WDU-5002/B FAT warhead, Flechette Anti-Tank, containing five tungsten-reinforced steel flechettes that could penetrate a T-72's side and top armour at a distance of 10000 ft. It was also found to be a useful warhead for use against medium and light armoured vehicles. Further development led to the WDU-500X/B "General Purpose Flechette" which releases 80 tungsten flechettes that can penetrate 1.5 in of roll-hardened armor for use against personnel, some light armour, thin-skinned vehicles, and helicopters.

Bristol also re-sells the RA-79 from Raufoss Ammunisjonsfabrikker, a semi-armor-piercing round designed to attack shipping.

The CRV7 Multi-Purpose Sub Munition (MPSM) contained nine M73 submunitions in each rocket. It could therefore be classified as a cluster bomb. Britain destroyed the last of its CRV7 MPSMs in July 2009 in accordance with its interpretation of the Convention on Cluster Munitions.

Guided version
In 2006 Bristol started testing a new version of the CRV7, the CRV7-PG. The weapon was introduced at Eurosatory 2006. Bristol's current owners, Magellan Aerospace, offered it for sale starting in 2007.

The PG version, for "precision guided", adds a seeker developed by Kongsberg Defence & Aerospace to the front of any version of an otherwise unmodified CRV7. The seeker uses a simple inertial guidance system through the midcourse and homes during the terminal approach using a laser designator. Other versions offer anti-radiation seeking or GPS guidance. The precision guided kit includes the addition of tail fins and an in-flight control system. Combining the laser seeker with the FAT warhead produces a capable long-range anti-tank missile that is faster and much less expensive than traditional platforms like the AGM-114 Hellfire.

A version of the CRV7-PG was also developed for special forces use, fired from a single tube mounted on a 6 x 6 vehicle.

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

title: CRV7


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Federico Castelluccio

Federico Castelluccio (born April 29, 1964) is an Italian-born American actor. He is best known for his role as Furio Giunta on the HBO series The Sopranos.

Early life
Born in Naples, Italy, Castelluccio moved with his family to Paterson, New Jersey, when he was three years old. In 1982, Castelluccio was awarded a full scholarship to the School of Visual Arts in New York City, where he earned a BFA in painting and media arts. Prior to winning the scholarship, he received an opportunity to create a painting for actor George Burns.

Career
Castelluccio began his career as an actor in 1986. Some of his film credits include Made with Jon Favreau, Fire with Paul Campbell and 18 Shades of Dust with Danny Aiello. In television, his credits include NYPD Blue and his best known role, in the HBO hit series The Sopranos, as the Neapolitan enforcer Furio Giunta.

He also appeared in A Guide to Recognizing Your Saints which debuted in 2006 at the Sundance Film Festival and received two awards, one for best dramatic directing and another for best dramatic ensemble, headed by Robert Downey Jr., Chazz Palminteri, and Rosario Dawson.

Other film projects include the biographical El Cantante; Aftermath, a crime thriller; and The Obscure Brother, filmed in southern Italy, a short film that he executive produced and acted in; 2003's La Araña; the 2008 comedy Capers; Lucky Days; and the 2009 Forget Me Not. In television, Castelluccio played the lead role in Dragon Dynasty, a telefilm that aired on the Sci-Fi Channel. He also appeared in the episode of Kenny Vs. Spenny titled "Who Can Produce The Best Commercial".

In 2014, Castelluccio acted in Don Capria's short film Eulogy, acting alongside Michael Kaves. With the rest of the cast, they won Best Ensemble at the Queens World Film Festival.

In 2016, Castelluccio directed the feature film The Brooklyn Banker. In 2017, Castelluccio directed the TV pilot Outcall.

During the fourth season of Celebrity Apprentice, Castelluccio was asked by Donald Trump to judge which celebrity designed the best hat. Castelluccio eventually chose La Toya Jackson. She was awarded $25,000 for her charity, the AIDS Project Los Angeles.

Painting discovery
Castelluccio discovered a 17th-century painting by Italian baroque painter Guercino at a Frankfurt gallery and subsequently purchased it at auction in 2014 after it had been incorrectly identified as an 18th-century painting. He purchased the painting for approximately $68,000. After restoration, insurance, shipping, and other expenses, his total costs came to $140,000. The work's actual value was subsequently placed at approximately $10 million.

Accolades

 * 2015 - Best Ensemble - shared with the rest of the cast of Eulogy - Queens World Film Festival

title: Federico Castelluccio


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Pitt

Pitt most commonly refers to:

 * The University of Pittsburgh, commonly known as Pitt, a university located in Pittsburgh, Pennsylvania, United States
 * Pitt Panthers, the athletic teams of the University of Pittsburgh
 * Pitt (surname), a surname of English origin, particularly associated with two British Prime Ministers:
 * William Pitt, 1st Earl of Chatham (William Pitt the Elder) (1708–1778), Prime Minister of Great Britain (1766–1768)
 * William Pitt the Younger (1759–1806), son of the above and Prime Minister of Great Britain (1783–1801) and of the United Kingdom (1801 and 1804–1806)

Education

 * Pittsburg State University ("Pitt State"), located in Pittsburg, Kansas, United States

Geography

 * Pitt County, North Carolina, a county in the United States
 * Pitt, Hampshire, a hamlet in Hursley parish, Hampshire, England
 * Pitt Island, an island in the Chatham Archipelago, New Zealand
 * Pitt River (Canada), a river in British Columbia, Canada
 * Pitt River (New Zealand), a river in Fiordland, New Zealand
 * The River Pitt, a river in Somerset, England
 * Pit River, a river in California, United States, which is sometimes referred to as "Pitt River"

Fiction

 * Pitt (character), a comic book character published by Image Comics and Full Bleed Studios
 * The Pitt, a single-issue comic book published in 1987 by Marvel Comics
 * Fallout 3: The Pitt, the second downloadable content pack for Fallout 3
 * Dirk Pitt, the protagonist of a series of bestselling adventure novels written by Clive Cussler
 * Justin Pitt, a minor character in the television series Seinfeld

Other uses

 * HMS Pitt, a number of British warships of that name
 * Fort Pitt, a number of military forts of that name

title: Pitt


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Daniel Goldin

Daniel Saul Goldin (born July 23, 1940) served as the 9th and longest-tenured Administrator of NASA from April 1, 1992, to November 17, 2001. He was appointed by President George H. W. Bush and also served under Presidents Bill Clinton and George W. Bush. He is an entrepreneur and technologist. Most recently he is the founder of Cold Canyon AI, an innovation advisory company. His career has spanned numerous technologies and businesses in space science, aeronautics, national security, semiconductors, and artificial intelligence.

Early life
Born in New York City, Goldin earned a Bachelor of Science degree in mechanical engineering from the City College of New York in 1962.

Career
He began his career at NASA's Glenn Research Center in Cleveland, Ohio that year (1962), and worked on electric propulsion systems for human interplanetary travel. Goldin left NASA after five years to work at the TRW Space and Technology Group in Redondo Beach, California. Goldin spent 25 years at TRW, climbing to the position of Vice President and General Manager. There, he spent much of his time on classified military and intelligence space programs.

He was NASA Administrator from 1992 to 2001, and was known for his support for a "Faster, better, cheaper" philosophy. He was known as a demanding but efficient manager.

Upon joining NASA, Goldin reflected on the failed Mars Observer project and described his dissatisfaction with the agency's workflow: "so much is riding on each flight that NASA can't afford to have them fail — leading to more caution, delay, and expense." He said to make spacecraft smaller, lighter, and inexpensive, so that NASA could take more risks and not fear making mistakes. He encouraged the team defining what would become the James Webb Space Telescope to use a larger beryllium mirror.

title: Daniel Goldin


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Talk:Elves in Middle-earth

ages, and ages

 * The first Elves were awakened by Eru Ilúvatar near the bay of Cuiviénen during the Years of the Trees. This event marked the beginning of the First Age.

As I understand it, the First Age – more formally the First Age of the Sun – began with the first rising of the Sun and Moon. —Tamfang (talk) 05:54, 22 March 2024 (UTC)
 * That would equate (or indeed conflate) the First Age and the Years of the Sun. As usual with Tolkien, things aren't that simple. Chiswick Chap (talk) 08:07, 22 March 2024 (UTC)
 * That's a common misconception, which is actively spread by a few fallacious self-styled Tolkien 'scholars'. No version of the term "Age of the Sun" appears anywhere in Tolkien's writings. There were " Years  of the Sun", starting with the first sunrise towards the end of the First Age... but the 'Ages' themselves were consistently referred to as "Ages of the Children of Iluvatar" (starting with the Awakening of the Elves) other than a handful of earlier forms/variations (e.g. 'Ages of the Stars'... because when Varda caused the stars to appear that was what triggered the Awakening of the Elves). Similarly, the First Age is repeatedly stated to be the longest of the three in Tolkien's stories... because, despite containing far fewer 'Years of the Sun', it had begun long before the Sun ever rose. --CBD 11:25, 22 March 2024 (UTC)

title: Talk:Elves in Middle-earth


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Bob Cole (sportscaster)

Robert Cecil Cole (June 24, 1933 – April 24, 2024) was a Canadian sports television announcer who worked for CBC and Sportsnet and a competitive curler. He was known primarily for his work on National Hockey League's Hockey Night in Canada and Olympic ice hockey.

Early life
Cole was born in St. John's, Newfoundland, on June 24, 1933. A knee injury suffered from playing soccer put Cole in the hospital for approximately six months as a youth. It was during this time that he would listen to Foster Hewitt calling games on the radio and developed an interest in becoming a sports announcer. In 1956, Cole made an impromptu visit to Hewitt's office to present him with an audition tape. To Cole's surprise, Hewitt welcomed him in, listened to his tape, and talked with him for two hours.

Hockey Night in Canada
Cole began broadcasting hockey on VOCM radio in St. John's, Newfoundland, then CBC Radio in 1969 and moved to television in 1973 when Hockey Night in Canada (HNIC) expanded its coverage. Cole was the lead play-by-play announcer for HNIC on CBC, usually working Toronto Maple Leafs games, from 1980 to 2008. Aside from the Leafs broadcasts, he was also a staple for HNIC during the annual Stanley Cup playoffs. He broadcast at least one game in every Stanley Cup Finals from 1980 until 2008, after which he was replaced by Jim Hughson.

In November 2013, Rogers Communications reached a 12-year deal to become the exclusive national television and digital rightsholder for the NHL in Canada, beginning with the 2014–15 season. Although now at the age of 82, Cole told the Toronto Sun that he wanted Rogers to call and tell him if he would be a part of their hockey coverage: "I still feel the same as when I was 50. I still love what I'm doing. I just want to do games." Cole later stated, "I'd like to keep going. I feel good. I love the game. I still get passionate. I still get butterflies." In June 2014, Rogers confirmed that Cole would be part of their play-by-play team.

Sportsnet did not give any on-air assignments to Cole during the 2018 Stanley Cup playoffs. On September 27, 2018, Sportsnet announced that he would be calling his 50th and last season with Hockey Night in Canada and a limited schedule of games in the upcoming season.

On February 6, 2019, he received a video tribute and a standing ovation, during the Toronto Maple Leafs – Ottawa Senators game, on the occasion of calling his last game in Toronto, with his final play-by-play broadcast being the Toronto Maple Leafs-Montreal Canadiens game on April 6 at Bell Centre. That night, the Montreal Canadiens beat the Toronto Maple Leafs by a score of 6–5 in a shootout. This game also happened to hold historical significance, as Canadiens forward Ryan Poehling scored a hat trick and a shootout goal in what was his first NHL game. Cole's broadcasting career spanned 50 years.

Olympics
Cole's work during CBC's broadcasts of the Olympic ice hockey have also become memorable among legions of Canadians. His call on the final shot of the shootout in the semi-final game of the 1998 Winter Olympics at Nagano between Canada and the Czech Republic represented Canada's then-ongoing failure at the games and haunted fans for the next four years. With Canada scoreless in the shootout and Brendan Shanahan representing their last chance, Cole said in a panicked voice as Shanahan skated in towards Czech goalie Dominik Hasek, "He's gotta score, that's all!" But Shanahan was stopped by Hasek, prompting Cole to dejectedly say "No, he can't do it."

At the gold medal game of the 2002 Winter Olympics in Salt Lake City between Canada and the United States, Cole's animated call of Joe Sakic's second goal of the game is also one of his more memorable moments. Also, when Jarome Iginla scored Canada's fourth goal of the game, with four minutes remaining in the third period, Cole was so excited when the goal was scored he yelled out "GORE!" (a hybrid of "goal" and "score"), and then proceeded to call out "Goal, Canada! Goal! Wow! A lot of Canadian fans here! The place goes crazy here in Salt Lake City, and I guess coast to coast in Canada, and all around the world!" When Sakic scored Canada's fifth goal with 1:20 remaining, Cole yelled out "Scores! Joe Sakic scores! And that makes it 5–2 Canada! Surely, that's gotta be it!" As the final seconds of the game ticked away, and as the crowd broke out in perfect unison singing "O Canada", Cole said, "Now after 50 years, it's time for Canada to stand up and cheer. Stand up and cheer everybody! The Olympics Salt Lake City, 2002, men's ice hockey, gold medal: Canada!"

With an average Canadian audience of 10.6 million viewers, that game was the most-watched CBC Sports program, beating the previous record of 4.957 million viewers for Game 7 of the 1994 Stanley Cup Finals (the final game of the 1972 Summit Series between an NHL all-star team and the Soviet Union, which had been the most-watched sports program Canadian television history, was simulcast on CBC and CTV while Cole called the game on CBC Radio), in which the New York Rangers won their first Stanley Cup in 54 years, beating the Vancouver Canucks, another moment Cole himself called: "Here comes the faceoff and blare it Manhattan! The New York Rangers have done it here on a hot June night in New York! The Rangers are Stanley Cup Champions!"

Colour commentators
Cole's long-time colour commentator on HNIC was Harry Neale, who first teamed up in the 1986–87 season. From 1987 to 2007, the pair together called 20 Stanley Cup Finals, the 1998, 2002, 2006 Winter Olympics, the 1996 World Cup of Hockey, and 2004 World Cup of Hockey for CBC. Prior to that, his usual partners included Gary Dornhoefer, Mickey Redmond, or John Davidson. Dick Irvin Jr. also often joined his broadcast team as a third man in the booth for big games. Following the departures of Neale and Irvin, Jr., his usual broadcast partners were either Garry Galley or Greg Millen.

Curling
Prior to his career in broadcasting, Cole was a successful curler, playing in the 1971 and 1975 Briers as the skip for the Newfoundland team. In 1971, he led his team of Les Bowering, Ken Ellis and Alex Andrews to a 4–6 record. At the 1975 Brier, he led his team of Joseph Power Jr., Andrews and Andrew Baird to a 1–10 record. He also played in the 1965 and 1973 Canadian mixed championship, playing second for Dave Pedley in 1965 and skipping in 1973. The Pedley-led rink finished with a 4–6 record at the 1965 Mixed, and Cole led Newfoundland to a 4–6 record at the 1973 Mixed.

Death
Cole died in St. John's, Newfoundland and Labrador due to natural causes on April 24, 2024, at the age of 90.

Awards
In 2007, Cole captured his first Gemini Award in the area of Sports Play-by-Play.

Cole was honoured in the Hockey Hall of Fame in 1996 as the recipient of the Foster Hewitt Memorial Award for broadcasting excellence.

In 2022, he was named the recipient of the Academy of Canadian Cinema and Television's Lifetime Achievement Award at the 10th Canadian Screen Awards.

Other
Cole received an honorary Doctorate of Laws from Memorial University of Newfoundland in St. John's in October 2002.

In early 2016, Cole had a cameo at the end of Simple Plan's album Taking One for the Team, calling a fictional hockey game involving the band; he concluded the call with, "Oh my goodness, can you believe it? Just like that, Simple Plan have won the game!".

On September 23, 2016, Cole was appointed a Member of the Order of Canada.

From 2010 to 2014, Cole was the Voice of the Republic on the CBC TV series Republic of Doyle. His voice could also be heard in the CBC 2013 TV film The Magic Hockey Skates (based on the book of the same name).

title: Bob Cole (sportscaster)


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Conservative parties in Newfoundland (pre-Confederation)

The Conservative Party of Newfoundland was a political party in the Dominion of Newfoundland prior to confederation with Canada in 1949.

The party was formed by members and supporters of the establishment around 1832. In the 1840s, they opposed the proposal for responsible government which was finally granted in 1855. Since the concept was opposed generally by members of the Anglican establishment, the early party was almost entirely Protestant. As politics in Newfoundland developed along sectarian lines, the Conservatives became the Protestant party (with strong links to the Orange Order), while the Liberals were the Catholic party.

Under Sir Frederick Carter, the Conservatives supported joining Canadian confederation, and campaigned on the proposal in the 1869 general election. The party was badly defeated by Charles Fox Bennett's Anti-Confederation Party. The Conservatives returned to power in 1874, but never proposed joining Canada again.

The Conservative party later absorbed the rival Liberals, putting an end to sectarian divisions with a 'denominational compromise'.

The united party collapsed in the 1880s when members of the Orange Order abandoned the government of William Whiteway, and formed a new Reform Party under Robert Thorburn. The Reform Party won the 1885 election on a platform of 'Protestant Rights'.

Whiteway founded a new Liberal Party after the collapse of the Reform Party. Members of the Orange Order formed a new Tory Party, which formed two short-lived administrations in the 1890s before disappearing.

Individual Conservatives were elected as Opposition or United Opposition MHAs before being subsumed into the Newfoundland People's Party (later the Liberal-Labour-Progressive Party) formed by Edward Patrick Morris in 1907 after he resigned from the Liberal government of Sir Robert Bond.

In 1924, the Liberal-Conservative-Progressive Party was formed by members of the LLP Party who were largely conservatives and discontented members of the ruling Liberal Reform Party. This new party won the 1924 general election, making its leader Walter Stanley Monroe the new Prime Minister. In practice, the party was essentially a Tory party.

The party was defeated in 1928 under new leader Frederick C. Alderdice, but returned to power in 1932 as the United Newfoundland Party (UNP). The UNP ruled for two years until the suspension of responsible government.

When responsible government was suspended, Newfoundland's status as an independent dominion within the British Empire was brought to an end. The Government of the United Kingdom appointed a Commission of Government to govern Newfoundland, bringing an end to party politics on the island.

Party politics returned to Newfoundland when it joined Canadian confederation in 1949. At this time, the modern Liberal and Progressive Conservative parties were formed. These new parties were unrelated to the parties that existed prior to 1934.

Leaders

 * Frederick Carter 1865-1878
 * William Whiteway 1878-1885
 * Robert Thorburn 1885-1889 - as leader of the Reform Party
 * Augustus F. Goodridge 1889-1893 - as leader of the Tory Party
 * James Spearman Winter 1893-1900
 * Walter Stanley Monroe 1924-1928 - as leader of the Liberal-Conservative Progressive Party
 * Frederick C. Alderdice 1928 - as leader of the Liberal-Conservative Progressive Party and United Newfoundland Party 1928-1934


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User talk:Lord Cornholio

Hello and welcome to the wikipedia! Maybe your lordship wishes to visit Community Portal for tips and pointers. Happy editing, Muriel 23:58, 13 Mar 2004 (UTC)

Please grow up, go away, or both. 82.35.17.203 00:06, 14 Mar 2004 (UTC)

 * DONT add links to shock sites on pages like Jesus Christ. That is highly offensive to everyone, especially Christians, whom I don't believe would enjoy having their savior religion defiled in that way. Continue and you will be banned. ugen64 00:07, Mar 14, 2004 (UTC)

 * I say ban this person now. It's not like these are newbie mistakes. Being nice to newbies does not apply here. 82.35.17.203 00:11, 14 Mar 2004 (UTC)

 * Geez, removing tubgirl is considered "vandalism" now? ugen64 00:16, Mar 14, 2004 (UTC)

title: User talk:Lord Cornholio


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Broken Arrow (1996 film)

Broken Arrow is a 1996 American action-thriller film directed by John Woo, written by Graham Yost, and starring John Travolta, Christian Slater, and Samantha Mathis. The film's main themes include the theft of two American nuclear weapons, the attempts of U.S. military authorities to recover them, and the feud between Travolta and Slater's characters. The film was a commercial success despite mixed reviews.

Plot
Major Vic "Deak" Deakins and Captain Riley Hale, pilots from Whiteman Air Force Base, are flying a stealth bomber with two B83 nuclear bombs on a secret exercise. After evading Air Force radar, Deakins suddenly attacks Hale and ejects him from the plane. Deakins releases the bombs without activating them and then reports that Hale has gone rogue. He ejects, leaving the plane to crash in a national park in Utah.

A USAF team led by Chief Master Sergeant Rhodes is sent to find the missing warheads, and a "Broken Arrow" situation is declared. The team locates the warheads in a canyon, but is ambushed by mercenaries. Rhodes tries to disable the warheads, but is killed by the other search team survivor, Master Sergeant Kelly, who is a mole for Deakins. Deakins arrives with Pritchett, the mercenaries' financier. They plan to blackmail the United States government with the threat of detonating the warhead in a populated area.

Hale is arrested by park ranger Terry Carmichael, but convinces her to help him track down Deakins. Deakins' mercenaries commandeer a search-and-rescue helicopter to kill Hale, but Hale and Carmichael manage to bring it down, forcing Deakins' men to continue in Humvees.

Hale and Carmichael carjack the Humvee carrying the warheads, escaping to a nearby abandoned copper mine. Hale starts to disable one warhead, but Deakins reveals via radio that he has programmed it so that Hale's attempts to disarm it will cause the bomb to activate. Hale and Carmichael take the armed warhead down the shaft, where the mine is deep enough to contain the nuclear blast. Deakins's team arrives and secures the second warhead. After a gun battle deep in the mine, Deakins shortens the countdown of the armed warhead while leaving Hale and Carmichael trapped. However, they escape via an underground river just before the bomb detonates. The resulting nuclear electromagnetic pulse downs an approaching NEST helicopter, allowing Deakins to escape. Deakins then kills Pritchett, having grown tired of his complaints. Carmichael and Hale track the mercenaries to a motorboat used for transporting the warhead down the river. While trying to steal the boat, Carmichael is forced to hide onboard, while military forces rescue Hale.

Hale deduces that Deakins intends to use a train to transport the warhead. Colonel Max Wilkins disobeys orders to help Hale. Stowing away on the train, Carmichael tries to sabotage the warhead, but is caught by Deakins, who arms it. Catching up on a helicopter, Hale saves Carmichael before Deakins can kill her. A gunfight ensues, killing Wilkins and causing the helicopter to crash, with most of the mercenaries dying in the aftermath.

Deakins has prepared a remote control that can either disarm or detonate the warhead and prepares to leave on his own getaway helicopter. Hale sabotages the helicopter's fuel pump, causing it to explode and leaving Deakins and Kelly stranded with the ticking bomb. With his plan falling apart, Deakins decides to shorten the countdown timer out of spite. Kelly orders Deakins at gunpoint to disarm the weapon. Hale sneaks up on them during their bickering and kicks Kelly out of the boxcar to his death before engaging in a gun battle with Deakins.

Carmichael detaches the section of the train with the bomb, but gets into a shootout with the engineer. The engineer is killed and falls on the train brakes, allowing the detached boxcars to catch up. Deakins still has the remote detonator, so he forces Hale to drop his gun and challenges him to a fight. Hale eventually overpowers Deakins, acquires the remote detonator, disarms the warhead, and leaps out of the train. Carmichael also jumps from the train before the detached boxcars catch up and collide. The hurtling warhead flies through him into a stack of oil barrels, causing the train to derail and the barrels to explode, killing Deakins.

After the explosion, Hale and Carmichael embrace and formally introduce each other for the first time.

Cast

 * John Travolta as United States Air Force Major Vic "Deak" Deakins
 * Christian Slater as United States Air Force Captain Riley Hale
 * Samantha Mathis as United States Park Service Park Ranger Terry Carmichael
 * Delroy Lindo as United States Air Force Colonel Max Wilkins
 * Frank Whaley as Giles Prentice
 * Bob Gunton as Mr. Pritchett
 * Howie Long as United States Air Force Pararescueman Master Sergeant Kelly
 * Jack Thompson as Chairman of the Joint Chiefs of Staff
 * Kurtwood Smith as Secretary of Defense Baird
 * Vondie Curtis-Hall as United States Air Force Pararescueman Chief Master Sergeant Sam Rhodes
 * Daniel von Bargen as United States Air Force General Creely

Music
The original music score was composed by Hans Zimmer. An expanded double-disc limited set of the music score was released by La-La Land Records in February 2011.

The score is considered to be one of Zimmer's best action scores by fans and film critics. The opening track, "Rope-A-Dope", also known as "Deakin's Theme", has been widely used in other films and media, including Scream 2 and Speed 2. The famous riff from "Rope-A-Dope" was played by legendary guitarist Duane Eddy, who Zimmer brought in for the entire Broken Arrow scoring session.

While looking back at the score, Zimmer said: “It was "big man" music. The guitar sound as well. I always thought Ennio [Morricone] wanted to work with Duane Eddy. So I just got the real Duane Eddy. In the score, you'll hear him plucking away. And it was great fun.“ He concludes by: “My intent was just make the film fun, when there's no real story to tell.“

Production
In July 1993, it was reported that 20th Century Fox had made a deal with Speed screenwriter Graham Yost for his next script later revealed to be Broken Arrow and also produced by Speed producer Mark Gordon.

Principal photography began on April 26, 1995. Some filming took place in and around the mountain areas of Glen Canyon National Recreation Area in Kane County, Utah. The lake scene with Hale and Carmichael was filmed at Lake Powell. The desert sequences were shot in the Mojave Desert near Barstow, California, and in Coconino County near Page, Arizona. The final climax scenes with Deakins and his men on the train, including the action sequence with Deakins and Hale fighting in the train car, were filmed on the privately owned Central Montana Rail, Inc. (CM) in Fergus County between Lewistown, Montana, and Denton, Montana.

In July 1995, a number of elaborate train cars were sent to the location in Lewistown, including several custom-built cars. Six weeks of filming on the forty mile track were required to capture all the stunts, helicopter action, gun battles, high falls and special effects sequences. Production photography was completed on August 28, 1995.

John Travolta was originally the choice to portray Riley Hale (finally played by Christian Slater), but was chosen instead to portray Major Vic Deakins. Travolta was paid $7 million for his role.

Release
Broken Arrow was No. 1 at the North American box office on its opening weekend grossing $15.6 million. It stayed on top for a second week and ultimately had a domestic gross of $70,770,147 and an international gross of $79,500,000, for a total worldwide gross of $150,270,147.

Reception
Based on 35 reviews collected by the film review aggregator Rotten Tomatoes, 54% of critics gave Broken Arrow a positive review (19 "Fresh"; 16 "Rotten"), with an average rating of 5.7 out of 10. The site's consensus states: "John Woo adds pyrotechnic glaze to John Travolta's hammy performance, but fans may find Broken Arrow to be a dispiritingly disposable English-language entry for the action auteur." Metacritic, which assigns a normalized rating out of top reviews from mainstream critics, calculated an average score of 61, "generally favorable reviews" based on 21 reviews. Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

The review of this movie on Siskel & Ebert & the Movies represents the only time that Roger Ebert convinced Gene Siskel to change his mind about his final judgment of a film. Siskel initially gave the film a marginal "thumbs up" but changed it to a "thumbs down" after hearing Ebert's criticisms. Ebert called it "a slow, talky action thriller that plays like a homage to the Fallacy of the Talking Killer." This fallacy "occurs when all the bad guy has to do is pull the trigger, and his problems are over. Instead, he talks, and talks, until his target escapes from his predicament." Ebert queried the "purpose of a digital readout on a bomb. Who will ever see it, except in a mad bomber movie?" and summed up the film saying that it all "comes down to two guys fighting on a burning train for a channel-surfer".

title: Broken Arrow (1996 film)


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Bilabial click

The bilabial clicks are a family of click consonants that sound like a smack of the lips. They are found as phonemes only in the small Tuu language family (currently two languages, one down to its last speaker), in the ǂ’Amkoe language of Botswana (also moribund), and in the extinct Damin ritual jargon of Australia. However, bilabial clicks are found paralinguistically for a kiss in various languages, including integrated into a greeting in the Hadza language of Tanzania, and as allophones of labial–velar stops in some West African languages (Ladefoged 1968), as of /mw/ in some of the languages neighboring Shona, such as Ndau and Tonga.

The symbol in the International Phonetic Alphabet that represents the place of articulation of these sounds is ⟨ʘ⟩. This may be combined with a second letter to indicate the manner of articulation, though this is commonly omitted for tenuis clicks.

In official IPA transcription, the click letter is combined with a ⟨k ɡ ŋ q ɢ ɴ⟩ via a tie bar, though ⟨k⟩ is frequently omitted. Many authors instead use a superscript ⟨k ɡ ŋ q ɢ ɴ⟩ without the tie bar, again often neglecting the ⟨k⟩. Either letter, whether baseline or superscript, is usually placed before the click letter, but may come after when the release of the velar or uvular occlusion is audible. A third convention is the click letter with diacritics for voicelessness, voicing and nasalization; it does not distinguish velar from uvular labial clicks. Common labial clicks are:

The last is what is heard in the sound sample at right, as non-native speakers tend to glottalize clicks to avoid nasalizing them. Damin also had an egressive bilabial, which may be an egressive click (if it is not buccal) and which is always followed by another consonant (, or ).

Features
Features of ingressive labial clicks:

 * The forward place of articulation is labial, which means it is articulated with the lips. The release is a noisy, affricate-like sound. Bilabial articulation, using both lips, is typical. Sometimes this may pass through a labio-dental stage as the click is released, making it noisier. In other cases, the lower lip may start out in contact with both the upper teeth and the upper lip.

(One of the two labial clicks in Damin is lingual egressive, which means that the trapped air pocket is compressed by the tongue until it is allowed to spurt out through the lips.)

The labial clicks are sometimes erroneously described as sounding like a kiss. However, they do not have the pursed lips of a kiss. Instead, the lips are compressed, more like a than a, and they sound more like a noisy smack of the lips than a kiss.

Symbol
The bullseye or bull's eye () symbol used in phonetic transcription of the phoneme was made an official part of the International Phonetic Alphabet in 1979, but had existed for at least 50 years earlier. It is encoded in Unicode as. The superscript IPA version is.

Similar graphemes consisting of a circled dot encoded by Unicode are:
 * Gothic 𐍈, hwair
 * astronomical symbol ☉ "Sun"
 * mathematical operators and
 * geometrical symbol
 * Cyrillic Ꙩ, ꙩ (monocular O)

It was never widely used and was eventually dropped for. Still the deprecated IPA character is encoded at. Earlier it is privately encoded by SIL International at and is available in SIL supporting fonts.

Occurrence
English does not have a labial click (or any click consonant, for that matter) as a phoneme, but a plain bilabial click does occur in mimesis, as a lip-smacking sound children use to imitate a fish.

Labial clicks only occur in the Tuu and Kx'a families of southern Africa, and in the Australian ritual language Damin.

Origins
Labial clicks may have arisen historically from labialization of other places of articulation. Starostin (2003) notes that the ǂ’Amkoe words for 'one' and 'two', and, have labial clicks whereas no other Khoisan language has a labial consonant of any kind in its words for these numerals, and Starostin (2007) and Sands reconstruct a series of labialized clicks in Proto-Kxʼa, which became labial clicks in ǂ’Amkoe. In Hadza, the word for 'kiss',, becomes a mimetic or  in greetings.

title: Bilabial click


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Bilabial ejective stop

The bilabial ejective is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨pʼ⟩.

Features
Features of the bilabial ejective:

Occurrence
In addition to the languages listed below, this sound is also a common phonological feature of the Ethiopian linguistic area, especially Ethiopian Semitic languages.

title: Bilabial ejective stop


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Voiced bilabial nasal

The voiced bilabial nasal is a type of consonantal sound which has been observed to occur in about 96% of spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨m⟩, and the equivalent X-SAMPA symbol is. The bilabial nasal occurs in English, and it is the sound represented by "m" in map and rum. Very few languages (e.g. Wyandot) are known to lack this sound. A small number of languages have been observed to lack independent nasal phonemes altogether, such as Quileute, Makah, and Central Rotokas.

Features

Features of the voiced bilabial nasal:

title: Voiced bilabial nasal


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Voiced bilabial trill

The voiced bilabial trill is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents the sound is ⟨ʙ⟩, a small capital version of the Latin letter b, and the equivalent X-SAMPA symbol is.

Features
Features of the voiced bilabial trill: In most instances, it is only found as the trilled release of a prenasalized stop.

Occurrences
The Knorkator song "[Buchstabe]" (the actual title is a glyph) on the 1999 album Hasenchartbreaker uses a similar sound (though linguolabial instead of bilabial) to replace "br" in a number of German words (e.g. for Bratkartoffeln).

Phonology
In many of the languages in which the bilabial trill occurs, it occurs only as part of a prenasalized bilabial stop with trilled release,. That developed historically from a prenasalized stop before a relatively high back vowel like. In such instances, the sounds are usually still limited to the environment of a following. However, the trills in Mangbetu may precede any vowel and are sometimes preceded by only a nasal.

title: Voiced bilabial trill


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User talk:Ataturk

Hello Ataturk, welcome to Wikipedia! I hope you like the place and decide to stay. Drop us a note at the new user log so that we can meet you and help you get started. If you need editing help, visit How does one edit a page. For format questions, visit our manual of style. If you have any other questions about the project then check out Help or add a question to the village pump.

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title: User talk:Ataturk


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Dental click

Dental (or more precisely denti-alveolar) clicks are a family of click consonants found, as constituents of words, only in Africa and in the Damin ritual jargon of Australia.

In English, the tut-tut! (British spelling, "tutting") or ''tsk! tsk!'' (American spelling, "tsking") sound used to express disapproval or pity is an unreleased dental click, although it is not a lexical phoneme (a sound that distinguishes words) in English but a paralinguistic speech-sound. Similarly paralinguistic usage of dental clicks is made in certain other languages, but the meaning thereof differs widely between many of the languages (e.g., affirmation in Somali but negation in many varieties of Arabic, Turkish and the languages of the Balkans).

The symbol in the International Phonetic Alphabet that represents the place of articulation of these sounds is ⟨ǀ⟩, a vertical bar. Prior to 1989, ⟨ʇ⟩ was the IPA letter for the dental clicks. It is still occasionally used where the symbol ⟨ǀ⟩ would be confounded with other symbols, such as prosody marks, or simply because in many fonts the vertical bar is indistinguishable from a lowercase L or capital I. Either letter may be combined with a second letter to indicate the manner of articulation, though this is commonly omitted for tenuis clicks.

In official IPA transcription, the click letter is combined with a ⟨k ɡ ŋ q ɢ ɴ⟩ via a tie bar, though ⟨k⟩ is frequently omitted. Many authors instead use a superscript ⟨k ɡ ŋ q ɢ ɴ⟩ without the tie bar, again often neglecting the ⟨k⟩. Either letter, whether baseline or superscript, is usually placed before the click letter, but may come after when the release of the velar or uvular occlusion is audible. A third convention is the click letter with diacritics for voicelessness, voicing and nasalization; it does not distinguish velar from uvular dental clicks. Common dental clicks are:

The last is what is heard in the sound sample at right, as non-native speakers tend to glottalize clicks to avoid nasalizing them.

In the orthographies of individual languages, the letters and digraphs for dental clicks may be based on either the vertical bar symbol of the IPA, ⟨ǀ⟩, or on the Latin $⟨ǀ⟩$ of Bantu convention. Nama and most Saan languages use the former; Naro, Sandawe, and Zulu use the latter.

Features
Features of dental clicks:

 * The forward place of articulation is typically dental (or denti-alveolar) and laminal, which means it is articulated with the tip of the tongue against the alveolar ridge or the upper teeth, but depending on the language may be interdental or even apical. The release is a noisy, affricate-like sound.

Occurrence
Dental clicks are common in Khoisan languages and the neighboring Nguni languages, such as Zulu and Xhosa. In the Nguni languages, the tenuis click is denoted by the letter c, the murmured click by gc, the aspirated click by ch, and the nasal click by nc. The prenasalized clicks are written ngc and nkc.

The Cushitic language Dahalo has four clicks, all of them nasalized:.

Dental clicks may also be used para-linguistically. For example, English speakers use a plain dental click, usually written tsk or tut (and often reduplicated tsk-tsk or tut-tut; these spellings often lead to spelling pronunciations or ), as an interjection to express commiseration, disapproval, irritation, or to call a small animal. German (ts or tss), Hungarian (cöccögés), Persian (noch), Portuguese (tsc), Russian (ts-ts-ts; sound file) Spanish (ts) and French (t-t-t-t) speakers use the dental click in exactly the same way as English.

The dental click is also used para-linguistically in Semitic languages such as Arabic, Hebrew and Indo-European Pashto, and Persian where it is transcribed as نچ/noch and is also used as a negative response to a "yes or no" question (including Dari and Tajiki). It is also used in some languages spoken in regions closer to, or in, Europe, such as Turkish, Albanian, Greek, Bulgarian, Italian, Portuguese, Spanish, Romanian or Serbo-Croatian to denote a negative response to a "yes or no" question. The dental click is sometimes accompanied by an upward motion of the head.

title: Dental click


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Voiced labial–palatal approximant

The voiced labial–palatal (or labio-palatal) approximant is a type of consonantal sound, used in some spoken languages. It has two constrictions in the vocal tract: with the tongue on the palate, and rounded at the lips. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ɥ⟩, a rotated lowercase letter $⟨h⟩$, or occasionally ⟨jʷ⟩, which indicates with a different kind of rounding.

The labial–palatal approximant can in many cases be considered the semivocalic equivalent of the close front rounded vowel. They alternate with each other in certain languages, such as French, and in the diphthongs of some languages, ⟨ɥ⟩ and ⟨y̑⟩ with the non-syllabic diacritic are used in different transcription systems to represent the same sound. Sometimes, ⟨y̆⟩ is written in place of ⟨y̑⟩, even though the former symbol denotes an extra-short in the official IPA.

Some languages, though, have a palatal approximant that is unspecified for rounding, and therefore cannot be considered the semivocalic equivalent of either or its unrounded counterpart. An example of such language is Spanish, in which the labialized palatal approximant (not a semivowel) appears allophonically with rounded vowels in words such as ayuda 'help'. According to some sources, it is not correct to transcribe this with the symbol ⟨ɥ⟩, which has a different kind of rounding, or with ⟨jʷ⟩, which implies spread lips; the only suitable transcription is ⟨ʝ̞ʷ⟩. See palatal approximant for more information.

There is also the labialized postpalatal approximant in some languages, which is articulated slightly more back compared with the place of articulation of the prototypical labialized palatal approximant, though not as back as the prototypical labialized velar approximant. It can be considered the semivocalic equivalent of the close central rounded vowel. The International Phonetic Alphabet does not have a separate symbol for that sound, though it can be transcribed as ⟨ɥ̄⟩ or ⟨ɥ˗⟩ (both symbols denote a retracted ⟨ɥ⟩), ⟨ɥ̈⟩ (centralized ⟨ɥ⟩), ⟨w̟⟩ (advanced ⟨w⟩) or ⟨ẅ⟩ (centralized ⟨w⟩). The equivalent X-SAMPA symbols are,  ,   and  , respectively. Other possible transcriptions include a centralized and labialized ⟨j⟩ (⟨j̈ʷ⟩ in the IPA,  in X-SAMPA) and a non-syllabic ⟨ʉ⟩ (⟨ʉ̯⟩ in the IPA,   in X-SAMPA).

Especially in broad transcription, the labialized postpalatal approximant may be transcribed as a palatalized and labialized velar approximant (⟨wʲ⟩ in the IPA,  or   in X-SAMPA).

Compressed palatal approximant
The compressed palatal approximant is typically transcribed in IPA simply as ⟨ɥ⟩, and that is the convention used in this article. There is no dedicated diacritic for compression in the IPA. However, the compression of the lips can be shown with the letter as ⟨j͡β̞⟩ (simultaneous  and labial compression) or ⟨jᵝ⟩ ( modified with labial compression). The spread-lip diacritic ⟨͍⟩ may also be used with a labialized approximant letter ⟨ɥ͍⟩ as an ad hoc symbol, though technically 'spread' means unrounded.

The compressed post-palatal approximant can be transcribed simply as ⟨ɥ̈⟩ (centralized ), and that is the convention used in this article. Other possible transcriptions include ⟨j̈ᵝ⟩ (centralized modified with labial compression) and ⟨ɥ͍̈⟩ (centralized  with the spread-lip diacritic).

Features
Features of the compressed palatal approximant:

 * Its place of articulation is palatal and in addition it is endo-labialized, which is accomplished by raising the body of the tongue toward the palate while approximating the lips.

Occurrence
Because the labialized palatal approximant is assumed to have compression, and few descriptions cover the distinction, some examples in the table below may actually have protrusion.

Protruded palatal approximant
As there are no diacritics in the IPA to distinguish protruded and compressed rounding, an old diacritic for labialization, ⟨̫⟩, will be used here as an ad hoc symbol for the protruded palatal approximant. Another possible transcription is ⟨ɥʷ⟩ or ⟨jʷ⟩ (a palatal approximant modified by endolabialization).

Acoustically, this sound is "between" the more typical compressed palatal approximant and the non-labialized palatal approximant.

Features
Features of the protruded palatal approximant:

 * Its place of articulation is labial–palatal, which is accomplished by raising the body of the tongue toward the palate while approximating the lips.

title: Voiced labial–palatal approximant


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Voiced labial–velar approximant

The voiced labial–velar approximant is a type of consonantal sound, used in certain spoken languages, including English. It is the sound denoted by the letter $⟨w⟩$ in the English alphabet; likewise, the symbol in the International Phonetic Alphabet that represents this sound is ⟨w⟩, or rarely, and the equivalent X-SAMPA symbol is. In most languages it is the semivocalic counterpart of the close back rounded vowel. In inventory charts of languages with other labialized velar consonants, will be placed in the same column as those consonants. When consonant charts have only labial and velar columns, may be placed in the velar column, (bi)labial column, or both. The placement may have more to do with phonological criteria than phonetic ones.

Some languages have a voiced labial–prevelar approximant, which is more fronted than the place of articulation of the prototypical voiced labialized velar approximant, though not as front as the prototypical labialized palatal approximant.

Features
Features of the voiced labial–velar approximant:

The type of approximant is glide or semivowel. The term glide emphasizes the characteristic of movement (or 'glide') of from the  vowel position to a following vowel position. The term semivowel emphasizes that, although the sound is vocalic in nature, it is not 'syllabic' (it does not form the nucleus of a syllable). Some languages, such as Japanese and perhaps the Northern Iroquoian languages, have a sound typically transcribed as where the lips are compressed (or at least not rounded), which is a true labial–velar (as opposed to labialized velar) consonant. Close transcriptions may avoid the symbol in such cases, or may use the under-rounding diacritic,.

title: Voiced labial–velar approximant


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Voiced labiodental approximant

The voiced labiodental approximant is a type of consonantal sound, used in some spoken languages. It is something between an English /w/ and /v/, pronounced with the teeth and lips held in the position used to articulate the letter V. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ʋ⟩, and the equivalent X-SAMPA symbol is  or. With an advanced diacritic, ⟨ʋ̟⟩, this letter also indicates a bilabial approximant, though the diacritic is frequently omitted because no contrast is likely.

The labiodental approximant is the typical realization of in the Indian South African variety of English. As the voiceless is also realized as an approximant, it is also an example of a language contrasting voiceless and voiced labiodental approximants.

Features
Features of the voiced labiodental approximant:

title: Voiced labiodental approximant


text:
Voiced labiodental nasal

The voiced labiodental nasal is a type of consonantal sound. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ɱ⟩. The IPA symbol is a lowercase letter m with a leftward hook protruding from the lower right of the letter. Occasionally it is instead transcribed as an with a dental diacritic: ⟨m̪⟩ (for example in extIPA, where the two transcriptions are presented as variants).

The labiodental pronunciation of is very similar to that of the bilabial nasal, but instead of the lips touching each other, the lower lip touches the upper teeth. The position of the lips and teeth is generally the same as for the production of the labiodental fricatives and, though air escapes between the lip and the teeth in the case of the fricatives.

Although commonly appearing in languages, it is overwhelmingly an allophone restricted to a position before the labiodental consonants and. A phonemic has only been reported for the Kukuya language, which contrasts it with  and is "accompanied by strong protrusion of both lips". It is before  and  before  and, perhaps because labialization is constrained by the spread front vowels; it does not occur before the back (rounded) vowels  and.

It is doubted by some scholars that true closure can be made by a labiodental gesture because of gaps between the incisors, which for many speakers would allow air to flow during the occlusion. This is particularly pertinent considering that one of the Kukuya words with this consonant,, means a 'gap between filed incisors,' a practice of the local people. The might therefore be better characterized as a labiodental nasal approximant than as a nasal occlusive.

Nonetheless, is extremely common around the world phonetically, as it is the universal allophone of  and a very common allophone of  before the labiodental fricatives  and, as for example in English comfort and circumvent, and, for many people, infinitive and invent. In the Angami language, occurs as an allophone of  before. In Drubea, is reported as an allophone of  before nasal vowels.

A proposal to retire the letter ⟨ɱ⟩ was made in the run-up to the Kiel Convention of 1989, with the labiodental nasal to be transcribed solely by ⟨m̪⟩, but the proposal was defeated in committee.

Features

Features of the voiced labiodental nasal:

Occurrence
Phonemic is extremely rare. As an allophone of nasal consonants before or, however,  is very common.

title: Voiced labiodental nasal


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Voiced dental, alveolar and postalveolar lateral approximants

The voiced alveolar lateral approximant is a type of consonantal sound used in many spoken languages. The symbol in the International Phonetic Alphabet that represents dental, alveolar, and postalveolar lateral approximants is ⟨l⟩, and the equivalent X-SAMPA symbol is.

As a sonorant, lateral approximants are nearly always voiced. Voiceless lateral approximants, are common in Sino-Tibetan languages, but uncommon elsewhere. In such cases, voicing typically starts about halfway through the hold of the consonant. No language is known to contrast such a sound with a voiceless alveolar lateral fricative.

In a number of languages, including most varieties of English, the phoneme becomes velarized ("dark l") in certain contexts. By contrast, the non-velarized form is the "clear l" (also known as: "light l"), which occurs before and between vowels in certain English standards. Some languages have only clear l. Others may not have a clear l at all, or have them only before front vowels (especially ).

Features
Features of the voiced alveolar lateral approximant:

 * There are four specific variants of :
 * Dental, which means it is articulated with either the tip or the blade of the tongue at the upper teeth, termed respectively apical and laminal.
 * Denti-alveolar, which means it is articulated with the blade of the tongue at the alveolar ridge, and the tip of the tongue behind upper teeth.
 * Alveolar, which means it is articulated with either the tip or the blade of the tongue at the alveolar ridge, termed respectively apical and laminal.
 * Postalveolar, which means it is articulated with either the tip or the blade of the tongue behind the alveolar ridge, termed respectively apical and laminal.

Occurrence
Languages may have clear apical or laminal alveolars, laminal denti-alveolars (such as French), or true dentals, which are uncommon. Laminal denti-alveolars tend to occur in continental European languages. However, a true dental generally occurs allophonically before in languages that have it, as in English health.

Velarized alveolar lateral approximant
The voiced velarized alveolar approximant (a.k.a. dark l) is a type of consonantal sound used in some languages. It is an alveolar, denti-alveolar, or dental lateral approximant, with a secondary articulation of velarization or pharyngealization. The regular symbols in the International Phonetic Alphabet that represent this sound are ⟨lˠ⟩ (for a velarized lateral) and ⟨lˤ⟩ (for a pharyngealized lateral), though the dedicated letter ⟨ɫ⟩, which covers both velarization and pharyngealization, is perhaps more common. The latter should not be confused with belted ⟨ɬ⟩, which represents the voiceless alveolar lateral fricative. However, some scholars use that symbol to represent the velarized alveolar lateral approximant anyway – though such usage is considered non-standard.

If the sound is dental or denti-alveolar, one could use a dental diacritic to indicate so: ⟨l̪ˠ⟩, ⟨l̪ˤ⟩, ⟨ɫ̪⟩.

Velarization and pharyngealization are generally associated with more dental articulations of coronal consonants, so dark l tends to be dental or denti-alveolar. Clear (non-velarized) l tends to be retracted to an alveolar position.

The term dark l is often synonymous with hard l, especially in Slavic languages. (Cf. Hard consonants)

Features
Features of the dark l:

 * There are four specific variants of :
 * Dental, which means it is articulated with either the tip or the blade of the tongue at the upper teeth.
 * Denti-alveolar, which means it is articulated with the blade of the tongue at the alveolar ridge, and the tip of the tongue behind upper teeth.
 * Alveolar, which means it is articulated with either the tip or, more rarely, the blade of the tongue at the alveolar ridge, termed respectively apical and laminal.
 * Postalveolar, which means it is articulated with either the tip or the blade of the tongue behind the alveolar ridge, termed respectively apical and laminal.
 * It has a secondary articulation of velarization or pharyngealization, meaning that the back or root of the tongue approaches the soft palate (velum), or the back of the throat, respectively.


text:
Lateral click

The lateral clicks are a family of click consonants found only in African languages. The clicking sound used by equestrians to urge on their horses is a lateral click, although it is not a speech sound in that context. Lateral clicks are found throughout southern Africa, for example in Zulu, and in some languages in Tanzania and Namibia. The place of articulation is not known to be contrastive in any language, and typically varies from alveolar to palatal.

The symbol in the International Phonetic Alphabet that represents a generic lateral click is ⟨ǁ⟩, a double vertical bar. Prior to 1989, ⟨ʖ⟩ was the IPA letter for the lateral clicks, and this is still preferred by some phoneticians, as the vertical bar may be confounded with prosody marks and, in some fonts, with a double lowercase L. Either letter may be combined with a second letter to indicate the manner of articulation, though this is commonly omitted for tenuis clicks with a velar rear articulation.

In official IPA transcription, the click letter is combined with a ⟨k ɡ ŋ q ɢ ɴ⟩ via a tie bar, though ⟨k⟩ is frequently omitted. Many authors instead use a superscript ⟨k ɡ ŋ q ɢ ɴ⟩ without the tie bar, again often neglecting the ⟨k⟩. Either letter, whether baseline or superscript, is usually placed before the click letter, but may come after when the release of the velar or uvular occlusion is audible. A third convention is the click letter with diacritics for voicelessness, voicing and nasalization; it does not distinguish velar from uvular lateral clicks. Common lateral clicks are:

The last is what is heard in the sound sample above, as non-native speakers tend to glottalize clicks to avoid nasalizing them.

In the orthographies of individual languages, the letters and digraphs for lateral clicks may be based on either the vertical bar symbol of the IPA, ⟨ǁ⟩, or on the Latin $⟨5⟩$ of Bantu convention. Nama and most Saan languages use the former; Naro, Sandawe, and Zulu use the latter.

Features
The specific articulation of lateral clicks may vary from language to language, from dental to palatal, apical or laminal, though no contrast between such articulations has been confirmed apart from the retroflex clicks, which may have lateral release.

Features of lateral clicks:

 * The release of the forward place of articulation is a noisy, affricate-like sound in southern Africa, but abrupt in Hadza and Sandawe in East Africa.

 * They are lateral consonants, which means they are produced by releasing the airstream at the side of the tongue, rather than in the middle. Some speakers pronounce them on one side of the mouth, some on both.

Regarding Khoekhoe, Tindall notes that European learners almost invariably pronounce these sounds as simple laterals, by placing the tongue against the side teeth, and that this articulation is "harsh and foreign to the native ear". The Namaqua instead cover the whole of the palate with the tongue, and produce the sound "as far back in the palate as possible".

Occurrence
English does not have a lateral click (or any click consonant, for that matter) as a phoneme, but an unreleased lateral click does occur as an interjection, usually written tchick! or tchek! (and often reduplicated tchick-tchick!), used to urge a horse to move. A form of click can also be heard by some English speakers when scoffing, but this is generally a dental click rather than a lateral click.

title: Lateral click


text:
Voiced dental and alveolar lateral flaps

The voiced alveolar lateral flap is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ɺ⟩, a fusion of a rotated lowercase letter $⟨r⟩$ with a letter $⟨l⟩$. Approved in 1928, the symbol represented a sound intermediate between and  or between  and  until 1979 when its value was redefined as an alveolar lateral flap.

Some languages that are described as having a lateral flap actually have a flap that is indeterminate with respect to centrality, and may surface as either central or lateral, either in free variation or allophonically depending on surrounding vowels and consonants.

Features
Features of the voiced alveolar lateral flap:


text:
Voiced palatal lateral approximant

The voiced palatal lateral approximant is a type of consonantal sound used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ʎ⟩, a rotated lowercase letter $⟨y⟩$, and the equivalent X-SAMPA symbol is.

Many languages that were previously thought to have a palatal lateral approximant actually have a lateral approximant that is, broadly, alveolo-palatal; that is to say, it is articulated at a place in-between the alveolar ridge and the hard palate (excluded), and it may be variously described as alveolo-palatal, lamino-postalveolar, or postalveolo-prepalatal. None of the 13 languages investigated by, many of them Romance, has a 'true' palatal. That is likely the case for several other languages listed here. Some languages, like Portuguese and Catalan, have a lateral approximant that varies between alveolar and alveolo-palatal.

There is no dedicated symbol in the International Phonetic Alphabet that represents the alveolo-palatal lateral approximant. If precision is desired, it may be transcribed ⟨l̠ʲ⟩ or ⟨ʎ̟⟩; they are essentially equivalent because the contact includes both the blade and body (but not the tip) of the tongue. There is also a non-IPA letter ; ⟨ȴ⟩ ("l", plus the curl found in the symbols for alveolo-palatal sibilant fricatives ) is used especially in Sinological circles.

The voiced palatal lateral approximant contrasts phonemically with its voiceless counterpart in the Xumi language spoken in China.

Features
Features of the voiced palatal lateral approximant:

title: Voiced palatal lateral approximant


text:
Voiced retroflex lateral approximant

The voiced retroflex lateral approximant is a type of consonantal sound used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ɭ ⟩, and the equivalent X-SAMPA symbol is.

The retroflex lateral approximant contrasts phonemically with its voiceless counterpart in Iaai and Toda. In both of these languages it also contrasts with more anterior, which are dental in Iaai and alveolar in Toda.

Features
Features of the voiced retroflex lateral approximant:

Occurrence
In the following transcriptions, diacritics may be used to distinguish between apical and laminal.

title: Voiced retroflex lateral approximant


text:
Talk:Transporter (Star Trek)

Oops. :) (Compensators)
Well - there you go folks - ST was right? http://www.bbc.co.uk/news/science-environment-19489385 — Preceding unsigned comment added by 78.8.120.214 (talk) 21:32, 7 September 2012 (UTC)

Untitled
It would be nice to know in what episode the Heisenberg Compensator was first mentioned. The Star Trek website seems to suggest that it was in Realm Of Fear (TNG) (see here).

Other transporters topic
That new topic addresses only a similarity in the fictional universe of the tv series Dr. Who. I wonder whether it's the case of creating a topic, albeit short, whithin this article to discuss an aspect of another tv show that has its own specific article. I believe it would suffice to link the Dr. Who article in the "See also" category (maybe with a direct note to the fact that it features a similar fictional technology). Unless people object, I will proceed to this within the next few days (giving time for a discussion in this page). Regards, Redux 16:20, 14 Oct 2004 (UTC)

Despite the above comment from 2004, the current Wikipedia article still mentions Doctor Who briefly. However, as far as I am aware, the earliest Doctor Who serial to feature a 'transmat' device was the 1965 story, 'The Daleks' Masterplan' (see page 21 in: https://books.google.ie/books?id=VEk1z_trGC0C). Though broadcast from November 1965 (see http://en.wikipedia.org/wiki/The_Daleks%27_Master_Plan#Production), which was before Star Trek was finally broadcast, The Daleks' Masterplan was written and filmed a few months after the first Star Trek pilot was filmed (see http://www.dalek6388.co.uk/the-daleks-masterplan.htm). Nevertheless, it's not surprising that this kind of technology featured in two science fiction series, independently of one another, at almost exactly the same time. — Preceding unsigned comment added by Irishtown4 (talk • contribs) 11:40, 18 April 2015 (UTC)

Unnatural selection
"A disease affecting Pulaski is cured, and the damage it has done removed, by transporter."

Is it really cured? I had the impression that Pulaski was "remade" with a previous, uncontaminated sample of her DNA. PrometheusX303 20:22, 25 July 2006 (UTC)

Transporters in Current time
I was listening to Paul Harvey today and he mentioned that Physysists in Denmark were able to take a document (single page) dematerialize it (turn it into a ray of light) and rematerialize it 1/2 meter away. Back in 1997, scientists were successful in taking a couple photons of light and transporting it a few millimeters, and in 2002 they were able to do the same, but 55 meters apart, simulating a distance of 2km. 1997 Sources: http://news.bbc.co.uk/1/hi/sci/tech/201815.stm http://www.dhushara.com/book/quantcos/at/tele.htm 2002 Source: http://p-i-a.com/Magazine/Issue22/Physics_22.htm

Danball1976 01:41, 6 October 2006 (UTC)

Comment removed from article
Earlier today, a user at IP address 67.187.176.202 added the following to the "Capabilities and limitations" section of the article. I feel it was more appropriately added here, so I cut it from the article and pasted it here without editorial change:

"its interesting how some of these explanations are from the standpoint of being with in the startrek universe cannon while others seem to activly mock star trek also interesting that any storyline a particular individual cant follow or doesnt understand becomes technobabble the simple truth is startrek is a collection of the works of hundreds of different authors so theirs bound to be some incongruities they tie it together when they can.. just try to enjoy it when they cant"

Dave 12:55, 19 October 2006 (UTC)

Transporters beaming through shields
The article mentions that transporters can not beam through sheilds, and then lists a number of times where this was sidestepped through various means. It lists First Contact as being an example of transporting through sheilds. When did this happen? The only time I can think of where an editor might have thought someone was beaming through the sheilds was when the Borg first boarded the Enterprise. It was stated later in dialogue that the Enterprise's sheilds were down when they attacked the Borg Sphere, though I don't think they elaborated on why.--Raguleader 07:56, 21 October 2006 (UTC)
 * I believe the reference is to when the Enterprise beams the Defiant's crew aboard. --EEMeltonIV 20:02, 21 October 2006 (UTC)
 * Defiant's sheilds were down at the time, and there's nothing to show that the Enterprise did not lower her sheilds to recover Defiant's crew, although they were shown moments before to be taking fire from the Borg, who probably wouldn't stop firing at the Enterprise just because the first shot didn't work (then again, if the Enterprise lowered her sheilds and started transporting crew off a crippled ship, she may have gone down the list of threats and the Borg could have then focused on another ship, but then, this is just fanwanking on my part).--Raguleader 09:04, 23 October 2006 (UTC)
 * So, is it bad when I read a comment here, think "What the hell is this guy thinking?" and then realize it's one of my own posts?--Raguleader 10:28, 28 November 2006 (UTC)

The Enterprise could have enveloped the Defiant within her shield bubble, thereby facilitating the transportation of the Defiant crew. A possible explination... Willie 10:02, 28 November 2006 (UTC)
 * Either that, or Enterprise lowered shields on one small spot only, maintaining shields around the rest of the ship, while being unshielded only in the area required to let a transport beam through--129.241.130.228 06:38, 26 March 2007 (UTC).

The reference is to when they pass through the rip in the space time contineum(not sure how to spell it) chasing the small borg sphere. Once they come through the rip they destroy the sphere but the rip affected the Enterprise's sheilds and the borg took this opportunity to transport onto the Enterprise. However, this would not be and example of transporting through sheilds.

The thing is that in the show Voyager they transport through shields in many episodes. This might be explained by the fact that Voyager is a "new model" though they never mention the fact that this is new technology. It is also mentioned that the fact that transporters couldn't transport through shields in every other canon Star Trek story line was "thrown out" by the writers of voyager, though I don't know the validity to this because there was not citation that I could see. Anyway, the point is, it really bothers me that they would throw out such an important feature of transporters in Voyager because this has been a big sticking point and even been the pivot of the plot in particular episodes in other series. I still am enjoying the show, it just rubs me the wrong way. —Preceding unsigned comment added by 24.22.132.174 (talk) 07:47, 29 January 2010 (UTC)

Transporter rooms & the six spots
I don't know about the "it's unclear why transporter rooms exist" bit. The transporter room is fairly clearly as much a meeting and preparation room as it is an actual disembarkation point. An away team has to meet somewhere to pick up equipment and undergo a final briefing - it might as well be the transporter room. Additionally, I have always got the impression that site-to-site transport is a relatively recent (as of TNG) innovation, so perhaps transporter rooms are maintained out of institutional inertia.

As for the six spots - if you watch away teams materialise, they are often more spread out than they were on the transporter platform. I think that as well as a single annular confinement beam for the whole platform, each of the six spots has its own dedicated sub-beam, allowing up to six people to be beamed to and from six separate locations simultaneously. They probably use the latter when beaming into unknown situations so that a) the away team don’t materialise in a tight group, where they’d be an easy target, b) the team doesn't have to reassemble in one place in order to be beamed up together, and c) an ACB failure caused by unpredictable conditions doesn’t kill the whole team. Has anyone read the TNG tech manual?Denorios 12:33, 14 December 2006 (UTC)

I recall reading in TNG tech manual how transporting from point to point requires more emergy then transporting from the transporter room, which is probably why they are still used. 68.58.66.230 04:27, 24 January 2007 (UTC)

I believe that's right as well... I remember something about the duty cycling being twice as long for site to site transports not involving the pad as part of canon, which is why it's only done for emergencies only. As well, the center section of the pad can be used for molecular resolution cargo transportation while the rest of the living people are transported at the quantum level. --68.42.115.226 04:00, 10 May 2007 (UTC)

Philosophical questions
I am not sure I understand what is wrong with the philosophical section. Give me tips and I will see what I can do. RickardV 22:25, 28 December 2006 (UTC)

Behind the Scenes
Can there be a small section on describing how the transporter works behind the scenes PRIOR to using the computer to make the effect. I heard about something to do with optical lens but am not sure about the details. 70.70.209.25 14:53, 16 May 2007 (UTC)

Philisophical questions

 * Moved this section of OR to talk page. Please re-add in whole or in part with the addition of citations --EEMeltonIV 05:15, 12 July 2007 (UTC)

The discontinuity of the transported object causes theoretical problems in the metaphysical field of identity.

There are several different problems. One problem, akin to the Ship of Theseus problem, has two parts. First, could someone survive in a dismantled form and survive being "reassembled" using new atoms, or do we need the same atom being transported in a dismantled, piecemeal way? When Captain Kirk is beamed to a planet from the Enterprise, he is disassembled on the sub-molecular level and then reassembled at the destination to create an identical "Kirk." Star Trek canon suggests that the actual atoms are transported through space and reassembled at the final location, but in the real world (and in other sci-fi stories) it would likely be more efficient to simply transmit the information about the atoms themselves and recreate the person using matter already at the destination, assuming the enormous technical hurdles common to both are overcome.

It should be noted that while most humans have distinct memories of events that happened years ago, technically speaking they weren't "there," or at least the atoms that comprise their bodies now were not the atoms that comprised their bodies then. Simple, natural biochemical and physical interactions mean that our bodies are constantly ejecting (mostly through sweat, respiration and excretion) and accepting (mostly through ingestion and respiration) atoms that we are constructed from. The concept of a transporter simply means that instead of occurring over a long period, all your atoms are being replaced immediately.

Another issue arises if a duplicate is made during the transportation process: that is, if the information recorded is used to create not one but two identical copies of the source person. In the TNG episode Second Chances, a duplicate of Commander Riker is created. These scenarios in philosophical literature are called branching-cases, and conflicts with the view that identity is a one-one relation, not a one-many relation. It is interesting to note, however, that from the point of view of quantum mechanics, creating an identical copy of an object is impossible. See quantum teleportation and no-cloning theorem.
 * Wouldn't identity still remain a one-one relation but in a more specific manner? IE when two people are created they may have had the same identity experiences up to that point, but upon being separate entities they'd have separate identities but only to minor specific degrees. Also, what if there are aliens that are closer to the borg in respect that act as 'one entity' through many bodies, though the borg do have individualism through the comprised pieces, what about telepathic shared bodies as such. As for the quantum impossibility of creating. I didn't read the articles related to identical copy copies of an object impossible, as for technical limitation in life sure, but as far as TNG, wouldn't that not be a problem at all for say, Q.

Derek Parfit in his book Reasons and Persons (1982) uses teletransportation examples to test different intuitions regarding personal identity.

In recognition of these philosophical questions, the Star Trek: Enterprise writers had Emory Erickson allude to these in the dialogue of "Daedalus."

James Blish in his book Spock must die considers the question of whether the person being recreated at the destination has the exact same soul of the person that entered the transported on the other end. —Preceding unsigned comment added by 93.86.224.37 (talk) 23:45, 9 April 2010 (UTC)

The book by James Blish does address that issue somewhat, though, as I recall, the book involved a duplicate being created as well. A more recent example of this sort of metaphysical quandary (not involving Star Trek) figures in the film The Prestige, in which a transporter of sorts is created but creates duplicates, and it is never made clear whether the duplicate or the original is transported.

However, this section does not adequately address the personal identity concern, as I see it, since it claims that the given atoms in a human body are continually being replaced. While this may be true, some sort of support for this claim is necessary. Most human cells are actually younger than the age calculated by the individual's birth date, but certain nervous system cells are not replaced. Now, are their atoms replaced? I wouldn't know. But this seems like something to be elaborated upon before this section is reintegrated. And I would like to see it reintegrated, of course. — Preceding unsigned comment added by 130.74.253.141 (talk) 00:56, 14 March 2012 (UTC)

Influences
I've just been going through the extras on my Forbidden Planet DVD and the deceleration beams are mentioned as an influence on Star Trek's transporter effects, is this enough to be put in the article? Alastairward (talk) 17:00, 8 December 2007 (UTC)

 * If it were from Gene Roddenberry then you could put it in as established fact. However, if it isn't, put it in as " said that ..." with the appropriate reference in tags.  You should include in the reference which DVD it is on, which extra on that DVD and how far into that extra (minutes would work because the statement is going to take a few seconds); just use the counter at the top, which most players provide via a button on the remote. — Val42 (talk) 20:53, 11 December 2007 (UTC)

It's illogical, Captain
This article criticises the concept of the Star Trek transporter:. Fences &  Windows  02:55, 23 September 2009 (UTC)

The Fly
In the lead we read: "Gene Roddenberry in 1964 had not seen The Fly upon his first draft of 'The Cage', but it was brought to his attention, and this is how the transporter was considered." This really should be explained further (preferably by someone who can provide the citation currently requested at this point in the article). It took me a minute to realize what the connection was, and I've actually seen both versions of that movie. Those who have not seen either version would surely not understand the reference at all. - dcljr (talk) 07:12, 19 May 2011 (UTC)

Pad
I see the word "pad" used, but I don't see any effort to formally name the components. Chamber, pod, booth, platform, disc, beam bulkhead? — MaxEnt 12:55, 26 January 2012 (UTC)

Removed claim
The below is a strong claim, which I'm dubious about. Given it's unreferenced, I moved it here:
 * Notably the first half of the transportation process has been developed and proven by random disintegration of particles at the atomic level. Movement of subatomic particles to a new location is possible with a variety of conventional methods, as long as they don't need to pass through matter.  However it is noted that the re-assembly of the components has yet to be confirmed.

-- Beland (talk) 18:35, 6 May 2013 (UTC)

Prose Science Fiction
As usual, no mention that 'matter transmission' was a staple of prose science fiction going back to the 19th century. Became common in written SF by the 1940s. (Way before Forbidden Planet or The Fly.) There may even be 'receiver-less' stories. Early on Roddenberry acknowledged his debt to science fiction literature, but seems to be a detail no one cares about. Odd that Wikipedia contains no entry for 'Matter Transmitter', that I can find, should be one and a link to it.aajacksoniv (talk) 11:18, 3 September 2013 (UTC)

See transporter in the 1956 film Forbidden Planet
See transporter in the film Forbidden Planet (1956)

The Android Robbie also shows up 148.170.185.76 (talk) 13:55, 26 January 2023 (UTC)

title: Talk:Transporter (Star Trek)


text:
Voiced velar lateral approximant

The voiced velar lateral approximant is a type of consonantal sound, used as a distinct consonant in a very small number of spoken languages in the world. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ʟ⟩ a small capital version of the Latin letter l (since 1989), and the equivalent X-SAMPA symbol is.

The velar laterals of the world often involve a prestopped realization.

Features
Features of the voiced velar lateral approximant:

The velar lateral involves no contact of the tip of the tongue with the roof of the mouth: just like for the velar stop, the only contact takes place between the back of the tongue and the velum. This contrasts with the velarized alveolar lateral approximant – also known as the dark l in English feel  – for which the apex touches the alveolar ridge.

title: Voiced velar lateral approximant


text:
Voiced dental and alveolar lateral fricatives

The voiced alveolar lateral fricative is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents voiced dental, alveolar, and postalveolar lateral fricatives is ⟨ɮ⟩ (sometimes referred to as lezh), and the equivalent X-SAMPA symbol is.

Features
Features of the voiced alveolar lateral fricative:

Alveolar
In addition, a pharyngealized voiced alveolar lateral fricative is reconstructed to be the ancient Classical Arabic pronunciation of Ḍād; the letter is now pronounced in Modern Standard Arabic as a pharyngealized voiced coronal stop, as alveolar  or denti-alveolar.

Voiced lateral-median fricative
The voiced alveolar non-sibilant fricative (also known as a "lisp" fricative) is a consonantal sound. Consonants is pronounced with simultaneous lateral and central airflow.

Features
However, it does not have the grooved tongue and directed airflow, or the high frequencies, of a sibilant.

Related characters
There are several Unicode characters based on lezh (ɮ):
 * is a superscript IPA letter
 * is a superscript IPA letter
 * is an extension to IPA for disordered speech (extIPA)

Notation
In 1938, a symbol shaped similarly to heng ⟨ꜧ⟩ was approved as the official IPA symbol for the voiced alveolar lateral fricative, replacing ⟨ɮ⟩. It was suggested at the same time, however, that a compromise shaped like something between the two may also be used at the author's discretion. It was this compromise version that was included in the 1949 Principles of the International Phonetic Association and the subsequent IPA charts, until it was replaced again by ⟨ɮ⟩ at the 1989 Kiel Convention. Despite the Association's prescription, ⟨ɮ⟩ is nonetheless seen in literature from the 1960s to the 1980s.


text:
Voiceless dental and alveolar lateral fricatives

The voiceless alveolar lateral fricative is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents voiceless dental, alveolar, and postalveolar lateral fricatives is, and the equivalent X-SAMPA symbol is.

The symbol is called "belted l" and is distinct from "l with tilde",, which transcribes a different sound – the velarized (or pharynɡealized) alveolar lateral approximant, often called "dark L".

Some scholars also posit the voiceless alveolar lateral approximant distinct from the fricative. More recent research distinguishes between "turbulent" and "laminar" airflow in the vocal tract. Ball & Rahilly (1999) state that "the airflow for voiced approximants remains laminar (smooth), and does not become turbulent". The approximant may be represented in the IPA as ⟨l̥⟩.

In Sino-Tibetan language group, argue that Burmese and Standard Tibetan have voiceless lateral approximants and Li Fang-Kuei & William Baxter contrast apophonicaly the voiceless alveolar lateral approximant from its voiced counterpart in the reconstruction of Old Chinese. includes the voiceless velarized alveolar lateral approximant.

However, the voiceless dental & alveolar lateral approximant is constantly found as an allophone of its voiced counterpart in British English and Philadelphia English after voiceless coronal and labial stops, who is velarized before back vowels, the allophone of after voiceless dorsal and laryngeal stops is most realized as a voiceless velar lateral approximant. See English phonology.

Features
Features of the voiceless alveolar lateral fricative:

Occurrence
The sound is fairly common among indigenous languages of the Americas, such as Nahuatl and Navajo, and in North Caucasian languages, such as Avar. It is also found in African languages, such as Zulu, and Asian languages, such as Chukchi, some Yue dialects like Taishanese, the Hlai languages of Hainan, and several Formosan languages and dialects in Taiwan.

The sound is rare in European languages outside the Caucasus, but it is found notably in Welsh in which it is written $\langlell\rangle$. Several Welsh names beginning with this sound (Llwyd, Llywelyn ) have been borrowed into English and then retain the Welsh $⟨ll⟩$ spelling but are pronounced with an (Lloyd, Llewellyn), or they are substituted with $⟨fl⟩$ (pronounced ) (Floyd, Fluellen). It was also found in certain dialects of Lithuanian Yiddish.

The phoneme was also found in the most ancient Hebrew speech of the Ancient Israelites. The orthography of Biblical Hebrew, however, did not directly indicate the phoneme since it and several other phonemes of Ancient Hebrew did not have a grapheme of their own. The phoneme, however, is clearly attested by later developments: was written with $⟨ש⟩$, but the letter was also used for the sound. Later, merged with, a sound that had been written only with $⟨ס⟩$. As a result, three etymologically distinct modern Hebrew phonemes can be distinguished: written $⟨ס⟩$,  written $⟨ש⟩$ (with later niqqud pointing שׁ), and  evolving from  and written $⟨ש⟩$ (with later niqqud pointing שׂ). The specific pronunciation of $⟨ש⟩$ evolving to from  is known based on comparative evidence since  is the corresponding Proto-Semitic phoneme and is still attested in Modern South Arabian languages, and early borrowings indicate it from Ancient Hebrew (e.g. balsam < Greek balsamon < Hebrew baśam). The phoneme began to merge with  in Late Biblical Hebrew, as is indicated by interchange of orthographic $⟨ש⟩$ and $⟨ס⟩$, possibly under the influence of Aramaic, and became the rule in Mishnaic Hebrew. In all Jewish reading traditions, and  have merged completely, but in Samaritan Hebrew  has instead merged into.

The sound is also found in two of the constructed languages invented by J. R. R. Tolkien, Sindarin (inspired by Welsh) and Quenya (inspired by Finnish, Ancient Greek, and Latin). In Sindarin, it is written as $\langlelh\rangle$ initially and $\langlell\rangle$ medially and finally, and in Quenya, it appears only initially and is written $\langlehl\rangle$.

Semitic languages
The sound is conjectured as a phoneme for Proto-Semitic language, usually transcribed as ; it has evolved into Arabic, Hebrew :

Among Semitic languages, the sound still exists in contemporary Soqotri and Mehri. In Ge'ez, it is written with the letter Śawt.

Voiceless lateral-median fricative
The voiceless alveolar non-sibilant fricative (also known as a "lisp" fricative) is a consonantal sound. Consonants is pronounced with simultaneous lateral and central airflow.

Features
However, it does not have the grooved tongue and directed airflow, or the high frequencies, of a sibilant.

Capital letter
Since the IPA letter "ɬ" has been adopted into the standard orthographies for many native North American languages, a capital letter L with belt "Ɬ" was requested by academics and added to the Unicode Standard version 7.0 in 2014 at U+A7AD.