text:
Hartley Castle

Hartley Castle was a castle near Kirkby Stephen, Cumbria, England.

History
The manor was confiscated circa 1315 from Roger de Clifford and granted to Andrew de Harcla (anglicized to Andrew de Harclay or Hartley). The name Harcla is thought to be from the Old English for "hard ground" and may refer to the outcrop of land that the castle is built upon in the Eden valley.

The existing manor house was fortified by de Harcla, some time prior to 1323, when he was ordered by King Edward II to be hanged, drawn and quartered for alleged collusion with Robert the Bruce, and forfeited his earldom and lands. It was granted to Ralph de Neville who later sold it through three other hands to Thomas de Musgrave who on 4 October 1353 was granted a licence to crenellate by King Edward III:

 * mansum manerii ... Harcla quod prope Marchiam Scociae situatur et per Scotos inimicos nostros saepius ante haec tempora combustum extitit et destructum
 * which roughly speaking says fortification was needed because
 * Harcla is situated near the Scottish Marches and because our enemy the Scots have often burned and destroyed it.

It was improved during the 17th century with the addition in 1615 of a pair of wings but was abandoned circa 1677. Thomas Machel visited the castle in 1677 and described it as

An Elizabethan building consisting of an inner quadrangle surrounded by buildings, and an outer court to the north protected by a thick and high curtain wall. The entrance to it was approached through a gateway at the head of a flight of steps from the road. Directly opposite an archway opened into the inner court; on the left, or east side, was the kitchen and buttery, with the hall beyond, entered by an external stair from the court; the south end was occupied by the chapel and withdrawing rooms; whilst on the western side there was a long gallery lighted by a large oriel window facing the quadrangle

Another sketch from 1692 shows a thick, high curtain wall enclosing a square outer court, with an inner court enclosed by three and four storey buildings. The [[Media:Hartley Castle 1739.jpg|image]] at right shows what remained by the beginning of the 18th century. It was demolished between 1704 and 1744 for building stone which was used to repair Edenhall.

The castle layout appears to have been similar to Sudeley Castle in the Cotswolds, with its double courtyards separated by a low dividing wall and a central small door and its oriel-windowed hall, but without Sudeley's later Southern Wing and with a curtain wall demarking the second courtyard instead.

Today
Apart from limited earthworks, all that remains now is a few metres of wall and stairs down to a vaulted cellar for the former kitchen. The site currently houses a late-18th-century farmhouse and outbuildings.

title: Hartley Castle


text:
Brennisteinsalda

The Brennisteinsalda is a volcano in the south of Iceland. Its height is about 855 m. It is situated near Landmannalaugar and not far from Hekla.

The name means in English: sulphur wave. It comes from the sulphur spots which have coloured its sides. But there are other colours, too: green from mosses, black and blue from lava and ashes, red from iron in the earth. It could very well be the most colourful mountain of Iceland and so its picture is often found in books and calendars.

The mountain is still visibly an active volcano with hot sulphur springs and vapour at its sides. The hiking trail Laugavegur passes by. In front of it there is an obsidian lava field.

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

title: Brennisteinsalda


text:
User talk:Meesham

Howdy. Welcome to Wikipedia! I see you've already been doing sterling works (sic) on suburbs of Perth - I noticed 'cos you'd improved the dubious geography I cooked up for it on Stirling (disambiguation). Silly me, I didn't know Stirling was a suburb of Perth, as I'd have tried to get my cousin in Carine to write it long ago. Say, I don't suppose you know anything about the other Australian Stirling mentioned in that disambig page?

Anyway, you might find these links helpful in editing pages or creating new ones: How to edit a page, Tutorial, Naming conventions, Manual of Style. You should probably read our policies at some point too (maybe I should sometime, too).

But don't feel you have to read every policy document before you do anything. Dive in, be bold in editing, and if you do anything wrong, someone will be quick to correct it and let you know (hopefully, politely!)

If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!

You may have already noticed that you can sign your name using three tildes, like this:. If you use four, you can add a datestamp too, as I've done below. This is mostly useful, and is considered good wikiquette, on talk pages. But be aware that the actual wikipedia articles should never be signed - they belong to the community, rather than the individual who created them.

Again, welcome! --Finlay McWalter | Talk 12:20, 22 May 2004 (UTC)

Hi there and welcome! --Chuq 11:40, 23 May 2004 (UTC)

Prison categories
Hi Meesham. The infobox template is a great idea. As you can see I made a basic start and intended to do an infobox template myself in time. No complaints here. You've done well :)~ Longhair 19:37, 9 Feb 2005 (UTC)

Big Brother (Australian TV series)
... and thanks for the good work in helping with the small time revert war over at the Big Brother (Australian TV series) article. Hopefully it's all blown over now with no dents in anyones armour. Longhair 20:04, 23 Feb 2005 (UTC)

Oh and you may as well take the Behindbigbrother.com link off now too. It has been closed down. So ughh.. Longhair 20:04, 23 Feb 2005 (UTC)

 * The above comment was added (obviously) by ChrisW and disguised to come from myself. Chris, I, and I note many others are trying to explain how Wikipedia functions as a whole. Basically, what's acceptable around here, and what is not. I'm overlooking this event, but the next time, I'm seeking remedy. You've got no interest to play by any rules here. -- Longhair | Talk 08:54, 8 Mar 2005 (UTC)

My TV gets turned on for all of 10 hours a year Meesham. I hear ya :) -- Longhair | Talk 11:24, 8 Mar 2005 (UTC)

Vandalism of my user page
Thanks for the revert. We seem to make good tag team partners ;)~ -- Longhair | Talk 13:54, 13 Mar 2005 (UTC)

 * At times a purge of the cache is required. Try adding ?action=purge to the end of any Wikipedia URL to force a current copy of an article. -- Longhair | Talk 14:01, 13 Mar 2005 (UTC)

Perth aerial image
Hi. If I recall correctly, the aerial image came from a collection of NASA aerial images of Australian cities that came on an Australian PC World CD (or some computer magazine, at least). Unfortunately I can't check this, because I gave away a huge stash of computer magazine CDs a long while ago, and it was probably among them. But it was definitely Public Domain NASA. Kind of a bummer, because I didn't do the best job on that map (the only decent part is the scale, which I determined by looking at distances between the mainland and Garden Island and comparing it to a map with a scale. - Mark 07:23, 31 Mar 2005 (UTC)

National longevity recordholders
I have responded on the Talk page there.(Note I made a statement when I made the revert,before you commented).--Louis E./le@put.com/12.144.5.2 19:38, 6 Apr 2005 (UTC)

Vandalism
Yeah, sorry about that. I've a feeling I know who did it and I have taken measures to see it doesn't happen again. Cheers for pointing it out.--Crestville 18:39, 7 Apr 2005 (UTC)

Thanks for your welcome note
Hi Meesham, I've finally worked out how to do user talk (I think) - I'm pretty new to this wiki concept, although not new to the Internet. Your comments noted and appreciated. Robert Fraser 08:40, 11 Apr 2005 (UTC)

Copyright violations
Replacing an article with text copied from a website as you did here form this website is a copyright violation. Do you have any recollection of how many articles you did this on that need to be fixed?-- Birgitte SB  20:44, 28 September 2007 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:16, 30 November 2015 (UTC)

title: User talk:Meesham


text:
Talk:Sherrill Milnes

Mistake?
Louisa or Luisa Miller? — Preceding unsigned comment added by 222.1.54.253 (talk) 12:20, 22 May 2004 (UTC)

 * Luisa. -- Viajero 13:00, 22 May 2004 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 07:47, 10 November 2007 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Sherrill Milnes. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20120729125854/http://www.tourdates.co.uk/news/6384-leading-clarinetist-to-receive-sanford-medal to http://www.tourdates.co.uk/news/6384-Leading-clarinetist-to-receive-Sanford-Medal
 * Added archive https://web.archive.org/web/20040430211246/http://www.deccaclassics.com/artists/milnes/biog.html to http://www.deccaclassics.com/artists/milnes/biog.html

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

Cheers.— InternetArchiveBot  (Report bug) 04:19, 12 December 2017 (UTC)

title: Talk:Sherrill Milnes


text:
Bláhnjúkur

Bláhnjúkur is a volcano in the south of Iceland. Its height is 940 m.

Its name translates to blue peak in English. This comes from the blue-black colour of its sides. The colour is due to volcanic ash and lava flows.

The mountain is situated in Landmannalaugar, a natural park near Hekla. It lies next to the volcano Brennisteinsalda.

A hiking trail leads up to the top of the mountain from which, in good conditions, five glaciers are visible.

The best way to get to the peak is on road number F 208. The hike is considered easy and takes 1–2 hours round-trip.

title: Bláhnjúkur


text:
Rag (student society)

Rags are student-run charitable fundraising organisations that are widespread in the United Kingdom and Ireland. Some are run as student societies whilst others sit with campaigns within their student unions. Most universities in the UK and Ireland, as well as some in the Netherlands and the Commonwealth countries of South Africa and Singapore have a rag. In some universities rags are known as Charities Campaigns, Charity Appeals, Charity Committees (or Kommittees), Jool or Karnivals, but they all share many attributes.

In the UK, the National Student Fundraising Association (NaSFA), set up in December 2011, exists as a support and resource sharing organisation run by those managing rags for others managing rags.

Origins
The Oxford English Dictionary states that the origin of the word "rag" is from "An act of ragging; esp. an extensive display of noisy disorderly conduct, carried on in defiance of authority or discipline", and provides a citation from 1864, noting that the word was known in Oxford before this date.

Rags flourished in the inter-war period, but were not always aimed at charity. The rivalry between University College London and King's College London led to rags becoming running battles. In 1919, the visiting American prohibitionist William Johnson was kidnapped and subsequently lost an eye during a police rescue attempt, while in 1922 part of the balustrade in the King's College quad was demolished during a battle with UCL students. As well as those in London, rags at Oxford and Cambridge were known for destruction of property and antisocial behaviour. The attack on Newnham College by over a thousand undergraduate men following a vote on degrees for women in 1921 was widely described as a 'rag'.

In 1920 the Birmingham Daily Post noted the start of a shift to rags being charity events at Durham University: "Durham University students have set a new standard in 'rags,' for their programme yesterday was of a constructive rather than destructive type, and as the procession marched through the city a collection was taken for the hospital. This is a good example to the student world, and calculated to do more to commend culture to the people than those meaningless orgies which have taken place elsewhere in the past, to the destruction of property and the detriment of law and order." The following year, 1921, the University of Manchester rag collected money for local medical charities for the first time and students at Cambridge collected for the Haig Fund at a Poppy Day Rag, while in 1923 students at King's College London dressed as ancient Egyptians to raise money for the European War Relief Fund. Glasgow University Students' Unemployment Day, later the university's Charities Week Appeal, started in 1922 and included publication of the Ygorra magazine, with proceeds going to city hospitals and the Lord Provost's Fund for the Unemployed.

In South Africa, a rag was started at the University of Pretoria in the 1920s, and at the University of Witwatersrand in 1922, with charity collections starting in 1929.

More recently, backronyms have been invented for RAG, including "raise and give", "remember and give" and "raising and giving".

Rag Week
Traditionally fundraising activities have centred on an annual Rag Week, with events each day for the week. While some Rags are only active for this week, others use "Rag Week" as their flagship week to encourage participation for the whole year.

Rag mag
A rag mag is a small booklet traditionally filled with (now politically incorrect) humour which was sold to the local community during rag week. Possibly some university rags with a strong local tradition still sell their rag mags, however the majority of others use theirs more as information-tools for new students wanting to know more about rag.

An issue of a rag mag dating from 1923, called Goblio, is in the archives of the University of Southampton. The University of Manchester published its Red Rag in 1924, and provides digital access to a selection of early magazines. Sheffield University Rag's Twikker was first produced in 1925. Queen's University Belfast holds a fairly complete set of rag magazines in its archives, with 81 different copies of PTQ (Pro Tanto Quid – taken from the city's motto "Pro tanto quid retribuamus") from 1927.

Sponsored challenges and fundraising events
Many rags raise the majority of their money for charity through sponsored challenges and fundraising events. While these vary from University to University, typical examples of each include:

Sponsored challenges

 * "Jailbreaks", competitions to get as far from the start and back again within a set period of time, without spending any money on transport.
 * Sponsored skydives
 * Sponsored cycling events
 * Running events including marathons, half marathons and 'Tough Guy' challenges
 * Climbing expeditions
 * Sponsored hitch-hikes
 * other sponsored game of sports

Fundraising events

 * Pub crawls
 * International Men's Day parties
 * World record attempts
 * Bed-runs racing teams with hospital beds.
 * Pub Quizzes
 * Duck races

Manchester RAG also run one of the longest running sponsored events in the North West, known as The Bogle Stroll, which celebrated its semicentennial anniversary in 2011.

Exeter RAG hold the Biggest World AIDS Day event in the UK, called the Safer Sex Ball, Seeing Thousands of students attending to raise money for Charity, £20,000 of which is annually set aside for local AIDS charity the Eddistone Trust.

Rag Raids
Street Collections: Currently known as 'Raids', volunteer collectors go out into the streets (often in costume) to collect for a specific charity on any given day with buckets rather than the clipboards. Many Rags also organise week-long 'Tours' over the university holidays in which they will travel from town to town, collecting in each one, and raising thousands of pounds for the beneficiary charity.

Megaraids: A Megaraid is defined as a Raid where more than one Rag is present and in recent years these have been organised on a massive scale by charities with some events taking place consistently for over a decade. Charities which have a developed student fundraising events include Barnardo's, Cancer Research UK, Help the Aged, Hope for Children, Kidscan, Meningitis UK, Meningitis Research Foundation, Meningitis Trust and Worldwide Cancer Research. All Megaraids tend to include a social aspect and often attract former students who still take part.

Carnival RAG, the University of Birmingham's RAG, is one of the largest and most successful in the country, averaging over £200,000 a year for the last 3 years.

National Student Fundraising Association (NaSFA)
NaSFA is an association of UK student fundraising organisations. It stands for National Student Fundraising Association and was born out of a meeting of 15 heads of UK RAG organisations at the national Rag conference in Durham 2011. These presidents identified a real potential for dramatic increases in efficiency by sharing knowledge and resources. They lay down some fundamental principles, realised a need for a constant and impartial 3rd party facilitator and duly chose the NUS from a selection of applications to support the project.

The underlying aims of NaSFA, to foster sharing of resources, knowledge and support for and between student fundraising organisations have contributed to the 30 Rags involved. In December 2011 the original NaSFA founders invited interested parties to an open meeting at the Union of Brunel Students, to ask for approval on what they had been working on and to give Ed Marsh, the vice-president of the NUS, a mandate to drive NUS support forwards through the organisation's structure.

Rag Conference (UK)
An annual conference for Rag societies and charities is held in the UK. The conference is an opportunity for Rags, student fundraising organisations, charities and associated partners to come together to network, learn and socialise over three action-packed days. In 2012 the Rag conference was held at Loughborough University, and in 2013, the Rag conference was hosted by The University of Birmingham from the 2 to 5 September. In 2014, the conference was held at the University of York from 26 to 28 August. In 2019 it is due to be held in Birmingham after Carnival Rag won the bidding.

title: Rag (student society)


text:
Rodney Mullen vs. Daewon Song

Rodney Mullen vs. Daewon Song is a skateboarding video series that features influential skateboarders Rodney Mullen and Daewon Song. Three video installments were released under the titles Round 1, Round 2, and  Round 3 (the third "round" was incorporated into the debut video for the Almost skateboard company that was cofounded by Mullen and Song).

Round 1 (1997)
The first video shows Mullen "competing" against Song—the two are close friends outside of the video series. The video also features combined parts from the World Industries, A-Team, and Blind teams (as they were in 1997 when the video was released). Song and Mullen both appear in their own parts that are combined with small sections that feature members of their respective brands' teams.

Round 2 (1999)
Compared to the first video, Round 2 was produced in a slightly different format. As with Round 1, the video features individual parts from Mullen and Song, and there are also combined parts from the World Industries, A-Team, and Blind teams—some World team members had, by this time, formed the Deca brand. However, there are also short advertisement-like sections throughout the video for the other brands that were being distributed by Dwindle Distribution at the time, making the video similar to an issue of a video magazine.

Round 3 (2004)
As it is effectively an Almost video, the third installment is considerably different from its predecessors. Almost: Round Three not only includes Song and Mullen, but features full-length parts from the Almost team of the time: Chris Haslam, Cooper Wilt, Greg Lutzka, Ryan Sheckler, and "William Patrick", who was really Tyrone Olson in a costume.

title: Rodney Mullen vs. Daewon Song


text:
Talk:Timeline of the BBC

Factual disputes

 * 1986
 * October 27 - BBC1 starts a daytime television service.
 * Surely they'd been carrying some daytime programmes since the mid-1970s.

 * This date is correct in the context of the launch of the BBC's daytime service as it was from this day that BBC1 broadcast all day, every day.

 * 1988
 * September 1 - BBC External Services is renamed the World Service.
 * I thought that happened in the 1960s.

Lee M 12:23, 22 May 2004 (UTC)

 * Regarding the World Service, it's somewhat confusing: the English service started using the World Service in the 60s, but other non-English Extenal Services only used the name from 1988. Tom- 21:50, 1 Jun 2004 (UTC)

 * Daytime programmes did happen before 1986, but there was not a full schedule. Programmes stopped after Breakfast Time until Play School at 10:30am, then popped back for the news at lunchtime plus jolly old Pebble Mill at One. There was another breather in the afternoon until Play School again ushered in children's TV and the rest of the day's schedule. Compare the Feb 18 1985 schedule with the Oct 27 1986 schedule. As you'll see from the Radio Times cover for that week, it was seen as a major change on a par with the start of Breakfast TV. --Avaragado 22:48, 1 Jun 2004 (UTC)

EasyTimeline
Yesterday I noticed that someone, I don't know who, tried to convert this timeline into an EasyTimeline version, on June 9, and gave up. So I took up the challenge and tried it myself. I encountered some bugs (partly in Ploticus which I use for rendering, next version of ET will contain a workaround). However the main lesson I learned was that a one on one conversion from a textual timeline is not always a good idea. Reasons and image on. Erik Zachte 23:06, 12 Jun 2004 (UTC)

Fair use rationale for Image:Bbc logo 1970.png
Image:Bbc logo 1970.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 10:57, 27 October 2007 (UTC)
 * Already had a rationale. The Islander 11:01, 2 January 2008 (UTC)

Fair use rationale for Image:Bbc logo before 1986.png
Image:Bbc logo before 1986.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 11:00, 27 October 2007 (UTC)
 * Already had a rationale. The Islander 11:01, 2 January 2008 (UTC)

Fair use rationale for Image:BBC Logo 1997-Present.png
Image:BBC Logo 1997-Present.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 06:50, 2 January 2008 (UTC)
 * ✅ - replaced with svg version. The Islander 11:01, 2 January 2008 (UTC)

Fair use rationale for Image:BBC Logo pre 1997.gif
Image:BBC Logo pre 1997.gif is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 06:51, 2 January 2008 (UTC)
 * ✅ - rationale added. The Islander 11:01, 2 January 2008 (UTC)

Image copyright problem with Image:BBC.svg
The image Image:BBC.svg is used in this article under a claim of fair use, but it does not have an adequate explanation for why it meets the requirements for such images when used here. In particular, for each page the image is used on, it must have an explanation linking to that page which explains why it needs to be used on that page. Please check

 * That there is a non-free use rationale on the image's description page for the use in this article.
 * That this article is linked to from the image description page.

The following images also have this problem:

 * Image:Bbc logo before 1970.png

This is an automated notice by FairuseBot. For assistance on the image use policy, see Media copyright questions. --12:20, 12 May 2008 (UTC)

2000 dates
I tweaked some of the 2000 dates regarding the ending of BBC Breakfast News and The Nine O'Clock News and the beginning of their replacements. A bit of sleuthing seemed to suggest the changes happened a couple of weeks later than had been indicated, with 16 October 2000 being the day when the new scheduling was launched. TheRetroGuy (talk) 14:55, 1 May 2009 (UTC)

Station openings pre 1929
There remain some discrepancies between the present article and the one at BBC Regional Programme concerning station openings before the advent of the "Regional Scheme" in c.1929. External sources don't always agree either, but I'm looking for additional references with a view to resolving this difficulty. -- Picapica (talk) 21:26, 9 October 2012 (UTC)

Have now checked and updated all these dates using what I believe to be a reliable source: the Radio Times as reported by http://www.mds975.co.uk/Content/bbc_transmitter_development_clive_mccarthy.pdf -- Picapica (talk) 17:37, 10 October 2012 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 5 external links on Timeline of the BBC. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20130517030637/http://www.arsenal.com/news/news-archive/ggm-40-highbury-stages-first-live-broadcast to http://www.arsenal.com/news/news-archive/ggm-40-highbury-stages-first-live-broadcast
 * Added archive https://web.archive.org/web/20040822182804/http://www.transdiffusion.org/rmc/features/width.asp to http://www.transdiffusion.org/rmc/features/width.asp
 * Added archive https://web.archive.org/web/20040815044908/http://www.vintagebroadcasting.org.uk/r1vhf.htm to http://www.vintagebroadcasting.org.uk/r1vhf.htm
 * Added archive https://web.archive.org/web/20040616182006/http://www.radiorewind.co.uk/sounds/New_Tmitter_88_LQ.wma to http://www.radiorewind.co.uk/sounds/New_Tmitter_88_LQ.wma
 * Added archive https://web.archive.org/web/20050417052213/http://www.vintagebroadcasting.org.uk/audio/35.mp3 to http://www.vintagebroadcasting.org.uk/audio/35.mp3

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

Cheers.— InternetArchiveBot  (Report bug) 02:37, 15 December 2017 (UTC)

title: Talk:Timeline of the BBC


text:
Conformal symmetry

In mathematical physics, the conformal symmetry of spacetime is expressed by an extension of the Poincaré group, known as the conformal group. The extension includes special conformal transformations and dilations. In three spatial plus one time dimensions, conformal symmetry has 15 degrees of freedom: ten for the Poincaré group, four for special conformal transformations, and one for a dilation.

Harry Bateman and Ebenezer Cunningham were the first to study the conformal symmetry of Maxwell's equations. They called a generic expression of conformal symmetry a spherical wave transformation. General relativity in two spacetime dimensions also enjoys conformal symmetry.

Generators
The Lie algebra of the conformal group has the following representation:

 * $$\begin{align} & M_{\mu\nu} \equiv i(x_\mu\partial_\nu-x_\nu\partial_\mu) \,, \\

&P_\mu \equiv-i\partial_\mu \,, \\ &D \equiv-ix_\mu\partial^\mu \,, \\ &K_\mu \equiv i(x^2\partial_\mu-2x_\mu x_\nu\partial^\nu) \,, \end{align}$$

where $$M_{\mu\nu}$$ are the Lorentz generators, $$P_\mu$$ generates translations, $$D$$ generates scaling transformations (also known as dilatations or dilations) and $$K_\mu$$ generates the special conformal transformations.

Commutation relations
The commutation relations are as follows:

 * $$\begin{align} &[D,K_\mu]= -iK_\mu \,, \\

&[D,P_\mu]= iP_\mu \,, \\ &[K_\mu,P_\nu]=2i (\eta_{\mu\nu}D-M_{\mu\nu}) \,, \\ &[K_\mu, M_{\nu\rho}] = i ( \eta_{\mu\nu} K_{\rho} - \eta_{\mu \rho} K_\nu ) \,, \\ &[P_\rho,M_{\mu\nu}] = i(\eta_{\rho\mu}P_\nu - \eta_{\rho\nu}P_\mu) \,, \\ &[M_{\mu\nu},M_{\rho\sigma}] = i (\eta_{\nu\rho}M_{\mu\sigma} + \eta_{\mu\sigma}M_{\nu\rho} - \eta_{\mu\rho}M_{\nu\sigma} - \eta_{\nu\sigma}M_{\mu\rho})\,, \end{align}$$ other commutators vanish. Here $$\eta_{\mu\nu}$$ is the Minkowski metric tensor.

Additionally, $$D$$ is a scalar and $$K_\mu$$ is a covariant vector under the Lorentz transformations.

The special conformal transformations are given by

x^\mu \to \frac{x^\mu-a^\mu x^2}{1 - 2a\cdot x + a^2 x^2} $$ where $$a^{\mu}$$ is a parameter describing the transformation. This special conformal transformation can also be written as $$ x^\mu \to x'^\mu $$, where

\frac{{x}'^\mu}{{x'}^2}= \frac{x^\mu}{x^2} - a^\mu, $$ which shows that it consists of an inversion, followed by a translation, followed by a second inversion.

In two dimensional spacetime, the transformations of the conformal group are the conformal transformations. There are infinitely many of them.

In more than two dimensions, Euclidean conformal transformations map circles to circles, and hyperspheres to hyperspheres with a straight line considered a degenerate circle and a hyperplane a degenerate hypercircle.

In more than two Lorentzian dimensions, conformal transformations map null rays to null rays and light cones to light cones with a null hyperplane being a degenerate light cone.

Conformal field theory
In relativistic quantum field theories, the possibility of symmetries is strictly restricted by Coleman–Mandula theorem under physically reasonable assumptions. The largest possible global symmetry group of a non-supersymmetric interacting field theory is a direct product of the conformal group with an internal group. Such theories are known as conformal field theories.

Second-order phase transitions
One particular application is to critical phenomena in systems with local interactions. Fluctuations in such systems are conformally invariant at the critical point. That allows for classification of universality classes of phase transitions in terms of conformal field theories

Conformal invariance is also present in two-dimensional turbulence at high Reynolds number.

High-energy physics
Many theories studied in high-energy physics admit conformal symmetry due to it typically being implied by local scale invariance. A famous example is d=4, N=4 supersymmetric Yang–Mills theory due its relevance for AdS/CFT correspondence. Also, the worldsheet in string theory is described by a two-dimensional conformal field theory coupled to two-dimensional gravity.

Mathematical proofs of conformal invariance in lattice models
Physicists have found that many lattice models become conformally invariant in the critical limit. However, mathematical proofs of these results have only appeared much later, and only in some cases.

In 2010, the mathematician Stanislav Smirnov was awarded the Fields medal "for the proof of conformal invariance of percolation and the planar Ising model in statistical physics".

In 2020, the mathematician Hugo Duminil-Copin and his collaborators proved that rotational invariance exists at the boundary between phases in many physical systems.

title: Conformal symmetry


text:
Warping (sailing)

Warping or kedging is a method of moving a sailing vessel, typically against the wind or current or out from a dead calm, by hauling on a line attached to a kedge anchor, a sea anchor or a fixed object, such as a bollard or tree. In small boats, the anchor may be thrown in the intended direction of progress and hauled in after it settles, thus pulling the boat in that direction, while larger ships can use a boat to carry the anchor ahead, drop it and then haul. For example, the sloop Adventure under the command of the infamous pirate Blackbeard ran aground attempting to kedge the Queen Anne's Revenge off the bar near Beaufort Inlet, North Carolina in June 1718.

title: Warping (sailing)


text:
Ninety Mile Beach

Ninety Mile Beach may refer to:

Beaches

 * Eighty Mile Beach, Western Australia, formerly called Ninety Mile Beach
 * Ninety Mile Beach, New Zealand
 * Ninety Mile Beach, Victoria, in Australia
 * Ninety Mile Beach Marine National Park, in Victoria, Australia

Other

 * "Ninety Mile Beach", a song by Wolf Alice from the 2013 EP Blush

title: Ninety Mile Beach


text:
New York City Opera

The New York City Opera (NYCO) is an American opera company located in Manhattan in New York City. The company has been active from 1943 through its 2013 bankruptcy, and again since 2016 when it was revived.

The opera company, dubbed "the people's opera" by New York Mayor Fiorello La Guardia, was founded in 1943. The company's stated purpose was to make opera accessible to a wide audience at a reasonable ticket price. It also sought to produce an innovative choice of repertory, and provide a home for American singers and composers. The company was originally housed at the New York City Center theater on West 55th Street in Manhattan. It later became part of the Lincoln Center for the Performing Arts at the New York State Theater from 1966 to 2010. During this time it produced autumn and spring seasons of opera in repertory, and maintained extensive education and outreach programs, offering arts-in-education programs to 4,000 students in over 30 schools. In 2011, the company left Lincoln Center due to financial pressures and moved its offices to 75 Broad Street in Lower Manhattan. In the 2011−12 and 2012−13 seasons, NYCO performed four operas at different venues in New York City, including the Brooklyn Academy of Music. On October 1, 2013, following an unsuccessful emergency fund-raising campaign, the company filed for Chapter 11 bankruptcy.

In January 2016, a nonprofit group, NYCO Renaissance, revived the opera company under new management when its reorganization plans for the company to leave bankruptcy and re-launch performances were approved in bankruptcy court. The group, led by Roy Niederhoffer, a hedge fund manager and former board member of the NYCO, announced plans to present a season of opera in 2016−17. The first opera was Puccini's Tosca, presented at the Rose Theater at Jazz at Lincoln Center in January 2016.

During its 70-year-plus history, the NYCO has helped launch the careers of many great opera singers including Beverly Sills, Sherrill Milnes, Plácido Domingo, Maralin Niska, Carol Vaness, José Carreras, Shirley Verrett, Tatiana Troyanos, Jerry Hadley, Catherine Malfitano, Samuel Ramey, and Gianna Rolandi. Sills later served as the company's director from 1979 until 1989. More recent acclaimed American singers who have called NYCO home include David Daniels, Mark Delavan, Mary Dunleavy, Lauren Flanigan, Elizabeth Futral, Bejun Mehta, Robert Brubaker and Carl Tanner. NYCO has similarly championed the work of American composers; approximately one-third of its repertoire has traditionally been American opera. The company's American repertoire has ranged from established works (e.g., Douglas Moore's The Ballad of Baby Doe, Carlisle Floyd's Susannah, and Leonard Bernstein's Candide) to new works (e.g., Thomas Pasatieri's Before Breakfast and Mark Adamo's Little Women). NYCO's commitment to the future of American opera was demonstrated in its annual series, Vox, Contemporary Opera Lab, in which operas-in-progress were showcased, giving composers a chance to hear their work performed by professional singers and orchestra. The company has also occasionally produced musicals and operettas, including works by Stephen Sondheim and Gilbert and Sullivan.

Early years: 1943–51
The NYCO was founded as the New York City Center Opera, and originally made its home at the New York City Center on West 55th Street, in Manhattan. City Center's chair of the finance committee, Morton Baum, mayor Fiorello La Guardia and council president Newbold Morris hired Laszlo Halasz hired the company's first director, serving in that position from 1943 until 1951. Given the company's goal of making opera accessible to the masses, Halasz believed that tickets should be inexpensive and that productions should be staged convincingly with singers who were both physically and vocally suited to their roles. To this end, ticket prices during the company's first season were priced at just 75 cents to $2 ($0 in current dollar terms), and the company operated on a budget of $30,463 ($0 in current dollar terms) during its first season. At such prices the company was unable to afford the star billing enjoyed by the Metropolitan Opera. Halasz, however, was able to turn this fact into a virtue by making the company an important platform for young singers, particularly American opera singers.

The company's first season opened on February 21, 1944, with Giacomo Puccini's Tosca, and included productions of Friedrich von Flotow's Martha and Georges Bizet's Carmen, all of them conducted by Halasz. Several notable singers performed with the company in the first season, including Dusolina Giannini, Jennie Tourel and Martha Lipton, who was immediately poached by the Met after their NYCO debuts. Other notable singers Halasz brought to the NYCO included Frances Bible, Adelaide Bishop, Débria Brown, Mack Harrell, Thomas Hayward, Dorothy Kirsten, Brenda Lewis, Eva Likova, Leon Lishner, Regina Resnik, Norman Scott, Ramón Vinay, and Frances Yeend. In 1945, the company became the first major opera company to have an African American performer. This was in the production of Leoncavallo's Pagliacci, with Todd Duncan's performance as Tonio. Lawrence Winters and Robert McFerrin were other notable African American opera pioneers to sing with the company during this period. The first African American woman to sing with the company was soprano Camilla Williams, as the title heroine in Madama Butterfly in 1946.

Halasz had a tumultuous relationship with the company's board of directors, given his strong opinions about what the NYCO should be. For one, he supported the idea of performing foreign language works in English to make opera more accessible to American audiences. He insisted on offering at least one production in English every season. The issue that created, the most tension between Halasz and the board was Halasz's commitment to staging new works by American composers and rarely heard operas at the opera house. The first New York City premiere presented by the company was Richard Strauss's Ariadne auf Naxos on October 10, 1946, with Ella Flesch in the title role, Virginia MacWatters as Zerbinetta, and James Pease as the music master. The production was described by the contemporary press as "record breaking", and it put the company "on the map". The NYCO subsequently toured Ariadne to His Majesty's Theatre, Montreal, giving the opera's Canadian premiere.

The first world premiere at the house was William Grant Still's Troubled Island in 1949. It was notably the first grand opera composed by an African-American to be produced in a major opera house. In the fall of 1949, the NYCO revived Prokofiev's comic opera The Love for Three Oranges, which had not been seen in America since its unsuccessful Chicago premiere in 1921. The new production, directed by Vladimir Rosing, turned into a smash hit and was brought back for two additional seasons.

Also in 1949, Halasz scheduled the world premiere of David Tamkin's The Dybbuk to be performed by the NYCO in 1950. However, the NYCO board opposed the decision and ultimately the production was postponed for financial reasons. Halasz, however, rescheduled the work for inclusion in the 1951/52 season. Uneasy with Halasz's bold repertoire choices, the NYCO board insisted in 1951 that Halasz submit his repertory plans for their approval. As a result, he resigned, along with several members of his conducting staff, including Jean Morel, and two of his eventual successors, Joseph Rosenstock and Julius Rudel. Faced with the resignations of most of their creative staff, the board reluctantly backed down and The Dybbuk was given its world premiere at the NYCO on October 4, 1951. But tensions remained high between Halasz and the board, and they fired him in late 1951 when Halasz became involved in union disputes.

Rosenstock and Leinsdorf: 1952–57
After Halász was fired, the NYCO board appointed Joseph Rosenstock, who was already working as a conductor with the company, as the new director. He served in that post for four seasons, during which time he continued in Halász's steps of scheduling innovative programs with unusual repertoire mixed in with standard works. He notably staged the world premiere of Aaron Copland's The Tender Land, the New York premiere of William Walton's Troilus and Cressida, and the United States premieres of Gottfried von Einem's The Trial and Béla Bartók's Bluebeard's Castle. Rosenstock was also the first NYCO director to include musical theatre in the company's repertoire, with a 1954 production of Jerome Kern and Oscar Hammerstein II's Show Boat; a production which starred Broadway musical veteran and operatic soprano Helena Bliss. This decision was ridiculed by the press, but Rosenstock felt justified as the musical played to a packed house. Meanwhile, the company's staging of Donizetti's then rarely heard opera Don Pasquale that season only sold 35 percent of the house seats.

In January 1956 the NYCO board accepted Rosenstock's resignation. He stated that he left because he was faced with too much non-musical work such as bookings and business negotiations. The board appointed Erich Leinsdorf, who had worked as a conductor at the Metropolitan Opera, the Cleveland Orchestra, and the Rochester Philharmonic, to take his place. Leinsdorf stayed with the company for only one season. He was fired after his ambitious program of contemporary and unusual works for the 1956 season failed to soothe financial problems at the NYCO, and drew harsh criticism from the press. The press particularly did not care for his new productions of Jacques Offenbach's Orpheus in the Underworld and the American premiere of Carl Orff's Der Mond. However, Leinsdorf did have one major triumph with the first professional production of Carlisle Floyd's Susannah with Phyllis Curtin in the title role, and Norman Treigle as the Reverend Blitch. The production was a critical success with both audiences and critics, and the opera went on to become an American classic.

Rudel: 1957–79
After Leinsdorf was fired, the NYCO board canceled its 1957 spring season and eventually appointed Julius Rudel as the new general director of the company. Rudel had been hired by the NYCO straight out of college in 1944, and had worked on the conducting staff there for 13 years. Under Rudel's leadership, the company reached new artistic heights, drawing critical praise for its performances of both standard and adventurous works. The company became known for its cutting-edge stage direction, largely due to Rudel's willingness to poach renowned directors from the theatre who had not necessarily been involved with opera before. By the mid-1960s the company was generally regarded as one of the leading opera companies in the United States.

During his tenure at City Opera, Rudel displayed a strong commitment to American opera, commissioning 12 works and leading 19 world premieres. He also led a large number of United States premieres, including Alberto Ginastera's Don Rodrigo with tenor Plácido Domingo for the inauguration of the NYCO's new home at the New York State Theater at Lincoln Center (now called the David H. Koch Theater) on February 22, 1966. That same season the company presented the New York premiere of Poulenc's Dialogues of the Carmelites.

Like his predecessors, Rudel had an eye for young American talent and was responsible for helping to cultivate a couple of generations of American singers. Among the singers whose careers he furthered were bass-baritone Samuel Ramey and lirico-spinto soprano Carol Vaness. One of his most apt decisions was in forming an artistic partnership with Beverly Sills, making her the NYCO's leading soprano from 1956 until her retirement from the stage in 1979, although Joseph Rosenstock deserves the credit for hiring her in 1955 for her first performances with the company. With the NYCO Sills had her first major critical success in the first Handel opera staged by the company, the role of Cleopatra in Giulio Cesare opposite Norman Treigle in 1966. At that time Handel operas were rarely produced and the production drew a lot of attention from the international press. Sills was soon making appearances with all the major opera houses around the world. While Sills was busy with her international career, she remained a regular performer with the NYCO until her retirement. In 1970 John Simon White was appointed managing director of the NYCO, in order to free up Rudel's schedule for the more artistic side of his job. White remained in that position until 1980.

Sills: 1979–88
Upon Sills's retirement from the stage in 1979, she succeeded Rudel as General Director of the NYCO. Initially the plan was for Sills to share the post with Rudel, and slowly phase him out. However, Rudel decided to resign in 1979 in order to take a position as music director of the Buffalo Philharmonic, and Sills took the post over entirely.

At the time Sills assumed her position, the NYCO was in financial difficulties, burdened with a three million dollar debt after a few seasons with less than favorable reviews. On the business side, Sills proved to be a godsend to the company, showing a prodigious gift for fund-raising. By the time she retired from her post in early 1989, she had grown the company's budget from $9 million ($0 in current dollar terms) to $26 million ($0 in current dollar terms), and left the company in the black with a $3 million ($0 in current dollar terms) surplus. She was able to achieve this while still reducing ticket prices by 20 percent, with the hope of attracting new and younger audiences.

Keene: 1989–95

Sills retired as General Director in 1989, and was replaced by conductor Christopher Keene—largely on the basis of Sills' strong recommendation. Keene had previously worked as a conductor at the NYCO since 1970, and had served as the NYCO's Music Director from 1982 to 1986. Keene consistently presented innovative opera seasons that were successful with critics during his tenure. His last season with the company included the United States premieres of Toshiro Mayuzumi's Kinkakuji [The Golden Pavilion] and Jost Meier's Dreyfus Affair. A month before his death Peter G. Davis wrote in New York that "Keene is one of the few authentic cultural heroes New York has left, thanks to his many recent acts of courage, personal as well as artistic."

Keene held the position until his death from lymphoma arising from AIDS at the age of 48. His last performance, at the City Opera, was of Hindemith's Mathis der Maler in September 1995.

Kellogg: 1996–2007
Keene was succeeded in 1996 by Glimmerglass Opera's general and artistic director, Paul Kellogg. Under his leadership, the NYCO added 62 new productions to its repertoire, including several world premieres by American composers, and inaugurated the series: Vox: Showcasing American Composers. Kellogg was also instrumental in establishing the NYCO as an important producer of operas by baroque masters such as Handel, Gluck, and Rameau, sparking a renewal of interest in these long-neglected works. A particular triumph was a highly lauded production of Handel's Orlando in 2007 in a modern production by Chas Rader-Shieber that starred countertenor Bejun Mehta and the soprano Amy Burton. In keeping with NYCO's "people's opera" tradition, Kellogg inaugurated NYCO's "Opera for All" event, with reduced priced tickets, in 2005.

Kellogg announced his retirement in 2007. Anthony Tommasini, in The New York Times, commented that Kellogg had "a record of innovation and achievement to be proud of. Few leaders of performing-arts institutions have been as effective at defining and carrying out a company mission". Tommasini called Kellogg's decision, at the urging of New York City Mayor Rudy Giuliani, to open its season on September 15, 2001, directly after the 9/11 attacks, "the most meaningful day of music in 2001," and later used NYCO's opening day in 2001 and its 2009/10 season as symbolic bookends for New York's music scene in the first decade of the 21st century.

Vox, Contemporary Opera Lab
Vox, Contemporary Opera Lab (also known as Vox: Showcasing American Composers) was an annual concert series dedicated to the development of contemporary American operas. Founded by New York City Opera in 1999, the festival offered composers and librettists the opportunity to hear excerpts of their works performed with professional singers and musicians. Up to twelve excerpts of previously un-produced operas were performed at each festival. Many of the operas that were presented at Vox went on to be presented in full production by New York City Opera and various other opera companies, including Richard Danielpour's Margaret Garner. From 2006, the Vox performances were presented at New York University's Skirball Center for the Performing Arts.

Interregnum: 2008–09
A note of uncertainty about the company's future emerged in November 2008, when Gerard Mortier, who was scheduled to begin his first official season as General and Artistic Director of the company in 2009, abruptly resigned. The company announced that "The economic climate in which we find ourselves today has caused us both to reconsider proceeding with our plans." Mortier had reportedly been promised a $60 million annual budget, which was cut to $36 million due to the economic climate. Michael Kaiser was appointed to advise the board on a turnaround strategy, including the recruitment of a new general director.

The David H. Koch Theater (previously known as the New York State Theater) underwent major renovations during the 2008/09 season. During the construction the company did not stage opera in its home at Lincoln Center. Instead, New York City Opera presented a concert version of Samuel Barber's Antony and Cleopatra at Carnegie Hall in January 2009, as well as other concerts and programs around the city, and continued to make classroom presentations in New York City's public schools. The company presented three concerts at the Schomburg Center for Research in Black Culture in 2009: I'm On My Way: Black History at City Opera, One Fine Day: A Tribute to Camilla Williams, and a 60th anniversary concert production of William Grant Still's Troubled Island.

In June 2009 Bloomberg reported that the company had incurred a $11 million deficit for the year ending June 2008. Revenue fell 23 percent to $32.9 million, and expenses rose 11 percent to $44.2 million.

Steel: 2009–13
In January 2009, the company announced the appointment of George Steel as general manager and artistic director, effective February 1, 2009. The New York Times reported at the time that "many consider [the NYCO] the nation's second most important house."

In January 2009, when Steel was asked to take the helm of the opera to try to turn the company around, it had suffered a string of financial and managerial blows: a decade of multimillion-dollar deficits, a "dark" season in 2008/09 (i.e., a season without any staged opera performances), the depletion of Company's endowment to pay off a huge accumulated deficit, the market collapse of 2008, the radical reduction by the board of the budget and of the size of the season, and the sudden withdrawal of Gerard Mortier, who was to have become General Manager after a lengthy period without leadership (Paul Kellogg, the previous General Director had left in 2007).

Under Steel during the 2009–2010 season, the company returned with an opening night program called American Voices consisting of excerpts from American opera. The season also included a revival of Hugo Weisgall's Esther, and a new production of Mozart's Don Giovanni directed by Christopher Alden. The spring season opened in March 2010 and included Emmanuel Chabrier's L'étoile directed by Mark Lamos, and Handel's Partenope directed by Andrew Chown; original production directed by Francisco Negrin. The company also continued to collaborate with the Schomburg Center for Research in Black Culture and Opera Noire of New York to highlight the role of opera in African-American history, including the programs Opera at the Schomburg, A Tribute to Robert McFerrin, and X, The Life and Times of Malcolm X. In April 2010, NYCO's VOX Contemporary Opera Lab featured new works of emerging and established composers at New York University.

The company's 2010–2011 season included a new production of Leonard Bernstein's A Quiet Place directed by Christopher Alden; Richard Strauss's Intermezzo directed by Leon Major; and a new production titled Monodramas which consisted of three solo one-act works: John Zorn's La Machine de l'être, Arnold Schoenberg's Erwartung, and Morton Feldman's Neither. The company also staged the American premiere of Séance on a Wet Afternoon, the first opera by Stephen Schwartz, the veteran composer of Broadway musicals.

In addition, the company presented several concert performances that included: An Evening With Christine Brewer; Lucky To Be Me: The Music of Leonard Bernstein; John Zorn & Friends (with Laurie Anderson, Lou Reed, Mike Patton, Marc Ribot, Dave Douglas, and Uri Caine); a family opera concert of Oliver Knussen's Where the Wild Things Are with a libretto by Maurice Sendak; and Defying Gravity: The Music of Stephen Schwartz with Kristin Chenoweth and Raúl Esparza. In May 2011, the company announced that it would leave Lincoln Center to conserve costs, and present its upcoming season in different venues throughout the city.

On the business side, the opera underwent tremendous change under Steel's tenure, which both balanced the budget and extended the life of the company. These changes led directly to the opera's first balanced budgets in an over a decade and a sold-out 2011–2012 season. Some of the steps Steel took in his efforts to save the company aroused controversy, including a contentious, but ultimately successful, contract negotiation with the labor unions representing the orchestra and the singers, and the departure of the opera from Lincoln Center out of financial necessity. While the company had for more than a decade discussed publicly the idea of leaving Lincoln Center, the company's ultimate departure, driven by the financial reality that the opera would otherwise have to close, was met alternately with praise and scepticism. Notwithstanding artistic successes, record fundraising, and dramatic changes to the company's business model, the opera ultimately succumbed to bankruptcy.

Bankruptcy: 2013–15
On October 1, 2013, the company filed for Chapter 11 bankruptcy in the United States Bankruptcy Court for the Southern District of New York, citing an inability to raise sufficient funding to continue the 2013/14 season. The company's last production was the U.S. premiere of Mark-Anthony Turnage's Anna Nicole. The case was before Judge Sean Lane.

In an article in the New York Times, music critic Anthony Tommasini noted one of the reasons for the company's 2013 bankruptcy (as well as relating it to other failed arts organizations): "In short, artistic excellence is not enough. Any institution, big or small, old or new, must have a clear artistic vision, a purpose that connects with audiences and the community. But the performing arts have never been profit-making endeavors. It is more important than ever that all institutions, from a fledgling string quartet to the lofty Metropolitan Opera, have an effective business model."

Revival: since 2016
A not-for-profit company named NYCO Renaissance Ltd. proposed a Chapter 11 plan for the reorganization of New York City Opera in 2015, and the reorganization of the existing company took place in 2016. An additional incentive was made to those who had purchased tickets and not received a refund.

The group announced plans to relaunch New York City Opera in January 2016, with a mix of opera staples and niche works. The proposed new home for a revived NYCO is the modern 1,100-seat Rose Theater at Jazz at Lincoln Center. Both the City Opera board and – unanimously – the creditors' committee (those owed money in the bankruptcy) preferred the bid of NYCO Renaissance, which was backed financially and chaired by Roy Niederhoffer, a hedge fund manager and accomplished amateur musician who had earlier served on the New York City Opera board, and who pledged more than $1 million of his own money to the effort, and raised at least $2.5 million.

The bankruptcy court approved the reorganization plan of New York City Opera Renaissance, allowing it to leave bankruptcy and re-launch performances, in January 2016. Bankruptcy Judge Sean Lane said he was pleased to approve the plan of "a beloved and important cultural institution," and that "It's been the participation of people who care greatly about the opera that's led to what I think is a very good result here today." Under the reorganization plan, the opera will put on annual seasons, and its general director will be Michael Capasso. Gail Kruvand, the chairwoman of the City Opera orchestra committee, said: "We're thrilled ... and we're looking forward to a long future with New York City Opera."

NYCO Renaissance presented Puccini's Tosca – using Adolfo Hohenstein's stage and costume design from the opera's premiere in 1900 in Rome – in January 2016 at the 1,100-seat Rose Theater. It had two separate casts, including tenor James Valenti and soprano Latonia Moore, and the least expensive balcony seats were $25. Tosca had been, in 1944, the first opera performed by the NYCO.

The NYCO announced that it would round out the 2015–16 season with the performance of three contemporary works, all new to the company. On March 16, 2016, a new concert series at the Appel Room in Jazz at Lincoln Center was inaugurated with the premiere of David Hertzberg's "Sunday Morning". A work for soprano and small ensemble, it featured soprano Sarah Shafer and mezzo-soprano Kirstin Chávez. That was followed by the East Coast premiere of composer Stewart Wallace's and librettist Michael Korie's Hopper's Wife – a surreal, erotically-charged 90-minute 1997 chamber opera fantasy about an imagined marriage between the painter Edward Hopper and the gossip columnist Hedda Hopper. It was directed by Andreas Mitisek at Harlem Stage from April 28 through May 1, 2016, in his New York City directorial debut. Third, the NYCO staged Daniel Catán's Florencia en el Amazonas June 22–26, 2016 at Jazz at Lincoln Center's Rose Theater. Based on the writing of Gabriel García Márquez, the opera was part of a new Spanish-language opera series named Ópera en Español. Reviewing the performance, James Jorden of The New York Observer wrote: "[in] the current offering of the resurrected New York City Opera ... every page of the score sails orgasmically over the top, as sinfully rich as molten caramel sauce ... The reconstituted New York City Opera should be bursting with pride at the high level of quality extending across every aspect of this presentation ... Among as strong a cast of vocalists as I've heard at NYCO in 20 years or more, the standout appropriately was Elizabeth Caballero as Florencia. ... this production makes it clear that the company is at the very top of its game." The Wall Street Journal opined that "Ms. Caballero is a find." New York Classical Review, while noting some staging flaws, wrote: "If this is to be the standard of the company's work going forward, the future may be very bright indeed."

The NYCO's Opening Night for the 2016–17 season, on September 8, 2016, was a new production double bill of two operas that both premiered in May 1892, Aleko (a New York premier; composed by Sergei Rachmaninoff, an adaptation of Alexander Pushkin's poem The Gypsies) and Pagliacci (by Ruggero Leoncavallo). They were directed by Lev Pugliese, with conductor James Meena leading the NYCO Orchestra, at Rose Theater at Jazz at Lincoln Center's Rose Hall. Bass Stefan Szkafarowsky made his NYCO debut in the title role of Aleko, and Pagliacci featured tenor Francesco Anile in his NYCO debut as Canio. Anthony Tommasini of The New York Times wrote that "the performance offered animated, if sometimes scrappy, playing by the New York City Opera Orchestra ... and vibrant singing from the company's chorus. ... "Pagliacci" offers strong, if not exceptional, vocal performances in the leading roles. The tenor Francesco Anile brings a sizable, somewhat nasal voice to Canio, the betrayed husband. As Nedda, his straying wife, the soprano Jessica Rose Cambio sings with agile coloratura and mostly shimmering sound. ... An enthusiastic audience showed up for the opening event in what should be a revealing, even defining, season for the rebooted City Opera." New York Classical Review wrote: "On this occasion, Pagliacci emerged considerably more moving than the recent Met production by David McVicar, mostly due to the Rose's increased intimacy. It also didn't hurt that, for the role of Canio, the company snagged Francesco Anile ... [who] has the voice: a clear, expressive instrument that pleasantly "pings" above the orchestra, and equally, what appears to be a fountain of acting chops. In the famous scene in which Canio realizes that Nedda has been unfaithful, the soft sobbing into his costume was undeniably affecting. And when he leaped onstage to open the traveling show, his drunkenness was believable, not overdone. ... After a rocky few years, this musically and emotionally satisfying double bill is the best evidence yet that this storied company may at last be staggering to its feet." The Huffington Post opined: "NYCO is on the right track to re-establishing itself as a force in the opera world."

In January 2022, NYCO produced the world premiere of Michael Korie and Ricky Ian Gordon's The Garden of the Finzi-Continis in co-production with the National Yiddish Theatre Folksbiene.

World premieres

 * William Grant Still – Troubled Island (1949)
 * David Tamkin – The Dybbuk (1951)
 * Aaron Copland – The Tender Land (1954)
 * Mark Bucci – Tale for a Deaf Ear (1958, first professional production)
 * Robert Kurka – The Good Soldier Schweik (1958)
 * Hugo Weisgall – Six Characters in Search of an Author (1959)
 * Norman Dello Joio – The Triumph of St. Joan (1959, the premiere of the third version)
 * Robert Ward – He Who Gets Slapped (1959, revised version)
 * Douglas Moore – The Wings of the Dove (1961)
 * Robert Ward – The Crucible (1961)
 * Abraham Ellstein – The Golem (1962)
 * Carlisle Floyd – The Passion of Jonathan Wade (1962)
 * Jerome Moross – Gentlemen, Be Seated! (1963)
 * Lee Hoiby – Natalia Petrovna (1964)
 * Jack Beeson – Lizzie Borden (1965)
 * Ned Rorem – Miss Julie (1965)
 * Vittorio Giannini – Servant of Two Masters (1967)
 * Hugo Weisgall – Nine Rivers from Jordan (1968)
 * Gian Carlo Menotti – The Most Important Man (1971)
 * Thea Musgrave – The Voice of Ariadne (1977)
 * Leon Kirchner – Lily (1977)
 * Dominick Argento – Miss Havisham's Fire (1979)
 * Stanley Silverman – Madame Adare (1980)
 * Thomas Pasatieri – Before Breakfast (1980)
 * Jan Bach – The Student from Salamanca (1980)
 * Leonard Bernstein – ''Candide (Opera House Version) (1982)
 * Anthony Davis – X, The Life and Times of Malcolm X (1986, first staged production)
 * Jay Reise – Rasputin (1988)
 * Hugo Weisgall – Esther (1993)
 * Ezra Laderman – Marilyn (1993)
 * Lukas Foss – Griffelkin (1993, premiere of revised version)
 * Deborah Drattell – Lilith (2001, first staged production)
 * Charles Wuorinen – Haroun and the Sea of Stories (2004)
 * Ricky Ian Gordon – The Garden of the Finzi-Continis (2022)

title: New York City Opera


text:
Infrared fixed point

In physics, an infrared fixed point is a set of coupling constants, or other parameters, that evolve from arbitrary initial values at very high energies (short distance) to fixed, stable values, usually predictable, at low energies (large distance). This usually involves the use of the renormalization group, which specifically details the way parameters in a physical system (a quantum field theory) depend on the energy scale being probed.

Conversely, if the length-scale decreases and the physical parameters approach fixed values, then we have ultraviolet fixed points. The fixed points are generally independent of the initial values of the parameters over a large range of the initial values. This is known as universality.

Statistical physics
In the statistical physics of second order phase transitions, the physical system approaches an infrared fixed point that is independent of the initial short distance dynamics that defines the material. This determines the properties of the phase transition at the critical temperature, or critical point. Observables, such as critical exponents usually depend only upon dimension of space, and are independent of the atomic or molecular constituents.

Top Quark
In the Standard Model, quarks and leptons have "Yukawa couplings" to the Higgs boson which determine the masses of the particles. Most of the quarks' and leptons' Yukawa couplings are small compared to the top quark's Yukawa coupling. Yukawa couplings are not constants and their properties change depending on the energy scale at which they are measured, this is known as running of the constants. The dynamics of Yukawa couplings are determined by the renormalization group equation:

 * $$\ \mu\ \frac{\partial}{\partial\mu}\ y_q \approx \frac{ y_q }{\ 16\pi^2\ }\left(\frac{\ 9\ }{2}y_q^2 - 8 g_3^2\right)\ ,$$

where $$\ g_3\ $$ is the color gauge coupling (which is a function of $$\ \mu\ $$ and associated with asymptotic freedom  )  and $$\ y_q\ $$ is the Yukawa coupling for the quark $$\ q \in \{ \mathrm{u, b, t} \}~.$$ This equation describes how the Yukawa coupling changes with energy scale $$\ \mu ~.$$

A more complete version of the same formula is more appropriate for the top quark:
 * $$\ \mu\ \frac{\ \partial}{\partial\mu}\ y_\mathrm{t} \approx \frac{\ y_\text{t}\ }{16\ \pi^2}\left(\frac{\ 9\ }{2}y_\mathrm{t}^2 - 8 g_3^2- \frac{\ 9\ }{4}g_2^2 - \frac{\ 17\ }{20} g_1^2 \right)\ ,$$

where $g$$2$ is the weak isospin gauge coupling and $g$$1$ is the weak hypercharge gauge coupling. For small or near constant values of $g$$1$  and  $g$$2$  the qualitative behavior is the same.

The Yukawa couplings of the up, down, charm, strange and bottom quarks, are small at the extremely high energy scale of grand unification, $$\ \mu \approx 10^{15} \mathrm{ GeV } ~.$$ Therefore, the $$\ y^2_q\ $$ term can be neglected in the above equation for all but the top quark. Solving, we then find that $$\ y_q\ $$ is increased slightly at the low energy scales at which the quark masses are generated by the Higgs, $$\ \mu \approx 125\ \mathrm{ GeV } ~.$$

On the other hand, solutions to this equation for large initial values typical for the top quark $$\ y_\mathrm{t}\ $$ cause the expression on the right side to quickly approach zero as we descend in energy scale, which stops$$\ y_\mathrm{t}\ $$ from changing and locks it to the QCD coupling $$\ g_3 ~.$$ This is known as a (infrared) quasi-fixed point of the renormalization group equation for the Yukawa coupling. No matter what the initial starting value of the coupling is, if it is sufficiently large at high energies to begin with, it will reach this quasi-fixed point value, and the corresponding quark mass is predicted to be about $$\ m \approx 220\ \mathrm{ GeV } ~.$$

The renormalization group equation for large values of the top Yukawa coupling was first considered in 1981 by Pendleton & Ross, and the "infrared quasi-fixed point" was proposed by Hill. The prevailing view at the time was that the top quark mass would lie in a range of 15 to 26 GeV. The quasi-infrared fixed point emerged in top quark condensation theories of electroweak symmetry breaking in which the Higgs boson is composite at extremely short distance scales, composed of a pair of top and anti-top quarks.

While the value of the quasi-fixed point is determined in the Standard Model of about $$\ m \approx 220\ \mathrm{ GeV } ~,$$ if there is more than one Higgs doublet, the value will be reduced by an increase in the $9⁄2$ factor in the equation, and any Higgs mixing angle effects. Since the observed top quark mass of 174 GeV is slightly lower than the standard model prediction by about 20%, this suggests there may be more Higgs doublets beyond the single standard model Higgs boson. If there are many additional Higgs doublets in nature the predicted value of the quasi-fixed point comes into agreement with experiment. Even if there are two Higgs doublets, the fixed point for the top mass is reduced, 170~200 GeV. Some theorists believed this was supporting evidence for the Supersymmetric Standard Model, however no other signs of supersymmetry have emerged at the Large Hadron Collider.

Banks–Zaks fixed point
Another example of an infrared fixed point is the Banks–Zaks fixed point in which the coupling constant of a Yang–Mills theory evolves to a fixed value. The beta-function vanishes, and the theory possesses a symmetry known as conformal symmetry.

title: Infrared fixed point


text:
Matthew Richardson

Matthew or Matt Richardson may refer to:

Sportspeople

 * Matthew Richardson (cyclist) (born 1999), Australian track cyclist
 * Matthew Richardson (cricketer) (born 1985), South African cricketer
 * Matthew Richardson (footballer) (born 1975), former Richmond Football Club player
 * Matthew Richardson (golfer) (born 1984), English golfer
 * Matthew Richardson (administrator), Australian rules football administrator
 * Matt Richardson (footballer) (born 1970), Australian rules footballer

Academics

 * Matthew Richardson (economist), New York University professor
 * Matthew O. Richardson (born 1960), Advancement Vice President at Brigham Young University

Others

 * Matthew Kendal Richardson (1839–1917), English-born merchant and political figure in Ontario, Canada
 * Matt Richardson (born 1991), English comedian and presenter

title: Matthew Richardson


text:
Christopher Addison, 1st Viscount Addison

Christopher Addison, 1st Viscount Addison, (19 June 1869 – 11 December 1951 ), was a British medical doctor and politician. A member of the Liberal and Labour parties, he served as Minister of Munitions during the First World War and was later Minister of Health under David Lloyd George and Leader of the House of Lords under Clement Attlee.

He was a prominent anatomist and perhaps the most eminent doctor ever to enter the Commons. He was a leader in issues of health, wartime munitions, housing and agriculture. Although not highly visible, he played a major role in the post war governments after both world wars. Addison worked hard to promote the National Insurance scheme in 1911. Lloyd George made him the first Minister of Health when the ministry was created in 1919, and Addison oversaw an expansion of council housing after the Great War with an increase in public funding to local authority housing schemes with the Housing, Town Planning, &c. Act 1919. He later joined the Labour Party.

Background and education
Addison was born in the rural parish of Hogsthorpe in Lincolnshire, the son of Robert Addison and Susan, daughter of Charles Fanthorpe. His family had owned and run a farm for several generations and he maintained a strong interest in agriculture and rural matters throughout his life. He attended Trinity College, Harrogate, from the age of thirteen. He trained in medicine at Sheffield School of Medicine and St Bartholomew's Hospital in London. His education was expensive for his family, and he insisted on re-paying his parents once he had begun his career.

In 1892, Addison graduated from the University of London as a Bachelor of Medicine and Science with honours in forensic medicine. A year later he qualified as a Medical Doctor and two years after that he was elected a Fellow of the Royal College of Surgeons. He combined private practice with academic research, and taught anatomy at Sheffield School of Medicine. In 1896 he became professor of anatomy at the newly formed University College of Sheffield, and edited the Quarterly Medical Journal from 1898 to 1901. In 1901, he moved to London again, teaching at Charing Cross Hospital. He published his research on anatomy and became Hunterian professor with the Royal College of Surgeons.

Addison's principal contributions to anatomy were in his writings in three volumes of the Journal of Anatomy, 1899–1901, "On the topographical anatomy of the abdominal viscera in man". Subsequently, he contributed to the three-dimensional mapping of the abdomen, which was based on numerous bodily measurements, "some 10,000 measurements made on forty bodies". He linked his measurements to an imaginary plane of section, known as "Addison's transpyloric plane".

1907–1914
Motivated by concern for the treatment of the poor, and that the effects of poverty on health could be fought only by governments, not by doctors, Addison entered politics. He was adopted as Liberal candidate for Hoxton, Shoreditch, in 1907, and was duly elected in the January 1910 general election.

The Chancellor of the Exchequer, David Lloyd George, noted Addison's medical background and asked him to speak in support of the 1911 National Insurance Bill, both in Parliament and with the British Medical Association. In August 1914, he was appointed Parliamentary Secretary to the Board of Education, under Jack Pease. His work here was largely concerned with improving the health and welfare of children, but was cut short following the outbreak of the First World War.

World War
Addison became Parliamentary Secretary to the Ministry of Munitions in May 1915.

Addison introduced a degree of intervention in the free market known as "War Socialism" to prompt faster munitions production. Private enterprise in key sectors was brought under the control of government, which erected its own factories, and great care was taken to improve the welfare of the munitions workers, both male and female. Ammunition supply-lines dictated the tempo of the war, especially in the first year of fighting, so stability and productivity within this industry were of the utmost importance. The government subsidised housing estates, such as Vickerstown on Walney Island (now in Cumbria), with integral religious, social and recreational amenities, to enable pools of munitions workers and their families to move next to expanded armament factories. Raymond Unwin, an influential civil servant from this time injected some of the late Victorian/utopian/Fabian philosophy of garden suburbs and ideals from the cheap cottages movement launched in 1905.

With hindsight, this may be seen as something of a prototype of the municipal housing that followed in the post-war period and the beginnings of town planning as an accepted concern of the state. Fellow idealists might well have regretted the design, layout and landscaping compromises inevitably struck in the pursuit of rapid construction to support homeland defence as an over-riding priority. Improved dimensions of kitchens, bathrooms and gardens for working-class houses might also be seen as a response to a more equal valuation of women as competent industrial workers and a political force.

The Ministry of Munitions was a new Ministry, created and headed by David Lloyd George to rapidly improve and increase production of munitions. Working conditions were improved in the new, state-owned industry, and Addison created and implemented schemes that greatly increased the efficiency of production. He became a Privy Counsellor and was promoted to Minister of Munitions when Lloyd George became Minister of War in July 1916. He supported Lloyd George against the Prime Minister, H. H. Asquith, at the end of 1916, and continued into the new coalition cabinet.

Postwar planning
In July 1917, he became a Minister Without Portfolio with responsibility for analysing the problems that Britain would face after the war and preparing plans for reconstruction. He worked with Arthur Greenwood to develop programmes for sweeping social reforms. Perhaps Addison's greatest achievement was the establishment of a costing system which by the end of the war had saved an estimated £440 million.

Addison's Hoxton constituency was abolished for the 1918 general election, when he was elected for the new Shoreditch constituency.

Although Lloyd George was increasingly influenced by the Conservative members of his coalition government, Addison's plans formed the basis of much post-war legislation. Addison became President of the Local Government Board in January 1919, with the goal of transforming it into a Ministry of Health. He became the first Minister of Health in June following the passing of the Ministry of Health Act 1919. He was responsible for a great deal of public health improvements and social legislation. He ensured the extension of health and hospital services: increasing the treatment provision for communicable diseases such as venereal diseases and tuberculosis; increasing provision for maternal health and infant welfare as well as home nursing. He successfully introduced the Nurse Registration Act 1919, establishing for the first time a register of nurses under the auspices of the General Nursing Council. He introduced the first Housing and Town Planning Act, under which the state built low-rent homes (council houses) for the working-class. Addison also reviewed and increased the provisions of the National Insurance system, and introduced programmes to improve healthcare and training. However, he presided over large increases in public spending and this raised the ire of Conservatives in the government. He was moved from the Ministry of Health in April 1921, becoming Minister Without Portfolio. Addison resigned in July 1921 when a Cabinet committee decided to halt the housing construction scheme altogether; he subsequently became a strong critic of the government.

1922–1937
Addison lost his seat in the 1922 general election. Since the end of the war, he had found himself increasingly detached from both warring factions of the Liberal Party. His belief in social reform and progressive policies brought him close to the socialism of the Labour Party, and he campaigned for Labour candidates at the 1923 general election.

During this time he returned to his family farm and published a number of books, including The Betrayal of the Slums, on the link between poor housing and poor health, and Practical Socialism. He stood unsuccessfully as Labour's candidate in the constituency of Hammersmith South for the 1924 general election, before winning the Swindon constituency in Wiltshire, at the 1929 general election. Ramsay MacDonald appointed Addison as Parliamentary Secretary to the Ministry of Agriculture in 1929. He served under Noel Buxton, and succeeded him as Minister of Agriculture in June 1930. He worked with Clement Attlee, the future Leader of the Labour party with whom he formed a close relationship, and was an active member of the Socialist Medical Association.

Facing economic crisis in 1931, the Chancellor of the Exchequer, Philip Snowden, proposed swingeing cuts to public spending, particularly to unemployment benefit. Addison voted against these cuts in cabinet and went into Opposition when MacDonald formed a National Government with the Conservatives and Liberals. Addison lost his seat at the 1931 general election. In 1934 he regained his Swindon seat in a by-election, but lost it a second time at the 1935 general election. During the Spanish Civil War he helped organise medical aid to Spain, as president of the Spanish Medical Aid Committee.

1937–1951
In May 1937, Addison joined the Labour party's meagre caucus in the House of Lords, being raised to the peerage as Baron Addison, of Stallingborough in the County of Lincoln. He was Chairman of the Buckinghamshire War Agricultural Committee during the Second World War, co-ordinating agricultural production and supply in that county. Attlee appointed Addison to be Labour's leader in the Lords in 1940, after Lord Snell stepped down for health reasons. Addison retained this position until his death, serving as Leader of the House of Lords following Labour's victory in the 1945 general election. He was created Viscount Addison, of Stallingborough in the County of Lincoln, in July 1945.

As Leader of the House of Lords, Addison had the key responsibility of steering government legislation through the upper chamber. He formed a good relationship with the leader of the Conservative opposition in the Lords, the Marquess of Salisbury. Through general consultation, Addison developed new guidelines for peers, particularly with regard to declaration of interests. He was also Secretary of State for Dominion Affairs in Attlee's first cabinet, directing the transformation of the Dominion Affairs Office into the Office of Commonwealth Relations and playing an instrumental role in Labour's early anti-imperialist policies and the strengthening of the British Commonwealth. In 1946, he became the first Labour politician to be made a Knight of the Garter. As his health began to deteriorate he withdrew from foreign affairs in 1947, subsequently holding a number of sinecure positions in combination with his leadership of the Lords, until Labour lost office in October 1951. As a result of Addison's success in steering legislation through the House of Lords, the Attlee ministry issued few major reforms to the institution beyond limiting its delaying power to one year during its time in power.

Family
Lord Addison married firstly Isobel, daughter of Archibald Gray, in 1902. They had two daughters and three sons. Isobel, the daughter of a wealthy Scottish businessman and shipping agent, supported her husband morally and financially when he embarked upon a career in politics. After her death in 1934 Addison married secondly Dorothy, daughter of Frederick Percy Low, in 1937. Lord Addison died in December 1951, aged 82, only two months after the end of his political career. He was succeeded in his titles by his eldest son, Christopher. Lady Addison died in September 1982.

Selected publications
Addison wrote an important paper, "On the Topographical Anatomy of the Abdominal Viscera in Man, especially the Gastro-Intestinal Canal", that was published in four parts in the Journal of Anatomy and Physiology between 1899 and 1901:
 * Part I. July 1899, Vol. 33 (Part 4), 565.5.
 * Part II. July 1900, Vol. 34 (Part 4), 427–450.9.
 * Part III. January 1901, Vol. 35 (Part 2), 166–204.11.
 * Part IV. April 1901, Vol. 35 (Part 3), 277–304.9.

Commemoration
Addison cut the first sod for Bristol City Council's new Sea Mills estate on 4 June 1919. An oak tree was planted by city's lady mayoress as part of the same event, it survives and is known as the Addison Tree. Over 90 streets are named after Addison across Britain, all in areas of social housing.