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Talk:Personal pronouns in Portuguese

English translations
Please provide appropriate translations for ALL the sample sentences. It's only proper.

Could be a part of another page
This could probly be a part of another page or something, is this really an encyclopedia article? Ultrarob 02:23, Jun 3, 2004 (UTC)
 * yes, the problem is that there is barely any information on portuguese grammar, this is a kind of an island. But I hope that, as more articles regarding portuguese grammar are added they can be organized in a structure similar to a grammar book. For instance, this article could be under Pronouns, which could be under Morphology. --Cataphract 20:43, 3 Jun 2004 (UTC)

 * has everyone that s--Cataphract 02:59, 31 January 2007 (UTC)peaks Portuguese these "personal pronouns" are an hard task. thx Cataphract. -Pedro 16:47, 28 Jun 2004 (UTC)

Reversed headings?
In tha "Table of Personal Pronouns" under "Indirect Complement", I think the "With" and "Without" are reversed. Any native speakers know? Nelson Ricardo 08:08, Aug 28, 2004 (UTC)
 * It is right now. José San Martin 00:08, Apr 11, 2005 (UTC)

Closed deletion listing
This article was listed for deletion on 10 April, 2005. The discussion was closed with the result of keep. This article will not be deleted. You can view the discussion, which is no longer live: Votes_for_deletion/Portuguese_verb_conjugation. --Tony Sidaway|Talk 15:06, 24 Apr 2005 (UTC)

Brazilian usage
Perhaps we should expand/modify the Portuguese pronouns article to cover colloquial/regional use both in Brazilian Portuguese and European Portuguese, and to highlight the differences between modern and classical Portuguese. For example, the pronoun chart in classical Portuguese was:

http://meuprimeiroemprego.net —Preceding unsigned comment added by 187.21.179.106 (talk) 20:45, 13 April 2011 (UTC)

In modern colloquial European Portuguese, the chart above is modified however to (differences emphasized):

Finally, for modern Brazilian Portuguese, one could propose the following chart (with important remarks below):

Important Remarks about Brazilian usage

 * 1) In Brazil, the weak clitic pronouns '-o(s)' and '-a(s)' are used almost exclusively in writing or in formal speech (e.g. TV newscasts). In colloquial speech, 'ele(s)' and 'ela(s)' replace the clitics  as direct objects (e.g. Vi eles na praia ontem versus Vi-os na praia ontem, Eng. "I saw them on the beach yesterday"). The standard written variants -lo(s) and -las (used after an infinitive ending in 'r') are  more frequent though in the colloquial speech of educated Brazilians, but seem to be losing ground as well. Note however that 'ele(s)' or 'ela(s)' are never used as direct objects in formal writing such as newspaper articles, academic papers, or legal documents.
 * 2) The classical Portuguese 2nd-person pronoun 'tu' is retained only in certain regional BP dialects, most notably gaúcho. Dialects that retain 'tu' also use accordingly 'te', 'ti', 'contigo', and the possessive 'teu'. In General Brazilian Portuguese (as heard for example on national TV), 'te' is  still frequently used both as a direct object (alternating with 'você') and as an indirect object (alternating with 'para você'). 'Tu', 'contigo' and 'teu' are however relatively rare in General Brazilian, although they occur occasionally in the speech of Rio de Janeiro and, much less frequently, in São Paulo. The use of -(l)o, -(l)a, etc. replacing 'você' as direct objects is restricted mostly to the written language (in particular, movie subtitles) although it occurs frequently in a few fixed expressions like prazer em conhecê-lo ("pleased to meet you") or Posso ajudá-lo ? ("May I help you ?)
 * 3) The 'você' (subj.)/'te' (obj.) combination, e.g. Você sabe que eu te amo, is a well-known peculiarity of modern General Brazilian Portuguese and is similar in nature to the 'vocês (subj.)/'vos' (obj.)/ 'vosso' (poss.) combination found in modern colloquial European Portuguese. Both combinations would be condemned though by presciptive school grammars based on the classical language.
 * 4) In standard Portuguese (both in Brazil and in Portugal), 'você' and 'vocês' are always accompanied by third-person verb forms (e.g. você é, vocês são), whereas tu requires second-person verb forms (e.g. tu és). However, in "tuteante" BP dialects like gaúcho, tu may be accompanied by third-person verb forms, e.g. tu é, tu bebeu vs. standard tu és, tu bebeste. That particular usage is considered substandard (ungrammatical) by most Brazilian speakers whose dialects do not include tu (e.g. "paulistanos").
 * 5) When addressing older people or hierachical superiors, modern BP speakers often replace 'você' and 'vocês' by the expressions O(s) senhor(es) and A(s) senhora(s), which also require third-person verb forms and third-person object/reflexive/possessive pronouns. 'O(s) senhor(es)' and 'A(s) senhora(s)' are also used in formal contexts in modern EP, in addition to a large number of similar pronominalized nouns that vary according to the person who is being addressed,  e.g. a menina, o pai, a mãe, o engenheiro, o doutor, etc.
 * 6) Due to the use of 'seu(s)', 'sua(s)' as the preferred 2nd-person possessive pronouns in most of Brazil, 'dele(s)' and 'dela(s)' are normally used as 3rd-person possessive markers in lieu of 'seu(s)'/'sua(s)' to eliminate ambiguity, e.g. Onde está o seu carro ("Where is your car ?) vs. Onde está o carro dele ?  ("Where is his car ? "). 'Seu'/'Sua' as 3rd-person possessive pronouns are still frequent though, especially in narrative language, when ambiguity can be generally solved from the context, e.g. O candidato Geraldo Alckmin apresentou ontem a sua proposta para aumentar a geração de empregos no Brasil ("Candidate Geraldo Alckmin presented yesterday his proposal to increase job creation in Brazil").
 * 7) 'Se', 'si, and 'consigo' are used in standard written BP exclusively as reflexive pronouns, e.g. Os manifestantes trouxeram consigo paus e pedras para se defenderem da violência policial ("Protesters brought (wood)sticks and stones with them to protect themselves against police brutality"), or  Os políticos discutiam entre si o que fazer diante da decisão do Supremo Tribunal ("Politicians discussed among themselves what to do in face of the Supreme Court decision"). In colloquial language, those reflexive forms may be replaced however by subject pronouns (e.g. Discutam entre vocês em que data preferem fazer o exame vs standard Discutam entre si em que data preferem fazer o exame, Eng. "Discuss among yourselves when you prefer to take the exam"). Note also that in both standard and colloquial BP, it is considered wrong to use 'se', 'si', 'consigo' in non-reflexive contexts. Therefore, unlike in modern colloquial EP, 'para si' for example cannot ordinarily replace 'para você', nor can consigo ordinarily replace com você.
 * 8) The use of 'lhe' as a 2nd-person indirect object is actually rare in General BP, where 'lhe' is often replaced  as  noted above by 'te' or, alternatively, para 'você'. "Lhe-ísmo", i.e. the use of 'lhe' not only as a common 2nd-person indirect object (e.g. eu lhe disse que [...], Eng. "I told you that [...]"), but also as a 2nd-person direct object (e.g. Eu lhe vi na praia ontem, Eng. "I saw you on the beach yesterday") is frequent though in Northeastern Brazilian dialects, especially in Bahia.
 * 9) In standard written BP, it is common to use 'lhe(s)' as a third-person indirect object, e.g. O presidente pediu que lhe dessem notícias da crise na Bolívia. In the colloquial language, 'lhe' in that context is frequently replaced by 'para ele', although educated speakers might use 'lhe' in speech as well.
 * 10) In substandard BP, especially in regional dialects like caipira, object pronouns may be avoided altogether, even in the first person. For example: Ele levou nó(i)s no baile (standard BP Ele nos levou ao baile) or Ela viu eu na escola (standard BP Ela me viu na escola). These examples, although common in rural areas and in working-class speech, would sound ungrammatical to most urban middle-class BP speakers.200.177.24.117 00:23, 21 June 2006 (UTC)

Hi. Some comments: FilipeS 16:32, 21 June 2006 (UTC)
 * 1) This could also be good material for the Brazilian Portuguese article.
 * 2) You forgot about o senhor/a senhora, etc. It and its variants are actually much more common (and more respectful) in European Portuguese than você.
 * 3) Connosco is spelled with double n in European Portuguese.
 * 4) Vos is not used universally as an object form of vocês in Portugal. You also hear os/as/lhes. Sometimes, the same person will use all four.

 * Thanks for reminding me of the spelling of "connosco". On the use of "o senhor" in EP, see note 5 above. On the "vos" point, I've been monitoring Portuguese TV lately (talk shows, soap operas, etc...) and "vos" seems to be consistently used as the object pronoun corresponding to "vocês". Are "os/as/lhes" used in formal address ? 200.177.16.42 01:42, 22 June 2006 (UTC)

PS: Just out of curiosity, does the 1990 Luso-Brazilian Ortographic Agreement include any proposal to unify the spelling of "connosco"/"conosco" ?

 * 1) Re O senhor: O.K., check.
 * 2) Re Vos: I won't deny that vos is the counterpart of vocês most commonly used for the object of a verb. Nevertheless, you also hear os/as/lhes, sometimes. Plus, according to traditional grammar, os/as/lhes are the preferred forms to use with vocês. By the way, the same kind of comment applies to você (o senhor, etc.) and si.
 * 3) Re Connosco: I don't remember. You can find the text of the agreement in here. FilipeS 21:30, 22 June 2006 (UTC)

P.S. See also Talk: Brazilian Portuguese. FilipeS 22:03, 22 June 2006 (UTC)

Mesoclisis
Hi, just wondering how you're gonna say "He will buy it to us." with mesoclisis. Is "Ele comprar-no-lo-á." correct? Thanks. Qrfqr 23:10, 18 July 2006 (UTC)

"convidamo-vos"
I deleted the example "convidamos-vos" from the last paragraph of section "Proclisis, enclisis, and mesoclisis". See -Cataphract 03:07, 31 January 2007 (UTC)

 * Good catch. I didn't know that myself! FilipeS 11:34, 31 January 2007 (UTC)

Article losing grammatical focus
I think this article is becoming cluttered with unimportant region by region details on the usage of the pronouns (read the "Tu vs. Você" section to know what I'm talking about). That should be moved elsewhere. --Cataphract 02:13, 23 August 2007 (UTC)

 * Regional differences between pronoun usage are a fact of life in Portuguese. If you don't know about them, you're not ready to go out into the real world and talk to the natives. I suppose the regional differences could be moved to other articles, such as Brazilian Portuguese and European Portuguese, but then I fear that this article would keep being edited by well-intentioned folks trying to bring the moved regional info back. FilipeS 22:19, 25 August 2007 (UTC)

Clarify "never used in Brazil"
The section "Contractions between clitic pronouns" says: "These forms are never used in Brazil."

It is not exactly clear what this sentence refers to - the whole table? Just the lho?

The sentence should clarify this and give an example of European and Brazilian usage.

Thanks in advance. --Amir E. Aharoni (talk) 21:47, 21 January 2009 (UTC)

A gente
The article says "a gente", as a first-person plural, tends to mean a 'we' that is exclusive (of the second person). Granted it's just a tendency, not a hard rule, but can this tendency be documented? I first heard it in the film Black Orpheus: Chico is alone with Serafina and asks her "O que a gente vai beber?" ('What are you and I going to drink?'). Kotabatubara (talk) 22:16, 12 May 2011 (UTC)
 * Cancel: I found the answer to my own question. Kotabatubara (talk) 22:43, 13 May 2011 (UTC)

Movie subtitles
"The use of "-lo", "-la", etc. replacing "você" as direct object is restricted mostly to the written language (in particular, movie subtitles) although it occurs frequently in a few fixed expressions like "Prazer em conhecê-lo" ("Pleased to meet you") or "Posso ajudá-lo?" ("May I help you?)."

Can someone clarify this "in particular, movie subtitles" part - Does this only mean when subtitles (of the Portuguese translation) are put over a non-Portuguese dialogue -lo/-la is used? Surely in films with Portuguese dialogue the subtitles only show written what the actors say, generally você? Wsm1 (talk) 11:53, 8 October 2012 (UTC)bil

---NB please don't anyone else ask for deletion of this page, it is SO useful to me! Wsm1 (talk) 11:55, 8 October 2012 (UTC)bil

Usage of "vós"
"For this reason, many falsely associate the pronoun with solemnity or formality, ignoring that vós is used for plural in the same context as tu is used for singular."

I find this claim out-of-place to say the least. What is "many falsely associate the pronoun with formality" supposed to mean? If native speakers associate a certain word with formality, then that word is formal. The fact that "vós" was originally the plural of "tu" is irrelevant. In modern BP, "vós" is **not** normally used in the same context as "tu" (as the list of examples before that paragraph indicate). Even in the areas where "tu" is used, the plural is still "vocês". Unless there's an explanation and citation for this, I'll erase it. Rcaetano (talk) 04:07, 1 April 2013 (UTC)

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Subject pronouns go with which verb conjugations
Maybe I'm missing it, but on neither this page nor the verb conjugation page does it state clearly which verb forms the subject pronouns você and vocês are used with. I see the sentence "When addressing older people or hierarchical superiors, modern BP speakers often replace você/tu and vocês with the expressions o(s) senhor(es) and a(s) senhora(s), which **also** require third-person verb forms," but the fact that você and vocês use the third-person forms is not stated as its own rule anywhere. — Preceding unsigned comment added by 2603:9000:AC08:A600:594F:5882:E706:9A97 (talk) 21:35, 9 October 2021 (UTC)

title: Talk:Personal pronouns in Portuguese


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The Women's College, University of Sydney

The Women's College is a residential college within the University of Sydney, in the suburb of Camperdown, Sydney, New South Wales, Australia. It was opened in 1892.

The Women's College is one of two all-female residential colleges at The University of Sydney. It accommodates approximately 280 students accepting both under- and post-graduate students. It also has approximately 30 non-resident students (affiliates). The principal, vice-principal and dean of students live on the premises.

The college's buildings were added to the New South Wales State Heritage Register on 1 April 2005.

History
In 1889 a college for women within the University of Sydney was established and endowed by an Act of the NSW Parliament. This was the culmination of a process that began in 1887 when, six years after the formal admission of women to the University of Sydney "in complete equality with men", a public meeting was held to discuss the desirability of establishing a residential college for women. Over the course of the next five years, funds were raised enabling the college to open in March 1892 in temporary accommodation in "Strathmore", a rented house in Glebe. It had four resident and four non-resident (or affiliate) students.

Granted land by the University on the southern edge of campus, the college moved to its own building in May 1894. Designed by the architectural firm of Sulman & Power, the College's first permanent home still forms the heart of the present building complex and is heritage listed.

The 1887 meeting resolved that the college not be attached to a religious denomination, and that the Colleges' Endowment Act of 1854, which provided for the establishment of the denominational men's colleges, should be subject to the provision that "no religious catechism or formulary distinctive of any particular denomination" should be taught, nor would any attempt be made to attach students to any particular denomination. The College was to be "undenominational". The other elements of the college's role, envisaged in 1887, were to provide "domestic supervision" and "efficient assistance in preparing for university lectures and examinations".

These ideals continue to guide the College in the 21st century. The Women's College now accommodates 260 women undergraduates and 20 postgraduates. It maintains its tradition of being at the forefront of women's education and social theory and championing women's rights, academic thought and leadership.

In the 127 years since its foundation in 1892 more than 7,000 students have been members of the College.

Buildings and campus
In 1894 the Main Building opened with accommodation for 26 students. Designed by Sulman & Power it cost £10,056, a substantial amount of money for the time. In 1916 the College expanded, building "The Cottage" for an extra 6 students. To meet the demand for places after the First World War, "The Maples", a house at the rear of the property was rented and then, in 1919 purchased. Additional student rooms were added in 1924, the back balconies of Main Building closed in, and the Louisa Macdonald Commemoration Dining Hall built.

The next major expansion of College began in 1936, with the construction of the new Williams wing. Named in honour of Susie Jane Williams, the immediate past Principal (1919–1934), it was officially opened by Lady Wakehurst on 6 July 1937, and provided accommodation to 85 students. Further growth in demand after the Second World War led to the building in 1958 of the Reid wing, and further additions to Williams. Designed by Ellice Nosworthy, and supported by a donation given by Mary Reid, it originally provided accommodation for approximately 40 students.

The third major expansion of College took place between 1965 and 1969, with the building of the Langley wing and Menzies Common Room, as well as extensions to the Dining Hall, bringing capacity of College to 280 students. The project was designed by Fowell Mansfield & Maclurcan and funded partially by grants from the Australian Universities Commission. In the mid-1990s the Vere Hole Research Centre and Library was added under the Reid wing, funded by two bequests and a fundraising drive.

In 1999–2000 the Main Building was restored with a grant from the Centenary of Federation Fund.

In 2018 the Sibyl Centre, a purpose-built meeting and conference centre, was opened.

Academic and support programmes
Women's College operates a range of programmes designed to encourage students to maximise their academic potential.

College Tutorials
Throughout both semesters the College runs tutorials in more than thirty subjects, spanning the full range of academic disciplines. Most tutors are senior students, postgraduates or University staff with expertise in their fields and proven teaching skills.

Academic assistants
Academic Assistants are postgraduates and senior undergraduates who mentor first-year students and facilitate a smooth transition from secondary school to tertiary studies.

Resident assistants
In addition to academic support, the College appoints a dynamic team of Resident Assistants (RAs) each year, who provide pastoral care to all students. RAs are students in their senior years of university and having already negotiated the transition to uni and living away from home, they are well-equipped to help out others. The RAs help staff and House Committee with many events and College initiatives and are a point of contact for all students. They also assist with the safety and security of the College and are on call for emergencies after hours. They work with the Dean of Students to ensure that everyone at College feels at home.

Admissions
The College admits between 70 and 100 students annually, in a competitive admissions process which involves a formal application and interview. The process is rolling throughout the year, and applications are accepted for students wishing to enter first year at the University of Sydney, as well as those in subsequent years of study and at post-graduate level.

In addition to residential places, the College offers affiliate membership to enable students to access its academic and social programmes, but maintain independent living elsewhere. Affiliate applications are accepted throughout the year from women at all stages of their tertiary studies.

The Women's College offers a number of scholarships for resident students on the basis of merit and financial need. Scholarships are available to students from government schools, rural areas, Indigenous and Torres Strait Islander backgrounds, post graduate medical students and students aiming to study at the Conservatorium of Music.

The Grace Frazer Award (est. 1892) is an academic entrance prize given to the student or students who enter the College in their first year of tertiary study with the highest ATAR in their College fresher cohort. It was endowed by Marie Florence (Mrs Charles Burton) Fairfax, who was a member of the Ladies' Committee that raised funds to establish the College and was a member of the College Council from 1891–1893. The scholarship was established in honour of her sister Grace Frazer.

Philanthropy
The College has a strong record of philanthropy. The funds to erect the original Sulman & Power building and to bring the college into being, were raised largely by The Ladies' Committee, formed immediately following the original 1887 meeting. Its President was Lady Carrington (wife of the Governor) and its Honorary Secretary was Miss Mary Fairfax, and it included many other prominent members of Sydney society. This committee was successful in gathering large and small contributions from 496 subscribers sufficient to meet the conditions of the Endowment Act.

Since that time, philanthropy has been a major source of financial support for every new building and capital works programme. As it receives no funding from government or the University, the College continues to look to its community for support in maintaining and expanding its mission.

The Students' Club also runs its own philanthropic activities, with a Charity Committee that raises money and supports a variety of causes. Students and alumnae are encouraged to give back to the College through a variety of financial and service activities.

House Committee
All students living at the Women's College are members of the Students' Club, which gives access to all College activities. The House Committee, a group of nine students, is the organising arm of the Students' Club, and it is elected by popular vote of the student body.

Leadership
The House Committee is led by the Senior Student. She occupies the highest-ranking student position in the College. Usually a student in her third or fourth year, is a member of the Women's College Council and reports on student activities to Council at its meetings throughout the year. The College values the contribution of its Senior Student very highly. Each year her name is placed on the honour roll in the dining hall. Former Senior Students include the Governor of NSW, Her Excellency Professor Marie Bashir A.C., Dr Meg Mulvey, Ms Jane Diplock and Ms Katrina Dawson.

A wide range of other leadership opportunities are available with an extensive range of student committees, as well as structured in-house leadership programmes designed to enhance individual strengths and build on confidence.

Each year Women's College students in third year and above are invited to participate in a mentoring program which matches students with mentors from a range of industries sourced from both the Women's College Alumnae and contacts external to College. Based on establishing personal contact between the mentor and the mentee, students and mentors are encouraged to meet face to face throughout the year.

Senior Common Room
The Senior Common Room (SCR) is the group of senior students at College. Membership is extended to all students in fourth year of university and above, and all members have access to the SCR: a secure air-conditioned room with comfortable seating and study facilities, where members often work.

Each year the SCR selects a Senior Representative, who, together with a small social committee and the Senior Research Fellow, co-ordinates the activities of the group and organises a programme of social and academic events.

Traditions
The College song is "Home of Joy and Knowledge" sung to the tune of "Land of Hope and Glory". It continues to be sung regularly by students at sporting, cultural and other occasions.

The Motto "Together" is a quotation from Tennyson's The Princess which tells the story of an heroic princess who forswears the world of men and founds a women's university where men are forbidden to enter.

The College has a calendar of regular events, including:
 * Orientation Week – to welcome the new students.
 * Chancellor's Dinner – to award academic prizes.
 * Formal Dinner – a weekly gathering of the whole College in academic attire with a speaker.
 * Louisa Macdonald Oration – a biennial dinner with guest speaker to honour the founding principal.

Principals

 * 1891–1919  Louisa Macdonald was chosen from a field of 65 applicants.
 * 1919–1935 Susannah Jane Williams
 * 1935 – October 1944 Camilla Wedgwood
 * 1944 Julie Fitzhardinge (Acting Principal)
 * 1946–1956 Betty Archdale
 * 1957–1974 Doreen Moira Langley (like Williams, a former resident student at Janet Clarke Hall, Trinity College (University of Melbourne)
 * 1974–1980 Leonie Star BA MA PhD
 * 1981–1989 Valerie Street MSc
 * 1990–1996 Ann Eyland BSc (Hons) MSc PhD
 * 1997–2003 Quentin Bryce AO BA LLB (Hons)
 * 2003–2008 Yvonne Rate AM MEd MPhil
 * 2008–2013 A. Jane Williamson BEcon BA MA PhD
 * 2013–2019 Amanda Bell BA DipEd PhD
 * 2020–present Tiffany Donnelly BA (Hons) MA PhD

Governance
The Council is the governing body of the Women's College. It consists of ten elected councillors, a Treasurer, and four ex-officio councillors. These ex-officio councillors are: the Principal of the College, the Senior Student of the College, the President of the Women's College Alumnae, and the person nominated by the Senate of the University. The Council has three committees: Governance, Finance and Building & Development.

In 1905 the chair of the Council was Senator James Walker.

Emmeline M. D. Woolley was a council member from 1891 to 1908.

Honorary fellows
Honorary fellows of the College are:
 * The Honourable Dame Quentin Bryce AD CVO
 * Professor the Honorable Dame Marie Bashir AD CVO
 * Dr Paul Donnelly
 * Janet Flint, honorary librarian
 * Stephen Harrison AO
 * Dr Janet McCredie AM
 * Justice Jane Mathews AO

Notable alumnae
The alumnae of The Women's College have contributed to society across a wide range of fields. Some of their stories are gathered at the Women's College, University of Sydney website
 * Her Excellency Marie Bashir – Chancellor of the University of Sydney, first female governor of NSW; Wife of Sir Nicholas Shehadie former Lord Mayor of Sydney.
 * Jill Ker Conway – author and scholar
 * Marjorie Dalgarno – diagnostic radiologist and pioneer of mammography
 * Portia Holman – child psychiatrist
 * Tania Major – criminologist and consultant
 * Janet McCredie – devised the theory of Neural Crest Injury as being the pathogenesis of congenital malformations of the thalidomide type
 * Jeannette McHugh – former Australian Labor Party politician
 * Sibyl Morrison – first female practising barrister in NSW; Wife of notable Australian architect, Carlyle Greenwell.
 * Phyllis Mary Nicol vice-Principal and physicist lived here from 1921 to 1954
 * Ellice Nosworthy – architect
 * Mary Puckey – first female superintendent of an Australian hospital
 * Jessie Street – feminist activist

Journals and magazines

 * Sibyl: The Women's College Academic Journal, Vol. 1 (2013) – present.
 * The Women's College Magazine

Historical publications

 * Annable, Rosemary, ed., Biographical Register: The Women's College within the University of Sydney, Vol 1: 1892–1939 (1995); Vol 2: 1940–1957 (2005); Vol 3: 1958–68 (2007), (The Women's College, Sydney)
 * Annable, Rosemary, Doreen Langley: an ordinary person, an extraordinary life, (Brinkburn Publishing, Bundanoon: 2013)
 * Beaumont, Jeanette & W. Vere Hole, Letters from Louisa: A woman's view of the 1890s, based on the letters of Louisa Macdonald, first Principal of The Women's College, University of Sydney, (Allen & Unwin, Sydney: 1996)
 * Edwards, Zeny ed., The Women's College within the University of Sydney: an architectural history, 1894–2001, (Centatime Publishing, Sydney: 2001, 2008)
 * Hole, W. Vere & Anne H. Treweeke, The history of the Women's College within the University of Sydney, (Halsted Press, Sydney: 1953)
 * Prowse, Louise, Tiffany Donnelly & Jane Williamson, Change by degrees: a pictorial history of The Women's College within the University of Sydney, (The Women's College, Sydney: 2012)

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


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John Brough

John Brough (rhymes with "huff") (September 17, 1811 – August 29, 1865) was a War Democrat politician from Ohio. He served as the 26th governor of Ohio during the final years of the American Civil War, dying in office of gangrene shortly after the war concluded.

Early life and career
Born in Marietta, Ohio, to an English immigrant and a Pennsylvania-born mother, Brough was orphaned at the age of 11. To support himself, he became a printer's apprentice, and later received three years of part-time education at Ohio University, where he worked part-time as a reporter for the Athens Mirror. He rose to become a newspaper publisher in Marietta and then in Lancaster, where he and his brother Charles purchased the Ohio Eagle, a paper that espoused the views of the Democratic Party.

Brough served two years as Clerk of the Ohio Senate (where he also served as the capital correspondent for his newspaper, as well as the Ohio Statesman). He was elected as a Democrat to the Ohio House of Representatives in 1837, representing the Fairfield-Hocking district, and served from 1838 to 1839, chairing the Committee on Banks and Currency. He then took office as State Auditor, serving until 1845, when the Whigs swept most of the state's Democrats out of office in the Election of 1844.

He was a trustee of Ohio University from 1840 to 1843.

In 1841, he and his brother bought the Cincinnati Advertiser and renamed it the Cincinnati Enquirer. Brough then moved to Indiana, where he entered the railroad business and became President of the Madison and Indianapolis Railway in 1848. He later presided over the Bellefontaine and Indiana Railway.

In Madison, Indiana, he was remembered for leading the railroad through a period in which it made Madison the leading pork packing city in the nation, but the line then fell prey to competition. His attempt to combat competing lines was the construction of two tunnels as part of an effort to avoid a steep incline at Madison. The company spent more than $300,000 (~$ in ) on construction during two years, before the effort was stopped in 1855. The project was known locally as "Brough's Folly" and he left in 1853 when the Madison line underwent a short-lived merger with another railroad company.

Brough was a very large and corpulent man, as well as being a hard worker. The railroad company named one of its engines "John Brough" in his honor When it arrived in Madison on May 10, 1850, the Madison Courier of May 11 made the following comment that was printed in the Scientific American of June 1, 1850. "We are told this engine is called the John Brough on account of its great weight and for the great amount of business it is capable of doing."

Governor of Ohio
Ohio Republicans and War Democrats dissatisfied with the leadership of Ohio Gov. David Tod turned to Brough after he made a strongly pro-Union speech in his hometown of Marietta on June 10, 1863. He was elected to the governorship that fall on a pro-Union ticket, partly due to his stronger support than Tod of the anti-slavery direction that the Northern war effort was taking. Having been elected as a representative of the Union Party, Brough is the last Ohio governor to date who was neither a Democrat nor a Republican. Brough also defeated Copperhead leader Clement Vallandigham. This prompted President Abraham Lincoln to wire Brough, "Glory to God in the Highest. Ohio has saved the Nation."

Brough took office in January 1864. Ohio historian Walter Havighurst described Brough as being "a big bull of a man with driving energy," and Richard H. Abbott wrote that he "had a reputation for rough and ready politics with a temperament to match... [he was] a blunt, outspoken, rude man who loved to chew tobacco [and thus] presented quite a contrast with his two handsome and dignified predecessors, William Dennison and David Tod."

As governor, Brough strongly supported the Lincoln Administration's war efforts and was key to persuading other Midwestern governors to raise 100-day regiments in early 1864 to release more seasoned troops for duty in Gen. Ulysses S. Grant's spring campaign. Ohio contributed more than 34,000 troops, and was the only one of the five participating states (the others were Indiana, Illinois, Iowa and Wisconsin) to exceed its quota. Brough supported Lincoln's reelection in 1864, despite the machinations of Ohio's favorite son Salmon P. Chase, and worked tirelessly to support the state's soldiers in the field. When Chase resigned as Secretary of the Treasury, Brough was offered the position but declined it to remain as governor.

With the conclusion of the war in 1865, the pro-Union alliance between Ohio's Republicans and War Democrats dissolved, and the now-dominant Republicans looked elsewhere for a candidate. On June 15, Brough announced that he would not seek the gubernatorial nomination again but would not decline it if offered; it was not. Later that summer, Brough stumbled in the State House yard, bruising his hand and badly spraining his ankle. Using a cane caused inflammation over time and gangrene eventually set in.

Abbott wrote that Brough "had given his full efforts to serving his state... [and did so] with energy and ability." Historian Richard C. Knopf wrote, "Whatever may be said of Brough's partisanship and his lack of personal dignity, one must assess in his favor the qualities of integrity, perseverance, and public spiritedness."

Personal life and death
Brough was twice married and had seven children. In 1832, Brough married Achsah P. Pruden of Athens. She had two children. She died September 8, 1838 at Lancaster. Brough married Caroline A. Nelson, of Columbus, at Lewistown, Pennsylvania in 1843. She had five children.

John Brough died in office on August 29, 1865, 19 days short of his 54th birthday. He was buried at Woodland Cemetery in Cleveland.

Brough is honored with a full-size bronze depiction inside the Cuyahoga County Soldiers' and Sailors' Monument in Cleveland, Ohio for his service as governor during the Civil War.

title: John Brough


text:
Mario Silva (politician)

Mário Silva (born June 11, 1966) is a Canadian legal scholar and former politician. Silva served as a Canadian member of Parliament from 2004 to 2011. He began his political career as a Toronto city councillor from 1994 to 2003. He then moved to federal politics, being elected for the Liberal Party of Canada in the 2004 election in the Toronto riding of Davenport. He served as the Official Opposition Critic for Foreign Affairs (Americas) after having served as Critic for the Treasury Board and Labour. In 2007, the President of the French Republic bestowed him the title of Knight of the Order of the Legion of Honour (Ordre national de la Légion d'honneur). He has also been awarded the Order of Merit of Portugal. and the Order of Rio Branco from Brazil.

Silva holds a BA in political science from the University of Toronto, a "Certificat de Langue Française" from Paris-Sorbonne University, and a master's degree in International Human Rights Law from University of Oxford in the United Kingdom. Silva holds a PhD in the Faculty of Law at the National University of Ireland, Galway. Silva's PhD thesis is titled "Failed and Failing States: Causes and Conditions." On December 15, 2011, Prime Minister Stephen Harper appointed him to chair the International Holocaust Remembrance Alliance (formally the Task Force for International Cooperation on Holocaust Education, Remembrance and Research (ITF)) in 2013. He is currently a distinguished fellow, law and business at Ryerson University in Toronto. On July 30, 2020 he was appointed vice chair of the Human Rights Tribunal of Ontario.

Local politics
Born in the Azores, Portugal, he was first elected to city council in 1994 after defeating veteran councillor Tony O'Donohue by 15 votes. Silva received a high grade from the Toronto Environmental Alliance for his support of environmental initiatives, and has strong support from the Labour Movement. Silva is of Portuguese background and is popular in the local Portuguese Canadian community. Silva served on several boards including: vice-chair, Toronto Transit Commission; chair, Exhibition Place; board of directors, Mount Sinai Hospital; vice chair, Toronto Hydro Company; board of directors, Canadian Opera Company; 2013 chair, Brazil Carnival Ball and chair of the Brazil Institute of Canada.

Federal politics
Silva's move to federal politics saw him claim the Liberal nomination in Davenport instead of Liberal incumbent Charles Caccia. An ally of new Prime Minister Paul Martin, Silva was seen by the party as a preferable candidate to Caccia.

As a Member of Parliament Silva served on several committees including the Environment Committee and the Canadian Heritage Committee. He has championed several human rights and environmental issues including being the first MP to back the Canadian Boreal Initiative, and an outspoken critic for the defence of undocumented workers.

Silva chaired the inquiry panel of the Canadian Parliamentary Coalition to Combat Antisemitism (CPCCA), a multi-partisan group of MPs which conducted investigations into antisemitism in Canada. He was vice-chair of the CPCCA's steering committee, which organized an international conference on antisemitism in Ottawa in 2010.

Silva was the first Portuguese-Canadian Member of Parliament.

Silva retained the seat in the 2006 election and was the only GTA Liberal MP to increase his voter margin but was defeated in the 2011 election, losing his seat to Andrew Cash. Silva assumed the role of chair for the Task Force for International Cooperation on Holocaust Education, Remembrance and Research (ITF) in 2013. Silva was also appointed by the Centre for Israel and Jewish Affairs (CIJA) as a director.

Academic career
Silva obtained a PhD in international law from the National University of Ireland, Galway. He has held positions in Ryerson University and McGill University, where he is currently a visiting professor. Silva is a fellow at the Montreal Institute for Genocide and Human Rights Studies at Concordia University. Silva was appointed a distinguished visiting professor at Ryerson University. He hold a certificate in Humanitarian Law from United Nations University and a certificado de la Lengua Española, Universidad De Salamanca in Spain.

Publications
Privacy and Security in the Age of Terror, Mosaic Press, 2018
 * Fabric of a Nation, GOLDENeight Publishers, Toronto, 2002 (Co-Author).
 * "Extraordinary Rendition: A Challenge to Canadian and United States Legal Obligations Under the Convention Against Torture", California Western International Law Journal, Vol. 39(2), 2009.
 * "Somalia: State Failure, Piracy, and the Challenges to International Law", Virginia Journal of International Law, Vol. 50 (3), 2010.
 * "Island of Distress: State Failure in Haiti", Florida Journal of International Law, Vol. 23, 2011.
 * "Kosovo’s Declaration of Independence and the Right to Self-Determination Under International Law", The Journal of Eurasia Law, Vol. 3(2), 2011, Duke University.
 * "Somalia: Challenges to International Law from Piracy and Terrorism in the Horn of Africa", International Journal of Rights and Security, Vol. 1.1 (2012).
 * "Pakistan’s State Failure: Impunity and the Rise of Militancy", International Journal of Rights and Security, Vol. 1.1 (2012).
 * "State Legitimacy and Failure in International Law", Brill | Nijhoff Development in International Law series, Volume 67.
 * "Failed states: causes and consequences", Int. J. Public Law and Policy, Vol. 3, No. 1, 2013.
 * Co-author with Dr. Massouda Jalal, "Hanging by a Thread, Afghan Women’s Rights and Security Threats", Mosaic Press (2014).
 * Tackling Hate: Combating Antisemitism and the Ottawa Protocol, co-edited with Scott Reid, Mosaic Press, 2014.
 * "After Partition: The Perils of South Sudan", University of Baltimore Journal of International Law, 2015.
 * " Failed States Impact on Human Rights and International Criminal Justice", in Globalization and Its Impact on the Future of Human Rights and International Criminal Justice, M. Cherif Bassiouni (ed.), Intersentia Publication, Cambridge, 2015
 * Privacy versus Security in the Age of Global Terror, Mosaic Press (2017)
 * "Antisemitism and Global Jihad", in Terrorism Revisited: Islamism, Political Violence and State-Sponsorship, Springer (2017)
 * Humanity at its Worst, Genocide Mass Atrocities Violations of Human Rights in the 21st Century, Mosaic Press (2020)

title: Mario Silva (politician)


text:
Annie Montague Alexander

Annie Montague Alexander (29 December 1867 - 10 September 1950) was an explorer, naturalist, paleontological collector, and philanthropist.

She founded the University of California Museum of Paleontology (UCMP) and the Museum of Vertebrate Zoology (MVZ). From its establishment in 1908 until she died in 1950 she financed the museum's collections and supported a series of paleontological expeditions throughout the western United States. Alexander herself took part in many of these expeditions, accumulating a significant collection of fossils and exotic game animals that she would later donate to the museum. Alexander is remembered by the University of California, Berkeley as one of the "builders of Berkeley" and as the benefactress of the museum.

Early life
Annie Montague Alexander was born December 29, 1867, in Honolulu during the Kingdom of Hawaii. She was the granddaughter of New England missionaries in Maui. Her father Samuel Thomas Alexander and her uncle Henry Perrine Baldwin were founders of Alexander & Baldwin. Her mother Martha Cooke was the daughter of Amos Starr Cooke, the founder of Castle & Cooke. These were two of the "Big Five" corporations that started as sugar cane plantation owners and then dominated the economy of the Territory of Hawaii.

Annie Montague was the second of five children. Her youngest brother, Clarence Chambers, was born in 1880 but died in 1884. Her cousins included Henry Alexander Baldwin and Clarence Hyde Cooke who carried on the family businesses.

She attended Punahou School for one year, but when her family moved to Oakland, California, in 1882 to get medical attention for her grandfather, she enrolled in Oakland High School. In 1886 she attended Lasell Seminary for Young Women in Auburndale, Massachusetts.

In 1888, she traveled with her family to Paris and studied painting, but the detailed work caused vision problems and persistent headaches. She returned to Oakland and trained briefly as a nurse. She soon left the program when she found that studying the required medical textbooks brought on another bout of headaches and vision problems.

Her father left the business to others and took Annie, her sister Martha, and a cousin on a 1,500-mile bicycle trip through Europe in 1893. In 1896 Alexander and her uncle explored the South Pacific stopping in Hong Kong, China, and Singapore. On that same trip, they also explored Java, Samoa, and New Zealand.

In 1899 she went camping in Oregon with her friend Martha Beckwith and then went with her father to Bermuda. Alexander's passion for paleontology was sparked on her trip to Crater Lake with Beckwith and in 1900 she began auditing paleontology lectures at the University of California, Berkeley. At Berkeley, Alexander met Professor John C. Merriam. As their friendship developed she offered to underwrite the entire cost of his upcoming expeditions. She later participated in Merriam's 1901 expedition to Fossil Lake in Oregon, as well as his 1902 and 1903 expeditions to Shasta County in Northern California.

Fossil Lake, 1901
In February 1901 John C. Merriam and Alexander began organizing an expedition. They were unable to decide on a location until Merriam proposed a trip to Shasta County where they could collect Triassic vertebrate fossils to which Alexander agreed. Three weeks before departure, Merriam convinced Alexander to instead go to Fossil Lake in south-central Oregon. This dry and arid region had been explored previously beginning in the 1870s and would prove a fruitful location for Alexander. Alexander was attended by Herbert Furlong and William Greeley, two of Merriam's students who were chosen to provide assistance and expertise for her. They planned their route from Northern California up to Fossil Lake and then headed West to Crater Lake before heading back to California. Other participants included Ernest, an African American wagon driver and cook, and a young boy named Willis. Alexander also invited her friend Mary Wilson. The trip lasted from May 30 to August 13 and they returned with nearly 300 pounds in fossils.

1901
This expedition was organized by John C. Merriam and financed by Alexander though she did not attend because she was currently on an expedition to Fossil Lake. Shasta County had captured attention from California Paleontologists in 1893 after James Perrin Smith (of Stanford) searched for ammonites. Though he did find ammonites, he also returned with the first Mesozoic marine vertebrate found in California he named Nothosaurus. In 1895, Smith sent his findings to Merriam and sparked what became Merriam's intense focus on Shasta County.

1902
From June 16 to July 13, Alexander and her team explored along a limestone ridge in Shasta County.

Participants included Vance Osmont, an assistant and student of John C. Merriam, Eustace Furlong, Waldemar Schaller, and Katherine Jones. Jones was in charge of keeping an account of the trip. Alexander's role in the expedition included funding, collecting and, excavating, as well as cooking for the team. The trip was brief but they returned with three significant fossils including Shastasaurus alexandre named in honor of Alexander.

1903
Little is known about this trip beyond its participants and some of its findings. Along with Alexander, the participants were Edna Wemple, Eustace Furlong, Frederick Sylvanus Ray, and Ward Benjamin Esterly. On this trip, Alexander uncovered her first significant fossil that was new to the scientific world which John C. Merriam named in her honor Thalattosaurus alexandrae.

Africa, 1904
In 1904, Alexander left on a trip with her father and Thomas L. Gulick, son of missionary Peter Johnson Gulick and younger brother of John Thomas Gulick who was an early developer of theories of evolution. The men were looking forward to hunting big game in Africa, while Annie was collecting fossils and taking pictures. Gulick became ill and died on August 15, 1904, in Kijabe, Kenya. On September 8, the Alexanders reached Victoria Falls. The next day they crossed the Zambezi river and climbed down the canyon for a better view. While she was preparing to take a picture, Samuel was hit by a boulder tossed down from workers above that crushed his foot. Her father died a day later on September 10 after receiving an emergency amputation.

The death of her father had a profound effect on shaping her career as a naturalist. In personal letters after his death, Alexander expressed a need to find a distraction that would prevent her from thinking about the loss of her father. It was then that she decided to dedicate her life to preserving the wild flora and fauna of California and the West Coast.

Saurian Expedition, Nevada, 1905
In 1905, she financed and took part in the Saurian Expedition to the West Humboldt Range in Nevada. The expedition discovered many of the finest specimens of ichthyosaur. In 1905, Alexander financed and attended another expedition alongside John C. Merriam and his assistant Eustace L. Furlong. They headed 300 miles west to the West Humboldt Mountain Range located in northwestern Nevada. The expedition lasted

only a few months but they returned with many of the finest specimens of ichthyosaur found at that time. During many of her expeditions, Alexander kept a scrapbook containing photos of landscapes, participants, and fossil finds. In her scrapbook from the Saurian Expedition, Annie included photos of herself and Edna Wemple documenting their work in the field.

Alaska, 1906-07
Alexander met C. Hart Merriam (cousin of John C. Merriam) in 1904. At the time, Merriam was the chief of the United States Biological Survey and he became interested in Alexander's fossil collection. In one meeting, he recalled stories of Alaska which inspired Alexander to explore again. In the spring of 1906, Alexander and her team left for the Kenai Peninsula. Participants included Edna Wemple and Alvin Seale. The expedition began in southeastern Alaska at Malaspina Glacier and ended at Skilak Lake.

From April to August 1907, Alexander financed and led another trip to Alaska; the expedition to southeastern Alaska included Alexander, Joseph S. Dixon, Chase Littlejohn, Frank Stephens and, Kate Stephens.

Vancouver Island, 1910
In 1910, Alexander embarked on a trip north to British Columbia with Louise Kellogg to expand upon the research they had done in Alaska. While there, Alexander enlisted the help of a local trapper named Edward Despard who was tasked with finding mink, marten, raccoons, otters, and beavers. While Despard hunted on his own, Alexander and Kellogg remained together looking for smaller mammals and birds. Together Alexander and Kellogg found 75 song sparrows. The women returned to California with 137 specimens including a cougar, many minks, and a large black bear that Alexander purchased from a farmer.

The University of California Museum of Paleontology
After numerous expeditions in Alaska, Alexander had amassed a large collection of both flora and fauna. Moved by the notion that she needed to preserve the wildlife that she saw as rapidly disappearing from the western United States, Alexander proposed and financed a new museum in California. The goal of the museum was to provide paleontological material to researchers on campus to further their studies as well as preserve the declining environment around them for posterity as well as cultivating an interest in natural history.

In 1907, Alexander met Joseph Grinnell, a young scientist from Stanford who had already begun to make a name for himself in the field of zoology. Upon meeting Alexander he expressed his wish that the West Coast had a museum of natural history. Grinnell proposed a museum at Stanford but Alexander stood her ground and she pushed for a museum at the University of California, Berkeley where her passion for paleontology had flourished. Grinnell proposed the name Museum of Vertebrate Zoology and he was named by Alexander as the permanent choice of director. Grinnell held this position until he died in 1939.

While waiting for the museum to open, Alexander embarked on more trips to Alaska with her new companion Louise Kellogg.

In 1909, the museum opened and needed fossils. Merriam, Furlong, Kellogg, and Alexander headed back to Humboldt County, Nevada, in search of fossils. They found wooly rhinoceroses, camels, mastodons, other mammals, lizards, and birds. Throughout their lifetimes, Alexander and Kellogg collected nearly 7,000 specimens of birds, mammals, and amphibians for the museum. They also collected over 17,000 plants for the University Herbarium and contributed thousands of fossils for the UCMP. Alexander remained, until the end of her life, the largest donor and benefactress of the museum helping to fund and fill the museum with everything she found.

In 1920, when Merriam left the University to become president of the Carnegie Institution, the paleontology department was merged with the geology department, displeasing both Merriam and Alexander. Merriam's departure from the museum angered Alexander but her dedication to the museum remained unwavering. She subsequently helped establish the UCMP and created an endowment for its funding. After Merriam's defection, Alexander continued to give money to the university but grew frustrated with the Regents that Merriam was allowed to exert control over her donations. She also helped finance much of the work of William Diller Matthew and his protégé George Gaylord Simpson.

Later life
Alexander shared her life with Kellogg for forty-two years. By all accounts, it was a devoted "Boston marriage." Among other activities, the two ran a working farm together; they raised cattle but eventually switched to asparagus which was a seasonal crop so it left them more time throughout the year to travel. During the summer, they could go on fossil trips and then spend their winters in Hawaii. Both Alexander and Kellogg were dedicated to their findings and on a trip to Hawaii in 1920 they found over 100 species of shells for the Paleontology Department. Alexander continued to finance expeditions and perform fieldwork throughout her life, celebrating her 80th birthday while in the Sierra de la Laguna mountains.

In 1949, before planned her winter trip to Hawaii, Alexander had a stroke and remained in a coma until she died on September 10, 1950, just before her 83rd birthday. Alexander's ashes were returned to Hawaii and were buried at the Makawao Cemetery, Maui near her childhood home.

By the time of her death, Alexander had explored and collected in Oregon, Alaska, Hawaii, Vancouver Island, California, Nevada, Arizona, Utah, New Mexico, Texas, and Mexico.

Benefaction and investments
Throughout her affiliation with U.C. Berkeley, Alexander wished to remain anonymous asking for her donations to be marked as given by "a friend of the university" rather than by name. For Alexander, the hard work and the science were far more important to her than the fame of being its benefactress. She is remembered today as helping to 'build Berkeley' as well as being the benefactress of many of their most well-known paleontologists.

For more than fifty years, Alexander continued to believe in the work that public education could do. Alexander was an heiress who experienced vastly more freedom than many women of her time and she used her money to expand public education in the hopes that all could appreciate California's wildlife for generations. As a woman with money, Alexander also had an interest in stocks and finances. Alexander once invited a wealthy friend who had encouraged her to invest her fortune in exchange for larger returns to the museum. Alexander gave her friend a tour of the museum and gestured to a group of working students and said "Here are my investments."

Alexander maintained control of the museum until she died in 1950. She wanted to fill the museum with scientists who had "their accomplishments ahead of, rather than behind them." She insisted on this because she believed that this museum could become a place of great authority on the west coast that would enable the careers of many paleontologists. By the time of her death, Alexander, with great help from Kellogg, donated 20,564 specimens to the University of California Museum of Paleontology.

Not only did Alexander establish, finance, and provide specimens for two museums she also helped to bring natural history and its leading scientists into the spotlight. Alexander hired, funded, and collected specimens for men who are recognized as giants of vertebrate zoology and paleontology such as Joseph Grinnell, Alden H. Miller, E. Raymond Hall, John C. Merriam, and Charles L. Camp. Her benefaction and dedication to natural history provided these men the resources they needed and indirectly provided the world with the research they created.

Annie Alexander's philanthropy and contributions to science and the University of California Berkeley were honored by naming one of the falcons nesting on Sather Tower after her.

Through an anonymous donation, Alexander also established in 1920 the Folklore Foundation at Vassar College. The chair created as part of the foundation, was the first chair in folklore at any college or university in the United States. It was held by Martha Beckwith and ended on her retirement in 1938.

Taxa named for Annie M. Alexander

 * Acrodus alexandre
 * Alticamelus alexandre a miocene camel
 * ''Anniealexandria
 * Aplodontia alexandrae named by Eustace Furlong
 * Bouvardia alexanderae
 * Eriogonum ochrocephaum var. alexandrae
 * Hydrotherosaurus alexandre a cretaceous plesiosaur named by Samuel Paul Welles
 * Ilingoceros alexandrae
 * Lagopus alexandrae named by Grinnell
 * Lupinus alexandrae
 * Mojavemys alexandrae
 * Sitta carolinensis alexandrae named by Grinnell
 * Scaphiopus alexanderi
 * Shastasaurus alexandre a Triassic ichthyosaur named by John C. Merriam
 * Swallenia alexandre a rare grass species endemic to California (alt. Ectosperma alexandrae )
 * Thalattosaurus alexandre a marine reptile from the Late Triassic named by John C. Merriam
 * Thomomys alexandrae
 * Ursus alexandre a subspecies of Alaskan grizzly bear named by John C. Merriam
 * Lake Alexander in Alaska (named after the Alaska expedition of 1907)

title: Annie Montague Alexander


text:
Annie Alexander

Annie Alexander may refer to:

 * Annie Lowrie Alexander (1864–1929), American physician and educator
 * Annie Montague Alexander (1867–1950), American philanthropist and paleontological collector

title: Annie Alexander


text:
Talk:Legend of Zelda

Redirect or disabiguation?
This page keeps being switch back and forth. Should it redirect to The Legend of Zelda (it's most ocmmon state it seems) or should it be a disabiguation page? Given the existence of The Legend of Zelda series, it seems to me there is no need for a disambiguation page. This page should either redirect to The Legend of Zelda or The Legend of Zelda series. All other variations (including Legend of zelda) should redirect ot the same thing. Rhindle The Red 13:28, 9 January 2007 (UTC)
 * I really hate when they just redirect you to the games main page. I say leave it as disambaguous.--Iamstillhiro1112 12:58, 20 January 2007 (UTC)
 * I agree with this guy. The term "Legend of Zelda" does not necessarily refer to either the series or the first game, and I don't think it should redirect to that. Random IPer 127.0.0.1 9:53 am 1-26-07

title: Talk:Legend of Zelda


text:
DirectInput

In computing, DirectInput is a legacy Microsoft API for collecting input from a computer user, via input devices such as the mouse, keyboard, or a gamepad. It also provides a system for action mapping, which allows the user to assign specific actions within a game to the buttons and axes of the input devices. Additionally it handles haptic feedback (input/output) devices. Microsoft introduced a new input library called XInput specifically for the Xbox 360 controller.

DirectInput and XInput provide benefits over normal Win32 input events:

 * they enable an application to retrieve data from input devices even when the application is in the background
 * they provide full support for any type of input device, as well as for haptic feedback
 * through action mapping, applications can retrieve input data without needing to know what kind of device generated that input

While DirectInput forms a part of the DirectX library, it has not been significantly revised since DirectX 8 (2001–2002). Microsoft recommends that new applications make use of the Windows message loop for keyboard and mouse input instead of DirectInput (as indicated in the Meltdown 2005 slideshow ), and to use GameInput instead of DirectInput and other legacy APIs, such as XInput, for controllers.

History
DirectX included DirectInput from version 1.0 (1995). It initially offered true support only for joysticks, as the mouse and keyboard modules simply provided wrappers to the standard Win32 API. DirectX version 3.0 (1996) added support for keyboards and mice; it also improved joystick support. DirectX 5.0 (1997) included greatly improved joystick support, including adding haptic feedback, increasing the number of buttons, changing the underlying device-driver model and incorporating a COM-based API. Mouse support also increased the number of buttons seen from four to eight. In DirectX 7.0 (1999- ), DirectInput added a long-promised feature of seeing individual mice much like individual joysticks, but the feature didn't work with the later released Windows XP, even though it works with Windows 98/Me and DirectX 9. DirectX 8.0 (2000), the last version with major changes, included action mapping and broader support for different types of devices.

While Microsoft initially intended that DirectInput would handle all inputs, this didn't work out. Microsoft no longer recommends using DirectInput for keyboards or mice, and has started pushing the newer XInput for Xbox 360 controllers. In Windows Vista, Windows 7 and later Windows versions, the in-built action mapping UI has been removed. DirectInput is not available for Windows Store apps.

XInput
XInput, a legacy API for "next generation" controllers, was introduced in December 2005 alongside the launch of the Xbox 360. This specification provided support for Xbox 360 controllers in Windows XP SP1 and subsequent operating systems, and is described by Microsoft as being easier to program for and requiring less setup than DirectInput. XInput is compatible with DirectX version 9 and later.

Xbox 360 Controller support
An Xbox 360 Controller, with the default Microsoft driver, has the following limitations with DirectInput, compared to XInput:

 * the left and right triggers will act as a single axis representing the signed difference between the triggers, not as independent analog axis
 * vibration effects will not operate
 * querying for headset devices will not operate, XInput 1.4 as part of Windows 8 introduced Xbox headset support.

According to MSDN, "the combination of the left and right triggers in DirectInput is by design. Games have always assumed that DirectInput device axes are centered when there is no user interaction with the device. However, the Xbox 360 controller was designed to register minimum value, not center, when the triggers are not being held." MSDN proffered the "solution" of combining the triggers, setting one trigger to a positive direction and the other to a negative direction, so no user interaction is indicative to DirectInput of the "control" being at center.

The above, however, ignores the fact that many DirectInput controllers, such as gamepads with dual analog sticks and racing-wheel controller sets, already map triggers and pedals independently. In addition, many DirectInput devices also have vibration effects. At least one 3rd-party driver, XBCD, gives the Xbox 360 controllers the vibration support, dead zones and (optionally) independent analog/digital triggers through DirectInput its XInput driver possesses. This suggests that Microsoft's Xbox 360 controller driver was given intentionally weaker DirectInput support, rather than due to any differences between DirectInput and XInput APIs. On the other hand, Xbox 360 controllers using XInput support only very basic control of vibration motors in contrast with greater palette of effects supported via DirectInput.

title: DirectInput


text:
Talk:Polyface Farm

I disambiguated this from being redirected to the Joel Salatin page, which is currently being debated for deletion. I think the two are reasonably separate topics, as Joel Salatin the person and Polyface Farms the business are quite distinct entities.

''This page was listed on Votes for deletion in May, 2004. The result of that discussion was to keep the article. For an archive of the discussion, see /Delete.''

link problem
http://www.smithsonianmag.si.edu/smithsonian/issues00/jul00/farm.html gets redirected to the main page http://www.smithsonianmag.com/, and the appropriate article is hard-to-find if not impossible.

Criticism - Cornish cross
The criticism section seems outdated. In his talk "Farming as Dance - The Choreography of Polyculture" (available on youtube (http://www.youtube.com/watch?v=S8fnQOSz8QY or http://www.youtube.com/watch?v=Il_rmZ6gTqo&list=PL7OFJd0uhJY1SeLPqm-HvmC7xXl6-Fbj2&index=10), at about 55:10 he talks about the French Label Rouge chicken on his farm, "which is 20% slower growing than the Cornish Cross and it gives our customers a choice for a broad-breasted bird that's not as big as a Cornish Cross". I think this is worth mentioning given that the criticism section currently implies that he only breeds Cornish Cross. --78.54.121.58 (talk) 11:55, 26 February 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Polyface Farm. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20121021151658/http://www.businessweek.com/smallbiz/content/aug2007/sb2007088_984272.htm?chan=smallbiz_smallbiz+index+page_success+stories to http://www.businessweek.com/smallbiz/content/aug2007/sb2007088_984272.htm?chan=smallbiz_smallbiz+index+page_success+stories

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 23:11, 29 August 2015 (UTC)

title: Talk:Polyface Farm


text:
Category:Acronyms

This category is for articles about acronyms in the strictest sense — i.e., letters which spell a new word (such as NASA). For any series of initials, see Category:Initialisms.

title: Category:Acronyms


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DirectSound

DirectSound is a deprecated software component of the Microsoft DirectX library for the Windows operating system, superseded by XAudio2. It provides a low-latency interface to sound card drivers written for Windows 95 through Windows XP and can handle the mixing and recording of multiple audio streams. DirectSound was originally written for Microsoft by John Miles.

Besides providing the essential service of passing audio data to the sound card, DirectSound provides other essential capabilities such as recording and mixing sound, adding effects to sound (e.g., reverb, echo, or flange), using hardware accelerated buffers (if the sound card supports hardware audio acceleration) in Windows 95 through XP, and positioning sounds in 3D space. DirectSound also provides a means to capture sounds from a microphone or other input and controlling capture effects during audio capture.

After many years of development, today DirectSound is a mature API, and supplies many other useful capabilities, such as the ability to play multichannel sounds at high resolution. While DirectSound was designed to be used by games, today it is used to play audio in many audio applications. DirectShow uses DirectSound's hardware audio acceleration capabilities if the sound card's hardware audio acceleration capabilities exist and are exposed by the audio driver.

Features
DirectSound is a user mode API that provides an interface between applications and the sound card driver, enabling applications to produce sounds and play back music.

DirectSound was considered revolutionary when it was introduced in 1995, as it featured multiple simultaneous audio streams and allowed several applications to access the sound card simultaneously. Before that, the game developers were required to implement their own audio rendering engine in software.

DirectSound provides sample rate conversion and sound mixing (volume and pan) for an unlimited number of audio sources; however, the practical limits are the number of hardware audio sources and the performance of software mixers.

The DirectSound architecture features a concept of the "ring buffer" which would be continuously played in a cycle. The application programmer creates the sound buffer then continuously queries its state through the "read cursor" and updates it with the "write cursor". There are two types of buffers - a "streaming" buffer, which holds continuous sounds such as background music, and a "static" buffer which holds short sounds.

On supported sound cards, DirectSound would try to use "hardware accelerated" buffers, i.e. the ones which either can be placed in local sound card memory, or can be accessed by the sound card from the system memory. If hardware acceleration is not available, DirectSound would create audio buffers in the system memory and use purely software mixing.

Some late DOS-era "wavetable" sound cards such as Sound Blaster AWE32 and Gravis Ultrasound featured dedicated DSPs, which were borrowed from the digital music instruments. These cards featured local memory which could be used for buffering multiple audio streams and mixing them on board, thus offloading the CPU and greatly improving the sound quality. However, this was only possible in DOS by directly programming the hardware, and full-featured "hardware acceleration" from the local memory was never implemented on these cards, due to complexities of double buffering. Later cards such as Sound Blaster Live!, Audigy and X-Fi are capable of accessing the system memory buffers directly.

DirectSound3D
DirectSound3D (DS3D) is an extension to DirectSound introduced with DirectX 3 in 1996 with the intention to standardize 3D audio in Windows. DirectSound3D allows software developers to utilize audio by writing once for a single audio API instead of rewriting code numerous times to work for each audio card vendor.

In DirectX 5, DirectSound3D gained the support for sound cards that use third party 3D audio algorithms in order to accelerate DirectSound3D properly, through methods approved by Microsoft.

In DirectX 8, DirectSound and DirectSound3D (DS3D) were officially merged and given the name DirectX Audio, however the API is still commonly referred to as DirectSound.

EAX
EAX is an extension to DirectSound and DirectSound3D which provides sound effects processing to the hardware-accelerated buffers.

Windows 95
In Windows 95, 98 and Me, the DirectSound mixer component and the sound card drivers were both implemented as a kernel-mode VxD driver (Dsound.vxd), allowing direct access to the primary buffer used by the audio hardware and thus, providing the lowest possible latency between the user-mode API and the underlying hardware, but in some cases causing instability and blue screen errors.

Windows 98 introduced WDM Audio and the Kernel Audio Mixer driver (KMixer), which enabled digital mixing, routing and processing of simultaneous audio streams with a higher quality sample rate conversion as well as kernel streaming. Under WDM, DirectSound sends data to the software-based KMixer. Windows 98 Second Edition improved WDM audio support by adding DirectSound hardware buffering, DirectSound3D hardware abstraction, KMixer sample-rate conversion (SRC) for capture streams, multichannel audio support and introduction of DirectMusic. If the audio hardware supports hardware mixing (also known as hardware buffering or DirectSound hardware acceleration), DirectSound buffers directly to the rendering device. If DirectSound streams use hardware mixing, KMixer and its latency delay are bypassed. On Windows 98 and Windows Me, WDM audio drivers were preferred but compatibility with VxD driver model was preserved.

Although Windows Driver Model (WDM) was available starting with Windows 98, few audio card manufacturers used it. Due to internal buffering, KMixer introduced significant processing latency (30 ms on then-current systems). Windows 98 also includes a WDM streaming class driver (Stream.sys) to address these real time multimedia data stream processing requirements. When the sound card uses a custom driver for use with the system supplied port class driver PortCls.sys or implements a mini-driver for use with the streaming class driver, applications can bypass the KMixer completely and use the kernel streaming interfaces instead to reduce latency.

Windows 2000/XP
In Windows 2000, Microsoft also implemented the same WDM-based audio stack on Windows NT by introducing the WDM audio drivers and the kernel mixer component (KMixer). In Windows XP, Microsoft introduced another improved kernel streaming class driver, AVStream. Beginning with Windows XP, hardware acceleration was also added for DirectSound capture effects processing such as Acoustic Echo Cancellation for USB microphones, noise suppression and array microphone support.

Windows Vista/Windows 7
Windows Vista features a completely re-written audio stack based on the Universal Audio Architecture. Because of the architectural changes in the redesigned audio stack, a direct path from DirectSound to the audio drivers does not exist. DirectSound, DirectMusic and other APIs such as MME are emulated as WASAPI Session instances. DirectSound runs in emulation mode on the Microsoft software mixer. The emulator does not have hardware abstraction, so there is no hardware DirectSound acceleration, meaning hardware and software relying on DirectSound acceleration may have degraded performance. It's likely a supposed performance hit might not be noticeable, depending on the application and actual system hardware. In the case of hardware 3D audio effects played using DirectSound3D, they will not be playable; this also breaks compatibility with EAX extensions.

Third-party APIs such as ASIO and OpenAL are not affected by these architectural changes in Windows Vista, as they use IOCtl to interface directly with the audio driver. A solution for applications that wish to take advantage of hardware accelerated high-quality 3D positional audio is to use OpenAL. However, this only works if the manufacturer provides an OpenAL driver for their hardware.

Windows 8
WASAPI audio stack in Windows 8 introduces support for "hardware offloading" of multiple audio streams to the audio card for mixing and effect processing, in addition to the software processing introduced in Vista, however the functionality is only exposed for Windows Runtime apps. DirectSound's and DirectMusic's hardware interfaces to sound card drivers are not implemented.

Windows CE
Although DirectSound support was available in Windows CE versions up to 4.2, it was removed starting 5.0. Windows CE 6.0 also does not support DirectSound, instead favoring that applications be rewritten to use the Waveform Audio API.

Replacement implementations
After the removal of DirectSound in Windows Vista, a few replacement implementations have appeared.

Sound Blaster's Creative ALchemy (2007) provides hardware acceleration of DirectSound3D and Audio Effects, such as EAX. Creative ALchemy intercepts calls to DirectSound3D and translates them into OpenAL calls to be processed by supported hardware such as Sound Blaster X-Fi and Sound Blaster Audigy. For software-based Creative audio solutions, ALchemy utilizes its built-in 3D audio engine without using OpenAL at all.

Realtek, a manufacturer of integrated HD audio codecs, has a product similar to ALchemy called 3D SoundBack. C-Media, a manufacturer of PC sound card chipsets, also has a solution called Xear3D EX, although it works instead by intercepting DirectSound3D calls transparently in the background without any user intervention.

IndirectSound is a freeware library that emulates DirectSound 3D using XAudio2, without using hardware acceleration.

DSOAL is an open source library that emulates DirectSound 3D and EAX using OpenAL. Either a hardware-accelerated OpenAL implementation or OpenAL Soft (which provides HRTF) can be used.

title: DirectSound


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DirectMusic

DirectMusic is a deprecated component of the Microsoft DirectX API that allows music and sound effects to be composed and played and provides flexible interactive control over the way they are played. Architecturally, DirectMusic is a high-level set of objects, built on top of DirectSound, that allow the programmer to play sound and music without needing to get quite as low-level as DirectSound. DirectSound allows for the capture and playback of digital sound samples, whereas DirectMusic works with message-based musical data. Music can be synthesized either in hardware, in the Microsoft GS Wavetable SW Synth, or in a custom synthesizer.

History
DirectMusic was first released by Microsoft in 1996 as an ActiveX control called Interactive Music Architecture (IMA). It was introduced as part of the 6.1 version of the DirectX library in February 1999 and is included in all Microsoft Windows operating systems starting with Windows 98 Second Edition. DirectMusic has since been deprecated, and is not available to 64-bit applications in Windows Vista. In Windows 7, native 64-bit support is available for the core DirectMusic API related to timestamped MIDI but not for the performance component.

Details
DirectMusic provides a complete system for implementing dynamic soundtracks that take advantage of hardware acceleration, Downloadable Sounds (DLS), DirectX Media Objects (DMOs), advanced 3D positioning effects and several other features. DirectMusic provides composition and playback of dynamic musical soundtracks based on stored compositional material. Rather than a static playback, the music is generated on the fly, and is played with variations, and can respond to flexible program events. Using DirectMusic, it is possible to:

 * Load and play sounds from files or resources in MIDI, WAV, or DirectMusic Producer run-time format. The small file size of DirectMusic soundtracks makes it very well suited for Web applications.
 * Schedule the timing of musical events with high precision. DirectMusic allows timestamping of MIDI input data at the moment of arrival to a system wide reference clock. Music or sound effects composed for DirectMusic can be very flexible and can change dynamically over time or in response to a user event. DirectMusic addresses the problems of Windows' legacy MidiOut API, which has shaky timing and limited real-time control.
 * Play from multiple sources simultaneously, each with separate timing and instrument sets.
 * Send tempo changes, patch changes, and other MIDI events programmatically.
 * Use Downloadable Sounds (DLS), an open standard by the MIDI Manufacturers Association, allowing developers to output 'wavetable' sounds on audio hardware not equipped with 'wavetable' sample-based synthesis. The downloadable sounds can be extended to include new or customized instruments.
 * On computers with sound card which lack 'wavetable' sample-based synthesis, DirectSound's Software Synthesizer ensures that message-based music such as MIDI files and DirectMusic segments sound identical on all hardware configurations rather than playing differently on different computers with different sound cards. An application can also play an unlimited variety of instruments and even produce unique sounds for individual notes and velocities.
 * Locate sounds in a 3D environment.
 * Easily apply pitch changes, reverberation, and other effects.
 * Use more than 16 MIDI channels. DirectMusic makes it possible for any number of voices to be played simultaneously, up to the limits of the synthesizer.
 * Play segments on different audio paths, so that effects or spatialization can be applied individually to each sound.
 * Capture MIDI data, or stream it from one port to another.
 * DirectMusic Producer can be used to create sound files that take full advantage of DirectMusic's interactive features.

On Microsoft Windows Vista, DirectMusic uses only software synthesis. Also, the DirectMusic kernel mode synthesizer that supplies the DirectMusic components with a high-resolution timer has been removed.

title: DirectMusic


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DirectShow

DirectShow (sometimes abbreviated as DS or DShow), codename Quartz, is a multimedia framework and API produced by Microsoft for software developers to perform various operations with media files or streams. It is the replacement for Microsoft's earlier Video for Windows technology. Based on the Microsoft Windows Component Object Model (COM) framework, DirectShow provides a common interface for media across various programming languages, and is an extensible, filter-based framework that can render or record media files on demand at the request of the user or developer. The DirectShow development tools and documentation were originally distributed as part of the DirectX SDK. Currently, they are distributed as part of the Windows SDK (formerly known as the Platform SDK).

Microsoft plans to completely replace DirectShow gradually with Media Foundation in future Windows versions. One reason cited by Microsoft is to provide "much more robust support for content protection systems" (see digital rights management). Microsoft's Becky Weiss confirmed in 2006 that "you'll notice that working with the Media Foundation requires you to work at a slightly lower level than working with DirectShow would have. And there are still DirectShow features that aren't (yet) in Media Foundation". As described in the Media Foundation article, Windows Vista and Windows 7 applications use Media Foundation instead of DirectShow for several media related tasks.

History
The direct predecessor of DirectShow, ActiveMovie (codenamed Quartz), was designed to provide MPEG-1 support for Windows. It was also intended as a future replacement for media processing frameworks like Video for Windows and the Media Control Interface, which had never been fully ported to a 32-bit environment and did not utilize COM.

The development team used a pre-existing modular digital-media-processor project codenamed "Clockwork" as a basis for DirectShow. Clockwork had previously been used in the Microsoft Interactive Television project.

The project was initially named "ActiveMovie", and was released in May 1996, bundled with the beta version of Internet Explorer 3.0. In March 1997, Microsoft announced that ActiveMovie would become part of the DirectX 5 suite of technologies, and around July started referring to it as DirectShow, reflecting Microsoft's efforts at the time to consolidate technologies that worked directly with hardware under a common naming scheme. DirectShow became a standard component of all Windows operating systems starting with Windows 98; however it is available on Windows 95 by installing the latest available DirectX redistributable. In DirectX version 8.0, DirectShow became part of the core DirectX SDK along with other DirectX APIs.

In October 2004, DirectShow was removed from the main DirectX distribution and relocated to the DirectX Extras download. In April 2005, DirectShow was removed entirely from DirectX and moved to the Windows SDK starting with the Windows Server 2003 SP1 version of the SDK. The DirectX SDK was, however, still required to build some of the DirectShow samples.

Since November 2007, DirectShow APIs are part of the Windows SDK. It includes several new enhancements, codecs and filter updates such as the Enhanced Video Renderer (EVR) and DXVA 2.0 (DirectX Video Acceleration).

Architecture
DirectShow divides a complex multimedia task (e.g. video playback) into a sequence of fundamental processing steps known as filters. Each filter – which represents one stage in the processing of the data – has input and/or output pins that may be used to connect the filter to other filters. The generic nature of this connection mechanism enables filters to be connected in various ways so as to implement different complex functions. To implement a specific complex task, a developer must first build a filter graph by creating instances of the required filters, and then connecting the filters together.

There are three main types of filters:

 * Source filters: These provide the source streams of data. For example, reading raw bytes from any media file.
 * Transform filters: These transform data that is provided from other filter's output. For example, doing a transform such as adding text on top of video or uncompressing an MPEG frame.
 * Renderer filters: These render the data. For example, sending audio to the sound card, drawing video on the screen or writing data to a file.

During the rendering process, the filter graph searches the Windows Registry for registered filters and builds its graph of filters based on the locations provided. After this, it connects the filters together, and, at the developer's request, executes (i.e., plays, pauses, etc.) the created graph. DirectShow filter graphs are widely used in video playback (in which the filters implement functions such as file parsing, video and audio demultiplexing, decompressing and rendering) as well as for video and audio recording, editing, encoding, transcoding or network transmission of media. Interactive tasks such as DVD navigation may also be controlled by DirectShow.

In the above example, from left to right, the graph contains a source filter to read an MP3 file, stream splitter and decoder filters to parse and decode the audio, and a rendering filter to play the raw audio samples. Each filter has one or more pins that can be used to connect that filter to other filters. Every pin functions either as an output or input source for data to flow from one filter to another. Depending on the filter, data is either "pulled" from an input pin or "pushed" to an output pin in order to transfer data between filters. Each pin can only connect to one other pin and they have to agree on what kind of data they are sending.

Most filters are built using a set of C++ classes provided in the DirectShow SDK, called the DirectShow Base Classes. These handle much of the creation, registration and connection logic for the filter. For the filter graph to use filters automatically, they need to be registered in a separate DirectShow registry entry as well as being registered with COM. This registration can be managed by the DirectShow Base Classes. However, if the application adds the filters manually, they do not need to be registered at all. Unfortunately, it is difficult to modify a graph that is already running. It is usually easier to stop the graph and create a new graph from scratch. Starting with DirectShow 8.0, dynamic graph building, dynamic reconnection, and filter chains were introduced to help alter the graph while it was running. However, many filter vendors ignore this feature, making graph modification problematic after a graph has begun processing.

Although DirectShow is capable of dynamically building a graph to render a given media type, in certain instances it is difficult for developers to rely on this functionality and they need to resort to manually building filter graphs if the resulting filter graph is variable. It is possible for filter graphs to change over time as new filters are installed on the computer.

Features
By default, DirectShow includes a number of filters for decoding some common media file formats such as MPEG-1, MP3, Windows Media Audio, Windows Media Video, MIDI, media containers such as AVI, ASF, WAV, some splitters/demultiplexers, multiplexers, source and sink filters, some static image filters, some video acceleration, and minimal digital rights management (DRM) support. DirectShow's standard format repertoire can be easily expanded by means of a variety of filters, enabling DirectShow to support virtually any container format and any audio or video codec. For example, filters have been developed for Ogg Vorbis, Musepack, and AC3, and some codecs such as MPEG-4 Advanced Simple Profile, AAC, H.264, Vorbis and containers MOV, MP4 are available from 3rd parties like ffdshow, K-Lite, and CCCP. Incorporating support for additional codecs such as these can involve paying the licensing fees to the involved codec technology developer or patent holder. Finally, there are "bridge" filters that simultaneously support multiple formats, as well as functions like stream multiplexing, by exposing the functionality of underlying multimedia APIs such as VLC.

The amount of work required to implement a filter graph depends on several factors. In the simplest case, DirectShow can create a filter graph automatically from a source such as a file or URL. If this is not possible, the developer may be able to manually create a filter graph from a source file, possibly with the addition of a custom filter, and then let DirectShow complete the filter graph by connecting the filters together. At the next level, the developer must build the filter graph from scratch by manually adding and connecting each desired filter. Finally, in cases where an essential filter is unavailable, the developer must create a custom filter before a filter graph can be built.

Unlike the main C API of QuickTime where it is necessary to call MoviesTask in a loop to load a media file, DirectShow handles all of this in a transparent way. It creates several background threads that smoothly play the requested file or URL without much work required from the programmer. Also in contrast to QuickTime, nothing special is required for loading a URL instead of a local file on disk – DirectShow's filter graph abstracts these details from the programmer, although recent developments in QuickTime (including an ActiveX control) have reduced this disparity.

DirectShow Editing Services
DirectShow Editing Services (DES), introduced in DirectX 8.0/Windows XP is an API targeted at video editing tasks and built on top of the core DirectShow architecture. DirectShow Editing Services was introduced for Microsoft's Windows Movie Maker. It includes APIs for timeline and switching services, resizing, cropping, video and audio effects, as well as transitions, keying, automatic frame rate and sample rate conversion and such other features which are used in non-linear video editing allowing creation of composite media out of a number of source audio and video streams. DirectShow Editing Services allow higher-level run-time compositing, seeking support, and graph management, while still allowing applications to access lower-level DirectShow functions.

While the original API is in C++, DirectShow Editing Services is accessible in any Microsoft .NET compatible language including Microsoft Visual C# and Microsoft Visual Basic by using a third-party code library called "DirectShowNet Library". Alternatively, the entire DirectShow API, including DirectShow Editing Services, can be accessed from Borland Delphi 5, 6 and 7, C++ Builder 6, and from later versions with a few minor modifications, using a third party software library called "DSPack".

As of March, 2012 (and, apparently as early as 2009 ), Microsoft has stated that the DirectShow Editing Services "API is not supported and may be altered or unavailable in the future."

Video rendering filters
Originally, in Windows 9x, DirectShow used the Video Renderer filter. This drew the images using DirectDraw 3, but could also fall back to GDI or overlay drawing modes in some circumstances (depending upon the visibility of the video window and the video card's capabilities). It had limited access to the video window. Video for Windows had been plagued with deadlocks caused by applications' incorrect handling of the video windows, so in early DirectShow releases, the handle to the playback window was hidden from applications. There was also no reliable way to draw caption text or graphics on top of the video.

DirectShow 6.0, released as part of DirectX Media introduced the Overlay Mixer renderer designed for DVD playback and broadcast video streams with closed captioning and subtitles. The Overlay Mixer uses DirectDraw 5 for rendering. Downstream connection with the Video Renderer is required for window management. Overlay Mixer also supports Video Port Extensions (VPE), enabling it to work with analog TV tuners with overlay capability (sending video directly to a video card via an analog link rather than via the PCI bus). Overlay Mixer also supports DXVA connections. Because it always renders in overlay, full-screen video to TV-out is always activated.

Starting with Windows XP, a new filter called the Video Mixing Renderer 7 (VMR-7 or sometimes just referred to as VMR) was introduced. The number 7 was because VMR-7 only used DirectDraw version 7 to render the video and did not have the option to use GDI drawing. The main new feature of VMR-7 was the ability to mix multiple streams and graphics with alpha blending, allowing applications to draw text and graphics over the video and support custom effects. It also featured a "windowless mode" (access to the composited image before it is rendered) which fixed the problems with access to the window handle.

DirectX 9 introduced VMR-9, which is included in Windows XP SP2 and newer. This version uses Direct3D 9 instead of DirectDraw, allowing developers to transform video images using the Direct3D pixel shaders. It is available for all Windows platforms as part of the DirectX 9 redistributable. As VMR-7 it provides a Windowless Mode. However, unlike Overlay mixer or VMR-7 it does not support video ports. Using the /3GB boot option may cause VMR-9 to fail.

Windows Vista and Windows 7 ship with a new renderer, available as both a Media Foundation component and a DirectShow filter, called the Enhanced Video Renderer (EVR). EVR is designed to work with Desktop Window Manager and supports DXVA 2.0, which is available on Windows Vista and Windows 7. It offers better performance and better quality according to Microsoft.

Awards
On January 8, 2007. Microsoft received the Emmy award for Streaming Media Architectures and Components at the 58th Annual Technology & Engineering Emmy Awards.

Simplicity
Commanding DirectShow to play a file is a relatively simple task. However, while programming more advanced customizations, such as commanding DirectShow to display certain windows messages from the video window or creating custom filters, many developers complain of difficulties. It is regarded as one of Microsoft's most complex development libraries/APIs.

Developers rarely create DirectShow filters from scratch. Rather, they employ DirectShow Base Classes. The Base Classes can often simplify development, allowing the programmer to bypass certain tasks. However, the process may remain relatively complex; the code found in the Base Classes is nearly half the size of the entire MFC library. As a result, even with the Base Classes, the number of COM objects that DirectShow contains often overwhelms developers. In some cases, DirectShow's API deviates from traditional COM rules, particularly with regard to the parameters used for methods. To overcome their difficulties with DirectShow's unique COM rules, developers often turn to a higher level API that uses DirectShow, notably, Windows Media Player SDK, an API provides the developer with an ActiveX Control that has fewer COM interfaces to deal with.

Although DirectShow is capable of dynamically building a graph to render a given media type, in certain instances it is difficult for developers to rely on this functionality and they need to resort to manually building filter graphs if the resulting filter graph is variable. It is possible for filter graphs to change over time as new filters are installed on the computer.

Codec hell
Codec hell (a term derived from DLL hell) is when multiple DirectShow filters conflict for performing the same task. A large number of companies now develop codecs in the form of DirectShow filters, resulting in the presence of several filters that can decode the same media type. This issue is further exacerbated by DirectShow's merit system, where filter implementations end up competing with one another by registering themselves with increasingly elevated priority.

Microsoft's Ted Youmans explained that "DirectShow was based on the merit system, with the idea being that, using a combination of the filter’s merit and how specific the media type/sub type is, one could reasonably pick the right codec every time. It wasn't really designed for a competing merit nuclear arms race."

A tool to help in the troubleshooting of "codec hell" issues usually referenced is the GSpot Codec Information Appliance, which can be useful in determining what codec is used to render video files in AVI and other containers. GraphEdit can also help understanding the sequence of filters that DirectShow is using to render the media file. Codec hell can be resolved by manually building filter graphs, using a media player that supports ignoring or overriding filter merits, or by using a filter manager that changes filter merits in the Windows Registry.

End-user tools
DirectShow, being a developer-centric framework and API, does not directly offer end-user control over encoding content, nor does it incorporate a user interface for encoding using installed codecs or to different formats; instead, it relies on developers to develop software using the API. In contrast, other multimedia frameworks such as QuickTime or Video for Windows allow end-users to perform basic video-related tasks such as re-encoding using a different codec and editing files and streams. The convenience offered by an end-user GUI is apparent since the AVI format and codecs used by Video for Windows still remain in use, for example VirtualDub.

title: DirectShow