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Halcyon, California

Halcyon is an unincorporated community of about 125 acres (50 ha) in San Luis Obispo County, California, just south of Arroyo Grande. It was founded in 1903 as a Theosophical intentional community and is the home and headquarters of a religious organization, The Temple of the People (not to be confused with Jim Jones and the Peoples Temple). The Temple group was founded in 1898.

History
Halcyon is registered as an historical site both federally and in the state of California. It contains a community established by a group of Theosophists in the early 1900s, who built a Temple and surrounding buildings. The Temple of the People was founded in Syracuse, New York, in 1898 by William Dower and Francia LaDue, members of the Esoteric Section of the Theosophical Society. It was moved to Halcyon in 1903. Dower, who was a medical doctor, and LaDue founded the Halcyon Hotel and Sanatorium, where all manner of addiction and nervous ailments as well as tuberculosis were treated and which remained open until 1949. Other members of the Temple followed Dower and La-due to Halcyon from Syracuse, and made their living through farming, poultry, and handicrafts.

Land continued to be acquired by the Temple, whose holdings were at one time much more extensive than present-day Halcyon. A town plan was laid out by the Temple Home Association, which subdivided a portion and sold or leased out home sites. A print shop was established to produce a monthly magazine (which is still published), the Artisan, as well as other Theosophical literature. A general store and post office opened in 1908.

LaDue, who was known in her official capacity as "Blue Star", led the Temple as its first Guardian in Chief until her death in 1922. The Blue Star Memorial Temple building, designed by architect Theodore Eisen of Los Angeles, was constructed in 1923 and named in honor of LaDue. Dower served as the second Guardian until his death in 1937. Pearl Dower was the third Guardian until her death in 1968; during her tenure the William Quan Judge Library was established. Harold Forgostein was the fourth Guardian until his death in 1990. Eleanor Shumway has been the Guardian since that time.

Notable people involved with Halcyon and the Temple include composer and pianist Henry Cowell (see also The Tides of Manaunaun), Irish poet and fiction writer Ella Young, and mystic poet and writer John Varian (1863–1931). Varian's sons, Russell (1898–1959) and Sigurd (1901–1961), who spent part of their childhood in Halcyon, invented the klystron, an important microwave amplifier tube, and founded the Varian electronics empire.

Cethil Mallory, member and building contractor, worked on many of the single-family homes in Halcyon with the help of his three sons, John, David, and Roland. They helped to rebuild the Halcyon General Store and post office when it was moved one half block south. Halcyon today contains fifty-two single-family homes, of which thirty are owned by the Temple, as well as several small buildings used by the Temple, and just over one hundred residents. Almost all residents earn their living outside the community.

The Temple continues to function today as a small, but international, theosophical society with headquarters at Halcyon. Weekly services at Halcyon are held on Sundays in the Blue Star Memorial Temple building, as well as a fifteen-minute healing service held there every day at noon. Classes occur twice weekly currently online.

Chronological overview
Guardian in Chief:
 * 1898–1922 — Francia A. La Due (1849–1922)
 * 1922–1937 — William H. Dower (1866–1937)
 * 1937–1968 — Pearl F. Dower
 * 1968–1990 — Harold E. Forgostein
 * 1990–present — Eleanor L. Shumway

title: Halcyon, California


text: Talk:Dorian Gray (disambiguation)

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

title: Talk:Dorian Gray (disambiguation)


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Evans & Sutherland

Evans & Sutherland is an American computer graphics firm founded in 1968 by David Evans and Ivan Sutherland. Its current products are used in digital projection environments like planetariums. Its simulation business, which it sold to Rockwell Collins, sold products that were used primarily by the military and large industrial firms for training and simulation.

History
The company was founded in 1968 by David C. Evans and Ivan Sutherland, professors in the Computer Science Department at the University of Utah. who were pioneers in computer graphics technology. They formed the company to produce hardware to run the systems being developed in the University, working from an abandoned barracks on the university grounds. The company was later housed in the University of Utah Research Park. Most of the employees were active or former students, and included Jim Clark, who started Silicon Graphics, Ed Catmull, co-founder of Pixar, and John Warnock, founder of Adobe.

In the early 1970s they purchased General Electric's flight simulator division and formed a partnership with Rediffusion Simulation, a UK-based flight simulator company, to design and build digital flight simulators. For the next three decades this was E&S's primary market, delivering display systems with enough brightness to light up a simulator cockpit to daytime light levels. These simulators were used for training in in-flight refueling, carrier landing, AWACS, and B52.

Later in the 1970s the company expanded their line of simulation systems, first building a five-projector graphics system to simulate a ship steaming into New York Harbor and through its surroundings. This graphics system was installed on the mock-up of a ship's bridge and used to train ship's pilots how to navigate into and out of New York Harbor. The project, called CAORF (Computer Aided Operations Research Facility), was built for the US Maritime Academy. The project paved the way for other visual simulation systems including a NASA Space Shuttle manipulator arm, EVS, submarine periscope and space station docking simulators.

In the mid 1970s until the end of the 1980s, E&S produced the LDS-1 (Line Drawing System-1), Picture System 1, 2 and PS300 series. These unique "calligraphic" (analog vector drawing) color displays had depth cueing and could draw large wireframe models and manipulate (rotate, shift, zoom) them in real time. They were used both in chemistry by pharmaceutical companies to visualize large molecules such as enzymes or polynucleotides, and by aerospace companies, such as Boeing, McDonnell-Douglas and others, to design aircraft. The end of the Picture System line came in the late 1980s, when raster devices on workstations could render anti-aliased lines faster.

In 1978 the company went public with a listing on NASDAQ.

In the 1980s E&S added a Digital Theater division, supplying all-digital projectors to create immersive mass-audience experiences at planetariums, visitor attractions and similar education and entertainment venues. Digital Theater grew to become a major arm of E&S commercial activity with hundreds of Digistar 1 and 2 systems installed around the world, such as at the Saint Louis Science Center in St. Louis, Missouri.

In the mid-1980s Evans & Sutherland introduced a geometric modeling system called CDRS, that provided high quality surface design capabilities together with a photo-realistic rendering system. CDRS was sold to many well known manufacturers including both Ford & Chrysler. CDRS was acquired by Parametric Technology Corporation in 1995.

For a brief period between 1986 and 1989 E&S was also a supercomputer vendor, but their ES-1 was released just as the supercomputer market was drying up in the post-Cold War military wind-down. Only a handful of machines were built, most broken up for scrap. One sample ES-1 is in storage at the Computer History Museum.

During the 1990s E&S tried to expand into several other commercial markets. The Freedom Series graphics engine was developed to work with Sun Microsystems, IBM, Hewlett-Packard, and DEC workstations. 3D Pro technology was developed for the first wave of 3D graphics cards for PCs. Also, the MindSet virtual set system was created to address the needs of the broadcast video market.

In 1993 Evans and Sutherland helped Japanese arcade giant Namco with texture-mapping technology in Namco's System 22 arcade board that powered Ridge Racer. The help that E&S gave Namco was similar to the help that Martin Marietta gave Sega with the MODEL 2 board that powered Daytona USA and Desert Tank arcade games.

In 1998 Evans and Sutherland acquired AccelGraphics Inc, a manufacturer of computer graphics boards, for $52m.

Since its launch in July 2002, the company's Digistar 3 system became the world's fastest selling Digital Theater system and is installed in upwards of 120 fulldome venues worldwide.

On May 9, 2006 Evans & Sutherland acquired Spitz Inc, a rival vendor in the planetarium market, giving the combined business the largest base of installed planetaria worldwide and adding in-house projection-dome manufacturing capability to E&S' offering.

In 2006 Evans and Sutherland sold its simulation business, which for decades was the core of the company, to Rockwell Collins.

On February 10, 2020 Elevate Entertainment and Evans & Sutherland announced that Elevate would purchase E&S for $1.19 per share in cash in a transaction valued at $14,500,000.

Use in movies and special effects
An Evans & Sutherland computer was used in the creation of the Project Genesis simulation sequence in Star Trek II: The Wrath of Khan (1982). The star fields, and the tactical bridge displays on the Kobayashi Maru simulator and USS Enterprise were created by Evans & Sutherland employees and filmed directly from the screen of a prototype Digistar system at company headquarters. This film was one of the first ever to use computer graphics (after Futureworld in 1976). Star fields and some of the other shots were reused in Star Trek III: The Search for Spock (1984) and later films.

NBC would later use an Evans & Sutherland Picture System for its 1984–1985 promotional campaign "Let's All Be There!", as well as subsequent campaigns, concluding with the 1989–1990 season promotional campaign "Come Home to the Best!".

Terminals

 * LDS-1 (Line Drawing System-1)
 * LDS-2 (Line Drawing System-2)
 * Picture System
 * Picture System 2
 * PS/300 Picture System (variations included PS/340 which could render a still frame image using an internal framebuffer)
 * PS/390 Picture System/390 (first to use a raster scan display as the primary monitor)

Workstations

 * VAXstation 8000
 * (Co-developed graphics accelerator with DEC)

 * ESV/3
 * ESV/10
 * ESV/50

Accelerators

 * Freedom series

Simulation image generators

 * Novoview SP1 and SP2 (the 6000 light systems)
 * SPX
 * CT5
 * ESIG-2000
 * ESIG-3000
 * ESIG-4000
 * Harmony
 * EPX

Simulation display products

 * CSM (Caligraphic Shadowmask Monitor)
 * VistaView head-tracked projector
 * TargetView
 * TargetView 200
 * ESCP raster/calligraphic projector

Planetarium products

 * Digistar (1983)
 * Digistar II (1995)
 * Digistar 3 (2002)
 * Digistar 4 (2008)
 * Digistar 5 (2012)
 * Digistar 6 (2016)
 * Digistar 7 (2020)

Supercomputers

 * ES-1

title: Evans & Sutherland


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Cyclone Gudrun

Gudrun was a powerful storm which hit Denmark and Sweden on 8 January 2005, and Latvia and Estonia on 9 January 2005. The name Erwin was chosen by the Free University of Berlin, while the storm was named Gudrun by the Norwegian Meteorological Institute and was the name used in Sweden. Sustained wind speeds of 126 km/h with wind gusts of 165 km/h were measured in Hanstholm, Denmark – the same strength as a Category 1 hurricane.

The storm caused significant financial damage in Sweden, where the forest industry suffered greatly from damaged trees, as more than 75 e6m3 of trees were blown down in southern Sweden. This resulted in Sweden at the time having the world's largest surplus of lumber.

About 415,000 homes lost power in Sweden and several thousand of these were without power for many days and even weeks in some cases, as about 10,000 homes were still without power after three weeks. The death toll in Sweden was 7 victims, making it one of the biggest environmental disasters in Swedish history, while four were killed in Denmark and one in Estonia.

Meteorological history
On 6 January 2005, a low pressure system developed at a frontal zone south of Newfoundland. It moved into the central North Atlantic and was named 'Erwin' by the Free University of Berlin. Erwin strengthened rapidly and its pressure at the time of naming was 970 mb. Erwin moved quickly, and was already moving over Scotland and Northern Ireland on the 8th. In the UK, temperatures were noticeably higher after the passing of Erwin. On the 9th, Erwin had already moved into the Baltic Sea with a minimum central pressure of 960 mb. Over much of Central and Western Europe, temperatures were very mild. The next day, weakening Erwin was over Western Russia with a pressure of 975 mb. Erwin began slowing down as it moved into Central Russia. On 13 January, Erwin dissipated over Russia.

Carlisle and Cumbria flooding
In the UK, the main impacts of the storm were flooding in Cumbria and Carlisle, where 1,800 homes were flooded in the city.

Sweden blackout and damage to forests
Gudrun is one of the strongest storms to impact Sweden in the last 100 years. It caused much damage to forests in Halland the southwestern part of the South Swedish highlands (Småland). Spruces were particularly hit by Gudrun, while other trees with a more steady root system fared better. Damage was also exacerbated by the practice of clearcutting, leaving many trees exposed. Gudrun also caused blackouts and disabled telecommunications infrastructure.

Byholma Wood Stockpile
The cyclone created the world's largest wood stockpile, which Gizmodo lists as containing 1 e6m3 of wood as of May 2012. In Sweden, the total volume of wood from the trees struck down by the storm was about 75 e6m3.

Political impact in Sweden
In her dissertation, "Natural Disasters and National Election", Lina M. Eriksson, PhD, found that the storm played a crucial role in the historic regime shift in the 2006 Swedish general election. The incumbent Social Democratic Party's poor crisis response to Gudrun, hitherto the most expensive natural disaster in Swedish history, significantly contributed to the incumbent's loss. In a subsequent article in Electoral Studies, it was observed that the deficient storm response still swayed voters in the 2010 and 2014 elections.

title: Cyclone Gudrun


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Max Berg

Max Berg (17 April 1870 – 22 January 1947) was a German architect and urban planner.

Biography

Berg was born in Stettin (now Szczecin, Poland) in Pomerania, then part of the German Empire. He attended the Technische Hochschule in Charlottenburg (today Technische Universität Berlin), where he was taught by Carl Schäfer who favoured Gothic architecture. Berg was also taught by Franz Adickes (1846–1915), an important urban planner.

In 1909 Berg was appointed senior building official in Breslau (now Wrocław, Poland), in Silesia. His most notable contribution to architecture is the Jahrhunderthalle (Centennial Hall) built between 1911 and 1913 as part of a series of works commemorating the 100th anniversary of the 1813 War of Liberation against Napoleon Bonaparte. The Hall, an important early landmark of European reinforced concrete buildings, survived World War II, and in 2006 was designated a UNESCO World Heritage Site.

Other works in Breslau (Wrocław) include the market hall (a huge concrete structure of elliptical arches, but appearing more traditional externally) and a large office building on the SW corner of the Main Market Square.

In 1925, the year he retired from his architectural career for Christian mysticism, Berg moved to Berlin and then to Baden-Baden, where he died in 1947, aged 76.

Literature

 * Iwona Bińkowska, Marzena Smolak, Nieznany portret miasta. Wrocław 1997.
 * Jerzy Ilkosz, Beate Störtkuhl (eds.), Wieżowce Wrocławia 1919–1932. Wrocław 1997, ISBN 83-908067-0-3.
 * Jerzy Ilkosz: Die Jahrhunderthalle und das Ausstellungsgelände in Breslau. Das Werk Max Bergs. München 2006, ISBN 3-486-57986-X.
 * Otto Schubert, "Berg, Max Paul Eduard". In Neue Deutsche Biographie (NDB). vol. 2, Duncker & Humblot, Berlin 1955, ISBN 3-428-00183-4, S. 75 f. (Digitalisat).
 * Eckhard Wendt: Stettiner Lebensbilder (= Veröffentlichungen der Historischen Kommission für Pommern. Reihe V, Band 40). Böhlau, Köln/Weimar/Wien 2004, ISBN 3-412-09404-8, S. 56–57.

title: Max Berg


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Dana Snyder

Dana Snyder (born 1974) is an American actor and comedian. He is known for his voice roles of Master Shake in Aqua Teen Hunger Force, Granny Cuyler in Squidbillies, Baby Ball on Ballmastrz: 9009, and other roles in various Adult Swim television shows. His other voice roles include voicing Gazpacho in Cartoon Network's animated series Chowder, Dr. Colosso in Nickelodeon's comedy series The Thundermans, and Scratch in Disney Channel's animated series The Ghost and Molly McGee. His live-action television show work has been in shows such as Saul of the Mole Men and Your Pretty Face Is Going to Hell.

Early life
Snyder was born in Allentown, Pennsylvania, and grew up in Las Vegas, Nevada. He credits Don Rickles, Rip Taylor, and Phil Silvers as childhood influences in his decision to pursue acting. Snyder graduated from Las Vegas High School in 1992 and from Webster University in St. Louis in 1996 with a BFA from Webster's Conservatory of Theatre Arts.

Voice acting
Snyder was hired to voice Master Shake on Aqua Teen Hunger Force, auditioning over the phone in a call with Dave Willis, the show's co-creator. Snyder played the vocal role of Gazpacho on Chowder, Dr. Wang on Minoriteam, The Alchemist and The President on The Venture Bros., Baby Ball on Ballmastrz: 9009, and Granny Cuyler on Squidbillies. He voices Todd and Benny Lee on the G4TV show Code Monkeys, Leonard the Koala in The Penguins of Madagascar, and plays a teacher named "Mr. Baldwin" on the Disney series Fish Hooks.

He played Alistair in Open Season 3.

Snyder provided the voices of Sam and that of Cold Fusion Reactor Dad on the web series Suicide by Side. He narrated the Adult Swim web series Sipes Stories that he co-produced with Andy Sipes. He has starred on Adventure Time as the Ancient Sleeping Magi of Life Giving from the episode "Little Dude" in the fifth season. He played the voice of Belcitane within the White Knight Chronicles, and the White Knight Chronicles II. He also shows up in the web series "Bravest Warriors" in season 2 episode 6.

He voices the recurring character McSweats in the Disney XD animated series Pickle and Peanut. Snyder played Dr. Colosso on Nickelodeon's comedy The Thundermans from 2013 to 2018 where he voiced his rabbit form and portrayed his human form. He also played as Graballa the Hutt on the Disney XD animated series Lego Star Wars: The Freemaker Adventures.

In 2021, Snyder appeared as Patrick Star's grandfather on The Patrick Star Show and in the role of Scratch the ghost on The Ghost and Molly McGee.

Stage acting
On April 15, 2010, Snyder and Dave Willis went on a multi-city tour called Aqua Teen Hunger Force Live!.

In June 2010, he appeared as Max Bialystock in the Arrow Rock Lyceum Theatre's production of Mel Brooks' The Producers in Arrow Rock, Missouri.

In February and March 2011, he again played Max Bialystock in The Producers at the Riverside Theatre in Vero Beach, Florida. Snyder has also been seen in the Lyceum Theatre 2011 productions of Run For Your Wife, Damn Yankees, and The Sound of Music and has worked at several other United States regional theaters, including Repertory Theatre of St. Louis, Cincinnati Playhouse in the Park, and Cleveland Play House. Snyder was also a guest performer during several performances of the Atlanta-based burlesque revue "Dames Aflame" in 2010 and 2012.

Film and television
Snyder has made guest appearances on ER, Brothers and Sisters, and Gary Unmarried.

Snyder appeared in Saul of the Mole Men, The Young Person's Guide to History, and Your Pretty Face Is Going to Hell. He guest appeared on the Christian live action television show Come on Over.

Podcasts
Snyder co-hosted the Ken P.D. Snydecast with Kenneth Plume, which was a free podcast. The show debuted on January 11, 2006, and its last episode was September 18, 2017. The show was produced out of IGN and then out of Fred Entertainment prior to its finale in 2017. In addition to Snyder and Plume, guests have included Doc Hammer, Paul Sabourin, and Jay Wade Edwards.

In late 2013, Dana began co-hosting the podcast Drunk on Disney with Guy Hutchinson. Since 2018, Snyder started hosting Dino and Dana's Safe Space Starring Spencer and Tish with Dino Stamatopoulos, Spencer Crittenden, and Tish Burns. Occasional guests include Jeff B. Davis and Cassandra Church.

As of January 2021, Dino and Dana’s Safe Space no longer stars Spencer or Tish and exclusively streams on Patreon. Podcast regulars now include comedian Lisa Corrao and Bob and Ron of Chicago's Bob and Ron's Record Club.

title: Dana Snyder


text: Category:Hoobastank albums

title: Category:Hoobastank albums


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National League (division)

The National League is the highest level of the National League System and fifth-highest of the overall English football league system. It is the highest league that semi-professional teams in the English football league system play. Notable former English Football League clubs that compete in the National League include: Oldham Athletic, Rochdale, York City, Hartlepool United and Southend United. The National League is the lowest division in the English football pyramid organised on a nationwide basis. Formerly the Conference National, the league was renamed the National League from the 2015–16 season.

The longest tenured team currently competing in the National League is Aldershot Town, who have been competing in the National League since 2013–14. As of the 2024–25 season, there is one former Premier League club competing in the National League: Oldham Athletic.

History
The league was formed as the Alliance Premier League in 1979, coming into force for the 1979–80 season. The league drew its clubs from the Northern Premier League and the Southern League.

It greatly improved the quality of football at this lower level, as well as improving the financial status of the top clubs. This was reflected in 1986–87, when the Football League began accepting direct promotion and relegation between the Conference and the bottom division of the Football League, which at that time was known as the Football League Fourth Division and is now EFL League Two. The first team to be promoted by this method was Scarborough, and the first team relegated was Lincoln City, who regained their Football League status a year later as Conference champions.

Since 2002–03, the league has been granted a second promotion place, with a play-off deciding who joins the champions in League Two. Previously, no promotion from the Conference would occur if the winners did not have adequate stadium facilities. If a club wins the division, but does not qualify for promotion, the next highest eligible club will be promoted in its place. If a club finishes in the play-off places but does not have an adequate stadium they will unable to take part in the play-off competition. In that event such club shall not be replaced and the play-off structure and draw shall be adjusted as necessary by the National League Board on the basis of the remaining clubs’ final league positions.

In 2004–05, the Conference increased its size by adding two lower divisions, the Conference North and Conference South respectively, with the original division being renamed Conference National. For the 2006–07 season, the Conference National expanded from 22 to 24 teams by promoting four teams while relegating two teams and introduced a "four up and four down" system between itself and the Conference North and Conference South.

Sponsorship
The league's first sponsor was Gola during the 1984–85 and 1985–86 seasons. When Gola's sponsorship ceased, carmaker Vauxhall Motors—then the British subsidiary of General Motors—took over and sponsored the league until the end of the 1997–98 season.

The 1998–99 Conference campaign began without sponsors for the Conference, but just before the end of the season a sponsorship was agreed with Nationwide Building Society. This lasted until the end of the 2006–07 season, after which Blue Square took over. This would also prompt the leagues being renamed, with the Conference National becoming the Blue Square Premier, the Conference North becoming Blue Square North and the Conference South becoming Blue Square South. In April 2010, Blue Square announced a further three-year sponsorship deal. From the start of the 2010–11 season the names were changed slightly, with "Blue Square" becoming "Blue Square Bet".

In July 2013 the Conference agreed another sponsorship deal with online payment firm Skrill. This lasted for only one year and the following July the Conference announced a brand-new three-year deal with Vanarama, later extended by two more years.

In 2015, the Football Conference was renamed the National League. The top division was also officially renamed the National League and the lower divisions renamed as National League North and National League South. In January 2019 the League signed a three-year deal with Motorama, Vanarama's sister company. It was extended to three more years in March 2021.

Media coverage
Coverage of this league began in the mid-1990s when cable channels Wire TV, and later L!VE TV, broadcast weekly highlights. However, the closure of L!VE TV in 1999 saw the cessation of coverage until the mid-2000s when in August 2006, Setanta Sports signed a five-year deal with the Conference and Setanta Sports began showing live matches in the 2007–08 season, with 79 live games each season. Included in the deal were the annual play-off matches as well as the Conference League Cup, a cup competition for the three Football Conference divisions. Setanta showed two live matches a week, with one on Thursday evening and one at the weekend. In Australia the Conference National was broadcast by Setanta Sports Australia. Setanta Sports suffered financial problems and ceased broadcasting in the United Kingdom on 23 June 2009. Sky Sports broadcast the Conference play-off final 2010 at Wembley Stadium.

On 19 August 2010, Premier Sports announced that it bought the live and exclusive UK television rights to 30 matches per season from the Conference Premier for a total of three seasons. The 30 matches selected for broadcast included all five Conference Premier play-offs. The deal with the Football Conference was a revenue sharing arrangement whereby clubs received 50% of revenue from subscriptions, on top of the normal rights fee paid by the broadcaster, once the costs of production were met. The Conference also earned 50% from all internet revenue associated with the deal, which allowed them to retain advertising rights allied to those adverts shown with their matches. During the 2010–11 season, Premier Sports failed to attract enough viewers to its Conference football broadcasts to share any revenue with the clubs beyond the £5,000 broadcast fee paid to home clubs and £1,000 to away clubs.

In July 2013, BT Sport announced a two-year deal to broadcast 30 live games per season including all five play-off matches. In 2015 the National League announced that it renewed a three-year deal with BT Sport.

Current membership
The following 24 clubs compete in the National League during the 2024–25 season.

Past winners
Numbers in parentheses indicate wins up to that date.

 * No promotion to the Football League until 1987.
 * No promotion due to the club's stadium not being adequate for the Football League.
 * Boston United were allowed to retain their championship title and subsequent promotion to the Football League despite having been found guilty of serious financial misconduct during their title winning season. Following their later relegation at the end of the 2006–07 season, due to ongoing financial concerns and irregularities at the club, Boston were relegated a further division and placed in the Premier Division of the Northern Premier League.
 * Clubs voted to end the 2019–20 National League season using points per game after the season was suspended in March due to the COVID-19 pandemic.

Attendances
The highest average league attendance was in the 2022–23 season, when 1.7 million fans attended National League matches, at an average of 3,378 per game. The lowest average league attendance came in the 2014–15 season, when 1 million spectators watched at an average of 1,853 per game. The highest seasonal average for a club was 9,973 for Wrexham in the 2022–23 season.

title: National League (division)


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title: Category:1981 albums


text: Category:1982 albums

title: Category:1982 albums


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Category:Crass

This category is about articles related to anarcho punk band Crass.

title: Category:Crass


text: Category:1978 albums

title: Category:1978 albums


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Head (film)

Head is a 1968 American satirical musical adventure film written and produced by Jack Nicholson and Bob Rafelson, directed by Rafelson, starring television rock group the Monkees (Davy Jones, Peter Tork, Micky Dolenz and Michael Nesmith) and distributed by Columbia Pictures. A theatrical spin-off of the 1966–68 NBC television show and a swan song (series finale), it started production directly after completion of series production.

During production, one of the working titles for the film was Changes, which was later the name of an album by the Monkees. Another working title was Untitled. A rough cut of the film was previewed for audiences in Los Angeles in the summer of 1968 under the title Movee Untitled.

The film featured Victor Mature as "The Big Victor" and cameo appearances by Nicholson, Teri Garr, Carol Doda, Annette Funicello, Frank Zappa, Sonny Liston, Timothy Carey, Percy Helton and Ray Nitschke. Also appearing on screen in brief non-speaking parts are Dennis Hopper and film choreographer Toni Basil.

Plot
Head begins at the dedication of a bridge. As a local politician struggles with his microphone during the dedication speech, the "wacky, fun-loving" Monkees (Micky Dolenz, Davy Jones, Peter Tork, and Michael Nesmith), suddenly interrupt the ceremony by running through the assembled officials, to the sound of various horns and sirens. The rest of the film shows the events leading up to this.

Earlier, the four have just all kissed the same groupie, who tells them that they were indistinguishable. Throughout the film, they make their way both together and separately through a series of unrelated vignettes, each being a different type of movie (a mystery, a war movie, a western, a desert adventure, etc.).

In each segment, the Monkees try to deal with the fact that they're four real people in a real band that makes records for real people, but are also scripted characters in a fake TV band doing nothing except exactly what the director wants them to.

They continually try to prove to themselves that they're free and can make any choice they want. But no matter what they try—deliberately flubbing their lines in scenes from their TV show, pointing out to other characters that they're really just actors making a movie, complaining to producers Jack Nicholson and Bob Rafelson who are on the set but not part of the film, smashing through the painted paper walls, walking off the set and into the street, physically attacking other actors for no reason, and making everyone they encounter mad at them—they discover that their every word and deed was predetermined to the finest detail by the script of the movie they're in and the director directing it.

While being chased by everyone they've encountered (and disrupted) in the various vignettes, they run onto a bridge, shoving people out of the way. It's revealed that they weren't being "wacky" at the beginning of the film; they were desperately trying to escape being mere scripted puppets. They jump off the edge and commit suicide, falling a very long way and slamming into the water far below.

However, this, too, was scripted. The film's director hauls their soaked bodies away in a huge aquarium while the four stare blankly through the glass, struggling under the water. Laughing, he rolls the aquarium into a slot at the studio warehouse, to be taken out when he wants to use them again in another movie.

Cast

 * Peter Tork as Peter
 * Davy Jones as Davy
 * Micky Dolenz as Micky
 * Michael Nesmith as Mike
 * Victor Mature as The Big Victor
 * Annette Funicello as Teresa/Minnie
 * Timothy Carey as Lord High 'n' Low
 * Logan Ramsey as Officer Faye Lapid
 * Abraham Sofaer as Swami
 * Vito Scotti as I. Vitteloni
 * Charles Macaulay as Inspector Shrink
 * T. C. Jones as Mr. and Mrs. Ace
 * Charles Irving as Mayor Feedback
 * William Bagdad as Black Sheik
 * Percy Helton as Heraldic Messenger
 * Sonny Liston as Extra
 * Ray Nitschke as Private One
 * Carol Doda as Sally Silicone
 * Frank Zappa as The Critic
 * June Fairchild as The Jumper
 * Teri Garr as Testy True (credited as "Terry Garr")
 * I. J. Jefferson as Lady Pleasure
 * Toni Basil as 'Daddy's Song' Dancer
 * Lee Kolima as Guard
 * Terry Chambers as Hero
 * Mike Burns as Nothing
 * Esther Shepard as Mother
 * Kristine Helstoski as Girl Friend
 * John Hoffman as The Sexfiend
 * Linda Weaver as Lover Secretary
 * Jim Hanley as Frodis
 * Dennis Hopper as Long Haired Guy in Restaurant (uncredited)
 * Bob Rafelson as himself (uncredited)
 * Jack Nicholson as Movie Director in Restaurant (uncredited)

Production
The plot and peak moments of the film came together at an Ojai, California, resort where the Monkees, Rafelson, and Nicholson brainstormed into a tape recorder, reportedly with the aid of a quantity of marijuana. Jack Nicholson then took the tapes and used them as the basis for his screenplay, which according to Rafelson he structured while under the influence of LSD. When the band learned that they would not be allowed to direct themselves or to receive screenwriting credit, Dolenz, Jones, and Nesmith staged a one-day walkout, leaving Tork the only Monkee on the set the first day. The strike ended after the first day when the studio agreed to a larger percentage share of the film's net for the group, but the incident damaged the Monkees' relationship with Rafelson and Bert Schneider and would effectively end their professional relationship with the producers.

Head was filmed from February 19 to May 17, 1968, at Columbia Pictures/Screen Gems Studios at Sunset & Gower, Hollywood, California and at the Columbia Ranch in Burbank, California, as well as various locations in California and elsewhere:

 * ribbon cutting ceremony – Gerald Desmond Bridge, Long Beach
 * WAR chant cheerleader sequence – Pasadena Rose Bowl, Pasadena
 * factory sequence – Hyperion Sewage
 * Treatment Plant, Playa Del Rey
 * war sequence – Bronson Canyon; some sequences at San Francisco
 * desert sequence – Palm Springs, California
 * concert sequence – Valley Music Hall, Salt Lake City
 * Micky's underwater sequence – The Bahamas

The song "Ditty Diego – War Chant" was written by Jack Nicholson and is a parody of the band's original Boyce and Hart written TV theme song; its lyrics illustrate the tone of self-parody evident in parts of the film. The final "We're here to give you..." is interrupted by a gunshot, with footage of the execution of Viet Cong operative (q.v.) Nguyễn Văn Lém, by Brigadier General and then Chief of National Police Nguyễn Ngọc Loan.

Music
The film's music included contributions by Carole King and Harry Nilsson. Jack Nicholson compiled the soundtrack album, which approximates the flow of the movie and includes large portions of the dialogue. The film's incidental music was composed and conducted by Ken Thorne, who also composed and conducted the incidental music to the Beatles' second film, Help! The film's most famous song, "Porpoise Song", appeared at the film's start and finish. Bright color filters heighten the visual effect and dreamlike touch of the passages, which include mermaids rescuing member Micky Dolenz in the film's start.

Andrew Sandoval, author of The Monkees: The Day-By-Day Story of the 60s TV Pop Sensation, commented that, "It has some of their best songs on it and ...the movie's musical performances are some of the most cohesive moments in the film."

The music of the Monkees often featured a rather dark subject matter beneath a superficially bright, uplifting sound. The music of the film takes the darkness and occasional satirical elements of the Monkees' earlier tunes and makes it far more overt, as in "Ditty Diego" or "Daddy's Song", which has Jones singing an upbeat, Broadway-style number about a boy abandoned by his father. In his 2012 essay on the soundtrack album, academic Peter Mills noted that "on this album the songs are only part of the story, as they were with the Monkees project as a whole: Signals, sounds, and ideas interfere with each other throughout."

The soundtrack includes:
 * "Porpoise Song" (theme) – Gerry Goffin, Carole King
 * "Ditty Diego" – Bob Rafelson, Jack Nicholson
 * "Circle Sky" – Michael Nesmith
 * "Can You Dig It" – Peter Tork
 * "As We Go Along" – Carole King, Toni Stern
 * "Daddy's Song" – Harry Nilsson
 * "Long Title: Do I Have to Do This All Over Again?" – Peter Tork
 * Excerpts from the film, spliced in random order that is not consecutive to the film itself

Marketing
Trailers summarized it as a "most extraordinary adventure, western, comedy, love story, mystery, drama, musical, documentary satire ever made (And that's putting it mildly)." There were no pictures of the Monkees on the original poster; only a picture of John Brockman, who did the PR for the film.

Head was one of the first films to be advertised with an MPAA rating, with newspaper advertisements in New York daily papers on November 1, 1968, displaying a G rating.

Another part of the promotional campaign was placing Head stickers in random places. Rafelson commented that he and Nicholson were arrested at the New York City premiere on October 6 for trying to put a sticker on a police officer's helmet as he mounted his horse.

Reception
A poor audience response at an August 1968 screening in Los Angeles forced the producers to edit the picture from its original 110-minute length. The 86-minute Head premiered in New York City on November 6, 1968; the film later debuted in Hollywood on November 20. It was not a commercial success. This was in part because Head, being an antithesis of The Monkees sitcom, comprehensively demolished the group's carefully groomed public image while the counterculture audience they had been reaching for rejected the Monkees' efforts out of hand.

The film's release also was delayed (partly because of the extensive use of solarization, a then-new technique both laborious and expensive) and underpromoted. The sole television commercial was a confusing minimalist close-up shot of a man's head (John Brockman); after 30 seconds the man smiled and the name HEAD appeared on his forehead. This ad was a parody of Andy Warhol's 1964 film Blow Job, which only showed a close-up of a man's face for an extended period, supposedly receiving 'head'.

Receiving mixed critical reviews and virtually non-existent box office receipts, the film succeeded in alienating the band's teenage fanbase while failing to attract the more adult audience for which they had strived. Head's abysmal reception halted studio plans for any further films with the Monkees. It also corresponded with a steep drop in the group's popularity as recording artists; the Head soundtrack peaked at No. 45 on the U.S. chart, the first time any Monkees album had not risen to the Top 5. "Porpoise Song" was also the first single to not make the Top 40.

In her scathing review, Renata Adler of The New York Times commented: Head "might be a film to see if you have been smoking grass, or if you like to scream at the Monkees, or if you are interested in what interests drifting heads and hysterical high-school girls." She added that the group "are most interesting for their lack of similarity to The Beatles. Going through ersatz Beatle songs, and jokes and motions, their complete lack of distinction of any kind ... makes their performance modest and almost brave."

Daily Variety was also harsh, stating that "Head is an extension of the ridiculous nonsense served up on the Screen Gems vid series that manufactured the Monkees and lasted two full seasons following the same format and, ostensibly, appealing to the same kind of audience." But the review applauded Rafelson and Nicholson, saying that they "were wise not to attempt a firm storyline as the Monkees have established themselves in the art of the non sequitur and outrageous action. Giving them material they can handle is good thinking; asking them to achieve something more might have been a disaster."

Funicello said when she saw the film "it made no more sense to me than it ever had" when she read the script "but it was a challenging, offbeat role and I was happy to play it."

Home media
The film was released on September 18, 1986, on VHS, Beta, and Laserdisc. It was re-released on VHS on January 25, 1995.

It was released on DVD twice: first as an individual release on June 12, 2000, then again on December 14, 2010, as part of the Criterion Collection box set America Lost and Found: The BBS Story.

It was released on Blu-ray twice: first on November 23, 2010, as part of America Lost and Found, then again on July 8, 2016, as part of The Monkees: The Complete TV Series Blu-ray box set.

Legacy
Head has developed a cult following. Leonard Maltin describes it as "delightfully plotless" and "well worth seeing", giving the film 3 out of 4 stars. Head premiered on television across-the-board as a CBS Late Movie on December 30, 1974; the network rebroadcast the film on July 7, 1975. Cable TV took hold in 1981, when Head began periodic showings on Spotlight; Cinemax began airing the film in 1984. In the U.K., Channel 4 also aired it on British TV in 1986 and 1991. It was later shown regularly on Starz Cinema and in 2007, Turner Classic Movies featured the film as part of TCM Underground, showing the film unedited and in its original aspect ratio. It was released on video and Laserdisc by RCA/Columbia Pictures Home Video in September 1986, taking advantage of the group's 20th Anniversary, again on VHS and DVD by Rhino Entertainment in January 1995 and a third time on Blu-ray and DVD in November and December 2010, respectively, by the Criterion Collection, in a box set with other films from Rafelson. In honor of the Monkees' 50th anniversary, Rhino released the complete series on Blu-ray on July 8, 2016, with the film and deleted scenes.

When asked by Rolling Stone magazine in March 2012 if he thought making Head was a mistake, Nesmith responded by saying that "by the time Head came out the Monkees were a pariah. There was no confusion about this. We were on the cosine of the line of approbation, from acceptance to rejection...and it was over. Head was a swan song. We wrote it with Jack and Bob...and we liked it. It was an authentic representation of a phenomenon we were a part of that was winding down. It was very far from suicide even though it may have looked like that.." A decade earlier, in his commentary for the television series episode "Fairy Tale", Nesmith called the film the "murder" of the Monkees, an intentional move by Schneider and Rafelson, who had their eyes on bigger goals and felt that the Monkees project was holding them back. Tork echoed a similar statement during the Monkees' 2001 interview on the VH-1 series Behind the Music. In 2001, Davy Jones said the Monkees should never have made the movie.

For all of the negative remarks, there have been positive comments, showing Dolenz, whether knowingly or unknowingly, as a fashion trendsetter. In Straight Outta Cullompton, author Adam Foley wrote more glowingly, "Julian [Hewings]: 'I was watching Head, The Monkees film, and there's a bit at the beginning when Micky Dolenz falls from Golden Gate Bridge and he's got a pair of slightly flared boot cut jean cords on with a pair of (Adidas) Gazelles, probably the first ones that ever came out and this stripy t-shirt and I thought "Wow, that's what I remember when I was a kid – that's what everyone used to wear when they went to school." I just thought "Wow. Yeah. That's really speaking to me there and I got the others together" and went "Have a look at this, we're going to go out and find these clothes and that's what we're going to wear". The look came first before the music'".

On November 19, 2014, the film was screened in the United Kingdom for the first time outside London as part of the Leeds International Film Festival. It was introduced by Peter Mills of Leeds Beckett University, author of a book about the Monkees.

The NorthEast ComicCon & Collectibles Extravaganza hosted a 50th anniversary screening of the film at the Regent Theatre (Arlington, Massachusetts), on July 6, 2018. A portion of that screening benefited the Cystic Dreams Fund a 501(c)(3) non-profit organization and Dolenz conducted a lengthy question and answer before introducing the film.

title: Head (film)


text: User talk:64.73.6.149

title: User talk:64.73.6.149


text:
Talk:Electric potential

Electrical potential is different from Electrical Potential Energy, but this definition doesn't tell the reader that. This is a common misconception, and I think that it would be very useful if the distinction was made clear here.f

Electrical potential is the potential energy per unit charge seems OK, please explain.--Patrick 10:55, 31 May 2004 (UTC)

Potential diagram
Any reason why the color gradient is the OPPOSITE of the energy gradient - shouldn't the highest potential (highest energy per unit charge) also have the highest energy visible spectrum color (shortest waves eg violet) and the lowest potential have the lowest energy color ( long waves hence red)? 2A02:ED0:6D8E:DC00:1B8:C489:EFA7:28BA (talk) 08:42, 29 December 2020 (UTC)

Article location
Shouldn't this redirect to Electric potential, rather than the other way around? 'Electrical potential' sounds to me like a pernicious neologism, born of people's tendency to add '-al' to the ends of words that they're unsure of. My physics text uses 'electric', and a Google test also turns out in my favor (though less than overwhelmingly). --Smack (talk) 03:49, 18 Feb 2005 (UTC)

 * I agree; I would prefer "electric potential" or "electrostatic potential", which is also what my books tend to use too. (Maxwell, in 1865, called in the "electric potential" too, although much of Maxwell's other terminology has fallen out of favor.) —Steven G. Johnson 02:53, Mar 11, 2005 (UTC)

Voltage and potential
Since voltage is by definition a "potential difference", a potential must be able to be measured with no reference. How is this done?

Is it correct to think of a potential as "the voltage relative to infinity"? I mean infinite distance. - Omegatron 21:26, May 30, 2005 (UTC)

Similar question: If I have a piece of metal with one less electrons than protons (or a single atom with one less electron than protons), that object has a definite charge of +1, correct? The object's charge is an absolute quantity. Does that object have an absolute potential? Or does potential always involve a reference value? - Omegatron 00:17, May 31, 2005 (UTC)

 * You're trying to use a specific form of a concept (voltage) to shed light on a general form (potential). That's a foolish approach, if you ask me.
 * Yes, potential always requires a reference point. As the article says, potential is defined as a line integral over an open path.  An open path must start somewhere, so there you have it. --Smack (talk) 04:28, 2 Jun 2005 (UTC)

Omegatron is making a valid point which Smack does not engage with. The definition given in the 1st paragraph of the main article is unsatisfactory for several reasons:

1) qt is not defined.

2)'Energy at a point' is a void concept as far as I can see. This should be replaced by 'energy of a small test charge qt at that point, relative to some other point'

3) the main point made by Omegatron refers to the reference position with respect to which the potential energy of qt at the point in question is measured. The concept of potential energy requires that this reference position should be identified, and the given definition of electric potential makes no mention of this reference position. The definition is therefore meaningless, and Omegatron is correct to draw attention to this defect.  Smack's comment about a line integral is appropriate, but the definition given in the 1st paragraph makes no mention of this.

4) Personally I do not accept that the line-integral function is a definition of 'potential'; it is in fact a definition of 'potential difference' between points corresponding to the limits over which the integral is evaluated. Again, I see this as being the conceptual objection to which Omegatron refers, and it is a valid one. If you wish to talk about 'potential' in an absolute sense you must define an appropriate absolute reference point, and that is what I understand Omegatron to  mean when he talks about 'relative to infinity' - a point infinitely distant from all charges.

Overall I am astonished that so many years have passed without a more serious-minded definition being given.

Andrew Smith — Preceding unsigned comment added by 82.32.48.177 (talk) 10:32, 14 December 2011 (UTC)

emf - voltage drop - voltage difference - potential difference.
I teach technicians electronics and all the mathematical mumbo jumbo does not help them to obtain an understanding of the difference between emf, voltage drop & potential difference.

I teach that an "emf" is a source of electical energy which can motivate electrons around a circuit. Ie. it has to be an energy source of some sort either a battery or a power supply, a charged capacitor, the voltage produced accross an inductor when there is a changing magnetic field, a illuminated solar cell etc. Disconnect it and electrons stop moving and the circuit does not go. In a purely resistive circuit the current is always phase with the voltage

A "voltage drop" on the other hand is the voltage difference accross a load when a "current flows" through it. The current and voltage in a purely resistive the current and voltage are always 180 degrees out of phase.

A "voltage or potential difference" is the difference in voltage between any two points in a circuit, which could be an emf, a voltage drop because of a current or could include the voltage accross an "open circuit", through which no current flows at all"

Ie. In a wheatstone bridge, an "emf" is applied accross two arms each arm comprising of two  resistors. A current flows through each arm producing voltage drops in each of the four resistors. A voltage difference, exists accross the open circuit between the centre points of the two arms (dependent on the balance in the bridge of course) whilst the current is 0.

As a result I use E in ohms law where I calculate the current from a power source and V where I calculate a voltage drop.

Lee de

Hi Lee, as a professional electical engineer it seems to me that the distinctions you make are entirely false and misconceived. There is absolutely no qualitative difference between a 'voltage drop', a 'voltage or potential difference' and an 'emf', and to suggest to your students that there is any difference is to mislead them completely. The fact that a voltmenter responds identically to these quantities should alert you to the possibility that they are precicely the same kind of thing. The effect that these quantities have on an electric charge (such as an electron) is also qualitatively identical; in a typical oscilloscope circuit, the electrodes of the cathode ray tube are usually connected to different points in a resistive potential-divider, and the so-say 'pd' has exactly the same effect on the electrons in the tube as a source of 'emf' would have. Perhaps the distinction that you are striving towards is that between a component which acts as an energy source (such as a voltaic cell, a charged capacitor, an inductor carrying a current, etc) and one which acts as a dissipator of energy such as a resistor. But even here you should be aware that components which act as sources of 'emf' (and of energy) can very easily become energy sinks with 'pd' simply by reversing the direction of the current. In an AC circuit a capacitor or inductor makes this change every cycle, and can do so in a DC circuit as well, depending on whether the component is being 'charged' or 'discharged'. From the point of view of circuit analysis the only useful distinction is that between components in which (at a particular instant) the current opposes the pd (energy being stored or dissipated in the device), and those in which the current is in the same direction as the pd (energy being delivered by the device). This distinction must be observed when drawing up the equations used in dc circuit analysis. Notice that this distinction is between electrical components, not between supposedly different types of voltage, which is an absurd notion. Andrew Smith — Preceding unsigned comment added by 82.32.48.177 (talk) 12:56, 14 December 2011 (UTC)

when we connect a charged sphere to the ground
when we connect a charged conducting sphere to the ground, what happened to the charge on the surface since the electric potential (v) on it is zero"??? —The preceding unsigned comment was added by 213.209.187.34 (talk) 02:25, 17 December 2006 (UTC).

Why is this so technical
This article is excessively technical. While all the math is relevant in a higher-level mathematical context, to the everyday reader, this article is almost completely useless. Perhaps a section can be added which explains the concepts of electric potential in a layman's, non-multivariable way, but also with simplified, relevant mathematics. —The preceding unsigned comment was added by 199.90.6.26 (talk) 00:11, 2 February 2007 (UTC).

cause it is electrostatics in everyday 3-d space. i agree, make a 1-d electro statics section.

Variables are not defined134.154.242.29 15:05, 9 February 2007 (UTC)

 * I totally agree, this page is next to useless to me, look at the first sentence
 * At a point in space, the electric potential is the potential energy per unit of charge that is associated with a static (time-invariant) electric field.
 * That makes it even more complicated for me. Paskari (talk) 21:16, 28 August 2008 (UTC)

As a student studying just starting to study this material this article is almost impossible to even approach. There should be a discussion of EP in 1 dimension then the article can go further. —Preceding unsigned comment added by 141.213.66.73 (talk) 17:30, 17 September 2008 (UTC)

You are entirely right. I thought Wikipédia was intended to be a tool useful for as large a number of users as possible, not just to be a series of technical notes for use by higher level technicians and scientists. Ptyxs (talk) 14:32, 7 December 2013 (UTC)

Vector?
So is it a vector? The article doesn't seem to be too explicit about it.160.227.129.254 23:07, 1 May 2007 (UTC)

 * The usual concept of electric potential is a scalar. It generalizes to a four-vector when you consider the effects of moving charges and relativity; one of the four dimensions is the scalar electric potential, and the other three are the vector (magnetic) potential. Dicklyon 05:14, 2 May 2007 (UTC)

Damn it. I had a test and wrongly answered it was a vector. You have failed me Wikipedia! Only kidding. But seriously, can we have that somewhere on the article? Its kind of important.Tourskin 22:20, 2 May 2007 (UTC)

 * It's in the article. If it's not clear enough, work on it. Dicklyon 00:19, 3 May 2007 (UTC)

Electric potential vs electrostatic potential
Electric potential is measured in volts, while electrostatic potential [energy] is measured in joules. Why does the article say they're the same thing? Lecture 4 explains the difference (MIT OpenCourseWare). —Pengo 07:35, 31 August 2007 (UTC)

Template:Electromagnetism vs Template:Electromagnetism2
I have thought for a while that the electromagnetism template is too long. I feel it gives a better overview of the subject if all of the main topics can be seen together. I created a new template and gave an explanation on the old template talk page, however I don't think many people are watching that page.

I have modified this article to demonstrate the new template and I would appreciate people's thoughts on it: constructive criticism, arguments for or against the change, suggestions for different layouts, etc.

To see an example of a similar template style, check out Template:Thermodynamic_equations. This example expands the sublist associated with the main topic article currently being viewed, then has a separate template for each main topic once you are viewing articles within that topic. My personal preference (at least for electromagnetism) would be to remain with just one template and expand the main topic sublist for all articles associated with that topic.--DJIndica 16:36, 6 November 2007 (UTC)

lorentz scalar
The electric potential is not a lorentz scalar, it is compontent of the 4-vector $$ A_\mu $$. Adiel lo (talk) 07:39, 26 May 2008 (UTC)

To further that comment. The second sentence is factually incorrect. The electric potential is indeed not a Lorentz scalar. (SeanH (talk) 23:12, 1 January 2009 (UTC))

So Complicated
I spend most of my days on the biology articles yelling at the scientists for making the articles too complicated. Maybe I should appologize to them, because you guys are just so much worse. This article might as well have been written in a strange, obscure language. No effort has even been made to simplify the material. Paskari (talk) 21:19, 28 August 2008 (UTC)

 * Yes, perhaps you should apologize to editors that you've been yelling at. It would be more constructive to do some studying, and apply what you learn to making a better exposition.  Wikipedia isn't done yet; it's not the ideal learning tool for everyone; if you find a better one, use it, then contribute, and wikipedia will get better. Dicklyon (talk) 05:01, 29 August 2008 (UTC)

I'm basically trying to figure out how ions moving across the cell membrane can lead to, and alter this bizarre thing called the membrane potential. No one even explains why there is a membrane potential. I wish someone could give a simple explanation such as '''the concentration and type of ions lead to different electric potentials. The outside solution has more sodium ions so it's more positive...'''. Instead they provide weird answers such as concentration gradients lead to a voltage across the membrane.Paskari (talk) 21:27, 28 August 2008 (UTC)

 * Think of the cell as a capacitor; the membrane separates the inside plate from the outside. The voltage across this capacitor is the membrane potential.  A current into the capacitor charges it to a different voltage (potential).  Ions flowing through the membrane provide that current (since ions are charged). That's all it is, a simple electrical circuit, nothing mysterious. Well, there is a little bit more to it, since when you have different concentration of some species, such as charged calcium ions, there will be a pressure difference due to statistical mechanics, too (i.e. a tendency to diffuse against the gradient); so the ion currents through the channels will go to zero when there's an equilibrium between the potential-driven drift current and the gradient-driven diffusion current.  OK, you're right, it's a bit complicated.  Someone should find a good source and use it to help explain it better. Dicklyon (talk) 04:47, 29 August 2008 (UTC)

 * Here is a good book about the equilibrium membrane potential, and the ion pump that pumps sodium ions out and potassium ions in, and thereby keeps the inside of the cell different from the outside, establishing the electrical and concentration differences that make cells (especially nerve cells) do interesting stuff. Dicklyon (talk) 04:59, 29 August 2008 (UTC)

 * HAH, that's funny because I actually have that book right here, and open to page 31. First off, thanks for the explanation. My point is, that no non physicists, even a word like capacitor will lose people like myself. It's like when I use words like lipid bilayer, and assume non biologists know what it means. I'll spend the bulk of my day looking at membrane potentials. I'll then post how I think it's easiest for me to understand it. Maybe it'll help the people here better explain some of the material. Paskari (talk) 11:03, 29 August 2008 (UTC)

 * So on page 31 of Neuroscience (Purves et. al. 2007) it says
 * ...if the battery is used to make [the] compartment [with a higher K+ concentration] more negative relative to [the] compartment [with a lower K+ concentration], there will be less K+ flux because the negative potential will tend to keep K+ in [the more highly concentrated] compartment...
 * That's something I can understand because I can almost reach out and grab it. I think explanations such as these would make this page much more accessible to the average wikipedian. Paskari (talk) 12:44, 29 August 2008 (UTC)

 * On the other hand, here's one I can't picture (Neuroscience, Purves et. al. 207, p 54)
 * Some of the local current generated by the action potential then flows passively down the axon...
 * My question is, how does current flow down an axon? Do the ions physically move? Do the positive ions attract negative ions and 'nudge' the positive ones down? Do electrons move through the solution and/or membrane? For all I know, it might be the case that god wills it =P Paskari (talk) 16:53, 29 August 2008 (UTC)

"Voltage" and "electric potential" are different concepts (& we don't need cgs equations here)
It has been known to research scientists in some branches of science, for about 60 years, that "voltage" and "electric potential" are slightly different concepts. However, this doesn't seem to have made it into some physics textbooks yet, and there is lot of confusion on this issue around. I hope no-one is going to mind, but I have removed from this article all technically inappropriate references to voltage, so that this article really does become an article on electric potential (sometimes called electrostatic potential). At the time of writing, there is a modern electron-based definition of "voltage difference" in the article on "voltage". (You can start by defining "voltage difference" to be what you measure with a voltmeter, and then ask what scientific quantity it is that you are actually measuring. Quite often it is NOT electric potential difference.) At the time of writing, there is fuller discussion of the issues in the articles on "electrochemical potential" and "Fermi level", and related links and discussion pages..

I have also removed the equations that were formulated in one of the cgs systems of equations. There was international agreement nearly 40 years ago to gradually discontinue these systems of equations, and to concentrate on the single system now used for teaching in most universities. Most current students (and, I suspect, many lecturers) do not understand that there are several possible systems of equations, and most people do not need to understand anything other than the system currently used [i.e., the (rationalized) metre-kilogramme-second-ampere system that forms the basis for SI units]. If you are one of the few that do, then you will find it easier to look this up in a well-written article elsewhere. In my experience, nowadays it simply generates confusion if we try to explain basic concepts using a near-obsolete and disused equation system. (RGForbes (talk) 19:52, 10 April 2009 (UTC)) Richard

electric potential difference
'Electric potential difference' redirects here, but nowhere in this article does the words 'electric potential difference' occur. —Preceding unsigned comment added by Loldrup2 (talk • contribs) 21:44, 25 May 2009 (UTC)

First sentence grammer appears incorrect
The first sentence appears to have incorrect and cumbersome grammer. Presumably the charge discused is singular and the sentence becomes cumbersome without modification- suggesting more than one possible meaning to the reader.

I agree I think it should read "...aItalic text specific point".

Vector potential of Newton
Nabla A-vec(r-vec,t)=-mu*J-vec(r-vec,t) sry, dont know how to write this properly. A-vec and the rest indicates a vector. mu = permeability of vacuum. Maybe we should ad this as well as a definition of electric potential. —Preceding unsigned comment added by 134.184.101.26 (talk) 20:22, 5 October 2010 (UTC)

Propose deleting animations
I find the animations are so confusing as to be completely useless. I just have no idea what's going on. It doesn't help that the text and equations are mostly unreadable, and that the captions contain no further explanation. But even if those could be fixed, the bigger problem is, they seem to be videos captured directly from applets, constructed to be played with rather than constructed to clearly visually explain an otherwise-confusing pedagogical point. Therefore I propose deleting all three animations (see now-current version of the article). What do other people think? --Steve (talk) 13:59, 9 August 2011 (UTC)
 * These animations have multiple issues that need to be resolved. Unless the issues are resolved, they should be removed.--LaoChen (talk)00:54, 11 August 2011 (UTC)

Finite vs. infinitesimal charges
It seems that the electric potential is "the amount of electric potential energy" per unit charge but only for an infinitesimal charge. Often if I place a finite charge Q in some location, then the charges in nearby materials (dielectrics, conductors, etc.) will reconfigure and the electric potential will change, in a way that depends on the amount Q. In those cases the change in electric potential energy is not strictly linear in Q. I'm referring here to image charge potentials and such related things. It could be clarified by saying: --Nanite (talk) 07:18, 17 July 2013 (UTC)
 * placing a unitary charge but without moving any other charges, i.e., placing the unitary charge in that location only for an instant, or
 * electric potential energy per unit charge, for an infinitesimal charge.

 * Did you make the change? And someone reverted it?  To not be OR, need references.  You're exactly right, Potential is not the work done, instead Potential the energy/charge ratio of locations in a field when no charges are present (or, when an infinitesimal test-charge is used.)  Similarly, the electric vector-field is not a force, instead it's the force per charge, for an infinitesimal test-charge.  (Besides being more rigorously accurate, if we change the wording then we don't accidentally reinforce the widespread misconception that "Potential" is really just Potential Energy.) 71.217.40.134 (talk) 19:25, 21 September 2017 (UTC)

Error in the Introduction? (Classical mechanics analogy)
The Introduction section briefly talks about the concepts of forces and potential energy, and then there is this sentence: "As an object moves in the direction in which the force accelerates it its potential energy decreases".

This makes it sound like any force acting on an object will reduce its potential energy, which is wrong. If I pick up an apple, I accelerate it upwards and simultaneously increase its potential energy. Maybe "the force" in this case only refers to the force generated by the field that gives the object its potential energy, but that's not made clear, and it is probably too confusing for what's supposed to be a simple analogy. Seban678 (talk) 09:22, 28 April 2015 (UTC)

Discussion about this article
Please note the earlier discussion of this article at Wikipedia talk:WikiProject Electrical engineering Oiyarbepsy (talk) 04:09, 21 May 2015 (UTC)

Movement of electric charges in an electrostatic potential
What type of movement of electric charges, used for defining the electrostatic field and its circulation, can occur in an electrostatic potential, where charges are supposed not to move?--82.137.13.51 (talk) 19:16, 22 October 2018 (UTC)

There can be static magnetic fields with time-varying electrics fields
On section "Generalization to electrodynamics" of this article it says "When time-varying magnetic fields are present (which is true whenever there are time-varying electric fields and vice versa)". It says that if there are time-varying electric fields, then there are time-varying magnetic fields.

But as far as I know, that's not necessarily true. For example, in magnetostatics there are static magnetic fields but time-varying electric fields (because there are currents, but they're steady/DC not AC).

This mistake should be fixed. Alej27 (talk) 12:31, 6 January 2021 (UTC)

what is \mathbf{r}' denoting?
what is \mathbf{r}' in this equation in section "Electric potential due to a point charge"

 * $$ V_\mathbf{E}(\mathbf{r}) = \frac{1}{4 \pi \varepsilon_0} \int \frac{\rho(\mathbf{r}')}{|\mathbf{r}-\mathbf{r}'|} d^3 r'. $$

I think it would be good to make that clear to readers, it is not clear to me for example. 15:00, 21 June 2021 (UTC)

 * r is position. The potential at point r depends on the charge density at each point r' at which the charge density is not zero.  The expression is integrated over a volume of space that contains all the points r' at which the charge density is not zero.  If the charge at point r' is a discrete charge rather than a density, then ρ is a type of Dirac impulse.  If r is a point inside the volume of integration, you get a divide by zero problem when r = r'.  If ρ is a density, the limits work out, but if ρ is a discrete charge, the result is infinite.  Constant314 (talk) 14:06, 21 June 2021 (UTC)

 * I have added some definitions to the article. I hope it helps. Constant314 (talk) 15:15, 21 June 2021 (UTC)

Bad definition
“is defined as [….] the amount of work energy needed to move a unit of electric charge from a reference point to the specific point”

So in other words “to move from A to B” right? (Any one movement is from place A to B. This is obvious.) Why this emphasis on reference point right in the beginning? This is not relativity.

Khan academy defines as “Electric potential energy is the energy that is needed to move a charge against an electric field”. Simple, although might not be 100% accurate

Physics.info defines as “The electric potential difference between two locations is the work required to move a test charge from one location to another divided by the magnitude of the test charge.” Also simple but needs more context on magnitude of test charge. Aiecon (talk) 02:17, 18 October 2021 (UTC)

 * You seem to be thinking about "electric potential difference" (i.e., Voltage), which assigns a value to any two arbitrary points, as opposed to the electric potential which assigns a value to each single point in space (given some arbitrary fixed reference point). The distinction is subtle and the words are often mixed in casual usage. "Electric potential" typically refers to a Scalar field. Hddharvey (talk) 03:31, 18 October 2021 (UTC)

 * If you're familiar with circuit analysis, this may make more sense: in physics, the term "electric potential" will tend to refer to what electrical engineers refer to as "node voltage". It assumes a single fixed reference point from which the potential at other single points can be measured. "Potential difference" or "voltage" depends on a pair of points. Hddharvey (talk) 03:38, 18 October 2021 (UTC)
 * Additionally I think there's a typo. It reads
 * "is defined as [….] the amount of work energy needed to move a unit of electric charge from a reference point to the specific point"
 * But shouldn't that say "...a specific point"? BennyWahWah (talk) 21:48, 11 October 2022 (UTC)

First diagram description
The description emphasizes electric field lines (lines perpendicular to the balls), but shouldn't the lines of constant electrical potential (the equipotential lines perpendicular to the field lines) be mentioned as well, considering that's the topic of the article? BennyWahWah (talk) 20:32, 12 October 2022 (UTC)

title: Talk:Electric potential


text:
Dave Willis

Dave Willis (born May 1, 1970) is an American voice actor, screenwriter, and producer. He is the co-creator of the Adult Swim animated series Aqua Teen Hunger Force, Squidbillies, and Your Pretty Face Is Going to Hell. Willis also voices the main characters Meatwad and Carl Brutananadilewski, along with other characters in Aqua Teen Hunger Force. He is also known for voicing Barry Dylan in the FX/FXX series Archer and Leto Otel in Ballmastrz: 9009.

Career
Willis has worked on various Adult Swim shows that are created primarily by Williams Street, an animation-centered, Atlanta-based production division of Cartoon Network.

Willis got hired at Ghost Planet Industries after giving the producers a very formal letter of recommendation written in crayon, seemingly by a young child. They liked his sense of humor and hired Willis as a writer for Cartoon Planet in 1995 and then as a writer for Space Ghost Coast to Coast (SGC2C for short) soon after. In early 2000, he helped write and produce the two Brak Presents the Brak Show Starring Brak specials.

Willis was working on Space Ghost Coast to Coast where he first met Matt Maiellaro, with whom Willis would later create many independent short films and eventually create the popular Adult Swim cartoon Aqua Teen Hunger Force. Aqua Teen Hunger Force first premiered unannounced in the early hours of December 30, 2000 and later officially debuted on Adult Swim in the Fall of 2001. In 2005, he co-created the show Squidbillies. His works mostly fall into the genre of surreal humour.

In 2010, Willis created Cheyenne Cinnamon and the Fantabulous Unicorn of Sugar Town Candy Fudge, a new television pilot for Adult Swim. The pilot aired on March 29, 2010, and was not picked up for a full series. In 2010, Willis co-wrote "New Kidney in Town", an episode of Family Guy.

Personal life
Willis was born in Wichita Falls, Texas, and was raised mostly in Conyers, Georgia. He graduated from Wake Forest University and was station manager at Wake Radio. He resides in Atlanta with his wife and two children, Max and Sadie.

title: Dave Willis


text: User talk:24.83.201.138

title: User talk:24.83.201.138


text:
Lithium orotate

Lithium orotate (C5H3LiN2O4) is a salt of orotic acid and lithium. It is available as the monohydrate, LiC5H3N2O4·H2O. In this compound, lithium is non-covalently bound to an orotate ion, rather than to a carbonate or other ion, and like other salts, dissociates in solution to produce free lithium ions. It is marketed as a dietary supplement, though it has been researched minimally between 1973–1986 to treat certain medical conditions, such as alcoholism and Alzheimer's disease.

While lithium orotate is capable of providing lithium to the body, like lithium carbonate and other lithium salts, there are no systematic reviews supporting the efficacy of lithium orotate and it is not approved by the U.S. Food and Drug Administration (FDA) for the treatment of any medical condition.

Effectiveness
In 1973, Hans Nieper reported that lithium orotate contained 3.83 mg of elemental lithium per 100 mg and lithium carbonate contained 18.8 mg of elemental lithium per 100 mg. Nieper went on to claim that lithium did not dissolve from the orotate carrier until it passed through the blood–brain barrier; however, a 1976 study documented that lithium concentrations within the brains of rats were not statistically different between equivalent dosages of lithium from lithium orotate, lithium carbonate, or lithium chloride. However, another study in 1978 study showed that eight hours after intraperitoneal injections brain lithium concentrations of rats were significantly greater after lithium orotate than after lithium carbonate. While little serum lithium remained at 24 h after injection of 2·0 m equiv kg−1 lithium carbonate, two‐thirds of the 2 h serum lithium concentration was present 24 h after lithium orotate. Furthermore, the 24 h brain concentration of lithium after lithium orotate was approximately three times greater than that after lithium carbonate. These data suggest the possibility that lower doses of lithium orotate than lithium carbonate may achieve therapeutic brain lithium concentrations and relatively stable serum concentrations. A year later, Smith and Schou repeated the experiment at a higher dose (2 mM Li+) and found that the higher concentrations in the brain could be possibly accounted for by decreased renal function in rats treated with lithium orotate. The proponents of lithium orotate have since criticized the results by citing the fact that the dose of lithium orotate used in the study was in the toxic range. In 2022, Pacholko redid the experiment and showed lithium orotate to have a safer kidney profile than lithium carbonate, it also showed that both had an increased TSH only in females, but the increase was lower in the orotate group.

The pharmacokinetics of lithium orotate in human brains is poorly documented, and there is no known mechanism by which orotate ions could alter the pharmacokinetics of dissociated lithium ions, however, lithium intake appears to be effective even at low doses, and this may account for lithium orotate's claimed effectiveness.

The reason why lithium orotate is poorly studied as a medication compared to lithium carbonate is concerns raised in 1979 regarding the potential amplified renal toxicity of lithium orotate in comparison to lithium carbonate. These concerns were likely based on the results of the use of excessively high concentrations of lithium orotate in the studies. As a result of these concerns, the clinical application and research of lithium orotate were halted for decades since the 1980s. Still, interest in lithium orotate has been rekindled, and research into its use as medication was resumed in the 2010s. The renewed interest is largely due to its purported ability to achieve higher serum and brain lithium-ion (Li+) concentrations than those observed from equivalent doses of lithium carbonate, a claim first made in 1978.

Safety
Preliminary studies seem to indicate that lithium orotate is safe if taken at lower dosages; a 6 month alcoholism cessation study led to only minor adverse effects in 8 out of 42 patients. However, the lack of safety studies and the OTC status raises concerns. Attention to it was specially raised in medical literature after a case report of an 18 year old woman with mild, acute lithium toxicity after taking an overdose (2.16 grams) of a lithium orotate supplement. She was discharged after treatment. Lithium blood levels 90 minutes after ingestion reached 0.31 mEq/L, and an hour later after treatment, 0.40 mEq/L, levels below the serum toxicity level of 1.5 milliequivalents per liter (mEq/L).

Orotic acid can be mutagenic in very high doses of 50 mg/kg in mammalian somatic cells. It is also mutagenic for bacteria and yeast. Although lithium orotate was not shown to be genotoxic, short and long term studies must be performed to guarantee public safety.

title: Lithium orotate