text:
Talk:Gaelic nobility of Ireland

Untitled
If this is about modern Irish aristocrats (of ancient creation), but not old ones such as those at Anglo-Irish, should it say so? --Henrygb 22:20, 8 Aug 2004 (UTC)

Titles created by the British Monarch
How can titles created by the British Monarch still exist in Ireland now it is totally seperate from the Crown that created them? It seems odd for a country to have a nobility without a royalty, doesnt it? --Camaeron 14:12, 12 November 2007 (UTC)

These have significance only in the UK. They have no legal status in Ireland.--Cavort (talk) 13:00, 21 August 2008 (UTC)

McGillicuddy vs O'Sullivan
There is no precedent that I am aware of for a cadet branch/sept of a clann/tribe to be able to assume the title of the prime lineage in the absence of an extant chief of same. The O'Sullivan clan, who have an appointed chief, would be unlikely to agree with the third footnote and the suggestion that a McGillucuddy is now their head. I would recommend that the suggestion of such a practice be supported with references or the substance of the note removed.--Garranes (talk) 13:46, 19 August 2010 (UTC)

 * Anyone can get uninformed, and I was was unaware there was the slightest thing official about the "O'Sullivan Clan" or their website, which is an America-based social club. Thus McGillycuddy is currently what remains of the "Sept of O'Sullivan", and is thus their de facto head, as their remaining noble, until an heir male of the main line or of Beare can be found. It's not his fault or mine if the "O'Sullivan Clan" are not informed enough to be aware of it. They really don't count I don't think. They think Scots should wear tartans. That said the note can certainly be removed. I'm not attached to it and actually hoped it would get a response (although from an actual McGillycuddy or O'Sullivan!) DinDraithou (talk) 15:00, 19 August 2010 (UTC)

 * I suppose I just saw it first. It's a bit ungenerous to suggest the O'Sullivan clan is just a social club.  Both they and the McGillicuddys are members of Clans of Ireland and take their heritage seriously. (And the Scots got their notion of tartans from the Gaels.  It wasn't until the mid 1800's I believe that the different tartan patterns began to emerge in the Highlands.) I know this is being nit-picky, but you still have (O'Sullivan Mor) listed after the name of McGillicuddy.  The McGillicuddy family seat had been The Reeks for some years but Richard (previous Chief) sold it. It's a lovely place.  I don't know if it would be appropriate to list it as a family seat now though.  The current chief in SA might not be pleased.--Garranes (talk) 16:49, 19 August 2010 (UTC)

 * Alright, I have restored the note with completely new contents, and simple. I'm sure McGillycuddy can be contacted. Regarding the O'Sullivans there has been some madness going on at Talk:O'Sullivan. I'm not sure if the chief you refer to is Gary Sullivan but he and his website have been ruthlessly attacked by an Irish O'Sullivan for the contents of the website and for those of his book "The Oak and the Serpent", which I have not read. Gary actually seems like quite a nice person and so I feel sorry for him and have exited the discussion for now. I was helping them find sources. Gary has now even posted about the attacks on the O'Sullivan website blog. His attacker is an Irish language professional and has been nice to me, but Gary has made him quite angry somehow. DinDraithou (talk) 17:09, 19 August 2010 (UTC)

 * Actually, the McGillicuddy's still are a cadet branch of the O'Sullivan's, not just 'originally'. I took a look at the exchanges on the O'Sullivan talk. It makes me think I may be attempting to be too precise myself...--Garranes (talk) 19:12, 19 August 2010 (UTC)

Eóganachta
I am a little confused about the order of things. Beginning with the Eóganachta, theoretically O'Callaghan should be listed above MacGillycuddy because his sept is considerably older, but I am confused about how their succession went. I have come across it said that the Viscount Lismore line were the Chiefs of the Name, in which case the Spanish Dons assumed the title not long after, and so the chiefship was never restored, but perhaps only went dormant for a short period. As this seems the case I am moving O'Callaghan directly under O'Donoghue. When a real MacCarthy finally appears he will of course belong on top. I am aware of at least one real MacCarthy Reagh out there, a descendant of Donal na Pipi, 13th Prince of Carbery, who has recently been certified as an immemorial noble by the Knights of Malta. He would appear to be elderly and what his family's plans are I do not know. DinDraithou (talk) 20:11, 19 August 2010 (UTC)

 * It would appear the information I had was bad. The O'Callaghans of Spain have apparently been the Chiefs of the Name since the late 18th century. Their pedigree. DinDraithou (talk) 22:43, 19 August 2010 (UTC)

"Irish" nobility
I think there are some POV issues with some recent edits around this article re: who is an "Irish noble" and who is not. The distinction seems to have been introduced that makes out that titles created post the Kingdom of Ireland are not "Irish". This appears to be OR or a (rather POV). Use of scare quotes is also an indication of this.

The lead also appears to make arbitrary distinctions between Northern Ireland and Ireland, that seem to be at odds with the subject of the article.

The article also seems to make arbitrary distinctions between Ireland and Northern Ireland. I'm also concerned that cn templates added to the article were simply removed rather than the problems addressed. —Preceding unsigned comment added by Rannpháirtí anaithnid (talk • contribs) 19:47, 9 October 2010 (UTC)

 * You've just not gotten it and probably haven't even looked at Peerage of Ireland. Those "not accepted as/considered Irish" are not exactly people who want to be considered Irish. Those considered Irish are generally those who want to be. You're imagining some sort of great exclusion committed. Also no mention was made of Northern Ireland at all before you arrived and it really doesn't change anything. DinDraithou (talk) 20:12, 9 October 2010 (UTC)

 * A good part of the reason is that regardless of their changing political situations and attitudes, which varied just as did those of the "native" Gaels, the Old English for the most part became Gaelic speakers, making them a great deal more Irish than English. Even the so-called very "English" Butlers spoke Irish. From the Tudors on proceeded the reverse of Gaelicization and Gaeldom saw little "new blood". DinDraithou (talk) 20:36, 9 October 2010 (UTC)

 * (Since you moved this.) Sure, it appears to make a "ethnic" distinction. That is the problem. It is not so clear cut.
 * If it is Gaelic Irish nobility that this article seeks to be about, I recommend the article be moved to Gaelic nobility or Gaelic nobility in Ireland (including Gaelicised Norse and Normans nobles). A Series template could be used to link relevant articles. In the mean times, I've rewritten the lead completely to remove the problematic statements.
 * However, any statement that someone is "not Irish" if the held or hold an title recongised by the English in Ireland is bound to be problematic. Was Hugh O'Neill not considered Irish? Or Felim O'Neill of Kinard? etc.--RA (talk) 20:56, 9 October 2010 (UTC)

 * I've reverted your move (three times now). Please engage in disucssion before making moves like this, especially when there is a discussion on-going.
 * As I've written above a move is probably a good idea. There are in fact two systems of noble titles in play here: the "Irish" (Gaelic) one and the "English" (non-Gaelic) one. These two systems can be divided cleanly between two articles.
 * A problem I have with Gaelic and Old English nobility of Ireland is that it mixes titles form the "English" system with titles from the "Irish" system. IMHO it should simply be Gaelic nobility of Ireland. That makes it clear what this article is about. The other system being described at Peerage of Ireland. --RA (talk) 21:08, 9 October 2010 (UTC)

 * You made unfortunate allegations before reading the article through, and then started the move-warring. I've nowhere said there is a problem with the English titles. A number are included, two even held by Gaels. Really you should read it through first. Also the article is not done because it lacks a History section. Finally I note on your userpage that you have a particular political or cultural viewpoint not shared by the majority of British and Irish people, hence your allegations.

 * In fact the article is meant to be quite positive and inclusionist because a few of the Chiefs of the Name still don't care for even the Hiberno-Norman nobility, titled or not. So I thought that in this hybrid article I would represent the views of the other Chiefs of the Name who want to include them. See Curley's book in the references for some discussion on this. Get some background. DinDraithou (talk) 21:29, 9 October 2010 (UTC)

 * The original issues I raised have been addressed (by removing the unverified/problem statements). Unfortunately, the page move has raised others, which I have described above @21:08, 9 October 2010. I've invited outside views and will open a new section below. --RA (talk) 22:07, 9 October 2010 (UTC)

Move warring
What exactly is the reason for this? The new title perfectly suits the contents of the article. DinDraithou (talk) 21:07, 9 October 2010 (UTC)

 * Please give others a chance to post to the talk page, as I have finally been able to do above. Moving the page creates an edit conflict.
 * Please see Moving pages and post a proposal to move this page before doing so again. It should be evident from my revert that at least one other editor disagrees with this move. Before making a proposal, you may wish to discuss an appropriate title. --RA (talk) 21:12, 9 October 2010 (UTC)

 * Both of you: stop moving the damn article while I'm trying to post to the talk page. In fact, stop moving the damn article altogether, or I'll move-protect it. Work out some consensus, then move it. If it moves again unilaterally I'll move-protect it at irish title, which I gather neither of you like. TFOWR 21:35, 9 October 2010 (UTC)

 * I didn't start the warring, and suffered an edit conflict myself from one of RA's moverts. DinDraithou (talk) 21:48, 9 October 2010 (UTC)
 * DinDriathou, you moved the page while an discussion was on-going. I reverted. That should have been a signal to follow the steps at Moving page or to discuss your move. By all means be bold but please discuss your edits when invited to do so by others. --RA (talk) 22:25, 9 October 2010 (UTC)

Move to Gaelic and Hiberno-Norman nobility of Ireland
A page move is a good idea to address some of the issues this article recently had. However, the choice of page title raises new problems for the article: what is it about?

A problem I have with Gaelic and Old English nobility of Ireland is that it part mixes titles/nobles from the "English" system (i.e. post 1169) with titles/nobles from those from the Gaelic system. Which holders of "English" titles are included is unclear - or at least the reason why is unclear. While, there was a great deal of exchange between these groups for a certain period, there was a political difference between the two systems and I'm unsure about the arbitrary distinction between "Hiberno-Norman" nobility and later peers of Ireland. Why is a distinction made? Blurring the two gives appearance that these two groups were formed one group. While in the 17th century, they had common cause as Catholics, in earlier periods they did not. Also, do we include Gaelic nobility from before 1169?

The article has recently been changed in focus from discussing nobility in Ireland, regardless of whether they had "English" or Gaelic titles, to making a distinction between "English" and "Irish" titles. I don't think the new title does a good job of even doing that.

If it is to focus on "Irish" nobles only then, in my view, one article on the Gaelic system (including Gaelicised Normans) and one on the "English" system would be clearer way to go. --RA (talk) 22:19, 9 October 2010 (UTC)
 * Please actually read Peerage of Ireland like I have suggested to you above. You will learn that most of those families with "Irish" titles have had nothing to do with Ireland. The problem is not what sort of title they have (Earl, Chief, Baron, Rí) but the history of the family itself. In fact the Old English families in the Peerage of Ireland are considered in both countries to belong to a completely different class from those whose "association" with Ireland, if any, dates from the Tudors or later. DinDraithou (talk) 22:29, 9 October 2010 (UTC)

 * That is precisely the issue that I am referring to. The "Hiberno-Norman" nobility of the current title were those families with "Irish" titles (in scare quotes) that you say "had nothing to do with Ireland". Sure, many of these became Gaelicisied but their titles belonged to the "English" system and were distinct from the Gaelic system. Some of them became so Gaelicised that they adopted Gaelic titles, in which case they could be listed alongside other Gaelic titles in an article solely about Gaelic nobility.
 * You appearing to be classifying nobles (or noble families) by some perceived notion of "ethnicity": listing "Irish" nobility here and "not Irish" nobility at Peerage of Ireland. If you are talking about "nobility", which this article purportedly does, classification is much more cleanly a matter of title and origin of that title. Forming a single purported group of Gaelic and pre-Tudor "English" title holders in Ireland doesn't make any sense except in terms of the wars of the 17th century. --RA (talk) 22:53, 9 October 2010 (UTC)

 * Possibly a solution would be to make it clear in the introduction that what is meant by "Hiberno-Norman" in this title are the Gaelicised Norman families, rather than simply all Normans/English in Ireland. Is that what you mean by it? --RA (talk) 23:02, 9 October 2010 (UTC)
 * Hiberno-Norman always means Gaelicized or formerly Gaelicized, to some degree or another, which is enough for eternal memory, because there was no Gaeldom after and there never will be. It never refers to just anyone English in Ireland, and especially never to the later families. DinDraithou (talk) 23:44, 9 October 2010 (UTC)
 * Quite right that it never refers to later families - no less though, it is the "to some degree or another" that is problematic. More of a problem though, is the substantive point, which you have not replied to, that the titles these nobles held were not Gaelic titles, but "English" ones. --RA (talk) 00:13, 10 October 2010 (UTC)
 * I just don't see it as a problem. One of the Chiefs of the Name (O'Brien) also has an English title, and the new Count of Tyrone has a Vatican-created title derived from the 1st English creation. A number of the other Gaelic nobles have Continental titles. A few more of the Chiefs of the Name without English titles have become very English over the last three centuries, for example the O'Donovans, and have somehow managed to get the English to recognize their Gaelic titles, which almost makes them English titles of a kind. As far as the old Hiberno-Norman families their English titles often gained the additional meaning of chief or independent magnate. The great example was Earl of Desmond. Yes it says "Earl" and they came from England-Wales, but at their height they were more powerful than the MacCarthy princes and could have rivaled the Uí Néill if it came to it. The result was they became highly respected by the Gaels for in their own way making the lordships their own. They weren't England's to take away for a while and everyone knew it. DinDraithou (talk) 01:17, 10 October 2010 (UTC)
 * Good points have been made by both contributors. My sense of it is that the move is justified but that a LOT more definitions need to go into the lead. These definitions should say what it is and what it is not. It should make clear that there are ambiguities but that they are sufficiently distinct differences (with Peerage of Ireland) to justify a separate category. Laurel Lodged (talk) 10:27, 10 October 2010 (UTC)

Most below are verifiable descendants
I dislike this phrase. It undermines the authority of the entire section. My preference would be to exclude those that are not verifiable. A sub-section could be created for those that are less than fully verified. Laurel Lodged (talk) 10:39, 10 October 2010 (UTC)

 * I added "verifiable" by accident and see the confusion it causes. All are descendants of kings or other nobility. DinDraithou (talk) 14:46, 10 October 2010 (UTC)

Mac William Uachtar
Shouldn't that read "Mac Liam Uachtar", seeing as there is no "W" in Gaelic? or even read "Mac Liam Uachtar (Mac William Upper)" ? Laurel Lodged (talk) 11:00, 10 October 2010 (UTC)

 * I don't know anything about the title, but I believe William in Irish was originally Uilliam, later contracted to Liam. Scolaire (talk) 12:22, 10 October 2010 (UTC)

Improving the article
Cross-posted from Talk:History of Ireland: To be honest, I'm not wild about either the old version of this article or the new one. Neither of them seems to know what it's about. What's wanted, it seems to me, is a collaborative effort to organise the article in some sort of coherent way e.g. Pre-Norman Taoisigh, historic Gaelic nobles, historic Anglo-Irish nobles, current existing families and current heads, and to decide on a consistent format i.e. list, text or text followed by list. As it stands (or as it stood last week) it is unhelpful to those who know the subject and unintelligible to those (including me) who don't. Scolaire (talk) 12:40, 10 October 2010 (UTC)

 * Agree. I believe if it could be determined what this article is about everything else (including the title) would flow from that. I'm going to propose another move below that might clear that up. --RA (talk) 13:26, 10 October 2010 (UTC)

Requested move
Gaelic and Hiberno-Norman nobility of Ireland → Gaelic nobility of Ireland — There is a lack of clarity to what this article is about - or at least a lack of clarity to the reason why some titles of English origin are included alongside Gaelic ones, and why some are not. Personally, I think a clean division between Gaelic titles and titles of English origin would provide clarity around the topic. The upshot of this move would be to create two major articles:

 * The current Peerage of Ireland, which is about "English" titles.
 * This one, which would be about Gaelic titles.

Of course some people held both, and some dynasties moved from one to the other, in which case those people would appear on both lists/articles but each title would only appear in one.

There is of course a complication to this in that many of the people who held "English" titles became Gaelicised to some extent. However, the alliances between Gaels and Norman nobles and the Gaelicisation of nobles of "English" title are better dealt with elsewhere rather than mixing the two up. --RA (talk) 13:26, 10 October 2010 (UTC)

I see it's been moved. --RA (talk) 14:40, 10 October 2010 (UTC)

 * The move seems to resolve the current disagreement. For the future, I don't think that splitting the article is the way forward. Readers who want to know about the nobility in Ireland don't want to have to find out in advance which nobility they want to know about. As I said above, arranging the article into logical sections and improved clarity of writing should make the distinctions clear. As I also said above, the distinction between historic and modern is as important, or more important, than the distinction between Gaelic and "English". Even in the seventeenth century there was not very much difference between, for instance, O'Neills and Fitzgeralds. Scolaire (talk) 15:05, 10 October 2010 (UTC)

 * You are quite right, and the original title Irish nobility was best. All the article needed was more historical discussion and better sectioning. But I'm finished fighting with RA. Currently those missing can be found at Talk:Hiberno-Norman. DinDraithou (talk) 15:16, 10 October 2010 (UTC)

 * It is for comments such as yours, Scolaire, that the RM process exists. One bold move followed by another is no substitute for discussion. We need to decide what this article is about. Now we're being told the original title was "best"? Good heaven! I reverted you three times yesterday, DinDriathou, when you moved the article from that location. Now you want it back? What is going on here? --RA (talk) 15:30, 10 October 2010 (UTC)

Warring again already?
Did we not say that collaboration is the way to go on this article? Discussion by edit summary is the least useful form of collaboration. How about some dialogue, lads? Scolaire (talk) 15:11, 10 October 2010 (UTC)

 * Thanks, Scolaire. I've just posted a comment to that effect on DinDraithou. TBH, I'm about to walk from this article. --RA (talk) 15:26, 10 October 2010 (UTC)

 * Inappropriate use of this talkpage. Got anything else to say? DinDraithou (talk) 16:07, 10 October 2010 (UTC)

Eh, no guys! RA, it's not one-sided - you did a "copy-edit" without prior discussion. There's a pair of you in it. Now RA is "about to walk" and DD is "finished fighting with RA". Is that collaboration? Not in my book. Scolaire (talk) 16:15, 10 October 2010 (UTC)

 * I'll leave it to someone else. When it comes to edit warring over a talk page comments, I feel like I've fallen through the rabbit hole :-) --RA (talk) 16:45, 10 October 2010 (UTC)

 * That is bizarre indeed! I hadn't noticed it when I posted the above comment. There's also this rather dubious post on the History of Ireland talk page. Looks like somebody has issues. Scolaire (talk) 17:15, 10 October 2010 (UTC)

 * This is surprising and unfortunate, Scolaire. I didn't think you and I had a problem, but I see you two are friends. Do you plan to contribute to this article (if you can) or just continue to socialize? DinDraithou (talk) 17:30, 10 October 2010 (UTC)

 * We are on speaking terms. I wouldn't call us friends particularly. You and I didn't have a problem before now, but if I see strange or inappropriate behaviour from anybody I call it. I don't ever just socialise. Whether I plan to edit this article (I am already contributing) is my business and nobody else's. Scolaire (talk) 17:37, 10 October 2010 (UTC)
 * You keep calling it! I'm sure RA is impressed and will reward you. DinDraithou (talk) 18:04, 10 October 2010 (UTC)

What on earth seems to be the problem here. Given the move-warring and reverts in the article 'and the talk page -not to mention some of the remarks made on this talk - I would have expected some serious content dispute (perhaps worthy of a Norwegian peace-keeping mission) but I can't really understand what you seem to disagree about?

Anyway, to me this appears to be a list of Gaelic nobilty of Ireland, that is well&good and worthy of an encyclopaedic article. (I would have liked us to have a more general article on what "nobility in Ireland" is and has been too- but that may not be this article). Concerning the current article: Given that there is no official recognition of Irish Chiefs since 2003, what sort of criteria is used/ should be used for which families to list as "Irish nobility"? Finn Rindahl (talk) 20:20, 10 October 2010 (UTC)

 * That's what I meant by a collaborative effort. Ideally we would have a structure: for instance, historical background on Gaelic chiefs and Anglo-Irish lords followed by lordship in modern Ireland to 1922 or 2003 followed by who is entitled to what or who claims what today. It needs input from people with expertise in each of several different areas. Scolaire (talk) 21:49, 10 October 2010 (UTC)
 * Do something. So far you have done nothing. You're still on the talk page. Meanwhile I've been adding sources and doing further cleanup. If you can manage better than RA, who seems to favour extensive copy-editing of the contributions of others to make it look like he knows something when he has no background at all, I'll be genuinely impressed. If you can go beyond that and make a genuine contribution it would be great, Scolaire. Give us some content. Or am I supposed to write everything you would like to see? DinDraithou (talk) 22:55, 10 October 2010 (UTC)
 * Commenting on the talk page, offering suggestions for what the article should include and pointing out stuff that needs to be sourced/rewritten is doing something. Extensive copy-editing of what others have contributed is what wikipedia is about. And removing other users copyediting with the summary "unhelful" certainly doesn't come across as an invitation to others to edit the article. Whenever there's a disagreement on content (I haven't yet figured out what you people disagree about, but it has to be something..), using the talk page to make suggestions is exactly what should be done. If we cooperate, we can come up with something better than any of us could do by themselves, but that requires a different kind of communication than I've seen so far on this talk page. Finn Rindahl (talk) 23:41, 10 October 2010 (UTC)
 * I'm the only one with any sources and it will probably stay that way. I have no confidence anyone here with the possible exception of Laurel, who is genuinely interested and has some related background, will be helping. Honestly I don't think you will either, Finn. You'll lose interest. So this is all pretty meaningless. DinDraithou (talk) 00:41, 11 October 2010 (UTC)
 * Well, I certainly have no interest in engaging with anybody who takes that sort of an attitude! Sources on what? What is Laurel's "related background"? What is the point of anybody adding and sourcing content when nobody knows what the article is supposed to be about and how it is to be structured. And when they know in advance that you are going to do a knee-jerk revert with a snotty comment? What are your sources on pre-Norman Irish history and society, and where is the evidence of them in this article? Saying there was such a thing as Rí túaithe and Rí ruirech (without citations) is not exactly a strong background to the Gaelic lords, is it? So which is it to be? Are you willing to collaborate or will you just continue to assert ownership of the article and write what you please? Scolaire (talk) 07:29, 11 October 2010 (UTC)
 * It is easy to claim someone else is owning an article when you have nothing to contribute to it yourself. What of RA's "work" I did revert I reverted because it was bad. He was hastily trying to assert control because he felt a conflict had started, and was not really trying to improve anything, just change it. What did not make the article look poorer I let stay. As far as the Rí, if you don't know anything about them, who were central in Gaelic Ireland, then you have no business here and are doing nothing more that RA, except staying on the talk page. You don't know anything (yet) and are trying to find a way to assert yourself. Finding unfamiliar terms is easy and isn't contributing. I've quickly checked your work since 2005 and find no evidence you have any business here... yet. This is not the sort of article where a part-time socializer, or in RA's case an aspiring admin, can do much good for his career... if you're not willing to do some extensive reading of unfamiliar material. But if you or anyone manages to do something for the benefit of the article it will stay. I have a good history of working with respectable editors. Notice that when I chastised you (when you were busy socializing with your angry friend and calling me "bizarre" for his benefit) into actually reading the article for the first time, and making some observations, I respected them and made changes. It was to put you to work and show I would work with you. Yet you say I am owning. What a joke. You sound like a proper newbie. DinDraithou (talk) 13:17, 11 October 2010 (UTC)

 * That is a post of such abysmal ignorance that I will not respond to anything in it. This is a piss-poor article and I have no interest in improving it if it means being patronised by the likes of you. Goodbye and happy editing. Scolaire (talk) 17:35, 11 October 2010 (UTC)

This unedifying discussion does no credit to anybody and can only damage the reputation of all concerned. Laurel Lodged (talk) 20:27, 14 October 2010 (UTC)

Inline citations
"The Gaelic nobles" has no inline citations at all, just a number of footnotes, also unsourced. I'd like to know what the sources are for the following statements: Is all of this from Burke's Peerage? If so, what page(s)? Scolaire (talk) 17:34, 10 October 2010 (UTC)
 * Any Irish Chief of the Name descended in the male line from a rí may style himself a Prince if he so chooses...
 * A number of rí ruirech also became Ard Rí and their surviving princely descendants remain claimants to the High Kingship to this day.
 * The remainder...are at the very least allowed to style themselves lords, if they so choose.
 * A noble chief or lord may be styled a flaith (originally meaning prince) or tiarna.

 * That's good, Scolaire! Very nice! No, hardly in Burke's. Now the two about choosing I will rewrite or remove soon because I haven't been quite satisfied with them. They can be sourced but don't really need to be there; the current styles of the chiefs say as much. The other two I will find the sources for soon because they need to stay. DinDraithou (talk) 17:48, 10 October 2010 (UTC)

 * If that's meant to be patronising it doesn't work; it just comes across as creepy! You'd do better to leave out the personal comments altogether. Scolaire (talk) 17:54, 10 October 2010 (UTC)
 * Creepy! You keep calling it! Ha! DinDraithou (talk) 18:06, 10 October 2010 (UTC)

Reign of Terror
Here alone for too long, I'm now sick of this article, so I'm unwatching it. DinDraithou (talk) 23:39, 12 October 2010 (UTC)

Tyrone?
I remove the following passage as unsourced:
 * Not contesting the title of O'Neill, Prince of Ulster (currently) is the newly restored Count of Tyrone, Jacobus de Tyrone, Comes (Vatican 2006).<:ref>NB, This name in its Latin form sometimes appears in the accusative case as "Jacobum", but Latin names are correctly given in the nominitive case as "Jacobus" (i. e., James).

The misspelt footnote on schoolboy Latin is all there is as a source. Who is this person? Is this the Martiniquais O'Neills about whose claims Complete Peerage is so scathing? Septentrionalis PMAnderson 00:43, 23 April 2011 (UTC)

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Hayato Tani

Hayato Tani (谷 隼人) is a Japanese actor and television presenter best known for his career as General Tani in Takeshi's Castle and Commander Sugata in Hikari Sentai Maskman.

Biography
He was born in Kirishima, Kagoshima, Japan and raised in Sasebo, Nagasaki. He married his first wife in 1971 and married his second wife, Kikko Matsuoka, in 1981, after they appeared in several television shows together. Tani is currently writing a dining guide wherein he discusses maintaining a healthy lifestyle. Tani's roles include General Tani (General Lee in UK and Indian versions) in Takeshi's Castle ("Captain Tenneal" in the U.S. version MXC) and Commander Sugata in the 1987 Super Sentai series Hikari Sentai Maskman. He is also sometimes credited as Hayati Tani.

Film

 * Rampaging Dragon of the North (1966)
 * Zoku Soshiki Bōryoku  (1967)
 * School of the Holy Beast (1974), Kenta Aoki

Television

 * Key Hunter (1968–73), Tatsuhiko Shima
 * Tokugawa Ieyasu (1983), Ōno Harunaga
 * Takeshi's Castle (1986–1990), General Tani / Lee
 * Hikari Sentai Maskman (1987–1988), Commander Sanjuro Sugata
 * Takeshi's Castle (2023), General Tani

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

title: Hayato Tani


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Category:Hospital ships

This is the category of hospital ships.

title: Category:Hospital ships


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User:Conti/MyWatchlists/SVGuy

If you wonder why this page exist: I always wanted more than one watchlist, so I could sort them by categories or whatever. If you click on "Related changes" to your left, you get a site which shows every recent edits made for the articles that are linked from this article. I found this lately, which uses this feature have a small watchlist over the article the user created. I use this method to create a few sub-watchlists for me to keep my overview of things. :-)

Beetlejuice (Cartoon series)Talk:Beetlejuice (Cartoon series) Danny PhantomTalk:Danny Phantom Ellipse ProgramméTalk:Ellipse Programmé HergéTalk:Hergé Jim HensonTalk:Jim Henson Kablam!Talk:Kablam! List of comic booksTalk:List of comic books List of Nickelodeon showsTalk:List of Nickelodeon shows List of unseen charactersTalk:List of unseen characters NelvanaTalk:Nelvana Nickelodeon (TV channel)Talk:Nickelodeon (TV channel) Nicktoons Film FestivalTalk:Nicktoons Film Festival Nicktoons TVTalk:Nicktoons TV Oh Yeah! CartoonsTalk:Oh Yeah! Cartoons Sesame WorkshopTalk:Sesame Workshop The Fairly OddParentsTalk:The Fairly OddParents The Jim Henson CompanyTalk:The Jim Henson Company The Adventures of TintinTalk:The Adventures of Tintin

title: User:Conti/MyWatchlists/SVGuy


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Eskişehir Province

Eskişehir Province is a province and metropolitan municipality in northwestern Turkey. Its area is 13,960 km2, and its population is 906,617 (2022). Its adjacent provinces are Bilecik to the northwest, Kütahya to the west, Afyon to the southwest, Konya to the south, Ankara to the east, and Bolu to the north. The provincial capital is Eskişehir. Most of the province is laid down in Central Anatolia Region. Northern parts of Mihalıççık district and ones of Mihalgazi and Sarıcakaya are located in the Black Sea Region and one of them belong to the Aegean Region.

Eskişehir is an old and culturally developed province of Turkey. Eskişehir has 2 universities, Eskişehir Osmangazi University and Anadolu University, which is the largest university in Turkey and which has some branch offices in Europe.

Geography
Eskişehir has a cold semi-arid steppe climate (BSk) according to Köppen climate classification. It features warm to hot dry summers and cold to freezing winters.

Districts
Eskişehir Province is divided into 14 districts:

 * Alpu
 * Beylikova
 * Çifteler
 * Günyüzü
 * Han
 * İnönü
 * Mahmudiye
 * Mihalgazi
 * Mihalıççık
 * Odunpazarı
 * Sarıcakaya
 * Seyitgazi
 * Sivrihisar
 * Tepebaşı

Demographics
Eskişehir's population has a high literacy level of 99%. Many universities and military installations are located in and around the city. Turkish technical students are concentrated in the Eskişehir universities. Infrastructural problems have been partially solved in 2004 with the construction of a tram system.

Eskisehir, and neighboring cities were the major settlement area for the descendants of the founders of the Ottoman Empire, about 1000 years ago. Many villages in the province carry the names of the Turkish tribes/clans from those times. Some people in the city of Eskişehir trace their family origin back to Crimea and the Caucasus. There are also descendants of Turkish immigrants from the Balkans fleeing war and persecution.

Meerschaum
Eskişehir is internationally known as the source of Meerschaum, a white foamy stone which is used for making smoking pipes with detailed carvings. The stone is called lületaşı in Turkish.

Archaeological discoveries
In August 2019, researchers head by Prof. Murat Türkteki announced the discovery of two skeletons dating back about 5,000 years in the same sarcophagus in Early Bronze Age settlement Küllüoba. Excavators assumed that one of the skeletons was a 13-year-old girl and other was a man in his late 30s.

In August 2020, archaeologists head by Prof. Murat Türktaki revealed a 5,000-year-old paint palette made of stone in the Seyitgazi district at the Küllüoba site. According to Türktaki, this palette was used for painting dishes.

In March 2021, discovery of the marble sarcophagus  which is 1.5 meters tall and 33 centimeters wide in the Seyitgazi district at the Küllüoba site was announced by the municipal workers while construction work.

title: Eskişehir Province


text: User talk:80.111.44.149

title: User talk:80.111.44.149


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User talk:Jarle~enwiki

test2

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Jarle. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Jarle~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 00:38, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 14:15, 22 April 2015 (UTC)

title: User talk:Jarle~enwiki


text: User talk:80.5.160.5

title: User talk:80.5.160.5


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Digital zoom

Digital zoom is a method of decreasing the precise angle of view of a digital photograph or video image. It is accomplished by cropping an image down to an area with the same aspect ratio as the original, and scaling the image up to the dimensions of the original. The camera's optics are not adjusted. It is accomplished electronically, so no optical resolution is gained. Digital zooming may be enhanced by computationally expensive algorithms which sometimes involves artificial intelligence.

In cameras that perform lossy compression, digital zoom is preferred to enlargement in post-processing, as the zooming may be applied before detail is lost to compression. In cameras that save in a lossless format, resizing in post-production yields results equal or superior to digital zoom.

Lower-end camera phones use only digital zoom and do not have optical zoom, while many higher-end phones have additional rear cameras, including fixed telephoto lenses that allow for the simulation of optical zoom. Full-sized cameras generally have an optical zoom lens, but some apply digital zoom automatically once the longest optical focal length possible has been reached. Professional cameras generally do not feature digital zoom.

Not-deteriorated zoom limit
An optical zoom camera can be zoomed to its optical limit, and further zooming is sometimes allowed by digital zoom. Digital zoom uses the centre area of the optical image to enlarge the image. By reducing the image size, digital zoom occurs without image deterioration of the output image, and some cameras have a "not-deteriorated image" mode or an image deterioration indicator.

The table below shows the not-deteriorated zoom limit for some megapixel (MP) image sizes of a particular camera with optical zoom 24x, and digital zoom 4x for its maximum capability:

Some camera firmwares store lossily digitally zoomed images with accordingly reduced dimensions (width and height) rather than upscaling it to the original raster resolution. The benefits are reduced file sizes and the ability to calculate the zoom level from the image's dimensions, if not included in its meta data.

Cameras may have an intelligent zoom feature that allows an additional magnification of 2.0× on top of its optical zoom. Many cameras have 2 options: 1.4× and 2.0×. The intelligent zoom only uses the centre of the image sensor and does not interpolate the original resolution, so the resulting image quality is good in reduced resolution.

Hybrid zoom is a concept used in smartphones that takes advantage of optical zoom, digital zoom, and software to get improved results when zooming in further than the lens' physical capabilities. Smartphones with optical zoom have lenses with 3× or 5× magnification. Trying to zoom in further than this limit may result in loss of quality as the camera switches to digital zoom, though hybrid zoom may mitigate this. Many cameras, including mobile phone cameras, also employ lossless digital zoom for video recording by using the spare resolution of the image sensor for cropping by taking advantage of used video frame resolutions often being significantly below the available resolution of the image sensors.

This means that, for example, if implemented correctly by the camera hardware and software, a 2160p image sensor would enable up to 2× lossless digital zoom for 1080p video recording, 3× for 720p video, and 4.5× for 480p video by using image sensor cropping.

The terms among camera and image sensor manufacturers are "Smart Zoom" (Sony), "Safe Zoom" (Canon), "Sensor Crop" (Cisco) and "Intelligent Zoom" (Panasonic and others). There are also cameras with digital zoom functions as high as 7.2× and Smart Zoom with approximately 30× total zoom (optical zoom 20× and digital zoom 1.5×) for 7MP from 16MP total resolution, and also 144× total zoom (optical zoom 20× and digital zoom 7.2×) for VGA 640x480.

Aesthetic
Photographers can purposefully employ digital zoom for the characteristic low-fidelity appearance of the images it produces. The appearance of poor quality in photographs can be intentionally used to imply carelessness on the part of the photographer and a sense of candidness in the photograph.

title: Digital zoom


text:
Wikipedia:Articles for deletion/Ha'ole

I'm listing Ha'ole not because I think it needs to go, but because User:Zora has been blanking it. I've told her it needs to go here.

Now, I'm not sure what her problem is with the article. It may be that she thinks it's a misspelling (Ha'ole for Haole). I hope she comes here so we can discuss this. — Chameleon Main/Talk/Images 22:31, 8 Aug 2004 (UTC)

Hi folks. The problem is that one user was propagating a common folk etymology for the Hawaiian language/Hawaiian pidgin term haole. In the Hawaiian language, haole means 'foreign'. In pidgin, it means 'white' or 'Caucausian' and is often said with a sneer (by non-Caucasians).

There is a folk belief that haole is composed of two Hawaiian words, ha and ole, ha meaning 'breath' and ole meaning 'not'. The explanation is that whites don't do the honi, the Polynesian/Hawaiian cheek-sniffing, and so they were described as 'breathless'. The implication is that haoles are aloof and ignorant -- which is what a lot of 'locals' think of haoles in any case.

This folk etymology is completely bogus. First of all, there are innumerable citations from Hawaiian showing that haole simply means 'foreign'. Including words like haole 'ele'ele for a dark-skinned foreigner. Second, the word 'breath' is ha (with a macron or kahako over the a), not plain ha. The word 'not' is 'ole, with a glottal stop or 'okina, not ole, which means 'fang'. Only someone who had didn't speak Hawaiian, and knew it only through the old missionary spelling that didn't include kahakos and 'okinas, would come up with such an etymology.

The usual response to this criticism is to claim that the original word was ha'ole, and that haole is just a variant. No reputable Hawaiian linguist believes this, as there are no citations for the word and the proposed change is not consonant with other sound changes undergone by Hawaiian over the centuries as it evolved away from a hypothetical proto-east-polynesian ancestor.

The fictitious word ha'ole was added to Wikipedia by Ilikea (who seems to have left in a huff, despite numerous messages from me urging a face-to-face meeting in Honolulu so we can thrash out our differences) in an attempt to bolster the folk etymology. Since I've deleted the folk etymology from haole, I don't think there's any need for ha'ole. Certainly not for a whole page devoted to it.

I've left any mention of the folk etymology off the haole page (I wasn't going to put a lot of effort into the page until the edit wars were over) but I can copy the 'folk etymology' explanation onto the haole page so that anyone looking for it can find it. I don't think they'd be looking under ha'ole in any case!

Zora 22:55, 8 Aug 2004 (UTC)

 * No vote: Blanking a page without discussion on VfD is entirely inappropriate, and can lead to the user being blocked from editing.  If you have problems with the content of the page, you can edit it to correct the content, but don't just blank.  RickK

 * Redirect with an explanation at haole as to why "ha'ole" is used and why it is wrong. -Sean Curtin 00:31, 9 Aug 2004 (UTC)

 * We should decide which form is correct, then incorporate the content from the other article into that one, then make the wrong one a redirect to the right one. I have no opinion about which is correct, because I don't know Hawaiian/Hawai'ian.    — Chameleon Main/Talk/Images 00:56, 9 Aug 2004 (UTC)

 * Keep and redirect as above. You didn't need to bring the page here. Although you cannot blank a page without discussion on VfD, it is quite legal and acceptable and common to change a page to a redirect and to merge its data (which accomplishes much the same thing as blanking but without leaving a blank, orphaned article). Common misspellings and alternative spellings are good reasons for redirects in any case. Making the article into a redirect and providing a good discussion in Haole with arguments on both sides helps insure that another separate Ha'ole won't be created and is better for convincing people that the matter is known about and has been looked at. Just saying it has been disproved is hardly enough, if others believe strongly that it hasn't. Your discussion on the matter in this page (which I find reasonably convincing as one who has a degree of linguistic knowledge) should probably be revised and inserted into the Haole article. The best defense is an NPOV discussion in the page. You don't have to say the etymology is wrong if you instead show the difficulties in supporting it. Jallan 01:04, 9 Aug 2004 (UTC)

 * Zora, by all means write your account and explanation on the page's Discussion link and, if you feel that it is vital, please insert a {disputed} tag on the page that will direct readers to the discussion. I think your account is compelling and persuasive, but your actions are destructive.  Please try to help out our readers and fellow editors by using the Talk pages so that we can agree. Geogre 02:18, 9 Aug 2004 (UTC)
 * Redirect: I'm on the fence about the redirect. I almost think having some account of how disputed the word is is helpful to those mistakenly searching this way, which is why the Discussion tab might have allowed it, after paring down the patently and provably false information.  (In other words, it sounds like it's important that people know why they got redirected and what kind of mistake is involved, though that can be covered in the Haole article. Geogre 03:56, 9 Aug 2004 (UTC)

I did not intend my actions to be destructive. I simply did not understand how deletions worked. I've never run into this sort of problem before now -- in my whole three or four month Wikipedia history :/ I have reworked the haole article to include the folk etymology. Can the ha'ole article now be cut down to a redirect to haole? It includes some incredibly strange woo-woo Huna stuff and I hate to think of someone actually taking it seriously.

I should add that ha'ole is a purely hypothetical word that is NOT used. Some responders here seem to think that it's an actual word. No, it's just a guess about the past, like the various versions of 'Indo-European' that linguists have hypothesized.

I'll end with a question: where, o where, do I find a link to the escaped characters that Wikipedia uses for non-Latin-1 characters? I can never remember the code for the glottal stop, and I'd need ten codes (upper and lower case for a, e, i, o, u) to do the kahakos correctly. The codes I've seen don't look like the standard HTML codes (&#699 for the Hawaiian glottal stop, frex). Zora 02:43, 9 Aug 2004 (UTC)

 * Āā Ēē Īī Ōō Ūū ʻ or ‘
 * These should do the job.   — Chameleon Main/Talk/Images 07:49, 9 Aug 2004 (UTC)

 * Thanks ever so much. So they ARE the regular HTML codes. I've pasted an aide-memoire on my own page, and I think I'll make a little list (!) to hang up above my computer. I'll need them when I make an HTML version of Ka Mo'olelo o La'ieikawai for Distributed Proofreaders.  Zora 09:39, 9 Aug 2004 (UTC)

 * You'll find most of the information you need just by looking it up on Wikipedia itself. For example, Kahako and 'Okina.   — Chameleon Main/Talk/Images 10:43, 9 Aug 2004 (UTC)

Comment Wait. So you're saying that ha'ole is two actual Hawaiian words that translate to no breath and that have a common folk etymology and linguists dispute this? Sounds article-worthy to me. The Steve 18:34, Aug 9, 2004 (UTC)

 * Nononononono. Haole is the word that is used thousands of times a day, spelled and pronounced without a long vowel or glottal stop. Hāʻole is the hypothetical, postulated word that means "breathless" that defenders of the folk etymology say evolved into the ordinary word, by the dropping of the long vowel and glottal stop. Since there is no evidence that hāʻole ever existed, it's Ptolemaic epicycle kind of explanation, summoned out of nowhere to rescue a failing theory.    Zora 18:59, 9 Aug 2004 (UTC)

 * Make into a redirect to Haole. -- Infrogmation 20:43, 12 Aug 2004 (UTC)

title: Wikipedia:Articles for deletion/Ha'ole


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Dans une galaxie près de chez vous

Dans une galaxie près de chez vous (English: In a galaxy near you) is a Quebec French language television series that aired on Canal Famille (later Vrak.TV) from January 25, 1999 to November 25, 2001, and a movie of the same name, released in 2004. The second movie, Dans une galaxie près de chez vous 2, was released in April 2008. There have been rumours of a third movie since 2016, but no official announcements have been made. It is a humorous sci-fi parody.

Synopsis
The series chronicles the long, futuristic voyage of a team of Québécois space explorers who venture outside our galaxy, looking for a planet capable of sustaining life for all humankind in the year 2034, after the destruction of the ozone layer through excessive human pollution, prompting the need to find a new planet Earth. The few habitable planets encountered are ultimately abandoned either because they are already occupied (emphasizing the wrongdoing of invading other civilizations and cultures), or because upon closer inspection they are found to have other problems, such as cow-sized mosquitoes, high radiation levels, dog overpopulation, unsuitable living environment, and other issues.

Using the classic sitcom style, the characters' interactions drive the main plot in the same recurring spaceship sets (the bridge, dormitories, medical room, hallways). Occasionally, scenes are shot outside of the ship on alien planets being explored; these generic alien-world scenes tend to be shot in-studio. The satirical humor of the show is heightened by playing on the fact that the characters themselves recognize the farfetchedness of the universe in which they live and much of the series' comic relief is derived from the look and feel of low-budget set (an alien is obviously a human only painted green, gadgets are recognizable objects, etc.). The script, written by Claude Legault who also plays Flavien, and Pierre-Yves Bernard, plays a lot on clichés of all types, word play (especially Quebec slang), parodies and sketch comedy. A lot of the comedy is also based on the group's dynamics and reactions to certain events, such as the entire crew turning their heads in the same direction every time the captain says the word "mission". Many aspects of the show reflect Québécois culture; some scenes involve a complete picture of traditional Quebec.

The starship, christened Romano Fafard, is led by Captain Charles Patenaude (played by Guy Jodoin), a presumptuous but endearing man prone to making pompous, solemn declarations, with a knack for screwing up when saying proverbs or quoting philosophers. Other members include: Flavien Bouchard (Claude Legault), the radar operator who possesses heightened senses and is in desperate search for his father (it is learned in the last season that his dad is an alien), Bob Dieudonné Marcellin (Didier Lucien), a bald, black chubby man who is the spaceship pilot (the spaceship's dashboard is a bus dashboard, complete with steering wheel) who is best friends with Flavien and who obsesses over two things: food and Petrolia Staneslavsky (Mélanie Ménard). Petrolia is a half-Russian space orphan whose inventiveness seems to cause just as many problems as it solves. She is in a relationship with Flavien. Serge (Réal Bossé) is a humanoid robot Petrolia created, stricken with multiple personalities and abilities and who is constantly falling into disrepair. Valence Leclerc (Isabelle Brossard first season and Sylvie Moreau subsequent seasons) is the ship's psychologist but assumes all medical functions as well. She and the captain are secretly in love (until the last episode of the 3rd season). Brad Spitfire (Stéphane Crête), the resident scientist, is cause for most of the plot conflicts and complications. His main objective is to become captain. He is anti-social, power-hungry, egotistic, Machiavelli an and incredibly weak and sensitive, though generally not of other's feelings. Despite these, actor Stéphane Crête makes Brad one of the series' most amusing and lovable characters.

The show evolved greatly between the first and last season. In the first episode of the second season, two characters disappeared: Falbo Gotta (Paul Ahmarani), the ship's mercenary and protector, and Mirabella Romario (Pascale Montpetit), the ship's doctor who turned out to be a criminal who faked her way to employment on the ship in order to run away from the world police. It is after being finally revealed as an impostor that Mirabella left the ship, followed by Falbo who got lost looking for her. Not long after their departure, Petrolia and Serge were found and filled in their spots. It is revealed in a later episode that Falbo and Mirabella have survived and are living peacefully on the planet they were left on.

Background
The series is a parody of science-fiction works like Star Trek or Red Dwarf and often dealt with environmentalism, humanitarianism, pacifism and ethics. Most members of the team subscribe to these noble morals, with the notable exception of Brad Spitfire.

The title translates to In a galaxy near you, a pun on the classic cinema advertising line Coming to a theatre near you. It was initially set to be broadcast on a mainstream network under the name Vadrouille de l'espace. Patrouille du cosmos (Space Patrol) is the Quebec French language title of Star Trek (France knows it by its original title); Vadrouille de l'espace basically translates to Casual Space Journey. Science fiction being rare in Quebec fiction, the main networks ultimately did risk broadcasting the show. The creators turned to the youth-oriented Canal Famille, the former name of Vrak TV, who welcomed the project. Even though it was presented on a children's channel, its humour is, while caricatural, often relatively mature and sophisticated.

Movie
A movie of the same title and premise was released in 2004. It proved to be a hit with younger and older viewers, and drew unanticipatedly good reviews from intellectual critics. It was also groundbreaking for its impressive special effects accomplished with a small budget and a short filming time, and for being one of the few sci-fi Quebec films, along with In the Belly of the Dragon (Dans le ventre du dragon). The second "Galaxie" movie, "Dans une galaxie près de chez vous 2", was released to theatres on April 18, 2008. A third chapter of "Galaxie" was planned; however, only very little information about it has been made public.

title: Dans une galaxie près de chez vous


text:
HEP (shopping mall)

HEP is a major shopping mall and entertainment center in the Umeda commercial district of Kita-ku, Osaka, Japan. It is a shopping mall consisting of a HEP Five and HEP Navio.

HEP stands for "Hankyu Entertainment Park". The building is operated by Hankyu Hanshin Holdings's real estate investment trust (REIT) subsidiary Hankyu REIT and co-owned by Hankyu REIT (45%) and Hankyu Realty Co. (55%).

HEP Five
HEP Five receives about 17 million visitors annually (2007), making it one of the most visited fashion boutique buildings in the Osaka urban region. The core customers at HEP Five are young people, mostly female, from high school age to their early twenties.

The building itself houses over 100 shops (mostly fashion retail shops catering to young consumers), with restaurants, an event hall, amusement facilities (such as Joypolis and the Ferris wheel), a hanging replica of 2 whales designed by Tatsuya Ishii.

Ferris wheel
The HEP Five building is easily located as it has a large red Ferris wheel with a diameter of 75 metres protruding from its roof (the highest point of the wheel is 106m above the ground, including the height of the building ), which is accessible for a fee.

title: HEP (shopping mall)


text:
Digital poetry

Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.

According to Saum-Pascual (2019), digital poetry is the artistic heir to the avant-garde movements of the second half of the 20th century, including Lettrism, concrete poetry, and conceptual poetry.

A significant portion of current publications of poetry are available either only online or via some combination of online and offline publication. Digital poetry types hypertext, kinetic poetry, computer generated animation, digital visual poetry, interactive poetry, code poetry, experimental video poetry, and poetries that take advantage of the programmable nature of the computer to create works that are interactive, or use a generative or combinatorial approach to create text (or one of its states), or involve sound poetry, or take advantage of things like listservs, blogs, and other forms of network communication to create communities of collaborative writing and publication (as in poetical wikis).

Digital platforms allow the creation of art that spans different media: text, images, sounds, and interactivity via programming. Contemporary poetries have, therefore, taken advantage of this toward the creation of works that synthesize both arts and media. Whether a work is poetry visual art music or programming is sometimes not clear, but we expect an intense engagement with language in poetical works.

History
Early digital poems include Christopher Strachey's love letter generator (1952), the stochastic texts which were indirectly produced by the German mathematician Theo Lutz in 1959 by programming a Z22 of Konrad Zuse; Nanni Balestrini's "Tape Mark I" in Italian, published in 1961; and Brion Gysin's English permutation poems from around 1959, done automatically with the collaboration of Ian Somerville. These and other early digital poems are discussed in C. T. Funkhouser's Prehistoric Digital Poetry.

Hypertext
Hypertext poetry refers to creative works that are interconnected through the mechanics of digitization. This form of cyberpoetry has a specific focus on visual arts that are connected across different mediums. In other words, hypertext poetry is a classification of digital poetry that links the reader to different places in a document or different documents on the Internet. In general, hypertext poetry combines the elements of culture and intertextuality to marry poetry to various digital mediums such as images, videos, texts, and songs.

Hypertext usually falls into two categories: exploratory and constructive. Exploratory hypertext poetry allows users to navigate through a text by interest, engagement, and reflection. This means readers can explore and think creatively about a poem that is digitized on a computer. Constructive hypertext poetry takes a different approach. This poetry is built by an audience over time to create a fully fleshed-out final draft. Along with this, audiences can look at previous versions of the text. In all, the focus of constructive hypertext poetry is how computer software and machinery can enhance the creation of poetry. As such, users can see first-hand the amalgamation of an author's inspiration, writing process, and cultural influences.

The advent of hypertext poetry can be dated back to the mid-1980s. Ted Nelson is often credited for coining the term in the 1960s. Ted Nelson coined the term as he believed printed text would soon be outdated and that literature would move to a more digital sphere. Some people disagree on when exactly the term came to be. "Hypertext" has origins in the 18th century. Moreover, it is believed that Vannevar Bush's description of "the memex" in 1945 also referred to hypertext.

While there are a variety of factors that have caused hypertext to be as well known as it is today, its popularization can be traced back to two particular events. One event is Apple's invention and heavy promotion of the "Hypercard" in 1987. This made hypertext less niche, where thousands of people could now recognize and understand the concept. In addition, there was a large national conference on hypertext held in 1987, drawing participants from multiple studies and disciplines.

Interactivity
Interactive poetry is a form of digital poetry by which the reader may or must contribute to the content, form, or performance of the work, thereby influencing the meaning and experience of the poem. Interaction allows the reader to participate and influence the work and their experience of it.

Interactive poetry is limited to a digital medium as it cannot perform the same function in other media such as print, which limits accessibility. Interactive poetry can also provide a different experience with each reading or from reader to reader so analysis of this type of poetry can be challenging as the experience is not static.

An example of audience participatory poetry is haikU by Nanette Wylde. Elit scholar, Scott Rettberg writes of this project "Nanette Wylde’s haikU (2001) is a project based on principles of user participation and on the use of a randomizing function to produce haiku that startle in the sense of producing unintended juxtapositions—no single author has determined which lines will appear together. The reading interface is a simple, spare web page. Every time a reader reloads the page, a new haiku is produced. Following a link to “Write haiku” individuals can submit their own haiku in three lines, each of which has its own button to post the line to bins of first, middle, and last lines. The poems delivered on each reload of the site are not the individual haiku as submitted by readers, but recombinations of these first, middle, and last lines of haiku pulled together in a variable way. Reloading the page twenty times or so, it is remarkable how many of the poems read as if they have been individually intended by a human intelligence. Most of the haiku, perhaps 80%, cohere quite well as poetry."

Notable poets
• Annie Abrahams

• Paulo Aquarone

• Mez Breeze

• J.R. Carpenter

• John Cayley

• M.D. Coverley

• cris cheek

• Wayne Clements

• Caterina Davinio

• Kate Durbin

• Tina Escaja

• Belen Gache

• Kenneth Goldsmith

• Loss Pequeño Glazier

• Genco Gulan

• David Jhave Johnston

• Chris Joseph

• Eduardo Kac

• Alison Knowles

• Robert Kendall

• Richard Kostelanetz

• Deena Larsen

• Francesco Levato

• Judy Malloy

• María Mencía

• Yucef Merhi

• Nick Montfort

• Jason Nelson

• Philip M. Parker

• Allison Parrish

• Yatin Patel

• Teo Spiller

• Jon Stone

• Stephanie Strickland

• Gianni Toti

• Nanette Wylde

• Young-Hae Chang Heavy Industries

• Jody Zellen

• Komninos Zervos

title: Digital poetry


text:
Ditone

In music, a ditone (ditonus, from δίτονος, "of two tones") is the interval of a major third. The size of a ditone varies according to the sizes of the two tones of which it is compounded. The largest is the Pythagorean ditone, with a ratio of 81:64, also called a comma-redundant major third; the smallest is the interval with a ratio of 100:81, also called a comma-deficient major third.

Pythagorean tuning
The Pythagorean ditone is the major third in Pythagorean tuning, which has an interval ratio of 81:64, which is 407.82 cents. The Pythagorean ditone is evenly divisible by two major tones (9/8 or 203.91 cents) and is wider than a just major third (5/4, 386.31 cents) by a syntonic comma (81/80, 21.51 cents). Because it is a comma wider than a "perfect" major third of 5:4, it is called a "comma-redundant" interval.

"The major third that appears commonly in the [Pythagorean] system (C–E, D–F♯, etc.) is more properly known as the Pythagorean ditone and consists of two major and two minor semitones (2M+2m). This is the interval that is extremely sharp, at 408c (the pure major third is only 386c)."

It may also be thought of as four justly tuned fifths minus two octaves.

The prime factorization of the 81:64 ditone is 3^4/2^6 (or 3/1 * 3/1 * 3/1 * 3/1 * 1/2 * 1/2 * 1/2 * 1/2 * 1/2 * 1/2).

Just intonation
In Didymus's diatonic and Ptolemy's syntonic tunings, the ditone is a just major third with a ratio of 5:4, made up of two unequal tones—a major and a minor tone of 9:8 and 10:9, respectively. The difference between the two systems is that Didymus places the minor tone below the major, whereas Ptolemy does the opposite.

Meantone temperament
In meantone temperaments, the major tone and minor tone are replaced by a "mean tone" which is somewhere in between the two. Two of these tones make a ditone or major third. This major third is exactly the just (5:4) major third in quarter-comma meantone. This is the source of the name: the note exactly halfway between the bounding tones of the major third is called the "mean tone".

Equal temperament
Modern writers occasionally use the word "ditone" to describe the interval of a major third in equal temperament. For example, "In modern acoustics, the equal-tempered semitone has 100 cents, the tone 200 cents, the ditone or major third 400 cents, the perfect fourth 500 cents, and so on. …”

title: Ditone


text:
User talk:Vvim

feel free to drop a note (I'll pick it up later)

title: User talk:Vvim


text:
Active Citizens Transform

Active Citizens Transform was founded in 2004 by Charles Secrett, former Executive Director of the environmental organisation, Friends of the Earth, and Ron Bailey, as a new non-party political movement in the United Kingdom. It aims to mobilise citizens to transform the United Kingdom into a vibrant, participatory and sustainable society. It opposes the "first-past-the-post" electoral system.

ACT published an advertisement in 2005 criticising Labour party members of parliament who promised to support environmental policies but, under pressure from the Labour party's leadership, voted against environmental measures opposed by the British government. The advertisement was criticised by the Advertising Standards Authority for making misleading claims.

One of ACT's main projects was Local Works the successful campaign for the Sustainable Communities Bill. ACT inherited this campaign from the New Economics Foundation.

In 2006, ACT formally merged with Charter88, which in turn merged with the New Politics Network in 2007 to form Unlock Democracy.

title: Active Citizens Transform


text:
Robert Culp

Robert Martin Culp (August 16, 1930 – March 24, 2010) was an American actor and screenwriter widely known for his work in television. Culp earned an international reputation for his role as Kelly Robinson on I Spy (1965–1968), the espionage television series in which co-star Bill Cosby and he played secret agents. Before this, he starred in the CBS/Four Star Western series Trackdown as Texas Ranger Hoby Gilman in 71 episodes from 1957 to 1959. The 1980s brought him back to television as FBI Agent Bill Maxwell on The Greatest American Hero. Later, he had a recurring role as Warren Whelan on Everybody Loves Raymond, and was a voice actor for various computer games, including Half-Life 2. Culp gave hundreds of performances in a career spanning more than 50 years.

Early life and education
Culp was born on August 16, 1930, in either Oakland, California, or Berkeley, California. He was the only child of Crozier Cordell Culp, an attorney, and his wife, Bethel Martin Culp (née Collins). He graduated from Berkeley High School, where he was a pole vaulter and took second place at the 1947 CIF California State Meet.

Culp attended the University of the Pacific in Stockton, California, and later Washington University in St. Louis, San Francisco State, and the University of Washington School of Drama, but never completed an academic degree. He also received acting training at HB Studio in New York City.

Television performances

Culp came to national attention early in his career as the star of the 1957–1959 CBS Western television series Trackdown, in which he played Texas Ranger Hoby Gilman, based in the town of Porter, Texas. It was one of Culp's many appearances in TV Westerns. The pilot for Trackdown was "Badge of Honor", a 1956 episode of Dick Powell's Zane Grey Theatre, in which Culp starred as Gilman.

In 1960, he appeared in two more episodes of Zane Grey Theatre, playing different roles in "Morning Incident" and "Calico Bait". After Trackdown ended in 1959 after two seasons, Culp continued to work in television, including a guest-starring role as Stewart Douglas in the 1960 episode "So Dim the Light" of CBS's anthology series The DuPont Show with June Allyson. In the summer of 1960, he guest-starred on David McLean's NBC Western series Tate.

He played Clay Horne in the series finale, "Cave-In", of the CBS Western Johnny Ringo, starring Don Durant. In 1961, Culp played the part of Craig Kern, a morphine-addicted soldier, in the episode "Incident on Top of the World" in the CBS series Rawhide. About this time, Culp was cast on the NBC anthology series, The Barbara Stanwyck Show and in the NBC Civil War drama, The Americans. Culp was cast as Captain Shark in a first-season episode of NBC's The Man from U.N.C.L.E. (1964). Some of his more memorable performances were in three episodes of the science-fiction anthology series on The Outer Limits (1963–1965), including the classic "Demon with a Glass Hand", written by Harlan Ellison. In the 1961 season, he guest-starred on the NBC's Western Bonanza. In the 1961–1962 season, he guest-starred on ABC's crime drama Target: The Corruptors! and that network's The Rifleman. In the 1962–1963 season, he guest-starred in NBC's modern Western series Empire starring Richard Egan.

In 1964, Culp played Charlie Orwell, an alcoholic veterinarian, in an episode of The Virginian (NBC 1962–1971) titled "The Stallion". That same year, he appeared in yet another Western, Gunsmoke. In the series' episode "Hung High", he portrays an outlaw named Joe Costa, who attempts to frame Matt Dillon for lynching a prisoner who had killed the marshal's friend. In 1965, he was cast as Frank Melo in "The Tender Twigs" of James Franciscus's NBC education drama series, Mr. Novak.

Culp then played perhaps his most memorable character, American secret agent Kelly Robinson, who operated undercover as a touring tennis professional, for three years on the hit NBC series I Spy (1965–1968), with co-star Bill Cosby. Culp wrote the scripts for seven episodes, one of which he also directed and an episode earned him an Emmy nomination for writing. For all three years of the series, he was also nominated for an acting Emmy (Outstanding Performance by an Actor in a Leading Role in a Dramatic Series category), but lost each time to Cosby.

In 1968, Culp also made an uncredited cameo appearance as an inebriated Turkish waiter on Get Smart, the spy-spoof comedy series, in an I Spy parody episode titled "Die Spy". In this, secret agent Maxwell Smart played by Don Adams in effect assumes Culp's Kelly Robinson character, as he pretends to be an international table-tennis champion. The episode faithfully recreates the I Spy theme music, montage graphics, and back-and-forth banter between Robinson and Scott, with actor/comedian Stu Gilliam imitating Cosby.

In 1971, Culp, Peter Falk, Robert Wagner, and Darren McGavin each stepped in to take turns with Anthony Franciosa's rotation of NBC's series The Name of the Game after Franciosa was fired, alternating a lead role of the lavish, 90-minute show about the magazine business with Gene Barry and Robert Stack. Also in 1971, he portrayed an unemployed actor, the husband of ambitious Angie Dickinson, in the TV movie See the Man Run. Culp played the murderer in three Columbo episodes ("Death Lends a Hand" in 1971, "The Most Crucial Game" in 1972, "Double Exposure" in 1973) and also appeared in the 1990 episode "Columbo Goes to College" as the father of one of two young murderers. He also played the murderer in the pilot episode of Mrs. Columbo starring Kate Mulgrew in the title role.

In 1973, Culp almost took the male lead in the sci-fi television series Space: 1999. During negotiations with creator and executive producer Gerry Anderson, Culp expressed himself to be not only an asset as an actor, but also as a director and producer for the proposed series. The part instead went to Martin Landau.

Culp co-starred in The Greatest American Hero as tough veteran FBI Special Agent Bill Maxwell, who teams up with a high-school teacher who receives superpowers from extraterrestrials. He wrote and directed the second-season finale episode "Lilacs, Mr. Maxwell", with free rein to do the episode as he saw fit. The show lasted three years from 1981 to 1983. He reprised the role in the spin-off pilot The Greatest American Heroine and a voice-over on the stop-motion sketch comedy Robot Chicken. During that time, Culp was rumored to replace Larry Hagman as J. R. Ewing in Dallas. However, Culp firmly denied this, insisting he would never leave his role as Bill Maxwell. In 1987, he reunited with Cosby on The Cosby Show, playing Dr. Cliff Huxtable's old friend Scott Kelly. The name was a combination of their I Spy characters' names.

Culp had a recurring role on Everybody Loves Raymond as Warren Whelan, the father of Debra Barone and father-in-law of Ray Barone. He appeared on episodes of other television programs, including a 1961 season-three episode of Bonanza titled "Broken Ballad", as well as The Golden Girls, The Nanny, The Girls Next Door, and Wings. He was the voice of the character Halcyon Renard in the Disney adventure cartoon Gargoyles.

In I Spy Returns (1994), a nostalgic television movie, Culp and Cosby reprised their roles as Robinson and Scott for the first time since 1968. Culp and Cosby reunited one last time on the television show Cosby in an episode entitled "My Spy" (1999), in which Cosby's character, Hilton Lucas, dreams he is Alexander Scott on a mission with Kelly Robinson. Robert Culp also appeared on Walker, Texas Ranger as Lyle Pike in the episode "Trust No One" (February 18, 1995). In 1997, he played a CIA agent and the father of Dr. Jesse Travis on Diagnosis Murder along with Barbara Bain, Robert Vaughn, and Patrick Macnee.

Film performances
Culp worked as an actor in many theatrical films, beginning with three in 1963: As naval officer John F. Kennedy's good friend Ensign George Ross in PT 109, as legendary gunslinger Wild Bill Hickok in The Raiders, and as the debonair fiancé of Jane Fonda in Sunday in New York.

He starred in Bob & Carol & Ted & Alice in 1969, with Natalie Wood. Another memorable role came as another gunslinger, Thomas Luther Price, in Hannie Caulder (1971) opposite Raquel Welch. A year later, Hickey & Boggs reunited him with Cosby for the first time since I Spy. Culp also directed this feature film, in which Cosby and he portray over-the-hill private eyes. In 1986, he had a primary role as General Woods in the comedy Combat Academy. Culp played the U.S. President in Alan J. Pakula's 1993 murder mystery, The Pelican Brief.

Other appearances
Culp appeared in the 1993 live action video game Voyeur as the game's villain, industrialist/politician Reed Hawke. He lent his voice to the digital character Dr. Wallace Breen, the prime antagonist in the 2004 computer game Half-Life 2. The video clip of "Guilty Conscience" features Culp as an erudite and detached narrator describing the scenes where Eminem and Dr. Dre rap lyrics against each other. He only appears in the music video. In the album version, the narrator is Mark Avery.

On November 9, 2007, on The O'Reilly Factor, host Bill O'Reilly interviewed Culp about the actor's career and awarded Culp with the distinction "TV Icon of the Week". Culp played Simon, Blanche's beau, in the episode "Like the Beep Beep Beep of My Tom Tom" when Blanche needs a pacemaker on The Golden Girls.

Screenwriter
Culp wrote scripts for seven I Spy episodes, one of which he also directed. He later wrote and directed two episodes of The Greatest American Hero, including the series finale. Culp also wrote scripts for other television series, including Trackdown, a two-part episode from The Rifleman, and Cain's Hundred.

Personal life
Culp was married five times: to Elayne Carroll (1951–1956), Nancy Ashe (1957–1966), French actress France Nuyen, whom he met when she guest-starred on I Spy (1967–1970), Sheila Sullivan (1971–1976), and Candace Faulkner (from 1981).

In addition to appearing in four episodes of I Spy, two of them written by Culp, in 1969 Nuyen also co-hosted the second episode of the TV comedy Turn-On with him, but the program was never shown, as the series was cancelled after its first airing.

Culp had three sons and a daughter with his second wife, and a daughter with his fifth wife. His son Joseph Culp is an actor and director; his son Jason Culp is a voice actor who has narrated many audiobooks. Culp's grandson, Elmo Kennedy O'Connor, is a rapper and performs under the alias Bones.

Death
On March 24, 2010, Culp died at age 79 after a fall while walking near Runyon Canyon Park in Los Angeles. He was buried at Sunset View Cemetery in El Cerrito. A memorial service was held at Grauman's Egyptian Theater in Los Angeles on April 10, 2010. At the time of his death, Culp had just completed performing a supporting role as Blakesley in the film The Assignment. He was also working on several screenplays, including an adaptation of the story of Terry and the Pirates that had already been accepted for filming and was scheduled to start production in Hong Kong in 2012, with Culp directing. Terry and the Pirates had been Culp's favorite comic strip as a boy, and it was his longtime wish to make a film based on it.

Selected filmography

 * 1957 Alfred Hitchcock Presents (Season 2 Episode 33: "A Man Greatly Beloved") as Clarence
 * 1957–1959 Trackdown (TV series) (71 episodes) as Hoby Gilman
 * 1957–1960 Dick Powell's Zane Grey Theatre (TV series) (3 episodes)
 * (Season 1 Episode 27: "Badge of Honor") (1957) as Hoby Gilman
 * (Season 4 Episode 26: "Calico Bait") (1960) as Deputy Sam Applegate
 * (Season 5 Episode 12: "Morning Incident") (1960) as Shad Hudson
 * 1960 Outlaws (TV series) (Season 1 Episode 1: "Thirty a Month") as Sam Yadkin
 * 1960 The Westerner (TV series) (Season 1 Episode 10: "Line Camp") as Shep Prescott
 * 1960–1962 The Rifleman (TV series) (2 episodes)
 * (Season 2 Episode 19: "Hero") (1960) as Colly Vane
 * (Season 4 Episode 20: "The Man from Salinas") (1962) as Dave Foley
 * 1961 Hennesey (TV series) (Season 2 Episode 15: "The Specialist") as Dr. Steven Gray
 * 1961 Rawhide (TV series) (Season 3 Episode 12: "Incident at the Top of the World") as Craig Kern
 * 1961 The Detectives Starring Robert Taylor (TV series) (Season 2 Episode 23: "Bad Apple") as Herbert Sanders
 * 1961 87th Precinct (TV series) (Season 1 Episode 1: "The Floater") as Curt Donaldson
 * 1961 Bonanza (TV series) (Season 3 Episode 6: "Broken Ballad") as Ed Payson
 * 1961 Target: The Corruptors! (TV series) (Season 1 Episode 10: "To Wear a Badge") as Meeker
 * 1963 Empire (TV series) (Season 1 Episode 18: "Where the Hawk is Wheeling") as Jared Mace
 * 1963 PT 109 as Ensign George 'Barney' Ross
 * 1963 Sunday in New York as Russ Wilson
 * 1963 The Alfred Hitchcock Hour (Season 2 Episode 10: "Good-Bye, George") as Harry Lawrence
 * 1963–1964 The Outer Limits (TV series) (3 episodes)
 * (Season 1 Episode 3: "The Architects of Fear") (1963) as Allen Leighton
 * (Season 1 Episode 9: "Corpus Earthling") (1963) as Dr. Paul Cameron
 * (Season 2 Episode 5: Demon with a Glass Hand") (1964) as Trent
 * 1964 Rhino! as Dr. Jim Hanlon
 * 1964 The Man from U.N.C.L.E. (TV series) (Season 1 Episode 4: "The Shark Affair") as Captain Shark
 * 1964 Gunsmoke (TV series) (Season 10 Episode 8: "Hung High") as Joe Costa
 * 1965–1968 I Spy (TV series) (82 episodes) as Kelly Robinson / Chuang Tzu
 * 1968 Get Smart (TV series) (Season 3 Episode 25: "Die, Spy") as Waiter (uncredited)
 * 1969 Bob & Carol & Ted & Alice as Bob Sanders
 * 1970 ITV Saturday Night Theatre (TV series) (Season 2 Episode 39: "Married Alive") as Colonel Peter Jardine
 * 1970 The Name of the Game (TV series) (2 episodes) as Paul Tyler
 * (Season 3 Episode 3: "Cynthia is Alive and Living in Avalon")
 * (Season 3 Episode 8: "Little Bear Died Running")
 * 1971 Hannie Caulder as Thomas Luther Price
 * 1971 See the Man Run (TV movie) as Ben Taylor
 * 1971–1990 Columbo (TV series) (4 episodes)
 * (Season 1 Episode 2: "Death Lends a Hand") (1971) as Investigator Brimmer
 * (Season 2 Episode 3: "The Most Crucial Game") (1972) as Paul Hanlon
 * (Season 3 Episode 4: "Double Exposure") (1973) as Dr. Bart Kepple
 * (Season 10 Episode 1: "Columbo Goes to College") (1990) as Jordan Rowe
 * 1972 Hickey & Boggs (director) as Frank Boggs
 * 1972 What's My Line? (TV series)
 * 1973 A Cold Night's Death (TV movie) as Robert Jones
 * 1973 A Name for Evil as John Blake
 * 1973 Shaft (TV series) (Season 1 Episode 1: "The Enforcers") as Marshall Cunningham
 * 1973 Outrage (TV movie) as Jim Kiler
 * 1973 Match Game (TV series) as himself - Team Captain
 * 1974 Houston, We've Got a Problem (TV movie) as Steve Bell
 * 1974 The Castaway Cowboy as Calvin Bryson
 * 1975 A Cry for Help (TV movie) as Harry Freeman
 * 1975 Inside Out as Sly Wells
 * 1975-1979 Police Story (TV series) (3 episodes)
 * (Season 2 Episode 14: "Year of the Dragon: Part 1") (1975) as Detective John Darrin
 * (Season 2 Episode 15: "Year of the Dragon: Part 2") (1975) as Detective John Darrin
 * (Season 6 Episode 1: "A Cry for Justice") as Sergeant Price
 * 1976 Sky Riders as Jonas Bracken
 * 1976 Breaking Point as Frank Sirrianni
 * 1976 The Great Scout & Cathouse Thursday as Jack Colby
 * 1976 Flood! (TV movie, Irwin Allen Production) as Steve Brannigan
 * 1976 Silver Streak as FBI Agent (uncredited)
 * 1977 Spectre (TV movie) as William Sebastian
 * 1979 Hot Rod (TV movie) as T. L. Munn
 * 1979 Goldengirl as Steve Esselton
 * 1980 The Dream Merchants (TV mini-series) (2 episodes) (Episode 1 and Episode 2) as Henry Farnum
 * 1981–1986 The Greatest American Hero (TV series) (44 episodes) as Bill Maxwell
 * 1983 National Lampoon's Movie Madness as Paul Everest (segment "Success Wanters")
 * 1985 Turk 182 as Mayor Tyler
 * 1986 Murder, She Wrote (TV series) (Season 2 Episode 12: "Murder by Appointment Only") as Norman Amberson
 * 1986 The Gladiator (TV movie) as Lieutenant Frank Mason
 * 1986 The Blue Lightning (TV movie) as Lester Mclnally
 * 1986 Combat High as General Woods
 * 1987 The Cosby Show (TV series) (Season 3 Episode 23: "Bald and Beautiful") as Scott Kelly
 * 1987 Matlock (TV series) (2 episodes) as Robert Irwin
 * (Season 2 Episode 5: "The Power Brokers: Part 1")
 * (Season 2 Episode 6: "The Power Brokers: Part 2")
 * 1987 Highway to Heaven (TV series) (Season 3 Episode 21: "Parent's Day") as Ronald James
 * 1987 Big Bad Mama II as Daryl Pearson
 * 1989 Pucker Up and Bark Like a Dog as Gregor
 * 1989 Who's the Boss? (TV Series) (Season 6 Episode 12: "Gambling Jag") as Jason
 * 1990 The Golden Girls (TV series) (Season 5 Episode 17: "Like the Beep Beep Beep of the Tom Tom") as Simon
 * 1991 Timebomb as Mr. Phillips
 * 1993 The Pelican Brief as The President of The United States
 * 1994 The Nanny (TV series) (Season 1 Episode 20: "Ode the Barbra Joan") as Stewart Babcock
 * 1994 Wings (TV series) (Season 6 Episode 10: "The Wrong Stuff") as 'Ace' Galvin
 * 1995 Panther as Charles Garry
 * 1995 Xtro 3: Watch the Skies as Major Guardino
 * 1995 Walker, Texas Ranger (TV series) (Season 3 Episode 16: "Trust No One") as Lyle Pike
 * 1996 Spy Hard as Businessman
 * 1996–2004 Everybody Loves Raymond (TV series) (11 episodes) as Warren Whelan
 * 1997 Most Wanted as Dr. Donald Bickhart
 * 1998 Conan the Adventurer (TV series) (Season 1 Episode 14: "Red Sonja") as King Vog
 * 1998 Holding the Baby (TV series) (Season 1 Episode 3: "Guess Who's Not Coming to Dinner")
 * 1998 Wanted as Father Patrick
 * 1998-1999 The Secret Files of the Spy Dogs (TV series) (13 episodes) as Agent Three (voice)
 * 1999 Unconditional Love as Karl Thomassen
 * 1999 "Guilty Conscience" by Eminem (music video) as narrator
 * 2000 Innocents as Judge Winston
 * 2000 Newsbreak as Judge McNamara
 * 2000 Chicago Hope (TV series) (Season 6 Episode 18: "Devoted Attachment") as Benjamin Quinn
 * 2000 Running Mates (TV movie) as Senator Parker Gable
 * 2001 Farewell, My Love as Michael Reilly
 * 2001 Hunger as Chief
 * 2003 The Dead Zone (TV series) (Season 2 Episode 9: "The Man Who Never Was") as Jeffrey Grissom
 * 2004 The Almost Guys as The Colonel
 * 2004 Half-Life 2 (video game) as Dr. Wallace Breen (voice)
 * 2005 Santa's Slay as Grandpa Yuleson
 * 2006 Half-Life 2: Episode One (video game) as Dr. Wallace Breen (voice)
 * 2007 Robot Chicken (TV series) (Season 3 Episode 7: "Yancy the Yo-Yo Boy") as Bill Maxwell / Sheriff of Nottingham (voice)
 * 2010 The Assignment as Blakesley (final film role)

title: Robert Culp


text:
M. G. Vassanji

Moyez G. Vassanji (born 30 May 1950 in Kenya) is a Canadian novelist and editor, who writes under the name M. G. Vassanji. Vassanji's work has been translated into several languages. As of 2020, he has published nine novels, as well as two short-fiction collections and two nonfiction books. Vassanji's writings, which have received considerable critical acclaim, often focus on issues of colonial history, migration, diaspora, citizenship, gender and ethnicity.

Early life and education
M. G. Vassanji was born in Kenya to Indian immigrants and raised in Tanganyika (now Tanzania). He attended the Massachusetts Institute of Technology and the University of Pennsylvania, where he specialised in nuclear physics, before moving to Canada as a postdoctoral fellow in 1978.

Career
From 1980 to 1989 Vassanji was a research associate at the University of Toronto. During this period he developed an interest in medieval Indian literature and history, co-founded and edited a literary magazine (The Toronto South Asian Review, later renamed The Toronto Review of Contemporary Writing Abroad), and began writing fiction. Between 1989 and 2012, Vassanji published six novels, two collections of short stories, a memoir of his travels in India, and a biography of Mordecai Richler.

In 1989, after the publication of his first novel, The Gunny Sack, Vassanji was invited to spend a season at the International Writing Program of the University of Iowa. The Gunny Sack won a regional Commonwealth Writers Prize in 1990. He won the inaugural Giller Prize in 1994 for The Book of Secrets. That year, he also won the Harbourfront Festival Prize in recognition of his "achievement in and contribution to the world of letters," and was one of twelve Canadians chosen for Maclean's Magazine's Honour Roll. In 1996 he was a Fellow of the Indian Institute of Advanced Study in Shimla, India.

He again won the Giller Prize in 2003 for The In-Between World of Vikram Lall, the first writer to win this prize twice. In 2006, When She Was Queen was shortlisted for the City of Toronto Book Award. The Assassin's Song, released in 2007, was short-listed for the 2007 Giller Prize, the Rogers Prize, and the Governor General's Prize in Canada, as well as the Crossword Prize in India. In 2009 his travel memoir, A Place Within: Rediscovering India, won the Governor-General's Prize for nonfiction. He has also been awarded the Commonwealth Regional Prize (Africa).

His novel The Magic of Saida, set in Tanzania, was published in Canada in 2012, and in 2014 he published his memoirs, Home Was Kariakoo, based on his childhood and recent travels in East Africa. and in 2016 he published another novel, Nostalgia. In 2019, his ninth novel A Delhi Obsession was published to wide acclaim.

He is a member of the Order of Canada and has been awarded several honorary doctorates. In 2016, he received the Canada Council Molson Prize for his career achievement.

Themes
Vassanji's works have been extensively reviewed by literary critics, such as in works edited by 2021 Nobel prize winner Abdulrazak Gurnah. Several themes emerge. Mainly, his characters are the Asians of East Africa (Kenya, Uganda, and Tanzania), whose historical record, as of that region as a whole, is sparse. In telling the story of his subjects, in his earlier novels he has used memory, written record, and folklore, in an intersection of oral and written histories. Thus in The Gunny Sack, his first novel, he starts with many memories, but his narrator has to delve into written history, primarily through colonial journals and travelogues, to complete and give shape to his created history. His third novel, The Book of Secrets starts with the journal of a colonial administrator at the border between German and British East Africa and brings to his creation memories and archival material. In The In-between World of Vikram Lall, he looks at the condition and involvement of the Asians of Kenya during the Mau Mau War of the 1950s. The past and unresolved issues cast strong shadows in his works. In his other works, for example No New Land, his characters have undergone a second migration, starting in the 1970s, to Europe, Canada, or the United States. Vassanji then examines how the lives of these characters are affected by their migrations. Though few of his African Asian characters ever return to India, the country's presence looms throughout his work. His 2007 novel The Assassins Song, inspired by the devotional, mystical songs of his Khoja Ismaili community, which deeply influenced him in childhood, is set almost entirely in India, where it was received as an Indian novel and short-listed for the Crossword Prize. His second novel, No New Land, describes the travails of Asian immigrants arrived in Canada from Tanzania; as the title implies, there is no new land, the characters continue in their minds to lead the same lives. In the dystopic novel Nostalgia Vassanji tackles the topic of assimilation, in which characters can have their memories erased and replaced by new ones in order to be better integrated. But, the novel asks, is the process of erasure perfect?

Vassanji writes about the effects of history and the interaction between personal and public histories, including folk and colonial history. Vassanji's narratives follow the personal histories of his main characters; the historical perspective provided often leaves mysteries unsolved. The colonial history of Kenya and Tanzania serves as the backdrop for much of his work; in the Assassin's Song, however, he tackles Indian folk culture and myths.

Novels

 * The Gunny Sack (1989) ISBN 0-385-66065-0
 * No New Land (1991) ISBN 0-7710-8722-5
 * The Book of Secrets (1994) ISBN 0-312-15068-7
 * Amriika (1999) ISBN 0-7710-8725-X
 * The In-Between World of Vikram Lall (2003) ISBN 0-385-65991-1
 * The Assassin's Song (2007) ISBN 0-385-66351-X
 * The Magic of Saida (2012) ISBN 9780385667142
 * Nostalgia (2016) ISBN 978-0385667166
 * A Delhi Obsession (2019)
 * Everything There Is

Short story collections

 * Uhuru Street (1992) inspired by Naipaul's Miguel Street.
 * When She Was Queen (2005)
 * What You Are (2021)

Non-fiction collections

 * A Place Within (2008)
 * Extraordinary Canadians: Mordecai Richler (2008)
 * And Home Was Kariakoo: A Memoir of East Africa (2014)

title: M. G. Vassanji


text:
Compression release engine brake

A compression release engine brake, compression brake, or decompression brake is an engine braking mechanism installed on some diesel engines. When activated, it opens exhaust valves to the cylinders, right before the compression stroke ends, releasing the compressed gas trapped in the cylinders, and slowing the vehicle.

Clessie Cummins was granted a patent for the engine compression brake in 1965, and the first company to manufacture them was Jacobs Vehicle Systems.

Function
When the driver releases the accelerator on a moving vehicle powered by an internal combustion engine, the vehicle's forward momentum continues to turn the engine's crankshaft. Most diesel engines do not have a throttle body, so regardless of the throttle setting, air is always drawn into the cylinders (excluding the valve fitted to certain diesels, such as fire appliances and generators on oil and gas platforms, to prevent diesel engine runaway). The fuel-free air only mix that is compressed on the compression stroke now starts to act as an air spring. After the piston reaches maximum compression, the compressed air mixture returns its energy to the piston by pushing the piston back down. The result is that even if the fuel supply to the cylinder is stopped, some energy absorbed during the compression stroke is still returned to the crankshaft. Because of this returned energy, there is very little engine braking applied to the vehicle.

The typical compression brake consists of a hydraulic system using engine oil which transfers the motion of the fuel injector rocker arm to the engine's exhaust valve(s). When activated, the exhaust valve opens very briefly near the engine's top dead center, and releases the compressed air in the cylinder so that the air compression energy is not returned to the crankshaft. A compression release engine brake can assist a vehicle to maintain or even reduce speed with minimal use of friction brakes. The power of this type can be around the same as the engine power.

In contrast, a gasoline engine under deceleration runs with a closed throttle that prevents free flow of air into the cylinders, resulting in little pressure to release at the top of the compression stroke. The closed throttle provides engine braking by forcing the engine to generate a vacuum between the throttle and the cylinders.

Typically, the controls for a compression brake consist of an on/off switch and often a selector that controls the number of cylinders on which the brake is active. Throttle and clutch switches are integral with the system. Activation occurs when both the clutch and the throttle are released with the transmission in gear. It is the driver's job to ascertain the correct transmission gear to use, depending on factors such as the steepness of the grade and the vehicle's load.

Limitations
The use of engine compression brakes may cause a vehicle to make a loud "growling", "machine gun", or "jackhammer" like exhaust noise, especially vehicles having no mufflers, which has led many communities in the United States, Canada, and Australia to prohibit compression braking within municipal limits. Drivers are notified by roadside signs with text such as "Brake Retarders Prohibited," "No Engine Brake," "No Jake Brakes," "Compression Braking Prohibited," "Please No Engine Brake," "Avoid Using Engine Brakes," or "Unmuffled Engine Braking Prohibited," and enforcement is typically through traffic fines. Such prohibitions have led to the development of new types of mufflers and turbochargers to better silence braking noise.

Jacobs claims that the use of the term "Jake Brake" on signs prohibiting engine retarding brakes violates their trademark and discriminates against Jacobs-brand products.

In the U.S. state of Ohio, state law allows a board of county commissioners or township trustees to prohibit the use of compression brakes within unincorporated areas. These local regulations apply to all state- and locally-maintained roads except Interstate highways. The state's standard "No Engine Brake" sign is designed to avoid discriminating against the Jacobs brand name.

title: Compression release engine brake