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Point spread function

The point spread function (PSF) describes the response of a focused optical imaging system to a point source or point object. A more general term for the PSF is the system's impulse response; the PSF is the impulse response or impulse response function (IRF) of a focused optical imaging system. The PSF in many contexts can be thought of as the extended blob in an image that represents a single point object, that is considered as a spatial impulse. In functional terms, it is the spatial domain version (i.e., the inverse Fourier transform) of the optical transfer function (OTF) of an imaging system. It is a useful concept in Fourier optics, astronomical imaging, medical imaging, electron microscopy and other imaging techniques such as 3D microscopy (like in confocal laser scanning microscopy) and fluorescence microscopy.

The degree of spreading (blurring) in the image of a point object for an imaging system is a measure of the quality of the imaging system. In non-coherent imaging systems, such as fluorescent microscopes, telescopes or optical microscopes, the image formation process is linear in the image intensity and described by a linear system theory. This means that when two objects A and B are imaged simultaneously by a non-coherent imaging system, the resulting image is equal to the sum of the independently imaged objects. In other words: the imaging of A is unaffected by the imaging of B and vice versa, owing to the non-interacting property of photons. In space-invariant systems, i.e. those in which the PSF is the same everywhere in the imaging space, the image of a complex object is then the convolution of that object and the PSF. The PSF can be derived from diffraction integrals.

Introduction
By virtue of the linearity property of optical non-coherent imaging systems, i.e.,

 * Image(Object1 + Object2) = Image(Object1) + Image(Object2)

the image of an object in a microscope or telescope as a non-coherent imaging system can be computed by expressing the object-plane field as a weighted sum of 2D impulse functions, and then expressing the image plane field as a weighted sum of the images of these impulse functions. This is known as the superposition principle, valid for linear systems. The images of the individual object-plane impulse functions are called point spread functions (PSF), reflecting the fact that a mathematical point of light in the object plane is spread out to form a finite area in the image plane. (In some branches of mathematics and physics, these might be referred to as Green's functions or impulse response functions. PSFs are considered impulse response functions for imaging systems. When the object is divided into discrete point objects of varying intensity, the image is computed as a sum of the PSF of each point. As the PSF is typically determined entirely by the imaging system (that is, microscope or telescope), the entire image can be described by knowing the optical properties of the system. This imaging process is usually formulated by a convolution equation. In microscope image processing and astronomy, knowing the PSF of the measuring device is very important for restoring the (original) object with deconvolution. For the case of laser beams, the PSF can be mathematically modeled using the concepts of Gaussian beams. For instance, deconvolution of the mathematically modeled PSF and the image, improves visibility of features and removes imaging noise.

Theory
The point spread function may be independent of position in the object plane, in which case it is called shift invariant. In addition, if there is no distortion in the system, the image plane coordinates are linearly related to the object plane coordinates via the magnification M as:

 * $$(x_i, y_i) = (M x_o, M y_o)$$.

If the imaging system produces an inverted image, we may simply regard the image plane coordinate axes as being reversed from the object plane axes. With these two assumptions, i.e., that the PSF is shift-invariant and that there is no distortion, calculating the image plane convolution integral is a straightforward process.

Mathematically, we may represent the object plane field as:

 * $$ O(x_o,y_o) = \iint O(u,v) ~ \delta(x_o-u,y_o-v) ~ du\, dv$$

i.e., as a sum over weighted impulse functions, although this is also really just stating the shifting property of 2D delta functions (discussed further below). Rewriting the object transmittance function in the form above allows us to calculate the image plane field as the superposition of the images of each of the individual impulse functions, i.e., as a superposition over weighted point spread functions in the image plane using the same weighting function as in the object plane, i.e., $$O(x_o,y_o)$$. Mathematically, the image is expressed as:

 * $$I(x_i,y_i) = \iint O(u,v) ~ \mathrm{PSF}(x_i/M-u, y_i/M-v) \, du\, dv$$

in which $\mbox{PSF}(x_i/M-u,y_i/M-v)$ is the image of the impulse function $$ \delta(x_o-u,y_o-v)$$.

The 2D impulse function may be regarded as the limit (as side dimension w tends to zero) of the "square post" function, shown in the figure below.

We imagine the object plane as being decomposed into square areas such as this, with each having its own associated square post function. If the height, h, of the post is maintained at 1/w2, then as the side dimension w tends to zero, the height, h, tends to infinity in such a way that the volume (integral) remains constant at 1. This gives the 2D impulse the shifting property (which is implied in the equation above), which says that when the 2D impulse function, δ(x − u,y − v), is integrated against any other continuous function, f(u,v), it "sifts out" the value of f at the location of the impulse, i.e., at the point (x,y).

The concept of a perfect point source object is central to the idea of PSF. However, there is no such thing in nature as a perfect mathematical point source radiator; the concept is completely non-physical and is rather a mathematical construct used to model and understand optical imaging systems. The utility of the point source concept comes from the fact that a point source in the 2D object plane can only radiate a perfect uniform-amplitude, spherical wave — a wave having perfectly spherical, outward travelling phase fronts with uniform intensity everywhere on the spheres (see Huygens–Fresnel principle). Such a source of uniform spherical waves is shown in the figure below. We also note that a perfect point source radiator will not only radiate a uniform spectrum of propagating plane waves, but a uniform spectrum of exponentially decaying (evanescent) waves as well, and it is these which are responsible for resolution finer than one wavelength (see Fourier optics). This follows from the following Fourier transform expression for a 2D impulse function,

 * $$\delta (x,y) \propto \iint e^{j(k_x x + k_y y)} \, d k_x\, d k_y$$

The quadratic lens intercepts a portion of this spherical wave, and refocuses it onto a blurred point in the image plane. For a single lens, an on-axis point source in the object plane produces an Airy disc PSF in the image plane. It can be shown (see Fourier optics, Huygens–Fresnel principle, Fraunhofer diffraction) that the field radiated by a planar object (or, by reciprocity, the field converging onto a planar image) is related to its corresponding source (or image) plane distribution via a Fourier transform (FT) relation. In addition, a uniform function over a circular area (in one FT domain) corresponds to J1(x)/x in the other FT domain, where J1(x) is the first-order Bessel function of the first kind. That is, a uniformly-illuminated circular aperture that passes a converging uniform spherical wave yields an Airy disk image at the focal plane. A graph of a sample Airy disk is shown in the adjoining figure.

Therefore, the converging (partial) spherical wave shown in the figure above produces an Airy disc in the image plane. The argument of the function J1(x)/x is important, because this determines the scaling of the Airy disc (in other words, how big the disc is in the image plane). If Θmax is the maximum angle that the converging waves make with the lens axis, r is radial distance in the image plane, and wavenumber k = 2π/λ where λ = wavelength, then the argument of the function is: kr tan(Θmax). If Θmax is small (only a small portion of the converging spherical wave is available to form the image), then radial distance, r, has to be very large before the total argument of the function moves away from the central spot. In other words, if Θmax is small, the Airy disc is large (which is just another statement of Heisenberg's uncertainty principle for Fourier Transform pairs, namely that small extent in one domain corresponds to wide extent in the other domain, and the two are related via the space-bandwidth product). By virtue of this, high magnification systems, which typically have small values of Θmax (by the Abbe sine condition), can have more blur in the image, owing to the broader PSF. The size of the PSF is proportional to the magnification, so that the blur is no worse in a relative sense, but it is definitely worse in an absolute sense.

The figure above illustrates the truncation of the incident spherical wave by the lens. In order to measure the point spread function — or impulse response function — of the lens, a perfect point source that radiates a perfect spherical wave in all directions of space is not needed. This is because the lens has only a finite (angular) bandwidth, or finite intercept angle. Therefore, any angular bandwidth contained in the source, which extends past the edge angle of the lens (i.e., lies outside the bandwidth of the system), is essentially wasted source bandwidth because the lens can't intercept it in order to process it. As a result, a perfect point source is not required in order to measure a perfect point spread function. All we need is a light source which has at least as much angular bandwidth as the lens being tested (and of course, is uniform over that angular sector). In other words, we only require a point source which is produced by a convergent (uniform) spherical wave whose half angle is greater than the edge angle of the lens.

Due to intrinsic limited resolution of the imaging systems, measured PSFs are not free of uncertainty. In imaging, it is desired to suppress the side-lobes of the imaging beam by apodization techniques. In the case of transmission imaging systems with Gaussian beam distribution, the PSF is modeled by the following equation:

 * $$\mathrm{PSF}(f, z) = I_r(0,z,f)\exp\left[-z\alpha(f)-\dfrac{2\rho^2}{0.36{\frac{cka}{\text{NA}f}}\sqrt{{1+\left ( \frac{2\ln 2}{c\pi}\left ( \frac{\text{NA}}{0.56k} \right )^2 fz\right )}^2}}\right],$$

where k-factor depends on the truncation ratio and level of the irradiance, NA is numerical aperture, c is the speed of light, f is the photon frequency of the imaging beam, Ir is the intensity of reference beam, a is an adjustment factor and $$\rho$$ is the radial position from the center of the beam on the corresponding z-plane.

History and methods
The diffraction theory of point spread functions was first studied by Airy in the nineteenth century. He developed an expression for the point spread function amplitude and intensity of a perfect instrument, free of aberrations (the so-called Airy disc). The theory of aberrated point spread functions close to the optimum focal plane was studied by Zernike and Nijboer in the 1930–40s. A central role in their analysis is played by Zernike's circle polynomials that allow an efficient representation of the aberrations of any optical system with rotational symmetry. Recent analytic results have made it possible to extend Nijboer and Zernike's approach for point spread function evaluation to a large volume around the optimum focal point. This extended Nijboer-Zernike (ENZ) theory allows studying the imperfect imaging of three-dimensional objects in confocal microscopy or astronomy under non-ideal imaging conditions. The ENZ-theory has also been applied to the characterization of optical instruments with respect to their aberration by measuring the through-focus intensity distribution and solving an appropriate inverse problem.

Microscopy
In microscopy, experimental determination of PSF requires sub-resolution (point-like) radiating sources. Quantum dots and fluorescent beads are usually considered for this purpose. Theoretical models as described above, on the other hand, allow the detailed calculation of the PSF for various imaging conditions. The most compact diffraction limited shape of the PSF is usually preferred. However, by using appropriate optical elements (e.g., a spatial light modulator) the shape of the PSF can be engineered towards different applications.

Astronomy

In observational astronomy, the experimental determination of a PSF is often very straightforward due to the ample supply of point sources (stars or quasars). The form and source of the PSF may vary widely depending on the instrument and the context in which it is used.

For radio telescopes and diffraction-limited space telescopes, the dominant terms in the PSF may be inferred from the configuration of the aperture in the Fourier domain. In practice, there may be multiple terms contributed by the various components in a complex optical system. A complete description of the PSF will also include diffusion of light (or photo-electrons) in the detector, as well as tracking errors in the spacecraft or telescope.

For ground-based optical telescopes, atmospheric turbulence (known as astronomical seeing) dominates the contribution to the PSF. In high-resolution ground-based imaging, the PSF is often found to vary with position in the image (an effect called anisoplanatism). In ground-based adaptive optics systems, the PSF is a combination of the aperture of the system with residual uncorrected atmospheric terms.

Lithography
The PSF is also a fundamental limit to the conventional focused imaging of a hole, with the minimum printed size being in the range of 0.6-0.7 wavelength/NA, with NA being the numerical aperture of the imaging system. For example, in the case of an EUV system with wavelength of 13.5 nm and NA=0.33, the minimum individual hole size that can be imaged is in the range of 25-29 nm. A phase-shift mask has 180-degree phase edges which allow finer resolution.

Ophthalmology
Point spread functions have recently become a useful diagnostic tool in clinical ophthalmology. Patients are measured with a Shack-Hartmann wavefront sensor, and special software calculates the PSF for that patient's eye. This method allows a physician to simulate potential treatments on a patient, and estimate how those treatments would alter the patient's PSF. Additionally, once measured the PSF can be minimized using an adaptive optics system. This, in conjunction with a CCD camera and an adaptive optics system, can be used to visualize anatomical structures not otherwise visible in vivo, such as cone photoreceptors.

title: Point spread function


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Shinmachi, Gunma

Shinmachi (新町) was a town located in Tano District, Gunma Prefecture, Japan.

As of 2003, the town had an estimated population of 12,561 and a population density of 3,358.56 persons per km2. The total area was 3.74 km2. The town is located approximately 80 to 90 km north of Tokyo, and has developed as a commuter town in Fujioka, Takasaki, and the Tokyo metropolitan area. On January 23, 2006, Shinmachi, along with the towns of Gunma, Kurabuchi and Misato (all from Gunma District), was merged into the expanded city of Takasaki.

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

title: Shinmachi, Gunma


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MCAD

MCAD may refer to:

Science and technology

 * ACADM or MCAD, a gene
 * Medium-chain acyl-CoA dehydrogenase, an enzyme used in lipid metabolism
 * Medium-chain acyl-coenzyme A dehydrogenase deficiency (MCAD deficiency or MCADD), caused by mutations in the ACADM gene
 * Mast cell activation disorder, a disease
 * Microsoft Certified Application Developer
 * Mechanical computer-aided design

Organizations

 * Massachusetts Commission Against Discrimination, US
 * Minneapolis College of Art and Design, US

title: MCAD


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RMS Mauretania (1906)

RMS Mauretania was a British ocean liner designed by Leonard Peskett and built by Wigham Richardson and Swan Hunter on the River Tyne, England for the Cunard Line, launched on the afternoon of 20 September 1906. She was the world's largest ship until the launch of RMS Olympic in 1910. Mauretania captured the eastbound Blue Riband on the maiden return voyage in December 1907, then claimed the westbound Blue Riband for the fastest transatlantic crossing during her 1909 season. She held both speed records for 20 years.

The ship's name was taken from the ancient Roman province of Mauretania on the northwest African coast, not the modern Mauritania to the south. Similar nomenclature was also employed by Mauretania's running mate RMS Lusitania, which was named after the Roman province directly north of Mauretania, across the Strait of Gibraltar in Portugal. Mauretania remained in service until September 1934, when Cunard-White Star retired her; scrapping commenced in Rosyth, in 1935.

Overview

In 1897 the German liner SS Kaiser Wilhelm der Grosse became the largest and fastest ship in the world. With a speed of 22 kn, she captured the Blue Riband from Cunard Line's RMS Campania and RMS Lucania. Germany came to dominate the Atlantic, and by 1906 they had five four-funnel superliners in service, four of them owned by North German Lloyd.

At around the same time the American financier J. P. Morgan's International Mercantile Marine Co. was attempting to monopolise the shipping trade, and had already acquired Britain's other major transatlantic line, the White Star Line.

In the face of these threats the Cunard Line was determined to regain the prestige of dominance in ocean travel not only for the company, but also for the United Kingdom. By 1902, Cunard Line and the British government reached an agreement to build two superliners, Lusitania and Mauretania, with a guaranteed service speed of no less than 24 kn. The British government was to loan £2,600,000 (equivalent to £ in ) for the construction of the ships, at an interest rate of 2.75%, to be paid back over twenty years, with a stipulation that the ships could be converted to armed merchant cruisers if needed. Further funding was acquired when the Admiralty arranged for Cunard to be paid an additional sum per year to their mail subsidy.

Design and construction

Mauretania and Lusitania were both designed by Cunard naval architect Leonard Peskett, with Swan Hunter and John Brown working from plans for an ocean greyhound with a stipulated service speed of twenty-four knots in moderate weather, as per the terms of her mail subsidy contract. Peskett's original configuration for the ships in 1902 was a three-funnel design, when reciprocating engines were destined to be the powerplant. A giant model of the ships appeared in Shipbuilder's magazine in this configuration. Cunard decided to change power plants to Parson's new turbine technology, and the ship's design was again modified when Peskett added a fourth funnel to the ship's profile. Construction of the vessel finally began with the laying of the keel in August 1904. By tradition, the hull was painted in a light grey colour for photographic purposes during her launch; a common practice of the day for the first ship in a new class, as it made the lines of the ship clearer in the black-and-white photographs. Her hull was painted black after her maiden voyage.

In 1906, Mauretania was launched by the Duchess of Roxburghe. At the time of her launch, she was the largest moving structure ever built, and slightly larger in gross tonnage than Lusitania. The main visual differences between Mauretania and Lusitania were that Mauretania was five feet longer and had different vents. Mauretania also had two extra stages of turbine blades in her forward turbines, making her slightly faster than Lusitania. Mauretania and Lusitania were the only ships with direct-drive steam turbines to hold the Blue Riband; in later ships, reduction-geared turbines were mainly used. Mauretania's usage of the steam turbine was the largest application yet of the then-new technology, developed by Charles Algernon Parsons. During speed trials, these engines caused significant vibration at high speeds; in response, Mauretania received strengthening members aft and redesigned propellers before entering service, which reduced vibration. Mauretania was designed to suit Edwardian tastes. The ship's interior was designed by the architect Harold Peto, and her public rooms were fitted out by two notable London design houses – Ch. Mellier & Sons and Turner and Lord, with twenty-eight different types of wood, along with marble, tapestries, and other furnishings such as the stunning octagon table in the smoking room. Wood panelling for her first class public rooms was supposedly carved by three hundred craftsmen from Palestine but this seems unlikely, unnecessary and was probably executed by the yard or subcontracted, as were the majority of the second and third class areas. The multi-level first-class dining saloon of straw oak was decorated in Francis I style and topped by a large dome skylight. A series of elevators, then a rare new feature for liners, with grilles composed of the relatively new lightweight aluminium, were installed next to Mauretania's walnut grand staircase. A new feature was the Verandah Café on the boat deck, where passengers were served beverages in a weather-protected environment, although this was enclosed within a year as it proved unrealistic.

Early career (1906–1914)

Mauretania departed Liverpool on her maiden voyage on 16 November 1907 under the command of Captain John Pritchard, but failed to capture the Blue Riband due to a rough storm that broke free her spare anchor. She also suffered minor damage to her superstructure. On the return voyage, however, (30 November – 5 December 1907) she captured the record for the fastest eastbound crossing of the Atlantic, with an average speed of 23.69 kn. On 23 December 1907, Mauretania was again at New York City and moored to Pier 54 in the North River when a squall with high winds struck, causing mooring posts on Pier 54 to give way. Mauretania went partially adrift, and her bow swung around and struck several barges which were bringing her coal and taking off ashes; the barges Roan and Tomhicken and the boats Eureka 32 and Eureka 36 were damaged and the barge Ellis P. Rogers was lost. In subsequent litigation, Cunard was found liable for damages.

In September 1909, Mauretania captured the Blue Riband for the fastest westbound crossing—a record that was to stand for more than two decades. In December 1911, as in New York City in December 1910, Mauretania broke loose from her moorings while in the River Mersey and sustained damage that caused the cancellation of her special speedy Christmas voyage to New York. In a quick change of events Cunard rescheduled Mauretania's voyage for Lusitania, which had just returned from New York, under the command of Captain James Charles. Lusitania completed Christmas crossings for Mauretania, carrying travellers back to New York. Mauretania was on a westbound voyage from Liverpool to New York, beginning 10 April 1912, and was docked at Queenstown, Ireland, at the time of the RMS Titanic disaster. Mauretania was transporting Titanic's cargo manifest carried by registered mail. Traveling on Mauretania at the time was the chairman of Cunard, A. A. Booth, who organised a vigil for the Titanic victims. In the spring of 1913 westbound transatlantic passage aboard Mauretania cost roughly $17 for third class passengers, as shown in the original ticket at right.

In July 1913, King George and Queen Mary were given a special tour of Mauretania, then Britain's fastest merchant vessel, adding further distinction to the ship's reputation. On 26 January 1914, while Mauretania was in the middle of annual refit in Liverpool, four men were killed and six injured when a gas cylinder exploded while they were working on one of her steam turbines. Damage to the ship was minimal; she was repaired in the new Gladstone drydock and returned to service two months later.

First World War (1914–1919)
After Great Britain declared war on Germany on 4 August 1914, Mauretania made a dash for safety in Halifax, Nova Scotia, arriving on 6 August. Shortly after, she and Aquitania were requested by the British government to become armed merchant cruisers, but their huge size and massive fuel consumption made them unsuitable for the duty, and they resumed their civilian service on 11 August. Later, due to lack of passengers crossing the Atlantic, Mauretania was laid up in Liverpool until 7 May 1915, at the time that Lusitania was sunk by a German U-Boat.

Mauretania was planned to replace the Lusitania on the Transatlantic run after the Lusitania was sunk, but she was ordered by the British government to serve as a troop ship to carry British soldiers during the Gallipoli campaign. She avoided becoming prey for German U-boats because of her high speed and the seamanship of her crew. As a troopship, she was painted in dark greys with black funnels, as were her contemporaries.

When combined forces from the British empire and France began to suffer heavy casualties, Mauretania was ordered to serve as a hospital ship, along with the Aquitania and White Star's Britannic, to treat the wounded until 25 January 1916. In medical service the vessel was painted white with buff funnels and large medical cross emblems surrounding the vessel and possibly illuminated signs starboard and port. Seven months later, Mauretania once again became a troop ship late in 1916 when requisitioned by the Canadian government to carry Canadian troops from Halifax to Liverpool. Her war duty was not yet over when the United States declared war on Germany in 1917, and she carried thousands of American troops.

The ship was known by the Admiralty as HMS Tuberose until the end of the war, but the vessel's name was never changed by Cunard. Starting in March 1918, Mauretania received two forms of dazzle camouflage, a type of abstract colour scheme designed by Norman Wilkinson in 1917 in an effort to confuse enemy ships. The first camouflage scheme, applied early in March 1918, was curvilinear in nature and largely broad areas of olive with blacks, greys and blues. The second scheme was the more geometric design commonly referred to as "dazzle"; this design, applied by July 1918, was mostly several dark blues and greys with some black. After her war service, she was repainted in a drab grey scheme and finally full Cunard livery by the middle of 1919.

Post-war career (1919–1934)

Mauretania returned to civilian service on 21 September 1919, now serving on the Southampton to New York route. Her busy sailing schedule prevented her from having an extensive overhaul scheduled in 1920. However, in 1921, Cunard removed her from service when fire broke out on E deck and decided to overhaul the ship. She returned to the Tyne shipyard where she was built, where her boilers were converted to oil firing, and returned to service in March 1922. Cunard noticed that Mauretania struggled to maintain her regular Atlantic service speed. Although the ship's service speed had improved and it now burned only 750 ST of oil per 24 hours, compared to 1000 ST of coal previously, it was not operating at her pre-war service speeds. On one crossing in 1922 the ship managed an average speed of only 19 kn.

It was during these years her promenade was enclosed temporarily, and her funnels were modified to have an ovoid shape, making them look nearly identical to Lusitania. Cunard decided that the ship's once revolutionary turbines were in desperate need of an overhaul. In 1923, a major refitting was begun in Southampton. Mauretania's turbines were dismantled. Halfway through the overhaul, the shipyard workers went on strike and the work was halted, so Cunard had the ship towed to Cherbourg, France, where the work was completed at another shipyard. In May 1924, the ship returned to Atlantic service.

The next several years would prove to Cunard that the changes made to Mauretania had helped, and she was a very popular and successful vessel during this time. In 1928, Mauretania was refurbished with a new interior design and in the next year her speed record was broken by the German liner SS Bremen (1928), with a speed of 28 kn. On 27 August, Cunard permitted the former ocean greyhound to have one final attempt to recapture the record from the newer German liner, but even her best efforts could only come just short of Bremen's record. She was taken out of service and her engines were adjusted to produce more power to give a higher service speed; however, this was still not enough. Bremen represented a new generation of ocean liners that were far more powerful and technologically advanced than the aging Cunard liner. Even though Mauretania did not beat her German rival, the ship lost by just a fraction after decades of design improvement and beat all her own previous speed records both east and westbound. In 1929, Mauretania collided with a train ferry near Robbins Reef Light. No-one was killed or injured and her damage was quickly repaired.

In 1930, with a combination of the Great Depression and newer competitors on the Atlantic run, Mauretania became a dedicated cruise ship running six day cruises from New York to Pier 21 in Halifax, Nova Scotia. On 19 November 1930, Mauretania rescued 28 people and the ship's cat of the Swedish cargo ship SS Ovidia which foundered in the Atlantic Ocean 400 nmi south east of Cape Race, Newfoundland. In 1932, she was painted white for cruise service. When Cunard Line merged with White Star Line in 1934, Mauretania, along with RMS Olympic, RMS Homeric (1913), and other aging ocean liners, were deemed surplus to requirements and withdrawn from service.

Retirement and scrapping

Cunard White Star withdrew Mauretania from service following a final eastward crossing from New York to Southampton in September 1934. The voyage was made at an average speed of 24 kn, equaling the original contractual stipulation for her mail subsidy. She was then laid up at Southampton, her twenty-eight years of service at a close.

In May 1935 her furnishings and fittings were put up for auction by Hampton and Sons and on 1 July that year she departed Southampton for the last time to Metal Industries shipbreakers at Rosyth. One of her former captains, the retired commodore Sir Arthur Rostron, captain of RMS Carpathia during the RMS Titanic rescue, came to see her on her final departure from Southampton. Rostron refused to go aboard Mauretania before her final journey, stating that he preferred to remember the ship as she was when he commanded her.

En route to Rosyth, Mauretania stopped at her birthplace on the Tyne for half an hour, where she drew crowds of sightseers. Rockets were fired from her bridge, messages relayed, and she was boarded by the Lord Mayor of Newcastle. The mayor bade her farewell from the people of Newcastle, and her last captain, A. T. Brown, then resumed his course for Rosyth. Approximately 30 miles north of Newcastle is the small seaport of Amble, Northumberland. The local town council sent a telegram to the ship stating, "Still the finest ship on the seas." To which Mauretania replied with, "to the last and kindliest port in England, greetings and thanks." Amble, to this day, is still known as 'Amble, the Friendliest Port', and this is still seen on signs when entering the town. With masts cut down to fit, the ship passed under the Forth Bridge and was delivered to the breakers.

Mauretania arrived at Rosyth in Scotland at about 6 am on 4 July 1935 during a half-gale, passing under Forth Bridge. By 6:30 am she passed the entrance to the Metal Industries yards under the command of Pilot Captain Whince. A lone kilted piper was present at the quayside, playing a funeral lament for the popular vessel. It was reported to author and historian John Maxtone-Graham that upon the final shut-down of her great engines, she gave a dark "final shudder...". Mauretania had her last public inspection on 8 July, a Sunday with 20,000 in attendance, with the monies raised going to local charities. Scrapping began shortly after and with great rapidity. Unusually, she was cut up afloat in drydock, with a complex system of wooden battens and pencil marks to monitor her balance. In a month her funnels were gone. By 1936 she was little more than a hulk, and she was beached at the tidal basin at Metal Industries and her remaining structure was scrapped by 1937.

To prevent a rival company using the name and to keep it available for a future Cunard White Star liner, arrangements were made for the Red Funnel Paddle Steamer Queen to be renamed Mauretania in the interim before the launch of the new RMS Mauretania (1938) in 1938.

The demise of the beloved Mauretania was protested by many of her loyal passengers, including President Franklin D. Roosevelt, who wrote a private letter against the scrapping.

Post-scrapping

The ship's bell is in the reception of the Lloyd's Register, Fenchurch Street, London. Annually for Remembrance Day, Lloyds Register observe two minutes of silence and lay a wreath at its base in honour of servicemen and women.

Some of the furnishings from Mauretania were installed in a bar/restaurant complex in Bristol called the Mauretania Bar (now Java Bristol), situated in Park Street. The bar was panelled with great quantities of richly carved and gilt old growth African mahogany, which came from her first class lounge. The neon sign made for the 1937 opening on the south wall still advertises Mauretania and her bow lettering was used above the entrance.

Additionally, nearly the complete first class reading-writing room, with the original chandeliers and ornate gilt grilled bookcases, has been serving as the boardroom at Pinewood Studios, west of London. The colour is no longer shimmering silver sycamore – it has been altered over the years to an amber. According to a Channel 4 programme about coast properties the whole of the Second Class drawing room from the ship form the interior of a white and blue house overlooking Poole Harbour; the drawing room is overlooked by a balustraded circular veranda which is also original. Other panels and fittings were used to decorate the foyer and auditorium areas of the now defunct Windsor Cinema in Carluke. Some of the timber panelling was also used in the extension (completed in 1937) of St John the Baptist's Catholic Church in Padiham, Lancashire.

In 2010, an African mahogany pilaster from the first class lounge, fluted with an intricate gilt acanthus motif and intact rams head capital, was discovered and restored; since 2012, it has been on permanent display in the Discovery Museum's Segedunum Annex at Wallsend, just a few hundred yards from where it was carved and installed in the Swan Hunter fitting out basin, over a century earlier. Many examples of the liner's fixtures and fittings exist in private collections as well, including large sections of moulding, panelling, ceilings and samples of her turbine blades. The original wheelhouse ( port high pressure turbine) telegraph from the Mauritania is on display in the lobby of the QE2, which now serves as a five star hotel, in Dubai.

An original model of Mauretania is displayed at the Smithsonian Institution in Washington, D.C. after a long stay on the retired RMS Queen Mary in Long Beach, California. Originally with a black hull, it was repainted to show her white cruising paint scheme in the 1930s after it was gifted to the Queen Mary by Franklin D. Roosevelt.

Another scale model of Mauretania is displayed at the Discovery Museum in Newcastle upon Tyne. It is still in its original color scheme.

A large builder's model, showing Mauretania in her white cruising paint scheme, is displayed in the Maritime Museum of the Atlantic's Cunard exhibit in Halifax, Nova Scotia. Originally a model of Lusitania, it was converted to represent Mauretania after Lusitania was torpedoed.

Another large builder's model is situated aboard the ocean liner Queen Elizabeth 2, currently located in Dubai. This model was also originally Lusitania, and, like the Maritime Museum of the Atlantic's model, it was converted into Mauretania after Lusitania was lost. When inspecting the model, one can tell it was Lusitania by examining the different boom crutches and bridge front, which is on the boat deck level.

A model of the vessel which was commissioned by Cunard is now held in the collection of the National Maritime Museum in Greenwich.

In popular culture
Mauretania is remembered in a song, "The fireman's lament" or "Firing the Mauretania", collected by Redd Sullivan. The song starts "In 19 hundred and 24, I ... got a job on the Mauretania"; but then goes on to say "shovelling coal from morn till night" (not possible in 1924 as she was oil-fired by then). The number of "fires" is said to be 64. Hughie Jones also recorded the song but the last verse of Hughie's version calls upon "all you trimmers" whereas Redd Sullivan's version calls upon "stokers".

The Clive Cussler Isaac Bell novel The Thief is set aboard Mauretania. A terrible fire engulfs the forward storage area but it is brought under control.

Mauretania is also mentioned in Rudyard Kipling's poem "The Secret of the Machines":

The boat-express is waiting your command!

You will find the Mauretania at the quay,

Till her captain turns the lever 'neath his hand,

And the monstrous nine-decked city goes to sea.

Mauretania is mentioned at the beginning of James Cameron's Titanic, when Rose DeWitt Bukater (Kate Winslet) says of Titanic, “I don’t see what all the fuss is about. It doesn’t look any bigger than the Mauretania”, her snobbish fiancé Caledon Hockley (Billy Zane) inaccurately explains to her that Titanic is “over a hundred feet longer” and that she is “far more luxurious” than her older competitor.

The historical novel Maiden Voyage by British writer Roger Harvey set in Newcastle in the 1900s gives an accurate account of the building of Mauretania and features characters involved with her turbine engines. The climax of two love stories and a thriller comes as the ship approaches New York on her maiden voyage.

The ship that Spencer Dutton used to return the message from his aunt to return to the Yellowstone Ranch in "1923".

One of the episodes involving the ship takes place in the 1976 animated series Candy Candy. According to the plot, the main character, Candy White, goes to study from New York to London on the Mauretania, and after a while, presumably on the same ship, Candy's lover, Terrus Granchester, leaves for New York.

title: RMS Mauretania (1906)


text: User talk:66.231.18.170

title: User talk:66.231.18.170


text:
Farragut-class destroyer

Two classes of destroyer of the United States Navy are known as the Farragut class:

 * Farragut-class destroyer (1934) is a class of 8 ships launched in 1934–1935
 * Farragut-class destroyer (1958) is a class of 10 ships launched in 1958–1960

title: Farragut-class destroyer


text:
User talk:Eitheladar

Hi Eitheladar, and welcome to Wikipedia.

Thankyou for finding the time to sign up and contribute to our little project. If you're in doubt about anything, you might want to check out some of these pages:

 * Welcome, newcomers - a general introduction, and a good starting point
 * The help centre and FAQs
 * The Manual of Style - a guide to the community's writing conventions

If you need somehwere to apply that knowledge of Tolkien, it'd be much appreciated if you could help fill out the short Middle-earth-related articles listed here. It's also a good idea to sign the new user log and add a little about yourself.

When contributing to a talk page, you can sign your name by typing four tildes after your comments, like this: ~. Some people do not pay attention to unsigned comments. An important note: Please do not add this signature to encyclopedia articles you may edit, even if you have created them. Wikipedia articles are owned by the community, not by any one person.

If you have any questions, please don't hesitate to me at my talk page, or at the Help desk or Village Pump.

But above all, make sure you be bold when contributing, and have fun!

TPK 13:54, 29 Jul 2004 (UTC)

 * Thanks for the warm welcome, Tom. I'm afraid I won't be too active here, though - the Hebrew Wikipedia needs me much more. Amazing project you have here, and I hope its Hebrew counterpart will be almost as impressive some day! --Eitheladar

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are some pages that you might find helpful: I hope you enjoy editing here and being a Wikipedian! Please sign your messages on discussion pages using four tildes ( ~ ); this will automatically insert your username and the date. If you need help, check out Questions, ask me on, or ask your question on this page and then place  before the question. Again, welcome! DougsTech (talk) 08:34, 5 August 2008 (UTC)
 * The five pillars of Wikipedia
 * Tutorial
 * How to edit a page
 * How to write a great article
 * Manual of Style

July 2012
Hi, Eitheladar. Please do not attack other editors, as you did in the edit summary of your recent edit to 2012 Aurora shooting. Calling other editors names such as this—regardless of what their edits have been—is unacceptable. Thank you. matt (talk) 09:21, 29 July 2012 (UTC)
 * My opinion of a person who jokes about such a heinous crime so soon remains unchanged... but I will restrain myself in the future. Eitheladar (talk) 11:50, 29 July 2012 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:48, 23 November 2015 (UTC)

title: User talk:Eitheladar


text:
Talk:Xbox 360

"Project Xenon" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Project Xenon and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 October 31 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Pizzaplayer219TalkContribs 14:17, 31 October 2022 (UTC)

"Xenon (Xbox)" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Xenon (Xbox) and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 October 31 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Pizzaplayer219TalkContribs 14:19, 31 October 2022 (UTC)

"NeXtBox" listed at Redirects for discussion
An editor has identified a potential problem with the redirect NeXtBox and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 October 31 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Pizzaplayer219TalkContribs 14:25, 31 October 2022 (UTC)

"Xbox 365" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Xbox 365 and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 October 31 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Pizzaplayer219TalkContribs 14:31, 31 October 2022 (UTC)

"Twist Control" listed at Redirects for discussion
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"Xenia (Emulator)" listed at Redirects for discussion
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"Xenia (emulator)" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Xenia (emulator) and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 October 31 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Pizzaplayer219TalkContribs 16:38, 31 October 2022 (UTC)

Proposed merge of Xbox 360 sales into Xbox 360
The parent article already has a rather detailed sales section with tables. It's unclear how this article expands on that with any important detail. Most of the expanded content is dateline prose that just keeps repeating "On date, x sales announced". It appears this article was mostly cut and pasted from the parent in 2013, partially summarized in the parent, then re-expanded some in the parent. It's almost entirely redundant. -- ferret (talk) 17:32, 31 December 2022 (UTC)

 * Merge per Ferret.......... 174.27.21.219 (talk) 04:53, 1 January 2023 (UTC)
 * Merge. Actually, looking at them, I'd just say redirect. There's nothing at the separate sales article that isn't already sufficiently summarized at the main article, and the prose line, quarter-by-quarter breakdown is useless NOTNEWS material anyway. oknazevad (talk) 21:29, 10 January 2023 (UTC)
 * Merge Quinnerwinner12 (talk) 09:10, 15 January 2023 (UTC)
 * Merge per everyone. 174.27.21.219 (talk) 23:13, 31 January 2023 (UTC)
 * Merge - I cannot see the use of a separate page to tell someone "Xbox 360 sold 85 million units" or anything else Pondekuda46 (talk) 16:42, 14 February 2023 (UTC)
 * Merge Why was this ever separate? Zero Serenity (talk - contributions) 16:46, 14 February 2023 (UTC)
 * Merge Yannn11 20:26, 22 February 2023 (UTC)

✅ Joyous! Noise! 03:43, 6 March 2023 (UTC)

Featured picture scheduled for POTD
Hello! This is to let editors know that File:Xbox-360-Pro-wController.jpg, a featured picture used in this article, has been selected as the English Wikipedia's picture of the day (POTD) for May 12, 2025. A preview of the POTD is displayed below and can be edited at Template:POTD/2025-05-12. For the greater benefit of readers, any potential improvements or maintenance that could benefit the quality of this article should be done before its scheduled appearance on the Main Page. If you have any concerns, please place a message at Wikipedia talk:Picture of the day. Thank you! — Amakuru (talk) 08:06, 24 August 2023 (UTC)

False information about the removal of A/V
I can't edit this page yet, so... The page states that the Xbox 360 E has "no AV connector (and thus is HDMI-only)". This is completely false. While the proprietary connector of the original Xbox 360 and Xbox 360 S had been removed, it had been replaced with a standard AUX-style RCA cable. Thus, only the capabilities of S-video, Component, and VGA had been removed. https://www.cnet.com/reviews/microsoft-xbox-360-e-review/ DeadPixelPro (talk) 05:24, 29 January 2024 (UTC)

title: Talk:Xbox 360


text:
Camilo Mori

Camilo Mori Serrano (September 24, 1896 – December 7, 1973) was a Chilean painter and a founder of the Grupo Montparnasse.

The son of an Italian immigrant, Camilo Mori entered the "Escuela de Bellas Artes" (School of Fine Arts) at the University of Chile in 1914 and studied under masters Juan Francisco González, Richón Brunet and Alberto Valenzuela Llanos. In 1920, he was sent by the Chilean government to further his studies in Europe]

Over the next three years, Mori spent time in Rome and Paris. He joined the gathering of artists in the Montparnasse Quarter in Paris. There, his encounter with Pablo Picasso and Juan Gris greatly influenced his ideas of painting. However it was the influence of the works of Paul Cézanne that challenged Mori to move away from the Realism that marked his earlier work. He started experimenting with a variety of styles which later formed the basis of modern art. He exhibited in the Salon d'Automne of 1920 in Paris, where his "Circo de la Feria" received an honorable mention.

He returned to Chile and became one of the founding members of the Grupo Montparnasse, a key influence in the diffusion of the new European painting trends in Chile. In 1928 Camilo Mori was named director of the National Museum of Fine Arts (Spanish: Museo Nacional de Bellas Artes or MNBA). During his tenure in this post, he was responsible for many initiatives aimed at promoting art in Chile. In 1928, as an initiative to mitigate the closure of the School of Fine Arts, Mori was once again sent by the Chilean government to Europe, this time to direct the studies of a group of young painters known as the "Generation of 1928" (Spanish: Generacion del 28), which culminated in 26 of the most outstanding young Chilean artists being sent to study in Paris for five years.

Mori returned to Chile in 1933, where he accepted a position as professor of drawing and color at the Universidad de Chile, a post he retained for over 30 years. In 1937 he moved to the United States where he spent two years exploring some of the newest artistic trends of the time. He was placed in charge of supervising the decoration of, and created a mural for, the pavilion of Chile at the 1939 New York World's Fair.

For his contribution to Chilean art, in 1950 he received the National Prize of Art. His work was complex and multifaceted and moved through Post-Impressionism, Expressionism, Cubism and Surrealism, with the common trend among them being a prominent treatment of color.

title: Camilo Mori


text:
User talk:PeterNesbitt

Hi Peter, and welcome to Wikipedia.

Thankyou for finding the time to sign up and contribute to our little project. If you're in doubt about anything, you might want to check out some of these pages:

 * Welcome, newcomers - a general introduction, and a good starting point
 * The help centre and FAQs
 * The Manual of Style - a guide to the community's writing conventions

It's also a good idea to sign the new user log and add a little about yourself.

When contributing to a talk page, you can sign your name by typing four tildes after your comments, like this: ~. Some people do not pay attention to unsigned comments. An important note: Please do not add this signature to encyclopedia articles you may edit, even if you have created them. Wikipedia articles are owned by the community, not by any one person.

If you have any questions, please don't hesitate to me at my talk page, or at the Help desk or Village Pump.

But above all, make sure you be bold when contributing, and have fun!

TPK 13:59, 29 Jul 2004 (UTC)

title: User talk:PeterNesbitt


text:
Chevrolet C/K

The Chevrolet C/K is a series of trucks that was manufactured by General Motors from the 1960 to 2002 model years. Marketed by both the Chevrolet and GMC divisions, the C/K series encompassed a wide range of vehicles. While most commonly associated with pickup trucks, the model line also included chassis-cab trucks and medium-duty trucks and served as the basis for GM full-size SUVs. Through its entire production, the model line competed directly against the Ford F-Series and the Dodge D series (later the Dodge Ram pickup).

Used for both the model branding and the internal model code, "C" denoted two-wheel drive, while "K" denoted four-wheel drive. Four generations of the C/K series were produced, including the GM monikered second-generation "Action Line" and third-generation "Rounded Line" vehicles (colloquially aka Square-Body trucks). For the fourth-generation (colloquially also known as OBS trucks), Chevrolet kept using the C/K designation while GMC revised its branding, changing to a singular GMC Sierra nameplate (C/K remained as an internal model code).

For South America, the model line was manufactured by General Motors de Argentina from 1960 to 1978, Sevel Argentina from 1986 to 1991, and General Motors Brazil, who produced versions of the model line for Brazil, Argentina, and Chile from 1964 to 2001.

As GM entered the 1990s, the company revised its truck ranges, replacing the medium-duty C/K trucks with the Chevrolet Kodiak/GMC TopKick for 1990. For 1999, GM replaced the fourth-generation C/K pickup trucks with an all-new model line; in line with GMC, Chevrolet dropped the C/K nameplate (in favor of a singular Chevrolet Silverado nameplate). Initially marketed with its successor, the final C/K pickup trucks were produced for the 2000 model year. From 2001 to 2002, the final vehicles of the C/K model line were medium-duty chassis cab trucks.

First generation (1960–1966)
Launched in the fall of 1959 as a 1960 model, the first-generation C/K debuted a number of design changes for General Motors light-truck design. Replacing the Task Force range, the C/K was developed from the start as a truck chassis, no longer sharing commonality with the GM A-body platform. Though developed as a truck for the sake of durability, the C/K adopted several features from cars into its design to increase its functionality. For pickup trucks, the C/K trucks used a drop-center frame which allowed for a lower cab and lower center of gravity, and independent front suspension was paired with a coil-sprung rear axle. For 1963, front torsion bars were replaced by front coil springs (on two-wheel drive vehicles).

While the first generation would not undergo a comprehensive facelift or update, GM would make a series of gradual changes to the model line through its production. For 1962, the hood was redesigned, with a new windshield and A-pillar added to the cab for 1964.

In a break from General Motors tradition, this is one of the few generations of trucks not given an in-house moniker. The C/K nomenclature was developed by GMC; "C" denoted conventional cab, with "K" standing for 4×4 drive.

Second generation (1967–1972)
The second-generation C/K was introduced for the 1967 model year. Designated the "Action Line" generation by General Motors, the C/K largely carried over its drop-center ladder frame and its coil-sprung rear axle, but the body was redesigned from the ground up to improve its capability as a multi-purpose vehicle. Alongside a utilitarian vehicle intended for work or farm use, the C/K was also offered with optional features carried over from Chevrolet sedans, including automatic transmissions, AM/FM radio, carpet, and two-tone paint.

While the Action Line would not undergo a definitive model revision through its production, the series underwent gradual changes on a biannual basis. The drivetrain line underwent multiple revisions, as a large-block V8 was offered for the first time in 1968. After 1969, GM switched entirely to Chevrolet-produced engines for C/K pickup trucks.

This generation marks the debut of the Chevrolet Cheyenne and GMC Sierra nameplates; introduced in 1971 and 1972, respectively, General Motors still uses both nameplates for full-size pickups in current production. The Action-Line pickup also served as the basis of ancestors of modern full-size SUVs, including the Chevrolet K5 Blazer, an open-body off-road vehicle, and the Chevrolet Suburban truck-based station wagon.

For 1973, GM replaced the Action Line trucks with the long-running Rounded Line series; the Action Line trucks are the final C/K trucks offered solely with a two-door cab.

Third generation (1973–1991)
The third-generation C/K was introduced for the 1973 model year. Designated the "Rounded Line" generation by General Motors, the C/K grew in size inside and out. As pickup trucks increased in use as personal vehicles, cab features and options moved closer in line with GM sedans (with power windows and power door locks becoming options). To further expand its practicality, a four-door crew cab body was introduced (offering 6-passenger seating).

While relatively straight-lined and boxy in appearance (leading to their "square-body" nickname from the public ) the Rounded Line trucks were the first generation of the C/K to be designed with the use of computers and wind tunnels, optimizing the exterior shape for lower drag and improved fuel economy. The chassis was an all-new design (with all trucks receiving a leaf-spring rear suspension); K-Series trucks moved to all-wheel drive (shift-on-the-fly 4×4 was introduced for 1981).

Alongside the introduction of the four-door crew cab, the third generation C/K marked the introduction of a dual rear-wheel pickup truck ("Big Dooley"). For 1978, the C/K became the first American full-size pickup truck sold with a diesel engine (a 5.7L Oldsmobile diesel V8); a 6.2L diesel V8 was introduced for 1982. This generation also marks the first use of the Chevrolet Silverado nameplate (in use for Chevrolet full-size trucks today).

The Rounded Line generation is the longest-produced version of the C/K model line, produced for 18 model years. For 1987, it was renamed the R/V series (to accommodate the fourth-generation C/K marketed alongside it) and was gradually phased out through the 1991 model year.

Fourth generation C/K / first generation Sierra (1988–2002)
The fourth-generation C/K was introduced in April 1987 for the 1988 model year. Known officially by its GMT400 internal codename (GM never assigned this model line a generational moniker), these have come to be known as the OBS (Old or Original Body Style) generation by enthusiasts. Slightly smaller in cab dimensions than the Rounded Line generation, the fourth-generation C/K increased interior space over its predecessor. After trailing Ford and Dodge by over a decade, GM introduced the C/K in an extended-cab configuration. For nearly five years, the fourth-generation C/K was sold alongside its R/V series predecessor, as the crew cab pickup (which served as the basis of the Suburban SUV) was not released until the 1992 model year.

In a branding change, the C/K nomenclature became exclusive to Chevrolet, as all GMC pickups became Sierras (GMC retained the C/K nomenclature for its internal model codes). Chevrolet introduced several specialized variants of the C/K series, including the work-oriented W/T 1500, off-road Z71, and the high-performance 454SS. Between one-ton trucks and the Kodiak medium-duty trucks, Chevrolet and GMC offered the C3500HD chassis cab for commercial use.

For 1995, the fourth-generation C/K underwent a mid-cycle revision, adding a driver-side airbag (dual airbags became standard for 1998). For 1996, the extended cab was redesigned, adding a rear-hinged passenger-side third door on select 1500 models.

For the 1999 model year, to accommodate the introduction of the GMT800-chassis Chevrolet Silverado/GMC Sierra, the fourth-generation C/K was renamed as the Chevrolet Silverado Classic and GMC Sierra Classic. After the 2000 model year, C/K pickup trucks were discontinued. GM produced the heavy-duty C3500HD chassis cab as the final version of the C/K model family through the 2002 model year.

South American production (1964–2001)
General Motors Brazil produced three generations of light-duty Chevrolet pickup trucks from 1964 to 2001. Developed specifically for South American production, each version was also derived (to various extents) from the contemporary version of its American C/K counterpart. The model line also included truck-based station wagon/SUVs (similar to the Chevrolet Suburban).

In January 2002, GM Brazil ended production of full-size pickup trucks, concentrating its production towards the Chevrolet S-10 and car-based pickup trucks.

1964–1984
In 1964, GM Brazil launched its first line of light trucks designed in Brazil, the Chevrolet C-series pickup truck; in line with the Chevrolet Suburban, the model line was sold in a wagon configuration, renamed from C-1416 to Chevrolet Veraneio in 1969. Styled with an exterior exclusive to Brazil, the model line shared its instrument panel with the first-generation Chevrolet C/K of 1960–1966. Nearly a decade before its American counterpart, a four-door "double cab" was offered alongside the standard two-door configuration, sharing its doors with the Veraneio wagon/SUV.

The model line was launched with a 261 cubic-inch inline-six (derived from the Chevrolet "Stovebolt" engine); this engine was replaced in 1971 by a 250 cubic-inch inline-6 from the Chevrolet Opala. In 1976, the standard gasoline engine for the C-10 became a 2.5L inline-four. A four-cylinder diesel (Perkins 4236 3.8L) was introduced for 1978 in the D10 pickup. For 1981, the engine line was reduced to two, with a 4.1L inline-six becoming offered in gasoline and ethanol-fuel versions (C-10 and A-10) and the Perkins 4236 (D10).

1985–1996
For 1985 production, GM Brazil introduced the 20-series model line as its second generation of light trucks. Sharing its cab structure with the "Rounded Line" generation, the 20-series received its own front fascia (sharing headlights with the Opala) and larger taillamps than its American counterpart. Far more advanced in design than its utilitarian predecessor, the 20-series carried over little more than its powertrains from the previous generation. In addition to 20-series pickup trucks, GM Brazil offered a full line of Chevrolet medium- and heavy-duty trucks derived from the "Rounded Line" cab.

Again offered in single and double cabs (introduced in 1986), the C-20 and A-20 (ethanol) received a 4.1L inline-six, with the D-20 receiving the Perkins Q20B inline-4 diesel (replaced by the Maxion S4 for 1990 ). In contrast to its American counterpart, the 20-series was offered nearly exclusively with 2-wheel drive; a 4×4 version was offered for 1989 and was withdrawn before the end of the model year, following poor reliability of its drivetrain.

For 1988, the Veraneio wagon/SUV was redesigned for the first time since its introduction, adopting the 20-series body structure; the four-door was joined by the two-door Chevrolet Bonanza. With the exception of its taillamps and front fascia, the Veraneio adopted an appearance close to the Chevrolet/GMC Suburban; the Bonanza was proportioned similar to the Chevrolet K5 Blazer (though fitted with two-wheel drive and a permanent roof).

For 1992, the 20-series underwent a minor exterior revision, again sharing its headlights with the Opala (higher-trim vehicles shared wheels with GMT400 pickup trucks); the interior underwent a redesign, adopting a redesigned instrument panel.

For 1996, the model line adopted the fuel-injected version of the 4.1L six-cylinder from the Chevrolet Omega, ending its use of carbureted engines.

1997–2001
For 1997, the 20-series (based on the 1973 "Rounded Line" pickups) was retired, with GM Brazil introducing the Argentine-produced Chevrolet Silverado. In contrast to the previous two generations of Brazilian Chevrolet trucks, the Chevrolet Silverado was no longer a market-exclusive design; the Silverado was identical to the American-market GMT400 pickup. Offered only as a two-door C2500 with a standard-length bed, the Silverado was fitted with locally sourced powertrains, including a 138 hp 4.1L inline-six (from the previous C-20/A-20 and the Chevrolet Omega) and a MWM-produced 168 hp 4.2L turbodiesel inline-six.

The locally designed Veraneio and Bonanza were discontinued; in 1998, GM Brazil began production of the Chevrolet Grand Blazer, a renamed Chevrolet Tahoe.

For 2000 production, production of the Silverado shifted from Argentina to Brazil. Alongside the withdrawal of the Grand Blazer (in favor of the smaller S-10 Blazer), the Silverado adopted a D-20 suffix (from the popularity of its predecessor ). During 2001, Chevrolet withdrew the 4.1L gasoline six-cylinder from the Silverado D-20 (the final vehicle to use the engine).

After many years of declining market share in the truck segment, GM Brazil produced the final Silverado D-20 in January 2002.

title: Chevrolet C/K


text:
1896 in art

The year 1896 in art involved some significant events.

Events

 * January 24 – Painter Sir Frederic Leighton is created 1st Baron Leighton in the peerage of the United Kingdom one day before his death in London of angina pectoris.
 * February – Edvard Munch moves to Paris and concentrates on printmaking.
 * December – Walter Crane publishes Of The Decorative Illustration of Books, Old and New (printed by the Chiswick Press).
 * A bout of typhoid fever puts an end to Maurice de Vlaminck's career as a cyclist.
 * William Merritt Chase founds Parsons The New School for Design as the Chase School of Art in Greenwich Village, New York.
 * At Giverny Claude Monet begins painting his Mornings on the Seine series, which will continue through 1897.
 * Art student Henri Matisse visits Australian painter John Russell on the island of Belle Île off the coast of Brittany and is introduced to Impressionism and to the work of Vincent van Gogh.
 * Interior design gallery Maison de l'Art Nouveau opens in Paris.
 * Museum of Applied Arts, Budapest, designed by Ödön Lechner, is completed.
 * Max Beerbohm publishes Caricatures of Twenty-five Gentlemen in London, his first collection of drawings.
 * Bernard Berenson publishes Florentine Painters of the Renaissance.
 * The Royal Society of Miniature Painters, Sculptors and Gravers is founded.
 * Hubert von Herkomer is made a knight in the United Kingdom.

Works

 * Nels N. Alling – Statue of George Washington (terra cotta, Market Square, Perth Amboy, New Jersey)
 * Michael Ancher – A stroll on the beach
 * Harry Bates – equestrian statue of Lord Roberts
 * Aubrey Beardsley – Illustrations to Pope's The Rape of the Lock
 * Alfred Boucher – Volubilis (sculpture)
 * Edward Burne-Jones (illustrations) and William Morris (type design and decoration) – The Works of Geoffrey Chaucer, now newly imprinted (Kelmscott Press edition)
 * Lovis Corinth – Self-portrait with skeleton
 * Edgar Degas – Bathers (completed)
 * Paul Dubois – Baptism of Clovis (sculpture in front of Reims Cathedral)
 * Thomas Eakins – The Pianist
 * Julian Fałat – Self-portrait with palette
 * Luke Fildes – Frederick Treves
 * Paul Gauguin
 * Bé bé
 * Te tamari no atua
 * Self-portrait "près du Golgotha"
 * Self-portrait for my friend Daniel
 * Oyez Hui Iesu (carving)
 * J. W. Godward
 * Campaspe
 * He Loves Me, He Loves Me Not
 * Akseli Gallen-Kallela – The Defense of the Sampo
 * Niels Hansen Jacobsen – Trold, der vejrer kristenblod (sculpture)
 * Paja Jovanović – Migration of the Serbs
 * Fernand Khnopff
 * Caress of the Sphinx
 * Posthumous portrait of Marguerite Landuyt
 * Maximilien Luce
 * Le bon samaritain
 * Scène de rue à Paris
 * Juan Luna – Ecce Homo
 * Frederick McCubbin – On the wallaby track
 * Charles Rennie Mackintosh – Stencilled friezes for Catherine Cranston's Buchanan Street tearooms, Glasgow
 * Konstantin Makovsky – Appeal of Kuzma Minin
 * Arturo Michelena – Miranda en la Carraca
 * Mihály Munkácsy – Ecce homo
 * Pablo Picasso – First Communion
 * Camille Pissarro – Pont Boieldieu in Rouen, Rainy Weather
 * J. Massey Rhind – Erskine Memorial Fountain
 * Félicien Rops – Pornocrates (aquatint)
 * Giovanni Segantini – Love at the Fountain of Life
 * François-Léon Sicard – Le Bon Samaritain (sculpture)
 * Hugo Simberg – The Garden of Death (watercolor and gouache, Ateneum, Helsinki)
 * Arthur Streeton – The purple noon’s transparent might
 * Viktor Vasnetsov
 * Sirin and Alkonost – Birds of Joy and Sorrow
 * The Temptation (fresco, St Volodymyr's Cathedral, Kiev)
 * J. W. Waterhouse
 * Hylas and the Nymphs
 * Pandora
 * James McNeill Whistler
 * Savoy Pigeons (lithograph)
 * The Thames (lithotint)
 * Waterloo Bridge from the Savoy
 * Westminster from the Savoy (watercolor)
 * Anders Zorn – Self-portrait with model

Births

 * January 4 – André Masson, French artist (died 1987)
 * January 20 – Charles E. Brown, English aviation photographer (died 1982)
 * January 22 – Sava Šumanović, Serbian painter (died 1942)
 * April 14 – Alfredo Volpi, Brazilian Modernist painter (died 1988)
 * July 2
 * Quirino Cristiani, Argentine animation director and cartoonist (died 1984)
 * Prudence Heward, Canadian painter (died 1947)
 * July 13 – Mordecai Ardon, Israeli painter (died 1992)
 * August 4 – José Fioravanti, Argentine monumental sculptor (died 1977)
 * August 14 – Eric Grate, Swedish sculptor, painter and graphics artist (died 1983)
 * August 15 – Paul Outerbridge, photographer (died 1958)
 * September 24 – Camilo Mori, Chilean painter (died 1973)
 * November 8 – Erika Abels d'Albert, Austrian artist (died 1975)
 * November 13 – Ernst Thoms, German painter (died 1983)
 * December 25 – Marion Dorn, American-born textile designer (died 1964)
 * December 31 – Cathleen Mann, English portrait painter and costume designer (died 1959)
 * Cicely Hey, English artist and model (died 1980)

Deaths

 * January 4 – Henri Alfred Jacquemart, French sculptor and animalier (born 1824)
 * January 15 – Mathew Brady, American photographer (born 1822)
 * January 25 – Frederic Leighton, English painter and sculptor specialising in classical subjects (born 1830)
 * February 5 – Jean-Auguste Barre, French sculptor (born 1811)
 * February – John Cooke Bourne, English topographical artist, lithographer and photographer (born 1814)
 * April 16 – Viktor Oskar Tilgner, Austrian sculptor (born 1844)
 * May 3 – Alfred William Hunt, English painter (born 1830)
 * May 5 – Jacob Fjelde, Norwegian American sculptor (born 1855)
 * May 15 – Évariste Vital Luminais, French historical painter (born 1821)
 * July 7 – Erdmann Encke, German sculptor (born 1843)
 * August 13 – Sir John Everett Millais, English pre-Raphaelite painter (born 1829)
 * August 14 – Olin Levi Warner, American sculptor (born 1844)
 * September 23 – Emmanuel Benner, French painter (born 1836)
 * November 9 – Napoleon Sarony, Canadian American portrait photographer (born 1821)

title: 1896 in art


text:
User talk:NeoNSX

Hi NeoNSX, and welcome to Wikipedia.

Thankyou for finding the time to sign up and contribute to our little project. If you're in doubt about anything, you might want to check out some of these pages:

 * Welcome, newcomers - a general introduction, and a good starting point
 * The help centre and FAQs
 * The Manual of Style - a guide to the community's writing conventions

Judging from your contributions so far, you might be interested in the WikiProject Automobiles. It's also a good idea to sign the new user log and add a little about yourself.

When contributing to a talk page, you can sign your name by typing four tildes after your comments, like this: ~. Some people do not pay attention to unsigned comments. An important note: Please do not add this signature to encyclopedia articles you may edit, even if you have created them. Wikipedia articles are owned by the community, not by any one person.

If you have any questions, please don't hesitate to me at my talk page, or at the Help desk or Village Pump.

But above all, make sure you be bold when contributing, and have fun!

TPK 14:02, 29 Jul 2004 (UTC)

Re: Honda NSX article
Hello. I notice that you disagree with some of my edits on the Honda NSX article which you are of course entitled to do. However, I think that calling a group of users "haters" and claiming that we are "defacing" an article is unjustified and personally I find it insulting. I was honestly trying to improve the NSX article by reverting to an edit that recognised both opinions not just one opinion. Such comments are unlikely to endear you to other users. In future you might want to discuss your disagreements on the relevant article's talk page. BTW, I have edited the NSX page again so that hopefully it satisfies everyone. SamH 17:59, 12 Sep 2004 (UTC)

Image Tagging Image:Honda jazz2.jpg
Thanks for uploading Image:Honda jazz2.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you.

Image:Honda nsx 93.jpg listed for deletion
An image or media file that you uploaded, Image:Honda nsx 93.jpg, has been listed at Images and media for deletion. Please look there to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Thank you.

title: User talk:NeoNSX


text:
Christian Otto Mohr

Christian Otto Mohr (8 October 1835 – 2 October 1918) was a German civil engineer. He is renowned for his contributions to the field of structural engineering, such as Mohr's circle, and for his study of stress.

Biography
He was born on 8 October 1835 to a landowning family in Wesselburen in the Holstein region. At the age of 16 attended the Polytechnic School in Hannover.

Starting in 1855, his early working life was spent in railroad engineering for the Hanover and Oldenburg state railways, designing some famous bridges and making some of the earliest uses of steel trusses.

Even during his early railway years, Mohr had developed an interest in the theories of mechanics and the strength of materials. In 1867, he became professor of mechanics at Stuttgart Polytechnic, and in 1873 at Dresden Polytechnic. Mohr had a direct and unpretentious lecturing style that was popular with his students. In addition to a lone textbook, Mohr published many research papers on the theory of structures and strength of materials.

In 1874, Mohr formalised the idea of a statically indeterminate structure.

Mohr was an enthusiast for graphical tools and developed the method, for visually representing stress in three dimensions, previously proposed by Carl Culmann. In 1882, he famously developed the graphical method for analysing stress known as Mohr's circle and used it to propose an early theory of strength based on shear stress. He also developed the Williot-Mohr diagram for truss displacements and the Maxwell-Mohr method for analysing statically indeterminate structures, it can also be used to determine the displacement of truss nodes and forces acting on each member. The Maxwell-Mohr method is also referred to as the virtual force method for redundant trusses.

He retired in 1900, yet continued his scientific work in Dresden until his death on 2 October 1918.

title: Christian Otto Mohr


text:
Dr. Know

Dr. Know may refer to:

 * Dr. Know (band), a punk band from Oxnard, California
 * Dr. Know (guitarist) (born 1958), stage name of guitar player Gary Miller from the band Bad Brains
 * Dr. Know (TV series), a TV program on the Discovery Health Channel
 * Dr. Know, a commercial information service in the film Artificial Intelligence: A.I.

title: Dr. Know