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User talk:FinalGamer

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Ciz's antics
Thought I'd congratulate you - you don't know you're a real Wikipedian before a vandal defaces your user page. :-) -- Kizor 14:33, 7 Nov 2004 (UTC)

Urgent: Vote re Ciz
The arbcom post is being processed shortly. can you indicate on my talk page User:FT2 whether you would support a full wikipedia ban for Ciz? Thanks FT2 21:10, Dec 16, 2004 (UTC)

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Invitation: WikiProject Autism
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Ways to improve Chrysalis (sci-fi anthology)
Hello, FinalGamer,

Thank you for creating Chrysalis (sci-fi anthology).

I have tagged the page as having some issues to fix, as a part of our page curation process and note that:

"Thanks for the article! IMO, notability, which decides which articles are suitable for inclusion on Wikipedia, is borderline. The book here covers this in three pages. It seems to be a ref that is significant, reliable, and independent, counting as one ref to book notability or general notability (see WP:NBOOK, WP:GNG), whereas the entry from The Encyclopedia of Science Fiction is definitely reliable (see WP:RS), but whether it is significant coverage might vary between editors. As it's more than a paragraph and 155 words, so IMO per One hundred words (this is an essay, but probably close to my personal metric), it probably counts as a significant ref, though I could also see another editor disagreeing. The other book refs are reliable but trivial mentions. So I have tagged the notability."

The tags can be removed by you or another editor once the issues they mention are addressed. If you have questions, leave a comment here and begin it with. Remember to sign your reply with. For broader editing help, please visit the Teahouse.

Delivered via the Page Curation tool, on behalf of the reviewer.

VickKiang 23:35, 24 September 2022 (UTC)

title: User talk:FinalGamer


text:
User talk:Cavia

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Follow the Simplified Ruleset
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

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

title: User talk:Cavia


text:
MV East Chop

MV East Chop is a ferry in Massachusetts that operates between Hyannis and the islands of Martha's Vineyard and Nantucket.

She measures 100 ft in length overall and 40 ft in beam. She is powered by two diesel engines which drive two propellers.

She was purchased by Hy-Line Cruises in 1970 and is marketed with the name "Around the Sound". She derives her name from East Chop, a residential area of the Town of Oak Bluffs on Martha's Vineyard.

title: MV East Chop


text:
Ospreys (rugby union)

The Ospreys (Y Gweilch), formerly the Neath–Swansea Ospreys is one of the four professional rugby union teams from Wales. They compete in the United Rugby Championship and the European Rugby Champions Cup. The team formed as a result of Neath RFC and Swansea RFC combining to create a new merged entity, as part of the new regional structure of Welsh rugby, that began in 2003. They are also affiliated with a number of local semi-professional and amateur clubs, including Welsh Premier Division sides Aberavon RFC, Bridgend Ravens, and original founding clubs Neath and Swansea. The regional area represented by the team has widely become known for rugby purposes as 'Ospreylia'.

Their main home ground is the Swansea.com Stadium, Swansea, although some smaller profile games have been played at the Brewery Field, Bridgend. Ospreys currently play in a black home strip, while the away strip is white and orange. The Ospreys logo consists of an image of an Osprey mask.

The Ospreys are the most successful Welsh team in the history of the Celtic League or Pro12 tournament, having won the competition four times. They also became the first and only Welsh regional team to beat a major touring side, defeating 24–16 in 2006.

Infancy
On 24 July 2003, it was announced that the new team jointly representing Neath RFC and Swansea RFC would be known as the Neath–Swansea Ospreys. The Ospreys part of the team's name was inspired by the use of the bird as Swansea RFC's centenary badge. Former Neath RFC coach Lyn Jones was appointed as head coach, who named Scott Gibbs as the team's first captain. 5 September 2003 saw the region play their first competitive game, a 41–30 Celtic League home win over Irish province Ulster at The Gnoll in Neath. Leeds Tykes were the Ospreys' first Heineken Cup opponents, with the English team triumphing 29–20 on 7 December 2003. They struggled to recover from their opening defeat, finishing bottom of their pool, recording their only victory against the Tykes' at home in the final round at St. Helens. Domestically the Ospreys' did salvage some pride, avoiding becoming the lowest placed Welsh region, by pipping Cardiff Blues to fifth place in the Celtic League.

Following the demise of the Celtic Warriors region on 1 June 2004, the Neath–Swansea Ospreys had their borders extended to cover much of the Bridgend and Ogmore areas to the east. However, for logistical reasons it was decided that no home games would be played at Bridgend RFC's Brewery Field. Former Warriors players David Bishop, Brent Cockbain, Ryan Jones and Sonny Parker were signed by the Ospreys'.

2004–2007
The 2004–05 season saw significant on field improvement for the region. A capacity crowd of 10,280 was present at The Gnoll on 26 March 2005 to witness the Ospreys claim their first piece of silverware. A 29–12 win over Edinburgh, with two rounds of the competition still remaining, saw the team crowned Celtic League champions. However, impressive back to back wins over Harlequins were not enough to overcome Munster in the pool stages of that season's Heineken Cup. On 14 May 2005 it was announced that the "Neath–Swansea" part of the team's name would be dropped, with them to be referred to as the Ospreys.

A growing sense of expectation surrounded the team heading into 2005–06, an expectation they struggled to cope with, finishing a disappointing seventh in the Celtic League. A difficult Heineken Cup pool made up of tough opposition in Leicester Tigers, Stade Francais and ASM Clermont Auvergne proved too difficult, as they finished a distant third. A gutsy home victory over Stade and a last gasp defeat to Leicester, did however offer some crumbs of comfort. In April 2006 it was announced that noted former New Zealand All Blacks scrum half Justin Marshall had signed to play for Ospreys.

The Ospreys won the Celtic League during the 2006/07 season, topping the league by a single point and taking the title with an away win at Borders. Winning the Celtic League for a second time meant the Ospreys were the first team to have won the Celtic League twice. In February 2008, the Ospreys provided 13 of the starting line-up for Wales in their Six Nations match against England, setting a new record for the number of players from one region playing for their national side. During the 2007/08 season the Ospreys reached Quarter-final of the Heineken Cup for the first time but unexpectedly lost to Saracens. The following week they won the EDF Energy Cup beating Leicester Tigers at Twickenham.

In November 2006 when it became apparent that Wales 'A' would not be able to face Australia A national rugby union team midweek during their November tour, the Ospreys became the first Welsh region to play a major international side since regional rugby was introduced, a match they won 24–16. Following the win over the Wallabies, the term Ospreylia became ingrained in popular culture  with it being adopted by the region and its supporters as a description of the geographical area covered by the region, with supporters known as Ospreylians. Peter Black, Assembly Member for south west Wales has declared himself as AM for Ospreylia on his own blog.

On 23 February 2007, the Ospreys played their first 'A' team match, against Newport-Gwent Dragons 'A' at Bridgend, which was the first 'A' match fixture for any of the Welsh regional sides. They lost the match 22–10. They have since gone on to play Worcester 'A' in April, a game which they lost 24–23 to an injury-time penalty.

2008–2011
In February 2008 Andrew Hore was appointed as the Ospreys as elite performance director. Previously Hore had been high performance manager with the New Zealand Rugby Union.

A disappointing seventh-place finish in the Celtic League and a surprise Heineken Cup quarter-final exit to Saracens F.C. saw head coach Lyn Jones resign at the end of the 2007–08 season, on 16 May 2008 Assistant Coach Sean Holley and forwards coach Jonathan Humphreys would continue as part of a new management structure being overseen by Andrew Hore, until a replacement could be found. Scott Johnson, the former head coach of the Welsh national team, and attack coach when Wales won the Six Nations Championship Grand Slam in 2005 for the first time in 27 years, was announced as director of coaching at the Ospreys on 29 January 2009.

On 21 April 2009, the Ospreys had six players included in the British & Irish Lions' squad for the 2009 South African tour: Lee Byrne (fullback), Tommy Bowe and Shane Williams (wings), Mike Phillips (scrum-half), Alun Wyn Jones (lock) and Adam Jones (prop). One notable omission however, was Wales and Ospreys captain Ryan Jones. The Ospreys announced the signing of former New Zealand All Blacks captain Jerry Collins on 9 May 2009. Collins had been a stalwart for the All Blacks, since 2004 but retired from international rugby in 2008.

A 29–28 defeat by Biarritz on 10 April 2010 dashed the team's hopes of a first Heineken Cup semi-final appearance. A late Nicky Walker try in San Sebastien proved in vain. However, on 29 May 2010, the Ospreys won the 2009–10 Celtic League by defeating Leinster in the final by 17–12 at the RDS Arena in Dublin.

Following a wide-ranging review, Andrew Hore, previously elite performance director at the Ospreys, became on 26 April 2011 chief operations officer at the region.

2010–11 would not see the region reach the heights of the previous one. Despite winning all their home pool games in the Heineken Cup, a failure to win on the road proved costly, with Munster and Toulon progressing instead. Another win for Munster at Thomond Park on 14 May 2011, ended the Ospreys Celtic League aspirations at the semi-final stage.

2012–2018
Former player Steve Tandy was appointed as new Ospreys head coach on 15 February 2012 replacing Sean Holley in the role, as Scott Johnson also departed to take up a coaching role with Scotland. Both Holley and Johnson's final game as part of the coaching setup at the Liberty Stadium had been a 36–5 away loss to Biarritz, which marked the end of a Heineken Cup campaign that saw them again fail to win on their travels. New coach Tandy enjoyed a successful start to his tenure, winning eight of his first ten matches as full-time Head Coach, including winning the 2011–12 Pro12 following a 31–30 win over Leinster at the RDS, thanks to a late Shane Williams try in his final match for the region 29–30 and Dan Biggar adding a difficult conversion for the win 31–30. Ospreys have reached 2 semi-finals in the subsequent 6 seasons, but not made the final.

Following a poor start to the 2017–2018 season, Tandy was sacked by the Ospreys. Forwards coach Allen Clarke took over on an interim basis, before agreeing to a three-year deal as head coach.

2018–
For the 2018–2019 season, along with new head coach Clarke, Matt Sherratt joined the coaching staff, replacing Gruff Rees. The season also began with notable squad changes, with record points scorer Dan Biggar departing for Northampton Saints, and stalwart Paul James retiring. The Ospreys were boosted with the signings of Welsh internationals George North, Scott Williams, and Aled Davies. The season saw a modest improvement for the Ospreys, winning 12 matches and losing 9, as well as beating west Wales rivals the Scarlets for a Champions Cup place. The Ospreys endured an inauspicious 2019–2020 season, finishing bottom of Conference A of the Pro14, winning just two of their 15 matches.

The 2020–2021 season saw Allen Clarke replaced by former electrician Toby Booth. He succeeded in sparking the region back to life, including an away win at eventual champions Leinster and a return to top tier European competition for the following season. In 2021–2022, the rebranded United Rugby Championship saw the Ospreys win the Welsh Shield, but struggle in the Champions Cup, losing all of their group games. A home win over Munster heralded the arrival of outstanding back row forward Jac Morgan.

The 2021–2022 season saw another mid-table finish in the United Rugby Championship, with the Ospreys narrowly missing out on a place in the play-offs, contested by the top eight teams, with a ninth-place finish. A worrying trend continued, as they again lost all four of their European Champions Cup fixtures. They secured a return to the top-level European competition by finishing top of the Welsh Shield.

The 2022–2023 season once again saw a mid-table finish in the United Rugby Championship. The Ospreys' European Champions Cup campaign started in ominous fashion, as a much-changed Leicester team defeated them at the Swansea.com stadium. As one of the lowest-seeded teams in the competition, the Ospreys would have to play the reigning English and French champions home and away in their group games. The defeat against Leicester was therefore followed by an away game in Montpellier. Against all expectations, and inspired by the arrival of master-tactician fly-half Owen Williams after the break-up of Worcester Warriors, the Ospreys beat Montpellier. That was followed by a win over Montpellier at home, and a titanic victory away at Leicester, which secured their place in the quarter finals. Results elsewhere meant that they missed out on home advantage in that quarter final, and were ultimately not able to get past Saracens, bowing out of the competition at the quarter final stage, but not without achieving some of the best results in Welsh regional rugby in years along the way.

In January 2024, the Ospreys management have stated they are looking at options for moving to a new ground. It will be a rugby home, suited to rugby supporters and not a shared football stadium like the Swansea.com.

Home grounds
In their first two seasons, the Ospreys shared their home games between St Helen's (home ground of Swansea RFC) and The Gnoll (home ground of Neath RFC). Since their third season in 2005–06, they have played at the purpose-built 20,000 seat Liberty Stadium in Landore, Swansea, which is shared with Swansea City. The Liberty Stadium, with double the capacity of St Helen's, has seen a capacity crowd for the matches against international tourists Australia 'A' team (1 November 2006 ) and against local rivals the Scarlets. On 12 November 2010 the team played their first competitive fixture at the Brewery Field home ground of Bridgend Ravens in the Anglo-Welsh Cup.

In July 2024, it was announced that the Ospreys would be leaving the Swansea.com Stadium after 20 years for the 2025/26 season to play in the newly renovated, yet former host ground, the St Helen's Rugby and Cricket Ground. The Swansea Cricket Club will be leaving the ground they have occupied since 1875.

Kit suppliers
From their foundation to the 2013–14 season, the Ospreys kit suppliers were Kooga. Between the seasons 2014–2017, BLK supplied the Ospreys kits. Canterbury supplied the kits for the 2018–2021 seasons. Starting for the 2021/22 season, the Ospreys would form a kit partnership with Umbro. This lasted until 2023 as in June of the same year, the Ospreys announced that they had signed a multi-year partnership with sportswear manufacturer Macron.

Management & Coaching staff
Management

Coaching

Welsh Internationals
The following players have represented Wales internationally and represented the Ospreys.

 * Cory Allen: (2013–2017)
 * Gareth Anscombe: (2015–2023)
 * Dan Baker: (2013–2015)
 * Scott Baldwin: (2013–2023)
 * James Bater: (2003)
 * Adam Beard: (2017–)
 * Ashley Beck: (2012–2013)
 * Huw Bennett: (2003–2012)
 * Ryan Bevington: (2011–2014)
 * Dan Biggar: (2008–2023)
 * Andrew Bishop: (2008–2012)
 * Aled Brew: (2007–2012)
 * Lee Byrne: (2005–2011)
 * Brent Cockbain: (2003–2007)
 * Sam Cross: (2017)
 * Alex Cuthbert (2011–2023)
 * Aled Davies: (2017–2019)
 * Barry Davies: (2006)
 * Bradley Davies: (2009–2019)
 * Leigh Davies: (1996–2003)
 * Mefin Davies: (2002–2007)
 * Rhys Davies: (2023)
 * Sam Davies: (2016–2017)
 * Gareth Delve: (2006–2010)
 * Adrian Durston: (2001)
 * Cai Evans: (2023–)
 * Dan Evans: (2009)
 * Ian Evans: (2006–2014)
 * Tomas Francis: (2015–2023)
 * Scott Gibbs: (1991–2001)
 * Ian Gough: (1998–2010)
 * Joe Hawkins: (2022–2023)
 * Gavin Henson: (2001–2011)
 * Richard Hibbard: (2006–2015)
 * James Hook: (2006–2015)
 * Dafydd Howells: (2013)
 * Paul James: (2003–2016)
 * Aaron Jarvis: (2012–2016)
 * Adam Jones: (2003–2014)
 * Alun Wyn Jones: (2006–2023)
 * Duncan Jones: (2001–2009)
 * Matt Jones: (2005)
 * Rhodri Jones: (2012–2022)
 * Ryan Jones: (2004–2013)
 * James King: (2013–2017)
 * Tavis Knoyle: (2010–2013)
 * Dewi Lake: (2022–)
 * Gareth Llewellyn: (1989–2004)
 * Andy Lloyd: (2001)
 * Dan Lydiate: (2009–2023)
 * Rob McCusker: (2010–2013)
 * Craig Mitchell: (2009–2013)
 * Jac Morgan: (2022–)
 * Luke Morgan: (2018)
 * Matthew Morgan: (2014–2015)
 * George North: (2010–2024)
 * Sonny Parker: (2002–2008)
 * Sam Parry: (2020–2023)
 * Mike Phillips: (2003–2015)
 * Tom Prydie: (2010–2018)
 * Richie Pugh: (2005)
 * James Ratti: (2024–)
 * Richie Rees: (2010)
 * Martin Roberts: (2008–2009)
 * Tal Selley: (2005)
 * Nicky Smith: (2014–2023)
 * Jonathan Spratt: (2009–2013)
 * Mark Taylor: (1994–2005)
 * Gareth Thomas: (2021–)
 * Gavin Thomas: (2001–2010)
 * Jonathan Thomas: (2003–2011)
 * Rory Thornton: (2017)
 * Justin Tipuric: (2011–2023)
 * Eli Walker: (2015)
 * Owen Watkin: (2017–)
 * Rhys Webb: (2012–2023)
 * Andy Williams: (2003–2007)
 * Barry Williams: (1996–2002)
 * Owen Williams: (2017–2023)
 * Keiran Williams: (2023–)
 * Scott Williams: (2011–2019)
 * Shane Williams: (2000–2011)

British & Irish Lions
The following players were selected for the British & Irish Lions touring squads while contracted to the Ospreys:
 * Brent Cockbain: 2005
 * Gavin Henson: 2005
 * Ryan Jones: 2005, 2009
 * Shane Williams: 2005, 2009
 * Tommy Bowe: 2009
 * Lee Byrne: 2009
 * Adam Jones: 2009, 2013
 * Alun Wyn Jones: 2009, 2013, 2017, 2021
 * Mike Phillips: 2009
 * James Hook: 2009
 * Richard Hibbard: 2013
 * Ian Evans: 2013
 * Justin Tipuric: 2013, 2017, 2021
 * Dan Biggar: 2017
 * Rhys Webb: 2017
 * Adam Beard: 2021

Centurions
Players who have reached the 100 appearance mark for the Ospreys. The first numbers in brackets are the years they represented the Ospreys, while the second numbers in bold are the number of caps they received. Caps updated on 8 June 2024.

 * Lloyd Ashley: (2011–2022) (153)
 * Scott Baldwin: (2008–2019, 2022–2023) (182)
 * Adam Beard: (2014–) (130)
 * Joe Bearman: (2011–2017) (101)
 * Ashley Beck: (2007–2018) (137)
 * Huw Bennett: (2003–2012) (142)
 * Ryan Bevington: (2007–2016) (112)
 * Dan Biggar: (2008–2018) (221)
 * Andrew Bishop: (2005–2015) (209)
 * Tom Botha: (2018–) (123)
 * Shaun Connor: (2003–2008) (101)
 * Olly Cracknell: (2015–2021) (117)
 * Sam Davies: (2012–2019) (150)
 * Hanno Dirksen: (2009–2021) (154)
 * Dan Evans: (2014–2022) (173)
 * Ian Evans: (2005–2014) (129)
 * Maʻafu Fia: (2015–2021) (105)
 * Richard Fussell: (2010–2016) (113)
 * Ian Gough: (2007–2014) (119)
 * Cai Griffiths: (2003–2012, 2014–2015) (132)
 * Tom Habberfield: (2011–2019) (135)
 * Richard Hibbard: (2004–2014) (175)
 * James Hook: (2004–2012, 2017–2020) (149)
 * Paul James: (2003–2012, 2015–2018) (232)
 * Adam Jones: (2003–2014) (195)
 * Alun Wyn Jones: (2005–2023) (268)
 * Duncan Jones: (2003–2015) (223)
 * Ryan Jones: (2004–2014) (150)
 * James King: (2009–2020) (203)
 * Luke Morgan: (2012–) (104)
 * Scott Otten: (2014–2021) (110)
 * Sonny Parker: (2004–2012) (157)
 * Sam Parry: (2014–) (157)
 * Nicky Smith: (2013–2024) (190)
 * Jonathan Spratt: (2006–2010, 2012–2017) (102)
 * Steve Tandy: (2003–2010) (102)
 * Gareth Thomas: (2014–) (126)
 * Jonathan Thomas: (2003–2013) (188)
 * Justin Tipuric: (2009–) (214)
 * Nikki Walker: (2006–2012) (103)
 * Owen Watkin: (2015–) (111)
 * Rhys Webb: (2007–2018, 2020–2023) (200)
 * Barry Williams: (2003–2007) (101)
 * Shane Williams: (2003–2012) (141)

Notable non-Welsh internationals
Notable non-Welsh players who have international caps with a Tier One or Two nation and represented the Ospreys.

 * 🇨🇦 Tyler Ardron
 * 🇨🇦 Jeff Hassler
 * 🇨🇦 Phil Mack
 * 🇨🇦 Chauncey O'Toole
 * 🇨🇦 Luke Tait
 * 🏴 Stephen Myler
 * 🏴 Ethan Roots
 * 🏴 Sam Underhill
 * 🇫🇯 Tevita Cavubati
 * 🇫🇯 Josh Matavesi
 * 🇫🇯 Alfie Mocelutu
 * 🇫🇯 Aisea Natoga
 * Giorgi Nemsadze
 * 🇮🇹 Tito Tebaldi
 * 🇮🇪 Tommy Bowe
 * 🇳🇦 Lesley Klim
 * 🇳🇿 Adrian Cashmore
 * 🇳🇿 Jerry Collins
 * 🇳🇿 Marty Holah
 * 🇳🇿 Campbell Johnstone
 * 🇳🇿 Brendon Leonard
 * 🇳🇿 Justin Marshall
 * 🇳🇿 Filo Tiatia
 * 🇷🇴 Gheorghe Gajion
 * 🇼🇸 Kieron Fonotia
 * 🇼🇸 Kahn Fotuali'i
 * 🇼🇸 Jordan Lay
 * 🇼🇸 Filipo Levi
 * 🇼🇸 Elvis Seveali'i
 * 🇼🇸 George Stowers
 * 🏴 Darryl Marfo
 * 🏴 Nikki Walker
 * 🇿🇦 JJ Engelbrecht
 * 🇿🇦 Ricky Januarie
 * 🇿🇦 Brian Mujati
 * 🇿🇦 Marvin Orie
 * 🇿🇦 Stefan Terblanche
 * 🇹🇴 Maʻafu Fia
 * 🇹🇴 Elvis Taione
 * 🇹🇴 Dave Tiueti
 * 🇹🇴 Hale T-Pole

Former Coaches

 * Lyn Jones (2003–2008)
 * Sean Holley (2008–2012)
 * Steve Tandy (2012–2018)
 * Allen Clarke (2018–2019)
 * Carl Hogg & Matt Sherratt (interim) (2019–2020)

Honours

 * Celtic League/Pro12/United Rugby Championship (4)
 * Winners: 2004–05, 2006–07, 2009–10, 2011–12
 * United Rugby Championship Welsh Shield (2)
 *  Winners: 2021–22, 2023–24
 * Runners-up: 2022–23
 * Anglo-Welsh Cup (1)
 * Winners: 2007–08
 * Runners-up: 2006–07

ERC Elite Awards
During the 10th anniversary season of the Heineken Cup, ERC, the tournament organisers, introduced the ERC Elite Awards to recognise players and teams who have made outstanding contributions to the tournament.

Ospreys were awarded the ERC team award for playing 50 games.

Ospreys players who have been awarded 50 tournament caps are:
 * Ian Gough
 * Adam Jones
 * Duncan Jones
 * Shane Williams
 * Jonathan Thomas
 * Sonny Parker

title: Ospreys (rugby union)


text:
Talk:Riggs Bank

NPOV?
How much Bush-bashing is acceptable before something becomes non-NPOV? The usual standards used 'round here do not leave me with a warm fuzzy feeling. Capnned (talk) 16:52 11 Sep 2005 (UTC)

I agree. I particularly found that the section entitled Saudi Money transfers is biased to imply that President Bush and or his family was somehow in cahoots with terrorist. Wikipedia is not the place to entertain conspiracy theories.71.255.211.184 (talk) —Preceding comment was added at 02:28, 11 January 2008 (UTC)

DMG413's changes
DMG413 recently made some good changes, NPOVing and generally cleaning up. However he also removed a few sentences that I feel were worthwhile to keep (e.g. that Riggs was only controlled by the Albrittons since the 80s, or that Pinochet was invited to open an account by Riggs executives, or the statement by a Riggs regulator). I'm going to put those back in. Perhaps we could discuss it here? Quadell (talk) 13:54, Jul 20, 2004 (UTC)

Thanks for all the contributions. I had it in mind that the Albrittons acquired ownership earlier - though Joe became chairman in 1981 - so upon checking, I'm not sure which is right. Some of the Pinochet info - not so much about the invitation, but the background stuff on the man - is already on the Augusto Pinochet page, I think, and need not be here. And as far as the last paragraph, the quote from the regulator is purely PR, and the proposed legislation seems related to Riggs in the sense of convenient timing more than anything else. --DMG413 03:18, 21 Jul 2004 (UTC)
 * May have come across it, but ...

Canada bank
It looks like there was a time in the 70s when he was banking with Canadian bank. Would be really good if someone who know the name of the Canadian bank would include it somewhere in the front page. See this quote "Thompson describes an October 1994 trip that she and two other senior Riggs executives, Timothy Coughlin and Paul Cushman, took to Chile to thank that country's military for recently returning its "official" accounts to Riggs from a Canadian bank after more than 15 years. Thompson said the military had moved its money to Canada in the 1970s, "directly related to the assassination of Chilean Ambassador Letelier in 1976. In July 1994, the official accounts were brought back to Riggs."" I think a link to Carol Thompson under "see also" would be cool since she is central to the scandal

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

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

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 05:06, 6 June 2007 (UTC)

Riggs Bank page on Wikipedia is not Encyclopedic
The writer(s) of the Riggs Bank page on wikipedia are not at all conforming to the encyclopedic template/book of style. The style is more like tabloid, propoganda art, conspiracy theory style than encyclopedia. Imagine such a page in the R volume of Encyclopedia Britannica and the World Book Encyclopedia and you'll get my meaning. The page desperately needs a good informed writer to redo it and have it conform more to the encyclopedic mode without losing that wikipedia je ne sais quoi. And I take issue with the importance level. The RIGGS/PNC reality is ESSENTIAL to understanding Washington, DC right here right now and looking forward and backwards. (lwc)

privacy act allegations
Deleted this section as not notable. While the story ran in some newspapers at the time, the case was resolved in a non-disclosed settlement. This means that the public will not learn of who "won" the case. The bank may have simply said "sorry", or maybe the plaintiff failed to prove up the case as the bank allowed a settlement so plaintiff could save face. Or maybe the bank had a solid case and plaintiff begged to settle so that he would not be liable for attorney fees and court costs as the loosing party. IN ANY EVENT, this case had no notable repercussions beyond the short news articles that were published at the time. No other law suits were filed, no other plaintiffs came forward to complain, no laws were changed, no one got fired. This story is simply not notable other than adding to the unencyclopedic nature of the article as noted in the comment above.--S. Rich (talk) 12:58, 21 August 2010 (UTC)

 * Settlements are admissions of guilt 2600:4040:490A:200:C818:2B0:AF4F:19C9 (talk) 18:14, 27 March 2023 (UTC)

Removing the EG subheading
The info cited on Equatorial Guinea on this page does not contain a single citation. It is unsourced and so I'm removing it (again) as such. — Preceding unsigned comment added by Ratfinx (talk • contribs) 14:18, 1 September 2011 (UTC)

EG Edit Requires Citations
At least SOME citation is still needed for the Equatorial Guinean subheading on this page to be legitimately reposted to Wikipedia. Reposting the same stale, unsourced information doesn't make the edit any more legit. Where do you get your information for this? Esp. after detailed Wikileaks surrounding the scandal have failed to finger EG in any wrong doing in the matter.--Ratfinx (talk) 21:35, 1 September 2011 (UTC)

 * I've replaced this section. There are plenty of sources out there making it meet WP:V, even if they aren't actually used at the moment. As a likely paid editor working for qorvis who seems to be removing negative info about EG from articles, I don't think you should decide whether to include it or not. SmartSE (talk) 21:50, 18 December 2011 (UTC)

title: Talk:Riggs Bank


text:
Talk:Bracket fungus

does the bracket fungus have tonic uses?

1. In the normal sense bracket fungi are tough woody fungi, which do not have gills. So although it grows from the side and may not have a stipe, an Oyster mushroom is not a bracket fungus.

2. The second photo is not of Laetiporus sulphureus! I added a real photo of this mushroom; there are others at Laetiporus sulphureus.

3. The mushroom of the 2nd photo looks to me a bit like Schizophyllum commune; I think it is tough and woody but has gills (of a sort). I think it is on the edge of being a bracket fungus.

4. How can a mushroom have gills? —Preceding unsigned comment added by Crazy-random-dude (talk • contribs) 22:31, 11 November 2008 (UTC)

Strobilomyces 20:13, 5 November 2005 (UTC)

4. This article would benefit from sources and citations. I am CM95TM editing under an IP address (at a shared computer). Please consider this. —Preceding unsigned comment added by 206.224.56.10 (talk) 13:07, 6 May 2008 (UTC)

title: Talk:Bracket fungus


text:
Museology

Museology (also called museum studies or museum science) is the study of museums. It explores the history of museums and their role in society, as well as the activities they engage in, including curating, preservation, public programming, and education.

Terminology
The words that are used to describe the study of museums vary depending on language and geography. For example, while “museology” is becoming more prevalent in English, it is most commonly used to refer to the study of museums in French (muséologie), Spanish (museología), German (Museologie), Italian (museologia), and Portuguese (museologia) – while English speakers more often use the term “museum studies” to refer to that same field of study. When referring to the day-to-day operations of museums, other European languages typically use derivatives of the Greek “museographia” (French: muséographie, Spanish: museografía, German: Museographie, Italian: museografia, Portuguese: museografia), while English speakers typically use the term “museum practice” or “operational museology”

Development of the field
The development of museology in Europe coincided with the emergence of early collectors and cabinets of curiosity in the 16th, 17th, and 18th centuries. In particular, during The Age of Enlightenment anthropologists, naturalists, and hobbyist collectors encouraged the growth of public museums that displayed natural history and ethnographic objects and art in North America and Europe. In the 18th and 19th centuries, European powers’ colonization of overseas lands was accompanied by the development of the disciplines of natural history and ethnography, and the rise of private and institutional collection building. In many cases museums became the holding places for collections that were acquired through colonial conquests, which positioned museums as key institutions in Western European colonial projects.

In the 19th century, European museology was focused on framing museums as institutions that would educate and “civilize” the general public. Museums typically served nationalist interests, and their primary purpose was often to celebrate the state, country, or colonial power. Though World’s Fairs, such as The Great Exhibition of 1851 in London or the Chicago World’s Fair, were temporary, they were some of the first examples of large-scale exhibition spaces dedicated to nationalist agendas; both Britain and America wanted to assert themselves as international leaders in science and industry. In some cases world's fairs became the basis for museums. For instance, The Field Museum in Chicago grew out of the 1893 World's Columbian Exposition.

In the European context, the first academic journal on museology was the Zeitschrift für Museologie und Antiquitätenkunde sowie verwandte Wissenschaften (Journal for museology and antiquarianism as well as related sciences, 1878–1885) founded and edited by Dr (1814–1885), director of Dresden Porcelain Collection at the time. The journal was published twice a month from 1878 to 1885, and ended when the founding editor died. The Zeitschrift für Museologie was followed by the second German journal on museology, Museumskunde (since 1905), which was founded in Dresden by Dr (1868–1949), director of the Dresden History Museum at the time. Since 1917, the journal Museumskunde has become the official periodical of the Deutscher Museumsbund e.V. (German Museums Association, since 1917).

Museums Association, the first professional membership organization for those working in the museum field, was established in London in 1889. In 1901, they developed the Museums Journal, the first English periodical devoted entirely to the theory and practice of museums, which was followed by the American Association of Museum’s Museum Work in the United States (1919). With the creation of the International Council of Museums (ICOM) in 1946, the study of museums gained increasing momentum and exposure, though at the time most of the scholarly focus was on operational museology, or museum practice.

Beginning in the 1950s, new forms of museology were emerging as a way to revitalize the educational role of museums. One attempt to re-envision museums’ role was the concept of ecomuseums, first proposed publicly at ICOM’s 9th International Conference in France (1971). Ecomuseums proliferated in Europe – and still exist around the world today – challenging traditional museums and dominant museum narratives, with an explicit focus on community control and the development of both heritage and sustainability. In 1988, Robert Lumley’s book The Museum Time Machine “expressed the growing disquiet about traditional museological presuppositions and operations”. The following year, Peter Vergo published his critically acclaimed edited collection The New Museology (1989/1997), a work that aimed to challenge the traditional or “old” field of museology, and was named one of the Paperbacks of the Year by The Sunday Times in Britain. Around the same time, Ivan Karp co-organized two ground-breaking conferences at the Smithsonian, Exhibiting Cultures (1988) and Museums and Communities (1990), that soon resulted in highly influential volumes of the same names that redefined museums studies. Scholars who are engaged in various “new” museological practices sometimes disagree about when this trend “officially” began, what exactly it encompasses, and whether or not it is an ongoing field of study. However, the common thread of New Museology is that it has always involved some form of “radical reassessment of the roles of museums within society”.

Critical theorists like Michel Foucault, Walter Benjamin, and Benedict Anderson also had a profound influence on late 20th and early 21st century museology. As other disciplines began to be critically reassessed, often adding the term “critical” to their new titles (i.e. critical race theory), a discourse of critical museology also emerged, intensifying around the turn of the 21st century. It arose from a similar critical discourse as New Museology and shares many of its features, so much so that many scholars disagree about the extent to which you can distinguish one from the other. In other words, while some scholars say that New Museology was a watershed moment in the late 20th century and critical museology is a related but separate movement in the early 21st century, others argue that New Museology is an ongoing field of study that has many manifestations and names, one of which is critical museology

The latest movements in museology tend to focus on museums being interdisciplinary, multi-vocal, accessible, and open to criticism. While these critical discourses dominate contemporary museology, there are many different kinds of museums that exist today, some are engaged in new and innovative practices, and others are more traditional and therefore, less critical.

Operational museology
Operational museology refers to the day-to-day operations of a museum, including its organizational and regulatory structures, institutional policies and protocols (procedural, ethical, etc.), collections management (including conservation and restoration), and its exhibitions and programs. While there has been much scholarship around operational museology over the last 30 years, some scholars argue that it has lacked sustained analysis. Scholarship concerning operational museology has also overlapped with critical museology and other developments in the field.

Public role of museums
Operational museology has shifted in the late 20th and 21st century to position the museum as a central institution that serves the public by informing culture, history, and art while creating space for challenging conversations. Museums are thus perceived as cultural communicators that can reconstruct and reconnect cultural memory to the viewing public by collecting, preserving, documenting, and interpreting material culture. For example, many history museums engage with public memory from a multi-vocal perspective and present critical narratives regarding current sociopolitical issues. Other history museums, however, keep nationalistic approaches pertaining to the 19th century. Some museums convey reflexive and critical narratives, while others enact as "mass mediums" oriented toward international tourist networks. These institutions tend to display spectacular exhibition designs and grant little space for complex narratives and critical messages.

Scholars have identified a recent transformation in the way museums define their functions and produce their programming strategies as these have become spaces for encounters and meaningful experiences. For instance, in The Metamorphosis of the Museal: From Exhibitionary to Experiential Complex and Beyond, Andreas Huyssen observes the museum, formerly conceived as "a container of the past and its accumulated objects” is now conceived as “a site of activity and experience in and for an ever-expanding present.”

Overview of the field
Critical museology has emerged as a key discourse in contemporary museology. It is a broad field of study that engages critically with museums, calling into question the foundational assumptions of the field. This demonstrates critical museology’s close connection to New Museology, which also challenges foundational assumptions in museology. Critical museology may also extend beyond the traditional museum to include cultural centres, heritage sites, memorials, art galleries, and so on.

Development of the field
Given that museums are historically linked to colonialism, imperialism, and European missionary work, they have a morally and politically problematic past. While some of the objects museums hold were purchased – though not always fairly and often to the exclusive benefit of the collector – a large proportion of museum collections were taken as spoils of war, or otherwise removed without the consent of the people or community that owned them. Museums, along with their collections – and collectors – played a key role in establishing and reiterating the dominance of colonial Europe and narratives of cultural superiority. Critical museology was developed through questioning the foundational assumptions of museum studies and museums, including their history, architecture, display, programming, and the provenance of their objects. Recent work has also analyzed exhibition design to show how the diverse media combined in exhibitions communicate and shape visitors' interpretations and values. While anthropologists and the field of anthropology were actively engaged in problematic collecting practices for two centuries, anthropologists have also been central to the emergence of critical museology in the late 20th and early 21st centuries. This has included reconstructing and analyzing those collection histories and the relationships that grew around them, as in the Pitt Rivers Museum's "Relational Museum" project. They have also led interdisciplinary working groups that developed new approaches to globalizing processes in critical museology, as foregrounded in Museum Frictions, a third innovative volume co-edited by Ivan Karp. Additionally, anthropologists have spearheaded recent methodological and pedagogical developments in critical museology including “curatorial dreaming”, curating labs like the Making Culture Lab at Simon Fraser University, the Curating and Public Scholarship Lab at Concordia University, and the Centre for Anthropological Research on Museums and Heritage (CARMAH) in Berlin, as well as courses like the International Field School in Critical Museology. In other contexts, historians have been at the forefront of interventions in critical museology.

Decolonizing and indigenizing museums
In North America, Australia, and New Zealand in particular, critical museology attempts to address the problematic colonial pasts of museums through the decolonization and Indigenization of museums.

Once viewed as the formal process of handing over the instruments of government, decolonizing is now recognized – particularly in Canada – as a long-term process that involves dismantling the bureaucratic, cultural, linguistic, and psychological legacies of colonial power While there is no agreed upon end-goal of decolonization, the process of decolonizing the museum is aimed at “assist[ing] communities in their efforts to address the legacies of historical unresolved grief by speaking the hard truths of colonialism and thereby creating spaces for healing and understanding”.

Collaboration, consultation, and repatriation are key components of decolonizing museums. Australian museums have been leaders in developing repatriation processes, consultation, and collaboration with Indigenous communities, beginning in the late 1980s. Projects involving collaboration and consultation with source communities have taken many forms, ranging from developing traveling exhibits, revising collection catalogues, to establishing community cultural centers and working with photographic collections together. In Canada, collaboration and consultation were first formally suggested by the 1994 Task Force Report on Museums and First Peoples, and are now seen by many museums as being an essential practice for any institution that holds collections belonging to Indigenous peoples. In North America, and around the world, some of the objects in those collections – particularly sacred objects or human remains – have been repatriated or returned to their communities of origin. The Native American Graves Protection and Repatriation Act (1990) formalized the process of repatriating Indigenous cultural objects in the United States. While Canada does not have a formal policy around repatriation, many museums have their own internal policies and many objects have been returned to Indigenous communities that way. Though repatriation policies are typically well intended, the process has often been complicated by institutional, community, and government politics, and have had varying degrees of success.

A newer concept, the Indigenization of museums, moves away from focusing exclusively on collaborative methods and towards employing Indigenous people to work in positions of power within museums as a means of opening up the museum to sustained Indigenous influences, and restructuring the museum to reflect Indigenous approaches to knowledge sharing. Examples of indigenizing museum practice include Art Gallery of Ontario's 2016 appointing of Wanda Nanibush as the Curator of Canadian and Indigenous Art, Wood Land School’s takeover of the SBC Gallery of Contemporary Art in Montreal, the appointment of Aboriginal curators at the South Australia Museum, the Australian Museum, the National Museum of Australia, and the Museum of Contemporary Art Australia,   and the creation of the Reciprocal Research Network, which is an interactive online resource co-developed by the Musqueam Indian Band, the Sto:lo Nation Tribal Council, the U’mista Cultural Centre, and the Museum of Anthropology at UBC, to facilitate collaborative research and knowledge exchange between communities, scholars, and cultural institutions in Canada and internationally.

While there is no linear trajectory of decolonizing/Indigenizing work in museums, major milestones in Canada include the Indians of Canada Pavilion at Expo 67’; The Lubicon Cree’s boycott of The Spirit Sings, a Shell sponsored exhibition at the Glenbow Museum in 1988, and the resulting Task Force Report on Museums and First Peoples in 1994; and The Truth and Reconciliation Commission of Canada’s 2015 final report, with Calls to Action that specifically address museums and archives.

Feminist critique and feminist curating
Given that museums and their collection strategies are historically linked to patriarchal values and marked by androcentric bias, critical feminist museology has developed as a distinct analytical approach. Scholars have identified that power relations of class, gender, and race are inscribed in the museum. Histories, theories, and practices of feminist curating have been explored in a series of conferences and symposia.

Vienna Method
The Vienna Method, subsequently called ISOTYPES was developed by the Gesellschafts- und Wirtschaftsmuseum (Museum for Social and Economic Affairs), Vienna. With the support of Otto Glöckel of the Vienna City Council the Museum sought to make sociological and economic information accessible to the whole population regardless of their level of education.

Museum interventions
Interventions in museums were first employed by artists like Marcel Duchamp, who were looking to challenge both established elite art traditions and the expectations of museum visitors. By the late 20th century, interventions had become a methodology used not only by artists, but also by other groups – including activists, museum visitors, and even museums themselves – as a way to democratize exhibitions, challenge dominant narratives, problematize the provenance of museum objects, and so on.

Artist interventions
A central aspect of Institutional Critique, some artist’s interventions have been co-organized or commissioned by museums themselves – like Fred Wilson’s Mining the Museum (1992) at the Maryland Historical Society, Michael Nicholl Yahgulanaas’ Meddling in the Museum (2007) at UBC’s Museum of Anthropology, or the Artists' Interventions at the Pitt Rivers Museum in Oxford – while others have been done without explicit permission, like Andrea Fraser’s Museum Highlights (1989) at the Philadelphia Museum of Art.

One of the best known artist interventions in a museum is James Luna’s Artifact Piece, which was first performed at the San Diego Museum of Man in 1987, and then again at The Decade Show in New York in 1990. Luna, a Luiseño artist, lay almost naked in a display case filled with artifacts in order to challenge representations of Indigenous peoples in museums and the narratives that accompanied those representations, which suggested that Indigenous people and cultures were dead. The objects in the case included Luna's favorite books and music, his divorce papers, his university degree, photos, and other mementos, alongside labels describing the scars on his body and how he had acquired them. The work was critically acclaimed for its challenge of conventional narratives of Indigeneity and Indigenous experience. A few years later, two artists – Guillermo Gómez-Peña and Coco Fusco – developed a traveling performance art piece called The Couple in the Cage: Two Amerindiens Visit the West that reflected on the treatment and representation of Indigenous peoples in colonial contexts, and was performed in many different spaces, including Covent Gardens, the Walker Art Center, the Smithsonian's National Museum of Natural History, the Australia Museum, and the Field Museum.

Activist interventions
While there is overlap between artist and activist interventions, specific activist groups such as the Guerrilla Girls have long been creating exhibitions and public advertisements – through the use of billboards, stickers, posters, and projections – to critique power dynamics related to sexism, racism, and class privilege in museums.

There is also a tradition of activist interventions being used as responses to the censorship of exhibited artworks. In 1989, after the Corcoran Gallery of Art cancelled The Perfect Moment, an exhibition of Robert Mapplethorpe’s explicit photography, protesters projected Mapplethorpe’s photos on the exterior of the museum. Similar protests occurred when David Wojnarowicz's film A Fire in My Belly was removed from the Hide/Seek: Difference and Desire in American Portraiture exhibit at the National Portrait Gallery in 2010.

Internal institutional interventions
While most interventions are directed at museums from outside sources, museums also engage interventions as a way of performing self-critique. For example, in 2015 MoMA mounted a meta-intervention exhibit called Messing with MoMA: Critical Interventions at the Museum of Modern Art 1939 – Now. In a similar way, ethnographic exhibitions have been incorporating contemporary art as a way to disrupt conventional expectations and narratives.

Another critical intervention in museums is the conception of permanent exhibitions, which are long-lasting galleries presenting the museum collections that critically reveal and approach the connections between the institution, its history and practices, and the cultural and social context in which the institution is embedded. This practice seeks to highlight the transformations in the paradigms that have determined the messages and languages of museums in the past, and invites visitors to reflect on the diverse roles of museums through history. The display of the collections of the Museum of Antioquia (Medellín, Colombia) exemplifies this practice. The design of the gallery Historias para re-pensar (Histories to re-think) focuses on the 19th century and first half of the 20th century, and proposes a critical review of the region’s art history thereby inquiring about the role of collectors and the Museum in the construction of aesthetic paradigms. The gallery includes contemporary works in order to install a dialogue between the past and the present. Additionally, the section of the permanent exhibition titled Galleries for decolonial dialogues: The persistence of the dogma displays an anachronistic array of works and documents in order to convey how enduring colonial dogmas determined the country’s cultural values and visual experiences during the 19th century. The project of redeveloping the Museum’s permanent galleries is part of a larger institutional transformation that makes the Museum of Antioquia a great example of comprehensive critical museology practices. Another example of this Museum’s critical approach is the artistic residency project of artist Nadia Granados who, with curator Carolina Chacón and a group of sex workers based in downtown Medellín, developed in 2017 the award-winning cabaret/performance Nadie sabe quién soy yo (No one knows who I am). From then on, the performers funded the group Las Guerreras del Centro, a collective to highlight the lives and stories of sex workers through artistic performances, knitting circles and other community actions.

Nadie sabe quién soy yo was the beginning of a series of curatorial and educational collaborations between Las Guerreras del Centro and the Museum of Antioquia. Such collaborative projects are destigmatizing and empowering critical museology practices that generate new spaces for exchanges and social dialogues. These spaces emerge from the museum, forge links beyond museum walls, and drastically transform the museum’s relationship with its social environment.

Another example of a museum presenting a critical review of messages conveyed by the institution in the past can be found in the Royal Ontario Museum permanent exhibition, specifically in its Canadian history galleries. In this case, ROM curators have repurposed old dioramas as a way to reflect critically on past uses of dioramas to portray indigenous people’s cultures. The new ironic diorama questions this common practice in museums and points out the stereotypes such practices promoted in the past (e.g., the depiction of indigenous peoples as belonging to another time or somehow as primitive or extinguished cultures).

Curatorial dreaming
Curatorial Dreaming was originally developed as a challenge to museum critics, who are typically not expected to provide practical solutions to the issues they identify in the exhibits they critique, to develop their own imagined exhibitions. It is intended as “an alternative mode of critical, intellectual practice – a form of ‘theorizing in the concrete’”.

Curating workshops, courses and labs
Over the last three decades there has been a proliferation of curating workshops, courses, and labs that engage with New Museology and critical museology in museum spaces, in universities, and elsewhere. For instance, the Center for Curatorial Studies, Bard College in New York was founded in 1990 and began offering a graduate program in 1994. In Germany, the Centre for Anthropological Research on Museums and Heritage is engaging with the social, cultural, and political issues facing contemporary museums. In Canada, two of the most innovative curating labs are the Making Culture Lab at Simon Fraser University in Vancouver and the Curating and Public Scholarship Lab at Concordia University in Montreal, which offered its inaugural International Field School in Critical Museology in May 2017. The African Programme in Museum and Heritage Studies in Cape Town includes a curatorial module within a comprehensive diploma and M.A. program that engages critically with museum and heritage studies, the leading program on the continent.

title: Museology


text:
Avaldsnes Church

Avaldsnes Church (Avaldsnes kirke, formally St. Olav's Church at Avaldsnes, St Olavskirken på Avaldsnes) is a parish church of the Church of Norway in Karmøy Municipality in Rogaland county, Norway. It is located in the village of Avaldsnes on the northern part of the island of Karmøy. It is the church for the Avaldsnes parish which is part of the Karmøy prosti (deanery) in the Diocese of Stavanger. The medieval stone church was built in a long church design by an unknown architect. The first church located here was likely built before the year 1024 on the site of Avaldsnes Kongsgård estate. The present stone church was built in 1250. The church seats about 400 people.

History

Before this church was constructed, there was a wooden church on the same site around the year 1024. That church is assumed to have been built by Olav Trygvason, and it is possible that the present stone church is built around this church originally. The church was mentioned by the historian Snorri Sturluson in chapter 19 of his book Soga om Olav den heilage.

This church has been a landmark for seafarers passing through the Karmsundet strait for 750 years. King Håkon IV Håkonsson gave permission to replace the old wooden church with a stone church around the year 1250. The new stone building was not completed until nearly 1320, and was then the fourth largest in the country. The church was dedicated to St. Olav and received the status of "Royal Chapel". During the same period it became one of four "college-churches" (it appointed a council of theological and juridical scholars). Probably there was a group of four scholars and teachers in law and theology. The stone church had a rectangular nave and narrower, rectangular chancel as well as a large tower to the west.

There was an octagonal stone room located to the south of the quire. This octagonal room was a chapter house (kapittelhus). These rooms were common for English cathedrals and they were used for large group meetings. This room is assumed to have been referenced in 1599 by clergyman and historical writer Peder Claussøn Friis (1545–1614). Remaining walls for this room were visible as late as 1840, but are now completely gone.

Decay started with the Black Death in 1349–1351. This disaster was followed by 400 years of Danish supremacy. In this period, the church gradually fell into a state of ruin due to lack of repair. By 1599, the quire was the only room left in the old church that was still usable. During the 17th century, a little wooden church was built inside the stone walls and this was used for more than 200 years.

In 1814, this church served as an election church (valgkirke). Together with more than 300 other parish churches across Norway, it was a polling station for elections to the 1814 Norwegian Constituent Assembly which wrote the Constitution of Norway. This was Norway's first national elections. Each church parish was a constituency that elected people called "electors" who later met together in each county to elect the representatives for the assembly that was to meet in Eidsvoll later that year.

The first restoration work began in 1830. The old steeple was demolished, the nave was rebuilt, and a small wooden steeple was erected on the top. In the 1920s the church was once again restored in a manner which was more similar to its original architecture. A new stone steeple was built and the interior renewed.

The German occupation in World War II became dramatic for the church. German officials asserted that the high steeple was used as a landmark for Allied planes, coming in over the strait of Karmsund to drop bombs in the water. German authorities demanded the steeple be demolished. Many people were engaged in the task of saving it, and they persuaded the German military to let them camouflage the whole church with timber. This was to be done in 5 weeks, but the whole job lasted a year. The front of the church bears a couple of bullet holes.

The stained glass windows were ordered for the 700th anniversary in 1950. They were the creation of by Norwegian artist Bernhard Greve (1886-1962) from Lofthus who worked mainly with stained glass, fresco, and ceramic sculpture. The windows portrayed important events in the life of Christ: baptism, passion, ascension, and resurrection.

The altar, baptismal font, and pulpit were designed in the 1920s by Norwegian functionalist architect Eivind Moestue (1893-1977). The baptismal basin dates back to the 16th century.

Design and architecture
The pointed arches, but thick walls and no pillars, suggest an early Gothic design. The walls are composed of ordinary gray stone in thickness about 1.2 to 2 m. The corners and frames around the doors and windows are of steatite (soapstone) from Tolgetjønn near Haugesund.

Mary's Needle
Mary's Needle (Jomfru Marias synål) is the only one remaining of several monumental stones which once stood around the church area. The stone has been somewhat taller, but, towering at 7.2 m it is still the second largest of its kind in Norway. The stone leans in towards the church wall—the distance to the wall is in fact only 9.2 cm.

List of priests
Note: this list is not entirely complete, additionally medieval priests are only sporadically known. • Bård (Bardones): 1290s-1301

• Eirik: 1298

• Hallr: 1322

• Jon: 1322

• Hallstein Sigurdsson: 1341

• Thorkel Vikingsson: 1392

• Asleuer Guttormsson: 1446

• Niels: 1518-1524

• Hans Diser: 1521

• Mikkel Schytte: 1531-1545

• Hans Klingenberg: 1540-

• Rasmus Torsen: 1553-1557

• Christoffer Sigurdsen: 1560-1606

• Abraham Engelbretsson Karsund: 1607-1628

• Christen Bentsen Schaaning: 1634-1679

• Bernt Christensen Schaaning: 1679-1689

• Christen Christoffersen Hegelund: 1689-1695

• Lucas Rasmussen Friis: 1690-1695

• Anders Christoffersen Hegelund: 1695-1710

• Claus Claussen Munkeberg: 1711-1732

• Peder Anderssen Scheen: 1732-1734

• Knud Leem: 1734-1752

• Jens Jenssen Saxe: 1752-1763

• Peder Nicolai Daldorph: 1764-1773

• Richard Berg: 1773-1776

• Carsten Henrik Schanche: 1776-1789

• Jørgen Sverdrup: 1789-1807

• Hans Nicolai Cormontan: 1807-1814

• Johannes Irgens von Hadeln: 1814-1826

• Jacob von der Lippe: 1825-1831

• Johan Lyder Brun: 1832-1848

• Otto Ludvig Sinding: 1848-1860

• Jakob Wetlesen: 1861-1869

• Lars Oftedahl: 1870-1871

• Thomas Fredrik Weybye Barth: 1871-1879

• Johan Christian Selmer Andersen: 1879-1890

• Rasmus Mathias Rasmussen: 1891-1907

• Endre Pedersen Hove: 1908-1918

• Sverre Hougsnæs: 1919-1933

• Lars Skadberg: 1933-1956

title: Avaldsnes Church