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Implicate and explicate order

Implicate order and explicate order are ontological concepts for quantum theory coined by theoretical physicist David Bohm during the early 1980s. They are used to describe two different frameworks for understanding the same phenomenon or aspect of reality. In particular, the concepts were developed in order to explain the bizarre behaviors of subatomic particles which quantum physics describes and predicts with elegant precision but struggles to explain.

In Bohm's Wholeness and the Implicate Order, he used these notions to describe how the appearance of such phenomena might appear differently, or might be characterized by, varying principal factors, depending on contexts such as scales. The implicate (also referred to as the "enfolded") order is seen as a deeper and more fundamental order of reality. In contrast, the explicate or "unfolded" order includes the abstractions that humans normally perceive. As he wrote:

 * In the enfolded [or implicate] order, space and time are no longer the dominant factors determining the relationships of dependence or independence of different elements. Rather, an entirely different sort of basic connection of elements is possible, from which our ordinary notions of space and time, along with those of separately existent material particles, are abstracted as forms derived from the deeper order. These ordinary notions in fact appear in what is called the "explicate" or "unfolded" order, which is a special and distinguished form contained within the general totality of all the implicate orders.

Overview
The notion of implicate and explicate orders emphasizes the primacy of structure and process over individual objects. The latter are seen as mere approximations of an underlying process. In this approach, quantum particles and other objects are understood to have only a limited degree of stability and autonomy.

Bohm believed that the weirdness of the behavior of quantum particles is caused by unobserved forces, maintaining that space and time might actually be derived from an even deeper level of objective reality. In the words of F. David Peat, Bohm considered that what we take for reality are "surface phenomena, explicate forms that have temporarily unfolded out of an underlying implicate order." That is, the implicate order is the ground from which reality emerges.

The implicate order as an algebra
Bohm, his co-worker Basil Hiley, and other physicists of Birkbeck College worked toward a model of quantum physics in which the implicate order is represented in the form of an appropriate algebra or other pregeometry. They considered spacetime itself as part of an explicate order that is connected to an implicate order that they called pre-space. The spacetime manifold and the properties of locality and nonlocality all arise from an order in such pre-space. A. M. Frescura and Hiley suggested that an implicate order could be carried by an algebra, with the explicate order being contained in the various representations of this algebra.

In analogy to Alfred North Whitehead's notion of "actual occasion," Bohm considered the notion of moment – a moment being a not entirely localizable event, with events being allowed to overlap and being connected in an overall implicate order:

"I propose that each moment of time is a projection from the total implicate order. The term projection is a particularly happy choice here, not only because its common meaning is suitable for what is needed, but also because its mathematical meaning as a projection operation, P, is just what is required for working out these notions in terms of the quantum theory."

Bohm emphasized the primary role of the implicate order's structure:

"My attitude is that the mathematics of the quantum theory deals primarily with the structure of the implicate pre-space and with how an explicate order of space and time emerges from it, rather than with movements of physical entities, such as particles and fields. (This is a kind of extension of what is done in general relativity, which deals primarily with geometry and only secondarily with the entities that are described within this geometry.)"

The explicate order and quantum entanglement
Central to Bohm's schema are correlations between observables of entities which seem separated by great distances in the explicate order (such as a particular electron here on Earth and an alpha particle in one of the stars in the Abell 1835 galaxy, then a possible candidate for farthest galaxy from Earth known to humans), manifestations of the implicate order. Within quantum theory, there is entanglement of such objects.

This view of order necessarily departs from any notion which entails signalling, and therefore causality. The correlation of observables does not imply a causal influence, and in Bohm's schema, the latter represents 'relatively' independent events in spacetime; and therefore explicate order.

A common grounding for consciousness and matter

The implicate order represents the proposal of a general metaphysical concept in terms of which it is claimed that matter and consciousness might both be understood, in the sense that it is proposed that both matter and consciousness: (i) enfold the structure of the whole within each region, and (ii) involve continuous processes of enfoldment and unfoldment. For example, in the case of matter, entities such as atoms may represent continuous enfoldment and unfoldment which manifests as a relatively stable and autonomous entity that can be observed to follow a relatively well-defined path in spacetime. In the case of consciousness, Bohm pointed toward evidence presented by Karl Pribram that memories may be enfolded within every region of the brain rather than being localized (for example, in particular regions of the brain, cells, or atoms).

Bohm went on to say: "As in our discussion of matter in general, it is now necessary to go into the question of how in consciousness the explicate order is what is manifest ... the manifest content of consciousness is based essentially on memory, which is what allows such content to be held in a fairly constant form. Of course, to make possible such constancy it is also necessary that this content be organized, not only through relatively fixed association but also with the aid of the rules of logic, and of our basic categories of space, time, causality, universality, etc. ... there will be a strong background of recurrent, stable, and separable features, against which the transitory and changing aspects of the unbroken flow of experience will be seen as fleeting impressions that tend to be arranged and ordered mainly in terms of the vast totality of the relatively static and fragmented content of [memories]."

Bohm also claimed that "as with consciousness, each moment has a certain explicate order, and in addition it enfolds all the others, though in its own way. So the relationship of each moment in the whole to all the others is implied by its total content: the way in which it 'holds' all the others enfolded within it." Bohm characterises consciousness as a process in which at each moment, content that was previously implicate is presently explicate, and content which was previously explicate has become implicate.

"One may indeed say that our memory is a special case of the process described above, for all that is recorded is held enfolded within the brain cells and these are part of matter in general. The recurrence and stability of our own memory as a relatively independent sub-totality is thus brought about as part of the very same process that sustains the recurrence and stability in the manifest order of matter in general. It follows, then, that the explicate and manifest order of consciousness is not ultimately distinct from that of matter in general."

Ink droplet analogy
Bohm also used the term unfoldment to characterise processes in which the explicate order becomes relevant (or "relevated"). Bohm likens unfoldment also to the decoding of a television signal to produce a sensible image on a screen. The signal, screen, and television electronics in this analogy represent the implicate order, while the image produced represents the explicate order. He also uses an example in which an ink droplet can be introduced into a highly viscous substance (such as glycerine), and the substance rotated very slowly, such that there is negligible diffusion of the substance. In this example, the droplet becomes a thread, which in turn eventually becomes invisible. However, by rotating the substance in the reverse direction, the droplet can essentially reform. When it is invisible, according to Bohm, the order of the ink droplet as a pattern can be said to be implicate within the substance.

In another analogy, Bohm asks us to consider a pattern produced by making small cuts in a folded piece of paper and then, literally, unfolding it. Widely separated elements of the pattern are, in actuality, produced by the same original cut in the folded piece of paper. Here, the cuts in the folded paper represent the implicate order, and the unfolded pattern represents the explicate order.

Holograms and implicate order

Bohm employed the hologram as a means of characterising implicate order, noting that each region of a photographic plate in which a hologram is observable contains within it the whole three-dimensional image, which can be viewed from a range of perspectives. That is, each region contains a whole and undivided image. In Bohm's words:

"There is the germ of a new notion of order here. This order is not to be understood solely in terms of a regular arrangement of objects (e.g., in rows) or as a regular arrangement of events (e.g., in a series). Rather, a total order is contained, in some implicit sense, in each region of space and time. Now, the word 'implicit' is based on the verb 'to implicate'. This means 'to fold inward' ... so we may be led to explore the notion that in some sense each region contains a total structure 'enfolded' within it'."

Bohm noted that, although the hologram conveys undivided wholeness, it is nevertheless static.

In this view of order, laws represent invariant relationships between explicate entities and structures, and thus Bohm maintained that, in physics, the explicate order generally reveals itself within well-constructed experimental contexts as, for example, in the sensibly observable results of instruments. With respect to implicate order, however, Bohm asked us to consider the possibility instead "that physical law should refer primarily to an order of undivided wholeness of the content of description similar to that indicated by the hologram rather than to an order of analysis of such content into separate parts...".

Implicate order in art
In the work Science, Order, and Creativity (Bohm and Peat, 1987), examples of implicate orders in science are laid out, as well as implicate orders which relate to painting, poetry and music.

Bohm and Peat emphasize the role of orders of varying complexity, which influence the perception of a work of art as a whole. They note that implicate orders are accessible to human experience. They refer, for instance, to earlier notes which reverberate when listening to music, or various resonances of words and images which are perceived when reading or hearing poetry.

Christopher Alexander discussed his work in person with Bohm, and pointed out connections among his work and Bohm's notion of an implicate order in The Nature of Order.

Bohm features as a fictional character in the novel The Wave by British author Lochlan Bloom. The novel includes multiple narratives and explores many of the concepts of Bohm's work on implicate and explicate orders.

Challenges to some generally prevailing views
In proposing this new notion of order, Bohm explicitly challenged a number of tenets that he believed are fundamental to much scientific work:

 * 1) that phenomena are reducible to fundamental particles and laws describing the behaviour of particles, or more generally to any static (i.e., unchanging) entities, whether separate events in spacetime, quantum states, or static entities of some other nature;
 * 2) related to (1), that human knowledge is most fundamentally concerned with mathematical prediction of statistical aggregates of particles;
 * 3) that an analysis or description of any aspect of reality (e.g., quantum theory, the speed of light) can be unlimited in its domain of relevance;
 * 4) that the Cartesian coordinate system, or its extension to a curvilinear system, is the deepest conception of underlying order as a basis for analysis and description of the world;
 * 5) that there is ultimately a sustainable distinction between reality and thought, and that there is a corresponding distinction between the observer and observed in an experiment or any other situation (other than a distinction between relatively separate entities valid in the sense of explicate order); and
 * 6) that it is, in principle, possible to formulate a final notion concerning the nature of reality, i.e., a Theory of Everything.

Bohm's proposals have at times been dismissed largely on the basis of such tenets. His paradigm is generally opposed to reductionism, and some view it as a form of ontological holism. On this, Bohm noted of prevailing views among physicists that "the world is assumed to be constituted of a set of separately existent, indivisible, and unchangeable 'elementary particles', which are the fundamental 'building blocks' of the entire universe ... there seems to be an unshakable faith among physicists that either such particles, or some other kind yet to be discovered, will eventually make possible a complete and coherent explanation of everything".

In Bohm's conception of order, primacy is given to the undivided whole, and the implicate order inherent within the whole, rather than to parts of the whole, such as particles, quantum states, and continua. This whole encompasses all things, structures, abstractions, and processes, including processes that result in (relatively) stable structures as well as those that involve a metamorphosis of structures or things. In this view, parts may be entities normally regarded as physical, such as atoms or subatomic particles, but they may also be abstract entities, such as quantum states. Whatever their nature and character, according to Bohm, these parts are considered in terms of the whole, and in such terms, they constitute relatively separate and independent "sub-totalities." The implication of the view is, therefore, that nothing is fundamentally separate or independent.

, said: "The new form of insight can perhaps best be called Undivided Wholeness in Flowing Movement. This view implies that flow is in some sense prior to that of the ‘things’ that can be seen to form and dissolve in this flow." According to Bohm, a vivid image of this sense of analysis of the whole is afforded by vortex structures in a flowing stream. Such vortices can be relatively stable patterns within a continuous flow, but such an analysis does not imply that the flow patterns have any sharp division, or that they are literally separate and independently existent entities; rather, they are most fundamentally undivided. Thus, according to Bohm’s view, the whole is in continuous flux, and hence is referred to as the holomovement (movement of the whole).

Quantum theory and relativity theory
A key motivation for Bohm in proposing a new notion of order was the well-known incompatibility of quantum theory with relativity theory. summarised the state of affairs he perceived to exist:

"...in relativity, movement is continuous, causally determinate and well defined, while in quantum mechanics it is discontinuous, not causally determinate and not well-defined. Each theory is committed to its own notions of essentially static and fragmentary modes of existence (relativity to that of separate events connectible by signals, and quantum mechanics to a well-defined quantum state). One thus sees that a new kind of theory is needed which drops these basic commitments and at most recovers some essential features of the older theories as abstract forms derived from a deeper reality in which what prevails is unbroken wholeness."

Bohm maintained that relativity and quantum theories are in basic contradiction in these essential respects, and that a new concept of order should begin with that toward which both theories point: undivided wholeness. This should not be taken to mean that he advocated such powerful theories be discarded. He argued that each was relevant in a certain context—i.e., a set of interrelated conditions within the explicate order—rather than having unlimited scope, and that apparent contradictions stem from attempts to overgeneralize by superposing the theories on one another, implying greater generality or broader relevance than is ultimately warranted. Thus,  argued: "... in sufficiently broad contexts such analytic descriptions cease to be adequate ... 'the law of the whole' will generally include the possibility of describing the 'loosening' of aspects from each other, so that they will be relatively autonomous in limited contexts ... however, any form of relative autonomy (and heteronomy) is ultimately limited by holonomy, so that in a broad enough context such forms are seen to be merely aspects, relevated in the holomovement, rather than disjoint and separately existent things in interaction."

Hidden variable theory
Before developing his implicit order approach, Bohm had proposed a hidden variable theory of quantum physics (see Bohm interpretation). According to Bohm, a key motivation for doing so had been purely to show the possibility of such theories. On this, said, "... it should be kept in mind that before this proposal was made there had existed the widespread impression that no conception of any hidden variable at all, not even if it were abstract and hypothetical, could possibly be consistent with the quantum theory." also claimed that "the demonstration of the possibility of theories of hidden variables may serve in a more general philosophical sense to remind us of the unreliability of conclusions based on the assumption of the complete universality of certain features of a given theory, however general their domain of validity seems to be." Another aspect of Bohm's motivation had been to point out a confusion he perceived to exist in quantum theory. On the dominant approaches in quantum theory, he said: "...we wish merely to point out that this whole line of approach re-establishes at the abstract level of statistical potentialities the same kind of analysis into separate and autonomous components in interaction that is denied at the more concrete level of individual objects".

title: Implicate and explicate order


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Afridi

The Afrīdī (اپريدی Aprīdai, plur. اپريدي Aprīdī; آفریدی) are a Pashtun tribe present mostly in tribal areas in Khyber Pakhtunkhwa, Pakistan.

The Afridis are most dominant in the Spin Ghar range west of Peshawar in Tribal areas of modern-day Khyber Pakhtunkhwa, covering most of the Khyber Pass and Maidan in Tirah. which is their Native Tribal Territory.

Etymology
Herodotus, in his Histories, mentions an Indian tribe named Aparytai (Ἀπαρύται) inhabiting the Achaemenid satrapy of Arachosia. Thomas Holdich and Olaf Caroe have linked them with the Afridi tribe:

"The Sattagydae, Gandarii, Dadicae, and Aparytae (Ἀπαρύται) paid together a hundred and seventy talents; this was the seventh province"

Origins
Aurel Stein described Afridis with lighter and fair features, similar to their Dardic neighbours, in contrast to the Afghans living on the other side of the Khyber Pass, whom he described as darker and swarthier. This supports the Dardic origins of Afridis.

Resistance against the Mughals
The Afridis and their allies Khalils were first mentioned in the memoirs of Mughal Emperor Babar as violent tribes in need of subduing. The Afridi tribes controlled the Khyber Pass, which has served as a corridor connecting the Indian subcontinent with Afghanistan and Central Asia. Its strategic value was not lost on the Mughals to whom the Afridis were implacably hostile.

Over the course of Mughal rule, Emperors Akbar and Jahangir both dispatched punitive expeditions to suppress the Afridis, with little success.

Under the leadership of Darya Khan Afridi, they engaged in protracted warfare against the Mughal army in the 1670s. The Afridis once destroyed two large Mughal armies of Emperor Aurangzeb: in 1672, in a surprise attack between Peshawar and Kabul, and in the winter of 1673, in an ambush in the mountain passes. The emperor sent his Rajput general Rai Tulsidas with reinforcements into the mountains to suffocate the revolt and liberate the mountain. Allegedly, only five Mughal soldiers made it out of the battle alive and the rest of the Mughals were brutally slaughtered.

British Raj
During the First, Second, and Third Anglo-Afghan Wars, Afridis fought against the British; these skirmishes comprised some of the fiercest fighting of the Anglo-Afghan Wars. Ajab Khan Afridi was a well-known independence activist against the British Raj.

The British colonial administration regarded the Pashtun Afridi tribesmen as "martial tribe" under the martial races theory. Different Afridi clans also cooperated with the British in exchange for subsidies, and some even served with the Khyber Rifles, an auxiliary force of the British Indian Army.

First Kashmir War
Shortly after the Partition of India and the creation of Pakistan, Afridi tribesmen were among the ranks of the Pashtun militias that invaded the princely state of Jammu and Kashmir in October 1947, sparking the Indo-Pakistani War of 1947–1948 and the ongoing Kashmir conflict. Today, Afridis make use of their dominant positions along the Durand Line in areas of Pakistan's Khyber Pakhtunkhwa province by controlling transport and various businesses, including trade in armaments, munitions and goods. Beside commercial activities, the Afridis also occupy substantial representation among Pakistan Armed Forces and paramilitary forces such as Khyber Rifles.

Clans

The Afridi Tribe is subclassified into eight sub-tribes (Ḵels), which reflect the different ethnic groups which joined to make the Afrīdīs:

 * Kūkī Ḵēl
 * Kambar Ḵēl
 * Zakkā/Zəḵā Ḵēl
 * Kamar/Kamraʾī Ḵēl
 * Malek-dīn Ḵēl
 * Sepāh
 * Akā Ḵēl
 * Ādam Ḵēl

Religion
Afridis follow the Sunni sect of Islam. Their conversion to Islam is attributed to Sultan (Emperor) Mahmud of Ghazni by Denzil Ibbetson and Haroon Rashid.

In Sports

 * Shahid Afridi, Pakistani cricketer and former national captain
 * Shaheen Afridi, Pakistani cricketer
 * Umar Gul, of Malak Din Khel; Pakistani International cricketer
 * Abbas Afridi, Pakistani cricketer
 * Riaz Afridi, Pakistani cricketer and coach
 * Ashfaq Afridi, Pakistani cricketer
 * Ahmed Shehzad, Pakistani cricketer
 * Sameen Gul, Pakistani cricketer
 * Yasir Afridi, Pakistani footballer

Politicians

 * Abbas Khan Afridi, Pakistani politician who has been a member of senate, federal minister and state minister. He is also a reputable trader and businessman in both Pakistan and Afghanistan.
 * Zakir Husain, third President of India, from 13 May 1967 until his death on 3 May 1969
 * Malik Mehrun Nisa Afridi, twice member of the National Assembly of Pakistan from Pakistan Peoples Party
 * Asghar Khan, Pakistani Air Marshal who built up the Pakistan Air Force as its first Native Commander-in-Chief, served as President of Pakistan International Airlines and a Pacifist Human Rights Activist Politician serving as Chairman of the Solidarity movement
 * Mirza Muhammad Afridi, Pakistani politician and senator, Deputy Chairman of the Senate of Pakistan and a member of Pakistan Tehreek-e-Insaf

Combatants

 * Ajab Khan Afridi, a rebel fighter during the British Raj who carried out an attack on British forces, sparking the Afridi Redshirts Rebellion
 * Darya Khan Afridi, a national hero of Afghanistan who closed the gates of Khyber and ambushed the Mughal Invaders of Aurangzeb raining down their firepower onto the confused mass, reconquering the lands of the Khyber Pass, famed warrior of the Afghan-Mughal Wars
 * Sher Ali Afridi, former policeman from Peshawar who assassinated Lord Mayo, the Viceroy of British India, in 1872
 * Mir Mast Khan Afridi, defected from the British Army during the First World War and recruited fellow ethnic Pashtun soldiers of the Tribal Belt for the Ottoman cause operating from Afghanistan
 * Malik Wali Khan Kuki Khel Afridi, Kashmir Jihad Veteran and Activist of the Pashtunistan Movement in Independent Pakistan.
 * Khushdil Khan Afridi, military general in the Pakistan Army.

Businessman

 * Javed Afridi, owner of PSL team Peshawar Zalmi and owner of Haier Pakistan
 * Abbas Khan Afridi, a politician and Businessman, He is the founder and CEO of Afridi Traders and holds shares in other projects.

Others

 * Monawar Khan Afridi, a brigadier in the British Indian Army, notably a doctor during the Burma Campaign working against Malaria and later served as the third Vice-Chancellor for the University of Peshawar
 * Khatir Afridi, Pashto poet from Pakistan
 * Shakeel Afridi, a physician from Pakistan
 * Ayub Afridi, a drug smuggler from Pakistan
 * Ahmad Kamal Faridi (Colonel Fareedi, Colonel Faridi), a character of Ibn-e-Safi, world renowned mystery writer/novelist of Pakistan. Ibn-e-Safi showed in his two novels (out of 125 novels) of Jasoosi Dunya (The Spy World) novel number 52 and novel number 117 that Colonel Fareedi belongs to Afridi tribe.
 * Malik Sher Muhammad Khan Afridi, Chief of Sepah. He along with the Maliks of Khyber Agency visited Kolkatta on train from Peshawar along with Political Agent, Colonel Robert Warburton. He also was a key figure in the relations between the Pathans especially the Afridis and the British Government during the 19th century, also mentioned in the book Eighteen Years in the Khyber.
 * Malik Muhammad Akbar Afridi Sepah, 1946–1998, former Chieftain of the Bara of Khyber Agency, met Princess Diana and former British Prime Minister John Major during their visits to Peshawar, Pakistan.
 * Zeek Afridi, a Pashto singer from Peshawar

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

title: Afridi


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Baron Montagu of Boughton

Baron Montagu of Boughton is a British title which has been created twice for members of the Noble House of Montagu. First created in 1621, in the Peerage of England, for Sir Edward Montagu, eldest son of Sir Edward Montagu of Boughton and grandson of another Sir Edward Montagu who had been Lord Chief Justice during the reign of Henry VIII. He was also the brother of Henry Montagu, later created Earl of Manchester, and of Sidney Montagu, ancestor of the Earls of Sandwich.

Their ancestor was one Richard Ladde, grandfather of the Lord Chief Justice Sir Edward, who changed his name to Montagu in about 1447. His descendants claimed a connection with the main house of Montagu or Montacute, Barons Montagu and Earls of Salisbury, but the exact descent is unclear. A case has been made out for the possibility that the Ladde alias came from a division among coheirs about 1420 of the remaining small inheritance of a line of Montagus at Spratton and Little Creton, also in Northamptonshire.

The third Baron Montagu of Boughton was created Earl of Montagu and Viscount Monthermer in 1689 and Duke of Montagu and Marquess of Monthermer in 1705. He had married in 1675 the Lady Elizabeth Wriothesley, daughter of the 4th Earl of Southampton and a descendant of the original houses of Montagu and Monthermer. The Dukedom, Earldom and Barony of Montagu all became extinct on the death of their son John, 2nd Duke of Montagu, in 1749. The next creation was in 1762, in the Peerage of Great Britain. John Montagu, styled Lord Brudenell, son of the 4th Earl of Cardigan and maternal grandson of the last Duke of Montagu, was created Baron Montagu of Boughton in 1762. This title became extinct on his death without issue in 1770.

The next creation was for the late Baron's father, who had been created Duke of Montagu in 1766. He was created Baron Montagu of Boughton, again in the Peerage of Great Britain, in 1786. On his death in 1790, when the Dukedom became extinct, the Barony passed under a special remainder to his female-line grandson Lord Henry Scott, second son of the 3rd Duke of Buccleuch. Lord Henry Scott also inherited the Lordship of Bowland from his mother, the Duchess, having the title entailed upon him by his nephew, the 5th Duke, in 1827. He died in 1845 whereupon the title of Montagu of Boughton became extinct.

His great-nephew Lord Henry Douglas-Scott-Montagu, second son of the 5th Duke of Buccleuch, was created Baron Montagu of Beaulieu in 1885.

Barons Montagu of Boughton, first creation (1621)

 * Edward Montagu, 1st Baron Montagu of Boughton (1560–1644)
 * Edward Montagu, 2nd Baron Montagu of Boughton (1616–1684)
 * Ralph Montagu, 3rd Baron Montagu of Boughton (1638–1709), created Earl and then Duke of Montagu
 * John Montagu, 4th Baron Montagu of Boughton, 2nd Duke of Montagu (1690–1749)

Barons Montagu of Boughton, second creation (1762)

 * John Montagu, Marquess of Monthermer (1735–1770)

Barons Montagu of Boughton, third creation (1786)

 * George Montagu, 1st Duke of Montagu, 1st Baron Montagu of Boughton (1712–1790)
 * Henry James Montagu-Scott, 2nd Baron Montagu of Boughton (1776–1845)

title: Baron Montagu of Boughton


text: Category:Provinces of Afghanistan

title: Category:Provinces of Afghanistan


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Arthur Christie

Arthur Christie (1921-2003) was seconded into Special Operations Executive on 22 April 1940 at Aston House, Stevenage, where he was to become one of the founding members of SOE. He was originally trained as an explosives expert, laying charges at the coalface as a miner. It was this expertise that became the reason he was seconded from the regular army into MI6 (R) based at Aston House; this was the place christened "Churchill’s Toy Box."

He was captured by the Japanese at the fall of Singapore.

His file is now open at the Public Record Office HS 9/313/1.

title: Arthur Christie


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Phelsuma kely

Phelsuma kely is a species of diurnal gecko. It is endemic to Madagascar and is known from the central east coast of Madagascar, south of Tamatave. It typically inhabits dragon trees. The gecko feeds on insects and probably nectar.

Little is known of this species, and it is known only from a single locality. It was first scientifically described in 2004. The IUCN declines to classify it as endangered or otherwise, citing "no information on its distribution, population status or threats".

Appearance
It is the smallest known day gecko, reaching a total length of about 7.1 cm. Its body colour is variable and dependent on the mood of the animal. During activity, the basic body colour is white-gray with a black pattern on the back. However, the body colour can turn dark also. A black lateral stripe extends from the eye to the tail. The ventral side is grayish-white.

Distribution
This species inhabits the central east coast of Madagascar, south of Tamatave. It is only known from the area around Lac Ampitabe.

Habitat
P. kely is found on dragon trees. It shares its habitat with Phelsuma seippi, Phelsuma guttata, Phelsuma lineata, Phelsuma madagascariensis madagascariensis, Phelsuma quadriocellata, Phelsuma abbotti chekei, Phelsuma dubia, Phelsuma laticauda laticauda and Phelsuma madagascariensis grandis. All these species live sympatrically and partly syntopically. In March, the daytime temperature is around 27 °C and drops to around 23 °C at nighttime. The relative humidity is between 80 and 90%.

Diet
These day geckos feed on various insects and other invertebrates. Like many members of the genus Phelsuma, this species might also feed on pollen and nectar.

Behaviour
This Phelsuma species is very shy.

Reproduction
In captivity, the females lay a pair of eggs which measure about 7 x 6 mm. At a temperature of 28 °C during the day and 22 °C at night, the young will hatch after approximately 60 days. The juveniles have a total length of about 25–28 mm.

Captivity
These geckos have been commercially traded, sometimes misidentified as Lygodactylus spp.

These animals should be housed in pairs in a well planted terrarium. The temperature should be between about 28 °C during the day and around 20 °C at nighttime. The relative humidity should be maintained between 80 and 90%. In captivity, these animals can be fed with crickets, wax moths, fruit flies, mealworms and houseflies.

title: Phelsuma kely


text:
BBC Cymru Wales

BBC Cymru Wales is a division of the BBC and the main public broadcaster in Wales.

It is one of the four BBC national regions, alongside the BBC English Regions, BBC Northern Ireland and BBC Scotland. Established in 1964, BBC Cymru Wales is based in Cardiff and directly employs some 1,200 people to produce a range of programmes for television, radio and online services in both English and Welsh.

BBC Cymru Wales operates two TV channels (BBC One Wales, BBC Two Wales) and three radio stations (BBC Radio Wales, BBC Radio Cymru and BBC Radio Cymru 2). The total budget for BBC Cymru Wales (including S4C's £76 million) is £151 million, £31 million of which is for BBC-produced television productions.

Television
BBC Cymru Wales operates two television services, BBC One Wales and BBC Two Wales, which can opt out of the main network feed of BBC One and BBC Two in England to broadcast national programming. These two channels broadcast a variety of programmes in English, including the flagship news programme BBC Wales Today which broadcasts several bulletins throughout the day including the main evening programme.

In addition to these two channels, BBC Cymru Wales is required to provide programmes in Welsh, which it supplies to the Welsh language channel S4C free of charge using the BBC Cymru brand. These programmes include a Welsh news service Newyddion, covering Welsh, general UK and international news, and a soap opera Pobol y Cwm, the longest running television soap opera made by the BBC. Under a partnership agreement with S4C, BBC Cymru Wales provides playout and technology services to the channel.

Radio
BBC Cymru Wales operates three radio stations covering the entire country. BBC Radio Wales is the English language network, broadcasting local programmes for approximately 20 hours a day and simulcasting BBC Radio 5 Live during the station's down time. BBC Radio Cymru broadcasts Welsh language programming for over 18 hours a day, providing a mix of general entertainment and factual programming, while BBC Radio Cymru 2 provides separate music-led programming at certain hours. While off air, both Radio Cymru stations simulcast overnight programme from the BBC World Service.

Online and interactive
BBC Cymru Wales operates its own mini-site on BBC Online as well as providing news and features for other areas of BBC Online. In addition, news stories are provided for the BBC Red Button interactive service.

BBC National Orchestra of Wales
BBC Cymru Wales employs a full-time orchestra, the BBC National Orchestra of Wales (BBC NOW), who give concerts in Cardiff, Swansea and across Wales. The majority of the orchestra's concerts are recorded for broadcast on BBC Radio 3, BBC Radio Wales and BBC Radio Cymru. Since January 2009 the administrative base of the NOW has been the BBC Hoddinott Hall, in the Wales Millennium Centre, Cardiff.

History
The first broadcast in Wales was on 13 February 1923 from the radio station 5WA at 19 Castle Street, Cardiff.

In March 1924 they moved into larger premises at 39 Park Place, later taking over most of the properties on the street.

During this time, the region was served from bases around Wales. During World War II, the regional services all ceased and broadcast the Home Service from London, although some Welsh content was included. The BBC's Bangor base played host to the BBC Variety Department during the war, although this fact was never officially announced.

Following the end of the Second World War, the BBC Home Service continued its regional opt-outs, including an opt-out service for Wales. This opt-out continued after the change from the Home Service to Radio 4 and paved the way for two full-time radio services - BBC Radio Cymru in 1977, followed a year later by BBC Radio Wales.

In 1952 they bought a 10-acre site at Baynton House in Llandaff, Cardiff to house all of its operations in the city.

The BBC has also occupied other locations in Cardiff such as; Celtic Road in Gabalfa, Newport Road in Roath, above a Spar shop in Llandaff village, and Charles Street in the city centre.

The first television signals in Wales came on 15 August 1952 from the newly constructed Wenvoe transmitter. The transmitter itself broadcast the national BBC Television service. Wales would gain some significance when, in 1957, the BBC West region from Bristol was established including a daily five-minute news bulletin for Wales, followed five years later by the launch of the daily magazine programme, Wales Today.

The launch of BBC Wales on 9 February 1964 provided a specific television service for the country. The new service was heavily promoted (proclaiming that Wales gets its very own TV service in 1964!) with animated promos using the sound of Welsh choirs to explain about interference from the mountains. Two years later in 1966, BBC Cymru Wales' new headquarters at Broadcasting House in Cardiff opened and the first colour broadcast for Wales followed in 1970.

Prior to 1982, BBC Cymru Wales on television provided programmes in both English and Welsh, with the news programme Heddiw and the long-running serial Pobol y Cwm figuring among the key output. However, this changed with the launch of S4C on 1 November 1982 as all Welsh-language programming on both the BBC and the ITV contractor HTV was transferred to the new channel. As part of a guaranteed ten hours a week of BBC-produced programming, Pobol y Cwm switched to the new channel while a newly expanded news service, Newyddion, was launched.

Into the late 1990s, BBC Cymru Wales continued to expand their services. The first web pages for Wales began to appear on BBC Online in 1997, including a variety of features surrounding programming, schedules, community events and other stories. The following year, BBC Wales gained additional air time through the use of a late prime-time to midnight opt-out from new digital channel BBC Choice. This lasted until opt-outs ended on the channel in 2001; subsequently BBC Wales opted out of the BBC Two prime-time schedule on digital platforms to broadcast BBC 2W. This latter service closed on 2 January 2009 – prior to the digital switchover which would have ceased separate broadcasting on analogue and digital.

Expansion in the number of drama productions handled by BBC Cymru Wales since 2011 has resulted in the construction and opening on a new studio centre in Cardiff.

In August 2013, it was announced that Broadcasting House and Ty Oldfield (Oldfield House), opposite, was for sale, with plans to move to a new a purpose-built headquarters in the city centre. The BBC attributed the decision to "ageing infrastructure at Llandaff" and considered sites including Central Square, land south of Cardiff Central railway station, and land between the Senedd and Atradius. In 2014, it was confirmed that Broadcasting House would be demolished and turned into 400 residential units. The BBC confirmed in 2015 that Central Square would be the location of their new headquarters building and began to move out of Llandaff studios in 2019.

The New Broadcasting House opened in 2020. In July 2020 BBC One Wales and BBC Two Wales Presentation and Playout move from Llandaff to become the first live services from the new building. This was followed by the first radio broadcasts, by BBC Radio Cymru 2 host Daniel Glyn on the 25 July and by Radio Wales host Owen Money on the 31 July. TV News moved into the building in September 2020 when viewers saw the building's roof garden in a live report by reporter Alex Jennings as part of an afternoon broadcast of Wales Today.

Central Square, Cardiff
The current headquarters of BBC Cymru Wales is New Broadcasting House, based in Cardiff's Central Square in the heart of the city. It opened in 2019, with broadcasting starting in 2020. The new building is the base for almost all BBC Cymru Wales staff, and is purpose built to house radio and TV production teams. It is the home of BBC Cymru Wales's news services, in English and Welsh, Wales Today, BBC Radio Wales and BBC Radio Cymru, as well as production teams for UK-wide programming and programmes commissioned by S4C.

Its location was decided in June 2014, on the site of the former Cardiff Central bus station. It can house up to 1,000 staff, with around half the floor space of its former Llandaff base and with 70% less studio space. Fewer studios were needed in the new headquarters partly as a result of the new purpose build facilities for drama and BBC National Orchestra of Wales in Cardiff Bay. Staff started to move into the new headquarters in October 2019,

Studios in Cardiff Bay (Roath Lock and Hoddinott Hall)
The expansion of BBC Cymru Wales' drama productions in recent years has resulted in investment for new studios. Drama production for BBC Cymru Wales is currently based at Roath Lock studios in Cardiff Bay. The main year-round productions on site include Doctor Who and Casualty, both made for BBC One, and Pobol y Cwm, which BBC Cymru Wales produces on behalf of S4C.

In the 2000s, as a temporary measure to generate extra capacity, BBC Wales invested into Upper Boat Studios in Pontypridd to house several productions, notable centred around the 2005 revival of Doctor Who and its sister productions Torchwood and The Sarah Jane Adventures. Despite the investment in Upper Boat, the studio complex soon became too small to house new productions being moved to the BBC Nations. As part of this decision, it was decided in March 2009 that BBC productions Casualty and Crimewatch were to relocate from their former homes at BBC Bristol network production unit to Cardiff.

To house these new programmes, a new 170,000 sqft studio complex was built, designed to house the productions of Doctor Who, The Sarah Jane Adventures, Casualty, Upstairs Downstairs, and Pobol y Cwm. Located in Porth Teigr, Cardiff Bay, Roath Lock Studios gained permission in January 2009 and construction began in June 2010 with the building topping out in February 2011. Production began at the site in autumn 2011 and the site was officially opened on 12 March 2012. As a result, Pobol y Cwm moved from the Llandaff studios and Doctor Who moved from Upper Boat studios to the new complex, with Casualty joining them at the site. Despite being designed to house them, the site never housed the Sarah Jane Adventures, following the death of main actress Elisabeth Sladen in 2011, or Upstairs Downstairs, following the series' cancellation.

BBC National Orchestra of Wales operated from a purpose-built orchestra studio, Studio 1, in Broadcasting House from 1966 to 2008. They then moved to new purpose built facilities at BBC Hoddinott Hall in January 2009, as part of the Wales Millennium Centre campus.

Broadcasting House, Llandaff

Until 2020, BBC Cymru Wales's headquarters were at Broadcasting House, Llandaff, Cardiff.

The studio centre was built in 1966 and opened the following year as a purpose-built location to house the expanding presence of the BBC in Cardiff. The centre contained studios for the news programmes, radio space including that used by the BBC National Orchestra of Wales until 2009, and another studio for drama productions constructed in the mid-1970s. It was the first time that all of BBC Cymru Wales's departments within Cardiff were located on one site.

Broadcasting House was built next to Baynton House which housed all of the BBC Wales' operations from 1952 until construction was finished. Baynton House remained in use by the BBC until 1975 when it was demolished to make way for the E-Block extension.

Previously, the BBC in Wales had been located in the converted Broadway Methodist Chapel on Broadway in Roath, Cardiff from 1955, and in nearby premises on Stacey Road in Roath, Cardiff from 1959. A temporary broadcasting centre was set up on the banks of the River Taff, in 1958 to cover the Empire Games. While these studios played host to drama, entertainment and regional programmes, the site was still not ideal. The site only held two studios, both located in the church, and the ability to broadcast film was not installed on the site for several years; film played into programmes from a telecine machine in Bristol or London and film processing for news was carried out by a firm called Park Pictures in Cardiff until BBC processing was installed in Stacey Road.

Studios outside of Cardiff

BBC Cymru Wales's main studios outside of Cardiff are based in Bangor, Gwynedd, and are home to around 50 staff. Much of BBC Radio Cymru's daytime output is broadcast from here.

Across Wales, there are also a number of properties that the BBC owns are local radio studios. These are primarily used as contributor studios, where interviewees or reporters can join a radio programme from an ISDN line, with the presenter remaining in the main studio in Cardiff or Bangor. These studios are located in Aberystwyth, Carmarthen, Newtown, Penrhyndeudraeth, Swansea and Wrexham.

Television productions
BBC Cymru Wales produces local and networked programming for broadcast in Wales and the rest of the UK. In recent years, its drama output has been particularly successful, including the 2005 revival of the classic science fiction series Doctor Who and its spin-offs Torchwood (2006) and The Sarah Jane Adventures (2007). In addition, BBC Wales commissions other drama output for the BBC network from independent producers, such as Life on Mars (2006–07).

In-house productions
The following productions were created by BBC Cymru Wales for broadcast in Wales:

 * Wales Today (1962–present)
 * Pobol y Cwm (1974–present)
 * Newyddion (1982–present)
 * Scrum V (1995–present)
 * Clwb Rygbi (1997–present)
 * BBC Wales Live (2019–present)
 * Politics Wales (2019–present)
 * BBC Wales Investigates

Former productions

 * Satellite City (1996–1999)
 * Belonging (1999–2009)
 * The Bench (2001–2002)
 * First Degree (2002)
 * High Hopes (2002–2009)

Networked productions
In addition to programming for Wales, networked productions from BBC Cymru Wales include:

 * Grand Slam (1978)
 * The Life and Times of David Lloyd George (1981)
 * Ennal's Point (1982)
 * The District Nurse (1984–1987)
 * Border Cafe
 * He Knew He Was Right (2004)
 * Doctor Who (2005–2022)
 * Doctor Who Confidential (2005–2011)
 * The Chatterley Affair (2006)
 * Torchwood (2006–2009)
 * Torchwood Declassified (2006–2009)
 * Tribe (2007)
 * The Sarah Jane Adventures (2007–2011)
 * Top Dogs (2009)
 * Hospital 24/7 (2009–2011)
 * Upstairs Downstairs (2010–2012)
 * Sarah Jane's Alien Files (2010)
 * Wizards vs Aliens (2012–2014)
 * Casualty (2012–present)
 * Class (2016)

Independent commissions
In addition to the in-house commissions, BBC Wales also commissions other independent companies to produce programmes. These include:

For Wales:
 * X-Ray (2001–2023, consumer show)
 * Coal House (2007–2008)
 * The Wright Taste (2008)
 * Crash (2009–2010)

For the UK:

 * Shakespeare: The Animated Tales (1992, 1994)
 * Casanova (2005)
 * The Girl in the Café (2005)
 * Life on Mars (2006–2007)
 * Wide Sargasso Sea (2006)
 * This Life + 10 (2007)
 * Ashes to Ashes (2008–2010, spinoff of Life on Mars)
 * Merlin (2008–2012)
 * Being Human (2009–2013)
 * Rhod Gilbert's Work Experience (2009–present)
 * Sherlock (2010–2017)
 * Dirk Gently (2010 pilot, 2012 series)

Radio productions

 * Composer of the Week

title: BBC Cymru Wales


text:
Gregor Kiczales

Gregor Kiczales is an American computer scientist. He is currently a professor of computer science at the University of British Columbia in Vancouver, British Columbia, Canada. He is best known for developing the concept of aspect-oriented programming, and the AspectJ extension to the Java programming language, both of which he designed while working at Xerox PARC. He is also one of the co-authors of the specification for the Common Lisp Object System, and is the author of the book The Art of the Metaobject Protocol, along with Jim Des Rivières and Daniel G. Bobrow.

Most of Kiczales' work throughout the years has been focused on allowing software engineers to create programs that look as much as possible like their design, to reduce complexity and make code maintenance easier, ultimately improving software quality.

Career
After pursuing undergraduate studies at MIT, Kiczales started his research career in 1980 at the MIT Lab for Computer Science, where he stayed until 1983. In 1984, he joined the Xerox Palo Alto Research Center software research lab as Member of Research Staff, becoming Principal Scientist in 1996. Throughout his time at PARC, Kiczales developed some of his most important research works, including aspect-oriented programming and AspectJ. He left PARC in 1999 to focus on computer science education.

In 2000, he moved to Canada and joined the Department of Computer Science at the University of British Columbia as a tenured professor. At UBC, Kiczales started the Software Practices Lab and designed a number of courses related to software engineering and programming languages. Most importantly, he designed CPSC 110, the introductory programming course in the UBC curriculum, which students take in their first year of undergraduate studies. The course focuses on systematic program design by means of design recipes.

In 2002, he co-founded Intentional Software with Charles Simonyi, but then left the company in 2003 in order to return to UBC.

In 2012, he won the Senior AITO Dahl-Nygaard Prize for his work on the Common Lisp Object System, and was named an ACM Fellow for his contributions to aspect-oriented programming.

In July 2017, he was appointed executive director of UBC Extended Learning.

title: Gregor Kiczales


text:
Category:Districts of Albania

Districts of Albania were replaced in 2000 with counties.

title: Category:Districts of Albania


text:
Maroa

Maroa may refer to:

Places

 * United States
 * Maroa, Illinois
 * Maroa Township, Illinois
 * Venezuela
 * Maroa, Venezuela
 * Maroa Municipality
 * New Zealand
 * Maroa Caldera

Entertainment

 * Maroa (2006 film)

Animals

 * Maroa (moth), the synonym of a moth genus in the family Crambidae

title: Maroa


text:
Shinhwa

Shinhwa is a South Korean six-member boy band based in Seoul, composed of Eric Mun, Lee Min-woo, Kim Dong-wan, Shin Hye-sung, Jun Jin, and Andy Lee. Launched by SM Entertainment on March 24, 1998, the group signed with Good Entertainment in 2004 before creating their Shinhwa Company to manage their career as a band. The band struggled initially with their first album before finding commercial success with their sophomore album T.O.P. (April 1999). When their contract with SM Entertainment expired in July 2003, all six members signed with Good Entertainment and assumed creative control with the release of Brand New (August 2004). That same year, members began to pursue individual careers.

After a four-year hiatus due to majority of the members completing their mandatory military service, the sextet established the Shinhwa Company to facilitate their group career. The release of their tenth album The Return (2012) made them the first Korean boy band to continue performing after the members' mandatory military services. Shinhwa is also the first K-pop idol group to lead a successful career after leaving its original agency, despite being embroiled in legal battles with SM Entertainment over the name "Shinhwa" for several years. Over the course of their twenty-year career, Shinhwa have released thirteen Korean studio albums, one Japanese album, and various compilation albums.

The group is the longest-running boy band in the history of K-pop   and is often referred to as part of the "First Generation of K-pop", alongside H.O.T., S.E.S., g.o.d, Fin.K.L, among others. Their work and longevity have served as influences to future generations of K-pop idol groups, leading many to describe the band itself as "legendary".

1998–2001: Formation, commercial struggles, and mainstream breakthrough
With the already established acts of H.O.T. and S.E.S., SM Entertainment sought to release another group to capitalize on the two formers' successes. Composed of members Mun Eric, Lee Min-woo, Kim Dong-wan, Jun Jin, Shin Hye-Sung, and Lee Andy, the group was named Shinhwa, the Korean word for myth or legend, and made their debut with Resolver on May 9, 1998. The album was supported by three singles: the titled track, "Eusha! Eusha!" (Hangul: "으쌰! 으쌰!"), and "Sharing Forever" (Hangul: "천일유혼"). Resolver 's chart performance was lackluster, however, and Shinhwa was accused of lacking originality and duplicating label mate H.O.T.'s sound. The group also became embroiled in controversies when the 1998 Sokcho submarine incident occurred, and "Eusha! Eusha!, which was about a fun trip at the beach, was used as a reminder of the event. Although Shinhwa won Best New Artist at the Mnet Asian Music Awards, Resolver underperformed commercially, and the sextet almost disbanded.

Shinhwa's found mainstream success with their next few albums. Their sophomore album, T.O.P. (April 1999), was met with positive reviews for its title song and the group's edgier concept. A second single, "Yo", was promoted but did not fare as well. The album debuted at No. 4 and peaked at No. 3, selling 377,500 copies and charting for 24 weeks on the Korean monthly chart. The group received the Best Music Video from a New Male Pop Group award from the Mnet Asian Music Awards.

Only One (May 2000) became their first to debut at the top of the chart. Buoyed by three singles, "Only One", "All Your Dreams", and "First Love", it sold over 423,000 copies, and Shinhwa won three awards that year: the SBS Gayo Popularity Award, the KMTV song Bonsang Award, and the Popular Singers Award. That January, Shinhwa held their first concert, First Mythology. Shinhwa's fourth album, Hey, Come On!, was released on June 8, 2001, debuting at No. 3 and was promoted with two singles: "Hey, Come On!" and "Wild Eyes", the latter of which spawned various dance covers due to its choreography incorporating the use of chairs. The album was a commercial success, selling over 430,700 copies and ranked No. 11 on the 2001 year-end chart. Shinhwa was also associated with several controversies at the time, including scrutiny over the absence of member Andy and the alleged copying of Shinhwa's popular single, "Hey, Come On!" by Taiwanese boy band, Energy.

2002–2003: Making history, change in management, and solo activities
Their first compilation album, My Choice (January 2002), featured some of the members' favorite songs and some of their most popular tracks. In contrast to Hey, Come On!'s strong sales, My Choice was met with moderate success, selling more than 171,300 copies while debuting and peaking at No. 4 before it dropped from the Korean monthly Chart. On the Year-End Chart, My Choice ranked No. 31, selling a total of 183,000 copies. A few months after the release of My Choice, Shinhwa released their fifth studio album, Perfect Man, on March 29, 2002. The album marked the return of member Andy. Perfect Man debuted atop the Korean monthly chart, becoming Shinhwa's second chart-topping album. Along with the title track, the group promoted with the album with the second single "I Pray 4 U". Final sales were over 355,000 copies and the album was ranked No. 14 on the year end Top 100 Albums in 2002 Chart, with over 362,00 copies sold.

Shinhwa made history in the Korean music industry by becoming the longest-running Korean boy band with the release of its sixth album, Wedding (December 2002). The album debuted and peaked at No. 3 and sold over 273,700 copies. Wedding also marked the expiration of their contract with SM Entertainment, who offered all the members except Dongwan a second contract. The group collectively chose to sign with Good Entertainment, resulting in a court battle to retain the use of their name, which they won. Because the contract with Good Entertainment would not begin until 2004, members pursued solo activities in 2003: Min-woo went solo under the name "M," releasing his first album entitled Un-touch-able, while Hye-sung collaborated with Kangta and Lee Ji-hoon for a project group S. Jun Jin branched out into acting with the drama Forbidden Love alongside actress Kim Tae-hee. Andy and Jun Jin participated in a Korean sitcom Nonstop 4 as well as Banjun Drama. Eric began acting in dramas soon after acting in several CFs. Shinhwa is the first to have its members promote as solo artists while still continuing group activities. The members too strived in the solo activities.

The members regrouped and released the compilation album Winter Story 2003–2004 on December 30, 2003, which sold over 100,000 copies. They held their second concert The Everlasting Mythology from April 18 to 20, 2003, and also embarked on the Winter Story Tour, traveling to six cities: Seoul, Pusan, Daejeon, Incheon, Daegu, and Kwangju. They later traveled to Japan for the Shinhwa First Live in Tokyo, holding a Japanese fan meeting called Have Fun With Shinhwa On M.Net Tour.

2004–2006: Creative control, commercial success, and first Asia Tour
Shinhwa's first album with Good Entertainment, Brand New (August 2004), debuted at No. 3 on the monthly Korean chart, peaking at No.1 in November and selling over 320,000 copies. The album saw increased creative control by the members, with Eric and Min-woo contributing to its production and Jun Jin with the choreography, leading to more dance songs being included in the final release instead of their usual pop music. The album was promoted with four singles: "Angel", "Oh!", "Crazy", and title track, and ranked No. 4 on the 2004 year-end chart. It won several accolades for the group, including Best Artist of The Year for the first time at the Seoul Gayo Daesang Awards. Several weeks later, on December 29, Shinhwa was awarded their second daesang at the 2004 SBS Gayo Daejun Awards, winning two of the possible four daesang in that year with Rain and Lee Soo Young receiving the other two. In 2004, of all musical artists and groups, Shinhwa received the most awards, totaling thirteen or more, from various places: the m.net KMTV Music Video Festival, Seoul Gayo Daesang, Golden Disc Awards and MBC, KBS, SBS Gayo Awards. The awards other than Best Artist of the Year included Best Male Artist, Best Dance Artist, and Overseas Choice Award.

After the success of Brand New, Shinhwa embarked on a tour, holding a Korea-China-Japan summer camp called Shinhwa Summer Story 2004. The camp was dedicated entirely for their non-Korean fans. Although, Shinhwa was mostly on hiatus throughout 2005, they released two popular singles, "How Do I Say" and "Hey Dude!" and held the Tropical Summer Story Festival concert. For a majority of 2005, Shinhwa hosted a reality show called Let's Coke Play Battle Shinhwa!, a competition to find the next Shinhwa, with the winning group debuting as the short-lived boy band Battle under Good Entertainment. To end the year, Shinhwa released Winter Story 2004-2005, which sold over 102,300 copies.

After renewing their contract with Good Entertainment for another 3 years, the group's State of the Art was released on May 11, 2006. The album debuted atop the chart and sold over 215,600 copies domestically. Brand New and State Of The Art became their first consecutive No. 1 albums, with the latter becoming the third best selling album in 2006, behind SG Wannabe's The 3rd Masterpiece and TVXQ's "O"-Jung.Ban.Hap.. Following a performance at Tokyo's Budokan Hall to celebrate the founding of Mnet Japan, their Japanese language album Inspiration #1 and the lead single, "This is the Sun in Our Hearts" released on June 14, 2006. The album released in Japan on August 16 peaked at No. 4 on Oricon Chart, selling in excess of 100,000 copies each. Shinhwa later embarked on their first Asia tour, Shinhwa 2006 Tour: State of the Art, kicking off with two concerts at the Olympic Gymnastics Arena, Seoul and visiting Japan, China, Singapore, Hong Kong, Thailand and other countries. They also performed at Budokan Hall in Tokyo, and Osaka-jo Hall on September 24 and 26, as part of the 2006 Japan Tour Inspiration#1.

2007–2012: Solo activities, 10th anniversary, and mandatory military service
In 2007, members expanded their solo activities even further while Shinhwa was on hiatus, with each members starting their own company – M Rising (Min-woo), New Dream Entertainment (Andy), JF Story Entertainment (Jun Jin), H2 Entertainment (Dong-wan), and Top Class Entertainment (Eric) – to manage their solo careers. Dong-wan also released his first album entitled Kim Dongwan is on July 5, 2007. Min-woo released his third album on July 10, 2007 and though he had intended to release his third album in the U.S., he released it in Korea instead. Hye-sung released his second album on August 8, 2007.

Although their ninth album was set to be released in October 2007, it was ultimately delayed and they released Winter Story 2007 on December 6, 2007, which debuted at No. 3 and sold 24,500 copies. Shortly after the release of Winter Story 2007, Shinhwa staged their Asia Concert with a two-day performance on the December 8 and 9 in Saitama, Japan, followed by a concert in Shanghai. Celebrating their anniversary, Shinhwa staged a 10th anniversary concert and released their ninth studio album Volume 9. Because the concert was the last concert before the members left for the army, all 22,000 seats available for the concert were sold out.

After their 10th anniversary and the release of their 9th album, the members continued to work on their individual activities until their mandatory military service, with Eric enlisting in October 2008 and Dong-wan in November at Gongju, Chungcheongnam-do Both served non-active duty, e.g. they were public service workers, after undergoing four weeks of basic training. Jun Jin enlisted on October 22, 2009, at the Nonsan military camp in Chungcheongnam-do Province for four weeks of basic training and continued as a public service worker. On January 11, 2010, Andy enlisted for mandatory military service and was the only member to serve 21 months of active duty. Min-woo was the last of the members to enlist in February 2010. He also served non-active duty after undergoing four weeks of basic training. Hye-sung was exempt from military service due to serious and recurring injuries in his knee sustained during a concert in 2001.

On October 30, 2010, Eric was discharged from military service. Dong-wan was discharged on December 17 after serving 24 months as an administrative worker at the Seodaemun-gu District Office. Andy was discharged from active duty on October 31, 2011, from the Ministry of National Defense in Yongsan-gu, Seoul. Jun Jin was discharged on November 14, 2011, after working at the Gangnam Management Corporation, managing the culture center's fitness club and parking lot. This was followed by Min-woo on March 2, 2012, after serving as a public service officer in Seoul Station.

2012–2017: Shinhwa Company and touring
After their contract with Good Entertainment expired, Shinhwa created their own company to manage their activities as a group, with Eric and Min-woo as co-CEOs and the remaining members as shareholders. Members' individual activities continue to be manage by their respective agencies. A press conference to launch Shinhwa's comeback was held on March 5, 2012, at CGV cinema in Cheongdam-dong, which was streamed live by Mnet Media. The group released their tenth studio album The Return on March 23, 2012. To promote the album, Shinhwa embarked on the 2012 Shinhwa Grand Tour in Seoul: The Return, which kicked off at Olympic Gymnastics Arena on March 24 and 25, 2012, and continued with shows in Japan, China, Taiwan and Singapore. They also hosted their first exclusive variety program, Shinhwa Broadcast, which aired on cable channel JTBC. The producers held a public shoot and press conference to showcase the program.

The following year, Shinhwa resumed their music activities as a group with the release of their 11th studio album and 15th anniversary concert in March, in addition to the 2013 Shinhwa 15th Anniversary Concert: The Legend Continues at the Olympic Gymnastics Arena in March. On the same day information on ticketing and a teaser video were released. The 25,000 tickets were sold out within five minutes of going on sale, by over 300,000 people who tried to buy the tickets. Their eleventh album The Classic was released on May 16, 2013, followed by an Asian concert tour, 2013 Shinhwa Grand Tour: The Classic in support of the album.

Their 16th anniversary concert, Here, was held on March 22–23, 2014 at the Olympic Park Gymnastics Stadium, which sold out its 27,000 seats and crashed the website server. Due to a gambling scandal, however, Andy was absent from the shows, making a surprise appearance during the last show to apologize to the audience.

In 2015, Shinhwa announced it would be appearing on Seoul Broadcasting System (SBS)'s 800th Inkigayo episode, including the return of Andy from his extended hiatus. This was followed by the release of their album in over two years, We (February 2015). The LDN Noise-produced lead-single "Sniper" rose to the top of five real-time music charts, Bugs, genie, Olleh Music, Mnet, and Cyworld, and the music video for the single reached over a million YouTube views within two weeks of the song's release. Shinhwa also won the Show Champion for the song "Sniper" on March 11, 2015. Their thirteenth album, Unchanging, was released on January 1, and peaked at No. 3 on the World Albums Chart. They held their 17th anniversary concert 'WE' on March 21 and 22 in Korea, and went on to hold concerts in various parts of China. They held their 17th anniversary FINALE concert 'WE SHINHWA' on August 22 and 23 in Korea. On May 29, Shinhwa won the trademark rights to their group name after 12 years. The members expressed their joy upon earning their name back after years of legal battle.

2018–present: 20th anniversary and Shinhwa WDJ
In commemoration of their 20th anniversary, Shinhwa released a re-recorded darker version of their song "All Your Dreams" from the album Only One, in addition to filming a new music video. They also kicked off a fan meeting party from March 24–25 to signal the start of their 20th anniversary project, All Your 2018 and performed for KBS Music Bank's twentieth anniversary alongside other artists.

On August 28, they released their album, Heart, with the title track "Kiss Me Like That" and promoted on music shows for three consecutive weeks. Their 20th anniversary concert, Heart Tour in Seoul, which will take place October 6–7, sold out within 5 minutes and crashed the website's servers upon ticket release. On April 20 and 21, 2019, they held their 21st anniversary concert, Chapter 4. On August 17, 2022, Liveworks Company announced Shinhwa's first sub-unit, Shinhwa WDJ, which consisted of Minwoo, Dongwan and Junjin, to debut this winter. The release schedule for the album Come to Life was released on December 6.

Legacy
Shinhwa is the longest-running Korean boy band in existence,  and is often listed as one of the legendary "first generation" K-pop idol groups including H.O.T., S.E.S., Sechs Kies, Fin.K.L, and g.o.d. Although the word shinhwa means myth or legend, the group themselves have been described as a "legendary" K-pop idol group for their longevity, and their constant change in image and rebranding have been credited for their continued success. Shinhwa was the first K-pop group to try a lot of new things: from being an idol-actor, to radio DJ, to branching out as solo artists while still being active as a group.

When they debuted, the trend at the time was for male idol group members to remain "mysterious" and "dark", a concept the group utilized when promoting their early materials. They rebranded themselves when the "flower boy" concept, which describes "young males with pretty faces and 'unpretentious cuteness'", became popular; they have continue to adjust their images as they age, incorporating suits and polished haircuts into their looks later on. Shinhwa's intense dance moves have also become one of their staples, with their song "Wild Eyes" spawning various dance covers due to its choreography incorporating the use of chairs and the choreography for "Venus" being described as "high intensity". Shinhwa were also credited for pioneering vogue dancing in Korea. With the rise of competition from the "second generation" of idol groups in South Korea, Shinhwa began to make a foray into Asia in 2005, embarking on tours and fan meetings. They were voted as the Best Korean Singer Overseas twice in poll held by Arirang International Broadcasting. The poll allowed only foreigners to vote, with Shinhwa's songs "Once in a Lifetime" in 2006 and "Pretty" in 2007 topping the polls.

Shinhwa's popularity have also led to the creation of the official fan club, Shinhwa Changjo. The color orange has been associated with Shinhwa Changjo ever since its establishment in 1998, and is used in both Shinhwa's official and unofficial merchandise, including light-sticks, balloons, raincoats, and various kinds of apparels and accessories. These orange-colored cheering tools are used in each member's individual promotion activities as well. Similar to the band, Shinhwa Changjo is the longest running Korean fan club, and upon the release of their 12th album in February 2015, Shinhwa opened the recruitment for the 10th wave of its official fanclub. Shinhwa does not have an official light-stick like other groups, instead they have a new light-stick for every concert Shinhwa holds.

Their work have inspired newer generations of artists, including 2PM, Big Bang, Dreamcatcher, EXID, MAP6, and Seventeen, many who strive to one day last as long as the sextet. Kangta, a member of H.O.T., have also praised the group for choosing to switch labels when SM Entertainment offered contracts to all but one member instead of splitting up, a rare action among idol groups.

Discography
• Resolver (1998)

• T.O.P. (1999)

• Only One (2000)

• Hey, Come On! (2001)

• Perfect Man (2002)

• Wedding (2002)

• Winter Story (2003)

• Brand New (2004)

• Winter Story 2004–2005 (2004)

• State of the Art (2006)

• Inspiration #1 (In Japan) (2006)

• Volume 9 (2008)

• The Return (2012)

• The Classic (2013)

• We (2015)

• Unchanging (2017)

"Hey, Come On!"
In July 2002, Taiwanese boy band Energy covered Shinhwa's song, "Hey, Come On!" causing tensions between the fans of Shinhwa and Energy. As it was later noted, Jeff Vincent and Peter Rafelson who wrote "Hey, Come On!" had sold the song to Energy, therefore, it was legal. Even so, fans of Shinhwa were angry over that fact. The Taiwanese group 5566 also covered Shinhwa's "Dark", a song included in Shinhwa's 4th album.

Leaving SM Entertainment
In 2003 SM Entertainment's 5-year contract with Shinhwa ended. Lee Soo Man, the head of SM Entertainment, offered contract renewals to all but Dongwan. Choosing to sign with a new agency instead, the choice sparked controversies when Lee denied their permission to use the name Shinhwa with the different company. At the height of the battle in September 2014, the band had to rename the agency Shinhwa Company as ShinCom Entertainment to avoid legal issues. In May 2015, after 12 years of legal battles, Shinhwa finally won the lawsuit over Joon Media and re-renamed their agency as Shinhwa Company. Open World Entertainment CEO, Seok-Woo Jang, holder of the rights to the name of Shinhwa, granted permission to use the name as long as they perform together as a group. Open World held the rights to Shinhwa's overseas concerts with Shinhwa Company, and overseas licensing of the group's albums. The heads of Top Class Entertainment and Liveworks Company are directors of Shinhwa Company, with the former in charge of promotion and management in general, and the latter providing support regarding albums, concerts and promotions.

title: Shinhwa


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Chess piece relative value

In chess, a relative value (or point value) is a standard value conventionally assigned to each piece. Piece valuations have no role in the rules of chess but are useful as an aid to assessing a position.

The best known system assigns 1 point to a pawn, 3 points to a knight or bishop, 5 points to a rook and 9 points to a queen. However, valuation systems provide only a rough guide and the true value of a piece is very position dependent.

Standard valuations
Piece values exist because calculating all the way to checkmate in most positions is beyond the reach even of top computers. Thus players aim primarily to create a material advantage, and to chase this goal it is necessary to quantitatively approximate the strength of an army of pieces. Such piece values are valid for, and conceptually averaged over, tactically "quiet" positions where immediate tactical gain of material will not happen.

The following table is the most common assignment of point values. The oldest derivation of the standard values is due to the Modenese School (Ercole del Rio, Giambattista Lolli, and Domenico Lorenzo Ponziani) in the 18th century and is partially based on the earlier work of Pietro Carrera. The value of the king is undefined as it cannot be captured, let alone traded, during the course of the game. Chess engines usually assign the king an arbitrary large value such as 200 points or more to indicate that the inevitable loss of the king due to checkmate trumps all other considerations. The endgame is a different story, as there is less danger of checkmate, allowing the king to take a more active role. The king is good at attacking and defending nearby pieces and pawns. It is better at defending such pieces than the knight is, and it is better at attacking them than the bishop is. Overall, this makes it more powerful than a minor piece but less powerful than a rook, so its fighting value is worth about four points.

This system has some shortcomings. Combinations of pieces do not always equal the sum of their parts; for instance, two bishops on opposite colors are usually worth slightly more than a bishop plus a knight, and three (nine points) are often slightly stronger than two rooks (ten points) or a queen (nine points). Chess-variant theorist Ralph Betza identified the 'leveling effect', which causes reduction of the value of stronger pieces in the presence of opponent weaker pieces, due to the latter interdicting access to part of the board for the former in order to prevent the value difference from evaporating by 1-for-1 trading. This effect causes 3 queens to badly lose against 7 knights (when both start behind a wall of pawns), even though the added piece values predict that the knights player is two knights short of equality. In a less exotic case it explains why trading rooks in the presence of a queen-vs-3-minors imbalance favors the queen player, as the rooks hinder the queen, but not so much the minors. Adding piece values thus is a first approximation, because one must also consider how well pieces cooperate with each other (e.g. opposite-coloured bishops cooperate very well), and how fast the piece travels (e.g. a short-range piece far away from the action on a large board is almost worthless).

The evaluation of the pieces depends on many parameters. Edward Lasker said, "It is difficult to compare the relative value of different pieces, as so much depends on the peculiarities of the position...". Nevertheless, he said that the bishop and knight are equal, the rook is worth a minor piece plus one or two pawns, and the queen is worth three minor pieces or two rooks. Larry Kaufman suggests the following values in the middlegame: The is worth 7.5 pawns – half a pawn more than the individual values of its constituent bishops combined. (Although it would be a very theoretical situation, there is no such bonus for a pair of same-coloured bishops. Per investigations by H. G. Muller, three light-squared bishops and one dark-squared one would receive only a 0.5-point bonus, while two on each colour would receive a 1-point bonus. Thus, one could rather think of it as penalising the absence of a piece, though more imbalanced combinations like 3:0 or 4:0 were not tested.) The position of the pieces also makes a significant difference, e.g. pawns near the edges are worth less than those near the centre, pawns close to promotion are worth far more, pieces controlling the centre are worth more than average, trapped pieces (such as ) are worth less, etc.

Alternative valuations
Although the 1-3-3-5-9 system of point totals is the most commonly given, many other systems of valuing pieces have been proposed. Several systems have the bishop as usually being slightly more powerful than a knight.

Note: Where a value for the king is given, this is used when considering piece development, its power in the endgame, etc.

Larry Kaufman's 2021 system
Larry Kaufman in 2021 gives a more detailed system based on his experience working with chess engines, depending on the presence or absence of queens. He uses "middlegame" to mean positions where both queens are on the board, "threshold" for positions where there is an imbalance (one queen versus none, or two queens versus one), and "endgame" for positions without queens. (Kaufman did not give the queen's value in the middlegame or endgame cases, since in these cases both sides have the same number of queens and it cancels out.)

The file of a pawn is also important, because this cannot change except by capture. According to Kaufman, the difference is small in the endgame (when queens are absent), but in the middlegame (when queens are present) the difference is substantial:

In conclusion:
 * unpaired bishop is slightly stronger than knight;
 * knight is superior to three average pawns, even in the endgame (situations like three passed pawns, especially if they are connected, would be exceptions)
 * with queens on the board, knight is worth four pawns (as commented by Vladimir Kramnik for a full board);
 * the bishop pair is an advantage (as one can hide from one bishop by fixing king and pawns on the opposite colour, but not from both), and a greater one in the endgame;
 * an extra rook is helpful in the "threshold" case, but not otherwise (because two rooks fighting against a queen benefit from the ability to defend each other, but minor pieces against a rook need a rook's help more than the rook needs the help of another rook);
 * a second queen has lower value than normal.

In the endgame:
 * R = B (unpaired) + 2P, and R > N + 2P (slightly); but if a rook is added on both sides, the situation favours the minor piece side
 * 2N are only trivially better than R + P in the endgame (slightly worse if there are no other pieces), but adding a rook on both sides gives the knights a big advantage
 * 2B ≈ R + 2P; adding a rook on both sides makes the bishops superior
 * R + 2B + P ≈ 2R + N

In the threshold case (queen versus other pieces):

 * Q ≥ 2R with all minor pieces still on the board, but Q + P = 2R with none of them (because the queen derives more advantage from cooperating with minors than the rooks do)
 * Q > R + N (or unpaired B) + P, even if another pair of rooks is added
 * Q + minor ≈ R + 2B + P (slightly favouring the rook side)
 * 3 minors > Q, especially if the minors include the bishop pair. The difference is about a pawn if rooks are still on the board (because in this case they help the minors more than the queen); with all rooks still on the board, 2B + N > Q + P (slightly).

In the middlegame case:

 * B > N (slightly)
 * N = 4P
 * The exchange is worth:
 * just under 2 pawns if it is unpaired R vs N, but less if the rook is paired, and a bit less still if the minor piece is an unpaired bishop
 * one pawn if it is paired R vs paired B
 * 2B + P = R + N with extra rooks on the board
 * 2N > R + 2P, especially with an extra pair of rooks
 * 2B = R + 3P with extra rooks on the board

The above is written for around ten pawns on the board (a normal number); the value of the rooks goes down as pawns are added, and goes up as pawns are removed.

Finally, Kaufman proposes a simplified version that avoids decimals: use the traditional values P = 1, N = 3, B = 3+, and R = 5 with queens off the board, but use P = 1, N = 4, B = 4+, R = 6, Q = 11 when at least one player has a queen. The point is to show that two minor pieces equal rook and two pawns with queens on the board, but only rook and one pawn without queens.

Hans Berliner's system
World Correspondence Chess Champion Hans Berliner gives the following valuations, based on experience and computer experiments: There are adjustments for the and  of a pawn and adjustments for the pieces depending on how  or  the position is. Bishops, rooks, and queens gain up to 10 percent more value in open positions and lose up to 20 percent in closed positions. Knights gain up to 50 percent in closed positions and lose up to 30 percent in the corners and edges of the board. The value of a may be at least 10 percent higher than that of a.

There are different types of doubled pawns; see the diagram. White's doubled pawns on the b-file are the best situation in the diagram, since advancing the pawns and exchanging can get them un-doubled and mobile. The doubled b-pawn is worth 0.75 points. If the black pawn on a6 were on c6, it would not be possible to dissolve the doubled pawn, and it would be worth only 0.5 points. The doubled pawn on f2 is worth about 0.5 points. The second white pawn on the h-file is worth only 0.33 points, and additional pawns on the file would be worth only 0.2 points.

Changing valuations in the endgame
As already noted when the standard values were first formulated, the relative strength of the pieces will change as a game progresses to the endgame. Pawns gain value as their path towards promotion becomes clear, and strategy begins to revolve around either defending or capturing them before they can promote. Knights lose value as their unique mobility becomes a detriment to crossing an empty board. Rooks and (to a lesser extent) bishops gain value as their lines of movement and attack are less obstructed. Queens slightly lose value as their high mobility becomes less proportionally useful when there are fewer pieces to attack and defend. Some examples follow.
 * A queen versus two rooks
 * In the middlegame, they are equal
 * In the endgame, the two rooks are somewhat more powerful. With no other pieces on the board, two rooks are equal to a queen and a pawn
 * A rook versus two minor pieces
 * In the opening and middlegame, a rook and two pawns are weaker than two bishops; equal to or slightly weaker than a bishop and knight; and equal to two knights
 * In the endgame, a rook and one pawn are equal to two knights; and equal to or slightly weaker than a bishop and knight. A rook and two pawns are equal to two bishops.
 * Bishops are often more powerful than rooks in the opening. Rooks are usually more powerful than bishops in the middlegame, and rooks dominate the minor pieces in the endgame.
 * As the tables in Berliner's system show, the values of pawns change dramatically in the endgame. In the opening and middlegame, pawns on the central files are more valuable. In the late middlegame and endgame the situation reverses, and pawns on the wings become more valuable due to their likelihood of becoming an outside passed pawn and threatening to promote. When there is about fourteen points of material on both sides, the value of pawns on any file is about equal. After that, wing pawns become more valuable.

C.J.S. Purdy gave a value of $3 1/2$ points in the opening and middlegame but 3 points in the endgame.

Shortcomings of piece valuation systems
There are shortcomings of giving each type of piece a single, static value.

Two minor pieces plus two pawns are sometimes as good as a queen. Two rooks are sometimes better than a queen and pawn.

Many of the systems have a 2-point difference between the rook and a, but most theorists put that difference at about $1 1/2$ points (see ).

In some open positions, a rook plus a pair of bishops are stronger than two rooks plus a knight.

Example 1
Positions in which a bishop and knight can be exchanged for a rook and pawn are fairly common (see diagram). In this position, White should not do that, e.g.:
 * 1. Nxf7 Rxf7
 * 2. Bxf7+ Kxf7

This seems like an even exchange (6 points for 6 points), but it is not, as two minor pieces are better than a rook and pawn in the middlegame.

In most openings, two minor pieces are better than a rook and pawn and are usually at least as good as a rook and two pawns until the position is greatly simplified (i.e. late middlegame or endgame). Minor pieces get into play earlier than rooks, and they coordinate better, especially when there are many pieces and pawns on the board. On the other hand, rooks are usually blocked by pawns until later in the game. Pachman also notes that the is almost always better than a rook and pawn.

Example 2
In this position, White has exchanged a queen and a pawn (10 points) for three minor pieces (9 points). White is better because three minor pieces are usually better than a queen because of their greater mobility, and Black's extra pawn is not important enough to change the situation. Three minor pieces are almost as strong as two rooks.

Example 3
In this position, Black is ahead in material, but White is better. White's queenside is completely defended, and Black's additional queen has no target; additionally, White is much more active than Black and can gradually build up pressure on Black's weak kingside.

Fairy pieces
In general, the approximate value $$V$$ in centipawns of a short-range leaper with $$N$$ moves on an 8 × 8 board is $$V = 33N + 0.7{N}^2$$. The quadratic term reflects the possibility of cooperation between moves.

If pieces are asymmetrical, moves going forward are about twice as valuable as move going sideways or backward, presumably because enemy pieces can generally be found in the forward direction. Similarly, capturing moves are usually twice as valuable as noncapturing moves (of relevance for pieces that do not capture the same way they move). There also seems to be significant value in reaching different squares (e.g. ignoring the board edges, a king and knight both have 8 moves, but in one or two moves a knight can reach 40 squares whereas a king can only reach 24). It is also valuable for a piece to have moves to squares that are orthogonally adjacent, as this enables it to wipe out lone passed pawns (and also checkmate the king, but this is less important as usually enough pawns survive to the late endgame to allow checkmate to be achieved via promotion). As many games are decided by promotion, the effectiveness of a piece in opposing or supporting pawns is a major part of its value.

An unexpected result from empirical computer studies is that the princess (a bishop-knight compound) and empress (a rook-knight compound) have almost exactly the same value, even though the lone rook is two pawns stronger than the lone bishop. The empress is about 50 centipawns weaker than the queen, and the cardinal 75 centipawns weaker than the queen. This does not appear to have much to do with the bishop's colourboundedness being masked in the compound, because adding a non-capturing backward step turns out to benefit the bishop about as much as the knight; and it also does not have much to do with the bishop's lack of mating potential being so masked, because adding a backward step (capturing and non-capturing) to the bishop benefits it about as much as adding such a step to the knight as well. A more likely explanation seems to be the large number of orthogonal contacts in the move pattern of the princess, with 16 such contacts for the princess compared to 8 for the empress and queen each: such orthogonal contacts would explain why even in cylindrical chess, the rook is still stronger than the bishop even though they now have the same mobility. This makes the princess extremely good at annihilating pawn chains, because it can attack a pawn as well as the square in front of it.

title: Chess piece relative value


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Marple

Marple may refer to:

Places

 * Marple, Greater Manchester, a town close to Stockport, in England
 * Marple Bridge, a village within the Metropolitan Borough of Stockport, in Greater Manchester
 * Marple railway station in Marple, Greater Manchester
 * Marple Township, Pennsylvania, in the United States

People

 * Carole Marple (born 1941), Australian politician
 * Dawn Marple (born 1970), American former handball player
 * Frederick Marple (1871–1931), English footballer
 * George Marple (1868–1932), English businessman and cricketer
 * Keith Marple, American politician
 * Richard Marple (1931–2019), New Hampshire politician
 * Stan Marple, Canadian ice hockey player and coach
 * Miss Marple, fictional character created by Agatha Christie

Television

 * Agatha Christie's Marple (aka Marple), a British TV series from 2004 to 2013, with Geraldine McEwan and later Julia McKenzie
 * Miss Marple (TV series), a British TV series from 1984 to 1992, with Joan Hickson

Software

 * MARPLE, software for crop epidemiology

title: Marple


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Earl Beaulieu

Earl Beaulieu (pronounced "Bewley"), of Beaulieu in the County of Southampton, was a title in the Peerage of Great Britain. It was created in 1784 for the 1st Baron Beaulieu, who had earlier represented Tiverton in the House of Commons. He had previously been created Baron Beaulieu, of Beaulieu in the County of Southampton, in 1762, also in the Peerage of Great Britain.

Born Edward Hussey, he was the husband of Lady Isabella Montagu, widow of the 2nd Duke of Manchester and daughter of the 2nd Duke of Montagu, and had assumed by Royal Licence the additional surname of Montagu in 1749. His son and heir, John, Lord Montagu, predeceased him. Consequently, both titles became extinct on Lord Beaulieu's death in 1802. Between 1790 and 1802, Earl Beaulieu also held the title Lord of Bowland, a lordship he inherited on the death of his father-in-law. On his death, the Lordship of Bowland passed to his sister-in-law's husband, Henry Scott, 3rd Duke of Buccleuch.

Earls Beaulieu (1784)

 * Edward Hussey-Montagu, 1st Earl Beaulieu (died 1802)
 * John Hussey-Montagu, Lord Montagu (1747–1787)

title: Earl Beaulieu


text: User talk:81.174.128.210

title: User talk:81.174.128.210


text: Category:Provinces of Armenia

title: Category:Provinces of Armenia


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Marquand

Marquand may refer to:

Surnames

 * Allan Marquand (1853–1924), American art historian
 * Christian Marquand (1927–2000), French director, actor and screenwriter
 * David Marquand (1934–2024), English politician
 * Henry Gurdon Marquand (1819–1902), American philanthropist and collector
 * Hilary Marquand (1901–1972), British politician
 * James Marquand (born 1964), Welsh film editor and director
 * John P. Marquand (1893–1960), American novelist
 * Richard Marquand (1938–1987), Welsh film director
 * Ross Marquand (born 1981), American actor
 * Tom Marquand (born 1998), British jockey

Given names

 * Marquand Manuel (born 1979), American football player

Placenames

 * Marquand, Missouri, United States
 * Marquand Park, Public park, Princeton, New Jersey

title: Marquand