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Garrett Eckbo

Garrett Eckbo (November 28, 1910 – May 14, 2000) was an American landscape architect notable for his seminal 1950 book Landscape for Living.

Youth
He was born in Cooperstown, New York, to Axel Eckbo, a businessman, and Theodora Munn Eckbo. In 1912, the family moved to Chicago, Illinois. After Eckbo's parents divorced, he and his mother relocated to Alameda, California, where they struggled financially while he grew up. After Eckbo graduated from high school in 1929, he felt a lack of ambition and direction and went to stay with a wealthy paternal uncle, Eivind Eckbo, in Norway. It was during his stay in Norway that he began to focus on his future. Once he returned to the U.S., he worked for several years at various jobs saving money so that he could attend college.

Education
After attending Marin Junior College for a year, he enrolled at the University of California, Berkeley where he majored in landscape architecture.

While Eckbo was at Berkeley he was influenced by two of the programs faculty members, H. Leland Vaughan and Thomas Church, who inspired him to move beyond the formalized beaux-arts style that was popular at the time. The Beaux Arts-movement is defined as being carefully planned, richly decorated and being influenced by classical art and architecture. Eckbo graduated with a B.S. in landscape architecture in 1935 and subsequently worked at Armstrong Nurseries in Ontario near Los Angeles where he designed about a hundred gardens in less than a year. After working at the Nurseries, he was restless to expand his creative horizons and entered Harvard University's Graduate School of Design by way of a scholarship competition, which he won.

Beginning his studies at Harvard, Eckbo found that the curriculum followed the Beaux-Arts method and was similar to the one at Berkeley but more rigidly entrenched. Eckbo, along with fellow students Dan Kiley and James Rose resisted and began to "explore science, architecture, and art as sources for a modern landscape design." Eckbo began to take architecture classes with the former Bauhaus director Walter Gropius, who was then head of the architecture department while continuing to take classes in the landscape architecture department. Gropius and Marcel Breuer introduced Eckbo to the idea of the social role in architecture, the link between society and spatial design.

Eckbo was also influenced by the works of several abstract painters, including Wassily Kandinsky, László Moholy-Nagy and Kasimir Malevich. Eckbo would convey a sense of movement in his designs by the layering and massing of plants as inspired by the artists' paintings.

Professional work and philosophy
After receiving his MLA degree from Harvard in 1938, Eckbo returned to California where he worked in the San Francisco Office of the Farm Security Administration. He designed camps for the migrant agricultural workers in California's Central Valley. He applied his modernist ideas to these camps attempting to improve the workers living environments. "'The Grapes of Wrath' was our bible," he said of John Steinbeck's 1939 novel about farmers dislocated by the dust bowl. "The F.S.A. was a remarkable experience because it had the really creative atmosphere a public agency can have if it's not inhibited by some frustrating force."

Those major organizational plantings of Chinese elms, cottonwoods, mulberries, sycamores and other hardy species were softened with magnolias, oaks and olives for shade and almond and plum trees for color. The landscape architect sees nothing extraordinary about going to such trouble for the dispossessed. "You were conscious of social problems that existed, and you tried to think of ways to improve them," he said.

During World War II, the agency shifted its focus to housing for defense workers. Mr. Eckbo designed site plans for 50 such settlements on the West Coast. But peace brought a different public attitude. "There were products we wanted to buy, things we wanted to do, a great outflow of energy, demand and desire. Prosperity is bad for morale," he said. "It makes us greedy."

Mr. Eckbo had a leading hand in planning what many scholars consider the postwar period's finest subdivision scheme, the 256-acre Ladera Housing Cooperative near Palo Alto. But the project was never fully realized without Federal Housing Authority financing, which was probably withheld because the community was racially integrated.

In 1940, Eckbo joined with his brother–in-law, Edward Williams to form the firm Eckbo and Williams. Five years later Robert Royston joined the firm.

In 1946, Eckbo resettled in Los Angeles to take advantage of its growing opportunities for private practice. Never a puritan, he threw himself with gusto into defining the landscape of a new American dream. "L.A. is larger, looser, a place of freer movement socially than the Bay Area," he said. "The years I spent there were the best of my professional life."

Mr. Eckbo's eagerness to experiment during the 1950s was epitomized by his theatrical Beverly Hills swimming pool design for the owner of Cole of California, the bathing suit company. The landscape architect cantilevered a steel beam spanning the width of the pool to support a masonry wall and a series of concrete diving platforms that allowed models to swim under the backdrop unnoticed and then emerge like Esther Williams from the deep.

In other projects, Mr. Eckbo advanced the quintessential California mode of indoor-outdoor living, casual recreation and the flexible use of space. "In the landscape profession," Mr. Eckbo explained, "small gardens are not seen as our highest aspiration. If you can do a 50-acre park, it must be more important. But for me the private garden has always been a laboratory for developing new ideas and concepts. Any family that has a quarter-acre backyard has got a real project. Any improvement of any space is a step forward."

Many of Eckbo's gardens accompanied well known leading modernist architect housing design, including Raphael Soriano, Richard Neutra and Robert Alexander (including Orange Coast College and were photographed by Julius Shulman.

In 1956, the Aluminum Company of America (ALCOA) asked Eckbo to create a garden containing large amounts of aluminum, for the company's publicity purposes. Aluminum had been widely used during the war years as a component in airplane manufacture, but ALCOA was interested in promoting the metal's peacetime use as well.

In 1963, he returned to Berkeley to head the department of landscape architecture where he had been a student.

The very successful firm of Eckbo, Royston and Williams designed hundreds of projects including residential gardens, planned community developments, urban plazas, churches and college campuses.

He would eventually form the highly successful firm Eckbo, Dean, Austin and Williams in 1964, which in 1973, officially adopted the moniker, EDAW. Guided by a progressive vision of the leadership role of landscape architecture, EDAW became involved in sustainable planning at the regional scale as early as the 1960s when the firm created the California Urban Metropolitan Open Space Plan for the State.

In a period in history when suburban sprawl was ascendant, EDAW's open space plan for the state of California was as innovative as it was provocative. The very idea of an "open space plan" was a novel one. The firm drew up plans to preserve open spaces in danger of encroachment on the fringes of the greater Los Angeles-San Diego, Palm Springs, San Francisco Bay and Lake Tahoe areas. In addition to protected county, state and federal lands existing at the time, EDAW's plan identified a further 330,000 acres for protection. In strong language, it warned against the automobile and foretold the climate crisis. "A new ethical attitude about land use is needed," intoned EDAW's report, "in order to protect the environment for everyone’s benefit."

EDAW also began to work internationally, with projects in New Delhi, India (Lodi Park and the Ford Foundation Headquarters) and Osaka, Japan (Civic Center) among other locations worldwide. Eckbo famously said: "design shall be dynamic, not static. Design shall be areal, not axial. Design shall be three dimensional, people live in volumes, not planes."

Growth in the firm continued apace in the 1970s and '80s, with new satellite offices in Alexandria, Virginia, and Atlanta, Georgia. In 1979 Eckbo left EDAW, the firm he helped to found. EDAW was acquired by AECOM Technology Corporation in 2005, whose work continuously strives to include cross-disciplinary work and link environmental and social goals to improve quality of life.

Leaving the firm in 1979, Eckbo first formed the firm Garrett Eckbo and Associates and finally Eckbo Kay Associates with Kenneth Kay.

Throughout Eckbo's career he maintained his vision of the interaction of art and science to create environments that were functional and livable, while maintaining the social, ecological and cultural approach to design.

In 1964, he was elected into the National Academy of Design as an Associate member, and became a full Academician in 1994. In 1968, he signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War.

He received numerous awards, including UC Berkeley's College of Environmental Design Distinguished Alumnus of 1998, the American Society of Landscape Architects Medal of Honor in 1975, the Architectural League of New York's gold medal in 1950 and the American Institute of Architect's merit award in 1953. In 1970, he won an American Society of Landscape Architects' merit award for Lodi Park in New Delhi, India.

"Art emotionalizes the intellect. Science intellectualizes the emotions. Together, they bring order to nature and freedom to man," he wrote in his 1969 book, The Landscape We See.

"Today, one finds the center of city or town only by the increasing height of buildings, the increasing clamor of lights and signs, and the increasing congestion of traffic," he wrote. "We still build temples and palaces and many other splendid structures, but they are lost in the modern urban jungle."

"Over the years I've done a lot of flying across the country," he said in an interview to Martin Filler of the New York Times, "and from an airplane it looks as if nobody knew what they were doing or where they were building. There's a near total absence of physical community in America today, no sequence of qualitative connections and experiences. What we landscape architects are about is to try to bring some intelligence to that pattern."

Mr. Eckbo's great success in doing just that is evident in the more than 1,000 highly varied schemes he produced for clients ranging from migrant farm workers in California's Central Valley to Gary Cooper in Beverly Hills. But despite his important role in creating a distinctive new style of American landscape design during the expansive postwar years, when his lively, innovative gardens were the horticultural equivalents of the architecture and furniture of Charles and Ray Eames, Mr. Eckbo is still not as widely known outside certain practical and academic architectural and landscape circles, although his students and colleagues bear testament to his teachings and humanity. Other books by Eckbo include Landscape for Living and Urban Landscape Design.

Linda Jewell, professor of landscape architecture at the University of California, Berkeley, where Eckbo taught said Eckbo's books always contained numerous illustrations of his observations and theoretical positions. Some of the illustrations reflected actual projects, others were proposals that Eckbo thought should be real, she said.

"He was always an advocate for the underclass," she said. "Everything he did had a social agenda behind it."

Eckbo died on May 14, 2000, after a stroke. He was survived by his wife, Arline, of Oakland; daughters Marilyn Kweskin and Alison Peper of Los Angeles; six grandchildren and two great-grandchildren.

Selected projects

 * 1935: Landscape design for architect Edwin Lewis Snyder, Berkeley, CA
 * 1938-44: Housing for migrant workers in California, Arizona and Texas
 * 1946: Park Planned Homes (architect: Gregory Ain), Altadena, CA
 * 1947-48: Community Homes (architect: Gregory Ain), Reseda, CA (unbuilt)
 * 1947: Ladera Cooperative (architects: John Funk and Joseph Allen Stein), Palo Alto, CA
 * 1948: Avenel Homes (architect: Gregory Ain), Los Angeles, CA
 * 1948: Mar Vista Housing (architect: Gregory Ain), Los Angeles, CA
 * 1950: Zimmerman House, Brentwood, Los Angeles, CA - site bought and house demolished by Chris Pratt and Katherine Schwarzenegger 2024.
 * 1952: Alcoa Forecast Garden (Eckbo residence), Los Angeles, CA
 * 1962: Long-range development plan for the University of New Mexico
 * 1964-68: Union Bank Plaza (architect: Harrison & Abramovitz), Los Angeles, CA
 * 1966: Fulton Mall, Fresno, California
 * 1968: Lodhi Garden (architect: Joseph Allen Stein), New Delhi, India
 * 1970: Tucson Community Center, Tucson, AZ

Teaching
Eckbo taught at the School of Architecture at the University of Southern California from 1948 to 1956. Among his students were architect Frank Gehry. Gehry credits Eckbo and Simon Eisner, who taught city planning, in encouraging him to follow his "liberal political do-gooder leanings" and apply to Harvard Graduate School of Design for graduate work in city planning: "they also knew I wasn't interested in doing rich guys' houses and that I would be more emotionally inclined toward low-cost housing and planning."

He was the chairman of the Department of Landscape Architecture at UC Berkeley from 1963 to 1969.

Eckbo's social inquiry techniques, environmental, landscape and living teachings have continued to exert influence internationally through the practice of the firms he founded, including the large and international EDAW / AECOM and international students at UC Berkeley, such as Mexican architect and landscape architect Mario Schjetnan.

At the request of UC Berkeley's Institute of Governmental Studies, Eckbo wrote "Public Landscape," ranking architectural and planning successes and failures from the public arena.

In 1997, the UC Berkeley Art Museum mounted a "Garrett Eckbo: Landscape for Living" exhibit.

Though he gave up designing when he turned 80, he continued to write for several years after, including People in a Landscape, a summation of humanistic principles that at the time in the decade of the late 1990s may have seemed novel to a generation that grew up in a very different climate for design in the public realm than the social and economic transformations Eckbo lived through during the Great Depression and post war period.

"The alleged guardians of the landscape look at what we call good sense as an intrusion on their prerogatives, Mr. Eckbo said. That's the feeling put out by the people who make money by putting it out, in the true spirit of enterprise. What should happen in the next century is a developing understanding of the basic relations between society and nature. There is a social ideal that's badly mangled but still around -- that we should all work together cooperatively. That's a simple and powerful idea."

Publications

 * 1950: Landscape for Living (Duell, Sloan & Pearce)
 * "a seminal book in landscape architecture"
 * republished in 2002 (Hennessey & Ingalls)
 * 1956: Art of Home Landscaping (McGraw-Hill)
 * 1964: Urban Landscape Design (McGraw-Hill)
 * 1969: The Landscape We See (McGraw-Hill)

Additional sources

 * Francis, M. & Hester, R. T. Jr. (eds): The Meaning of Gardens. Cambridge, MA: The MIT Press; 1990. ISBN 0-262-06127-9
 * Rogers, E. B.: Landscape Design: a Cultural and Architectural History. New York, NY: Harry Abrams, Inc.; 2001. ISBN 0-8109-4253-4
 * Treib, M & Imbert, D: 'Garrett Eckbo: Modern Landscapes for Living'. University of California Press, 1997. ISBN 0520207793 ISBN 978-0520207790
 * Treib, M & Imbert, D: 'Garrett Eckbo: Modern Landscapes for Living'. University of California Press, 1997. ISBN 0520207793 ISBN 978-0520207790

title: Garrett Eckbo


text:
SoundStorm

SoundStorm is a brand by Nvidia regarding to a SIP block integrating 5.1 surround sound technology found on the die of their nForce and nForce2 chipsets for x86 CPUs. It is also the name of a certification to be obtained by Nvidia when complying with their specifications.

Certification
The SoundStorm certification ensured that many manufacturers produced solutions with high quality sound output. To achieve SoundStorm certification, a motherboard had to use the nForce or nForce2 chipsets and also include the specified discrete outputs. It was also necessary to meet certain sound quality levels as tested by Dolby Digital sound labs.

At the time SoundStorm was the only available solution capable of outputting Dolby Digital Live, coveted in home theater PCs.

Hardware
The SoundStorm SIP block is said to consist of a series of fixed-function and general-purpose processing units providing a combined total of reportedly 4 billion operations per second. A fully programmable, Motorola 56300-based digital signal processor (DSP) is provided for effects processing but with very limited support under DirectX on the PC.

The DSP on the APU was normally driven by code largely derived from the 3D audio middleware company Sensaura. The Sensaura middleware was also used by the Windows drivers of nearly every sound card and audio codec other than those by Creative. Unlike the usual software implementations of the Sensaura code, the SoundStorm solution ran the same code on a hardware DSP, which resulted in extremely low CPU usage. It was also capable of realtime Dolby Digital 5.1 encoding. Compared to other audio solutions of the day, the difference in CPU usage when running popular multimedia applications was as much as 10-20%. While the Audigy offers similar performance, it does so at a much higher price point, and only as a discrete add-in solution.

The nForce2 APU was a purely digital component, and that motherboard manufacturers still had to use codec chips such as the 650 from Realtek for the audio output functions, including the necessary digital to analog conversion (DAC). After the demise of SoundStorm, codec chips such as the Realtek 850 have become standard integrated audio solutions, with audio processing functions offloaded on the host processor. As such, the quality of the device drivers is very important to ensure reasonably low host processor usage, without audio quality issues.

Drivers
Since the SoundStorm solution was a general-purpose DSP where code was uploaded to the card by the device drivers at boot time, this made it easy to add new functionality to SoundStorm. However, it also meant that it was not possible to create third-party device drivers for the SoundStorm, since they did not have access to the DSP code. Linux drivers for the SoundStorm actually talk directly to the audio codec (like a RealTek ALC650), bypassing the APU completely and doing all audio calculations on the CPU and leaving the SoundStorm DSP idle.

Video game consoles
Reportedly SoundStorm development was originally funded by Microsoft for use in the Xbox gaming console. At time of writing reportedly a second generation chip has been developed, this time with funding from Sony, as part of the PlayStation 3 project. It was hinted that SoundStorm may make return to the PC scene, possibly as part of a multimedia graphics card, along the lines of the original NV1 card, rather than as a discrete or onboard solution. While there did appear to be plans for a discrete product at one point, this never materialised.

Discontinuation
Nvidia decided the cost of including the SoundStorm SIP block on the dies of their chipsets was too high and was not included in nForce3 and beyond.

Alternatives
Other manufacturers have since produced standalone sound cards based on C-Media chips such as the CMI8788 which also provide Dolby Digital and DTS encoding features. These manufacturers include Turtle Beach and Auzentech. A software alternative is redocneXk, which provides real-time AC3 encoding comparable to SoundStorm or Creative's Audigy2 and later sound cards. However, early versions of these alternatives may still be lagging behind the SoundStorm in terms of reliability, ease of use, and CPU usage.

In October 2013 AMD presented products with AMD TrueAudio. A block of DSPs to be used to offload calculations for 3D sound.

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

title: SoundStorm


text:
Talk:Robert Rosen (biologist)

Well known
Robert Rosen's work has always generated both extreme appreciation and extreme anger, depending on the attitude and point of view of the individuals in the audience. I've been present in the audience at his talks and I have seen that firsthand; signed, Judith Rosen

"In biology he is well known for a class of relational cell models called (M,R)-systems he devised."

This is false. Robert Rosen is not well known by any biologist I know, his (M,R) model is not mentioned in any mainstream textbook about Biology, Chemistry, Biochemistry or Biophysics and its conclusions are not accepted except by a few researchers whom speciality is not Physics or Biology but Mathematics.

 * Adjusted accordingly to "is known by some". He is known by biologists, but I agree, not widely. --Lexor|Talk 21:30, 28 Sep 2004 (UTC)

"Questions about Rosen's mathematical underpinnings of "relational biology" have been raised in a paper authored by Christopher Landauer and Kirstie L. Bellman which claims that that some of the mathematical "proofs" used by Rosen are dubious."

Maybe one should add a link to a comment by T. Gwinn where these claims are discussed and questioned.

There is a link to a site Rosen Enterprises wich only aim is to sell Rosen's books at astronomical prices. Indeed, that website is property of Judith Rosen, Rosen's daugther. This should be removed.

Note by Judith Rosen: I am currently putting all of my father's out-of-print work up on my website, for free access. The current date is July 26, 2008. I hope to have this effort finished by this time next year but, as I am doing it myself, it could take longer.

Wikification
I reorganized this article into the common biographical structure. Hereby it became clear that practically all biographical data was still missing in the article. Now I created that chapter anyway, because I hope others can fill in the blanks. - Mdd 23:50, 12 September 2007 (UTC)

In the end of the article is said: "They also claim that the idea that it is possible to establish a correspondence relation between languages and ideal or abstract entities different but related to physical objects has been repudiated in a broad sense from disciplines like linguistics and philosophy of language." I read the cited paper and I was unable to find such claims. I think this should be deleted. —Preceding unsigned comment added by 74.139.215.19 (talk) 03:26, 18 January 2008 (UTC)

WikiProject class rating
This article was automatically assessed because at least one WikiProject had rated the article as start, and the rating on other projects was brought up to start class. BetacommandBot 07:40, 10 November 2007 (UTC)

BOOK: Anticipatory Systems: Philosophical, Mathematical and Methodological Foundations.
Published 1985 OR 2003? Both dates are in the list at the moment! —Preceding unsigned comment added by 80.226.15.80 (talk) 12:38, 9 December 2008 (UTC)
 * Yes, and it's high time (it's been 9 years nearly since that comment!) that someone with time to spare removed the 'citation needed' tag and linked it to the entry in the publication list (and dealt with the duplication in the list, which seems to be a matter of different editions of the same book). --Brian Josephson (talk) 16:02, 18 October 2017 (UTC)

Quote
The article cites the following quote as coming from the "Autobiographical Reminiscences of Robert Rosen" but I can't find it anywhere in that article: "The human body completely changes the matter it is made of roughly every 8 weeks, through metabolism, replication and repair. Yet, you're still you-- with all your memories, your personality... If science insists on chasing particles, they will follow them right through an organism and miss the organism entirely,".

I have searched the version published in Axiomenes, 2006, vol. 16, p. 1-23. — Preceding unsigned comment added by T4exanadu (talk • contribs) 21:40, 26 November 2012 (UTC)

If Roberto Poli is capable of seeing the merit of relational biology, then why not others? I can see it. Though I was not yet hungry, I ate today, in anticipation of hunger. - David Macy — Preceding unsigned comment added by 45.36.59.8 (talk) 20:03, 20 April 2016 (UTC)

title: Talk:Robert Rosen (biologist)


text:
The Final Cut (2004 film)

The Final Cut is a 2004 science fiction psychological thriller film written and directed by Omar Naim. It stars Robin Williams, Jim Caviezel, Mira Sorvino, Mimi Kuzyk, Stephanie Romanov, Genevieve Buechner and Brendan Fletcher. The film takes place in a setting where brain implants make it possible to record the sight and sound of entire lives. Williams plays a professional who specializes in editing the memories of unsavory people into uncritical memorials that are played at funerals.

The film won the award for best screenplay at the Deauville American Film Festival and was nominated for best film at the Sitges Film Festival and Berlin International Film Festival.

Plot
"Cutters" edit the collected memories of the recently deceased into feature-length memorials that are viewed by loved ones at funerals. The "cutters code" forbids them to mix footage from implants, to sell memories, and to have the implant themselves.

Ten-year-old Alan Hakman, while visiting a city with his parents, meets another boy, Louis, and the two bond as they play together. Louis reluctantly joins Hakman in exploring an abandoned factory, and Hakman crosses a wooden plank suspended high above the ground. Goaded by Hakman, Louis also attempts to cross the plank, but he loses his confidence and falls. Hakman races to the ground and panics when he steps in what he thinks is Louis's blood. Hakman flees the scene and tells no one what has happened. Later that day, he leaves the city with his parents.

Years later, the adult Hakman has become a skilled cutter who specializes in editing the memories of controversial people into flattering life stories. When Fletcher, a former cutter, confronts him at a funeral, Hakman describes himself as a sin-eater, who brings redemption to the immoral. Fletcher offers him $500,000 for the memories of his latest client, wealthy businessman Charles Bannister, but Hakman refuses. In a meeting, Fletcher demands the memory recordings so that he can use Bannister, who he suspects was a pedophile, as a scandal to shut down EYE Tech, the implant manufacturer. Hakman again refuses and, worried for his safety, uses his knowledge from memory tapes to shake down a shady criminal for a pistol.

As Hakman works through Bannister's memories, he encounters a scene that implies that Bannister was molesting his daughter Isabel, and Hakman wordlessly deletes it. He eventually comes across a person who he is convinced must be his childhood friend Louis. Excited, he sets up a meeting with Bannister's family to find out more information. Bannister's wife Jennifer is dismissive, but Isabel reveals that the man, recently dead of a car crash, was a teacher named Louis Hunt. Hoping that Hunt had an implant, Hakman organizes a break-in at EYE Tech, but they have no record of Hunt. However, Hakman surprisingly finds a file on himself that contains documentation of his parents' purchase of an implant for him.

In his distress, Hakman turns to his lover, Delila. At his apartment, he shows her the equipment that he uses to view memories, and he demonstrates surreal footage from a defective implant. He leaves her alone as he seeks help from anti-implant protestors, who have discovered a way to block the implant through specialized body modification. When he returns to find his apartment in disarray, he assumes that Fletcher has broken in; instead, Delila confronts him, having found memory tapes that document her prior relationship. She accuses him of voyeurism and angrily destroys his memory viewer, which results in Bannister's files also being damaged.

Fletcher and his associate finally break in, but they find nothing. Hakman tells Bannister's wife that the erased footage was lost in an accident, and she feigns disappointment, content to let dirty secrets stay hidden. Hakman asks his colleagues to recover live footage from his own implant, a potentially deadly process. They agree but admonish him that he can never cut memories again; a cutter with an implant is a violation of the "Cutter's code". The recorded memories show that Hakman had attempted to dissuade Louis from crossing the plank, and that he had stepped in red paint, not blood. Hakman, relieved, visits Hunt's grave but is confronted again by Fletcher, who has learned about Hakman's implant. After chasing Hakman through the graveyard, he hesitates and seems willing to let Hakman go; however, Fletcher's associate kills Hakman.

Fletcher loads Hakman's memories (which contain the memories of everyone he had viewed as a cutter) into a viewer and promises to use them for the greater good. As he pages through Hakman's memories, looking for evidence of Bannister's guilt, he sees the young Hakman looking in a mirror.

Release
The Final Cut premiered on October 15, 2004. It grossed $548,039 domestically and $3,070,786 internationally. Lionsgate Home Entertainment released it on DVD on March 22, 2005.

Reception
The Final Cut received mixed reviews from critics. Rotten Tomatoes, a review aggregator, reports that 37% of 79 surveyed critics gave the film a positive review; the average rating was 5.27/10. The site's critical consensus reads: "The Final Cut fails to make compelling use of its intriguing premise and talented cast, settling for a middling sci-fi drama that never justifies its pretensions." On Metacritic, the film holds a score of 43 out of 100 based on 22 critics, indicating "mixed or average reviews".

Roger Ebert of the Chicago Sun-Times rated it 3 stars out of 4, and wrote that "the movie never really finds its way out of the dilemmas it has created", but that Williams's acting saves it from these issues.

Leslie Felperin of Variety wrote that it has "strong visuals" but called it clichéd and poorly acted.

Stephen Holden of The New York Times wrote that it is poorly edited and features an emotionless performance from Williams.

Kevin Thomas of the Los Angeles Times wrote that the film fails to deliver on its promising premise.

Daniel W. Kelly of DVD Talk rated it 4½ stars out of 5, and called it "an intriguing, unassuming drama with sci-fi elements that doesn't get bogged down in sci-fi overkill".

title: The Final Cut (2004 film)


text:
Talk:West Side Story

Well, that's one way to avoid a role you don't want
"Laurents wanted James Dean for the lead role of Tony, but the actor soon died."

Seriously, the wording there is a bit awkward; could be improved. — Preceding unsigned comment added by 74.95.43.253 (talk) 01:57, 18 December 2021 (UTC)

Some possible articles about the text's treatment of Puerto Rican culture
These sources could be useful in developing the article. WhisperToMe (talk) 23:41, 10 January 2022 (UTC)

Egyptian 1979 film
Is this material WP:NOTEWORTHY with respect to the article about the musical? Or is it just an adaptation that does not pass WP:DUE or ought to be described elsewhere? -- Ssilvers (talk) 20:49, 26 December 2023 (UTC)

title: Talk:West Side Story


text:
David Pall

David Boris Pall (2 April 1914 – 21 September 2004), founder of Pall Corporation, was the chemist who invented the Pall filter used in blood transfusions.

Education
Born in 1914 in Thunder Bay, Ontario of Russian immigrant parents, he grew up on a farm in Saskatchewan. He attended McGill University, from which he was granted a bachelor's degree in chemistry and a Ph.D. in physical chemistry.

Career
He moved to New York City in 1938 and became a part of the Manhattan Project. Pall worked on the design a filter to separate uranium 235 from uranium 238 using sintered stainless steel mesh.

In 1946, he established Pall Corporation. The company's initial focus was on the development of filters for use in aircraft hydraulics. However, in 1959, when Dr. Pall's first wife, Josephine, died of aplastic anemia, he began to work on the Pall filter. Mrs. Pall had undergone multiple blood transfusions in the course of an illness, which were ultimately unsuccessful. His Pall filter was designed to make blood transfusions significantly safer by filtering out white blood cells, thereby reducing the incidence of transfusion reactions and viral infections.

Pall expanded the business, adding additional products. Today, Pall Corporation has sales in excess of $2.0 Billion.

Achievements
In his lifetime, Dr. Pall received over 180 patents and in 1990, he received the United States National Medal of Technology from President George H. W. Bush.

Pall was a trustee of the North Shore University Hospital.

Death and legacy
Pall died of complications of Alzheimer's disease at his last home in Roslyn Estates, New York.

Pall's grandson is music producer Alex Pall of The Chainsmokers.

title: David Pall


text:
Wikipedia:Articles for deletion/List of schools in Washington

List of schools in Washington was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

Is it really possible to list every single school in every single state in the United States? Is it really possible to keep people from making red links to every single school so that others will come along and want to create articles about all of those nonnotable schools? Please kill it now before it spreads. RickK 23:16, Sep 26, 2004 (UTC)
 * Delete. It's a list, it encourages bad articles, and it's not notable. Any alone would be enough to make it worth deletion. --Improv 23:22, 26 Sep 2004 (UTC)

See also: List of schools in Maryland - List of schools in North Carolina - List of schools in Texas RickK 23:47, Sep 26, 2004 (UTC)

 * Delete all list of schools in <insert state here> articles.   — Gwalla | Talk 23:54, 26 Sep 2004 (UTC)
 * I agree with Gwalla and promise to vote for the deletion of all such lists. --Improv 00:53, 27 Sep 2004 (UTC)

 * Delete. However it seems that being able to quickly find information about schools in various states, countries, etc. is useful. Perhaps someone who knows this area might be able to provide external links to sources that do have such lists within appropriate articles or articles. That is, an article on [Schools in the USA] with a discussion of the USAmerican school system and links to lists that are regularly maintained would be far better for Wikipedia users than this would be. Wikipedia is not a directory, and should not be a directory of schools. But it is quite within our mandate to provide links from a general article to useful directories of schools. Jallan 14:33, 27 Sep 2004 (UTC)
 * Keep - real schools? The Recycling Troll 03:18, 29 Sep 2004 (UTC)
 * Delete. Better, more complete, and more up-to-date results will always be obtainable by using an appropriate search such as Anywho search for public schools in Washington [[User:Dpbsmith|Dpbsmith (talk)]] 20:10, 29 Sep 2004 (UTC)

 * Keep - See: List of schools. This should not have been listed for deletion as this is a subset of the "list of schools" article. I don't care if THAT one is listed, but it's either a keep all or a delete all. WhisperToMe 00:43, 1 Oct 2004 (UTC)
 * Delete. Wile E. Heresiarch 14:21, 1 Oct 2004 (UTC)
 * NOOOOOOOOOOOO!!! Delete! And all its bretheren! The Land 11:36, 3 Oct 2004 (UTC)
 * Delete - this is a job for categories. -- Cyrius|✎ 23:28, 3 Oct 2004 (UTC)
 * Keep - SimonP 21:22, Oct 5, 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Jens Jensen (politician)

Jens August Jensen (2 May 1865 – 16 November 1936) was an Australian politician who served in the House of Representatives from 1910 to 1919. He was a minister in the governments of Andrew Fisher and Billy Hughes, serving as Minister for the Navy from 1915 to 1917 and Minister for Trade and Customs from 1917 to 1918.

Early life
Jensen was born on 2 May 1865 in Sebastopol, Victoria, on the outskirts of Ballarat. His Danish parents Anna Marie Christine (Peterson) and Anthon Jensen had immigrated to Australia during the Victorian gold rush; he was their third son. Jensen attended state schools until the age of 11, when he began working as a stable boy. He moved to Beaconsfield, Tasmania, in 1878 and worked as a rabbit hawker and miner; he eventually gained his engine driver's certificate. In 1885, Jensen married Elizabeth Frances Broadhurst. The couple had one son and four daughters before her death in 1894. He remarried in 1896 to Bertha Hopton, with whom he had another son and daughter. Also in 1896, Jensen built a hotel and theatre in Beaconsfield. He later opened a larger establishment at Beauty Point, and bought an orchard nearby. He was elected to the Beaconsfield Town Council in 1899.

Political career
In 1903 Jensen was elected as the member for George Town in the Tasmanian House of Assembly as an independent and was re-elected as a Labor candidate for George Town in 1906 and Wilmot 1909 and was Chief Secretary in a Labor government for eight days in October 1909.

In February 1910 he resigned from the House of Assembly and won the seat of Bass in the House of Representatives at the April 1910 election. He served as an Assistant Minister and then in July 1915 he became the first Minister for the Navy in the Fisher and Hughes governments. When a group of pro-conscription ALP members under Billy Hughes broke away in the 1916 Labor split to form the National Labor Party, Jensen joined them. Hughes retained government after the split, and Jensen was appointed Minister for Trade and Customs.

As trade minister, Jensen was involved in the creation of an independent Australian trade commissioner service. In June 1918 he published "an extensive report on Australia's trade representation abroad that would link with but not rely upon the British consular service". It proposed the appointment of Australian trade commissioners in Canada, Japan, Russia, South Africa and the United States, and the creation of a bureau of trade information within the Department of Trade and Customs. The bureau was subsequently established as the Bureau of Commerce and Industry, while a Board of Trade was also created in 1918 modelled on the British equivalent.

Along with the other members of National Labor, Jensen joined the Commonwealth Liberal Party in forming the Nationalist Party of Australia. In 1918, Jensen was investigated by the Royal Commission on Navy and Defence Administration. When the Commission found against him, he was forced to resign from the ministry. He subsequently lost his endorsement to contest his seat at the 1919 election. Though he attempted to contest the seat as an independent, he was defeated by the endorsed Nationalist candidate, Syd Jackson.

Jensen subsequently shifted to state politics, elected to the Tasmanian House of Assembly seat of Bass in 1922. After losing his seat in 1925, he rejoined the ALP in 1927, and was elected for Wilmot, holding it until 1934.

Personal life

Jensen at times treated his wife violently and for the last 37 years of his life kept his cousin, Maggie Jane Gilbert as his mistress and gave her almost all of his wealth. He died of a stroke in the Melbourne suburb of South Caulfield, Victoria, survived by his wife and their son and daughter. He left no money to them or the children of his first marriage.

He was buried at St Kilda Cemetery.

title: Jens Jensen (politician)


text: User talk:207.180.144.59

title: User talk:207.180.144.59


text:
Richard Marquand

Richard Alfred Marquand (22 September 1937 – 4 September 1987) was a Welsh film and television director active in both US and UK film productions, best known for directing the 1983 space opera Return of the Jedi, the final film in the original Star Wars trilogy. He also directed the 1981 drama film Eye of the Needle, the quiet Paris set romance Until September, and the 1985 thriller Jagged Edge.

Early life
Marquand was born in Llanishen, Cardiff, Wales. He was the son of Rachel E. (née Rees) and Hilary Marquand, an economist and Labour MP who served as Minister of Pensions and later Minister of Health under Prime Minister Clement Attlee. He is the younger brother of David Marquand, who also served as a Labour MP.

Marquand was educated at Emanuel School, London, the University of Aix-Marseille in France and King's College, Cambridge, where he studied modern languages, and where one of his tutors was E. M. Forster. During National Service he studied Mandarin and was posted to Hong Kong where he also read the news on the English language Hong Kong Television.

Career
By late 1966, Marquand had begun a career directing television documentaries for the BBC, where he worked on projects such as the 1972 series Search for the Nile and an edition of One Pair of Eyes (1968), about the novelist Margaret Drabble who had been a friend of his at Cambridge. He collaborated with the celebrated foreign correspondent James Cameron on a long-running series called Cameron Country for BBC television and also with John Pilger on a series of films for ITV. In 1979, Marquand incorporated many of his documentary techniques in his biographical television movie Birth of the Beatles. He directed several films specifically for children including the 1977 Emmy winning Big Henry and the Polka Dot Kid.

On the strength of his direction of the 1981 feature, Eye of the Needle, Marquand was hired by writer-producer George Lucas to direct Return of the Jedi. In his commentary track on the DVD, Lucas explains that Marquand "had done some great suspense films and was really good with actors. Eye of the Needle was the film I'd seen that he had done that impressed me the most, it was really nicely done and had a lot of energy and suspense." For his work on the film, Marquand won a Hugo Award for Best Dramatic Presentation in 1984.

Marquand subsequently directed the 1985 courtroom thriller Jagged Edge, starring Jeff Bridges and Glenn Close.

Personal life and death
In 1960, Marquand married screenwriter Josephine Elwyn-Jones, the daughter of Labour MP Elwyn Jones and author and illustrator Pearl Binder. They had two children, Hannah Rachel and James Elwyn, before they divorced in 1970. James Marquand is a film editor who has also worked as a director. In 1981, Marquand married fellow film director Carol Bell, with whom he had another two children, Sam Adair and Molly Joyce. Marquand was a fan of Liverpool Football Club.

According to a 2014 Wales Online interview with his son James, Marquand wrote a screenplay for "a Welsh western" in the late 1970s at the South Wales branch of Pinewood Studios. The screenplay told the story of a young orphan girl in Victorian Mid Wales who enlists two local men to help her wreak revenge on those who killed her father; Marquand used to tell the story to his children when they were on holiday at the family's cottage near Tregaron. Marquand reportedly pitched it to Hollywood producers who expressed interest in making it into a film; however, Marquand declined the offer because the producers insisted the story be relocated to the Rocky Mountains in the United States. In the interview, James Marquand expressed interest in adapting his father's screenplay into a film.

On 30 August 1987, Marquand had a stroke at his home in Penshurst. He was taken to Kent and Sussex Hospital in Royal Tunbridge Wells, where he died five days later, on 4 September, at the age of 49. His last film, Hearts of Fire, starring Bob Dylan, was released posthumously.

Feature films
Director

Story writer
 * Nowhere to Run (1993) (Posthumous release)

TV movies
Production assistant
 * The Long Journey (1964)
 * The Colony (1964)

TV series
Miniseries

Documentary works
Short films
 * The Iron Village (1973)
 * Between the Anvil and the Hammer (1973)
 * Do Yourself Some Good (1975)

TV series

As himself
 * E.M. Forster 1879-1970 (1970)
 * Classic Creatures: Return of the Jedi (1983)
 * From 'Star Wars' to 'Jedi': The Making of a Saga (1983)
 * Omnibus (1987) (Episode  Getting to Dylan  )

title: Richard Marquand


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Wikipedia:Articles for deletion/Aster Elementary

Aster Elementary was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE

 * Delete. Non-notable.  (don't know who listed this)  RickK 23:22, Sep 26, 2004 (UTC)
 * Week Keep It's at least mildly odd in that it only has two grades and isn't simply a growing school. Florescentbulb 23:20, 28 Oct 2004 (UTC)
 * Sock puppet. Non-notable school.  Delete.  RickK 19:33, Oct 29, 2004 (UTC)
 * Once again, very much NOT a sock puppet just busy and never bothered to create a user until recently. Florescentbulb 04:09, 2 Nov 2004 (UTC)
 * Lost nomination. Delete unless improved (has little more than address and telephone now). Cool Hand Luke  04:57, 29 Oct 2004 (UTC)
 * keep. I've written lots about why I think we should keep schools, check out my user page.  Posiduck 06:15, 29 Oct 2004 (UTC)
 * Good for you. I have a template for VfDs for schools because I think we should not keep them. Here it is: ' Delete''' --Improv 15:43, 29 Oct 2004 (UTC)
 * Merge into Colville, Washington and delete - Skysmith 07:52, 29 Oct 2004 (UTC)
 * Delete. Does not make any claim to notability at all. Average Earthman 08:57, 29 Oct 2004 (UTC)
 * Delete. Does not indicate notability. — Bill 12:36, 29 Oct 2004 (UTC)
 * Delete. A person with only two fingers on one hand would be mildly odd, too.  -- WOT 15:54, 29 Oct 2004 (UTC)
 * Delete. No potential to become encyclopedic. Wikipedia is not greatschools.net. There could be an elementary school worth an article, but this isn't it. And there could be a good article about an elementary school, but this isn't it. [[User:Dpbsmith|Dpbsmith (talk)]] 16:24, 29 Oct 2004 (UTC)
 * Delete: Information is just tabular data. A big ol' table for schools would win my approval, but break out and discuss individual schools only when they require a discussion.  Seriously: If people want to do Schools of Belmont, Washington and have a big table, then Schools of Olympia, Washington with the same, I'm entirely fine with that.  Such a thing would be no worse than Rambot.  I'm not an enemy of the information, only of presenting individual, atomic articles on schools when all there is to say is that they're, well, a school. Geogre 18:31, 29 Oct 2004 (UTC)
 * Amen, brother. [[User:Dpbsmith|Dpbsmith (talk)]] 19:57, 29 Oct 2004 (UTC)
 * I'd agree with that. Average Earthman 18:07, 30 Oct 2004 (UTC)
 * Delete. Indrian 00:07, Oct 30, 2004 (UTC)
 * Merge into Colville, Washington and redirect. — siro  χ  o  01:14, Oct 30, 2004 (UTC)
 * Merge into Colville, Washington and redirect. Done. I worry about backlash when people start asking "why did you dump that stinky stuff into our lovely town article" but we'll cross that bridge when we come to it. [[User:Dpbsmith|Dpbsmith (talk)]] 03:15, 31 Oct 2004 (UTC)
 * Oh good God. If someone dumped this into Salt Lake City, Utah, I would simply remove it. Merge and redirect could be a de facto delete if this becomes standard practice. For the record, I strongly support merging and creating school district/schools in an area pages, but this crap doesn't belong in a town. Cool Hand Luke  07:47, 31 Oct 2004 (UTC)
 * So? If it goes into a town article, then hopefully the discussion occurs among a community of people who actually know something and care about the school and/or the town, as opposed to the community of people who hang out in VfD. Everything's transparent and in the open, all histories are preserved, no sysop actions are required. If this is done before VfD nomination, then no VfD discussions are needed. If it becomes clear that the town editors don't want the material, then it can go into VfD with some weight of informed opinion behind it. (Anyway, most of the time what will happen is that a substub about a school that nobody really cares much about will go into a Rambot article that nobody really cares much about, and everybody should be happy). [[User:Dpbsmith|Dpbsmith (talk)]] 00:13, 1 Nov 2004 (UTC)
 * Ok—but if they are listed I think we should avoid merging content verbatim until the vote is finished. Some readings of the GFDL suggest we're compelled to keep merged pages. Cool Hand Luke  18:59, 1 Nov 2004 (UTC)
 * Delete. Non-notable school.   — Gwalla | Talk 23:13, 31 Oct 2004 (UTC)
 * Keep. The article desperately needs to be cleaned up with some actual sentences, and it could use more information on things unique to the school.  Ordinarily, I'd just go add those, but I'm hesitant to contribute while it's in this odd merge/delete/argue state.  Should I expand the article being discussed, or go edit some town article to add information that's not really about that town?  I'm inclined toward the former, but I don't want to interfere with the merging process, if that's what we end up deciding to do here. Factitious 08:37, Nov 3, 2004 (UTC)
 * I was not intending to freeze the text or obstruct article improvement. Suggest you edit the text in the form in which it appears in Colville, Washington, which is not up for deletion, even if you don't think it belongs there and even if you make it twenty paragraphs long and add three photos. Leave a note on the Talk:Colville, Washington explaining what you're doing. All your edits will be in the Colville, Washington history. If the ultimate disposition is to keep a separate article on Aster Elementary, you can merge your final text back there and remove it from Colville, Washington. [[User:Dpbsmith|Dpbsmith (talk)]] 10:30, 3 Nov 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Bow shock

In astrophysics, a bow shock occurs when the magnetosphere of an astrophysical object interacts with the nearby flowing ambient plasma such as the solar wind. For Earth and other magnetized planets, it is the boundary at which the speed of the stellar wind abruptly drops as a result of its approach to the magnetopause. For stars, this boundary is typically the edge of the astrosphere, where the stellar wind meets the interstellar medium.

Description
The defining criterion of a shock wave is that the bulk velocity of the plasma drops from "supersonic" to "subsonic", where the speed of sound cs is defined by $$c_s^2 = \gamma p/ \rho $$ where $$ \gamma $$ is the ratio of specific heats, $$ p $$ is the pressure, and $$ \rho $$ is the density of the plasma.

A common complication in astrophysics is the presence of a magnetic field. For instance, the charged particles making up the solar wind follow spiral paths along magnetic field lines. The velocity of each particle as it gyrates around a field line can be treated similarly to a thermal velocity in an ordinary gas, and in an ordinary gas the mean thermal velocity is roughly the speed of sound. At the bow shock, the bulk forward velocity of the wind (which is the component of the velocity parallel to the field lines about which the particles gyrate) drops below the speed at which the particles are gyrating.

Around the Earth
The best-studied example of a bow shock is that occurring where the Sun's wind encounters Earth's magnetopause, although bow shocks occur around all planets, both unmagnetized, such as Mars and Venus and magnetized, such as Jupiter or Saturn. Earth's bow shock is about 17 km thick and located about 90,000 km from the planet.

At comets
Bow shocks form at comets as a result of the interaction between the solar wind and the cometary ionosphere. Far away from the Sun, a comet is an icy boulder without an atmosphere. As it approaches the Sun, the heat of the sunlight causes gas to be released from the cometary nucleus, creating an atmosphere called a coma. The coma is partially ionized by the sunlight, and when the solar wind passes through this ion coma, the bow shock appears.

The first observations were made in the 1980s and 90s as several spacecraft flew by comets 21P/Giacobini–Zinner, 1P/Halley, and 26P/Grigg–Skjellerup. It was then found that the bow shocks at comets are wider and more gradual than the sharp planetary bow shocks seen at for example Earth. These observations were all made near perihelion when the bow shocks already were fully developed.

The Rosetta spacecraft followed comet 67P/Churyumov–Gerasimenko from far out in the solar system, at a heliocentric distance of 3.6 AU, in toward perihelion at 1.24 AU, and back out again. This allowed Rosetta to observe the bow shock as it formed when the outgassing increased during the comet's journey toward the Sun. In this early state of development the shock was called the "infant bow shock". The infant bow shock is asymmetric and, relative to the distance to the nucleus, wider than fully developed bow shocks.

Around the Sun

For several decades, the solar wind has been thought to form a bow shock at the edge of the heliosphere, where it collides with the surrounding interstellar medium. Moving away from the Sun, the point where the solar wind flow becomes subsonic is the termination shock, the point where the interstellar medium and solar wind pressures balance is the heliopause, and the point where the flow of the interstellar medium becomes subsonic would be the bow shock. This solar bow shock was thought to lie at a distance around 230 AU from the Sun – more than twice the distance of the termination shock as encountered by the Voyager spacecraft.

However, data obtained in 2012 from NASA's Interstellar Boundary Explorer (IBEX) indicates the lack of any solar bow shock. Along with corroborating results from the Voyager spacecraft, these findings have motivated some theoretical refinements; current thinking is that formation of a bow shock is prevented, at least in the galactic region through which the Sun is passing, by a combination of the strength of the local interstellar magnetic-field and of the relative velocity of the heliosphere.

Around other stars
In 2006, a far infrared bow shock was detected near the AGB star R Hydrae.

Bow shocks are also a common feature in Herbig Haro objects, in which a much stronger collimated outflow of gas and dust from the star interacts with the interstellar medium, producing bright bow shocks that are visible at optical wavelengths.

The Hubble Space Telescope captured these images of bow shocks made of dense gasses and plasma in the Orion Nebula.

Around massive stars
If a massive star is a runaway star, it can form an infrared bow-shock that is detectable in 24 μm and sometimes in 8μm of the Spitzer Space Telescope or the W3/W4-channels of WISE. In 2016 Kobulnicky et al. did create the largest spitzer/WISE bow-shock catalog to date with 709 bow-shock candidates. To get a larger bow-shock catalog The Milky Way Project (a Citizen Science project) aims to map infrared bow-shocks in the galactic plane. This larger catalog will help to understand the stellar wind of massive stars. The closest stars with infrared bow-shocks are: Most of them belong to the Scorpius–Centaurus association and Theta Carinae, which is the brightest star of IC 2602, might also belong to the Lower Centaurus–Crux subgroup. Epsilon Persei does not belong to this stellar association.

Magnetic draping effect
A similar effect, known as the magnetic draping effect, occurs when a super-Alfvenic plasma flow impacts an unmagnetized object such as what happens when the solar wind reaches the ionosphere of Venus: the flow deflects around the object draping the magnetic field along the wake flow.

The condition for the flow to be super-Alfvenic means that the relative velocity between the flow and object, $$ v$$, is larger than the local Alfven velocity $$V_A$$ which means a large Alfvenic Mach number: $$ M_A \gg 1$$. For unmagnetized and electrically conductive objects, the ambient field creates electric currents inside the object, and into the surrounding plasma, such that the flow is deflected and slowed as the time scale of magnetic dissipation is much longer than the time scale of magnetic field advection. The induced currents in turn generate magnetic fields that deflect the flow creating a bow shock. For example, the ionospheres of Mars and Venus provide the conductive environments for the interaction with the solar wind. Without an ionosphere, the flowing magnetized plasma is absorbed by the non-conductive body. The latter occurs, for example, when the solar wind interacts with Moon which has no ionosphere. In magnetic draping, the field lines are wrapped and draped around the leading side of the object creating a narrow sheath which is similar to the bow shocks in the planetary magnetospheres. The concentrated magnetic field increases until the ram pressure becomes comparable to the magnetic pressure in the sheath:
 * $$\rho_0 v^2 = \frac{B_0^2}{2\mu_0},$$

where $$ \rho_0 $$ is the density of the plasma, $$B_0 $$ is the draped magnetic field near the object, and $$ v $$ is the relative speed between the plasma and the object. Magnetic draping has been detected around planets, moons, solar coronal mass ejections, and galaxies.

title: Bow shock


text:
Milo Goes to College

Milo Goes to College is the debut studio album by the American punk rock band Descendents, released on September 4, 1982 through New Alliance Records. Its title refers to singer Milo Aukerman's decision to leave the band to attend college, and its cover illustration introduced a caricature of him that would go on to become the band's mascot. Milo Goes To College was Descendents' last record (up until 2021's 9th & Walnut) with founding guitarist Frank Navetta, who quit the band during the hiatus that followed its release.

The album's mix of fast and aggressive hardcore punk with melody and semi-ironic love songs led to it being considered one of the most significant albums of the early 1980s southern California hardcore movement. In the decades since its release, it has received highly positive reviews and is now considered among the most noteworthy and important punk albums by several publications. Milo Goes to College has been cited as influential and a favorite by several notable artists and musicians. It is considered by many to be a foundational record for the pop-punk genre.

Writing
The Descendents' 1981 Fat EP had established the band's presence in the southern California hardcore punk movement with its short, fast, aggressive songs. While still short and fast, the songs the band wrote for their first full-length album were also melodic, described by singer Milo Aukerman as melodic hardcore. "I think with those songs we were expanding beyond the kind of fast-fast-fast-fast thing", he later recalled. "There are some of the similar coffee-driven songs, but I know that melodically there was actually an attempt at singing and making more pop-flavored music. Obviously we all really loved that, growing up with The Beatles and stuff." Drummer Bill Stevenson reflected that "By the time we recorded Milo Goes to College the pendulum swung somewhere maybe in the middle. There's a lot of melodic and pop elements to it, but it also has that [sense of] bitter resentment."

All four band members made songwriting contributions to the album. Stevenson had written the lead track, "Myage", several years earlier using a bass guitar he had found discarded in a trash bin. His song "Bikeage" is about "a group of girls who were sort of turning into sluts", while "Jean Is Dead" deals with "a girl who was not stable, but I had really not known." Fishing was a favorite hobby of Stevenson's; "Catalina" describes a fishing trip to Santa Catalina Island, California. Guitarist Frank Navetta's song "I'm Not a Loser" expressed resentment and envy toward those he viewed as more attractive and successful, while "Parents" stemmed from his own familial discord, with lyrics such as "They don't even know I'm a boy / They treat me like a toy / But little do they know / That one day I'll explode".

Bassist Tony Lombardo, some 20 years his bandmates' senior, wrote songs expressing his desire for stability and individuality. "I'm Not a Punk" reflected his disinterest in being part of the anarchic, destructive aspect of the punk scene: "That whole thing turned me off. I just wanted to play the music and do it as best I could and I had a lot of fun doing that [...] It's like 'I'm Not a Punk'. I want to be my own person." "Suburban Home" was quite literal, expressing his desire for "a house just like mom and dad's": "I definitely wanted a home. I couldn't live in a place where all the people are cool. I don't like dysfunctionality. I have an abhorrence of dysfunctionality because my mother was an alcoholic, my parents are divorced, I just don't need that assault on my emotions and psyche."

Recording, title, and cover art
Milo Goes to College was recorded in June 1982 at Total Access Recording in Redondo Beach, California with Glen "Spot" Lockett, who had also engineered and produced the Fat EP. The title and cover illustration referenced Aukerman's departure from the band to attend college; he enrolled at El Camino College for one year, then attended the University of California, San Diego from 1983 to 1985, where he studied biology. According to Stevenson, "There was never the idea of Milo not being a scientist and Milo staying in the band. He was always real clear about being into his science first and foremost." A note on the back sleeve of the LP read "In dedication to Milo Aukerman from the Descendents", and was signed by the other three members.

The cover illustration was done by Jeff "Rat" Atkinson, based on earlier caricatures drawn by Aukerman's Mira Costa High School classmate Roger Deuerlein depicting Aukerman as the class nerd. Atkinson drew several versions of the character wearing different shirts, and Stevenson selected the version with the necktie for its collegiate look. The Milo character became a mascot for the band and was later reinterpreted by other artists for the covers of I Don't Want to Grow Up (1985), Everything Sucks (1996), "I'm the One" (1997), "When I Get Old" (1997), 'Merican (2004), Cool to Be You (2004), Hypercaffium Spazzinate (2016), and SpazzHazard (2016).

Release
Milo Goes to College was released through New Alliance Records, an independent record label run by D. Boon and Mike Watt of the San Pedro-based punk band the Minutemen, who were contemporaries of the Descendents. The album sold around one thousand copies locally from its initial pressings.

There was no tour to support the album. With Aukerman away at college, the Descendents recruited Ray Cooper as both singer and second guitarist and continued performing locally for a time during 1982 and 1983. They would occasionally perform as a quintet when Aukerman would join them during his return visits to Los Angeles. The band was mostly on hiatus for the next few years while Stevenson played in Black Flag. Guitarist and founding member Frank Navetta quit the band during this time, burning all his musical equipment and moving to Oregon to become a professional fisherman. The Descendents reconvened in 1985, with Cooper on guitar, for the recording of I Don't Want to Grow Up.

In 1987 New Alliance was sold to SST Records, who re-released Milo Goes to College on LP, cassette, and compact disc. It was also reissued in 1988 as part of the compilation album Two Things at Once.

Reception
Milo Goes to College is cited as one of the most significant albums of the early-1980s southern California hardcore punk movement. Steven Blush, author of American Hardcore: A Tribal History, remarked that its "cheeky love songs disguised as hardcore blasts became the most aped formula in rock." In a contemporary review for The Village Voice, critic Robert Christgau wrote: "These fishermen don't kid around about what powers hardcore hyperdrive—not simply an unjust society, but also a battered psyche. When they're feeling bad, any kind of power—money, age, ass-man cool, the possession of a vagina—can set off their anarchic, patricidal, 'homo'-baiting, gynephobic rage. But their bad feelings add poignant weight to the doomed vulnerability of the last four songs, which happen to be their hookiest". Robert Hilburn of the Los Angeles Times called the album "Perfect for the little guy who was ever called a nerd and never got the girl. The chainsaw pop combined with earthy humor conveys what is often an inarticulate rage." Hilburn's review was especially affirming for Stevenson, whose father criticized and discouraged his songwriting: "Robert Hillburn was saying something different. He was saying that I can write okay, that I'm a decent songwriter. So it served to shut my dad up a little bit, so that I could pursue the band thing a little less encumbered by his stifling attitude."

Retrospectively, Ned Raggett of AllMusic called it "an unpretentious, catchy winner. The playing of the core band is even better than before, never mistaking increased skill with needing to show off; the Lombardo/Stevenson rhythm section is in perfect sync, while Navetta provides the corrosive power. Add in Aukerman's in-your-face hilarity and fuck-off stance, and it's punk rock that wears both its adolescence and brains on its sleeve." Jenny Eliscu of Rolling Stone called it "all straight-ahead punk — 15 songs in less than a half hour, each full of metally riffs and lightning-speed plucking by bassist Tony Lombardo, who was always the band's secret weapon. Much like The Who, the Descendents often used the bass for melodies and the guitar to bash out a steady rhythm."

In an interview with Bobby Makar for Alternative Press, Aukerman and Stevenson recall not knowing whether Milo Goes To College would be popular with punk-rock audiences at the time, especially being that they refused to follow the style of English punk rock bands.[26.5] However, their the main driving force behind their music was to make music about anything they wanted to and hope the audience would find them interesting enough.[26.5] Viewing themselves as outsiders in their own little world, Stevenson recalled not traditionally singing about activism in their songs, "Yeah. It’s like, yeah, Reagan does suck, but fuck, everybody already knows that. So now what are we going to talk about?" [26.5] In hindsight, Milo Goes To College would become one of the most influential albums for spearheading the development of pop-punk, however, when the album first came out, Aukerman explained that, "I felt like it didn’t really have an impact, although I did know that one person bought my record at that point. And so I was like, “OK, someone bought it. That’s cool.'"[26.5]

Impact and influence
Milo Goes to College has been included in several lists of noteworthy punk albums. Spin has listed it several times, ranking it 74th in a 1995 list of the best alternative albums and 20th in a 2001 list of "The 50 Most Essential Punk Records", and including it in a 2004 list of "Essential Hardcore" albums. In these lists, critic Simon Reynolds described the album as "Fifteen Cali-core paroxysms that anatomize dork-dude pangs with haiku brevity", while Andrew Beaujon called it "Super clean, super tight, super poppy hardcore about hating your parents, riding bikes, and not wanting to 'smell your muff.' Obviously, Blink-182 owe this bunch of proud California losers everything." In 2006 Kerrang! ranked it as the 33rd greatest punk album of all time. The LA Weekly ranked it the fourth greatest Los Angeles punk album of all time in a 2012 list, with Kai Flanders remarking "Every song speaks to [the listener's] teenage fucked-up-ness, from feeling incredibly horny to just wanting to hit someone for no reason." Rolling Stone ranked the album fourth in their list of "The 50 Greatest Pop-Punk Albums" in 2017, with critic Hank Shteamer writing that "the trademark silly-sappy blend of Milo Goes to College would become the blueprint for pop-punk as we know it."

Several notable artists and musicians cite Milo Goes to College as a favorite and influence, including Mike Watt of the Minutemen, David Nolte of The Last, and Zach Blair of Hagfish, Only Crime, and Rise Against. Dave Grohl of Nirvana and the Foo Fighters opined that "If the Descendents had made Milo Goes to College in 1999, they’d be living in fucking mansions. That's a fucking amazing record." Joey Cape of Lagwagon remarked that the album "was just huge in punk and to me. I don't think there would have been a [Lagwagon] song like 'Angry Days' without that album." Fat Mike of NOFX has cited Milo Goes to College as his favorite record of all time, and said that hearing the song "Kabuki Girl" on Rodney Bingenheimer's Rodney on the ROQ program on KROQ-FM was a significant moment in his youth. Chris Shary, who has done artwork for the Descendents and their successor band, All, since 1998, remarked that "From the minute that I heard the beginning it was like 'this is the music that I have been waiting for. Photographer Glen E. Friedman, who photographed the band during the early 1980s, recalled that "the album had just come out, and coincidentally I had my own little heartbreak as a teenager, and I heard that song 'Hope' and I gotta say that I had never in my life related to a song about love ever before until I heard that song [...] I was just 'Wow, this is fucking heavy. This guy's hurting even more than I am, and this is desperation.' A whole new world opened up of a depth of emotion in music for me."

In the decades since its release, many artists have recorded cover versions of songs from Milo Goes to College for other releases, including:
 * "Myage" by Thrillionaire
 * "I'm Not a Loser" by the Voodoo Glow Skulls, Jake & the Stiffs, Manic Hispanic (as a parody version titled "I'm Just a Cholo"), Sublime, and Strung Out.
 * "Parents" by Squatweiler with Asteroid Wilhanna and by Milo Greene
 * "I'm Not a Punk" by the Melting Hopefuls
 * "Catalina" by Black Train Jack and by The Bronx
 * "Suburban Home" by Taking Back Sunday, MxPx, and FIDLAR featuring Brian Rodriguez
 * "Statue of Liberty" by FF
 * "Kabuki Girl" by Frank Phobia and Clem and by Mike Watt + The Secondmissingmen
 * "Hope" by Sublime, The Skints, Ben Bridwell and Blink-182
 * "Bikeage" by Face to Face, Plow United, Years from Now, Joey Cape with Punk Rock Karaoke, and Baroness
 * "Jean Is Dead" by Shirk Circus

Personnel
Adapted from the album liner notes.

Band
 * Milo Aukerman – vocals
 * Tony Lombardo – bass guitar
 * Frank Navetta – guitar
 * Bill Stevenson – drums

Production
 * Spot – producer, engineer
 * Jeff "Rat" Atkinson – cover artwork

title: Milo Goes to College


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User:Sajt/Script to rip game logs from nhl.com

title: User:Sajt


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Dan Rhodes

Dan Rhodes (born 1972) is an English writer known for the novel Timoleon Vieta Come Home (2003), a subversion of the popular Lassie Come Home movie. He is also the author of Anthropology (2000), a collection of 101 stories, each consisting of exactly 101 words. In 2010 he was awarded the E. M. Forster Award.

Biography
Rhodes grew up in Devon, and graduated in Humanities from the University of Glamorgan (now the University of South Wales) in 1994, returning in 1997 to complete an MA in Creative Writing. Don't Tell Me the Truth About Love was written at this time. He has held a variety of jobs, including stockroom assistant for Waterstone's, barman in his parents' pub, and a teacher in Ho Chi Minh City. He has also worked on a fruit and vegetable farm and is still employed as a postman.

Following the publication of his second book, Rhodes's frustration with the publishing industry led him to announce his retirement from writing, though he later said, "I haven't really given up. I'm certainly not making any more grand pronouncements. I was just sick of the business and wanted out. Not just the publishers; everyone around me."

Rhodes was included on Granta's Best of Young British Novelists list in 2003, to his own bemusement and frustration, partly because of Granta's selection methods ("It's one thing to judge a writer by stuff they've written, but to judge them on stuff they're going to write is lunacy") but also because some of the others on the list failed to respond to his request to sign a joint statement protesting the Iraq War.

In 2014, Rhodes self-published the novel When the Professor Got Stuck in the Snow, a "rural farce" about a visit to an obscure English village by a fictional Richard Dawkins, stating that he wanted to get the book out faster than conventional publishing allowed.

In 2021, Lightning Books published his novel Sour Grapes, a satire on the literary world set at a rural book festival.

Rhodes is married with two children.

Collections

 * Anthropology: And a Hundred Other Stories (2000) ISBN 1-84195-614-7
 * Don't Tell Me the Truth About Love (2001) ISBN 1-84195-613-9
 * Marry Me (2013) ISBN 0-85786-849-7

Novels

 * Timoleon Vieta Come Home (2003) ISBN 1-84195-481-0
 * The Little White Car (under the pen name Danuta de Rhodes) (2004) ISBN 1-84195-528-0
 * Gold (2007) ISBN 978-1-84195-953-5
 * Little Hands Clapping (2010) ISBN 1-84767-529-8
 * This Is Life (2012) ISBN 0-85786-245-6
 * When the Professor Got Stuck in the Snow (2014, self-published limited edition; 2015 formal publication by Aardvark Bureau ) ISBN 9781910709016
 * Sour Grapes (2021) ISBN 9781785632921

title: Dan Rhodes


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Talk:Via Flaminia

1911 Britannica template
Although this article started as the 1911 Britannica article, it's been very much altered and expanded. How long do we keep "1911"? A general question applying to other articles as well, of course. Bill 23:26, 26 Sep 2004 (UTC)

 * For as long as the article continues to incorporate any text whatsoever from the article, and I would say that probably means forever. To use text from uncited sources is plagiarism. - Nunh-huh 23:31, 92 Sep 1820 (UTC)

 * A rewrite from scratch would suffice, and I figure that we'll want to do that sooner or later to all of them anyway - patched-up ancient text looks like, well, patched-up ancient text. Stan 02:00, 29 Sep 2004 (UTC)
 * After you've spent a couple of hours rewriting and checking references etc., sometimes it's irritating to see that message because there's a sequence of seven words that remain.... but who's working for credit, anyway! Wetman 08:34, 13 Oct 2004 (UTC)

 * More to the point would be to cite the current EB, and rather than saying it incorporates, cite it properly. --Michael Goodyear ✐ ✉  18:26, 14 May 2018 (UTC)

Pons Mulvius vs Battle of the Milvian Bridge
Which is it? Wetman 08:34, 13 Oct 2004 (UTC)

 * From the standpoint of Wikipedia, I wouldn't know. The bridge and the battle would be two separate articles, mind you, which would solve the problem. The most usual name of the battle in English is, by far, Battle of the Milvian Bridge — and as you know, it's worth its own article because of the apparition of the Christian sign in the sky; which, as you probably also know, may not have occurred, if it did occur, at the Milvian Bridge at all, since Eusebius I believe mentions it while Maxentius is still in Northern Italy. The most usual name of the bridge in Latin — of this I personally am much less certain — is Pons Mulvius with a U, although Milvius is also seen. The modern Italian name of the bridge, which is not Roman except possibly for the pilings, is Ponte Molle although Ponte Milvio, like so many names from classical Antiquity, started making a resurgence during the period of Mussolini's visions of grandeur: but I think Romans currently call it mostly Ponte Molle. Bill 11:31, 13 Oct 2004 (UTC)

Battles?
The paragraph on battles is anachronistic. Sentinum was the site of a famous battle in 295, 75 years before Flaminius was censor. I propose to delete it. - Eponymous-Archon (talk) 23:10, 18 February 2022 (UTC)

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The Nields

The Nields is a folk-rock band that started in 1991. As a five-piece band, they toured much of the United States, performing with artists such as Dar Williams, Moxy Früvous, 10,000 Maniacs, Ani DiFranco and Catie Curtis and appeared at many folk festivals. Two members, Katryna and Nerissa Nields, continue to tour as a folk duo. Full band performances still occur from time to time.

History of the band
The first incarnation of what would later become the Nields came together in 1987 in McLean, Virginia, when Nerissa Nields met David Jones, and started a band with Nerissa's sister Katryna.

In 1991, Katryna had graduated from Trinity College in Connecticut, and Nerissa had graduated from Yale University. Nerissa married David, who was now known as David Nields, having taken her surname. By now, the threesome was performing together as the Nields, with Katryna as the lead singer, Nerissa playing rhythm guitar and singing harmony, and David Nields on lead guitar. In 1992, the three of them moved to Connecticut, where David had accepted a job at the Loomis Chaffee School, and the band recorded its first album, the self-released 66 Hoxsey Street, named for a house in Williamstown where they had lived. The band began to tour New England in earnest, earning a reputation in the regional folk music scene. In 1993, they released a live album titled Live at the Iron Horse Music Hall, recorded at the popular folk club in Northampton, Massachusetts.

In 1994 the band grew from a three-piece folk group to a five-piece rock band. The new members were Dave Chalfant (bass), whom Katryna had met in college, and Dave Hower (drums), a friend of Chalfant's. Chalfant also produced the band's album released that year, Bob on the Ceiling. This album featured a mix of the acoustic material that the Nields had previously specialized in and a more rock-oriented sound that would become their trademark. With their new sound, the Nields received critical acclaim, and quit their day jobs to become full-time musicians.

Their 1995 EP Abigail, named for Katryna and Nerissa's sister, was self-released, followed by Gotta Get Over Greta in 1996 on the independent Razor & Tie record label. The album was re-released in 1997 with three bonus tracks on Guardian, a division of Elektra Records.

Unfortunately, the group suffered a number of setbacks the next year. Guardian folded, leaving them without a record label, and their tour van was growing increasingly unreliable. The band self-released an album called Mousse (the nickname for Dave Chalfant's sister Andromache) and held a special fundraising concert entitled "Jam for the Van." As a result, the Nields were able to purchase a new van, and were also able to secure a new label, Zoë, a division of Rounder Records. Over the next three years, the Nields released two more records (Play and If You Lived Here You'd Be Home Now ), and in 1999 Katryna Nields and Dave Chalfant got married.

Although the band enjoyed a moderate degree of success, they ceased touring as a five-piece in 2001. Their final recording with David Nields was a two-disc album titled Live From Northampton. Like their 1993 album, it was recorded at the Iron Horse Music Hall, and was self-released by the band. In 2002, David and Nerissa Nields were divorced.

Katryna and Nerissa Nields as a duo
In 1998, Katryna and Nerissa were invited to play Lilith Fair as a duo. The performances were successful, and the two sisters performed several more shows together in areas where the full band had not previously been able to tour. Dar Williams dubbed this the "probe effect," a reference to Star Trek's Enterprise sending a probe to unexplored areas.

By 2001, shows by the full band were increasingly rare, as Katryna and Nerissa toured mostly by themselves. In mid-2001, Katryna took some time off to have a baby, Amelia. Afterwards, she and Nerissa recorded their first album as a duo, titled Love and China, followed by an EP of children's songs, Songs for Amelia. In 2004, they released their second full album, This Town is Wrong. In 2005, Nerissa's young adult novel, Plastic Angel, was published by Scholastic Books. This Town Is Wrong was intended as a soundtrack to the novel, which came packaged with a CD containing the songs "This Town Is Wrong" and "Glow-In-The-Dark Plastic Angel" from the album.

Current status
Katryna and Nerissa live in the Pioneer Valley of Massachusetts and continue to make music and perform together. They have continued touring as a duo, although they have occasionally performed shows as a full band. In their 'full-band' shows, they are joined by Dave Hower on drums, Paul Kochanski on bass, and Dave Chalfant on guitar. In July 2007, they released Sister Holler, an ode to the folk canon. In August 2008 they released Rock All Day Rock All Night, a double family album. In 2010, they made a family DVD called Organic Farm. In 2012, their 16th CD The Full Catastrophe came out, reflecting their recent lives as artist/mothers and the challenges of living with the myth of "having it all." They released the album XVII in 2015 and a Christmas album, Joy to the World in 2017. The single, “Tyrants Always Fall” was also released in 2017.

In addition to making music, Nerissa has been teaching guitar, leading writing workshops, and working on a second novel, titled The Big Idea. In May 2005, she married Tom Duffy, a writer. On May 3, 2006, Nerissa gave birth to her first child, Lila Mary Nields-Duffy. John Patrick Thomas Nields-Duffy followed on August 23, 2008.

In November 2004, Katryna gave birth to her second child, a son named William John Chalfant.

Katryna and Nerissa lead a popular children's singing class called Hootenanny, which draws new pre-school-aged fans to their already substantial grassroots following.

Dave Hower plays drums with a variety of bands, including Winterpills, Spanish for Hitchhiking, and The Fucking Sparklies.

Dave Chalfant has opened a recording studio and produced albums by a number of artists. He was also a teacher of Instrumental Music at the Academy at Charlemont in Charlemont, Massachusetts.

David Nields became the Theatre Director for the Imperial Centre of Arts and Sciences in Rocky Mount, North Carolina. Currently, he teaches Theater at the college level.

Discography

 * 66 Hoxsey Street (1992, out of print)
 * Live at the Iron Horse Music Hall (1993, out of print)
 * Bob on the Ceiling (1994)
 * Abigail (1995, EP)
 * Gotta Get Over Greta (1996, re-release 1997)
 * 'Mousse (1998)
 * Play (1998)
 * If You Lived Here, You'd Be Home Now (2000)
 * Live From Northampton (2001)
 * Love and China (2001, Katryna and Nerissa Nields)
 * This Town is Wrong (2004, Katryna and Nerissa Nields)
 * Songs for Amelia (2004, EP, Katryna and Nerissa Nields, children's album)
 * All Together Singing In The Kitchen (2006, family album)
 * Sister Holler (2007)
 * Rock All Day/Rock All Night (2008, family album)
 * Organic Farm (2010, live DVD)
 * The Full Catastrophe (2012)
 * XVII (2015)
 * Joy to the World (2017)
 * November (2020)
 * Circle of Days (2023)

title: The Nields