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Ivan Albright

Ivan Le Lorraine Albright (February 20, 1897 – November 18, 1983) was an American painter, sculptor and print-maker most renowned for his self-portraits, character studies, and still lifes. Due to his technique and dark subject matter, he is often categorized among the Magic Realists and is sometimes referred to as the "master of the macabre".

From a family of artists and artisans, Albright emerged on the American art scene in the 1930s and established a reputation as one of the most enigmatic of the American Realists. He shocked, awed and upset the viewing public through his emphasis on the fragility of the body, flesh and the human condition with such works as The Lineman (1928), That Which I Should Have Done I Did Not Do (The Door) (1931), and The Picture of Dorian Gray (1943). His work to highlight the minute detail and texture of every surface often required him to spend years or decades on a single painting.

While Albright's works can be found in museums throughout the United States, the most important repository of his works is at the Art Institute of Chicago.

Life
Before the birth of Ivan Le Lorraine and his identical twin brother Malvin Marr Albright, the Albright family (formerly the Albrecht family) was already known for artwork and craftsmanship. Ivan's paternal great-great-grandfather Andreas Albrecht was a master gunsmith in Thuringia, Germany, a family trade passed down to Ivan's grandfather Zachariah. Likewise, Ivan's father Adam Emory Albright was an Impressionist painter and student of Thomas Eakins who built his reputation on landscapes and idealized paintings of children.

Youth and education (1897–1925)
Ivan and Malvin were born in 1897 near Chicago in North Harvey, Illinois, to Adam Emory Albright and Clara Wilson Albright. Through their youth and until the two were age eleven, their father would use the boys as models in his paintings. Adam likewise began to teach the two to draw at age eight: This included formal Eakins-esque drawing lessons and regular visits to the Art Institute of Chicago. Through their father, the boys were introduced to several prominent American Impressionists and Realists including Childe Hassam, Robert Henri, William Glackens, Maurice Prendergast, Edmund Tarbell and John Twachtman. As Michael Croydon, Ivan's biographer, describes, these experiences laid the foundation for Ivan and his brother's later careers as painters.

Ivan's formal education and career prospects in his youth and early adulthood were relatively erratic. His family moved frequently due to his father's career and it wasn't until 1910 that they settled in Hubbard Woods where Ivan and Malvin could attend New Trier High School. By 1915 Ivan entered the College of Liberal Arts of Northwestern University, which he failed out of. His brother enrolled at the same school shortly after. In 1916 he began to study at the University of Illinois at Urbana, at the time considering careers in architecture or chemical engineering. It was not until 1918, after a family painting trip to Caracas, Venezuela, that Ivan began to take seriously the possibility of becoming an artist. That same year he publicly exhibited his first work – a watercolor study of the trees hear his home in Hubbard Woods entitled The Oaks in Winter – at the Art Institute of Chicago's Annual Watercolor exhibition. The entry of the United States into World War I likewise disrupted his early adult life as both he and his brother were enlisted in the United States Army as part of the Medical Corps of the American Expeditionary Forces. While stationed in Nantes, France between 1918 and 1919, Albright produced at least eight sketchbooks of medical drawings illustrating surgeries and wounds in graphite and watercolor. While Albright was not yet an accomplished draftsman, art historians and critics often cite these illustrations as the catalyst of his interest in the fragility of the flesh and humanity for those suffering. After briefly working in architecture and advertising, in 1920 both he and his brother entered the Art Institute of Chicago. While Malvin studied sculpture, Ivan studied painting – each receiving standard, academic training in line with the institute's traditional philosophy. He stayed there until he graduated in 1923, having exhibited The Philosopher (1922) and receiving Faculty Honorable Mention in both Life and Portrait Painting. Following his time at the Art Institute, he continued his studies at his father's alma mater the Pennsylvania Academy of the Fine Arts with the intention of learning from George Bellows. Bellows was at the time, however, on sabbatical in Europe and so Ivan instead chose to move to the National Academy of Design to study under Charles Webster Hawthorne. Having completed his formal education, in 1925 he and his brother Malvin rented a studio in Philadelphia and his professional career as an artist began.

Early and mid-career (1925–1950)
Between 1925 and 1926, Albright's mature "baroque" formal style began to emerge, and in many cases the general public was not prepared for his "naked and uncompromising disclosure of the human condition." At the end of 1926, Albright and his brother spent three months in southern California near San Diego. While there, Albright produced several works that are representative of the maturity of his style, including I Walk To and Fro Through Civilization and I Talk As I Walk (Follow Me, The Monk) and I Drew a Picture in the Sand and the Water Washed It Away (The Theosophist). By 1927, he and Malvin returned to Illinois where their father Adam had repurposed an old Methodist church for use as the Albright Gallery of Painting and Sculpture. Due to the brothers’ proximity for the next two years, Malvin adopted the pseudonym Zsissly to avoid confusion with Ivan. It was during the years at this studio that Ivan's style began to cause controversy: In May 1928 his painting The Lineman was used as the cover for the trade magazine Electric Light and Power. The magazine's readership thought the figure of the lineman was inaccurate and depressing; however, the painting was far more successful with art critics. Not long after, Albright began working on paintings that emphasized the microscopic quality of surface as much as baroque form, beginning with Woman (1928). When Woman was displayed at the Toledo Museum of Art in the 17th Exhibition of Selected Paintings by Contemporary American Artists in 1929, the painting was met with protesters who first had the painting removed, followed by another group protesting the painting's removal. By 1931 and the onset of the Great Depression, Albright's career was becoming established. In July of that year he exhibited fourteen paintings at the Art Institute of Chicago alongside fellow artists George and Martin Baer. That year as well, following the completion of the monumental Into the World There Came a Soul Called Ida (1929–30), he began his decade-long obsession with his magnum-opus That Which I Should Have Done I Did Not Do (The Door) (1931). According to Albright, the Depression didn't significantly affect his career because people didn't buy his paintings "whether times were good or bad, [so] it didn’t make a bit of difference." Indeed, his father's success in art sales and real estate allowed Albright to live comfortably through the 1930s. Nonetheless, as did many other artists of the period, Albright participated in the Public Works of Art Project in Illinois. He was supposed to receive thirty-eight dollars per week in the program as a "class A" artist, but he maintained that he never received payment for his works. While in the project, Albright completed two paintings: The Farmer's Kitchen (1933–34) and Self-Portrait (1934). The Farmer's Kitchen, now housed at the Smithsonian American Art Museum, in particular suited the PWAP's expectations of images of hard-working Americans and is indeed thematically the closest of Albright's paintings to those of the popular Regionalists. The subject nonetheless allowed Albright to display in the woman weariness and deterioration and thus to critique the positivist outlook of Regionalist artists like Grant Wood and Doris Lee.

The 1940s brought a series of changes in Albright's life. His mother, Carla Wilson Albright, died on May 8, 1939, and heartbroken, he, Malvin and Adam spent the next several summers painting in Maine. During this period, in 1941, Albright completed work on The Door and began work on its de facto companion Poor Room – There Is No Time, No End, No Today, No Yesterday, No Tomorrow, Only the Forever and Forever and Forever Without End (The Window), which Albright would continue to work on off-and-on for the next twenty-one years. Work on The Window experienced its first interruption when Ivan and Malvin were asked to paint for the Metro-Goldwyn-Mayer adaptation of The Picture of Dorian Gray, directed by Albert Lewin. For his portrait, Albright insisted on working under the same harsh lights as on the set, so to compensate he developed a new aggressive sensibility around color that would persist in his work into the 1970s. In 1946, Albright's personal life changed even more when on August 27 he married Josephine Medill Patterson Reeve. After the marriage, the couple briefly moved to Billings, Montana and then south to Ten Sleep, Wyoming before returning to Chicago. Albright adopted Josephine's children upon the marriage. In 1947 Ivan and Josephine had a son Adam Medill, and two years following in 1949, they had a daughter Blandina Van Etten.

Late career (1950–1983)
Portraiture and self-portraiture dominates much of the output from the final part of Albright's career. The final interruption to Albright's work on The Window was the commission of the Portrait of Mary Block (1955–57). Upon completing The Window in 1962, he immediately began work on a posthumous portrait of his father-in-law Captain Joseph Medill Patterson (1962–64), an officer during WWI and the founder of the ''New York Daily News.  Likewise, while he and his family were vacationing in Aspen, Colorado in 1963, he executed the Aspen Self Portrait, objectively capturing the artist at age sixty-six.

The decades of the 1950s and 1960s featured few large-scale works by Albright, but did see him expand his horizons with travel. Between 1948 and 1964, Albright produced a number of oils and gouaches with western themes. This was in part because, through Josephine and her sister Alicia Patterson Guggenheim, the artist acquired partial ownership of a ranch in Dubois, Wyoming. The ranch was a fitting setting for a series of Western-themed artworks including Roaring Fork, Wyoming (1948), The Purist (1949), The Wild Bunch (Hole in the Wall Gang) (1951), Tin (1952–54) and The Rustlers (1959, 1963–64). Likewise, upon Alicia's passing in 1963, Ivan and Josephine inherited her plantation in Georgia, just north of Jacksonville, prompting Albright to take particular interest in the swamp as a subject. Ivan's time in Georgia between 1963 and 1965 was in part, however, out of necessity as the city of Chicago decided to tear down his studio on Ogden Avenue to make way for a shopping mall. In addition, despite having been honored with a retrospective at the Art Institute of Chicago and the Whitney Museum of American Art in 1964–65, Albright felt ostracized by the artistic community of Chicago. Contemporary art was at the time dominated by Pop-Art and Minimalism, much unlike Albright's figurative style. In part to escape this "scene", Ivan and Josephine moved to Woodstock, Vermont in 1963, but were only able to begin living there full-time in 1965 when the property was fully renovated. It was there that Albright completed what was arguably his last major work, If Life Were Life – There Would Be No Death (The Vermonter) (1966–77), using the model Kenneth Harper Atwood, a retired maple farmer and former member of the Vermont House of Representatives.

While Albright was seventy-five, his eyesight began to deteriorate with the development of cataracts. The cataracts were reversed in 1977 with his first corneal transplant, which gave the artist a new sense of life. That year, he gifted much of his work to the Art Institute of Chicago, and the following year his first biography by Michael Croydon was published. Nonetheless, his health soon deteriorated. His last series of paintings was a group of self-portraits executed between 1981 and 1983. The series was begun at the request of the Galleria degli Uffizi in Florence for a self-portrait to add to their collection of self-portraits by great masters in honor of their 400th anniversary. While one of the paintings is now in the Uffizi, Albright produced more than twenty-four in total in a variety of styles and media. The last of these he completed after a stroke and only a few days before he died on November 18, 1983.

Artistic development
It was not until the 1930s that Albright developed a consistent technique for his works. The technique included creating numerous detailed drawings, creating his own color palette and painting with hundreds of little brushes. Albright's time-consuming technique not only allowed for detailed depiction of the physical deterioration of objects and people, but enabled him to incorporate a multitude of slight shifts in point-of-view and highlight the relationships between the objects. Albright's combination of extreme realism with a violent and lurid color palette led art critics to categorize his work with the works of American Magic Realists.

In the late 1950s and the 1960s he employed metalpoint for drawings. The Last of the Old WoodStock Inn was drawn in 1968, using silver-, platinum-, gold-, copper-, and brasspoint on VideoMedia paper.

Themes through Albright's works include death, life, spiritual vs. physical, and the effects of time. The titles of his works were similarly complex. He would not name a painting until it was complete, at which time he would come up with several possibilities before deciding on one. For example, a painting of a window is titled Poor Room – There is No Time, No End, No Today, No Yesterday, No Tomorrow, Only the Forever, and Forever and Forever Without End (The Window). The painting is generally referred to only by these last two words. Another painting, And Man Created God in His Own Image, had the words in the title reversed into God Created Man in His Own Image when it toured the Southern US to avoid controversy.

Into the World There Came a Soul Called Ida (1929–30)
This painting is a grotesque depiction of a woman who (based on the title) is named Ida. Within this painting there are several references to the idea that the human body is weak and that we are all trapped within our physical forms. There appears to be a conflict happening between the soul and the body. The figure is seated in a room that is cluttered and in a state of disrepair. She is looking into a hand mirror with a look of sadness on her face. One reading of this is that she is sad because of her age and lack of beauty. Some people believe she is an old actor or possibly a prostitute. Ida is akin to many of Albright's other works due to the dead and decaying look of the figure as well as the deeper (and often dark) meanings that are hidden within.

That Which I Should Have Done I Did Not Do (The Door) (1931–1941)
One of his most famous paintings, titled That Which I Should Have Done I Did Not Do (The Door), took him ten years to complete and won top prize at three major exhibitions in New York City, Chicago, and Philadelphia in 1941. The prize at the Metropolitan Museum of Art in New York earned him a $3,500 purchase award towards the painting and its place in the permanent collection, but Albright set the purchase price at $125,000. Instead he took First medal, allowing him to keep the work. This painting is currently on view at the Art Institute of Chicago.

The Picture of Dorian Gray (1943)
In 1943, Albright was commissioned to create the titular painting for Albert Lewin's film adaptation of Oscar Wilde's The Picture of Dorian Gray. His naturalistic, exaggerated depictions of decay made him suited to create the image of the corrupted Dorian. His brother was originally chosen to do the beginning, uncorrupted painting of Gray. However, the painting used in the final film was from Henrique Medina. When changes to Medina's painting were needed to show Gray's fall, Albright painted them. His painting of the corrupted Dorian Gray currently resides in the Art Institute of Chicago. Allegedly, Albright kept retouching the painting while being shown at the Art Institute of Chicago.

Reputation and legacy
Albright's paintings can be found in some of the most prominent institutional collections in the United States, including the Museum of Modern Art, the Metropolitan Museum of Art, the Detroit Institute of Arts, the National Gallery of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. The largest and most important collection of Albright's artworks and archives is held at the Art Institute of Chicago, demonstrating his singular relationship with the institution. Between donations from the artist, his family and his patrons, the Institute now holds 137 paintings, drawings, prints and sculptures. In turn, the institute works to promote his legacy through the publication of scholarly catalogues and exhibition of works. Major retrospectives of his work were held in 1964 and 1997. In addition, smaller exhibitions were held in 1978, 1984 and 2018. The Art Institute of Chicago's collection was the result of Albright's own savvy in cementing his reputation among high-level museums and collectors. During the 1940s and 1950s, Albright repeatedly allowed prominent institutions to exchange works for superior examples: in 1947, the Institute exchanged Woman (1928) for Into the World There Came a Soul Called Ida (1929–30); and in 1956, along with financing from donors they traded Ida together with Heavy the Oar to Him Who Is Tired, Heavy the Coat, Heavy the Sea (1929) and Oh God, Herrings, Buoys, the Glittering Sea (1940) for Albright's masterpiece The Door (1931–1941). In 1977, Albright gifted seventy-five of his personal collection to the museum, returning several works that had been traded before. Upon Albright's death, his widow Josephine Patterson Albright donated an additional twenty self-portraits as well as a collection of archival materials, now held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The archive includes photographs, scrapbooks, sketches, notebooks, a film, and other materials documenting his life and career.

title: Ivan Albright


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Broadcast programming

Broadcast programming is the practice of organizing or ordering (scheduling) of broadcast media shows, typically the radio and the television, in a daily, weekly, monthly, quarterly, or season-long schedule.

Modern broadcasters use broadcast automation to regularly change the scheduling of their shows to build an audience for a new show, retain that audience, or compete with other broadcasters' shows. Most broadcast television shows are presented weekly in prime time or daily in other dayparts, though exceptions are not rare.

At a micro level, scheduling is the minute planning of the transmission; what to broadcast and when, ensuring an adequate or maximum utilization of airtime. Television scheduling strategies are employed to give shows the best possible chance of attracting and retaining an audience. They are used to deliver shows to audiences when they are most likely to want to watch them and deliver audiences to advertisers in the composition that makes their advertising most likely to be effective.

With the growth of digital platforms and services allowing non-linear, on-demand access to television content, this approach to broadcasting has since been referred to using the retronym linear (such as linear television and linear channels).

History
With the beginning of scheduled television in 1936, television programming was initially only concerned with filling a few hours each evening – the hours now known as prime time. Over time, though, television began to be seen during the daytime and late at night, as well on the weekends. As air time increased, so did the demand for new material. With the exception of sports television, variety shows became much more important in prime time.

Lead-ins and lead-outs
Broadcasters may schedule a program to air before or after a widely viewed tent-pole program, such as a popular series, or a special such as a high-profile sporting event (such as, in the United States, the Super Bowl), in the hope that audience flow will encourage the audience to tune-in early or stay for the second program. The second program is usually one that the broadcaster wants to promote to a wider audience, such as a new or lower-profile series. Sometimes, a lower-profile program may be scheduled between two tentpole programs, a technique known as hammocking.

Lead-outs can sometimes help to launch new programs and talent; in 1982, NBC premiered Late Night with David Letterman as a lead-out for its long-running late-night talk show The Tonight Show Starring Johnny Carson. Characterized by an off-beat style appealing to young adults, Late Night helped launch the career of host David Letterman, and influence later entries into the genre. Despite Carson's endorsement of Letterman as a successor following his 1992 retirement, NBC chose Jay Leno instead, and Letterman departed for CBS to host a spiritual successor—Late Show with David Letterman—beginning in the 1993–94 season. Late Night would continue as a franchise with hosts such as Conan O'Brien and Jimmy Fallon—both of whom would later go on to host The Tonight Show.

The same season, Fox scheduled The X-Files as a lead-out for its sci-fi western The Adventures of Brisco County Jr., with the expectation that Brisco County Jr. would serve as the anchor of its Friday-night lineup. However, The X-Files proved to be significantly more successful, and would eventually run for nine seasons. By contrast, viewership for Brisco County Jr. declined throughout the season, and the show was cancelled. Fox attempted to use other sci-fi shows as a lead-in for The X-Files (such as Sliders and VR.5), but they were similarly unsuccessful.

A weak lead-in can have an impact on the viewership of programs that follow; NBC's 2009 attempt to strip the talk show The Jay Leno Show (a spiritual successor to Leno's tenure of The Tonight Show after Conan O'Brien succeeded him) in a 10:00 p.m. ET/PT timeslot proved detrimental to the viewership of late local newscasts on its affiliates. NBC subsequently announced plans to shorten The Jay Leno Show to a half hour and move it to 11:35 p.m. ET/PT in late-February 2010, displacing The Tonight Show from its traditional timeslot. This proposal led to a public conflict between O'Brien and NBC, and ultimately resulted in his departure from the network, and the reinstatement of Jay Leno as host of The Tonight Show.

Blocks
Block programming is the practice of scheduling a group of complementary programs together. Blocks are typically built around specific genres (i.e. a block focusing specifically on sitcoms), target audiences, or other factors, with their programming often promoted collectively under blanket titles (such as ABC's "TGIF" lineup and NBC's "Must See TV").

Bridging
Bridging is the practice of discouraging the audience from changing channels during the "junctions" between specific programs. This can be done, primarily, by airing promos for the next program near the end of the preceding program, such as during its credits, or reducing the length of the junction between two programs as much as possible (hot switching). The host of the next program may similarly make a brief appearance near the end of the preceding program (sometimes interacting directly with the host) to provide a preview; in news broadcasting, this is typically referred to as a "throw" or "toss".

A bridge was used by ABC between Roseanne and the December 1992 series premiere of The Jackie Thomas Show, a new sitcom co-created by Roseanne and Tom Arnold of Roseanne fame. A scene of the Connor family watching its opening on TV seamlessly transitioned into the program itself, with no junction in between. ABC commissioned a minute-by-minute Nielsen ratings report, which showed that the majority of viewers from Roseanne had been retained during the premiere.

Owing to both programs' news comedy formats, the Comedy Central program The Daily Show used newscast-style toss segments to promote its new spin-off and lead-out, The Colbert Report, in which host Jon Stewart would engage in a comedic conversation with the latter's host, Stephen Colbert, via split-screen. On the December 18, 2014 episode of The Daily Show, this segment was used to seamlessly segue into the series finale of The Colbert Report. At its conclusion, the show transitioned back to Stewart (giving the impression that the entire Colbert Report episode was merely a segment of The Daily Show), who concluded his show with its traditional closing segment "Your Moment of Zen" (which featured an outtake from a previous toss segment) as normal.

In some cases, a channel may intentionally allow a program to overrun into the next half-hour timeslot rather than end exactly on the half-hour, in order to discourage viewers from "surfing" away at traditional junction periods (since they had missed the beginnings of programs on other channels already). This can, however, cause disruptions with recorders if they are not aware of the scheduling (typically, digital video recorders can be configured to automatically record for a set length of time before and after a schedule's given timeslot in program guide data to account for possible variances). For a period, TBS intentionally scheduled all of its programs at 5 and 35 minutes past the hour rather than exactly on the half hour (a practice it marketed as "Turner Time"), to attract viewers tuning away from other channels.

Crossovers
Crossovers can be organized between multiple programs, in which a single storyline is extended across episodes of two or more separate programs. Typically, these involve programs that form a single franchise or shared universe, such as NBC's Chicago franchise and Law & Order: Special Victims Unit (all created by Dick Wolf), and the ABC dramas Grey's Anatomy and Station 19 (both created by Shonda Rhimes).

Counterprogramming
Counterprogramming is the practice of deliberately scheduling programming to attract viewers away from another, major program. Counterprogramming efforts often involve scheduling a contrasting program of a different genre or demographic, targeting viewers who may not be interested in the major program (such as a sporting event, which typically draws a predominantly-male audience, against an awards show that attracts a predominantly-female audience). Despite frequently being among the top U.S. television broadcasts of all time, the Super Bowl has had a prominent history of being counterprogrammed in this manner. One of the most prominent examples of this practice was Fox's 1992 airing of a special live episode of In Living Color against the game's halftime show.

Programs can also be counterprogrammed by a direct competitor in the same time slot, often resulting in the two programs attempting to attract viewers away from each other through publicity stunts and other tactics; these tactics have most notably been seen in counterprogramming efforts surrounding professional wrestling, including the Monday Night War and Wednesday Night Wars.

In some cases, broadcasters may attempt to adjust their schedules in order to avert attempts at counterprogramming, such as getting a slightly earlier time slot (in the hope that once viewers have become committed to a show they will not switch channels), scheduling the competing program on a different night, or moving it to a different portion of the television season to avoid competition altogether.

Dayparting
Dayparting is the practice of dividing the day into several parts, during each of which a different type program is appropriate for that time is aired. Daytime television shows are most often geared toward a particular demographic, and what the target audience typically engages in at that time.

Stripping
Stripping is the practice of running a single series in a consistent, daily time slot throughout the week, usually on weekdays. Daytime programs such as talk shows, court shows, game shows, and soap operas, are typically aired in a strip format. Outside of serial drama formats such as telenovelas where popular, strips are rarely used for first-run entertainment programming outside of limited events.

Syndicated reruns of network programs that originally aired on a weekly basis are often aired as strips. Shows that are syndicated in this way generally have to have run for several seasons (the rule of thumb is usually 100 episodes) in order to have enough episodes to run without significant repeats.

Marathons
A marathon is the scheduling of a continuous, long-term block of programming as an event, usually devoted to airings of a single program or film franchise. When conducted using television series, a marathon may either consist of episodes aired in sequential order, or focus on episodes sharing specific themes.

Marathons are often aired on holidays (such as Syfy's annual The Twilight Zone marathon on New Year's Day), as counterprogramming for major events airing on other channels (such as the Super Bowl in the U.S.), to lead into new episodes of a series, or to commemorate milestones/events surrounding a specific series or franchise. Some marathons may focus on the roles of a specific entertainer; the death of Betty White resulted in several networks scheduling marathons of programming on or around January 17, 2022 (which would have been White's 100th birthday) featuring her television appearances, with Hallmark Channel airing a marathon of The Golden Girls, and Buzzr and Game Show Network airing marathons of game show episodes that featured White as a celebrity guest.

While longer marathons are typically reserved for major events, the popularization of binge-watching via streaming services in the 2010s led to many U.S. cable networks adopting marathon-like blocks of programs as part of their regular schedules. To compete with the release practices of streaming services, TBS premiered entire seasons of its police comedy Angie Tribeca in a marathon format.  Similarly, free ad-supported streaming television (FAST) services often feature narrowly-focused linear channels devoted to specific programs or franchises.

Theming
A broadcaster may temporarily dedicate all or parts of its schedule over a period of time to a specific theme. A well-known instance of a themed lineup is Discovery Channel's annual "Shark Week". Themed schedules are a common practice around major holidays—such as Valentine's Day, Halloween, and Christmas—where channels may air episodes of programs, specials, and films that relate to the holiday. Channels may also air marathons of their signature programs and film rights to target viewers who are on vacation.

The U.S. basic cable networks Freeform (25 Days of Christmas, 31 Days of Halloween) and Hallmark Channel are known for broadcasting long-term holiday programming events. After experiencing success with holiday events such as Countdown to Christmas, Hallmark Channel adopted a practice of dividing its programming into themed seasons year-round, which are accompanied by thematically appropriate original made-for-TV films and series. This strategy is part of an effort to position the channel as "a year-round destination for celebrations", and is synergistic with Hallmark Cards' core greeting card and collectibles businesses.

Time slot
A show's time slot or place in the schedule could be crucial to its success or failure; generally, earlier prime time slots have a stronger appeal towards family viewing and younger demographics, while later time slots generally appeal more towards older demographics. Some time slots, colloquially known as "graveyard slots" or "death slots", are prone to having smaller potential audiences (with one such example in the U.S. being Friday nights), or intense competition from highly rated series.

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

title: Broadcast programming


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Marnhull

Marnhull is a village and civil parish in the county of Dorset in southern England. It lies in the Blackmore Vale, 3 mi north of Sturminster Newton. The resort towns of Bournemouth and Weymouth are approximately 30 mi south. Marnhull is sited on a low ridge of Corallian limestone above the valley of the River Stour, which forms the northern and western boundaries of the parish. In the 2011 census the parish had 962 dwellings, 905 households and a population of 1,998.

Description
Marnhull consists of several conjoined hamlets, connected by a network of minor roads. The village presents a mix of architectural styles, with post-war developments existing alongside properties dating back to Tudor times and earlier. It has three churches (Anglican, Roman Catholic and Methodist), two primary schools, two public houses, a GP surgery, a village hall and a recreation ground, as well as various small shops and services. The parish church of St Gregory has a 15th-century tower which is a landmark and has been described as "the finest in the Vale."

History
Saxon charters show that Marnhull existed as a village in the 10th century, although the village's site has seen human occupation as early as the Iron Age, and a Roman settlement was established at Ashley Wood in the east of the parish. The Domesday Book of 1086 does not mention Marnhull by name, though the constituent settlements of Walton Elm, Burton and Kentleworth were probably recorded under the entry for Sturminster Newton as the eight hides of land owned by Waleran, Roger and Chetel. The eastern part of Marnhull parish used to be a separate parish, named Thorton, until the 16th century. Until 1763 Marnhull was the site of an annual bull-baiting event, taking place every 3 May. The event was stopped as a response to the violence and bloodshed it engendered, not just in Marnhull but also in surrounding villages.

Governance
Marnhull is in the constituency of North Dorset, currently represented in the UK parliament by the Conservative Simon Hoare.

Marnhull is part of the Stalbridge and Marnhull ward which elects 1 member to Dorset Council.

Geography
Marnhull civil parish covers about 3800 acre at an elevation of about 50 to 90 m. The western boundary of the parish is formed by the River Stour and the eastern by the Key Brook, a tributary of the Stour. The central part of the parish is drained by Chivrick's Brook, a tributary of the Key Brook. These watercourses all drain north to south. From west to east the geology of the parish comprises a thin strip of Oxford clay around the Stour, a long ridge of Corallian sand and limestone between the Stour and Chivrick's Brook, then lower-lying Kimmeridge clay between Chivrick's Brook and the eastern boundary. Marnhull village is sited on the ridge of Corallian beds, which form the highest part of the parish and are the source of the building stone extensively used throughout it.

Cultural references
Thomas Hardy described Marnhull as 'Marlott' in his novel Tess of the d'Urbervilles. The Crown Inn is described by Hardy as 'The Pure Drop Inn', and The Blackmore Vale Inn is described as 'Rollivers' - a disreputable and illegal drinking house, where secret ale drinking groups gathered upstairs. The television adaptation of the book was filmed in the village.

Notable residents

 * Catherine Parr the last of Henry VIII's wives was given the original manor of Nash Court in 1544. From her it passed to Edward VI and then to Elizabeth I after which it passed through the families of several noblemen and eminent civilians.
 * Giles Hussey was born here and lived at Nash House before studying art in Italy.
 * William Gosling (footballer) was living at Lovells Court, Marnhull, at the 1911 Census.
 * Sir Peter Harding, GCB, (born 2 December 1933) is a retired Royal Air Force Chief of the Air Staff, and Chief of Defence Staff.

title: Marnhull


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Blood, Sweat and No Tears

Blood, Sweat, and No Tears is the first full-length album by the American hardcore punk band Sick of it All, released on July 12, 1989.

Track listing

 * 1) "The Blood & The Sweat" – 1:50
 * 2) "Clobberin' Time"/"Pay the Price" featuring KRS-One – 1:37
 * 3) "Give Respect" – 1:08
 * 4) "Breeders of Hate" – 1:12
 * 5) "Pushed Too Far" – 1:56
 * 6) "Friends Like You" – 1:07
 * 7) "B.S. Justice" – 1:30
 * 8) "Rat Pack" – 0:44
 * 9) "Pete's Sake" – 0:56
 * 10) "Stick Together" – 0:51
 * 11) "G.I. Joe Headstomp" – 1:19
 * 12) "Alone" – 1:58
 * 13) "My Life" – 1:42
 * 14) "World Full of Hate" – 2:05
 * 15) "My Revenge" – 1:12
 * 16) "No Labels" – 1:59
 * 17) "Disillusion" – 2:05
 * 18) "The Deal" – 1:08
 * 19) "Injustice System!" – 2:07

 * Track 2, 3, 5, 6, 7, 9, 15 and 18 are re-recordings of the songs from their first EP, Sick of It All (1987).

Personnel

 * David Bett – art direction
 * Lou Koller - vocals
 * Rich Cipriano - bass
 * Tim Boiling Point – photography
 * Chris Gehringer – mastering
 * Peter Koller – guitar
 * Patricia Lie – design
 * Jaime Locke – assistant engineer
 * Armand Majidi – drums
 * Bryan Martin – remastering
 * Dave Muller – photography
 * Zack Muller – photography
 * B.J. Papas – photography
 * Mike Rhode – remix assistant
 * Craig Setari – vocals (background)
 * Sick of It All – producer

title: Blood, Sweat and No Tears


text: Talk:Blood, Sweat and No Tears

title: Talk:Blood, Sweat and No Tears


text:
Talk:Pelephone

Materials
Relevant sources for this article: —Ynhockey (Talk) 11:49, 16 December 2012 (UTC)
 * http://www.calcalist.co.il/local/articles/0,7340,L-3590485,00.html

VfD
from VfD:

Curmudgeon may be my middle name, but this seems like an advert. — Bill 21:57, 14 Oct 2004 (UTC)

 * Well, it isn't. I am not affiliated with this company at all. I just stumbled upon this page and thought I would fill up the missing links. Tomorrow I intend to make a page for Cellcom as well. Pelephone is a major name in Israel. This is no more an advert than this and this are. Spikeballs 22:50, Oct 14, 2004 (UTC)
 * Keep. Pretty important mobile phone operator in Middle East.  Terrapin 15:00, 15 Oct 2004 (UTC)
 * Keep, of course, and stop deletion trolls. Intrigue 21:42, 18 Oct 2004 (UTC)
 * Keep. Not an advertisement. anthony (see warning) 16:23, 19 Oct 2004 (UTC)
 * Keep. False alarm.  GRider 19:58, 19 Oct 2004 (UTC)

end moved discussion

A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the. —Community Tech bot (talk) 16:06, 16 June 2022 (UTC)
 * P-MOBILE.jpg

اعاده شحن الخط
اعاده شحن الخط 91.186.249.182 (talk) 10:39, 9 March 2023 (UTC)

title: Talk:Pelephone


text:
Talk:Scott Thompson (actor)

Gay (?)
Issn't he an openly gay man, orientation seems suitable  —Preceding unsigned comment added by 88.91.49.125 (talk) 22:52, 2 June 2008 (UTC)

Filmography (?)
He was in Mickey Blue Eyes. -- User:152.163.100.198

Scott Thompson, alleged firestarter?
Can anyone provide a source for this? I can't seem to find anything about an alleged arsonist named Scott Thompson. -- Cleduc 01:21, 5 Apr 2005 (UTC)

WikiProject class rating
This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 04:17, 28 August 2007 (UTC)

Can someone provide a source about the Kurt Cobain thing? —Preceding unsigned comment added by 207.112.54.67 (talk) 01:35, 20 September 2007 (UTC)

Requested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: Moved. This was apparently uncontroversial. At any rate, the move is done, I think it's fine. If anyone disagrees that means this is controversial - go ahead and revert this close in that case. Born2cycle (talk) 01:16, 3 January 2013 (UTC)

Scott Thompson → Scott Thompson (Canadian comedian) – The page view count of the former Yahoo CEO that shares the same name make me certain this isn't the Primary topic by any stretch of "much more likely than any other topic, and more likely than all the other topics combined." . Marcus Qwertyus (talk) 03:06, 2 January 2013 (UTC)
 * Comment so what are you proposing? That the disambiguation page be made primary? -- 70.24.248.246 (talk) 03:42, 2 January 2013 (UTC)
 * Yes. Marcus Qwertyus (talk) 03:59, 2 January 2013 (UTC)
 * ✅ - but dropped the Canadian part Scott Thompson (comedian).Moxy (talk) 00:18, 3 January 2013 (UTC)

 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section..

Punk band
In the 80s, he was apparently also in an experimental punk band called Mouth Congress. This ChartAttack article mentions at least 15 albums. Not sure where to fit that in, but seems like it's worth a sentence or two. Grayfell (talk) 01:16, 13 October 2015 (UTC)

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title: Talk:Scott Thompson (actor)


text:
User:AR~enwiki

AR is a university student from the Netherlands. My interests include history and typography.

title: User:AR~enwiki


text:
David Trinidad

David Trinidad (born 1953 in Los Angeles, California) is an American poet.

David Trinidad was born in Los Angeles, California, and raised in the San Fernando Valley. He attended California State University, Northridge, where he studied poetry with Ann Stanford and edited the literary journal Angel’s Flight. While at Northridge, he became friends with the poet Rachel Sherwood, a fellow student. On July 5, 1979, Sherwood and Trinidad were involved in an automobile accident in which Sherwood was killed and Trinidad severely injured. Later, Trinidad published a book of Rachel Sherwood's poems and established Sherwood Press in her honor.

His first book of poems, Pavane, was published in 1981. The Los Angeles Times Book Review noted that Trinidad’s "voice has assurance and integrity.” In the early 1980s, Trinidad was one of a group of poets who were active at the Beyond Baroque Literary Arts Center in Venice, California. Other members of this group included Dennis Cooper, Bob Flanagan, Amy Gerstler, Jack Skelley, and Ed Smith. As editor of Sherwood Press, he published books by Cooper, Flanagan, Gerstler, Tim Dlugos, Alice Notley, and others. In 1988, Trinidad relocated to New York City. He received his Master of Fine Arts from Brooklyn College in 1990. He taught at Rutgers University and The New School. In 2002, Trinidad moved to Chicago to teach at Columbia College. His personal papers are archived at Fales Library at New York University.

Trinidad’s numerous books include Plasticville, The Late Show, and Dear Prudence: New and Selected Poems. Amy Gerstler writes that Plasticville “provides readers with a model train tour of a fastidiously kept alternative world where fixation provides temporary relief from the pain and confusion of growing up human.” In her review of The Late Show in the Los Angeles Times, Lizzie Skurnick praises Trinidad as “a meticulous curator of pop-culture flotsam—silver-screen sirens, Barbie, '60s-era lip gloss—and his autobiographical verse is a graceful, merry wink to gay culture.” Assessing Dear Prudence in Bookforum, poet Ange Mlinko states, “How Trinidad molds fanboy longings into sophisticated forms, dousing them with liberal California light and his own temperamental sweetness, is his secret and his achievement.” Both Plasticville and Dear Prudence were nominated for the Lambda Literary Award in Poetry, and Plasticville was a finalist for the Lenore Marshall Poetry Prize.

In addition to his own books, Trinidad has edited several volumes of poetry, including A Fast Life: The Collected Poems of Tim Dlugos (2011), which won a Lambda Literary Award. Publishers Weekly writes, "This ambitious collection, with Trinidad's foreword and chronology, might elevate from cult status a poet who did much more than respond to his times." Trinidad's latest edited volume, Punk Rock Is Cool for the End of the World: Poems and Notebooks of Ed Smith, was published in June 2019. David L. Ulin, reviewing the book for the Los Angeles Times, describes it as "a back-and-forth between despair and aspiration, ecstasy and degradation: a lens (or set of lenses) on the shards that make a life."

With Arielle Greenberg and Tony Trigilio, Trinidad co-founded the poetry magazine Court Green in 2004. From 2004 to 2015, Court Green was published in conjunction with Columbia College, and twelve issues of the magazine appeared during that time. In 2017, Trigilio and Trinidad revived Court Green as an independent online poetry journal. Aaron Smith joined Court Green as a co-editor in 2020.

Trinidad is known for his masterful use of popular culture in his poems. The poet James Schuyler wrote, “Trinidad turns the paste jewels of pop art into the real thing.” His work is also associated with the innovative formalism of the New York School. Alice Notley has written, “There is an unwavering light in all of Trinidad’s work that turns individual words into objects, new facts.” About The Late Show (2007), The New York Times Book Review wrote that Trinidad’s “most impressive gift is an ability to dignify the dross of American life, to honor both the shrink-wrapped sentiment of the cultural artifacts he writes about and his own much more complicated emotional response to them.”

Published works

 * Pavane (1981)
 * Monday, Monday (1985)
 * Living Doll (1986)
 * November (1987)
 * Three Stories (1988)
 * Hand Over Heart: Poems 1981-1988 (1991)
 * Answer Song (1994)
 * Essay with Movable Parts (1998)
 * Plasticville (2000)
 * Tiny Moon Notebook (2007)
 * The Late Show (2007)
 * Dear Prudence: New and Selected Poems (2011)
 * Peyton Place: A Haiku Soap Opera (2013)
 * Notes on a Past Life (2016)
 * Swinging on a Star (2017)
 * Coteries and Gossip: Naropa Diary, June 13–20, 2010 (2019)
 * Digging to Wonderland: Memory Pieces (2022)
 * Sleeping with Bashō (2024)

Collaborations

 * A Taste of Honey (with Bob Flanagan, 1990)
 * Chain Chain Chain (with Jeffery Conway and Lynn Crosbie, 2000)
 * Phoebe 2002: An Essay in Verse (with Jeffery Conway and Lynn Crosbie, 2003)
 * By Myself: An Autobiography (with D. A. Powell, 2009)
 * Descent of the Dolls, Part I (with Jeffery Conway and Gillian McCain, 2017)

Editor

 * Powerless: Selected Poems 1973-1990 by Tim Dlugos (1996)
 * Holding Our Own: The Selected Poems of Ann Stanford (with Maxine Scates, 2001)
 * Saints of Hysteria: A Half-Century of Collaborative American Poetry (with Denise Duhamel and Maureen Seaton, 2007)
 * A Fast Life: The Collected Poems of Tim Dlugos (2011)
 * Punk Rock Is Cool for the End of the World: Poems and Notebooks of Ed Smith (2019)
 * Divining Poets: Dickinson (Emily Dickinson divination deck, 2019)
 * New York Diary by Tim Dlugos (2021)

Essays, studies

 * Hidden in Plain Sight: On Sylvia Plath's Missing Journals (2010)
 * So Much Depends: On the Particular, the Personal, & the Political (2017)

title: David Trinidad


text:
User:Ikenindy

Hi,

I'm a graduate student in Human-Computer Interaction at Georgia Tech in Atlanta.

As part of my M.S. project, I'm conducting a study of Wikipedia users. If you think you might be interested in participating, you can learn more on my Wikipedia study page: http://www.cc.gatech.edu/~susanb/wikistudy.html

If you'd be willing to be interviewed, leave me a note on my talk/discussion page or send me an email: susanb@cc.gatech.edu.

Thanks!

Update: Dec. 7, 2004. I'd like to thank the Wikipedians who took the time to share their thoughts with me about their work on the Wikipedia and the community. I'm now in the process of writing up my findings, hopefully for a journal article. Stay tuned.

title: User:Ikenindy


text:
User talk:Fripp (usurped)

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

Here are some tips to help you get started:

 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
 * Eventually, you might want to read the Manual of Style and Policies and Guidelines.
 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]]

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

title: User talk:Fripp (usurped)


text:
Funneling

Funneling may refer to:
 * Using a funnel (a pipe with a wide, often conical mouth and a narrow stem)
 * Funneling, the process of using a beer bong
 * Funneling at the internal orifice of the uterus

title: Funneling


text:
User:Dmb000006/Thing

 * Thing1
 * Thing2
 * Thing3
 * How to kill yourself and get away with it or Death and the Modern Oven
 * Thing4
 * Angst Man vs Dr Darwin
 * Serious God Fetish Ever fantasised about being impregnated by the Devinne spirit? Look no further!
 * Diseased Ego?

title: User:Dmb000006/Thing


text:
User talk:Bismarck~enwiki

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

Here are some tips to help you get started:

 * Try the Tutorial, and feel free to experiment in the test area.
 * If you need help, post a question at the Help Desk
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 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]]

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

Your account will be renamed
Hello,

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

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

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

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 22:33, 19 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 11:04, 22 April 2015 (UTC)

title: User talk:Bismarck~enwiki


text:
User talk:Jsnow

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

Here are some tips to help you get started:

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 * If you need help, post a question at the Help Desk
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 * Remember Neutral point of view
 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

[[User:Meelar|Meelar (talk)]]

P.S. One last helpful hint. To sign your posts like I did above (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).

Soliciting Feedback on Educational Assignment
Hello,

My name is Javier Campanini. I'm a student at Cornell University working on a class project for an Online Communities course. Our task is to contribute an article to Wikipedia. There are a total of 3 people on the team and so far, we've started to gather the information and create sections for the article.

The subject of the article is Incentive-Centered Design. The current page (a work in progress) can be found here: http://en.wikipedia.org/wiki/User_talk:Jmc242/incentive-centered_design

We would really appreciate any feedback or comments you could provide on our progress so far.

Thank you, Javier Campanini Jmc242 (talk) 22:54, 27 September 2012 (UTC)

title: User talk:Jsnow


text:
Talk:Derek Kirk Kim

October 2006
It looks like he's given up on the Healing Hands serial. I updated the page to reflect that. --N. Scott Rose 20:47, 29 October 2006 (UTC)

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Feb 26, 2024 Update
Added citations for everything and deleted anything I couldn't verify. The previous version by Fourthords had really outdated information. Bahboh007 (talk) 10:33, 26 February 2024 (UTC)
 * You didn't so much "update" the article as revert it to a woefully unacceptable version and then add some sources, both good and bad. In this edit I've replaced the fully-sourced text, and then further incorporated those new sources you added (where appropriate), detailing changes in the edit summary.  —   Fourthords  | =Λ= | 18:59, 26 February 2024 (UTC)

title: Talk:Derek Kirk Kim


text:
Lake Houston

Lake Houston is a reservoir on the San Jacinto River, 15 miles (24 km) northeast of downtown Houston, Texas, United States. The reservoir is the primary municipal water supply for the city of Houston.

Location and creation
Situated between the communities of Kingwood, Atascocita and Humble on the west bank, Sheldon on the south, and Crosby and Huffman on the east. An earthen dam spans a portion of the southern bank along Dwight D. Eisenhower Park.

The reservoir was created in 1953 when the City of Houston built the dam to impound a reservoir to replace Sheldon Lake, then the primary source of water for the city. The city sold Sheldon Lake to the Texas Parks and Wildlife Department for use as a waterfowl sanctuary and public fishing site.

The City of Houston annexed the Lake Houston area and a 22.5 mi canal in 1956.

Fish and plant populations
Lake Houston has been stocked with species of fish intended to improve the utility of the reservoir for recreational fishing. Fish present in Lake Houston include largemouth bass, white bass, white crappie, blue catfish, and bluegill.

Recreational uses
Boating and fishing are both popular recreational uses of the lake. At the northern end of the lake, Lake Houston Wilderness Park has rental cabins, facilities for camping, a kayak launch and trails for hiking and biking.

title: Lake Houston


text:
Meerwala

The name Meerwala refers to both a mouza and a village in Jatoi, a rural tehsil in the Muzaffargarh District of Punjab, Pakistan. The village (29.453°N, 70.78°W) is 9 km north of the mouza (29.374°N, 70.793°W). Meerwala achieved global infamy in 2002 as the village whose tribal elders ordered the gang rape of Mukhtar Mai.

title: Meerwala


text:
Phytoremediation

Phytoremediation technologies use living plants to clean up soil, air and water contaminated with hazardous contaminants. It is defined as "the use of green plants and the associated microorganisms, along with proper soil amendments and agronomic techniques to either contain, remove or render toxic environmental contaminants harmless". The term is an amalgam of the Greek phyto (plant) and Latin remedium (restoring balance). Although attractive for its cost, phytoremediation has not been demonstrated to redress any significant environmental challenge to the extent that contaminated space has been reclaimed.

Phytoremediation is proposed as a cost-effective plant-based approach of environmental remediation that takes advantage of the ability of plants to concentrate elements and compounds from the environment and to detoxify various compounds without causing additional pollution. The concentrating effect results from the ability of certain plants called hyperaccumulators to bioaccumulate chemicals. The remediation effect is quite different. Toxic heavy metals cannot be degraded, but organic pollutants can be, and are generally the major targets for phytoremediation. Several field trials confirmed the feasibility of using plants for environmental cleanup.

Background
Soil remediation is an expensive and complicated process. Traditional methods involve removal of the contaminated soil followed by treatment and return of the treated soil.

Phytoremediation could in principle be a more cost effective solution. Phytoremediation may be applied to polluted soil or static water environment. This technology has been increasingly investigated and employed at sites with soils contaminated heavy metals like with cadmium, lead, aluminum, arsenic and antimony. These metals can cause oxidative stress in plants, destroy cell membrane integrity, interfere with nutrient uptake, inhibit photosynthesis and decrease plant chlorophyll.

Phytoremediation has been used successfully include the restoration of abandoned metal mine workings, and sites where polychlorinated biphenyls have been dumped during manufacture and mitigation of ongoing coal mine discharges reducing the impact of contaminants in soils, water, or air. Contaminants such as metals, pesticides, solvents, explosives, and crude oil and its derivatives, have been mitigated in phytoremediation projects worldwide. Many plants such as mustard plants, alpine pennycress, hemp, and pigweed have proven to be successful at hyperaccumulating contaminants at toxic waste sites.

Not all plants are able to accumulate heavy metals or organics pollutants due to differences in the physiology of the plant. Even cultivars within the same species have varying abilities to accumulate pollutants.

Advantages and limitations

 * Advantages:
 * the cost of the phytoremediation is lower than that of traditional processes both in situ and ex situ
 * the possibility of the recovery and re-use of valuable metals (by companies specializing in "phyto mining")
 * it preserves the topsoil, maintaining the fertility of the soil
 * Increase soil health, yield, and plant phytochemicals
 * the use of plants also reduces erosion and metal leaching in the soil
 * Limitations:
 * phytoremediation is limited to the surface area and depth occupied by the roots.
 * with plant-based systems of remediation, it is not possible to completely prevent the leaching of contaminants into the groundwater (without the complete removal of the contaminated ground, which in itself does not resolve the problem of contamination)
 * the survival of the plants is affected by the toxicity of the contaminated land and the general condition of the soil
 * bio-accumulation of contaminants, especially metals, into the plants can affect consumer products like food and cosmetics, and requires the safe disposal of the affected plant material
 * when taking up heavy metals, sometimes the metal is bound to the soil organic matter, which makes it unavailable for the plant to extract

Processes
A range of processes mediated by plants or algae are tested in treating environmental problems.:

Phytoextraction

Phytoextraction (or phytoaccumulation or phytosequestration) exploits the ability of plants or algae to remove contaminants from soil or water into harvestable plant biomass. It is also used for the mining of metals such as copper(II) compounds. The roots take up substances from the soil or water and concentrate them above ground in the plant biomass Organisms that can uptake high amounts of contaminants are called hyperaccumulators. Phytoextraction can also be performed by plants (e.g. Populus and Salix) that take up lower levels of pollutants, but due to their high growth rate and biomass production, may remove a considerable amount of contaminants from the soil. Phytoextraction has been growing rapidly in popularity worldwide for the last twenty years or so. Typically, phytoextraction is used for heavy metals or other inorganics. At the time of disposal, contaminants are typically concentrated in the much smaller volume of the plant matter than in the initially contaminated soil or sediment. After harvest, a lower level of the contaminant will remain in the soil, so the growth/harvest cycle must usually be repeated through several crops to achieve a significant cleanup. After the process, the soil is remediated.

Of course many pollutants kill plants, so phytoremediation is not a panacea. For example, chromium is toxic to most higher plants at concentrations above 100 μM·kg−1 dry weight.

Mining of these extracted metals through phytomining is a conceivable way of recovering the material. Hyperaccumulating plants are often metallophyte. Induced or assisted phytoextraction is a process where a conditioning fluid containing a chelator or another agent is added to soil to increase metal solubility or mobilization so that the plants can absorb them more easily. While such additives can increase metal uptake by plants, they can also lead to large amounts of available metals in the soil beyond what the plants are able to translocate, causing potential leaching into the subsoil or groundwater.

Examples of plants that are known to accumulate the following contaminants:
 * Arsenic, using the sunflower (Helianthus annuus), or the Chinese Brake fern (Pteris vittata).
 * Cadmium, using willow (Salix viminalis): In 1999, one research experiment performed by Maria Greger and Tommy Landberg suggested willow has a significant potential as a phytoextractor of cadmium (Cd), zinc (Zn), and copper (Cu), as willow has some specific characteristics like high transport capacity of heavy metals from root to shoot and huge amount of biomass production; can be used also for production of bio energy in the biomass energy power plant.
 * Cadmium and zinc, using alpine pennycress (Thlaspi caerulescens), a hyperaccumulator of these metals at levels that would be toxic to many plants. Specifically, pennycress leaves accumulate up to 380 mg/kg Cd. On the other hand, the presence of copper seems to impair its growth (see table for reference).
 * Chromium is toxic to most plants. However, tomatoes (Solanum lycopersicum) show some promise.
 * Lead, using Indian mustard (Brassica juncea), ragweed (Ambrosia artemisiifolia), hemp dogbane (Apocynum cannabinum), or poplar trees, which sequester lead in their biomass.
 * Salt-tolerant (moderately halophytic) barley and/or sugar beets are commonly used for the extraction of sodium chloride (common salt) to reclaim fields that were previously flooded by sea water.
 * Caesium-137 and strontium-90 were removed from a pond using sunflowers after the Chernobyl accident.
 * Mercury, selenium and organic pollutants such as polychlorinated biphenyls (PCBs) have been removed from soils by transgenic plants containing genes for bacterial enzymes.

 * Thallium is sequestered by some plants.

Phytostabilization
Phytostabilization reduces the mobility of substances in the environment, for example, by limiting the leaching of substances from the soil. It focuses on the long term stabilization and containment of the pollutant. The plant immobilizes the pollutants by binding them to soil particles making them less available for plant or human uptake. Unlike phytoextraction, phytostabilization focuses mainly on sequestering pollutants in soil near the roots but not in plant tissues. Pollutants become less bioavailable, resulting in reduced exposure. The plants can also excrete a substance that produces a chemical reaction, converting the heavy metal pollutant into a less toxic form. Stabilization results in reduced erosion, runoff, leaching, in addition to reducing the bioavailability of the contaminant. An example application of phytostabilization is using a vegetative cap to stabilize and contain mine tailings. Some soil amendments decrease radiosource mobility – while at some concentrations the same amendments will increase mobility. Vidal et al. 2000 find the root mats of meadow grasses are effective at demobilising radiosource materials especially with certain combinations of other agricultural practices. Vidal also find that the particular grass mix makes a significant difference.

Phytodegradation

Phytodegradation (also called phytotransformation) uses plants or microorganisms to degrade organic pollutants in the soil or within the body of the plant. The organic compounds are broken down by enzymes that the plant roots secrete and these molecules are then taken up by the plant and released through transpiration. This process works best with organic contaminants like herbicides, trichloroethylene, and methyl tert-butyl ether.

Phytotransformation results in the chemical modification of environmental substances as a direct result of plant metabolism, often resulting in their inactivation, degradation (phytodegradation), or immobilization (phytostabilization). In the case of organic pollutants, such as pesticides, explosives, solvents, industrial chemicals, and other xenobiotic substances, certain plants, such as Cannas, render these substances non-toxic by their metabolism. In other cases, microorganisms living in association with plant roots may metabolize these substances in soil or water. These complex and recalcitrant compounds cannot be broken down to basic molecules (water, carbon-dioxide, etc.) by plant molecules, and, hence, the term phytotransformation represents a change in chemical structure without complete breakdown of the compound. The term "Green Liver" is used to describe phytotransformation, as plants behave analogously to the human liver when dealing with these xenobiotic compounds (foreign compound/pollutant). After uptake of the xenobiotics, plant enzymes increase the polarity of the xenobiotics by adding functional groups such as hydroxyl groups (-OH).

This is known as Phase I metabolism, similar to the way that the human liver increases the polarity of drugs and foreign compounds (drug metabolism). Whereas in the human liver enzymes such as cytochrome P450s are responsible for the initial reactions, in plants enzymes such as peroxidases, phenoloxidases, esterases and nitroreductases carry out the same role.

In the second stage of phytotransformation, known as Phase II metabolism, plant biomolecules such as glucose and amino acids are added to the polarized xenobiotic to further increase the polarity (known as conjugation). This is again similar to the processes occurring in the human liver where glucuronidation (addition of glucose molecules by the UGT class of enzymes, e.g. UGT1A1) and glutathione addition reactions occur on reactive centres of the xenobiotic.

Phase I and II reactions serve to increase the polarity and reduce the toxicity of the compounds, although many exceptions to the rule are seen. The increased polarity also allows for easy transport of the xenobiotic along aqueous channels.

In the final stage of phytotransformation (Phase III metabolism), a sequestration of the xenobiotic occurs within the plant. The xenobiotics polymerize in a lignin-like manner and develop a complex structure that is sequestered in the plant. This ensures that the xenobiotic is safely stored, and does not affect the functioning of the plant. However, preliminary studies have shown that these plants can be toxic to small animals (such as snails), and, hence, plants involved in phytotransformation may need to be maintained in a closed enclosure.

Hence, the plants reduce toxicity (with exceptions) and sequester the xenobiotics in phytotransformation. Trinitrotoluene phytotransformation has been extensively researched and a transformation pathway has been proposed.

Phytostimulation
Phytostimulation (or rhizodegradation) is the enhancement of soil microbial activity for the degradation of organic contaminants, typically by organisms that associate with roots. This process occurs within the rhizosphere, which is the layer of soil that surrounds the roots. Plants release carbohydrates and acids that stimulate microorganism activity which results in the biodegradation of the organic contaminants. This means that the microorganisms are able to digest and break down the toxic substances into harmless form. Phytostimulation has been shown to be effective in degrading petroleum hydrocarbons, PCBs, and PAHs. Phytostimulation can also involve aquatic plants supporting active populations of microbial degraders, as in the stimulation of atrazine degradation by hornwort.

Phytovolatilization

Phytovolatilization is the removal of substances from soil or water with release into the air, sometimes as a result of phytotransformation to more volatile and/or less polluting substances. In this process, contaminants are taken up by the plant and through transpiration, evaporate into the atmosphere. This is the most studied form of phytovolatilization, where volatilization occurs at the stem and leaves of the plant, however indirect phytovolatilization occurs when contaminants are volatilized from the root zone. Selenium (Se) and Mercury (Hg) are often removed from soil through phytovolatilization. Poplar trees are one of the most successful plants for removing VOCs through this process due to its high transpiration rate.

Rhizofiltration
Rhizofiltration is a process that filters water through a mass of roots to remove toxic substances or excess nutrients. The pollutants remain absorbed in or adsorbed to the roots. This process is often used to clean up contaminated groundwater through planting directly in the contaminated site or through removing the contaminated water and providing it to these plants in an off-site location. In either case though, typically plants are first grown in a greenhouse under precise conditions.

Biological hydraulic containment
Biological hydraulic containment occurs when some plants, like poplars, draw water upwards through the soil into the roots and out through the plant, which decreases the movement of soluble contaminants downwards, deeper into the site and into the groundwater.

Phytodesalination
Phytodesalination uses halophytes (plants adapted to saline soil) to extract salt from the soil to improve its fertility.

Role of genetics
Breeding programs and genetic engineering are powerful methods for enhancing natural phytoremediation capabilities, or for introducing new capabilities into plants. Genes for phytoremediation may originate from a micro-organism or may be transferred from one plant to another variety better adapted to the environmental conditions at the cleanup site. For example, genes encoding a nitroreductase from a bacterium were inserted into tobacco and showed faster removal of TNT and enhanced resistance to the toxic effects of TNT. Researchers have also discovered a mechanism in plants that allows them to grow even when the pollution concentration in the soil is lethal for non-treated plants. Some natural, biodegradable compounds, such as exogenous polyamines, allow the plants to tolerate concentrations of pollutants 500 times higher than untreated plants, and to absorb more pollutants.

Hyperaccumulators and biotic interactions
A plant is said to be a hyperaccumulator if it can concentrate the pollutants in a minimum percentage which varies according to the pollutant involved (for example: more than 1000 mg/kg of dry weight for nickel, copper, cobalt, chromium or lead; or more than 10,000 mg/kg for zinc or manganese). This capacity for accumulation is due to hypertolerance, or phytotolerance: the result of adaptative evolution from the plants to hostile environments through many generations. A number of interactions may be affected by metal hyperaccumulation, including protection, interferences with neighbour plants of different species, mutualism (including mycorrhizae, pollen and seed dispersal), commensalism, and biofilm.

Tables of hyperaccumulators

 * Hyperaccumulators table – 1 : Al, Ag, As, Be, Cr, Cu, Mn, Hg, Mo, Naphthalene, Pb, Pd, Pt, Se, Zn
 * Hyperaccumulators table – 2 : Nickel
 * Hyperaccumulators table – 3 : Radionuclides (Cd, Cs, Co, Pu, Ra, Sr, U), Hydrocarbons, Organic Solvents.

Phytoscreening
As plants are able to translocate and accumulate particular types of contaminants, plants can be used as biosensors of subsurface contamination, thereby allowing investigators to quickly delineate contaminant plumes. Chlorinated solvents, such as trichloroethylene, have been observed in tree trunks at concentrations related to groundwater concentrations. To ease field implementation of phytoscreening, standard methods have been developed to extract a section of the tree trunk for later laboratory analysis, often by using an increment borer. Phytoscreening may lead to more optimized site investigations and reduce contaminated site cleanup costs.

title: Phytoremediation


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Category:Superconductivity

Superconductivity is a phenomenon occurring in certain materials at low temperatures, characterised by the complete absence of electrical resistance and the expulsion of the interior magnetic field (the Meissner effect).

title: Category:Superconductivity


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Fairyland

Fairyland (Early Modern English: Faerie; Elfame (Scottish mythology; cf. Álfheimr (Norse mythology)) in English and Scottish folklore is the fabulous land or abode of fairies or fays. Old French faierie (Early Modern English faerie) referred to an illusion or enchantment, the land of the faes. Modern English (by the 17th century) fairy transferred the name of the realm of the fays to its inhabitants, e.g., the expression fairie knight in Edmund Spenser's The Faerie Queene refers to a "supernatural knight" or a "knight of Faerie" but was later re-interpreted as referring to a knight who is "a fairy".

Folklore
Fairyland may be referred to simply as Fairy or Faerie, though that usage is an archaism. It is often the land ruled by the "Queen of Fairy", and thus anything from fairyland is also sometimes described as being from the "Court of the Queen of " or from the Seelie court in Scottish folklore. The Scots word elfame or  "fairyland" has other variant forms, attested in Scottish witch trials, but Elf-hame or Elphame with the -hame stem (meaning 'home' in Scots) were conjectural readings by Pitcairn.

In Scots texts

Records of the Scottish witch trials reveal that many initiates claimed to have had congress with the "Queen of Elfame" and her retinue. On November 8, 1576, midwife Bessie Dunlop, a resident of Dalry, Scotland, was accused of sorcery and witchcraft. She answered her accusers that she had received tuition from Thomas Reid, a former barony officer who had died at the Battle of Pinkie 30 years earlier and from the Queen of "Court of Elfame" that lay nearby. It resulted in a conviction and she was burned at the stake in 1576.

Allison Peirson was burned as a witch in 1588 for conversing with the Queen of Elfame and for prescribing magic charms and potions (Byre Hills, Fife, Scotland). This same woman (styled "Alison Pearson") is also featured in Robert Sempill's ballad (1583) where she is said to have been in a fairy-ride. Sempill's piece mentions "Elphyne" glossed as "Elfland" or "Fairyland".

In the medieval verse romance and the Scottish ballad of Thomas the Rhymer, the title character is spirited away by a female supernatural being. Although identified by commentators as the Queen of Fairies, the texts refrain from specifically naming her or her domain except in ballad version A, in which she is referred to as the Queen of Elfland. Poet and novelist Robert Graves published his alteration of the ballad, replacing her name with "Queen of Elphame": "I'm not the Queen of Heaven, Thomas, That name does not belong to me; I am but the Queen of fair Elphame Come out to hunt in my follie."

Elfhame or Elfland is portrayed in various ways in these ballads and stories, most commonly as mystical and benevolent but sometimes as sinister and wicked. The mysteriousness of the land and its otherworldly powers are a source of skepticism and distrust in many tales. Additional journeys to the realm include the fairy tale "Childe Rowland", which presents a particularly negative view of the land.

title: Fairyland


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title: User talk:80.176.84.112


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Christian existentialism

Christian existentialism is a theo-philosophical movement which takes an existentialist approach to Christian theology. The school of thought is often traced back to the work of the Danish philosopher and theologian Søren Kierkegaard (1813–1855) who is widely regarded as the father of existentialism.

Kierkegaardian themes
Christian existentialism relies on Kierkegaard's understanding of Christianity. Kierkegaard addressed themes such as authenticity, anxiety, love, and the irrationality and subjectivity of faith, rejecting efforts to contain God in an objective, logical system. To Kierkegaard, the focus of theology was on the individual grappling with subjective truth rather than a set of objective claims – a point he demonstrated by often writing under pseudonyms that had different points of view. He contended that each person must make independent choices, which then constitute his or her existence. Each person suffers from the anguish of indecision (whether knowingly or unknowingly) until committing to a way to live. Kierkegaard posited three stages of human existence: the aesthetic, the ethical, and the religious, the latter coming after what is often called the leap of faith. Kierkegaard argued that the universe is fundamentally paradoxical, and that its greatest paradox is the transcendent union of God and humans in the person of Jesus Christ. He also posited having a personal relationship with God that supersedes all prescribed moralities, social structures and communal norms, since he asserted that following social conventions is essentially a personal aesthetic choice made by individuals.

Major premises
One of the major premises of Kierkegaardian Christian existentialism entails calling the masses back to a more genuine form of Christianity. This form is often identified with some notion of Early Christianity, which mostly existed during the first three centuries after Christ's crucifixion. Beginning with the Edict of Milan, which was issued by Roman Emperor Constantine I in AD 313, Christianity enjoyed a level of popularity among Romans and later among other Europeans. And yet Kierkegaard asserted that by the 19th century, the ultimate meaning of New Testament Christianity (love, cf. agape, mercy and loving-kindness) had become perverted, and Christianity had deviated considerably from its original threefold message of grace, humility, and love.

Another major premise of Kierkegaardian Christian existentialism involves Kierkegaard's conception of God and Love. For the most part, Kierkegaard equates God with Love. Thus, when a person engages in the act of loving, he is in effect achieving an aspect of the divine. Kierkegaard also viewed the individual as a necessary synthesis of both finite and infinite elements. Therefore, when an individual does not come to a full realization of his infinite side, he is said to be in despair. For many contemporary Christian theologians, the notion of despair can be viewed as sin. However, to Kierkegaard, a man sinned when he was exposed to this idea of despair and chose a path other than one in accordance with God's will.

A final major premise of Kierkegaardian Christian existentialism entails the systematic undoing of evil acts. Kierkegaard asserted that once an action had been completed, it should be evaluated in the face of God, for holding oneself up to divine scrutiny was the only way to judge one's actions. Because actions constitute the manner in which something is deemed good or bad, one must be constantly conscious of the potential consequences of his actions. Kierkegaard believed that the choice for goodness ultimately came down to each individual. Yet Kierkegaard also foresaw the potential limiting of choices for individuals who fell into despair.

The Bible
Christian Existentialism often refers to what it calls the indirect style of Christ's teachings, which it considers to be a distinctive and important aspect of his ministry. Christ's point, it says, is often left unsaid in any particular parable or saying, to permit each individual to confront the truth on his own. This is particularly evident in (but is certainly not limited to) his parables; for example in the Gospel of Matthew. A good example of indirect communication in the Old Testament is the story of David and Nathan in.

An existential reading of the Bible demands that the reader recognize that he is an existing subject, studying the words that God communicates to him personally. This is in contrast to looking at a collection of truths which are outside and unrelated to the reader. Such a reader is not obligated to follow the commandments as if an external agent is forcing them upon him, but as though they are inside him and guiding him internally. This is the task Kierkegaard takes up when he asks: "Who has the more difficult task: the teacher who lectures on earnest things a meteor's distance from everyday life, or the learner who should put it to use?" Existentially speaking, the Bible doesn't become an authority in a person's life until they permit the Bible to be their personal authority.

Notable Christian existentialists
In addition to Søren Kierkegaard, Christian existentialists include German Protestant theologians Paul Tillich and Rudolf Bultmann, American existential psychologist Rollo May (who introduced much of Tillich's thought to a general American readership), British Anglican theologian John Macquarrie, American philosopher Clifford Williams, French Catholic philosophers Maurice Blondel, Gabriel Marcel, Louis Lavelle, Emmanuel Mounier and Pierre Boutang and French Protestant Paul Ricœur, German philosopher Karl Jaspers, Spanish philosopher Miguel de Unamuno, and Russian philosophers Nikolai Berdyaev and Lev Shestov. Karl Barth added to Kierkegaard's ideas the notion that existential despair leads an individual to an awareness of God's infinite nature. Russian author Fyodor Dostoevsky could be placed within the tradition of Christian existentialism.

The roots of existentialism have been traced back as far as Augustine of Hippo. Some of the most striking passages in Pascal's Pensées, including the famous section on the Wager, deal with existentialist themes. Jacques Maritain, in Existence and the Existent: An Essay on Christian Existentialism, finds the core of true existentialism in the thought of Thomas Aquinas.

Existential theology
In the monograph, Existential Theology: An Introduction (2020), Hue Woodson provides a constructive primer to the field and, he argues, thinkers that can be considered more broadly as engaging with existential theology, defining a French school including Gabriel Marcel, Jacques Maritain, and Jean-Luc Marion, a German school including Immanuel Kant, Johann Gottlieb Fichte, Friedrich Wilhelm Joseph Schelling, Georg Wilhelm Friedrich Hegel, and Dietrich Bonhoeffer, and a Russian school including Fyodor Dostoyevsky, Leo Tolstoy, and Nikolai Berdyaev.

Radical existential Christianity
It has been claimed that radical existential Christians’ faith is based in their sensible and immediate and direct experience of God indwelling in human terms. It is suggested that individuals do not make or create their Christian existence; it does not come as a result of a decision one personally makes. The radical Protestants of the 17th century, for example Quakers may have been in some ways theo-philosophically aligned with radical existential Christianity.

title: Christian existentialism