text:
Denise Darvall

Denise Darvall  (27 February 1942 – 3 December 1967) was the donor in the world's first successful human heart transplant, performed at Groote Schuur Hospital, South Africa, by a team of surgeons led by Christiaan Barnard.

Injuries
Denise Darvall was seriously injured in a car accident on Main Road in Observatory, Cape Town. She and her family were visiting friends for afternoon tea and went shopping for cake. She and her mother, Myrtle Ann Darvall, were run over by salesman and police reservist Frederick Prins, who failed to see them. This was due to a large truck that obscured his view of them, and their view of his car. Her mother died immediately. Denise Darvall sustained a skull fracture and severe head injuries after the car flung her across the road; her head hit the wheel cap of her car. She required life support to remain alive, and was essentially brain dead by the time she made it into the hospital. At 9 p.m. on the day of the accident, the resuscitation team stopped attempts to revive her.

Father gives permission
Edward Darvall arranged for his fourteen-year-old son, who had witnessed the accident, to be taken away from the hospital. The 66-year-old Edward was also given a sedative, and he waited while doctors attempted to save his daughter. Two doctors, Coert Venter and Bertie Bosman, informed him that there was nothing further they could do for Denise. Bosman explained that there was a man in the hospital they might be able to help (Louis Washkansky), and asked Edward if he would consider allowing them to transplant Denise's heart.

Edward Darvall later said that, after thinking about his daughter for four minutes, he reached his decision and gave permission.

Declaration of death
Surgeons had a serious ethical problem because death then could only be declared by whole-body standards. The Harvard Criteria of brain death were not developed until 1968, nor were they adopted in South Africa or elsewhere for some years. The problem in this case was that, although Denise's brain was damaged, her heart was healthy. Various reports over the years attributed conflicting reasons for her heart stopping. For 40 years, Marius Barnard kept a secret: rather than wait for her heart to stop beating, his brother, Christiaan Barnard, who led the transplant team, had injected potassium into Denise's heart to paralyze it at Marius's urging. This rendered her technically dead by the whole-body standard.

Organ donation
After her father gave his consent, Darvall's heart was donated to Louis Washkansky. Her kidneys were given to 10-year-old Jonathan van Wyk. Due to apartheid, the kidney donation to Van Wyk was controversial because he was khoi, while Denise was white. Washkansky lived 18 days before succumbing to pneumonia.

Burial and trial
Edward Darvall arranged for his wife and daughter to be cremated at the Maitland Crematorium, Maitland, Cape Town. The joint ceremony took place on Wednesday, 6 December, and their ashes were later placed into a niche on site. Edward Darvall died in 1970 and was also cremated there.

Darvall was present at the trial of the drunk driver who was convicted of murder. He made a statement through a lawyer, asking the magistrate to show the "greatest possible mercy" to the driver. "The tragic death of his daughter was not meaningless, but benefited humanity," he said.

title: Denise Darvall


text:
Wikipedia:Articles for deletion/ZEPO

ZEPO
Fancruft, misposted talk page comment Gazpacho 11:25, 3 Dec 2004 (UTC)
 * There are more where that came from, but I'll wait for a reaction. Gazpacho
 * Delete. See above.  --Randy 12:03, 3 Dec 2004 (UTC)
 * If it can't be left alone, Merge and redirect to Minor characters in Tintin, which will become incredibly long and need to be split up again. Kappa 12:14, 3 Dec 2004 (UTC)
 * delete or merge and delete. An encyclopedia isn't the right place for fans to retell their favorite stories in a manner devoid of the talent and flair of the original author, but for the time being the best we can do is limit the damage. --[[User:Tony Sidaway|Tony Sidaway|Talk]] 13:06, 3 Dec 2004 (UTC)
 * Delete: DCEdwards1966 14:30, Dec 3, 2004 (UTC)
 * Delete: If people must forget that these characters are not known outside of their fiction, then they need to have a Characters of article. If they cannot restrain themselves and must relive every moment by telling the whole stories again, then they can do a Characters of A-D, etc.  Preferrably, the fans will know that the information they're relating is not necessary for understanding the master fiction and that people who know enough to search for the characters already know the stories and don't need the summary. Geogre 15:21, 3 Dec 2004 (UTC)
 * Well put. I'm beginning to think that the Wiki is being used as a meeting place for fellow fans.  But this is supposed to be an encyclopedia.  Hello? --[[User:Tony Sidaway|Tony Sidaway|Talk]] 16:20, 3 Dec 2004 (UTC)
 * "Beginning", eh? It's been established for a long time now. Delete this as trivial fancruft. -R. fiend 18:26, 3 Dec 2004 (UTC)
 * Delete. [[User:GRider|GRider\talk]] 19:18, 3 Dec 2004 (UTC)
 * Delete. Don't call it "fancruft," but do delete it. Wikipedia articles are not encomia/fan pages. [[User:Dpbsmith|Dpbsmith (talk)]] 02:08, 4 Dec 2004 (UTC)

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

title: Wikipedia:Articles for deletion/ZEPO


text: Category:Australian parliaments

title: Category:Australian parliaments


text:
Emotional Design

Emotional Design is both the title of a book by Donald Norman and of the concept it represents.

Content
The main topic covered is how emotions have a crucial role in the human ability to understand the world, and how they learn new things. In fact, studies show that emotion influences people's information processing and decision-making For example: aesthetically pleasing objects appear to the user to be more effective, by virtue of their sensual appeal. This is due to the affinity the user feels for an object that appeals to them, due to the formation of an emotional connection with the object. Consequently, It is believed that companies and designers should not rely on pricey marketing; they should link their services to customers’ emotions and daily lives to get them “hooked” on a product.

Norman's approach is based on classical ABC model of attitudes. However, he changed the concept to be suitable for application in design. The three dimensions have new names (visceral, behavioral and reflective level) and partially new content.

The first is the “visceral” level which is about immediate initial reactions people unconsciously do and are greatly determined by sensory factors (look, feel, smell, and sound). Norman argued that attractive products work better because they can engage multiple senses to evoke emotional responses and bonds through use of visual factors of color, texture, and shape. He contends that beautifully designed products make people feel good. This is where appearance matters, and first impressions are formed, and the texture and surface of an object become important in evoking a specific emotional reaction. Thus, viscerally well-designed products tend to evoke positive emotions and experiences in the consumers.

The second is “behavioral” level which is all about use; what does a product do, what function does it perform? Good behavioral design should be human centered, focusing upon understanding and satisfying the needs of people who use the product. This level of design starts with understanding the user’s demands, ideally derived from conducting studies of relevant behavior in homes, schools, places of work, or wherever the product will be used.

The third is “reflective” level at which the product has meaning for consumers; the emotional connections which are formed over time using the product and are influenced by cultural, social, and personal factors. Via good reflective design, people will feel a sense of personal bond and identity with an object, and it will become a part of their daily lives. It is how we remember the experience itself and how it made us feel.

In summary, the visceral level concerns itself with the aesthetic or attractiveness of an object. The behavioral level considers the function and usability of the product. The reflective level takes into account prestige and value; this is often influenced by the branding of a product. In the book, Norman shows that design of most objects are perceived on all three levels (dimensions). Therefore, a good design should address all three levels. Norman also mentions in his book that "technology should bring more to our lives than the improved performance of tasks: it should be richness and enjoyment." (pg 101) He stresses the importance of creating fun and pleasurable products instead of dull and dreary ones. By mixing all three design levels and the four pleasures by Patrick W. Jordan, the product should evoke an emotion when the user is interacting with the product. The interaction of these three levels of design leads to the culmination of the “emotional design,” a new, holistic approach to designing successful products and creates enduring and delightful product experience.

Emotional design is an important element when generating ideas for human-centered opportunities. People can more easily relate to a product, a service, a system, or an experience when they are able to connect with it at a personal level. Rather than thinking that there is one solution for all, both Norman's three design levels and Jordan's four pleasures of design can help us design for each individual's needs. Both concepts can be used as tools to better connect with the end user that it is being design for. This viewpoint is gaining a lot of acceptance in the business world; for example, Postrel argues that the “look and feel” of people, places, and things are more important than we think. In other words, people today are more concerned with the look and feel of products than with their functionality.

Cover
The front cover of Emotional Design showcases Philippe Starck's Juicy Salif, an icon of industrial design that Norman heralds as an "item of seduction" and the manifestation of his thesis.

Concept
Emotions are a fundamental aspect of human experience, and our emotional responses to people, places, and objects are shaped by a complex interplay of factors. As Peter Boatwright and Jonathan Cagan point out, “emotion is human, and its reach is vast". In the current marketplace, successful companies are not just creating good products, but also producing captivating ones that not only attract consumer attention, but also influence their demands and increase their engagement based on both the product's performance and how it makes them feel.

Emotional design is also influenced by the four pleasures, identified in Designing Pleasurable Products by Patrick W. Jordan. In this book Patrick W. Jordan builds on the work of Lionel Tiger to identify the four kinds of pleasures. Jordan describes these as “modes of motivation that enhance a product or a service. Life is unenjoyable without appreciating what we do, and it is human intuition to seek pleasure.” The idea of incorporating pleasure into products is to provide the buyer with an added experience. Patrick W. Jordan points out in his book that a product should be more than something functional and/or aesthetically pleasing and it should evoke an emotion through the use of pleasures. Although it is hard to achieve all four pleasures into one product, by simply focusing on one, it might be what can bring a product from being chosen over another. The four pleasures that could be implemented into products or a service are:

Physio-pleasure deals with the body and pleasure derived from the sensory organs. This includes taste, touch, and smell, as well as sexual and sensual pleasure. In the context of products, these pleasures can be associated with tactile properties (the way interaction with the product feels) or olfactory properties (the leather smell in a new car, for example).

Socio-pleasure is the enjoyment derived from the company of others. Products can facilitate social interaction in a number of ways, either through providing a service that brings people together (a coffee-maker enabling a host to provide their guests with fresh coffee) or by being a talking point in and of itself.

Psycho-pleasure is defined as pleasure which is gained from the accomplishment of a task. In a product context, psycho-pleasure relates to the extent in which a product can help in task completion and make the accomplishment a satisfying experience. This pleasure may also take into account the efficiency with which a task can be completed (a word processor with built-in formatting decreasing the amount of time spent on creating a document, for example).

Ideo-pleasure refers to pleasure derived from theoretical entities such as books, music, and art. It may relate to the aesthetics of a product and the values it embodies. A product made of bio-degradable material, for example, can be seen as holding value in the environment which, in turn, may appeal to someone who wishes to be environmentally responsible.

In film
People mostly know film as an entertainment but film can do more than that. Gianluca Sergi and Alan Lovell cite a study in their essays on cinema entertainment that the film users (the viewers) see films as an escape from reality and a source of amusement, relaxation and knowledge, meaning films also function as an educational tool and a method of stress relief. Specifically, comparing to emotional design, film fulfills the requirements it needs. Firstly, movies have an attractive appearance. Whether movies start with a black and white concept like in Oz the Great and Powerful or an oddly colorful, but serious theme as in Suicide Squad, they usually capture the audiences’ attention, who then want to continue watching the whole show. The “wow” reaction that viewers have is the visceral reaction, according to how Don Norman explains the three levels of design in his book Emotional Design: Why We Love (or Hate) Everyday Things, “[w]hen we perceive something as “pretty,” that judgment comes directly from the visceral level.” (65–66) Secondly, the behavioral level: in a literal sense, the only function of movies is to be watched. With the advancement of technology, movies now have high resolution, as well as various lighting dynamics and camera angles. Lastly, applying Don Norman’s statement on how products can add positively to the self-image of the users and how good the users feel after owning the products, film does influence its viewers greatly and affect the way they act. Trice and Greer indicate that “we identify with characters on the screen who are like us in terms of age, sex and other characteristics; we also identify with people we would like to be like.[...] We tend to imitate “good” characters” (135). That being said, movies do not label any of their characters good or bad in a straightforward manner; the viewers only learn about the characters through the narrative, which production design is a part of.

In physical space design
Emotional design is one of the important aspects of creating a successful and enjoyable experience for customers in a physical space such as Starbucks. Emotional design refers to the ability of design elements to evoke certain emotions or feelings in customers. [13] One example of emotional design at Starbucks is the use of warm lighting, comfortable seating, and relaxing music to create a cozy and inviting atmosphere. This creates a sense of comfort and relaxation, which can be particularly appealing to customers who are looking for a place to unwind or catch up with friends. Another example of emotional design at Starbucks is the use of distinctive and recognizable branding elements, such as the green logo, the mermaid icon, and the signature cup design. These elements create a sense of familiarity and loyalty among customers, who often associate the Starbucks brand with a certain lifestyle or personality.

Relationship between emotion and design
Emotion and design are intricately linked in the field of emotional design, which is concerned with creating products, interfaces, and experiences that engage users on an emotional level. Emotions design involves the intentional use of design elements to evoke specific emotional responses in users.

The relationship between emotion and design in emotional design is rooted in the idea that emotions are a key driver of human behavior. People are more likely to engage with products and interfaces that evoke positive emotions such as joy, excitement, and delight, while negative emotions such as frustration and anger can lead to disengagement and avoidance.

In emotional design, designers use a variety of techniques to evoke emotions in users. These may include the use of color, typography, imagery, sound, and motion, among others. For example, a website might use bright, cheerful colors and playful animations to create a sense of fun and whimsy, while a meditation app might use soft, calming colors and soothing sounds to create a sense of relaxation and tranquility.

title: Emotional Design


text:
Guanabara (state)

The State of Guanabara (Estado da Guanabara, ) was a state of Brazil from 1960 to 1975, which included the city of Rio de Janeiro. It was named after Guanabara Bay to the east of the state. It was created from the territory of the old Federal District when the federal capital moved from Rio de Janeiro to Brasília and a new Federal District was erected around the new capital. In 1975 the State of Guanabara was merged with the surrounding State of Rio de Janeiro, within which its territory became the Municipality of Rio de Janeiro.

History
In 1834, the city of Rio de Janeiro was elevated to Imperial capital of the Empire of Brazil, and was included in the Neutral Municipality (Município Neutro). The surrounding Province of Rio de Janeiro (which did not include the city) had its capital city in Niterói. When Brazil became a republic in 1889, the city of Rio de Janeiro remained the national capital, and the territory of the Neutral Municipality became the Federal District (Distrito Federal), while the surrounding homonymous province became a state, still with Niterói as its capital.

In 1960 the Fourth Brazilian Republic moved the national capital to Brasília and a new Federal District was created for it. The old Federal District became a state, named Guanabara.

Throughout its 15-year existence, Guanabara was a unique state in many ways. Comprising only one city (albeit a large one), Guanabara was the smallest Brazilian state by land. It also had the peculiarity of being the only Brazilian state that was not divided into municipalities. There was no mayor, municipal legislature or any other municipal government institution there, as the city of Rio de Janeiro was directly administered by the state government of Guanabara. On the other hand, that also meant that the Guanabara state government had some functions that were normally assigned to municipalities elsewhere, such as regulating urban zoning, inspecting the safety of buildings, or issuing licenses for commercial venues, for example.

All the characteristics disappeared in 1975, when the military dictatorship merged the state of Guanabara into the state of Rio de Janeiro. (Legally, the merger dissolved both Guanabara and Rio de Janeiro, creating a new state, also named Rio de Janeiro.) The capital of the reconstituted state of Rio de Janeiro was changed from Niterói back to the city of Rio de Janeiro, as had been the case until 1834.

Electoral history
In gubernatorial elections held on 3 October 1965, Francisco Negrão de Lima, a candidate supported by a coalition formed by PTB and PSD and a close associate of former President Juscelino Kubitschek, won the race to be the state's governor, garnering 52% of the votes cast.

title: Guanabara (state)


text:
The Croydon Advertiser

The Croydon Advertiser (with locally branded editions) is a paid-for weekly newspaper with five editions covering the London Boroughs of Croydon, Sutton and two neighbouring towns and with a free up-to-the-minute maintained web presence.

History
The Croydon newspaper was founded by Jesse Ward in 1869, and it and the other Advertiser publications later became part of the Northcliffe Media Group, which is owned by the Daily Mail and General Trust during its existence the largest newspaper publisher in the United Kingdom. The paper converted from a broadsheet to a compact (tabloid) format on 31 March 2006.

In September 2010 the Advertiser adopted a short-lived hybrid part-paid, part free strategy, with 70,000 copies delivered to homes across Sutton and Croydon.

"Lillian's Law"
In June 2010, 14-year-old Lillian Groves was killed by a speeding car driver who had been smoking cannabis. Lillian had been in the street outside her New Addington home when she was hit by the car. In August 2011, the Advertiser launched a campaign alongside Lillian's family calling on the Government to reform the law on drug driving. In November that year Lillian's family met with Prime Minister David Cameron, who promised to introduce new legislation, adding that her death "proved the need for roadside drugs testing" and that the then driving legislation, which relied on police to prove impairment by other means, was "all wrong". In early 2012 the Department for Transport, announced the creation of an expert panel to explore the implications of the new law ("Lillian's Law", as it became known). In May 2012, a new drug driving offence was included in the Queen's Speech as part of the Crime and Courts Bill, adopted in the Crime and Courts Act 2013. Prime Minister David Cameron credited the campaign and the bravery of the Groves family.

Broad ownership
In 2012, ownership broadened as a result of a co-venture enterprise Local World between media groups: Daily Mail and General Trust, Yattendon Group, Trinity Mirror and others, taking over Northcliffe Media.

Editors

 * Current
 * Andy Warden
 * Previous:
 * David Randall, current night editor of The Independent on Sunday
 * Malcolm Starbrook, editor of the East London Advertiser
 * Ian Carter, editorial director, Kent Messenger Group.

title: The Croydon Advertiser


text:
Hyperbolic 3-manifold

In mathematics, more precisely in topology and differential geometry, a hyperbolic 3-manifold is a manifold of dimension 3 equipped with a hyperbolic metric, that is a Riemannian metric which has all its sectional curvatures equal to −1. It is generally required that this metric be also complete: in this case the manifold can be realised as a quotient of the 3-dimensional hyperbolic space by a discrete group of isometries (a Kleinian group).

Hyperbolic 3-manifolds of finite volume have a particular importance in 3-dimensional topology as follows from Thurston's geometrisation conjecture proved by Perelman. The study of Kleinian groups is also an important topic in geometric group theory.

Importance in topology
Hyperbolic geometry is the most rich and least understood of the eight geometries in dimension 3 (for example, for all other geometries it is not hard to give an explicit enumeration of the finite-volume manifolds with this geometry, while this is far from being the case for hyperbolic manifolds). After the proof of the Geometrisation conjecture, understanding the topological properties of hyperbolic 3-manifolds is thus a major goal of 3-dimensional topology. Recent breakthroughs of Kahn–Markovic, Wise, Agol and others have answered most long-standing open questions on the topic but there are still many less prominent ones which have not been solved.

In dimension 2 almost all closed surfaces are hyperbolic (all but the sphere, projective plane, torus and Klein bottle). In dimension 3 this is far from true: there are many ways to construct infinitely many non-hyperbolic closed manifolds. On the other hand, the heuristic statement that "a generic 3-manifold tends to be hyperbolic" is verified in many contexts. For example, any knot which is not either a satellite knot or a torus knot is hyperbolic. Moreover, almost all Dehn surgeries on a hyperbolic knot yield a hyperbolic manifold. A similar result is true of links (Thurston's hyperbolic Dehn surgery theorem), and since all 3-manifolds are obtained as surgeries on a link in the 3-sphere this gives a more precise sense to the informal statement. Another sense in which "almost all" manifolds are hyperbolic in dimension 3 is that of random models. For example, random Heegaard splittings of genus at least 2 are almost surely hyperbolic (when the complexity of the gluing map goes to infinity).

The relevance of the hyperbolic geometry of a 3-manifold to its topology also comes from the Mostow rigidity theorem, which states that the hyperbolic structure of a hyperbolic 3-manifold of finite volume is uniquely determined by its homotopy type. In particular, geometric invariants such as the volume can be used to define new topological invariants.

Manifolds of finite volume
In this case one important tool to understand the geometry of a manifold is the thick-thin decomposition. It states that a hyperbolic 3-manifold of finite volume has a decomposition into two parts:
 * the thick part, where the injectivity radius is larger than an absolute constant;
 * and its complement, the thin part, which is a disjoint union of solid tori and cusps.

Geometrically finite manifolds
The thick-thin decomposition is valid for all hyperbolic 3-manifolds, though in general the thin part is not as described above. A hyperbolic 3-manifold is said to be geometrically finite if it contains a convex submanifold (its convex core) onto which it retracts, and whose thick part is compact (note that all manifolds have a convex core, but in general it is not compact). The simplest case is when the manifold does not have "cusps" (i.e. the fundamental group does not contain parabolic elements), in which case the manifold is geometrically finite if and only if it is the quotient of a closed, convex subset of hyperbolic space by a group acting cocompactly on this subset.

Manifolds with finitely generated fundamental group
This is the larger class of hyperbolic 3-manifolds for which there is a satisfying structure theory. It rests on two theorems:
 * The tameness theorem which states that such a manifold is homeomorphic to the interior of a compact manifold with boundary;
 * The ending lamination theorem which provides a classification of hyperbolic structure on the interior of a compact manifold by its "end invariants".

Hyperbolic polyhedra, reflection groups
The oldest construction of hyperbolic manifolds, which dates back at least to Poincaré, goes as follows: start with a finite collection of 3-dimensional hyperbolic finite polytopes. Suppose that there is a side-pairing between the 2-dimensional faces of these polyhedra (i.e. each such face is paired with another, distinct, one so that they are isometric to each other as 2-dimensional hyperbolic polygons), and consider the space obtained by gluing the paired faces together (formally this is obtained as a quotient space). It carries a hyperbolic metric which is well-defined outside of the image of the 1-skeletons of the polyhedra. This metric extends to a hyperbolic metric on the whole space if the two following conditions are satisfied: A notable example of this construction is the Seifert–Weber space which is obtained by gluing opposite faces of a regular dodecahedron.
 * for each (non-ideal) vertex in the gluing the sum of the solid angles of the polyhedra to which it belongs is equal to $$4\pi$$;
 * for each edge in the gluing the sum of the dihedral angles of the polyhedra to which it belongs is equal to $$2\pi$$.

A variation on this construction is by using hyperbolic Coxeter polytopes (polytopes whose dihedral angles are of the form $$\pi/m, m \in \mathbb N$$). Such a polytope gives rise to a Kleinian reflection group, which is a discrete subgroup of isometries of hyperbolic space. Taking a torsion-free finite-index subgroup one obtains a hyperbolic manifold (which can be recovered by the previous construction, gluing copies of the original Coxeter polytope in a manner prescribed by an appropriate Schreier coset graph).

Gluing ideal tetrahedra and hyperbolic Dehn surgery
In the previous construction the manifolds obtained are always compact. To obtain manifolds with cusps one has to use polytopes which have ideal vertices (i.e. vertices which lie on the sphere at infinity). In this setting the gluing construction does not always yield a complete manifold. Completeness is detected by a system of equations involving the dihedral angles around the edges adjacent to an ideal vertex, which are commonly called Thurston's gluing equations. In case the gluing is complete the ideal vertices become cusps in the manifold. An example of a noncompact, finite volume hyperbolic manifold obtained in this way is the Gieseking manifold which is constructed by gluing faces of a regular ideal hyperbolic tetrahedron together.

It is also possible to construct a finite-volume, complete hyperbolic manifold when the gluing is not complete. In this case the completion of the metric space obtained is a manifold with a torus boundary and under some (not generic) conditions it is possible to glue a hyperbolic solid torus on each boundary component so that the resulting space has a complete hyperbolic metric. Topologically, the manifold is obtained by hyperbolic Dehn surgery on the complete hyperbolic manifold which would result from a complete gluing.

It is not known whether all hyperbolic 3-manifolds of finite volume can be constructed in this way. In practice however this is how computational software (such as SnapPea or Regina) stores hyperbolic manifolds.

Arithmetic constructions
The construction of arithmetic Kleinian groups from quaternion algebras gives rise to particularly interesting hyperbolic manifolds. On the other hand, they are in some sense "rare" among hyperbolic 3-manifolds (for example hyperbolic Dehn surgery on a fixed manifold results in a non-arithmetic manifold for almost all parameters).

The hyperbolisation theorem
In contrast to the explicit constructions above it is possible to deduce the existence of a complete hyperbolic structure on a 3-manifold purely from topological information. This is a consequence of the Geometrisation conjecture and can be stated as follows (a statement sometimes referred to as the "hyperbolisation theorem", which was proven by Thurston in the special case of Haken manifolds):

"If a compact 3-manifold with toric boundary is irreducible and algebraically atoroidal (meaning that every $\pi_1$-injectively immersed torus is homotopic to a boundary component) then its interior carries a complete hyperbolic metric of finite volume."

A particular case is that of a surface bundle over the circle: such manifolds are always irreducible, and they carry a complete hyperbolic metric if and only if the monodromy is a pseudo-Anosov map.

Another consequence of the Geometrisation conjecture is that any closed 3-manifold which admits a Riemannian metric with negative sectional curvatures admits in fact a Riemannian metric with constant sectional curvature -1. This is not true in higher dimensions.

Virtual properties
The topological properties of 3-manifolds are sufficiently intricate that in many cases it is interesting to know that a property holds virtually for a class of manifolds, that is for any manifold in the class there exists a finite covering space of the manifold with the property. The virtual properties of hyperbolic 3-manifolds are the objects of a series of conjectures by Waldhausen and Thurston, which were recently all proven by Ian Agol following work of Jeremy Kahn, Vlad Markovic, Frédéric Haglund, Dani Wise and others. The first part of the conjectures were logically related to the virtually Haken conjecture. In order of strength they are: Another conjecture (also proven by Agol) which implies 1-3 above but a priori has no relation to 4 is the following :
 * 1) (the surface subgroup conjecture) The fundamental group of any hyperbolic manifold of finite volume contains a (non-free) surface group (the fundamental group of a closed surface).
 * 2) (the Virtually Haken conjecture) Any hyperbolic 3-manifold of finite volume is virtually Haken; that is, it contains an embedded closed surface such that the embedding induces an injective map between fundamental groups.
 * 3) Any hyperbolic 3-manifold of finite volume has a finite cover with a nonzero first Betti number.
 * 4) Any hyperbolic 3-manifold of finite volume has a finite cover whose fundamental group surjects onto a non-abelian free group (such groups are usually called large).
 * 5. (the virtually fibered conjecture) Any hyperbolic 3-manifold of finite volume has a finite cover which is a surface bundle over the circle.

Geometric convergence
A sequence of Kleinian groups is said to be geometrically convergent if it converges in the Chabauty topology. For the manifolds obtained as quotients this amounts to them being convergent in the pointed Gromov-Hausdorff metric.

Jørgensen–Thurston theory
The hyperbolic volume can be used to order the space of all hyperbolic manifold. The set of manifolds corresponding to a given volume is at most finite, and the set of volumes is well-ordered and of order type $$\omega^\omega$$. More precisely, Thurston's hyperbolic Dehn surgery theorem implies that a manifold with $$m$$ cusps is a limit of a sequence of manifolds with $$l$$ cusps for any $$0\le l < m$$, so that the isolated points are volumes of compact manifolds, the manifolds with exactly one cusp are limits of compact manifolds, and so on. Together with results of Jørgensen the theorem also proves that any convergent sequence must be obtained by Dehn surgeries on the limit manifold.

Quasi-Fuchsian groups
Sequences of quasi-fuchsian surface groups of given genus can converge to a doubly degenerate surface group, as in the double limit theorem.

title: Hyperbolic 3-manifold


text: Category:Texas culture

title: Category:Texas culture


text:
Talk:Caherdavin

Untitled
Well if Caherdavin gets a page, then Clareview should definitely have one!

 * Why not? Seabhcán 01:20, 4 Dec 2004 (UTC)

Gabhala is censoring this page. Who gives him the right.
no it isn't

Yes i was censoring - censoring involves hiding the truth... "Encyclopedic content must be verifiable" i am sorry

Removed "(are they former drug addicts?)" - this is speculation and possibly slanderous. Ma11achy (talk) 15:40, 19 January 2009 (UTC)

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title: Talk:Caherdavin


text:
Category talk:New Zealand people

Untitled
Alphabeticized all people by surname (previously there was a mixture). Stombs 11:34, Dec 3, 2004 (UTC)

title: Category talk:New Zealand people


text:
DJ Keoki

George Lopez (born October 23, 1966), known by his stage name DJ Keoki or Keoki Franconi, is a Salvadoran-American electronic musician and DJ. Born in El Salvador and raised in Hawaii, Keoki began advertising himself as "superstar" shortly after moving to New York City.

Biography
Keoki Franconi was born in El Salvador. He moved to Kihei, Maui, when he was 8. After graduating from Kailua High School, he moved to the mainland to study at an airline school in California. Franconi worked at several airlines in New York City, among them the now defunct Trans World Airlines. He also was a busboy at Danceteria club during this time. That was where he began to start DJing. He recalls,

"I kept bugging a nearby club's manager to, please, please, please let me DJ there. I told him I knew how to do it, even though I only had a small collection of records and one turntable at home. He let me play a lounge gig on some of the slower nights. He told me to 'play whatever the fuck you want, so long as they stay,' words I've continued to live by to this day."

Club Kids and Michael Alig
While in New York City, he met and began a romance with Michael Alig. Alig rose to international notability as the head of the Club Kids, a group of diverse people who would dress in costumes each night and form parties in New York and across the United States.

Dance music writer Jennifer Warner remembers,

"I was marking the side of a mile-high stack of party invites with a huge purple pen and this body appeared, covered in silver glitter, wearing what looked like a diaper and dragging a boy [Michael Alig], also sporting a falling-off diaper, minus the glitter but made up like a clown."

While DJing at "Disco 2000", Alig's party night at the Limelight, Franconi was alleged to have passed out on the turntables while performing a set. He has completely denied the allegation, stating that it indeed never happened.

Franconi had a successful career during the late 1990s and early 2000s as DJ Keoki; he released a number of CDs over that decade and was hired to play for thousands of people at massive raves. In 2006 and 2007, he toured in the United States and Europe on the Club Party Monster Tour, a tribute to the film Party Monster (2003) as well as a nod to the Club Kid scene that shot him into stardom. During the tour, he was known for dressing extravagantly, wearing makeup, and sporting a number of tattoos.

Keoki toured and performed at The Viper Room in Los Angeles, California, Shag in Denver, Colorado, Club Tantra in Tampa, Florida, VIA Afterhours in Houston, Texas, Amazura Concert Hall in Queens, New York, Hard Rock Cafe in Fort Lauderdale, Florida. He also makes annual appearances in Moscow at the Gaudi Fest during Halloween, and has played at the Love Parade in Berlin, Germany. In January 2017, he was arrested in New York City after a man in his apartment died of a drug overdose, when the officers entering his apartment found it contained illegal narcotics. Following the incident, he entered a rehabilitation program and announced the cancellation of all of his upcoming events.

Discography
1991 – DJ Keoki Presents Disco 2000 – Volume One (12")

1991 – DJ Keoki Presents Disco 2000 – Volume Two (12")

1993 – We Are One

1994 – Journeys By DJ 1995 – All Mixed Up

1996 – Disco Death Race 2000

1996 – The Transatlantic Move

1997 – Ego Trip

1998 – Inevitable Alien Nation

1998 – Altered Ego Trip (The Remix Album)

2000 – djmixed.com/keoki

2001 – Jealousy (also released in a Limited Edition 2XCD version with bonus CD w/ exclusive remixes)

2002 – Keokiclash

2002 – Misdirected Jealousy: The Remix Album

2003 – Kill The DJ

2004 – The Great Soundclash Swindle

2010 – Talking to Yourself

2019 – Born to Attack

In popular media
A Fabulous but True Tale of Murder in Clubland]]''.
 * His song "Caterpillar" was featured in "Raging Abe Simpson and His Grumbling Grandson in 'The Curse of the Flying Hellfish', a 1996 episode of The Simpsons.
 * Keoki was interviewed for the 1999 film Better Living Through Circuitry, a documentary discussing electronic dance music culture.
 * James St. James depicts Keoki in the 1999 memoir ''[[Disco Bloodbath|Disco Bloodbath:
 * Wilmer Valderrama portrays Keoki in the 2003 film Party Monster, a biopic about James St. James and Michael Alig.

title: DJ Keoki


text: Category:Companies based in Utah

title: Category:Companies based in Utah


text:
Talk:Yoshirō Mori

Untitled
We should not have a table here because WikiProject Writing Captions says we should write in complete sentences and convention and common grammar states that we should not capitalize "born". --Jiang 11:38, 3 Dec 2004 (UTC)
 * the subject is Japanese, not Korean
 * pink is not neutral
 * this defies Manual of Style (Japan-related articles)
 * the photo in the table is not a portrait so it is inapporpriate to showcase it in this manner
 * the photo is right aligned and therefore leaves uneven whitespace

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title: Talk:Yoshirō Mori


text:
Category:3-manifolds

Once a small subfield of geometric topology, the theory of 3-manifolds has experienced tremendous growth in the latter half of the 20th century. The methods used tend to be quite specific to three dimensions, since different phenomena occur for 4-manifolds and higher dimensions.

Category:Knot theory may also be of interest because of the substantial overlap in content.

title: Category:3-manifolds


text:
Rutherford Appleton Laboratory

The Rutherford Appleton Laboratory (RAL) is one of the national scientific research laboratories in the UK operated by the Science and Technology Facilities Council (STFC). It began as the Rutherford High Energy Laboratory, merged with the Atlas Computer Laboratory in 1975 to create the Rutherford Lab; then in 1979 with the Appleton Laboratory to form the current laboratory.

It is located on the Harwell Science and Innovation Campus at Chilton near Didcot in Oxfordshire, United Kingdom. It has a staff of approximately 1,200 people who support the work of over 10,000 scientists and engineers, chiefly from the university research community. The laboratory's programme is designed to deliver trained manpower and economic growth for the UK as the result of achievements in science.

History
RAL is named after the physicists Ernest Rutherford and Edward Appleton.

The National Institute for Research in Nuclear Science (NIRNS) was formed in 1957 to operate the Rutherford High Energy Laboratory established next to the Atomic Energy Research Establishment on the former RAF Harwell airfield between Chilton and Harwell. The 50 MeV proton linear accelerator was transferred from the Atomic Energy Research Establishment to the new laboratory to become a national facility for particle physics as the Nimrod. Some components of this linear accelerator are still operating as part of the ISIS Neutron and Muon Source injector linac over 50 years after their first use. Since then the laboratory has grown both with the expansion of its established facilities, and the incorporation of facilities from other institutions to provide the benefits from economies of scale. The major mergers were in 1975 with the adjacent Atlas Computer Laboratory creating the Rutherford Laboratory, and then in 1979 with the Appleton Laboratory to form the current Rutherford Appleton Laboratory. With the closure of the Royal Greenwich Observatory in 1998, some small offices also moved to RAL. Similarly, laser technology moved to RAL from Joint European Torus at Culham to become the foundation of the Central Laser Facility.

To be able to decide the priorities for government funding across all areas of scientific research, the Science & Technology Act of 1965 created the Science Research Council (SRC) which took over management of the Rutherford High Energy Laboratory from NIRNS along with many other previously disparate UK science bodies. To prioritise economic impact over blue skies research, the SRC became the Science and Engineering Research Council (SERC) in the early 1980s, and in 1994, the SERC was eventually divided into three Research Councils (the EPSRC, PPARC and the CCLRC – which took responsibility for RAL from EPSRC in 1995 ), so that each could then focus its development around one of three incompatible business models – administratively efficient short duration grant distribution, medium term commitments to international agreements, long-term commitments to staff and facilities provision. To unify the planning of the provision for UK scientists to access large national and international facilities, in 2007 the CCLRC merged with PPARC and incorporated the nuclear physics discipline from EPSRC to create the Science and Technology Facilities Council which then took responsibility for RAL.

Facilities
The site hosts some of the UK's major scientific facilities, including:

 * the ISIS Neutron and Muon Source (1984), a spallation neutron source.
 * the Central Laser Facility, providing access to large scale laser systems for researchers from the United Kingdom and other EU countries.
 * the Diamond Light Source synchrotron, which officially opened in January 2007.

Also hosted are:
 * Microelectronics Support Centre (MSC)
 * NGS UK national academic computing grid
 * GridPP's Tier1 computing centre
 * Energy Research Unit
 * various other resources and services in microelectronics, atmospheric sciences, spectroscopy and renewable energy research.

Programmes
In addition to hosting facilities for the UK, RAL also operates departments to co-ordinate the UK programme of participation in major international facilities. The largest of these are the areas of particle physics, and space science.

In particle physics the largest international project is the Large Hadron Collider at CERN, but RAL has a major role in the UK participation in several other projects such as:

 * the MINOS – Main Injector Neutrino Oscillation Search,
 * the T2K – to measure the third type of neutrino oscillation,
 * experiments to measure the electric dipole moment of the neutron at the Institut Laue–Langevin,
 * International Muon Ionization Cooling Experiment,
 * the UK Dark Matter Collaboration experiment at the Boulby Mine in Yorkshire.

In space science, RAL builds components for, and tests satellites, as well as receiving, analysing and curating the data collected by those spacecraft. Satellite missions in which RAL has a significant role include:

 * the STEREO Solar TErrestrial RElations Observatory,
 * the SOHO Solar and Heliospheric Observatory,
 * Solar-B investigating the Solar Corona,
 * Galileo European satellite navigation system,
 * MSG-2 meteorological satellite,
 * Venus Express investigating the atmosphere of Venus,
 * TopSat taking high resolution pictures of the Earth,
 * Double Star (Polar) investigating the interaction of the Earth and the Sun,
 * EOS-Aura monitoring the global temperature of the Earth's atmosphere,
 * Rosetta (spacecraft) investigating the composition of comets,
 * Chandrayaan-1 mission to investigate the moon,
 * Herschel Space Observatory and Planck (spacecraft) space telescope.
 * Badr-B, developed the CCD cameras for the satellite.

Economic impact
In recent years, there has been an increasing political drive towards requiring that the science undertaken at RAL and the technology created there result in a proportional economic benefit to the UK to justify the investment of public funds in the laboratory. RAL management has argued that this is achieved in various ways, including:

 * From the commercial products and services resulting from the scientific results which are achieved on the facilities at RAL (e.g., through new materials, new drugs etc.).
 * Through the early warning of disasters predicted from terrestrial and space data acquired and analysed at RAL (e.g., radio/mobile phone interference predictions, severe weather predictions etc.).
 * Through the training of specialist scientists and engineers at RAL, who then move into commercial companies.
 * Through the standardisation of technologies which has resulted in the acceleration of economic growth through interoperability and interchangeability of products — especially in computing.
 * By the enthusiasm generated in science by the results of large facilities (e.g., from astronomical images or from particle physics experiments), which leads to schoolchildren choosing scientific training and scientific careers in many fields.
 * By technologies developed at RAL during the development of facilities themselves, which are then licensed to UK companies, or spin-out companies.

Decommissioning
According to its Annual Report from 2017 to 2018, STFC expects the end of the ISIS pulsed neutron source and the associated Second Target Station to be in 2040 and anticipates decommissioning to take 55 years. The cost of radioactive waste disposal could range between £9 million and £16 million.

In popular culture
RAL was used as a set for the filming of an episode of Terry Nation's BBC TV series Blake's 7.

The computer-generated imagery (CGI) for Ridley Scott's 1979 film Alien were created at the Atlas Computer Laboratory which is now part of RAL.

The Space Science department featured in the "In the Box" episode of the CBeebies series Nina and the Neurons.

title: Rutherford Appleton Laboratory