text:
Inverse quadratic interpolation

In numerical analysis, inverse quadratic interpolation is a root-finding algorithm, meaning that it is an algorithm for solving equations of the form f(x) = 0. The idea is to use quadratic interpolation to approximate the inverse of f. This algorithm is rarely used on its own, but it is important because it forms part of the popular Brent's method.

The method
The inverse quadratic interpolation algorithm is defined by the recurrence relation

 * $$ x_{n+1} = \frac{f_{n-1}f_n}{(f_{n-2}-f_{n-1})(f_{n-2}-f_n)} x_{n-2} + \frac{f_{n-2}f_n}{(f_{n-1}-f_{n-2})(f_{n-1}-f_n)} x_{n-1} $$

 * $$ {} + \frac{f_{n-2}f_{n-1}}{(f_n-f_{n-2})(f_n-f_{n-1})} x_n, $$

where fk = f(xk). As can be seen from the recurrence relation, this method requires three initial values, x0, x1 and x2.

Explanation of the method
We use the three preceding iterates, xn−2, xn−1 and xn, with their function values, fn−2, fn−1 and fn. Applying the Lagrange interpolation formula to do quadratic interpolation on the inverse of f yields

 * $$ f^{-1}(y) = \frac{(y-f_{n-1})(y-f_n)}{(f_{n-2}-f_{n-1})(f_{n-2}-f_n)} x_{n-2} + \frac{(y-f_{n-2})(y-f_n)}{(f_{n-1}-f_{n-2})(f_{n-1}-f_n)} x_{n-1} $$

 * $$\qquad + \frac{(y-f_{n-2})(y-f_{n-1})}{(f_n-f_{n-2})(f_n-f_{n-1})} x_n. $$

We are looking for a root of f, so we substitute y = f(x) = 0 in the above equation, and this results in the above recursion formula.

Behaviour
The asymptotic behaviour is very good: generally, the iterates xn converge fast to the root once they get close. However, performance is often quite poor if the initial values are not close to the actual root. For instance, if by any chance two of the function values fn−2, fn−1 and fn coincide, the algorithm fails completely. Thus, inverse quadratic interpolation is seldom used as a stand-alone algorithm.

The order of this convergence is approximately 1.84 as can be proved by secant method analysis.

Comparison with other root-finding methods
As noted in the introduction, inverse quadratic interpolation is used in Brent's method.

Inverse quadratic interpolation is also closely related to some other root-finding methods. Using linear interpolation instead of quadratic interpolation gives the secant method. Interpolating f instead of the inverse of f gives Muller's method.

title: Inverse quadratic interpolation


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Municipal police

Municipal police, city police, or local police are law enforcement agencies that are under the control of local government. This includes the municipal government, where it is the smallest administrative subdivision. They receive funding from the city budget, and may have fewer legal powers than the "state paid" police. These police forces usually report to a mayor or a local police board.

Historical development
Historically, the role of the municipal police of local civic protection was carried out by watchmen. Today, some formations of municipal police still carry the name of the city/communal/municipal guard.

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

title: Municipal police


text:
Talk:Leonardo (given name)

disambiguation
Sorry, I don't understand the edit expanding "the artist" to "the artist Leonardo", but not expanding the football player or the cartoon character in the same way. Uh, they're all referred to as Leonardo, right? That's the reason a disambig page is needed, isn't it? I'm tentatively reverting this change. Or maybe they should all be bolded Leonardos, I've nothing against that. Anyway, please feel free to change it back and explain the rationale here, if you like, Dryazan.--[[User:Bishonen|Bishonen (talk)]] 22:22, 22 Dec 2004 (UTC)

I've invisibled (not removed, you'll find it in the edit field still) the addition of Turk, De Groot, Robin Dubois, and Clifton by User:Wimvandorst. Sorry, but I just don't see how any of that needs disambiguating from "Leonardo". Especially since the only very tenuous connection, the link to Leonard (not Leonardo) on some of those pages, doesn't lead anywhere reasonable: it's piped right back to Leonardo da Vinci (!), which doesn't mention any cartoon character "Leonard", needless to say. Please address rationale on this page, if I have failed to grasp your purpose. Afuck)

Leonardo is a cartoon character, created by Turk&De Groot. It is written up (very briefly, I admit) under the 'In Fiction' heading on Leonardo da Vinci. I am working on a page on itself for that cartoon character, but zealously already created an entry here. You're right in pointing out that it isn't good enough, and I'll remove the code for the time being. --Wim van Dorst 23:06, 2005 Jan 9 (UTC)

Cool, Wim. Welcome back with the new page.--Bishonen | Talk 00:20, 10 Jan 2005 (UTC)

Why I removed Leonardo DiCapria
Argou, please explain yourself when you undo a change. It's rude not to.

Rather than get into a change war with you, I'll explain myself further, and hope you'll respond in kind. When I removed Leonardo DiCapria, I did so from the intuition that it was non-useful clutter that didn't help people find things. You obviously have a different intuition, so I've poked around and found some text on Disambiguation that gives my intuition some official status: "Do not disambiguate, or add a link to a disambiguation page, if there is no risk of confusion. Ask yourself: When a reader enters this term and pushes 'Go', would they expect to view any of the articles listed on the disambiguation page? Disambiguation pages are not search indices -- do not add links that merely contain part of the page title where there is no significant risk of confusion." In this case, nobody enters "Leonardo" expecting to see the article on the guy in Titanic.

This rule is widely ignored, and I'm not enough of a Usage Nazi to go around fixing this mistake where it's basically harmless. But it is not harmless when you add useless clutter to a page and make it a little harder for people to find the entry they're interested in. So in defense of Leonardo da Vinci, not to mention Leonardo the Mutant turtle, the actor guy has to go.

Leonardo Nascimento de Araujo
Is known simply as "Leonardo". Please keep him on this page. --Dryazan 17:14, 13 Jun 2005 (UTC)
 * That makes sense. Thanks for documenting this fact. Isaac R 17:42, 13 Jun 2005 (UTC)

Leonardo (supply module for ISS)
say what

Requested move

 * The following discussion is an archived discussion of the proposal. Please do not modify it. Subsequent comments should be made in a new section on the talk page. No further edits should be made to this section.

The result of the proposal was not moved per discussion. Not typically used as a mononym for the artist in English, unlike others noted, nor the common search result in English language sources.--Fuhghettaboutit (talk) 00:23, 22 August 2012 (UTC)

Leonardo → Leonardo (disambiguation) – I can't be the only one who's upset that Donatello, Michelangelo, and Michelangelo go straight to their respective artists' articles while Leonardo is stuck as a dab page. I propose making Leonardo redirect to Leonardo da Vinci per WP:PRIMARYUSAGE and renaming the current article appropriately. Now, I doubt da Vinci passes the typical test of more hits than all the other articles combined, but does David? We should ask ourselves: will someone typing in just Leonardo into the search box be looking for da Vinci more often than another topic? I think so. --BDD (talk) 01:44, 11 August 2012 (UTC)
 * Also, perhaps a native British English speaker can clarify this for me, but I've heard that only we Americans really say "da Vinci," and that the rest of the world knows him primarily as Leonardo. Perhaps The Da Vinci Code has changed this somewhat. --BDD (talk) 01:44, 11 August 2012 (UTC)

 * Oppose – the case that da Vinci should be primary for this very ambiguous name is weak at best. Dicklyon (talk) 03:55, 11 August 2012 (UTC)
 * Comment someone just typing "Leonardo" may be wanting a Ninja Turtle... but someone typing "da Vinci" would probably be wanting the artist. -- 70.24.247.242 (talk) 03:58, 11 August 2012 (UTC)
 * Comment - I'm surprised that David isn't a dab page. Interplanet Janet, Esquire IANAL 18:38, 11 August 2012 (UTC)
 * Oppose. If you google the renaissance man comes up as No. 9. Sadly, more readers seek DiCaprio. Kauffner (talk) 03:07, 12 August 2012 (UTC)
 * But people don't really call DiCaprio just "Leonardo" the way they do for Da Vinci. A simple google search probably isn't useful here, since a page referring to Da Vinci as simply "Leonardo" would count as one result, and a page referring to DiCaprio as "Leonardo DiCaprio" would count as one result, despite such pages suggesting this move should go forward. ErikHaugen (talk | contribs) 16:27, 14 August 2012 (UTC)
 * I am talking about the first page of the results that come up, not the numbers. If you type in a search term like "Leonardo", the engine brings up the results that other readers who have type in the same search term have clicked on. Kauffner (talk) 00:00, 16 August 2012 (UTC)
 * Oppose the three you mentioned (assuming you meant Raphael and not Michaelangelo twice) are most commonly known by those names, but Leonardo da Vinci is most known as da Vinci.  Hot Stop   04:26, 12 August 2012 (UTC)
 * "Leonardo" is the artist's name. "Da Vinci" is a disambiguator. Kauffner (talk) 00:00, 16 August 2012 (UTC)

 * Weak Support; "Leonardo" is certainly a weaker case than the other Ninja Turtles' namesakes, but I think it's enough to justify making it a redirect. Powers T 15:06, 12 August 2012 (UTC)
 * Oppose, same reason as Kauffner. Aerospace1 (talk) 18:42, 12 August 2012 (UTC) — Aerospace1 (talk • contribs) has made few or no other edits outside this topic.
 * Warning: Aerospace1's is an account created solely to vote on move requests. See its history log here. --Lecen (talk) 20:53, 12 August 2012 (UTC)
 * The above discussion is preserved as an archive of the proposal. Please do not modify it. Subsequent comments should be made in a new section on this talk page. No further edits should be made to this section.

Move discussion in progress
There is a move discussion in progress on Talk:Leonardo (disambiguation) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 16:17, 16 February 2023 (UTC)

title: Talk:Leonardo (given name)


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Calender

A calender is a series of hard pressure rollers used to finish or smooth a sheet of material such as paper, textiles, rubber, or plastics. Calender rolls are also used to form some types of plastic films and to apply coatings. Some calender rolls are heated or cooled as needed. Calenders are sometimes misspelled calendars.

Etymology
The word "calender" itself is a derivation of the word κύλινδρος kylindros, the Greek word that is also the source of the word "cylinder".

History
Calender mills for pressing serge were apparently introduced to the Netherlands by Flemish refugees from the Eighty Years' War.

In eighteenth century China, workers called "calenderers" in the silk- and cotton-cloth trades used heavy rollers to press and finish cloth.

In 1836, Edwin M. Chaffee, of the Roxbury India Rubber Company, patented a four-roll calender to make rubber sheet. Chaffee worked with Charles Goodyear with the intention to "produce a sheet of rubber laminated to a fabric base". Calenders were also used for paper and fabrics long before later applications for thermoplastics. With the expansion of the rubber industry the design of calenders grew as well, so when PVC was introduced the machinery was already capable of processing it into film. As recorded in an overview on the history of the development of calenders, "There was development in both Germany and the United States and probably the first successful calendering of PVC was in 1935 in Germany, where in the previous year the Hermann Berstorff Company of Hannover designed the first calender specifically to process this plastic".

In the past, for paper, sheets were worked on with a polished hammer or pressed between polished metal sheets in a press. With the continuously operating paper machine it became part of the process of rolling the paper (in this case also called web paper). The pressure between the rollers, the "nip pressure", can be reduced by heating the rolls or moistening the paper surface. This helps to keep the bulk and the stiffness of the web paper which is beneficial for its later use.

Modern calenders have hard heated rollers made from chilled cast iron or steel, and soft rollers coated with polymeric composites. The soft roller is slightly non-cylindrical, tapered in diameter toward both ends, to widen the working nip and distribute the specific pressure on the paper more evenly.

Calendering paper
In a principal paper application, the calender is located at the end of a papermaking process (on-line). Those that are used separately from the process (off-line) are also called supercalenders. The purpose of a calender is to make the paper smooth and glossy for printing and writing, as well as of a consistent thickness for capacitors that use paper as their dielectric membrane.

The calender section of a paper machine consists of a calender and other equipment. The paper web is run between in order to further smooth it out, which also gives it a more uniform thickness. The pressure applied to the web by the rollers determines the finish of the paper, and there are three types of finish that the paper can have.

The first is machine finish, or MF Paper and it can range from a rough, matte (non glossy) look, to a smooth, high-quality finish.

The second is called a supercalendered finish, or MG Paper (Machine Glazed) which is glossy/glazed and suitable for high-degree, fine-screened halftone printing.

The third type of finish is called a plater finish, and whereas the first two types of finish are accomplished by the calender stack itself, a plater finish is obtained by placing cut sheets of paper between zinc or copper plates that are stacked together, then put under pressure and heating. A special finish such as a linen finish would be achieved by placing a piece of linen between the plate and the sheet of paper, or else an embossed steel roll might be used.

After calendering, the web has a moisture content of about 6% (depending on the finish). It is wound onto a roll called a tambour, and stored for final cutting and shipping.

Supercalender
A supercalender is a stack of calenders consisting of alternating steel- and fiber-covered rolls through which paper is passed to increase its density, smoothness and gloss. It is similar to a calender except that alternate chilled cast-iron and softer rolls are used. The rolls used to supercalender uncoated paper usually consist of cast iron and highly compressed paper, while the rolls used for coated paper are usually cast iron and highly compressed cotton. The finish produced varies according to the raw material used to make the paper and the pressure exerted on it, and ranges from the highest English finish to a highly glazed surface. Supercalendered papers are sometimes used for books containing fine line blocks or halftones because they print well from type and halftones, although for the latter they are not as good as coated paper.

Calendering textiles
Calendering is a finishing process used on cloth and fabrics. A calender is employed, usually to smooth, coat, or thin a material.

With textiles, fabric is passed under rollers at high temperatures and pressures. Calendering is used on fabrics such as moire to produce its watered effect and also on cambric and some types of sateens.

Other materials
Calenders can also be applied to materials other than paper when a smooth, flat surface is desirable, such as cotton, linens, silks, and various man-made fabrics and polymers such as vinyl and ABS polymer sheets, and to a lesser extent HDPE, polypropylene and polystyrene.

The calender is also an important processing machine in the rubber industries, especially in the manufacture of tires, where it is used for the inner layer and fabric layer.

Calendering can also be used for polishing, or making uniform, coatings applied to substrates- an older use was in polishing magnetic tapes, for which the contact roller rotates much faster than the web speed. More recently, it is used in the production of certain types of secondary battery cells (such as spirally-wound or prismatic lithium-ion cells) to achieve uniform thickness of electrode material coatings on current collector foils.

General references

 * Westerlund Leslie. C. " How to Make Smooth Papermaking Technology" ISBN 1-876141-55-7;Westerlund Eco Services; Rockingham; W.Australia. 2008.
 * Hawkins, William E, The Plastic Film and Foil Web Handling Guide CRC Press 2003
 * Jenkins, W. A., and Osborn, K. R. Plastic Films: Technology and Packaging Applications, CRC Press 1992
 * Yam, K. L., "Encyclopedia of Packaging Technology", John Wiley & Sons, 2009, ISBN 978-0-470-08704-6

title: Calender


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User:Caglar~enwiki

Hello! My name is Caglar and i'm addicted to wikipedia. You can find me on my personal page

title: User:Caglar~enwiki


text:
The Chair (game show)

The Chair is an American game show that was created by Julie Christie, Darryl McEwen and Brian Bigg for Touchdown Television (now Eyeworks Touchdown). Although The Chair was originally developed in New Zealand, the first country where the program aired in was the United States. The American version, which was hosted by former tennis champion John McEnroe, aired on ABC for nine episodes from January 15 to March 18, 2002; the American version would be canceled with four episodes remaining unaired of its original 13-episode order. McEnroe would later host the British version, which aired between August 31 and November 9, 2002, on BBC One. Among the show's writers was writer/actress Teresa Strasser, who had served on ABC's Who Wants to Be a Millionaire? and later hosted TLC's While You Were Out.

Format
Prospective contestants underwent extensive medical examination before appearing. They were given intelligence tests and had their heart monitored for several hours, among other diagnostic procedures to see how they would react to sudden surprises. If they were declared fit, they moved on to the game.

Once seated in the Chair, the contestant found themselves looking up at a large video screen on which the host's image was displayed, as well as the information for the current question. They began with a stake of $5,000 and could increase it to a maximum of $250,000 by answering a series of seven questions. The contestant's heart rate was continuously measured throughout the game and compared to a "redline" threshold. This value started at 60% (later 70%) above the resting heart rate, and it was reduced by 5% of the resting heart rate after each question (with a maximum redline threshold of between 130% and 140% for the final question). For example, a contestant with a resting heart rate of 80 would have an initial redline threshold of 128 or 136 (160% and 170% of the resting rate, respectively), which would drop by 4 (5%) after each question.
 * Question round

For each question except the fifth, a list of four possible answers was presented, and then the question itself was read. The host would then tell the contestant whether or not an answer could be accepted, depending on their heart rate at the moment.

Money was subtracted from the contestant's total for every second that their heart rate exceeded the redline value ("redlining"). In addition, they were ineligible to give an answer during this time; only while the heart rate was no higher than the threshold number could an answer be given. Redlining between questions, or while a question was being asked, mostly carried no penalty; for at least the first episode, the penalty went into effect when the host began reading the question, but later it would be after the whole question had been read. The third question involved recalling information from a series of images that appeared on the screen above them and required the player to remember something specific or particular details about one image, the fifth required the player to list items pertaining to a given category, and the seventh involved choosing which event occurred first or last (this question type would be eliminated later in the show's run). After the fourth question, the host made a one-time offer: keep the redline rate constant for the next question, at a cost of $25,000; this offer was rarely accepted.

As long as the contestant had money in the account and continued to answer questions correctly, the game continued until all seven questions were answered correctly. The game prematurely ended when a contestant answered a single question incorrectly, lost all of their money due to redlining, or committed a third violation of the countermeasure rule.

If the contestant answered a question incorrectly, they left with whatever amount they had "stabilized" (see below). Correctly answering every question awarded the contestant all of the money in their account, for a potential top prize of $250,000 if they had no redlining penalties.

At two points during the contestant's campaign, a "heartstopper" event took place. These were designed to raise the heart rate (coming face to face with an alligator or a hive of bees, a large pendulum swinging just overhead, having McEnroe serve tennis balls at the contestant's head, etc.). Precautions were taken to ensure the contestant's safety during these events, such as a pane of heavy plastic being set just in front of their face as McEnroe served. If the contestant could endure the event for 15 seconds (20 seconds in some versions), the event would end. If they went over the redline rate, the event continued until the heart rate was under control, and the contestant lost money at the rate for the previously answered question. In the Korean version, the host is responsible for initiating the Heartstopper by saying, simply enough, "start the Heartstopper", at which point the countdown begins. If a contestant is redlining, the Heartstopper is not officially over until the contestant lowers their heart rate back into the "safe zone".
 * Heartstoppers

In some international versions of the show (usually for the first Heartstopper only), a contestant must answer rapid-fire free-response questions in a 45-second bonus round which is designed to add 1 heartbeat back to the redline threshold for each correct answer. In the original New Zealand version, for the second Heartstopper, the contestant must answer 7 rapid-fire questions in a 60-second bonus round on one of the three categories shown on the screen above them. Each correct answer it was given, they will earn money but with each wrong answer to each question, they will be monetarily penalized from only their stabilized winnings.

After answering the $15,000 question correctly (for a potential prize of $35,000), the contestant earned the chance to "stabilize". Once during the rest of the game, they could exercise this option after a correct answer; if they missed a question or received their third violation of the countermeasure rule, they would leave with the money won up to the "stabilize" point. However, if the contestant redlined in the interim and went below the stabilized amount, the stabilized amount would fall and match the current prize amount.
 * Stabilization

In the British version of the show, a contestant would be required to stabilize after correctly answering the fifth question if they had not yet done so by that point.

Contestants were required to stay alert during the game at all times. If a contestant tried to close their eyes or perform some other task in an attempt to lower the heart rate, the host gave a warning. If a contestant received a third violation or suffered a medical issue during the game, they were disqualified from the game; contestants could still leave with their stabilized amount. The latter never happened, though one contestant on the US show received two violations and was almost disqualified for the above actions. On the first episode, one contestant closed her eyes for the entire time on the one Heartstopper she reached and was not penalized. In the Korean version, this warning rule only applied in Heartstoppers.
 * Countermeasure rule

Broadcast history
The Chair aired for nine episodes on ABC between January 15 and March 18, 2002, but not before two people managed to answer the final question correctly; Kris Derrico (née Mackerer) won $224,600 on the fourth episode that aired on February 5 and Steven Benjamin won the maximum $250,000  in the ninth and final episode that aired on March 18. A week before Mackerer's $224,600 win, another player, Dean Sheffron, reached the last question with a total of $132,200 but lost it all due to redlining.

Thirteen episodes were taped, but only nine were broadcast. Many episodes were taped during post-midnight hours to hurry production in order to compete with Fox's show The Chamber (which was canceled after three episodes of its six-episode order were aired). Both programs would air during NBC's coverage of the 2002 Winter Olympics, which resulted in low ratings and became a factor in the cancellation of both programs (along with high production costs).

The Chamber vs. The Chair
The Chair premiered around the same time as Fox's torture show The Chamber. The production companies fought over this, each claiming the other show was a rip-off of theirs. A lawsuit was filed against Fox and the production company of The Chamber by the New Zealand production company of The Chair, Touchdown Television, but nothing became of it.

title: The Chair (game show)


text:
Wikipedia:What Wikipedia is not/Rewrite December 2004

Please see proposed re-write of What wikipedia is not at Wikipedia talk:What Wikipedia is not/Rewrite December 2004, and make comments at Wikipedia talk:What Wikipedia is not.


text:
Wikipedia:Featured article candidates/Salt Lake City, Utah/archive feb 2006

Salt Lake City, Utah
Previous FA nomination

 * Good article. Support. 70.57.85.74 17:38, 2 December 2005 (UTC)

 * Support, Excellent article. LordViD 17:54, 2 December 2005 (UTC)

 * Weak Object: Why is the Main article of Law and government, Law and government of Salt Lake City, a red link? If there is more that they are talking about that is missing, can we at least see it? Beyond that, this is a great article, and I look forward to lending my support. Trevdna 23:33, 2 December 2005 (UTC)

 * Abstain: Had planned to give full support, as this really is a great article. However, Carnildo and Wacky bring up some good points about fair use tags, and "acceptable copyright status" is a prerequsite for what a featured article is. Trevdna 18:59, 3 December 2005 (UTC)

 * Support: Thought it has deserved it for a while now. It is a very well-written article, better even than some featured artcles I've seen, with very informative information. By the way, I removed the red link because there really isn't anything else to say about the law and government of the city. If anybody can come in and create more info on it, I commend them. bob rulz 00:23, 3 December 2005 (UTC)

 * Abstain: This article has caused me alot of heartache and frustration, but I think I've moved on. I would be happy if it became a FA, but the mangled bits of me in the article do not allow me to vote. Good luck. Jon 00:44, 3 December 2005 (UTC)

 *  Mild Object. There are a number of lists that should be turned to prose. Also, can the references linked to the Salt Lake City government explicitly say that the links are found at that site? I have also seen several external links throughout the main portion of the article. Such links should be within the "external link" section or placed as footnotes. Pentawing 04:55, 3 December 2005 (UTC)
 * With the numerous image problems, I have to change my vote to object until someone can resolve them. Pentawing 20:01, 3 December 2005 (UTC)
 * Since no one seems to be willing nor able to resolve some issues, I have gone into the article and cleaned up as many formatting problems as possible. Nevertheless, there is still a handful of lists (I have not idea why there are two neighborhood templates in the article). Given that the images are still a problem, my vote still stands. Pentawing 22:57, 3 December 2005 (UTC)

 * 'Object – the article needs to be summarised, list be converted to prose and units should follow the Manual of Style (&nbsp;) =Nichalp   «Talk»=  05:35, 3 December 2005 (UTC)

 * Object:
 * I can find no information indicating that Image:Saltlakecitydowntown2002.jpg is in the public domain.
 * The image commons:Image:Saltlaketornado.jpeg appears to be copyrighted by KTVX News 4 Utah, not by NOAA, so it is not in the public domain.
 * The images Image:Iceskatersdowntownslc.jpg, Image:Slcinternationalairport.jpg do not appear to be in the public domain. The website they are on has a copyright statement of "Copyright © 2005 Salt Lake City Corporation. All Rights Reserved."
 * The image Image:Gayutah2004.jpg is claimed as "fair use". However, it is quite possible for a Wikipedian to make a replacement, so it does not qualify under Fair use.
 * The image Image:Cityweekly.jpg has no fair-use rationale.
 * The image Image:UTmap.GIF (used in Template:Utah) is licensed for educational use only. This is an unacceptable license for Wikipedia.
 * --Carnildo 09:20, 3 December 2005 (UTC)

 * Object. Though a very good attempt, and very close, it has some minor problems that need fixing. The Culture section is incredibly messy, featuring a few lists that should be converted to prose, and a lot of red links. Several images have incorrect copyright status and the fair use images are missing fair use rationales. — Wackymacs 10:14, 3 December 2005 (UTC)

 * Object. This part is unclear: "Councilors are elected under specific issues and are usually well-known. Labor politics play no significant role. The separation of church and state is the most controversial topic with an ongoing Bridging the Religious Divide campaign." Please explain it. Neutralitytalk 23:52, 8 December 2005 (UTC)

 * Object. Article is still unstable. Has been edited several times today. Roy Al Blue 23:07, 14 December 2005 (UTC)


text:
Wikipedia:Articles for deletion/Blasphemy of Faith

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

A completely non-notable religious satire. Google turned up 4 hits on this phrase, none of which corresponded to the article. Original author didn't respond to queries concerning source. --BM 22:27, 22 Dec 2004 (UTC)

 * hmm, it's too short to be a copyvio, makes much more sense than most theology, but surely there's a theologians around who know of a proper name for it? tentative keep Dunc|☺ 22:55, 22 Dec 2004 (UTC)
 * Delete. In addition to there being no evidence of notability, since no source for this is cited, it is probably original research.  Of it could be Usenet-cruft.  --BM 23:10, 22 Dec 2004 (UTC)
 * Delete. Opinionated and not notable. Megan1967 23:34, 22 Dec 2004 (UTC)
 * Delete, it's pretty much a restatement of Transcendental Argument for the Non-existence of God iMeowbot~Mw 00:07, 23 Dec 2004 (UTC)
 * Delete for reasons given above. Fire Star 03:46, 23 Dec 2004 (UTC)
 * Not so much satire as poorly-developed original research. Delete. AlexTiefling 10:21, 23 Dec 2004 (UTC)

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


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Yessongs

Yessongs is the first live album by the English progressive rock band Yes, released as a triple album in May 1973 on Atlantic Records. After completing their Close to the Edge Tour in April 1973, the band selected live recordings between February and December 1972 on their tours supporting Fragile (1971) and Close to the Edge (1972) for a live album release. They were then edited and remixed with their producer and live sound mixer Eddy Offord. Two tracks feature original Yes drummer Bill Bruford while eight tracks feature his replacement, Alan White, and three tracks use no drummer at all.

Yessongs received a mostly positive reception from music critics, though much criticism was directed at its sound quality. The album was a commercial success for the band, reaching number 7 on the UK Albums Chart and number 12 on the US Billboard 200. In 1998, the album was certified platinum by the Recording Industry Association of America (RIAA) for selling over one million copies in the United States. In 2015, recordings of seven shows from late 1972, including ones that were used in the original album, were released in their entirety as Progeny: Seven Shows from Seventy-Two.

Background and recording
In September 1971, the Yes line-up of singer Jon Anderson, bassist Chris Squire, drummer Bill Bruford, guitarist Steve Howe, and newcomer keyboardist Rick Wakeman embarked on their Fragile Tour in support of the band's fourth studio album, Fragile (1971). The tour saw the band play across the United Kingdom, the United States, and Europe until March 1972. Following the recording of their fifth studio album, Close to the Edge (1972), the band resumed as a live act on 30 July 1972 to support the album. The tour saw the debut of drummer Alan White in the band after Bruford left when recording for the album had finished. His departure came eleven days prior to the tour's start, leaving White to learn the band's repertoire in three days. The tour ended in April 1973, by which time Yes had made additional live recordings. Yes manager Brian Lane said that people had started to think that the group were a "studio band" and were unable to reproduce what they recorded in the studio on stage, which became a reason for putting out a live album.

The Fragile and Close to the Edge tours had producer and engineer Eddy Offord travelling with the band as their live sound mixer who operated a sound system developed by the Clair Brothers. In addition, co-founder Roy Clair assisted with the operation of the system, and Geoff Haslam was hired as the recording engineer alongside assistant Mike Dunn to work on Yessongs. As Offord was in charge of the band's sound on stage, he could not operate the recording equipment at the same time. This resulted in recordings that he was disappointed with as they were substandard. When it was time for the album to be edited and remixed, Offord and the band retreated to studio 2 at Advision Studios in Fitzrovia, London to complete it. Howe recalled the group treated the mixing process with as much care and importance as one of their studio albums with careful consideration to the preparation of the various edits and the finished product.

Dates and locations
The liner notes do not list recording dates or locations, but audio comparisons of the album and the live box set Progeny: Seven Shows from Seventy-Two (2015) can be made, in addition to the soundtrack to the Yessongs concert film. They are:

 * 19 and/or 23 February 1972 at the Academy of Music in New York City – "Perpetual Change" and "Long Distance Runaround"/"The Fish (Schindleria Praematurus)"
 * 1 November 1972 at Ottawa Civic Centre in Ottawa, Ontario – "Roundabout"
 * 12 November 1972 at Greensboro Coliseum in Greensboro, North Carolina – "Heart of the Sunrise", "And You and I", the second half of "I've Seen All Good People"
 * 15 November 1972 at Knoxville Civic Coliseum in Knoxville, Tennessee – "Siberian Khatru", the first two thirds of "Excerpts from 'The Six Wives of Henry VIII'", "Yours Is No Disgrace"
 * 20 November 1972 at Nassau Coliseum in Uniondale, New York – "Opening (Excerpt from 'Firebird Suite')", the final third of "Excerpts from 'The Six Wives of Henry VIII'", "Mood for a Day"
 * 15 and/or 16 December 1972 at the Rainbow Theatre in Finsbury Park, London – "Close to the Edge", "Starship Trooper"

Songs
Yessongs begins with "Opening (Excerpt from 'Firebird Suite')", the closing section to the orchestral work The Firebird by Russian composer Igor Stravinsky. Yes have used the piece as the introductory music to most of their concerts since 1971, the year of the composer's death. The recording of the Suite heard on Yessongs is by the Boston Symphony Orchestra, conducted by Seiji Ozawa, first released in 1970 (RCA Red Seal – LSB 4009); it uses Stravinsky's 1919 re-orchestration. The track segues into "Siberian Khatru" from Close to the Edge. "Perpetual Change" and "Long Distance Runaround"/"The Fish (Schindleria Praematurus)" were recorded during the Fragile Tour with Bruford on drums, and feature extended solos from Howe, Bruford and Squire compared to the studio versions. "Excerpts from 'The Six Wives of Henry VIII is a keyboard solo spot of excerpts from Wakeman's first solo album The Six Wives of Henry VIII (1973), which he recorded during the Fragile and Close to the Edge tours and features Howe, Squire, Bruford, and White. The solo is preceded by Anderson singing notes from the opening of another Stravinsky orchestral piece, The Rite of Spring.

Artwork
The album was originally presented in a gatefold sleeve with artwork designed and illustrated by the band's longtime associate, artist Roger Dean. His brother Martyn was responsible for its layout and additional photography, featuring shots of each member performing in concert. Dean described the album as "the most elaborate and complex package" of his career at the time, which consisted of three albums worth of artwork and a booklet. The large space for Dean's work allowed him to continue a theme that "implied a story" that he introduced on the cover of Fragile, which portrays a planet breaking into pieces and a spacecraft in flight. The narrative was continued on the sleeve of Close to the Edge. Dean recalled that talks about the artwork for Yessongs were scarce until he presented the group with a rough version of his "Pathways" painting, which was well received and influenced his decision to continue the narrative. However, Dean had to redesign a new broken planet to the one on Fragile as the pieces of land that break off were too square shaped, so the pieces seen on Yessongs are more triangular. The gatefold design involved complex paper folding that Dean described as "a way of going from gatefold to any number of pages, folded out of one piece of card", and resulted in Dean and his printers, Tinsley Robor, filing a patent for that way of folding. Further development of the technique was cut short due to a subsequent national paper shortage.

The first painting, named "Escape", shows the spacecraft and a planetary fragment drifting through space in the search for a new world. "Arrival" depicts these fragments landing in the waters of the new world, with "Awakening" showing signs of new life starting, including plant and animal species. The final image, "Pathways", depicts the emergence of civilisation with a city in the background. The version with the girl sitting on top of the pathway structure was not in the original, and was painted separately and added later at the printing stage. While Dean was working on "Pathways", his cat walked across the canvas whilst still wet and its paw prints can be seen in the sky area. Dean attempted to disguise them as clouds, but it failed to produce the desired results and he kept them in. After it was photographed for the sleeve, Dean's cat urinated on the painting as it was standing against a wall, causing Dean to paint a new version that he said "looked quite different" to the version photographed.

In June 2013, Dean filed a $50 million lawsuit against director James Cameron for copyright and contributory infringement and unjust enrichment, claiming the design of Pandora, a fictional setting in Cameron's epic science fiction film Avatar (2009) and the highest-grossing film at the time, was based on Dean's paintings including "Pathways" and used without permission. The lawsuit was thrown out by judge Jesse M. Furman in September 2014 who disagreed and believed the court found no substantial similarities between the film and Dean's artwork.

Release
Yessongs was released in May 1973. its release was originally planned for February 1973, prior to the start of the band's early 1973 North American tour, but delays in printing its cover led to its release pushed back. The band and Lane agreed to take a cut in royalties generated from the album so it could be sold at a lower price.

It peaked at number 7 on the UK Albums Chart and number 12 on the US Billboard 200. On 2 June 1973, the American magazine Cash Box reported that the album had reached gold certification by the Recording Industry Association of America (RIAA) for selling 500,000 copies in the US. In 1998, the album was certified platinum for shipping one million copies, becoming one of the band's highest selling records.

In an overall positive review for The Los Angeles Times, Richard Cromelin said that although some of the live renditions are sub-par to their studio versions, it presented some "excellent and rarely-heard pieces" that make the listener "really feel the people behind the music" which in turn makes up for the "occasional sloppiness". Cromelin praised the album for the "stunning improvisations" and interplay within the band which dispels those who criticise Yes for being "dry and mechanical". Variety published a positive review, noting the album shows the band at "their exciting best". Band biographer Tim Morse thought the album's downfall was its substandard audio quality despite the band's strong performances.

Reissues
Yessongs has been reissued several times:

 * 1987 – 2-disc CD reissue on Atlantic Records
 * 1994 – 2-disc CD remaster by Joe Gastwirt on Atlantic Records
 * 1998 & 2001 – 3-disc HDCD reissue by Isao Kikuchi on Warner Music Japan
 * 2009 – 2-disc SHM-CD remaster by Isao Kikuchi on Warner Music Japan
 * 2013 – 2-disc SACD reissue as part of the High Vibration – SACD Box set on Rhino Records

Personnel
Credits are adapted from the album's 1973 and 1994 liner notes.

Yes
 * Jon Anderson – lead vocals
 * Chris Squire – bass guitar, backing vocals
 * Steve Howe – electric and acoustic guitars, backing vocals
 * Rick Wakeman – keyboards
 * Bill Bruford – drums on "Perpetual Change" and "Long Distance Runaround"/"The Fish (Schindleria Praematurus)"
 * Alan White – drums on all other tracks

Production
 * Yes – production
 * Eddie Offord – production
 * Geoff Haslam – recording engineer
 * Mike Dunn – assistant engineer
 * Roger Dean – cover design and illustration
 * Martin Dean – photographs and layout
 * David "Groucho" Gair – additional photographs
 * Brian Lane – co-ordination

title: Yessongs


text:
Skyrmion

In particle theory, the skyrmion is a topologically stable field configuration of a certain class of non-linear sigma models. It was originally proposed as a model of the nucleon by (and named after) Tony Skyrme in 1961. As a topological soliton in the pion field, it has the remarkable property of being able to model, with reasonable accuracy, multiple low-energy properties of the nucleon, simply by fixing the nucleon radius. It has since found application in solid-state physics, as well as having ties to certain areas of string theory.

Skyrmions as topological objects are important in solid-state physics, especially in the emerging technology of spintronics. A two-dimensional magnetic skyrmion, as a topological object, is formed, e.g., from a 3D effective-spin "hedgehog" (in the field of micromagnetics: out of a so-called "Bloch point" singularity of homotopy degree +1) by a stereographic projection, whereby the positive north-pole spin is mapped onto a far-off edge circle of a 2D-disk, while the negative south-pole spin is mapped onto the center of the disk. In a spinor field such as for example photonic or polariton fluids the skyrmion topology corresponds to a full Poincaré beam (a spin vortex comprising all the states of polarization mapped by a stereographic projection of the Poincaré sphere to the real plane). A dynamical pseudospin skyrmion results from the stereographic projection of a rotating polariton Bloch sphere in the case of dynamical full Bloch beams.

Skyrmions have been reported, but not conclusively proven, to be in Bose–Einstein condensates, thin magnetic films and in chiral nematic liquid crystals and in free-space optics.

As a model of the nucleon, the topological stability of the skyrmion can be interpreted as a statement that the baryon number is conserved; i.e. that the proton does not decay. The Skyrme Lagrangian is essentially a one-parameter model of the nucleon. Fixing the parameter fixes the proton radius, and also fixes all other low-energy properties, which appear to be correct to about 30%. It is this predictive power of the model that makes it so appealing as a model of the nucleon.

Hollowed-out skyrmions form the basis for the chiral bag model (Cheshire Cat model) of the nucleon. The exact results for the duality between the fermion spectrum and the topological winding number of the non-linear sigma model have been obtained by Dan Freed. This can be interpreted as a foundation for the duality between a quantum chromodynamics (QCD) description of the nucleon (but consisting only of quarks, and without gluons) and the Skyrme model for the nucleon.

The skyrmion can be quantized to form a quantum superposition of baryons and resonance states. It could be predicted from some nuclear matter properties.

Topological soliton
In field theory, skyrmions are homotopically non-trivial classical solutions of a nonlinear sigma model with a non-trivial target manifold topology – hence, they are topological solitons. An example occurs in chiral models of mesons, where the target manifold is a homogeneous space of the structure group

 * $$\left(\frac{\operatorname{SU}(N)_L \times \operatorname{SU}(N)_R}{\operatorname{SU}(N)_\text{diag}}\right),$$

where SU(N)L and SU(N)R are the left and right chiral symmetries, and SU(N)diag is the diagonal subgroup. In nuclear physics, for N = 2, the chiral symmetries are understood to be the isospin symmetry of the nucleon. For N = 3, the isoflavor symmetry between the up, down and strange quarks is more broken, and the skyrmion models are less successful or accurate.

If spacetime has the topology S3×R, then classical configurations can be classified by an integral winding number because the third homotopy group

 * $$\pi_3\left(\frac{\operatorname{SU}(N)_L \times \operatorname{SU}(N)_R}{\operatorname{SU}(N)_\text{diag}} \cong \operatorname{SU}(N)\right)$$

is equivalent to the ring of integers, with the congruence sign referring to homeomorphism.

A topological term can be added to the chiral Lagrangian, whose integral depends only upon the homotopy class; this results in superselection sectors in the quantised model. In (1 + 1)-dimensional spacetime, a skyrmion can be approximated by a soliton of the Sine–Gordon equation; after quantisation by the Bethe ansatz or otherwise, it turns into a fermion interacting according to the massive Thirring model.

Lagrangian
The Lagrangian for the skyrmion, as written for the original chiral SU(2) effective Lagrangian of the nucleon-nucleon interaction (in (3 + 1)-dimensional spacetime), can be written as
 * $$\mathcal{L} =

\frac{-f^2_\pi}{4}\operatorname{tr}(L_\mu L^\mu) + \frac{1}{32g^2} \operatorname{tr}[L_\mu, L_\nu] [L^\mu, L^\nu], $$ where $$L_\mu = U^\dagger \partial_\mu U$$, $$U = \exp i\vec\tau \cdot \vec\theta$$, $$\vec\tau$$ are the isospin Pauli matrices, $$[\cdot, \cdot]$$ is the Lie bracket commutator, and tr is the matrix trace. The meson field (pion field, up to a dimensional factor) at spacetime coordinate $$x$$ is given by $$\vec\theta = \vec\theta(x)$$. A broad review of the geometric interpretation of $$L_\mu$$ is presented in the article on sigma models.

When written this way, the $$U$$ is clearly an element of the Lie group SU(2), and $$\vec\theta$$ an element of the Lie algebra su(2). The pion field can be understood abstractly to be a section of the tangent bundle of the principal fiber bundle of SU(2) over spacetime. This abstract interpretation is characteristic of all non-linear sigma models.

The first term, $$\operatorname{tr}(L_\mu L^\mu)$$ is just an unusual way of writing the quadratic term of the non-linear sigma model; it reduces to $$-\operatorname{tr}(\partial_\mu U^\dagger \partial^\mu U)$$. When used as a model of the nucleon, one writes

 * $$U = \frac{1}{f_\pi}(\sigma + i\vec\tau \cdot \vec\pi),$$

with the dimensional factor of $$f_\pi$$ being the pion decay constant. (In 1 + 1 dimensions, this constant is not dimensional and can thus be absorbed into the field definition.)

The second term establishes the characteristic size of the lowest-energy soliton solution; it determines the effective radius of the soliton. As a model of the nucleon, it is normally adjusted so as to give the correct radius for the proton; once this is done, other low-energy properties of the nucleon are automatically fixed, to within about 30% accuracy. It is this result, of tying together what would otherwise be independent parameters, and doing so fairly accurately, that makes the Skyrme model of the nucleon so appealing and interesting. Thus, for example, constant $$g$$ in the quartic term is interpreted as the vector-pion coupling ρ–π–π between the rho meson (the nuclear vector meson) and the pion; the skyrmion relates the value of this constant to the baryon radius.

Noether current
The local winding number density is given by
 * $$B^\mu = \epsilon^{\mu\nu\alpha\beta} \operatorname{tr}L_\nu L_\alpha L_\beta,$$

where $$\epsilon^{\mu\nu\alpha\beta}$$ is the totally antisymmetric Levi-Civita symbol (equivalently, the Hodge star, in this context).

As a physical quantity, this can be interpreted as the baryon current; it is conserved: $$\partial_\mu B^\mu = 0$$, and the conservation follows as a Noether current for the chiral symmetry.

The corresponding charge is the baryon number:

 * $$B = \int d^3x\, B^0(x).$$

As a conserved charge, it is time-independent: $$dB/dt = 0$$, the physical interpretation of which is that protons do not decay.

In the chiral bag model, one cuts a hole out of the center and fills it with quarks. Despite this obvious "hackery", the total baryon number is conserved: the missing charge from the hole is exactly compensated by the spectral asymmetry of the vacuum fermions inside the bag.

Magnetic materials/data storage
One particular form of skyrmions is magnetic skyrmions, found in magnetic materials that exhibit spiral magnetism due to the Dzyaloshinskii–Moriya interaction, double-exchange mechanism or competing Heisenberg exchange interactions. They form "domains" as small as 1 nm (e.g. in Fe on Ir(111)). The small size and low energy consumption of magnetic skyrmions make them a good candidate for future data-storage solutions and other spintronics devices. Researchers could read and write skyrmions using scanning tunneling microscopy. The topological charge, representing the existence and non-existence of skyrmions, can represent the bit states "1" and "0". Room-temperature skyrmions were reported.

Skyrmions operate at current densities that are several orders of magnitude weaker than conventional magnetic devices. In 2015 a practical way to create and access magnetic skyrmions under ambient room-temperature conditions was announced. The device used arrays of magnetized cobalt disks as artificial Bloch skyrmion lattices atop a thin film of cobalt and palladium. Asymmetric magnetic nanodots were patterned with controlled circularity on an underlayer with perpendicular magnetic anisotropy (PMA). Polarity is controlled by a tailored magnetic-field sequence and demonstrated in magnetometry measurements. The vortex structure is imprinted into the underlayer's interfacial region by suppressing the PMA by a critical ion-irradiation step. The lattices are identified with polarized neutron reflectometry and have been confirmed by magnetoresistance measurements.

A recent (2019) study demonstrated a way to move skyrmions, purely using electric field (in the absence of electric current). The authors used Co/Ni multilayers with a thickness slope and Dzyaloshinskii–Moriya interaction and demonstrated skyrmions. They showed that the displacement and velocity depended directly on the applied voltage.

In 2020, a team of researchers from the Swiss Federal Laboratories for Materials Science and Technology (Empa) has succeeded for the first time in producing a tunable multilayer system in which two different types of skyrmions – the future bits for "0" and "1" – can exist at room temperature.

title: Skyrmion


text:
Hatto I

Hatto I (c. 850 – 15 May 913) was Archbishop of Mainz (Mayence) from 891 until his death.

Family and early life
Hatto belonged to a Swabian family, and was probably educated at the monastery of Reichenau, of which he became abbot in 888. He was also abbot of Ellwangen Abbey.

Counsellor of Arnulf of Carinthia
Hatto soon became known to the German king, Arnulf, who appointed him archbishop of Mainz in 891, and he became such a trustworthy and loyal counsellor that he was popularly called the heart of the king. He presided over the important synod at Tribur in 895 and accompanied the king to Italy in 894 and 895, where he was received with great favor by Pope Formosus. In 899, when Arnulf died, Hatto became regent of the Empire and guardian of the young king, Louis the Child, whose authority he compelled Zwentibold, duke of Lorraine, an illegitimate son of Arnulf, to recognize.

Execution of Adalbert of Babenberg
During these years Hatto did not neglect his own interests, for in 896 he secured for himself the abbey of Ellwangen and in 898 that of Lorsch. He assisted the Franconian family of the Conradines in its feud with the Babenbergs for supremacy in Franconia; after the battle of Fritzlar on 9 September 906 between the Babenbergs and Conradines he arranged for the capture and execution of Count Adalbert of Babenberg, breaking his promise of safe conduct.

Failed attempt to assassinate Henry the Fowler
Hatto retained his influence during the entire reign of Louis the Child and on the king's death in 911 was prominent in securing the election of Conrad, duke of Franconia, to the vacant throne. When trouble arose between Conrad and Henry the Fowler, duke of Saxony, afterwards King Henry I, the attitude of Conrad was ascribed by the Saxons to the influence of Hatto, who wished to prevent Henry from securing authority in Thuringia, where the see of Mainz had extensive possessions. He was accused of complicity in a plot to murder Henry, who in return ravaged the archiepiscopal lands in Saxony and Thuringia.

Legends about his death at Mount Etna
Hatto died on 15 May 913, one legend saying he was struck by lightning, and another that he was thrown alive by the devil into the crater of Mount Etna. His memory was long regarded in Saxony with great abhorrence, and stories of cruelty and treachery gathered round his name.

Legend of the Mouse Tower
The legend of the Mouse Tower at Bingen is connected with Hatto I and Hatto II, who was archbishop of Mainz from 968 to 970. This latter Hatto built the church of St. George on the island of Reichenau, was generous to the see of Mainz and to the abbeys of Fulda and Reichenau, and was a patron of the chronicler Regino, abbot of Prum.

title: Hatto I


text:
Love in Excess; or, The Fatal Enquiry

Love in Excess (1719–1720) is Eliza Haywood's best known novel. It details the amorous escapades of Count D'Elmont, a rake who becomes reformed over the course of the novel. Love in Excess was a huge bestseller in its time, going through multiple reissues in the four years following its initial publication. It was once compared in terms of book sales with Gulliver's Travels and Robinson Crusoe. This information was later shown to be incorrect; the novel selling only about 6000 copies over 23 years.

Summary
The first part of the novel details the rivalry between Alovisa and Amena, two upper-class young women, for the Count D'Elmont's attention. The narrator mentions the "custom which forbids women to make a declaration of their thoughts." This is important to both the plot and the theme of the novel. Alovisa writes an unsigned letter to D'Elmont. This inadvertently leads D'Elmont to court Amena instead. Amena's father refuses to allow his daughter to continue meeting with D'Elmont without a proposal of marriage. During one of their secret meetings, the pair are compromised by the intervention of Alovisa's servant, Charlo, who awakens Amena's household. Alovisa feigns desire to help the pair by allowing them to meet in her apartment; however, Alovisa colludes with Amena's father to ship Amena off to a convent in the countryside. D'Elmont, in the meanwhile, has left to receive his brother, Chevalier Brillian. During the course of their conversation, it is revealed that the Chevalier has fallen in love with Alovisa's sister Ansellina (who resides in Amiens).

Part the Second deals with D'Elmont's falling in "true" love with Melliora, a girl entrusted in his care. At the first sight of "the matchless Melliora", his "impregnable" heart "surrendered". The Baron D'Espernay, a close friend of D'Elmont, helps him plot to seduce Melliora—in part because he desires Alovisa for himself. D'Espernay plans a ball, during which D'Elmont is arranged to have access to Melliora, but Melantha, D'Espernay's sister, is enamored with D'Elmont and takes Melliora's room. When D'Elmont enters what he thinks is Melliora's chamber, he instead ravishes the too-willing Melantha. Alovisa, certain that D'Espernay can help her discover the identity of her husband's lover, agrees to trade sexual favors for this knowledge. In the chaos of the evening, Alovisa ends up running into D'Elmont's sword.

Part the Third commences with the aftermath of Alovisa's death; D'Elmont ends up in Italy, yearning endlessly for Melliora, while Melliora returns to the monastery where she was educated. Later, D'Elmont intervenes to rescue a stranger from certain death, killing a masked bravo, or "hired murderer", and narrowly escaping with his own life. To avoid being implicated, D'Elmont flees, stumbling into a garden belonging to his secret admirer. D'Elmont is confronted by Melliora's brother, Frankville, for tarnishing her reputation. Frankville is revealed to be the stranger whose life D'Elmont saved earlier on. Despite being affianced to Violetta (the chaste "good" woman), Frankville had fallen in love with a woman named Camilla, inciting the vengeance of Violetta's villainous father Cittolini, who is described as a "possessor of immense riches". D'Elmont attempts to assist Frankville by secretly delivering a letter to Camilla, who lives with Ciamara, the temptress who wrote to D'Elmont. Ciamara (the lusty "bad" woman) attempts to seduce D'Elmont when he mistakes her for Camilla, and this causes Frankville to spurn Camilla. Attempting to rectify this confusion, D'Elmont presents himself to Ciamara as a decoy long enough for Frankville to forcibly gain access to Camilla's quarters. But Camilla is unmoved by Frankville's pleading, and Frankville and D'Elmont narrowly escape an attack from Ciamara's servants. While Violetta was engaged to Frankville, she inevitably falls in love with D'Elmont and seeks to reunite Frankville and Camilla.

Receiving word that Melliora has been kidnapped from the monastery, and learning through Violetta of Ciamara and Cittolini's revenge plot, D'Elmont, Frankville, and Camilla flee Rome, accompanied by Fidelio, who is actually Violetta disguised as a pageboy. They learn that Ciamara had poisoned herself out of grief, and Violetta's vengeful father has also died. En route to Paris, the travelers—burdened by Fidelio who has fallen ill—take shelter from a storm with a wealthy gentleman, the Marquess D’Saguillier. D'Elmont is surprised in bed by Melliora, who reveals the events leading to her kidnapping: Betrothed to Melliora's friend, Charlotta, the Marquess instead desired Melliora and abducted her. Melliora secures her own freedom to leave with D'Elmont through an elaborate plot. Meanwhile, Fidelio is revealed to be Violetta, and she professes her undying love for D'Elmont on her deathbed. Violetta's fidelity is rewarded, as the Marquess D'Saguillier and Charlotta, Frankville and Camilla, and D'elmont and Melliora are wed. D'Elmont returns to Paris, where he is reunited with his brother. D'Elmont and Melliora are "still living, ... great and lovely examples of conjugal affection."

Major themes
A work of amatory fiction, Love in Excess offers many models of female desire, and ultimately articulates the early-18th century "cultural shift toward a companionate model of marriage." Like Aphra Behn and Delarivier Manley, Haywood uses love triangles to illustrate the different roles women can play. Exploring the conflict between social expectations and individual desires, Haywood's novel illustrates how female desire is silenced by public norms. According to David Oakleaf, Haywood "laments that women cannot, like men, express their desire directly". Although Love in Excess is known for its female characters, Count D’elmont is also an important character. Count Delmont is a “male version” of women who inspire sexual desire but are indifferent to their admirers.

Publication history
Love in Excess, one of Haywood's’ first and most popular novels, was published in three parts, by William Chetwood. Between 1719 and 1742 the novel was printed in six editions. Holly Luhning explains the publication history of Love in Excess, which was one of the most successful popular novels in the eighteenth century, through the prefatory poems. In the first part of the book, Chetwood included a dedicatory letter by the famous actress Anne Oldfield, instead of indicating that Haywood was the author. However, her name appeared in the second part and the third parts of her novel. In addition to this dedicatory letter, Chetwood also included several prefatory poems. The poems flatter Haywood's narrative skills and her ability to present "the power of physical and emotional love". The poems that were published in the early editions praised Love in Excess, but in the 6th edition, they also noticed Haywood's body of work, suggesting her higher reputation as a writer. Positive reaction to her work influenced more women to publish.

title: Love in Excess; or, The Fatal Enquiry


text:
USS Marblehead

Three ships of the United States Navy have been named USS Marblehead after the port of Marblehead, Massachusetts.

 * USS Marblehead (1861), launched in 1861, was a gunboat that served in the American Civil War and was sold in 1868.
 * USS Marblehead (C-11), launched in 1892, was a Montgomery-class cruiser. She served in the Spanish–American War and was sold in 1921.
 * USS Marblehead (CL-12), launched in 1923, was an Omaha-class cruiser light cruiser. She served in World War II until scrapped in 1947.

title: USS Marblehead


text:
Talk:John Mellencamp

Edit dispute
I removed the following material from the lead section:

 * Rolling Stone contributor Anthony DeCurtis said: "Mellencamp has created an important body of work that has earned him both critical regard and an enormous audience. His songs document the joys and struggles of ordinary people seeking to make their way, and he has consistently brought the fresh air of common experience to the typically glamour-addled world of popular music."[5]

 * In 2001, Billboard magazine editor-in-chief Timothy White said:

 * "John Mellencamp is arguably the most important roots rocker of his generation. ... John has made fiddles, hammer dulcimers, Autoharps (sic) and accordions [into] lead rock instruments on a par with electric guitar, bass, and drums, and he also brought what he calls 'a raw Appalachian' lyrical outlook to his songs. Mellencamp's best music is rock 'n roll stripped of all escapism, and it looks directly at the messiness of life as it's actually lived. In his music, mortality, anxiety, acts of God, questions of romance and brotherhood, and crises of conscience all collide and demand hard decisions. ... This is rock music that tells the truth on both its composer and the culture he's observing."[6]

 * Former Creedence Clearwater Revival frontman John Fogerty said of Mellencamp:

 * "John is one of the great American songwriters and a great rock spirit. He's always been somewhat feisty, and his 'Authority Song' tells that story. But that's a good thing. That's rock 'n' roll at its very core."[7]

 * Johnny Cash called Mellencamp "one of the 10 best songwriters" in music.[8]

Editors 75.132.39.167, Gsquaredxc, and Snowycats each reverted my edit with no explanation whatsoever. As I stated in an edit summary, this material is included in its entirety in the body of the article. It makes the lead section a bit lengthy and a bit too laudatory. 24.29.56.240 (talk) 19:25, 28 October 2020 (UTC)

The reasons why I reverted your edit are as follows:

 * 1) Your account has previously been warned 12 times.
 * 2) You did not provide explanation, the edit I reverted had this as an explanation: Undid revision 985806583 by 75.132.39.167 (talk).
 * 3) You did not post anything relating to the removal on the talk page as would be customary to do if reverting an edit that has sourced information.
 * 4) You do not have an account which is why I found it on RTRC.

I also explained fairly well why I reverted your edit using the uw4-vandalism. The edit was not without explanation.

Along with this, Talk page guidelines states "Cautiously editing or removing another editor's comments is sometimes allowed, but normally you should stop if there is any objection." Please do not remove notices from your talk page with the reasoning "remove BS warning that has no basis in reality".

I cannot speak for Snowycats, however I do believe than an accusation of wikihounding is unfair as "Correct use of an editor's history includes (but is not limited to) fixing unambiguous errors or violations of Wikipedia policy, or correcting related problems on multiple articles. In fact, such practices are recommended both for Recent changes patrol and WikiProject Spam."

As for 75.132.39.167, please link a source for when this user reverted your edit. In fact, you reverted 75.132.39.167's edit, which is the edit that this dispute is about.

In the future, please explain your changes in the edit summary as well as explain in the talk page before you make considerable changes. Please do not make large deletions, then tell others to contest them in the talk page. Gsquaredxc (talk) 20:25, 28 October 2020 (UTC)

 * Gsquaredxc, you are correct that 75.132.39.167 did not revert my edit. That statement was an error on my part.

 * The fact that there are warnings on my talk page has nothing to do with this edit and is not a reason for reverting it. Neither is the fact that I am an IP user. So I don't know why those things are part of this discussion. I stand by my use of the term "Wikihounding". Also, if you don't want me to remove notices from my talk page, please don't post baseless accusations of vandalism or other baseless notices on my talk page. I have never vandalized a Wikipedia page.

 * Now, could we get back to the topic at hand? I think the article is better with a more concise lead section that doesn't include the challenged language. 24.29.56.240 (talk) 05:42, 29 October 2020 (UTC)

The article should explain how Mellencamp dodged the draft and avoided Vietnam (the biggest issue for any healthy male his age back then). — Preceding unsigned comment added by 216.49.27.38 (talk) 16:46, 21 November 2022 (UTC)

Mellencamp marriage and fatherhood: Something is wrong here
The following currently appears in the article:

"When Mellencamp turned 18, he married his pregnant girlfriend Priscilla Esterline.[citation needed] Mellencamp became a father in December 1970, only six months after he graduated from high school.[citation needed] "

Well, the math doesn't add up. This article gives Mellencamp's DOB as October 7, 1951. "When Mellencamp turned 18" would then be Oct 1969. At that time, says the article, Priscilla was already pregnant. Yet the child was born December 1970, 14 months later.

Either the first pregnancy ended prematurely and the child born in December 1970 was of a different pregnancy, or else there is a mistake in the above-referenced part of the article.

The lack of citations is not a point in its favor.

That said, I don't want to just remove a major part of his story, so I did not edit the article.

But if anyone can make sense of the above, please do.

Thank you,

2600:1017:B828:3CE:0:53:8158:1701 (talk) 10:01, 26 August 2022 (UTC)

The unsourced claim has been removed. - FlightTime  ( open channel ) 00:48, 24 September 2022 (UTC)

title: Talk:John Mellencamp


text:
Odyssey (Magic: The Gathering)

The Odyssey is a Magic: The Gathering expert-level block. It consists of a trio of expansion sets: Odyssey (September, 2001), Torment (February, 2002) and Judgment (May, 2002).

Odyssey
The storyline of Odyssey leaps forward 100 years after the events in the set Apocalypse on the remote continent Otaria. Odyssey's protagonist is Kamahl, a formidable fighter-mage skilled in both throwing fireballs and melee combat. Kamahl has a close friend Chainer, a cabalist, and a cool-headed sister Jeska. The antagonist is Laquatus, a sly merfolk who uses trickery and mind control to bend others to his will. Other characters include the cephalid emperor Aboshan, Kamahl's centaur friend Seton, Kamahl and Jeska's dwarven trainer Balthor, the militaristic Kirtar, the mellow but dangerous Cabal Patriarch (The First), and the unpredictable sociopath Braids. Almost everyone in the story is after the Mirari, a legendary artifact of immense power with the ability to make its wielder's innermost wishes come true. The Mirari is relatively small, resembling a metallic ball mounted on a wiry helix. The Mirari notoriously drives its wielder insane, often causing death and massive destruction, wherein it awaits a new master.

The Magic: The Gathering Creative Team began a new approach to Magic's storyline starting with Odyssey. Changes include:
 * The 13 previous sets' storyline, beginning in Weatherlight and climaxing in Apocalypse, that depicted the adventures of Urza Planeswalker, Gerrard Capashen and the Weatherlight crew's crusade against the Phyrexians, is no longer being chronicled. For Odyssey, a new story begins in a new setting with a new cast of characters.
 * Kamahl is a red protagonist (Red is the color of chaos, destruction, and impulse).
 * Laquatus is a blue antagonist (Blue is the color of knowledge, trickery, and now, even deceit).
 * Odyssey portrays black themes that include the entertainment and glory of the pit fights mixed with capitalism. These themes offer a new variation of evil to black's themes in previous storylines, which included genocide, soul-harvesting, and finding the most agonizing torture for captive victims.
 * New storylines can be as short as three sets, and each storyline can be revisited or cross paths (for an example, see Mirrodin's storyline).

Torment
Torment tells the story of Chainer, a Dementia Summoner of the Cabal, who first discovers the Mirari and rises through the ranks of the Cabal, eventually becoming rival to the himself.

Judgment
Having mortally wounded his sister, Jeska, with his own sword, Kamahl leaves her to the care of his centaur friend, Seton, and sets out on a quest to find a way to heal her. Her wound festers from the might of the Mirari, currently fixed to the pommel of Kamahl's sword. Meanwhile, Laquatus schemes as much as ever to persuade Empress Llawan to aid him in finding the Mirari. Along with his bodyguard Burke (Laquatus' Champion), the ever-demented Braids, and Commander Eesha of the Aven, each plays a part in the war over the Mirari. Kamahl trains with the Nantuko Thriss in Krosa in Druidic magic and ultimately confronts Laquatus in a showdown. Upon victory, Kamahl slams his sword into the ground, granting his wish and bringing life and growth to the surrounding environment (Mirari's Wake), though he unfortunately cannot cure his dying sister's wound.

Odyssey
Odyssey's main theme is the graveyard. All the colors interact with the graveyard and use it as a resource, though green and black are the strongest graveyard colors. Previously, the graveyard rarely affected gameplay, but Odyssey's cards forced players to constantly keep track of both graveyards at all times.

Odyssey's secondary theme is token creatures. Throughout the Odyssey block, all the colors receive more token creatures than usual, and green's token generating spells are some of the most powerful tokens generators in Magic history. This was because if spells had Flashback they could be played from the graveyard for its Flashback cost and would be removed from the game once it resolved. This essentially allowed you to play the same spell twice. The most notable card among these was Call of the Herd which was later reprinted as one of the Time Spiral 'Timeshifted' cards.

Many of Magic's marquee races like Elves and Goblins are completely absent from Otaria. White is represented by Nomads and the Aven birds of The Order; Blue has the deceitful, octopus-like Cephalids; Black is plagued by the Horrors and Minions of Cabal summoners; Red showcases Dwarves, Firecats, and Barbarians of the Pardic mountains; and Green is rife with Centaurs, Squirrels, and the insect-like Nantuko druids of the Krosan forest.

Torment
Torment, which focused on black, is unique in that it is the first set to focus on a single color. It has 40 Black cards, 28 Blue cards, 28 Red cards, 21 Green Cards and 21 White cards. This imbalance is, however, balanced by the release of the third expansion set in the Odyssey Block, Judgment. Torment's release marked a tremendous power boost to the color black. The "Swamp Rewards" cards along with and  were incredibly potent in tournament play, spawning the MonoBlack Control archetype (or the more appropriately named Coffers Control) that could destroy its opponent's creatures, hand, and life total with large -fueled spells. Previously, control decks were almost synonymous with blue counter-based control decks, but after Torment it was no longer a fact that a control deck was unviable without countermagic.

Relative to other mechanics at the time, Torment's Madness mechanic proved to be overpowered, most notably on Circular Logic, Basking Rootwalla, and Arrogant Wurm. This gave rise to U/G Madness (pronounced "Blue-Green Madness"), an Aggro-Control archetype fundamentally built on and  as discard outlets to utilize the Madness, Flashback, and Threshold mechanics of Odyssey Block. U/G Madness is notable for being format-dominating, inexpensive to build, easy to play, and almost exclusively utilizing Odyssey Block cards. U/G Madness and Coffers Control are good examples of the player-perceived criticism that "R&D is making our decks for us."

Judgment
This is the second expansion set made that did not have an equal number cards from each color. The first expansion with such an imbalance was its predecessor, the Torment expansion set, which was skewed towards the color black. The Judgment expansion set was meant to balance this, and skews towards green and white, black's enemy colors. The expansion symbol for Judgment was a scale. The set contains 33 Green cards, 33 White cards, 27 Red cards, 27 Blue cards and 16 Black cards. All multicolored cards in the set are both green and white.

With the release of Judgment, the Wishes (specifically, , and ) offered a radical new approach to deckbuilding in tournament play. Control decks and Combo decks across multiple formats revolutionized themselves with the method of devoting sideboard space for combo pieces and silver bullets. In essence, this made the maindeck stronger but the smaller sideboard made postboard games weaker. Burning Wish received DCI attention after it was showcased in an absurdly powerful Vintage deck called "Long.dec" where multiple Burning Wishes were used to abuse a single Yawgmoth's Will in the sideboard, the deck would then traditionally win using (which could also be searched up using Burning Wish). This tournament-legal combo deck boasted an incredible 60% 1st Turn Kill rate, making it one of the most powerful Magic decks ever. Burning Wish was thus restricted in Vintage by the DCI on December 1, 2003, making it a good candidate for the most powerful card in Judgment.

Mechanics
Odyssey introduced two graveyard-centered mechanics. One was flashback. Spells with flashback can be played again from the graveyard, essentially getting a second use out of the spell. However, using a Flashback ability removes the card from the game. The other is the ability word threshold, which, when printed on spells and creatures, rewards players for having seven or more cards in the graveyard.

Torment continued the Flashback and Threshold mechanics began in Odyssey and introduced Madness. When a card with Madness is discarded, it can usually be played at a reduced cost. Torment sports 10 Madness cards, a common and an uncommon for each of the five colors. The "black corruption" theme of Torment spreads beyond sheer numbers of cards. There are a number of other cards that focus on black or swamps, including cards that reward players for controlling swamps, "tainted" lands, flashbacks that required loss of life, nightmares and possessed creatures.

Judgment continues Odyssey's Flashback, Threshold and Punisher mechanics and Torment's Nightmare creatures in the form of Wormfangs and Gorgers. It also contains a cycle of wishes that allow you to search for cards from outside the game, and a cycle of incarnation creatures that granted abilities to creatures in play as long as they were in the graveyard.

Reception
Odyssey was a poorly received set. Mark Rosewater, the lead designer for Odyssey, claimed that the set was the one from which he learnt the most as a designer, as it was the set in which he made his biggest mistakes. Rosewater went into the Odyssey design deciding he wanted to challenge notions of card advantage. Looking back on this he states that he was doing this for himself at the expense of the audience at large. Other design mistakes highlighted by Rosewater included the Threshold mechanic. The mechanic forced players to keep track of the number of cards in their opponent's graveyard and which cards could put cards into the graveyard. It was found that this was largely not enjoyable for players.

Another problem with Odyssey that Rosewater has discussed is that the storyline and flavor of the set did not match its graveyard-focused mechanics. He explains that this was because there used to be little interaction between the development team and the creative team. Rosewater recalls talking with Brady Dommermuth, an editor for the game at the time, who suggested that a gothic horror theme would have better suited the set's design. Rosewater would later become the head designer of Magic and Dommermuth the creative director. This would lead to the Innistrad set, released in 2011, that returned to the graveyard themes explored in Odyssey but this time with a gothic horror theme. The Flashback mechanic would also return in Innistrad.

Notable cards
Notable cards from Odyssey include ', ', ', ' and .

Notable cards from Judgment include *' and '

Psychatog
Psychatog is a blue-black Magic: The Gathering creature card printed at the "uncommon" level of rarity in the Odyssey expansion set in 2001. Its abilities, which allow the player to strengthen it by discarding cards or removing cards in the graveyard (discard pile) from the game, resulted in Psychatog being labeled "broken" (overpowered) by players; in an online poll conducted in 2002 at Magicthegathering.com, 35.9% of respondents said they believed that printing Psychatog had been a mistake. Six of the top eight players at the 2002 World Championship used Psychatog-based decks, including the winner, Carlos Romão. It is one of a cycle of multicolored Atogs.

The multi-colored atogs in Odyssey were intended as hybrids of the earlier, single-color atogs. Psychatog is a hybrid of the black (from Weatherlight) and the blue (from Visions), and this is reflected in the card's art. Psychatog has a modified version of Necratog's ability to "eat" cards in the graveyard, but it was felt that Chronatog's ability, which involves skipping turns, should not be continued in Psychatog. It was initially replaced with an ability that required removing 7 cards from the player's library (deck); running out of cards means losing the game, placing a limit on how many times this ability could be used. After developer William Jockusch showed that this could be circumvented simply by using a large enough deck, the number of cards removed was increased to 10, but even this was felt to be too powerful —, a card that wins the game for players with more than 200 cards in their library, was being planned for the same set, giving players more incentive to use unusually large decks. Eventually the "library-eating" ability was replaced with its current discard ability.

Torment
With the focus on black within the set all the theme decks for the Torment set featured black paired with another color.
 * Grave Danger is a blue and black deck that focuses on using the graveyard with cards such as and .  The two rares in this deck are  and.
 * Insanity is a green and black beatdown deck. The two rares in this deck are  and.
 * Sacrilege is a white and black graveyard-based utility deck, featuring cards that placed creatures into the graveyard and others that returned them from the graveyard. The two rares in this deck are  and.
 * Waking Nightmares is a red and black control deck featuring many of the 'Nightmare' creature cards from the set. The two rares in the deck are  and.

title: Odyssey (Magic: The Gathering)


text:
Comp Air 6

The Comp Air 6 is a light civil utility aircraft manufactured in the United States by Comp Air.

Design and development
The Comp Air 6 is a stretched and widened development of the four-seat Aerocomp CompMonster which had first flown on 3 April 1995.

The Comp Air 6 has a fore-and-aft fuselage splice to widen and lengthen the cabin from the original design. It is usually supplied in kit form. The design is configured as a conventional high-wing monoplane and may be built with either tricycle or tailwheel undercarriage and may alternately be equipped with floats as the CA6SF, amphibious as the CA6AF, or with skis.

title: Comp Air 6


text:
Michael Otto (businessman)

Michael Otto (born 12 April 1943), is the chairman of the supervisory board of Germany's Otto Group, one of world's largest mail order companies, with €15.6 billion in revenue in 2021.

Early life
He earned doctorates from the University of Hamburg and the University of Munich.

Career
Otto Group was founded by his father, the late Werner Otto, as a mail-order business in Hamburg in 1949.

They were the former owners of Spiegel, Inc. (the parent company of Eddie Bauer and former owners of Spiegel catalog), which filed for bankruptcy on 17 March 2003. On 25 May 2005, Spiegel, Inc. emerged from bankruptcy, was renamed Eddie Bauer Holdings, and is now owned primarily by Commerzbank. The Otto Group no longer has any stake in the company.

Otto and his family own extensive real estate in Canada and in the United States, shopping centers in Germany and part of home-furnishings chain Crate & Barrel. Known as a committed environmentalist, his company has long touted environmentally safe products. In 1993, he created the Michael Otto Foundation (German: Michael Otto Stiftung). This foundation played, and is still playing, an important role in furthering multi-stakeholder dialogue on hot environmental issues. Otto is also a member of the World Future Council.

Otto is president of the Foundation 2°, which promotes a transition towards a carbon-free economic system. He once stated about this transition: "Understanding climate protection as a modernisation project for the economy can now play an important role in overcoming the consequences of the Corona crisis – and at the same time help to avoid profound negative impacts of the climate crisis."

Personal life
Otto is married, with two children, and lives in Hamburg, Germany.

title: Michael Otto (businessman)


text:
Lesse

The Lesse is a river in the Ardennes, in the Walloon region of Belgium. It is a right tributary to the river Meuse.

The source of the Lesse is near Libramont-Chevigny, in the Belgian province of Luxembourg. The Lesse flows roughly in north-western direction. Near Han-sur-Lesse (municipality of Rochefort) the entire river goes underground, flowing through limestone caves. Many of the caves along the banks of the Lesse are important archaeological sites; these include the Trou de Chaleux (by the Cirque de Chaleux), and the Trou des Nutons and Trou du Frontal at Furfooz. The Lesse flows into the river Meuse in the village of Anseremme, municipality of Dinant. Towns along the Lesse are Daverdisse, Han-sur-Lesse, Houyet and Anseremme.

title: Lesse


text:
Copper carbonate

Copper carbonate may refer to :

 * Copper (II) compounds and minerals
 * Copper(II) carbonate proper, (neutral copper carbonate): a rarely seen moisture-sensitive compound.
 * Basic copper carbonate (the "copper carbonate" of commerce), actually a copper carbonate hydroxide; which may be either
 * 2: the green mineral malachite, verdigris, the pigment "green verditer" or "mountain green"
 * 22: the blue mineral azurite, and the pigment "blue verditer" or "mountain blue"
 * Lapis armenus, a precious stone, a basic copper carbonate from Armenia
 * Marklite, a hydrated copper carbonate mineral

 * Copper (I) compounds
 * Copper(I) carbonate, Cu2CO3

title: Copper carbonate


text:
Selection rule

In physics and chemistry, a selection rule, or transition rule, formally constrains the possible transitions of a system from one quantum state to another. Selection rules have been derived for electromagnetic transitions in molecules, in atoms, in atomic nuclei, and so on. The selection rules may differ according to the technique used to observe the transition. The selection rule also plays a role in chemical reactions, where some are formally spin-forbidden reactions, that is, reactions where the spin state changes at least once from reactants to products.

In the following, mainly atomic and molecular transitions are considered.

Overview
In quantum mechanics the basis for a spectroscopic selection rule is the value of the transition moment integral
 * $$m_{1,2}=\int \psi_1^* \, \mu \, \psi_2 \, \mathrm{d}\tau\,,$$

where $$\psi_1$$ and $$\psi_2$$ are the wave functions of the two states, "state 1" and "state 2", involved in the transition, and $μ$ is the transition moment operator. This integral represents the propagator (and thus the probability) of the transition between states 1 and 2; if the value of this integral is zero then the transition is "forbidden".

In practice, to determine a selection rule the integral itself does not need to be calculated: It is sufficient to determine the symmetry of the transition moment function $$\,\psi_1^* \; \mu \; \psi_2~.$$ If the transition moment function is symmetric over all of the totally symmetric representation of the point group to which the atom or molecule belongs, then the integral's value is (in general) not zero and the transition is allowed. Otherwise, the transition is "forbidden".

The transition moment integral is zero if the transition moment function, $$\psi_1^* \; \mu \; \psi_2 \,,$$ is anti-symmetric or odd, i.e. $$~y(x) = -y(-x)~$$ holds. The symmetry of the transition moment function is the direct product of the parities of its three components. The symmetry characteristics of each component can be obtained from standard character tables. Rules for obtaining the symmetries of a direct product can be found in texts on character tables.

Electronic spectra
The Laporte rule is a selection rule formally stated as follows: In a centrosymmetric environment, transitions between like atomic orbitals such as s-s, p-p, d-d, or f-f, transitions are forbidden. The Laporte rule (law) applies to electric dipole transitions, so the operator has u symmetry (meaning ungerade, odd). p orbitals also have u symmetry, so the symmetry of the transition moment function is given by the triple product u×u×u, which has u symmetry. The transitions are therefore forbidden. Likewise, d orbitals have g symmetry (meaning gerade, even), so the triple product g×u×g also has u symmetry and the transition is forbidden.

The wave function of a single electron is the product of a space-dependent wave function and a spin wave function. Spin is directional and can be said to have odd parity. It follows that transitions in which the spin "direction" changes are forbidden. In formal terms, only states with the same total spin quantum number are "spin-allowed". In crystal field theory, d-d transitions that are spin-forbidden are much weaker than spin-allowed transitions. Both can be observed, in spite of the Laporte rule, because the actual transitions are coupled to vibrations that are anti-symmetric and have the same symmetry as the dipole moment operator.

Vibrational spectra
In vibrational spectroscopy, transitions are observed between different vibrational states. In a fundamental vibration, the molecule is excited from its ground state (v = 0) to the first excited state (v = 1). The symmetry of the ground-state wave function is the same as that of the molecule. It is, therefore, a basis for the totally symmetric representation in the point group of the molecule. It follows that, for a vibrational transition to be allowed, the symmetry of the excited state wave function must be the same as the symmetry of the transition moment operator.

In infrared spectroscopy, the transition moment operator transforms as either x and/or y and/or z. The excited state wave function must also transform as at least one of these vectors. In Raman spectroscopy, the operator transforms as one of the second-order terms in the right-most column of the character table, below.

The molecule methane, CH4, may be used as an example to illustrate the application of these principles. The molecule is tetrahedral and has Td symmetry. The vibrations of methane span the representations A1 + E + 2T2. Examination of the character table shows that all four vibrations are Raman-active, but only the T2 vibrations can be seen in the infrared spectrum.

In the harmonic approximation, it can be shown that overtones are forbidden in both infrared and Raman spectra. However, when anharmonicity is taken into account, the transitions are weakly allowed.

In Raman and infrared spectroscopy, the selection rules predict certain vibrational modes to have zero intensities in the Raman and/or the IR. Displacements from the ideal structure can result in relaxation of the selection rules and appearance of these unexpected phonon modes in the spectra. Therefore, the appearance of new modes in the spectra can be a useful indicator of symmetry breakdown.

Rotational spectra
The selection rule for rotational transitions, derived from the symmetries of the rotational wave functions in a rigid rotor, is ΔJ = ±1, where J is a rotational quantum number.

Coupled transitions
There are many types of coupled transition such as are observed in vibration–rotation spectra. The excited-state wave function is the product of two wave functions such as vibrational and rotational. The general principle is that the symmetry of the excited state is obtained as the direct product of the symmetries of the component wave functions. In rovibronic transitions, the excited states involve three wave functions.

The infrared spectrum of hydrogen chloride gas shows rotational fine structure superimposed on the vibrational spectrum. This is typical of the infrared spectra of heteronuclear diatomic molecules. It shows the so-called P and R branches. The Q branch, located at the vibration frequency, is absent. Symmetric top molecules display the Q branch. This follows from the application of selection rules.

Resonance Raman spectroscopy involves a kind of vibronic coupling. It results in much-increased intensity of fundamental and overtone transitions as the vibrations "steal" intensity from an allowed electronic transition. In spite of appearances, the selection rules are the same as in Raman spectroscopy.

Angular momentum
In general, electric (charge) radiation or magnetic (current, magnetic moment) radiation can be classified into multipoles E$μ$ (electric) or M$x, y, z$ (magnetic) of order 2$x^{2}, y^{2}, z^{2}, xy, xz, yz$, e.g., E1 for electric dipole, E2 for quadrupole, or E3 for octupole. In transitions where the change in angular momentum between the initial and final states makes several multipole radiations possible, usually the lowest-order multipoles are overwhelmingly more likely, and dominate the transition.

The emitted particle carries away angular momentum, with quantum number $x^{2} + y^{2} + z^{2}$, which for the photon must be at least 1, since it is a vector particle (i.e., it has $x^{2}, y^{2}, z^{2}, xy, xz, yz$$R$ = 1−). Thus, there is no radiation from E0 (electric monopoles) or  M0  (magnetic monopoles, which do not seem to exist).

Since the total angular momentum has to be conserved during the transition, we have that
 * $$\mathbf J_{\mathrm{i}} = \mathbf{J}_{\mathrm{f}} + \boldsymbol{\lambda}$$

where $\Vert \boldsymbol{\lambda} \Vert = \sqrt{\lambda(\lambda + 1)\,} \; \hbar~,$ and its z-projection is given by $$\lambda_z = \mu \, \hbar~;$$ and where $$~\mathbf J_{\mathrm{i}}~$$ and $$~\mathbf J_{\mathrm{f}}~$$ are, respectively, the initial and final angular momenta of the atom. The corresponding quantum numbers $R$ and $R$ ($λ$-axis angular momentum) must satisfy
 * $$| J_{\mathrm{i}} - J_{\mathrm{f}} | \le \lambda \le J_{\mathrm{i}} + J_{\mathrm{f}}$$

and
 * $$\mu = M_{\mbox{i}} - M_{\mbox{f}}\,.$$

Parity is also preserved. For electric multipole transitions
 * $$\pi(\mathrm{E}\lambda) = \pi_{\mathrm{i}} \pi_{\mathrm{f}} = (-1)^{\lambda}\,$$

while for magnetic multipoles
 * $$\pi(\mathrm{M}\lambda) = \pi_{\mathrm{i}} \pi_{\mathrm{f}} = (-1)^{\lambda+1}\,.$$

Thus, parity does not change for E-even or M-odd multipoles, while it changes for E-odd or M-even multipoles.

These considerations generate different sets of transitions rules depending on the multipole order and type. The expression forbidden transitions is often used, but this does not mean that these transitions cannot occur, only that they are electric-dipole-forbidden. These transitions are perfectly possible; they merely occur at a lower rate. If the rate for an E1 transition is non-zero, the transition is said to be permitted; if it is zero, then M1, E2, etc. transitions can still produce radiation, albeit with much lower transitions rates. The transition rate decreases by a factor of about 1000 from one multipole to the next one, so the lowest multipole transitions are most likely to occur.

Semi-forbidden transitions (resulting in so-called intercombination lines) are electric dipole (E1) transitions for which the selection rule that the spin does not change is violated. This is a result of the failure of LS coupling.

Summary table
$$~J=L+S~$$ is the total angular momentum, $$~L~$$ is the azimuthal quantum number, $$~S~$$ is the spin quantum number, and $$~M_J~$$ is the secondary total angular momentum quantum number. Which transitions are allowed is based on the hydrogen-like atom. The symbol $$~ \not \leftrightarrow ~$$ is used to indicate a forbidden transition. In hyperfine structure, the total angular momentum of the atom is $$~F=I+J~,$$ where $$~I~$$ is the nuclear spin angular momentum and $$~J~$$ is the total angular momentum of the electron(s). Since $$~F=I+J~$$ has a similar mathematical form as $$~J=L+S~,$$ it obeys a selection rule table similar to the table above.

Surface
In surface vibrational spectroscopy, the surface selection rule is applied to identify the peaks observed in vibrational spectra. When a molecule is adsorbed on a substrate, the molecule induces opposite image charges in the substrate. The dipole moment of the molecule and the image charges perpendicular to the surface reinforce each other. In contrast, the dipole moments of the molecule and the image charges parallel to the surface cancel out. Therefore, only molecular vibrational peaks giving rise to a dynamic dipole moment perpendicular to the surface will be observed in the vibrational spectrum.

title: Selection rule