text:
Mario Salieri

Mario Salieri (born 29 November 1957 in Naples) is an Italian pornographic film director and producer.

Career
Salieri started his adult film career with semi-amateur films shot in Amsterdam for the Italian market. Since the early 1990s, he has directed and written many adult film titles. He is also the owner of the company Salieri Productions.

Awards (selected)

 * 2001 Venus Award winner – Italian National Prize
 * 2001 Ninfa Award winner – Best Director (Divina)
 * 2003 Venus Award winner – Best Director (Italy)
 * 2007 Ninfa Award winner – Best Director (La Viuda De La Camorra – Negro Y Azul)
 * 2008 European X Award – Best Director (Italy)
 * 2008 Ninfa Lifetime Career Award (Public) winner

Filmography (selected)

 * Inside Napoli (1989)
 * Roman Orgies – Italian Perversions (1990)
 * Discesa all'inferno (1991)
 * Napoli – Parigi, linea rovente 1 & 2 (1991)
 * Roma Connection (1991)
 * Arabika (1992)
 * Adolescenza perversa (1993)
 * Concetta Licata (1994)
 * Dracula (1994)
 * Sceneggiata napoletana (1994)
 * Eros e Tanatos (1995)
 * La Clinica della vergogna (1995)
 * Casino (2001)
 * Faust (2002)
 * La Dolce Vita (2003)
 * La Ciociara – Fuga da Roma (2017)

title: Mario Salieri


text: Category:Florida current railroads

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

title: Category:Florida current railroads


text:
Hackney Central railway station

Hackney Central is a London Overground station on the North London line in Hackney Central, north-east London. It lies between Dalston Kingsland and Homerton and is in Travelcard Zone 2. The station and all trains serving it are operated by London Overground services which are managed by Transport for London.

The station is connected to Hackney Downs by a direct passenger walkway linking the two stations (replacing an earlier such link) that was opened in July 2015. This walkway means passengers do not have to exit on to the street in order to continue their onward journey and has eased congestion.

Early years
The North London Railway opened a station named Hackney on 26 September 1850, to the east of Mare Street, then in the county of Middlesex. It closed on 1 December 1870 and was replaced the same day by a station to the west of Mare Street, designed by Edwin Henry Horne and also named Hackney. This station passed in due course to the London and North Western Railway and later on to the London, Midland and Scottish Railway, which closed the entire North London line east of Dalston Junction to passenger traffic in 1944.

Just to the west of the station a goods yard called Graham Road was opened by the Great Eastern Railway in 1894. Located just west of the GER Hackney Downs railway viaduct the depot consisted of seven sidings dealing with coal and general goods. The land had originally been purchased for a rail link between the North London and Great Eastern Railways.

Graham Road goods yard closed in October 1965. The site was finally used to link the North London and Great Eastern lines when in anticipation of the closure of Broad Street railway station in 1985 the "Graham Road Curve" was opened to traffic.

Reopening
On 12 May 1980, the station was reopened by British Rail as part of the Crosstown Linkline service, this time named Hackney Central, a little to the west of the 1870 station. The 1870 station building designed by Edwin Henry Horne is no longer in use by the railway, but is one of only two examples of North London Railway architecture still in situ, the other being Camden Road station, which is still open. Access to the modern Hackney Central station is from an alleyway adjacent to the 1870 building on Mare Street, as well as a more direct access from Amhurst Road.

The former station building is now a bar and music venue.

Line improvement
As part of the programme to introduce four-car trains on the London Overground network, the North London Line between Gospel Oak and closed in February 2010 to enable the installation of a new signalling system and the extension of platforms across the network. The line reopened on 1 June 2010, initially with a reduced service and none on Sundays. The full seven-day service resumed on 22 May 2011, with extra services running all day in place of the additional shuttle trains which had previously run between Camden Road and Stratford stations in the morning and evening peaks.

Opening of second entrance
A new entrance from the south in Graham Road with ticket office and footbridge was opened in 2022.

Services

The typical off-peak service in trains per hour (tph) is:
 * 4 tph westbound to via, Camden Road and
 * 4 tph westbound to Clapham Junction
 * 8 tph eastbound to

Crossrail 2
Hackney Central is a proposed stop on Crossrail 2. It would be between Angel and Tottenham Hale or Seven Sisters. The platforms would be underground, with a connection to the existing surface station.

Docklands Light Railway
In February 2006 the Docklands Light Railway (DLR) Horizon 2020 report, had suggested that the DLR be extended here from Bow Church via Old Ford and Homerton, taking over the old parts of the North London line to link up Poplar and Canary Wharf. However, most of the former North London line between Hackney Wick and Bow Church has been built on. .

Connections
London Bus routes 30, 38, 55, 106, 236, 242, 253, 254, 276, 277, 394 and W15 and night routes N38, N55, N242, N253 and N277 serve the station.

title: Hackney Central railway station


text:
Talk:Christmas food in the United States

Strawberry-rhubarb pie is a late-spring pie, combining the last of the rhubarb with the first of the strawberries. Of course anything can be eaten anytime, but that's not the theme of this article. --Wetman 09:51, 2 Dec 2004 (UTC)


text:
Bombay mix

Bombay mix or chavanu is an Indian snack mix which consists of a variable mixture of spicy dried ingredients, such as sev, fried lentils, peanuts, chickpeas, chickpea flour ganthiya, corn, vegetable oil, puffed rice, fried onion and curry leaves. This is all flavored with salt and a blend of spices that may include coriander and mustard seeds. It is part of a category of snack food called Farsan.

Variations
Alternative, regional versions include:

 * In Malaysia and Singapore, it is known as kacang putih. Members of the local Indian community usually refer to it as "mixture" as is done in southern India. It is available from roadside vendors as well as shops and restaurants. Singaporean supermarket FairPrice refer to their Bombay mix as murukku, which is an entirely different product.
 * In southern Indian states such as Tamil Nadu and Kerala, as well as in the north of Sri Lanka, it is known as just "mixture", and is available in almost all the sweet shops and bakeries. Usually it consists of fried peanuts, thenkuzhal, kara boondhi, roasted chana dal, karasev, murukku broken into small pieces, pakoda and oma podi.

title: Bombay mix


text:
Talk:Mario Salieri

"See also" Section OK - or Not?
FWIW - seems that the "See also" section is not ok with one editor - however, others may disagree - After all, according to "WP:OWN", "All Wikipedia content ... is edited collaboratively" - Further, according to "WP:ALSO" => "The links in the "See also" section might be only indirectly related to the topic of the article because one purpose of "See also" links is to enable readers to explore tangentially related topics." - Nonetheless, the following listing was deleted, without discussion, by "User:Hullaballoo Wolfowitz":

 Copied from the March 12, 2015 version of "Mario Salieri#See also": See also

The following listing includes directors also known for adult erotic films: • Andrew Blake

• Henry Paris

• James Avalon

• Marc Dorcel

• Max Candy

• Michael Ninn

• Philip Mond

• Tinto Brass

Apparently, the section was deleted because it was "contrary to practice" - and possibly related to - as before in a similar edit deletion - "blp issues" - there seems to have been detailed discussions earlier about "WP:BLP" (see listing below) - however, afaik atm there doesn't seem to be anything substantial in the "WP:MOS" (or related) to support the edit deletion - at least, I haven't found anything so far.

If interested, related detailed discussions can be found at several links, including the following:
 * Reference 1 - "not in violation of BLP"?
 * Reference 2 - BLP-related?
 * Administrators' noticeboard/IncidentArchive850
 * Administrators' noticeboard/IncidentArchive850
 * Biographies of living persons/Noticeboard/Archive193
 * Talk:Pornographic film actor

In any case - Is the edit deletion *entirely* OK - or Not? - Comments Welcome - Enjoy! :) Drbogdan (talk) 01:23, 16 March 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Mario Salieri. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20100103123411/http://german-adult-news.com/erotik/artikel/669-festival-de-lerotisme-und-european-x-awards-2004.html to http://www.german-adult-news.com/erotik/artikel/669-festival-de-lerotisme-und-european-x-awards-2004.html

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 16:58, 9 January 2016 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 15:07, 6 August 2022 (UTC)
 * Mariosalieri.jpg

title: Talk:Mario Salieri


text: User talk:67.169.137.204

title: User talk:67.169.137.204


text:
User:Yinglichina~enwiki

Hi, here is the home of Yinglichina, 李莹

Here is a picture of where I work.

title: User:Yinglichina~enwiki


text:
Alphonse Desjardins (politician)

Alphonse Desjardins, PC (6 May 1841 – 4 June 1912) was born in Terrebonne, Canada East, and was mayor of Montreal from 1893 to 1894 and later a Canadian cabinet minister. He married Virginie Paré in 1864 and remarried Hortense Barsalou in 1880.

He was a lawyer, journalist, businessman and politician. He owned a tile factory and participated in the founding of the Banque Jacques-Cartier, which later became part of the National Bank of Canada. He represented the riding of Hochelaga in the House of Commons for 18 years, serving as a cabinet minister and Minister of Militia and Defence for a few months at the end of the Mackenzie Bowell government and then the short-lived Tupper government in 1896. He was named a senator in 1892. He became mayor of Montreal from 1893–1894. For a time he held all three posts (member of the House of Commons, Senator, mayor) simultaneously.

In 1872, he was created a Knight of the Order of Pius IX in acknowledgment of his services to the Catholic Church.

title: Alphonse Desjardins (politician)


text:
Alphonse Desjardins (co-operator)

Gabriel-Alphonse Desjardins (November 5, 1854 – October 31, 1920), born in Levis, Canada East was the co-founder of the Caisses Populaires Desjardins (today Desjardins Group), a forerunner of North American credit unions and community banks. For his contribution to the advancement of agriculture in the province of Quebec, he was posthumously inducted to the Agricultural Hall of Fame of Quebec in 1994.

Early life
Gabriel-Alphonse Desjardins was a journalist at L'écho and Le Canadien until 1879. He was publisher of Débats de la législature du Québec from 1879 to 1890, and French-language parliamentary stenographer at the House of Commons of Canada from 1892 to 1917.

Start of caisses populaires
In 1897 Desjardins became increasingly concerned with the problem of usury and undertook three years of careful research and correspondence with the founders of cooperative savings and credit movements in Europe. On December 6, 1900, Desjardins and his wife, Dorimène Roy Desjardins, co-founded the first Caisse d'épargne Desjardins in Lévis and opened for business the following month. Later renamed Caisses populaires Desjardins (and today Desjardins Group), the organization was a forerunner of current North American credit unions.

Caisse populaire is a synthesis of four popular savings and credit systems established in Germany, Italy and France: the Schulze-Delitzsch banks and Raiffeisen credit co-operatives (both later integrated into the German Cooperative Financial Group), the Luzzatti popular banks, and the caisses d'épargne. Desjardins stayed in close contact with many of the founders of the European co-operative movement throughout his life.

From 1900 to 1906, Desjardins founded just three other caisses populaires: Lauzon (1902), Hull (1903), and Saint-Malo, Québec (1905). After failing to get a federal law passed in Ottawa that would provide a Canadian-wide framework for more such organizations, Desjardins turned his efforts, with the collaboration of journalists and priests, to founding more caisses. During the 1907-1914 period, Desjardins personally founded 146 caisses.

At the time of his death in 1920, there were 187 caisses populaires in Québec (30,000 members and total assets of nearly $6 million), 24 in Ontario and 9 in the United States.

Alphonse and Dorimène Desjardins' home, where the first caisse populaire was launched, is now a center dedicated to his memory and has been visited by over 178,000 people from 115 countries since its opening in 1982.

title: Alphonse Desjardins (co-operator)


text:
Talk:Ballard Locks

'Fish ladder'
''Of the millions of young fish born, only a relative few survive to adulthood. Causes of death include natural predators, commercial and sport fishing, disease, low stream flows, poor water quality, flooding, and concentrated developments along streams and lakes.[18]''

How exactly DOES this relate to a fish ladder?? (paragraph 6 in that section)

Empty Locks
During November, 2004 the Hiram M. Chittenden Locks were emptied for maintanence. While one of the two locks was emptied the other remained open for boat traffic. The large locks shown below has three gates. One at each end and one in the center dividing the locks into two halves. The pictures below from left to right show the west half taken from the center gate, the east half taken from the center gate and the center gate taken from the south side.

Moved from Canal Lock to here aqs it didnt fit in to the Canal lock article. I cant imediately see where it fits in this artcile either, but I dont like compleately deleteing info! Iain 10:06, 2 Dec 2004 (UTC)

 * I would strongly recommend moving these images to Commons and placing them in Commons:Category:Hiram M. Chittenden Locks. Ditto for the images in the gallery on this page, only two of which are on Commons. - Jmabel | Talk 06:02, 19 September 2007 (UTC)

 * I added more photos of cleaning the small lock, and moved them all to --Dennis Bratland (talk) 15:29, 12 April 2012 (UTC)

PD documents
There are a lot of public domain federal government documents about the locks. As far as I can tell, most of them are only on paper, not online. I'll try over the next month or so to upload some of this content; some of it (both words and text) can probably go directly into the article. - Jmabel | Talk 06:31, 19 September 2007 (UTC)

Assessment
This is no longer a stub. To get to B class, the article needs some work on the WP:LEAD. As in summarize the whole article, with expanded details further down, bullets in the lead are rare. Also needs a global perspective, not everyone knows where Seattle is, try adding state and country. Then try to do something to reduce the amount of white space that is created by having so many pictures compared to text. Aboutmovies (talk) 08:01, 24 January 2008 (UTC)

Total waterfront in seattle

 * Here's a baseline estimate for the total waterfront in Seattle in 1911. This can be compared with the miles of waterfront after the Locks and ship canal were constructed. --Dennis Bratland (talk) 22:14, 30 July 2015 (UTC)
 * Adds 80 miles of frontage. This refers to the newly-added Lake Washington freshwater frontage that became available after the locks were constructed, not the change in water level. --Dennis Bratland (talk) 22:16, 30 July 2015 (UTC)

Requested move 26 September 2015

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

The result of the move request was: moved. Compelling arguments that the proposed title is the common name. Jenks24 (talk) 07:30, 19 October 2015 (UTC)

Hiram M. Chittenden Locks → Ballard Locks – Per WP:COMMONNAME. —BarrelProof (talk) 16:10, 26 September 2015 (UTC) --Relisted. Natg 19 (talk) 05:14, 6 October 2015 (UTC)
 * Support per nom. --Dennis Bratland (talk) 16:53, 26 September 2015 (UTC)
 * Oppose: Although known locally as Ballard Locks because of location only, the official name is Hiram M. Chittenden Locks. That is supported by the GEONAMEs database.  Ballard Locks is not listed in Geonames.  Additionally, NGRAMs give Chittenden Locks v. Ballard Locks a wide advantage  and its a toss up with Hiram M. Chittenden Locks v. Ballard Locks  --Mike Cline (talk) 19:59, 26 September 2015 (UTC)
 * GEONAMEs does not have precedence in article titles, as explained in Official names and Naming conventions (geographic names). "When a widely accepted English name, in a modern context, exists for a place, we should use it. This often will be a local name, or one of them; but not always."It's worth knowing that the common name was "Government Locks" prior to being given their official name in 1956, 40 years after construction. This name change shows up in the NGram as well. Note that I narrowed it to American English, since the policy is concerned with local usage. You would expect non-US writers to not even know the local name and rely on official documents, but we here are interested in the local name. The difference between Chittenden and Ballard Locks on the Ngram graph is very small-- 0.000000700% vs 0.000000800% and not significant enough to give us clear guidance. The ngram viewer is also getting hits from large numbers of official documents published by the government, skewing the result self-referentially. Google News gives us a better picture of what people today actually call it: 182 hits for Chittenden and 438 for Ballard Locks. --Dennis Bratland (talk) 20:13, 26 September 2015 (UTC)
 * Please note that Google Ngram Viewer pops up an error message saying "Search for 'Hiram M. Chittenden Locks' yielded only one result." —BarrelProof (talk) 22:12, 26 September 2015 (UTC)
 * Comment so if "Chittenden" is dominant, why not use Chittenden Locks ? -- 70.51.44.60 (talk) 00:08, 8 October 2015 (UTC)

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

title: Talk:Ballard Locks


text:
Recovering the Satellites

Recovering the Satellites is the second studio album by American rock band Counting Crows, released on October 15, 1996, in the United States. Released three years after their debut album (and two years of worldwide touring), it reached No. 1 in the United States and was a top seller in Australia, Canada, and the UK as well. The album featured founding Counting Crows members Adam Duritz, David Bryson (guitar), Charlie Gillingham (keyboards), Matt Malley (bass), as well as new additions Ben Mize (drums) and Dan Vickrey (guitars). Multi-instrumentalist David Immerglück played on the album as a session musician as well. Counting Crows brought in producer Gil Norton for Recovering the Satellites. (The track "Miller's Angels" was produced by Marvin Etzioni.) Three singles were released from the album, with "A Long December" being the best charting, reaching number 6 on the US Radio Songs chart and number 1 in Canada. The album itself peaked on the top spot of the Billboard Hot 200 album chart and has been certified double-platinum in both the US and Canada.

Recording and release
As with their debut album August and Everything After, the band recorded this album by renting a large house and using the acoustics of that space for unique sounds.

Vocalist Adam Duritz recorded two songs on piano with friends of his in Soul Rebels Brass Band that he could not figure out how to sequence with the rest of this album. "Chelsea" would end up being a bonus track on Across a Wire: Live in New York City and "Good Luck" was presumed lost for several years, until in the early 2020s, HBO contacted Geffen Records to make a documentary on the band and they found the original masters of these recordings as well as video performances.

Reception
Writing for Rolling Stone, Anthony DeCurtis gave the album four out of five stars. He said that the band's second album develops the sounds of August and Everything After and that they "largely achieve their serious ambitions". He praised Adam Duritz's lyrics and called the album "deeply satisfying". Andy Gill from The Independent gave the album a more negative review. He criticized Duritz's song-writing as "self-pity[ing]" and called him a "classic solipsistic soul-barer, he just won't shut up about himself". He called the album "bland" with "obvious" influences (including R.E.M., Bruce Springsteen and Lynyrd Skynyrd). Gill had some praise for producer Gil Norton's work on the album.

In a review for Entertainment Weekly, Ken Tucker also had negative feelings about the album, and gave it a "C" grade. He criticized Duritz's "yowling" and "moans" and called Counting Crows a "pastiche of its influences". The Los Angeles Times concluded that "there are precious few of the killer pop hooks that made such songs as 'Mr. Jones' and ''Round Here' irresistible despite their lack of originality."

In a review for AllMusic, Stephen Thomas Erlewine called the album a "self-consciously challenging response" to their successful debut album. He described the songs as "slightly more somber" than those on the first album but "more affecting". He noted an occasional "pretentiousness" on the album but praised "A Long December" as particularly articulate.

Track listing
All tracks written by Adam Duritz unless otherwise indicated
 * 1) "Catapult" (Duritz, David Bryson, Charlie Gillingham, Matt Malley, Dan Vickrey, Ben Mize) – 3:34
 * 2) "Angels of the Silences" (Duritz, Gillingham) – 3:39
 * 3) "Daylight Fading" (Duritz, Vickrey, Gillingham) – 3:50
 * 4) "I'm Not Sleeping" (Duritz, Bryson, Gillingham, Malley, Vickrey, Mize) – 4:57
 * 5) "Goodnight Elisabeth" – 5:20
 * 6) "Children in Bloom" – 5:23
 * 7) "Have You Seen Me Lately?" – 4:08
 * 8) "Miller's Angels" (Duritz, Vickrey) – 6:33
 * 9) "Another Horsedreamer's Blues" – 4:32
 * 10) "Recovering the Satellites" – 5:24
 * 11) "Monkey" – 3:02
 * 12) "Mercury" – 2:48
 * 13) "A Long December" – 4:57
 * 14) "Walkaways" (Duritz, Vickrey) – 1:12

Personnel

 * Counting Crows
 * David Bryson – guitars, Dobro, tambourine, vocals
 * Adam Duritz – piano, tambourine, Wurlitzer, lead vocals
 * Charlie Gillingham – Hammond B-3, piano, Mellotron, Wurlitzer, accordion, harmonica, vocals
 * Matt Malley – electric bass guitar, double bass, vocals
 * Ben Mize – drums, tambourine, percussion, light bulbs, Zippo lighter, vocals
 * Dan Vickrey – guitars, vocals

 * Additional musicians
 * Paul Buckmaster – Orchestra conductor on "Daylight Fading", "I'm Not Sleeping", and "Another Horsedreamer's Blues"
 * Charlie Gillingham – string arrangements on "Daylight Fading", "I'm Not Sleeping", and "Another Horsedreamer's Blues"
 * Marvin Etzioni – mandolin on "Mercury"
 * David Immerglück – pedal steel guitar and octave mandolin on "Miller's Angels"

title: Recovering the Satellites


text:
Talk:Global climate change

Archive 1

Wikiproject?
However, I am against messy articles and I hope we can cooperate on cleaning up the GW mess. Perhaps we should create a WikiProject and work on a mutually agreeable proposal. What info should go into which articles? --user:Ed Poor (talk) 22:02, Dec 2, 2004 (UTC)

 * (William M. Connolley 22:19, 2 Dec 2004 (UTC)) A wikiproject is a possibility. I am always rather distressed about the low level of contributions to the cl ch and related articles. There was a note on Wikipedia talk:WikiProject Science about it going quiet there... there is also Science collaboration of the week. Perhaps that would bring in some new people.

"excess skepticism"?
any specificity on regional climate change, will encounter greater skepticism.

Even the artificial, mutually confirming "agreement" between parameterized global climate models seriously breaks down when one drills down to precipitation and temperature, etc at the regional level. While there is a premature "global" consensus, at the regional level, especially in the temperate lattitudes, there is none. A documented balance between the consensus and the criticism has been reached on the pages that have been described as messy. It is a dynamic balance that is continuing, feel free to participate if you can add to the specificity. I don't see any issues on this page that haven't already been at least visited. If there is anything new to offer, it should face the scrutiny of the more active complete pages and not try to hide away in some cubby hole, hoping to escape scrutiny. If the science is good, it can stand up to criticism and scrutiny.--Silverback 23:25, 2 Dec 2004 (UTC)

 * The urban heat island is a good example of regional climate change that has nothing to do with global climate models. Where does this go on the climate change page? --Ben 01:51, 3 Dec 2004 (UTC)

 * The urban heat island is discussed on many of the pages, mostly in terms of correcting temperatures for its effects, it might justify its own article, if one wants to get into the level of detail where the evidence for downstream effects on the weather (note, not climate) are discussed. However, short of that, it doesn't justify a separate climate change page, just add to the existing dicusssions.--Silverback 03:04, 3 Dec 2004 (UTC)

 * (William M. Connolley 09:54, 3 Dec 2004 (UTC)) Specifically, on the urban heat island page. If thats hard to find from the cl ch page, then it should be linked in.

Proposal

 * User:Benapgar/Proposal

Here is my proposal of how I think it should be arranged and what changes I think would benefit understanding of the concepts. Please let me know what you think, or if you like it feel free to make changes. (It is a fairly quick and dirty one to show you that I am serious about getting things changed--I'm not just ranting here.) --Ben 05:45, 3 Dec 2004 (UTC)

 * (William M. Connolley 12:42, 11 Dec 2004 (UTC)) If you're serious, you need to start adding useful information to the articles. Producing a long proposal before you've really contibuted isn't going to work.

 * Your opinion is duly noted. --Ben 04:46, 13 Dec 2004 (UTC)

Sample Gl Cl Ch page
I've created a Gl Cl Ch page which represents my ideas (it isn't entirely complete, politics esp.). I'm reluctant to work on other stuff, especially stuff that already has pages, because I have a feeling you guys will just revert it and dismiss it and it would be a waste of my time, especially considering that some pages will have to change at the same time to reflect the new page otherwise the structure doesn't work. That's why I want to discuss structure first. --Ben 09:12, 13 Dec 2004 (UTC)
 * User:Benapgar/Global_climate_change

Why merge?
If having this article is "mad", then why is there nearly 4,000 words of talk about it? Absent an reason other than personal preference, I think it's better to keep the article.

 * (William M. Connolley 22:08, 3 Dec 2004 (UTC)) I suggest you try reading the talk rather than weighing it. I'll give you another reason (which I think Silverback touched on) which is that you've put in some totally dubious "some local records" stuff. Its the same old arguments all over again, which should be on the t rec page.

And again I request that a proposal for a merge be made and discussed BEFORE replacing info with a redirect. (Strange, I just had the same conversation with Gary D. at talk:purported cults and he convinced me with the same reasoning I'm offering to you. --user:Ed Poor (talk) 21:51, Dec 3, 2004 (UTC)

Glossary of climate change
If you're interested in this page, you may like Glossary of climate change.

More Sources for term Global Warming
"The term Global Warming refers to the observation that the atmosphere near the Earth's surface is warming, without any implications for the cause or magnitude. This warming is one of many kinds of climate change that the Earth has gone through in the past and will continue to go through in the future." - NOAA

And maybe we should have a Greenhouse Warming page too:

"Greenhouse Warming is global warming due to increases in atmospheric greenhouse gases (e.g., carbon dioxide, methane, chlorofluorocarbons, etc.), whereas Global Warming refers only to the observation that the Earth is warming, without any indication of what might be causing the warming." - ibid.

--Ben 22:19, 6 Dec 2004 (UTC)

 * (William M. Connolley 22:59, 6 Dec 2004 (UTC)) The glossary page would be a good page for defining terms with multiple meanings. You will discover that GW is used by different people in different ways. So is cl ch. As long as we describe things and keep terms internally consistent, all is well.

 * I had already "discovered" that some people view the terms differently. I do not think treating Global Warming with implied causality is scientific at all. They are two separate issues, "Global warming as observation" and "Global warming with implied causality." The first is much more scientific. I think science has moved on from the mistake of treating GW as necessarily anthropogenic (if indeed it ever did) and returned to the basic scientific and literal definition of the term. This helps to disconnect temperature observations, and the theories as to why the temperature is increasing. This helps direct controversy to where it is welcomed and needed, and leads to less confusion about the state of the science. Reporting on the use of GW with implied causality is one thing, incorporating it as a science is another. Internal consistence does not help if that consistency does not represent the science, and I do not believe that it does.

 * (William M. Connolley 12:50, 11 Dec 2004 (UTC)) Sigh. You're still stuck on the words. Words mean (a) what everyone uses them to mean and (b) what you define them to mean. In the case of GW, what everyone (in the non-scientific domain) uses it to mean is the-current-warming-caused-by-people. In the scientific domain people don't use it that way, because it implies the answer (correctly, as it happens). In science people tend towards using climate change, or anthropogenic climate change. Which is why its the IPCC not the IPGW. However, we can address this by using (b), so at the start of the GW article we explicitly state how we are using the words and then there is no problem. BTW, your I think science has moved on from the mistake of treating GW as necessarily anthropogenic is nonsense.

 * (William M. Connolley 19:17, 11 Dec 2004 (UTC)) Addendum: I've just realised that one vital use-of-words (about the UNFCCC use) disappeared from the GW article in the course of the edit wars. I've put it back, and elsewhere, because its important.

 * Maybe you could provide me with a recent paper or other such scientific material that treats and uses the term global warming as if it were necessarily caused anthropogenically. I don't believe you can, though I would be interested if you could. --Ben 23:02, 7 Dec 2004 (UTC)

 * (William M. Connolley 12:50, 11 Dec 2004 (UTC)) As I said above, within science people usually don't use GW.

 * (William M. Connolley 19:41, 11 Dec 2004 (UTC)) Addendum: in this respect, its interesting to note that GW isn't defined in the otehrwise very comprehensive IPCC glossary (even though GW potential is). Nor does the WG I report use GW.

I think I discovered what my problem with the term is, and that's that there is no scientific name for the current global climate change. In the past there is Little Ice Age, Medieval Warm Period, etc. but simply "global warming" for the present. Is there a scientific name we can use, or just a more specific name like 19th century to present global warming? This way it can global climate changes can be divided up into periods of global climate change, and we wouldn't need to explain some of the methodology behind it (like greenhouse gases, etc.) on the same page, but rather pages which are more general to the science. Present it as if it were a study of another global climate change in Earth's history. The rest would be the science of gl cl ch. I've modified my proposal to reflect this idea.--Ben 07:22, 11 Dec 2004 (UTC)

WMC, just so you know, I'm always like this when I meet someone out of my league who seems to treat me with disrespect for my ideas, rather than providing me with an explanation I understand. It seems that that's the way I am with authority figures I don't initially don't get along with. Once I get things straight in my own head I'll probably be much less confrontational as long as I feel my concerns are being heard and addressed. I am not looking for a fight, I'm looking for answers. I apologize for treating you with disrespect, however, I am very passionate about my ideas and if you put up a brickwall instead of guiding me through, I'll break it down as best I know how. --Ben 07:22, 11 Dec 2004 (UTC)

 * (William M. Connolley 12:50, 11 Dec 2004 (UTC)) The apology is welcome. As for the rest, you need to start doing some actual work rather than shuffling the work of others. Start by putting up a user page.

 * Your characterization of my contribution to the discussion, as not being "actual work" is not welcomed. Additionally, starting a user page does not further this section of Wiki. I would venture to contrast my contributions, specifically my proposal concerning the structure of the material, with yours, which to me seems to be limited to talking down all my ideas while providing little of your own. You have obviously made significant contributions to the content but will not even comment on my proposed structure. If you are completely happy with the structure as it is, and/or the pages as they are, then it seems we are at an impasse. I, however, am neither happy the structure, nor with the arrangement of material on the pages themselves. --Ben 21:26, 11 Dec 2004 (UTC)

 * (William M. Connolley 22:00, 11 Dec 2004 (UTC)) I am happy to see my contributions contrasted with yours. You have mainly edited the talk pages; I have mainly edited the article pages. I know which one I prefer. As to the existing structure: quite likely it is susceptible to improvement. As to your proposed structure: I've repeatedly said that I think you should add some genuine new useful content before rearranging other peoples words.

 * But that does not prevent you from commenting on it. I think the content is adequate, and I don't know what I would add to it. I think structure is geniunely useful in understanding. I don't see how not adding content prevents you from assessing the structure I've provided.

 * Part of the reason for this is my feeling that you don't know the current content terribly well (and indeed, if you can write things like I think science has moved on from the mistake of treating GW as necessarily anthropogenic, then I doubt you know the (history of the) science well). Contributing to Glossary of climate change would be a good idea.

 * I don't know the content terribly well, certainly not as well as you. I believe part of the reason is that the structure is hindering me. My comment was a reference to the use of the term "global warming" which I have already discussed and sourced. It was poorly worded. You treat the term differently than I do, and I think climate science is attempting to draw lines regarding how the term is used to ensure the science is understood clearly. You, of course, are immersed in climate science and so terms with multiple meanings, vague definitions, interconnected themes and theories are easily understood within the context of your education and your work. People not immersed in climate science have no context with which to help their understanding, and that's why I find these articles frustrating. Greenhouse gases for example, are explained multiple times and in different places and in different contexts, yet they are just a single (albeit complex and large) subject with respect to climate change, aren't they?

 * (William M. Connolley 11:44, 12 Dec 2004 (UTC)) OK, thats a reasonable point and should be fixed. GHG's should be primarily explained at Greenhouse gas. Where else are they over explained?

 * On the global warming page there is a huge section explaining greenhouse gases as a forcing

 * (William M. Connolley 20:40, 12 Dec 2004 (UTC)) I've just looked at that. It seems quite reasonable to me. You can't write A GW page without talking about GHG's. The overlap with what is on the GHG page seems small. Perhaps it could be tweaked a bit.

 * and on climate change there is a short section on greenhouse gases.

 * (William M. Connolley 20:40, 12 Dec 2004 (UTC)) Which again looks reasonable to me. Its a quick summary and point to the GHG page.

 * I think that it should be spread out more, with greenhouse gases and greenhouse warming defined on greenhouse gases. Or maybe on a new page called greenhouse warming. Or on the greenhouse effect page.

 * (William M. Connolley 20:40, 12 Dec 2004 (UTC)) But the GHE page is about the GH effect, which is not specific to the actual gases.

 * I don't really have an answer for this, but I don't see why the forcing of greenhouse gas is explained in detail on the page for the present global warming (and in that context)

 * (William M. Connolley 20:40, 12 Dec 2004 (UTC)) Because it is so interlinked to the theory

 * when it has been attributed (non-anthropogenically) for many other past global climate changes.

 * (William M. Connolley 20:40, 12 Dec 2004 (UTC)) I don't know what you mean by that. The workings of GHG forcing for, say, the last few ice ages isn't that well understood. anything further back is even less well known.

 * Someone looking up Paleocene-Eocene Thermal Maximum, and wanting to learn more about greenhouse gases as a forcing, has to go to global warming and wade through current global warming to find out how it works as a forcing. --Ben 20:23, 12 Dec 2004 (UTC)

 * (William M. Connolley 20:40, 12 Dec 2004 (UTC)) Because the P-E stuff isn't well understood.

 * To absolutely and entirely clear as possible, the following text on the page global warming is general and applies to both PETM, the current trend, and other global climate change causation theories. There is no direct link to this important general information from the PETM page or other global climate change pages.--Ben 01:13, 13 Dec 2004 (UTC)

 * I think providing a basic structure which is in line with the science (one agreeable with the way you see things of course) would help people understand the science. In weather, for example, one could study clouds, wind, jetstreams, pressure, storms, and a myriad of well-defined subjects. With climate science, people see greenhouse gases, and do not know where they fit in terms of global warming, the greenhouse effect, how it effects climate, etc. They know greenhouse gases cause the earth to warm via the greenhouse effect, and that's all they know. To re-use the analogy, it's like their thinking is hitting a brick wall (mine too). There is no guidance through the subject. This is why people say things like "I believe in global warming" instead of "I believe pollution is causing global warming," or "I believe solar variation is causing global warming." or "I don't think pollution has much of an impact on climate" These are distinct in climate science, but not to people who know little about the subject, in fact, the first two are usually, by the layman, erroneously treated as identical. (this is disregarding that the word "believe" in itself is subject to a semantic debate that I don't want to get into). I think the reason is not undereducation, but because referring to global warming without well-defined structure stifles the manner in which people can discuss the subject. --Ben 00:05, 12 Dec 2004 (UTC)

 * and to clarify, I just don't get the feeling that this is a field of science the way it is currently structured, but rather just a kind of scientific investigation. With my untutored eye, I see clear lines in terms of cause, effect, observation, discussion, theory, etc. That's why I don't understand why, for example, you object to a climate forcings page listing the known ways that climate is affected.--Ben 00:44, 12 Dec 2004 (UTC)

title: Talk:Global climate change


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User talk:Jlisa139

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome!
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I've noticed that you've created two new articles. These seem to be definitions of important terms, and might make a basis for a good article, but as they stand they lack context and are too short. Could you please expand these articles, at the very minimum adding something along the lines of: [name of article] is a term used in the field of [whatever] to describe [whatever]. It was coined by [whomever]... When you create a new article, try to think what someone stumbling on it by chance with no prior knowledge would make of it. Your articles are currently so scant on context, that there's a good chance they will be deleted. Also, I hope this is original content or content you have permission to use here. Sorry if this sounds patronising, I'm just trying to help out and point you in the right direction, so that you don't discover your articles have been deleted and wonder why! --Woggly 07:39, 2 Dec 2004 (UTC)

title: User talk:Jlisa139


text:
Kim Hŏn-ch'ang

Kim Hŏn-ch'ang (died 822) was the leader of an aristocratic rebellion in early ninth-century Unified Silla. He was a seventh-generation descendant of King Muyeol, and thus bore the "true bone" status in the Silla bone rank system. His activities are probably linked to strife between different lineages of the Silla royal house.

Biography
Kim's father, Kim Chu-wŏn, was first in line to take the Silla throne after the death of King Seondeok. However, Kim Kyŏng-sin seized power by military force and became King Wonseong. Kim Chu-wŏn fled to the province of Myeongju, around modern-day Gangneung. These events probably laid the foundation for his son's (and grandson's) rebellious activities. Kim Hŏn-ch'ang later became the governor of Ungju (modern-day Gongju) in 821.

After King Aejang was slain by Kim Ŏn-sŭng, who then became king, Kim Hŏn-ch'ang launched a rebellion which rapidly gained control over the modern-day areas of Gwangju, Cheongju, and Gongju. He named his country Jang-an (장안, 長安) and took the era name Gyeong-un (경운, 慶雲). The rebellion went on to seize Jeonju, Sangju, Chungju, and Gimhae, thus gaining control over much of the southern and western Korean peninsula. It appears that he was aided by many other members of the Muyeol lineage.

After a month's fighting, the royal faction was able to regain much of the territory that Kim Hŏn-ch'ang's forces had taken. With the fall of Ungju imminent, which had been the center of the rebellion, Kim Hŏn-ch'ang killed himself to avoid capture by the royal army. His loyal followers beheaded his corpse and buried the head and body separately to protect Kim's corpse from desecration by the enemy. However, the royalist army was able to find both pieces of Kim's corpse after the fall of the city. In the aftermath of his failed rebellion, 239 relatives of Kim Hŏn-ch'ang were executed.

Three years later, his son Kim Pŏm-mun rekindled the rebellion, but was shortly thereafter also crushed by the royal army.

title: Kim Hŏn-ch'ang


text: Talk:Kim Hŏn-ch'ang

title: Talk:Kim Hŏn-ch'ang


text:
Jim Hall (racing driver)

James Ellis Hall (born July 23, 1935) is a retired American racing driver, race car constructor, and team owner. While he is best known as a car constructor, he was one of the greatest American racing drivers of his generation, capturing consecutive United States Road Racing Championships (1964, 1965), two Road America 500s (1962, 1964), two Watkins Glen Grands Prix for sports cars (1964, 1965), the 1965 Canadian Grand Prix for sports cars, the 1965 Pacific Northwest Grand Prix, and scoring a massive upset at the 1965 12 Hours of Sebring over a contingent of factory-backed Ford GTs, Shelby Daytona Coupes, and Ferrari entries. If anything Hall's accomplishments behind the wheel have been overshadowed by his pivotal contributions to race car design through his series of Chaparral sports racing and Indy cars. Hall's cars won in every series in which they competed: USRRC, Can-Am, Trans-Am, Formula 5000, World Sportscar Championship, Autoweek Championship, Canadian Sports Car Championship, and the Indianapolis 500.

Background
Hall was born in Abilene and raised in Colorado and New Mexico. While studying engineering at the California Institute of Technology, he began racing in local sports car events. After a promised job at General Motors to work on the Corvette failed to materialize due to a late ‘50s U.S. recession, he became involved with older brother Dick in Carroll Shelby Sport Cars in Dallas, the area’s leading importer of European road and race vehicles. This experience played a crucial role in his development as a driver and helped the dealership sell cars. Shelby would put Hall in one of the new racers and often as not, Hall would go out and win in it. Shelby would then brag that if a rookie could win in it, it must be a pretty outstanding piece of machinery. Soon, however, fans across the Southwest started to recognize that Hall was one of the most promising young drivers on the American racing scene.

Hall's abilities drew international attention at the 1960 United States Grand Prix at Riverside. Driving his own past-its-prime Lotus-Climax, he ran a surprising fifth for much of the race until the differential started to give way a few laps from the end. Of Hall's run, Competition Press (now Autoweek) wrote, “It looks as if Texas has another international caliber driver ready to take Carroll Shelby’s place now that Shelby has announced his retirement.”

At Riverside, Hall was approached by California car builders Troutman and Barnes who were seeking funding for a new front-mid-engined, two-seat road racer. Hall backed the project and named the vehicle Chaparral. He had success with the Chaparral 1, winning the Road America 500 and other races. Almost as soon as it was completed, Hall began thinking of a successor vehicle he would build himself.

Influence
Possibly no designer from the second half of the 20th century has had more enduring influence. Hall pioneered wings, movable aerodynamic devices, side-mounted radiators, semi-automatic transmissions, and composite monocoque chassis structures, all of them innovations later adopted by and still present in every Formula 1 car. He was one of the first to recognize and demonstrate the performance benefits of torsional rigidity. The chassis of his Chaparral 2 — it later became known as 2A to distinguish it from subsequent Chaparrals — was by design about four times stiffer than those of the leading sports cars of the day. Hall also introduced the world's first constant downforce racecar, the 1970 Chaparral 2J, which used a snowmobile engine to power two fans to reduce the air pressure between the bottom of the car and the road regardless of vehicle speed. (Both wings and ground effect tunnels generate downforce that varies with vehicle speed.) At the 1970 Riverside Can-Am the 2J qualified more than two seconds faster than the championship-winning McLaren M8D. The 2J was also the first car equipped with vacuum-protecting “skirts,” another innovation later adopted by Formula 1. Although it was quickly banned, the 2J “vacuum cleaner” concept was copied eight years later by Brabham Formula 1 designer Gordon Murray who figured out a way to circumvent the rules. The resulting Brabham BT46B won the only race in which it was entered, the 1978 Swedish Grand Prix, proving significantly faster than Colin Chapman's ground effect-tunneled Lotus 79, which secured that year's championship. The development of downforce, from spoilers on his Chaparral 2A to wings movable and otherwise on his Chaparral 2C, 2D, 2E, 2F, 2G, and 2H to the suction system on his 2J, was arguably Hall's single greatest contribution to the sport and the one most copied. In 1979, Hall also became the first to bring ground effect tunnels to IndyCar racing with his groundbreaking Chaparral 2K. Today, because of Hall, downforce is part of the design brief for every major form of racing car — Formula 1, IndyCar, Le Mans, NHRA, NASCAR, World Rally Championship cars, and more — and most high-performance road cars.

"When you put an aerodynamic downforce on a car, it increases the traction and allows it to corner at a much faster speed than it did before,” says Hall. "So that’s really what Chaparral did over a period of years in various ways, and that one idea had a tremendous effect on the future of auto racing.”

Driver and constructor
The first of the true Jim Hall Chaparrals was built in Midland, Texas during 1962 and 1963. At the same time Colin Chapman was building the first monocoque Formula 1 car, Hall was developing a monocoque sports racer of his own design made of composites. He and partner Hap Sharp had scouted the nation's leading aerospace companies for the latest advances in construction techniques. At General Dynamics they met Andy Green, who was designing fiberglass engine fairings for the Convair B-58 Hustler, the world's first supersonic bomber. They hired Green to apply the same advanced fiberglass composite technology to create the first successful full composite racecar monocoque. The advantages of the plastic chassis were twofold: it was much more rigid than traditional chassis, which greatly aided handling, and lighter, aiding performance in all dimensions. When Hall met people from Chevrolet Research & Development, GM's own internal skunkworks, at the 1962 June Sprints at Road America, they picked each other's brains for new ideas. One result was the adoption of a semi-automatic “torque converter” gearbox.

Today, semi-automatic gearboxes are commonplace in racing, but when Hall introduced them — and won with them — onlookers and rivals alike were mystified. Here again Hall's engineering background came into play. “Not only is there literally less work to do,” Hall explained in an article he wrote for Autocar in 1965, “we can keep both hands on the steering wheel, at all times concentrating entirely on exact placing of the car in a turn and just when and how much to brake. Another value is the reliability it induces in other components. It is not possible to over-rev the engine or damage the drive train with shock loads from mismatched shifts and other poor driving techniques.” The car that came to be known as the Chaparral 2A might have been completed sooner, but another outstanding driving performance, this time at the 1962 season-ending Mexican Grand Prix, led the British Racing Partnership (BRP) Formula 1 team to offer him a seat for the 1963 season. Hall accepted the offer, but neither the team nor Hall realized that BRP, which had scored wins in previous seasons, was on the verge of decline. Nevertheless, Hall managed to accumulate three World Championship points. His best finish was fifth in the 1963 German Grand Prix at the Nürburgring, his first time at the fabled track.

While he was in Europe, work continued on the 2A at the small complex in Midland that he co-owned with partner Hap Sharp. Midland was far away from established racing infrastructure but next to the aptly named Rattlesnake Raceway that Hall and Sharp used as a proving ground.

Once it was finished, it proved a revelation. Hall put it on the pole at its first race, the October, 1963 Los Angeles Times Grand Prix, over an international-class field that included soon-to-be F1 champions Jim Clark, Graham Hill, and John Surtees, and future Motorsports Hall of Fame of America legends Dan Gurney, A. J. Foyt, Roger Penske, Lloyd Ruby, Parnelli Jones, Rodger Ward, and Richie Ginther. Hall led easily until sidelined by an electrical fire.

During the 1964 and 1965 seasons, Hall and Sharp (and fill-in Penske, after Hall was injured in an accident at Mosport) dominated American sports car racing in their Chaparral 2As and later 2Cs (there was no Chaparral 2B, to avoid confusion with a General Motors-designed Corvette GS IIB sports racing concept) to a degree no one has before or since. In 1965 alone, in 22 starts in major races against topnotch international competition, Chaparrals collected 16 wins and 16 fastest laps. Hall won the 1964 USRRC title outright and the unlimited class title in 1965.

The team had generated even bigger headlines earlier in the year at the 12 Hours of Sebring. Hall and Sharp put their Chaparral 2A on pole an astonishing 9 seconds faster than reigning World Champion John Surtees had managed the previous year in the top factory Ferrari. Still, few expected the Chaparrals to be able to survive the onslaught of factory-supported Fords and Ferraris, much less the wear and tear of 12 hours of racing on the punishing Sebring runway course. Ford had seven cars, driven by the likes of Dan Gurney, Ken Miles, Bruce McLaren, Richie Ginther, and Phil Hill. The lead Ferrari was driven by endurance racing specialist Pedro Rodriguez and 1962 World Champion Graham Hill. Still, Hall's Chaparral prevailed, overcoming the world's best endurance racers and monsoon-like conditions.

Probably the most influential of Hall's designs was the Chaparral 2E prepared for the following year's inaugural season of Canadian-American Challenge Cup competition. The Chaparral 2E featured side-mounted radiators, a semi-automatic gearbox and other innovations, but what people noticed most was the massive articulated wing mounted on pillars that soared several feet above the rear deck. Said fellow competitor, broadcaster and racing historian Sam Posey, “When those cars arrived on their double-axle trailers in the paddock at Bridgehampton, people just stopped everything and their jaws dropped down on the ground. Nothing in the world existed like that. The two cars went out and the world changed and we were part of it."

Hall had innovated movable aerodynamic devices with a low-mounted wing on the back of the Chaparral 2C. The 2C won major races, but the wing was deployed more as an adjustable spoiler and worked on the rear of the car only, upsetting the car's balance at the same time it was providing crucial downforce. For the 2E, Hall used a symmetrical wing that would create minimal drag in the neutral position, but substantial downforce when tilted downward in the turns. To balance the effect, the 2E also had an adjustable duct in the nose. Both devices were connected to a pedal in the cockpit. Because the semi-automatic Chaparrals only needed a gas pedal and a brake pedal, the driver's left foot was available to activate the “downforce” pedal. “With the wing,” said Chaparral driver Phil Hill, “you could out-brake everybody, you could out-corner everybody, [and] you could drive under them. It really did feel like it had freak roadholding.”

The 2E was demonstrably the fastest car of the inaugural Can-Am season but reliability issues with the new design kept the team from converting its many poles and fastest laps into victories. The 2E missed the first of the season's six races because the wing wasn't yet ready, and won only one of the remaining five, with Hill and Hall finishing 1–2 at the Laguna Seca round where the cars performed flawlessly.

That same year the small team in Midland converted two of the older chassis for use in endurance racing's World Sportscar Championship. The first iteration — the Chaparral 2D coupe — won the 1966 Nürburgring 1000 kilometers. The second, the more angular Chaparral 2F, which featured a wing and nose duct similar to the 2E, captured the BOAC International 500 at Brands Hatch. There, drivers Phil Hill and Mike Spence led home a Ferrari 330 P4 driven by Grand Prix aces Jackie Stewart and Chris Amon.

“I’m really proud that we were able to pull off those wins at the Nürburgring and at Brands Hatch,” Hall told Motor Sport years later. “That was a really fun deal. Somebody told me after we won at the Nürburgring that it was the first American car to win a major European road race in 40 years and I thought, ‘Wow!’”

A sign of the now worldwide respect for Hall’s driving talent came in May of 1968 when Spence was killed at Indy in a freak practice accident at the wheel of one of Chapman’s revolutionary Lotus 56 turbine cars. The original three drivers nominated for the race were a virtual “super team:” two-time World Champion Jim Clark, soon-to-be two-time World Champion Graham Hill and eventual three-time World Champion Jackie Stewart. After both Clark and his replacement, Spence, were killed and Stewart injured in separate accidents, the team turned to Hall, even though he had never driven an Indy car before. Hall declined.

It was in another development of the 2E, called 2G, that Hall's driving career came to a premature end. At 1968's season-ending Las Vegas Can-Am, Hall was about to unlap himself after an unscheduled pit stop from second-place man Lothar Motschenbacher when the latter's McLaren suffered a catastrophic suspension failure. Hall's Chaparral leap-frogged the stricken McLaren at over 100 MPH and came crashing down in the desert. Hall survived, but his knees in particular were badly damaged. It was six months before he could walk again. He made a brief return to racing during the 1970 Trans-Am season in his team's own works Camaro effort, but while the speed was still there for laps at a time, he could no longer maintain his previous pace over a race distance.

That same year Hall introduced his final Can-Am challenger, the suction ground effect Chaparral 2J, which was comprehensively faster than every other car in the series. Even though the SCCA had declared it legal before and after the season, other teams lobbied against it and finally persuaded the FIA, the worldwide sanctioning body, to ban it. Disgusted, Hall left the series and quit racing as a whole. Years later, Can-Am's all-time winning driver Denny Hulme, part of the McLaren team that spearheaded the effort to ban the 2J, said, “It was the most stupid thing we ever did, and it was the first major step we took toward killing off the greatest road racing series ever conceived.”

Team manager
After Hall had been away from the sport for several years, Lola importer Carl Haas approached him with a proposition: Let's go Indy car racing. Haas would provide the sponsors and cars (Lolas), Hall could concentrate on running the team. That appealed to Hall and the pair formed Haas-Hall Racing. When the money to go to Indy didn't materialize, they switched to the SCCA Formula 5000 open-wheel series.

Haas-Hall racing was virtually unstoppable throughout the decade, winning three consecutive F5000 titles with Brian Redman at the wheel until the series evolved into the second-generation Can-Am, whereupon the team won four more championships. Between the two series, from 1974 through 1980, the partnership collected seven consecutive series titles.

Near the end of the run, the sponsorship to go to Indy did materialize, and Hall began to focus on that arena. The results again were immediate. In 1978, the team's initial season of Indy car competition, it became the first and still only team to capture Indy car racing's Triple Crown, with victories at the Indianapolis 500, Pocono 500, and California 500.

The successes in the long-distance races hid the shortcomings of the Lola chassis, so Hall decided to take one last stab at car building. He commissioned up-and-coming designer John Barnard to realize his vision of a new kind of Indy car based on the ground effect principle introduced on Colin Chapman's Lotus 78. The resulting Chaparral 2K, nicknamed the “Yellow Submarine” thanks to sponsor Pennzoil's brand colors, changed the face of Indy car racing. The first Indy “tunnel car” dominated the 1979 Indianapolis 500 in Al Unser's hands until sidelined by a transmission issue. It came back the following year and not only won the 500, but captured the 1980 CART PPG Indy Car World Series championship as well with Johnny Rutherford at the helm.

After the 1981 season, Hall remained in Indy car racing off and on with store-bought Lola and Reynard chassis and collected more wins and high finishes with a variety of drivers, including John Andretti and Gil de Ferran. Hall retired from the sport after the 1996 campaign.

In popular culture
During the 1960s, Hall's popularity transcended the automotive enthusiast press, where he and his cars were regular subjects. Both Sports Illustrated and Newsweek did cover stories. Shell featured him in their advertising. Coca-Cola put him in a TV commercial.

He was an even bigger presence in homes across the United States thanks to a groundbreaking deal with Cox Models, a Santa Ana, California based slot car manufacturer. Cox licensed the rights to reproduce Chaparral cars at the height of the slot car craze. According to slot car expert Philippe de Lespinay, the “Jim Hall Authorized” Cox Chaparrals were the most popular 1/24-scale slot cars of all time. So enthralled were American kids with Hall and his cars that when they created the Chaparral 2A slot car, Cox had the sculptor model the driver's face to look like Hall.

Legacy
An entire wing of the Permian Basin Petroleum Museum in Midland is devoted to Hall and the Chaparral story, and includes seven of the restored race cars: a 2A, 2D, 2E, 2F, 2H, 2J, and 2K. Each of the cars is driven periodically to maintain them in working condition and to provide the public a chance to see them in action.

Hall and his cars have been featured at most of the major concours and vintage racing events. He was named grand marshal of the 2001 Brian Redman International Challenge at Road America, and Hall and his Chaparrals were featured at the 2003 Amelia Island Concours d'Elegance and 2005 Monterey Historic Automobile Races. Internationally, Hall and his Chaparrals are regular invitees at the Goodwood Festival of Speed.

At the season-ending Laguna Seca round of the 2009 American Le Mans Series, former driver Gil de Ferran painted his Acura ARX-02a to resemble a Chaparral in tribute to Hall, complete with Hall's race number, 66. In storybook fashion, de Ferran put the car on pole and won the race with co-driver and 2019 Indianapolis 500 winner Simon Pagenaud.

At the 2014 Los Angeles Auto Show General Motors debuted the Chaparral 2X, a futuristic homage to the Chaparral ethos, “developed exclusively for fans of the PlayStation® 3 racing game, Gran Turismo® 6.” The concept was emblazoned with Hall's racing number and according to the game maker, captured “the spirit of Jim Hall’s amazing legacy of motorsports innovation.”

Awards

 * Hall was inducted in the Motorsports Hall of Fame of America in 1994.
 * Hall was inducted into the International Motorsports Hall of Fame in 1997.
 * Hall was inducted into the Texas Sports Hall of Fame in 2000.
 * Hall received the Caltech Distinguished Alumni Award in 2001.
 * Hall was inducted into the inaugural class of the Sebring Hall of Fame in 2002.
 * Hall was inducted into the Texas Motorsports Hall of Fame in 2005.
 * Hall was inducted into the Indianapolis Motor Speedway Hall of Fame in 2008.
 * Hall was inducted into the Sports Car Club of America Hall of Fame in 2012.
 * Hall was honored by the Road Racing Drivers Club at the 2012 Long Beach Grand Prix with “An Evening with Jim Hall Presented by Firestone.”

Formula One World Championship results
(key)

Non-Championship Formula One races results
(key)

Complete Canadian-American Challenge Cup results
(key) (Races in bold indicate pole position) (Races in italics indicate fastest lap) * Joint fastest lap.

title: Jim Hall (racing driver)


text: Category:Florida other defunct railroads


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User talk:Alex011

Please stop adding nonsense to Wikipedia. It is considered vandalism. If you would like to experiment, use the sandbox. Thank you. andy 10:10, 2 Dec 2004 (UTC)

Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. andy 12:44, 2 Dec 2004 (UTC)

title: User talk:Alex011


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Per Nørgård

Per Nørgård (born 13 July 1932) is a Danish composer and music theorist. Though his style has varied considerably throughout his career, his music has often included repeatedly evolving melodies—such as the infinity series—in the vein of Jean Sibelius, and a perspicuous focus on lyricism. Reflecting on this, the composer Julian Anderson described his style as "one of the most personal in contemporary music". Nørgård has received several awards, including the 2016 Ernst von Siemens Music Prize.

Life and career
Per Nørgård was born in Gentofte, Denmark in 1932. He studied with Vagn Holmboe privately at age 17, and then formally at Royal Danish Academy of Music, Copenhagen, with Holmboe, Harald Høffding and Herman David Koppel. From 1956 to 1957, he subsequently studied in Paris with Nadia Boulanger, who had taught many leading composers of the time. Nørgård soon gained his own teaching positions, first at the Odense Conservatory in 1958, and then at the Royal Danish Conservatory of Music in 1960. His students at the latter included the composer Carl Davis. Between 1958 and 1962, Nørgård had a stint as a music critic for the newspaper Politiken. He left these positions to teach composition at the Royal Academy of Music, Aarhus/Aalborg in 1965. Here he taught many composers who would go on to have major careers, including Hans Abrahamsen, Hans Gefors, Karl Aage Rasmussen, Bent Sørensen,

To begin with, he was strongly influenced by the Nordic styles of Jean Sibelius, Carl Nielsen and Vagn Holmboe. In the 1960s, Nørgård began exploring the modernist techniques of central Europe, eventually developing a serial compositional system based on the "infinity series", which he used in his Voyage into the Golden Screen, the Second and Third Symphonies, I Ching, and other works of the late 1960s and 70s. Later he became interested in the Swiss artist Adolf Wölfli, who inspired many of Nørgård's works, including the Fourth Symphony, the opera Det Guddommelige Tivoli and Papalagi for solo guitar.

Nørgård has composed works in all major genres: six operas, two ballets, eight symphonies and other pieces for orchestra, several concertos, choral and vocal works, a very large number of chamber works (among them ten string quartets) and several solo instrumental works. These include a number of works for the guitar, mostly written for the Danish guitarist Erling Møldrup: In Memory Of... (1978), Papalagi (1981), a series of suites called Tales from a Hand (1985–2001), Early Morn (1997–98) and Rondino Amorino (1999). One of his most important works for percussion solo is I Ching (1982) for the Danish percussionist Gert Mortensen. He has also composed music for several films, including The Red Cloak (1966), Babette's Feast (1987), and Hamlet, Prince of Denmark (1993).

His eighth symphony was premiered on 19 September 2012 in the Helsinki Music Centre, Finland, by the Helsinki Philharmonic Orchestra conducted by John Storgårds. Heikki Valska from the Finnish radio described the symphony as "very bright and lyrical" and "approachable". It was well received by the audience at the premiere. It was later recorded by the Vienna Philharmonic Orchestra conducted by Sakari Oramo.

Nørgård is also a prolific writer. He has written many articles dealing with music not only from a technical but also a philosophical viewpoint.

Music
Nørgård's music often features the use of the infinity series (Danish Uendelighedsrækken) for serializing melody, harmony, and rhythm in musical composition. The method takes its name from the endlessly self-similar nature of the resulting musical material, comparable to fractal geometry. Mathematically, the infinity series is an integer sequence. "Invented in an attempt to unify in a perfect way repetition and variation," the first few terms of its simplest form are 0, 1, −1, 2, 1, 0, 0, 1, −2, 3, ….

Nørgård discovered the melodic infinity series in 1959 and it proved an inspiration for many of his works during the 1960s. However, it was not until his Voyage into the Golden Screen for small ensemble (1968)—which has been identified as the first "properly instrumental piece of spectral composition" —and Symphony No. 2 (1970) that it provided the structure for an entire work. The harmonic and rhythmic infinity series were developed in the early 1970s and the three series were first integrated in Nørgård's Symphony No. 3.

Operas

 * Labyrinten (The Labyrinth) (1963)
 * Gilgamesh (1972)
 * Siddharta (1974–79)
 * Der göttliche Tivoli (The Divine Circus) (1983)
 * Orfeus: Den uendelige sang (Orpheus: The Endless Song) (1988)
 * Nuit des Hommes (1996)

Orchestral

 * Symphonies
 * Symphony No. 1 Sinfonia austera (1953–55)
 * Symphony No. 2 (1970)
 * Symphony No. 3 (1972–75), a choral symphony
 * Symphony No. 4 Indian Rose Garden and Chinese Witch's Lake (1981)
 * Symphony No. 5 (1987-90)
 * Symphony No. 6 At the End of the Day (1999)
 * Symphony No. 7 (2004-06)
 * Symphony No. 8 (2010-11)
 * Metamorfosi (1954), for strings
 * Constellations (1958), for strings
 * Iris (1966)
 * Luna (1967)
 * Voyage into the Golden Screen (1968)
 * Dream Play (1975)
 * Twilight (1977)
 * Burn (1984)
 * Spaces of Time (1991), for orchestra with piano
 * Night-Symphonies, Day Breaks (1992), for chamber orchestra
 * Aspects of Leaving (1997)
 * Terrains Vagues (2000–2001)

Concertante

 * Violin
 * Violin Concerto No. 1 Helle Nacht (1986–87)
 * Violin Concerto No. 2 Borderlines (2002)
 * Cello
 * Cello Concerto No. 1 Between (1985)
 * Cello Concerto No. 2 Momentum (2009)
 * Cantica Concertante (2012), for cello and ensemble
 * Harp
 * Harp Concertino No. 1 King, Queen and Ace (1988), for harp and 13 instruments
 * Harp Concertino No. 2 Through Thorns (2003), for harp, flute, clarinet and string quartet
 * Percussion
 * Percussion Concerto No. 1 For a Change (1983)
 * Percussion Concerto No. 2 Bach to the Future (1997), for two percussionists and orchestra
 * Accordion Concerto Recall (1968)
 * Viola Concerto Remembering Child (1986)
 * Piano Concerto Concerto in due tempi (1994–95)
 * Three Nocturnal Movements (2019), for violin, cello and ensemble

Chamber/Instrumental

 * String Quartets
 * String Quartet No. 1
 * String Quartet No. 2 Quartetto Brioso (1958)
 * String Quartet No. 3
 * String Quartet No. 4 Quartet in 3 Spheres (1969), for string quartet with tape
 * String Quartet No. 5 Inscape (1969)
 * String Quartet No. 6 Tintinnabulary (1986)
 * String Quartet No. 7 (1994)
 * String Quartet No. 8 Night Descending like Smoke (1997)
 * String Quartet No. 9 Into the Source (2001)
 * String Quartet No. 10 Harvest Timeless (2005)
 * Clarinet Trios (clarinet, cello, piano)
 * Clarinet Trio No. 1 (1955)
 * Clarinet Trio No. 2 Spell (1973)
 * Clarinet Trio No. 3 Lin (1986)
 * Flute Quintet (1953), for flute, violin, viola, cello and piano
 * Solo Intimo (1953), for cello
 * Whirl's World (1970), for wind quintet
 * Arcana (1970), for percussion, electric guitar and accordion
 * Cantica (1977), for cello and piano
 * Proteus (1980), for flute and percussion
 * Sonora (1981), for flute and harp
 * I Ching (1982), for solo percussion
 * Syn (Vision) (1988), for brass quintet
 * Strings (1992), for string trio
 * Scintillation (1993), for septet of flute, clarinet, horn, violin, viola, cello and piano
 * Roads to Ixtlan (1993), for 4 saxophones
 * Wild Swans (1994), for 4 saxophones
 * Dancers Around Jupiter (1995), for 4 saxophones
 * Winter Music (1998), for flute, clarinet, percussion, organ, guitar and cello
 * It's All His Fancy That (2003), for trumpet, trombone and piano
 * Massiver — Krystaller — Kaskader {Massifs — Crystals — Cascades} (2004), for 12 trombones
 * Delta (2005), for saxophone, cello and piano
 * Trio Breve (2012), for piano trio

Piano/Keyboard

 * Piano Sonata No. 1 (1953)
 * Piano Sonata No. 2 (1957)
 * Partita Concertante (1958), for organ
 * Grooving (1968), for piano
 * Canon (1971), for organ
 * Turn (1973), for piano
 * Trepartita (1988), for organ
 * Remembering (1989), for piano
 * Gemini Rising (1990), for harpsichord
 * Many Returns to Bali (2003, written for Indonesian pianist Ananda Sukarlan as a tribute to the victims of the Bali Bombing 2002) for piano
 * Waterways (2008), for piano

Vocal/Choral

 * The Dommen (Judgement), for vocalists, choir, children's choir and orchestra
 * Libra (1973), for tenor, choir, guitar and two vibraphones
 * Singe die Gärten (1974), for choir and 8 instruments
 * Nova genitura (1975), for soprano and ensemble
 * Fons Laetitiae (1975), for soprano and harp
 * Winter Cantata (1976), for soprano, choir, organ and optional ensemble
 * Frostsalme (1976), for 16-part choir
 * Cycle (1977), for 12-part choir
 * Seadrift (1978), for soprano and ensemble
 * Wie ein Kind (Like a Child), for choir (1979–80)
 * And Time Shall Be No More, for choir (1994)
 * Ut rosa (2000), for choir
 * Mytisk Morgen (2000), for choir and bass clarinet

Writings

 * Translated by L. K. Christensen. Numus-West 2, no. 2: 4–16
 * Translated by L. K. Christensen. Numus-West 2, no. 2: 4–16

Awards

 * Lili Boulanger Prize (1957)
 * Nordic Council Music Prize (1974) for his opera Gilgamesh
 * Léonie Sonning Music Prize (1996; Denmark)
 * Wihuri Sibelius Prize (2006)
 * Marie-Josée Kravis Prize for New Music (2014)
 * Ernst von Siemens Music Prize (2016)

title: Per Nørgård


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User:Davidcannon/Index-4

Articles I have rewritten
This page lists articles started by others, usually as stubs, which I have so completely rewritten as to make them essentially my own work.
 * Index:
 * Topical Indices

title: User:Davidcannon/Index-4


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Dream Machine

Dream Machine may refer to:

Technology

 * Dream Machine, a text-to-video model developed by Luma Labs
 * Dreamachine, a light effect
 * Buckeye Dream Machine, an American powered parachute design
 * Sony Dream Machine, a line of clock radios by Sony

Media

 * "The Dream Machine", an episode of Astro Boy
 * Computer Lib/Dream Machines, a 1974 two-in-one set book by Ted Nelson
 * Dream Machine (film), a 1990 direct-to-video thriller film
 * The Dream Machine (miniseries), a 1992, BBC documentary series, on the history of computing, released in the US as The Machine That Changed the World
 * Dreaming Machine (夢みる機械 Yume Miru Kikai), an unfinished anime film by Satoshi Kon
 * "Dream Machine" (Dexter's Laboratory), an episode of the animated television series Dexter's Laboratory
 * The Dream Machine (video game), an episodic video game started in 2010
 * Dream Machines, an American TV series
 * The Dream Machine: J.C.R. Licklider and the Revolution That Made Computing Personal, a 2001 biography of Internet pioneer J. C. R. Licklider

Other

 * Troy Graham (1949–2002), professional wrestler whose nickname is The Dream Machine
 * Dream Machine, a Calaway Park amusement park ride
 * Dream Machine, a ring name of Kazuo Sakurada
 * Dream Machine, a now defunct retail chain of fun centers filled with arcade games and more
 * Dream Machine, a device of the product group Unifi by Ubiquiti_Networks. "All-in-one console and security gateway designed to support powerful LAN and WiFi networks."

Music

 * Dream Machine, a rock band led by Matthew and Doris Melton
 * Dream Machine (album), an album by Tokio Hotel
 * "Dream Machine", a song by Alphaville, released as a track on their CD set, Dreamscapes
 * "Dream Machine", a track from Scenes from the Second Storey by The God Machine
 * "Silver Dream Machine", a song by David Essex

title: Dream Machine


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John Bates Clark

John Bates Clark (January 26, 1847 – March 21, 1938) was an American neoclassical economist. He was one of the pioneers of the marginalist revolution and opponent to the Institutionalist school of economics, and spent most of his career as professor at Columbia University.

Biography
Clark was born and raised in Providence, Rhode Island, and graduated from Amherst College, in Massachusetts, at the age of 25. From 1872 to 1875, he attended the University of Zurich and the University of Heidelberg where he studied under Karl Knies (a leader of the German Historical School). He taught as a professor of economics at Carleton College from 1875 to 1881 before moving east to teach at Smith College. He subsequently taught at Amherst College, Johns Hopkins University, and Columbia University. Early in his career Clark's writings reflected his German Socialist background and showed him as a critic of capitalism. During his time as a professor at Columbia University however, his views gradually shifted to support of capitalism and he later became known as a leading advocate of the capitalist system. Clark was the father of economist John Maurice Clark.

Theoretical work
After his return, from 1877 onward, Clark published several articles most of them edited later in The Philosophy of Wealth (1886). There he formulated an original version of marginal utility theory, principle already published by Jevons (1871), Menger (1871), and Walras (1878).

Until 1886 Clark was a Christian socialist reflecting the view of his German teachers that competition is no universal remedy – especially not for fixing wages. Clark writes:

"It is a dangerous mistake to extol competition, as such too highly, and regard all attacks upon it as revolutionary. … We do not eat men … but we do it by such indirect and refined methods that it does not generally occur to us that we are cannibals."

He hoped that communism could be combatted by suppression and reform:

"Among the adherents of Communism there is a large element that is simply murderous, and this deserves only the murderer's fate. ... It is possible that an indefinitely large proportion of declared communists in this country may be of worthless or criminal character."

According to Clark only if "...the union of capital necessitates the union of labour" just wages will come about and may be fixed by arbitration.

This view on fair wages changed in 1886: "Clark himself, it will be remembered has song down the doom of competition in The Philosophy of Wealth. But now … he has reversed his position and build[s] up a body of economic laws based on competition" writes Homan (1928) and Everett (1946) finds: "Soon after writing The Philosophy of Wealth, however, Clark started to make defences for the competitive system. What caused the change is unknown. This much we can say. By the time he wrote The Distribution of Wealth he was convinced that pure competition was the natural and normal law by which the economic order obtained justice." One cause that prompted this reorientation could be the Haymarket Riot (1886) in Chicago when some strikers were shot and others hanged. In the US it resulted in a cleansing of higher education from socialist reformers and the ruin of the Knights of Labor.

In 1888 Clark wrote Capital and Its Earnings. Frank Fetter later reflected on Bates' motivation for writing this work:

The probable source from which immediate stimulation came to Clark was the contemporary single tax discussion. ... Events were just at that time crowding each other fast in the single tax propaganda. [ Henry George's ] Progress and Poverty... had a larger sale than any other book ever written by an American. ... No other economic subject at the time was comparable in importance in the public eye with the doctrine of Progress and Poverty. Capital and its Earnings "... wears the mien of pure theory .... But ... one can hardly fail to see on almost every page the reflections of the contemporary single-tax discussion. In the brief preface is expressed the hope that 'it may be found that these principles settle questions of agrarian socialism.' Repeatedly the discussion turns to 'the capital that vests itself in land,'...

The foundation of Clark's further work was competition: "If nothing suppresses competition, progress will continue forever". Clark: "The science adapted … is economic Darwinism. … Though the process was savage, the outlook which it afforded was not wholly evil. The survival of crude strength was, in the long run, desirable". This was the fundament to develop the theory which made him famous: Given competition and homogeneous factors of production labor and capital, the repartition of the social product will be according to the productivity of the last physical input of units of labor and capital. This theorem is a cornerstone of neoclassical microeconomics. Clark stated it in 1891 and more elaborated 1899 in The Distribution of Wealth. The same theorem was formulated later independently by John Atkinson Hobson (1891) and Philip Wicksteed (1894). The political message of this theorem is: "[W]hat a social class gets is, under natural law, what it contributes to the general output of industry."

Clark's conclusion rests upon the productive contribution of the last unit of physical labour – one hour unqualified labour – and the last unit of physical capital. To him heterogeneous capital goods have a second, a social form as homogeneous capital (called jelly as a street can be moulded into an engine) and the productivity of the last unit of jelly determines profit. This retakes Karl Marx's view that commodities have a heterogeneous natural form (Naturalform) and also opposed to it a homogenous value-form (Wertform), jelly. Clark might have known this Marxian construction from his German time and was reproached for this similarity.

Clark's capital are not produced means of production each with a different production structure. It is an abstract, always existing and never perishing one great tool in the hand of working humanity similar to a field or a waterfall, also considered capital by Clark.

The arguable sides of Clark's notion of capital helped to give rise to the Cambridge capital controversy from 1954 to 1965 between the departments of economics at Cambridge University, England, and at MIT in Cambridge, Massachusetts.

Paul A. Samuelson's classic 1947 textbook, Economics, disseminated Clark's concept of capital worldwide.

Major works

 * The Philosophy of Wealth: Economic Principles Newly Formulated (1886).
 * Capital and Its Earnings (1888).
 * The Distribution of Wealth: A Theory of Wages, Interest and Profits (1899).
 * Essentials of Economic Theory (1907).
 * Social Justice without Socialism (1914).

title: John Bates Clark


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Category:World Heritage Sites in Italy

 * UNESCO World Heritage Sites in Italy.

title: Category:World Heritage Sites in Italy


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Arthur Harden

Sir Arthur Harden, FRS (12 October 1865 – 17 June 1940) was a British biochemist. He shared the Nobel Prize in Chemistry in 1929 with Hans Karl August Simon von Euler-Chelpin for their investigations into the fermentation of sugar and fermentative enzymes. He was a founding member of the Biochemical Society and editor of its journal for 25 years.

Early years
Arthur was born to Scottish Presbyterian businessman Albert Tyas Harden and Eliza Macalister. His early education was at a private school in Victoria Park run by Dr Ernest Adam. He went to study in 1877 at a Tettenhall College, Staffordshire, and entered Owens College, now the University of Manchester, in 1882, graduating in 1885. He studied chemistry under Professor Roscoe at Owens College and was influenced by J.B. Cohen.

Research
In 1886 Harden was awarded the Dalton Scholarship in Chemistry and spent a year working with Otto Fischer at Erlangen where he worked on the synthesis of β-nitroso-α-naphthylamine and studied its properties. After receiving a Ph.D. he returned to Manchester as a lecturer and demonstrator and taught along with Sir Philip Hartog. He researched the life and work of John Dalton during these years. In 1895 he wrote a textbook on Practical Organic Chemistry along with F.C. Garrett. Harden continued to work at Manchester until 1897 when he was appointed chemist to the newly founded British Institute of Preventive Medicine, which later became the Lister Institute. He earned the degree Doctor of Science (D.Sc.) from the Victoria University (which included Owens College) in June 1902. Five years later, in 1907 he was appointed Head of the Biochemical Department, a position which he held until his retirement in 1930 (though he continued his scientific work at the Institute after his retirement).

At Manchester, Harden had studied the action of light on mixtures of carbon dioxide and chlorine, and when he entered the Institute he applied his methods to the investigation of biological phenomena such as the chemical action of bacteria and alcoholic fermentation. He studied the breakdown products of glucose and the chemistry of the yeast cell, and produced a series of papers on the antiscorbutic and anti-neuritic vitamins.

Harden was knighted in 1926, and received several honorary doctorates. A Fellow of the Royal Society, he received the Davy Medal in 1935.

"Harden–Young ester"
Harden's work on glycolysis in yeast with William John Young led to the discovery of a phosphorylated ester that was known as Harden–Young ester until chemical analysis showed it to be fructose 1,6-bisphosphate. It is now known to be the product of phosphorylating fructose 6-phosphate by the action of phosphofructokinase; it is broken down into glyceraldehyde 3-phosphate and dihydroxyacetone phosphate by the action of aldolase.

Personal life
Harden married Georgina Sydney Bridge (died January 1928) in 1900 and they had no children.

title: Arthur Harden


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John H. Plumb

Sir John (Jack) Harold Plumb (20 August 1911 – 21 October 2001) was a British historian, known for his books on British 18th-century history.

Biography
Plumb was born in Leicester on 20 August 1911. He was educated at Alderman Newton's School, Leicester, then at University College, Leicester (BA Lond. 1933) and finally at Christ's College, Cambridge (PhD 1936). His doctoral thesis, on the social structure of the House of Commons at the time of William III, was supervised by G. M. Trevelyan, the only time that Trevelyan is believed to have taken on that role. In 1939, Plumb was elected to the Ehrman Fellowship, which was a research fellowship at King's College, Cambridge.

During the Second World War, Plumb worked in the codebreaking department of the Foreign Office at Bletchley Park, Hut 8 and Hut 4, later Block B. He headed a section working on a German Navy hand cipher, Reservehandverfahren.

In 1946, he became a Fellow and Tutor of Christ's College and a University Lecturer in History. In 1957, he was awarded the degree of Doctor of Letters for his work on 18th-century history, and in 1962, he was appointed Reader in Modern History at Cambridge University. He became Professor of Modern English History in the University in 1966. He served as Master of Christ's College from 1978 to 1982.

He had a visiting professorship at Columbia University in 1960. He was elected a Fellow of the British Academy in 1968 and knighted in 1982.

Plumb was the European Advisory Editor for Horizon, and the advisory editor for history for Penguin Books. In the 1960s he branched out as an editor, notably working on The History of Human Society series. Contributors to his books included other well-known historians like Morris Bishop, Jacob Bronowski, and Maria Bellonci. Later Plumb worked with Huw Wheldon on the BBC television series Royal Heritage about the British Royal family and the Royal Collections first broadcast in 1977.

An obituary in the New York Times observed that from the 23 books that he wrote between 1950 and 1973, Plumb became wealthy enough to "indulge his taste for fine food and wine;" to build a collection of rare porcelain; to drive a Rolls-Royce; and to live in a "16th-century rectory in Suffolk, a mill in the south of France and a Manhattan pied-à-terre in the Carlyle Hotel."

Influence
Plumb is seen as mentor to a school of historians, having in common a wish to write accessible, broad-based work for the public: a generation of scholars that includes Roy Porter, Simon Schama, Linda Colley, David Cannadine and others who came to prominence in the 1990s. He was champion of a 'social history' in a wide sense; he backed this up with a connoisseur's knowledge of some fields of the fine arts, such as Flemish painting and porcelain. This approach rubbed off on those he influenced, while he clashed unrepentantly with other historians (notably Cambridge colleague Geoffrey Elton) with a perspective from constitutional history whose emphasis was on more traditional scholarship.

Friends from his early life, C. P. Snow and William Cooper, portrayed him in novels; he also is known to be the model for a character in an Angus Wilson short story The Wrong Set.

Works

 * England in the Eighteenth Century (1950), Pelican Books, London, ISBN 0-14-020231-5
 * Chatham (1953)
 * Studies in Social History (1955)
 * The First Four Georges (1956)
 * Sir Robert Walpole (1956, 1960) in two volumes, sub-titled The Making of a Statesman and The King's Minister
 * The Italian Renaissance (1961, 1987, 2001), American Heritage, New York, ISBN 0-618-12738-0
 * Men And Places (1963)
 * Crisis in the Humanities (Ed., 1964) Penguin, Harmondsworth & Baltimore (responses to Snow's Two Cultures)
 * The Growth of Political Stability in England 1675–1725 (1967)
 * The Death of the Past (1969)
 * In The Light of History (1972)
 * The Commercialization of Leisure (1974)
 * Royal Heritage: The Treasure of the British Crown (1977)
 * New Light on the Tyrant George III: The Second George Rogers Clark Lecture (1978)
 * The Making of a Historian (1988) essays
 * The American Experience (1989) essays.

title: John H. Plumb


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Hanna Rovina

Hanna Rovina (חנה רובינא; 15 September 1888 – 3 February 1980), also Robina, was an Israeli actress. She is often referred to as the "First Lady of Hebrew Theatre".

Biography
Hana Rovina was born in Byerazino, in the Igumensky Uyezd of the Minsk Governorate of the Russian Empire (present-day Belarus), to David Rubin, a timber merchant and Sarah-Rivka Rubin. She had one sister, Rahel and one brother, Zvi. She trained as a kindergarten teacher at a course for Hebrew-speaking kindergarten teachers in Warsaw (prior to the First World War).

She had a daughter, Ilana, born in 1934, with the Hebrew poet Alexander Penn.

Acting career
She began her acting career at the "Hebrew Stage Theatre" of Nahum Tzemach. She joined Habima Theatre in 1917 just as it was being launched, and participated in its first production, a play by Yevgeny Vakhtangov. She became famous for her role as Leah'le, the young bride who is possessed by a demon in The Dybbuk by S. Ansky.

In 1928, Rovina and the other actors of Habima immigrated to Mandate Palestine. Habima became the flagship of the new national theatre movement, and Rovina was recognized as the movement's leading actress. The image of Rovina in her role as Leah in the Moscow performance of The Dybbuk, in a white dress, with her long black braid, became an icon of the emergent Hebrew theatre.

Rovina took her acting very seriously and tried to live the life of the character, as prescribed by the Stanislavski School.

Nisim Aloni wrote a play, Aunt Liza, especially for her and Rovina played the lead.

Rovina made high demands of her audience. She frequently stopped a play in the middle if she felt that the audience was not attentive enough. In one instance, she stopped the play Hannah Senesh in the middle of a scene and told the teenagers in the hall to stop eating sunflower seeds.

Awards and recognition
Rovina was awarded the Israel Prize for theatre in 1956. She remained active on stage until her death, in 1980. She died in Ra'anana, aged 91.

title: Hanna Rovina


text:
Talk:Rejection sampling

 * 1) as a layman I find the present page too hard to understand, e.g. I don't know the terms "subgraph of a function" or "marginally"
 * 2) how does it compare to alternatives?
 * 3) I was looking for this information using the term "rejection algorithm", is that a common  alternative name?
 * 4) Yes, I agree. Too full of jargon to be useful for outsiders! E.g. I have no idea what is an 'instrumental distribution'. In the algorithm, how does one 'sample from g(x)'?  —Preceding unsigned comment added by 71.95.156.92 (talk) 15:04, 25 July 2010 (UTC)

Example is good, but incomplete
The circle in square example is very clear, but it lacks the random rejection aspect of the algorithm; once the point is chosen, whether it will be accepted or not is already determined regardless of u. It would be nice to have a more complete example.

Another way of saying this is that this example is more of an example for importance sampling, which does not involve a random u.

—Preceding unsigned comment added by Rodrigo braz (talk • contribs) 02:12, 23 December 2007 (UTC) Rodrigo de Salvo Braz (talk) 02:15, 23 December 2007 (UTC)

Example is AWFUL!
The example reads like someone who completely missed the point and doesn't really understand rejection sampling wrote it. There is an excellent example in rejection sampling from someone who actually understands it at:

http://www.wikicoursenote.com/wiki/Acceptance-Rejection_Sampling

You don't simply define a region of space, select random samples, then accept if they are in that space and reject otherwise. That could also be called "rejection sampling", but has nothing to do with what we're talking about here. I'm deleting the example because it's so God-awful. If someone can come up with an example closer to the one above ,I think that would be very nice. — Preceding unsigned comment added by 149.97.32.36 (talk) 23:12, 19 September 2011 (UTC)

Naming
Is this method perhaps known in English as von Neumann method? And if it is, should we make a redirect (I tried to find it as a von Neumann method, since it is what we call it in Serbian)? -- Obradović Goran ( t al k  19:16, 28 April 2008 (UTC)
 * I never heard of it as the von Neumann method and none of my books cite it as such. No objections on the redirect though. —Preceding unsigned comment added by 130.226.87.164 (talk) 14:54, 14 October 2010 (UTC)

Lacks a graph. Incomprehensible viz indigestible without some illustration, and preferably an example illustration
Needs illustration 77.198.158.225 (talk) 23:34, 26 December 2021 (UTC)

The description is wrong
Item 2 in the description reads "Draw a vertical line at this x-position, up to the maximum y-value of the probability density function of the proposal distribution".

I believe it's a mistake and the word "maximum" should not appear there, so it should read "Draw a vertical line at this x-position, up to the y-value of the probability density function of the proposal distribution". Doobiefletzet (talk) 08:44, 21 December 2023 (UTC)

title: Talk:Rejection sampling


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Talk:WarGreymon

First header
Well, I've completely rewritten this 3-line stub, into a lengthy article, but it still needs work. Can anyone think of anything to add? LordViD

In the "Digimon X-Evolution" movie, Wargreymon uses "Poseidon Force", similar to Gaia Force, except with water. Well, technically it was performed by "wargreymon x", but still... Should we add new entries for all digimon with x-antibody? source —Preceding unsigned comment added by 200.104.188.181 (talk • contribs)

WarGreymon Digivolved Form
Hey i been wanting to know what the digivolved form of wargreymon on digimon world 3 was cause i saw it when wargreymon got blasted but i finally found out by his signiture attack (Dimension Scissors) it was the one and only digimon called GranKuwagamon...isnt he post to digivolve from DinoBeemon the dna digivolved form of stingmon and exveemon :P

title: Talk:WarGreymon