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OMAP

OMAP (Open Multimedia Applications Platform) is a family of image/video processors that was developed by Texas Instruments. They are proprietary system on chips (SoCs) for portable and mobile multimedia applications. OMAP devices generally include a general-purpose ARM architecture processor core plus one or more specialized co-processors. Earlier OMAP variants commonly featured a variant of the Texas Instruments TMS320 series digital signal processor.

The platform was created after December 12, 2002, as STMicroelectronics and Texas Instruments jointly announced an initiative for Open Mobile Application Processor Interfaces (OMAPI) intended to be used with 2.5 and 3G mobile phones, that were going to be produced during 2003. (This was later merged into a larger initiative and renamed the MIPI Alliance.) The OMAP was Texas Instruments' implementation of this standard. (The STMicroelectronics implementation was named Nomadik.)

OMAP enjoyed some success in the smartphone and tablet market until 2011 when it lost ground to Qualcomm Snapdragon. On September 26, 2012, Texas Instruments announced that they would wind down their operations in smartphone and tablet oriented chips and focus on embedded platforms instead. On November 14, 2012, Texas Instruments announced they would cut 1,700 jobs due to their shift from mobile to embedded platforms. The last OMAP5 chips were released in Q2 2013.

OMAP family
The OMAP family consists of three product groups classified by performance and intended application:
 * high-performance applications processors
 * basic multimedia applications processors
 * integrated modem and applications processors

Further, two main distribution channels exist, and not all parts are available in both channels. The genesis of the OMAP product line is from partnership with cell phone vendors, and the main distribution channel involves sales directly to such wireless handset vendors. Parts developed to suit evolving cell phone requirements are flexible and powerful enough to support sales through less specialized catalog channels; some OMAP 1 parts, and many OMAP 3 parts, have catalog versions with different sales and support models. Parts that are obsolete from the perspective of handset vendors may still be needed to support products developed using catalog parts and distributor-based inventory management.

High-performance applications processors
These are parts originally intended for use as application processors in smartphones, with processors powerful enough to run significant operating systems (such as Linux, FreeBSD, Android or Symbian), support connectivity to personal computers, and support various audio and video applications.

OMAP 1
The OMAP 1 family started with a TI-enhanced ARM925 core (ARM925T), and then changed to a standard ARM926 core. It included many variants, most easily distinguished according to manufacturing technology (130 nm except for the OMAP171x series), CPU, peripheral set, and distribution channel (direct to large handset vendors, or through catalog-based distributors). In March 2009, the OMAP1710 family chips are still available to handset vendors.

Products using OMAP 1 processors include hundreds of cell phone models, and the Nokia 770 Internet tablets.
 * OMAP1510 – 168 MHz ARM925T (TI-enhanced) + C55x DSP
 * OMAP161x – 204 MHz ARM926EJ-S + C55x DSP, 130 nm technology
 * OMAP162x – 204 MHz ARM926EJ-S + C55x DSP + 2 MB internal SRAM, 130 nm technology
 * OMAP171x – 220 MHz ARM926EJ-S + C55x DSP, low-voltage 90 nm technology
 * OMAP5910 – catalog availability version of OMAP 1510
 * OMAP5912 – catalog availability version of OMAP1621 (or OMAP1611b in older versions)

OMAP 2
These parts were only marketed to handset vendors. Products using these include both Internet tablets and mobile phones:
 * OMAP2431 – 330 MHz ARM1136 + 220 MHz C64x DSP
 * OMAP2430 – 330 MHz ARM1136 + 220 MHz C64x DSP + PowerVR MBX lite GPU, 90 nm technology
 * OMAP2420 – 330 MHz ARM1136 + 220 MHz C55x DSP + PowerVR MBX GPU, 90 nm technology

OMAP 3
The 3rd generation OMAP, the OMAP 3 is broken into 3 distinct groups: the OMAP34x, the OMAP35x, and the OMAP36x. OMAP34x and OMAP36x are distributed directly to large handset (such as cell phone) manufacturers. OMAP35x is a variant of OMAP34x intended for catalog distribution channels. The OMAP36x is a 45 nm version of the 65 nm OMAP34x with higher clock speed.

The OMAP 3611 found in devices like the Bookeen's Cybook Odyssey is a licensed crippled version of the OMAP 3621, both are the same silicon (as marking are the same) but officially the 3611 was sold to be only able to drive e-Ink screen and does not have access to IVA & DSP.

The video technology in the higher end OMAP 3 parts is derived in part from the DaVinci product line, which first packaged higher end C64x+ DSPs and image processing controllers with ARM9 processors last seen in the older OMAP 1 generation or ARM Cortex-A8.

Not highlighted in the list below is that each OMAP 3 SoC has an "Image, Video, Audio" (IVA2) accelerator. These units do not all have the same capabilities. Most devices support 12 megapixel camera images, though some support 5 or 3 megapixels. Some support HD imaging.

OMAP 4
The OMAP 4 line consists of the OMAP 4430, OMAP 4460 (formerly named 4440), and OMAP 4470. The 4th generation OMAPs have a dual-core ARM Cortex-A9 CPU with two ARM Cortex-M3 cores, as part of the "Ducati" sub-system for off-loading low-level tasks. The OMAP 4430 was the SoC used in Google Glass.

OMAP 4 uses ARM Cortex-A9's with ARM's SIMD engine (Media Processing Engine, aka NEON) which in some cases may have a significant performance advantage over Nvidia Tegra 2's ARM Cortex-A9s with non-vector floating point units. It also uses a dual-channel LPDDR2 memory controller compared to Nvidia Tegra 2's single-channel memory controller.

All OMAP 4 processors come with an IVA3 multimedia hardware accelerator with a programmable DSP that enables 1080p Full HD and multi-standard video encoding and decoding.

The 4430 and 4460 use a PowerVR SGX540 graphics processing unit (GPU). The 4430's GPU runs at a clock frequency of 304 Mhz, and the 4460's GPU runs at 384 MHz.

The 4470 has a PowerVR SGX544 GPU that supports DirectX 9 that enables it for use in Windows 8. It also has a dedicated 2D graphics core for increased power efficiency up to 50-90%.

OMAP 5
The 5th generation OMAP, OMAP 5 SoC uses a dual-core ARM Cortex-A15 CPU with two additional Cortex-M4 cores to offload the A15s in less computationally intensive tasks to increase power efficiency, two PowerVR SGX544MP graphics cores and a dedicated TI 2D BitBlt graphics accelerator, a multi-pipe display sub-system and a signal processor. They respectively support 24 and 20 megapixel cameras for front and rear 3D HD video recording. The chip also supports up to 8 GB of dual channel LPDDR2/DDR3 memory, output to four HD 3D displays and 3D HDMI 1.4 video output. OMAP 5 also includes three USB 2.0 ports, one lowspeed USB 3.0 OTG port and a SATA 2.0 controller.

Basic multimedia applications processors
These are marketed only to handset manufacturers. They are intended to be highly integrated, low cost chips for consumer products. The OMAP-DM series are intended to be used as digital media coprocessors for mobile devices with high megapixel digital still and video cameras. These OMAP-DM chips incorporate both an ARM processor and an Image Signal Processor (ISP) to accelerate processing of camera images.

 * OMAP310 – ARM925T
 * OMAP331 – ARM926
 * OMAP-DM270 – ARM7 + C54x DSP
 * OMAP-DM299 – ARM7 + Image Signal Processor (ISP) + stacked mDDR SDRAM
 * OMAP-DM500 – ARM7 + ISP + stacked mDDR SDRAM
 * OMAP-DM510 – ARM926 + ISP + 128 MB stacked mDDR SDRAM
 * OMAP-DM515 – ARM926 + ISP + 256 MB stacked mDDR SDRAM
 * OMAP-DM525 – ARM926 + ISP + 256 MB stacked mDDR SDRAM

Integrated modem and applications processors
These are marketed only to handset manufacturers. Many of the newer versions are highly integrated for use in very low cost cell phones.
 * OMAPV1035 – single-chip EDGE (was discontinued in 2009 as TI announced baseband chipset market withdrawal).
 * OMAPV1030 – EDGE digital baseband
 * OMAP850 – 200 MHz ARM926EJ-S + GSM/GPRS digital baseband + stacked EDGE co-processor
 * OMAP750 – 200 MHz ARM926EJ-S + GSM/GPRS digital baseband + DDR Memory support
 * OMAP733 – 200 MHz ARM926EJ-S + GSM/GPRS digital baseband + stacked SDRAM
 * OMAP730 – 200 MHz ARM926EJ-S + GSM/GPRS digital baseband + SDRAM Memory support
 * OMAP710 – 133 MHz ARM925 + GSM/GPRS digital baseband

OMAP L-1x
The OMAP L-1x parts are marketed only through catalog channels, and have a different technological heritage than the other OMAP parts. Rather than deriving directly from cell phone product lines, they grew from the video-oriented DaVinci product line by removing the video-specific features while using upgraded DaVinci peripherals. A notable feature is use of a floating point DSP, instead of the more customary fixed point one.

The Hawkboard uses the OMAP-L138
 * OMAP-L137 – 300 MHz ARM926EJ-S + C674x floating point DSP
 * OMAP-L138 – 300 MHz ARM926EJ-S + C674x floating point DSP

Products using OMAP processors
Many mobile phones released during early 21st century have used OMAP SoCs, including the Nokia 3230, N9, N90, N91, N92, N95, N82, E61, E62, E63 and E90 mobile phones, as well as the Nokia 770, N800, N810 and N900 Internet tablets, Motorola Droid, Droid X, and Droid 2, and some early Samsung Galaxy devices, like Samsung Galaxy Tab 2 7.0 and Galaxy S II variant GT-I9100G.

The OMAP3430 is used in the Palm Pre, Pandora, and Touch Book. Other devices that use OMAP processors include Sony Ericsson's Satio (Idou) and Vivaz, most Samsung phones running Symbian (including Omnia HD), the Nook Color, some Archos tablets (such as Archos 80 gen 9 and Archos 101 gen 9), Kindle Fire HD, Blackberry Playbook, Kobo Arc, and B&N Nook HD.

Some all-in-one smart displays use OMAP 4 SoCs, including the Viewsonic VSD220, which uses an OMAP 4430.

OMAP SoCs are also used as the basis for a number of hobbyist, prototyping and evaluation boards, such as the BeagleBoard, PandaBoard, OMAP3 Board, Gumstix and Presonus digital mixing boards

Motorola MOTOTRBO 2. generation radios use the OMAP-L132 or OMAP-L138 secure CPU.

Similar platforms

 * A31 by AllWinner
 * Apple silicon by Apple
 * ARMADA (SoC) 5xx/6xx/15xx by Marvell Technology Group
 * Atom by Intel
 * Exynos by Samsung
 * i.MX by Freescale Semiconductor, later models produced by NXP
 * Jaguar and Puma by AMD
 * K3Vx/Kirin by HiSilicon
 * MTxxxx by MediaTek
 * Nomadik by STMicroelectronics
 * NovaThor by ST-Ericsson
 * OCTEON by Cavium
 * R-Car by Renesas
 * RK3xxx by Rockchip
 * Snapdragon, by Qualcomm, the only competing product which also features a DSP unit, the Qualcomm Hexagon
 * Swift (SoC) by Philips
 * Tegra by Nvidia
 * TI Sitara ARM Processor SoC family
 * VideoCore by Broadcom

title: OMAP


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Wikipedia:Articles for deletion/Phlooie

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

Phlooie
Seems to be a hoax. The traits described seem to match several species (chameleons, flying lizards etc.) Cant't find on Google or Google Scholar (with any number of spellings). Delete Sabine's Sunbird 15:46, 6 Dec 2004 (UTC)
 * Delete. A joke which almost got me in. :-) --Gtabary 15:50, 6 Dec 2004 (UTC)
 * Delete. They might have gotten away with it if they hadn't mentioned the Arumbaya. Fictional tribe and their language, from the Tintin series. (No, it doesn't Google as anything else.) JRM 16:13, 2004 Dec 6 (UTC)
 * Speedily deleted,
 * Comment: Are you sure "Phlooies" aren't featured in some Tintin book or other? So it would be contextless fancrft not an actual hoax? Kappa 17:09, 6 Dec 2004 (UTC)
 * Possibly, but I think we can be excused for not distinguishing one from the other if the article doesn't mention up front that we're dealing with fiction—especially if the term in question nets not a single Google reference across the multitude of Tintin fansites on the web. Otherwise, how can we ever delete hoaxes? If the article hadn't mentioned the Arumbaya (as it might well have not), the suspicion would have never cropped up to begin with. I'd be more than willing to apologize if the contributor shows up and protests, but somehow I doubt that'll happen. JRM 18:01, 2004 Dec 6 (UTC)
 * Well yes, it would be hard for them to find this page now that the article has been deleted. Also their contribution has been labelled 'vandalism' so they probably wouldn't feel very welcome. Kappa 00:30, 7 Dec 2004 (UTC)
 * Can't argue with that, unfortunately. You can always take it to Votes for undeletion if you want to be consistent about it. JRM 00:49, 2004 Dec 7 (UTC)

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

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

title: Wikipedia:Articles for deletion/Phlooie


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Letters on the English

Letters on the English (or Letters Concerning the English Nation; French: Lettres philosophiques) are a series of essays written by Voltaire based on his experiences living in Great Britain between 1726 and 1729. The book was published first in English in 1733 and then in French the following year, where it was seen as an attack on the French system of government and was rapidly suppressed.

A revised edition appeared in English in 1778 as Lettres philosophiques sur les Anglais (Philosophical Letters on the English). Most modern English editions are based on the one from 1734 and typically use the title Philosophical Letters, a direct translation of that version's title.

In some ways, the book can be compared with Democracy in America by Alexis de Tocqueville, in how it flatteringly explains a nation to itself from the perspective of an outsider, as Voltaire's depictions of aspects of English culture, society and government are often given favourable treatment in comparison to their French equivalents.

Summary
Lettres anglaises consists of twenty-four letters:
 * Letter I: On The Quakers
 * Letter II: On The Quakers
 * Letter III: On The Quakers
 * Letter IV: On The Quakers
 * Letter V: On The Church of England
 * Letter VI: On The Presbyterians
 * Letter VII: On The Socinians, or Arians, or Antitrinitarians
 * Letter VIII: On The Parliament
 * Letter IX: On The Government
 * Letter X: On Trade
 * Letter XI: On Inoculation
 * Letter XII: On The Lord Bacon
 * Letter XIII: On Mr. Locke
 * Letter XIV: On Descartes and Sir Isaac Newton
 * Letter XV: On Attraction
 * Letter XVI: On Sir Isaac Newton's Optics
 * Letter XVII: On Infinites in Geometry, and Sir Isaac Newton's Chronology
 * Letter XVIII: On Tragedy
 * Letter XIX: On Comedy
 * Letter XX: On Such of The Nobility as Cultivate The Belles Lettres
 * Letter XXI: On The Earl of Rochester and Mr. Waller
 * Letter XXII: On Mr. Pope and Some Other Famous Poets
 * Letter XXIII: On The Regard That Ought to Be Shown to Men of Letters
 * Letter XXIV: On The Royal Society and Other Academies

Religion
Voltaire first addresses religion in Letters 1–7. He specifically talks about Quakers (1–4), Anglicans (5), Presbyterians (6) and Socinians (7). In the Letters 1–4, Voltaire describes the Quakers, their customs, their beliefs, and their history. He appreciates the simplicity of their rituals. In particular, he praises their lack of baptism ("we are not of opinion that the sprinkling water on a child's head makes him a Christian"), the lack of communion ("'How! no communion?' said I. 'Only that spiritual one', replied he, 'of hearts'"), and the lack of priests ("'You have, then, no priests?', said I to him. 'No, no, friend', replies the Quaker, 'to our great happiness'"), but still expresses concern regarding the manipulative nature of organized religion.

Letter 5 is devoted to the Anglican religion, which Voltaire compares favourably to Catholicism ("With regard to the morals of the English clergy, they are more regular than those of France"), but he criticizes the ways in which it has stayed true to the Catholic rituals, in particular ("The English clergy have retained a great number of the Romish ceremonies, and especially that of receiving, with a most scrupulous attention, their tithes").

In Letter 6, Voltaire attacks the Presbyterians, whom he sees as intolerant ("[The Presbyterian] affects a serious gait, puts on a sour look, wears a vastly broad-brimmed hat and a long cloak over a very short coat, preaches through the nose, and gives the name of the whore of Babylon to all churches where the ministers are so fortunate as to enjoy an annual revenue of five or six thousand pounds, and where the people are weak enough to suffer this, and to give them the titles of my lord, your lordship, or your eminence") and overly strict ("No operas, plays, or concerts are allowed in London on Sundays, and even cards are so expressly forbidden that none but persons of quality, and those we call the genteel, play on that day; the rest of the nation go either to church, to the tavern, or to see their mistresses").

Finally, in the Letter 7, he talks about the "Socinians", whose belief system is somewhat related to Voltaire's own deist viewpoint. Voltaire argues that while this sect includes some of the day's most important thinkers (including Newton and Locke), this is not enough to persuade the common man that it is logical. According to Voltaire, men prefer to follow the teachings of "wretched authors" such as Martin Luther, John Calvin or Huldrych Zwingli.

Politics
In Letters 8 and 9, Voltaire discusses the English political system.

Letter 8 talks about the British parliament, which he compares to both Rome and France. In terms of Rome, Voltaire deprecates the fact that England has entered wars on account of religion (whereas Rome did not), but he praises England for serving liberty rather than tyranny (as in Rome). In terms of France, Voltaire responds to French criticism concerning the regicide of Charles I by highlighting the British judicial process as opposed to the outright murders of Holy Roman Emperor Henry VII or Henry III of France, or the multiple attempts on the life of Henry IV of France.

In Letter 9, Voltaire gives a brief history of the Magna Carta, talks about the equal dispensing of justice, and the levying of taxes.

Trade and commerce
In Letter 10, Voltaire praises the English trade system, its benefits, and what it brings to the English (from 1707, British) nation. According to Voltaire, trade greatly contributed to the liberty of the English people, and this liberty in turn contributed to the expansion of commerce. It is trade as well that gave England its naval riches and power. In addition, Voltaire takes the opportunity to satirize the German and French nobles who ignore this type of enterprise. For Voltaire, nobles are less important than the businessman who "contributes to the felicity of the world".

Medicine
In Letter 11, Voltaire argues in favour for the English practice of inoculation, which was widely mistrusted and condemned in continental Europe. This letter is probably in response to a 1723 small pox epidemic in Paris that killed 20,000 people.

Famous Britons
Letter 12 speaks of Francis Bacon, author of Novum Organum and father of experimental philosophy.

Letter 13 is about John Locke and his theories on the immortality of the soul.

Letter 14 compares British philosopher Isaac Newton to French philosopher René Descartes. Upon his death in 1727, Newton was compared to Descartes in a eulogy performed by French philosopher Fontenelle. While the British did not appreciate this comparison, Voltaire argues that Descartes, too, was a great philosopher and mathematician.

Letter 15 focuses on Newton's law of universal gravitation. Letter 16 talks about Newton's work with optics. Letter 17 discusses Newton's work with geometry and his theories on the chronology of history.

Art
In Letter 18, Voltaire talks about British tragedy, specifically in the hands of William Shakespeare. Voltaire presents his readers with the famous "To be, or not to be" soliloquy in Hamlet along with a translation into French rhyming verse. He also cites a passage from John Dryden and gives a translation.

In Letter 19, Voltaire addresses British comedy, citing William Wycherley, John Vanbrugh and William Congreve.

Letter 20 speaks briefly of the belles lettres of the nobility, including the Earl of Rochester and Edmund Waller.

Letter 22 references the poetry of Jonathan Swift and Alexander Pope.

In Letter 23, Voltaire argues that the British honour their Men of Letters far better than the French in terms of money and veneration.

The last letter, Letter 24, discusses the Royal Society of London, which he compares unfavourably to the Académie Française.

Philosophy
In the letter 25, which was not included with the original twenty-four, Voltaire criticizes certain ideas of Blaise Pascal by taking citations from his Pensées and giving his own opinion on the same subject. The most important difference between the two philosophers is in their conception of man. Pascal insists on the miserable aspect of man who must fill the emptiness of his life with amusements, while Voltaire accepts the optimistic Enlightenment view.

title: Letters on the English


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Talk:On Avery Island

http://ilx.wh3rd.net/thread.php?msgid=6500018#unread is a debate/comparison of avery island and aeroplane

Rerelease
'On Avery Island' is now listed on amazon.co.uk and others as being rereleased on 12/11/07. It has 'Everything Is' and 'Snow Song' as bonus tracks, suggesting that it's the rerelease mentioned in this article. Would someone like to update the article? Hazzjm 23:17, 13 November 2007 (UTC)

<^>v!!This album is connected!!v<^>

 * All song titles serve as redirects to this album, have their own pages, or have been placed at the appropriate disambiguation pages.--Hraefen Talk 21:56, 28 August 2006 (UTC)

title: Talk:On Avery Island


text: User talk:208.166.67.34

title: User talk:208.166.67.34


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Talk:Civilization/Archive 1

This entry is so wrong. A civilization is much more than a culture or whatever. At least, not unless you define culture narrowly, which most people will not know enough to do.

Okay, the problem is that civilization means to live in cities. If you live in cities, you're civilized. If you don't, you're savages. Civilization is the rules of behaviour which makes it possible for people to live in cities. It's that simple.

And yes, the Northern American natives were savages. Or at least, the Southern American natives thought so. Note also that the Conquistadors were extremely impressed with Mexico, whereas nobody was impressed with the savages up north.

 * Ark, you've done it again: unadulterated bullshit in the guise of scientific and historical fact. Since when does civilization equal city? Does that mean that anyone who does not live in a city is uncivilized? As for the native peoples of North America being savages because they did not live in cities, obviously I reject that equation.

 * However, even your very assumption is wrong. There actually were cities in pre-contact North America, and these may have even rivaled their European counterparts in terms of population and organization, though the material cultures were different. Take, for example, Cahokia, a center of the Mound Building civilization. At its peak, it may have had a population of 30,000 or more. Some mounds are estimated to have taken as much as 5 million man-hours to create, surely evidence of some kind of "civilized" social structure. In other areas, you have the Hohokam and Mogollan cultures in the Southwest, which lived in organized towns (the Anasazi are a prime example of this), and the pre-contact Iroquois Confederacy, which developed a federative political structure in New York State long before Jefferson and Franklin … and they lived in "villages," which were effectively small cities.

 * The problem, as I see it, is the late-nineteenth century use of the word "civilization," with all of its racist connotations: "We [the Europeans] are civilized, therefore anyone who is culturally similar to us is 'civilized,' and everyone who is culturally unlike us in 'uncivilized,'" i.e., savage, barbaric, etc. Of course, this argument, which was used to justify colonialism and the attempted extermination of indigenous cultures around the world, is inherently racist. If anything, by modern standards, the massacre of Native Indian men, women, and children because they were "savages" can hardly be conceived as "civilized." Danny

Danny, yes, the distinction has been woefully abused, but it is there. Historians usually don't apply the term civilization to anything before around 4500-3000 BC, starting it off in Egypt and Mesopotamia. The two most significant developments in that time were the rise of cities (villages existed before) and the appearance of writing. Many of the contemporary, and earlier, cultures were extremely sophisticated but that title isn't applied to them. The term, then, has a technical sense where it doesn't mean cultural advancement or kindness but means urbanity and literacy, as well as the colloquial sense.
 * Thanks but I disagree. Inca civilization, for instance, was illiterate, and there are other examples. I would venture to say that rather than urban life, civilization implied the rise of agriculture and (at least semi-)settled communal life. My reference to kindness was a facetious jab at the author's referral to native peoples as being "savages." Danny

The problem is that agriculture and villages appeared around 10000 BC, and it is uncommon to see the term civ applied to anything that early. If literacy doesn't count, that leaves us with urbanity and perhaps statehood, which is what ark insisted on in the beginning. As for savages, well, it is entirely true that the Native Americans were by and large anything but peaceful. It is fair to say that the Europeans aren't, either, but they tend to commission professionals to do the dirty work, which results in considerably fewer deaths per capita. Which is some progress, if not nearly enough.
 * Your dating would depend on region of course. Urbanization is a confusing term here since even major cities in the Bronze Age generally numbered no more than a few thousand people at most, and could often be counted in the hundreds (Jerusalem is believed to have had no more than 2000 in early First Temple times and it was the major urban center in the region). Jericho and Cayat Huyluk [sp.] are nonetheless examples of emerging civilizations as well as cultures. Statehood is also a Western construct, and it would probably be better to use a term like "political structure," which would have existed in most of those early societies too. The fact that they can build a defensive wall for more than one family is evidence of that. I still contend that civilization per se is an artificial construct used to impose a Western veneer on cultural development. I can see, however, where my position is controversial (not wrong--controversial). As for Native Americans being less peaceful, I think it would depend on which of the hundreds of groups you are talking about. Let's not give a romanticized picture of the Plains tribes and impose it on all groups. Other groups, by the way, did have warrior castes, so that it was not unlike the system employed in Europe. Then, of course, there were Plains (and other) battles, where the goal was "couping," or touching an opponent, not killing them. Much more humane than the wars of the Middle Ages in Europe. Where do your statistics on fewer deaths come from then? Danny

Technically, knights weren't supposed to kill one another either, and serfs weren't usually involved when they did. But the death thing is complicated, and is the combined impression I get from various texts which I would have to track down, so since it isn't the central issue here I would just as soon drop it. As for the other things, state is only a western construct when it is used to mean nation-state, but that's not the way many texts use it, and city really is used in a way that applies to Ur or Athens but not Catal Huyuk. For instance, people don't hesitate to say that Rome became a true city under the Etruscan kings, though there were settlements on the site far earlier.

If you want to argue that the term civilization is prejudiced or racist, then add it to the article. Redefining the word is a different thing.

I don't see that "civilization is high culture" helps anyone, or even means anything. -- ark

 * No, I want you to give a source for your definitions, which like so much else you have written, is questionable at best, and often just odious. Danny

I think the question is, can one come up with a universal, objective, non-culture-bound, and analytically meaningful definition of civilization (what the current article attempts to do), or should one discuss the word "civilization" as it has meaning within Western discourse? Personally, I would go with the latter: civilization does come from the root "civitas" and is used to identify a complex of traits associated with urban elites, including literacy; moreover, it is used to express a distinction between civilized people and savages. This is true (what isn't true is the claim that these words have any meaning outside of a particular cultural discourse). I think it is useful and important to define civilization in this way, because it then becomes a starting point for a critical analysis of Western culture (of which Derrida's Of Grammatology is but one example). It is also useful to point out that the use of this word-pair as an analytic tool has come under increasing criticism through the twentieth century -- after World War I, people had to start wondering whether being civilized had any connection at all to moral superiority; during the post-colonial period the word-pair was exposed as a tool of colonial domination. It is true that some scholars, such as Huntington, continue to use the term civilization in an analyitcal/objective mode, but they are subject to the same critiques as earlier scholars. SR --
 * A clone of the Civilization computer game is FreeCiv. See

I removed that because we're redirecting to Civilization video game anyway, and it obviously has a link to FreeCiv. I think it's best to minimize the amount of external links and keep them to the main topic page. Also, it seems that the name Civilization is covered by trademark. --Uri

[Mike]To judge and argue about pecularities of a civilization assumes we know all we need to know to do that intelligently. Also, it is a deliberation by a jury without power (beyond the grave). The most important aspects of a "civilization" are its shortcomings and why did it fail. These questions are still being debated about the Roman and Maya civlizations.

Perhaps if we focus on the shortcomings and dangers in our civilization, a beneficial improvement and healing may occur. We should wonder why some civilizations expanded their frontiers, in the sense that they shared their "civil life" with foreign people. This, of course, would exclude expansions by conquest followed by exploitation, and called "civilization." When some refer to Roman Civilization, they exclude the life of the slave, the vulnerability of children or lack of respect for women. Distortion is the game. [Mike]

-- There is a strong POV problem in starting out "From a naive European Christian ethnocentric viewpoint human history is the history of 'progress' leading to development of the achievement of 'civilization' represented by European Christian culture". Its definitely true that many postmodern theorists argue that the concept of civilization is ethnocentric, and this should be pointed out, and the arguments should be detailed in the article! However, to state in objective language that Europeans were naive and ethnocentric, and then to state in equally objective language that people who argue against the concept are "sophisticated" is a POV problem. Also, its a mistake to hold that everyone who believes in the concept of "civilization" believes history is a history of progress. Civilization has two uses, one to just contrast with nature generally, the other to talk about the cultural/infrastructural bodies,etc which is hard to define. But neither necessarily are meant to imply progress. If nobody addresses this issue, I will eventually edit the article myself. Brianshapiro

Naive Postmodern view
From a naive European Christian ethnocentric viewpoint human history is the history of "progress" leading to development of the achievement of "civilization" represented by European Christian culture. This attitude was associated with European colonialism and with the relation of Europeans and Americans with indigenous peoples such as the Native Americans.

Sorry, I'm just random visitor, Czech student of physics, which is propably not enough to understand more sophisticated though of this page. For me it seems just stupid exercise from postmodernism

- ethnocentric - what does it mean? Its neither explained in wikipedia nor a common word found in dictionary.

- European Christian - well, im European not Christian, but I dont think history can be summarized by one sentece.

- if naive means something like "as taught on classical school in 192x", its not true. From that viewpoint "european west christian civilization" was many times inferior to other civilizations, especialy with rise of christianity. Achievements of ancient Greek and Roman culture and science were preserved and developad only thanks to Byzantium and Moslem civilizations. All that time "Europe" had been "competing" with distant civilizations for example of China. Only Chineese politicians made extremely uniwise decision of forbidding long distance navigation. And developement of science in Europe was a big thing. etc...

- words progress and civlization are enclosed in what I call "detesting quotes" - why they should be? Both civilization and progress are normal words, for example I can see "progress bar" when I copy files. Progress alone does not carry positive or negative moral meaning. If author dislike any progress in general its quite funny.

- history of "progress" leading to development of the achievement of "civilization" - what??

- This attitude was associated with European colonialism and with the relation of Europeans and Americans with indigenous peoples such as the Native Americans. Certainly different associations come to authors mind than to mine. Intention was I should feel sory some people killed some indigenous native americans(??).

I don't understand
I don't understand why people don't even bother looking in the dictionary before they add stuff into Wikipedia. Maybe I do because English is not my first language and I am afraid to make mistakes? In any case, there are, as with many other words, multiple definitions of "civilization". However, I am convinced that we can do better than the trenches we have right now, ok?

Firstly, what the dictionaries say:

http://dictionary.reference.com/search?q=civilization

http://www.hyperdictionary.com/search.aspx?define=civilization

I believe we can help ourselves by finding the original sense of the word. In the English language, "civilization" comes from French "civilisation". Let's see what they meant in French:

"1. Action de civiliser, fait de se civiliser. " "2. Ce qui caractérise la vie culturelle et matérielle d'une société humaine. ".

Which gives:

"1. Act of civilizing, fact of civilizing oneself." "2. What caracterizes the material and cultural life of a human society".

That's good. The word didn't take a completely different meaning. Now, where did this word come from in the French language? From what I read, the original sense is not helpful. It meant: "the transfert of a criminal trial to a civil trial". The "civilization" of the trial. Interesting, but useless. What about the root "civil"? City, yes, you guest it right. Reading more allows us to learn that the French used the word "civilisé" (civilized) to speak of well-mannered peoples as opposed to the "sauvages" (savage) ones. The people of the city (read Paris) were civilized and the rest of the world were savages, or babaric as the Ancient Greeks would have said.

It seems to me that a "civilization" is a people that has developped or matured long enough to have cities and also the snobism and superiority complex that was produced by these people unable to survive in the woods because of their inability to make fire. Sadly, numerous nations have produced such retarded individuals. Right now, thinking that most of humanity happens to live in urban areas, I am beginning to be afraid for the survival of our species. ;-) Mathieugp 22:08, 11 Mar 2004 (UTC)

The list with the 25 major civilisations.. "Communist -- Soviet Union, People's Republic of China" WTF!?!? Communism is a ideology, NOT a civilisation! Its like saying that anarchy, fascism or democracy is "a civilisation". Thats just silly. Noone 20:38, 24 Jul 2004 (UTC)

title: Talk:Civilization/Archive 1


text: Category:Samoyedic languages

title: Category:Samoyedic languages


text:
Wikipedia:Articles for deletion/ZTC

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

ZTC
Wasn't my vfd but I'll take it over anyways. Vanity, mindless vanity - rernst 15:55, 6 Dec 2004 (UTC)
 * Delete trivial vanity page Cdc 17:14, 6 Dec 2004 (UTC)
 * Delete: I'm sure they're way RaD and all, but totally ignorable. Geogre 18:03, 6 Dec 2004 (UTC)
 * Delete as vanity. [[User:GRider|GRider\talk]] 19:11, 6 Dec 2004 (UTC)
 * Delete vanity. [[User:Xezbeth| Xezbeth ]] 19:33, 6 Dec 2004 (UTC)
 * Delete. Gaming clan vanity. [[User:MacGyverMagic|Mgm|(talk)]] 21:23, Dec 6, 2004 (UTC)
 * Delete eek. Wyss 23:19, 6 Dec 2004 (UTC)
 * Delete. Comcat
 * Delete. Heh... they don't even put this into the third person.  --L33tminion | (talk) 20:56, Dec 11, 2004 (UTC)

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

title: Wikipedia:Articles for deletion/ZTC


text:
Chung Ling (disambiguation)

Chung Ling (Chinese: 鍾玲; born 1945) is a Taiwan-Chinese writer.

Chung Ling may also refer to:

 * Chung Ling High School
 * Chung Ling Butterworth High School
 * Nadia Chan Chung Ling, a Hong Kong-based actress

title: Chung Ling (disambiguation)


text:
2001 Major League Soccer season

The 2001 Major League Soccer season was the sixth season of Major League Soccer. It was also the 89th season of FIFA-sanctioned soccer in the United States, and the 23rd with a national first-division league.

The season was shortened due to the September 11 attacks, with the final weeks' regular season matches being canceled. Due to the different number of games played, playoff ordering was determined by points per game, instead of total points.

The regular season began on April 7, and concluded prematurely on September 9. The 2001 MLS Cup Playoffs began on September 20, and concluded with MLS Cup 2001 on October 21. The Miami Fusion won their first Supporters' Shield and the San Jose Earthquakes defeated the Los Angeles Galaxy in the final to win their first MLS Cup.

Season format
The season began on April 7 and concluded with MLS Cup on October 21. The 12 teams were split into three divisions. Each team played 32 games that were evenly divided between home and away. Each team played every other team in their division four times, for a total of 12 games. The remaining schedule consisted of three games against four select opponents in one of the other divisions, and two games against the remaining four teams.

The eight teams with the most points per game qualified for the MLS Cup Playoffs. The quarterfinals and semifinals were played as a best-of-three series, and the winners advanced to MLS Cup. In all rounds, draws were broken by penalty shootout if necessary. The away goals rule was not used in any round.

The team with the most points in the regular season was awarded the MLS Supporters' Shield. The winner of MLS Cup, and the runner-up, qualified for the CONCACAF Champions' Cup.

Bracket

 * Points system Win = 3 Pts. Loss = 0 Pts. Draw = 1 Pt.
 * ASDET*=Added Sudden Death Extra Time (Game tie breaker) SDET**=Sudden Death Extra Time (Series tie breaker) Teams will advance at 5 points.

Quarterfinals
Chicago Fire advance 7–1 on points.

Miami Fusion advance 6–3 on points.

Los Angeles Galaxy advance 1-0 in series overtime (SDET) after 4-4 tie on points.

San Jose Earthquakes advance 6–0 on points.

Semifinals
Los Angeles Galaxy advance 7–1 on points.

San Jose Earthquakes advance 6–3 on points.

International Competition
CONCACAF Champions' Cup

 * Kansas City Wizards 2001 edition canceled; Wizards advanced to CONCACAF Champions' Cup 2002.
 * Chicago Fire 2001 edition canceled; Fire advance to CONCACAF Champions' Cup 2002.

Copa Merconorte

 * MetroStars Went 3-3-0 in group stage and did not advance. Defeated 🇻🇪 Deportivo Italchacao, 2-0 at home. Awarded two forfeit wins against 🇲🇽 Club Deportivo Guadalajara, after the club refused to travel. Lost 🇻🇪 Deportivo Italchacao, 2-1 away. Lost 🇨🇴 Millonarios, 2-1 away and 1-0 at home.
 * Kansas City Wizards Went 1-4-1 in group stage and did not advance. Defeated 🇪🇨 Barcelona, 3-2 away, Drew 1-1 at home. Lost 🇲🇽 Santos Laguna, 4-2 away and 1-0 at home. Lost 🇵🇪 Sporting Cristal, 2-1 at home and 2-1 away.

CONCACAF Giants Cup

 * D.C. United Defeated 🇯🇲 Arnett Gardens, 5-1 on aggregate in quarterfinals. Defeated Comunicaciones, 2-1 in semifinals. Lost 🇲🇽 Club América, 2-0 in final.
 * Columbus Crew Lost Deportivo Saprissa, 3-1 on aggregate in quarterfinals.

title: 2001 Major League Soccer season


text:
Talk:Lostprophets

The Fake Sound of Progress
I think the album page Thefakesoundofprogress should be moved to The Fake Sound of Progress, because Thefakesoundofprogressis just stylised of The Fake Sound of Progress. Wikipedia isn't about stylising pages. So, there for the song page The Fake Sound of Progress should be moved to The Fake Sound of Progress (song). --121.216.145.68 (talk) 06:35, 8 April 2012 (UTC)
 * I'm not sure "Thefakesoundofprogress" is a stylisation - it's either the title or it isn't. If "The Fake Sound of Progress" is the actual album title then that should be used, but which is it? MOS:TM doesn't seem to give any guidelines on titles that do not use spaces.  Я ehevkor ✉  11:21, 8 April 2012 (UTC)
 * Personally I think it should done as 121.216.145.68 requested. Many online stores says it is spaced out such as iTunes, HMV, Visible Noise online store, Sanity online, etc. — itakeadvantageofyourgoat (talk) 23:16, 8 April 2012 (UTC)

SUGGESTION
Can I suggest someone changes the image to a more recent one? — Preceding unsigned comment added by 2k10thegreat (talk • contribs) 21:01, 23 June 2012 (UTC)

I changed it to a recent one, unfortunately it's not a very high quality photo. — Preceding unsigned comment added by Andy Boardman (talk • contribs) 03:29, 26 August 2012 (UTC)

Protection request
I want to put in an edit request for the wikipedia entry of Lostprophets.

People are vandalising the page, as they are on the Ian Watkins page.

(Myusernamewaseaten (talk) 11:07, 19 December 2012 (UTC))
 * Red question icon with gradient background.svg Not done: please be more specific about what needs to be changed. — KuyaBriBri Talk 14:49, 19 December 2012 (UTC)

 * I'd query the inclusion of this on the band's page at all, as this is (as far as we can tell) a personal matter - would you mention other crimes that an individual band member committed?
 * I also support the protection (which has been applied) as wording on such crimes can be critical especially in the early stages. (Emperor (talk) 17:34, 20 December 2012 (UTC))
 * My first thought is that it shouldn't really be mentioned, but now the band has made a statement about it I'm not so sure. What I am sure about is that it shouldn't be given the prominence it's being given now. I'm going to cut down on the information pertaining to Watkins (it's not directly related to the band, he has his own article for that, which I have linked to in that paragraph) but leave everything about the statement. I don't see the need for a separate sub-heading either, it's not YET a significant part of the band's history.  Я ehevkor ✉  18:19, 20 December 2012 (UTC)

Band Members Change? (page vandalised?)
Hi, Ian Watkins is listed as a former band member and the link to his personal wiki page has been removed. This is all in the band membership section. I am assuming this has been done by someone following the abuse claim, unless he has left the band due to the claim (not on the news if he has) Can someone rectify or clarify this this before the page gets locked? — Preceding unsigned comment added by 92.26.53.181 (talk) 11:38, 19 December 2012 (UTC)
 * I have restored the 18 December version of the page. For now.  Я ehevkor ✉  11:41, 19 December 2012 (UTC)

Not sure where to put this, but it says Watkins has denied the charges held against him, can I elect that someone changes this to "has not admitted" to the charges. As is the text in the cited source (BBC.) 12:43, 20 December 2012 (UTC) — Preceding unsigned comment added by Mikegegger (talk • contribs)
 * I have added a source saying that he denies the charges. BencherliteTalk 12:50, 20 December 2012 (UTC)

I thought it might be a good idea to display the bands final line up in the template, similar to other disbanded bands.Teresa44 (talk) 03:39, 18 May 2014 (UTC)

Spelling.
Coincide not "co-inside".

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Ian Watkins back?
Apparently Ian Watkins has access to social media, or someone has hacked him? Should this be mentioned, or at least mentioned on Ian Watkins' page? Source here --2001:8003:2056:1100:89EA:3D33:2606:2618 (talk) 11:10, 18 December 2016 (UTC)

 * No.Zdawg1029 (talk) 05:43, 9 November 2017 (UTC)

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Cinema Paradiso

Cinema Paradiso (Nuovo Cinema Paradiso,, literally "New Paradise Cinema") is a 1988 coming-of-age dramedy film written and directed by Giuseppe Tornatore.

Set in a small Sicilian town, the film centres on the friendship between a young boy and an aging projectionist who works at the titular movie theatre. This Italian-French co-production stars Philippe Noiret, Jacques Perrin, Leopoldo Trieste, Marco Leonardi, Agnese Nano and Salvatore Cascio. The film score was composed by Ennio Morricone and his son, Andrea, marking the beginning of a collaboration between Tornatore and Morricone that lasted until Morricone's death on 6 July 2020.

Credited with revitalizing Italy's film industry, Cinema Paradiso has been cited as one of the greatest films of all time. The ending is considered among the greatest endings in movie history. It was a commercial success, and won several awards, including the Academy Award for Best Foreign Language Film and the Cannes Film Festival's Grand Prix. It was nominated for 11 BAFTA Awards and won five; including Best Actor for Philippe Noiret, Best Supporting Actor for Salvatore Cascio, Best Original Screenplay, and Best Foreign Language Film, a record for a foreign language feature until it was broken by All Quiet on the Western Front in 2023.

Plot
In 1988 Rome, Salvatore Di Vita, a famous film director, returns home late one evening, where his girlfriend sleepily tells him that his mother called to say someone named Alfredo has died. Salvatore shies from committed relationships and has not been to his home village of Giancaldo, Sicily in thirty years. As his girlfriend asks him who Alfredo was, Salvatore is not able to fall asleep and flashes back to his childhood.

A few years after World War II, eight-year-old Salvatore is the mischievous, intelligent son of a war widow. Nicknamed Toto, he discovers a love for films and spends every free moment at the local movie house, Cinema Paradiso. Although they initially start off on tense terms, he develops a friendship with the middle-aged projectionist, Alfredo, who often lets him watch movies from the projection booth. During the shows, the audience can be heard booing because there are missing sections, causing the films to suddenly jump, bypassing scenes with romantic kisses or embraces. The local priest, owner of the cinema, had ordered these sections to be censored, and the deleted scenes are cut from the film reels by Alfredo and piled on the projection room floor, where Alfredo keeps them until he can splice them back in for the film to be sent to the next town.

Alfredo eventually teaches Salvatore how to operate the film projector. One day, Cinema Paradiso catches fire as Alfredo is projecting The Firemen of Viggiù after hours, on the wall of a nearby house. Salvatore saves Alfredo's life, but not before a reel of nitrate film explodes in Alfredo's face, leaving him permanently blind. The movie house is rebuilt by a town citizen, Ciccio Spaccafico, using his winnings from a football lottery. Salvatore, still a child, is hired as the new projectionist, as only he knows how to run the machines.

About a decade later, Salvatore, now in high school, is still operating the projector at the "Nuovo Cinema Paradiso". His relationship with the blind Alfredo has strengthened, and Salvatore often looks to him for help – advice that Alfredo often dispenses by quoting classic films. Salvatore has been experimenting with filming, using a home movie camera; doing this he has met, and captured on film, a girl named Elena Mendola, daughter of a wealthy banker, and has fallen in love with her. Salvatore woos – and wins – Elena's heart, only to lose her due to her father's disapproval.

As Elena and her family move away, Salvatore leaves town for compulsory military service. His attempts to write to Elena are fruitless; his letters are returned as undeliverable. Upon his return from the military, Alfredo urges Salvatore to leave Giancaldo permanently, counseling that the town is too small for Salvatore to ever find his dreams. Moreover, the old man tells him, once Salvatore leaves, he must pursue his destiny wholeheartedly, never looking back and never returning, even to visit; he must never give in to nostalgia or even write or think about them. They tearfully embrace, and Salvatore leaves to pursue his future as a filmmaker.

Back in the present, Salvatore realizes that he is very satisfied with his life from a professional point of view but not from a personal one, so decides to return home to attend Alfredo's funeral. Though the town has changed greatly, he now understands why Alfredo thought it was important that he leave. Alfredo's widow tells him that the old man followed Salvatore's successes with pride and he left him something: an unlabeled film reel and the old stool that Salvatore once stood on to operate the projector. Salvatore learns that Cinema Paradiso is to be demolished to make way for a parking lot. At the funeral, he recognizes the faces of many people who attended the cinema when he was the projectionist.

Salvatore returns to Rome, watches Alfredo's reel and discovers it comprises all the romantic scenes that the priest had ordered Alfredo to cut from the movies; Alfredo had spliced the sequences together to form a single unreduced film of aching desire and lustful frenzy.

The final scenes shows Salvatore coming to peace with his past, with tears in his eyes.

Production
Cinema Paradiso was shot in director Tornatore's hometown Bagheria, Sicily, as well as Cefalù on the Tyrrhenian Sea. The town square in the film is Piazza Umberto I in the village of Palazzo Adriano, about 30 miles south of Palermo. The ‘Paradiso’ cinema was built here, at Via Nino Bixio, overlooking the octagonal Baroque fountain, which dates from 1608.

Told largely in flashback of a successful film director Salvatore to his childhood years, it also tells the story of the return to his native Sicilian village for the funeral of his old friend Alfredo, the projectionist at the local "Cinema Paradiso". Ultimately, Alfredo serves as a wise father figure to his young friend who only wishes to see him succeed, even if it means breaking his heart in the process.

Seen as an example of "nostalgic postmodernism", the film intertwines sentimentality with comedy, and nostalgia with pragmaticism. It explores issues of youth, coming of age, and reflections (in adulthood) about the past. The imagery in the scenes can be said to reflect Salvatore's idealised memories of his childhood. Cinema Paradiso is also a celebration of films; as a projectionist, young Salvatore (a.k.a. Totò) develops a passion for films that shapes his life path in adulthood.

Releases
The film exists in multiple versions. It was originally released in Italy at 155 minutes, but poor box office performance in its native country led to its being shortened to 124 minutes for international release; in that form it was successful. This international version won the Special Jury Prize at the 1989 Cannes Film Festival and the 1989 Best Foreign Language Film Oscar. In 2002, the director's cut 173-minute version was released (known in the U.S. as Cinema Paradiso: The New Version), although this was the original version, used at the film's premiere at the Europa Cinema Festival, 29 September 1988, in Bari.

Director's cut
In the 173-minute version of the film, after the funeral, Salvatore notices an adolescent girl who resembles the teenage Elena. He follows as she rides her scooter to her home, which allows Salvatore to contact his long-lost love Elena, who is revealed to be the girl's mother. Salvatore calls her in hopes of rekindling their romance; she initially rejects him, but later reconsiders and goes to see Salvatore, who was contemplating his rejection at a favorite location from their early years. Their meeting ultimately leads to a lovemaking session in her car. He learns that she had married an acquaintance from his school years, who became a local politician of modest means. Afterwards, feeling cheated, he strives to rekindle their romance, and while she clearly wishes it were possible, she rejects his entreaties, choosing to remain with her family and leave their romance in the past.

During their evening together, a frustrated Salvatore asks Elena why she never contacted him or left word of where her family was moving to. He learns that the reason they lost touch was because Alfredo asked her not to see him again, fearing that Salvatore's romantic fulfillment would only destroy what Alfredo sees as Salvatore's destiny – to be successful in the cinema world. Alfredo tried to convince her that if she loved Salvatore, she should leave him for his own good. Elena explains to Salvatore that, against Alfredo's instruction, she had secretly left a note with an address where she could be reached and a promise of undying love and loyalty. Salvatore realizes that he never found that note, and thus lost his true love for more than thirty years. The next morning, Salvatore returns to the decaying Cinema Paradiso and frantically searches through the piles of old film invoices pinned to the wall of the projection booth. There, on the reverse side of one of the dockets, he finds the handwritten note Elena had left thirty years earlier.

The film ends with Salvatore returning to Rome and, with teary eyes, viewing the film reel that Alfredo left.

Home media
A special edition of Cinema Paradiso was released on DVD by Umbrella Entertainment on 4 September 2006. The DVD is compatible with all region codes and includes special features such as the theatrical trailer, the Director's Cut version, scenes from the Director's Cut, the Ennio Morricone soundtrack and a documentary on Giuseppe Tornatore.

An Academy Award edition of Cinema Paradiso was released on DVD by Umbrella Entertainment on 1 February 2009. It is also compatible with all region codes and includes different special features such as Umbrella Entertainment trailers, cast and crew biographies and the Director's filmography.

On 1 July 2011, Umbrella Entertainment released the film on Blu-ray. Arrow released a remastered special edition Blu-ray of the film, with both theatrical and extended cuts, in 2017.

In June 2020, Arrow Films announced a 4K UHD Blu-ray release with both of the aforementioned cuts due for September of that year, with the 124-minute theatrical cut as a 4K UHD presentation, the 174-minute Director’s Cut as a Blu-ray presentation.

Box office
Cinema Paradiso was a box-office success.

The film was released twice in Italy before its Cannes win and flopped at the box office both times. After the Cannes win it was re-released and performed steadily however, following its Academy Award success, it was released again and performed better, grossing $5.3 million in Italy. In France, the film ran for over a year, grossing over $19 million. In the United States and Canada, it grossed $12.3 million.

Critical response
Cinema Paradiso was also a critical success, making Tornatore internationally known, and is regarded by many as a classic. Review aggregator Rotten Tomatoes reports that 90% of critics have given the film a positive review based on 84 reviews, with an average score of 8/10. The critics consensus reads, "Cinema Paradiso is a life-affirming ode to the power of youth, nostalgia, and the the [sic] movies themselves." The film holds a score of 80 based on 21 reviews on Metacritic, indicating "generally favorable reviews". It is particularly renowned for the 'kissing scenes' montage at the film's end. Winning the Academy Award for Best Foreign Film in 1989, the film is often credited with reviving Italy's film industry, which later produced Mediterraneo and Life Is Beautiful.

Film critic Roger Ebert gave it 3.5 stars out of four and four stars out of four for the extended version, declaring "Still, I'm happy to have seen it--not as an alternate version, but as the ultimate exercise in viewing deleted scenes." Oddly, despite giving a higher rating to the extended version, Ebert maintained that the theatrical version was superior: "I must confess that the shorter version of Cinema Paradiso is a better film than the longer."

The film was ranked #27 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. The famed "kissing scene" montage at the end of the film was used in "Stealing First Base", an episode of The Simpsons that aired on 21 March 2010, during its twenty-first season. The scene used Morricone's "Love Theme" and included animated clips of famous movie kisses, including scenes used in Cinema Paradiso as well as contemporary films not shown in the original film. American progressive metal band Dream Theater 1992 album Images and Words ' song "Take the Time" features in the lyrics the sentence spoken by Alfredo after the fire, "ora che ho perso la vista, ci vedo di più! (I can see much clearer now I'm blind)".

Awards and nominations

 * 1989: Cannes Film Festival
 * Grand Prix du Jury (tied with Trop belle pour toi)
 * 1989: Golden Globe Awards
 * Best Foreign Language Film
 * 1989: Academy Awards
 * Best Foreign Language Film
 * 1990: César Awards
 * César Award for Best Poster: Jouineau Bourduge
 * 1991: BAFTA Awards
 * BAFTA Award for Best Film Not in the English Language
 * Best Actor: Philippe Noiret
 * Best Actor in a Supporting Role: Salvatore Cascio
 * Best Original Screenplay: Giuseppe Tornatore
 * Best Film Music: Ennio Morricone and Andrea Morricone

title: Cinema Paradiso


text:
Computers and writing

Computers and writing is a sub-field of college English studies about how computers and digital technologies affect literacy and the writing process. The range of inquiry in this field is broad including discussions on ethics when using computers in writing programs, how discourse can be produced through technologies, software development, and computer-aided literacy instruction. Some topics include hypertext theory, visual rhetoric, multimedia authoring, distance learning, digital rhetoric, usability studies, the patterns of online communities, how various media change reading and writing practices, textual conventions, and genres. Other topics examine social or critical issues in computer technology and literacy, such as the issues of the "digital divide", equitable access to computer-writing resources, and critical technological literacies. Many studies by scientists have shown that writing on computer is better than writing in a book

"Computers and Writing" is also the name of an academic conference (see below).

The Field
This interdisciplinary field has grown out of rhetoric and composition studies. Members do scholarly work and teach in allied and diverse areas as technical and professional communication, linguistics, sociology, and law. Important journals supporting this field are Computers & Composition, Computers & Composition Online, and Kairos: A Journal of Rhetoric, Technology, and Pedagogy. The professional organization Conference on College Composition and Communication has a committee, known as the 7Cs committee (CCCC Committee on Computers in Composition and Communication), that selects onsite and online hosts for the Computers & Writing conference and coordinates the "Technology Innovator Award" presented at that annual conference.

Conference and Conference History
The conference "Computers and Writing" was established in 1982 in Minneapolis, Minnesota by Donald Ross and Lillian Bridwell. The conference was informal at first, but has grown from a grassroots organized conference to an established, mainstream conference that examines the ways in which computers change writing practice and pedagogy. In earlier conferences, the scholarship presented often explored how computers influenced individual writers, but during the late 1980s and 1990s, scholarship shifted to hypertext and hypermedia, and the social nature of computer mediated writing. The conference initially presented original or "homemade" software design associated with word processing and editing, but eventually switched to commercial software as commercial software became more common for both individual students and educational institutions.

The conference has a history of technological optimism, and the scholarship presented is optimistic regarding technology's influence on writing. The conference also examines and voices fears and concerns related to computer technology. Some of these fears are related to institutional policies and control as well as the fear of being overwhelmed by the constant march of technological innovation. The conference has also explored how computer-mediated writing can be used in socially responsible ways, as is evident by the feminist roots of the conference and subfield. The conference's feminist roots are evident in its support of minority scholars and scholarship. Awards such as the Hawisher and Selfe Caring for the Future Scholarship provide opportunities for new presenters in Computers and Writing related fields to attend the conference. This scholarship is preferably awarded to minority scholars who are involved in the field.

While the conference was originally more focused on software and hardware decisions and use, the conference has become more concerned with the theoretical application of computers in writing pedagogy and practice. This attention to theory mirrors a shift to embrace multimodal compositions as texts and interdisciplinary growth as the conference became more mainstream and established in the 1990s and early 2000s.

The conference has been held annually since 1988, which is the year that the CCCC Committee on Computers established a subcommittee to support the Computers and Writing Conference. While the journal Computers and Composition, founded by Cynthia Selfe and Kate Kiefer in 1983, is not officially connected to the Computers and Writing Conference, both began around the same time and explore the subfield within the larger fields of composition studies and rhetoric.

Conferences dates and places
2003 Purdue University, Indiana

2013 University of Findlay, Ohio

2022 East Carolina University, North Carolina

Computers and Writing Conference 2022
Computers and Writing Conference "Practicing Digital Activisms" was held in East Carolina University, Greenville, NC in May 19-22, 2022. The hashtag for the conference was #CWCon22.

Keynote Address:

Charlton Mcllwain, author of the book Black Software: The Internet & Racial Justice, From the Afronet to Black lives Matter.

Emerging Voices:

Antonio Byrd, an assistant professor of English at the University of Missouri-Kansas City;

Wilfredo Flores, a PhD Candidate in the Department of Writing, Rhetoric, and American Cultures at Michigan State University and a co-founder of Queering Medicine;

Constance Haywood, a fourth-year PhD candidate at Michigan State University;

Jo Hsu, an assistant professor of Rhetoric and Writing at the University of Texas at Austin;

Cana Itchuaqiyaq, tribal member of the Noorvik Native Community in NW Alaska and an assistant professor of professional and technical writing at Virginia Tech;

McKinley Green, an assistant professor of English at George Mason University.

Presenters:

Pedagogy
Computers and writing pedagogy teach students practical applications and implications of writing by exploring complex concepts such as visual rhetoric, issues of access, and the social implications of online writing. Scholars analyze how the computer becomes an environment for facilitated writing and communication. The production and consumption of digital, multimodal, and new media texts advances the field's range of study and research. The majority of computers and writing scholars agree that engaging students in the production of such multimodal/digital texts is crucial to the learning process in our digitally infused moment.

During the 1960s and 1970s, which was also known as the "Birth of Composition," computer-assisted instruction was used to observe students and provided instant positive, negative, or constructive feedback. How computers and digital technologies would impact writers' efficiency and quality of work was being determined. Initial debate came from how best to balance creativity and technical construction in writing. Many teachers thought that the technology programs offered needed improvement because they did not allow for the creative expression of the students, acting only as an evaluator, reader, and feedback agent. Now the programs require multimodality, creativity, and technical complexity. The problems the students face in these programs now require much more comprehensive thinking and creativity to the point that it is difficult to still call the subject "writing" because the students are required to know much more.

Computers and writing pedagogies must be dynamic and adaptable to how technology, media, and the sociopolitical spaces operate in a constant state of flux. Emerging forms of pedagogies address "Digital Activism" and the use of social media on political communication and advocacy. Computers and digital media offer innovative ways to engage rhetorically with one another. Studying how students develop their digital literacy through their connecting their previous interactions with technologies to new forms by means of metaphors and mental models. Teaching theoretical composing concepts through scaffolding can build students' digital literacy both with current and future technologies and programs. These skills advance critical media awareness when working with digital media.

Writing in the Age of Communication Technology
In the age of communication technology, amateurs and experts collaborate to create, sustain and develop virtual communities based on what James Paul Gee and Elisabeth Hayes have called "passionate affinity spaces", or communities organized around "a shared endeavor, interest, or passion". Technology, specifically blogs, can be a way to build learning communities and help students learn to write authentically for and respond to various audiences by making their writing public. On the virtual playing field, knowledge and talent matter more than degrees and professional memberships, so these spaces offer students a new learning environment and space to collaborate on the production and distribution of knowledge.

Aligning with the notion of "affinity space", composition scholars have coined the term "cultural ecology" to examine the complex social and cultural contexts that shape the development of technological literacy. Drawing from the literacy narratives of two participants, Hawisher, Selfe, Moraski, and Pearson theorized five themes emergent from the cultural ecology of literacy, namely the "cultural, material, educational, and familial contexts" that shape and are shaped by literacy development. The five themes of cultural ecology emphasize that technological literacy goes through life spans, that literacy provides the medium for people to exert their agency, that literacy occurs and develops both within and outside of school contexts, that the conditions of access influence people's literacy development, and that literacy practices and values transmit via family units. Kristine Blair pointed to the positive impacts of cultural conflicts in constructing online discourses and political discussions, while at the same time warning that students may not transform exposure to the conflicts. Also looming behind the issue of culture in computer and writing is the digital divide. Cynthia Selfe showed that unequal access to technological literacy is situated in unequal social, cultural, economic, and political situations. As Selfe wrote, "computers continue to be distributed along the related axes of race and socioeconomic status and this distribution continues to ongoing patterns of racism and to the continuation of poverty." To address the digital divide, Selfe called upon educators and compositionists to rethink computer literacy as a political act that requires paying critical attention to inequality issues and acting politically in specific disciplinary contexts.

title: Computers and writing


text:
Talk:Refused

Layout
I'm think that making a page for each LP and EP, much like pages for other bands is in order now that we have a bit more information on the band. Any thoughts? stiner 16:01, Dec 6, 2004 (UTC)

You (or we) should split the main Eps and albums. I think it has to be easy for a person seeking information about the band.

I agree. I don't like the layouts that have the EPs and/or singles mixed in with the LPs. Is there any sort of style guide that explicitly says how its "supposed" to be done?

stiner 05:44, Dec 8, 2004 (UTC)

Also, just looking at the page again, we need to do some serious clean-up after User:Chriscorey added tons of info. Perhaps someone should make a point to fix up the layout.

User:Notransistory - I split up the albums and EPs and gave each of the albums a separate page - so if there are any mistakes, please fix them! I hope it looks a bit better now!

I agree, it does look better. I'm thinking about creating a page for each of the EPs/MCDs entrys just to keep up with consistency. Maybe also creating a new page for "Shape of.." to its correct title "Shape Of Punk To Come: A Chimerical Bombination In 12 Bursts"

chriscorey 21:20, Jun 15, 2005

Band names requiring pluralized verbs
The reasons for this are discussed extensively on User:Mike Garcia's talk page. —Tarnas 03:13, 10 August 2005 (UTC)

No references to Fugazi?
This band is clearly influenced by Fugazi, but there is only a mention to the Washintong D.C band "Nation of Ulysses" what I think it is fair. It is not that I am a Fugazi's fan, I am not. But it seems more than clear that Fugazi IS the influence for all these post-hardcore bands and it is not even mentioned.

I hope you find constructive this argument.

I agree completely. This should be mentioned. Indie -0 04:32, 10 November 2007 (UTC)

the newspaper burning
any insight as to who, flamed everyone, about how is Refused is dead, and that people should stop asking questions, and how it is over, but not really?

self-promotion
hey, I deleted a blatantly obvious self-promotion bit at the end of the Final Communique section, reading as such:

.....a local new york band, better days does a superb cover of "rather be dead"

seconds after I did so, the TawkerBot2 reverted the article to last revision. what happened? anything that can be done to bypass that? 68.186.57.226 05:08, 21 August 2006 (UTC)
 * The bots screw up a lot. I saw Antivandalbot revert someone's edit on Crust punk when they added Anal Cunt to the related artists section. I'll go make the edit. Since I'm not an anonymous editor it probably won't revert me. BTW, this entire article is shameless self-promotion. I just don't have the energy right now to do anything about it. But if someone else does, go ahead and clean it up. Ungovernable ForceThe Wiki Kitchen! 05:32, 21 August 2006 (UTC)

contradiction
how can they be hardcore and post-hardcore? they dont exist in two differnt time periods plus they arent post-hardcore. Avenged Evanfold 09:06, 16 November 2006 (UTC)

Because they'd changed completely by their last album. The Shape of Punk to Come is indisputably post-Hardcore. Sexycaterpiller167

Fair use rationale for Image:Refusedband.jpg
Image:Refusedband.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 06:04, 6 June 2007 (UTC)

Singles
Has anyone got any information on any singles they released? Titan50 (talk) 13:39, 24 February 2008 (UTC)

Anarcho-Punks?
they are in the Category:Anarcho-punk, but.. how is that? I don't think they were anarcho-punk, they might have been vegan and might have had some songs inspired by the situationists, but call them anarcho-punks. IIRC they were aired on MTV. I don't think they embrace the anarcho-punk values. Am i wrong? If so, please leave some sources or comments, otherwise I will be removing them from that category in a couple of days. -Cacuija (my talk) 01:01, 11 April 2008 (UTC)

Paramore?
"Paramore use the "we want the airwaves back" lyrics from Refused Liberation Frequency." Not knowing the Paramore song, I'd say that they could easily by using the Ramones lyrics instead. is this a sample of Liberation Frequency (in which case the point should remain) or just using the same words (in which case it should be removed imo, as there's no definite link to Refused) —Preceding unsigned comment added by 80.2.65.20 (talk) 22:07, 23 July 2008 (UTC)

Slayer?
The reference to slayer being an influence is sourced back to an editorial. Is there any interviews where the members have stated Slayer as an influence? Should that information be kept in the article? —Preceding unsigned comment added by Codyj402 (talk • contribs) 19:19, 1 July 2009 (UTC)

 * There are a few good sources I guess... however most of them - just like the article - exaggerates the Slayer influence quite a bit. They apparently sold tour shirt at the time which was the Slayer pentagram saying Refused, it was David's favorite band before being introduced to punk etc, so maybe people are taking stuff like that and making their own conclusions?
 * It's probably just really a general thrash/death metal influence as opposed to only incorporating what hardcore and metalcore already took from metal. They were such music geeks. —Preceding unsigned comment added by 212.107.143.107 (talk) 18:44, 29 March 2010 (UTC)

"In popular section"
Just as with the case of the Shape of Punk to Come case (see this, it's somehow related), this band page includes a section full of seemingly irrelevant references for it. Some of the relevant content is already on that album page, and what isn't and seems relevant could be merged there, while deleting the rest. If there's no opposition or there seems to be any agreement about this, I'll be bold and remove this section. --190.159.187.70 (talk) 04:52, 28 April 2011 (UTC)

Coachella poster
I am tempted to delete this bit of information on the grounds that almost every year in recent memory there has fake Coachella posters circulated around the internet prior to the official posting being released. The only reason I haven't done so yet is because this section is for reunion rumors, not concrete reunion details. And that even if the poster is fake, it still might have caused rumors. Thoughts? Fezmar9 (talk) 09:27, 15 December 2011 (UTC)
 * Well since it ended up being real, No point dropping it now. VampireKilla (talk) 06:35, 21 June 2012 (UTC)

Vegan straight edge band
It is known that Refused was a vegan straight edge band on early days. I think it is important to add that, despite everyone to follow not currently being. — Preceding unsigned comment added by 186.106.96.92 (talk) 04:47, 9 July 2015 (UTC)

Blink 182
In the self-titled album of this band, cites Refused and Fugazi as a post-hardcore influencie, that fact that does not appear here?

https://en.wikipedia.org/wiki/Blink-182_(album)#Background — Preceding unsigned comment added by 186.106.96.92 (talk) 04:55, 9 July 2015 (UTC)

External links modified
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title: Talk:Refused


text:
APEXC

The APE(X)C, or All Purpose Electronic (X) Computer  series was designed by Andrew Donald Booth at Birkbeck College, London in the early 1950s. His work on the APE(X)C series was sponsored by the British Rayon Research Association. Although the naming conventions are slightly unclear, it seems the first model belonged to the BRRA. According to Booth, the X stood for X-company.

One of the series was also known as the APE(X)C or All Purpose Electronic X-Ray Computer and was sited at Birkbeck.

Background
From 1943 on, Booth started working on the determination of crystal structures using X-ray diffraction data. The computations involved were extremely tedious and there was ample incentive for automating the process. He developed an analogue computer to compute the reciprocal spacings of the diffraction pattern.

In 1947, along with his collaborator and future spouse Kathleen Britten, he spent a few months with von Neumann's team, which was the leading edge in computer research at the time.

ARC and SEC
Booth designed an electromechanical computer, the ARC (Automatic Relay Computer), in the late 1940s (1947-1948). Later on, they built an experimental electronic computer named SEC (Simple Electronic Computer, designed around 1948-1949) - and finally, the APE(X)C (All-Purpose Electronic Computer) series.

The computers were programmed by Kathleen.

The APE(X) C series
The APE(X)C series included the following machines:
 * APE(X)C: Birkbeck College, London, first time operated in May 1952, ready for use at the end of 1953
 * APE(N)C: Board of Mathematical Machines, Oslo ('N' likely stands for 'Norway'), also known as NUSSE
 * APE(H)C: British Tabulating Machine Company (It is unclear what 'H' stands for - perhaps 'Hollerith' as the company sold Hollerith Unit record equipment
 * APE(R)C: British Rayon Research Association ('R' stands for 'Rayon' ), ready for use in June 1952
 * UCC: University College, London (circa January 1956)
 * MAC or MAGIC (Magnetic Automatic Calculator): "built by Wharf Engineering Laboratories" (February 1955)
 * The HEC (Hollerith Electronic Computer), built by the British Tabulating Machine Company (later to become International Computers and Tabulators (ICT), then International Computers Limited (ICL)), a commercial machine sold in several models and later known as the ICT200 series. There were likely the derivatives HEC 1, HEC 2, HEC 2M - M for 'marketable' denoting the machine's orientation toward commercial rather than scientific customers, and HEC 4 (before 1955)

Only one of each of these machines was built, with the exception of HEC (and possibly MAC) which were commercial machines produced in quite large numbers for the time, around 150. They were similar in design, with various small differences, mostly in I/O equipment. The APEHC was a punched card machine while the APEXC, APERC and APENC were teletypers (keyboard and printer, plus paper tape reader and puncher). Also, the UCC had 8k words of storage, instead of 1k word for other machines, and the MAC used germanium diodes in replacement of many valves.

British Tabulating Machine Company machines
In March 1951, the British Tabulating Machine Company (BTM) sent a team to Andrew Booth's workshop. They then used his design to create the Hollerith Electronic Computer 1 (HEC 1) before the end of 1951. The computer was a direct copy of Andrew Booth's circuits with extra Input/output interfaces. The HEC 2 was the HEC 1 with smarter metal casings and was built for the Business Efficiency Exhibition in 1953. A slightly modified version of the HEC 2 was then marketed as HEC2M and 8 were sold. The HEC2M was succeeded by the HEC4. Around 100 HEC4s were sold in the late 1950s.

The HEC used standard punched cards; the HEC 4 had a printer, too, and it featured several instructions (such as divide) and registers not found on the APEXC.

Technical description
An emulator for the APEXC series has been developed by MESS. They describe its functioning as follows:

The APEXC is an incredibly simple machine. Instruction and data words are always 32 bits long. The processor uses integer arithmetic with 2's complement representation. Addresses are 10 bits long. The APEXC has no RAM, except for a 32-bit accumulator and a 32-bit data register (used along with the 32-bit accumulator to implement 64-bit shift instructions and hold the 64-bit result of a multiplication). Instructions and data are stored in two magnetic drums, for a total of 32 circular magnetic tracks of 32 words. Since the rotation rate is 3750rpm (62.5 rotations per second), the program execution speed can go from as high as the theoretical maximum of 1 kIPS to lower than 100IPS if program instructions and data are not contiguous. Nowadays, many say a pocket calculator is faster. One oddity is that there is no program counter: each machine instruction includes the address of the next instruction. This design may sound weird, but it is the only way to achieve optimal performance with this cylinder-based memory. The machine code is made of 15 instructions only, namely addition, subtraction, multiplication, load (3 variants), store (2 variants), conditional branch, right arithmetic bit shift, right bit rotation, punched-card input, punched-card output, machine stop, and bank-switching (which is never used on the APEXC, since it only has 1024 words of storage, and addresses are 10-bit-long). A so-called vector mode enables to repeat the same operation 32 times with 32 successive memory locations. Note the lack of bitwise and/or/xor and division. Also, note the lack of indirect addressing modes: dynamic modification of opcodes is the only way one may simulate it. Another oddity is that the memory bus and the ALU are 1-bit-wide. There is a 64 kHz bit-clock and a 2 kHz word-clock, and each word memory and arithmetic operation is decomposed into 32 1-bit memory and arithmetic operations: this takes 32 bit cycles, for a total of 1 word cycle. The processor is fairly efficient: most instructions take only 2 word cycles (1 for fetch, 1 for read operand and execute), with the exception of stores, shifts and multiplications. The APEXC CPU qualifies as RISC; there is no other adequate word. Note there is no read-only memory (ROM), and therefore no bootstrap loader or default start-up program whatsoever. It is believed that no executive or operating system was ever written for the APEXC, although there were subroutine libraries of sorts for common arithmetic, I/O and debug tasks. Operation of the machine is normally done through a control panel which allows the user to start, stop and resume the central processing unit, and to alter registers and memory when the CPU is stopped. When starting the machine, the address of the first instruction of the program to be executed must be entered in the control panel, then the run switch must be pressed. Most programs end with a stop instruction, which enables the operator to check the state of the machine, possibly run some post-mortem debugging procedures (a core dump routine is described in an APEXC programming book), then enter the address of another program and run it. Two I/O devices were supported: a paper tape reader, and a paper tape puncher. The puncher output could be fed to a printer ('teletyper') unit when desirable. Printer output is emulated and is displayed on screen. Tape input was either computer-generated by the APEXC, or hand-typed with a special 32-key keyboard (each tape row had 5 data holes (<-> bits), which makes 32 different values).

title: APEXC