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Telewizja Polska

Telewizja Polska S.A. (TVP), also known in English as Polish Television, is a public service broadcaster in Poland, founded in 1952. It is the oldest and largest Polish television network.

After 2015, when the right-wing populist Law and Justice (PiS) party won the Polish parliamentary election, TVP progressively aligned with the speaking points of the PiS government. In the run-up to the 2023 Polish parliamentary election, TVP was designated as a "propaganda arm" of PiS by European media and as "a factory of hate" by the Polish opposition. However, after the electoral victory of the opposition party the Civic Platform in 2023, a newly-appointed Minister of Culture began a restructuring of the broadcaster and its news segment. On December 27, 2023, the Minister of Culture and National Heritage, due to the President's veto on the financing of the company, placed it in liquidation.

Timeline of Polish TV service

 * 1935: The PIT (Państwowy Instytut Telekomunikacyjny - National Telecommunications Institute) starts working together with Polish Radio on establishing the first television service.
 * 1937: Completion of the first black-and-white broadcasting station.
 * 1938: Experimental channel launched, regular programming scheduled for 1941.
 * 1939: All equipment destroyed by the German Army.
 * 1947: PIT resumes work on television broadcasting.
 * 1951: First Polish telecast after the Second World War.
 * 1952: Beginning of regular programming.
 * 1957: Broadcast of the first sports event; a boxing match Skra Warsaw – Gwardia Łódź
 * 1958: Newscast Dziennik Telewizyjny ("Journal") is founded.
 * 1970: TVP2 is founded.
 * 1971: Start of colour broadcasting (in SECAM).
 * 1989: Introduction of a teletext service.
 * 1989: Dziennik Telewizyjny is replaced by Wiadomości ("News").
 * 1992: Telewizja Polska Spółka Akcyjna comes into existence upon the separation of television and radio public broadcasting by an act of parliament.
 * 1992: TVP Polonia starts test transmissions.
 * 1993: Polskie Radio i Telewizja (Polish Radio and Television) joins the European Broadcasting Union as an active member (regrouping of OIRT and UER).
 * 1994: Beginning of the change over from SECAM to PAL for all channels except TVP1.
 * 1995: Change over from SECAM to PAL was completed as TVP1 moved to this colour standard.
 * 2003: Change of TVP logotype.
 * 2009: New main headquarters building opens in Warsaw.
 * 2013: Analogue terrestrial television is switched-off.
 * 2020: TVP eSzkoła, TVP Kultura 2 and TVP Dokument are founded.
 * 2021: TVP Kobieta is founded.
 * 2022: TVP ABC 2 is founded, replacing TVP eSzkoła.
 * 2023: TVP Info is suspended for a few days and the news operation restructured (break from 20 to 29 December 2023). TVP3 is on hiatus from 20 to 26 December 2023. TVP Parlament is on hiatus from 20 December 2023 to 8 January 2024. TVP World is on hiatus from 20 December 2023 to 11 March 2024.

Pre-war period
The forerunner of television in Poland should be Jan Szczepanik, called the "Polish Edison", who in 1897 patented at the British Patent Office (British patent no. 5031). as the "telectroscope" defined as an "apparatus for reproducing images at a distance using electricity".

In 1929, Stefan Manczarski constructed a mechanical television apparatus based on two synchronously rotating Nipkow disks, on the transmitting and receiving sides. The television signal was transmitted via an electric cable. The device only transmitted a still image. Stefan Manczarski called his invention "a method of television transmission of images via wire and radio."

Experiments were also conducted by a team of scientists and engineers in 1931 at the Polish Radio station in Katowice. Transmitting and receiving equipment according to the JL Baird system using a Nipkow shield. Both mechanical television transmitting and receiving devices were driven by one common engine, ensuring full synchronization of both units. The signal was transmitted by cable within one laboratory. The experimental work was led by Eng. Twardawa.

Only later, work on launching a television station in Poland began in 1935 in Warsaw at the State Telecommunications Institute and Polish Radio. In 1937, an experimental television station began operating on the sixteenth floor of the Prudential skyscraper. Władysław Cetner became the station manager.

In 1937, an audio transmitter was installed, and at the beginning of 1938, a video transmitter. Moreover, in 1938, a 16-meter-high tower structure was built on the roof of the "skyscraper", as it was called, on which a tubular mast for an 11-meter-high transmitting antenna was mounted. The antenna was located 87 m above the ground, which ensured reception of the video signal at a distance of 20 km and audio signal 30 km from the transmitting antenna. Test television broadcasts took place on October 5, 1938 and August 26, 1939 in Warsaw with the participation of Mieczysław Fogg.

It was a mechanical television station broadcasting under the 120-line standard. It carried, among others: a telecine film "Barbara Radziwiłłówna" with Jadwiga Smosarska in the main role, and at that time work on 343-line electronic television was in progress. The development of research on television, which was very advanced (the launch of a permanent service was expected in 1940), was interrupted by the outbreak of World War II.

Post-war period
Work on Polish Television was resumed in 1947. Work at the National Telecommunications Institute (later the Institute of Telecommunications) was carried out under the supervision of Janusz Groszkowski and Lesław Kędzierski. On December 15, 1951, the exhibition "Radio in the fight for peace and progress" was opened, during which trial television broadcasts with the participation of artists were shown, the daily broadcast of the television program lasted until January 20, 1952. In 1952 a studio was established at the Ratuszowa 11 street in Warsaw, and the first television program team was established. The first program was broadcast on October 25, 1952 at 7:00 p.m. (on the eve of the Sejm elections). Then, a 30-minute montage of artistic forms with the participation of Marta Nowosad, Jerzy Michotek, Witold Gruca and Jan Mroziński was broadcast from the Institute of Telecommunications, which was received on 24 Leningrad receivers located in clubs and community centers. The first announcer was Maria Rosa-Krzyżanowska. Subsequent broadcasts took place on November 15, 1952 (excerpts of Lalka with Nina Andrycz in the main role were shown) and December 5, 1952 (excerpts of The King and the Actor from the Chamber Theater in Warsaw).

Three months later - on January 23, 1953 - a regular broadcast of the Polish television program was initiated (half an hour once a week). On July 22, 1954, the Experimental Television Center was launched with its own journalistic team. The program was broadcast from the former bank building at Plac Powstańców Warszawy 7, specially rebuilt and enlarged after war damage to meet the needs of the newly established institution. The center's program was initially broadcast once a week on Fridays, from April 1, 1955 - twice (on Tuesdays and Fridays), from November 1, 1955 - three days a week (on Mondays, Wednesdays and Fridays), and from January 1, 1956 - four days a week (additionally on Sundays). Exceptionally, daily broadcasts took place during the broadcast of the Peace Races and the 5th World Festival of Youth and Students in 1955.

On April 30, 1956, the Warsaw Television Center (Warszawski Ośrodek Telewizyjny) was opened, which provided access to TV programs to a larger group of viewers. WOT broadcast five days a week. On May 1, 1956, the Television Transmission Center began operation with a transmitting station located in the Palace of Culture and Science and an antenna on the top of the spire at a height of 227m. The station's range was approximately 55 km.

One-channel period
The real beginning of Polish Television was the creation of the Television Program Team at the Polish Radio on August 1, 1958. Two years later (December 2, 1960), the "Polish Radio and Television" Committee was established. From then on, Polish Radio and TVP had equal status. The first head of the Radio Committee (a position equivalent to a minister) was Włodzimierz Sokorski (the heads of the radio and television departments had the rank of deputy ministers). On February 1, 1961, the daily broadcast of the television program began. At the turn of the 1950s and 1960s, seven TVP regional centers were established (with their own studios) in:
 * Łódź (July 22, 1956) – TVP3 Łódź
 * Poznań (May 1, 1957) – TVP3 Poznań
 * Katowice (December 3, 1957) – TVP3 Katowice
 * Wrocław (December 14, 1962) – TVP3 Wrocław
 * Gdańsk (August 10, 1959) – TVP3 Gdańsk
 * Szczecin (April 27, 1960) – TVP3 Szczecin
 * Kraków (June 5, 1961) – TVP3 Kraków

On July 18, 1969, the Radio and Television Center in Warsaw was opened at Woronicza Street. Large financial outlays were incurred to create it, and the technicians also managed to assemble high-class television equipment.

Two-channel period
On October 2, 1970, the second national television network was officially launched. From the beginning of its existence, TVP2 focused mainly on cultural and entertainment programs (including Studio 2).

The opening of Poland to the West - characteristic of Gierek's era - allowed Polish television to have access to modern technologies from the free world. The first result of the cooperation was the broadcasting of the first color program on July 22, 1971, using the French SECAM system - it was an adaptation of Anton Chekhov's monodrama On the Harm of Tobacco Smoking. Over time, it was the standard adopted in all countries (except Romania) of the Eastern Bloc. Initially, the program was broadcast in color once a week, from December 6, 1971, the proceedings of the PZPR congress were broadcast every day in color (the first cyclical color broadcasts in Europe were broadcast in 1967), but due to the lack of receivers and their high cost, color television was not available to most Polish television viewers at that time.

In 1972, after Maciej Szczepański took over the position of president of TVP, approximately 12,000 people lost their jobs at the corporation.

On November 1, 1975, the first terrestrial satellite communication station in Poland was put into operation in Psary-Kąty (Świętokrzyskie Mountains), which significantly expanded TVP's broadcasting capabilities.

After a long break in the creation of new television centers, on January 12, 1985, a local television branch in Lublin was established, TVP3 Lublin. On January 1, 1989, Telegazeta was established, the first teletext service in Poland.

Democracy
The socio-political changes at the turn of the 1980s and 1990s also resulted in television reform. In 1987, TVP lost its monopoly on broadcasting television in Poland, when the first private Polish television station, "Ursynat", was established in the Ursynów district of Warsaw. In 1989, another station, Sky Orunia, was established, broadcasting in Gdańsk until 1996, and on February 6, 1990, PTV Echo was established, broadcasting in Wrocław and the surrounding area until March 8, 1995, and then on December 5, 1992 Polsat started broadcasting, which on October 5, 1993 received a license for terrestrial broadcasting in Poland from the National Broadcasting Council and on January 27, 1994 a license for nationwide commercial television. In the early 1990s, it was decided to completely switch from the SECAM system to the PAL system, in which the two national TVP networks adopted it (later TVP Polonia and TVP the regional stations also switched to this system). On January 1, 1993, together with Polish Radio, TVP became a member of the European Broadcasting Union (EBU). At the same time, since the 1990s, many TVP presenters and journalists began to leave public television, moving to commercial television (including Polsat and TVN).

After 1989, TVP news programs were accused of being subject to political influence depending on who was in power in Poland, as well as being biased and lacking objectivity. In 1997, the first theme channel of public television was launched - Tylko Muzyka, but it ended broadcasting a year later due to formal and legal reasons. In 1998, the official website of Telewizja Polska was created - www.tvp.pl. In 2004, the first edition of the New Year's Eve musical show organized by TVP took place under the name Sylwester z Gwiazdami (New Year's Eve With the Stars). On April 24, 2005, another theme channel - TVP Kultura - started broadcasting. In the following years, Telewizja Polska launched further theme channels (November 18, 2006 - TVP Sport; May 3, 2007 - TVP Historia; October 6, 2007 - TVP Info; which replaced TVP3; December 6, 2010 - TVP Seriale; April 15, 2013 - TVP Rozrywka; 1 September 2013 – TVP Regionalna; February 15, 2014 – TVP ABC ). In 2008, Telewizja Polska started broadcasting in HD quality, and on August 6 of the same year, TVP HD started broadcasting. On June 16, 2011, the first online theme channel was launched - TVP Parliament. On June 1, 2012, two nationwide networks, TVP1 and TVP2, started broadcasting in HD quality. Polish Television was working on introducing 3D images to its channels. As part of digital terrestrial television and the offers of selected cable and satellite operators, it enables the use of hybrid television using the TVP Hybrid Platform. There were already plans to launch further channels, TVP Nauka, TVP 4K and TVP Muzyka. Since 1993, the legal status of the broadcaster has been defined by the Broadcasting Act, according to which Telewizja Polska is obliged to implement "a public mission ... by offering ... various programmes and other services in the field of information, journalism, culture, entertainment, education and sport, characterized by pluralism, impartiality, balance and independence as well as innovation, high quality and integrity of the message."

In 2018, Telewizja Polska started broadcasting, as one of the three largest television stations, in 4K quality under the name TVP 4K. On September 17, 2019, the TVP Wilno channel intended for Poles living in Lithuania began broadcasting. In March 2020, the decision to close educational institutions due to the COVID pandemic, Telewizja Polska initiated the "Szkoła z TVP" project in cooperation with the Ministry of National Education. On November 19, 2020, the TVP Dokument channel began broadcasting, on March 8, 2021 - TVP Kobieta, and in 2022 - TVP Nauka.

2023 takeover
On 19 December 2023, the Sejm passed a resolution on "restoring the legal order and the impartiality and integrity of the public media and the Polish Press Agency" with 244 votes in favor. There were 84 votes against and 16 abstentions. The same day, Minister of Culture Bartłomiej Sienkiewicz dismissed the authorities of public media. The following day saw the termination of TVP Info, TVP 3, and TVP World's programming, with the associated broadcasts being instead switched to those of other TVP stations. News programming that would normally air on TVP 1 (Teleexpress, Wiadomości) and TVP 2 (Panorama) was instead replaced by standby sequences of the stations' respective logos.

On 21 December 2023, at 19:30, TVP broadcast its first evening news bulletin by the new team of journalists, under the title 19.30.

International cooperation
In 2012, TVP signed an agreement with the BBC, under which they will work together on film and television productions.

The French-German TV liberal arts network ARTE cancelled a 15-year cooperation with TVP, when it learned in February 2009 that TVP's general director, Piotr Farfał, was a member of the League of Polish Families, which opposed Arte's "philosophy based on intercultural exchange" and "the party that TVP's chairman is presently connected with does not share European values". It was again cancelled in January 2016 after an amendment of the media law in Poland, which caused fears of a lack of pluralism and independence of TVP.

Viewership
In September 2020, TVP's "Wiadomości" was the most popular news program in Poland, with an average of 2.66 million viewers a day.

In February 2021, TVP's "Wiadomości" was second most popular news program in Poland, with an average of 2.41 million viewers a day.

Television channels

 * TVP1: mostly information, current affairs, movies, dramas, religious, sports, documentaries, theatres ang game shows. Broadcasts 23.5 hours per day. Full HD introduced 1 June 2012.
 * TVP2: mostly morning show, late evening analitycs, entertainments, movies, comedy, soap operas, series, stand-up comedy, culture, sports and game shows. Broadcasts 23.5 hours per day. Full HD introduced 1 June 2012.
 * TVP3: region-focused channel, which airs local programmes (regional slots broadcasts 6,5 hours per day), and acts as the umbrella label for local stations including:
 * TVP3 Białystok in Białystok for Podlaskie region, Full HD introduced 19 December 2023;
 * TVP3 Bydgoszcz in Bydgoszcz-Toruń for the Kuyavian-Pomeranian region, Full HD introduced 15 December 2023;
 * TVP3 Gdańsk in Trójmiasto for the Pomerania region, Full HD introduced 15 December 2023;
 * TVP3 Gorzów Wielkopolski in Gorzów Wielkopolski for Lubusz region, Full HD introduced 15 December 2023;
 * TVP3 Katowice in Katowice (Metropolis GZM) for Silesian region, Full HD introduced 15 December 2023;
 * TVP3 Kielce in Kielce for Holy Cross region, Full HD introduced 19 December 2023;
 * TVP3 Kraków for the Lesser Poland region, Full HD introduced 19 December 2023;
 * TVP3 Lublin for the Lublin region, Full HD introduced 19 December 2023;
 * TVP3 Łódź for the Łódź region, Full HD introduced 15 December 2023;
 * TVP3 Olsztyn for Warmia-Masuria region, Full HD introduced 19 December 2023;
 * TVP3 Opole for the Opole region, Full HD introduced 15 December 2023;
 * TVP3 Poznań for the Greater Poland region, Full HD introduced 15 December 2023;
 * TVP3 Rzeszów for the Subcarpathian region, Full HD introduced 19 December 2023;
 * TVP3 Szczecin for the West Pomerania region, Full HD introduced 15 December 2023;
 * TVP3 Warszawa for Warsaw and the Masovia region, Full HD introduced 15 February 2022;
 * TVP3 Wrocław for the Lower Silesia region, Full HD introduced 15 December 2023.
 * TVP Info: news channel. Broadcasts 24 hours per day. Full HD introduced 30 September 2016.
 * TVP Parlament: Internet-channel, broadcasts of parliamentary sessions and state events. Since February 2024 "TVP Parlament" brand is no longer used in streams, it was replaced by "TVP Info" brand. Available on own portal (tvpparlament.pl/transmisje), and two channels (Sejm and Senat) in TVP GO mobile app and streaming service TVP VOD.
 * TVP Sport: sport channel. Broadcasts 24 hours per day. Full HD introduced 12 January 2014.
 * tvpsport.pl: Internet-channel, broadcasts of sporting events not included in the linear TV-channel schedule. Available on own portal (sport.tvp.pl/transmisje), mobile or smart-TV apps and TVP GO HbbTV app.
 * TVP HD: the best productions of TVP. Broadcasts 23,5 hours per day. Start broadcast in Full HD from 6 August 2008. Pay channel (available in pay package TVP VOD+). Unofficially announced plans to transfer these channels to free-to-air broadcasting.
 * TVP ABC: Children's channel. Broadcasts 19 hours per day. Full HD introduced 28 March 2022.
 * Alfa TVP: teenager's channel broadcasts 18 hours per day. Start broadcast in Full HD from 20 December 2022. Unofficially, there are plans to close this channel no later than the end of 2024.
 * TVP ABC 2: pre-school channel broadcasts 17 hours per day (available in HbbTV). Unofficially, there are plans to close this channel no later than the end of 2024.
 * TVP Kultura: high-brow culture channel. Broadcasts 22 hours per day. Full HD introduced 23 October 2019.
 * TVP Kultura 2: high-brow culture channel. Broadcasts 19 hours per day (available in HbbTV in Poland and DVB-T in South-East Lithuania). Unofficially, there are plans to close this channel no later than the end of 2024.
 * TVP Historia: focusing on history. Broadcasts 19 hours per day. Full HD introduced 27 February 2023. Unofficially reported plans to replace this channel with a new channel TVP Wiedza (merge channels TVP Historia, TVP Dokument and TVP Nauka) no later than the end of 2024.
 * TVP Historia 2: focusing on history. Broadcasts 21 hours per day (available in HbbTV in Poland and DVB-T in Lithuania and South-East Lithuania). Unofficially, there are plans to close this channel no later than the end of 2024.
 * TVP Dokument: documentary movies channel. Broadcasts 22,5 hours per day. Start broadcast in Full HD from 19 November 2020. Unofficially, there are plans to close this channel no later than the end of 2024.
 * TVP Nauka: focusing on science and nature. Broadcasts 20,5 hours per day. Start broadcast in Full HD from 3 October 2022. Unofficially, there are plans to close this channel no later than the end of 2024.
 * TVP Rozrywka: focusing on entertainment. Broadcasts 23 hours per day. Full HD introduced 23 February 2022.
 * TVP Seriale: focusing on series. Broadcasts 23,5 hours per day. Full HD introduced 27 February 2023. Pay channel (available in pay package TVP VOD+). Unofficially announced plans to transfer these channels to free-to-air broadcasting.
 * TVP Kobieta: focusing on programmes aimed at women. Broadcasts 21–22 hours per day. Start broadcast in Full HD from 8 March 2021. Unofficially, there are plans to close this channel no later than the end of 2024.

International channels

 * TVP Polonia – Polish-language channel presenting news and programming for the Polish diaspora (the so-called Polonia) in worldwide and retransmits selected TVP programming. Full HD introduced 1 September 2020.
 * Belsat – channel in the Belarusian language presenting news and subject-specific programming for the people in Belarus. Broadcasts 20–21 hours per day, included international TV-programm "Vot Tak" and rebroadcasting of the Ukrainian TV-marathon "United News". Available on DTT in Lithuania (DVB-T) and Poland (HEVC DVB-T2). Full HD introduced on 17 February 2022.
 * Vot Tak - television and multimedia platform for Russian-language audience, with priority on audience in Russia. Start broadcast from 5 June 2017. Includes website (vot-tak.tv), social networks (including YouTube and Telegram) and television programs ("Vot Tak" on Belsat, "Vot Tak.Kratko" on Belsat and TVP World, "Khod mysli" (Train of thought) on Belsat, "Vecherniy shpil" (Evening spire) on Belsat).
 * TVP Wilno – channel presenting news and programming for the Polish-speaking minority in the Vilnius region of Lithuania, available in DVB-T in this country. Broadcasts 22–23 hours per day. Full HD introduced 10 September 2021.
 * TVP World – English-language channel with a focus on news from the CEE region for international audience. The broadcast schedule includes weekdays news bulletins in Russian ("Vot Tak. Kratko") and German. Available on DTT in HbbTV (United Kingdom and Poland), HEVC DVB-T2 (Poland and Vienna) and DVB-T (Estonia and Lithuania). Start broadcast in Full HD from 18 November 2021.

Streaming platforms

 * TVP VOD: the main streaming service with linear TV-channels (all TVP channels, Belsat and streams from TVP Parlament (Sejm and Senat)), content library and premium content for paid subscribers (pay packages TVP VOD+, Strefa ABO and Filmy na życzenie). After the restart in October 2022, premieres produced specifically for this service began to appear. The list of linear TV-channels disappeared after the restart, but return to service on 1 June 2023. Available on own portal (vod.tvp.pl) and any apps and devices.
 * TVP GO: broadcast of linear TV-channels (Included Belsat and streams from TVP Parlament (Sejm and Senat), except TVP HD and TVP Seriale) and content library. Available on HbbTV and mobile apps.
 * TVP Stream: broadcast of selected TV-channels (TVP3, TVP Polonia, TVP World, TVP Wilno, TVP Info, Alfa TVP, TVP ABC 2, TVP Kultura 2, TVP Historia 2 and selected programms from TVP1 and TVP2). Available on own portal (stream.tvp.pl). This service will close soon and integrate with TVP VOD.

Former channels, services and projects

 * TVP Regionalna (1994–2000): Regional network (first version).
 * TVP3 (2000–2007): Regional network (first version).
 * TVP Info (2007–2013): News channel and Regional network.
 * TVP Regionalna (2013–2016): Regional network (relauch, second version). Replaced by TVP3 (second version).
 * Poland IN (2018–2021): English-language online platform. Replaced by TVP World.
 * TVP eSzkoła (2020–2022): educational channel during the pandemic.
 * TVP eSzkoła Domowe Przedszkole (2020–2022): educational channel during the pandemic. Replaced by TVP ABC 2.
 * Tylko Muzyka (1997–1998): First thematic channel from TVP.
 * TVP Żagle (2013)
 * iTVP (2005–2008): interactive channel.
 * TVP Telewizja Naziemna (2020–2021)
 * TVP Bieszczady (2014)
 * TVP 25 lat wolności (2014)
 * TVP Festiwal Dwa Teatry Sopot 2014 (2014)
 * TVP Regionalna śladami Jana Pawła 2 (2014)
 * TVP Zdrowo i ze Smakiem (2014)
 * TVP 4K (2018, 2021, 2022)

Controversies
Before 2015, the PiS (then opposition) often criticized TVP of siding with government (PO-PSL)  or even compared it to communist propaganda In 2015, the government passed a law allowing it to directly appoint the head of TVP. Since then, TVP has displayed bias towards the Law and Justice (PiS) party (then government), and was compared by critics with propaganda of the former Communist regime. Sources:
 * OSCE 2020 presidential election final report : "The public broadcaster (TVP) failed in its legal duty to provide impartial coverage, which could offset the editorial bias of the private media. Instead, TVP acted as a campaign vehicle for the incumbent."
 * TVP has also faced criticism for its portrayal of LGBT people, the political opposition, Jews, and other groups as a shadowy conspiracy seeking to undermine Poland. In 2018, The Economist stated: "the [TVP] anchors... praise PiS slavishly while branding its critics treacherous crypto-communists.
 * OSCE 2020 presidential election final report : "The public broadcaster (TVP) failed in its legal duty to provide impartial coverage, which could offset the editorial bias of the private media. Instead, TVP acted as a campaign vehicle for the incumbent."
 * TVP has also faced criticism for its portrayal of LGBT people, the political opposition, Jews, and other groups as a shadowy conspiracy seeking to undermine Poland. In 2018, The Economist stated: "the [TVP] anchors... praise PiS slavishly while branding its critics treacherous crypto-communists.
 * OSCE 2020 presidential election final report : "The public broadcaster (TVP) failed in its legal duty to provide impartial coverage, which could offset the editorial bias of the private media. Instead, TVP acted as a campaign vehicle for the incumbent."
 * TVP has also faced criticism for its portrayal of LGBT people, the political opposition, Jews, and other groups as a shadowy conspiracy seeking to undermine Poland. In 2018, The Economist stated: "the [TVP] anchors... praise PiS slavishly while branding its critics treacherous crypto-communists.
 * TVP has also faced criticism for its portrayal of LGBT people, the political opposition, Jews, and other groups as a shadowy conspiracy seeking to undermine Poland. In 2018, The Economist stated: "the [TVP] anchors... praise PiS slavishly while branding its critics treacherous crypto-communists.
 * TVP has also faced criticism for its portrayal of LGBT people, the political opposition, Jews, and other groups as a shadowy conspiracy seeking to undermine Poland. In 2018, The Economist stated: "the [TVP] anchors... praise PiS slavishly while branding its critics treacherous crypto-communists.

In July 2016 Politico.eu criticized it for strong pro-government bias.

In 2017, TVP triggered a hate campaign against Polsat journalist Dorota Bawolek, following a question the Bawolek asked to the European Commission in Brussels regarding a controversial judicial reform in Poland. The hate campaign resulted in death threats against the journalist. The European Commission expressed its condemnation of the online hate campaign caused by TVP and the Strasbourg-based Council of Europe issued an alert to the Polish authorities in respect of the hate campaign against Bawolek.

The press freedom organization Reporters Without Borders wrote in its 2019 assessment of Polish press freedom that "many blamed state-owned TV broadcaster TVP's 'hate propaganda' for Gdansk mayor Pawel Adamowicz's murder in January 2019.". Ahead of the 2019 European parliament elections, TVP ran 105 segments of the election of which 68 of 69 focused on the ruling party were positive and all 33 about the opposition were negative, according to a study by the Society of Journalists. Polish political scientist and anti-racism activist Rafał Pankowski stated, "I am old enough to remember Communist-controlled television in the 1980s, and I can safely say that what we have now is cruder, more primitive, and more aggressive than anything that was broadcast at that time." This contrasts with the testimonies that killer of Pawel Adamowicz was reading Gazeta Wyborcza, Dziennik Bałtycki, Polityka and Wprost and watched TVN, and Polsat but not TVP

TVP was heavily criticized in the run-up to the 2020 Polish presidential election, being described as the "mouthpiece" of the government and as "peddl[ing] government hate speech" by the organization Reporters Without Borders. The state television broadcast a segment of Wiadomości called Trzaskowski spełni żydowskie żądania? ("Will Trzaskowski meet Jewish demands?") regarding the Civic Platform candidate Rafał Trzaskowski. A complaint was made by the American Jewish Committee, Union of Jewish Religious Communities, the Chief Rabbi of Poland, to the Polish Media Ethics Council regarding antisemitism in the program. The Council concluded not only were anti-semitic statements made in the show, it did not uphold journalistic standards: Wiadomości "turned into an instrument of propaganda of one of the candidates in this election".

In 2020, the station was ordered to retract a documentary, Inwazja, released just before the 2019 elections. Comparing the LGBT movement unfavorably to the Swedish Deluge and Communism, the documentary claimed that there is an "LGBT invasion" of Poland and that LGBT organizations have the goal of legalizing pedophilia. It was found to defame the Campaign Against Homophobia organization. Ombudsman Adam Bodnar stated, "The material not only reproduces stereotypes and heightens social hatred towards LGBT people, but also manipulates facts." Following the change of government in the 2023 Polish parliamentary election, a TVP host formally apologized to the LGBT community for attacks broadcast against them.

According to Timothy Garton Ash, "the broadcaster has descended into the paranoid world of the far right, where spotless, heroic, perpetually misunderstood Poles are being conspired against by dark, international German-Jewish-LGBT-plutocratic forces meeting secretly in Swiss chateaux." TVP president Jacek Kurski rejected the contention that the organization violated broadcasting law, and conservative media commentator and former TVP employee Jacek Kurski says the station "deserves recognition" for its "consistent promotion of patriotism and pro-state thinking".

title: Telewizja Polska


text:
Ernst Philipp Karl Lange

Ernst Philipp Karl Lange (21 December 1813 – 20 February 1899) was a German novelist who wrote under the pseudonym Philipp Galen.

Biography
He was born at Potsdam, studied medicine at Berlin (1835–1840), and on taking his degree, in 1840, entered the Prussian army as a surgeon. In this capacity, he saw service in the Schleswig-Holstein campaign of 1849, where he was in charge of a field hospital. He settled at Bielefeld as medical practitioner and here issued his first novel, Der Inselkonig ("King of the ISland", 1852, 3rd ed., 1858), which enjoyed considerable popularity. In Bielefeld he continued to work at his profession and to write, until his retirement, with the rank of Oberstabsarzt (surgeon-general), to Potsdam in 1878, where he died.

Literary production
During his lifetime, Lange was described as "a pleasing realist with no special tendency." His novels are distinguished by local colouring and pretty, though not powerful, descriptions of manners and customs. He particularly favored scenes of English life, though he had never been in that country, and on the whole he succeeded well in his descriptions.

Chief among his novels are:
 * Der Irre von St James, rated by some the best of his novels (written in 1844, published in 1853; 7th ed., 1883)
 * Walther Lund, a semi-biographical romance (1855)
 * Emery Glandon (3rd ed., Leipzig, 1865)
 * Andreas Burns, a sketch of life in Holstein; it commanded considerable attention (1856)
 * Die Tochter des Diplomaten, dealing with the Schleswig-Holstein campaign; it commanded considerable attention (1865)
 * Der Alte vom Berg (1873)
 * Die Moselnixe (1877)
 * Die Fürstendiener (1880)
 * Der Meier von Monjardin (1891)

His Gesammelte Schriften appeared in 36 vols, 1857–1866. Der Irre von St James was reprinted as late as 2001.

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

title: Ernst Philipp Karl Lange


text:
Rock music in Bosnia and Herzegovina

Rock music in Bosnia and Herzegovina mostly developed during the time when the country was part of socialist Yugoslavia.

The city of Sarajevo was, prior to the war, a center for Yugoslav rock music. Bands from this period included Plavi Orkestar, Bijelo Dugme, Indexi, Zabranjeno Pušenje, Crvena Jabuka, and Divlje Jagode. Most of the bands in Sarajevo at the time were influenced by heavy metal pioneers such as Led Zeppelin, Queen, and Deep Purple. Punk music in Sarajevo was also influenced by major punk bands of the time, such as the Sex Pistols. Influenced by Bob Dylan, Kemal Monteno helped popularize folk rock. Goran Bregović was a renowned songwriter and brought his band, Bijelo Dugme, to popular acclaim across Central Europe. Psychedelic rock was taken control of by the pioneers of Bosnian rock Indexi.

Punk rock entered Bosnia from Slovenia, and it set roots in Sarajevo, Tuzla, and Mostar. Rock music was most dominant in Bosnia and Herzegovina out of all the states in Yugoslavia. Bijelo Dugme was probably the most legendary and influential band of the Balkans.

During the late 1990s and the early 2000s many new bands have formed. Mainly heavy metal and alternative bands like Sikter, Letu Štuke, Skroz, Zoster, Dubioza kolektiv, and famous alternative singer Elvir Laković Laka who represented Bosnia and Herzegovina at Eurovision.

Present day
A prevailing theme in 21st century rock music culture of Bosnia and Herzegovina is that the rural-oriented, nationalistic elites have conquered and colonists the urban cultural space. Rock bands, by and large, have positioned themselves against the nationalists.

title: Rock music in Bosnia and Herzegovina


text:
Pedro Paterno

Pedro Alejandro Paterno y de Vera Ignacio (February 27, 1857 – April 26, 1911) was a Filipino politician infamous for being a turncoat. He was also a poet and a novelist.

His intervention on behalf of the Spanish led to the signing of the Pact of Biak-na-Bato on December 14, 1897, an account of which he published in 1910. Among his other works include the first novel written by a native Filipino, Ninay (1885), and the first Filipino collection of poems in Spanish, Sampaguitas y otras poesías varias ("Jasmines and Other Various Poems"), published in Madrid in 1880.

Early life
Paterno was born on February 17, 1857. He was a "child of privilege in a society of limited opportunities." He was one of 13 children born to Don Máximo Paterno and his second wife, Doña Carmen de Vera Ignacio. Máximo was exiled to Guam (then also part of the Spanish East Indies) for ten years following the 1872 Cavite mutiny and died on July 26, 1900, leaving behind considerable wealth.

Paterno finished Bachiller en Artes at Ateneo Municipal de Manila and gained fame with his conclusion. At the age of 14, he was sent to study in Spain, where he spent the next 11 years at the University of Salamanca and then the Central University of Madrid (now the Complutense University of Madrid). At Salamanca, he took courses in Philosophy and Theology, while at Madrid, he graduated with an expertise in law as a Doctor of Civil and Canon Law in 1880.

In 1876, he wrote his first opus entitled Influencia Social del Cristanismo wherein it shows how he consciously located himself in the metropolitan stream of Spanish Culture. It also unveiled the major themes of Paterno's works to come: law of social evolution, value of reason, human perfectability, and a synthesis of an essentialized "Orient" and "Occident" in Christianity.

In 1893, he was awarded the Order of Isabella the Catholic. In March 1894, he was appointed as the Director of Museo Biblioteca de Filipinas (now National Library of the Philippines); he was the first Filipino to hold that position.

Biak-na-Bato
At the trial of José Rizal in 1896, it was suggested that Paterno, along with Rizal, had incited the Katipunan because they had both written about pre-Spanish Philippine history. As evidence for their complicity, the Spanish prosecution cited Paterno's earlier work Antigua Civilización as promoting ideas which had "consequences both erroneous and injurious to Spanish sovereignty". Nobody moved against Paterno, however, because he was close to a significant number of Spanish officials – both military and civilian – who could vouch for him. Thus, Paterno, like many others of the Manila elite, distanced himself from the events of the Katipunan revolution.

In 1897, the Philippine revolutionary forces led by General Emilio Aguinaldo had been driven out of Cavite and retreated northwards from town to town until they finally settled in the village of Biak-na-Bato, in the town of San Miguel de Mayumo in Bulacan. Here, they established what became known as the Republic of Biak-na-Bato.

In late July 1897, Paterno presented himself to Governor-General Fernando Primo de Rivera, whom he had known while living in Spain, and offered his services as a mediator. Because many highly placed Spaniards of the time thought Paterno held great sway over the natives, Primo de Rivera accepted Paterno's offer. He called for a truce, explaining his decision to the Cortes Generales: "I can take Biak-na-Bato, any military man can take it, but I can not answer that I could crush the rebellion."

Paterno left Manila on August 4, 1897, and found Aguinaldo five days later. This began a three-month-long series of talks which saw Paterno constantly traveling between Manila, Biak-na-Bato, and some areas in Southern Luzon where a number of revolutionary chiefs held sway. During the negotiations, Paterno's wife Luisa died on November 27, 1897. In ceremonies from December 14 to 15 that year, Aguinaldo signed the Pact of Biak-na-Bato. He later proclaimed the official end of the Philippine Revolution on Christmas Day and left for Hong Kong via the port of Dagupan on December 27.

Paterno returned to Manila on January 11, 1898, amidst great celebration, but was spurned by Primo de Rivera and other authorities when he asked to be recompensed by being granted a dukedom, a seat in the Spanish Senate, and payment for his services in Mexican dollars.

Prime minister
Paterno was elected a delegate from Ilocos Norte and President of the Malolos Congress in September 1898. He served as prime minister of the First Philippine Republic in the middle of 1899, and served as head of the country's assembly, and the cabinet. Paterno was captured by the Americans in April 1900 in Antomoc, Benguet.

American colonial period

With the Philippine–American War after the signing of the Treaty of Paris in 1898, he was among the most prominent Filipinos who joined the American side and advocated the incorporation of the Philippines into the United States. As the editor and proprietor of the newspaper La Patria, he supported American dominion and gratitude towards Spain, from whence "the Filipinos derived their civilization." Paterno was elected to the Philippine Assembly in 1907, representing the province of La Laguna's 1st district in the 1st Philippine Legislature. He would serve until his term expired in 1909.

He died of cholera on April 26, 1911.

Legacy and notoriety
Despite Paterno's prominence in the many upheavals that defined the birth of the Philippine nation during his lifetime, Paterno's legacy is largely infamous among Philippine historians and nationalists.

Philippine historian Resil Mojares notes that: "History has not been kind to Pedro Paterno. A century ago, he was one of the country's premier intellectuals, blazing trails in Philippine letters. Today he is ignored in many of the fields in which he once held forth with much eminence, real and imagined. No full length biography or extended review of his corpus of writings has been written, and no one reads him today."

Mojares also indicated that his sarcastic and flamboyant attitude, wherein he seeks a high regard in the social hierarchy wherever he goes, invited the criticisms he received.

John Schumacher dismissed Paterno's works as "scholarly" in nature. He remarked that: "Paterno's 'eccentric and ingenious lucubrations' on Philippine civilization undermined the national cause. 'Reconstructing a Filipino past, however glorious in appearance, on false pretenses can do nothing to build a sense of national identity, much less offer guidance for the present or the future.'"

Much of this is attributed to Paterno's penchant for turncoatism, as described by historian Ambeth Ocampo, who sums up his career thus: "Remember, Paterno was one of the greatest 'balimbing' (turncoat) in history (perhaps he was the original 'balimbing' in Philippine political history). He was first on the Spanish side, then when the declaration of independence was made in 1898, he 'wormed his way to power' and became president of the Malolos Congress in 1899, then sensing the change in political winds after the establishment of the American colonial government, he became a member of the First Philippine Assembly."

List of works

 * Influencia Social del Cristianismo, 1876 pamphlet
 * Sampaguitas y otras poesías varias, 1880 anthology of poems
 * Ninay, 1885 novel
 * Magdapio, 1903 four-part opera
 * Aurora social, 1910–11 collection of novellas
 * Los ultimos romanticos: en la erupción del Volcán de Taal, 1911

Media portrayals

 * Portrayed by Yul Servo in the film, El Presidente (2012).
 * Portrayed by Leo Martinez in the film, Heneral Luna (2015), and its sequel, Goyo: Ang Batang Heneral (2018).
 * Portrayed by JV Ibesate in the hit musical of Tanghalang Pilipino, Mabining Mandirigma.

title: Pedro Paterno


text:
Talk:Civilization II

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Ending in 2020

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title: Talk:Civilization II


text:
List of Proton vehicles

The following is a list of Proton vehicles, including past, present, and concept nameplates.

Perusahaan Otomobil Nasional (Proton) was established in May 1983 through a joint-venture between The Heavy Industries Corporation Of Malaysia (HICOM) and Mitsubishi Motors Corporation (MMC).

Proton produced its first car, the Saga in July 1985, and its first indigenously designed car, the Waja in May 2000. Since the 2000s, Proton has produced a mix of indigenously designed and rebadged models.

Current nameplates
This is a list of current Proton nameplates in decreasing order from date of introduction by body style popularity.

Discontinued nameplates
This is a list of discontinued Proton nameplates in decreasing order from date of introduction by body style popularity.

Concept nameplates
This is a list of concept Proton nameplates in decreasing order from date of introduction by body style popularity.

title: List of Proton vehicles


text:
Sauron (disambiguation)

Sauron is a fictional character from J.R.R. Tolkien's Middle-earth fantasy writings, and the title of one of the three games in the board game Middle Earth based on the character.

Sauron may also refer to:

Fiction

 * Sauron (comics), a character in the Marvel Comics universe
 * Dictator Sauron, a character in the game Steel Empire
 * Sauron, a Tyrannosaurus character in the game Primal Rage
 * Sauron, a character in Captain Power and the Soldiers of the Future
 * Sauron, a robot from the webcomic Anima: Age of the Robots
 * Sauron, a planet in the CoDominium (book series) universe
 * Sauron, a planet in the game Escape Velocity (video game)

Other uses

 * Sauron (game), a 1977 board wargame
 * Sauron (spider), a genus of spiders in the family Linyphiidae
 * Wojciech Wąsowicz, known as Sauron, the ex-vocalist from the Polish death metal band Decapitated
 * SAURON, an astronomical instrument mounted on the William Herschel Telescope
 * Project Sauron, malware

title: Sauron (disambiguation)


text:
The World of Apu

Apur Sansar (অপুর সংসার), also known as The World of Apu, is a 1959 Indian Bengali-language drama film produced, written and directed by Satyajit Ray. It is based on the second half of Bibhutibhushan Bandopadhyay's novel Aparajito. Following Pather Panchali (1955) and Aparajito (1956), The World of Apu is the final part of Ray's The Apu Trilogy, about the childhood and early adulthood of a young Bengali named Apu in early twentieth century India. The World of Apu stars Soumitra Chatterjee (as Apu) and Sharmila Tagore (as Apu's wife Aparna); the duo would go on to appear in many subsequent Ray films.

Upon its release on 1 May 1959, The World of Apu was well-received by critics. It won the National Film Award for Best Feature Film as well as several international awards, including the Sutherland Award for Best Original And Imaginative Film and National Board of Review Award for Best Foreign Language Film.

Plot
In early 1940s, Apurba Kumar Roy (Apu) is an unemployed graduate (completed study up to the intermediate science) living in a rented room at Tala, Calcutta. Despite his teacher's advice to go for higher studies, he is unable to do so because he cannot afford it. He tries to find a job, while barely getting by providing private tutoring. His main passion is writing a novel, partially based on his own life, hoping to get it published some day. One day, he meets his old friend Pulu, who coaxes him to join him on a trip to his village in Khulna to attend the marriage of a cousin named Aparna.

On the day of the marriage, it is revealed that the bridegroom has a serious mental disorder. The bride's mother cancels the marriage, despite the father's protests. He and the other villagers believe, according to prevalent Hindu tradition, that the young bride must be wedded off during the previously appointed auspicious hour, otherwise, she will have to remain unmarried all her life. Apu, after initially refusing when requested by a few villagers, ultimately decides to take Pulu's advice and come to the rescue of the bride by agreeing to marry her. He returns with Aparna to his apartment in Calcutta after the wedding. He takes up a clerical job, and a loving relationship begins to bloom between them. Yet, the young couple's blissful days are cut short when Aparna dies while giving birth to their son, Kajal. Apu is overcome with grief and holds the child responsible for his wife's death.

He shuns his worldly responsibilities and becomes a recluse – travelling to different corners of India, while the child is left with his maternal grandparents. Meanwhile, Apu throws away his manuscript for the novel he had been writing over the years. A few years later, Pulu finds Kajal growing wild and uncared for. He then seeks out Apu, who is working at a mining quarry and advises Apu one last time to take up his fatherly responsibility. At last, Apu decides to come back to reality and reunite with his son. When he reaches his in-laws' place, Kajal, having seen him for the first time in his life, at first does not accept him as a father. Eventually, he accepts Apu as a friend and they return to Calcutta together to start life afresh.

Cast

 * Soumitra Chatterjee as Apu (Apurba Kumar Roy)
 * Sharmila Tagore as Aparna, Apu's wife
 * Swapan Mukherjee as Pulu
 * Alok Chakravarty as Kajal
 * Sefalika Devi as Sasinarayan's wife
 * Dhiresh Majumdar as Sasinarayan
 * Dhiren Ghosh as the landlord

Production
Ray wanted fresh faces again for the film like other two films in the Apu Trilogy and thus he started auditioning. In others films he made in between, like Parash Pathar (1958) and Jalsaghar (1958), he did work with professional actors like Soumitra Chatterjee, a radio announcer and a stage actor who, with doyen of Bengali theatre Sisir Bhaduri, had first auditioned for the role of the adolescent Apu in Aparajito (1956). Though Ray thought he had the right look, he found him too old for the role. Ray remembered him and offered the role of adult Apu two years later. Chatterjee was still unaware that he had already been selected for the title role. He had gone on the sets of Ray's fourth film, Jalsaghar, to watch the shoot. That day, while he was leaving the sets, Ray called him over and introduced him to actor Chhabi Biswas, saying, "This is Soumitra Chattopadhyay; he's playing Apu in my next film Apur Sansar", leaving him surprised. Ray however had a tough time finding an actress for the female lead Aparna. He even placed an ad in a local daily asking for photographs from girls between ages of 15 and 17. There were over a thousand responses to the ad, but Ray found none of them worth auditioning. This was when Ray became aware of a girl, Sharmila Tagore, who had recently performed at a dance recital at Children's Little Theatre (CLT) in Kolkata. She is related to poet Rabindranath Tagore, and subsequently auditioned and was selected.

Despite being selected, as a debutant actor, Chatterjee was nevertheless unsure of his career choice and especially his looks, as he did not consider himself photogenic. However, on 9 August 1958, when the first shot of the film was given an okay in one take, he realized he had found his vocation.

Awards

 * National Film Awards (India)
 * Winner – 1959 – President's gold medal for the All India Best Feature Film

 * British Film Institute Awards (London Film Festival)
 * Winner – 1960 – Sutherland Award for Best Original And Imaginative Film

 * 14th Edinburgh International Film Festival
 * Winner – 1960 – Diploma Of Merit

 * National Board of Review Awards (United States)
 * Winner – 1960 – Best Foreign Film

 * British Academy Film Awards (United Kingdom)
 * Nominated – 1962 – BAFTA Award for Best Film

Reception and legacy
At Rotten Tomatoes, The World of Apu has a 96% fresh rating based on an aggregate of 27 reviews with an average score of 9.04/10. Its critic's consensus states: "Achingly poignant, beautifully shot, and evocatively atmospheric, The World of Apu closes out Satyajit Ray's classic trilogy on a high note". In 1992, Sight & Sound (the British Film Institute's film magazine) ranked The Apu Trilogy at #88 in its Critics' Poll list of all-time greatest films. The World of Apu appeared in 1982 Sight & Sound Poll of Greatest Films of All Time ranked at #42. In 2002, a combined list of Sight & Sound critics' and directors' poll results ranked The World of Apu at #93 in the list. In 1998, the Asian film magazine Cinemaya's critics' poll of all-time greatest films ranked The Apu Trilogy at #7 on the list. In 1999, The Village Voice ranked The Apu Trilogy at #54 in its Top 250 "Best Films of the Century" list, based on a poll of critics. The film was selected as the Indian entry for the Best Foreign Language Film at the 32nd Academy Awards, but was not accepted as a nominee.

In 1996, The World of Apu was included in Movieline Magazine's "100 Greatest Foreign Films". In 2001, film critic Roger Ebert included The Apu Trilogy in his list of "100 Great Movies" of all time. In 2002, The World of Apu featured in "The New York Times Guide to the Best 1,000 Movies Ever Made". In 2005, The Apu Trilogy was included in Time magazine's All-Time 100 best movies list.

At the Indian box office, the film earned a profit of ₹75–80 lakh for distributors.

The World of Apu has been influential across the world. In Gregory Nava's 1995 film My Family, the final scene is duplicated from the final scene of Apur Sansar. The film's influence can also be seen in famous works such as several Philip Kaufman films. References to The World of Apu are also found in several films by European filmmaker Jean-Luc Godard, and in Paul Auster's 2008 novel Man in the Dark where two characters have a discussion about the film. In 2012 the film was ranked #235 in the Sight & Sound Top 250 Films list. The film is ranked 112 in Letterboxd's list of 250 greatest films of all time.

Preservation
The Academy Film Archive preserved the entire Apu Trilogy in 1996, including Apur Sansar. In 2013, the video distribution company The Criterion Collection, in collaboration with the Academy of Motion Picture Arts and Sciences' Film Archive, began the restoration of the original negatives of the Apu trilogy, including Apur Sansar. These negatives had been severely damaged by a fire in London in 1993, and all film cans and fragments belonging to the Ray films were sent to the Motion Picture Academy for storage, where they lay unseen for two decades. It was discovered upon reexamination that, although many parts of the films were indeed destroyed by fire or the effects of age, other parts were salvageable. The materials were shipped to a restoration laboratory in Bologna, Italy: L'Immagine Ritrovata. For those parts of the negative that were missing or unusable, duplicate negatives and fine-grain masters from various commercial or archival sources were used. The Criterion Collection's own lab then spent six months creating the digital version of all three films, at times choosing to preserve the distinctive look of the films even at the cost of retaining some imperfections.

title: The World of Apu


text:
User talk:Kizzle/story/Justin

Justin is the central figure of the story. He is a high-school dropout who was recruited by InfoCorp when he broke into their central fileservers when he was only 8 years old. He is an incredibly gifted hacker, alias Phoenix who works in InfoCorp's Chimera department, which is their corporate espionage and sabotage division. He breaks into other corporations, which is a regular practice in this world, and tries to steal their proprietary data thus allowing InfoCorp a competitive advantage. While he takes pride in the work that he does, in the back of his mind he is slightly troubled by working for a corporation. Unlike the ignorant masses of people who have been educated in the corporate-owned high schools which promote brand-name familiarity above Newton's laws of motion, he has access to the raw channels of information that runs across the secret backchannels of the internet. Because of this access, he is one of the few who are privy to the uncensored news which is not mentioned in the corporate-owned news channels. For the time being, he accepts working at a corporation because he is lavishly paid in computer equipment, an elite high-rise in InfoCorp's official headquarters/city, and in the sense that he is a part of the game and not one of the "sheep" whom he uses to refer to the uneducated masses of people. While he does not inquire as to the ethical nature of the work given to him by Trevor Goodchild (Name for now), he is subconsciously bothered by the sheer power corporations wield over the population. As the story progresses, he will become increasingly bothered by this fact until the climax of the story where he can no longer afford to be passive about his dislike for corporate abuse of power and alienates his entire comfortable and lavish way of life for what he believes.

title: User talk:Kizzle/story/Justin


text:
Wikipedia talk:Translators available

Active in 2022
In the list of translators for Spanish, it says "Active in 2021". Why there is no list for active in 2022? We are almost at the end of 2022. -- Thinker78  (talk) 17:11, 22 October 2022 (UTC)

There should be more Yoruba translation on the page
Most Yoruba words are not on wiki Temiluv (talk) 12:18, 28 December 2022 (UTC)

Should This List Be Updated More Frequently Because of the Scarcity of Translators?
How often is this list updated? I would have this list updated every month or two, or once or twice per year (I'm not sure which of these options is best). One reason that an English-language article can have some translated text from a foreign-language article inserted into it is that it's with the goal of getting that English article to GA or FA status. When doing such jobs myself, I usually leave other editors to improve and clean-up that text (depending on how bad-looking Google's translation is), because I can't do such efforts entirely by myself. The scarcity and non-availability of translators in the English Wikipedia (sometimes lasting for literally years after such users' most recent edit) is sometimes frustrating when I end up being the only one engaging in such tasks. One reason for that being the foreign language counterpart may have material that the English version doesn't have.Jim856796 (talk) 18:20, 14 June 2024 (UTC)

 * Manual lists always go out of date. There was a time when I scanned lists of translators, and then compared to their last active period of editing, and my hit rate was less than 10%, sometimes zero. Imho, the individual names should all be removed, and replaced with a link, perhaps to Petscan, which would generate a list of translators for a given language based on a number of sources, including various user talk page templates like Babel and others. One of the sources could be a manual sign-up page where users could add themselves, but such a page should be only one of numerous sources, and names should auto-expire after a certain interval, to prevent stale entries. Alternatively, populated by bot with a list of individuals resulting from following such a link and de-duping and sorting the results. Running such a bot weekly or even monthly should be more than sufficient. Mathglot (talk) 01:12, 15 June 2024 (UTC)

title: Wikipedia talk:Translators available


text:
Laura Smet

Laura Huguette Smet (born 15 November 1983) is a French actress. She is the daughter of rock musician Johnny Hallyday and actress Nathalie Baye. In 1986, Hallyday recorded in her honor the song "Laura", written by Jean-Jacques Goldman.

Early life
She wanted initially to be a theatrical agent like her godfather, Dominique Besnehard. In 1999, she left school and began studying theatre with Raymond Acquaviva.

Career
In 2002, she began her acting career when Xavier Giannoli, on the recommendation of Olivier Assayas, cast her in the role of Charlotte, a young cancer patient in Les corps impatients, and for which she received a nomination for the César Award for Most Promising Actress. In 2003 she starred in Claude Chabrol's film adaptation of the Ruth Rendell novel, The Bridesmaid (La Demoiselle d'Honneur).

In 2004, Smet won the Prix Romy Schneider. In 2006 she played in Le Passager de l'été, a film written and directed by Florence Moncorgé-Gabin, the daughter of Jean Gabin. In 2007 she played Caroline in L'Heure zéro, Pascal Thomas's film adaptation of an Agatha Christie novel.

Filmography

 * 2002: Les Corps impatients (Eager Bodies), directed by Xavier Giannoli
 * 2003: La Femme de Gilles, directed by Frédéric Fonteyne
 * 2004: La Demoiselle d'honneur, directed by Claude Chabrol
 * 2006: Le Passager de l'été, directed by Florence Moncorgé-Gabin
 * 2007: UV, directed by Gilles Paquet-Brenner
 * 2007: L'Heure zéro, directed by Pascal Thomas
 * 2008: La Frontière de l'aube, directed by Philippe Garrel
 * 2010: Pauline et François, directed by Renaud Fély
 * 2010 : Insoupçonnable, directed by Gabriel Le Bomin
 * 2014: Yves Saint Laurent, directed by Jalil Lespert
 * 2014: Eden, directed by Mia Hansen-Løve
 * 2014: 96 hours, directed by Frédéric Schoendoerffer
 * 2014: Tiens-toi droite, directed by Katia Lewkowicz
 * 2015: Call My Agent ! (1 episode, in which her mother, Nathalie Baye, also appeared)
 * 2017: The Guardians, directed by Xavier Beauvois
 * 2017: Carbon
 * 2017: Capitaine Marleau
 * 2019: The Holy Family
 * 2022: Fauda - Season 4

title: Laura Smet


text:
Nikon F80

The Nikon F80 (or N80 as it is known in the U.S.) is an SLR prosumer camera manufactured by Nikon, released in January 2000.

History
The F80 was introduced on January 27, 2000, to the worldwide consumer market. It was the successor to the F70 and was based on the highly successful F100 with the notable lack of the weatherproofing and ruggedness that characterizes that camera.

Three versions of the F80 are available, the F80, the F80D which has a different back that can imprint date information on the frame and the F80S which can also imprint exposure data between frames in addition to the date information. Using the exposure data imprint function will slow the F80 varying on film speed and temperature.

Design and construction
The black F80 keeps with the traditional look of Nikon camera bodies, with a black plastic exterior, white Nikon lettering on the prism with a red rubber insert on the inside of the camera's grip. The F80 also has a silver (white chrome) variant, which has a silver plastic exterior with black Nikon lettering.

The F80 accepts all F-mount Nikkor lenses with the exception of many pre AI, and all IX, lenses (these cannot be mounted on the F80 without causing damage). Older non-CPU AI and AIS lenses can be mounted on the camera, but exposure must be set manually as the camera will not meter through them at all.

The F80 was the first Nikon camera to feature on-demand grid lines.

The F80 was chosen by Nikon to be the basis for the popular Nikon D100 digital SLR. The chassis was also used by Fujifilm as the basis for the FinePix S2 Pro and S3 Pro, and by Eastman Kodak for the Kodak DCS Pro 14n and DCS Pro SLR/n.

Rumors were abound during 2005 that Nikon would make a successor to the F80, and discontinue most other film cameras apart from the F6 and the F80 replacement. Early in 2006 Nikon announced that they intend to drop production of all film cameras apart from the F6 and FM10. Regardless of whether Nikon had actually developed (or even planned) a successor for the F80, it never appeared on the market.

title: Nikon F80


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Hvar

Hvar (Chakavian: Hvor or For, Φάρος, Pharia, Lesina) is a Croatian island in the Adriatic Sea, located off the Dalmatian coast, lying between the islands of Brač, Vis and Korčula. Approximately 68 km long, with a high east–west ridge of Mesozoic limestone and dolomite, the island of Hvar is unusual in the area for having a large fertile coastal plain, and fresh water springs. Its hillsides are covered in pine forests, with vineyards, olive groves, fruit orchards and lavender fields in the agricultural areas. The climate is characterized by mild winters, and warm summers with many hours of sunshine. The island has 10,678 residents according to the 2021 census, making it the 4th most populated of the Croatian islands.

History
Hvar's location at the north east centre of the Adriatic sailing routes has long made this island an important base for commanding trade up and down the Adriatic, across to Italy and throughout the wider Mediterranean. It has been inhabited since prehistoric times, originally by a Neolithic people whose distinctive pottery gave rise to the term Hvar culture, and later by the Illyrians. The ancient Greeks founded the colony of Pharos in 384 BC on the site of today's Stari Grad, making it one of the oldest towns in Europe. They were also responsible for setting out the agricultural field divisions of the Stari Grad Plain, now a UNESCO World Heritage Site. In medieval times, the town of Hvar rose to importance within the Venetian Empire as a major naval base. Prosperity brought culture and the arts, with one of the first public theatres in Europe, nobles' palaces and many fine communal buildings.

The 16th century was an unsettled time, with the Hvar Rebellion, coastal raids by pirates and the Ottoman army from the mainland, resulting in some unusual fortified buildings on the northern shore to protect the local population. After a brief time under Napoleonic rule, the island became part of the Austrian Empire, a more peaceful and prosperous time. On the coast, harbours were expanded, quays built, fishing and boat building businesses grew. At the same time, the island's wine exports increased, along with lavender and rosemary production for the French perfume industry. However, this prosperity did not continue into the 20th century as wooden sailing boats went out of fashion, and the phylloxera blight hit wine production. Many islanders left to make a new life elsewhere. One industry, tourism, has however continued to grow and is now a significant contributor to the island's economy. The formation of The Hygienic Association of Hvar in 1868 for the assistance of visitors to the island has been instrumental in developing an infrastructure of hotels, apartments, restaurants, marinas, museums, galleries and cafés. Today, the island of Hvar is a tourist destination, consistently listed in the top 10 islands by Conde Nast Traveler magazine.

Geography

The island of Hvar is located in the Adriatic Sea, off the Dalmatian coast. To the north, the island of Brač lies across the Hvar Channel (Hvarski kanal), to the west is Vis, separated by the Vis Channel, and to the south Korčula lies across the Korčula Channel, while the Pelješac Peninsula is across the Neretva Channel. The eastern end of Hvar is just 6 km from the mainland. Along the southern coast of the island there are several smaller islands, notably the Paklinski islands at the western end and Šćedro island, while Zečevo island lies off the north coast.

Landscape
Hvar is a high east–west ridge of Mesozoic limestone and dolomite, which was part of the mainland until approximately 11,000 years ago. Around that time, sea levels rose, filling the valleys that are now the channels between the islands. Hvar has a typical karst landscape, which means limited or no surface water, despite adequate rainfall, which disappears quickly into crevices in the ground. Farming in such areas requires careful conservation of water and protection of the soil against erosion. The water cisterns in the fields, and the dry-stone walls, especially terracing on the slopes are necessary for the continued success of agriculture on the island.

The island has a typical Mediterranean vegetation, mostly bare with woody scrub at higher, steeper elevations, turning to pine forests on the lower slopes with holm oak, Aleppo pines (Pinus halapensis) and black pines (Pinus nigra dalmatica). The islet of Šćedro is especially rich in various Mediterranean trees and plants.

Hvar island is 68 km long, and only 10.5 km at its widest point. It covers an area of 297 km2, the 4th largest of the Adriatic islands by area, and has a coastline length of 254.2 km. The highest peak is Sv. Nikola, at 628 m.

Administration and population
The island is part of Split-Dalmatia County in Dalmatia, Croatia. The island has two towns (Hvar and Stari Grad) and two municipalities (Jelsa and Sućuraj). Population figures are from 2021.
 * Hvar, the largest town on the island (pop 3,979), for many years an independent commune and major naval base of the Venetian Empire. The town includes the settlements of Brusje (174), Hvar (3,519), Jagodna (43), Malo Grablje (3), Milna (77), Sveta Nedjelja (135), Velo Grablje (20) and Zaraće (8).
 * Jelsa, municipality in the central part of the island (pop 3,501). The municipality includes the settlements of Gdinj (122), Gromin Dolac (6), Humac (uninhabited), Ivan Dolac (68), Jelsa (1,753), Pitve (90), Poljica (53), Svirče (385), Vrboska (542), Vrisnik (186), Zastražišće (126), Zavala (170).
 * Stari Grad, on the north part of the island (pop 2,772), is the site of one of the first permanent settlements on the Adriatic islands during Antiquity. Today, Stari Grad is the main seaport on the island; most visitors arrive here via car ferries from Split. The town includes the settlements of Dol (305), Rudina (79), Selca kod Starog Grada (9), Stari Grad (1,921) and Vrbanj (458).
 * Sućuraj, municipality on the eastern end of the island (pop 426), nearest to the mainland, where a regular car ferry service connects the island with the port of Drvenik. The municipality includes the settlements of Bogomolje (121), Selca kod Bogomolja (12) and Sućuraj (293).

Climate
The climate of Hvar is hot-summer Mediterranean (Csa in the Köppen climate classification). It has mild winters and hot summers. The yearly average air temperature is 16 °C, 703 mm of precipitation fall on Hvar on average every year and the town has a total of 2800 sunshine hours per year. For comparison Hvar has an average of 7.7 sunshine hours per day while Dubrovnik has 7.2. The sea temperatures average from the lowest readings in February of 14 °C to their warmest during summer, when the sea temperatures usually stay between 23 °C to 27 °C. The Köppen Climate Classification subtype for this climate is "Csa" (Mediterranean Climate).

History

The first inhabitants of Hvar Island were Neolithic people who probably established trade links between Hvar and the eastern shores of the Mediterranean. The Hvar Culture lasted from 3500 to 2500 B.C. Beginning in the 4th century BC, the Greeks colonized the island. In 384 BC the Greek colonisers of Pharos defeated Iadasinoi warriors and their allies, invited by the Hvar indigenes in their resistance to the Greek colonization. The first coins which Pharos minted after the war depicted a goat standing opposed to a snake. The two animals symbolize the Pharian Greeks (goat) and the Illyrians (snake). Their victory over much larger forces was immortalized in one of the oldest known inscriptions of Croatia.

Following Roman victory in the Second Illyrian War against Demetrius of Pharos, the island became a part of the Roman Republic in 219 BC and the Greek name Pharos was changed to Pharia. After the fall of the Roman Empire in the west, the island was under the control of the Byzantine or Eastern Roman Empire. The population increased in the Late Antiquity with an abundance of archaeological finds. A large number of new villa rustica in Stari Grad Plain and also on the previously vacant eastern shores were built. In the early Middle Ages, Slavic tribes occupied the island. In the first half of the 7th century the Narentines took over the island. Venetian sailors saw the island while sailing towards the south and were threatened by the Narentine pirates from the island. In the 11th century the island joined the Kingdom of Croatia. In the 12th century, the rise of the Republic of Venice brought vines and wine cultivation which blossomed into a major industry for the island in the Middle Ages. The island eventually again fell under Byzantine rule, and then under the Kingdom of Croatia and Hungary. In 1331 the Venetians put the island under protection from threats of piracy. According to the 1358 Treaty of Zadar, the island was handed over to the Kingdom of Hungary. For short time in the summer of 1390, it was held by the Bosnian king Stephen Tvrtko I. In 1409, the Republic of Venice finally again became its long-term owner. The island became prosperous from fishing, and the cultivation of rosemary, lavender and olives.

Hvar is important to the history of Croatia as it was one of the centres of Croatian literature during the Renaissance, with writers such as Petar Hektorović and Hanibal Lucić. In Stari Grad, tourists can see the Petar Hektorović fortress/villa called Tvrdalj Castle, architectonically designed by the poet himself. Churches on the island contain many important paintings and artworks by famous Venetian artists, including Tintoretto, Veronese, Bellini and others. In 1797 Hvar was annexed with the fall of the Venetian Republic by the Habsburg monarchy as per the Treaty of Campo Formio. But forces of the French Empire seized it in 1806 during the Napoleonic wars before finally being taken by British marines and sailors in 1812. The Austrians regained control of the island in 1815 with the Treaty of Vienna. The beginning of the 20th century brought a period of relative prosperity. The Italian army occupied the island from 1918 until 1921, when Hvar with the rest of Croatia joined the Kingdom of Yugoslavia. In 1939, an autonomous Croatian Banate was formed that included the island. During WWII, it was under the control of Independent State of Croatia, but under military occupation of Fascist Italy until 1943. After 1945, it became a part of People's Republic of Croatia, a constituent republic of Communist Yugoslavia. Ivan Vučetić, the man who perfected dactyloscopy at the turn of the 20th century, came from Hvar island. In the 21st century, Hvar's citizens include football player Igor Tudor and politician Tonči Tadić.

Economy
Residents of Hvar mostly work in the fishing and tourism industries. Hvar has a very mild Mediterranean climate, several beaches and Mediterranean vegetation that make it one of the most attractive tourist centres in Europe. The island promotes itself as "the sunniest spot in Europe", with over 2715 hours of sunlight in an average year.

Hvar town is the main tourist centre. It features a large public square (St Stephen's Square/trg Sv. Stjepana) that is open to the sea. During the tourist season, the port is filled with large yachts and sailboats. All-night discos attract large crowds of young visitors.

Another major economic activity is the cultivation of lavender, used for aromatic oils and soaps. Hvar is often called the "island of lavender".

Hvar is also one of the two most famous winemaking zones in Croatia. Vineyards on the southern side of the island are famous for red wines produced from the Plavac Mali grape. The central plain between Stari Grad and Jelsa is famous for its white wines.

Etymology
As a Greek colony, the island initially was known as Paros (Πάρος) because it was colonized by Greeks from the island of Paros in Aegean, and later as Pharos (Φάρος) "lighthouse". However, it is not clear if the name really comes from the Greek word for lighthouse. It was more likely an Illyrian word "Fara" that in modern Albanian, translates to seed!since it is unlikely that the lighthouse preceded the name for the island. During the 3rd century BC, the Greek poet Apollonius of Rhodes referred to it as Piteyeia – a name derived from the Greek word pitys, meaning pine tree.

From the 7th century onwards, the Byzantine Theme of Dalmatia, including Fara, was settled by the Pannonian Avars and Croats. However, the population initially remained culturally Illyro-Roman and part of the Byzantine Roman world. Under the linguistic influence of the newcomers, the official name became Quarra – because the Slavic languages did not originally have the /f/-sound. Later, the name was Slavicised further as Hvar.

Since the late 11th century, the Italian name of the island has been Lesina or, in Venetian, Liesena. These names appear to have their origin in the Proto-Slavic root les-, meaning "wood" or "forest". Liesena was the official name during the era of Venetian Dalmatia (16th and 17th centuries).

title: Hvar


text:
Railway block code

The railway block signalling bell code is a system of bell sounds used in Great Britain to communicate between manually operated Signal Boxes in implementing the railway block system. (The bell system is not used in modern power signal boxes, other than to any older adjacent signalboxes.) Each such signal box has a bell circuit to the boxes on either side of it along the line. The equipment consists of a plunger or tapper (rather like a Morse key) which when pressed, rings a single-stroke bell in a neighbouring box. That box similarly has a tapper for communicating back, so boxes have keys each of which rings the bell in a neighbouring box. The bells sound different tones, so that the signalman can tell them apart by ear.

Examples
Although codes varied from region to region, the following shows a few selected standard UK bell codes:

Typical use
These would be used as follows (assuming a simple exchange between two signal boxes on a plain section of line) between two signal boxes A and B. Assume a train is to pass from the block controlled by A to the block controlled by B. This must be agreed and permitted by the signalman in box B. Here is the sequence of bell codes and associated actions:

 * 1) Box A sends 1 bell to box B. (Call attention.)
 * 2) Box B replies with 1 bell to box A. (Acknowledgement, indicating readiness.)
 * 3) Box A sends 4 bells to box B. (Is line clear for express passenger train?)
 * 4) Box B sends 4 bells to box A. (Acknowledgement, if in the position to accept the train giving permission for box A to signal the train into the block controlled by B.)
 * 5) (when the signalled train enters the portion of line between A and B.) Box A sends 2 bells to box B (Train entering section)  as the train passes box A and enters the block controlled by B. This is acknowledged by box B.
 * 6) Box B sends 2 - 1 bells to box A (Train out of section) after confirming that the train has arrived complete and no portion of it remains within the block section between A and B or the clearing point for that section. This could be done by the guard of the train notifying the signalman or by the signalman observing the tail-lamp. This is acknowledged by box A.

title: Railway block code


text:
Kraft–McMillan inequality

In coding theory, the Kraft–McMillan inequality gives a necessary and sufficient condition for the existence of a prefix code (in Leon G. Kraft's version) or a uniquely decodable code (in Brockway McMillan's version) for a given set of codeword lengths. Its applications to prefix codes and trees often find use in computer science and information theory. The prefix code can contain either finitely many or infinitely many codewords.

Kraft's inequality was published in. However, Kraft's paper discusses only prefix codes, and attributes the analysis leading to the inequality to Raymond Redheffer. The result was independently discovered in. McMillan proves the result for the general case of uniquely decodable codes, and attributes the version for prefix codes to a spoken observation in 1955 by Joseph Leo Doob.

Applications and intuitions
Kraft's inequality limits the lengths of codewords in a prefix code: if one takes an exponential of the length of each valid codeword, the resulting set of values must look like a probability mass function, that is, it must have total measure less than or equal to one. Kraft's inequality can be thought of in terms of a constrained budget to be spent on codewords, with shorter codewords being more expensive. Among the useful properties following from the inequality are the following statements:

 * If Kraft's inequality holds with strict inequality, the code has some redundancy.
 * If Kraft's inequality holds with equality, the code in question is a complete code.
 * If Kraft's inequality does not hold, the code is not uniquely decodable.
 * For every uniquely decodable code, there exists a prefix code with the same length distribution.

Formal statement
Let each source symbol from the alphabet
 * $$S=\{\,s_1,s_2,\ldots,s_n\,\}$$

be encoded into a uniquely decodable code over an alphabet of size $$r$$ with codeword lengths

 * $$\ell_1,\ell_2,\ldots,\ell_n.$$

Then

 * $$\sum_{i=1}^{n} r^{-\ell_i} \leqslant 1.$$

Conversely, for a given set of natural numbers $$\ell_1,\ell_2,\ldots,\ell_n$$ satisfying the above inequality, there exists a uniquely decodable code over an alphabet of size $$r$$ with those codeword lengths.

Example: binary trees

Any binary tree can be viewed as defining a prefix code for the leaves of the tree. Kraft's inequality states that

 * $$ \sum_{\ell \in \text{leaves}} 2^{-\text{depth}(\ell)} \leqslant 1. $$

Here the sum is taken over the leaves of the tree, i.e. the nodes without any children. The depth is the distance to the root node. In the tree to the right, this sum is

 * $$ \frac{1}{4} + 4 \left( \frac{1}{8} \right) = \frac{3}{4} \leqslant 1.$$

Proof for prefix codes
First, let us show that the Kraft inequality holds whenever the code for $$S$$ is a prefix code.

Suppose that $$\ell_1 \leqslant \ell_2 \leqslant \cdots \leqslant \ell_n $$. Let $$A$$ be the full $$r$$-ary tree of depth $$\ell_n$$ (thus, every node of $$A$$ at level $$< \ell_n$$ has $$r$$ children, while the nodes at level $$\ell_n$$ are leaves). Every word of length $$\ell \leqslant \ell_n$$ over an $$r$$-ary alphabet corresponds to a node in this tree at depth $$\ell$$. The $$i$$th word in the prefix code corresponds to a node $$v_i$$; let $$A_i$$ be the set of all leaf nodes (i.e. of nodes at depth $$\ell_n$$) in the subtree of $$A$$ rooted at $$v_i$$. That subtree being of height $$\ell_n-\ell_i$$, we have

 * $$|A_i| = r^{\ell_n-\ell_i}.$$

Since the code is a prefix code, those subtrees cannot share any leaves, which means that

 * $$A_i \cap A_j = \varnothing,\quad i\neq j.$$

Thus, given that the total number of nodes at depth $$\ell_n$$ is $$r^{\ell_n}$$, we have

 * $$ \left|\bigcup_{i=1}^n A_i\right|= \sum_{i=1}^n |A_i| = \sum_{i=1}^n r^{\ell_n-\ell_i} \leqslant r^{\ell_n}$$

from which the result follows.

Conversely, given any ordered sequence of $$n$$ natural numbers,

 * $$\ell_1 \leqslant \ell_2 \leqslant \cdots \leqslant \ell_n$$

satisfying the Kraft inequality, one can construct a prefix code with codeword lengths equal to each $$\ell_i$$ by choosing a word of length $$\ell_i$$ arbitrarily, then ruling out all words of greater length that have it as a prefix. There again, we shall interpret this in terms of leaf nodes of an $$r$$-ary tree of depth $$\ell_n$$. First choose any node from the full tree at depth $$\ell_1$$; it corresponds to the first word of our new code. Since we are building a prefix code, all the descendants of this node (i.e., all words that have this first word as a prefix) become unsuitable for inclusion in the code. We consider the descendants at depth $$\ell_n$$ (i.e., the leaf nodes among the descendants); there are $$r^{\ell_n-\ell_1}$$ such descendant nodes that are removed from consideration. The next iteration picks a (surviving) node at depth $$\ell_2$$ and removes $$r^{\ell_n-\ell_2}$$ further leaf nodes, and so on. After $$n$$ iterations, we have removed a total of

 * $$\sum_{i=1}^n r^{\ell_n-\ell_i}$$

nodes. The question is whether we need to remove more leaf nodes than we actually have available — $$ r^{\ell_n}$$ in all — in the process of building the code. Since the Kraft inequality holds, we have indeed

 * $$ \sum_{i=1}^n r^{\ell_n-\ell_i} \leqslant r^{\ell_n}$$

and thus a prefix code can be built. Note that as the choice of nodes at each step is largely arbitrary, many different suitable prefix codes can be built, in general.

Proof of the general case
Now we will prove that the Kraft inequality holds whenever $$S$$ is a uniquely decodable code. (The converse needs not be proven, since we have already proven it for prefix codes, which is a stronger claim.) The proof is by Jack I. Karush.

We need only prove it when there are finitely many codewords. If there are infinitely many codewords, then any finite subset of it is also uniquely decodable, so it satisfies the Kraft–McMillan inequality. Taking the limit, we have the inequality for the full code.

Denote $$C = \sum_{i=1}^n r^{-l_i}$$. The idea of the proof is to get an upper bound on $$C^m$$ for $$m \in \mathbb{N}$$ and show that it can only hold for all $$m$$ if $$C \leq 1$$. Rewrite $$C^m$$ as

\begin{align} C^m & = \left( \sum_{i=1}^n r^{-l_i} \right)^m \\ & = \sum_{i_1=1}^n \sum_{i_2=1}^n \cdots \sum_{i_m=1}^n r^{-\left(l_{i_1} + l_{i_2} + \cdots + l_{i_m} \right)} \\ \end{align} $$

Consider all m-powers $$S^m$$, in the form of words $$s_{i_1}s_{i_2}\dots s_{i_m}$$, where $$i_1, i_2, \dots, i_m$$ are indices between 1 and $$n$$. Note that, since S was assumed to uniquely decodable, $$s_{i_1}s_{i_2}\dots s_{i_m}=s_{j_1}s_{j_2}\dots s_{j_m}$$ implies $$i_1=j_1, i_2=j_2, \dots, i_m=j_m$$. This means that each summand corresponds to exactly one word in $$S^m$$. This allows us to rewrite the equation to

C^m = \sum_{\ell=1}^{m \cdot \ell_{max}} q_\ell \, r^{-\ell} $$

where $$q_\ell$$ is the number of codewords in $$S^m$$ of length $$\ell$$ and $$\ell_{max}$$ is the length of the longest codeword in $$S$$. For an $$r$$-letter alphabet there are only $$r^\ell$$ possible words of length $$\ell$$, so $$q_\ell \leq r^\ell$$. Using this, we upper bound $$C^m$$:

\begin{align} C^m & = \sum_{\ell=1}^{m \cdot \ell_{max}} q_\ell \, r^{-\ell} \\ & \leq \sum_{\ell=1}^{m \cdot \ell_{max}} r^\ell \, r^{-\ell} = m \cdot \ell_{max} \end{align} $$

Taking the $$m$$-th root, we get

C = \sum_{i=1}^n r^{-l_i} \leq \left( m \cdot \ell_{max} \right)^{\frac{1}{m}} $$

This bound holds for any $$m \in \mathbb{N}$$. The right side is 1 asymptotically, so $$\sum_{i=1}^n r^{-l_i} \leq 1$$ must hold (otherwise the inequality would be broken for a large enough $$m$$).

Alternative construction for the converse
Given a sequence of $$n$$ natural numbers,

 * $$\ell_1 \leqslant \ell_2 \leqslant \cdots \leqslant \ell_n$$

satisfying the Kraft inequality, we can construct a prefix code as follows. Define the ith codeword, Ci, to be the first $$\ell_i$$ digits after the radix point (e.g. decimal point) in the base r representation of

 * $$\sum_{j = 1}^{i - 1} r^{-\ell_j}.$$

Note that by Kraft's inequality, this sum is never more than 1. Hence the codewords capture the entire value of the sum. Therefore, for j > i, the first $$\ell_i$$ digits of Cj form a larger number than Ci, so the code is prefix free.

Generalizations
The following generalization is found in.

The previous theorem is the special case when $$D= \{a_1, \dots, a_r\}$$.$$There is a generalization to quantum code.

title: Kraft–McMillan inequality


text:
Talk:Arturo Benedetti Michelangeli

February 2005 rewrite
Am I to understand that this article was marked from a small stub article to copyvio more than 6 months ago with no reference URL and no discussion? If no one objects I will remove this and rewrite the stub. --Ian —Preceding unsigned comment added by Ianml (talk • contribs) 05:00, 6 February 2005 (UTC)

His surname
Although he's often referred to as "Michelangeli" and he's usually listed under M rather than B in encyclopedias, I've always believed that his surname was actually "Benedetti Michelangeli". This is because "Benedetti" is not an Italian given name, but in the form of a surname. The corresponding given name would be "Benedetto". Is my assumption correct, and do we need to say anything about this? -- JackofOz (talk) 09:29, 23 July 2008 (UTC)

Jack, I think you are right. Benedetti and Michelangeli are surnames, possibly one coming from his mother and the other from his father, or even both from his dad, as commonly happens in Latin countries. Saying something about this in the article certainly isn't pivotal, but wouldn't hurt it either. Regards, MUSIKVEREIN (talk) 12:41, 23 July 2008 (UTC)

 * Thanks, MUSIKVEREIN. I had a later thought.  Benedetti may be his middle name, but one that was given in honour of one of his relatives with that surname - perhaps his mother's maiden name, for example, as you say.  That is, it'd be in the same class of names as William Pember Reeves, John Wilkes Booth, Mary Tyler Moore, and thousands of others I can't bring to mind right now.  That still makes it a middle name, albeit one that he preferred to use rather than just being known as "Arturo Michelangeli".  If this is the case, referring to him as "Michelangeli" would be correct.  But before we rush to judgment, best to find out the facts first.  I'll do some more research.  --  JackofOz (talk) 00:55, 24 July 2008 (UTC)

 * This says his father’s name was Giuseppe Benedetti Michelangeli. That doesn’t necessarily prove the surname was “Benedetti Michelangeli”, because “Benedetti” may have been a traditional middle name given to various members of the Michelangeli family.  It also says “Of his father he said he had Austrian aristocratic origins, a Benedikter indeed ..." which might relate to “Benedetti”.  I have no idea what a Benedikter is.  It may refer to the surname Benedikter, and genealogical sites tell us that people named Benedikter are indeed related to people named Benedetti.

 * This Russian-language forum discusses the issue, with various points of view expressed, but without coming to any definite conclusion. It tells us his brother was Umberto Benedetti Michelangeli. But that still doesn’t prove his surname one way or another, because the same tradition could have applied to his brother and his father as applied to Arturo.  --  JackofOz (talk) 01:29, 24 July 2008 (UTC)

 * The Russian-language version of the article has a box headed "Бенедетти Микеланджели, Артуро" - "Benedetti Michelangeli, Arturo".  --  JackofOz (talk) 02:56, 24 July 2008 (UTC)

Jack, congratulations on a quick-but-thorough research. Maybe we'll never know for sure, but my guess is Benedetti Michelangeli is the father's family surname and both Arturo and his brother Umberto were registered with only that surname, dropping their mother's. This isn't unusual in countries of Latin origin (generally Spanish, Italian and Portuguese-speaking nations). MUSIKVEREIN (talk) 12:52, 24 July 2008 (UTC)

 * I know about the mother's surname forming part of the child's name in Spanish-speaking countries, but I wasn't aware this was a tradition in Italy. --  JackofOz (talk) 01:38, 25 July 2008 (UTC)

Tempo di borea (talk) 14:45, 4 April 2010 (UTC):Benedetti Michelangeli is his actual surname. His father had the same surname (Benedetti Michelangeli), while her mother's surname was Paparoni. You should also be aware of the fact that in Italy aristocratic families bear normally two surnames. In fact, the Benedetti Michelangeli family has noble origin (a palace in the city of Foligno - Umbria is named after Benedetti Michelangeli family). The "two surnames" issue is, as a consequence, closed. This is not connected with the Spanish habit of getting the father's and mother's surnames. Please refer to P. Rattalino, ABM, L'asceta.

Neutral Point of View
I question whether recent edits have followed WP:NPOV. Claims to "prestige" and "greatness", even when quoted and well sourced, are higly un-encyclopedic. I have removed a sentence stating that ABM is considered one of the greatest talian pianists. Thanks. --Karljoos (talk) 18:41, 17 January 2009 (UTC)

I agree, and to illustrate this point, at the moment the introduction reads ".. was a virtuoso Italian classical pianist and along with Josef Hofmann, one of the most perfect pianists in history. He is considered by many to be among the greatest pianists of the 20th century." Who picks the "most perfect pianist in history" and who considers him "to be among the greatest pianists of the 20th century"? —Preceding unsigned comment added by 122.49.162.84 (talk) 05:04, 5 April 2010 (UTC)

Agree with both above, and now looking at it, it's still a advertisment, not an encyclopedia entry. And especially an important artist like ABM would need a correctly written entry here. I'm not the biographer, but I'd really like to see some change. Anapazapa (talk) 14:36, 2 August 2015 (UTC)

Anapazapa's comment, but also the other 2, have a noteworthy psychologic interest.

The statement "He is widely considered one of the greatest pianists of the twentieth century" appears in the introduction to all the greatest 20th pianists that were on the same level with Michelangeli, from Richter to Rubinstein, Kempff to Arrau, Schnabel to Pollini, Horowitz to Backhaus. And in nearly all cases, the "source" is the New York Times or the inclusion in the "Great Pianists of the 20th Century" CD collection published by Philips. Both of those distinctive conditions apply to Michelangeli, there's nothing to discuss about this; (and it should be noted that they have given him 2 ALBUMS in the Great Pianists CD collection, putting him not only in the great, but in the greatest ones)

But then, the mystery remains about Anapazapa and the other 2 commenters above. None of them in fact has posted such comments in the pages of the above said pianists: why only here? Why do these people call non-encyclopedic and "advertisement-like" something that is uniformly as it is here in all other like pages?

The article, as it is, is biased AGAINST Michelangeli, because it shows 1 favourable critic and 2 unfavourable ones (one of which regards the very young Michelangeli), in front of an extensive laudatory array of critics that were addressed to him in reality.

Moreover, the page does not explain that criticism to him was motivated on his rejection of the dominating fashion of his time.. meaning his originality (which has been stated by Piero Rattalino, considered a reliable source by WikiPedia and quoted here and there extensively Autumn gloaming (talk) 15:02, 8 November 2015 (UTC)

External links modified
Hello fellow Wikipedians,

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wasn't he notorious for cancelling appearances?
I believe Gould filled in for him on one such occasion for a television  appearance.104.169.21.247 (talk) 07:24, 19 October 2020 (UTC)

title: Talk:Arturo Benedetti Michelangeli


text: Category:Music events

title: Category:Music events


text:
Composite field

In quantum field theory, a composite field is a field defined in terms of other more "elementary" fields. It might describe a composite particle (bound state) or it might not. It might be local, or it might be nonlocal. Noether fields are often composite fields and they are local.

In the generalized LSZ formalism, composite fields, which are usually nonlocal, are used to model asymptotic bound states.

title: Composite field


text:
Radó's theorem (harmonic functions)

 * See also Rado's theorem (Ramsey theory)

In mathematics, Radó's theorem is a result about harmonic functions, named after Tibor Radó. Informally, it says that any "nice looking" shape without holes can be smoothly deformed into a disk.

Suppose Ω is an open, connected and convex subset of the Euclidean space R2 with smooth boundary ∂Ω and suppose that D is the unit disk. Then, given any homeomorphism μ : ∂D → ∂Ω, there exists a unique harmonic function u : D → Ω such that u = μ on ∂D and u is a diffeomorphism.

title: Radó's theorem (harmonic functions)