text:
Talk:Ethidium bromide

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Ose347.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 20:53, 16 January 2022 (UTC)

Strongly Mutagenic
The structure of Ethidium Bromide is "Strongly Mutagenic," and the EPA is enough of a resource for this to be AT MINIMUM cited in a specific, clearly written sentence reflecting exactly such information. "maintaining datasheets also comes with responsibility:it HAS to be up to date"
 * datasheets are the responsibility of the people who write datasheets. they can be cited here with impunity.  removing them, however, is unethical, because it is potentially dangerous to real live human beings.  who gives a damn if some fool employer didn't find up to date MSDS on WIKIPEDIA...  that is their responsibility.  (keep in mind, the argument Qchristenson presents is a legal obligation, not moral, and ... not a law either, actually.)  would Qchristenson also like the EPA warnings on radioactive materials removed?  i bet they make a MSDS for those too.  shall we go and wipe them from wiki?  i smell the reek of an unethical editor, someone who, if located, could be physically found to have a legal, monetary, unethical interest in removing citations which have scary, truthful health information.  and since this is my own lovely bit of discussion, i'd appreciate it if qChr didn't "edit the discussion" as that's about as repugnant as the earlier safety edits.  i'll have this bookmarked Qchr, and I'll be watching from high high atop my moral highhorse.  i like people, happy, healthy, not ignorant people.  i hope to keep them that way.  toodles,q.

I'm changing the page today. EPA citation, Strongly Mutagenic, the whole scary true deletion.

regular old wiki anon~ —Preceding unsigned comment added by 24.220.158.150 (talk) 05:16, 3 March 2010 (UTC)

Structure and Chemistry
Some references on these properites would be nice. Qchristensen (talk) 20:55, 8 October 2009 (UTC)

 * There's a reference for the structure on the image description pages of the 3D models - just click on one of the images to go to the description page.

 * Ben (talk) 00:08, 9 October 2009 (UTC)

MSDS Information
I would like to make the suggestion to leave safety sheets out of this article and just reference to a reliable source, the body of text is simply not to wiki standards (for instance low link density). maintaining datasheets also comes with responsibility:it HAS to be up to date (new regulations etc.)

I would agree--MSDS for all toxic chemicals such as this should be referenced but not summarized. any incorrect information could be potentially harmful.

It appears the MSDS information in the chem box is verified as correct by a bot. I would keep it out of the text, though. Qchristensen (talk) 22:09, 12 September 2009 (UTC)

Specificity
How specific is EtBr for DNA/RNA comparasons - ie. does RNA contamination effect the DNA conc returned when trying to quantify DNA? 60.234.161.83 (talk) 00:34, 31 July 2008 (UTC)

The UV spec is quite featureless and dull. If you would like to include one the Molecular Probes website has one. I think a UV-spec could be interesting. Can anyone get one? What wavelength (range) should the UV light be?

Hazardous Material and Waste Handling notes
A discussion on the research into the toxicity of EtBr can be found at the Department of Health and Human Services here:

http://ntp.niehs.nih.gov/?objectid=6F5F63F6-F1F6-975E-79965F7EE68AE7C0

With a link the papers on EtBr toxicity here:

http://ntp.niehs.nih.gov/?objectid=6F5F64D1-F1F6-975E-764B503A71F20433

There is essential no human toxicity tests for EtBr. There are currently no consensus waste disposal procedures. There are a number of different methods of disposal of EtBr. This article here illustrates some of the confusion surrounding waste disposal of EtBr: ftp://ftp.ncifcrf.gov/pub/methods/TIBS/jun94.txt

There are very few if any federal and state guidelines as to the disposal of non-commercial EtBr waste. Commercially produced EtBr is subject to a number of laws, but the usage at the lab level is considered to be of a trivial quantity. Most EtBr waste is disposed of in the normal trash. If the quantity of EtBr is large enough the mater can be incinerated or charcoal filtered, etc.

From the EPA's website quoting an NIH article on the disposal of EtBr: "Warning: This compound is moderately toxic and strongly mutagenic." EtBr, however, does not meet the RCRA regulatory definition of hazardous waste (40 CFR 261), it is neither a characteristic nor a listed hazardous waste, and can be managed as non-hazardous solid waste (i.e., EtBr is not subject to RCRA Subtitle C management or disposal requirements). This does not mean that RCRA has no authority over the disposal of this compound. EtBr, if managed improperly, does meet the statutory definition of hazardous waste. " http://www.epa.gov/region2/p2/college/qa.htm

Therefore, locally responsible guidelines outlining the disposal practices of the individual lab, etc. are applicable or else you may be fined. —Preceding unsigned comment added by Ascotan (talk • contribs) 20:55, 28 April 2009 (UTC)

 * Edited this discussion and the article. I provided many references addressing issues of waste and health.

Qchristensen (talk) 20:18, 11 September 2009 (UTC)

the waste disposal section reads like a how-to guide, not an encyclopedia.

 * removed how-to information

Qchristensen (talk) 20:24, 11 September 2009 (UTC)

Someone proposed handling ethidium bromide without gloves. While this may be fine I don't think this article should prescribe safety protocol. Qchristensen (talk) 01:20, 1 October 2009 (UTC)

I added references to the national toxicology program, which are also given above. The summary there is quite thorough. I would be interested to know how well EtBr is absorbed through the skin. Qchristensen (talk) 01:20, 1 October 2009 (UTC)

Equine (horse) and cow antibiotic
Maybe worth indicating that EthBr is used widely as an antibiotic in horses and cattle. To date, no cancer cases have been directly linked to EthBr, although many lab workers treat it like the most dangerous chemical known to man, almost unnecessarily. Might be interesting to expand on perhaps?

 * issue addressed in article with references.
 * Qchristensen (talk) 20:24, 11 September 2009 (UTC)

 * http://www.youtube.com/watch?v=musDz9DR_jA states, at 2 mins into the playback, that this compound will demyelinate the spinal column of rats when injected into them. Cautious handling might seem prudent in that light. 88.212.174.4 17:06, 16 October 2007 (UTC)

 * reference to toxicity added.
 * Qchristensen (talk) 20:24, 11 September 2009 (UTC)

Cautious handling is prudent, but I have yet to hear of an accidental spinal injection. If you wear gloves and do not later put them in your mouth, then I think you are safe.

Health Effects
The statement 'The above studies support the idea that ethidium bromide is a mutagen. . .' seems to contradict 'The National Toxicology Program states it is nonmutagenic in rats and mice'. The section is called 'Health Risks' so this sentence seems to imply that EtBr is a human mutagen which would seem unlikely if it is nonmutagenic in rats and mice. Could you clarify? ScienceGeekling (talk) 01:16, 17 December 2009 (UTC)

I'll modify the sentence to remove this seeming contradiction. Happy to discuss further. ScienceGeekling (talk) 13:41, 18 December 2009 (UTC)

Redirect
It seems like Ethyl Bromide can also be abbreviated EtBr. I suggest that EtBr should be a disambiguation page for either Ethidium Bromide or Ethyl Bromide. Although, an alternative suggestion would be to make a note in the Ethidium Bromide page that goes something like: ''For the other compound with the EtBr abbreviation, see Ethyl Bromide." --Hakushu8 20:18, 7 June 2007 (UTC)

The article stated that EtBr is an abbreviation for ethidium bromide; I've always seen Et used as an abbreviation for ethyl, so EtBr would be bromoethane or ethyl bromide. I've edited accordingly. Izzycat 03:24, 27 March 2006 (UTC)
 * Becuase it's supposed to be EthBr. Karol 09:32, 27 March 2006 (UTC)

EtBr is the standard abbreviation for ethidium bromide - scientists aren't incredibly concerned with the uniqueness of an abbreviation when the chemical in question is so widely used.

 * EtBr is a widely used abbreviation for Ethidium Bromide in Biology labs. These labs don't think about ethyl bromide much. Qchristensen (talk) 22:13, 12 September 2009 (UTC)

History missing
I'd really like to see an introductory paragraph mentioning when it was first created, by whom, and why it is named as it is. "Ethidium" is a strange term indeed. Leeconte (talk) 18:04, 6 April 2012 (UTC)

NFPA 704 inconsistent with the article
The NFPA 704 diamond on the article has a health rating of 4, meaning that "very short exposure could cause death or major residual injury." However, this is inconsistent with the passages describing its relative safety such as "Although ethidium bromide is said to be mutagenic on some circumstances of exposure, evidence shows that it is relatively safe[,] and its [alleged] high toxicity is largely a myth." Any thoughts on this? --Firestar464 (talk) 10:55, 26 July 2021 (UTC)

 * There is considerable confusion on this front. Ethidium bromide has been assumed to be a mutagen for decades due to its intercalating ability, and has been treated as extremely toxic, but actual studies in animals have consistently shown it to be relatively non-toxic. One of the examples of where scientists and science aren't always on the same page. 2601:282:8900:B50:88BB:5A13:F32F:A3F3 (talk) 06:41, 8 December 2023 (UTC)

title: Talk:Ethidium bromide


text:
Talk:Chaldean mythology

This very odd title reveals its PoV origin in late 19th-century Bible studies. A more modern title might encourage broader participation: Mesopotamian mythology might serve, keeping Sumerian, Babylonian and Kassite mythology separate from Assyrian mythology. --Wetman 10:03, 25 Feb 2005 (UTC)

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

title: Talk:Chaldean mythology


text:
Chikmagalur district

Chikmagalur, officially Chikkamagaluru is an administrative district in the Malnad subregion of Karnataka, India. Coffee was first cultivated in India in Chikmagalur. The hills of Chikmagalur are parts of the Western Ghats and the source of Tunga and Bhadra rivers. Mullayanagiri, the highest peak in Karnataka is located in the district. The area is well known for the Sringeri Mutt that houses the Dakshina Peeta established by Adi Shankaracharya.

Etymology
Chikmagalur district gets its name from its headquarters of Chikmagalur town. It is alternatively spelt as Chikkamagaluru or Chikmagalur. Chikmagalur literally means "The town of the younger daughter" in the Kannada language. The town is said to have been given as a dowry to the younger daughter of Rukmangada, the legendary chief of Sakkarepatna and hence the name.

History
Chikmagalur is the region where the Hoysala rulers started and spent the early days of their dynasty. According to a legend, it was at Sosevur, now identified with Angadi in Mudigere Taluk that Sala, the founder of the Hoysala dynasty, killed the legendary tiger, immortalised in the Hoysala crest. It is known that Veera Ballala II (1173 – 1220 CE), the great king of Hoysala empire, has built the Shri Mallikarjuna Swamy Temple at Yagati in Kadur Taluk and Amriteshwara temple at Amrithapura in Tarikere Taluk.

Coffee was introduced into India through the Chikmagalur district when the first coffee crop was grown in the baba budan giri range during 1670 AD. The saint Baba Budan on his pilgrimage to Mecca travelled through the seaport of Mocha, Yemen where he discovered coffee. To introduce its taste to India, he wrapped seven coffee beans around his belly and got them out of Arabia. On his return home, he planted the beans in the hills of Chikmagalur.

Geography
Chikmagalur, the headquarters of Chikmagalur district, is 251 km from the state capital of Bangalore, and is surrounded by the Chandra Drona hills and dense forests. The district is between 12° 54´ 42´´ and 13° 53´ 53´´ North latitude and between 75° 04´ 46´´ and 76° 21´ 50´´ east longitude. Its greatest length from east to west is about 138.4 kilometres and from north to south 88.5 kilometres. The district receives normal average rainfall of 1925 mm. The highest point in the district is Mullayanagiri, 1,926 m above sea level which is also the highest point in the state of Karnataka. 30% of the district (2108.62 km2) is covered with forests. The district borders Shimoga to the north, Davanagere to the north-east, Chitradurga and Tumkur districts to the east, Hassan to the south, Dakshina Kannada to the south-west and Udupi to the west.

Rivers (Mouth)

 * Netravati (Arabian Sea)
 * Bhadra (Tungabhadra)
 * Tunga (Tungabhadra)
 * Hemavathi (Kaveri)
 * Vedavathi (Tungabhadra)
 * Yagachi (Hemavathi)

Mountain Peaks

 * Mullayyana Giri
 * Kudremukha
 * Kemmangundi Hill Station
 * Devaramane betta
 * Ettina Bhuja
 * Unnamed peak at 13.53194°N, 75.87028°W - Lesser known peak located in Kadur taluk between Shakunagiri and Hogarekhangiri, at an elevation, 1573 metres above MSL, overlooking Madagada Kere.

Climate and rainfall
Chikmagalur is a large district with its East-West dimension larger than its North-South. This vast area covers higher western ghats in the west to lower semi-arid plains in the east. Thus, evergreen forest, wet deciduous, dry deciduous and dry forests are all found in the district. Rainfall pattern follows West-East direction, with western portion receiving a whooping 5000mm rainfall annually and eastern portion receiving less than 1000mm. Kigga village in Sringeri taluk is the wettest place in the Chikmagalur district, as per Karnataka State Natural Disaster Monitoring Centre(KSNDMC).Daily temperature ranges between 18-32°celsius on any given day across the district. During summers the temperature reaches as high as 38-40°C and during winters there is high diurnal temperature variation as the night temperature dips below 10°C.

Demographics
According to the 2011 census, Chikmagalur district has a population of 1,137,961, roughly equal to the nation of Cyprus or the US state of Rhode Island. This gives it a ranking of 408th in India (out of a total of 640). The district has a population density of 158 PD/sqkm. Its population growth rate over the decade 2001–2011 was −0.28%. Child proportion(0-6 Age) accounts for 9.26% of the population. Chikmagalur has a sex ratio of 1005 females for every 1000 males, and a literacy rate of 79.24%. 21.05% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 22.29% and 3.95% of the population respectively.

Among taluks, Sringeri taluk has the least population whereas Chikmagalur taluk has the highest population.

At the time of the 2011 census, 72.74% of the population spoke Kannada, 7.39% Urdu, 5.52% Tulu, 3.75% Tamil, 2.79% Telugu, 2.47% Malayalam, 1.97% Lambadi and 1.30% Konkani as their first language.

Administration
Chikmagalur district falls under the Mysore Division of Karnataka. It is divided into two Revenue Sub-divisions, Chikmagalur Sub-Division and Tarikere Sub-Division. Chikmagalur Sub-Division comprises the taluks of Chikmagalur, Koppa, Mudigere and Sringeri whereas the Tarikere Sub-Division comprises the taluks of Tarikere, Kadur, Ajjampura and Narasimharajapura. The Deputy Commissioner (also the District Magistrate) is the functional head of the district. Each Sub-Division has Assistant Commissioners and each Taluk has Tahsildars who work under the control and supervision of the Deputy Commissioner.

Economy
Agriculture is the economical back bone of the Chikmagalur district with coffee cultivation forming the major part of it. Agricultural production in the district is spread over three seasons — namely Kharif, Rabi and Summer. Important crops grown are cereals, i.e. rice, ragi, jowar, maize and minor millets, pulses like red gram, horse gram, green gram, avrekai (Hyacinth Beans), black gram and Bengal gram. Oil seeds like groundnut, sesamum, sunflower, castor and commercial crops like sugarcane, cotton, and tobacco are also grown here.

Chikmagalur is the second largest coffee producing district in India, after Kodagu. The Coffee Board located in Chikmagalur town is the government authority that oversees the production and marketing of coffee cultivated in the district. Coffee is cultivated in Chikmagalur district in an area of around 85,465 hectares with Arabica being the dominant variety grown in upper hills and Robusta being the major variety in the low level hills. There are around 15,000 coffee growers in this district with 96% of them being small growers with holdings of less than or equal to 4 hectares. The average production is 55,000 MT: 35,000 MT of Arabica and 20,000 MT of Robusta. The average productivity per hectare is 810 kg for Arabica and 1110 kg of Robusta, which are higher than the national average.

Industries
Chikmagalur district unfortunately has not made good progress in terms of Industrial Development. Inadequate infrastructure investors preferring non-industrial ventures over industrial ones are quoted as some of the reasons for the backwardness of Industrial Development in this district.

There is only one Large Scale industry in this district, i.e. M/s Kudremukh Iron Ore Company Ltd. (KIOCL) in Kudremukh area of Mudigere Taluk. KIOCL was established in 1976 to develop the Kudremukh mine and to produce 7.5 million tonnes of concentrate per year. The facilities were commissioned in 1980 and the first shipment of concentrate was made in October 1981. A pelletisation plant with a capacity of 3 million tonnes per year was commissioned in 1987 for production of high quality blast furnace and direct reduction grade pellets for export. KIOCL received a massive setback when its mining licence expired and operations were stopped by the Supreme Court with effect from 31 December 2005. With many of the employees losing their jobs and the social backlash that may result thereof, efforts are being made to generate jobs for these workers in other areas.

There are two industrial estates in Chikmagalur district, one located near Chikmagalur town and the other near Birur in Kadur Taluk. The Chikmagalur Industrial Estate is spread over 13.20 acre of land where the one at Birur is spread over 11.1 acre. Karnataka Industrial Area Development Board (KIADB) is also developing an Industrial Area of over 145 acre near Amble village of Chikmagalur taluk.

Tourism
Hill stations in the district are: Kemmangundi, Kudremukh, Mullayanagiri, Baba Budan Giri also known as Datta Peeta, Deviramma Betta. Waterfalls are: Manikyadhara Falls, Kallathigiri Falls, Hebbe Falls, Shanti Falls, Shankar Falls, Hanumana Gundi Falls, Kadambi Falls, Sirimane Falls, Dabdabe Falls etc. Reservoirs and lakes are Bhadra Dam, Hirekolale lake, Ayyenkere lake etc.

Temple towns are Sringeri, Horanadu, Kalasa, Narasimharajapura, Amritapura etc.

Road
Chikmagalur district is known for not well maintained roads. The poor state of the roads has hampered development of this district to some extent; more so because of the absence of even a good rail network in this district. The total length of roads in this district is 7264 km. There are only three National Highways that pass through this district. The National Highway NH-69 (Bangalore to Honnavar) passes through the towns of Kadur, Tarikere and NH-173 passes through Kadur - Chikmagalur - Mudigere connecting Mangaluru via Charmadi ghat. There is a proposal to upgrade.

Rail
Chikmagalur, Kadur and Tarikere and Ajjampura taluks have railway lines passing through them. The total length of railway line passing through the district is 136 km. Birur Junction and Kadur Junction railway station are the two Railway Junctions in the District. A new railway line connecting Chikmagalur to the main Hubli–Bangalore trunk line was newly inaugurated and the commencement of the new line connecting Chikmagalur to Sakleshpur on the Bangalore–Mangalore trunk line has already been started.

Air
Chikmagalur district has a small airport near Gowdanahalli village about 10 km from Chikmagalur town. Its suitable for small charted planes. Airports at Mangalore and Bangalore can be used as an alternative.

Education
According to 2011 census, the percentage literacy rate of Chikmagalur district is 79.25% with 85.41% of males and 73.16% of females being literate. The literacy rate of Chikmagalur is higher than the average literacy rate of Karnataka state which is 75.36%. Sringeri Taluk has the highest literacy rate of 92.68% and Kadur Taluk with 74.33% being the least literate one.

As of 2011, there are 13 degree colleges (with 4615 students) offering graduate education in Chikmagalur district which are affiliated to Kuvempu University. Chikmagalur taluk has the maximum 4 graduate colleges (with 1648 students) whereas kadur has 2 and Koppa, Mudigere, Narasimharajapura and Sringeri taluks have only 1 graduate college each.

As of 2001, there are 1620 primary schools (with 151,923 students) and 235 secondary schools (high schools with 34,607 students) in Chikmagalur district. Chikmagalur taluk with 414 primary schools (42,774 students) has the most primary schools with Sringeri Taluk having the fewest at 80 primary schools (5822 students). Kadur Taluk with 74 secondary schools (9990 students) has the most secondary schools with Sringeri Taluk having the fewest at 9 secondary schools (1492 students).
 * Primary and secondary education:

As of 2001, there are 46 colleges (with 4711 students) offering Higher Secondary (Pre-University) education in Chikmagalur district. Kadur Taluk with 12 Higher-Secondary colleges (1324 students) has the most Higher-secondary colleges with Sringeri Taluk having the fewest, two Higher-secondary colleges (160 students).
 * Higher secondary education:

 * Technical education:
 * Adichunchanagiri Institute of Technology Polytechnic, Chikmagalur
 * DACG (GOVT) Polytechnic, Chikmagalur

title: Chikmagalur district


text:
RSTP

RSTP :
 * Rstp, the abbreviation for the orchid genus Restrepia
 * Rapid Spanning Tree Protocol, a computer network protocol

title: RSTP


text: User talk:84.154.104.16

title: User talk:84.154.104.16


text:
Attack poodle

Attack poodle is a political epithet or pejorative that typically denotes a vociferous but utterly servile defender of a given political leader, party, or faction. It gained popular currency in 2002 when Paul Marsden a member of the British Parliament who ran afoul of the Labour party Chief Whip Hilary Armstrong charged that Prime Minister Tony Blair was setting out "one of his attack poodles" to bring him or her into line. It is a partly facetious expression that has been used in British and American politics, equivalent in meaning to a party hack.

The term was further popularized by the American culture critic James Wolcott in his 2004 book, Attack Poodles and Other Media Mutants: The Looting of the News in a Time of Terror, a critique of popular right-wing TV news personalities who he claims are increasingly dominating the mainstream media in America.

The term was also used in 1998 by Saddam Hussein's regime in Iraq which scorned the British as "America’s attack poodle" in response to air raids undertaken by the latter as part of Operation Desert Fox.

title: Attack poodle


text: User talk:84.154.102.141

title: User talk:84.154.102.141


text:
Damien Francis

Damien Jerome Francis (born 27 February 1979) is a retired Jamaican international footballer who played as a defensive midfielder.

Early career
As a child, Francis followed Wimbledon, and was a ball boy at their ground. He started playing for the club aged nine, originally as a defender, before moving into midfield.

After several successful seasons with Wimbledon, Francis moved to Norwich City and made a good impression including helping them reach the Premiership by winning the Championship in season 2003-2004.

Wigan
After Norwich were relegated at the end of their first season in the Premiership following a disappointing campaign, Francis made the decision to end his two-year stay at Carrow Road but remained in the Premiership by securing a transfer to promoted Wigan Athletic.

Despite Wigan's success in finishing 10th in the Premiership and reaching the League Cup final, it was a disappointing spell professionally for Francis, who did not feature as much as he would have liked to. He signed for newly promoted Watford for a fee of £1.5 million at the start of the 2006-2007 season.

Watford
On debut against Everton, he claimed a goal, only for it to be ruled an own goal by Alan Stubbs by the Premier League's Goals Panel. Francis would go on to feature regularly for Watford that season, playing 39 times and scoring four goals. These included a goal in Watford's run to the FA Cup semi-finals, against Ipswich Town in the fifth round. On 21 April 2007, in a game against Manchester City Francis injured his cruciate knee ligaments, an injury that was expected to keep him out for around six months. As a consequence of the 1–1 draw in that game, Watford were relegated. Francis injury actually kept him out for 18 months. He failed to recover fully from the injury and was forced to retire from football on 3 October 2008.

Club

 * Source:

title: Damien Francis


text:
Ignaz Schiffermüller

Jeremias (Johann) Ignaz Schiffermüller (2 November 1727, Hellmonsödt – 21 June 1806, Linz) was an Austrian naturalist and Jesuit teacher who took a special interest in the Lepidoptera. In order to describe the colours of butterflies, he also looked for a systematic approach to describing colours in nature and to standardize their names. The moth Tinea schiffermullerella was named after him but the name is no longer valid.

Life and work
Schiffermüller was born in Hellmonsödt near Linz. The baptism record notes the name as Jeremias Ignatio, he was the eighth of ten children of master brewer Leopold Schiffermiller and Maria née Margottin. Jeremias Mitterbauer a meat seller was his godfather. After studies at Linz he joined the Jesuit order in Vienna at the age of nineteen. From 1752 to 1754 he taught at the Passau Grammar School. He became a teacher at the Theresianum College in Vienna in 1759 and worked there for fifteen years. During this time he took an interest in natural history, collecting specimens of butterflies. His collection was presented to the old United Royal and Imperial Natural History Collections (Vereinigtes k.k. Naturalien-Cabinet) at the Hofburg where it burnt during the revolution in 1848. With Michael Denis, also a teacher at the Theresianum, he published the first index of the Lepidoptera of the Viennese region in the book Das Systematische Verzeichnis der Schmetterlinge der Wienergegend herausgegeben von einigen Lehrern am k. k. Theresianum (1775). Another work titled Ankündung eines systematischen Werkes von den Schmetterlingen der Wienergegend (1775) was distributed privately to various people including Carl Linnaeus. The work did not explicitly state his name as an author but described 1150 species. Because this work also included the names of some new butterfly species, it caused some nomenclatural problems for taxonomists. His collection is in the Kaiserlichen Hof-Naturalienkabinett (now Naturhistorisches Museum Wien). In 1775 he was named a royal councilor and he moved to Linz, living there until his death.

Colour system
Schiffermüller is noteworthy for his work in developing a scientifically based colour nomenclature to aid the description of butterfly coloration.

In his Versuch eines Farbensystems (1772), Schiffermüller addressed the need for a standardised nomenclature with which to describe the countless colours of nature. Work by predecessors in this field had proved unsatisfactory: he mentions suggestions made by Giovanni Antonio Scopoli (1723–1778) in his Entomologia Carniolica (1763) and August Johann Rösel (1705–1759) in his Insecten-Belustigung (1746–61). He made use of the work of L'optique des couleurs by the French Jesuit Louis Bertrand Castel (1688–1757). He included a colour circle for the saturated colours which he termed as "blühende Farben" (florid colors). He then tried to define tints of each colour. To serve as a model, Schiffermüller himself presents a table classifying and sub-classifying shades of blue, and naming them in German, Latin and French: in all, 81 German terms are listed. Matching this table, and using the same alphabetical notation, is a 3 x 12 matrix showing a set of colour samples for blue, with some discussion of the pigments used.

Works

 * Versuch eines Farbensystems, Vienna 1772

title: Ignaz Schiffermüller


text:
Dance in India

Dance in India comprises numerous styles of dances, generally classified as classical or folk. As with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country.

Sangeet Natya Academy, the national academy for performing arts in India, recognizes eight traditional dances as Indian classical dances, while other sources and scholars recognize more. These have roots in the Sanskrit text Natya Shastra, and the religious performance arts of Hinduism.

Folk dances are numerous in number and style and vary according to the local tradition of the respective state, ethnic, or geographic region. Contemporary dances include refined and experimental fusions of classical, folk, and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of Southeast Asia as well. Dances in Indian films, like Bollywood Dance for Hindi films, are often noted for freeform expression of dance and hold a significant presence in the popular culture of the Indian subcontinent.

In India, a command over either of Sanskrit, Tamil, Telugu, Oriya, Meitei (Manipuri), Persian, or Arabic, are highly appreciated and respected for learning dances (most significantly Indian Classical Dances) as dancers could have the tools of these languages to go into the primary material texts.

Nomenclature
Classical dance is one whose theory, training, means and rationale for expressive practice is documented and traceable to ancient classical texts, particularly the Natya Shastra. Classical Indian dances have historically involved a school or guru-shishya parampara (teacher-disciple tradition) and require studies of the classical texts, physical exercises, and extensive training to systematically synchronize the dance repertoire with underlying play or composition, vocalists and the orchestra.

A folk Indian dance is one which is largely an oral tradition, whose traditions have been historically learnt and mostly passed down from one generation to the next through word of mouth and casual joint practice. A semi-classical Indian dance is one that contains a classical imprint but has become a folk dance and lost its texts or schools. A tribal dance is a more local form of folk dance, typically found in one tribal population; typically tribal dances evolve into folk dances over a historic period.

Origins of dance in India

The origins of dance in India go back to ancient times. The earliest paleolithic and neolithic cave paintings such as the UNESCO world heritage site at Bhimbetka rock shelters in Madhya Pradesh show dance scenes. Several sculptures found at Indus Valley Civilisation archaeological sites, now distributed between Pakistan and India, show dance figures. For example, the Dancing Girl sculpture is dated to about 2500 BCE, showing a 10.5 cm high figurine in a dance pose.

The Vedas integrate rituals with performance arts, such as a dramatic play, where not only praises to gods were recited or sung, but the dialogues were part of a dramatic representation and discussion of spiritual themes. The Sanskrit verses in chapter 13.2 of Shatapatha Brahmana (≈800–700 BCE), for example, are written in the form of a play between two actors.

"The Vedic sacrifice (yajna) is presented as a kind of fight, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes."

- Louis Renou

The evidence of earliest dance-related texts are in Natasutras, which are mentioned in the text of Panini, the sage who wrote the classic on Sanskrit grammar, and who is dated to about 500 BCE. This performance arts related Sutra text is mentioned in other late Vedic texts, are as two scholars names Shilalin (IAST: Śilālin) and Krishashva (Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing, dance and Sanskrit compositions for these arts. Richmond et al. estimate the Natasutras to have been composed around 600 BCE, whose complete manuscript has not survived into the modern age.

The classic text of dance and performance arts that has survived is the Hindu text Natya Shastra, attributed to sage Bharata. He credits the art his text systematically presents to times before him, ultimately to Brahma who created Natya-veda by taking the word from the Rigveda, melody from the Samaveda, mime from the Yajurveda, and emotion from the Atharvaveda. The first complete compilation of Natya Shastra is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The classical dances are rooted in Natya Shastra.

India has a number of classical Indian dance forms, each of which can be traced to different parts of the country. Classical and folk dance forms also emerged from Indian traditions, epics and mythology.

Classical dance
Classical dance of India has developed a type of dance-drama that is a form of total theater. The dancer acts out a story almost exclusively through gestures. Most of the classical dances of India enact stories from Hindu mythology. Each form represents the culture and ethos of a particular region or a group of people.

The criteria for being considered as classical is the style's adherence to the guidelines laid down in Natyashastra, which explains the Indian art of acting. The Sangeet Natak Akademi currently confers classical status on eight Indian classical dance styles: Bharatanatyam (Tamil Nadu), Kathak (North, West and Central India), Kathakali (Kerala), Kuchipudi (Andhra), Odissi (Odisha), Manipuri (Manipur), Mohiniyattam (Kerala), and Sattriya (Assam). All classical dances of India have roots in Hindu arts and religious practices.

The classical dance of India is also common outside it, for example, it was performed on the island of Ouahu by their mayor (Proshakov E.D.) as part of the local folklore festival. The tradition of dance has been codified in the Natyashastra and performance is considered accomplished if it manages to evoke a rasa (emotion) among the audience by invoking a particular bhava(gesture or facial expression). Classical dance is distinguished from folk dance because it has been regulated by the rules of the Natyashastra and all classical dances are performed only in accordance with them.

Bharatanatyam
Dating back to 1000 BC, barathanatyam is a classical dance from the South Indian state of Tamil Nadu, practiced predominantly in modern times by women. The dance is usually accompanied by classical Carnatic music. Bharatnatyam is a major genre of Indian classical dance that originated in the Hindu temples of Tamil Nadu and neighboring regions. Traditionally, Bharatanatyam has been a solo dance that was performed exclusively by women, and expressed Hindu religious themes and spiritual ideas, particularly of Shaivism, but also of Vaishnavism and Shaktism.

Bharatanatyam and other classical dances in India were ridiculed and suppressed during the colonial British Raj era. In the post-colonial period, it has grown to become the most popular classical Indian dance style in India and abroad, and is considered to be synonymous with Indian dance by many foreigners unaware of the diversity of dances and performance arts in Indian culture.

Kathakali
Kathakali (katha, "story"; kali, "performance") is a highly stylized classical dance-drama form, which originated from Kerala in the 17th century. This classical dance form is another "story play" genre of art, but one distinguished by its elaborately colorful make-up, costumes and face masks wearing actor-dancers, who have traditionally been all males.

Kathakali primarily developed as a Hindu performance art, performing plays and mythical legends related to Hinduism. While its origin are more recent, its roots are in temple and folk arts such as Kutiyattam and religious drama traceable to at least the 1st millennium CE. A Kathakali performance incorporates movements from the ancient martial arts and athletic traditions of south India. While linked to the temple dancing traditions such as Krishnanattam, Kutiyattam and others, Kathakali is different from these because unlike the older arts where the dancer-actor also had to be the vocal artist, Kathakali separated these roles allowing the dancer-actor to excel in and focus on choreography while the vocal artists focused on delivering their lines.

Kathak
Kathak is traditionally attributed to the traveling bards of ancient northern India, known as Kathakas or storytellers. The term Kathak is derived from the Vedic Sanskrit word Katha meaning "story", and kathaka in Sanskrit means "he who tells a story", or "to do with stories". Kathak evolved during the Bhakti movement, particularly by incorporating childhood and amorous stories of Hindu god Krishna, as well as independently in the courts of north Indian kingdoms. It transitioned, adapted and integrated the tastes and Persian arts influence in the Mughal courts of the 16th and 17th century, was ridiculed and declined in the colonial British era, then was reborn as India gained independence.

Kathak is found in three distinct forms, named after the cities where the Kathak dance tradition evolved – Jaipur, Benares and Lucknow. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells (Ghungroo), the movement harmonized to the music, the legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, stage movements, bends and turns.

Kuchipudi
Kuchipudi classical dance originated in a village of Krishna district in modern era Indian state of Andhra Pradesh. It has roots in antiquity and developed as a religious art linked to traveling bards, temples and spiritual beliefs, like all major classical dances of India. In its history, the Kuchipudi dancers were all males, typically Brahmins, who would play the roles of men and women in the story after dressing appropriately.

Modern Kuchipudi tradition believes that Tirtha Narayana Yati and his disciple an orphan named Siddhendra Yogi founded and systematized the art in the 17th century. Kuchipudi largely developed as a Hindu god Krishna-oriented Vaishnavism tradition, and it is most closely related to Bhagavata Mela performance art found in Tamil Nadu, which itself has originated from Andhra Pradesh. The Kuchipudi performance includes pure dance (nritta), and expressive part of the performance (nritya), where rhythmic gestures as a sign language mime the play. Vocalists and musicians accompany the artist, and the tala and raga set to (Carnatic music). In modern productions, Kuchipudi dancers include men and women.

Odissi
Odissi originated in the Hindu temples of Odisha – an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath), but also of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism). Odissi is traditionally a dance-drama genre of performance art, where the artist(s) and musicians play out a mythical story, a spiritual message or devotional poem from the Hindu texts, using symbolic costumes, body movement, abhinaya (expressions) and mudras (gestures and sign language) set out in ancient Sanskrit literature.

Sattriya
Sattriya is a classical dance-drama performance art with origins in the Krishna-centered Vaishnavism monasteries of Assam, and attributed to the 15th century Bhakti movement scholar and saint named Srimanta Sankardev. One-act plays of Sattriya are called Ankiya Nat, which combine the aesthetic and the religious through a ballad, dance and drama. The plays are usually performed in the dance community halls (namghar ) of monastery temples (sattras). The themes played relate to Krishna and Radha, sometimes other Vishnu avatars such as Rama and Sita.

Manipuri
Manipuri Raas Leela dance is a unique form of dance drama which has its origin in Manipur, a state in northeastern India bordering with Myanmar (Burma). It is particularly known for its Hindu Vaishnavism themes, and performances of love-inspired dance drama of Radha-Krishna called Ras Lila. However, the dance is also performed to themes related to Shaivism, Shaktism. The Manipuri Raas Leela dance is a team performance, with its own unique costumes notably the Kumil (a barrel shaped, elegantly decorated skirt), aesthetics, conventions and repertoire. The Manipuri dance drama is, for most part, marked by a performance that is graceful, fluid, sinuous with greater emphasis on hand and upper body gestures.

Mohiniyattam
Mohiniyattam developed in the state of Kerala, gets its name from Mohini – the seductress avatar of Vishnu, who in Hindu mythology uses her charms to help the good prevail in a battle between good and evil. Mohiniyattam follows the Lasya style described in Natya Shastra, that is a dance which is delicate, with soft movements and feminine. It is traditionally a solo dance performed by women after extensive training. The repertoire of Mohiniyattam includes pure and expressive dance-drama performances, timed to sopana (slower melody) styled music, with recitation. The songs are typically in a Malayalam-Sanskrit hybrid called Manipravala.

Folk and tribal dance forms
Folk dances and plays in India retain significance in rural areas as the expression of the daily work and rituals of village communities.

Sanskrit literature of medieval times describes several forms of group dances such as Hallisaka, Rasaka, Dand Rasaka and Charchari. The Natya Shastra includes group dances of women as a preliminary dance performed in prelude to a drama.

India has numerous folk dances. Every state has its own folk dance forms like Bihu and Bagurumba in Assam, Garba, Gagari (dance), Ghodakhund & Dandiya in Gujarat, Nati in Himachal Pradesh, Neyopa, Bacha Nagma in Jammu and Kashmir, Jhumair, Domkach in Jharkhand, Bedara Vesha, Dollu Kunitha in Karnataka, Thirayattam and Theyyam in Kerala, Dalkhai in Odisha, Bhangra & Giddha in Punjab, Kalbelia, Ghoomar, Rasiya in Rajasthan, Perini Dance in Telangana, Chholiya dance in Uttarakhand and likewise for each state and smaller regions in it. Lavani, and Lezim, and Koli dance is most popular dance in Maharashtra.

Tribal Dances in India are inspired by the tribal folklore. Each ethnic group has its own distinct combination of myths, legends, tales, proverbs, riddles, ballads, folk songs, folk dance, and folk music.

The dancers do not necessarily fall rigidly into the category of "tribal". However, these forms of dance closely depict their life, social relationships, work, and religious affiliations. They represent the rich culture and customs of their native lands through intricate movements of their bodies. A wide variation can be observed in the intensity of these dances. Some involve very slight movement with a groovier edge to it, while others involve elevated and vigorous involvement of limbs.

These dances are composed mostly on locally made instruments. Percussion instruments feature in most of these dances. Music is produced through indigenous instruments. Music too has its own diversity in these tribal dances with the aesthetics ranging from mild and soothing to strong and weighted rhythms. A few of them also have songs, either sung by themselves or by onlookers. The costumes vary from traditional saris of a particular pattern to skirts and blouses with mirror work for women and corresponding dhotis and upper-wear for men. They celebrate contemporary events, and victories and are often performed as a mode of appeasing the tribal deities.

A lot of the dance styles depend upon the regional positioning of the ethnic group. Factors as small as the east or west of a river result in a change of dance form even though the overreaching look of it may seem the same. Religious affiliation affects the content of the songs and hence the actions in a dance sequence. Another major factor affecting their content is the festivals, mostly harvest.

For example, the ethnic groups from the plain land rabhas from the hilly forested areas of Assam make use of baroyat (plate-like instrument), Handa (a type of sword), boushi (adze-like instrument), boumshi (bamboo flute), sum (heavy wooden instrument), dhansi. kalbansi, kalhurang, chingbakak. Traditionally, their dances are called basili. Through their dance, they express their labours, rejoicings and sorrows. Handur Basu their pseudo-war dance expresses their strength and solidarity.

Tribal dances by territory
From a broader point of view, the different tribal dance forms, as they would be classified in the context of territory are:

 * Andhra Pradesh

Siddi, Tappeta Gundlu, Urumulu (thunder dance), Butta Bommalata, Goravayyalu, Garaga (Vessel Dance), Vira Ntyam (Heroic Dance), Kolatam, Chiratala Bhajana, Dappu, Puli V Esham (Tiger Dance), Gobbi, Karuva, and Veedhi Bhagavatam.

 * Arunachal Pradesh

Ponung, Sadinuktso, Khampti, Ka Fifai, Idu Mishmi (ritual) and Wancho.

 * Assam

Dhuliya and Bhawariya, Bihu, Deodhani, Zikirs, Apsara-Sabah.

 * Goa

Mussoll, Dulpod or Durpod, Kunnbi-Geet, Amon, Shigmo, Fugdi, and Dhalo.

 * Haryana

Rasleela, Phag Dance, Phalgun, Daph Dance, Dhamaal, Loor, Guga, Jhomar, Ghomar, Khoria, Holi, Sapela.

 * Himachal Pradesh

Chambyali dance, ghuraiyan, pahadi nati, Dalshone and Cholamba,jhamakda, Jataru Kayang, Jhoori, Ji, Swang Tegi, Rasa.

 * Jharkhand

Jhumair, Domkach, Paiki, Chhau, Mundari dance, Santali dance.

 * Karnataka

Veeragase, Nandi Dhwaja, Beesu Kamshaley, Pata Kunitha, Bana Debara Kunitha, Pooja kunitha, Karaga, Gorawa Mela, Bhuta Nrutya, Naga Nrutya, Batte Kola, Chennu Kunitha, Maaragalu Kunitha, Kolata, Simha Nrutya, Yakshagana

 * Kerala

Thirayattam, Padayani, Ayyappanvilakku, Vattakkali, Theyyam, Mohiniyattom, Kadhakali, Koodiyattam, Thiruvathira Kali, Ottamthullal, Kerala folk dance, Kalamezhuthum Pattum, Oppana, Marghamkali, Chavittunadakam, Mudiyettu, Dhaphumuttu, Parichamuttukali, Kolkali, Arbhanamuttu, Pulikali, Kummattikali, Poorakali, Arjunanirtham, Pettathullal

 * Chhattisgarh

Dadariya, Panthii, Suaa, Kaksat, Maria, Shaila, Gondi, Gaur, Karma, Sarhul, Raut Nacha, Danda Nacha, Gerri, Thiski, Bar, Relo, Muriya

 * Madhya Pradesh

Sugga, Banjaara (Lehangi), Matki dance, Phul Patti dance, Grida dance.

 * Manipur

Lie Haraoba dance, Chanlam, Toonaga Lomna dance

 * Meghalaya

Wiking, Pombalang Nongkrem

 * Mizoram

Cheraw, Khuallam, Chheihlam, Chailam, Tlanglam, Sarlamkai, Chawnglaizawn

 * Maharashtra

Lavani, Koli, Tamasha, Bala Dindi, Dhangari Gaja

 * Odisha

Naga, Ghumri, Danda Nacha, Chhau, Goti Pua, Dal khai, Baagha Nacha, Keisabadi

 * Punjab

Bhangra, Gidha, Kikli, Sammi, Karthi

 * Rajasthan

Banjaara, Ghoomar, Fire dance, Tera tali, Kachhi Ghori, Geedar

 * Sikkim

Pang Toed Chaam (Chaam means dance) performed during the Pang Lhabsol festival in honor of the Guardian deity Khang-Chen-Dzonga, Maruni (Nepali Dance), and Tamak.

Karakam, Puravai Attam, Ariyar Natanam, Podikazhi Attam, Kummi, Kavadi, Kolattam, Navasandhi, Kuravaik Koothu, Mayilaattam, Oyil Kummi, Pavakkuthu
 * Tamil Nadu

 * West Bengal

Chhau, Santali dance, Jatra, Gazan

 * Tribal Gypsies

Lozen, Gouyen

Contemporary dance
Contemporary dance in India encompasses a wide range of dance activities currently performed in India. It includes choreography for Indian cinema, modern Indian ballet and experiments with existing classical and folk forms of dance by various artists.

Uday Shankar and Shobana Jeyasingh have led modern Indian ballet which combined classical Indian dance and music with Western stage techniques. Their productions have included themes related to Shiva-Parvati, Lanka Dahan, Panchatantra, Ramayana among others.

Dance in Bollywood Film
The presentation of Indian dance styles in film, Hindi Cinema, has exposed the range of dance in India to a global audience.

Dance and song sequences have been an integral component of films across the country. With the introduction of sound to the cinema in the film Alam Ara in 1931, choreographed dance sequences became ubiquitous in Hindi and other Indian films.

Dance in early Hindi films was primarily modeled on classical Indian dance styles such as Kathak, or folk dancers. Modern films often blend this earlier style with Western dance styles (MTV or in Broadway musicals), though it is not unusual to see western choreography and adapted classical dance numbers side by side in the same film. Typically, the hero or heroine performs with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature dramatic shifts of location and/or changes of costume between verses of a song. It is popular for a hero and heroine to dance and sing a pas de deux (a French ballet term, meaning "dance of two") in beautiful natural surroundings or architecturally grand settings, referred to as a "picturisation". Indian films have often used what are now called "item numbers" where a glamorous female figure performs a cameo. The choreography for such item numbers varies depending on the film's genre and situation. The film actress and dancer Helen was famous for her cabaret numbers.

Often in movies, the actors don't sing the songs themselves that they dance too, themselves but have another artist sing in the background. For an actor to sing in the song is unlikely but not rare. The dances in Bollywood can range from slow dancing to a more upbeat hip-hop style dance. The dancing itself is a fusion of all dance forms. It could be Indian classical, Indian folk dance, belly dancing, jazz, hip-hop, and everything else you can imagine.

Dance education
Since India's independence from colonial rule, numerous schools have opened to further education, training, and socialization through dance classes, or simply a means to exercise and fitness.

Major cities in India now have numerous schools that offer lessons in dances such as Odissi, Bharatanatyam, and these cities host hundreds of shows every year. Dances which were exclusive to one gender, now have participation by both males and females. Many innovations and developments in the modern practice of classical Indian dances, states Anne-Marie Geston, are of a quasi-religious type.

Geographic spread
Some traditions of the Indian classical dance are practiced in the whole Indian subcontinent, including Pakistan and Bangladesh, with which India shares several other cultural traits. Indian mythologies play a significant part in dance forms of countries in Southeast Asia, an example being the performances based on Ramayana in Javanese dances.

Festivals
Sangeet Natak Akademi (The National Academy of Music, Dance, and Drama) organizes dance festivals around India.

title: Dance in India


text: User talk:84.154.63.43

title: User talk:84.154.63.43


text: User talk:84.154.114.240

title: User talk:84.154.114.240


text:
User:Ta bu shi da yu/Patent stopping idea

I had an odd idea and I'm wondering why noone has throught of it. It's kinda underground... but I'll say it anyway (idea can be dangerous things!). Basically, I was thinking about why open source has nothing to fear from being made extinct by businesses: a business tries to kill a product by buying the company that makes it, or puts them out of business by cutting off their supply of profits. Open source doesn't rely on these things: it relies on people who like making cool things (and companies of people that like cool things). As such it can't be bought out, as you can't buy out something you give out for free and yet still have some measure of control over. So this is where businesses have struggled. Luckily for them, there is a way of stopping it: patents. File a patent and some open source bozo comes out with the same idea in their product: sue the pants off them! All of a sudden you've killed the product.

So. What can those OSS enthusiasts do?

Here's an idea: basically, what you do is make a product that is extensible (ala Firefox). Have a mechanism where you can build a file sharing mechanism into it that is totally decentralised (like Gnutella). Make your products so componentised and extensible that every bit of functionality can be installed with a click of a button (like Firefox's extensions). However, the catch is that the click of the button compiles the module from source. Then, make the components that have patents on them and test them, release them as an extension and never note who created the product, then release this into the Gnutella style file sharing network. Hook up the extension manager to the Gnutella network and have people download the extensions and also share it (you'd need a way of making them share extensions). Why is this a good idea? Two reasons:
 * 1) The packages are all in source code. Anyone with knowledge can find bugs and release it as a different package after fixing the bugs.
 * 2) Once in the file sharing network, companies would find it impossible to track down the original author. Hence they can't sue them. If you have 20 million users, then they would have to sue each of the 20 millions users. They couldn't sue the original author of the highly extensible software package that brings it all together because they haven't done anything wrong. And they don't provide a service where people upload their files to a centralised file server.

There are some challenges here:
 * 1) a revision control system that could work over a distributed network. A distributed and decentralised CVS would be needed, if you will. This would be needed because otherwise you'd never know which revision to download (no revision numbers would work).
 * 2) the data would need to go over a well known port that isn't easy to block, like port 80. Otherwise network admins would work out ways of stopping this data from getting around the Internet.
 * 3) A way of signing code to make sure it isn't malicious and won't break underlying systems (like delete files, etc). I see that you would need some sort of sandbox to run it in. Don't know how you'd get around that one.

Anyway, that's my random thought. Seems wacky to me, and probably not doable: but imagine if it could be done? Say bye bye software patents! Basically, it would change the very face of the industry: if software patents are published fully and people can write extensions for existing software, but these extensions are dispersed widely and in source code where fixes and enhancements could be made anonymously: well, how are you going to enforce software patents?

The only ones who couldn't do these types of things are corporations, as they can't be seen to do dodgy or illegal things. Even then they may still be able to use patented software, as they haven't done anything wrong! But it would be a boon for consumers.


text: User talk:84.154.109.26

title: User talk:84.154.109.26


text:
Template talk:AIDcur

Do we want this on the article page or talk page? The previous version was disambig-like for the article, as per COTW, and the present messagebox version is apparently for talk? 119 10:10, 25 Feb 2005 (UTC)

Standardisation
This template appears on the talk page of an article and should therefore follow WP:TS standards. violet/riga (t) 19:04, 17 July 2005 (UTC)

 * The template does not appear on a talk page but on the main page of an article. It is not even mentioned on WP:TS in any way. --Fenice 19:08, 17 July 2005 (UTC)

 * Sorry to disagree with you there but please look at the usage of the template:
 * Talk:Forest
 * Talk:Lake
 * Talk:Vladimir Putin
 * Talk:Macrophilia
 * Talk:Choctaw language
 * This week's improvement drive
 * Article improvement drive/Removed/6 June 2005
 * Discounting those last two, it clearly appears on talk pages. You may also wish to consult template locations where such things are being discussed.  Finally, WP:TS applies to all talk page templates, not just the examples it shows.  violet/riga (t) 19:58, 17 July 2005 (UTC)

title: Template talk:AIDcur


text: User talk:84.154.126.152

title: User talk:84.154.126.152


text:
Senior PGA Championship

The Senior PGA Championship, established in 1937, is the oldest of the five major championships in men's senior golf. It is administered by the Professional Golfers' Association of America and is recognized as a major championship by both PGA Tour Champions and the European Senior Tour. It was formerly an unofficial money event on the European Senior Tour, but since 2007 has been an official money event. Winners gain entry into the next PGA Championship. The winners prior to 1980, the first season of the senior tour, are not considered major champions of this event by the PGA Tour Champions.

The lower age limit is 50, which is the standard limit for men's senior professional golf tournaments. Like its PGA Tour counterpart, the Senior PGA Championship allows club professionals to enter. The tournament committee gives former winners of the PGA Professional National Championship a one time invitation upon turning 50 years of age and the top 35 club professionals who qualify through the Senior PGA Professional National Championship.

History
The inaugural event was played 87.63571740458524 years ago in 1937 at Augusta National Golf Club, with 54-year-old Jock Hutchison winning the 54-hole event on Thursday, December 2. The second edition at Augusta was reduced to 36 holes due to rain, but had an 18-hole playoff on December 9 to decide the winner, Fred McLeod. The next edition was moved to Florida in January, No tournaments were held in 1943 and 1944 due to World War II. The event returned in 1945 at the PGA National Golf Course, where it stayed until 1962. The event moved to different courses in Florida through 2000. Due to scheduling moves, two tournaments were played in 1979 and 1984 and none in 1983, and 1985. It moved from winter to mid-April in 1990 and when it rotated to various sites in 2001, it became a late spring event, played in late May or early June.

It was a 36-hole event until 1954; after four years at 54 holes, it became a 72-hole event in 1958. In the past, the event has had long spells of playing on a single host course, but currently it is played on a different course each year.

In 2011, the PGA of America and Whirlpool Corporation commenced an agreement which designated the KitchenAid brand as official home appliance brand of the PGA of America and presenting sponsor of the KitchenAid Senior PGA Championship. Harbor Shores Golf Club in Benton Harbor, Michigan, was designated as the home golf course for the KitchenAid Senior PGA Championship, where the Championship was played every other year starting in 2012. The Championship was canceled in 2020 due to the COVID-19 pandemic. In 2014, the parties extended the sponsorship contract through 2018 and made KitchenAid the title sponsor of the event. The two organizations extended the contract again in 2018 through 2024. In 2024, Whirlpool Corporation did not renew its title sponsorship, which marked the culmination of the KitchenAid brand's 13-year tenure as sponsor.

Eligibility
Here is who may be eligible to compete in the Senior PGA Championship (provided they meet the age requirement):
 * Any past winner of the Senior PGA Championship
 * Any past winner of a regular major championship
 * Any past member of the United States Ryder Cup team
 * The top 15 finishers in the previous year's Senior PGA Championship
 * The top 50 on the PGA Tour Champions money list (previous year and current year)
 * Any winner of a PGA Tour Champions event since the last Senior PGA Championship
 * The top 35 finishers from the Callaway Golf Senior PGA Professional National Championship
 * Any winner of the previous five U.S. Senior Opens
 * The winner of the previous five Senior Open Championship
 * The top eight players from the previous year's European Senior Tour Order of Merit
 * The top four players from the previous year's Japanese Seniors Tour Order of Merit
 * A one-time exemption for those who have just turned 50 and have won a PGA Tour, Japan Golf Tour, or European Tour event in the last 5 years
 * The top 30 on the career money list, both PGA Tour Champions and combined PGA Tour Champions and PGA Tour
 * A one-time exemption for former PGA Professional National Champions turning 50
 * Invitations for those not meeting criteria above also are made

Winners
Source:

Multiple winners
The following men have won the Senior PGA Championship more than once, through 2021:

 * 6 wins: Sam Snead (1964, 1965, 1967, 1970, 1972, 1973)
 * 4 wins: Hale Irwin (1996, 1997, 1998, 2004)
 * 3 wins: Eddie Williams (1942, 1945, 1946), Al Watrous (1950, 1951, 1957), Gary Player (1986, 1988, 1990)
 * 2 wins: Jock Hutchison (1937, 1947), Gene Sarazen (1954, 1958), Paul Runyan (1961, 1962), Julius Boros (1971, 1977), Don January (1979, 1982), Arnold Palmer (1980, 1984), Lee Trevino (1992, 1994), Jay Haas (2006, 2008), Tom Watson (2001, 2011), Colin Montgomerie (2014, 2015)

Winners of both PGA Championship and Senior PGA Championship
The following men have won both the PGA Championship and the Senior PGA Championship, the majors run by the PGA of America:

Final round ratings
2019: 1.190 million on NBC

Future tournament sites
Source
 * PGA Frisco is also slated to host in 2029.
 * Congressional Country Club is also slated to host in 2033.

title: Senior PGA Championship


text:
User talk:61.68.145.33

January 2023
Hello. Some of your recent genre changes, such as the one you made to Triple M Central Coast, have conflicted with our neutral point of view and/or verifiability policies. While we invite all users to contribute constructively to Wikipedia, we urge all editors to provide reliable sources for edits made. When others disagree, we recommend you seek consensus for certain edits by discussing the matter on the article's talk page. Thank you. Materialscientist (talk) 11:11, 7 January 2023 (UTC)

title: User talk:61.68.145.33


text:
Yours, Mine and Ours (1968 film)

Yours, Mine and Ours is a 1968 American family comedy drama film directed by Melville Shavelson. The film stars Lucille Ball, Henry Fonda, Van Johnson and Jennifer Leak.

Yours, Mine and Ours was released in the United States on April 24, 1968, by United Artists. The film received mixed reviews from critics but was commercially successful. A remake was released in 2005.

Plot
Frank Beardsley is a Navy Chief Warrant Officer, recently detached from the aircraft carrier USS Enterprise and assigned as project officer for the Fresnel lens glide-slope indicator, or "meatball", that would eventually become standard equipment on all carriers. Helen North is a civilian nurse working in the dispensary at NAS Alameda, the California U.S. Navy base to which Frank is assigned.

Frank meets Helen, first by chance in the commissary on the base and again when Frank brings his distraught teen-age daughter for treatment at the dispensary, where Helen informs him that the young lady is simply growing up in a too-crowded house that lacks a mother's guidance. They immediately hit it off and go on a date, all the while shying away from admitting their respective secrets: Frank has ten children and Helen has eight, from previous marriages ended by their spouses' deaths.

When each finally learns the other's secret, they initially resist their mutual attraction. But Chief Warrant Officer Darrell Harrison is determined to bring them together, so he "fixes up" each of them with a sure-to-be-incompatible blind date. Helen's date is an obstetrician who stands a good head shorter than she ("Darrell had a malicious sense of humor", Helen observes in a voice-over); Frank's date is a "hip" girl who is not only young enough to be his daughter but is also far too forward for his taste. As the final touch, Harrison makes sure that both dates take place in the same Japanese restaurant. As Harrison fully expects, Frank and Helen end up leaving the restaurant together in his car, with Frank's date sitting uncomfortably between them as they carry on about their children.

Frank and Helen continue to date regularly, and eventually he invites her to dinner in his home. This nearly turns disastrous when Mike, Rusty and Greg, Frank's three sons, mix hefty doses of gin, scotch and vodka into Helen's drink. As a result, Helen's behavior turns wild and embarrassing, which Frank cannot comprehend until he catches his sons trying to conceal their laughter. "The court of inquiry is now in session!" he declares, and gets the three to own up and apologize. After this, he announces his intention to marry Helen, adding, "And nobody put anything into my drink."

Most of the children oppose the marriage at first, regarding each other and their respective stepparents with suspicion. Eventually, however, the 18 children bond into one large blended family, about to increase—Helen becomes pregnant.

Further tension develops between young Philip North and his teacher at the parochial school that he attends: his teacher insists that he use his "legal" name, which remains North even after his mother marries Beardsley. This prompts Helen and Frank to discuss cross-adopting each other's children, who (except for Philip) are aghast at the notion of "reburying" their deceased biological parents. The subsequent birth of Joseph John Beardsley finally unites the children, who agree unanimously to adoption under a common surname.

The film ends with the eldest sibling, Mike Beardsley, going off to Camp Pendleton to join the United States Marine Corps.

Cast

 * Henry Fonda as CWO Frank Beardsley, USN
 * Lucille Ball as Helen North-Beardsley
 * Van Johnson as CWO Darrell Harrison, USN
 * Walter Brooke as Howard Beardsley, Frank's younger brother
 * Nancy Howard as Nancy Beardsley, Howard's wife and Frank's sister-in-law
 * Sidney Miller as Dr. Ashford, Helen's date
 * Louise Troy as Madeleine Love, Frank's date
 * Tom Bosley as a family doctor who makes a house call on the Beardsleys, and is also the consulting physician for the California Draft Board when Mike Beardsley reports for a required physical exam.
 * Ben Murphy as Larry, Colleen's boyfriend
 * Jennifer Gan as Young Lady In Coffeehouse
 * Larry Hankin as Supermarket Clerk
 * Mary Gregory as Sister Mary Alice, who questions Philip's use of the Beardsley name
 * Harry Holcombe as the judge who handles the grand mutual adoption
 * Ysabel MacCloskey as Nanny #1, who lasts less than a day.
 * Pauline Hague as Nanny #2, aka "Mrs. Anderson." She lasts a week because she is hiding from the police. After a stint with the Beardsleys, she turns herself in.
 * Marjorie Eaton as Nanny #3, aka "Mrs. Ferguson," who famously says, "Mrs. Anderson was last week; I'm Mrs. Ferguson, and you can mail me my check!" She fights Louise precipitating Frank's second meeting with Helen.

The Beardsley Children
 * Tim Matheson as Mike (Credited as "Tim Matthieson")
 * Gil Rogers as Rusty
 * Gary Goetzman as Greg
 * Nancy Roth as Rosemary
 * Morgan Brittany as Louise (Credited as "Suzanne Cupito")
 * Maralee Foster as Mary
 * Holly O'Brien as Susan
 * Michele Tobin as Veronica
 * Tracy Nelson as Germaine
 * Stephanie Oliver as Joan

The North Children
 * Jennifer Leak as Colleen
 * Kimberly Beck as Janette
 * Kevin Burchett as Nicky
 * Mitch Vogel as Tommy
 * Margot Jane as Jean
 * Eric Shea as Philip
 * Greg Atkins as Gerald
 * Lynnell Atkins as Teresa

Production notes
Henry Fonda and Lucille Ball take turns providing voice-over narration throughout—and in at least one scene, Van Johnson talks directly to the camera, as does Fonda.

That Lucille Ball would portray Helen Beardsley was never in doubt. But a long line of distinguished actors came under consideration, at one time or another, for the role of Frank Beardsley. They included Desi Arnaz, James Stewart, Fred MacMurray, Jackie Gleason, Art Carney, and John Wayne. Henry Fonda finally accepted, and indeed asked for, the role in a telephone conversation with Robert F. Blumofe in 1967. Ball, who had worked with Fonda before in the 1942 release The Big Street, readily agreed to the casting.

One account says that Ball recalled in 1961 that Desilu Productions first bought the rights to the Beardsley-North story in 1959, even before Helen Beardsley published her biography, but this is highly unlikely because Frank and Helen Beardsley married on September 6, 1961, and their first spouses were both alive in 1959. More likely is the story that Bob Carroll and his wife brought the story of the Beardsley family to Ball's attention after reading it in a local newspaper. However, Mr. Carroll is said to recall his wife mentioning the story in 1960—again, a full year before the Beardsleys were married and probably when Dick North was still alive. In any event, Desilu Productions did secure the rights early on, and Mr. Carroll and Madelyn Pugh began instantly to write a script.

Production suffered multiple interruptions for several reasons. It began in December 1962 after Ball's abortive attempt at a career on the Broadway stage. In 1963, production was halted after the box-office failure of her comedy effort Critic's Choice (with Bob Hope). Later, she was unhappy with the script presented by Madelyn Pugh (then known as Madelyn Pugh Martin) and Bob Carroll, precisely because their script overly resembled an I Love Lucy television episode, and commissioned another writer (Leonard Spigelgass) to rewrite the script. Mr. Spigelgass does not seem to have succeeded in breaking free of Lucy's television work, so producer Robert Blumofe hired yet two more writers (Mickey Rudin and Bernie Weitzman) to make an attempt. When this failed, Blumofe hired Melville Shavelson, who eventually directed. All further rewrite efforts came to an abrupt end at the insistence of United Artists, the film's eventual distributor.

At this point in the production cycle, Helen Beardsley's book Who Gets the Drumstick? was actually released in 1965. Like many film adaptations, exactly how much the book informed the final shooting script is impossible to determine.

Production began in 1967 with Henry Fonda definitely signed on to portray Frank. Mort Lachman, who had been one of Bob Hope's writers, joined the writing team at the recommendation of Shavelson. Leonard Spigelgass received no on-screen writing credit for his efforts in this film.

Filming was done largely on-location in Alameda and San Francisco, California with Mike's high-school graduation being filmed at Grant High School in southern California (Frank Beardsley's home, into which the blended family eventually moved, was in Carmel). The total budget is estimated at $2.5 million (equivalent to $ million in ), including $1,700,000 for actual filming and post-production.

Reception
The film received lukewarm critical reviews. The film holds a 50% approval rating with 12 reviews from critics on Rotten Tomatoes. Roger Ebert gave the film 3.5 out of 4 stars and praised the performances of Ball and Fonda.

It was a massive commercial success, earning nearly $26 million ($182 Million adjusted for inflation) at the box office (on a tight budget of $2.5 million) and earning over $11 million in rentals.

Frank Beardsley commented that his family enjoyed the film as general entertainment, and acknowledged that perhaps the scriptwriters felt that their screenplay was "a better story" than the truth.

Home media
Yours, Mine and Ours was released on VHS by MGM/UA Home Video in 1989, 1994, and 1998. A Laserdisc version was released in 1994, featuring noise reduction applied to the film soundtrack.

It was released to DVD on March 6, 2001. While the DVD was released in full frame, the original film was a widescreen release in the 1.78:1 aspect ratio; this, therefore, constitutes an open matte presentation.

It was released on Blu-ray on September 13, 2016 through Olive Films (under license from MGM and 20th Century Fox Home Entertainment). The sole special feature is the original movie trailer.

title: Yours, Mine and Ours (1968 film)


text:
Trebeta

Trebeta was the legendary founder of Trier according to the Gesta Treverorum.

According to a legend recorded in the 12th century, Deeds of the Treveri, the city was founded by an mythological-unrecorded prince of Assyria named Trebeta, placing the city's founding legend independent of and centuries before ancient Rome's.

Trebeta's parents were said to have been Ninus, a legendary "King of Assyria" invented by the ancient Greeks (first mentioned by Ctesias), and an unknown mother who was Ninus's wife before Semiramis. Semiramis took control of the kingdom upon his father's death and Trebeta was forced into exile, wandering through Europe before settling at Trier. His body was said to have been cremated on Petrisberg. However, there is no historical evidence that the Assyrians or an Assyrian prince named Trebeta crossed into Europe from the Middle East in Assyrian records of the time.

The German historian Johannes Aventinus disputed that Trebeta (whom he called Trever or Treiber) was the son of Ninus, claiming that he was in fact a son of Ninus' contemporary Mannus, who was supposedly the second king of Germany. Aventinus also credited Trever with building settlements at Metz, Mainz, Basel, Strasbourg, Speyer and Worms.

title: Trebeta


text:
User talk:Wiggles2

Blocked for vandalism. Please don't come back, if you don't have anything useful to contribute. jni 10:21, 25 Feb 2005 (UTC)

title: User talk:Wiggles2


text:
AGARD

The Advisory Group for Aerospace Research and Development (AGARD) was an agency of NATO that existed from 1952 to 1996.

AGARD was founded as an Agency of the NATO Military Committee. It was set up in May 1952 with headquarters in Neuilly sur Seine, France.

In a mission statement in the 1982 History it published, the purpose involved "bringing together the leading personalities of the NATO nations in the fields of science and technology relating to aerospace". The Advisory Group was organized by panels:
 * Aerospace medical, avionics, electromagnetic wave propagation, flight mechanics, fluid dynamics, guidance and control, propulsion and energetics, structures and materials, and technical information.

In 1958 Theodore von Kármán hired Moe Berg to accompany him to the AGARD conference in Paris. "AGARD's aim was to encourage European countries to develop weapons technology on their own instead of relying on the U.S. defense industry to do it for them."

Activities
There were annual meetings, frequently in Paris, but also in Delft, Turin, Cambridge, Washington DC. The Advisory Group administered a consultant and exchange program including lecture series and technical panels.

The AGARD publishing program included a multilingual aeronautical dictionary, about ninety titles per year, with a normal run of 1200. An Agardograph is a work prepared by, or on behalf of, AGARD's panels. For example, an agardograph on the AGARD-B wind tunnel model was prepared.

Later examples of AGARD studies include such topics as non-lethal weapons, theatre ballistic missile defence, protection of large aircraft in peace support operations, and limiting collateral damage caused by air-delivered weapons. AGARD was also one of the first NATO organizations to cooperate with Russia in a mutual exchange of information dealing with flight safety.

AGARD merged with the NATO Defence Research Group (DRG) in 1996 to become the NATO Research and Technology Organisation (RTO).

title: AGARD


text:
Ribbon development

Ribbon development refers to the building of houses along the routes of communications radiating from a human settlement. The resulting linear settlements are clearly visible on land use maps and aerial photographs, giving cities and the countryside a particular character. Such development generated great concern in the United Kingdom during the 1920s and the 1930s as well as in numerous other countries during the decades since.

Normally the first ribbons are focused on roads. Following the Industrial Revolution, ribbon development became prevalent along railway lines, predominantly in Russia, the United Kingdom, and the United States. However, the investment required to build railway stations, the ensuing attractiveness of easy rail access, and need for accompanying roads often led to new small settlements outside of the center city. Ribbon developments yielded attractive home locations on isolated roads as increasing motor car ownership meant that houses could be sold easily even if they were remote from workplaces and urban centres. Developers were pleased to not have to construct additional roads, thereby saving money and plot space. Ribbon developments also filled spaces at the interstice between urban areas, and resultingly appealed to potential buyers needing to access one or more of these locations.

The extent of this development practice around roads led to several problems becoming more intense. Ribbon developments were ultimately recognized as an inefficient use of resources, requiring bypass roads to be built, and often served as a precursor to untrammelled urban sprawl. Thus a key aim for the United Kingdom's post-war planning system was to implement a presumption and convention that rendered new ribbon developments undesirable. Urban sprawl/suburbanization of large areas led to the introduction of green belt policies, new towns, planned suburbs and garden cities.

History
Following the Industrial Revolution, ribbon development became prevalent along railway lines, predominantly in Russia, the United Kingdom, and the United States. The deliberate promotion of Metro-land along London's Metropolitan Railway serves as a strong example of this form of development. Similar examples can be found from Long Island (where Frederick W Dunton bought much real estate to encourage New Yorkers to settle along the Long Island Rail Road lines), Boston and across the American Midwest.

Ribbon development is not restricted to construction along road or rail corridors, as it can also occur along ridge lines, canals and coastlines, the last of which occurs especially as people seeking seachange lifestyles build their houses for an optimal view.

The resulting towns and cities are often difficult to service efficiently due to their remoteness and lack of density. Often, the first problem noticed by residents is increased traffic congestion, as an increased number of people moves along the narrow urban corridor while development continues at the lengthening end of the corridor. Urban consolidation and smart city growth are often solutions that encourage growth towards a more compact urban form.

Ribbon development can also be compared with a linear village -- a village that grows linearly along a transportation route as part of a city's expansion into the frontier. They also lead to dispersion of functions, as the need for pockets of dense development that rely on each other becomes less important.

Ribbon development has long been viewed as a special problem in the Republic of Ireland, where "one-off houses" proliferate on rural roads. This causes difficulties in the efficient supply of water, sewerage, broadband, electricity, telephones and public transport. In 1998, Frank McDonald contrasted development in the Republic with that in Northern Ireland: "Enniskillen [in Northern Ireland] is well defined with clear boundaries to the town and well-laid-out shopping streets. Letterkenny, [in the Republic] by contrast, appears as just one long street with bungalow development trailing off over all the surrounding hills." The houses (ofter disparaged as "McMansions") are also criticised for spoiling countryside scenery: Monaghan County Council in 2013 declared that "The Council will resist development that would create or extend ribbon development." Tipperary County Council and many other councils have adopted similar policies.

Recently, in places such as Flanders, Belgium, regional zoning policy has resulted in ribbon development patterns. Various spatial policies embedded in these plans help predict where ribbon developments may occur and at what rate.

Increased congestion
Due to the main road being flanked by homes or commercial establishments, stoppages in traffic may frequently occur as a result of deliveries or vehicles entering or exiting driveways. This can pose danger for other vehicles that may not see entering traffic, especially if the road is bordered by garages. Residents may also choose to walk alongside the road, an activity made more dangerous by fast-moving traffic.

Utility access
For as simple as linear construction emanating from a city is, the length of a ribbon corridor can pose financial concerns for utility companies as they serve buildings. Density is preferable for utility grids, thereby risking poor access for far-away buildings.

Disruptions during construction
Construction of a new home or building within a ribbon development may severely disrupt the flow of vehicles along the road because there are no feeder streets for construction vehicles to station on. Traffic may be forced into a singular lane or subjected to an alternating pattern.

Obstruction of countryside
Because most ribbon developments exist in rural areas outside of cities, properties can disturb or obstruct the natural landscapes along the road may be constructed along an overlook, removing the public's ability to enjoy the landscape in favor of a single property owner.

Municipal boundaries
Elongated ribbon developments also pose challenges for municipal governments as they partition out rural areas for townships and schools. Rather than development in small towns where schools and other public amenities reside, certain locations within a ribbon development may be difficult to serve by a government and, in turn, cost more in public expenditures.

title: Ribbon development


text:
Template talk:Afd3

Any discussion regarding to this template really should be held at Wikipedia talk:Votes for deletion. -- AllyUnion (talk) 10:22, 25 Feb 2005 (UTC)

I'm putting this up for TFD, and have removed reference to it on the AFD page. It's instruction creep at the worst. This makes it much harder than simply. --Phroziac. o ºO (♥♥♥♥ chocolate!) 21:07, 6 January 2006 (UTC)

Edit request
The TfD notice should be removed. See Templates for deletion/Log/2006 January 6 --Adrian Buehlmann 23:53, 13 January 2006 (UTC)
 * 'Tis done. -Splash talk 02:26, 16 January 2006 (UTC)

linefeed?
Looks like the recent edit (26 Sep 02:41) introduced a superfluous linefeed? Femto 20:07, 26 September 2006 (UTC)

Question about process
I just tried to nominate an article for deletion, and something went wrong. The instructions at Afd3 starter were a little confusing. Do I first have to edit and save the AfD log page, and then save the new article deletion discussion page, or the other way around, or does it matter? Thanks, AxelBoldt (talk) 17:20, 19 June 2012 (UTC)

title: Template talk:Afd3


text:
Haveri district

Haveri is a district in the state of Karnataka, India. As of 2011, it had a population of 1,597,668, out of which 20.78% were urban residents. The district headquarters is Haveri.

Name of the place Haveri is derived from two Kannada words "Havu" which means snake and "keri" which means lake together "Havukeri".

History

Core area of Western Chalukya monuments includes the places Badami, Sudi, Annigeri, Mahadeva Temple (Itagi), Gadag, Lakkundi, Lakshmeshwar, Dambal, Haveri, Bankapura, Rattahalli, Kuruvatti, Bagali, Balligavi, Chaudayyadanapura, Galaganatha, Hangal. It was possible because Soapstone is found in abundance in these areas. Haveri also comes under Core area of Western Chalukya architectural activity.

History of Haveri district dates to pre-historic period. About 1300 stone writings of different rulers like Chalukyas, Rastrakutas are found in the district. Bankapura Challaketaru, Guttavula Guttaru, Kadambas of Hangal and Nurumbad are some of the well known Samanta Rulers. Devendramunigalu the teacher of Kannada Adikavi Pampa and Ajitasenacharya the teacher of Ranna Chavundaraya lived in Bankapura. This was also the second capital of Hoysala Vishnuvardhana. Guttaru ruled during latter part of the 12th century and up to end of the 13th century from Guttavol (Guttal) village as Mandaliks of Chalukya, independently for some time and as Mandaliks of Seunas of Devagiri. Shasanas found in Chaudayyadanapura (Choudapur), a village near Guttal, reveal that Mallideva was Mandalika of 6th Vikramaditya of Chalukyas. Jatacholina, under the leadership of Mallideva built the Mukteshwara temple at Chaudayyadanapura (Choudapur).

Kadambas of Nurumbad during the period of Kalyani Chalukyas ruled about 100 villages with Rattihalli as their capital.

Tourism
Examples of tourist attractions in the district:

 * Dargah of Irshad Ali Baba, Haveri
 * Ranebennur Wildlife Sanctuary in Haveri District
 * Siddhesvara Temple Haveri
 * Galageshwara Temple at Galaganatha
 * Temples at Kaginele (Kanakadasa)
 * Hole-Anveri Temple
 * Kadaramandalagi Anjaneyaswami Temple
 * Mylara Lingeshwara Temple at Mylara near Guttala
 * Utsav Rock Garden - Contemporary Sculptural Garden
 * Heggeri Lake - Which is 900 acres

Churches at Haveri

 * St Anne's Church at Hangal Road, Bharathi Nagar, Haveri
 * St James Church at Guttal
 * Church, Ranebennur

Temples at Kaginele

 * Kaginele Mahasamsthana Kanaka Gurupeetha
 * Handiganuor
 * Ranebennur Wild Life Sanctuary in Haveri District
 * Hombanna Bavi Akkialur Village.
 * Satenahalli Shatensha (Anjaneya) temple is located just 30 km from Haveri and 40 km from Ranibennur in Hirekerur Taluk.

Hotels Nearby

 * Hotel Nimba International in Ranebennur which ranks as the best hotel in Haveri District.
 * Hotel Ashoka in Haveri city where all the politicians of Karnataka state likes to stay when they visit Haveri.

Geography
Haveri District is exactly in the centre of Karnataka, being equidistant from Bidar in the far north and Kollegal in the far south. The district consists of Eight taluks, namely (Rattihalli), Hanagal, Shiggaon, Savanur, Haveri, Byadagi, Hirekerur, and Ranebennur. It is bounded by Dharwad district in the north, by Gadag district in the northeast, by Vijayanagara district in the east, by Davangere district in the south, by Shimoga district in the southwest and by Uttar Kannada in the west and northwest. Before it was made into its own district, it was part of Dharwad District. Haveri is 335 km from Bangalore.

Haveri is the administrative and political headquarters of the district, whereas Ranebennur in the south is a business hub.

Demographics
According to the 2011 census Haveri district has a population of 1,597,668, roughly equal to the nation of Guinea-Bissau or the US state of Idaho. This gives it a ranking of 312th in India (out of a total of 640). The district has a population density of 331 PD/sqkm. Its population growth rate over the decade 2001-2011 was 11.08%. Haveri has a sex ratio of 951 females for every 1000 males, and a literacy rate of 77.6%. 22.25% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 13.77% and 8.85% of the population respectively.

At the time of the 2011 census, 77.29% of the population spoke Kannada, 17.70% Urdu and 2.84% Lambadi as their first language.

Villages

 * Yalavagi

Notable people

 * Kanakadasa - born in Bada village which is situated in the district.
 * Panchakshara Gawai - noted Hindustani classical musician, born in Kada Shettihalli
 * Sarvajna was born in Abalur in Hirekerur taluk

 * Politics and war
 * Mailara Mahadevappa - freedom fighter who resisted British rule, is from Motebennur. And his wife Siddhamma also contributed to the freedom struggle, praised as Siddhamati by Mahatma Gandhi
 * Siddappa Hosamani Karajgi - a freedom fighter, lawyer and politician
 * Gudleppa Hallikeri - freedom fighter who is a native of Hosaritti.
 * Ramaanand Mannangi - Noted freedom fighter and a Gandhian.

 * Art and literature
 * Shishunala Sharif - poet and philosopher of the 19th century, born in Shishuvinahala, Shiggaon taluk
 * Subbanna Ekkundi - noted Kannada poet
 * Puttaraj Gawai - Hindustani classical singer, founder of Veereswara Punyashrama in Gadag; born in Devagiri
 * Galaganatha - Novelist in Kannada
 * Vinayaka Krishna Gokak - noted Kannada poet and recipient of Jnanpith Award, was born in Savanoor
 * Gudigeri Basavaraj - noted theatre personality, film actor
 * Sudha Murthy, Chairperson, Infosys Foundation, was born in Shiggaon
 * B. C. Patil - a Kannada film actor from Yeliwala

title: Haveri district