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Billy Casper

William Earl Casper Jr. (June 24, 1931 – February 7, 2015) was an American professional golfer. He was one of the most prolific tournament winners on the PGA Tour from the mid-1950s to the mid-1970s.

In his youth, Casper started as a caddie and emerged from the junior golf hotbed of San Diego, where golf could be played year-round, to rank seventh all-time in career Tour wins with 51, across a 20-year period between 1956 and 1975. Fellow San Diegan great Gene Littler was a friend and rival from teenager to senior. Casper won three major championships, represented the United States on a then-record eight Ryder Cup teams, and holds the U.S. record for career Ryder Cup points won. After reaching age 50, Casper regularly played the Senior PGA Tour and was a winner there until 1989. In his later years, Casper successfully developed businesses in golf course design and management of golf facilities.

Casper served as Ryder Cup captain in 1979, was twice PGA Player of the Year (1966 and 1970), was twice leading money winner, and won five Vardon Trophy awards for the lowest seasonal scoring average on the Tour.

Respected for his extraordinary putting and short-game skills, Casper was a superior strategist who overcame his distance disadvantages against longer-hitting competitors such as Arnold Palmer and Jack Nicklaus with moxie, creative shot-making, and clever golf-course management abilities. Never a flashy gallery favorite, Casper developed his own self-contained style, relying on solid technique, determination, concentration, and perseverance.

He converted to the Church of Jesus Christ of Latter-day Saints in 1966. Casper was inducted to the World Golf Hall of Fame in 1978.

Early years
Casper was born in San Diego, California. His father started him in golf at age five. Casper caddied during his youth at San Diego Country Club to earn money for golf, and spent one semester at the University of Notre Dame on a golf scholarship, after graduating from high school. He returned to San Diego to marry his wife Shirley in 1952. Casper competed frequently as an amateur against fellow San Diegan Gene Littler. After graduating from Notre Dame, he turned professional in 1954.

Professional career
Casper had 51 PGA Tour wins in his career, with his first coming in 1956. This total places him seventh on the all-time list. His victories helped him finish third in McCormack's World Golf Rankings in 1968, 1969 and 1970, the first three years they were published. He won three major championships: the 1959 and 1966 U.S. Opens, and the 1970 Masters Tournament.

He was the PGA Tour Money Winner in 1966 and 1968. He was PGA Player of the Year in 1966 and 1970. Casper won the Vardon Trophy for lowest scoring average five times: 1960, 1963, 1965, 1966, and 1968.

Casper was a member of the United States team in the Ryder Cup eight times: 1961, 1963, 1965, 1967, 1969, 1971, 1973, 1975, and a non-playing captain in 1979. Casper has scored the most points in the Ryder Cup by an American player.

Casper won at least one PGA Tour event for 16 straight seasons, from 1956 to 1971, the third-longest streak, trailing only Arnold Palmer and Jack Nicklaus, who each won on Tour in 17 straight years.

On the senior circuit, Casper earned nine Senior PGA Tour (now the Champions Tour) wins from 1982 to 1989, including two senior majors.

Legacy
Much has been written in the annals of golf that Casper was the most underrated star in golf history, and the best modern golfer who never received the accolades he deserved. He was not considered one of the "Big Three" — Jack Nicklaus, Arnold Palmer and Gary Player — who are widely credited with popularizing and bringing enormous commercial success to the sport around the world; however, between 1964 and 1970, Casper won 27 tournaments on the PGA Tour, two more than Nicklaus and six more than Palmer and Player combined, during that time period. He is considered by many to have been the best putter of his era.

Casper's 20-year period of winning on the PGA Tour—between 1956 and 1975—was an era of extraordinary growth in tournament purses, television coverage and depth of competition. Casper faced legends such as Palmer, Nicklaus, Sam Snead, Cary Middlecoff, Gary Player and Lee Trevino when they were all at or near their peaks.

Casper was inducted into the World Golf Hall of Fame in 1978. In 2000, he was ranked as the 15th greatest golfer of all time by Golf Digest magazine.

Casper's grandson, Mason Casper, played for the Utah Valley University golf team. Mason qualified for NCAA post-season play in 2012.

Personal life
Casper was a member of the Church of Jesus Christ of Latter-day Saints, joining in early 1966 at age 34, at the height of his playing career.

Casper died at age 83 in 2015 of a heart attack at his home in Springville, Utah. He was survived by his wife of more than 60 years, Shirley Franklin Casper, 11 children, six of whom are adopted, 71 grandchildren and numerous great-grandchildren.

Golf course design and management
After his professional career, Casper was a designer for many golf courses, such as The Highlands, The Palm and Eagle Crest in Sun City Summerlin, Nevada. He also designed the Hidden Oaks Golf Course, 9 holes of a beloved Par 3 in a residential neighborhood just north of Santa Barbara, CA. As of 2017, Billy Casper Golf (BCG) is one of the largest privately owned golf course management companies in the United States, with roughly 150 owned or managed courses in their portfolio. Billy Casper Golf annually hosts the "World's Largest Golf Outing" – a national golf outing fundraiser benefiting military charities.

Acting
Casper had a cameo appearance in the movie, Now You See Him, Now You Don't.

Billy's Kids
Casper was active in charitable work for children and hosted fundraisers, including an annual tournament at San Diego Country Club for "Billy's Kids".

PGA Tour wins (51)
PGA Tour playoff record (8–8)

Source:

Senior PGA Tour wins (9)
Senior PGA Tour playoff record (2–3)

Other senior wins (1)

 * 1984 Liberty Mutual Legends of Golf (with Gay Brewer)

Wins (3)
1 Defeated Palmer in an 18-hole playoff: Casper 69 (−1), Palmer 73 (+3).

2 Defeated Littler in an 18-hole playoff: Casper 69 (−3), Littler 74 (+2).

Results timeline
{{legend|lime|Win}} {{legend|yellow|Top 10}} {{legend|#eeeeee|Did not play}} CUT = missed the half-way cut WD = withdrew "T" = tied

Summary

 * Most consecutive cuts made – 27 (1962 PGA – 1971 Masters)
 * Longest streak of top-10s – 4 (twice)

Wins (2)
1 18-hole playoff finished in a tie, Casper (75) to Funseth (75), Casper won with a birdie on the first sudden-death hole.

U.S. national team appearances
Professional
 * Ryder Cup: 1961 (winners), 1963 (winners), 1965 (winners), 1967 (winners), 1969 (winners), 1971 (winners), 1973 (winners), 1975 (winners), 1979 (winners, non-playing captain)

title: Billy Casper


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Great January Comet of 1910

The Great January Comet of 1910, formally designated C/1910 A1 and often referred to as the Daylight Comet, was a comet which appeared in January 1910. It was already visible to the naked eye when it was first noticed, and many people independently "discovered" the comet. At its brightest, it outshone the planet Venus, and was possibly the brightest comet of the 20th century.

Discovery
The comet came to solar conjunction about 1 degree from the Sun on 17 December 1909 but was still about 1 AU from the Sun. In January the comet brightened rather suddenly, and was initially visible from the Southern Hemisphere only. A number of individuals claimed "discovery", but the comet is thought to have been first spotted by diamond miners in the Transvaal before dawn on January 12, 1910, by which time it was already a prominent naked-eye object of apparent magnitude −1 with a declination of −29 (i.e. best seen from the Southern Hemisphere).

The first person to study the comet properly was Scottish astronomer Robert T. A. Innes at the Transvaal Observatory in Johannesburg on January 17, after having been alerted two days earlier by the editor of a Johannesburg newspaper.

The comet reached perihelion on January 17 and was at that time visible in daylight with the unaided eye, having a magnitude of –5 due to the forward scattering of light. It came to solar conjunction a second time on 18 January 1910. Following perihelion, it declined in brightness but became a spectacular sight from the Northern Hemisphere in the evening twilight, its noticeably curved tail reaching up to 50 degrees by early February.

Halley's Comet and the Daylight Comet
The year 1910 saw considerable media interest in the predicted return of Halley's Comet, which reached perihelion on April 20. The appearance of the Daylight Comet several months earlier therefore came as something of a surprise, and made an extremely strong impression on an expectant public; when Halley's Comet returned again in 1986, many older people's accounts of having seen it in 1910 clearly referred to the Daylight Comet instead.

Owing to a "telephonic error", the comet was initially reported as being named Drake's Comet, though once the error was realised the press afterwards referred to it as the Daylight Comet or Sunset Comet, as no single individual was credited with its discovery.

Panic
Newspapers in various cities reported people having been scared by the appearance of the comet. The Morning Post of Camden, New Jersey reported that similar scares happened in past years when comets had been seen. In Korea many thought the comet would kill them all off. Some stopped going to work, just ate and drank and waited for the world to end.

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

title: Great January Comet of 1910


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User:Galwhaa

I just returned from a really, really, really long wiki-break. As I slowly become more active, I'll expand my user page to include what could be called useful information.

fr:Utilisateur:Mathwiz2020

title: User:Galwhaa


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Comet Skjellerup–Maristany

Comet Skjellerup–Maristany, formally designated C/1927 X1, 1927 IX, and 1927k, was a long-period comet which became very bright in 1927. This great comet was observable to the naked eye for about 32 days. It was independently discovered by amateur astronomers John Francis Skjellerup in Australia on 28 November 1927 and Edmundo Maristany in Argentina on 6 December 1927, and noted for its strong yellow appearance, caused by emission from sodium atoms.

Forward scattering of light on 15–16 December 1927 allowed the comet to be seen during daylight if the observer blocked the Sun. C/1927 X1 passed only 1.4° from the Sun on 15 December 1927.

Comet Skjellerup–Maristany has been more than 105 AU from the Sun since 2010. It was mentioned in J. R. R. Tolkien's book Letters From Father Christmas.

title: Comet Skjellerup–Maristany


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Comet Arend–Roland

Comet Arend–Roland was discovered on November 8, 1956, by Belgian astronomers Sylvain Arend and Georges Roland on photographic plates. As the eighth comet found in 1956, it was named Arend–Roland 1956h after its discoverers. Because it was the third comet to pass through perihelion during 1957, it was then renamed 1957 III. Finally, it received the standard IAU designation C/1956 R1 (Arend–Roland), with the "C/" indicating that it was a non-periodic comet and the "R1" showing that it was the first comet reported as discovered in the half-month designated by "R". The last is equivalent to the period September 1–15.

Observations
In November 1956, a double astrograph at the Uccle Observatory in Brussels was being used for routine investigation of minor planets. On November 8, 1956, the Belgian astronomers Sylvain Arend and Georges Roland discovered a comet on their photographic plates. At that time the comet was at visual magnitude 10, with a strong central condensation and a short tail. The early discovery of this comet allowed observing programs and equipment to be prepared well in advance.

The orbital elements for this comet were computed by Michael Philip Candy, who predicted perihelion passage on April 8, 1957. As the comet was already well developed, he predicted that the object would present a prominent display during April in the northern hemisphere. In early December the comet was 2.5 AU from the Sun and 1.7 AU from the Earth. It was in the constellation Pisces until February, when it reached magnitude 7.5–8. During the April perihelion passage, the tail of the comet reached a length of 15° of arc. The appearance of the tail varied, with streamers on April 16 and May 5, and the tail splitting into three beams on April 29. By April 22 the comet also displayed a prominent anomalous tail (or antitail) spanning 5°. This antitail stretched out to span 12° on April 25, reaching its maximal extent. The antitail had disappeared by April 29.

Following perihelion on April 8, the comet began to fade rapidly from its maximal brightness of magnitude −1. At the start of May it was measured at visual magnitude 5.46. By May 8 it had decreased to magnitude 7, well below the sensitivity limit of the unaided human eye. On May 29 it had dropped to magnitude 8.55.

This was the first comet for which attempts were made to detect it at various radio frequencies. However, these efforts were unsuccessful. No comets were successfully detected in the radio band until the 1973 passage of comet Kohoutek.

Comet Arend–Roland was the subject of the first edition of the BBC's long-running astronomy program The Sky at Night on April 24, 1957.

Astronomer Carl Sagan relates an anecdote on page 80 of his 1980 book Cosmos about being on duty in an observatory near Chicago in 1957 when a late-night phone call from an inebriated man asked what was the "fuzzy thing" they were seeing in the sky. Sagan told the man that it was a comet (Arend–Roland). The man asked what a comet was, and Sagan answered that it was "a snowball, one mile wide". After a long pause, the man said, quoting Sagan: "Lemme talk to a real 'shtronomer!".

Properties
It was traveling on a hyperbolic orbit, that is, traveling fast enough to escape from the Solar System entirely, hence implying that it will never be seen again by earthbound observers. Observations of the comet over a period of 520 days allowed precise orbital elements to be computed. However, the distribution of the orbital elements showed a wavy pattern that suggested a non-gravitational influence. Alternatively, the comet may have originated from interstellar space rather than from the Oort cloud. When an orbital solution is computed that includes non-gravitational forces that vary as the inverse square of the heliocentric distance, somewhat different values are derived (see the Marsden (1970) column in the table below).

At perihelion, the comet was emitting an estimated 7.5 × 104 kg/s (83 tons/s) of dust and was releasing roughly 1.5 × 1030 gas molecules per second. It is believed that an outburst of dust occurred on April 2, six days before perihelion. The antitail was formed from particles released between February 6 and March 1, 1957. Estimates of the total amount of dust released into the zodiacal cloud range from 3 × 108 to 5 × 1010 kg.

title: Comet Arend–Roland


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1975 in games

This page lists board and card games, wargames, miniatures games, and tabletop role-playing games published in 1975. For video games, see 1975 in video gaming.

Games released or invented in 1975
• Battle of the Five Armies

• Boot Hill (tabletop role-playing game)

• Cemetery Hill: The Battle of Gettysburg, 1–3 July 1863

• Chinese Farm

• Dungeon!

• En Garde! (tabletop role-playing game)

• Golan

• Headache

• Klondike

• Midway

• Pay Day

• Search & Destroy: Tactical Combat Vietnam 1965-1966

• The Siege of Minas Tirith

• Sorcerer

• SSN

• Star Probe

• Starship: The Game of Space Contact

• Stellar Conquest

• Tank Battle

• Tunnels & Trolls (tabletop role-playing game)

• White Bear and Red Moon

• The Ythri

Significant games-related events of 1975

 * Chaosium Inc. founded by Greg Stafford.
 * Fantasy Games Unlimited founded by Scott Bizar.
 * Games Workshop founded by Ian Livingstone and Steve Jackson.
 * Metagaming Concepts founded.

title: 1975 in games


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Wikipedia:Articles for deletion/Bedhead (Ryan Adams bootleg)

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was delete. Rossami (talk) 08:34, 13 Mar 2005 (UTC)

Bedhead (Ryan Adams bootleg)
Seems to be just another case of 'gee, I can burn my own CDs now, whose music should I bootleg and distribute via Yahoo groups and eBay?'. Less than 100 hits for Bedhead "Ryan Adams" bootleg, and some are other uses. Niteowlneils 18:27, 25 Feb 2005 (UTC)
 * Delete, not notable, possible vanity. Megan1967 00:51, 26 Feb 2005 (UTC)
 * Delete for non-notability. Tuf-Kat 04:39, Feb 27, 2005 (UTC)
 * Delete It's not vanity because I did not compile it. Also, 'gee, I can burn my own CDs now, whose music should I bootleg and distribute via Yahoo groups and eBay?' is a snide yet invalid reason because the bootleg is well-known amongst Ryan Adams's bootleg collectors and is traded widely, therefore it is pertinent to Ryan Adams's history. No other compiled bootleg of Ryan Adams's is as well-known as this. Nonetheless, it would perhaps be best to create a "Ryan Adams rarities" page to list the known but unreleased songs. I concede the deletion. ShaneCavanaugh 05:42, 2005 Mar 8 (UTC)

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


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Talk:PacSun

Untitled
The page I wrote was about a store in the mall. Could someone please place it in its correct section? I would gladly appreciate it.

No, I am putting up a VFD since I feel this subject does not deserve an article, nor a merger. The writing is substandard, the article is vain and it contains no useful information. Nova Cygni 14:20, 1 May 2005 (UTC)

Copyright
Significant portions of this article appear to be taken word for word from a Business Week article found at. The article should be rewritten to remove that content. --Metropolitan90 July 7, 2005 15:17 (UTC)

Vote for Deletion
This article survived a Vote for Deletion. The discussion can be found here. I have removed the copyright violating portion of the article. -Splash 03:01, 15 July 2005 (UTC)

Dead link
During several automated bot runs the following external link was found to be unavailable. Please check if the link is in fact down and fix or remove it in that case!

 * http://online.wsj.com/tafkam/public-quote?route=BOH&template=company-research&ambiguous-purchase-template=company-research-symbol-ambiguity&profile-name=Portfolio1&profile-version=3.0&profile-type=Portfolio&profile-format-action=include&public=yes&profile-read-action=skip-read&profile-write-action=skip-write&p-headline=wsjie&transform-value-quote-search=PSUN&transform-name-quote-search=nvp-set-p-sym&nvp-companion-p-type=usstock+usfund&q-match=stem&q-šmax_results=200&p-sym=&p-name=&section=quote&profile-end=Portfolio&p-headline=wsjie
 * In Pacific Sunwear on Mon Jul 17 14:53:08 2006, Non-ASCII Characters in URL: 'ascii' codec can't encode character u'\u0161' in position 438: ordinal not in range(128)
 * In Pacific Sunwear on Thu Jul 27 00:37:11 2006, Non-ASCII Characters in URL: 'ascii' codec can't encode character u'\u0161' in position 438: ordinal not in range(128)

maru  (talk)  contribs 04:37, 27 July 2006 (UTC)

Reply to above: It doesn't seem to affect Mozilla Firefox, as it runs the quote perfectly. Have the bots tried Mozilla Firefox to see if the link works? --D.F. Williams 11:48, 27 July 2006 (UTC)

 * There's already a (much smaller) link to a real-time stock quote, via Google, in the article. Is there a reason to put the WSJ link in as well?  --LarryMac 18:33, 27 July 2006 (UTC)

dead link?
works fine on mozilla.

Tone
I am not fully versed in Wikipedia guidelines, but the tone of CM1204's revisions seems questionable. The "PR" tone of the revisions and, in particular, the line "where employees can hit the on-site gym or full-service cafe." seem to suggest that the author may be an employee at PacSun's Anaheim headquarters. Again, I am not a Wiki expert and simply question whether these revisions violate Wikipedia's ethical guidelines. —Preceding unsigned comment added by Bmhs823 (talk • contribs) 19:52, 12 July 2009 (UTC)

Questionable text removed by original author... Inappropriate Tone Tag removed. --Bmhs823 (talk) 03:25, 20 September 2009 (UTC)

title: Talk:PacSun


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Martha Rosler

Martha Rosler (born 1943) is an American artist. She is a conceptual artist who works in photography and photo text, video, installation, sculpture, and performance, as well as writing about art and culture. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war, as well as architecture and the built environment, from housing and homelessness to places of passage and systems of transport.

Early life and education
Born in Brooklyn, New York, in 1943, Rosler spent formative years in California, from 1968 to 1980, first in north San Diego county and then in San Francisco. She has also lived and taught in Canada. She graduated from Erasmus Hall High School in Brooklyn, as well as Brooklyn College (1965) and the University of California, San Diego (1974). She has lived in New York City since 1981.

Career
Rosler's work and writing have been widely influential. Her media of choice have included photomontage and photo-text, as well as video, sculpture, and installation. Rosler has lectured extensively, nationally and internationally. She taught photography and media, as well as photo and video history and critical studies, at Rutgers University, in new Brunswick, New Jersey, where she was a professor for thirty years, attaining the rank of Professor II. She also taught at the Städelschule in Frankfurt, Germany, as well as serving as visiting professor at the University of California's San Diego and Irvine campuses, and elsewhere.

Solo exhibitions of Rosler's work have been organized by the Whitney Museum of American Art in New York (1977), Institute of Contemporary Art in Boston (1987), Museum of Modern Art in Oxford (1990), The New Museum in collaboration with the International Center of Photography in New York, (1998–2000), Sprengel Hannover Museum (2005), Institute of Contemporary Arts in London (2006), University of Rennes (2006), and Portikus in Frankfurt (2008). Her work has also been included in major group exhibitions such as Whitney Biennial (1979, 1983, 1987, and 1990), Documenta 7 and 12 (1982 and 2007), Havana Biennale (1986), Venice Biennale (2003), Liverpool Biennial (2004), Taipei Biennial (2004) and Skulptur Projekte (2007).

Rosler serves in an advisory capacity to the departments of education at the Whitney Museum of American Art and the Museum of Modern Art, and at the Center for Urban Pedagogy (all New York City). She is a board member of the Vera List Center for Art and Politics at the New School, New York and an Advisory Board board member of the Center for Urban Pedagogy. She has also served on the board of directors of the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University, New York, and she is a former member of the boards of directors of the Association for Independent Video and Film and the Media Alliance, and a former trustee of the Van Alen Center, all in New York City. Since the early 1980s she has been a regular lecturer at the Whitney Independent Study Program in New York, where she was formerly a faculty member.

Rosler is known for her writing as well as her art work in various media. She has published over 16 books of her artwork and her critical essays on art, photography, and cultural matters, some of which have appeared as well in translation. Her essays have been widely published, anthologized, and translated. She was interviewed for the film !Women Art Revolution.

Semiotics of the Kitchen
Semiotics of the Kitchen (1974/75) is a pioneering work of feminist video art in which, parodying early television cooking shows, Rosler demonstrates some hand tools of the kitchen in alphabetical order. As her gestures begin to veer into an unexpected and possibly alarming direction, the character eventually dispenses with the tools and uses her body as a kind of semaphore system. Rosler has suggested that this darkly humorous work is meant to challenge social expectations of women in regard to food production and, more broadly, the role of language in determining these expectations. The issue the work calls up is whether the woman can be said to "speak herself."

"Even though it was obscure looking (on purpose) and inelegant (on purpose) and unedited (on purpose), it began to look like a naïf moment of production that was the best that could be done at the time. In other words, it was seen as a pioneering work because of its low quality of production".

Other video work
Further video works include Vital Statistics of a Citizen, Simply Obtained (1977), Losing: A Conversation with the Parents (1977), and Martha Rosler Reads Vogue (1982), with Paper Tiger Television; Domination and the Everyday (1980) and Born to Be Sold: Martha Rosler Reads the Strange Case of Baby $/M (1988), also with Paper Tiger Television. Many of her video works address geopolitics and power, including Secrets From the Street: No Disclosure (1980); A Simple Case for Torture, or How to Sleep at Night (1983); If It's Too Bad to be True, It Could Be DISINFORMATION (1985); the three-channel installation Global Taste: A Meal in Three Courses (1985); and Because This Is Britain (2014), and many others.

Rosler employs performance-based narratives and symbolic images of mass media to disrupt viewers' expectations. Rosler says, "Video itself 'isn't innocent:' Yet video lets me construct, using a variety of fictional narrative forms, 'decoys' engaged in a dialectic with commercial TV."

These concepts are emphasized in such works as Semiotics of the Kitchen, in which a static camera is focused on a woman in a kitchen who interacts with kitchen utensils, naming and demonstrating their uses in odd gestures, speaking to the expectations of women in certain domestic spaces.

Photography and photomontage
Rosler's photo/text work The Bowery in two inadequate descriptive systems (1974/75) is considered a seminal work in conceptual and postmodern photographic practice. The series of 45 black and white prints pair photos of storefronts on the Bowery, at the time of the work's making a famous "skid row" of New York City, with photographs of mostly metaphoric groups of texts referring to drunks and drunken behavior. The photos are displayed in a grid to accentuate the anti-expressionist nature of the work and the inherent limitation of both visual and linguistic systems to describe human experiences and social problems.

Some of Rosler's best-known works are collected under the title House Beautiful: Bringing the War Home (c. 1967–72). This is a series of photomontages that juxtapose aspirational scenes of middle-class homes, mostly interiors, with documentary photos from the Vietnam War. These images were primarily distributed as photocopied fliers in and around antiwar marches and occasionally in "underground" newspapers. They continue the tradition of political photomontage in the style of John Heartfield and Hannah Höch as well as pop art such as Richard Hamilton's Just what is it that makes today's homes so different, so appealing?. Both the war images and the domestic interiors were collected from issues of Life Magazine and similar mass-market magazines, but these works sought to reunite the two apparently separate worlds to imply connections between the industries of war and the industries of the home and their common understandings.

Rosler revisited this series in 2004 and 2008 by producing new images based on the war in Iraq and Afghanistan, under the title  House Beautiful: Bringing the War Home, New Series. Sensing that her original series had become accepted and aestheticized, her new series was designed to address continuities that paralleled the Vietnam War and unsettle complacent viewers. Rosler described the "rah rah" attitude of American media and politics that reminded her of the political manipulations of the past.

Also widely noted are her series of photomontages entitled Body Beautiful, or Beauty Knows No Pain (c. 1965–72), addressing the photographic representation of women and domesticity. These works slightly preceded the antiwar montages and spurred their making.

Many of these works are concerned with the geopolitics of entitlements and dispossession. Her writing and photographic series on roads, the system of air transport, and urban undergrounds (subways or metros) join her other works addressing urban planning and architecture, from housing to homelessness and the built environment, and places of passage and transportation.

Much of her work also focus antiwar and feminist ideologies in the 1960s and 2000s. Rosler's art inserts domestic and private themes into the public sphere in order to make political, social, and instructional critiques.

Exhibitions
Rosler has had numerous solo exhibitions. A retrospective of her work, “Positions in the Life World” (1998–2000) was shown in five European cities (Birmingham, England; Vienna; Lyon/Villeurbanne; Barcelona; and Rotterdam) and, concurrently, at the International Center of Photography and the New Museum of Contemporary Art (both in New York). She has recently been the subject of an extensive retrospective exhibition at the Galleria Civica d’Arte Moderna e Contemporanea (GAM), in Turin. In 2006 her work was the subject of solo exhibitions at the University of Rennes and in 2007 at the Worcester Museum of Art. Her work has been seen in the Venice Biennale of 2003; the Liverpool Biennial, the Taipei Biennial (both 2004), and the Singapore Biennale (2011), and the Thessaloniki Biènnale (2017); as well as many major international survey shows, including the "Documenta" exhibitions in Kassel, Germany, of 1982 and 2007, Skulptur Projekte Münster in 2007, and several Whitney Biennials.

In 1989, in lieu of a solo exhibition at the Dia Art Foundation in New York City, Rosler organized the project "If You Lived Here...", in which over 50 artists, film- and video producers, photographers, architects, planners, homeless people, squatters, activist groups, and schoolchildren addressed contested living situations, architecture, planning, and utopian visions, in three separate exhibitions, four public forums, and associated events. In 2009, an archive exhibition based on this project, "If You Lived Here Still," opened at e-flux's gallery in New York and then traveled (2010) to Casco Office for Art Design and Theory, in Utrecht, Netherlands, and to La Virreina Centre de la Imatge in Barcelona. Following the problematic addressed by these exhibitions, Rosler together with the urbanist Miguel Robles-Durán worked on an urban installation project in Hamburg, Germany, called We Promise! (2015), which confronts the conflicting promises of urban regeneration projects in Europe via a set of public posters on the street and in public transport. Versions of the 1989 show have been mounted in many locations on several continents. In 2016, a projected year-long project at the New Foundation Seattle and in the Seattle, under the rubric "Housing Is a Human Right," was to reprise all three exhibitions of the Dia exhibition of 1989, "If You Lived Here..."—but focusing especially on contemporary Seattle. However, the New Foundation, which had also made her the first recipient of its award to a distinguished female artist working in the field of social justice, abruptly ceased public operations after the completion of the first two shows. Subsequently, also in 2016, Rosler organized an exhibition in New York that included much of the Dia and Seattle material but focused on New York City. Working with her Seattle curator Yoko Ott, and Miguel Robles-Durán, and with the assistance of Dan Wiley, who had worked with her on organizing key components of the 1989 show, as well as many others, Rosler put on the exhibition If you can't afford to live here, mo-o-ove! at Mitchell-Innes and Nash, renamed as a public space, the Temporary Office of Urban Disturbances. Four public forums on the issues of art and gentrification and the privatization of housing were also held.

At the Utopia Station exhibition at the Venice Biennale of 2003, Rosler worked with about 30 of her students from Stockholm and Copenhagen, as well as a small, far-flung internet group of former workshop participants, 'the Fleas', and her graduate students from her video seminar at Yale, to produce a mini-pavilion, newly designed and built but purposely left unfinished, as well as large banners, and a collective newspaper, as well as many projects, both individual and collective, exploring utopian schemes and communities and their political and social ramifications. Rosler has also produced two tours of historical sites, one in Hamburg (1993) and one in Liverpool (2004), in conjunction with curated art projects. At the Frieze Art Fair (London) of 2005, she conducted a tour of this temporary site from its siting and construction to all aspects of its labor, including customer service, food service, toilets, VIP lounges, publicity, maintenance, and security.

Her solo show Meta-Monumental Garage Sale was held at the Museum of Modern Art (MoMA) in New York in November 2012, revisiting a series of exhibitions she had held in 1973 in San Diego and 1977 in San Francisco that centered on the American garage sale. The sale, held in MoMA's atrium was inspired by Rosler's interest in garage sales, a social form of small-scale, local—small town and suburban—commerce largely organized and frequented by women, which she first experienced when she moved from New York, where such phenomena were then completely unknown, to Southern California. At the request of museum curators, she restaged such sales in several European art locales and in New York City starting in 1999, culminating in the Fair Trade Garage Sale at the Museum of Cultural History in Basel, in conjunction with the 2010 Basel Art Fair, and then at MoMA in 2012. The 2012 “Meta-Monumental Garage Sale” at MoMA offered over 14,000 items, including Rosler's accumulated holdings—many of which were rolled over from previous iterations of this work—and items solicited from museum employees and the public. There were also two issues of a newspaper and two public discussions, one of which included a psychic, assessing questions of value and meaning. The work, since its inception in 1973, was intended to invoke questions of art and value, as the events were always held in museums and noncommercial galleries, or in spaces associated with them, as well as to call attention to the liminal domestic spaces that women regularly negotiate economically. Starting in November 2005, e-flux sponsored the "Martha Rosler Library," a reading room in which over 7,500 volumes from her private collection were made available as a public resource in venues in and around art institutions, schools, and libraries. The collection started at e-flux's New York gallery and then traveled to the Frankfurter Kunstverein in Germany; to Antwerp's NICC, an artist-run space, in conjunction with the MuHKA (Museum of Contemporary Art); to United Nations Plaza School in Berlin; to the Institut National de L'Histoire de L'Art in Paris; to Stills in Edinburgh; to John Moore's Art School in Liverpool; and to the Gallery at the University of Massachusetts, Amherst, before being retired. At the "Martha Rosler Library," visitors could sit and read or make free photocopies. Other projects, such as reading groups and public readings, were organized locally in conjunction with the project.

In 2018, the Jewish Museum in New York City presented Martha Rosler: Irrespective, a survey exhibition showcasing the artist's five decades-long practice, featuring installations, photographic series, sculpture, and video from the 1960s to the present.

Activist vs. political art
While Rosler's primary impetus for her solo exhibition at the Dia Center for the Arts was to expose the invisibility of homelessness and urban policies that conspire to conceal the socially underprivileged, one of the few critiques of the show was that it did little to actually lessen the homelessness problem in America. When asked the difference between making activist work as an artist, and being an activist Rosler said, "To be an activist you probably have to be working intensively with a specific community and a specific issue or set of issues, specific outcomes...I am an artist. I make art. And I was also a full-time professor. Activism is an on-going process, and it’s true that I worked with activists on that project, but one thing is certain: activists don’t expect intractable problems to be solved by an exhibition or a political campaign and certainly not in six months." Rosler is known to make work around a plethora of social and political idea, from civil rights, to anti-war efforts, to women's rights. Given this information and her definition of an "activist," it is safe to assume Rosler is an artist making activist work, or political work. Rosler is a professor and frequently collaborates with her students, bringing forward a new generation of political art, with different backgrounds on the subject.

Personal life
Rosler's son is the graphic novelist Josh Neufeld; they have collaborated on a number of projects.

Published works
Martha Rosler's essays have been published widely in catalogues, magazines, such as Artforum, Afterimage, Quaderns, and Grey Room, and edited collections, including Women Artists at the Millennium (October Books/MIT, 2006) among many others. She has produced numerous other "word works" and photo/text publications; now exploring cookery in a mock dialogue between Julia Child and Craig Claiborne, now analyzing imagery of women in Russia or exploring responses to repression, crisis, and war. Her 1981 essay, "In, Around, and Afterthoughts (on documentary photography)," has been widely cited, republished, and translated and is credited with a great role in dismantling the myths of photographic disinterestedness and in generating a discussion about the importance of institutional and discursive framing in determining photographic meaning.

Rosler has published sixteen books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004), the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Observations of a Frequent Flyer (Cantz, 1997), and Rights of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) discusses and supplements her Dia project on housing, homelessness, and urban life. Several books, in English and other languages, were published in 2006, including a 25-year edition of 3 Works (Press of the Nova Scotia College of Art and Design) with a new foreword by Rosler. The collection Imágenes Públicas, Spanish translations of some essays and video scripts, was published in 2007. Her book Culture Class, on gentrification, artists, art institutions, and the Culture Class theory, was published by e-flux and Sternberg Press in 2013.

Videography

 * A Budding Gourmet 1974, 17:45 min, b&w, sound
 * Semiotics of the Kitchen 1975, 6:09 min, b&w, sound
 * Losing: A Conversation with the Parents 1977, 18:39 min, color, sound
 * The East Is Red, The West Is Bending 1977, 19:57 min, color, sound
 * From the PTA, the High School and the City of Del Mar 1977, 6:58 minutes
 * Vital Statistics of a Citizen, Simply Obtained 1977, 39:20 min, color, sound
 * Travelling Garage Sale 1977, 30 min, b&w
 * Domination and the Everyday 1978, 32:07 min, color, sound
 * Secrets From the Street: No Disclosure 1980, 12:20 min, color, sound
 * Optimism/Pessimism: Constructing a Life 1981, 44 minutes
 * Watchwords of the Eighties 1981-82, 62 minutes
 * Martha Rosler Reads Vogue 1982, 25:45 min, color, sound
 * A Simple Case for Torture, or How to Sleep at Night 1983, 62 minutes
 * Fascination with the (Game of the) Exploding (Historical) Hollow Leg 1983, 58:16 min, color, sound
 * If it's too bad to be true, it could be Disinformation 1985, 16:26 min, color, sound
 * Global Taste: A Meal in Three Courses 1985, 30 minutes, 3-channel installation
 * Born to be Sold: Martha Rosler Reads the Strange Case of Baby $/M (with Paper Tiger Television) 1988, 35 min, color, sound
 * In the Place of the Public: Airport Series 1990, 4 hrs, color, sound
 * Greenpoint: The Garden Spot of the World 1993, 19:24 minutes
 * How Do We Know What Home Looks Like? 1993, 31 min, color, sound
 * Seattle: Hidden Histories 1991-95, 13 min, color, sound
 * Chile on the Road to NAFTA 1997, 10 min, color, sound
 * Prototype (God Bless America) 2006, 1 minute
 * Semiotics of the Kitchen: An Audition 2011, 10:26 min, color, sound
 * Because This Is Britain, 2014, 3 minutes
 * Museums Will Eat Your Lunch, 2014, 3 minutes
 * Pencicle of Praise, 2018, 12 minutes

Awards

 * 2005 Spectrum International Prize in Photography — accompanied by a retrospective, “If Not Now, When?” largely of photo and video works but also a garage sale, at the Sprengel Museum in Hanover and, on slightly smaller scale, at the Neue Gesellschaft der Bildende Kunst, or NGBK in Berlin. The book Passionate Signals accompanied this exhibition.
 * 2006 Oskar Kokoschka Prize — Austria's highest fine arts award
 * 2007 Anonymous Was A Woman Award
 * 2009 USA Artists Nimoy Fellow for photography
 * 2009 Civitella Ranieri Residency
 * 2010 Lifetime Achievement Award (Guggenheim Museum)
 * 2011 Deutsche Akademische Austausch Diennst (DAAD) Berlin fellowship
 * 2012 Doctorate in Fine Arts Honoris Causa (Nova Scotia College of Art and Design)
 * 2012 Distinguished Feminist Award (College Art Association)
 * 2014 Doctorate in Fine Arts Honoris Causa (Courtauld Institute of Art)
 * 2016 Honorary Doctor of Fine Arts (Rhode Island School of Design)
 * 2016 New Foundation Seattle Inaugural award — for a woman artist working toward social justice
 * 2016 Distinguished Artist Award (Women's Caucus for Art)
 * 2017 Lichtwark Prize (City of Hamburg, Germany) — awarded every five years

Bibliography (selected)

 * "Service: A Trilogy on Colonization" (New York: Printed Matter), 1978. Republished 2008. Translated into Italian, 2013.
 * "Martha Rosler: 3 Works" (Press of the Nova Scotia college of Art and Design), 3 Works (1981; republished Press of the Nova Scotia College of Art and Design, 2006) ISBN 0-919616-46-1, including the following essay:
 * "In, around, and afterthoughts (on documentary photography)" (1981)
 * If You Lived Here: The City in Art, Theory, and Social Activism (Free Press, 1991)
 * Rights of Passage (NYFA, 1995)
 * In the Place of the Public: Observations of a Frequent Flyer (Cantz, 1997)
 * Martha Rosler: Positions in the Life World (MIT Press, 1999)
 * Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press; an October Book, 2004)
 * Passionate Signals (Cantz, 2005)
 * Imágenes Públicas (Editorial Gustavo Gili, 2007)
 * Culture Class (e-flux and Sternberg Press, 2013)
 * Clase Cultural (Caja Negra, 2017)
 * Martha Rosler: Irrespective (Yale University Press and the Jewish Museum, 2018)
 * ''Ober, Cara. “Martha Rosler: Art as Activism, Democratic Socialism, and the Changing Role of Women Artists as They Age.” BmoreArt Baltimore Contemporary Art, 4 July 2019
 * La Dominación y lo cotidiano: ensayos y guiones (November, 2019)

title: Martha Rosler


text:
Wikipedia:Peer review/Esperanto/archive1

Esperanto
This was nominated by Raul654 as a featured article candidate on 13 February. It failed nomination. I've addressed many of the objectors' comments (deleting irrevant stuff, NPOV edits, rearranging sections in a more logical order). One of the objectors suggested submitting it for peer review.

I have a couple of specific questions for reviewers:

 * 1) Is it neutral now?  I extensively rewrote the sections that Plek objected to as non-NPOV, but I think I'm too close to them to read them objectively.
 * 2) How would you suggest expanding the opening section?  Both objectors commented that it was too brief and did not summarize the article.  I've rewritten it somewhat, but I'm not sure what else to add that would really be relevant in a brief summary.  It used to be much longer and was condensed after some discussion back in August and September 2004. (See the thread in Archive 4 of the talk page.)

Thanks. --Jim Henry 18:28, 25 Feb 2005 (UTC)

Incompleteness
Answers to your questions: Some points that strike me: — mark ✎ 12:39, 27 Feb 2005 (UTC)
 * 1) Yes, it is neutral.
 * 2) The opening section looks good. I don't see the need for expansion there.
 * What there is already, is great. But there are some glaring omissions. I can't believe that the article has nothing on sounds (vowels, consonants), morphology (the way words are put together) and grammar. Any decent article on any language should contain this basic information.
 * The history section should say more on the genesis of Esperanto. An article on a constructed language should contain info on its construction, it's as simple as that. The closest we get is the highly interesting single paragraph on 'Classification'. There must be more to say.
 * It is customary in language articles to use the IPA transcription. Recently, templates have been developed to ensure correct display in all browsers (Template:IPA). So it would be cool to see IPA in the example sentences, instead of a loose approximation that is meaningful only to English speakers.
 * It is stated in both Esperanto and Esperanto history that 'a first grammar was published in 1887, but both articles don't mention that grammar in the References section.

 * Back in the mists of pre-history, this article used to have sections on grammar and phonology, but they expanded and then were spun off into separate articles, if I recall correctly. (Haven't looked at the history recently, though, I may be misremembering.)  I should put a summary of each back in, with links like Main article: Esperanto grammar.

 * There is an article on Esperanto pronunciation which I think probably ought to be moved to Esperanto phonology, and summarized in a short section of Esperanto.

 * I'll figure out how to use the IPA template, then fix the sample sentence transcriptions. I'll also try to find bibliographic information for a currently available reprint of the Unua Libro.  Thanks for the comments. --Jim Henry 14:57, 28 Feb 2005 (UTC)

 * I think I've addressed all or almost all of your concerns now, though you may not be satisfied with the amount of detail on the early development and history of the language - there's a link to Esperanto history for those who want more detail, though that article itself needs a lot more work. I added sections on phonology and grammar, added more references (to Wells Lingvistikaj aspektoj de Esperanto, the Unua Libro and the Fundamento), and expanded the brief section on history.  I also added IPA transcriptions of the sample sentences, but left the rough Englishesque transcriptions there as well - do you think I should remove those?

 * I changed my mind about moving Esperanto pronunciation; its title is appropriate, as it's a nontechnical presentation for readers with little or no background in linguistics. There's a link to it from the section on Phonology, but this section now has more detail on consonant clusters and allophony than that separate article. --Jim Henry 22:13, 1 Mar 2005 (UTC)

Great improvements! Still missing some sentences on construction history indeed, but I can get over that. Some remaining and/or new points (hope I don't discourage you...)
 * About the transcription of the sample sentences: I don't like the English approximation if you ask me — but I'm not the only one with an opinion.
 * I don't really like it either, but I hestitate to get rid of it; I want to article to be tolerably accessible to readers with not much lingustics background. I'll ask for other opinions on the talk page.

 * Structure: the one sentence section on 'Geographic distribution' looks awful. I suggest merging it with 'Number of speakers' into a 'Geography and demography' section. Maybe 'Computer writing' could be incorporated in 'Writing systems' in the same way.
 * Sounds good. When I eventually get Esperanto sen mitoj back from the friend I loaned it to, I might expand in more detail on geographic distribution and demographic trends.

That'll be it for now. — mark ✎ 00:58, 2 Mar 2005 (UTC)
 * There are other things about structure. Take a look at the TOC: 15 level 1 headings is just too much. Incorporate more sections into meta-sections (like in 'Linguistic properties'), and make the arrangement of the sections more logical. For example: what is 'Official status' doing just below the Examples? I'd expect it earlier; same holds for 'Esperanto in English-language media' (BTW, that last section title begs the question: why only in English-language media?). Maybe 'See also' could be merged with 'External links' into a 'Further reading' section.

 * OK, will think about how to combine some sections under higher-level headings. Thanks.  --Jim Henry 17:34, 2 Mar 2005 (UTC)

Vocabulary

 * Many other Wikipedia articles on languages have sections dealing with their vocabularies. (Compare Nahuatl language, for example.)  Much of the discussion deals with the importing and exporting of words from and to other languages.  This doesn't apply so much to Esperanto, but there is still something that can be said on the subject of vocabulary.  By coincidence, I am busy excising roughly 50 dictionaries from Wikipedia and putting them on Wiktionary (a "list of words" article on Wikipedia is a simple category of words in Wiktionary), adding links to the Wiktionary categories to the Wikipedia language articles; and someone else is busy populating Wiktionary from Universala Vortaro.  I've therefore supplied you with a starter Vocabulary section, with the same form of Wiktionary link as in other encyclopaedia articles.  As a bonus, there's a Wiktionary category specifically for UV words.  So you've got a link to that, too. Uncle G 21:54, 2005 Mar 2 (UTC)

 * Thanks. I've added some material on patterns of borrowing, idiomatic compounds, and idiomatic use of root words. --Jim Henry 22:53, 2 Mar 2005 (UTC).

Size of the article
After adding material as recommended by the FAC objectors and peer reviewers, the article is now over 35KB. Any suggestions about which sections could most profitably be abridged or spun off into separate articles? IMO, the Esperanto in English-language media section is the most easily dispensible. We can probably move some of the material in the Writing system section to Esperanto orthography. What else? --Jim Henry 22:53, 2 Mar 2005 (UTC)

 * First, I want to say that I very much like the changes you've made recently. The structure is more logical now; the content is presented in a more logical way. And the writing is excellent, I like your style.

 * Thanks!

 * Now, how to cut it down in length? Both of your suggestions are good. The ASCII transcription, which encoding to use, and so on, is not what people will expect in a general article about Esperanto; send them to Esperanto orthography for that. And indeed, this awkward 'Esperanto in English-language media' thing could be disposed of. The 'Language evolution' section is really huge. Maybe some of it could be moved to 'Esperanto history' or a more appropriate article. Make sure to summarize it, there is a lot of relevant information there.

 * It's still 34KB after spinning off the English-language media section and removing the excessive stuff about ASCII and Unicode representations. I'll work on moving some of the Language Evolution material to Esperanto history later on.

 * On a sidenote, 'Official status' is a really short level 1 section.

 * Would it make sense to indent it under History? --Jim Henry 20:24, 3 Mar 2005 (UTC)

 * It's a pleasure to see this article evolve!  — mark ✎ 15:54, 3 Mar 2005 (UTC)

Abridging the Language evolution section (while copying the original version to Esperanto history), and making some other minor cuts throughout, brought it just under 32KB.

I've been spending a probably excessive amount of time editing Wikipedia lately; now when this article is stable seems to be a good time to take a break for a few weeks. Further comments should probably go to Talk:Esperanto. Thanks for all your advice. --Jim Henry | Talk 23:09, 4 Mar 2005 (UTC)


text:
Talk:List of Sorbs

Georg Sauerwein
As far as a I know Georg Sauewein is not a Sorb. (It is not mentioned in his Wikipedia-Article and I think the Masalskis-biographie specially denies this myth.)

Purpose of page
Even though this is just a 'list' of Sorbs, it should be noted as to why they are here and birth/death years to give anyone researching a brief (under 10 words) overview of the individuals to include the descriptor of USo or LSo for the language (and therefore particular group) they pertain(ed) to. I would propse a format such as

Name XSo (xxxx-xxxx) Did this, wrote this, helped this

Stress importance of brevity in description for each individual as the reader may gain much more from the articles as well as keeping this list a valuable contribution.<Kargin (talk) 04:29, 5 June 2010 (UTC)

title: Talk:List of Sorbs


text:
Solid-state nuclear track detector

A solid-state nuclear track detector or SSNTD (also known as an etched track detector or a dielectric track detector, DTD) is a sample of a solid material (photographic emulsion, crystal, glass or plastic) exposed to nuclear radiation (neutrons or charged particles, occasionally also gamma rays), etched in a corrosive chemical, and examined microscopically. When the nuclear particles pass through the material they leave trails of molecular damage, and these damaged regions are etched faster than the bulk material, generating holes called tracks.

The size and shape of these tracks yield information about the mass, charge, energy and direction of motion of the particles. The main advantages over other radiation detectors are the detailed information available on individual particles, the persistence of the tracks allowing measurements to be made over long periods of time, and the simple, cheap and robust construction of the detector. For these reasons, SSNTDs are commonly used to study cosmic rays, long-lived radioactive elements, radon concentration in houses, and the age of geological samples.

The basis of SSNTDs is that charged particles damage the detector within nanometers along the track in such a way that the track can be etched many times faster than the undamaged material. Etching, typically for several hours, enlarges the damage to conical pits of micrometer dimensions, that can be observed with a microscope. For a given type of particle, the length of the track gives the energy of the particle. The charge can be determined from the etch rate of the track compared to that of the bulk. If the particles enter the surface at normal incidence, the pits are circular; otherwise the ellipticity and orientation of the elliptical pit mouth indicate the direction of incidence.

A material commonly used in SSNTDs is polyallyl diglycol carbonate (also known as Tastrak, or CR-39). It is a clear, colorless, rigid plastic with the chemical formula C12H18O7. Etching to expose radiation damage is typically performed using solutions of caustic alkalis such as sodium hydroxide, often at elevated temperatures for several hours.

title: Solid-state nuclear track detector


text:
1973 in games

This page lists board and card games, wargames, and miniatures games published in 1973. For video games, see 1973 in video gaming.

Games released or invented in 1973
• Alien Space

• Anti-Monopoly

• Atlanta Civil War Campaign Game

• Bowl Bound

• Europa

• Hue

• Ironclad

• NORAD

• Panzer Armee Afrika

• Perfection

• Railway Rivals

• Sniper!

• Triplanetary

• Galactic Warfare published by Davco

Significant games-related events of 1973

 * Game Designers' Workshop founded.
 * TSR, Inc. founded. TSR will later release Dungeons & Dragons, the first role-playing game.

title: 1973 in games


text:
Planet V

Planet V is a hypothetical fifth terrestrial planet posited by NASA scientists John Chambers and Jack J. Lissauer to have once existed between Mars and the asteroid belt. In their hypothesis the Late Heavy Bombardment of the Hadean era began after perturbations from the other terrestrial planets caused Planet V's orbit to cross into the asteroid belt. Chambers and Lissauer presented the results of initial tests of this hypothesis during the 33rd Lunar and Planetary Science Conference, held from March 11 through 15, 2002.

Hypothesis
In the Planet V hypothesis, five terrestrial planets were produced during the planetary formation era. The fifth terrestrial planet began on a low-eccentricity orbit between Mars and the asteroid belt with a semi-major axis between 1.8 and 1.9 AU. While long-lived, this orbit was unstable on a time-scale of 600 Myr. Eventually perturbations from the other inner planets drove Planet V onto a high-eccentricity orbit which crossed into the inner asteroid belt. Asteroids were scattered onto Mars-crossing and resonant orbits by close encounters with Planet V. Many of these asteroids then evolved onto Earth-crossing orbits temporarily enhancing the lunar impact rate. This process continued until Planet V was lost most likely by impacting the Sun after entering the ν6 secular resonance.

Tests and results
As an initial test of the Planet V hypothesis, Chambers and Lissauer conducted 36 computer simulations of the Solar System with an additional terrestrial planet. A variety of parameters were used to determine the impacts of Planet V's initial orbit and mass. The mean time at which Planet V was lost was found to increase from 100 Myr to 400 Myr as its initial semi-major axis was increased from 1.8 to 1.9 AU. Results consistent with the current Solar System were most common with a 0.25 Mars mass Planet V. In cases with a larger mass Planet V collisions between planets were likely. Overall a third of these simulations were deemed successful in that Planet V was removed without impacting another planet. To test whether Planet V could increase the lunar impact rate they added test particles to one of the simulations. After an initial decline the number of particles on Earth-crossing orbits increased after Planet V entered the inner asteroid belt a pattern consistent with the LHB. These results were presented at the 33rd Lunar and Planetary Science Conference.

In a later article published in the journal Icarus in 2007, Chambers reported the results of 96 simulations examining the orbital dynamics of the Solar System with five terrestrial planets. In a quarter of the simulations Planet V was ejected or impacted the Sun without other terrestrial planets suffering collisions. This result was most frequent if Planet V's mass was less than 0.25 of Mars. The other simulations were not considered successful because Planet V either survived for the entire 1 billion year length of the simulations, or collisions occurred between planets.

The terrestrial Planet V hypothesis was examined by Ramon Brasser and Alessandro Morbidelli in 2011. Their work was the first to focus on the magnitude of the bombardment caused by Planet V. Brasser and Morbidelli calculated that to create the Late Heavy Bombardment Planet V would have to remove 95% of the pre-LHB main asteroid belt or 98% of the inner asteroid belt (semi-major axis < 2.5 AU). Depleting the main asteroid belt by 95% with a 0.5 Mars-mass Planet V was found to require it remain in an orbit crossing the entire asteroid belt for 300 million years. This orbital evolution was not observed in any simulations; Planet V typically entered an Earth-crossing orbit resulting in a short dynamic lifetime before entering such an orbit. In a few percent of simulations Planet V remained in the inner belt long enough to produce the LHB. However, producing the LHB from the inner asteroid belt would require the inner asteroid belt to have begun with 4–13 times the mass, and 10–24 time the orbital density, as the rest of the asteroid belt.

Brasser and Morbidelli also examined the hypothesis that Planet V caused the LHB by disrupting putative asteroid belts between the terrestrial planets. The authors noted that the lack of present-day detection of the remnants of these belts places a significant constraint on this hypothesis, requiring that they be 99.99% depleted before Planet V was lost. While this occurred in 66% of the simulations compatible with the current Solar System for a Venus-Earth belt, it did not occur in any for the Earth-Mars belt due to its higher stability. Morbidelli and Brasser concluded from this result that an Earth-Mars belt could not have contained a significant population. Although Planet V could generate a Late Heavy Bombardment by disrupting a massive Venus-Earth belt alone, the authors observed that significant differences in these belts has not been produced in planetary formation models.

Alternate version
An impact of Planet V onto Mars, forming the Borealis Basin has recently been proposed as an explanation for the Late Heavy Bombardment. Debris from this impact would have a different size distribution than the asteroid belt with a smaller fraction of large bodies and would result in a lower number of giant impact basins relative to craters.

title: Planet V


text:
Open House Party

Open House Party (often referred to as "OHP") is an American radio show hosted by Kannon (Saturday) and Joe Breezy (Sunday), branded as "The Biggest Party on the Planet!", playing contemporary hit music. From its inception in September 1987, OHP quickly became popular with its live all-request format, along with a heavy rotation of dance music and remixes that differentiated itself from most Top 40 stations or shows. John Garabedian created and hosted both Saturday and Sunday nights for nearly 30 years. The show's audience and revenue peaked from the mid 1990s to late 2000s, where it was heard on over 175 stations and became the world's most-listened-to radio program on weekend nights. Since Garabedian's departure, the show has changed drastically in terms of presentation and production with less than 30 total affiliates. A key reason for OHP's decline is that it is no longer live, but instead, voice-tracked.

The show airs on most affiliates from 7 p.m. to Midnight Eastern Time and 6 p.m. to 11 p.m. Central Time, while stations in the western half of the United States delay the broadcast by two hours. Some stations rebroadcast OHP from Midnight to 5 a.m. (in Eastern and Mountain Time) or 11 p.m. to 4 a.m. (in Central and Pacific Time).

History
In 1955, the original Open House Party was created as the afternoon show on radio station WORC in Worcester, Massachusetts. Garabedian would often co-host the show and went on to become one of the key people to bring up ratings and create major success for the station. After the sale of Garabedian's television station V66 in 1986, he realized that being on the radio was his true passion. In March 1987, Garabedian went to a party in Boston where he bumped into the legendary Program Director of Kiss 108/WXKS-FM, Sunny Joe White, who asked Garabedian if he would do a weekend shift on the station. At dinner the following week, Garabedian proposed the idea for a big live, interactive, national party show. White loved it, and agreed to put it on Kiss 108. After looking into various office buildings, Garabedian decided to do the show from his basement. He and his friends strapped a 50-foot pole to his chimney to hold up a little microwave antenna aimed at the Prudential Tower, 24 mi to the east, in downtown Boston.

On September 5, 1987, at 7 p.m., Open House Party hit the air for the very first time on Kiss 108. Within six months, it became the most-listened-to radio program in Boston on Saturday night, as well as the most listened to radio program every week in the Boston radio market with a 14.8 share.

By May 1988, stations across the country heard about Open House Party's success and were signing on. The 50-foot pole was taken down and replaced by a satellite dish. By 1990, over 100 stations were carrying Open House Party in the United States and another 40 in Canada. During a brief demise of the Top 40 format in 1992 and the rise of country and hip-hop in the mainstream, many stations were changing formats, which resulted in OHP losing over half of their affiliates and causing Garabedian's syndication network Superadio to nearly go bankrupt. For about 5 years, the Sunday night show became Street Jams, which was hosted by Paco Lopez and playing rhythmic music, until Garabedian decided to put Open House Party back on Sundays, hosted by himself.

Garabedian continued to host both Saturday and Sunday until March 2004, when WFLZ afternoon jock Kane took over the Sunday night show from his house in Tampa. Kane later moved to Washington, D.C., and became a syndicated host through iHeartMedia doing his morning show on WIHT, along with Sunday nights on Club Kane. In December 2007, then Wired 96.5/WRDW-FM Philadelphia afternoon jock Kannon, who had already been a mixer and production manager for Garabedian, became the new host of Sunday nights, and currently voice-tracks the show from his house in Atlanta. Kane died at the age of 43 on March 5, 2021.

On April 16, 2016, Garabedian announced live on the air that his memoir "The Harmony of Parts", would be released on October 3, 2016. The book details his whole life up until that point.

In May 2016, filming had begun for an Open House Party documentary titled "Super Radio FM: The Story of Open House Party". Darren Rockwell, a frequent visitor to the show in the late 90s and early 2000s, serves as the film's producer. Later on, the project was renamed "Be Your Dream: The Story of John Garabedian & the Open House Party".

On October 25, 2016, it was announced that John Garabedian would not return as the host of Open House Party in 2017. Having hosted the show since 1987, Garabedian sold it to United Stations in 2012 and wanted to do something new, stating, "When I sold 'Open House Party' to United Stations four years ago, they required me to host for four more years. That expires at midnight this New Year's Eve. Though they were surprised I declined to renew, I explained that I had one major life achievement I had yet to accomplish and needed space to do it." On December 17, 2016, Garabedian announced on air that United Stations had not found a new host for Saturday nights yet, and was asked if he would stick around until the end of January, to which he agreed. His final show aired on January 28, 2017.

On January 5, 2017, it was announced that Kannon would become the host of Saturday nights, in addition to Sundays which he had been hosting since 2007.

Kannon continued to host both Saturday and Sunday until November 2021, when Hot 106.7/WNFN-FM Nashville afternoon jock Joe Breezy took over the Sunday show. As of December 2023, that station has flipped to country music and Kannon is hosting Sunday again too. The largest market Open House Party currently airs in is Providence, Rhode Island on WPRO-FM for nearly 30 years. The show is pre-recorded and broadcast from United Stations' headquarters in New York.

Segments
This is an incomplete list of segments that have formerly aired on the show. Currently, OHP has no segments or contests.
 * Make It or Break It (also called "Rate the Record"): Garabedian plays a new song each week and listeners call in with their votes and opinions. Open House Party fact: Only one song has ever "Made It" by 100%—that was "Friday I'm in Love" by The Cure and was announced on air by Open House Party's Jeff Docherty in 1992. On September 10, 2016, Garabedian briefly revived "Rate-Rate-Rate the Record" for the first time in many years by playing Lady Gaga's "Perfect Illusion", her first single in nearly three years.
 * Who Sings It?: Always the 4th song of the show, Garabedian plays a "throwback" song and listeners call to guess the artist in order to win a prize. People who have won must wait another six months before winning again. This segment was only on Saturdays, and is no longer featured due to the inability to do contests on a pre-recorded show.
 * Lewis Online: Featured on Garabedian's Sunday night show in the 90s. The show's software engineer Reed Lewis, would give listeners tips about computers and other technology which was vastly evolving at the time. The exact start and end date of this segment is unknown.
 * Satellite Mega-Mix: Garabedian talks to club DJs, artists and live reporters from major events who then introduce a dance mega-mix of three songs. This segment only aired on Saturday nights from the early 90's until July 17, 2010. Garabedian said "the club and dance music scene was dying and finding people to do this bit with was a lot of work every week".
 * Research Rich: Mediabase co-founder and former-president Rich Meyer gives a list of the week's top 5 songs (based on Mainstream CHR radio airplay) and then Garabedian plays Meyer's pick for the "Hot New Song of the Week". Kannon continued to do the segment for a short period after taking over as host, but is no longer featured. Formerly on Saturday nights only. Meyer now does a similar feature on Thursday during Garabedian's new weeknight Top 40 show, Party Liveline hosted by Mason Kelter.
 * The Big 3: A countdown of the night's three most requested songs, followed by the DJ's choice for a final "sign-off" song. This segment was only featured on Saturdays. (Dropped in May 2020)
 * The Purple Chamber of Gold: Originally created in the 90's as a segment where Garabedian played phone calls from listeners who had a special story to tell about the night's featured song. It was dropped in the early 2000s, but then revived in 2010 to replace the Satellite Mega-Mix. During the last hour of the show, approximately 40 minutes of "throwbacks", or songs older than a year, were played. (Dropped in May 2020)
 * Long Distance Nighty Nights: This segment was always immediately after the Purple Chamber ends on Sundays. Over an instrumental version of a song, the DJ plays phone calls from listeners saying a special "Nighty Night" to their loved one. Many songs have been used for this segment since 1988, the first one being "Two Occasions" by The Deele, along with "Just the Way You Are" by Bruno Mars, "Heaven (Candelight Mix)" by DJ Sammy, "That's When I'll Stop Loving You" by NSYNC and "Thinking Out Loud" by Ed Sheeran. After the Nighty Night calls play, the DJ says his final goodnight, and the song plays. (Dropped in May 2020)
 * Shout-Outs: The DJ plays a collage of shoutouts from listener phone calls, similar to the Long Distance Nighty Nights, but featured an hour earlier. This segment was immediately after the second stopset of Hour 4 on Sunday nights only. (Dropped in May 2020)
 * Rant Room: The DJ plays a collage of phone calls from listeners "ranting" about something that's upsetting them, whether it be a person, place, thing etc. Originally called "Bitch Box" until radio stations began to complain about the name. This segment was immediately after the second stopset of Hour 2 on Sunday nights only. (Dropped in May 2020)
 * Digital Dave: Similar to "Research Rich" and airing in the old time slot, Kannon talks to Dave van Dyke, the President and CEO of Bridge Ratings to count down the Top 5 most-streamed Pop hits. Like other features on the current incarnation of Open House Party, it did not last long and only aired for a couple of months on Saturday nights.

title: Open House Party


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User talk:Bottlerocket

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Questions, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Alai 18:34, 25 Feb 2005 (UTC)
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Mormon
Welcome to Wikipedia! Thanks so much for participating. Can you explain at the talk page why you removed content from the article? I hope you will join the WP:LDS project and add the project page to your watchlist. Tom Haws 20:33, Feb 25, 2005 (UTC)

title: User talk:Bottlerocket


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Talk:AMD K9

Why are K8 updates listed on this page? Any reason they are here and not on the AMD_K8 page? --Yamla 18:38, 2005 Feb 25 (UTC)\

Well, to be honest, I (the writer of the article) don't know to much about it.

But since there was no article about the K9, I tried to do some research, and write an article about it, hoping someone else would improve it.

The reason it's not on the AMD_K8 page is, that's a good article, I don't want to change it too much. But in general terms, you're right. If you don't like the article, I invite you (and anyone!) to improve it. --sludink, Sun Mar 13 19:27:15 CET 2005--

Folks, AMD announced quite a while ago that they are no longer referring to CPU generations by K numbers. Furthermore, they said that there is no K9 (dual core K8's are just that) and that their next major core would have been K10.the1physicist 30 June 2005 03:38 (UTC)

What the1physicist said. Should this article be deleted, or heavily revised and just basically say "K9 was cancelled, shoo!"? SVI 01:23, 30 July 2005 (UTC)

I'm going to heavily edit this page. I'm basically aiming for the "K9 was renamed, shoo!" approach.the1physicist 02:00, 30 July 2005 (UTC)

Ki9 sounds too like canine ? And K10 is the kitten. Much better for top-level processor ?

I think the page should stay, because while K9 was an internal project, AMD's single design team spent much time on it. While admittedly not released as a product, the fact the K8 core was NOT developed by the primary design team at AMD due to K9 commitments, has now started to hurt AMD, as Intel catches up with the Conroe platform. The K9 is one of those interesting 'what ifs.' Had AMD developed K8L instead of K9, just how bad would things be for Intel in 2006? K9 probably cost AMD the best chance they will ever get to draw level with Intel. Its interesting, and I would argue significant, for that reason alone. Timharwoodx 12:25, 11 June 2006 (UTC)

What are you people talking about??? There is not a single main design team at AMD. They have the original x86 design team in Austin, TX (they did the K5, K7, K9, and Greyhound (aka Family 10h)). They have another design team in Sunnyvale, CA (corporate HQ) that was the Nexgen design team - these folks did the K6 and K8 (and working on the next major microarchiture that comes after Family 10h. They also have another team in Boston, MA (mostly ex-API and ex-Sun folks).

What was K9 was canceled do to a change in direction of what would be needed to compete with Intel post 4GHz NetBurst failure. The reusable parts of the design were put into Family 10h, but the same folks working on the K9. One could argue the Austin, TX folks are the failure... K5 was a disaster and lead to AMD buying Netgen to save their ass with the K6 - and these same folks saved AMD with the K8. —Preceding unsigned comment added by Dr unix (talk • contribs) 01:07, 11 March 2008 (UTC)

K9 was a long pipeline dual-quad issue design intended to scale. Now some of you guys are pretty confused as to what went on at AMD. K5 was the last processor that AMD designed 'originally' themselves. K6 was the NexGen NX6x86 with only minor reworkings (backside L2 cache removed, Socket 7 compatibility added). K7 was developed by the DEC Alpha design team headed by Dirk Meyer after AMD hired pretty much the entire team. Meyer is now Chief Architect at AMD. This team then went on to design K9, the original long-pipleine dual quad issue as Greyhound. It was an internal AMD project from 2001 to sometime late 2002. It was about 75-90% completed when AMD realised it wasn't going to deliver. It was a similar 'speed-demon' architecture to Netburst and would have ran into the exact same leakage current problems that caused Willamette to use over 100W at 2.0GHz and Prescott to peak at 150W. Can you imagine dual-coring THOSE? AMD had the dual core patents, Meyer brought them with him as 'on-die SMP', they are also the reason why Intel used MCMs for their "dual core" chips to begin with, they had yet to agree terms with AMD. At the end of 2002, after the refinement team had gone through the whole Thunderbird/Mustang/Palomino (Tbird was a rushed release, it was meant to be Palomino with prefetch/SSE to begin with and Mustang was an Orion/Neptune with 1MB cache integrated. Mustang was renamed Thunderbird and cache reduced to 256k, Thunderbird was renamed Palomino and Mustang as a 1MB cache processor was cancelled) crap, it was decided to shrink K7 to 130nm, double the cache, and leave it at that while they worked on a large-scale refinement of the K7 core, which was K8. AMD knew that it was memory latency and cache speed which most held K7 back. AMD introduced K8's IMC for the former and doubled the L2 cache to 128 bit for the latter. Barcelona integrates the surviving technology from K9 which really isn't much. L2 pre-decode in ECC bits from K8 was also a Greyhound technology and L1 tracing was abandoned entirely. The above is taken from internal AMD documents, AMD's own presentations and developer briefs and informal chats with AMD employees in the 2002-2003 timeframe. Wayne Hardman (talk) 04:45, 14 August 2008 (UTC)

I think this this page AMD K9 should be kept. It should not be merged into other pages. K9 was an interesting microarchitecture, distinct from other microarchitectures (i.e. K9 was not in the K7-K8 family). It may be possible to add more useful information to this web page, e.g. by reference to patents such as those by Mitch Alsup, Jay Pickett, and Mike Filippo. —Preceding unsigned comment added by 134.134.139.71 (talk) 18:52, 16 January 2009 (UTC)

There is something called a "Greyhound core" - AMD has a hardware simulation software package named SIMnow also available to the general public link: http://developer.amd.com/tools/simnow/Pages/default.aspx

The concept of a greyhound core is a single physical x86 computational core - In SimNow you can add Greyhound cores together with some other logic and simulate a dual, tri or quad core equivalent of a 'normal' phenom cpu.

So in that respect it kind of makes sense that a K9 was a dog racing at the project track ;-) 85.81.121.107 (talk) 18:31, 16 January 2012 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 3 one external links on AMD K9. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20070906163444/http://www.theinquirer.net:80/default.aspx?article=27421 to http://www.theinquirer.net/default.aspx?article=27421
 * Added archive https://web.archive.org/20070210133934/http://www.theinquirer.net:80/default.aspx?article=37444 to http://www.theinquirer.net/default.aspx?article=37444
 * Added archive https://web.archive.org/20070313231334/http://www.syndrome-oc.net:80/articles.php?article=94&lang=en to http://www.syndrome-oc.net/articles.php?article=94&lang=en

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

Cheers.—cyberbot II  Talk to my owner :Online 07:30, 10 January 2016 (UTC)

title: Talk:AMD K9