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Jerry Adams

Jerry McKee Adams, FAA, FRS, FAHMS, FRSV (born 17 June 1940) is an Australian-American molecular biologist whose research into the genetics of haemopoietic differentiation and malignancy, led him and his wife, Professor Suzanne Cory, to be the first two scientists to pioneer gene cloning techniques in Australia, and to successfully clone mammalian genes.

Adams currently shares (with Andreas Strasser) the position of Joint-Head of the Molecular Genetics of Cancer Division at The Walter and Eliza Hall Institute of Medical Research (WEHI) in Melbourne (Australia). Their research, following that by Susumu Tonegawa, also led to the discovery that antibody genes encode as bits and pieces, that can recombine in a myriad of ways to help fight infection; they also confirmed earlier work by Shen-Ong & Cole, Leder, Hood, Croce, and Hayward that genetic mutation leads to Burkitt's lymphoma, a malignancy of antibody-producing cells, called "B lymphocytes".

It was in Adams' lab that his PhD student, David Vaux, made the connection between apoptosis (programmed cell death) and cancer, while studying the bcl-2 gene in follicular lymphoma, the most common human lymphoma.

Career
He studied for his B.Sc at Emory University in Atlanta, Georgia. After completing his PhD at the Harvard University, Adams was awarded the Helen Hay Whitney Fellowship to pursue post-doctoral training. He spent a year working under Professor James Watson at the Medical Research Council  Laboratory of Molecular Biology in Cambridge, England, during which he met Suzanne Cory, and started their long-term collaboration. They moved to the Institut de Biologie Moléculaire, at the University of Geneva, where they worked under Professor A. Tissiéres. Adams and Cory subsequently moved to Australia, and began working at WEHI where they established the Institute's first molecular genetics laboratory.

Their research first looked into how lymphocytes could produce so many different antibodies, providing insights into the constant and variable segments of antibodies, and how they are rearranged and deleted. Next, Adams and his team moved into the study of the genetics of cancer.

In 2007, Adams was appointed member of the Medical Research Advisory Committee at the Australian Cancer Research Foundation (ACRF). He is part of a group of leading scientists who assess applications for grants for medical research received by the ACRF.

Honours and recognition
Adams was awarded the Lemberg Medal in 1986. He was elected a Fellow of the Royal Society in 1992 and of the Royal Society of Victoria (FRSV) in 1997. In 2014 he was awarded the Macfarlane Burnet Medal and Lecture by the Australian Academy of Science. He was elected a Fellow of the Australian Academy of Health and Medical Sciences in 2021.

Private life
He is married to his fellow scientist and collaborator Suzanne Cory; they have 2 children.

title: Jerry Adams


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User talk:Peter Bladwell

Welcome!

Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my New-Users' Talk Page.'''

Additional tips:
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 * Click on the Edit button on a page, and look at how other editors did what they did.
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Happy editing! But note that giving specific amounts for tolls, etc., should be avoided, as they can date easily. Mel Etitis ( Μελ Ετητης ) 10:45, 11 Apr 2005 (UTC)

Collaroy
Hi, welcome to Wikipedia, since you're an Australian you may want to check out Australian Wikipedians' notice board. A few notes about the Collaroy article, where you want to include heading but don't have anything to put in the section yet use, it make the page look neater and lets other editors know what you had planned/what is still missing. You're images are broken too, did you upload them yourself?--nixie 13:00, 14 Apr 2005 (UTC)

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

title: User talk:Peter Bladwell


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Template:Baháʼí-stub

cs:Šablona:Pahýl - bahá'í

title: Template:Baháʼí-stub


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Automotive head unit

An automotive head unit, sometimes called the infotainment system, is a vehicle audio component providing a unified hardware interface for the system, including screens, buttons and system controls for numerous integrated information and entertainment functions.

Other names for automotive head units include car stereo, car receiver, deck, in-dash stereo, and dash stereo.

Function
Central to a vehicle's sound and information systems, head units are located prominently in the center of the dashboard or console, and provide an integrated electronic package.

The head unit provides a user interface for the vehicle's information and entertainment media components: AM/FM radio, satellite radio, DVDs/CDs, cassette tapes (although these are now uncommon), USB MP3, dashcams, GPS navigation, Bluetooth, Wi-Fi, and sometimes vehicle systems status. Moreover, it may provide control of audio functions including volume, band, frequency, speaker balance, speaker fade, bass, treble, equalization, and so on. With the advent of dashcams, GPS navigation, and DVDs, head units with video screens are widely available, integrating voice control and gesture recognition.

Size standards
An original standard head unit size is ISO 7736, developed by the Deutsches Institut für Normung (DIN):

Single DIN (180 x 50 mm) in Europe, South America, and Australasia Double DIN (180 x 100 mm) in Japan, the UK, and North America.
 * A compact size that easily fits into a dashboard, but the unit is not tall enough to accommodate a video display.
 * Doubling the height of the single DIN, a video display or touchscreen can be fitted to support manufacturer GUIs, Android Auto, Huawei HiCar and/or Apple CarPlay.
 * Double DIN is also written as 2 DIN and double din.

For both single and double DIN units, ISO 10487 is the connectors standard for connecting the head unit to the car's electrical system.

Steering and aftermarket brands
Manufacturers offer DIN headunits and standard connectors (called universal headunits), including Pioneer, Sony, Alpine, Kenwood, Eclipse, JVC, Peach Auto (Hong Kong), Boyo, Dual, Visteon, Advent and Blaupunkt.

title: Automotive head unit


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Rattle (percussion instrument)

A rattle is a type of percussion instrument which produces a sound when shaken. Rattles are described in the Hornbostel–Sachs system as Shaken Idiophones or Rattles (112.1).

According to Sachs, "SHAKEN IDIOPHONES are rattles (not to be confused with clappers). The material is important, but more important is the arrangement of the sounding parts that strike together when the implement is shaken."

Rattles include:
 * Maracas, widely used in Cha Cha Cha and jazz.
 * Chac-chac, as known in Trinidad, Dominica and the French Antilles.
 * The egg-shaped plastic chicken shake, filled with steel shot and available in varying tones depending on the size and quantity of shot.
 * Folk instruments especially used in ceremonial dance.
 * Toy rattles for infants.

Though there are many different sorts of rattles, some music scores indicate simply a rattle (or the corresponding terms French claquette, hochet; Ger. Rassel, Schnarre; It. nacchere).

Examples

 * Chankana
 * Ganzá
 * Hosho
 * Maracas
 * Maracitos
 * Katsa
 * Chajchas
 * Rainstick
 * Kashaka
 * Sistra

History
In Ancient Egypt, rattles were used during funerary rituals to signify regeneration in the after-life. Rattles were viewed as sacred and became the forerunners of the sistrum. The earliest Egyptian rattles were ovular and made of pottery. During the Predynastic and Old Kingdom periods rattles gained handles and different shapes and were made out of different materials such as basket, wood, and stone.

Native American people often use rattles in ceremonial dances. Oftentimes, these rattles are meant to represent something. Each figure or depiction can relate to something sacred to their tribe. Often, the sound of rattles forms a connection to the supernatural world when the rattles are employed by shamans. The use of the raven rattle, like the one pictured to the right, always implies power, which when used in dances, symbolize the status of the chief, who has a hereditary right to use the rattle.

title: Rattle (percussion instrument)


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Caniapiscau River

The Caniapiscau River (rivière Caniapiscau) is a tributary of the Koksoak River in Nunavik, Quebec, Canada. In Cree the name of the river means rocky point.

Starting from Lac Sevestre (53 km south-west from Fermont) on the Canadian Shield, the Caniapiscau River flows northward through a wide, timbered glacial valley until it makes a sharp turn at its confluence with the Rivière aux Mélèzes (Larch River). At this point (called Kanniq Confluence), the river becomes the Koksoak River. The total length of the Caniapiscau River is 737 km.

Since 1985, the headwaters of the Caniapiscau River have been diverted into the La Grande hydroelectric complex. The headwaters of the Caniapiscau River, representing about 45% of the total flow, now drain into the La Grande River of James Bay. The Caniapiscau Reservoir, which covers about 4300 km2, or about nine times the size of the natural Lake Caniapiscau, fills a depression in the highest part of the Canadian Shield. The total catchment basin is about 36800 km2.

Important variations in the water flow of the Caniapiscau River from 1981 to 1984, during the period when the Caniapiscau Reservoir was being filled, may have contributed to the death by drowning of 9,600 migratory woodland caribou in September 1984 at Chute du Calcaire (about 1.5% of George River herd).

The Caniapiscau River basin has no permanent inhabitants, although Cree from the James Bay region as well as southern hunters do travel to the area by bush plane and via the Trans-Taiga Road. From time to time, the river is visited by canoeists.

Etymology
In 1820, James Clouston, an employee of the Hudson's Bay Company, went down the river to its mouth and named it Caniapuscaw River in his diary and map. In 1828, explorer William Hendry identified it as Canniappuscaw. In 1898, the geologist Albert Peter Low used Kaniapiskau, and by the middle of the 20th century, the current spelling came in use.

The Inuit call the river Adlait Kuunga or Allait Kuunga, meaning "Indian River". It was also known as Wauguash River.

Falls and canyons
Caniapiscau River has several spectacular canyons and waterfalls:
 * Chute de Facolli - 53.27639°N, -68.30667°W
 * Chute Chambeaux - 53.72722°N, -68.61444°W
 * Upper Gorge - 55.02611°N, -69.65028°W
 * Gorge d'en Bas (Lower Gorge) - 55.51472°N, -68.35639°W
 * Eaton Canyon - 55.55639°N, -68.20417°W
 * Chute au Granite - 55.84389°N, -68.42167°W
 * Chute aux Schistes - 56.74417°N, -69.01806°W
 * Chute de la Pyrite - 57.43333°N, -69.2425°W
 * Chute du Calcaire - 57.48°N, -69.30833°W
 * Manitou Gorge - 57.55056°N, -69.44389°W

Tributaries

 * Rivière Bras de Fer
 * Rivière du Sable
 * Goodwood River
 * Rivière Sérigny
 * Rivière Pons
 * Rivière Beurling
 * Rivière de la Mort
 * Rivière Châteauguay
 * Swampy Bay River
 * Situraviup River
 * Forbes River

title: Caniapiscau River


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Harry Enfield & Chums

Harry Enfield & Chums (originally titled Harry Enfield's Television Programme) is a British sketch show starring Harry Enfield, Paul Whitehouse and Kathy Burke. It first broadcast on BBC2 in 1990 in the 9 pm slot on Thursday nights, which became the traditional time for alternative comedy on television.

Enfield was already an established name due to his "Loadsamoney" character (which featured in a few entertainment programmes in the late 1980s), but the series gave greater presence to his frequent collaborators Whitehouse and Burke – so much so that, in 1994, the show was retitled Harry Enfield & Chums. In 2001, a clip show series titled Harry Enfield Presents aired which featured compilations of sketches from the series featuring new linking material recorded by Enfield in character.

History
Harry Enfield's Television Programme was written by Enfield, Whitehouse, Charlie Higson and Geoffrey Perkins and broadcast on BBC2. The original series titles began with Enfield in a black suit walking towards the camera and blowing two raspberries to the music of a brass band, standing still while the camera showed the upper half of his right side, then flipped to the left side, then simultaneously rotated and zoomed in before ending with a full body shot of him taking a quick drag from a cigarette hidden behind his back. The show ran for two series with this title in late 1990 and spring 1992. A Christmas special entitled Harry Enfield's Festive Television Programme was broadcast on Christmas Eve 1992.

A special, Smashie & Nicey: End of an Era aired at Easter 1994, which retired the characters of Smashie and Nicey.

After the original series, there were a couple of radio appearances. During the period between series, Enfield concentrated on straight acting parts, and Whitehouse worked on other projects.

Through repeats, the characters proved popular, and in 1994, the BBC commissioned a new series called Harry Enfield & Chums, this time broadcast on BBC1. This series was produced with a pool of writers, rather than the cast alone. The format of the opening credits was the same, although Enfield was now joined by co-stars Whitehouse and Burke to take a collective bow to the audience. Two Christmas specials of Harry Enfield & Chums were produced for 1997 and 1998. These were titled Harry Enfield & Christmas Chums and Harry Enfield's Yule Log Chums respectively.

For Christmas 1999, and in advance of the forthcoming Kevin & Perry Go Large film, a clip show episode called Harry Enfield Presents Kevin's Guide to Being a Teenager was broadcast. The clip show format was revisited in 2001 with a series of six further Harry Enfield Presents episodes based around individual characters or premises. The episodes in the series were:

 * Tim Nice-but-Dim's Guide to Being a Bloody Nice Bloke
 * Wayne and Waynetta's Guide to Wedded Bliss
 * Guide to Family Values
 * Look, Listen and Take Heed
 * The North of England
 * Guide To Being a Senior Citizen

Episodes
In addition to the main series, the following Christmas and one-off specials were broadcast:

Harry Enfield's Festive Television Programme was broadcast 24 December 1992.

Smashie & Nicey: End of an Era was broadcast 4 April 1994.

Harry Enfield & Christmas Chums was broadcast 24 December 1997.

Harry Enfield's Yule Log Chums was broadcast 28 December 1998.

Harry Enfield Presents Kevin's Guide to Being a Teenager was broadcast 27 December 1999.

Harry Enfield's Television Programme Series 1
The following characters and recurring sketches appear for the first time in series 1 of Harry Enfield's Television Programme. In series 1, they are often introduced with title cards announcing the name of the character or sketch.

The Boressszzzzz
Two uninteresting middle-aged men, Jeff and Geoff Bore (Harry Enfield and Simon Godley), who frequently engage in dull and witless banter, revolving around bland topics such as their cars and local theatre, typically punctuated by obnoxious laughter at their own jokes.

Doctor Dolittle, He Talks to the Animals
A vulgar parody of Doctor Dolittle (Enfield), in which he communicates with animals through verbal abuse and profanity.

The Double-take Brothers
Two brothers (Enfield and Rupert Holliday-Evans) with an irritating propensity for exaggerated double takes whenever something obvious or mundane occurs, such as having to queue at a post office, yet fail to react when something genuinely shocking and unexpected happens, such as being attacked by a shark or hit by a car.

Fat Bloke
A fat, jolly-looking man (David Barber) who made his first appearance in a "Lee and Lance" sketch. He later formed a running gag where, for no apparent reason, he would walk into the middle of a sketch, hand something to a character (usually appropriate to the situation), be told "Thank you, Fat Bloke!", and walk off. In the first series of Harry Enfield & Chums, he would be introduced at the end of the closing credits by Enfield who would announce: "The show's not over until the Fat Bloke sings!" whereupon he would sing a song (ranging from "Lord of the Dance" to "Smack My Bitch Up") in operatic style.

Freddie & Jack
A pair of Labour and Conservative MPs (Enfield) who live together and are unable to perform any menial household tasks without descending into petty and childish political arguments which usually have nothing to do with the task at hand. The final sketch featured a guest appearance by David Steel, a prominent Liberal Democrat MP at the time, against whom Freddie and Jack unite during a birthday party. Certain elements of Enfield's character were carried over into the later character Tory Boy. This sketch has become more dated than most due to Freddie's frequent references to the EEC.

George Integrity Whitebread
George (Enfield) is a stereotypical, insensitive, plain-speaking Yorkshireman; unfortunately, he usually finds himself in a position of responsibility requiring creativity and sensitivity. When he is first introduced, it is stated with approval by the other characters in the sketch that "Integrity is his middle name", only for them to discover that this is only true in a literal sense.

Lee and Lance
Two idiots (Enfield and Paul Whitehouse respectively) who work variously as mechanics, builders, and stall holders, and have inane conversations about a range of topics, confidently exposing their own ignorance. Lance is completely moronic, whereas Lee is slightly smarter, but not by much.

Little Brother
Kevin (Enfield) is an annoying, hyperactive twelve-year-old boy with a minuscule attention span, constantly pestering his older brother and parents by making immature jokes, insensitive remarks, and repeatedly referencing Blackadder ("Bloody hell, Baldrick!").

In Harry Enfield & Chums, on Kevin's 13th birthday his personality suddenly changes to become "Kevin the Teenager".

Mr. Cholmondley-Warner
A snobbish, upper-crust 1930s newsreel presenter (played by Jon Glover). Miles Cholmondley-Warner, with his manservant Greyson (Enfield), would expound on various issues of the day and attempt to uphold the British Empire's values. In the second series of Chums, in the absence of Glover, this gave way to a series of public information films that would advise, amongst other things, that women refrain from driving and participating in complex conversations (as this would lead to insanity) or that babies be given gin to ensure a good night's sleep. The characters also appeared in a series of TV adverts for Mercury Communications. The sketch Women: Know Your Limits! was plagiarised by a Danish PR agency in a campaign video for the 2009 Danish Act of Succession referendum. Some other sketches within the show also use the 1930s newsreel format but are not connected to any specific character. In keeping with the setting, the brief piece of music that introduced these segments was "Calling All Workers" by Eric Coates, a piece that had previously been used as the theme to Music While You Work, a wartime and post-war BBC radio show.

The Old Gits
A pair of cruel and bitter old men, Fred and Alf Git (Enfield and Whitehouse), who only derive joy from inflicting misery on others. Even just the thought of upsetting or inconveniencing other people is enough to entertain them, as they habitually imagine twisted hypotheticals involving their neighbours, families, and even each other. The characters carried over into Harry Enfield & Chums, albeit with their names swapped to avoid confusion with the Fast Show character Unlucky Alf, also played by Whitehouse.

The Palace of Righteous Justice
A superhero team, consisting of Law Man (Enfield), Fire Man (Parker), and Kometh the Iceman (Aden Gillett), who attempt to solve everyday problems such as opening a bank account through use of their destructive superpowers, invariably ending in chaos. The day is always then "saved" by a fourth member of the team, She Woman Cat Type Thing, who does nothing but regurgitate fur balls or lick herself.

Sergei and Vincent
Russian and Dutch tourists (Enfield and Whitehouse) with a naive, optimistic outlook on the world and a dated taste in rock music.

The Scousers
Gary, Barry, and Terry (Enfield, Joe McGann and Gary Bleasdale) are three stereotypical Liverpudlians with incredibly short tempers, constantly challenging each other to fights over perceived slights and insults which they read into everything. They are also shown to be petty criminals, occasionally discussing their thieving and joyriding exploits, and in one sketch they rob a building society. Their catchphrases are "Dey do dough, don't dey dough" ("They do though, don't they though") and "Alright! Alright! Calm down, calm down", said by one of the trio when the other two start arguing.

The characters returned in Harry Enfield & Chums, with McGann replaced by Mark Moraghan.

The Slobs (Wayne and Waynetta)
A benefit-dependent, lower-class couple (Enfield and Kathy Burke) with a lack of personal hygiene who spend most of their time smoking cigarettes or eating pizzas. Wayne and Waynetta argue constantly over everything, including the name of their child, whom they eventually name Frogmella because "it's exotic". Later, another daughter is named Spudulika after Waynetta's favourite fast-food franchise Spudulike. A third child, which Waynetta calls Canoe (supposedly named after actor Keanu Reeves), was born of an affair Wayne had with Naomi Campbell which resulted in octuplets. Canoe completes the family with the "brown baby" Waynetta always wanted (since all the other mothers on the estate had one). The couple win the lottery and also win a holiday; but the aircraft crashes because they are so overweight, and they end up stranded in the jungle. The Slobs were derived both from one of Burke's stand-up skits and a couple with a similar lifestyle who lived in the flat below Enfield in his younger days.

Smashie and Nicey

Dave Nice and Mike Smash (Enfield and Whitehouse respectively) are two veteran DJs for the fictional radio station "Fab FM" (a parody of early 1990s BBC Radio 1), whose on-air rapport consists almost entirely of insipid observations, corny jokes, and gratuitous references to their charity work (which they pronounce as "charidee"). Their musical tastes are also hopelessly outdated, with every sketch ending with Nicey playing "You Ain't Seen Nothing Yet" by Bachman-Turner Overdrive, usually accompanied by a bad pun on the band's name. The characters were broadly based on Radio 1 DJs of the time, such as Mike Read, Simon Bates, and Tony Blackburn, who were perceived as being out-of-touch with younger audiences.

At the end of the second series, Smashie and Nicey are demoted from their morning show to a graveyard slot on "Radio Quiet", which was then followed by the two being sacked in an hour-long 1993 special Smashie and Nicey: The End of an Era. The characters did not return for Harry Enfield & Chums, but Enfield and Whitehouse reprised the roles in a series of adverts for Fab ice lollies, a special edition of Pick of the Pops on BBC Radio 2 in 2007, and stage shows. Whitehouse also reprised the character of Smashie for a Christmas playlist on UKTV Gold.

Tim Nice-but-Dim Esq.
An upper-class twit (Enfield) who is usually being ripped off by one of his "jolly nice" chums from his prep or public school days. He is an exaggerated version of "posh" yet pleasant and stupid people that Enfield knew. He is a fictional Old Ardinian (an alumnus of Ardingly College) with an eccentric public school-influenced dress sense involving jeans and a blazer worn over a striped rugby shirt. The character was initially created by Ian Hislop and Nick Newman, who are both Old Ardinians. They wrote the character as an antidote to contemporary portrayals of ex-public schoolboys as sharp-minded, high-achieving young men, and instead chose to base the character on former school contemporaries who had "plenty of money and good manners" but were "light of intellect". Tim's catchphrase is "What an absolutely, thoroughly, bloody nice bloke!" A notable scene was him going to a school reunion at the wrong school.

The character appeared in TV adverts promoting British meat in the late 1990s and early 2000s. The adverts were pulled because of the 2001 foot-and-mouth crisis. The character returned as Tim Nice-But-Balding in the third series of Harry & Paul, episode four, in a Dragon's Den parody sketch. He represents a city banker, and it is revealed that Adam Jarvis is his brother. Tim has many things in common with Prince Charles and was briefly engaged to a woman with a similar personality who has a strong resemblance to Diana Windsor. However, neither character was meant to be a direct parody.

"You Don't Want to Do It Like That"
An infuriating know-it-all father who advised various people with both household tasks and diverse jobs, such as a football pundit. This was Enfield's take on the traditional "mother-in-law" stereotype. His catchphrase, on encountering someone, or entering a room is "Only me!" When his interfering goes wrong, he tends to blame everyone but himself, using the catchphrase "Now I do not believe you wanted to do that, did you?"

Harry Enfield's Television Programme Series 2
The following characters and recurring sketches appear for the first time in series 2 of Harry Enfield's Television Programme.

Leslie Norris
A chronically absent-minded pub landlord (Enfield) who is easily confused and has an incredibly short memory, frequently mixing up his anecdotes, customers' orders, and forgetting things that happened just moments before.

English for Aliens
A sketch presented in the style of edutainment programming, in which an unseen narrator attempts to teach three excitable and childlike aliens (dressed in human attire) various English words and phrases but grows frustrated as they arbitrarily repeat certain words and are constantly distracted by irrelevancies.

Rugby Fans
Three boisterous, drunken, public-schooled rugby enthusiasts (Enfield, Clunes, and Gillett) who loudly break out into nonsensical and vulgar drinking songs at every opportunity, and generally torment those around them.

Harry Enfield & Chums Series 1
The following characters and recurring sketches appear for the first time in series 1 of Harry Enfield & Chums.

Dr Philip Boyish Good Looks
A blond softly spoken TV doctor. He is often seen on a morning show couch, reading letters from "menopausal women" about their fantasies of him. He seems to take an unusually large number of showers per day. In one sketch he reveals he has been "struck off" as a doctor.

Kevin the Teenager
A continuation of the "Little Brother" sketches in Harry Enfield's Television Programme, in which Kevin (Enfield) undergoes a major personality change immediately upon turning thirteen, becoming lethargic, stroppy, and overly sensitive. Though he is no longer hyperactive, he continues to annoy his parents through his constant complaining and refusal to do anything they tell him. He is often joined by his best friend Perry (Burke), who is faultlessly polite to Kevin's parents but rude to his own; Kevin mirrors this attitude by being similarly polite in the presence of Perry's parents, in contrast to his usual horrible behaviour.

Kevin proved to be a popular character, receiving a VHS special Harry Enfield Presents: Kevin's Guide to Being a Teenager, as well as a feature film, Kevin and Perry Go Large, in 2000.

The Lovely Wobbly Randy Old Ladies
A deliberate contrast, on Enfield's part, to show the opposite of "The Old Gits": Two lecherous old ladies who do not care who approaches them so long as the newcomer is male and good looking. Their catchphrase is "Ooh! Young man!", which they repeat in an attempt to pass themselves off as "nice little old ladies", while comparing young men they encounter to male celebrities of their young adulthood ("You're the spitting image of a young Lester Piggott"). They also intentionally misinterpret comments made to them as being sexual and flirtatiously tell the victim off for saying it. As the series progresses, they begin creating elaborate plans to get men, which often involve abduction.

Michael Paine
Michael Paine is a self-confessed "nosy neighbour". Played by Whitehouse in the style of Michael Caine as parodied by Peter Sellers in his famous appearance on Parkinson in the early 1970s. The parody is in part based on Caine's character from The Italian Job, a film released in 1969 and much loved by British audiences ("I told you, you're only supposed to blow the bloody doors off!") and his diction when presenting his lines in many of his films. It relies on Caine's ability to impart trivial information in the same way, starting with "Did you know..." and ending with ".. and not a lot of people know that.". Whitehouse continues in this tradition, talking about extremely mundane things his neighbours were doing such as "do you know, he didn't call that woman back until... approximately two hours later. Would Damon Hill have taken that long to call his mother? I'll be honest with you. I don't know. Not a lot of people know I don't know that, but I don't." All of his anecdotes involve other people on the street, and his information is gained from eavesdropping and spying on them.

The Self-Righteous Brothers
Cockney brothers Frank and George Doberman (Enfield and Whitehouse) sit in a pub, speculating about what would happen if they met various celebrities and public figures, who they exclusively refer to by their surnames (e.g. "Black" for Cilla Black). These imaginary situations usually begin pleasantly, but inevitably turn sour as Frank and George begin to conjure up various implausible and outrageous ways in which the celebrity might misbehave, causing the brothers to become enraged at their own hypothetical situations.

In the first series, the Doberman brothers essentially share the same personality, however in the second series George is portrayed as a straight man to Frank's increasingly psychotic outbursts. One sketch featured a cameo appearance from British Formula One driver Damon Hill, to whom Frank is initially polite, before becoming aggressive upon imagining Hill driving through his neighbourhood at 140 mph.

In 1998 the characters were featured in an advert for Hula Hoops. In 2014, Enfield and Whitehouse reprised the roles of Frank and George in a sketch for Channel 4's The Feeling Nuts Comedy Night. The name of this sketch parodies the musical duo The Righteous Brothers.

Stan and Pam Herbert
An affluent couple who spoke with exaggerated Black Country accents and were forever informing people that "We are considerably richer than yow!" Many sketches involved the couple patronising another couple of similar age, desperate to convince the other couple (Pam's sister and her husband in a couple of sketches) that their greater wealth meant greater happiness or social importance, and their inability to accept the successes or talents of others as being noteworthy (such as the British couple they meet on a Spanish holiday who, fluent in Spanish, are dismissed as "showing off"). Unfortunately, Stan's determination to show off his wealth is matched by his fury when he comes across someone "considerably" richer than him, such as when they try to boast while on holiday to a scruffily dressed man who turns out to own the hotel they are staying in, or when their in-laws win the lottery and become multi-millionaires.

Harry Enfield & Chums Series 2
The following characters and recurring sketches appear for the first time in series 2 of Harry Enfield & Chums.

Arguing Couple
A married couple (played by Enfield and Julia St John) who quite clearly have grown to despise each other, stuck in a seemingly endless argument which consists of them constantly flinging insults at each other (often to the embarrassment or irritation of others), yet will not separate or get a divorce for the sake of their son David.

Big Bob Joylove
Based on the TV series Lovejoy. A shady-looking man who in each sketch faces a problem or disappointment and attempts to bribe someone who has no control of the situation, including paying a station guard to confirm his missed train had not arrived yet, and a nurse to confirm his newborn daughter is a boy. His catchphrases were "Oh, I getcha!" and "You drive a hard bargain, don't you?", always followed by Bob offering more money to his harassed victim.

The Dutch Coppers
Two gay Dutch policemen who speak directly to the camera in a parody of police documentaries. They are more interested in smoking marijuana, flirting and making gay innuendo than doing any police work. A parody of liberal attitudes in the Netherlands.

Jockeys
Enfield plays a jockey whose horse effortlessly outruns another played by Ewen Bremner, much to Bremner's annoyance. Enfield also constantly makes inane conversation whilst running alongside him.

Julio Geordio
Whitehouse portrays a Colombian footballer who has recently joined Newcastle United and speaks in a mixture of Spanish and Geordie. He is always interviewed by the same pundit (Enfield as a parody of John Motson in his iconic sheepskin jacket). As the series progresses, Julio develops more of a Geordie accent as he describes events on and off the field, the latter often involving "liaisons" with pin-up girls of the time such as The Spice Girls and Dani Behr. When the pundit becomes aware that Julio is telling an inappropriate story, he tries in vain to get him back on track. Julio is probably inspired by the arrival of Faustino Asprilla at Newcastle United in 1995 when South American players joining English clubs was rare.

Jürgen the German
A young German tourist (Enfield) visiting England, whose attempts to make friendly conversation with people he encounters turn out awkward and stilted, exposing his underdeveloped sense of humour and frustrations at perceived inefficiencies of British society (such as buses being a few minutes late). Out of the blue, he will also profusely apologise for his country's actions during the war but will break out into aggressive Nazi-style rants when rebuked.

Harry and Lulu the Toddlers
A toddler and his baby sister played by Enfield and Burke on oversized sets. Harry deliberately hurts Lulu, or more often tricks her into hurting herself, but then plays the innocent when their mother arrives to investigate, and asks for a "big hug", but their mother does not accept his apologies. On Channel 4's Sunday Night Project on 8 February 2009, Enfield revealed the characters were based on a young Lily and Alfie Allen (as adults, a singer and actor respectively); at the time of their being toddlers, he was dating their mother, producer Alison Owen.

Mister Dead the Talking Corpse
Parody of the US TV sitcom Mister Ed, with the talking horse replaced by a talking corpse in a casket, played by Whitehouse.

Modern Dad
An old-fashioned father, looking and sounding suspiciously like Enfield's own, who struggles to accept his son's homosexuality. While he does make a genuine effort, he often makes tactless remarks and Freudian slips ("Make yourself at homo... er, at HOME!") and judgements based on stereotypes. For example, going up to a pink Fiat Panda that he assumed was his son's car or offering to order Babycham at the local pub. As the series progresses, the son becomes increasingly frustrated by his father's behaviour around his boyfriend. The boyfriend's name is initially "Dominic" but changes to "Shaun", though this was only revealed for the purposes of a joke acknowledging that the role had been recast. Shaun is played by Ewen Bremner in several episodes.

Tory Boy
A repulsive thirteen-year-old with glaringly out-of-date ideas about the world, based on a cross between a snobbish, unpopular boy who went to school with Enfield, and a younger version of William Hague. Enfield also claimed to have mixed more recent Conservative politicians such as Michael Howard and Michael Portillo together in the character, on the allegation that they were "Tory Boys who have never grown up." Became "Tony Boy" (a parody of Tony Blair) after the 1997 general election.

William Ulsterman and "Gerry"
A one-off sketch where Harry parodies both ex-Democratic Unionist Party (DUP) leader Rev Ian Paisley and Sinn Féin president Gerry Adams at a house party. William is loud-mouthed and becomes increasingly rude and insulting towards the host (Brigit Forsyth) when she is unable to provide him with his desired canapé of cheese-and-pineapple-on-a-stick. When he has finished his rant, the host awkwardly turns away approaches an unnamed guest who is very clearly supposed to be Adams. While this second guest is smiley and charismatic, his gestures indicate his anecdote has a violent double-meaning. Enfield has since explained that the sketch was loosely based on an abandoned idea called "The Gerry Adams Family", claiming that no one else wanted to do it in case it caused offence.

Appearances in commercials
Daim did a number of adverts featuring Harry Enfield's Television Programme characters.

Mr Cholmondley-Warner did adverts for Mercury Communications.

Smashie and Nicey appeared in an advert for Nestlé's Fab Ice Lolly.

Kevin the Teenager appeared in an advert for Pillsbury Toaster Pockets.

The Self-Righteous Brothers appeared in a series of 1996 British Hula Hoops advertisements that explained that if a consumer found a square Hula Hoop in a packet, he or she would win a prize, with Frank stubbornly and aggressively maintaining that "Hula Hoops are round, they'll stay round, and they'll be around forever!". Frank alone then did some adverts for madasafish.com.

Tim Nice-But-Dim appeared in two adverts for British meat in 2000 (lamb and beef).

VHS

 * "Harry Enfield's Television Programme: The Very Best of Series One"
 * "Harry Enfield's Television Programme: Series Two - Part One"
 * "Harry Enfield's Television Programme: Series Two - Part Two"
 * "Harry Enfield & Chums" (Contains some of the best sketches from Series 1)
 * "Harry Enfield & Chums 1997" (Contains some of the best sketches from Series 2. This video was released in advance of the series airing on BBC One.)
 * "The New Harry Enfield and Chums Video - Oi No!" (Contains an extended version Harry Enfield and Christmas Chums 1997 Special with previously unseen sketches)
 * "More Harry Enfield and Chums" (Contains Harry Enfield's Yule Log Chums 1998 Christmas Special)
 * "Harry Enfield Presents Kevin's Guide to Being a Teenager (Christmas special from 1999, later included on Kevin & Perry Go Large DVD.)

Cancelled DVD Releases
Harry Enfield and Chums: The Complete Collection was due to be released as a two-disc DVD on 21 May 2007, but it was delayed until further notice. It was then to be released on 19 November 2012 but was delayed once again to 11 March 2013 before being cancelled.

Harry Enfield: The Collection was going to be a five-disc set containing both series of Harry Enfield's Television Programme, Harry Enfield's Festive Television Programme, both series of Harry Enfield & Chums, Harry Enfield & Christmas Chums and Harry Enfield's Yule Log Chums.

Streaming
Harry Enfield's Television Programme (series 1 and 2) is currently available on Netflix UK.

Legacy
In 2000, Enfield and Burke starred in a feature film based around the Kevin the Teenager character titled Kevin & Perry Go Large.

Enfield and Whitehouse reunited for sketch shows Harry Enfield's Brand Spanking New Show in 2000 and Ruddy Hell! It's Harry & Paul in 2007, the latter of which ran for four series, with a completely new range of characters.

title: Harry Enfield & Chums


text:
Fountain of Wealth

The Fountain of Wealth (Malay: Air Pancut Kekayaan, Chinese: 财富之泉) is listed by the Guinness Book of Records in 1998 as the largest fountain in the world. It is located in one of Singapore's largest shopping malls, Suntec City.

During certain periods of the day, the fountain is turned off and visitors are invited to walk around a mini fountain at the centre of the fountain's base, three times for good luck. At night, the fountain is the setting for laser performances, as well as live song and laser message dedications between 8 pm to 9 pm daily. It is situated in such a way the fountain is the hub of the shopping mall.

Design
The Fountain of Wealth was constructed in 1995, together with the main Suntec City development. The name was derived according to Chinese geomancers, where the inward flow of water symbolize the symbol of wealth and life are pouring in, and the design of the bronze ring was based on Hindu Mandala, which represents unification and equality. The fountain earned the Guinness Book of World Records as the world's Largest Fountain in 1998.

Incident
On 13 July 2024 at about 12:15am, a car crashed downwards into the fountain. The driver, conscious, was taken to hospital and is currently investigated for reckless driving. Subsequently, the fountain was temporarily closed for maintenance from July 5 to 25.

Structure
The fountain is made of silicon bronze, and consists of a circular ring with a circumference of 66 meters supported on four large slanted columns. It occupies an area of 1683.07 square metres, with a height of 13.8m. The sand-cast silicon bronze, including all formwork and patternmaking, was designed, manufactured, and installed by DCG Design and Meridian Projects (from Melbourne Australia) in 1995.

In the design plan of Suntec City, where the structure is meant to resemble the human hand, the five tower blocks represent the fingers and thumb of a left hand emerging from the ground. Then, the Fountain of Wealth is intended to form a gold ring in the center of the palm of the hand.

Apart from the jets of water cascading down from the ring, the center of the fountain also boasts a medium-sized water screen, used for the nightly laser shows, as well as a large jet of water which is occasionally turned on, and spouts higher than the top of the ring.

The fountain was upgraded by OASE Living Water and involved the removal of the water screen, projectors, and lasers from the fountain. The path to the center of the fountain was also relocated and rebuilt. Laminar Jets (OASE Jumping Jet Rainbow Star) are installed in one ring at the edges of the fountain, while Varionaut pumps drive water jets circling around the center fountain, which has received new LED light fixtures.

Location
The base of the fountain is located underground, and on its base perimeter lies the main basement restaurant area of Suntec City. The circular ring top of the fountain is visible at ground level.

In popular culture

 * When The Amazing Race 3, a reality television show, came to Singapore in 2002, contestants collected a clue at the fountain.
 * Similarly, contestants of The Amazing Race Asia 1 also went to the fountain for a clue.
 * In the Indian superhero film, Krrish, when Krrish used it as an observation point to locate the position of his Nemesis's helicopter that he is chasing.
 * Magician, Cyril Takayama, performed some tricks on the fountain on the first episode of "Cyril : Simply Magic", which was broadcast on AXN Asia, and MediaCorp Channel 5.

title: Fountain of Wealth


text: Category:Canadian physicists

title: Category:Canadian physicists


text:
Tire-pressure gauge

A tire-pressure gauge, or tyre-pressure gauge, is a pressure gauge used to measure the pressure of tires on a vehicle. Tire-pressure gauges can be used both professionally and casually and come in many different sizes.Since tires are rated for specific loads at certain pressure, it is important to keep the pressure of the tire at the optimal amount. The precision of a typical mechanical gauge as shown is ±3 psi. Higher precision gauges with ±1 psi uncertainty can also be obtained.

Tire-pressure monitoring systems
Many modern cars now come with built-in tire pressure sensors that allow all four tire pressures to be read simultaneously from inside the car. Before 2005, most on-board tire-pressure monitoring systems (TPMS) used indirect pressure monitoring. The anti-lock brake sensors detect one tire rotating faster than the rest and indicate a low tire pressure to the driver. The problem with this method was that if tires all lost the same pressure then none would show up against the others to indicate a problem. However, research have shown that both direct and indirect tire pressure monitoring systems are equally effective.

Regulations on tire pressure
Since September 2007 all new automobiles below 10000 lb in weight sold in the United States are required to incorporate a Tire Pressure Monitoring System, which is capable of monitoring all four tires and simultaneously reporting under-inflation of 25 percent of cold placard pressures in any combination of all four tires. TPMS known as Direct TPMS are capable of TREAD Act legislation requiring simultaneous pressure measurement for each tire pressure.

title: Tire-pressure gauge


text:
VueScan

VueScan is a computer program for image scanning, especially of photographs, including negatives. It supports optical character recognition (OCR) of text documents. The software can be downloaded and used free of charge, but adds a watermark on scans until a license is purchased.

Purpose
VueScan is intended to work with a large number of image scanners, excluding specialised professional scanners such as drum scanners, on many computer operating systems (OS), even if drivers for the scanner are not available for the OS. These scanners are supplied with device drivers and software to operate them, included in their price. A 2014 review considered that the reasons to purchase VueScan are to allow older scanners not supported by drivers for newer operating systems to be used in more up-to-date systems and for better scanning and processing of photographs (prints; also slides and negatives when supported by scanners) than is afforded by manufacturers' software. The review did not report any advantages to VueScan's processing of documents over other software. The reviewer considered VueScan comparable to SilverFast, a similar program, with support for some specific scanners better in one or the other. Vuescan supports more scanners, with a single purchase giving access to the full range of both film and flatbed scanners, and costs less.

The VueScan program can be used with its own drivers or with drivers supplied by the scanner manufacturer, if supported by the operating system. VueScan drivers can also be used without the VueScan program by application software that supports scanning directly, such as Adobe Photoshop, again enabling the use of scanners without current manufacturers' drivers.

In 2019 when Apple released macOS Catalina, they removed support for running 32-bit programs, including 32-bit drivers for scanning equipment. In response, Hamrick released VueScan 9.7, effectively saving thousands of scanners from being rendered obsolete.

Overview
VueScan enables the user to modify and fine-tune the scanning parameters. The program uses its own independent method to interface with scanner hardware, and can support many older scanners under computer operating systems for which drivers are not available, allowing old scanners to be used with newer platforms that do not otherwise support them.

VueScan supports an increasing number of scanners and digital cameras; 2,400 on Windows, 2,100 on Mac OS X and 1,900 on Linux in 2018.

VueScan is supplied as one downloadable file for each operating system, which supports the full range of scanners. Without the purchase of a license, the program runs in fully functional demonstration mode, identical to Professional mode, except that watermarks are superimposed on saved and printed images. Purchase of a license removes the watermark. A standard license allows updates for one year; a professional license allows unlimited updates and provides some additional features.

VueScan supports optical character recognition (OCR), with English included, and 32 additional language packages available on its website.

In September 2011, VueScan co-developer Ed Hamrick said that he was selling US$3 million per year of VueScan licenses.

title: VueScan


text:
The Sensorites

The Sensorites is the seventh serial in the British science fiction television series Doctor Who. Written by Peter R. Newman and directed by Mervyn Pinfield and Frank Cox, the serial was first broadcast on BBC1 in six weekly parts from 20 June to 1 August 1964. In the serial, the First Doctor (William Hartnell), his granddaughter Susan Foreman (Carole Ann Ford), and her teachers Ian Chesterton (William Russell) and Barbara Wright (Jacqueline Hill) visit a planet known as the Sense-Sphere to find the cure to a disease afflicting the alien race the Sensorites.

Newman's story for the serial was inspired by 1950s films set during World War II, exploring the notion of soldiers who continued to fight after the war. Pinfield was chosen to direct the first four episodes due to his directing style, while Cox directed the final two episodes. Designer Raymond Cusick avoided the use of right angles in his set designs, recalling Antoni Gaudí's work on the Sagrada Família. The serial premiered with 7.9 million viewers but failed to maintain these figures due to the holiday sports season. Retrospective response for the serial was generally positive, and it later received several print adaptations and home media releases.

Plot
The TARDIS crew land on a spaceship, where they meet crew members Captain Maitland (Lorne Cossette) and Carol Richmond (Ilona Rodgers), who are on an exploration mission from Earth and are orbiting Sense-Sphere. However, its inhabitants, the Sensorites, refuse to let them leave orbit. The Sensorites visit and stop the travellers from leaving while sending them on a collision course, which the First Doctor (William Hartnell) diverts. The travellers then meet Carol's fiancé John, whose mind has been broken by the Sensorites. Susan Foreman's (Carole Ann Ford) telepathic mind is flooded with the many voices of the Sensorites who remain scared of the humans and are trying to communicate with her.

Meanwhile, the Doctor calculates that the Sensorites attacked the human craft because John (Stephen Dartnell), a mineralogist, had discovered a vast supply of molybdenum on Sense-Sphere. Susan reports that the Sensorites wish to make contact with travellers, asking the crew to board Sense-Sphere and reveal that a previous Earth expedition caused them great misery. The Doctor asks the Sensorites to return the TARDIS' lock in exchange for visiting the Sense-Sphere to speak with the leader; Ian Chesterton (William Russell), Susan, Carol, and John join him.

On their journey to Sense-Sphere, the party learns that the previous visitors from Earth exploited Sense-Sphere for its wealth; half of them stole the spacecraft, which exploded on take-off. The Sensorite Council is divided over the issue of inviting the party to Sense-Sphere: some members plot to kill them on arrival, but others believe that the humans can help with the disease that is currently killing many Sensorites. When their first plot is foiled by other Sensorites, they continue to plot in secret. John's mind is eventually unblocked. Ian contracts the disease that has blighted the Sensorites, and told that he will soon die; it is revealed that he was actually poisoned by drinking water from the aqueduct. The Doctor finds the aqueduct and creates a cure for Ian. The plotting Sensorites capture and then impersonate a Sensorite leader, the Second Elder (Bartlett Mullins).

Meanwhile, investigating the aqueduct, the Doctor finds strange noises and darkness. He sees and removes deadly nightshade, the cause of the poisoning, but while returning meets an unseen monster. Susan and Ian find him unconscious but unharmed. On recovering, he tells of his suspicion that some Sensorites are plotting to kill them. The plotting Sensorites kill the Second Elder and one of them replaces him in his position. John tells the others that he knows the lead plotter, but he is now too powerful, so the Doctor and Ian go down to the aqueduct to find the poisoners. Elsewhere, a mysterious assailant abducts Carol; Susan, John, and Barbara Wright (Jacqueline Hill) eventually find and release her. On discovering the tampered tools, they go into the aqueduct to rescue the Doctor and Ian. The leader discovers the plotters a little while later. Ian and the Doctor discover that the monsters were actually the survivors of the previous Earth mission, and they had been poisoning the Sensorites. Their deranged Commander (John Bailey) leads them to the surface, where they are arrested by the Sensorites. The Doctor and his party return to the city, pleading clemency for the poisoners. The leader of the Sensorites agrees and sends them back with Maitland, John, and Carol to Earth for treatment.

Writing and casting
Peter R. Newman developed the concept for The Sensorites in January 1964 and was officially commissioned to write the serial on 25 February by script editor David Whitaker. Newman's story was inspired by 1950s films set during World War II, exploring the notion of soldiers who continued to fight after the war. Mervyn Pinfield was chosen to direct the first four episodes, as it was felt that he could evoke great visual atmosphere despite a small budget, while Frank Cox directed the final two episodes.

Stephen Dartnell, who had previously appeared in The Keys of Marinus, was chosen to portray John, while Ilona Rodgers played his fiancée Carol. Canadian actor Lorne Cossette played Maitland, and John Bailey portrayed the Commander; Cox envisioned the Commander akin to Ben Gunn, a character from Robert Louis Stevenson's Treasure Island, and cast Bailey after seeing him in the play Pygmalion in April 1962. The other human survivors were played by Martyn Huntley and Giles Phibbs, friends from drama school who knew the director's secretary and were scheduled an interview.

Design and filming
Designer Raymond Cusick avoided the use of straight lines and right angles in his sets for the Sense Sphere, in deliberate contrast to the "alien" buildings of other stories. He recalled the work of architect Antoni Gaudí, who designed the Sagrada Família without using right angles. Cusick designed the spaceships sets to resemble the 1940s Dakota military aircraft. The Sensorite masks, created by costume designer Daphne Dare and make-up artist Jill Summers, were designed for short actors; Dare designed them to look like wise old men. Mouth flaps were concealed beneath the creatures' beards to allow the actors to speak. The Sensorites' feet were created by stretching out pieces of circular card at the end of the costume, making it difficult for the actors to walk. The hand tools used by the creatures were designed by Shawcraft Models.

Model filming for The Sensorites took place in May 1964 at Ealing Studios. Rehearsals for the first episode took place from 25 to 28 March, and weekly recording for the serial began on 29 March at the BBC Television Centre in Studio 3. To achieve the effect of the spaceship rolling on its axis, the camera was rocked erratically. The third and sixth episodes were recorded at Lime Grove Studios in Studio D and the fifth in Studio G, while the fourth was recorded at the Television Centre in Studio 4. Jacqueline Hill was absent from the recording of the fourth and fifth episodes as she was on holiday. A final insert shot of the spaceship was recorded at Lime Grove Studio D on 10 July 1964 by Henric Hirsch, director of the following episode.

Broadcast and ratings
The first episode was broadcast on BBC1 on 20 June 1964 and was watched by 7.9 million viewers. The second episode aired 25 minutes late on 27 June due to an overrun of the previous programme Summer Grandstand, achieving 6.9 million viewers. While the third episode was provisionally scheduled to run two hours late on 4 July, due to extended coverage of the Wimbledon tennis championships and Ashes Test match, it was replaced by Juke Box Jury and postponed to the following week, receiving 7.4 million viewers. The fourth and fifth episodes dropped to 5.5 and 6.9 million viewers, respectively, but were nonetheless the highest-rated BBC show in the BBC North region for their respective weeks. The final episode aired on 1 August to 6.9 million viewers. The Appreciation Index was an average of 58 for the six episodes, ranging from 56 to 60. Episodes 3–5 were erased by the BBC on 17 August 1967, while the remaining three were erased on 31 January 1969. BBC Enterprises retained negatives of the original 16 mm film with soundtracks made in 1967; these were returned to the BBC Archives in 1978.

Critical response
Retrospective reviews of the serial were positive. In The Discontinuity Guide (1995), Paul Cornell, Martin Day, and Keith Topping wrote that "it veers from sinister to unintentionally hilarious, with everyone fluffing their lines". In The Television Companion (1998), David J. Howe and Stephen James Walker enjoyed the set-up of the first two episodes and the escalation of the threat, though noted that it contained a "classic piece of sixties sexism" in the traditional roles of Susan and Barbara; they praised the "bravura performance" of Dartnell, and felt that the characters of Maitland and Carol are "well defined". In A Critical History of Doctor Who (1999), John Kenneth Muir considered the Sensorites justified in their hatred of humans, appreciating that they "are not merely evil because the story demands it of them".

In 2008, Mark Braxton of Radio Times described the Sensorites as "a triumph of realisation, in their appearance ... and in their hierarchy, culture and customs" but felt they were developed to the detriment of the humans; Braxton praised the performance of Dartnell, Hartnell and Ford, noting the serial's importance to the relationship between the Doctor and Susan. In 2012, IGN Arnold T. Blumburg wrote that "the story builds some nice suspense in the first two episodes and features some great set design and lighting", and commended the "shades of gray" used for the Sensorites' design, instead of the black and white creatures such as the Daleks. Nick Setchfield of SFX felt that the story was "ambitious" and the slow pace "actually works in episode one's favour", though the Sensorites' "chill-factor" was gone after the first episode. DVD Talk John Sinnott considered the story "well constructed" with impressive set design and an expanded role for Susan, but felt that there was "nothing special" about the serial.

Commercial releases
A novelisation of this serial, written by Nigel Robinson was published as a hardback in February 1987 by Target Books; the paperback was released in May 1987. An audiobook reading of the novelisation, narrated by William Russell, was published by AudioGO in May 2012. Music from the serial was included as part of Doctor Who: 30 Years at the BBC Radiophonic Workshop in July 1993, Doctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963–1969 in May 2000, and The 50th Anniversary Collection in November 2014.

A restored version of the serial was released on VHS in November 2002 as part of The First Doctor Box Set, and separately on DVD in January 2012; the latter included several special features, including audio commentary and a documentary about Newman. The original television soundtracks were released by BBC Audio in July 2008, with Russell providing linking narration and an interview; this was later packaged as part of The TV Episodes: Collection Six box set in September 2013, featuring original camera scripts. Action figures of Sensorites were created by Fine Art Castins in 1985, Harlequin Miniatures in 1999–2000, and Eaglemoss in December 2015.

title: The Sensorites


text:
Internal communications

Internal communications (IC) is the function responsible for effective communications among participants within an organization. The scope of the function varies by organization and practitioner, from producing and delivering messages and campaigns on behalf of management, to facilitating two-way dialogue and developing the communication skills of the organization's participants.

Internal communication is meant by a group of processes that are responsible for effective information circulation and collaboration between the participants in an organization. Modern understanding of internal communications is a field of its own and draws on the theory and practice of related professions, not least journalism, knowledge management, public relations (e.g., media relations), marketing and human resources, as well as wider organizational studies, communication theory, social psychology, sociology and political science.

History of internal communications
Large organizations have a long history of promoting pride and a sense of unity among the employees of the company, evidenced in the cultural productions of Victorian-era soap manufacturers as far apart as the UK's Lever Brothers and the Larkin Soap Company of Buffalo, New York.

Internal communications is fundamentally a management discipline, but as a discrete discipline of organizational theory it is relatively young. Stanford associate professor Alex Heron's Sharing Information with Employees (1943) is an outlier among texts which focus solely on the factors involved. During the 1970s the subject attracted more attention in academic circles but it is only since around 2000 that employee communications has really attracted attention to a significant degree among scholars.

Writing in 2013, Ruck and Yaxley explore how the discipline evolved from the days of employee publications in the late 19th century. As organizations became more complex, the impetus to communicate with employees grew and led to the emergence of an increasingly specialised discipline.

In the UK in 2023, Michael Heller and Joe Chick were undertaking an Economic and Social Research Council-funded project, An Institutional History of Internal Communication in the UK. The project integrates historical research with organizational theory and involves 20 organizations, six involved in the practice of IC in the UK, and 14 which historically practiced internal communication.

Role of IC in the organization
The job of an IC manager or IC team will vary from place to place and will depend on the needs of the organization they serve. In one, the IC function may perform the role of 'internal marketing' (i.e., attempting to win participants over to the management vision of the organization); in another, it might perform a 'logistical' service as channel manager; in a third, it might act principally as strategic adviser. Kevin Ruck argues that the role may include acting as the ears of the organization and a conduit for employee voice.

There is a practical distinction to make between managed communication and regular interactions among teams or between managers and subordinates. Minzberg talks about the fact that communicating is intrinsic to the work of a manager - especially so in an information society. Interpersonal communications in the workplace are explored by writers such as Phillip Clampitt and Hargie and Tourish.

There are a number of reasons why organizations should be concerned with internal communication. Employees are the heart and soul of an organization, thus it is critical to pay attention to their needs. An engaged and committed employee work force increases and drives business results. Employee engagement encourages higher employee performance, results in lower turnover and offers competitive advantage. Even in a difficult economy, companies need to inspire and retain high performers. Research undertaken in the United States and the UK in 2008 revealed "the scale and impact on businesses" of 'employee misunderstanding', defined as "actions taken by employees who have misunderstood or misinterpreted (or were misinformed about or lack confidence in their understanding) of company policies, business processes and/or job function".

Importantly, there is commonly a legal requirement for organizations to communicate with their workers. In large organizations in Europe, for example, the EU has made very specific provision about workers' rights to be informed and consulted with (Directive 94/45/EC on Works Councils).

Effective internal communications is commonly understood by practitioners to improve employee engagement (see, for example, the UK government-sponsored Macleod Report) and therefore to add significant value to organizations in terms of productivity, staff retention or external advocacy.

As noted in Quirke (2008): "Traditionally, internal communications has focused on the announcement of management conclusions and the packaging of management thinking into messages for mass distribution to the 'troops. Research indicates a limit to the value of this 'broadcasting' model of IC. Without feedback loops and harnessing the active involvement and mediation skills of frontline supervisors or team leaders, broadcasting tends to be more effective at influencing senior and middle managers than frontline employees - see, for example, Larkin and Larkin (1994).

As the IC function matures within the organization, then, it may come to play a wider role in facilitating conversations "upwards", "downwards" and "across" the organization, per Stohl (1995). Organizations increasingly see IC as playing a role in external reputation management. Joep Cornelissen in his book Corporate Communications touches on the relationship between reputation and internal conversations. This trend reaches its full potential with the arrival of new 'norms' and customer expectations around social media, for example in the work of Scoble and Israel. Market researchers MORI have likewise highlighted the effects of employee advocacy on an organization's external reputation.

IC managers help senior leaders think strategically about how their decisions will be perceived internally and externally. The value added by a strong IC capability is typically explained as making a contribution to positive employee engagement.

Internal communication strategy
As suggested above, employee communications strategy is founded on the essential question of what results does an organization need to achieve. Specifically, many practitioners talk in terms of 'outcomes' rather than 'outputs'; their concern is what actions are needed from employees rather than what tools or content should the IC team be producing. Some writers talk about the DO-FEEL-KNOW challenge. The actions needed of a workforce might be to work differently in support of a new business strategy, to follow safer practices or perhaps deliver a particular customer experience. The role of the internal communicator is to identify the behaviour required of staff and then consider what emotional and informational needs will help the staff adopt the desired behaviour.

Specific projects or programmes will then develop detailed plans which include insight into:
 * Audience (or public) - who do we need to influence and what matters to them
 * Messaging - what ideas are likely to inspire staff to follow the desired actions
 * Overall approach - For example, is a campaigning approach needed, or will we be able to simply use a few articles in an internal publication? Is the intention to tell people, excite them or ask for their input?
 * Channel choices
 * Timescales and resources
 * Evaluation and tracking - how will we know if we are achieving our results?

Message distribution
Formal channels typically fall into one of four broad categories:
 * Electronic: Communications that are delivered and/or accessed electronically, either by computer, telephone, television or other devices. Examples include email, intranet, video and webcasts, DVD, electronic newsletters, podcasts, blogs, wikis, voicemail, conference calls, SMS text messaging, screensaver messaging, desktop news feeds, internal social media tools and team chat tools.
 * Print: Paper-based communications. Examples include magazines, newsletters, brochures, postcards and other 'desk drops', posters, memos, communication packs or 'toolkits' for line managers, etc.
 * Face-to-face: One-to-one and one-to-many forums where people are physically present. Examples include a 'cascade' of team meetings or briefings, conferences, site visits, 'back to the floor', consultation forums, 'brown bag' lunches, round-table discussions, 'town meetings', etc.
 * Workspace: The working environment. Examples include notice boards, plasma and LCD screens, accessories (e.g.: mousemats), window decals, etc.

Informal channels reflect the non-linear dynamics of a social network and can be as influential, if not more so, than official channels, often more likely to stimulate and create discussion and dialogue. The channels may manifest themselves via the rumour-mill, water-cooler conversations, social networking, graffiti, spoof newsletters, etc.

Selecting channels
One of the key challenges any internal communicator will face is how to select the right channels - and the right mix of channels - for both the audience and the message. Bill Quirke offers a simplistic guide; see Weick for some theoretical grounds for this basic insight.

The practical considerations are:
 * Availability: what channels either already exist within the organization or can be introduced effectively?
 * Audience: who are they, where are they based, how do they prefer to access information and how effective will the proposed channel be in reaching them and engaging them?
 * Objectives: what does the organization want people to learn, think, feel or do as a result of the message?
 * Content: what is the context and substance of the message? (for example, sensitive messages may need to be communicated face-to-face, rather than by text message)
 * Timing: how urgent is the message? (for example, communications in times of crisis which require quick dissemination of important messages)

Traffic control
A typical large organization IC function will be concerned to monitor and limit the quantity of information flowing through each internal channel, prioritising according to the relevance of a given message to the audience implicated in that channel, as well as the urgency and impact of the message. Such organizations typically face a risk that channels (such as intranet news, or email) are over-used for inappropriate, low value messages, causing vital audience groups to filter them out.

Channel development and administration
IC teams will often (but not always) hold responsibility for the administration and development of several of the organization's communications channels. The range of media available is wide - and growing fast with new electronic media. Initially, IC tends to focus on the existing resources of the organization, typically an intranet, email distributions, and newsletters.

One common element of channel development and administration involves managing supplier relationships - agencies external to the organization typically specialise in one main channel area, such as audiovisual, or print production.

Line manager 'cascade'
Sending information down the line to local supervisors, expecting them to deliver it without any corruption, interpretation or deviation has long been the main focus of 'cascaded' internal communications (for example, UK guidance from The Industrial Society, now The Work Foundation, focused on giving managers very clear instructions about what to say and how to say it). However, in recent years thinking has evolved and literature now concentrates on empowering managers to facilitate discussion rather than cascade management of messages which will have little authority or impact (this is a particularly strong theme in the writing of Larkin & Larkin). Clampitt (2005) lists three approaches managers use to communicate with their employees.

Employee communication is an important skill for all line managers, irrespective of their seniority. Like any skill it requires training and development. Often, organizations do not invest the appropriate amount of time and effort in developing managers' communications skills. Too often this leads to managers abdicating responsibility for communications to their 'internal communications department' and a lack of confidence in facilitating discussion in their teams. This raises debate around the following issues:
 * The nature of supervisory relationships and organizational communication
 * The potency of managers as a channel of official communications
 * How best to support managers in their roles

FitzPatrick and Valskov argue that strong manager communication systems attempt to address five essential issues:
 * Do managers understand that communication is part of their role - in general and on specific occasions or topics?
 * Do managers have access to more detailed background or context - rather than just be supplied with the same material as their teams?
 * Have managers received training or development to support their role?
 * Are manager supplied with materials to make their task easier?
 * What attention is given to their feedback?

Social media
Social media is becoming increasingly discussed in the field of internal communication. However, there is little documented, academic evidence of where it is being used successfully as part of a planned campaign of employee communications, and it is often confused with digital media. There are case studies published on a number of commercial websites including www.simply-communicate.com and www.melcrum.com (now defunct), and there is a useful chapter on the subject by Tracy Playle in Ruck's Exploring Internal Communication.

Other collaborative software
Since 2012, several communication technologies usually classified as workplace group chat apps or collaborative software have emerged.

Message design and production
Basic IC services to an organization begin with editorial services - either fine-tuning messages drafted by participants in the organization, or drafting new material on their behalf. IC practitioners might simply correct basic grammar, etc., especially in organizations where many participants may be operating in their second or third language. Or they might re-work it to conform to house style or its branded equivalent, 'tone of voice'. The skillset involved relates closely to media professions such as journalism, copywriting and film or print production. Message design may be iterative, or involve a range of participants in an approvals process.

Project communications
IC practitioners may be seconded to a specific project team, to support the stages of the project that carry a communications or engagement component. Project communicators might produce a schedule of communication objectives and milestones for the project; a map of vital stakeholders (senior individuals or large groups / segments of the overall population); and a message framework to guide project participants towards a single, coherent message about their work. They might also contribute to the project's aggregate risks 'log' on the reputational risks, and work-up contingency plans covering unintended situations.

Change communications
Most writers on the subject of communications talk about the idea of change. Most intentional communication takes place with the aim of effecting some kind of change or another. However, many practitioners in internal communications make a distinction between change and transformation.

Drawing on the work of writers such as William Bridges, practitioners talk of 'change' as the act of altering something within an organization (such as the introduction of a new IT system or the closure of an office) and they describe 'transition' as the process through which an individual passes as part of the process of coping with change. The use of the two terms interchangeably causes some confusion. Communicators who specialise in change communications tend to be interested in behaviour change and will draw heavily on psychological models.

There are important contributions made to the debate about practice in this area by Herrero and Quirke.

Crisis communications
Organizations occasionally face unplanned reputational crises which can destroy brand value or even finish the organization. At such moments, the support of the internal constituency becomes especially valuable, as employees' friends and relatives seek their account of events, and as talented and motivated participants consider whether or not to remain with the organization.

As with media relations and PR, the role IC plays in a crisis can be decisive for the success or failure of an organization, as it responds to a critical challenge. Organizations with a mature IC function may have contingency planning in place, ready to be tailored to the particulars of the situation. They are also more likely to have 'well flexed', well-rehearsed line management communications capability, making crisis communications more effective. Less mature IC functions may find it difficult to bring senior leaders' attention to the internal audience, when critical stakeholders such as investors or customers appear more likely to desert the organization.

Although unplanned and usually under-resourced, the quality of an IC function's response in a crisis often has a decisive impact in the maturing of an IC function within an organization. Effective responses bring IC up the list of priorities for senior leaders, following the crisis.

Internal communication roles
In recent years the practice of internal communications has professionalised.

In common with the Ulrich model for human resources practice, IC may be delivered via a 'business partnering' relationship, acting as adviser to a given function or unit on IC issues relevant to the delivery of their strategic plans and projects. As a representative of the audiences with a stake in the developments under discussion, this can be both an awkward and a privileged position to occupy, requiring skills of diplomacy and objectivity.

IC associations and accreditation
There is not yet a globally recognised internal communication qualification, though various training courses and formal qualifications have been established to create and maintain standards.

In the UK, the accreditation bodies representing the profession offer competing qualifications. The UK's Chartered Institute of Public Relations offers training and qualifications in internal communications including Diploma and Certificate courses. There are also postgraduate Diploma or Masters programmes in Internal Communications Management at Kingston University in London.

In Europe, related courses are available at the University of Lugano in Switzerland and Rotterdam School of Management in the Netherlands.

In Asia, internal communications is still a very nascent field with few specialists in more developed economies such as Singapore and Hong Kong, some accredited by the Singapore Business Advisors and Consultants Council.

Professional IC associations include the Institute of Internal Communication, the International Association of Business Communicators (IABC), and others. In 2013, IABC closed its Accredited Business Communicator qualification, but planned to launch a Certification Programme for Strategic Communicators in Autumn 2014.

Synonyms
IC may variously be referred to as: employee communications, employee engagement, employee relations, internal marketing, company communications, staff communication. Responsibility for IC may sit within various established functions, including marketing, corporate communications, transformation, HR and the CEO office. Internal communications functions can require several skills, e.g.: writing, marketing, event organization, web production, facilitation, advertising, stakeholder management, corporate social responsibility, branding and communications training.

title: Internal communications


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Amarna Period

The Amarna Period was an era of Egyptian history during the later half of the Eighteenth Dynasty when the royal residence of the pharaoh and his queen was shifted to Akhetaten ('Horizon of the Aten') in what is now Amarna. It was marked by the reign of Amenhotep IV, who changed his name to Akhenaten (1353–1336 BC) in order to reflect the dramatic change of Egypt's polytheistic religion into one where the sun disc Aten was worshipped over all other gods. The Egyptian pantheon was restored under Akhenaten's successor, Tutankhamun.

Religious developments
Akhenaten instigated the earliest verified expression of a form of monotheism, although the origins of a pure monotheism are the subject of continuing debate within the academic community. Some state that Akhenaten restored monotheism while others point out that he merely suppressed a dominant solar cult by the assertion of another, while never completely abandoning several other traditional deities. Scholars believe that Akhenaten's devotion to his deity, Aten, offended many in power below him, which contributed to the end of this dynasty; he later suffered damnatio memoriae. Although modern students of Egyptology consider the monotheism of Akhenaten the most important event of this period, the later Egyptians considered the so-called Amarna period an unfortunate aberration.

The period saw many innovations in the name and service of religion. Egyptians of the time viewed religion and science as one and the same. Previously, the presence of many gods explained the natural phenomena, but during the Amarna period there was a rise in monotheism. With people beginning to think of the origins of the universe, Amun-Re was seen as the sole creator and Sun-god. The view of this god is seen through the poem entitled "Hymn to the Aten": "When your movements disappear and you go to rest in the Akhet, the land is in darkness, in the manner of death... darkness a blanket, the land in stillness, with the one who makes them at rest in his Akhet. The land grows bright once you have appeared in the Akhet, shining in the sun disk by day. When you dispel darkness and give your rays, the Two Lands are in a festival of light."

From the poem, one can see that the nature of the god's daily activity revolves around recreating the earth on a daily basis. It also focuses on the present life rather than on eternity.

After the Amarna reign, these religious beliefs fell out of favor. It has been argued that this was in part because only the king and his family were allowed to worship Amun-Re directly, while others were permitted only to worship the king and his family.

Royal women
The royal women of Amarna have more surviving text about them than any other women from ancient Egypt. It is clear that they played a large role in royal and religious functions. These women were frequently portrayed as powerful in their own right.

Queen Nefertiti was said to be the force behind the new monotheist religion. Nefertiti, whose name means "the beautiful one is here", bore six of Akhenaten's daughters.

Many of Akhenaten's daughters were as influential as, or more so than, his wives. There is a debate whether the relationship between Akhenaten and his daughters was sexual. Although there is much controversy over this topic, there is no evidence that any of them bore his children; Akhenaten did give many of his daughters titles of queen.

Art
During Akhenaten's reign, royal portraiture underwent dramatic change. Sculptures of Akhenaten deviate from conventional portrayal of royalty. Akhenaten is depicted in an androgynous and highly stylized manner, with large thighs, a slim torso, drooping belly, full lips, and a long neck and nose. Some believe that the break with convention was due to "the presence at Amarna of new people or groups of artists whose background and training were different from those of the Karnak sculptors."

The events following Akhenaten's death are unclear and the identity and policies of his co-regent and immediate successor are the matter of ongoing scholarly debate.

Tutankhamun and the Amarna succession
Tutankhamun, among the last of his dynasty and the Amarna kings, died before he was twenty years old, and the dynasty's final years clearly were shaky. The royal line of the dynasty died out with Tutankhamun. Two babies found buried in his tomb were his infant daughters, who would have continued the royal lineage.

An unidentified Egyptian queen Dakhamunzu, widow of "King Nibhururiya", is known from Hittite annals. She is often identified as Ankhesenamun, royal wife of Tutankhamun, although Nefertiti and Meritaten have also been suggested as possible candidates. This queen wrote to Suppiluliuma I, king of the Hittites, asking him to send one of his sons to become her husband and king of Egypt. In her letters she expressed fear and a reluctance to take as husband one of her servants. Suppiluliumas sent an ambassador to investigate, and after further negotiations agreed to send one of his sons to Egypt. This prince, named Zannanza, was, however, murdered, probably en route to Egypt. Suppiluliumas reacted with rage at the news of his son's death and accused the Egyptians. Then, he retaliated by going to war against Egypt's vassal states in Syria and Northern Canaan and captured the city of Amki. Unfortunately, Egyptian prisoners of war from Amki carried a plague which eventually would ravage the Hittite Empire and kill both Suppiluliumas I and his direct successor.

The last two members of the eighteenth dynasty – Ay and Horemheb – became rulers from the ranks of officials in the royal court, although Ay may have married the widow of Tutankhamun in order to obtain power and she did not live long afterward. Ay's reign was short. His successor was Horemheb, a general in the Egyptian army, who had been a diplomat in the administration of Tutankhamun and may have been intended as his successor by Tutankhamun, who had no surviving children. Horemheb may have taken the throne away from Ay in a coup. He also died without surviving children and appointed his successor, Paramessu, who under the name Ramesses I ascended the throne in 1292 BC and was the first pharaoh of the Nineteenth Dynasty.

Foreign relations
The Amarna Letters feature correspondence among the rulers of several empires, dubbed by modern historians The Club of Great Powers: Babylon, Assyria, Mitanni and Hatti, viz. the major powers in Mesopotamia, the Levant and Anatolia during the Late Bronze Age.

Babylon EA 1–11
The Babylonians were conquered by an outside group of people and were referred to in the letters as Karaduniyas. Babylon was ruled by the Kassite dynasty which would later on assimilate to the Babylonian culture. The letters of correspondence between the two deal with various trivial things but it also contained one of the few messages from Egypt to another power. It was the pharaoh responding to the demands of King Kasashman-Enlil, who initially inquired about the whereabouts of his sister, who was sent for a diplomatic marriage. The king was hesitant to send his daughter for another diplomatic marriage until he knew the status of his sister. The pharaoh responds by politely telling the king to send someone who would recognize his sister. Then later correspondence dealt with the importance of exchanging of gifts namely the gold which is used in the construction of a temple in Babylonia. There was also a correspondence where the Babylonian king was offended by not having a proper escort for a princess. He wrote that he was distraught by how few chariots there were to transport her and that he would be shamed by the responses of the great kings of the region.

Assyria EA 15–16
By the time of the Amarna letters, the Assyrians, who were originally a vassal state, had become an independent power. The two letters were from king Assur-uballit I. The first dealt with him introducing himself and sending a messenger to investigate Egypt: "He should see what you are like and what your country is like, and then leave for here." (EA 15) The second letter dealt with him inquiring as to why Egypt was not sending enough gold to him and arguing about profit for the king: "Then let him (a messenger) stay out and let him die right there in the sun, but for (but) for the king himself there must be a profit."

Mittani EA 17–30
Once enemies, by the time of the Amarna letters, the Mittanni had become an ally of Egypt's. These letters were written by the King Tuiseratta and dealt with various topics, such as preserving and renewing marriage alliances, and sending in various gifts. For example, EA 22 and EA 25 in the Amarna letters are an inventory of the gifts from the Mittani king Tusratta to the pharaoh. Other correspondences of note dealt with a gold statue that was addressed in EA 26 and EA 27. Akhenaten married a Mittani princess in order to create stronger ties between the two nations.

Hatti EA 41–44
Hatti was a kingdom in central Anatolia that would later make Mitanni their vassal state. The correspondence from the Hatti comes from a king called Suppiluliuma. The subjects of the letters varied, from discussing past alliances to gift-giving and dealing with honor. In EA 42, the tablet stated how the Hittite king was offended by the name of the pharaoh written over his name. Although the ending of the text was very fragmented, it was discerned as saying that he will blot out the name of the pharaoh.

The opening statement
William Moran discussed how the first line in these documents followed a consistent formula of "Say to PN. Thus PN." There are variations of this but was found common among all the tablets. The other is a salutation which is one a report of the monarch's well-being and then the second which is a series of good wishes toward the monarch. Indeed, this seems to be part of the style of Akkadian style of writing which helped facilitate foreign correspondence for the long term. As scholars argued, this aided in filtering out the chauvinistic domestic ideology at home to the other monarch. This allowed diplomacy to flourish which aided to the relative peace of the time.

Brotherhood
Despite the great distances between the rulers, the concept of a global village reigned.

The importance of this in EA 7 is that it demonstrates the mindset of the rulers in the Near East world at the time. The "enlarged village" which scholars like to term permeated their thoughts where they took the idea of brotherhood. They were related through the political marriages but is an idea of a village of clans which gives reason to the good wishes and update on the health of the monarchs themselves. The monarchs seem to have very little concept of the time of travel between each other and at most likely saw that the village worldview they lived in was applicable for the long distant correspondence of the Amarna letters. Indeed, there is a constant demonstration of love as seen in these letters. Scholars pointed out that to demonstrate good friendship it had to be on the practical level of constant stream of gift giving. This request for gifts is constant with the various correspondence with the Great Kings.

title: Amarna Period


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Talk:The Sensorites

I am aware that the information about one episode being postponed could have been put elsewhere, but to do this would necessitate a clumsy re-write of the weekly transmission details. The way I have written it still fits into the Doctor Who template well enough.

Masthead image deletion
Please note that the masthead image here, File:Sensorites.jpg is being discussed for deletion at  Andy Dingley (talk) 02:37, 28 November 2013 (UTC)

title: Talk:The Sensorites


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Shrine of Baháʼu'lláh

The Mansion of Bahjí (قصر بهجي, Qasr Bahjī, mansion of delight) is a summer house in Acre, Israel where Baháʼu'lláh, the founder of the Baháʼí Faith, died in 1892. He was buried in an adjacent house, which became the Shrine of Baháʼu'lláh, a place of pilgrimage and the Baháʼí Qiblih. The whole area was called Al-Bahjá (Place of Delight).

Mansion of Bahjí
Baháʼu'lláh's son ʻAbdu'l-Bahá first rented, and then purchased, the mansion for his father and the Baháʼí holy family to live in, and Baháʼu'lláh moved from Mazra'ih to Bahji and resided in the building until his death. In 1890 the Cambridge orientalist Edward Granville Browne met Baháʼu'lláh in this house; after this meeting he wrote his famous pen-portrait of Baháʼu'lláh.

When Baháʼu'lláh died in 1892 he was interred in one of the surrounding buildings. The site has since been beautified with paradise gardens, which are termed Haram-i-Aqdas (the Most Holy Precincts or Sanctuary) and are intersected by a circular path that serves to circumambulate the shrine of Baháʼu'lláh. The Mansion, shrine, and surrounding gardens are among the most sacred spots on earth for Baháʼís and are Baháʼí pilgrimage sites.

Shrine
The Shrine of Baháʼu'lláh is composed of a central area that contains a small, tree-filled garden surrounded by paths covered with Persian rugs. A glass roof was constructed by Qulám-ʻAlíy-i-Najjár after the death of Baháʼu'lláh. At the northwest corner of the central area there is a small room containing Baháʼu'lláh's remains. The central area has doors to a number of other rooms that have, in recent years, been opened to accommodate the growing number of pilgrims and visitors.

During obligatory prayers Baháʼís face the Qiblih, which is the Shrine of Baháʼu'lláh, comparable in practice to Muslims facing the Kaaba during daily prayer, or Christians/Jews facing Jerusalem. The Báb changed the direction of prayer to He whom God shall make manifest, a role claimed by Baháʼu'lláh. Baháʼís during his lifetime prayed facing the person of Bahá'u'lláh, until the spot became fixed when he was buried. A Tablet explaining this existed but had been stolen by Covenant-breakers.

The shrine and its surrounding gardens, as well as the Mansion of Bahjí, were inscribed on the World Heritage List in July 2008.

History
The area was originally a garden planted by Sulayman Pasha, who was the ruler of Acre, for his daughter Fatimih, and he named it Bahji. Later the area was further beautified by ʻAbdu'llah Pasha, and in 1831 when Ibrahim Pasha besieged Acre he used the property as his headquarters. The property was well known for its beautiful gardens and pond fed by an aqueduct. The property then fell into the possession of a Christian family, the Jamals.

In 1870 ʻUdi Khammar, a wealthy merchant from Acre who also originally owned the House of ʻAbbúd, bought some of the land from the Jamals close to the mansion of ʻAbdu'llah Pasha and built the Mansion of Bahji, over an earlier and smaller building, which Abdu'llah Pasha had built for his mother. Udi Khammar placed an Arabic inscription over the door in 1870 which reads: "Greetings and salutation rest upon this Mansion which increaseth in splendour through the passage of time. Manifold wonders and marvels are found therein, and pens are baffled in attempting to describe them." ʻUdi Khammar had built the house for his family, and when he died was buried in a tomb in the south-east corner of the wall directly around the building. In 1879 an epidemic caused the inhabitants to flee and the building became vacant.

The shrine, after ʻAbdu'l-Bahá's death, was occupied by Mírzá Muhammad ʻAlí and his supporters, who forcibly took the keys to the shrine in January 1922. The governor of Acre ordered the keys to be returned to the authorities and a guard was posted at the shrine. In early 1923 the keys were returned to Shoghi Effendi. In the 1950s, Shoghi Effendi had made plans for a future superstructure, which would surround the whole area and would include a platform with 95 marble columns, each 6 meters high. Shoghi Effendi has called the shrine the Daryá-yi-Núr (Ocean of Light), which has taken the Kúh-i-Núr (Mountain of Light, the Shrine of the Báb) under its shadow.

At the entrance to these gardens stands a wrought iron decorative gate called "Collins Gate" named after Amelia Collins.

title: Shrine of Baháʼu'lláh