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Kawasaki Ninja ZX-10R

The Kawasaki Ninja ZX-10R is a motorcycle in the Ninja sport bike series from the Japanese manufacturer Kawasaki, the successor to the Ninja ZX-9R. It was originally released in 2004 and has been updated and revised throughout the years. It combines an ultra-narrow chassis, low weight, and radial brakes. In 2004 and 2005 the ZX-10R won Best Superbike from Cycle World magazine, and the international Masterbike competition.

Engine
Kawasaki engineers used a stacked design for a liquid-cooled, 998 cc inline four-cylinder engine. The crankshaft axis, input shaft, and output shaft of the Ninja ZX-10R engine are positioned in a triangular layout to reduce engine length, while the high-speed generator is placed behind the cylinder bank to reduce engine width. With a bore and stroke of 76 ×, the ZX-10R engine's one-piece cylinder, and crankcase assembly reduces weight and increases rigidity. The DOHC are machined from Chromoly steel, built for strength; four valves per cylinder improve high-rpm breathing; and the forged, lightweight pistons offer high heat resistance to further enhance the bike's power-to-weight ratio.

Cooling system
In addition to liquid cooling, the ZX-10R engine has an oil cooler adjacent to the oil filter to reduce oil temperatures. Slosh analysis was also used to design the internal structure of the oil pan, thereby reducing windage losses and helping to maintain low oil temperatures.

Clutch
A multi-plate wet slipper clutch transfers power to a six-speed, close-ratio transmission ideal for closed-course competition. The back-torque limiter automatically disengages the clutch (partially) under hard downshifting at high engine speeds to prevent rear-wheel hop during corner entry.

Wheels
A new six-spoke wheel design is claimed to be almost as light as special purpose race wheels. Since the 2006 model, the sidewall profile of the rear tire has been increased from 190/50/ZR17 to 190/55/ZR17.

2004–2005
The 2004 model was the debut of the Ninja ZX-10R with minor updates in 2005. It was compact, and with a chassis rivaling those of a 600cc sportbike and with a short wheelbase and a high power-to-weight ratio, which helped the handling. The exhaust system was fully titanium with a single muffler.

2006–2007
Among other changes, the 2006 model had twin underseat exhausts which contributed to a 5 kg increase in dry weight. The engine remained largely unchanged.

2008
The ZX-10R was all new for its launch for the 2008 model year. There was a dramatic change in appearance with the bike with a much more angular front end. Kawasaki moved away from the twin underseat exhausts of the 2006–2007 model to a more conventional single side exhaust. The compression ratio of the engine was raised.

2009
The 2009 model received only slight changes to the transmission from the 2008 model. The shift shaft was upgraded to allow smoother shifts.

2010
The 2010 model received slight changes from the 2009 model, including, upgraded Öhlins steering damper, headlights were recessed into the fairing and the individual fairing centre section pieces where now fused into one moulding.

2011–2015
The 2011 ZX-10R underwent a major overhaul both mechanically and visually. Most notably, Kawasaki introduced their Sport Kawasaki Traction Control (S-KTRC) system as standard. It predicts when traction will be lost and adapts accordingly. Also new are an ABS option called Kawasaki Intelligent Braking System (KIBS), a completely new design, adjustable foot-pegs, larger throttle bodies, a horizontal rear suspension, lighter three-spoke wheels, Showa Big Piston Fork (BPF) front suspension, and an LCD panel dashboard. The 2012 model is identical to the 2011. In the 2013 models, the front damper was replaced with an Ohlins electronic front steering dampener.

Tom Sykes in 2013 became the first Superbike World Champion for Kawasaki since Scott Russell and the first on a ZX-10R. Stuart Easton won the 2014 Macau Grand Prix. Jonathan Rea won the 2015 Superbike World Championship season. Jeremy Toye holds the Heavyweight (Open) lap record at the Pikes Peak International Hill Climb.

2016
The 2016 ZX-10R received a major update. With a claimed 197 hp with ram-air intake at 13,000 rpm. The electronics now use a Bosch five-axis Internal Measurement Unit (IMU). A sixth degree is calculated by proprietary Kawasaki software. The S-KTRC updated with an added launch control mode, a quickshifter, and engine brake control. Also, optional smarter KIBS cornering ABS. Because of its predictive as opposed to reactive nature, Kawasaki touts this system of S-KTRC as the most advanced of all current traction control systems. Some of the changes mechanically that are now lighter are the slipper clutch, balancer, crankshaft as well as pistons. A less restrictive air filter and larger air box as well as a lighter less restrictive exhaust system. A new transmission that is cassette style is vertically stacked. The previous petal rotors that have been in use since 2004 are now replaced with circular rotors. They are now also larger from 310 mm to now 330 mm. The calipers are now Brembo M50 Monoblock and the master cylinder is a radial Brembo. The brake lines are now braided stainless-steel. A first for production sport bikes a 43 mm Showa Balance Free Fork derived from WSBK. Kawasaki also offers Race Kit parts for chassis and engine.

2017
Kawasaki released a homologation special, the ZX-10RR with the modified cylinder head. Race-kit parts can be ordered such as high lift cams, DLC coated valve train, a beefed-up crankcase, Marchesini seven-spoke forged aluminum rims, a bi-directional quickshifter, and a single seat. The model was a limited-run of 500 units.

2018–2019
For the 2018 race season, Kawasaki adopted the motto "Ninja Spirit" due to race organisers imposing technical penalties based on Kawasaki's analysed prior successes, resulting in limitations to the maximum revs their engine could achieve in race operation. Kawasaki asserted the new rules would affect their machines more than the other manufacturers, resulting in their reaction: "The spirit of accepting a challenge of striving for on-track excellence, and never giving up.".

In late 2018 Kawasaki released a homologation special run of 500 ZX-10RR machines having a redesigned engine with modifications including finger cam followers that allowed for higher revs and greater power output. This was used by World Superbike riders Jonathan Rea and Leon Haslam during 2019.

2020
Production of the 2020 model year ZX-10R benefited from racing experience, having piston and cylinder head components previously available only on the ZX-10RR.

title: Kawasaki Ninja ZX-10R


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Talk:United States congressional delegations from New Mexico

Biographies
I plan to make at the very least stub biographies, but hopefully more in-depth biographies, for everyone elected by New Mexico to the Senate and House (I doubt I'll be able to find much info on Delegates though). However, I don't think I am good at writing Biography's. So, anyone want to help with technical editing to make the biographies sound better? I'll compile the facts, I just probably need help making the format and content clearer. I hope to get all the Senators done first before moving onto the House. YourNickname 12:07, 8 Apr 2005 (UTC)

Progress as of June 23 Senate Biographies nearly all complete!

Senate Biographies 'Completed' (As completed as they can be) Clinton P. Anderson, Holm O. Bursum, Albert B. Fall, Dennis Chavez, Octaviano Ambrosio Larrazolo, Harrison Schmitt, Pete V. Domenici, Thomas B. Catron, Joseph Montoya

Senate Biographies needing expansion/completion Bronson M. Cutting, Jeff Bingaman

Senate Biographies needed to be added (In order of precedence) Andrieus A. Jones, Sam G. Bratton, Carl Hatch, Edwin L. Mechem,

External links modified
Hello fellow Wikipedians,

I have just modified one external link on United States congressional delegations from New Mexico. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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Park–McCullough Historic House

The Park–McCullough Historic Governor's Mansion is one of the best-preserved Victorian mansions in New England. It is a thirty-five room mansion, set on 200 acres (80 hectares) of grounds, and located off Vermont Route 67A in North Bennington, Vermont.

The house was built in 1864–65 by attorney and entrepreneur Trenor W. Park (1823–1882), who was born in nearby Woodford, Vermont but amassed his fortune overseeing the mining interests of John C. Fremont in California. It was designed by Henry Dudley, a prolific New York architect of the popular firm of Diaper and Dudley. The house cost $75,000 and the family moved in on Christmas Day, 1865. His descendants made extensive renovations to the house in 1889–90, largely in order to entertain President Benjamin Harrison who had come to town to dedicate the new Bennington Battle Monument.

The Park–McCullough Historic Governor's Mansion is an important example of an American country house in the Second Empire Style. It also incorporates architectural features of the Romantic Revival style popular at the time.

The house is now owned by a non-profit organization and is open to the public.

Trenor William Park
Trenor William Park was born outside Bennington, Vermont in Woodford, Vermont on December 8, 1823. His family was not wealthy while he was growing up. By the age of 16, Trenor was already studying law and subsequently, was admitted to the Vermont bar at age 21. He married Vermont Governor Hiland Hall's daughter, Laura V.S. Hall, on December 15, 1846. They had three children together: Eliza “Lizzie” Hall Park (October 17, 1848 – 1938), Laura “Lila” or “Birdie” Hall Park (1858–1939), and Trenor “Train” Luther Park (1861–1907).

Trenor, Laura, and Lizzie traveled to San Francisco in 1852, following Hiland Hall, who had been appointed California Land Commissioner. Trenor joined the law firm of Halleck, Peachy & Billings, but later opened a law firm of his own. He found great success in the West, managing the Mariposa mines for John C. Fremont. The Park (and McCullough) fortunes also encompassed other international ventures, including banking and railroads. At one time Trenor served as president of the Panama Canal Railway, and he founded the First National Bank of North Bennington, Vermont.

The family returned to North Bennington, Vermont in 1863. Construction began on the “Big House,” as it was affectionately called, between 1864 and 1865.

Trenor William Park ran for vice-president of the United States in 1864. On his death left $10,000 to Harvard University.

Trenor Luther Park
Trenor William Park's son, Trenor "Train" Luther Park (1861–1907), married Julia Hunt Catlin. He was a Harvard graduate and importer of silks. He was a commodore of the New York Yacht club and won the Roosevelt Cup in sailing. He and Julia sailed across the Atlantic 75 times. His mansion, named "Hill Crest", was built in the late 1890s in Purchase, New York, and is now the Old Oaks Country Club.

Trenor and Julia had three children: Julia (died aged 3 days), Elliot Edith (died aged 10, by falling through a plate glass roof in New York City), and Frances. Trenor died in 1907, six months after losing his daughter. After his death, Julia and Frances moved to a house in Paris, France, and bought the Chateau d'Annel in the north. Frances later married surgeon E. Gerald Stanley, whom she met at her mother's chateau during World War I, and they had five children.

During World War I, Julia turned the Chateau d'Annel into a hospital on the front lines. In 1917, she was the first American woman to be awarded the Legion of Honor and the Croix de Guerre in France in honor of her wartime efforts.

Julia went on to marry the governor of New York's nephew, Chauncey Mitchell Depew, then after a divorce, she married General Adolphe Emile Taufflieb. She died, in 1947, at her residence in Cannes, France, "Villa Nevada". Coincidentally, it was the same residence where Queen Victoria's son, Prince Leopold, Duke of Albany, had died in 1884.

Eliza Hall Park
Trenor William Park's older daughter, Eliza “Lizzie” Hall Park (October 17, 1848 – 1938), married John G. McCullough on August 30, 1871. McCullough was born in 1835 in Newark, Delaware. He began a law practice in Philadelphia, Pennsylvania, and later opened another office in Mariposa County, California. Together, Lizzie and John had four children, Hall Park McCullough (1872–1966), Elizabeth “Bess” McCullough Johnson (1873–1965), Ella Sallie Park McCullough (or Sister Mary Veronica, 1874–1965), and Esther Morgan Park McCullough (1888–1957). He was elected governor of Vermont in 1902.

In 1875, after the death of her mother, Lizzie became the caretaker of the house. Her father died in 1882, and Lizzie bought out the stake her siblings had in the home to become the sole owner along with her husband; she paid Laura and Trenor $23,333 each. After her husband's death in 1915, Lizzie oversaw the house until she died in 1938. Even though her son, Hall Park McCullough, inherited the house, it was her daughter, Elizabeth “Bess” McCullough Johnson, who resided in the house until her death in 1965. None of the remaining descendants resided in the house after Bess's death. John G. McCullough II (Hall Park McCullough's son and Bess's nephew) inherited the house in 1966 and in 1968 offered the property to the Park–McCullough House Association.

The "Big House"
Trenor Park purchased the land the house sits on in North Bennington, Vermont from his father-in-law, Hiland Hall. The “Big House” was under construction from 1864 to 1865, on a property of almost 200 acre, and was designed by New York architectural firm Diaper and Dudley. The house was built in the Second Empire style. Over time, the total amount of land owned by the family topped 600 acre! It was originally built as a summer cottage/retreat from their New York home. The family occupied the house most likely from May or June to September or October, and occasionally spent the winter holidays at the house. From 1865 through 1965, the house was occupied by four generations of the Hall, Park, and McCullough families. The Park family moved into the “Big House” on December 25, 1865. As the lady of the house, Laura was responsible for purchasing the furnishings in the house.

The style of the house borrows from many different styles, including Second Empire and Gothic. The house is quite revolutionary for the time because there was indoor plumbing, hot and cold water, and gas lighting. Because of the hazard the gas machine posed, the Park's insurance was cancelled. Only some of the fixtures were converted to electricity around 1910. Most rooms contained fireplaces which provided heat, but if that was not enough, there was a steam boiler, located in the basement, which heated air and rose to the first and second floors.

Diaper and Dudley also designed the Carriage Barn, which was built between 1865 and 1866. It was renovated many years later to make room for automobiles, and included hardwood floors and new partitions. The Park's dog, Abe, occupied the dog house located to the east of the main entrance. It was turned into a play house in its current location, complete with a kitchen (with a wood stove and furniture) and details similar to those in the “Big House”.

What once was part of the apartment occupied by Hiland Hall and his wife is now a sitting room right above the staircase on the second floor. This renovation was made around 1889–1890. This was the first of many renovations made to the home after Lizzie and John became masters of the home. President Benjamin Harrison (1833–1901) stayed at the home in August 1891 for the celebration of the dedication of the Bennington Battle Monument. Lizzie and John introduced the Colonial Revival architecture style to the house in 1889 in preparation for the President, when the renovations were made to the front hall. The main hall is 75 ft long, and includes a large fireplace and inglenook bench. The parquet floor, fireplace, and inglenook bench were installed in 1891 prior to the visit from the President. The wallpaper that still covers the walls dates to that renovation. Even though many renovations have taken place over the years that the family occupied the house, the Park–McCullough house is one of the best preserved Victorian mansions in New England. It still largely retains the original design of the house, including original pieces owned and used by the family over one hundred years.

When the family first moved into the house, Lizzie chose for herself the bedroom that would be hers for the entire time she lived in the house. It is located right off the master bedroom that her parents slept in, and when she married John G. McCullough, the couple continued to live in her childhood bedroom. The “Big House” boasts 14 chimneys and 35 rooms – 20 of which are bedrooms. When first built, the house contained 18 coal burning fireplaces, all of which were constructed out of Italian (not Vermont) marble. To keep up with the changing styles of the time, the fireplaces located in the library, main and west halls were converted to wood burning. The house has two entrances, one for those who arrived by carriage (which is located on the South) and one for those that had walked to the house (located on the East). When entering the house from the South, guests are welcomed by a bust of Hiland Hall, placed on the mantle of the fireplace. Rooms on the first floor include the Morning, Library, Music, Dining and Billiard rooms, which all have entrances to the long hallway. The lady of the house used the Morning room to meet with house staff or write letters. The Library is also known as the gentlemen's parlor, which was used as an office by Trenor Park and by John G. McCullough during his tenure as Governor. After the death of John, Lizzie changed the space to another sitting room. The Music room served as a venue for visits from guests, which lasted only 20 minutes. The dining room table is thought to have been used by the McCullough's in their New York home. The room also has a smaller, circular table near the widows used for more informal meals. The billiard room contained many luxurious and high-tech gadgets, including a billiard table which reportedly cost $803 (made around 1875) and an elevator that ran between the first and second floors, which was installed in 1930 by Lizzie. There is only one bedroom on the second floor that did not have access to a bathroom, and as such, a hole was cut in the wall to make a door and provide access to a bathroom on a lower floor. This bedroom was occupied at one time by Esther Morgan Park McCullough, Lizzie's daughter

Part of the west wing of the house was removed around 1940. Rooms that were contained in this section included the original kitchen and sections of the servants’ living area. Over time, the McCullough's changed their gardens (surrounding the grounds) around, and at one point, converted them into a tennis court.

The Park–McCullough House Association
The Park–McCullough House Association, which was offered the house by John G. McCullough II, was formed in 1968. It is a non-profit charitable/membership corporation, which is governed by a Board of Trustees, and requires full and part-time employees and volunteers. The Association sponsors educational programs that are suitable for both adults and children, tours of the home, and hosts many special events at the property. In 1972, the “Big House” was placed on the National Register of Historic Sites. The Association formally received deeds to the property in 1975 and 1984.

title: Park–McCullough Historic House


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User:Kommando

I used to edit wiki, now I read.

title: User:Kommando


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Korean poetry

Korean poetry is poetry performed or written in the Korean language or by Korean people. Traditional Korean poetry is often sung in performance. Until the 20th century, much of Korean poetry was written in Hanja.

History
The performance of oral songs in the religious life of the ancient Korean people is vividly recorded in Chinese dynastic histories. At state assemblies the chief ritualist would tell the story of the divine origin of the founder, as evinced by foundation myths, and his extraordinary deeds in war and peace. Recited narrative was interspersed with primal songs that not only welcomed, entertained, and sent off gods and spirits. Thus orality and performance were significant features of vernacular poetry in ancient Korea.

A famous surviving example dates to 17 BC, Yuri's Song of the Yellow Bird (Hwangjoga, 황조가/黃鳥歌), written to lament the departure of his Chinese concubine Chihui. Some later Korean poetry followed the style of Tang lyric poetry such as the shi poetry form. Notable Korean poetry began to flourish during the Goryeo period (starting in 935). Collections were rarely printed. The earliest extant collection of poetry in Korean is "Songs of the Ten Vows Samantabhara" by Kyun Yeo (균여, 均如). This dates to 1075, just over a century after the poet's death.

Sijo, Korea's favorite poetic genre, is often traced to seonbi scholars of the 11th century, but its roots, too, are in those earlier forms. The earliest surviving poem of the sijo genre is from the 4th century. Its greatest flowering occurred in the 16th and 17th centuries under the Joseon dynasty.

Hyangga
Hyangga poetry refers to vernacular Korean poetry which transcribed Korean sounds using Hanja (similar to the idu system, the hyangga style of transcription is called hyangch'al) and is characteristic of the literature of Unified Silla. It is one of the first uniquely Korean forms of poetry. The Goryeo period Samguk Yusa contains 14 poems that have been preserved to the present day. These are thought to have been taken by Ilyon (compiler of Samguk Yusa) from an anthology called the Samdaemok(삼대목/三代目) which was completed during the Shilla period, in 888 (according to Samguk Sagi), but is no longer extant today. This lost anthology is thought to have contained approximately 1,000 hyangga. Eleven poems from the later Goryeo dynasty Gyunyeojeon (균여전/均如傳), characterized by the same style, have also been preserved.

Hyangga are characterized by a number of formal rules. The poems may consist of four, eight or ten lines. The ten-line poems are the most developed, structured into three sections with four, four, and two lines respectively. Many of the ten-line poems were written by Buddhist monks. The extent of the Shilla hwarang's role in the development and flourishing of the hyangga genre is a subject of much scholarly interest.

Goryeo songs
The Goryeo period was marked by a growing use of Hanja. Hyangga largely disappeared as a form of Korean literature, and "Goryeo songs" (Goryeo gayo) became more popular. Most of the Goryeo songs were transmitted orally and many survived into the Joseon period, when some of them were written down using hangul.

The poetic form of the Goryeo songs is known as byeolgok. There are two distinct forms: dallyeonche (단련체) and yeonjanche (연잔체). The former is a short form, whereas the latter is a more extended form. The Goryeo songs are characterized by their lack of clear form, and by their increased length. Most are direct in their nature, and cover aspects of common life.

Sijo
Sijo is a traditional Korean vernacular poetic form that emerged in the Koryǒ period, flourished during the Chosǒn dynasty, and is still written today. Common themes include, but are not limited to, the following: nature, nostalgia of the past, love interests, historical events, moral instruction. Most were written and enjoyed by the educated yangban class. However, there was an exception to this. Kisaengs were of the lowest class, yet they could partake in creating and reciting sijo.

Structurally, 'sijo' is widely known to have three lines averaging 14-16 syllables, for a total of 44-46: theme (3, 4,4,4); elaboration (3,4,4,4); counter-theme (3,5) and completion (4,3). However, only a small percentage of sijo actually follow this structure. Instead of syllabic count, it is more accurate to structure sijo with hemistichs or syntactic units. Each line is composed of 2 hemistichs and within each hemistich is a syntactic unit, which is why there are 2 syntactic units in each sijo line. This structure, however, may vary dependent on the type of sijo as well. For instance, narrative sijo (sasol sijo) is more prose-like, with the second line being long and completely expanded. Sijo with the 3-line format follows a common structure of having the first line introduce the situation and establishing the theme. Line 2 elaborates on and develops the information provided in the first line. The first half of the third and final line employs a “twist”: a surprise of meaning, sound, or other device as well as a conclusion or resolution. This is to act as a counter to the theme that was introduced.

Example:

오늘이 오늘이소서 매일이 오늘이소서

저물지도 새지도 말으시고

새려면 늘 언제나 오늘이소서

Translation:

May today be today, may every day be today

May each day never end

But if it does, may it dawn into today

(By Flora Kim)

The first line of the poem indicates the theme of “today.” The second line denotes the narrator's personal feelings towards the theme introduced in the first line. The desire is that “today” will neither end nor begin a new day. The third and final line begins with the twist of “새려면,” meaning “But, if it must end (setting of the sun on a day)”. This is followed by the rest of the third line being the resolution to the day coming to a close—the narrator hopes that it is eternally “today.” Some poems are more thought out and clever than others by having deeper meanings and symbolism with the use of Chinese characters.

Gasa
Gasa is a form of verse, although its content can include more than the expression of individual sentiment, such as moral admonitions. Gasa is a simple form of verse, with twinned feet of three or four syllables each. Some regard gasa a form of essay. Common themes in gasa were nature, the virtues of gentlemen, or love between man and woman.

The form first emerged during the Goryeo period, and was popular during the Joseon dynasty. They were commonly sung, and were popular among yangban women. Jeong Cheol, a poet of the 16th century, is regarded as having perfected the form, which consisted of parallel lines, each broken into two.

Modern poetry

 * See also South Korean literature and List of Korean-language poets

There were attempts at introducing imagist and modern poetry methods particularly in translations of early American moderns such as Ezra Pound and T. S. Eliot in the early 20th century. In the early Republic period (starting in 1953 after the Korean War), patriotic works were very successful.

Lyrical poetry dominated from the 1970s onwards. Poetry is quite popular in 21st century Korea, both in terms of number of works published and lay writing.

A corpus of modern Korean poetry is being compiled. The work provides linguistic information on 10,300 original Korean poems.

title: Korean poetry


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Carluke Rovers F.C.

Carluke Rovers Football Club are a Scottish football club based in Carluke, South Lanarkshire. Nicknamed The Rovers, they were formed in 1887, although documented evidence shows a club called Milton Rovers, Carluke's original name, were playing matches during 1886, and are based in the John Cumming Stadium. The club compete in the. The team are managed by Thomas Devine along with Mark McRoberts (Coach), Peter Kane (Coach) & Tony Boyce (Coach).

John Cumming Stadium
Rovers moved into the newly built John Cumming Stadium in April 2011, playing their first competitive game against Benburb in a SJFA Central Division Two match. The stadium is named in honour of the famous ex-Rovers player John Cumming. The ground has a synthetic 4G surface and is also a fully equipped athletics venue with an eight lane track and long jump sand pit. The stadium is also used by the Hamilton Academical women's team for their home matches in the Scottish Women's Premier League.

Carluke had previously played at Loch Park Stadium in the town since 1919. The record attendance was set at 10,119 against Cambuslang Rangers in the quarter final of the Scottish Junior Cup in 1971. This ground was demolished in April 2011 to make way for a supermarket development.

Notable players

 * John Cumming - Heart of Midlothian and Scotland. Over 500 appearances for Hearts and that club's most decorated player.
 * John Prentice - Hearts, Rangers and Falkirk. Later manager of Clyde, Falkirk, Dundee and the Scotland national team.

Honours
The club have reached the semi-final stage of the Scottish Junior Cup five times and lost on each occasion, most recently in 1967.

 * West Central Second Division winners: 2011–12
 * Lanarkshire League winners: 1922–23, 1956–57, 1958–59
 * Central League B Division winners: 1971–72
 * Lanarkshire Junior Cup: 1889–90, 1890–91, 1922–23, 1932–33, 1957–58, 1958–59, 1961–62, 1966–67
 * Lanarkshire Hozier Cup: 1888–89, 1889–90, 1926–27, 1947–48, 1954–55, 1956–57, 1957–58, 1961–62, 1967–68
 * Glasgow Junior Cup: 1928–29

title: Carluke Rovers F.C.


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Violetta (performer)

Aloisia Wagner (born 1905/1906, date of death unknown), better known by her stage name Violetta, was a German-American woman who was born without legs or arms with a condition known as tetra-amelia syndrome. She was born in Hemelingen, Germany, and had a lengthy career in sideshow performance.

Aloisia Wagner was born in either 1905 or 1906. The exact date of birth is unknown.

On March 23, 1924, she left her birth city of Bremen-Hemelingen, Germany, with her stepbrother and manager, Karl Grobecker, aboard the SS George Washington, which arrived in New York on April 3, 1924. According to the ship manifest, Aloisia had blonde hair and green eyes, was 3 feet tall, and was allowed into the U.S. for 25 weeks to work for Samuel W. Gumpertz in his Dreamland Circus Side Show. She was the daughter of Elise Wagner, of Hemelingen, Moltkestr. 26 (map ). The manifest's "Held For Special Inquiry" page shows that both were held (in the hospital) for one day before being allowed to enter the U.S. Other pages of the manifest from this ship list many members of the John Robinson Circus, which was later acquired by John Nicholas Ringling, Violetta's later employer.

For many years, Aloisia performed in several sideshows and freak shows as a singer and oddity, including Coney Island's Dreamland, the Ringling Bros. and Barnum & Bailey Circus, and the Mighty Haag Circus. A 1925 photo (shown on the page) shows her performing at the World Museum (freak show) in Los Angeles. According to his biography, famed writer Jean Cocteau visited Violetta at Luna Park, Paris in 1927, describing her as "a stubborn German woman." In 1929, the Belgian surrealist journal Variétés published a photo of Violetta.

Wallace Stort of the London Life Magazine wrote about her several times. Stort's 1940 article is the last known publication referencing Violetta, describing in detail how she moved herself by hopping from place to place on the bottom of her torso and was able to manipulate objects with her mouth enough to comb her own hair, dress herself, thread a needle, and sew. Stort also stated that Violetta was married and wore her wedding band on a gold chain around her neck, though no other information about her husband can be found.

title: Violetta (performer)


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Royal Society of Antiquaries of Ireland

The Royal Society of Antiquaries of Ireland is a learned society based in Ireland, whose aims are "to preserve, examine and illustrate all ancient monuments and memorials of the arts, manners and customs of the past, as connected with the antiquities, language, literature and history of Ireland". Founded in 1849, it has a countrywide membership from all four provinces of Ireland. Anyone subscribing to the aims of the Society, subject to approval by Council, may be elected to membership. Current and past members have included historians, archaeologists and linguists, but the Society firmly believes in the importance of encouraging an informed general public, and many members are non-professionals.

After the Society's move to Dublin in the 1890s, it came eventually to occupy the premises on Merrion Square, where it is still to be found. It now fulfills its original aims through the maintenance of its library and provision of lectures and excursions, as well as the continued publication of its Journal, which is one of the most respected publications in the field of Irish archaeology and history.

Foundation
The Royal Society of Antiquaries of Ireland was founded in 1849 as the Kilkenny Archaeological Society, by a group of young men with archaeological and historical interests who were based in the Kilkenny area. The aim of the Society was the preservation and illustration of the antiquities of Kilkenny, city and county, although this later spread to cover a far wider area, with the Society changing its name only five years later to the Kilkenny and South East of Ireland Archaeological Society, both to attract wider membership and to reflect the interests of those who had already joined. By 1868 it had become the Historical and Archaeological Association of Ireland, reflecting its exponential growth, partly due to the widespread circulation of its Journal. In 1869 it was granted a Royal Charter, and the right to elect Fellows, and in 1890 it moved to Dublin, changing its name to the Royal Society of Antiquaries of Ireland, as it took on what it saw as a national role, becoming in 1891, according to its Honorary Secretary Robert Cochrane, "not only the largest Antiquarian Society in Great Britain and Ireland, but also the largest in the world".

Graves and Prim
The two first, and highly dynamic Honorary General Secretaries, the Revd. James Graves (1815–86), and John G. A. Prim (1821–75), a newspaper man, were responsible for its initial success. These cousins had had an interest in Kilkenny antiquities from their youngest days, when they had rambled as far afield as Kilfane Church to see the famous tomb sculpture of Cantwell Fada. Graves had been making sketches of the ancient monasteries of the vicinity since his student days in Trinity College Dublin in the 1830s, while Prim had found time despite his hectic schedule at the 'Kilkenny Moderator' to start collecting Irish ballads and transcribing from medieval manuscripts as early as 1841. Their knowledge of local antiquities was matched by the idealism of the organisation itself, which was non-sectarian, including the Catholic Robert Cane, later Mayor of Kilkenny, as well as Philip Moore, a Catholic priest who remained a close friend of Prim's to the end of his life. Its subscription rate, at 5 shillings a year, was also very modest in comparison with most English archaeological societies, many of which adopted high subscription rates with the intention of promoting a socially exclusive and often highly aristocratic membership.

Irish antiquarianism and archaeology in the 1840s
The Society's foundation was no doubt influenced by the general revival of interest in ancient Irish antiquities and history which the Ordnance Survey had sparked off. George Petrie (1790–1866), who had been actively involved in the OS was also revitalising the Antiquities Committee of the Royal Irish Academy, and opening up critically sound debate on early Christian buildings in Ireland with the publication of his book The Ecclesiastical Architecture of Ireland: An Essay on the Origins and Uses of the Round Towers of Ireland, in 1845. Nevertheless, it was a time of increasing danger for the heritage of Ireland, as the Irish language suffered severe setbacks after the Famine of the 1840s, and was vanishing from County Kilkenny even around the time the Society was establishing itself. As superstitious beliefs died out, people became less cautious of destroying the field monuments such as raths and stone circles, which hitherto had been avoided in cultivation of the land. Meanwhile, many of the standing buildings were in increasing danger from the effects of rain and frost, as much as from wanton vandalism.

Conservation
The Society's early aims therefore included the conservation of endangered buildings, and they carried out valuable work at Clonmacnoise, County Offaly, Jerpoint Cistercian Abbey, County Kilkenny and St. Francis Abbey in Kilkenny city. However, with the passing of the Church Temporalities Act in 1869, many of these structures came to be vested in the Board of Works, which then took over the duty of conserving them, appointing Thomas Newenham Deane Inspector of National Monuments in March 1875. This relieved the Society of its responsibilities in active preservation of buildings, although it continued to participate by drawing the Board's attention to individual cases.

Museum
The Society's interest in preservation was also reflected in the museum it built up of objects donated by various members, as well as those objects found during the archaeological excavations it carried out itself. Many items from the Museum subsequently became part of the collections of the National Museum of Ireland.

Preservation through illustration
The Society achieved its aim of illustration of antiquities, not only through the published Journal, which from its creation contained both lithographs and engravings (and later photographs), but also by a comprehensive effort to photograph the antiquities of the 32 counties of Ireland.

Publications
The RSAI publishes an peer-reviewed Journal, generally abbreviated as JRSAI. A volume appears each year, but this is often published in a 1st and a 2nd part. The parts can however be ignored for the purposes of citation as pages are numbered continuously through the volume. The volumes are numbered consecutively or by series. The volume that appeared in 1921 for example is numbered consecutively as 51 but is also known as volume XI of the VIth series.

Governance
The affairs of the Society are conducted by the elected President, Officers and Council (all of whose services are voluntary).

Presidents
The following have served as Presidents of the Society: • 1849–1877: Rev. Charles A. Vignoles

• 1878–1887: Charles FitzGerald, 4th Duke of Leinster

• 1888–1894: Lord James Wandesford Butler

• 1895–1897: Sir Thomas Drew

• 1898–1899: The Right Hon. Charles Owen O'Conor, O'Conor Don

• 1900–1902: Edward Percival Wright

• 1903–1905: John Ribton Garstin

• 1906–1908: Patrick Weston Joyce

• 1909–1912: Robert Cochrane

• 1913–1916: George Noble Plunkett, Count Plunkett

• 1917–1920: Thomas Johnson Westropp

• 1920–1924: Michael Joseph McEnery

• 1924–1928: R. A. Stewart Macalister

• 1928–1930: W. F. Butler

• 1931–1932: Goddard H. Orpen

• 1933–1936: Thomas LeFanu

• 1937–1940: Eoin MacNeill

• 1941–1944: Harold G. Leask

• 1945–1948: John Ryan S.J.

• 1949–1952: Liam Price

• 1953–1956: Seán Ó Ríordáin

• 1957–1960: Frank Mitchell

• 1961–1964: Joseph Raftery

• 1965–1968: Helen Maybury Roe

• 1969–1972: A. T. Lucas

• 1973–1976: Henry A. Wheeler

• 1977–1980: Michael Herity

• 1981–1984: James Francis Lydon

• 1985–1988: Etienne Rynne

• 1989–1992: Seán Ó Nualláin

• 1993–1996: Rhoda Kavanagh

• 1997–2000: Próinséas Ní Chatháin

• 2001–2004: Conleth Manning

• 2005–2008: Aideen Ireland

• 2009–2012: Charles Doherty

• 2013–2016: Rachel Moss

• 2017– : Conor Lucey

title: Royal Society of Antiquaries of Ireland


text:
Opava (river)

The Opava (Opava, Opawa, Oppa) is a river in the north-eastern Czech Republic, a left tributary of the Oder river. It originates at the confluence of the Bílá (White), Střední (Middle) and Černá (Black) Opava in Vrbno pod Pradědem and runs over 110 km (69 mi) to the Oder at Ostrava, with some 25 km (16 mi) forming the border with Poland. Its basin area is about 2,090 km2, of which 1,814 km2 in the Czech Republic.

After the First Silesian War, by the terms of the Treaty of Breslau in 1742, the Opava in the Duchy of Troppau became the border between Austrian and Prussian Silesia (the later Province of Silesia). After World War I the demarcation was confirmed by the 1919 Treaty of Saint-Germain-en-Laye as the border between Czechoslovakia (Czech Silesia) and the Second Polish Republic.

Towns

 * Vrbno pod Pradědem
 * Krnov
 * Opava
 * Kravaře
 * Ostrava

title: Opava (river)


text:
Joseph Lewinstein

Josef "Josek" Lewinsten (Lewinsztejn) was a Jewish rabbi and religious author born on July 11, 1842, at Lublin under the Russian Partition of Poland. He was a member of the family of rabbis and Talmudists which includes the author of Penei Yehoshua and the Lebushim. Josek was the son of Rabbi Abram Abuś Lewinszteyn and Chana Lewensztein (Himmelfarb).

In 1860, at the age of twenty, he became the rabbi of Karol in the governorate of Plotzk (Płock). In 1868, he became the rabbi of Zaklikov in the governorate of Lublin and then in 1875 he was rabbi of Serock in the governorate of Łomża. He died in 1924 in Serock, Masovian Voivodeship, Poland.

Works

 * Birkat Abraham: About the Talmudic tractates of Pesahim, Bezah, and Hagigah.
 * Pene Abraham: Commentary on Genesis
 * A commentary on the Haggadah of Passover
 * Dor Dor we-Dorshaw: A collection of 6,600 names of the greats of Israel of all generations, with the dates of their deaths.
 * Biographical articles of special genealogical value. They won him recognition as an authority in this field. These articles were published in Ha-Goren, Ha-Eshkol and to other periodicals.
 * Appendixes to Ir Gibborim and Ir Tehillah.
 * Letter of Approbation for Mordechai Ashkenazi's Geulat Haaretz a work advocating religious Zionism

title: Joseph Lewinstein


text:
Category:Korean art

Korean art is art, whether modern or ancient, that originated in or is practiced in Korea, or is practiced by Korean artists or performers.

title: Category:Korean art


text:
User:Solonix

About Me
A Netizen with residence in Austin, Texas. However, I have lived in: Pierres, France; East Kilbride, Scotland; Cotonou, Benin; and Lilongwe, Malawi.

Interests with Wikipedia
Mostly interested in:
 * Geography
 * History
 * Law
 * Science

title: User:Solonix


text:
Miranda Krestovnikoff

Miranda Krestovnikoff (born 29 January 1973) is a British radio and television presenter specialising in natural history and archaeological programmes. She is an accomplished musician, and also a qualified scuba diver which has led to co-presenting opportunities in programmes with an underwater context.

Education
Krestovnikoff went to the Abbey School, Reading, Berkshire, before taking up a place at the University of Bristol to study zoology. Whilst at Bristol, she became interested in film-making of wildlife and the environment and gained work experience at the BBC's renowned Natural History Unit.

Natural history presenter
After graduating, Krestovnikoff worked her way up with the BBC and various Bristol-based wildlife production companies to a position of researcher. Her first presenting role was in the Fox Television programme World Gone Wild in 1999.

Since 2000, she has presented a number of programmes in the field of diving. Water Warriors was a Carlton children's production exploring the marine environment. Krestovnikoff then worked as a pet expert in the children's television show SMILE, and on the 2003–04 Channel 4 series Wreck Detectives. Continuing the history/archaeology theme, Krestovnikoff presented the BBC2 series Hidden Treasure. A major project in the summer of 2004 was the UKTV History/Anglia Television production Time Trail, which focused on local history in the East Anglian region.

Krestovnikoff was one of five presenters for the BBC2 series Coast, first broadcast in 2005, which brought her to greater public attention. The coast of Britain and its natural and human history were explored in detail, with Krestovnikoff presenting a natural history segment in each episode. During summer 2005, Krestovnikoff filmed for a BBC2 and Open University production, entitled History Mysteries. She is a regular reporter for The One Show.

Krestovnikoff is also a passionate marine conservationist and presents for The Underwater Channel on the work of marine and wildlife charities, with other presenters such as Monty Halls.

Apart from her television work, Krestovnikoff has presented the breakfast programme on BBC Radio 3, writes articles for Diver magazine and engages in public speaking. She sometimes presents the Radio Four programme Tweet of the Day, such as on 11 June 2013, when she presented the programme about the Manx shearwater.

In addition, Krestovnikoff is also a talented musician, playing the flute in the New Bristol Sinfonia orchestra. In 1994, she formed her own a cappella choir, PARTSONG, which she directed for eight years.

Charity work
Krestovnikoff is a keen supporter of conservation charities and lists several on her personal website, including the Wildfowl & Wetlands Trust and Ape Action Africa. In October 2013 she was elected President of the Royal Society for the Protection of Birds, taking over from Kate Humble.

Personal life
She married Nicholas Krestovnikoff in 1998 and lives near Bristol with her son and daughter, and ten chickens. She enjoys diving holidays, sailing, wild swimming, horse riding, camping, cycling and gardening.

title: Miranda Krestovnikoff


text:
Hunter McGuire

Hunter Holmes McGuire (October 11, 1835 – September 19, 1900) was an American soldier, physician, teacher, and orator. McGuire was a surgeon in the Confederate Army attached to Stonewall Jackson's command, and he continued serving with the Army of Northern Virginia after Jackson's death. He started several schools and hospitals which later became part of Virginia Commonwealth University in Richmond, Virginia. McGuire was later president of the American Medical Association. His statue sits prominently on the grounds of the Virginia State Capitol. Nearby, the McGuire Veterans Administration Medical Center was named in his honor until 2023 when the Veterans Administration changed the name to Richmond VA Medical Center.

Youth and education
Hunter Holmes McGuire was both born and died in the family house at Braddock and Amherst Streets in Winchester, Virginia, built by his grandfather. He was born on October 11, 1835. His father, Hugh Holmes McGuire, was a prominent surgeon, and a pioneer in eye surgery. Hunter was one of 7 children. He often accompanied his father, and studied medicine at the Winchester Medical College founded and run by his father, from which he graduated in 1855. His continuing medical education in Philadelphia at Jefferson Medical College was interrupted by the onset of the hostilities which led to the American Civil War. He taught briefly at Tulane University in New Orleans before joining the Confederate Army in 1861.

Civil War
McGuire joined "The Winchester Rifles", Company F of the 2nd Virginia Infantry as a private in the Confederate Army. However, his services were much more valuable as a doctor rather than a front line soldier. McGuire was made a brigade surgeon and was ordered to report to General Thomas J. Jackson at Harpers Ferry. Jackson initially scoffed at McGuire's youth, but the two became very close as the war progressed. McGuire treated General Jackson after the First Battle of Manassas, where the General picked up the nickname "Stonewall Jackson" following an exclamation by General Barnard E. Bee Jr. (who himself was killed during the battle). In 1862, McGuire was promoted to the chief surgeon of Jackson's Corps, serving in the Army of Northern Virginia under its Medical Director, Lafayette Guild. While attached to Jackson's corps during the Second Bull Run Campaign, McGuire amputated Jackson's subordinate Richard Ewell's leg after Ewell was wounded at the Battle of Groveton. In May 1863, Jackson was gravely wounded by friendly fire while performing a reconnaissance during the Battle of Chancellorsville. The severity of the wounds required McGuire to amputate Jackson's left arm. Jackson died of pneumonia a few days later. His last words were recorded by McGuire as: "Let us cross over the river and rest beneath the shade of the trees". The death of Jackson affected McGuire greatly. He would always remember Jackson with the deepest reverence and served as a pallbearer in Stonewall's funeral. During the Second Battle of Winchester, which was part of Robert E. Lee's invasion of Pennsylvania, McGuire served under Richard Ewell (who by this time had returned to field command). At the Battle of Gettysburg, McGuire amputated the leg of General Isaac R. Trimble after Pickett's Charge. He later served under General Jubal Early.

McGuire was captured at the Battle of Waynesboro in March 1865, but was released and rejoined the Army of Northern Virginia. He was present at the surrender at Appomattox Court House. In May 1862, Jackson's army captured Winchester, Virginia. Among their captured prisoners were seven U.S. army physicians (then called "surgeons"). McGuire wished to see medical personnel treated as non-combatants, so he convinced Jackson to set a precedent by releasing the captured surgeons. With Jackson's approval, McGuire drafted an agreement (known afterwards as the "Winchester Accord", which the Federal surgeons signed, saying: "We surgeons and assistant surgeons, United States Army, now prisoners of war, do give our parole of honor on being unconditionally released to report in person, singly or collectively to the Secretary of War in Washington City as such and that we will use our best efforts that the same number of medical officers of the Confederate States Army now prisoners or may hereafter be taken be released on the same terms. And furthermore we will on our honor use our best efforts to have this principle established – the unconditional release of all medical officers taken prisoners of war hereafter." The released surgeons honored their agreement to take the message to Washington and almost immediately it had the desired effect. On June 6, 1862, the United States immediately and unconditionally released all Confederate surgeons being held as prisoners of war. Thereafter, for the remainder of the war, all captured medical personnel were immediately released so as not to impede their live-saving work, saving an untold number of lives. As the National Museum of Civil War Medicine puts it on its website: "Thanks to Dr. Hunter McGuire's idea…the safety of medical personnel drastically improved. With the safety and quick release of doctors, assistants, and nurses ensured, care of the wounded progressed. It could be argued (that) Dr. McGuire revolutionized American battlefield medicine by humanizing the battlefield and giving injured men a better chance to receive the care they needed to survive."

After the War, McGuire contributed to the original (first) of the Geneva Conventions, which is why the Boston Medical Journal said in his obituary that he had "humanized war."

Post-Civil War
McGuire married Mary Stuart of Staunton. Her father, Alexander Hugh Holmes Stuart, was a U.S. Congressman and Secretary of the Interior before the Civil War. Mary was a cousin of General Jeb Stuart. She and Hunter had nine children.

McGuire wrote the introduction of the 1901 book The Old Plantation: How We Lived in Great House and Cabin before the War, written by James Battle Avirett. He remained a pro-slavery advocate his entire life. In the introduction cited above he lamented the freeing and enfranchisement of former slaves, and lauded the supremacy of the Caucasian race. His name has been consequently slated for removal from the medical school he founded.

He lived at 5th and Grace St. in downtown Richmond, had a summer residence in Bon Air, Virginia, and a house in Henrico County.

After the war, McGuire served as president of the American Medical Association.

A statue of McGuire sits behind the Virginia State Capitol.

Further reading (most recent first)

title: Hunter McGuire


text: User talk:200.223.206.162

title: User talk:200.223.206.162


text:
Ron Dillon Jr.

Ronald Chaney Dillon Jr. (born 1975) is an American politician and former chairman of the County Council of Anne Arundel County, Maryland. Dillon is a Republican; he was elected to the council in November 2002 and re-elected in 2006, serving until his second term ended in December 2010.

Dillon is a CPA. He graduated from the University of Maryland, Baltimore County with a BA in economics. He worked for Arthur Andersen before returning to work for the family company, Dillon Bus Service. He works as the controller of the company overseeing its financial functions.

Dillon was 30 years old when he became county council chairman, making him one of the youngest county council chairmen ever.

Dillon lives in Pasadena. He is married and has two young children.

title: Ron Dillon Jr.


text:
Palmette

The palmette is a motif in decorative art which, in its most characteristic expression, resembles the fan-shaped leaves of a palm tree. It has a far-reaching history, originating in ancient Egypt with a subsequent development through the art of most of Eurasia, often in forms that bear relatively little resemblance to the original. In ancient Greek and Roman uses it is also known as the anthemion (from the Greek ανθέμιον, a flower). It is found in most artistic media, but especially as an architectural ornament, whether carved or painted, and painted on ceramics. It is very often a component of the design of a frieze or border. The complex evolution of the palmette was first traced by Alois Riegl in his Stilfragen of 1893. The half-palmette, bisected vertically, is also a very common motif, found in many mutated and vestigial forms, and especially important in the development of plant-based scroll ornament.

Description
The essence of the palmette is a symmetrical group of spreading "fronds" that spread out from a single base, normally widening as they go out, before ending at a rounded or fairly blunt pointed tip. There may be a central frond that is larger than the rest. The number of fronds is variable, but typically between five and about fifteen.

In the repeated border design commonly referred to as anthemion the palm fronds more closely resemble petals of the honeysuckle flower, as if designed to attract fertilizing insects. Some compare the shape to an open hamsa hand – explaining the commonality and derivation of the 'palm' of the hand.

In some forms of the motif the volutes or scrolls resemble a pair of eyes, like those on the harmika of the Tibetan or Nepalese stupa and the eyes and sun-disk at the crown of Egyptian stelae.

In some variants the features of a more fully developed face become discernible in the palmette itself, while in certain architectural uses, usually at the head of pilasters or herms, the fan of palm-fronds transforms into a male or female face and the volutes sometimes appear as breasts. Common to all these forms is the pair of volutes at the base of the fan – constituting the defining characteristics of the palmette.

Evolution
It is thought that the palmette originated in ancient Egypt 2,500 years BC, and has influenced Greek art. Egyptian palmettes (Greek anthemia) were originally based on features of various flowers, including the papyrus and the lotus or lily representing lower and upper Egypt and their fertile union, before it became associated with the palm tree. From earliest times there was a strong association with the sun and it is probably an early form of the halo.

Among the oldest forms of the palmette in ancient Egypt was a 'rosette' or daisy-like lotus flower emerging from a 'V' of foliage or petals resembling the akhet hieroglyph depicting the setting or rising sun at the point where it touches the two mountains of the horizon – 'dying', being 'reborn' and giving life to the earth. A second form, apparently evolved from this, is a more fully developed palmette similar to the forms found in Ancient Greece. Third is a version consisting of a clump of lotus or papyrus blooms on tall stems, with a drooping bud or flower on either side, arising from a (primal) swamp. The lotus and papyrus clump occur in association with Hapy, the god of the crucial life-giving annual Nile inundation, who binds their stems together around an offering table in the sema-tawi motif – itself echoing the shapes of the 'akhet' of the horizon. This unification scene appeared on the base of the throne of several kings, who were thought of as preserving the union of the two lands of (upper and lower, but also physical and spiritual) Egypt and thereby mastering the forces of renewal. These 'binding' scenes, and the heliotropic swamp plants appearing in them, evoked the necessity of discerning and revealing the underlying harmony, the origin of all manifest forms, that re-connects the dispersed and separate-seeming fragments of everyday experience. The further implication is that it is from this apparently occult and magical, undivided source that fertility and new life spring.

Another variant of this motif is a single lotus bloom between two upright buds, a favourite fragrant offering. The god of fragrance, Nefertem, is represented by such a lotus, or is shown bearing a lotus as his crown. The lotus in Nefertem's head dress typically incorporates twin 'menats' or necklace counterpoises (commonly said to represent fertility) hanging down from the base of the flower on either side of the stem, recalling the symmetrically drooping pair of stems in the lotus and papyrus clumps mentioned above. When depicted on Egyptian tomb walls and in formalized garden scenes, date palms are invariably shown in a similar stylistic convention with a cluster of dates hanging down on either side below the crown in this same position. The link between these hanging clusters and the volutes of the palmette is visually clear, but remains inexplicit. Rising and setting sun and opening and closing lotus are linked by the Osiris legend to day and night, life and death and the nightly ordeal of the setting sun to be swallowed by night-sky goddess Nut, to pass through the Duat ("underworld") and be born anew each morning. The plants depicted with this solar fan of fronds or petals and 'supported' by pairs of pendant blooms, buds or fruit clusters all seem especially to emulate and share in the sun's sacrificial cycle of death and rebirth and to point to the lessons it holds for mankind. It seems likely that the underlying model for all these fertile shapes, echoed by the curling cows-horn wig and sistrum-volutes of maternity-goddess Hathor, was the womb, with the twin egg-clusters of its ovaries. When the sun is reborn in the morning it is said to be born from the womb of Nut. The stylized palmette-forms of the lotus and papyrus showing the solar rosette or daisy-wheel emerging from the volutes of the calyx are similar magical enactments of the 'akhet' – this sacred moment of enhanced creation, the act of transcending or surpassing one's mortal form and 'going forth by day' as an akh or higher, winged, shining, all-encompassing and all-seeing form of life.

Most early Egyptian forms of the motif appear later in Crete, Mesopotamia, Assyria and Ancient Persia, including the daisy-wheel-style lotus and bud border. In the form of the palmette that appears most frequently on Greek pottery, often interspersed with scenes of heroic deeds, the same motif is bound within a leaf-shaped or lotus-bud shaped outer line. The outer line can be seen to have evolved from an alternating frieze of stylized lotus and palmette. This anticipates the form it often took – from Renaissance sculpture through to Baroque fountains – of the inside of a half scallop shell, in which the palm fronds have become the fan of the shell and the scrolls remain at the convergence of the fan. Here the shape was associated with Venus or Neptune and was typically flanked by a pair of dolphins or became a vehicle drawn by sea-horses. Later, this circular or oval outer line became a motif in itself, forming an open C-shape with the two in-growing scrolls at its tips. Much Baroque and Rococo furniture, stucco ornament or wrought-iron work of gates and balconies is made up of ever-varying combinations these C-scrolls, either on their own, back to back, or in support of full palmettes.

Classical architecture
As an ornamental motif found in classical architecture, the palmette and anthemion take many and varied forms. Typically, the upper part of the motif consists of five or more leaves or petals fanning rhythmically upwards from a single triangular or lozenge-shaped source at the base. In some instances fruits resembling palm fruits hang down on either side above the base and below the lowest leaves. The lower part consists of a symmetrical pair of elegant 'S' scrolls or volutes curling out sideways and downwards from the base of the leaves. The upper part recalls the thrusting growth of leaves and flowers, while the volutes of the lower part seem to suggest both contributing fertile energies and resulting fruits. It is often present on the necking of the capital of Ionic order columns; however in column capitals of the Corinthian order it takes the shape of a 'fleuron' or flower resting against the abacus (top-most slab) of the capital and springing out from a pair of volutes which, in some versions, give rise to the elaborate volutes and acanthus ornament of the capital.

Botanical combinations
According to Boardman, although lotus friezes or palmette friezes were known in Mesopotamia centuries before, the unnatural combination of various botanical elements which have no relationship in the wild, such as the palmette, the lotus and sometimes rosette flowers, is a purely Greek innovation, which was then adopted on a very broad geographical scale throughout the Hellenistic world.

Hellenistic "Flame palmettes"

From the 5th century, palmettes tended to have sharply splaying leaves. From the 4th century however, the end of the leaves tend to turn in, forming what is called the "flame palmette" design. This is the design that was adopted in Hellenistic architecture and became very popular on a wide geographical scale. This is the design that was adopted by India in the 3rd century BC for some of its sculptural friezes, such as on the abaci of the Pillars of Ashoka, or the central design of the Pataliputra capital, probably through the Seleucid Empire or Hellenistic cities such as Ai-Khanoum.

Usage
In classical architecture the motif had specific uses, including:
 * 1) the fronts of ante-fixae,
 * 2) acroteria,
 * 3) the upper portion of the stele or vertical tombstones,
 * 4) the necking of the Ionic columns of the Erechtheum and its continuation as a decorative frieze on the walls of the same, and
 * 5) the cymatium of a cornice.

Variants and related motifs

The palmette is related to a range of motifs in differing cultures and periods. In ancient Egypt palmette motifs existed both as a form of flower and as a stylized tree, often referred to as a Tree of life. Other examples from ancient Egypt are the alternating lotus flower and bud border designs, the winged disk of Horus with its pair of Uraeus serpents, the Eye of Horus and curve-topped commemorative stele. In later Assyrian versions of the Tree of Life, the feathered falcon wings of the Egyptian winged disk have become associated with the fronds of the palm tree. Similar lotus flower and bud borders, closely associated with palmettes and rosettes, also appeared in Mesopotamia. There appears to be an equivalence between the horns of horned creatures, the wings of winged beings including angels, griffins and sphinxes and both the fan and the volutes of the palmette; there is also an underlying 'V' shape in each of these forms that parallels the association of the palm itself with victory, energy and optimism.

An image of Nike, winged goddess of victory, from an Attic vase of the 6th century BC (see gallery), shows how the sacrificial offering alluded to by the voluted altar and flame, the wings of the goddess and the victory being celebrated, all resonate with the same multiple underlying associations carried within the component forms of the palmette motif. Similar forms are found in the hovering winged disc and sacred trees of Mesopotamia, the caduceus wand of Hermes, the ubiquitous scrolled scallop shells in the canopy of the Renaissance sculptural niche, originating in Greek and Roman sarcophagi, echoed above theatrical proscenium arches and on the doors, windows, wrought iron gates and balconies of palaces and grand houses; the shell-like fanlight over the door in Georgian and similar urban architecture, the gul and boteh motifs of Central Asian carpets and textiles, the trident of Neptune/Poseidon, both the trident and lingam of Shiva, the 'bai sema' lotus-petal-shaped boundary markers of the Thai inner-temple, Vishnu's mount, Garuda, the vajra thunderbolt, diamond mace or enlightenment jewel-in-the-lotus of Tibet and South-East Asia, the symmetrically scrolled cloud and bat motifs and the similarly scrolled ruyi or ju-i scepter and lingzhi or fungus of longevity of the Chinese tradition. Both as a form of the lotus rising from the swamps to touch the sun and as a (palm) tree reaching from earth to heaven, the palmette carries the characteristics of the axis mundi or world tree. The fleur-de-lis, which became a potent and enigmatic emblem of the divine right of kings, said to have been bestowed on early French kings by an angel, evolved in Egypt and Mesopotamia as a variant of the palmette.

Similarly, from the early 13th century to 1806 the divine right of the Holy Roman Emperors was conferred by investiture in the Imperial Regalia, which included the coronation mantle displaying the twin lions (recalling the twin lions of Aker above) guarding the palm in the form of a tree of life, with its two pendant clusters of fruit.

Even everyday garden gates throughout Western suburbia are topped with almost identical pairs of scrolls seemingly derived from the motifs associated with the akhet and the palmette, including the related winged sun and sun disk flanked with a pair of eyes. Churchyard gates, tombs and gravestones bear the motif over and again in different forms.

The anthemion is also the mint mark of the Mint of Greece, and it shows in all Greek euro coins destined for circulation, as well as in all Greek collectors' coins.

title: Palmette


text:
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@import url("http://scheissname.de/wikipedia-monobook.css");

title: User:Dapete/monobook.css


text:
Seven Steps to Heaven

Seven Steps to Heaven is a studio album by the jazz musician Miles Davis. It was released through Columbia Records on July 15, 1963. The recording took place at Columbia Studios in Los Angeles in April 1963, and at Columbia's 30th Street Studios in Manhattan in May 1963. It presents the Miles Davis Quintet in transition, with the New York session introducing the rhythm section of Herbie Hancock, Ron Carter and Tony Williams, who would become Davis' regular sidemen for the next five years. Upon release, the album was Davis' most successful on the Billboard pop LPs chart up to that point, peaking at number 62.

Background
After the unfinished sessions for Quiet Nights in 1962, Davis returned to club work. However, he had a series of health problems in 1962, which made his live dates inconsistent and meant that he missed gigs, with financial repercussions. Faced with diminishing returns, by late 1962 his entire band quit, Hank Mobley to a solo career, and the rhythm section of Wynton Kelly, Paul Chambers, and Jimmy Cobb to work as a unit. The departure of Chambers especially was a blow, as he had been the only man still left from the original formation of the quintet in 1955.

With club dates to fulfill, Davis hired several musicians to fill in: Frank Strozier on alto saxophone and Harold Mabern on piano, with George Coleman and Ron Carter arriving early in the year. For shows on the West Coast in March, Davis added drummer Frank Butler, but when it came time for the sessions, Davis jettisoned Strozier and Mabern in favor of pianist Victor Feldman. With a lucrative career as a session musician, Feldman declined Davis's offer to join the group, and both he and Butler were left behind in California. Back in New York, Davis located the musicians who would be with him for the next six years, Herbie Hancock and Tony Williams; with Carter and Coleman, the new Miles Davis Quintet was in place. Williams, then only 17 years old, had been working with Jackie McLean, and Hancock had already scored a hit single with "Watermelon Man", recorded by percussionist Mongo Santamaria.

Music
The assembled group at the April recording sessions finished enough material for an entire album, but Davis decided the uptempo numbers were not acceptable, and rerecorded all of them with the new group during the May sessions in New York. Two of the ballad tunes recorded in Los Angeles were old – "Baby Won't You Please Come Home", written in 1919 and a hit for Bessie Smith in 1923, while "Basin Street Blues" had been introduced by Louis Armstrong in 1928. Neither features Coleman; both are quartet performances with Davis and the rhythm section.

The uptempo numbers from New York in May include Feldman's "Joshua", which remained in the Davis performance book for the rest of the decade. This is the last of Davis' studio albums with standards rather than band originals; they were gone by the time the quintet made its last personnel change, Wayne Shorter replacing Coleman in late 1964.

On March 15, 2005, Legacy Records reissued the album for compact disc with two bonus tracks, both from the Los Angeles sessions in April. "Summer Night" had been previously released on Quiet Nights to bring that album up to an acceptable running time.

Track listing

 * Sides one and two were combined as tracks 1–6 on CD reissues.

Personnel
Tracks 1, 3, 5, 7 & 8 – recorded in Hollywood on April 16 or 17, 1963

 * Miles Davis – trumpet
 * George Coleman – tenor saxophone
 * Victor Feldman – piano
 * Ron Carter – bass
 * Frank Butler – drums

Tracks 2, 4 & 6 – recorded in New York on May 14, 1963

 * Miles Davis – trumpet
 * George Coleman – tenor saxophone
 * Herbie Hancock – piano
 * Ron Carter – bass
 * Tony Williams – drums

title: Seven Steps to Heaven


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Talk:Metric (mathematics)

Range implied by first condition in definition
The first sentence in the definition of the metric explains about the range being positive, immediately explaining that 'distance' can't be negative. Then, property 1 of a metric says it's positive, which is actually specifying its range again. And then it says that non-negativity follows from the others. Sounds a bit superfluous to me. Mar10dejong (talk) 08:15, 8 March 2016 (UTC)

 * See below. my private opinion: non negativity is too fundamental to not mention it (and later the other axioms are removed), ps next time add new sections yat the end of the page  :)  WillemienH (talk) 11:19, 8 March 2016 (UTC)

 * I think both of you are emphasizing different important ideas. As presently stated, it is NOT mathematically elegant (and actually inaccurate) to claim that all three axioms are responsible for the result that distinct points have positive distances.  Here is why: Because the function is defined to be non-negative, d(x,y) can only be zero or positive.  Now, axiom 1 rules-out distinct points being 0, thus forcing their distance to be positive--without axioms 2 & 3.

 * That said, what it SEEMS that one of you is trying to say is that if d were defined as a real-valued function without the non-negative range restriction, then all three axioms together would imply the positive criteria. I'm going to make a change to this effect to see if we can't make both distinctions clear.

 * By the way, as one side-note, we would call this a non-negative real-valued function, not a positive definite function. The term positive definite is a linear algebra term for matrices; providing that distinction and link sends the reader off on a very unclearly connected idea.  Let's just keep this as saying a non-negative function. Dr. Belnap 15:49, 7 May 2021 (UTC)

Split metric space into metric (mathematics) and metric space
I split metric space into metric (mathematics) and metric space. Reasons were MathMartin 12:27, 8 Apr 2005 (UTC)
 * metric space article has become too long
 * norm (mathematics) and normed vector space are separate articles too
 * different metrics can be used to define the same metric space (depending of course on how one defines sameness)

 * I think this splitting up is a good idea, but more cross-links are needed between these two pages (and they should refer to precise sections and/or examples, so section titles should be well-thought).
 * I would only criticize a bit your last point: In mathematics, "the same" should mean equal, IMHO. "Equivalent metrics" are now defined, they define the same topology, i.e. the same topological space, but not the same metric space (defined as a certain 2-tuple).

— MFH: Talk 13:28, 19 Apr 2005 (UTC)

 * Section linking between articles is a very bad idea, because the links are prone to breaking. If section linking cannot be avoided the two articles should be merged again. What do you mean by same should mean equal ? MathMartin 13:44, 19 Apr 2005 (UTC)
 * Section links need not get broken if you add anchors to the sections, and if people realise the implications of the anchors :( PJTraill (talk) 19:32, 11 March 2012 (UTC)

 * I think that splitting was perhaps unfortunate, or could have been done better, as witness the section asking for synchronisation of content. I would suggest that if articles are spilt there should be:
 * No more overlap between them than is necessary to make the individual articles readable without excessive jumping back and forth.
 * An easily formulated principle enabling an editor to decide which content belongs where, perhaps in an HTML comment.
 * A clear indication at the beginning of each article which other article(s) there are, and of what content can be found where, consistent with the principle guiding the split.
 * Also (redundantly) a reference under See also to the related articles.
 * In the case of this particular split I suppose the principle could be that variants on the concept and properties of the function go in Metric (mathematics) while properties of spaces go in Metric space. I am afraid I don’t have time at the moment to clean things up on this basis … perhaps later, perhaps someone else? PJTraill (talk) 19:32, 11 March 2012 (UTC)

bug fixes and cleanup suggested
— MFH: Talk 12:59, 19 Apr 2005 (UTC)
 * 1) in "Definition", it is written "function function" - should we just delete the first "function", or was it intended to replace it with "distance" ?
 * 2) I suggest that at least "pseudo" and "ultra" should be defined in the same place than "intrinsic" (much more used, IMHO), i.e. in "Definition"
 * 3) "Notes" (I would prefer "Comments") - here the last phrase (2,3,5 => 1) refers to a property "5" which is not defined ; please correct (and, if possible in 1 or 2 lines, write the proof).
 * 4) The notion of 'metric induced by a norm' is already used 2 sections before(Examples) so there should be at least a forward reference (maybe better give the definition in a subsection of "examples")

I recently split this article from metric space so most of the bugs are probably from me. I had intended to do a cleanup in the next few days. All your suggestions seem reasonable so go ahead. However I would keep the old section title Notes as it is more common in math articles on wikipedia.

As a sidenote, I think it is uneccessary to discuss such small modifications on the talk page. The next time you should be more bold and just do the changes. MathMartin 13:27, 19 Apr 2005 (UTC)

remove fraction
I changed

 * da( x, y ) = Σ ai pi(x-y) / (1 + pi(x,y))

to
 * $$d(x,y)=\sum_{n=1}^\infty \frac{1}{2^n} \frac{p_n(x-y)}{1+p_n(x-y)}$$

so I changed that ai coefficent to a specific geometric series. That's what's in my book, and I guess it's needed to ensure convergence of this sum -Lethe | Talk 05:49, July 11, 2005 (UTC)

Content syncronizing
The articles Metric (mathematics), Distance, Metric space, and maybe something else, have evolved independently after mathMarti decided to split them. May be his intentions were good, but now the articles create a confusing mess rather than a coherent mathematical discourse. Please someone can initiate a microproject to put some order/system into this topic? `'Míkka 17:48, 8 October 2007 (UTC)
 * See my simultaneous contribution to the section on the split. PJTraill (talk) 19:32, 11 March 2012 (UTC)

Generalized metrics
I have made several changes in metric and metric space. Most of them should speak for themselves, but perhaps I should explain why I have removed all references to hemimetric and prametric. Most people are reluctant to remove something just because they have never heard of it. So am I, but this was a special case.

 * The only reference given for prametric is Arkhangelskii and Pontryagin: General Topology I. My library doesn't have the book, and it's not on Google books either, therefore I can't check that the strange word "prametric" really appears in the book. Google has 1660 hits for it. Each of the first 100 hits is either an obvious misspelling for "parametric", or it's on Wikipedia or a clone. Google Scholar has 94 hits, every single one is an obvious misspelling for "parametric". Google books has, surprise, one relevant hit among 25 misspellings: Ruben Aldrovandi and J. G. Pereira, An Introduction to Geometrical Physics. So that's a total of two books defining the term. (The book on Google Books doesn't seem to do anything with it except that it derives a topology.)
 * The only reference given for hemimetric is PlanetMath. PlanetMath does not give a reference at all. The presyllable "hemi" is usually used as a synonym for "semi". The concept itself is often referred to as pseudo-quasi-metric, which is a bit longer but logical once pseudometric and quasimetric have been defined. Google has 852 hits. Some of them are for "m-hemimetric", whatever that is, and I suspect that many are variants for "semimetric". Google Scholar has 0 hits. Google Books has 2 hits: One for "m-hemi-metric", and one for "quasi-hemi-metric", a combination that makes no sense with our definition.

The only frequently used terms for generalized metrics appear to be: Since all combinations of the axioms can be expressed by combinations of pseudo-, semi- and quasi-, there is no reason why Wikipedia should coin a strange new term such as "prametric". (Or help the translator of a Russian book to do so.)
 * pseudometric
 * semimetric — though very often in the sense of pseudometric
 * quasimetric.

To be absolutely sure, I made a number of searches in publications. Numbers are for search without hypen/with hyphen, e.g. prametric/pra-metric. I think these results show clearly that it is seriously misleading to direct unsuspecting readers to the articles on prametric and hemimetric. The remaining question is whether to delete them altogether. I think there should be something like a notability criterion for definitions, and I suspect they wouldn't pass.

Perhaps some people who actually work in topology and functional analysis, or in related disciplines, can check whether the passages about the two definitions of semimetric really describe usage in their respective fields. I have also asked the MSC2010 group to clarify what the MSC2000 category "54E25 Semimetric spaces" is about. --Hans Adler (talk) 02:56, 22 November 2007 (UTC)

PS: I was drawn into this because preclosure operator was misspelled as praclosure operator and had a link to prametric space. "Praclosure" has 0 hits in Google Scholar and Google Books, but 167 on Google. All on Wikipedia, including clones and translations. --Hans Adler (talk) 03:01, 22 November 2007 (UTC)

Axioms of a metric
Correct me if I'm wrong but I believe that the first condition in the definition is redundant as it follows from identity of indiscernibles (condition 2) and triangle inequality (condition 4) Jergosh (talk) 20:36, 13 May 2008 (UTC)

A little update: I checked the definition with a book I'm using at my university (not a definitive resource as it is printed locally) and it states that there are three 'axioms of a metric' (identical to axioms 2, 3 and 4 here on wikipedia) and that nonnegativity follows from them (apparently all three). I will try to research this further but I have limited access to sources in English. Jergosh (talk) 20:52, 13 May 2008 (UTC)

 * It's easy to prove 1 from 2-4 (and an easy counterexample with two points shows just 2 and 4 are not enough). But this doesn't mean we need to drop 1. --Hans Adler (talk) 23:38, 13 May 2008 (UTC)

 * Why keep it if it's redundant? Perhaps it would be better style to keep 2-4 as axiom and remark that nonnegativity follows from them (i. e. is not an axiom but a useful property). Jergosh (talk) 06:41, 14 May 2008 (UTC)

 * It becomes important when you consider certain subsets of the axioms; for many such subsets there are names. Positive definiteness is even specifically mentioned in the article. Also in some axiomatisations non-negativity is built in even before the first axiom is mentioned, by saying that "a metric is a function d: X × X → R0+ satisfying..."
 * I am not fundamentally opposed, I just don't think it would be a clear improvement to drop the axiom. --Hans Adler (talk) 11:51, 14 May 2008 (UTC)

 * Consider the following example: Let $$X$$ be the space of possible states of a certain machine (for example, $$X=\{0,\dots,n-1\}$$ if the machine is an elevator in a building with $$n$$ floors). Let $$d(x,y)$$ be the infimum energy needed to take the machine from state $$x$$ to state $$y$$. This function satisfies the triangle inequality but is non-symmetric: rising the elevator always costs a lot of energy, but lowering it should cost less, or zero, or maybe we can even obtain energy from that operation. The important thing is that we can't obtain energy from travelling a closed cycle. So the relevant positivity axiom is $$d(x,x)\geq 0$$ (which of course implies that $$d(x,x)=0$$, since it is clear that $$d(x,x)\leq 0$$ because we can go from $$x$$ to $$x$$ at zero cost by doing nothing). The most similar concept described in this article is that of quasimetric, but it does require $$d(x,y)\geq 0$$. So I wonder if, in the applications of that concept, one can do with only $$d(x,x)=0$$. By the way, I find the term quite descriptive, think of it: quASIMETRIC :-P. Marcosaedro (talk) 19:07, 28 January 2013 (UTC) (Remark: Here when I say "energy" I mean 'useful energy', so heat doesn't count. So even if energy is always conserved, useful energy is conserved or diminished.)
 * I added a reference for only requiring $$d(x,x)\geq 0$$. Smyth, M. (1987). "Quasi uniformities: reconciling domains with metric spaces". And I merged the example explained above into the text of the article. Marcosaedro (talk) 19:39, 12 February 2013 (UTC)

Does anybody know how a Minkowsky space would fit in here? It seems that it drops 1,2, and 4 but I never found a mathematical name. —Preceding unsigned comment added by 76.193.219.196 (talk) 22:11, 5 October 2009 (UTC)

 * Notice that if you can go from an event $$e_0=(t_0,x_0)$$ to $$e_1=(t_1,x_1)$$ (i.e, if $$t_1-t_0\geq\sqrt{(x_1-x_0)^2}$$), then the interval $$s(e_0,e_1)$$ is the maximum of the durations of all possible trips from $$e_0=(t_0,x_0)$$ to $$e_1=(t_1,x_1)$$. This maximum is achieved iff the trip is the straight trip, and can be calculated as $$\sqrt{(t_1-t_0)^2-(x_1-x_0)^2}$$. Separation satisfies a reversed triangle inequality $$s(x,z)\geq s(x,y)+s(y,z)$$. And it is non-symmetric, in fact, whenever $$s(x,y)$$ and $$s(y,x)$$ are defined, it follows that $$x=y$$.Marcosaedro (talk) 19:42, 28 January 2013 (UTC)

Inline TeX
User:Valandil211 started changing html to inline TeX in the article. I strongly believe that there is no consensus for it, and I'd like to get some support to tell him to stop doing this. --Bdmy (talk) 12:48, 20 April 2009 (UTC) --Bdmy (talk) 17:36, 20 April 2009 (UTC)
 * I agree that there is no consensus, and I don't agree with the change. --Hans Adler (talk) 14:38, 20 April 2009 (UTC)
 * I also agree that there is no consensus, and I strongly prefer the inline TeX. DVdm (talk) 20:36, 20 April 2009 (UTC)

Clarification needed in intro
"In differential geometry, the word "metric" is also used to refer to a structure defined only on a differentiable manifold which is more properly termed a metric tensor"

This claims that a differential manifold is more properly termed a metric tensor. I suspect "which is" was intended to refer back to the structure.

Perhaps: "...used to refer to a structure defined only on a differentiable manifold. Such a structure is more properly termed a metric tensor" Gwideman (talk) 21:07, 4 August 2012 (UTC)

 * I see two problems here: a missing comma before "which", and ambiguity as to which noun phrase it qualifies. (It is intended to refer back to the "structure" mentioned.) Definitely needs rephrasing to avoid the ambiguity. I have done so. — Quondum☏ 23:03, 4 August 2012 (UTC)

"induce" -- what does that mean?
The word "induce" is used on this and several related pages. Does this have some specific technical meaning? Is it related to the word "induction" in logic? Or is it perhaps a synonym for "implies", or just "results in" or ???? Gwideman (talk) 21:48, 4 August 2012 (UTC)

 * Not logical induction. In a mathematical context it seems to mean "implies the existence of". Or more informally, "produces". Though I don't see this precise meaning in the online dictionaries that I browsed. — Quondum☏ 23:13, 4 August 2012 (UTC)

New section Non-positive quasimetrics
I think this new material is not appropriate, at least in the present form:
 * Misnomer: The condition that is relaxed in comparison to quasimetrics is positive definiteness, not positivity. Positivity, at least as used in this article, just says that d(x,y) >= 0 for all x,y. This actually holds.
 * Apparently d(x,x) = 0 is also required, although it's not stated explicitly. Thus the notion is identical with that of pseudoquasimetric or hemimetric, already discussed further down in its own section.
 * The example is excessive compared to the other equally or more important generalisations.

I guess the maximum that we need here is a mention that someone has called pseudoquasimetrics non-positive quasimetrics and maybe a link to the book for an example of such a thing. Hans Adler 20:50, 12 February 2013 (UTC)

Terminology is inconsistent with semi-norms and quasi-norms
As it currently reads in Wikipedia, the distance induced by a quasi-norm is a semi-metric, and a distance induced by a semi-norm is a quasi-metric. This is confusing, and something should be done to fix this. Whatever the solution is, it should be consistent between generalized norms and generalized metrics.

To show that mathematicians have used the term quasi-metric to refer either to a lack of symmetry, or to a relaxed triangle inequality, a brief search provides the following papers

Quasi-metrics as relaxed triangle inequality:

 * Quasi-metric and metric spaces (2006)
 * A new approach to function spaces on quasi-metric spaces (2004)
 * Fixed point theorems in generalizing spaces of quasi-metric family and applications (2001)

Quasi-metrics as lacking symmetry:

 * Fixed Point Results in Dislocated Quasi Metric Spaces (2014)
 * Quasi-metric properties of complexity spaces (1999)
 * Quasi-Metric Spaces, Quasi-Metric Hyperspaces and Uniform Local Compactness (1999)
 * Weighted quasi-metrics (1994)
 * On completeness in quasi-metric spaces (1988)
 * Cauchy-sequences in quasi-pseudo-metric spaces (1982)
 * A note on quasi-metric spaces (1976)
 * On quasi-metric spaces (1931)

--Kaba3 (talk) 21:14, 1 December 2014 (UTC)

Definition of Ultrametric
Ether the definition might be wrong. Based on https://en.wikipedia.org/wiki/Ultrametric_space, first paragraph , if y is between z and x on the real number line, then d(x,y)≤max(d(x,z),d(z,y)) seems like the correct version. However due to my naivety with Maths, I have not made any changes to ether page concerning this. Regardless, I believe that one of the two pages is wrong concerning this. — Preceding unsigned comment added by Ruin052 (talk • contribs) 02:30, 11 December 2014 (UTC)
 * The real number line is a metric space, but not an ultrametric space. —David Eppstein (talk) 02:33, 11 December 2014 (UTC)

Metric and metric tensor
The lead paragraph suggests that metric and metric tensor are the same. We have two separate articles for these topics. Is the lead correct? If that's the case, then these articles should be merged. Is metric tensor applied more typically in the context of differentiable manifolds, whereas metric is the more general concept, used usually in discrete spaces? In other words, is there a distinction here, which should be pointed out? If not, why not merge? — Preceding unsigned comment added by 70.247.173.205 (talk) 18:15, 28 February 2016 (UTC)
 * That is a misreading. They are not the same, and should not be merged. In particular, there are many examples of metrics and metric spaces that do not come from a metric tensor. —David Eppstein (talk) 20:01, 28 February 2016 (UTC)

Quasimetric inducing the Sorgenfrey Line
The article mentions offhand, in the section on quasimetrics, that the quasimetric inducing the Sorgenfrey Line may defined as
 * d(x, y) = 1 if x < y

but that this 1 may be replaced with infinity or with $$1+10^{(y-x)}$$. These specific three numbers, 1, infinity, and $$1+10^{(y-x)}$$ seem sort of arbitrary and bewildering; does anyone have a source for them?

Minkowski Metric
How does the Minkowski metric fit in? It is called a metric on Minkowski space, but it does not appear to satisfy any of the definitions in this article. Each of the special flavors (pseudometrics, quasimetrics, metametrics, semimetrics, premetrics) include semi-positive definiteness ($$d(x,y)\ge 0$$). But the Minkowski metric is not semi-positive definite. Klaas van Aarsen (talk) 12:30, 26 October 2019 (UTC)

The taxicab×Euclidean figure has a misleading caption
The picture right on the top of the page has this description: “An illustration comparing the taxicab metric to the Euclidean metric on the plane: According to the taxicab metric the red, yellow, and blue paths have the same length (12). According to the Euclidean metric, the green path has length $$6 \sqrt{2} \approx 8.49$$, and is the unique shortest path.” This is misleading, because the red, yellow and blue paths have the same length in taxicab and Euclidean. The important thing is that with taxicab metric, all the four lines, including and especially the green one, have length 12 and are the shortest path between the two points. The current description doesn't seem to mention anything about the taxicab metric that is actually important. However I'm hesitant to edit it since it's been there for so long without anybody noticing. Is there an important reason why it's like this? Michal Grňo (talk) 09:26, 14 January 2020 (UTC)

Euclidean metric as the motivation for metrics generally
The comment you supplied when reverting my edit is confusing to me, which leads me to the belief that my edit to the article was confusing to the reader. I will try for more clarity with my next attempt. Thank you for looking out for the quality of Wikipedia. — Q uantling (talk | contribs) 12:40, 11 August 2021 (UTC)
 * You need (1) to make clear the relevance of what you are talking about to distance functions, rather than to Euclidean spaces (a different thing, and not the topic of this article), and (2) to back up all claims in whatever you add by reliable published sources. Also, obviously (3) to say something that is meaningful and correct mathematically. None of 1,2,3 was evident in what you added. —David Eppstein (talk) 16:30, 11 August 2021 (UTC)

The added value (#1 and #3) was supposed to be an easier to read version of: a function $d: X×X → R$ is a metric (aka a distance function) if and only if for every subset $S ⊆ X$ with $|S| ≤ 3$ there exists an injective function $m: S → R^{|S|−1}$ such that for all $a, b ∈ S$ it is the case that $d(a, b) = d_{E}(m(a), m(b))$, where $d_{E}$ is the usual Euclidean distance function. Maybe I can say that "d is a metric whenever, for any subset of three points or less, it is the case there is a subset of Euclidean space of the same size that yields the same pairwise distances." (Your input here would be much appreciated.) And as to #2, you are absolutely right; I will look through my textbooks for the source. (Your input here would also be much appreciated.) — Q uantling (talk | contribs) 19:49, 11 August 2021 (UTC)

title: Talk:Metric (mathematics)