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Kammaṭṭhāna

In Buddhism,  (𑀲𑀢𑀺𑀧𑀝𑁆𑀞𑀸𑀦, 𑀓𑀭𑁆𑀫𑀲𑁆𑀣𑀸𑀦) which literally means place of work. Its original meaning was someone's occupation (farming, trading, cattle-tending, etc.) but this meaning has developed into several distinct but related usages all having to do with Buddhist meditation.

Etymology and meanings
Its most basic meaning is as a word for meditation, with meditation being the main occupation of Buddhist monks. In Burma, senior meditation practitioners are known as "kammatthanacariyas" (meditation masters). The Thai Forest Tradition names itself Kammaṭṭhāna Forest tradition in reference to their practice of meditating in the forests.

In the Pali literature, prior to the post-canonical Pali commentaries, the term  comes up in only a handful of discourses and then in the context of "work" or "trade."

Buddhaghosa uses "kammatthana" to refer to each of his forty meditation objects listed in the third chapter of the Visuddhimagga, which are partially derived from the Pāli Canon. In this sense "kammatthana" can be understood as "occupations" in the sense of "things to occupy the mind" or "workplaces" in the sense of "places to focus the mind on during the work of meditation". Throughout his translation of the Visuddhimagga, Ñāṇamoli translates this term simply as "meditation subject".

Kasiṇas as kammaṭṭhāna
Kasina (𑀓𑀲𑀺𑀦, 𑀓𑀾𑀢𑁆𑀲𑁆𑀦) refers to a class of basic visual objects of meditation used in Theravada Buddhism. The objects are described in the Pali Canon and summarized in the famous Visuddhimagga meditation treatise as kammaṭṭhāna on which to focus the mind whenever attention drifts. Kasina meditation is one of the most common types of samatha-vipassana, intended to settle the mind of the practitioner and create a foundation for further practices of meditation.

The Visuddhimagga concerns kasina meditation. According to American scholar-monk Ṭhānissaro Bhikkhu, "the text then tries to fit all other meditation methods into the mold of kasina practice, so that they too give rise to countersigns, but even by its own admission, breath meditation does not fit well into the mold." He argues that by emphasizing kasina meditation, the Visuddhimagga departs from the focus on jhāna in the Pali Canon. Thanissaro Bhikkhu states this indicates that what "jhana means in the commentaries is something quite different from what it means in the Canon."

Although practice with kasiṇas is associated with the Theravāda tradition, it appears to have been more widely known among various Buddhist schools in India at one time. Asanga makes reference to kasiṇas in the Samāhitabhūmi section of his Yogācārabhūmi-Śāstra. Uppalavannā, one of the Buddha's chief female disciples, famously attained arahantship using a fire (tejo) kasina as her object of meditation.

Of the forty objects meditated upon as kammaṭṭhāna, the first ten are kasina described as 'things one can behold directly'. These are described in the Visuddhimagga, and also mentioned in the Pali Tipitaka. They are:
 * 1) earth ({{lang|pi|𑀧𑀞𑀯𑀻 𑀓𑀲𑀺𑀦}; Pali: paṭhavī kasina, Sanskrit: pṛthivī kṛtsna)
 * 2) water (𑀆𑀧𑁄 𑀓𑀲𑀺𑀦; āpo kasiṇa, ap kṛtsna)
 * 3) fire (𑀢𑁂𑀚𑁄 𑀓𑀲𑀺𑀦; tejo kasiṇa, tejas kṛtsna)
 * 4) air/wind (𑀯𑀸𑀬𑁄 𑀓𑀲𑀺𑀦; vāyo kasiṇa, vāyu kṛtsna)
 * 5) blue (𑀦𑀻𑀮 𑀓𑀲𑀺𑀦; nīla kasiṇa, nīla kṛtsna)
 * 6) yellow 𑀧𑀻𑀢 𑀓𑀲𑀺𑀦; pīta kasiṇa, pīta kṛtsna)
 * 7) red (𑀮𑁄𑀳𑀺𑀢 𑀓𑀲𑀺𑀦; lohita kasiṇa, lohita kṛtsna)
 * 8) white (𑀑𑀤𑀸𑀢 𑀓𑀲𑀺𑀦; odāta kasiṇa, avadāta kṛtsna)
 * 9) enclosed space, hole, aperture (आकास 𑀓𑀲𑀺𑀦; ākāsa kasiṇa, ākāśa kṛtsna)
 * 10) consciousness (𑀯𑀺𑀜𑁆𑀜𑀸𑀡 𑀓𑀲𑀺𑀦; viññāṇa kasiṇa, vijñāna kṛtsna) in the Pali suttas and some other texts; the bright light (of the luminous mind) (𑀆𑀮𑁄𑀓 𑀓𑀲𑀺𑀦; āloka kasiṇa) according to later sources such as Buddhaghosa's Visuddhimagga.

The kasinas are typically described as a coloured disk, with the particular colour, properties, dimensions and medium often specified according to the type of kasina. The earth kasina, for instance, is a disk in a red-brown color formed by spreading earth or clay (or another medium producing similar color and texture) on a screen of canvas or another backing material.

Paṭikkūla-manasikāra

The next ten are impure (asubha) objects of repulsion (paṭikkūla), specifically 'cemetery contemplations' (sīvathikā-manasikāra) on ten stages of human decomposition which aim to cultivate mindfulness of body (kāyagatāsati). They are:
 * 1) a swollen corpse
 * 2) a discolored, bluish, corpse
 * 3) a festering corpse
 * 4) a fissured corpse
 * 5) a gnawed corpse
 * 6) a dismembered corpse
 * 7) a hacked and scattered corpse
 * 8) a bleeding corpse
 * 9) a worm-eaten corpse
 * 10) a skeleton

Anussati
The next ten are recollections (anussati):
 * 1) First three recollections are of the virtues of the Three Jewels:
 * 2) Buddha
 * 3) Dharma
 * 4) Sangha
 * 5) Next three are recollections of the virtues of:
 * 6) morality (śīla)
 * 7) liberality (cāga)
 * 8) the wholesome attributes of Devas
 * 9) The additional four recollections of:
 * 10) the body (kāya)
 * 11) death (see  Upajjhatthana Sutta)
 * 12) the breath (prāna) or breathing (ānāpāna)
 * 13) peace (see Nibbana)

Brahma-vihārā
Four are 'stations of Brahma', which are the virtues of the "Brahma realm" (Pāli: Brahmaloka):
 * 1) unconditional kindness and goodwill (mettā)
 * 2) compassion (karuna)
 * 3) sympathetic joy over another's success (mudita)
 * 4) evenmindedness, equanimity (upekkha)

Āyatana
Four are formless states (four arūpa-āyatana):
 * 1) infinite space (Pāḷi ākāsānañcāyatana, Skt. ākāśānantyāyatana)
 * 2) infinite consciousness (Pāḷi viññāṇañcāyatana, Skt. vijñānānantyāyatana)
 * 3) infinite nothingness (Pāḷi ākiñcaññāyatana, Skt. ākiṃcanyāyatana)
 * 4) neither perception nor non-perception (Pāḷi nevasaññānāsaññāyatana, Skt. naivasaṃjñānāsaṃjñāyatana)

Others
Of the remaining five, one is of perception of disgust of food (aharepatikulasanna) and the last four are the 'four great elements' (catudhatuvavatthana): earth (pathavi), water (apo), fire (tejo), air (vayo).

Meditation subjects and the four jhānas
According to Gunaratana, following Buddhaghosa, due to the simplicity of subject matter, all four jhanas can be induced through ānāpānasati (mindfulness of breathing) and the ten kasinas.

According to Gunaratana, the following meditation subjects only lead to "access concentration" (upacara samadhi), due to their complexity: the recollection of the Buddha, dharma, sangha, morality, liberality, wholesome attributes of Devas, death, and peace; the perception of disgust of food; and the analysis of the four elements.

Absorption in the first jhana can be realized by mindfulness on the ten kinds of foulness and mindfulness of the body. However, these meditations cannot go beyond the first jhana due to their involving applied thought (vitaka), which is absent from the higher jhanas.

Absorption in the first three jhanas can be realized by contemplating the first three brahma-viharas. However, these meditations cannot aid in attaining the fourth jhana due to the pleasant feelings associated with them. Conversely, once the fourth jhana is induced, the fourth brahma-vihara (equanimity) arises.

Meditation subjects and temperaments
Each kammatthana can be suggested, especially by a spiritual friend (Kalyana mittata), to a certain individual student at some specific point, by assessing what would be best for that student's temperament and the present state of his or her mind.

All of the aforementioned meditation subjects can suppress the Five Hindrances, thus allowing one to fruitfully pursue wisdom. In addition, anyone can productively apply specific meditation subjects as antidotes, such as meditating on foulness to counteract lust or on the breath to abandon discursive thought.

The Pali commentaries further provide guidelines for suggesting meditation subjects based on one's general temperament:
 * Greedy: the ten foulness meditations; or, body contemplation.
 * Hating: the four brahma-viharas; or, the four color kasinas.
 * Deluded: mindfulness of breath.
 * Faithful: the first six recollections.
 * Intelligent: recollection of marana or Nibbana; the perception of disgust of food; or, the analysis of the four elements.
 * Speculative: mindfulness of breath.

The six non-color kasinas and the four formless states are suitable for all temperaments.

Supernormal abilities
The Visuddhimagga is one of the extremely rare texts within the enormous literature of Buddhism to give explicit details about how spiritual masters are thought to actually manifest supernormal abilities. Abilities such as flying through the air, walking through solid obstructions, diving into the ground, walking on water and so forth are performed by changing one element, such as earth, into another element, such as air. The individual must master kasina meditation before this is possible. Dipa Ma, who trained via the Visuddhimagga, was said to demonstrate these abilities.

title: Kammaṭṭhāna


text: User talk:203.177.186.11

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title: User talk:203.177.186.11


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Westminster College (Pennsylvania)

Westminster College is a private, liberal arts college in New Wilmington, Pennsylvania. Founded in 1852, it is affiliated with the Presbyterian Church (USA). The student population is approximately 1,307 undergraduate and graduate students.

History
Westminster formed as a result of a meeting on Jan. 21, 1852, between the Ohio and Shenango Presbyteries. In 2009, The Washington Monthly ranked Westminster College "third in social mobility" among 253 liberal arts colleges. In 2010, Forbes ranked Westminster first in the nation as the "Best College for Women in Science, Technology, Engineering and Math." In 2008 36% Westminster's graduating class received their degrees in the fields of science, technology, engineering and math (STEM) – and unusually, more of those STEM graduates were women than men.

Campus
Westminster is located in New Wilmington, Pennsylvania, a town of 2,466 residents located 50 mi north of Pittsburgh and 80 mi south of Erie and Cleveland on a 300 acre campus.

Student Government Association
The Student Government Association (SGA) exists primarily for governing and providing entertainment for the student body.

Greek life
The four social fraternities each have their own off campus house which junior and senior class brothers can live in. Each of the five sororities have their own respective hall in a sorority dorm building on campus that sisters can live in if they choose. The fraternities are: Alpha Sigma Phi, Phi Kappa Tau, Sigma Phi Epsilon, and Theta Chi. The sororities are: Alpha Gamma Delta, Kappa Delta, Phi Mu, Sigma Kappa, and Zeta Tau Alpha.

Media organizations
Westminster has one alumni publication and three student publications. The alumni publication is Westminster College Magazine, which is a quarterly magazine detailing on-campus and alumni activities. The student publications include The Holcad, a weekly student-run newspaper; Argo, the student-run yearbook; and Scrawl, a student-run yearly literary magazine.

Westminster's radio station, Titan Radio (Digital 88.9/WWNW-FM) serves Lawrence County. The station streams online and features a hot adult contemporary format. The station is programmed and managed by students for the campus and the community. Programming includes live, local sports for Wilmington Area High School and various Westminster Titans teams. For each year from 2008 through 2013, Titan Radio received recognition from the Princeton Review, ranking it among the Top 20 College Radio Stations in the U.S. Titan Radio is a broadcast member of the Pennsylvania Associated Press and the Pennsylvania Association of Broadcasters (PAB).

Westminster's television station is the Westminster Cable Network (WCN). It provides programming to Comcast subscribers in New Castle & Lawrence County. WCN is available on Armstrong Cable in New Wilmington on channel 72. Armstrong Cable also carries WCN in Lawrence and Mercer counties on channel 204. WCN creates and televises local programming including live high school football games, live Westminster College football games and Westminster Christmas Vespers. Other live programming includes the Lawrence County Band Festival and the New Castle Light Up Night parade. WCN produces a news magazine show, WCN 24/7 (formerly known as The County Line and Inside Lawrence County) and a weekly sports program called Coaches Corner focused on football in the fall and men's and women's basketball in the spring.

The Holcad
The Holcad is Westminster College's official student newspaper. The Holcad was started in 1884, 32 years after the establishment of the college. It has been published every year since without interruption. It is published every Friday during the academic year except the Fridays immediately before or after breaks and during finals.

It is printed by West Penn Printing in New Castle, Pennsylvania under the advisement of The Herald of Sharon, Pennsylvania. Formerly of the tabloid format, it has been printed in broadsheet format since 2004. The Holcad generally includes the following sections: Campus News, Opinion, Sports, Arts & Entertainment, and Features.

Athletics
The Westminster Titans compete in NCAA Division III athletics. Before moving to the NCAA, Westminster competed in the National Association of Intercollegiate Athletics (NAIA) for many years. For a brief period, Westminster was a member of the NCAA Division II Great Lakes Intercollegiate Athletic Conference (GLIAC). The Titans currently are a member of the Presidents' Athletic Conference.

The first official football game by the Westminster Titans was in December 1891; they lost to Geneva, 42–0. The next year was the first official season; Westminster played four games that year and went 3–1. Over the next 100 plus years, the Titans have had a record of 577–406–54.

The Titans have won the national championship 6 times (1970, 1976, 1977, 1988, 1989, and 1994), all while competing in NAIA Division II, with 11 undefeated seasons.

Five former Titans football players have been enshrined in the College Football Hall of Fame: Harold Davis, Joe Fusco, Larry Pugh, Harold Burry and Joe Micchia. Hall of Fame head coach Tuss McLaughry was not an alumnus but did coach the Titans for four years. The current head football coach of the Titans is Scott Benzel, who became head coach in 2014.

Westminster men's basketball team lost in the national NAIA title game twice (1960 and 1962) under coach Charles "Buzz" Ridl. Ridl was inducted into the NAIA Hall of Fame (1969), Western Pennsylvania Coaches Hall of Fame (1980), and the Pennsylvania Sports Hall of Fame (1992).

Notable alumni

 * Eric Burns – author, media critic, broadcast journalist
 * David S. Cercone – U.S. federal judge
 * Amy Marie Charles – professor of English literature at The University of North Carolina at Greensboro
 * Thomas C. Cochran – congressman, R-PA, 70th–74th Congresses (1927–1935)
 * Thomas DiLorenzo – Austrian School economist and author, Professor at Loyola University in Baltimore
 * JD Eicher – singer, songwriter, and producer
 * Jennifer Elvgren – writer
 * William N. Johnston – president of Wesley College (Delaware) 2002–2015
 * Joe Jordano – college baseball coach at Pittsburgh
 * Tim Kaiser – producer of Seinfeld and Will & Grace and 2 Broke Girls
 * James Kennedy – Congressman, R-OH (1903–1911)
 * Gerald LaValle – Pennsylvania State Senator (1971 M.Ed.)
 * Mark Longietti – Pennsylvania State Representative (2006–present)
 * Amber Mariano née Brkich – reality television personality (winner of Survivor: All-Stars), married to Rob Mariano
 * Andrew McKelvey – chairman and CEO of Monster.com (December 1996 – October 2006)
 * Joe Micchia – 2013 College Football Hall of Fame inductee
 * Daniel Migliore – theologian and author; Professor Emeritus, Princeton Theological Seminary
 * Samuel Henry Miller – congressman, R-PA, 47th, 48th, and 64th Congresses (1881–1885, 1915–1917)
 * Gladys Milligan – painter
 * David W. Orr – Chair and professor of environmental studies at Oberlin College in Ohio and influential figure in educational reform
 * Deborah Platt Majoras – chairman of the Federal Trade Commission (August 2004 – 2008)
 * Greg Nicotero - special make-up effects creator, television producer, and director
 * M. Richard Rose (1955-2021) – former President of Alfred University and the Rochester Institute of Technology
 * Jerry Schmitt – football head coach at Duquesne University, former player and coach at Westminster
 * R. C. Sproul – theologian and founder of Ligonier Ministries

Notable faculty

 * Wes Craven – (former) film maker and writer
 * James Ashbrook Perkins - professor emeritus

title: Westminster College (Pennsylvania)


text:
String Quartet 1931 (Crawford Seeger)

Ruth Crawford Seeger's String Quartet (1931) is "regarded as one of the finest modernist works of the genre". It was funded by the Guggenheim Foundation and written in the spring of 1931, during Crawford's time in Berlin. It was first published in the New Music Edition in January 1941.

Overview
The composition is in four untitled movements:1. Rubato assai

2. Leggiero

3. Andante

4. Allegro possibile

5. String Quartet 1931 is Crawford's most frequently performed, recorded, and analyzed work. It has been regarded as a collection of experimental procedures she developed during the previous two years, including dissonant counterpoint, early serial techniques, formal symmetries, and number centricity. By some criteria, it is considered a more conservative work, with its traditional instrumentation and four-movement formal scheme.

Each of its four movements is built upon its own structural concept, while the motives and focal elements unify them as one piece. The first movement is the only movement of the quarter for which a major draft survives. Crawford's manuscript from 1931 can be found at the Library of Congress.

The first movement features a polyphonic framework using linear formations that are subjected to various contrapuntal operations: contrary (for inversion), crab (for retrograde), and basic transposition. The goal of Crawford's contrapuntal style was to produce independence among the different parts to produce "heterophony." In this movement, she uses principles of verse form for the opening and closing sections, such as rhyme and repetition. Crawford's uses a "poem" to frame the movement, but regularly introduces new beat groups so that it is unpredictable and energetic. The movement could be described as "ametric." Her methods suggest serial procedures, but she not see her themes as rows with fixed pitch contents. In the draft score, she marked sections where she reshaped the material.

The second movement has been the least analyzed. It uses motives that are manipulated through the reordering of the intervals and constant shifting of rhythmic patterns to different parts of the beat. A unifying element of this movement is the imitation of rhythmic motives, which persists in throughout the movement in meter. Dynamics are used in a similar manner as in the first movement, and reinforce musical effects created by the rhythm and melodic motives.

The main melody of the third movement gives rise to harmonic effects that are characteristic of Crawford's customary melodic practices. The melody is split into two large sections, the first ascending in slow arches, and the second rapidly descending to its starting point. The third movement was the first work recorded as part of the New Music Quarterly Recordings. In a letter to Charles Ives to persuade him to finance the recording, Henry Cowell wrote, "As to the value of the Crawford Quartet, I think it is without question the best movement for quartet that any American has written, and I would rather hear it than almost anything I can think of."

The fourth is the most widely discussed movement out of the whole piece. It is organized according to a pre-composed numerical plan, where the theme is subjected to a series of transformations. Crawford’s favorite serial operations involve systematic permutation and transpositions, which can be heard in this movement. The first violin's unrestrained melody is played against a strictly serialized melody played by the other three instruments. In some analyses, the orderly-patterned serial voice is regarded as more “rational” and “masculine”, while the first violin’s individuality is more “assertive” and “feminine”.

Analysis
String Quartet 1931 is one of the more celebrated works in the 20th century chamber music repertory, and the third and fourth movements have received much attention from critics, musicologists, and historians.

All four movements show varying degrees of organizational frameworks. Rather than relying on the technical capabilities of the instruments, Crawford relies on instrumental timbre and the balance of textures. The piece's anticipation of rhythmic techniques have been associated with Elliott Carter, while the independent and asymmetrical part writing has been attributed to Charles Seeger's method of dissonant counterpoint.

I. Rubato assai
The first movement spans seventy-eight measures and is marked rubato assai. It contains fourteen different tempo changes, enhancing the rhapsodic nature of the movement. The effect is further accentuated by the long-line melodies with their large skips and diverse rhythmic patterns.

The opening section of the first movement was built on "metric form", referring to poetic rather than musical meter. Crawford inherited metric form from Seeger's characterization of "verse form" as a compositional technique. The phrase structure uses an AB/AB pattern, into which Crawford incorporates themes that have been transformed using contrapuntal operations. Her methods suggest serial procedures, but she did not see her themes as rows with fixed pitch contents. Rather, they are modified by "interval stretches," a term Seeger used to signify the alteration of one or two intervals within a repeat.

Although not patterned like the rhythm, the dynamics are used effectively in creating a sense of instability and fantasy. A sense of unity throughout the movement is provided by the mood and motive, and its liveliness allows it to compete with the technical prowess presented in other the movements of the quartet.

II. Leggiero
In developing his neumatic theory, Seeger characterized the scale as a series of notes derived from neumes and their transformations. Consequently, the distinction between mode and scale became blurred. In his theory of neumation, he theorized that the scale, mode, and melody become closely interrelated with each other and can no longer be seen as distinct entities. The second movement of this piece has been analyzed by musicologist Nancy Yunhwa Rao in the context of these interrelated concepts. The opening measure of the movement feature a scalar ascent that represents the neume, the scale and the melody simultaneously. It consists of a sequence composed of three hexachords, each separated by a whole tone. Crawford connects the hexachords using a joint interval of a whole tone, creating a two-octave sequence. This two-octave scale allows for the recurrence of a sequence, creating a sense of continuity. Crawford also uses this scale to create subtle differences in the overall design of the movement.

The "wedging motion" is another prominent feature of the second movement. In this context, the wedging motion is the motion from an initiating dyad toward a central destination dyad by steps or skips. This concept highlights the process of reaching a point of convergence. Its role within the overall structure of the movement is to articulate contours that contrast the contour of the two-octave scales and sequences. The repeated use of wedging motions that remain constant throughout the movement unify the movement.

III. Andante
This movement provides an example of total organization of many musical features: pitch rests, rhythm, dynamics, tempo, instrumentation, and form. The pitch content remains free throughout, but the dynamics and rhythm are controlled. Crawford structures this movement around a dynamic design that Seeger called "dynamic counterpoint." Each instrument has its own pattern that constantly changes, in which every pitch swells in the middle of the tone. The combination of these tones, with its rhythmic and dynamic patterns, create a pulsing sound effect that fade away. This "almost impressionist" has been described as sounding Bartókian.

The harmony changes one note at a time, and that series of new notes creates the basic melodic line of the movement. The four instruments take turns introducing new notes, but does not follow any systematic pattern. Thus, the melody exhibits characteristics of Klangfarbenmelodie, with its instrumental timbre constantly shifting. One note is introduced and sustained until it is the same instrument's turn to play another one. The movement of melodies can be understood as harmonies produced by the after-effects of the sustained tones.

The form of the movement is built from a aggregation of continual, short rhythmic units. All four instruments play play continuously but start at different times at the beginning and at the end of the movement. The chord in measure 75 contains triple stops for all instruments. It is the only place in the entire movement where all four parts start together on the first beat of the measure.

Hisama argues that the movement also departs from the predominant Classical string quartet model where the first violin acts as the leader, while the second violin, viola, and cello provide harmonic support. Instead, the instruments work cooperatively and share the same tasks.

IV. Allegro possibile
Crawford never provided a program for the fourth movement, but it appears that she intended for it to resemble a dialogue. In her own analysis of the movement, she designates opposing parts—Voice 1 for the first violin and Voice 2 for the second violin, viola, and cello. In her personal copy, she replaced the "Allegro possibile" with "'Allegro quasi recitative", recitative begin a vocal style that imitates speech. The two voices do not have a typical relationship of melody and accompaniment. They are designed to contrast each other as if in a vigorous dialogue. The pitch classes of Voice 2 are derived from a single ten-note series, which is typical of Crawford's usual melodies. The series is systematically rotate and transformed in a serial manner. The tonal material of Voice 1 contrasts that of Voice 2. Whereas Voice 2 has strict serial rotations, Voice 1 flows freely. It is characterized by qualities that are typical of Crawford's other free melodies. Although the two voices do not share many of the same intervals, the same segments that are heard as Voice 2 rotates complements Voice 1.

Her allusions to dialogue are the subject of many analyses. Hisama finds that that the discourse reflects Crawford's experience of professional marginalization, with Voice 1 taking on an assertive, female persona, while Voice 2 represent the a rigid collective voice of male authority. In contrast, Straus describes the fourth movement as a narrative about conflict and mediation. The independent nature of the first violin can be perceived as "masculine," and despite the conflicting melodies, they still share a sense of cohesion and belonging. Both analyses could be plausible, as Straus has noted that her music "offers multiple perspectives, and privileges none of them."

The dynamics of the two voices are independent. Voice 1 aims to achieve rhythm fluidity by using an assortment of eighths, dotted quarters, ties, triplets, quintuplets, and sextuplets. In contrast, Voice 2 has a rigid character that is constructed of constant single rhythmic values that are executed through irregular bowing patterns. Throughout the movement, the opposing voices alternate and overlap.

Mathematical structuring can be seen in this movement. Her precompositional strategies often incorporate number centricity and can manifest in various musical domains. According to Seeger, the operative number is ten.

Mark Nelson has praised Crawford's inventiveness in adapting both Seeger's theories and the palindrome as a formal device. He has implied that experimental techniques that she incorporated to her compositional style around 1930 were all based on Seeger's doctrines.

Composition
After beginning her studies in composition with Charles Seeger in 1929, Crawford became more focused on the contrapuntal procedures in her music, as seen in the string quartet. She had promised an orchestral work to the Guggenheim foundation, but abandoned the project after two weeks of frustration.

In the winter of 1931, despite Seeger's advice to avoid string compositions to "prevent the development of Romantic tendencies", she decided on a string quartet. She had wanted to write one in the spring of 1930, but Seeger had discouraged her at the time.

In a letter to Seeger in February 1931, she wrote,"“I went to the piano and began a one-voiced something in metric form and was rather pleased with it...The next day I took the little monody, which is lyric, and gave it a leggiero pal with a bass voice, and it insisted on becoming a string quartet. 1 have been wanting to write one for months—you tried to dissuade me last Spring, but the desire has come again many times this fall, so 1 might as well get it out. And the music came more easily, and after these six months of almost complete silence, it is such a relief. You did it. You pulled me up. You freed me.”"The letter introduces “metric form”, which gives general context to the opening of the first movement. Metric form was a concept that Crawford inherited from Seeger. He explained that, “Music…can be given what may be called ‘verse-form’ that is modelled on poetry.”

In her letters to Seeger, Crawford was stuck between expressing assertions of independence and reaffirming its opposite. Some days, she would make a “declaration of independence”, and others she would cry for her “dear idol Charlie.” By the time she was done with the second movement, Seeger wrote an enthusiastic letter back about the new piece. Despite her claims about how much she needed Seeger, she had written her best work without him. In contrast to her earlier compositions, such as the Diaphonic Suites, which she called “ours”, she never indicated anything of that sort regarding the string quartet.

She finished the quartet in Paris on June 13, 1931, and sent it out to the Guggenheim Foundation.

In 1938, she began the process of rewriting the third movement of the quartet. The third movement's climax (mm. 68-75) was not present in the 1931 version but was added several years later, as seen in the 1941 published version.

Performance and Reception
Henry Cowell was no doubt Crawford's biggest advocate. In 1934, Cowell recorded the third movement of Crawford's string quartet, the only recording of her music that was released during her lifetime. In 1941, he published all four movements of the string quartet.

After its first performance by the New World String Quartet on November 13, 1933, the work was proclaimed "original and arresting", and the third movement was singled out as "remarkable."

On December 1, 1933, the New World Quartet recorded the third movement, Andante, on a twelve-inch shellac disc at Capital Sound Studios, where six hundred records were pressed.

In 1934, the third movement, now recorded, was choreographed by Betty Horst and premiered on May 28 at a gala affair.

Assessment were starting to reach a consensus regarding the discourse on serialism. Musicologist Carol J. Oja characterized the quartet as "prefiguring subsequent total serialism in the USA."

String Quartet 1931 received a lot of attention in the 1960s, when George Perle published the first analysis of the third and fourth movements. He wrote of Crawford's contributions to atonal and serial practices,"'The String Quartet 1931 of Ruth Crawford is an original and inventive work whose numerous 'experimental' features in no way detract from its spontaneity, freshness, and general musicality...In some respects serial procedures are suggested.'"After hearing news about SQ being recorded, Perle and many others anticipated its release. The first complete recording on the Columbia Masterworks label appeared in 1961. The composer Eric Salzman wrote an enthusiastic review of the Amati Quartet’s recording, titled “Distaff Disk. Ruth Seeger’s Work Ahead of Its Era”

By default, Seeger played a significant role in sustaining her reputation as a composer. In 1960, he collaborated with CBS Records to produce the first complete recording of the String Quartet 1931. When doing so, he deliberately kept his influence on her work out of it.

The piece was reissued in the 1970s because of the cultural activity associated with the Bicentennial of the American Revolution, and a revival of national interest in American classical music. The cultural feminist movement also contributed to its reemergence.

This attention changed the way Crawford’s children regarded their mother’s composition, to some degree. Peggy said,"“I don’t understand how the woman that I knew as a mother created something like the 1931 string quartet. It is like someone crying; it is like someone beating on the walls…and I don’t want to think about this as regarding my mother because my mother always seemed to me to have it all together, to have gotten a life that pleased her.”"In 1973, a recording of String Quartet 1931, performed by the Composers Quartet, was released on the Nonesuch label, along with quartets by George Perle and Milton Babbitt. Many New York critics praised it and linked it to contemporary trends. John Rockwell wrote in High Fidelity that it was striking how her techniques anticipated later movements, particularly Elliott Carter's independent part-writing and metrical explorations.

String Quartet 1931 continued to bolster Crawford's reputation as a composer. In 1975, the third movement was performed by the New York Philharmonic at a highly publicized concert. The concert showcased female composers and was sponsored by a feminist publishing collective for Ms. (magazine).

In 1981, Jeannie Pool organized the First National Congress on Women and Music, with Crawford as a focal point. Pool recalls, “I decided the best thing to do was anchor the whole conference around Ruth Crawford Seeger. She was a major composer, and her String Quartet 1931 was a pivotal work done by a woman. If we anchored the conference there, then I would have the ability to present the new works, the new string quartets on her shoulders.”

The late 1900s witnessed important developments for female composers. The coverage shifted somewhat, so that String Quartet 1931 was no longer the only piece on which Crawford’s historical position was based.

Prior to the 1980s, there had been no mention of Charles Seeger’s contributions to Crawford’s development. Seeger had been acknowledge for his article on “dissonant counterpoint”, and while it was known that he had been her mentor, there had been no connections between his article and her compositional style. In 1986, Mark Nelson analyzed Crawford’s String Quartet with regards to Seeger’s theories, as did David Nicholls in his book about American experimental music in 1990.

Joseph Straus links the piece to a renewed appreciation of modernism in general, specifically in relation to integral serialism. He said that Crawford had “understood the potential isomorphism of pitch and rhythm and in that sense, had ‘serialized the rhythm’ of the piece”, but the rhythms were not actually serialized in any consistent or systematic way. He praised her nonetheless, saying that it happened often enough in her music to clearly suggest that she is aware that those musical motives can be done to both rhythm and pitch.

title: String Quartet 1931 (Crawford Seeger)


text:
Controlled Impact Demonstration

The Controlled Impact Demonstration (or colloquially the Crash In the Desert) was a joint project between NASA and the Federal Aviation Administration (FAA) that intentionally crashed a remotely controlled Boeing 720 aircraft to acquire data and test new technologies to aid passenger and crew survival. The crash required more than four years of preparation by NASA Ames Research Center, Langley Research Center, Dryden Flight Research Center, the FAA, and General Electric. After numerous test runs, the plane was crashed on December 1, 1984. The test went generally according to plan, and produced a large fireball that required more than an hour to extinguish.

The FAA concluded that about one-quarter of the passengers would have survived, that the antimisting kerosene test fuel did not sufficiently reduce the risk of fire, and that several changes to equipment in the passenger compartment of aircraft were needed. NASA concluded that a head-up display and microwave landing system would have helped the pilot more safely fly the aircraft.

Background and experiment setup
NASA and the Federal Aviation Administration (FAA) conducted a joint program for the acquisition, demonstration, and validation of technology for the improvement of transport aircraft occupant crash survivability using a large, four-engine, remotely piloted transport airplane in a controlled impact demonstration (CID). The CID program was conducted at the Dryden Flight Research Facility of NASA Ames Research Center (Ames-Dryden), at Edwards, California, using a remotely controlled Boeing 720 transport, and was completed in late 1984. The objectives of the CID program were to demonstrate a reduction of postcrash fire through the use of antimisting fuel, acquire transport crash structural data, and to demonstrate the effectiveness of existing improved seat-restraint and cabin structural systems. The Boeing 720 (tail number N833NA ) was purchased new by the FAA in 1960 as a training aircraft. After more than 20,000 hours and 54,000 takeoff and landing cycles, it had come to the end of its useful life. The aircraft was turned over to NASA-Ames/Dryden Flight Research Center for the CID program in 1981.

The additive, ICI's FM-9, a high molecular-weight long chain polymer, when blended with Jet-A fuel, forms antimisting kerosene (AMK). AMK had demonstrated the capability to inhibit ignition and flame propagation of the released fuel in simulated impact tests. AMK cannot be introduced directly into a gas turbine engine due to several possible problems such as clogging of filters. The AMK must be restored to almost Jet-A before being introduced into the engine for burning. This restoration is called degradation and was accomplished on the Boeing 720 using a device called a degrader. Each of the four Pratt & Whitney JT3C-7 engines had a degrader built and installed by General Electric (GE) to break down and return the AMK to near Jet-A quality.

In addition to the AMK research, NASA Langley Research Center was involved in a structural load measurement experiment, which included using instrumented crash dummies in the seats of the passenger compartment and cockpit. Before the final flight in 1984, more than four years of effort was expended in attempting to establish final impact conditions which would be considered to be survivable by the FAA.

Over a series of 14 flights, General Electric installed and tested four degraders (one on each engine); the FAA refined AMK, blending, testing, and fueling a full size aircraft. During the flights the aircraft made approximately 69 approaches, to about 150 ft above the prepared crash site, under remote control. These flights were used to introduce AMK one step at a time into some of the fuel tanks and engines while monitoring the performance of the engines. During those same flights, NASA's Dryden Flight Research Center also developed the remote piloting techniques necessary for the Boeing 720 to fly as a drone aircraft. An initial attempt at the full-scale test was scrubbed in late 1983 due to problems with the uplink connection to the 720; if the uplink failed the ground-based pilot would no longer have control of the aircraft.

Test execution
On the morning of December 1, 1984, the test aircraft took off from Edwards Air Force Base, California, made a left-hand departure and climbed to an altitude of 2300 ft. The aircraft was remotely flown by NASA research pilot Fitzhugh Fulton from the NASA Dryden Remotely Controlled Vehicle Facility. All fuel tanks were filled with a total of 76000 lb of AMK and all engines ran from start-up to impact (flight time was 9 minutes) on the modified Jet-A. It then began a descent-to-landing along the roughly 3.8-degree glideslope to a specially prepared runway on the east side of Rogers Dry Lake, with the landing gear remaining retracted.

Passing the decision height of 150 ft above ground level (AGL), the aircraft turned slightly to the right of the desired path. The aircraft entered into a situation known as a Dutch roll. Slightly above that decision point at which the pilot was to execute a "go-around", there appeared to be enough altitude to maneuver back to the center-line of the runway. The aircraft was below the glideslope and below the desired airspeed. Data acquisition systems had been activated, and the aircraft was committed to impact.

The aircraft contacted the ground, left wing low, at full throttle, with the aircraft nose pointing to the left of the center-line. It had been planned that the aircraft would land wings-level, with the throttles set to idle, and exactly on the center-line during the CID, thus allowing the fuselage to remain intact as the wings were sliced open by eight posts cemented into the runway (called "Rhinos" due to the shape of the "horns" welded onto the posts). The Boeing 720 landed askew. One of the Rhinos sliced through the number 3 engine, behind the burner can, leaving the engine on the wing pylon, which does not typically happen in an impact of this type. The same rhino then sliced through the fuselage, causing a cabin fire when burning fuel was able to enter the fuselage.

The cutting of the number 3 engine and the full-throttle situation was significant, as this was outside the test envelope. The number 3 engine continued to operate for approximately 1/3 of a rotation, degrading the fuel and igniting it after impact, providing a significant heat source. The fire and smoke took over an hour to extinguish. The CID impact was spectacular with a large fireball created by the number 3 engine on the right side, enveloping and burning the aircraft. From the standpoint of AMK the test was a major setback. For NASA Langley, the data collected on crashworthiness was deemed successful and just as important.

Findings
The actual impact demonstrated that the antimisting additive tested was not sufficient to prevent a post-crash fire in all circumstances, though the reduced intensity of the initial fire was attributed to the effect of AMK.

FAA investigators estimated that 23–25% of the aircraft's full complement of 113 people could have survived the crash. Time from slide-out to complete smoke obscuration for the forward cabin was 5 seconds; for the aft cabin, it was 20 seconds. Total time to evacuate was 15 and 33 seconds respectively, accounting for the time necessary to reach and open the doors and operate the slide. Investigators labeled their estimate of the ability to escape through dense smoke as "highly speculative".

As a result of analysis of the crash, the FAA instituted new flammability standards for seat cushions which required the use of fire-blocking layers, resulting in seats which performed better than those in the test. It also implemented a standard requiring floor proximity lighting to be mechanically fastened, due to the apparent detachment of two types of adhesive-fastened emergency lights during the impact. Federal aviation regulations for flight data recorder sampling rates for pitch, roll and acceleration were found to be insufficient.

NASA concluded that the impact piloting task was of an unusually high workload, which might have been reduced through the use of a heads-up display, the automation of more tasks, and a higher-resolution monitor. It also recommended the use of a microwave landing system to improve tracking accuracy over the standard instrument landing system. In practice, the Global Positioning System-based Wide Area Augmentation System came to fulfill this role.

title: Controlled Impact Demonstration


text:
Madonna Litta

The Madonna Litta is a late 15th-century painting, traditionally attributed to Leonardo da Vinci, in the Hermitage Museum, Saint Petersburg. It depicts the Virgin Mary breastfeeding the Christ child, a devotional subject known as the Madonna lactans. The figures are set in a dark interior with two arched openings, as in Leonardo's earlier Madonna of the Carnation, and a mountainous landscape in aerial perspective can be seen beyond. In his left hand Christ holds a goldfinch, which is symbolic of his future Passion.

Scholarly opinion is divided on the work's attribution, with some believing it to be the work of a pupil of Leonardo such as Giovanni Antonio Boltraffio or Marco d'Oggiono; the Hermitage Museum, however, considers the painting to be an autograph work by Leonardo. The painting takes its name from the House of Litta, a Milanese noble family in whose collection it was for much of the nineteenth century.

History
The Madonna Litta might be one of the paintings of the Madonna and Child recorded in Leonardo's studio before or during his first Milanese period (c. 1481–1483 to 1499). On a drawing in the Uffizi Leonardo noted that he had begun “two Virgin Maries” in late 1478 and an inventory of his studio written in 1482 (part of the Codex Atlanticus) again mentions two paintings of “Our Lady”. The second of these is, according to different interpretations, either noted as being “almost finished, in profile” or “finished, almost in profile”. The Virgin's head in the Madonna Litta could be described either way, and it has therefore been argued that the painting was begun in Leonardo's first Florentine period and left unfinished until it was later worked up by a pupil in Milan. Scientific analysis of the painting has, however, suggested that it was produced by only one artist.

Several drawings have been identified as preparatory to the Madonna Litta. One, which is universally attributed to Leonardo, is a metalpoint drawing of a young woman's face in near profile, part of the Codex Vallardi in the Louvre. There is evidence that this sheet was used as an exemplum for teaching pupils in Leonardo’s workshop; on the reverse another artist has traced the outline of the face in pen and ink, a technique Leonardo himself used when developing compositions. Further evidence of pupils copying the drawing comes in the form of a direct copy, by a rather uncertain draughtsman, on a sheet which was turned over and reused for a different drawing by another sixteenth-century artist; this is now in the Städel in Frankfurt.

Two other drawings, in metalpoint with white lead highlights on blue prepared paper, are attributed to a follower of Leonardo, usually considered to be Giovanni Antonio Boltraffio. One, a study for the Christ child's head, is in the Fondation Custodia in Paris; the other, in the Kupferstichkabinett in Berlin, is a drapery study for the Virgin's garments. These have been attributed to Boltraffio on the basis of the Berlin drawing's similarity to other drapery studies by the artist. It has been argued that the Paris and Berlin drawings are preparatory studies for the Madonna Litta rather than copies after it, as the drapery study shows more of the Virgin's right arm than the finished work, in which this is obscured by Christ's head. This suggests that the composition was partly pieced together from these studies.

A further related drawing in the Metropolitan Museum of Art, attributed to Boltraffio, is of the Virgin's face in strict profile and does not resemble the finished painting in the Hermitage. It has been argued that this study might represent an earlier idea by a pupil for the composition of the Madonna Litta, which the master Leonardo then 'corrected' with the drawing in the Louvre.

The painting was repainted by an artist other than Leonardo in Milan around 1495.

Provenance
It has been speculated that Leonardo might have taken the Madonna Litta with him to Venice in March 1500, as the diarist Marcantonio Michiel apparently recorded its presence in the Ca' Contarini in that city in 1543:

"There is a little picture, of a foot or a little more, of an Our Lady, half length, who gives milk to the little boy, coloured by the hand of Leonardo da Vinci, a work of great power and highly finished."

The earliest print of the composition is Venetian, by an artist in the circle of Zoan Andrea, and at least one painted copy by the Venetian school is known, in the Museo di Castelvecchio in Verona.

In 1784, the earliest secure date in its provenance, the painting was bought by Prince Alberico Barbiano di Belgiojoso from one Giuseppe Ro. After Belgioioso's death in 1813 it passed into the collection of the Litta family, from whom it takes its current name. In 1865 the Russian Tsar Alexander II acquired the panel from Count Antonio Litta, quondam minister to Saint Petersburg, for the Hermitage Museum, where it has been exhibited to this day. Upon acquiring the painting the Hermitage had it transferred from wood to canvas, when it was again repainted.

Attribution
That the painting was regarded in Leonardo's lifetime as his work is suggested by the large number of copies made of it. A popular candidate for authorship is Giovanni Antonio Boltraffio. David Alan Brown argues that Marco d'Oggiono was responsible for the Madonna Litta as its composition is reflected in his later works, whereas it is not in those of Boltraffio. In the major exhibition on Leonardo's first Milanese period held at the National Gallery in London in 2011–12 the painting was attributed to Leonardo, but art historian Martin Kemp has remarked that this was "presumably a condition of the loan". Kemp said in 2017 that he regarded the painting as a Boltraffio.

title: Madonna Litta


text:
Lodge Corollary

The Lodge Corollary was a corollary to the Monroe Doctrine. Proposed by Henry Cabot Lodge and ratified by the U.S. Senate in 1912, it forbade any foreign power or foreign interest of any kind from acquiring sufficient territory in the Western Hemisphere as to put that government in "practical power of control." As Lodge argued, the corollary reaffirmed the basic right of nations to provide for their safety and extended the principles behind the Monroe Doctrine beyond colonialism to include corporate territorial acquisitions as well.

The proposal was a reaction to negotiations between a Japanese syndicate and Mexico for the purchase of a considerable portion of Baja California including a harbor considered to be of strategic value, Magdalena Bay. After the ratification of the Lodge Corollary, Japan disavowed any connection to the syndicate, and the deal was never completed.

title: Lodge Corollary


text:
Eric Stryker

Michael Skrzypcak (September 24, 1954 – February 19, 1988) best known by his stage name Eric Stryker, was an American gay pornographic performer and model. He was known for his handsome blond features and his muscular physique. He also performed as Noel Kemp for Colt Studio, Mike Kelly, Mike Saunders and, Michael John Saunders.

In 1984, shortly after his lover died from AIDS, Stryker was diagnosed with HIV. His response was to focus his activities away from the life of a porn star and become an activist for AIDS awareness. Stryker continued his studies in architecture at Woodbury University and his regular workouts. As he put it, "I live for the day." He worked with the AIDS Couples Group and lectured around the country for the AIDS Project Los Angeles. In 1987, he appeared in the documentary It Starts with A, his last film appearance. In his last public appearance, his body showing the effects of Kaposi's sarcoma, he marched in the Christopher Street West parade in Los Angeles in a tank top and shorts, becoming one of the early persons with the disease to publicly display its symptoms. On February 19, 1988, he died of AIDS at Sherman Oaks Community Hospital. He was 33.

title: Eric Stryker


text:
Talk:Animal husbandry

Terminology
This article is about the practice and history of animal husbandry. It is not the place for an extensive table of terms used for types of animal; there are plenty of other places on Wikipedia and Wiktionary where such things may be relevant. Chiswick Chap (talk) 19:27, 5 September 2022 (UTC)

Move?
"Husbandry" is a shorter and more concise term compared to "Animal husbandry." Husbandry rarely includes the cultivation of plants and other aspects of farming beyond just animals; for possible confusions, a hatnote to Horticulture would be enough. Yorkporter (talk) 20:02, 26 December 2023 (UTC)
 * Oppose. Firstly, this is overwhelmingly the term known and used in the field, in textbooks, and elsewhere: it is the usual term of art. Secondly, any resource may be husbanded, so the proposed term is not only an abbreviation for the usual term, close to being a neologism, but is also ambiguous. Thirdly, terms like crop husbandry may be old but they do exist, so there is needless ambiguity there too. We simply should not go there. Chiswick Chap (talk) 20:27, 26 December 2023 (UTC)

title: Talk:Animal husbandry


text:
Talk:Controlled Impact Demonstration

Original source of article text
Nearly all the text here was cut and paste from the Controlled Impact Demonstration photograph pages such as this. The text should be in the public domain because it is an original work of NASA. Triddle 03:22, 23 Apr 2005 (UTC)

Praise for images
- I know this doesn't have much to do with editing the article, more like a comment; but damn it, those are some cool pictures. The Post Impact 3 one is my desktop wallpaper. It's just neat. -Wunderbear —Preceding unsigned comment added by Wunderbear (talk • contribs) 19:26, 25 June 2006 (UTC)

Footnoting
The format in this version approximately follows the shortened footnote format at WP:Citing sources. The reports not having author is the reason for using report numbers instead. Using repeated references with a ref name is fine, but I don't see the page number template is even mentioned on that Cite page or WP:Footnotes. So the rp template looks nonstandard to me.. -Fnlayson (talk) 05:19, 16 August 2009 (UTC)

 * Regarding rp: it's mentioned at the bottom of WP:FOOT, though apparently someone edited it out of WP:CITE within the last few months (this is what it used to say). It's also used on thousands of pages.
 * As a practical matter, I assume that it was created in order to simplify the process of using page citations in articles. To use a shortened footnote, a reader clicks the [1] link, which takes them to the shortened footnote with page number. Then they go through the bibliography to match the short name to a reference. With, the link takes them straight to the bibliography entry.
 * It also has the advantage of making the page display more concise, because one list of references is rendered, rather than two, and because the reference list grows in proportion to the number of distinct works cited, not in proportion to the number of total citations (of which many could belong to a single work). TheFeds 17:24, 16 August 2009 (UTC)

 * Footnotes are used much more than the rp template. Using the rp template for page numbers disjoins the info.  The page numbers are inline with the text while the references in the References section near the bottom of the article.  Using shortened footnotes puts the reference and page number in the same or adjacent sections near the bottom of the article.  I don't see any real justification to get rid of the shortened footnotes. -Fnlayson (talk) 16:58, 28 August 2009 (UTC)

Sections
It seems to me that the "History" section should either be, or be followed by, a "Design" section. I considered renaming the "History" section to be "Design", but that doesn't seem to fit. The two sections would be discrete, History being why they did it and such, while Design would be how they set up the experiment and why. Design/Test/Findings strikes me as a good sequence, if y'all follow what I'm saying. - Denimadept (talk) 18:43, 1 December 2011 (UTC)

 * I just grouped the 3 text sections under a main History section label. I can't think of a better name for that right now.  Try another fitting name, maybe. -Fnlayson (talk) 19:42, 1 December 2011 (UTC)
 * That doesn't strike me as useful. Everything is history. - Denimadept (talk) 19:47, 1 December 2011 (UTC)

 * Whatever then. Come with something else and try it.. -Fnlayson (talk) 21:01, 1 December 2011 (UTC)

title: Talk:Controlled Impact Demonstration


text:
Port Kembla

Port Kembla may refer to:

 * Port Kembla, New South Wales
 * Port Kembla harbour, the place where cargo is transferred to and from ships
 * Port Kembla railway station
 * Port Kembla North railway station
 * Port Kembla Blacks - Port Kembla Rugby League Football Club
 * BHP/Austrac Port Kembla 103 locomotive
 * SS Port Kembla steamship

title: Port Kembla


text:
Benzonatate

Benzonatate, sold under the brand name Tessalon among others, is a medication that is used for the symptomatic relief of cough. A 2023 systematic review found that there is inadequate evidence to support the effectiveness and safety of benzonatate for cough and highlighted rising safety concerns. Benzonatate is taken by mouth. Effects generally begin within 20minutes and last 3 to 8hours.

Side effects include sleepiness, dizziness, headache, upset stomach, skin rash, hallucinations, and allergic reactions. Overdosage can result in serious adverse effects including seizures, irregular heartbeat, cardiac arrest, and death. Overdose of only a small number of capsules can be fatal. Chewing or sucking on the capsule, releasing the drug into the mouth, can also lead to laryngospasm, bronchospasm, and circulatory collapse. It is unclear if use in pregnancy or breastfeeding is safe. Benzonatate is a local anesthetic and voltage-gated sodium channel blocker. It is theorized to work by inhibiting stretch receptors in the lungs, in turn suppressing the cough reflex in the brain. Benzonatate is structurally related to other local anesthetics like procaine and tetracaine.

Benzonatate was discovered in 1956 and was approved for medical use in the United States in 1958. It is available as a generic medication. Availability worldwide is limited, with the drug remaining marketed only in the United States and Mexico. In 2021, it was the 158th most commonly prescribed medication in the United States, with more than 3million prescriptions.

Cough
Benzonatate is a prescription non-opioid alternative for the symptomatic relief of cough. It has been found to improve cough associated with a variety of respiratory conditions including asthma, bronchitis, pneumonia, tuberculosis, pneumothorax, opioid-resistant cough in lung cancer, and emphysema.

Benzonatate also reduces the consistency and volume of sputum production associated with cough in those with chronic obstructive pulmonary disease (COPD).

Compared to codeine, benzonatate has been reported to be more effective in reducing the frequency of induced cough in experiments.

Benzonatate does not treat the underlying cause of the cough.

According to a 2001 literature review, more than 29 clinical studies have assessed benzonatate for the treatment of cough in more than 2,100 patients.

A systematic review of the literature of benzonatate for cough was published in 2023. The review identified 37 relevant articles including 21 cohort studies, 5 experimental studies, and 11 case studies and series. The data were of very low quality. Most of the studies on benzonatate are decades old and were conducted shortly after its introduction. The systematic review concluded that there is inadequate evidence to support the effectiveness and safety of benzonatate and emphasized rising safety concerns surrounding the drug. It further concluded that there is a need for large observational studies or randomized trials to assess the place of benzonatate in modern medicine.

Hiccups
Benzonatate has been reported to have use in the suppression of hiccups.

Intubation
Benzonatate acts as a local anesthetic and the liquid inside the capsule can be applied in the mouth to numb the oropharynx for awake intubation. However, there can be life-threatening adverse effects when the medication is absorbed by the oral mucosa, including choking, hypersensitivity reactions, and circulatory collapse.

Available forms
Benzonatate is available in the form of 100, 150, and 200mg oral capsules.

Contraindications
Hypersensitivity to benzonatate or any related compounds is a contraindication to its administration.

Side effects
Benzonatate is generally well-tolerated if the liquid-capsule is swallowed intact. Potential adverse effects of benzonatate include:

 * Constipation, dizziness, fatigue, stuffy nose, nausea, headache are frequently reported.
 * Sedation, a feeling of numbness in the chest, sensation of burning in the eyes, a vague "chilly" sensation, itchiness, and rashes are also possible.
 * Ingestion of a small handful of capsules has caused seizures, cardiac arrhythmia, and death in adults.

Hypersensitivity reactions
Benzonatate is structurally related to anesthetic medications of the para-aminobenzoic acid (PABA) class which includes procaine and tetracaine. Procaine and tetracaine, previously used heavily in the fields of dentistry and anesthesiology, have fallen out of favor due to allergies associated with their metabolites. Similarly, severe hypersensitivity reactions to benzonatate have been reported and include symptoms of laryngospasm, bronchospasm, and cardiovascular collapse. These reactions are possibly associated with chewing, sucking, or crushing the capsule in the mouth.

Improper use
Benzonatate should be swallowed whole. Crushing or sucking on the liquid-filled capsule, or "softgel," will cause release of benzonatate from the capsule and can produce a temporary local anesthesia of the oral mucosa. Rapid development of numbness of the tongue and choking can occur. In severe cases, excessive absorption can lead to laryngospasm, bronchospasm, seizures, and circulatory collapse. This may be due to a hypersensitivity reaction to benzonatate or a systemic local anesthetic toxicity, both of which have similar symptoms. There is a potential for these adverse effects to occur at a therapeutic dose, that is, a single capsule, if chewed or sucked on in the mouth.

Psychiatric effects
Isolated cases of bizarre behavior, mental confusion, and visual hallucinations have been reported during concurrent use with other prescribed medications. Central nervous system effects associated with other para-aminobenzoic acid (PABA) derivative local anesthetics, for example procaine or tetracaine, could occur with benzonatate and should be considered.

Children
Safety and efficacy in children below the age of ten have not been established. Accidental ingestion resulting in death has been reported in children below the age of ten. Benzonatate may be attractive to children due to its appearance, a round-shaped liquid-filled gelatin capsule, which looks like candy. Chewing or sucking of a single capsule can cause death of a small child. Signs and symptoms can occur rapidly after ingestion (within 15–20 minutes) and include restlessness, tremors, convulsions, coma, and cardiac arrest. Death has been reported within one hour of ingestion.

Pregnancy and breast feeding
It is not known if benzonatate can cause fetal harm to a pregnant woman or if it can affect reproduction capacity. Animal reproductive studies have not been conducted with benzonatate to evaluate its teratogenicity.

It is not known whether benzonatate is excreted in human milk.

Overdose
Benzonatate is chemically similar to other local anesthetics such as tetracaine and procaine, and shares their pharmacology and toxicology.

Benzonatate overdose is characterized by symptoms of restlessness, tremors, seizures, abnormal heart rhythms (cardiac arrhythmia), cerebral edema, absent breathing (apnea), fast heart beat (tachycardia), and in severe cases, coma and death. Symptoms develop rapidly, typically within 5minutes to 1hour of ingestion. Treatment focuses on removal of gastric contents and on managing symptoms of sedation, convulsions, apnea, and cardiac arrhythmia.

Despite a long history of safe and appropriate usage, the safety margin of benzonatate is reportedly narrow. Toxicity above the therapeutic dose is relatively low and ingestion of a small handful of pills can cause symptoms of overdose. Children are at an increased risk for toxicity, which have occurred with administration of only one or two capsules. Following cardiopulmonary collapse with benzonatate overdose, most people have significant neurological deficits or other end-organ damage.

Due to increasing usage of benzonatate and rapid onset of symptoms, there are accumulating cases of benzonatate overdose deaths, especially in children.

Pharmacology
Benzonatate is chemically similar to other local anesthetics such as tetracaine and procaine, and shares their pharmacology.

Pharmacodynamics
Similar to other local anesthetics, benzonatate is a potent voltage-gated sodium channel blocker. After absorption and circulation to the respiratory tract, benzonatate acts as a local anesthetic, decreasing the sensitivity of vagal afferent fibers and stretch receptors in the bronchi, alveoli, and pleura in the lower airway and lung. This dampens their activity and reduces the cough reflex. Benzonatate also has central antitussive activity on the cough center in central nervous system at the level of the medulla. However, there is minimal inhibition of the respiratory center at a therapeutic dosage.

Pharmacokinetics
The antitussive effect of benzonatate begins within 15 to 20minutes after oral administration and typically lasts between 3 and 8hours. The elimination half-life of benzonatate has been reported to be 1hour.

Benzonatate is hydrolyzed by plasma butyrylcholinesterase (BChE) to the metabolite 4-(butylamino)benzoic acid (BABA) as well as polyethylene glycol monomethyl ethers. Like many other local anesthetic esters, the hydrolysis of the parent compound is rapid. There are concerns that those with pseudocholinesterase deficiencies may have an increased sensitivity to benzonatate as this hydrolysis is impaired, leading to increased levels of circulating medication.

Aside from oral administration, benzonatate has also been used by a variety of other routes, including rectal administration, subcutaneous injection, intramuscular injection, and intravenous infusion.

Chemistry
Benzonatate is a butylamine, para-amino-benzoic acid, or long-chain polyglycol, structurally related to other ester local anesthetics such as procaine and tetracaine. The molecular weight of benzonatate is 603.7g/mol. However, the reference standard for benzonatate is a mixture of n-ethoxy compounds, differing in the abundance of 7 to 9 repeating units, with an average molecular weight of 612.23g/mol. There is also evidence that the compound is not uniform between manufacturers.

History
Benzonatate was first synthesized in 1956 and was introduced as an antitussive in the United States in 1958.

Society and culture
Benzonatate was first made available in the United States in 1958 as a prescription medication for the treatment of cough in individuals over the age of 10. There are a variety of prescription opioid-based cough relievers, such as hydrocodone and codeine, but have unwanted side effects and potential of abuse and diversion. However, benzonatate is currently the only prescription non-opioid antitussive and its usage has been rapidly increasing. The exact reasons of this increase are unclear.

Economics
In the United States between 2004 and 2009, prescriptions increased 50% from 3.1 million to 4.7 million, the market share of benzonatate among antitussives increased from 6.3% to 13%, and the estimated number of children under the age of 10 years receiving benzonatate increased from 10,000 to 19,000. Throughout this same period, greater than 90% of prescriptions were given to those 18 or older. The majority of prescriptions were given by general, family, internal, and physicians with pediatricians account for about 3% of prescribed benzonatate.

In 2021, it was the 158th most commonly prescribed medication in the United States, with more than 3million prescriptions.

Brand names
Tessalon is a brand name version of benzonatate manufactured by Pfizer. It is available as perles (capsules). Zonatuss was a brand name manufactured by Atley Pharmaceuticals, Inc. and Vertical Pharmaceuticals, Inc. Other brand names of benzonatate include Exangit, Tessalin, Tesalon, Tusical, Tusitato, and Ventussin.

Availability
Benzonatate is available in the United States and Mexico.

title: Benzonatate


text:
Legislative Assembly of Costa Rica

The Legislative Assembly (Asamblea Legislativa) forms the unicameral legislative branch of the Costa Rican government. The national congress building is located in the capital city, San José, specifically in Carmen district of the San José canton.

The Legislative Assembly is composed of 57 deputies, (diputados), who are elected by direct, universal, popular vote on a closed party list proportional representation basis, by province, for four-year terms. A 1949 constitutional amendment prevents deputies from serving for two successive terms, though a deputy may run for an Assembly seat again after sitting out a term. Currently a proposal to switch to a Mixed-member proportional representation based on the German system is under discussion.

Parliamentary fractions
The parliamentary fractions in Costa Rica correspond to the representation of the political parties according to the electoral results obtained for each period:

"In the Legislative Assembly there will be as many fractions as political parties are represented in it. The deputies will be considered integrated to the Fraction of the party for which they were elected and none may belong to more than one fraction."

Accordingly, the Electoral Code assigns to the political parties the exclusive legitimacy to nominate candidates for deputies, as stipulated in article 74.

Deputies
The deputies are elected by provinces. The Parliament is made up of fifty-seven deputies, all proprietors. Each time a general population census is carried out, the Supreme Electoral Court of Costa Rica reassigns the number of deputies allocated to each province, in proportion to the population of each one of them.

Requirements
Deputies are elected for four years in office and cannot be successively reelected. There are only three requirements to qualify for the position:

 * 1) Be a citizen;
 * 2) To be Costa Rican by birth, or by naturalization with ten years of residence in the country after having obtained nationality;
 * 3) Be at least twenty one years old.

Impediments
Cannot be elected deputies, nor registered as candidates for that function:

 * 1) The President of the Republic or whoever replaces him in the exercise of the Presidency at the time of the election;
 * 2) The Government Ministers;
 * 3) The proprietary Magistrates of the Supreme Court of Justice;
 * 4) The proprietary and alternate Magistrates of the Supreme Electoral Tribunal, and the director of the Civil Registry;
 * 5) The military on active duty;
 * 6) Those who exercise jurisdiction, civil or police authority, extend to a province;
 * 7) The managers of the autonomous institutions;
 * 8) The relatives of the person who exercises the Presidency of the Republic, up to the second degree of consanguinity or affinity, inclusive.

These incompatibilities affect those who hold the indicated positions within the six months prior to the date of the election. For that reason, when an administration is about to end, it is usual that there are several resignations of the people who occupy these positions and try to aspire to a deputy seat.

Deputies cannot accept, after being sworn in, under penalty of losing their credentials, any position or employment in the other Powers of the State or autonomous institutions, except in the case of a Ministry of Government. In this case, they will rejoin the National Assembly when they cease to function. The legislative function is also incompatible with the exercise of any other public office of popular election. The deputies may not enter into, directly or indirectly, or by representation, any contract with the State, nor obtain a concession of public goods that implies privilege, nor intervene as directors, administrators or managers in companies that contract with the State, works, supplies or exploitation of public services.

Parliamentary immunity
The deputies are not responsible for the opinions that they issue in the Legislative Plenary. During the sessions, they cannot be arrested for civil reasons, unless authorized by the Legislative Assembly itself or if the deputy consents to it. From the time they are declared proprietor or alternate deputies, until they end their legal term, they may not be deprived of their liberty for criminal reasons, except when they have previously been suspended by the Legislative Assembly. This parliamentary immunity does not take effect in the case of flagrant crime, or when the deputy renounces it. However, the deputies who have been arrested in flagrante delicto, will be released if the Legislative Assembly orders it. It is similar to the so-called parliamentary privilege of the Westminster system of the Parliament of the United Kingdom.

Independent deputies
It is possible for a deputy elected by a political party, to separate from the parliamentary fraction of that party and act as an independent deputy, however the deputies who avail themselves to this allowance cannot join another legislative fraction, only the one for which they were elected, as contemplated in the Regulations of the Legislative Assembly. It is not possible, according to current legislation, for a citizen to directly run for the position of an independent deputy without the representation of a political party.

Becoming an independent deputy is protected by virtue of Article 25 of the Political Constitution of Costa Rica, in which deputies, like any citizen, have freedom of association and cannot be forced to remain in a specific political party and can join any other political group.

"The inhabitants of the Republic have the right to associate for lawful purposes. No one may be forced to be part of any association."

However, as the Supreme Electoral Court of Costa Rica has repeatedly observed,    since deputies are popularly elected, their nomination must be made through a political party, due to the framework of the current legal system, in which the political parties have a monopoly on the nomination of candidates for deputies according to the Electoral Code.

Therefore, independent deputies cannot act on behalf of another party for which they were not elected within the legislative board, only independently, nor are they considered a fraction, or a "bloc", a figure that does not exist within of the Regulations of the Legislative Assembly. Other activities that belong to the legislative fractions or fraction leaders are not allowed either, such as including bills on the deliberations.

Several independent deputies through history have asked the Constitutional Chamber of the Supreme Court of Justice of Costa Rica, to be recognized as the head of a parliamentary fraction or to have the financial resources of a parliamentary fraction, in contradiction with the regulations, this court has stated:

"Indeed, it is not possible under any circumstances, to claim that any deputy who separates from the Fraction to which he belongs, is declared as a new Political Fraction, with all the attributions and duties inherent to this condition, both due to the existence of a regulatory provision that defines and restricts the concept of 'Parliamentary Fraction', as well as a basic aspect of common sense, which seeks to establish the necessary limits to achieve the ideal organizational mechanisms that allow, in turn, an effective and efficient development of the legislative tasks."

"The eventual subsequent separation of a deputy from the political party for which he was elected does not mean that the deputy loses his status as such, being that at all times he maintains the powers, rights and duties inherent to his position; But the foregoing does not imply that his separation empowers him to acquire, ex officio and full right, the competences that are typical of a figure expressly provided in the Regulations, with particular duties and rights and intended to be the representative of a group of deputies elected under the same political flag."

Thus, there is no regulatory possibility of forming a fraction not linked to the representation of a political party that has elected at least one representative by means of suffrage, understood in accordance with article 93 of the Political Constitution of Costa Rica.

In the 2018-2022 legislative period several deputies elected through the National Restoration Party and the National Integration Party declared themselves independent and then gave their personal adhesion as a "bloc" or individually to parties that were not elected, this, in accordance with the regulations, constitutes a personal affiliation, and it does not imply in any way that the parties they later affiliated to have legal representation as a parliamentary fraction, so they are recognized as independent within the directory of deputies of the Legislative Assembly.

Debate about the number and election of deputies
The Legislative Assembly is a unicameral body of 57 deputies whose number is constitutionally fixed and whose deputies are elected on closed lists nominated by the political parties according to a proportional system. Different experts have recommended the increase in the number of deputies as an urgent need to improve representativeness, but this proposal is highly unpopular among the population and generates rejection reactions.

A report by the United Nations Development Programme and the Center for Research and Political Studies of the University of Costa Rica recommended increasing the number of legislators to 82.

The Northwestern University, which made recommendations for more than 100 countries, recommended that the Costa Rican parliament have 115 deputies according to their population (in 1999),

The Board of Notables for State Reform (Junta de Notables para la Reforma del Estado) called by President Laura Chinchilla during her administration recommended increasing the number of deputies to between 75 and 85. The Poder Ciudadano Ya movement on the other hand proposed to increase it to 84 and drastically reduce the number of legislative advisers (currently 12) to avoid a very large increase in salaries.

A proposal to use the German model for the election of deputies by lawyer Diego González suggests increasing the number to 143 making use of an electoral system, in which the country would be divided into 72 electoral circuits for 59,700 inhabitants and deputies would be elected on two lists, 72 elected by a single-member constituency where a deputy is directly elected for each district, and 71 elected by a proportional constituency where they would be distributed proportionally according to the votes received per party.

Most of these proposals also include the change to the direct election of deputies and not by closed lists as it is currently.

Composition
This table shows the awarded seats by province for the 2018-2022 period.

Directorate
Following the 2022 legislative election, the President of the Legislative Assembly was elected in the person of former presidency minister Rodrigo Arias Sánchez of National Liberation Party with the support of all benches except Broad Front.

Premises
In October 2020 the new Asamblea Legislativa building was inaugurated for sessions of the legislative body. Its construction started on 7 March 2018, and has eighteen floors. It is located in Carmen district of San José canton.

The Assembly used to meet in the Edificio Central (Central Building), located immediately east of the current building. Work began on that previous building in 1937, with the plan of having it serve as the new presidential palace. However, since much of the building materials were imported from Germany and Czechoslovakia, the onset of the Second World War put a halt to the project. Work did not restarted until 1957, but by 1958 the legislature was installed and operating in its new premises.

History
The foundations of the Legislative Assembly date back to the establishment of various courts and congresses in New Spain. The modern assembly was created in the aftermath of the Costa Rican Civil War that deposed Teodoro Picado Michalski in 1948. José Figueres Ferrer headed a ruling junta that oversaw the election of a Constituent Assembly. Between 1948 and 1949, this Constituent Assembly created the Constitution of Costa Rica which lays forth the rules governing the assembly today.

During each four-year legislative session, various political parties have occupied majority, minority, and coalition caucuses in the assembly.

Central American Parliament
Costa Rica is the only Spanish-speaking Central American country not to return deputies to the supranational Central American Parliament.

title: Legislative Assembly of Costa Rica


text:
Fender Swinger

The Fender Swinger (also known as the Fender Musiclander and Fender Arrow – as the "Swinger" emblem is usually missing from the headstock) was an electric guitar model released by Fender in 1969 and reissued by Fender Japan in 2019 as a limited edition run in single and dual pickup versions. Estimates of the model's total production number range from 250 to 600 made. The Swinger was an attempt by CBS (which had bought the company in 1965) to extract cash from inventory by combining unused bodies from the Duo-Sonic II and the failed Fender Bass V with parts from the Fender Musicmaster. The routing beneath the pickguard differs between instruments made from a Duo-Sonic II or Bass V. Bodies made from the Duo-Sonic II have no comfort cuts and a shorter bottom horn. Like the Fender Custom (a.k.a. Fender Maverick), the model was an effort to liquidate excess parts and inventory. The Swinger was marketed as another cheaper, short-scale 'student' guitar, but never seriously promoted, with resulting low popularity.

Development and design
The Swinger and its cousin, the Custom, were both developed under the supervision of Virgilio 'Babe' Simoni, without the help or even involvement of Fender's R&D Department. Simoni had begun work at Fender in 1953 at the age of 16. He had risen to Product Manager by the mid 1960s, and was both skilled and well-liked within the company. The Swinger used excess parts from the Fender Bass V and Fender Musicmaster, with the Bass V pickup routing hidden under the pickguard. Between 300 and 600 Swingers were produced. The model never appeared in any Fender promotional literature.

Dating
As the Swinger was built using parts that were surplus, the individual components may be older than the guitar. For example, the neck may be date-stamped 1966. All Swingers were assembled in 1969. Records of Swinger production and sales are poor and it is unclear exactly how many were produced or which parts were used on each instrument.

Users
Tina Weymouth of Talking Heads used a Swinger in live performances, as seen in the concert movie Stop Making Sense. Ben Kweller used a Swinger to record most of his self-titled album and has used it in concert. Lydia Night of The Regrettes uses a Swinger live and in the band's Seashore music video. Zac Pennington used a modified version of the guitar on tours with his project Parenthetical Girls.

title: Fender Swinger


text:
Grant Rosenmeyer

Grant Mandel Rosenmeyer (born July 3, 1991) is an American actor and screenwriter best known for his roles in The Royal Tenenbaums and on the FOX television sitcom Oliver Beene.

Early life and education
Rosenmeyer was born in Manhasset, New York, the son of Jewish parents Debra and Colin Rosenmeyer. He grew up in Ridgefield, Connecticut and earned a Bachelor of Fine Arts degree from New York University's Tisch School of the Arts in 2012.

Career
Rosenmeyer first acted on Broadway as Macduff's son in Macbeth and as Gavroche in Les Misérables. In 2001, he made his feature film debut as Ari Tenenbaum, Ben Stiller's son, in Wes Anderson's The Royal Tenenbaums, for which he received a Young Artist Award nomination.

From 2003 to 2004, Rosenmeyer played the title character in the FOX television sitcom Oliver Beene, produced by Steven Levitan. He has made guest appearances on Late Night with Conan O'Brien, Monk, Jonny Zero, Blue Bloods and Crazy Ex-Girlfriend, among others. He also appeared as Wilson, a Make-A-Wish patient that blackmails Larry David, in a memorable episode of Curb Your Enthusiasm. Additional film credits include Young Mordechai in The Hebrew Hammer.

In June 2009, Rosenmeyer's short film Fugue won the award for Best Student Film at the Connecticut Film Festival. He co-wrote and starred in The Smut Locker, a short comedy which garnered a CINE Golden Eagle Award in 2014. That same year, his feature script The Defectives was a semifinalist for the Nicholl Fellowships in Screenwriting.

He appeared alongside Julia Roberts and George Clooney in the 2016 film Money Monster, directed by Jodie Foster. He also starred opposite Lindsey Shaw in the romantic comedy Temps in 2016, as well as the heist comedy Chasing the Blues in 2018.

Most recently, Rosenmeyer produced and starred in Come As You Are, a road trip dramedy based on the real-life experience of Asta Philpot, opposite Gabourey Sidibe, Hayden Szeto and Ravi Patel. The film premiered at South by Southwest in March 2019 before going on to win numerous audience and jury prizes at other festivals, and was acquired for release by Samuel Goldwyn Films.

title: Grant Rosenmeyer


text:
Talk:Suburbia (film)

Comments
The sentences regarding rape and drug abuse as they are portrayed in the film are the opinions of the that particular author and should be removed from this article.

Maybe somebody should put in the similarity between the guy getting stabbed while TSOL were playing, and when the guy got shot during a TSOL show in real life.

Someone said "That is wrong where it was filmed. Look at the mountains. Much closer than Downe" in the main article text. I have reverted the edit, as discussion belongs on the talk page. HoboBen (talk) 22:52, 23 June 2011 (UTC)

Redirect?
should be redirected to http://en.wikipedia.org/wiki/SubUrbia_(film)

okay, actually it are two different movies. --80.137.186.64 14:27, 19 October 2006 (UTC)

Fair use rationale for Image:Suburbia84.jpg
Image:Suburbia84.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 19:55, 26 November 2007 (UTC)

title: Talk:Suburbia (film)


text: Talk:Madonna Litta

title: Talk:Madonna Litta


text:
User:Enremenkimi

Enremenkimi means Coptic or Egyptian. Kimi means Egypt in Egyptian.

title: User:Enremenkimi


text:
User:Quuxplusone

User:Quuxplusone has been around Wikipedia for a long time, lurking in the shadows, but only registered an account on April 20, 2005. I do discrete math, history of religions, CS, and pop culture, and I obsessively copy-edit articles.

Editing style
I have a strong preference for "American-style" typography (recognize over recognise, "x — y!" over "x – y!") in articles dealing with American or generally non-European topics. I put one space between each pair of sentences in an article, never two. I try to follow the Manual of Style's rules on quotation marks and the placement of punctuation around and within them, despite my American aversion to that style. I am a firm believer in the utility of the en dash (1980–84, anti–animal cruelty), and prefer (1984— ) to (1984–present). Naturally, I won't edit an article solely to change its spacing or quotation style, but I will make such changes while editing for other purposes. I like consistency.

I do not understand the grammatical intuition that leads people to write the word however without bracketing commas, as if it were equivalent to but — for example, "He is old, however he is spry for his age." The lack of a second comma there (and the use of the first comma in place of a semicolon) jumps out at me, and I will fix those reflexively.

Software and websites on Wikipedia
There are a lot of articles on Wikipedia about various software packages, most of them vanity stubs better suited to SourceForge. On August 2, 2005, I nominated KDiff3 for deletion, with the commentary
 * Advertisement for non-encyclopedic software product. Wait until (1) people start using it (GCC); (2) it enters pop culture (grep, diff), or (3) there's something interesting to write about it.

User:JesseW commented that he liked those criteria, and I ought to put them someplace more permanent. So here they are.

I noticed that a lot of comments in that VfD discussion gave the reason as "Commercial advert," which I was careful not to mention in the criteria above. I don't care if the product in question is GPL'd; most software simply fails Wikipedia's "notability" criterion.

And the same criteria apply for websites, too: Replace "GCC" with Amazon.com, "grep" with Google, and add Pets.com or elgooG as an example of number 3. dress-for-less.com isn't Wikipedia material, sorry.

License
I release every single one of my contributions to Wikipedia into the public domain. I'm not a big fan of the GNU Free Documentation License, because it's not clear to me whether it's compatible with the reality of Wikipedia as a free encyclopedia anyone should be able to use for any purpose. I'm not even convinced that the GFDL is compatible with my above statement that all my work is in the public domain, but given that Wikipedia's official position is that it is compatible, I'll go with the flow. See this article for another person's opinion as to why copyleft is unnecessary in the Age of Search Engines.

Another reason the GFDL is bad for Wikipedia: It encourages the proliferation of many little parochial wikis, no one willing to use the content from any other, because of the requirement (as I understand it) for explicit acknowledgement of the source. Consider the Wikipedia article on Qwghlm, which consists basically of a link to, the Qwghlm page on Neal Stephenson's pet wiki, The Metaweb. In my opinion, it would be preferable — and in the spirit of freedom — for the Wikipedia article to substantially duplicate the Metaweb article, so that the content is easier to find and less likely to disappear should one or the other site go down.

However, this is not likely to happen, simply because any copying between articles would require a notice such as "This page content is originally from the Metaweb." And then any Metaweb page copying from Wikipedia would have to add, "This page content is originally from Wikipedia." and back and forth, accumulating these useless tags, until the article (for it would be only one article, except in URL!) would devote more bytes to copyright nonsense than to actual content!

Therefore, the Wikipedia article Qwghlm omits mention of the Sghrs, of the geography of Qwghlm, et cetera; and that information is unlikely to make it into Wikipedia anytime soon, because who wants to waste time paraphrasing already-"free" work? And all because of the restrictive silly nature of the GNU FDL.

Projects

 * Special:Uncategorizedpages — A lot of articles on Wikipedia aren't in any categories. Not only is it helpful to categorize them, it's also fun, because they often turn out to be about people (interesting people, about whom I enjoy reading; or uninteresting people, whom I enjoy nominating for deletion! :).
 * Perhaps noding more geometrical curiosities mentioned in The Penguin Dictionary of Curious and Interesting Geometry (ISBN 0140118136).
 * Noding all the Gilbert and Sullivan operettas on Wikisource, with appropriate interwiki links:
 * Thespis (done)
 * Trial by Jury
 * The Sorceror (done)
 * HMS Pinafore (done)
 * Subproject: Aesop's Fables (done)
 * Patience (done)
 * Iolanthe
 * Princess Ida (done)
 * Subproject: wikifying The Princess (Tennyson)
 * The Mikado
 * The Pirates of Penzance
 * Ruddigore
 * The Yeomen of the Guard
 * The Gondoliers
 * Utopia, Limited
 * The Grand Duke
 * Noding Trent's Last Case (done)
 * Subprojects: The Cotter's Saturday Night, Faustine, wikisource:Hebrew Melodies (Byron), ... (done)
 * Subproject: The Lady of the Lake
 * Subprojects: Herbert Dicksee, Edward Henry, Hawkshaw the Detective, Sandyford murder case, The Campden Wonder,... (done)
 * Noding The Ticket-of-Leave Man
 * Subproject: American clock (done)
 * Subproject: The Vanity of Human Wishes

Pages I watch
I've written C source code for many of the following pages, and I try to keep an eye on them to make sure no bugs are introduced by trigger-happy editors. This list is here mainly so I remember all the places I'm watching code.
 * Bitap algorithm
 * Double dabble
 * Uniform binary search
 * pragma once, include guard
 * Secure by design (an icky article that ought to be deleted)
 * setjmp.h
 * Bellman-Ford algorithm
 * Type punning
 * Binary GCD algorithm
 * Polytope model
 * setcontext
 * typedef

Other accounts

 * wiktionary:User:Quuxplusone
 * wikisource:User:Quuxplusone
 * wikiquote:User:Quuxplusone
 * wikibooks:User:Quuxplusone

title: User:Quuxplusone


text:
Matthew Shepherd

Matthew Joseph Shepherd (born February 21, 1976) is an attorney from his native El Dorado, Arkansas, who is a Republican member of the Arkansas House of Representatives for District 6, which includes western Union County. He was elected in the 2010, 2012, and 2014 legislative races.

In 2010, Shepherd claimed the District 6 seat by defeating Democrat Ken Bridges, 4,780 to 2,074. In 2012, still in the reorganized District 6, Shepherd won a second term, defeating Independent Peter Cyphers, 10,051 to 2,149.

Upon the resignation of Speaker Jeremy Gillam in June 2018, he was elected Speaker of the Arkansas House of Representatives for the 91st General Assembly. He was re-elected in January 2019 to serve as Speaker of the 92nd General Assembly and again in May 2020 for the 93rd General Assembly.

Biography
Shepherd was born to Bobbi (née Beeson) and Bobby Shepherd, a federal circuit judge on the Eighth Circuit. Shepherd graduated in 1998 from the Southern Baptist-affiliated Ouachita Baptist University in Arkadelphia, South Arkansas, his parents' alma mater. In 2001, he received the Juris Doctor degree from the University of Arkansas School of Law at Fayetteville. Shepherd is a partner at the El Dorado-based law firm Shepherd & Shepherd, P.A., practicing alongside his brother John Thomas.

Personal life
Shepherd is married to his wife Alie (née Hill), who is also an Ouachita Baptist graduate ('99). They live in El Dorado with their three teenage children, Eli, Mary Kate, and Libby. They are members of First Baptist Church, where Shepherd is a deacon and Sunday school teacher. Shepherd is also a board member of the Arkansas Baptist Foundation, the Boys and Girls Club of El Dorado, and El Dorado Fifty for the Future and serves as president of the Murphy USA Classic football game.

title: Matthew Shepherd


text: User talk:69.107.147.222

title: User talk:69.107.147.222


text:
User:Rockingbeat

Food

Sweets

Drink

Interests include: Computers, staying up late, watching TV and movies.

title: User:Rockingbeat


text: File:Dune House Atreides (1999).jpg

title: File:Dune House Atreides (1999).jpg


text:
Peter Quince

Peter Quince is a character in William Shakespeare's A Midsummer Night's Dream. He is one of the six mechanicals of Athens who perform the play which Quince himself authored, "The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe" for the Duke Theseus and his wife Hippolyta at their wedding. Titania's Fairies also watch from a distance: Moth, Peaseblossom, Cobweb and Mustardseed. His name is derived from "quines" or "quoins", which are interlocked oversized corner blocks used by masons to add extra strength at corners and edges of stone walls.

Characterization
Quince's amateurish playwriting is usually taken to be a parody of the popular mystery plays of the pre-Elizabethan era, which were also produced by craftspeople. His metrical preferences refer to vernacular ballads. Despite Quince's obvious shortcomings as a writer, Stanley Wells argues that he partly resembles Shakespeare himself. Both are from a craftsmanly background, both work quickly and both take secondary roles in their own plays. Robert Leach makes the same point.

In performing the play Quince recites the prologue but struggles to fit his lines into the meter and make the rhymes. The noble audience makes jocular comments, whilst the rest of the mechanicals struggle (except for Bottom, who rather confidently improvises).

Traditionally, Peter Quince is portrayed as a bookish character, caught up in the minute details of his play, but as a theatrical organizer. However, in the 1999 film version of A Midsummer Night's Dream, he is portrayed by Roger Rees as a strong character extremely capable of being a director. It is he who leads the search party looking for Nick Bottom in the middle of the play.

Cultural references
The character is named in the title of a Wallace Stevens poem, "Peter Quince at the Clavier", which is written in the first person as if spoken by Quince.

Peter Quince is mentioned in Johann von Goethe's Faust (Part II, Act IV).

Peter Quince is a major character and antagonist in the 2019 video game Elsinore, alongside characters mostly taken from William Shakespeare's Hamlet.

A minor character in the 2015 Shakespeare-based musical comedy Something Rotten! is named after Peter Quince.

title: Peter Quince