text:
Talk:List of Canon products

Camcorders?
Hi, It lists them as cameras but are'nt they camcorders? 80.229.241.200 20:27, 9 August 2006 (UTC)

 * A camcorder is a video camera, hence it being listed under cameras. Gh5046 15:35, 27 September 2007 (UTC)

imageprograf large format printers?
they have a whole range of these but none are listed.. —Preceding unsigned comment added by 162.83.168.122 (talk) 03:25, 19 June 2009 (UTC)

Update
Copied from the article: "Article needs to be updated for PMA 2009" Logan Talk Contributions 21:48, 14 November 2009 (UTC)

iP1900
I have a Pixma iP1900 inkjet printer and it is not listed here. I have no reason to believe that it's not a Canon product. Moxo (talk) 22:34, 4 April 2011 (UTC)

Split into several articles
The articles is too big and is never? completed since February 2009. I recommend to split the article into several articles: Cameras including lenses and flashes, printers and others. It is more convinience for readers and also the contributors who want to complete the article.Gsarwa (talk) 05:28, 13 January 2014 (UTC)

title: Talk:List of Canon products


text:
Castle of Púbol

The Castle of Púbol or Gala Dalí Castle House-Museum (Castell de Púbol or Casa-Museu Castell Gala Dalí; Castillo de Púbol or Casa-Museo Castillo Gala Dalí), located in Púbol in the comarca of Baix Empordà, Girona, Catalonia, Spain, is a medieval building where the surrealist painter Salvador Dalí's enormous creative efforts were focused on a single person, his wife Gala, with the aim of providing her with a unique sanctuary and resting place. Gala is buried at the castle. Together with the Salvador Dalí House Museum in Portlligat and the Dalí Theater-Museum in Figueres, they form the Empordà Dalinian triangle.

The castle is property of the Spanish State, although managed by the Gala-Salvador Dalí Foundation.

Description
The Castle of Púbol is a Gothic-Renaissance fortification that originated in the 11th century, located in the town of Púbol, in the municipality of La Pera, which became the center of the barony of Púbol. It is protected as a Cultural Good of National Interest by the Autonomous Government of Catalonia.

Púbol Castle is located in the most pronounced area of the nucleus of La Pera, along with the church. It is formed by several bodies arranged around a patio, which retain much of the original structures and elements of the Gothic-Renaissance period. The main façade is the largest, and presents as a remarkable element, the midpoint archway with large stone voussoirs and gothic windows on the main floor. High elements (gothic and Renaissance windows, reliefs, portals with emblems, etc.) are also of interest, located in the various bodies of the building. The church of the castle is now the parish.

The basic structure of the current building, with three floors articulated from a tall and narrow central courtyard, must be located during the period of maximum splendor of the barony of Púbol: second half of the 14th century and the beginning of the 15th century. In Gothic-Renaissance style, it has undergone many transformations. The architectural ensemble of the Castle is formed by the current parochial church, the fortified mansion-palace surrounded by a walled garden and the attached building known as a tithing. It is surrounded by houses protected by the remains of the medieval wall.

The Church of Sant Pere de Púbol was built between 1327 and 1341 in Gothic style. It has a single nave covered with pointed vault and closed by polygonal apse. At the southern wall, there are side chapels, one dedicated to the Virgin Mary, with sculptural decoration from the 15th century and the other from 1631. In the 17th century, the choir was added, and in 18th century, the sacristy was built. The frontispiece is centered on a cover and a latex rose window of late-Gothic style. At the top there is the bell tower. Until 1936, the church kept the Altarpiece of Sant Pere de Púbol by Bernat Martorell, currently at the Girona Art Museum.

History
The castle is mentioned in a document from 1065 in which Gaufred Bastons ceded his power, together with that of Cervià, to the Counts of Barcelona. In the middle of the 14th century the castle was acquired by Arnau de Llers. Later on, the castle was owned by the Cervià family, and in 1370 by Jaspert de Campllong. The current castle and church were built around 1420, in the days of the lords of Púbol, named Corbera, whose shield is visible in various parts of the building. Subsequently, it was owned by several different families, the Oms, the Tormo, the Batlle and the Miquel, who later became the Marquises of Blondel de l'Estany. The castle building, although weakened by subsequent reforms, retains much of the inner structures of the 14th and 15th centuries.

Gala Dalí Castle House-Museum
Dalí had promised to buy a castle for Gala. He considered several castles in the region, finally deciding to buy her the Castle of Púbol, in 1969, which was then in a very poor state. Dalí directed the restoration works, creating entirely the new decoration of the castle, and giving it his own personal touch. He offered Gala the castle where she would spend time every summer from 1971 to 1980. He also agreed not to visit there without getting advance permission from her in writing.

After Gala's death in 1982, she was buried in the crypt that Dalí had prepared for her final place of rest. Dalí moved into the Castle for the first time the same year. He lived and worked there, finishing his last painting in 1983, until 1984, when a fire broke out in his bedroom under unclear circumstances. It was possibly a suicide attempt by Dalí, or simple negligence by his staff. Dalí was rescued by his friend and collaborator Robert Descharnes. He returned to Figueres, where he lived comfortably in the Galatea Tower of his Theater-Museum for his final years. Dalí planned to be buried at the crypt of the Castle of Púbol, near Gala, but he instead would be entombed at his final home.

Gala's private castle in Púbol was opened to the public as the Gala Dalí Castle House-Museum in 1996. It allows the visitor to discover a medieval building where Salvador Dalí materialized his creative effort on his wife, Gala Dalí. Currently, it is managed by the Gala-Salvador Dalí Foundation. Inside, it houses the paintings and drawings that Dalí gave for Gala to exhibit at the castle, a collection of haute couture dresses, the furniture and numerous objects that decorated the castle, as well as the mausoleum of Gala. The garden is decorated with sculptures of elephants with long legs (a resource common in the artist's works), and the pool with busts of German composer Richard Wagner. The visitable areas are the Salon of the Shields, the Piano Hall, the Gala Room, the Gala Bath, the Library, the guest room, the attic, the dealer, the dining room, the exit, the tithes with the crypt, the garage, the garden and the pool.

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

title: Castle of Púbol


text: User talk:68.39.98.173

title: User talk:68.39.98.173


text:
User:Isitel

ISITEL is the brand name and logo of a group of intellectuals found in different countries around the world expressing themselves freely with the only objective of communicating thoughts and ideas which may help fellow members have a better grasp of reality.

Sources can be found on any search engine on the internet.

Quote your sources in the article please. Stop removing the tag until you actually do something about it. --Randolph 03:00, 27 Apr 2005 (UTC)

title: User:Isitel


text:
Cocoa Krispies

Cocoa Krispies (also known as Choco Krispis, Choco Krispies, Coco Pops, Choco Pops depending on region) is a breakfast cereal produced by WK Kellogg Co (formerly Kellogg's), coming both as a boxed cereal and as a snack bar with a 'dried milk' covered bottom. It is a cocoa flavored version of Rice Krispies that contains real chocolate. In Canada, Rice Krispies Cocoa is their variant of the cereal, with a lighter chocolate flavor. Off-brand "coco krispies" are sold by other companies.

The cereal was introduced in the United States in 1958. In 2003, the cereal was renamed "Cocoa Rice Krispies", as Kellogg's endeavored to unite their Rice Krispies variations under a single marketing schema. In 2006, the name was changed back to Cocoa Krispies. Kellogg's has released variations of Cocoa Krispies such as "Cocoa Krispies Cereal Straws", "Cocoa Krispies Choconilla", and Chocos.

Other markets
The cereal is known as Choco Krispis in Mexico, the Dominican Republic, El Salvador, Costa Rica, Honduras, Colombia, Guatemala, Panama, Venezuela, Ecuador, Peru, Bolivia, Brazil, Chile, Paraguay, Uruguay, Argentina, Portugal, Spain, Germany, Austria, and Switzerland.

It was introduced in the United Kingdom as Coco Pops in 1963, and is also known by that name in the Netherlands, Denmark, Saudi Arabia, Nigeria, Bulgaria, Ghana, Malta, New Zealand, Republic of Ireland, Finland, Italy, Greece, Sweden, Belgium, South Africa, Kenya, Uganda, Ukraine, Botswana, Hong Kong, Lebanon, Australia, Turkey and Republic of Korea and as Choco Pops in France. Later in the 1960s, the name was changed to Coco Krispies, but subsequently reverted to Coco Pops.

The cereal was available in Canada for a time, but was discontinued at some point in the early 1990s. Instead, Kellogg's sells a variant called Rice Krispies Cocoa, which is simply Rice Krispies with a light chocolate flavor. Several spin off cereals using the "Coco Pops" name, such as "Caramel Flavoured Coco Pops", "Coco Pops Crunchers", "Coco Chex", "Coco Rocks", "Coco Pops Straws", "Coco Pops Moon & Stars", "Coco Pops Choc-N-Roll" and "Coco Pops Croc Prints" (shaped like Crafty Croc's feet) have also been released by Kellogg's in some countries.

Chocos were introduced in some countries as "Coco Pops Mega Munchers". A chocolate flavor porridge variant had been available in the end of 2000s called Coco Pops Porridge, but didn't last long. Since 2014, they have been brought back.

United Kingdom
In February 1998, the British arm of Kellogg's renamed the brand in the country Choco Krispies, but sales quickly declined, and in the spring of 1999, telephone and internet poll with over one million voters found that 92% of voters wanted the name changed back to Coco Pops.

Thus, Kellogg's reverted to the original name in May 1999. The advertising campaign for the poll featured Screaming Lord Sutch as the returning officer in a town hall election setting.

Mascots
Cocoa Krispies first appeared in the United States in 1958, represented by a monkey named Jose. He was reportedly replaced by Coco the Elephant in 1960 when Mexican Americans complained about the ethnic stereotype. In 1963, the Hanna-Barbera character Snagglepuss took over as the mascot. Ogg the Caveman took over towards the end of 1967.

By the end of 1973, Tusk the Elephant became the mascot of the cereal, and he remained until the end of 1982, when Snap, Crackle and Pop (the mascots of Rice Krispies) replaced and retired Tusk the Elephant. In 1991, the mascot became Coco the Monkey. In 2001, Snap, Crackle, and Pop returned and they have remained the product's mascots to date.

The cereal was introduced in the United Kingdom under the "Coco Pops" name in 1961, with Mr. Jinks as the mascot. Later in the 1960s, Sweep (a dog hand puppet from the popular children's television programme The Sooty Show) became the mascot for Coco Pops.

In 1963, Coco the Monkey was introduced, and he remains the mascot in those countries where the cereal is known as Coco Pops and Choco Pops, and some others named Choco Krispies. In recent years, the design of Coco has been refined to give him a younger look. Coco's friends are Shortie Giraffe, Alan Anteater, Heftie Hippo, Ozmelda Ostrich, Kylie Kangaroo, and Rocky Raccoon, while Crafty Croc and the gorillas are his arch enemies.

Late 2000s advertisements (2009) in the United Kingdom opted away from using Coco and his friends, instead opting for things such as dancing milkmen and astronauts. Coco is still present on the box of the cereal and at the end of the advertisement, but is no longer the featured character. However, the cereal box of 2009 has Coco's head as the main feature, with the title 'Coco Pops' and a smaller cereal bowl, on the right of the box. Briefly, Coco was seen as a real-life chimp. As of 2011, Kellogg's decided to bring Coco and his friends, as well as Croc back, initially under a space age style campaign, known as the "Coco Pops Promise".

In those countries where the cereal is known as "Choco Krispis," an elephant is the mascot. In 1986, Kelloggs named the elephant Melvin. In some countries, Tusk the Elephant was used as the mascot until the 1980s, when he was succeeded by Melvin.

In July 2014, in Mexico, due to concerns about the sugary and caloric contents of the cereal and the relation kids made with the friendly mascot, Melvin the elephant had a physical transformation from a traditional elephant body to an athletic body, resembling a strong teenager while keeping the head of the mascot. The cereal also had a recipe transformation to add more vitamins and minerals, in order to focus the product into a "health is fun" type of communication. Due to declining sales and inconsistent design Kellogg's with the agency Interbrand Mexico redesigned the character again on 2019 on his anniversary.

Like in the United Kingdom, in Australia, the mascot is Coco the Monkey.

In June 2020, following the murder of George Floyd and as Black Lives Matter demonstrations were taking place around the world, former UK Member of Parliament Fiona Onasanya criticized Kellogg's use of a monkey on the box of brown, chocolate-flavoured Coco Pops whereas Rice Krispies featured Snap, Crackle and Pop, three white characters. A spokesperson for Kellogg's responded that "We do not tolerate discrimination." Kellogg's also said that its founder, William Keith Kellogg, was "a pioneer in employing women in the workplace and reaching across cultural boundaries." Onasanya pointed out that Kellogg's brother John Harvey Kellogg had founded the eugenics and racial hygiene organisation Race Betterment Foundation. Kellogg's was previously criticised over racially insensitive imagery in 2017 when author Saladin Ahmed noticed that a Corn Pops cereal box's only dark-skinned character was a janitor cleaning the floor.

Health
Coco Pops is given two (2.0) stars out of five on the Health Star Rating System of the Australian and New Zealand governments, primarily because of its high sugar content (listed as more than one-third sugar).

In October 2009, Kellogg's was criticized by health authorities and consumer experts in the United States when it unveiled a description on its boxes of Cocoa Krispies cereal that stated: "now helps support your child's immunity". Kellogg's responded that it didn't create the new copy to capitalize on concerns about the H1N1 virus, but added "Kellogg developed this product in response to consumers expressing a need for more positive nutrition".

The US Food and Drug Administration may yet rule on the Kellogg's claim, and some observers responded negatively to Kellogg's marketing campaign. According to Kelly Brownell, director of the Rudd Center for Food Policy and Obesity at Yale University, compared to all claims on cereal boxes, "this one belongs in the hall of fame. By their logic, you can spray vitamins on a pile of leaves, and it will boost immunity."

There are concerns that advertisements target children. LCM bars of the type advertised contain 30% sugar, which the advertisement failed to note. Advertisements by bus stops asked "Ever thought of Coco Pops after school?" and parents in the UK expressed concern that children would want Coco Pops instead of healthier foods. Official support by Kellogg's for an anti childhood obesity campaign has been seen as hypocritical.

Advertising slogans

 * "Just like a chocolate milkshake, only crunchy!" (Coco Pops – United Kingdom, New Zealand, Australia)
 * "I'd rather have a bowl of Coco Pops!" (United Kingdom) (1986-2005; 2011–2015)
 * "Coco Pops Crunchers – Can you handle the crunch?" (United Kingdom)
 * "Ever thought of Coco Pops after school?" (United Kingdom) (2010)
 * "Start the Magic with Coco Pops" (United Kingdom) (2021-)

Variations
Variations include Coco Pops Chocos, which is wheat cereal in the form of shells, similar to Nestlé's Chocapic, Coco Pops Jumbos, which is maize cereal in the form of balls, similarly to General Mills's Cocoa Puffs and Nestlé's Nesquik Cereal, and Coco Pops Rocks, which is similar to Jumbos, but also contains multi-grain "pillows" stuffed with chocolate cream, similarly to Krave, all of the aforementioned examples being chocolate-flavored. In February 2022, Kellogg's released a 'mystery' favor of Coco Pops, and ran a contest with a $10,000 AUD prize for guessing the flavor. The mystery flavor was revealed to be neapolitan ice cream, and Mystery Coco Pops were subsequently relaunched as Coco Pops Vanilla Berry Choc Top.

title: Cocoa Krispies


text:
User:Maeglin

Contributions

title: User:Maeglin


text:
Conselheiro Lafaiete

Conselheiro Lafaiete is a city of the state of Minas Gerais, Brazil. It was known as Queluz until 1934, when it was renamed by decree, as a tribute to Counselor Lafayette Rodrigues Pereira.

It is situated 96 km south from Belo Horizonte, capital of Minas Gerais, in one of the most important economic areas of Brazil. The population was 129,606 inhabitants, in 2020. It is one of the most populated cities of Minas Gerais.

Geography
According to the modern (2017) geographic classification by Brazil's National Institute of Geography and Statistics (IBGE), the municipality belongs to the Immediate Geographic Region of Conselheiro Lafaiete, in the Intermediate Geographic Region of Barbacena.

title: Conselheiro Lafaiete


text:
User talk:T-tus

Welcome!

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Also, thank you for the new page on Jim Blinn. --Reedbeta 02:18, 24 Apr 2005 (UTC)

Image:MotionCapture.jpg
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Image Tagging Image:Jim-blinn.jpg
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Software used?
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title: User talk:T-tus


text:
Corridor X

Corridor X may refer to:
 * Corridor X (Appalachian Development Highway System), a part of Interstate 22 in the United States
 * Pan-European Corridor X, a corridor that passes through Austria, Slovenia, Croatia, Serbia, Macedonia and Greece

title: Corridor X


text:
Arline B. Nichols Moss

Arline Belle Nichols Moss (1876–1945) of St. Louis, Missouri, was the chairwoman of the committee of the Daughters of the American Revolution who conceptually conceived the Madonna of the Trail monuments.

Biography
Arline Belle Nichols was born in St. Louis on December 24, 1876. She taught at the St. Louis Day School for the Deaf for six years, before moving to her own private teaching studio.

She married John Trigg Moss in June 1901, and they had two children.

Mrs. Moss visualized a statue similar to one she had seen in Oregon of Sacagawea, the Shoshone woman who guided Lewis and Clark on their search for a water route to the Pacific Ocean. She sought out sculptor August Leimbach to create the monuments.

The Madonna of the Trail monuments were dedicated in 12 states in 1928 and 1929.

Moss died at her home in St. Louis on December 26, 1945, and was buried at Bellefontaine Cemetery.

title: Arline B. Nichols Moss


text:
Old Campus

The Old Campus is the oldest area of the Yale University campus in New Haven, Connecticut. It is the principal residence of Yale College freshmen and also contains offices for the academic departments of Classics, English, History, Comparative Literature, and Philosophy. Fourteen buildings—including eight dormitories and two chapels—surround a 4 acre courtyard with a main entrance from the New Haven Green known as Phelps Gate.

The Old Campus comprised most of Yale College's grounds between its arrival in New Haven in 1718 and its 20th-century expansion. Yale's first building in New Haven, the College House, was erected in 1718 on the Old Campus' southeast corner, fulfilling the city founders' wish to have a college near New Haven's Congregational church. It was joined by Connecticut Hall in 1750, a student dormitory and Yale's only surviving building from the colonial era. A linear building plan established in 1792, known as Old Brick Row, was the first campus plan in the United States and became a template for many American college campuses built in the 19th century. After 1870, the original plan gave way to the current quadrangle of dormitories, academic buildings, and chapels.

In addition to Connecticut Hall, the current buildings of Old Campus include most of the freshman dormitories of Yale College, Street Hall of the Yale University Art Gallery, and two buildings used for religious purpose: Battell Chapel, third in a succession of college chapels, and Dwight Hall, formerly the College Library. Although the current buildings have been renovated and their uses changed during the twentieth century, all were completed before 1928.

First building: Yale College House
When Yale College moved to New Haven in 1718, the town constructed its first building, the "College House," at the corner of College and Chapel Streets, where Bingham Hall now stands. The wood-framed structure contained all the functions of the college: student rooms, a library, and a combined chapel and dining hall. Falling into disrepair, this building was torn down in stages from 1775 to 1782.

Old Brick Row construction

Beginning in 1750 with the state-financed construction of Connecticut Hall, a student dormitory, the buildings of Old Brick Row were built over the next one hundred years. A chapel, later known as the Atheneum, joined the dormitory in 1761. During a 1792 disagreement over whether the next building should follow a linear pattern, preferred by Yale President Ezra Stiles, or right-angular pattern, preferred by the Yale Corporation and the town, Stiles commissioned James Hillhouse and John Trumbull to draft first college campus plan in the United States. Trumbull's drawings chose Stiles' linear pattern, interleaving narrow, steepled buildings between long student dormitories. By 1824, Old Brick Row included four student dormitories, then known as "colleges," and between them the Atheneum (First Chapel), Connecticut Lyceum, and Second Chapel. Around the Brick Row at this time were a chemical laboratory, a mineralogical building (the Cabinet), and the Second President's House, replacing one north of Elm Street.

The college gradually purchased parcels of land until it controlled the whole block by 1857. Properties owned by Amos Doolittle and Benjamin Franklin were consolidated and demolished, as were the town jail and poorhouse. On newly acquired land surrounding Old Brick Row, administrators built the Trumbull Gallery (1832), Divinity College (1835), the College Library (1849), and Alumni Hall (1850). Of the fourteen Yale buildings completed by 1850, only two, Connecticut Hall and the College Library (now Dwight Hall), would stand fifty years later, and both survive today.

Quadrangle plan
In 1870, Yale President Noah Porter announced the "gradual abandonment and removal of the present buildings of the Brick Row," beginning with the construction of Farnam Hall. From 1870 to 1928, the college undertook a wholesale reconfiguration of its campus, tearing down the Old Brick Row and its satellites and erecting a perimeter of Victorian Gothic student dormitories around a central enclosure. Where before it had been most prestigious to live off campus, the new dormitories became fashionable as the preserve of seniors. When Yale's residential colleges were opened in 1933, the Old Campus transitioned to a home for the common Freshman Year, with upperclassmen living in the colleges.

Yale Fence
In 1833, a picket fence encircling the campus was replaced with a rail fence, causing a major shift in the social patterns of the Old Campus. The Yale Fence, a wood fence with square posts and round rails that ran three sides of Old Brick Row, was the college's primary gathering place thereafter. Students would claim sections by class year, with seniors taking choice seats along Chapel Street. However, as the modern quadrangle took form, the fence was gradually uprooted. In 1888, the displacement of its last section for Osborn Hall caused 2,100 alumni to write in protest.

The Yale Fence Club, an undergraduate fraternal organization, was named in its memory. The fence currently lining the Old Campus' interior courtyard is modeled after the old fence, and pieces of the original are held in Sterling Memorial Library.

Student life
Old Campus houses freshmen from ten of Yale College's fourteen residential colleges. These students are assigned a residential college before starting their studies at Yale, live in Old Campus dormitories during their freshman year, and move into their colleges at the beginning of sophomore year. Students assigned to Silliman, Timothy Dwight, Benjamin Franklin, and Pauli Murray live in their colleges for all four years.

Since the 18th century, Yale's Commencement ceremony has been held on the grounds of the Old Campus. Every May, approximately 10,000 chairs are set up for the event and college's Class Day, held the day before and featuring a distinguished speaker.

During the late 19th century, the Old Campus hosted an annual Tap Night for the upperclassmen on the Old Campus, where juniors were inducted into secret societies. An echo of the event occurs with the annual fall a cappella rush, where singing groups race to freshman dorms to choose new members. Old Campus hosts several curricular activities, including Freshman Olympics, a competition among the residential colleges, and Spring Fling, an outdoor concert.

Statues
There are bronze statues on Old Campus of Nathan Hale (1913, Bela Pratt), Theodore Dwight Woolsey (1896, John Ferguson Weir), and Abraham Pierson (1874, Launt Thompson). There are also statues of lions at the entrance to Lanman-Wright Hall. Before it was moved to Science Hill, a statue of Benjamin Silliman stood in front of Dwight Hall.

Copies of the Nathan Hale statue were cast for the Central Intelligence Agency, the U.S. Department of Justice (see Statue of Nathan Hale (New York City)), the Tribune Tower in Chicago (see Statue of Nathan Hale (Chicago)), and Fort Nathan Hale.

title: Old Campus


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James G. Maguire

James George Maguire (February 22, 1853 – June 20, 1920) was an American politician and Georgist, who served three terms as a U.S. Representative from California's 4th congressional district from 1893 to 1899.

Early life and education
James George Maguire was born on February 22, 1853, in Boston, Massachusetts. Maguire moved with his parents to California in February 1854. He attended the public schools of Watsonville in Santa Cruz County and the private academy of Joseph K. Fallon. For four years he apprenticed as a blacksmith.

Political career
Maguire served as a member of the California State Assembly from 1875 to 1877, one of 20 members from the five San Francisco districts. He studied law and was admitted to the Bar by the Supreme Court of California in January 1878, commencing practice in San Francisco. McGuire then served as a judge of the Superior Court of the city and county of San Francisco from 1882 to 1888.

U.S. Congress
He was elected as a Democrat to the U.S. House of Representatives for the Fifty-third, Fifty-fourth, and Fifty-fifth Congresses from March 4, 1893, to March 3, 1899.

In the 1898 state elections, Maguire unsuccessfully ran as the Democratic candidate for Governor of California, losing to Republican Henry Gage. After the election, he did not seek reelection to the U.S. House.

Later career and death
Maguire resumed his law practice in San Francisco, where he died on June 20, 1920. He is interred at Greenlawn Memorial Park in Colma, California.

title: James G. Maguire


text:
Talk:List of future Interstate Highways

Future Interstate 69
Although I-69 is partially constructed, shouldn't it still be added to this list because it is not finished? The article for already has a future shield under the heading. It is complete in MI and parts of TX, MS, TN, KY, and IN. But in parts of the south it is a mess of disconnected freeway segments. But also since this is an already constructed and signed interstate does that disqualify it from this list?

See for context: Jake01756 (talk) 21:52, 23 June 2022 (UTC)

 * If it is partially built then it is not a future Interstate. Maybe a link [in] the See also at most, I think. -Fnlayson (talk) 21:56, 23 June 2022 (UTC)

"Interstate 101" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Interstate 101 and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 August 6 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. -- Tavix ( talk ) 21:16, 6 August 2022 (UTC)

I-3 already exists in Hawaii on the Island of Oahu.
Oahu now has I1, I2 and I3. 47.189.66.126 (talk) 04:29, 10 December 2022 (UTC)

 * The Interstates on Hawaii aren't numbered with the continental Interstates, as those highways are designated H-1, H-2, and H-3. Note that there is already an Interstate 2 now, if you needed proof that these are a separate series, at least now. BilCat (talk) 04:39, 10 December 2022 (UTC)

 * The non-continental states & territories are addressed in the Interstate Highway article in the Alaska, Hawaii, and Puerto Rico section. -Fnlayson (talk) 18:51, 10 December 2022 (UTC)

Elimination of 'Other proposals' section
I believe this section does not provide value added as they are merely proposals at the local level that have not gone through AASHTO, FHWA, or Congressional routes to be actual future interstates. The identified items in the section have not made much traction since added, either dormant or dead proposals now. I believe this article should be focused on the approved future routes and ignore proposals that likely go nowhere. These proposed routes should be moved (if not already there) in their respective local road articles (i.e. move I-98 to US Route 11 in New York). That is my recommendation and I hope other editors of the article will agree before I, or someone else, takes action. --WashuOtaku (talk) 21:21, 22 November 2023 (UTC)
 * I oppose the elimination of the section. I previously added I-42 (west), which is the subject of an active proposal for a future interstate, even if not congressionally designated. That’s more recent progress than, say, I-67, 98, or 99/101, which haven’t had much action in recent years. Even the proposed I-66 west extension has a mention in the see also section. Maybe there’s enough interest for a “List of formerly proposed Interstate Highways”? That way some of the older proposals can be split off (unless/until there is revived interest from officials). Hurricanehink mobile (talk) 00:49, 23 November 2023 (UTC)

 * I don't think there are clear places to move each proposed interstate, e.g. I-67 used for 3 routes, and I-92 for multiple routes. It'd be best to shorten unsourced text to better balance article coverage of future interstates vs. possible interstates, imo. -Fnlayson (talk) 01:58, 23 November 2023 (UTC)
 * What about creating something like List of unbuilt autoroutes of Quebec, for the interstate proposals that did not end up happening - List of unbuilt Interstate Highways? That could include the canceled I-66 (west), I-895 in NJ/PA, I-67 (at this point). If there hasn't been any progress in, say, 10 years? Then consider it unbuilt? That could leave the future Interstates to the congressionally legistated routes, alongside other routes that are actively being planned to become an interstate highway. ♫ Hurricanehink ( talk ) 22:30, 23 November 2023 (UTC)
 * What about adding List of proposed auxiliary routes.Cwater1 (talk) 15:39, 30 June 2024 (UTC)
 * I always thought there might be a need for that. Should the title reflect “proposed auxiliary interstate routes” or something? Hurricanehink mobile (talk) 16:01, 30 June 2024 (UTC)
 * List of future auxiliary Interstate Highways for years redirected to List of auxiliary Interstate Highways but I got it redirected to List of future Interstate Highways at the future auxiliary Interstate section. I added the list there, still works in progress. Cwater1 (talk) 23:50, 1 July 2024 (UTC)

 * I think anything that has been defined specifically as a future interstate from any transportation-related bill (ISTEA, SAFETEA, MAP-21, FAST Act, IIJA, etc) should stay as it will be defined explicitly in (unless explicitly superseded by another bill). –  The Grid  ( talk )  15:56, 17 April 2024 (UTC)
 * These are the corridors/segments that are in ISTEA section 1105(e)(5)(A) specifically "designated as future parts of the Interstate System", with directly assigned or referenced numbers in italics: I-49 (Kansas City MO to Shreveport LA + Lafayette LA to New Orleans LA), cancelled I-66 in eastern Kentucky (Williamson WV to Somerset KY), I-73/I-74 (between Portsmouth OH and Myrtle Beach SC), I-99 (Bedford PA to Corning NY), I-87 (Raleigh NC to Norfolk VA), I-69/I-69C/I-69W (Port Huron MI to Laredo TX plus various spurs), I-11 (Nogales AZ to I-80 in northern NV), I-86 (Harriman NY to I-90 intersection), I-27/I-27E/I-27W/I-127N + spurs (Laredo TX to Raton NM), I-785 (Danville VA to Greensboro NC), ADHS Corridor V (Batesville MS to Fulton MS), I-22 + spurs (Memphis TN to Birmingham AL), I-9 (Bakersfield CA to Sacramento CA), I-41 (Milwaukee WI to Green Bay WI), I-795 (Goldsboro NC to Faison NC), I-42 (Garner NC to Morehead City NC), Sonoran Corridor/AZ 410 (connecting I-19 & I-10 south of Tucson AZ), I-14/I-14N/I-14S/I-214 plus spurs (Odessa TX to Augusta GA), I-57 (North Little Rock AR to Sikeston MO), I-169 (Herndon KY to Nortonville KY), I-569 (Cromwell KY to Nortonville KY), I-685 (Greensboro NC to Dunn NC), Central Mississippi Corridor (Vaiden MS to Gulfport MS), US 412 (Noble County OK to Springdale AR), I-365 (Rocky Hill KY to Somerset KY). Sbb618 (talk) 07:01, 18 April 2024 (UTC)

OK, I now see the merit of limiting the article to just the Congressionally designated corridors. The others are just proposals, and who knows if they'll ever happen. ♫ Hurricanehink ( talk ) 20:42, 25 April 2024 (UTC)

Another I-42
According to this website (https://transportation.org/route/wp-content/uploads/sites/6/2023/12/Final_Report_USRN_Fall_2023_R_1.pdf (Item 24)) I-42 is planned go along the US 412 corridor in Oklahoma. 69.1.59.248 (talk) 15:06, 23 January 2024 (UTC)
 * And it was withdrawn. --WashuOtaku (talk) 17:03, 23 January 2024 (UTC)

title: Talk:List of future Interstate Highways


text:
Hollywood Star

The Hollywood Star was an idiosyncratic gossip tabloid published on an erratic schedule in Hollywood, California by William Kern, who wrote much of the magazine under the pseudonym "Bill Dakota." Published in a newspaper format (and sold in newsracks), it appeared in 1976, and had stopped publishing by 1981. In 1979, it adopted a smaller magazine format which lasted two issues, as Hollywood "Confidential" Star Magazine. Inspired by Confidential and other gossip magazines of the 1950s, The Hollywood Star had a homosexual subtext (Kern's other mid-70s paper was called Gayboy) and printed nude photos and sexually-oriented gossip with a frankness that had rarely if ever been seen in gossip magazines. In addition to naming stars who were gay or bisexual, for example, the magazine published lists of male celebrities based on whether they were circumcised.

An unrelated newspaper called the Hollywood Star News is currently published in Portland, Oregon.

title: Hollywood Star


text:
Indiana Jones and the Infernal Machine

Indiana Jones and the Infernal Machine is an action-adventure video game by LucasArts released in 1999. The first 3D installment in the series, its gameplay focuses on solving puzzles, fighting enemies, and completing various platforming sections. The story is set in 1947, after the events of Indiana Jones and the Iron Phoenix, and puts the eponymous protagonist, the adventurer Indiana Jones, against the Soviet Union. In a race for a mythological Babylonian power source, he joins forces with the Central Intelligence Agency and collects four pieces of the Infernal Machine, an ancient device that allegedly opens a portal to another dimension.

The title was designed, written, and directed by Hal Barwood, who considered the Indiana Jones franchise a perfect fit for the action-adventure genre. Initially developed for the Microsoft Windows operating systems, the game later received an enhanced Nintendo 64 port jointly developed with Factor 5 released exclusively in North America, as well as a 2D version for the Game Boy Color created by HotGen. Infernal Machine received generally favorable reviews, having been praised for its detailed storyline and sophisticated level designs, though widely criticized for its unwieldy control scheme.

Gameplay

Infernal Machine is an action-adventure and, as such, features a hybrid of various gameplay mechanics. The player sees Indiana Jones from a third-person perspective and controls him through 17 levels of a fully polygonal 3D world. A recurring element of Infernal Machine are platforming sections, for which a combination of running, jumping, climbing, and the use of the protagonist's trademark bullwhip is required. Furthermore, several human, animal and supernatural enemies are encountered during the course of the game, which the player can fight off with numerous firearms, the aforementioned whip, and a machete. In addition to these obstacles, the game largely focuses on solving puzzles and discovering treasures. Some levels include vehicle-themed portions such as rafting, jeep treks, and mine cart chases. The main objective of the game is to collect four machine parts in order to complete the titular Infernal Machine.

Plot
The story of the game is set in 1947 and depicts archaeologist and adventurer Indiana Jones returning to his digging career after his involvement in World War II. Sophia Hapgood, an old friend of Jones and a member of the Central Intelligence Agency, visits him at his dig site in the Canyonlands, and informs him that the Soviets are excavating the ruins of Babylon. Led by Dr. Gennadi Volodnikov, a physicist interested in alternate dimensions, the Soviets' objective is to find a weapon more powerful than the nuclear bomb, giving them a decisive advantage in the Cold War.

Sophia hires Jones to investigate what exactly the Soviets are searching for, and he travels to their dig site in the Kingdom of Iraq. There, he joins up with Sophia's boss Simon Turner and finds out that Volodnikov is looking for the Babylonian god Marduk who lives on another plane called the Aetherium. Deep in the ruins of the Etemenanki, Jones translates ancient cuneiform tablets revealing the true story behind the Tower of Babel: 2600 years ago, Nebuchadnezzar II was inspired by Marduk to build a great engine, but the frightened Babylonians tore the tower housing it down, leading four of the god's disciples to escape with some parts of this "Infernal Machine".

Jones embarks on a journey to find the four machine parts before the Soviets do, and retrieves them from a monastery in the mountains of the Kazakh Soviet Socialist Republic, an active volcano on Palawan in the Philippines, an Olmec valley in Mexico, and a tomb near Meroë in the deserts of Anglo-Egyptian Sudan. He is confronted by Volodnikov and Turner who both demand him to hand over the parts as they think they would not be safe with the other side. Untrusting of his fellow Americans, but opting for the lesser evil, he gives the parts to Sophia and Turner. Volodnikov says that it was probably better this way, as Marduk would have his revenge on those who desecrated the machine.

Alarmed, Jones returns to the Room of the Tablets in Babylon, and finds a now-opened gate leading further into the ruins, to the core of the Infernal Machine. He catches up with Sophia and Turner, the latter of which intends to convince the other dimension to cooperate with the United States, and uses the machine parts to activate the engine. Turner pushes the unwilling Sophia into a mystical cage as a means of sending her to the Aetherium as an ambassador. Jones sees no other way but to kill him to reclaim all parts and rescue her. However, the activated machine goes awry, and Jones and Sophia are sucked into a portal that leads to the other dimension. There, he defeats the malevolent Marduk and frees Sophia from her cage. Having escaped back to Babylon, the team is greeted by Volodnikov, who is curious to find out if they encountered God on the other side, which Jones denies. In the ensuing conversation, the Soviet doctor turns out less extremist than assumed, and the three wander off into the sunrise in search of a good bottle of vodka. A bonus level sees Jones return to the Peruvian temple from the opening of the film Raiders of the Lost Ark, discovering another golden idol in a secret room.

Development

Infernal Machine project leader, designer and writer Hal Barwood always thought of Indiana Jones as an action hero. Based on this notion, he decided for the game to be an action-adventure, as he was particularly fond of the genre and its use of 3D worlds. Barwood also considered the Nazis to be overused as villains in the series and so instead set the title in the Cold War era with Russians as the antagonists. Originally, UFOs were planned to be used as a plot device, though George Lucas vetoed the idea, still reserving it for a then undeveloped fourth installment. In lieu thereof, Barwood became interested in ancient technology like the Antikythera mechanism, conceived the Infernal Machine as the MacGuffin, and placed it in the biblical Tower of Babel, which is believed to be identical with the Etemenanki, a temple dedicated to the god Marduk.

Developed for Windows 95 and 98, the game uses a modified version of the Sith engine adapted for a third-person view by lead programmer Paul LeFevre. Eventually, lighting, collision, rendering and tools underwent drastic rewrites to the point that the code was renamed the Jones engine. The levels were principally designed by Steven Chen, and later conceptualized with illustrations by lead artist William Tiller. Multiplayer support was planned at the beginning of the development, but ultimately dropped because it turned out to be too complex to adequately test. Instead, more emphasis was put on the design of the single-player campaign with its puzzles and exploring aspect. The team implemented a hint system to lead players in the right direction. Additionally, the score system from previous Indiana Jones games, the Indy Quotient, makes a return. Apart from John Williams' "Raiders March", the soundtrack was newly composed by Clint Bajakian and consists of about 130 original pieces. Dubbed European language versions of the fully voice-acted game were released by THQ in Germany, Ubisoft in France, Electronic Arts in Spain and CTO in Italy.

An intended PlayStation version was canceled early after the game's announcement. However, a team of eight Factor 5 employees teamed up with artists, level designers and a programmer from LucasArts to port Infernal Machine to the Nintendo 64. Development of this version commenced in early March 1999 and was finished in October 2000. Over the course of these 19 months, several improvements were made to the game, such as enhanced real-time lighting, controls, camera and particle systems, as well as added lock-on targeting and assigning items to three of the C buttons of the Nintendo 64 controller. Furthermore, the N64 version has some new musical pieces composed by Chris Hülsbeck, and employs sequenced music as opposed to the prerecorded audio from the PC original. The port was only released in North America and was exclusive to the LucasArts Company Store, a majority of the stock being distributed for rental at the Blockbuster chain of stores. Electronic Arts planned to release it in Europe, but the title then saw a change of publisher to THQ. Originally scheduled for March 2001, the PAL version became subject to continuous monthly delays and was eventually cancelled in September 2001. A Dreamcast port was announced a for fall 2000 release but this was also cancelled. A 2D version of Infernal Machine with top-down perspective gameplay was developed for the Game Boy Color by HotGen also in early 2001.

In October 2018, GOG.com re-released Indiana Jones and the Infernal Machine as a downloadable game for personal computers. In November, the game was released through Steam.

Reception
The PC version received above-average reviews according to the review aggregation website GameRankings. Although some critics found it to be too similar to Tomb Raider, the game was noted for setting itself apart from the aforementioned series due to being based on the Indiana Jones franchise, and relying more heavily on puzzle-solving. Tal Blevins of IGN commended the game for its intricate and intriguing storyline. Keith Ellis of Eurogamer shared the opinion and stated the plot to be "excellently woven", enhancing the feel of "being part of a big blockbuster movie". Ellis, Blevins, and Mark Hill of PC Zone also praised Infernal Machine for its levels, calling them "excellently designed" and including "some of the most brilliant layouts [...] seen in a game of this type". While Blevins thought the variety of puzzles provided was sufficient and applauded the inclusion of a hint system, Michael E. Ryan of GameSpot found many of the puzzles in the game to focus too heavily on platforming and went on to state that they become "quite repetitive - even predictable" after the first few levels. The most criticized aspect of the PC game across the majority of reviews, however, are the controls. Ellis described them as "infuriating at times", mostly due to their faulty collision detection when performing certain actions. Ryan thought the control system was too jerky, unresponsive, and unnecessarily slow because of delays between the moves.

The graphics, while low on polygons, were received well for its detailed textures and the diverse locations presented. Ellis called Infernal Machine "one of the best looking third person adventures", and applauded the in-engine cutscenes, claiming them to be "bordering on film quality at times". Ryan said the graphics were "not exactly cutting edge", but "generally quite good" due to the "fairly smooth and convincing" animations. Blevins praised the environments for having "a lot more personality than the Tomb Raider series". Ellis called some of the locations "simply stunning", and Ryan found the levels to be "aesthetically well designed because of convincing architecture and wall decorations". Furthermore, the soundtrack was stated by Blevins to be "one of the best features of the game", based on its adding to the dramatic impact along the way. He applauded the voice recording for being "crisp and clean", though he was disappointed with the sparsity of musical tracks and environmental sound effects. Jonathan Sutyak of AllGame was impressed with the weapon effects and the foreign-language voice overs for the Soviet soldiers, giving it three stars out of five, while Hill considered the lack of Harrison Ford as Indiana Jones' voice disappointing, though understandable given his high salary. Ellis found the comments of the playable character to become annoying after a while, but was impressed with the ambient sounds and music, claiming the latter to be "ace stuff", "further enhancing the motion picture feeling of the game". Tom Russo of NextGen, however, said, "Despite a fantastic storyline, the execution just doesn't merit a higher rating."

Peter Silk of Adventure Gamer gave the PC version a perfect five stars out of five, saying that it was "in my opinion the best attempt yet to make adventure games appeal to a mainstream audience because it does not achieve this by 'dumbing-down' the plot or puzzles for action fans. It merely uses action as an added element. It is this that makes the game a classic and a worthy addition to the Indy series. I loved every moment from start to finish, and rest assured there is a lot of game in between start and finish!" In one review, Boba Fatt of GamePro said that the game "may be a direct copy of Tomb Raider, but Indy fans will be pleased with this whip-wielding, idol-grabbing, raft-riding roller coaster adventure that fits perfectly in the vein of the famed archaeologist's cinematic spectacles." Thomas Crymes said of the PC version in another review, "If you find the Tomb Raider games an exercise in frustration, then you might want to skip this one. But fans of those games will have a great time with Indiana Jones and the Infernal Machine's addictive game play and interesting puzzles. The man in the hat is back to reclaim the role he never should have lost." Jason Lambert of GameZone gave the same PC version 8.7 out of 10, saying, "If you loved playing Tomb Raider and you really loved the Indiana Jones movie series, then you will love this game. With Christmas coming soon, this should be in every gamer's stocking." Eliot Fish of Hyper gave it 77%, saying, "The sound in Infernal Machine is great, the graphics are a bit of a mixture of wonderful and horrid, and I'm saddened to say that the gameplay is quite average. Indy fans will still enjoy the experience to some degree (I did have some fun) if you can put up with all the game engine flaws." Neil Harris of The Electric Playground gave it 7.5 out of 10, calling it "a must-have for any fan of the third person action-adventure game." However, Edge gave it a score of six out of ten, saying that the rating "reflects its worth to players who have the patience to brave its inadequacies." Tom Chick of Computer Games Strategy Plus gave it two stars out of five, calling it "A tedious, frustrating, flat-chested, wisecracking Tomb Raider who's nothing like the Indiana Jones that you know and love."

Despite its enhancements, the Nintendo 64 version fared about as well with critics as the PC original, receiving "generally favorable reviews" according to the review aggregation website Metacritic. The control scheme of the port was well received by Matt Casamassina of IGN for the addition of C button item management and Z-targeting, both inspired by Ocarina of Time. Though Casamassina still considered the controls "slow" and "a little clunky", he commended them for being "more intuitive, tighter, speedier, and all around more balanced" than those of the PC version. Joe Fielder of GameSpot did not share these sentiments and stated the adaptation of the keyboard controls to the console controller to be "rather clunky and unintuitive". Casamassina was impressed with the texture work and lighting, and found the title to be "one of the prettiest" on the Nintendo 64, even more so by employing the Expansion Pak to achieve high-resolution graphics. Despite its praise, the graphics received criticism for its "wooden" character animations, occasional frame rate drops, and bugs such as pop-ups and faulty texture placement. Casamassina remarked that the sound was superior to the PC version's, while Fielder thought it was about on par with the port's above-average graphics. Additionally, Fielder criticized the Nintendo 64 version for the many bugs and lockups, a problem uncommon for console releases. Hyper's Fish gave it 84%, saying, "Whilst Infernal Machine isn't the greatest third-person action adventure, it's certainly a nice one to add to your N64 collection. If you can brave the flaws, there's a satisfying experience to be had with Dr. Jones." Jes Bickham of N64 Magazine gave it 81%, calling it "a polished Tomb Raider." Jules Grant of The Electric Playground gave it eight out of ten, saying that it was "better tomb raiding fare than Lara Croft's adventures, and console-wise, it's only available for Nintendo 64--tell your Sony loving friends to sit that in their CD tray and rotate." Uncle Dust of GamePro said, "The controls have received a good overhaul since the PC version's, and they work very smoothly – you'll basically be Lara Croft with a whip. The N64's twitchy analog stick causes some accuracy problems, but, overall, Machine provides perfect Indy-style adventure fun."

HotGen's Game Boy Color version received above-average reviews according to GameRankings. Suzi Sez of GameZone gave it 8.5 out of 10, saying, "This game is not for the faint-hearted! Fast-paced action will greet you on the very first scene and will follow you throughout the perilous journey to find the Infernal Machine! Don't hesitate or you may find yourself...very dead!" Extreme Ahab of GamePro said of the game, "If you crack your whip for this one, prepare for enjoyable action and a bit of brainwork." On the other hand, Frank Provo of GameSpot panned it for its backtracking, missing puzzle hints, and lack of plot development, but lauded for its clean animations and sound effects. Nick Woods of AllGame was disappointed with the instruction manual being mandatory to understand the game's mostly non-existent plot, and criticized the decision to make the player restart a level upon dying, as well as the password system, calling it "annoying" and giving it two-and-a-half stars out of five. Nintendo Power compared it to the N64 version saying it that it has much depth and far fewer control problems, and described it more as a puzzle game.

title: Indiana Jones and the Infernal Machine


text: User talk:68.11.84.124

title: User talk:68.11.84.124


text:
Talk:Galactica (ship)

Why we shouldn't have an article on Battlestar Galactica, the ship

 * 20:03, 7 Apr 2005 AlistairMcMillan (Make REDIRECT to Battlestar. We know very little about the actual ship, so this page could never really go anywhere.)
 * 11:39, 23 Apr 2005 user:67.68.220.210 If the new Sci-Fi seies doesn't provide details about Galactica, that;ll be a first. Changing to a redirect wasn't very forward looking.
 * 14:57, 23 Apr 2005 user:AlistairMcMillan Revert to REDIRECT. Most of this is already covered on Battlestar. We don't need duplication. And the series, so far, hasn't told us much about the ship.

 * If you think we know enough about the ship from the series to write a comprehensive article that doesn't include speculation and guesswork, then write the article. So far we haven't had that.  We've had a stub with NO CONTENT marked with an expansion tag  and then a bunch of content that we already have in other articles and fan speculation.   We already have the Battlestar article that covers the ships perfectly adequately, especially considering we know very little about them. AlistairMcMillan 00:08, 26 Apr 2005 (UTC)

 * Battlestar is perfectly adequate for describing the specific ship. No separate article is needed. --Piotr Konieczny aka Prokonsul Piotrus Talk 13:07, 26 Apr 2005 (UTC)

On the other hand, given that the only Battlestar we've seen in the 2003 series (and the main battlestar we saw in the 1978 series) was the Galactica, perhaps we should have a specific article about the Galactica, sort of like the Enterprise-D or the Millennium Falcon. If lack of content is a problem, give me tomorrow. I'll write up a good description of the 2003 series Galactica. — Phil Welch 08:55, 28 Apr 2005 (UTC)

 * Go for it. 132.205.15.43 23:16, 29 Apr 2005 (UTC)

title: Talk:Galactica (ship)


text:
RMS Gaelic (1885)

RMS Gaelic was a passenger and cargo liner built for the White Star Line. She transported the first 102 Korean immigrants to the United States. Sold in 1905 for further service in the Pacific, she was scrapped in 1907.

History
RMS Gaelic was built by Harland & Wolff of Belfast, Northern Ireland, for the White Star Line and measured 4,206 tons. She was virtually identical to her sister ship Belgic. The ship was chartered to the Occidental and Oriental Steamship Company for service on Pacific crossings from 1885 to 1904.

On 14 August 1896 she grounded at Shimonoseki, Japan and had to be towed to Nagasaki for repairs.

The passage of 102 Korean immigrants to Hawaii began on 29 December 1902 in Nagasaki, Japan, and ended on 13 January 1903, when the ship arrived in Honolulu. The Gaelic was refitted by Harland & Wolff in 1905 and sold to the Pacific Steam Navigation Company in the same year and renamed Callao, but was retired and broken up at Briton Ferry in 1907.

title: RMS Gaelic (1885)


text:
Korean fabric arts

Korean fabric arts is the craft of making fabric and textiles produced by the people on the Korean Peninsula. They have a long history, which includes fabrics such as guksa, nobang, sha, jangmidan, Korean-made jacquard, brocade and satin. Or crafts such as the Korean quilts known as bojagi, Korean embroidery, Korean knots, Korean clothing and the rarer arts of Korean blinds weaving and Korean paper clothing. In old time, people usually wore natural dyeing clothes.

title: Korean fabric arts


text: User talk:68.185.197.146

title: User talk:68.185.197.146


text:
User talk:Levan

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

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 * Explore, be bold in editing pages, and, most importantly, have fun!

Good luck!

Meelar (talk) 02:25, Apr 24, 2005 (UTC)

Image Tagging Image:Timothydwightcoatofarms.jpg
Thanks for uploading Image:Timothydwightcoatofarms.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL-self to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Admrb♉ltz (T | C) 01:26, 3 March 2006 (UTC)

Image Tagging Image:Timothydwightcollege.jpg
Thanks for uploading Image:Timothydwightcollege.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL-self to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Admrb♉ltz (T | C) 01:27, 3 March 2006 (UTC)

Proposed Georgia Move
As a past participant in the discussion on how to handle the Georgia pages, I thought you might be interested to know that there's a new attempt to reach consensus on the matter being addressed at Talk:Georgia (country). Please come by and share your thoughts to help form a consensus. --Vengeful Cynic 03:37, 8 July 2006 (UTC)

oops
Sorry, I guess I'm starting to revert like a robot. In my defense, though (and an important point to prevent robots from doing the same reversion), it would have helped if you had provided an edit summary for such a large deletion.--Curtis Clark 13:46, 25 September 2006 (UTC)

Hello
You are probably right, I thought it was a vandal who takes out blanks sections, sorry if I have offended you in any way-- Sea dog  .M.S  02:02, 21 October 2006 (UTC)

Security Council Simulation at Yale
A "" template has been added to the article Security Council Simulation at Yale, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but the article may not satisfy Wikipedia's criteria for inclusion, and the deletion notice explains why (see also "What Wikipedia is not" and Wikipedia's deletion policy). You may contest the proposed deletion by removing the  notice, but please explain why you disagree with the proposed deletion in your edit summary or on its talk page. Also, please consider improving the article to address the issues raised. Even though removing the deletion notice will prevent deletion through the proposed deletion process, the article may still be deleted if it matches any of the speedy deletion criteria or it can be sent to Articles for Deletion, where it may be deleted if consensus to delete is reached. Mystache 06:26, 18 June 2007 (UTC)

 * Same thing aboutthe Yale Model United Nations. DGG 19:56, 19 June 2007 (UTC)

ლევან
ლევან შენი დახმარება გვჭირდება აფხაზეთის გვერდებზე, რუსები უტევენ სულ და საქართველოს სტატიაზეც. დიდი მადლობა. Iberieli 17:37, 27 July 2007 (UTC)

Re:Uplistsikhe
Hi Levan. Thanks for your kind words. It was a great idea on your part to start the article. A lot of info can also be added in the future. Cheers, --KoberTalk 13:43, 27 November 2007 (UTC)

File source and copyright licensing problem with File:Timothydwightcoatofarms.jpg
Thanks for uploading File:Timothydwightcoatofarms.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, their copyright should also be acknowledged.

As well as adding the source, we also need to know the terms of the license that the copyright holder has published the file under, usually done by adding a licensing tag. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Non-free content, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have created [ in your upload log]. Unsourced and untagged files may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the file is copyrighted under a non-free license (per Fair use) then the file will be deleted 48 hours after 22:11, 10 January 2011 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you. Sfan00 IMG (talk) 22:11, 10 January 2011 (UTC)

Orphaned non-free image File:Timothydwightcoatofarms.jpg
 Thanks for uploading File:Timothydwightcoatofarms.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

Note that any non-free images not used in any articles will be deleted after seven days, as described in the criteria for speedy deletion. Thank you. Skier Dude ( talk ) 03:47, 16 April 2012 (UTC)

title: User talk:Levan