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Wikipedia:Articles for deletion/Self-induced abortion

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was KEEP Note: the nominee withdrew the nomination. Normally this is not the reason for closing the discussion, but I believe this case is pretty much evident, so no reason to be strictly formal. mikka (t) 18:13, 17 Jun 2005 (UTC)

Self-induced abortion
Original Research: A google search for "self induced abortion" returns 3650 hits A google search for "induced abortion" and "spontaneus abortion" return 109,000 and 164,000 hits respectivly  Tznkai 14:32, 14 Jun 2005 (UTC)

 * Nomination withdrawn--Tznkai 15:38, 15 Jun 2005 (UTC)

Delete: Original research (coining neologism). I believe most of this article has been stated in various places on wikipedia, but if not, a merge is in order.--Tznkai 14:25, 14 Jun 2005 (UTC) see below
 * Keep. I'm absolutely stunned to find this on vfd, a day after I created it. 3,600+ Google hits shows that this is hardly a neologism, or original research (I've cited at least a half-dozen sources, including references to scientific studies using the term). This topic was not thoroughly covered anywhere else in Wikipedia, so far as I could find, and the abortion article is certainly long enough to justify a separate article on this related but distinct topic. -- BD2412 talk 14:45, 2005 Jun 14 (UTC)
 * I obviously havn't gone through all 3000+ hits, but the majority that I saw had the world "self" tacked on as alliteration, not as a seperate term. compare to say, "assisted suicide" (684k hits) vs suicide. The two are sigificnatly diffrent enough because of the host of moral and legal complications, while I don't think self induced versus induced abortion is (yet). My point is that "self-induced suicide" is not a term used on its own, just the world self tacked on as an adjective.--Tznkai 15:09, 14 Jun 2005 (UTC)
 * It is hardly an alliteration if it describes a circumstance that is distinct from an "induced abortion". An induced abortion is any abortion intentionally induced by anyone. A self-induced abortion is not merely a medical term, but a sociological concept, motivated (as the literature shows) by factors distinct from those responsible for people seeking abortions from doctors. -- BD2412 talk 15:13, 2005 Jun 14 (UTC)
 * Let me try another analogy to get my point across. If you get it, but disagree, thats fine. There are cars. There are also sports cars. There are also red sports cars. Red sports cars are distinct both from cars and sports cars, but not enough to be its own term. Also, I've never heard the term used in medicine before, and couldn't find anything to lead me to believe otherwise. If it is a sociological concept and you can show me some textbooks, I'll drop my contention for VfD however.--Tznkai 16:39, 14 Jun 2005 (UTC)
 * Well, look at the Ghana study cited within: "To obtain information on induced abortion, for example, interviewers asked women whether they had ever terminated an unwanted pregnancy, and if so, whether they had had a self-induced abortion or what type of facility they had visited to obtain an abortion." Clearly this is a distinct use. Per you analogy argument, a better analogy would be between race-cars and home-made race cars (a sub-category which I think would merit an article). -- BD2412 talk 17:02, 2005 Jun 14 (UTC)
 * Well, I see we're both on the same page just of diffrent opinions, I am just not convinced that this term is as widley used as you are. Again, please show me the term used in a textbook, and I'll drop my contention.--Tznkai 18:27, 14 Jun 2005 (UTC)
 * Unfortunately I'm not in a position to go looking up textbooks, so we'll just have to leave it at the sources available on the internet for now. I suppose you can go tell Gabriela Flores that the activity for which she's being prosecuted and may go to jail is not a real concept, so she's free to go. Or tell that to the Mississippi legislature, which passed a law that classifies self-induced abortions as deaths which affect the public interest, and requires physicians to report them to the local medical examiner. The statute describes "death caused by criminal abortion, including self-induced abortion, or abortion related to or by sexual abuse." -- BD2412  talk 18:57, 2005 Jun 14 (UTC)
 * Theres no need to get snippy or make inflamitory statements. I have been as civil as possible during this entire VfD.--Tznkai 20:08, 14 Jun 2005 (UTC)
 * True, you have been civil and presented a logical case. I apologize for the snippiness. However, I rest on my contention that the sources cited in the article (and many additional similar references that can be found on Google) provide more than enough proof of the notability and pedigree of the topic to justify an article without using textbooks for support. -- BD2412 talk 20:23, 2005 Jun 14 (UTC)
 * As a point of intrest, that bill died in commitee. My major problem here is I want to be convinced that the term we're using is right. in the adhd article, we've been having problems with chemical imbalance theory which had a similar number of hits. Unlike in that case however, sorting out the bias of sites is very difficult, so I went with a gut feeling and put it on VfD. I still have reservations, but I can see I am going against consensus here. I'm going to wait a day for addtional comment, then I will remove the VfD.--Tznkai 20:56, 14 Jun 2005 (UTC)
 * Not to be nitpicky, but it was a proposed amendment to an existing statute that died in committee. The requirement that "self-induced abortions" be reported to the medical examiner is very much the law in Mississippi today, as it has been since 1972. The National Library of Medicine's PubMed search engine returns 16 journal article discussing the topic, from 1954-2000. -- BD2412 talk 21:32, 2005 Jun 14 (UTC)

 * Keep, I can find instances of the phrase being used by governments, activists on both sides of the abortion issue, news media, etc. Article is detailed enough to warrant its own page. Eliot 14:54, 14 Jun 2005 (UTC)
 * Keep. DS1953 15:29, 14 Jun 2005 (UTC)
 * Obvious Keep. I think our VfD nomination process isn't very instructive if people are reading the instructions and still nominating articles like this!  -- Un focused 15:34, 14 Jun 2005 (UTC)
 * Note There was a vandalism vote that was removed here. See history if intrested--Tznkai 20:11, 14 Jun 2005 (UTC)
 * Keep. Notable and described phenomenon .mikka (t) 16:31, 14 Jun 2005 (UTC)
 * keep obviously. Dunc|☺ 17:54, 14 Jun 2005 (UTC)
 * Keep - Well written article, not to mention very notable issue. Blackcats 19:38, 14 Jun 2005 (UTC)
 * Weak keep While this topic is worthy of mention, I'm not sure that it needs its own article. However, because it's brand new and well written, I think we should keep it around for a while and see where it goes.  --Xcali 20:34, 14 Jun 2005 (UTC)
 * Keep Notable, well-written, not a neologism -CunningLinguist 20:47, 14 Jun 2005 (UTC)
 * keep this too it is a good article no reason to erase it Yuckfoo 21:20, 14 Jun 2005 (UTC)
 * Keep. Well written article on notable topic. Capitalistroadster 01:20, 15 Jun 2005 (UTC)
 * Keep. Well written and notable. Frankchn 02:19, 15 Jun 2005 (UTC)
 * Keep. Independently notable practice, often distinguished in abortion laws/abortion debate. Xoloz 04:59, 15 Jun 2005 (UTC)
 * Keep notable topic. JamesBurns 05:51, 15 Jun 2005 (UTC)
 * Keep - No Reason to remove. --Irishpunktom\talk 11:03, Jun 15, 2005 (UTC)

Nomination withdrawn--Tznkai 15:38, 15 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page . }


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1940 in Norwegian football

Results from Norwegian football in 1940.

Norgesserien 1939/40
Because of World War II, Norgesserien 1939/40 was abandoned after the winter break following the German invasion of Norway on April 9, 1940.

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

title: 1940 in Norwegian football


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Kukeri

Kukeri (кукери; singular: kuker, кукер) are elaborately costumed Bulgarian men, who perform traditional rituals intended to scare away evil spirits.

Closely related traditions are found throughout the Balkans and Greece (including Romania and the Pontus). The costumes cover most of the body and include decorated wooden masks of animals (sometimes double-faced) and large bells attached to the belt. Around New Year and before Lent, the Kukeri walk and dance through villages to scare away evil spirits with their costumes and the sound of their bells. They are also believed to provide a good harvest, health, and happiness to the village for the year ahead. The Kukeri traditionally visit people's houses at night so that "the sun would not catch them on the road." After parading around the village, they usually gather at the village square to dance wildly and amuse the people. Kukeri rituals vary by region, but remain largely the same in essence.

19th century scholars considered the Kukeri to have a pre-Christian Thracian origin, and theorised that they were a remnant of a Thracian cult of the god Dionysus; this view was encouraged by Bulgarian nationalists and folklorists who wished to lend Bulgarian cultural practices a sense of prestige via association with the classical world. However, modern scholarship generally rejects this view, and the Kukeri are now considered to be part of a general Balkan mumming tradition that emerged sometime in the early modern period, influenced by Greek, Slavic, Albanian, Roma and Turkish practices.

Distribution and etymology
The precise origin of the word "Kukeri" is unclear. The term could be derived from Proto-Slavic ("evil spirit") with the agentive suffix  (i.e. literally meaning a "chaser of evil spirits"), or from a pre-Slavic divinity named Kuk.

Another theory suggests the name kuker derived from Latin cuculla meaning "hood, cowl" or cucurum, "quiver" (i.e. in the sense of a container; an abbreviation of koukouros geros), though the practice pre-dates Roman rule by several centuries.

The corresponding figure in Greek-speaking Thrace is known as Kalogeros "rod-carrier", also shortened to cuci, in former Yugoslavia known as didi, didici, in Bulgaria as kuker or babushar, as momogeros in Pontic Anatolia, in North Macedonia it is known as babari or mechkari. In Romania, this figure mostly appears together with a goat, known as capra, turca or brezaia.

Kukeri
Kukeri is a divinity personifying fecundity. Sometimes in Bulgaria and Serbia it is a plural divinity. In Bulgaria, a ritual spectacle of spring (a sort of carnival) takes place after a scenario of folk theatre, in which Kuker's role is interpreted by a man attired in a sheep- or goat-pelt, wearing a horned mask and girded with a large wooden phallus. During the ritual, various physiological acts are interpreted, including the sexual act, as a symbol of the god's sacred marriage, while the symbolical wife, appearing pregnant, mimes the pains of giving birth. This ritual inaugurates the labors of the fields (ploughing, sowing) and is carried out with the participation of numerous allegorical personages, among which is the Emperor and his entourage.

Capra
Capra comes from the Latin word "Capra," meaning goat. A halo like head piece was worn as a crown to symbolize the spiritual divine realm, while fur, feathers and other external body-parts of an animal attached to represent the natural world. The fact that nature has good and evil, and that humans are the intermediary between spirit and nature, it was a made-time to pay homage to the Spieth gods. Some cultures imbibed in human flesh to satiate the god's thirst for blood, as an act of solidarity for the gods.

Kukeri in the media
Kukeri or Kuker Warriors are some of the main characters in the epic fantasy animated series The Golden Apple, which is currently being developed by Studio Zmei. In it, young brothers Bran and Vlad have been trained as Kuker Warriors to fight evil spirits, but they have to question what they have been taught when they are forced to team up with half-spirit Vihra and Samodiva-spirit Tina in order to protect their world.

Kukeri are featured in the music video for the song "Fish on", by the industrial metal band Lindemann, and in the film Toni Erdmann, directed by Maren Ade.

Kukeri are the subject of a 2023 New Yorker documentary short by filmmaker Killian Lassabliére titled "Kukeri".

title: Kukeri


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Talk:Southeastern Maritime Industrial Region

The most common name for this region, by a factor of about 100, appears to be 부울경 (Bu-ul-gyeong, from the first syllables of Busan, Ulsan, and Gyeongnam). Sometimes used in combination with the other name, as "부울경 동남경제권." -- Visviva 14:19, 7 January 2007 (UTC)


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Talk:TOGO'S

Pronunciation
If anyone knows the proper pronunciation of Togos ("To gos" or "Toe Goes"), please add. It's been a mystery to my friends and I for quite some time. Gantry 14:28, 14 Jun 2005 (UTC)

 * well, here in its traditional home, we pronounce it "toe goes". Gentgeen 10:19, 29 October 2005 (UTC)

 * I ate there regularly in 1983 and 1984 in Sunnyvale, California. My co-workers and I pronounced it "toe goes". 2600:100C:B02A:27A7:1479:13B4:2E50:E98C (talk) 15:06, 7 November 2019 (UTC)

If anyone has any Questions
I will be glad to answer them. If there are enough random ones i'll combine pronunciation and all the others under one heading. I really am not sure how much to add, as the official Togo's page is already linked too.

Advertising Language
Please keep advertising language out of wikipedia articles. If your interest in Togos is because you work for them, and are enthusiastic about the company, we are glad to have you add any encyclopedic information you may have, but please be extra-careful about not putting in the contentless language you find in advertising or company letters such as in the following sentence:

 * More than 30 years later, Togo's is still committed to making great sandwiches. Now the bread is baked especially for Togo's and recently added to the menu is a selection of hearty soups and salads worthy of the Togo's name.

"Worthy of the x name" and "x is still committed to making great y" are phrases you should never find in a encyclopedia. They are inherently POV (and in this case sound like they were taken directly from the companies PR material). Brentt 05:44, 13 July 2006 (UTC)

 * This bit still bothers me. Sounds like we're reading it off a placemat:
 * Cobler had little money and no experience. He didn't have a business plan. He just made the kinds of sandwiches that he liked - big, fresh and custom-built - at prices even a college student could afford. Soon there were lines out the door and Togo's was well on its way to becoming successful.--Weakmassive 18:21, 2 November 2006 (UTC)

Missing History and Name Origin
Previous versions of the page had more details on the history of how the restaurant started, as well as the origins of the name. Much of both are now missing. Why? (I also notice the official ToGo's web site lacks those details as well. A corporate conspiracy?) If it's a matter of verifiablity, there's got to be somewhere newspaper articles and such with that information.

For the record, I do seem to recall at the original San Jose Togo's there being an informative sign citing the name as coming from Tom and Gordon's names. Unfortunately that place is no longer there, and the replacement is a dismal hole-in-the-wall that was closed during the dinner hour. — Preceding unsigned comment added by 173.228.6.15 (talk) 01:40, 20 August 2011 (UTC)

 * Conspiracy?? Why? WarrenOutsky (talk) 17:58, 22 August 2011 (UTC)

 * I think the issue is just that it needs more sources. No conspiracy that I can find and believe me I would. Warren (talk) 17:27, 4 October 2012 (UTC)

The original Togo’s was opened in Marquette, Mich., in 1964 by two Northern Michigan University students, Tom Neumann and Gordon Reed. In 1966 Neumann sold his part of the business to Reed, who moved to California and in 1968 opened a Togo’s in downtown San Jose, Calif. Reed then sold the restaurant to Michael Cobler in 1971. Company leadership focused on the "1971" origin story and did not acknowledge or discuss the history before that date. (T308)

Company leadership for the first time referenced the 1968 San Jose founding date in a press release in April 2018. This was likely done to claim credit for 50 years of operation. T308 (talk) 17:01, 21 April 2018 (UTC)

I worked at two Togo's located in Santa Clara, Calif from 1983-1988. I started at the Lafayette store to train for the grand opening of the Benton and Kiely store. I worked there for about 18 months, trained into management and, eventually went back to the Lafayette location, then back to the Benton store. I had my first baby in '88 so I stopped working for a few years. Then, sometime in the early 2000's I went back as a store manager for a bit at a new location in San Jose. So, I'm here to say, in the 5+ years I worked there, the Tom and Gordon name origin was readily shared with all employees and any customers who'd care to listen. Clearly, I was there after Cobler took over and he was a prominent figure in any retelling of the Togo's Story, as we knew it in the 1980's. Cheers all! TakarasBreathing (talk) 05:15, 7 March 2022 (UTC)

Founding location unsubstantial
While local legend in San Jose is that Togo's was founded in downtown San Jose near San Jose State University, there's no solid evidence that "336 East William Street" was at the actual street number. Better evidence needs to be substantiated.107.3.162.39 (talk) 07:05, 28 December 2017 (UTC)

First San Jose Location / E William Street.
As Mentioned above, the first location was in Michigan. The second location, and first California location was at the E. William Street address. A photo exists taken in 1986 of the original location with an awning that says "The Original Togo's opened in the Spring of 1968. 336 East William Street". The building still exists today. It's now a palm reader/spiritualist business.T308 (talk) 16:58, 21 April 2018 (UTC) — Preceding unsigned comment added by T308 (talk • contribs) 16:56, 21 April 2018 (UTC)

title: Talk:TOGO'S


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Wikipedia:Articles for deletion/Lewis Sell

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. Golbez 01:10, Jun 20, 2005 (UTC)

Lewis Sell
Vanity, non-notable. Lachatdelarue (talk) 14:29, 14 Jun 2005 (UTC)
 * delete as above Ashibaka (tock) 18:22, 14 Jun 2005 (UTC)
 * Delete nn teenage vanity. --Etacar11 20:36, 14 Jun 2005 (UTC)
 * Delete vanity. JamesBurns 05:50, 15 Jun 2005 (UTC)
 * Delete vanity. Tp 07:38, 15 Jun 2005 (UTC)
 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


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Operculicarya decaryi

Operculicarya decaryi, known as elephant tree or jabily, is a thick stemmed succulent plant species in the family Anacardiaceae, named after the botanical collector Raymond Decary. It is found in Madagascar and is also grown as a bonsai tree.

It has small (less than 2 mm) red flowers in winter. The inflorescence is at the end of short branches and often consist of about five flowers. Woody cuttings need a soil mixture kept uniformly moist for propagation. It can also be propagated using pieces of the tuberous roots.

It is drought tolerant and does well in full sun in most places. It cannot tolerate freezing conditions.

title: Operculicarya decaryi


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The Future Is Wild

The Future Is Wild (also referred to by the acronym FIW) is a 2002 speculative evolution docufiction miniseries and an accompanying multimedia entertainment franchise. The Future Is Wild explores the ecosystems and wildlife of three future time periods: 5, 100, and 200 million years in the future, in the format of a nature documentary. Though the settings and animals are fictional, the series has an educational purpose, serving as an informative and entertaining way to explore concepts such as evolution and climate change.

The Future Is Wild was first conceived by independent producer Joanna Adams in 1996 and developed together with various scientists, including Dougal Dixon, best known as the author of the 1981 book After Man, which also explored future wildlife. The 2002 series was an international co-production, involving the British BBC, the Franco-German channel Arte, the German ZDF, the Austrian ORF, the Italian MFE - MediaForEurope (via their Mediaset division), and the American Animal Planet and Discovery Channel. Wildly successful, The Future Is Wild continues to be broadcast to this day and has been shown on TV in more than 60 countries.

The success of The Future Is Wild spawned a large multimedia franchise, including books, children's entertainment, exhibitions, theme park rides, educational material, and toys. There have also been cancelled projects, such as a potential movie adaptation, as well as a sequel series, The Future Is Wild 2. From 2016 onwards, there has been talk of "relaunching" the franchise through various projects, such as an action-adventure TV series and The Future is Wild VR (a virtual reality videogame), though no new media has yet materialized.

Premise
The Future Is Wild explores twelve different future ecosystems across three future time periods: 5 million years in the future, 100 million years in the future, and 200 million years in the future. Four ecosystems from each period are explored and described.

Ice World: 5 million years in the future
The early episodes describe a world after an ice age, when giant seal-like sea-birds roam the beaches and carnivorous bats rule the skies. Ice sheets extend as far south as Paris in the northern hemisphere and as far north as Buenos Aires in the southern hemisphere. The Amazon rainforest has dried up and become grassland. The North American plains have become a cold desert, and Africa has collided with Europe, enclosing the Mediterranean Sea. Without water to replace it in the dry climate, the Mediterranean has dried out into a salt flat dotted with brine lakes, as it has been in the past. Most of Europe is a frozen tundra. The part of Africa east of the African Rift Valley has broken away from the rest of the continent. Asia has dried up and is now mountainous. The once warm, tropical area of Central America has been transformed into a dry area. Australia has moved north and collided with eastern Indonesia.

Hothouse World: 100 million years in the future
In the scenario for 100 million years in the future, the world is much hotter than at present. Octopuses and enormous tortoises have come on to the land, much of which is flooded by shallow seas surrounded by brackish swamps. Antarctica has drifted towards the tropics and is covered with dense rainforests, as it was before. Australia has collided with North America and Asia, forcing up an enormous, 12-kilometre-high mountain plateau much taller than the modern Himalayas. Greenland has been reduced to a small, temperate island. There are cold, deep ocean trenches. The Sahara has once again become the rich grassland it was millions of years ago.

New World: 200 million years in the future
The hypothetical world of 200 million years from now is recovering from a mass extinction caused by a flood basalt eruption even larger than the one that created the Siberian Traps, wiping out 95% of the species on the planet. Fish have taken to the skies, squid to the forests, and the world's largest-ever desert is filled with strange worms and insects. All the continents have collided with one another and fused into a single supercontinent, a Second Pangaea or New Pangea. Although the formation of this new supercontinent has caused most distinctive geological features of its components to disappear, some can still be discerned, including Hudson Bay, the Novaya Zemlya archipelago and the Scandinavian Peninsula, as well as the general outline of Africa. One large global ocean with a single-current system gives rise to deadly hurricanes called hypercanes, which batter the coastlines of the continent all year long. The northwestern side of Pangaea II, drenched with an endless supply of rain, has become a temperate forest. Mountains resting at the end of the coast prevent most of the rain's moisture from reaching a long line of scrubby rainshadow deserts. The very center of the continent receives no rain at all and has become a barren, plantless desert. The survivors of the aforementioned mass extinction - fish, arthropods, worms and mollusks - populate the Earth and continue the process of adaptation and evolution.

Development and production
The idea for The Future Is Wild was first conceived in 1996 by Joanna Adams, a British entrepreneur who has previously produced documentaries on modern and extinct animals. As an independent producer, Adams wanted to create a documentary series different from anything that had come before, and something that could not be copied by larger production companies. The series was envisioned as an entertaining, informative and inspirational way to explain planetary change and evolution, suitable for the popular market worldwide. In 1996, the concept of the series, and ideas for an accompanying multimedia franchise, was first unveiled at the Frankfurt Book Fair and the MIPTV Media Market.

The Future Is Wild was influenced by Scottish geologist and paleontologist Dougal Dixon's 1981 book After Man, which imagines wildlife and ecosystems 50 million years in the future. Dixon was brought in as a consultant early on in the development of the series and designed many of the creatures featured. The series was not able to use any of Dixon's creatures from After Man, given that the rights to adapting After Man were at this time owned by DreamWorks SKG. Nevertheless, several creatures were similar to Dixon's earlier designs, such as the Gannetwhale, a seal-like bird similar to whale-like penguins in After Man.

The series was created in close collaboration with scientists, filmmakers and animators. Although the future creatures and environments created for the series are all fictional, they were based on evolutionary principles and grounded in science. According to Adams: "If you look at the creatures, you cannot say with any degree of accuracy that this is going to happen, but what you can say is, given certain conditions, creatures like this could develop." Adams felt that it was important that the series would not just be dismissed as "another science-fiction fantasy", but that it would instead be seen as something credible. The geography of the future worlds depicted were designed through collaboration with geologists, and botanists and weather experts were consulted for the future environments. In addition to Dougal Dixon, several other animal experts, biomechanics engineers, and other scientists took part in designing the animals in the series.

In total, development and production of The Future Is Wild took six years. Throughout its development, some television executives had very different and conflicting ideas of what the series should be. In particular, some were concerned about humans being absent and wished for a contrived explanation as to what happened to humanity. Adams co-produced the series with the British BBC, the Franco-German channel Arte, the German ZDF, the Austrian ORF, the Italian Mediaset and the American Animal Planet and Discovery Channel. In total, the series cost £5 million to make. The BBC hoped that the miniseries would repeat the success it had with its prehistoric nature documentary series Walking with Dinosaurs, which attracted 17 million viewers in 1999.

Distribution
The Future Is Wild aired on BBC in the United Kingdom, on the Discovery Channel and Animal Planet in the United States, on ZDF in Germany, on ORF in Austria and on Mediaset in Italy. The series was wildly successful, winning several accolades and achieving high ratings on channels worldwide. The premiere of The Future Is Wild on Animal Planet in the United States doubled the channel's previous highest viewership (being viewed by about 1.8 million households) and The Future Is Wild to this day remains the number one most viewed series in Animal Planet's history. ZDF Enterprises sold the television rights of the series to 18 markets: Belgium, Canada, Croatia, the Czech Republic, Ecuador, France, Germany, Hong Kong, Hungary, Japan, Korea, Mexico, the Middle East, Poland, Romania, Russia, Slovenia and Venezuela. The series continues to be licensed internationally. As of 2021, The Future Is Wild has been broadcast in over 60 countries.

Multimedia franchise
Following the airing of the series, The Future Is Wild branched out into various other media, including books, children's entertainment, exhibitions, theme park rides, educational material and toys.

Books
The Future Is Wild was accompanied by two companion books, The Future Is Wild: A Natural History of the Future (2002), co-authored by Dougal Dixon and Joanna Adams, and The Wild World of the Future (2003) by Claire Pye. The Future Is Wild: A Natural History of the Future is a 128-page family reference work and The Wild World of the Future is a 96-page reference work for younger children. These books were translated into 20 languages. The French translation of The Wild World of the Future, titled Les Animaux du Futur ('The Animals of the Future'), incorporated augmented reality, one of the first books to do so.

Another children's reference work, also 96 pages long, was co-authored by Dougal Dixon and Joanna Adams in the 2010s, titled The Future Is Wild: Our World Tomorrow. The book was published in 2016 in China by Hunan Publishing. Internationally, the book has been released in eBook and iBook format as an augmented reality book, under the title The Future Is Wild: The Living Book. The Future Is Wild: The Living Book was released in 2011, first presented at the 2011 Frankfurt Book Fair. The more than forty different augmented reality features were developed by the German company Meatio. The book has received scholarly attention as a work that showcases how augmented reality can encourage readers to connect with a book.

Animated children’s series
In 2007, a 3D animated children's series (targeted at children aged six to twelve) based on The Future Is Wild premiered on Discovery Kids. Consisting of 26 episodes, each 22 minutes in length, the series was also simply called The Future Is Wild, and followed the four children C.G., Ethan, Emily and Luis, and their pet Squibbon, as they travelled through time and explored the settings and animals seen in the original series. According to Joanna Adams, the animated series, just like the original series, encourages viewers to think about the future of the planet, but "this time it is devoted particularly to kids and our future science is woven into some really fun stories about a group of time travelling kids." Portions of the original The Future Is Wild team worked on the series, and it was jointly produced by the Singaporean company iVL Animation and the Canadian company Nelvana. It was the first co-produced Singaporean 3D-animated TV programme to be broadcast in the United States and Germany.

Exhibitions
The Future Is Wild has been adapted into exhibition form, both for use as a temporary exhibition or short-term events, and for long-term high-profile attractions. There have been four notable The Future Is Wild special exhibitions: at Futuroscope in France, the Sydney Aquarium in Australia, Dinosaurier-Park Münchehagen in Germany and Dinosaurierpark Teufelsschlucht in Germany. There have also been exhibitions elsewhere, for instance in Japan.

The exhibition at Futuroscope was called Les Animaux du Futur and was inaugurated on 5 April 2008 by French politician Hervé Novelli. The exhibition itself was fully interactive, utilzing augmented reality technology, and also contained the first augmented reality theme park ride in the world. The ride involved visitors sitting in a car, equipped with sensor-bracelets and googles with LCD-screens. The ride then simulated a time travel-safari expedition, with visitors being able to interact with the various creatures they encounter. In total, the exhibition cost €7 million to make. The exhibition received recognition among specialists in virtual reality, being the recipient of the prestigious Laval Virtual award in 2008. Les Animaux du Futur was shut down in 2012.

Like the Futuroscope exhibition and ride, the Sydney Aquarium exhibition, open from 2010 to 2011, employed advanced technology such as holograms, computer-generated imagery, animatronics and augmented reality. Among other things, augmented reality and face-tracking technology was used to allow visitors to see themselves in virtual diving gear, diving alongside some of the creatures. In contrast to most special exhibitions, The Future Is Wild installations were separated into species-specific installations spread throughout the aquarium, rather than concentrated in one place and each showcased new technologies. The exhibition also intended to encourage school participation, launching a competition called "Design a Future Marine Creature", which saw the winning design become a "life-size" permanent exhibit at the aquarium.

The exhibition at Dinosaurier-Park Münchehagen, opened in 2012, was considerably different from the French and Australian exhibitions, opting for a much more traditional exhibition containing just "life-size" models of some of the creatures of The Future Is Wild, with realistic backgrounds behind them. The hall containing the models was designed to act as a "journey's end", after visitors have walked through the millions of years of prehistoric creatures exhibited elsewhere in the park. In 2016, the sixteen The Future Is Wild models were moved to Dinosaurierpark Teufelsschlucht, another park, and placed at the end of the park's walkway of exhibited models of dinosaurs and other prehistoric creatures.

Other
In 2004, The Future Is Wild was adapted into a 20-minute fulldome film. The fulldome film was made by Evans & Sutherland, in association with Discovery Channel International, Animal Planet and GOTO Optical Company and is narrated by the American actor John de Lancie.

The Future Is Wild had a very strong fanbase in Japan. In 2006–2007, the series was adapted into a story-driven manga, written and illustrated by artist Takaaki Ogawa. A line of toy figurines based on creatures from The Future Is Wild was produced by Tokyo-based company Diamond in 2006. Seven figures were released, each about five centimetres tall, depicting the Gannetwhale, Carakiller, Toraton, Poggle, Terabyte, Ocean Flish and Megasquid. The figures were also released in France in 2008 to coincide with the opening of the exhibition at Futuroscope, and in Australia in 2010 to coincide with the exhibition at the Sydney Aquarium.

Since The Future Is Wild is based on actual science concerning evolution, the environment, ecology and climate change, the series has been adapted into educational material. Marketed as "a unique mix of science and imagination combined with education and entertainment", there are United Kingdom curriculum specific lesson plans based on the series, which are freely available. Among other things, lessons include children creating their own future environments, plants and animals. In France, experimental educational projects were coordinated with The Future Is Wild exhibition at Futuroscope, and included classroom resources such as printed charts and an interactive CD-ROM programme.

Cancelled projects
Following the success of The Future Is Wild, plans were made to adapt the series into a feature film with Warner Bros., but those plans fell through after the release of the film Avatar (2009), when Warner Bros. felt that the bar for such a film had been raised too high. Joanna Adams and the team at one point also worked on developing a sequel documentary series to the original The Future Is Wild series, dubbed The Future Is Wild 2, and had raised the necessary funding, but the project collapsed when Discovery Channel announced that they would no longer be making documentaries.

Planned revival of the franchise
In 2016, John H. Williams, a producer of the animated Shrek franchise, and his animation company Vanguard Animation, acquired the rights to produce an animated TV series based on The Future Is Wild. In a January 2016 interview, Williams stated that "we believe The Future Is Wild will be a spectacular franchise launch point for us into quality television" and also mentioned that Vanguard Animation was working on creating a 26-part science fiction action-adventure series, planned to be produced as an international co-production.

At the same time as Vanguard Animation acquired the rights to produce a new TV series, Adams also stated in an interview that she was looking at relaunching the franchise: "coinciding with this new series development, we are rolling out our plans for digital media, such as mobile games, apps and interactive multimedia books". Adams believes that more modern technology could help to lift and help launch The Future Is Wild in a new direction, while still re-creating or further developing some of the "original stories" and "original themes". Coinciding with this attempted revival of the franchise, The Future Is Wild was once more at the Frankfurt Book Fair and MIPTV Media Market events in 2016 to present new planned content.

In 2015, the virtual reality and augmented reality developer Cornel Hillmann, and his studio, STUDIO CGARTIST, began developing The Future Is Wild for virtual reality, initially focusing on small-scale preview projects. The first completed project was a small preview programme for Google Cardboard, which met with positive response at the 2016 Frankfurt Book Fair. A The Future Is Wild virtual reality game, The Future Is Wild VR, was in development in 2016. According to Hillmann, the game was intended to be a first-person exploration game with survival elements, with players able to travel through five future time periods between 50 and 200 million years in the future. The game was also planned to introduce 20 new creatures, some of them based on designs originally intended for the unproduced The Future Is Wild 2. Hillmann had the opportunity to correspond with Dougal Dixon, who offered his input on some of the designs. As of 2019, the game was still in development. According to Hillmann, The Future Is Wild VR will eventually be part of a "major brand relaunch" alongside other types of The Future Is Wild media and material.

title: The Future Is Wild


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Hvar (town)

Hvar (Chakavian: For, Φάρος, Pharus and Pharina, Lesina) is a town and port on the island of Hvar, part of Split-Dalmatia County, Croatia. The municipality has a population of 4,251 (2011) while the town itself is inhabited by 3,771 people, making it the largest settlement on the island of Hvar. It is situated on a bay in the south coast of the island, opposite from the other nearby towns of Stari Grad and Jelsa.

The town of Hvar has a long and distinguished history as center for trade and culture in the Adriatic. A commune, part of the Venetian Empire during the 13th to 18th centuries, it was an important naval base with a strong fortress above, encircling the town walls and protecting the port. Cultural life thrived as prosperity grew, and Hvar is the site of one of the oldest surviving theatres in Europe, opened in 1612. The seven-hundred-year-old walls still survive, as do many of the noble houses and public buildings from 15th – 17th centuries.

By the 19th century, the port of Hvar was no longer a military base, and The Hygienic Society of Hvar (Higijeničko društvo u Hvaru), celebrating 150 years in 2018, took the economy of the town and the island in a new direction. As one of the earliest "tourist boards" in Europe, it was founded in 1868 with the purpose of providing "good care for visitors". Today, the town has a variety of hotels, galleries, museums, and exhibitions, including the Arsenal, Loggia, the Croatian Institute, and the Hvar Heritage Museum with its art and archaeological collections.

The port of Hvar, set in a picturesque natural bay, with the Pakleni Otoci island chain protecting it to the south, is a safe haven for boats year round. The town is a common port of call for yachts sailing around the Adriatic, especially in the summer months. There are regular catamaran ferry services from the port between Hvar and Split, Brač, Korčula, Lastovo, and Vis.

Municipality
The municipality of Hvar covers 7,535 ha, including the town itself and the settlements of Brusje (pop. 194), Jagodna (pop. 30), Velo Grablje (pop. 7), Milna (pop. 104), Zaraće (pop. 14) and Sveta Nedilja (pop. 131). The old settlements of Malo Grablje and Zaraće are no longer inhabited. Population figures from the 2011 census.

Geography

The town is located in a small bay on the south coast of the island of Hvar, towards the western end. The surrounding land is karst hillside, rising steeply from the Adriatic Sea. The rocks in the area are porous, mainly limestone and dolomite, so ground water is scarce. However, there is some agriculture where the terrain is sufficiently accessible, and can be irrigated, such as olive groves, vineyards, lavender, and rosemary.

The mountain range that stretches the length of the island acts as an effective barrier between Hvar town and the settlements to the north. In centuries past, it would have taken several hours to walk overland, or sail around the coast. The modern Stari Grad to Hvar road, with its new tunnel which was opened in the year 2000, now provides quick and easy access between the north and south.

The coastline is mostly steep and indented, with small gravel beaches in the bays. The Pakleni Otoci and the island of Galešnik at the entrance to the port of Hvar are protected landscape areas.

Climate
Hvar town enjoys a sunny Mediterranean climate, typical of the southern Adriatic, with mild wet winters and hot dry summers. During June to September, the average temperature is higher than 20 C, dropping below 10 C in just two months of the year (January and February). Winter days see highs between 10 and 18 C and lows from 4 to 10 C. Daytime high temperatures in the summer months range from 27 to 34 C and from 18 to 25 C for the overnight lows. During the summer, the westerly mistral wind blows through the Pakleni channel, providing welcome cooling during the day. Rain is rare here during spring and summer, though plentiful in autumn and winter months. Light snow occurs on average once every ten years, however, it does not stay on the ground long.

The average monthly temperature of the sea, from June through October, is 20 C. It is not unusual for the sea temperature to reach more than 27 C. The sea is always warmer than the air, except during the summer months. The current usually comes from the south-east.

History
The earliest known settlement on the site of today's Hvar town was Illyrian, lying on the hill slopes to the north side of the town square, which was then a small bay that came up to where the cathedral now stand, moreover (Ben) the cathedral is entirely surrounded by streets which resemble that of a block system common to American and Roman roads. On the site of the present Spanish Fortress stood a hillfort, the importance of which can be seen in the pottery from the site, indicating long-distance trade from the eighth century B.C. onwards. The ancient Greeks founded the settlement of Faros (384 BC) on the north of the island, from where they could control the fertile agricultural area, now known as the Stari Grad Plain. It has been proposed that there was concurrently a second Greek settlement called Heraclea, on the site of today's Hvar town.

With the arrival of the Ancient Romans around 2nd century BC, settlement on the island was expanded. Colonisation was mainly rural, based around Roman villas (villae rusticae). During the 7th–8th centuries, the Slavs arrived on the island. At this time, life on the coast was not safe due to raiding pirates, and the inhabitants moved inland. By the Medieval period, the population was gathered in villages well away from the coast for safety.

Following this unsettled period, the islanders asked the Venetian Empire for protection (1278). As part of the agreement, the southern settlement of Hvar was to be expanded and fortified as a safe base for the Venetian fleet. As the new administrative centre, the town assumed the name of Lesina (Hvar), and the ancient Greek town became known as Cittavecchia (Stari Grad, literally Old Town). Hvar became the centre of the independent commune government, the residence of the prince, and the base of the new diocese (consisting of Hvar, and the neighbouring islands of Brač, and Vis). The Venetians commissioned the construction of a new fortress, town walls, public buildings, and with the new prosperity, villages were gradually established along the nearby coastline.

By the 15th century, the town had become too confined within the old walls, so settlement extended onto the hill to the south. The medieval town was bounded to the east by the cathedral and to the west by the Arsenal, the Governor's Palace and marina. During this time, Hvar was the centre of the economic, political and cultural life on the island, and played an important role in Venetian shipping.

The 16th century was a return to more unsettled times, with persistent conflicts between the nobles and citizens, and repeated attacks from the Ottoman Empire, now occupying the mainland. In 1571 Hvar was sacked by the Turkish fleet on its way to the Battle of Lepanto, and only the fortress saved the townspeople. Just as the town was being rebuilt, it suffered further damage in 1579 as lightning struck the gunpowder magazine in the fortress. Many of today's public buildings in Hvar date from the reconstruction following the explosion.

In 1776, the Venetians moved their naval base to Kotor on the mainland, and the town of Hvar went into a decline. In summary, Hvar was part of the dominion of the Republic of Venice from 1278 to 1358 and again from 1420 to 1797, the year in which Napoleon took control of Venice. After a brief period under the French Empire, Hvar came under the Austrian Habsburg Empire in the early part of the 19th century, a period of exceptional economic and cultural life for the town. In 1868, "The Hygienic Association of Hvar" was founded, to promote the development of tourist services.

Economy
The town of Hvar is first and foremost a maritime port. Its location at the center of shipping routes in the Adriatic – both east–west and north–south – make it an ideal base for operations. In previous times, the fleets were the Venetian navy, or merchant traders from round the Mediterranean, North Africa and the Black Sea, even as far afield as up the Atlantic coast. Nowadays, the fleets are yachts, from sailboat charters to high-end luxury cruisers. The marina hosts a number of events year-round, including a New Year regatta.

Hvar is a destination for vacationers, especially during the summer season. There are a number of hotels in town, art galleries, museums, theatres, street cafes, and night clubs.

Culture
Hvar has a rich cultural tradition. Along with independent Dubrovnik, Hvar was an important centre of early Croatian literature, as well as for architecture, sculpture, painting and music. Well-known Croatian cultural figures such as Hanibal Lucić, Petar Hektorović, Vinko Pribojević, Mikša Pelegrinović, Martin Benetović and Marin Gazarović lived and worked on Hvar in the 16th and 17th centuries. The oldest recorded performances were ecclesiastical pageants, such as the Pageant of St. Lovrinac (Laurence) the Martyr, from the 15th century. In the early 16th century Hanibal Lučić wrote Robinja (The Slave Girl), the first piece of Croatian drama. Benetović's comedies followed, then the secular and ecclesiastical pageants of Marin Gazarović, and other works. Hvar's Theatre is one of the oldest in Europe, built in 1612. A lively theatrical tradition continued into the 19th century, especially at carnival time, when musical and theatrical performances were staged and masquerades (or cavalchins) were organized. Many national and international actors and musicians have performed here over the years, and continue to do so.

Cultural and artistic events within the Hvar Summer Festival take place throughout the summer, from late June to late September. These events include classical music concerts performed by national and international artists, and performances by amateur groups from Hvar. Performances are given nearly every day in a number of venues around the town.

The Gallery of Modern Art in Hvar is located in the Arsenal building, in the lobby of the historic Theatre. The permanent display contains the most valuable paintings, sculptures and prints from the collection, and temporary exhibitions are organised within the Museum project Summer of Fine Arts in Hvar. Other galleries, such as Lođa, Zvijezda Mora, Anuncijata, and Skorpion also host special exhibitions, and museums offer archaeological and historical displays.

The Hvar branch of the Croatian Institute has regularly organised cultural and artistic events, classical music concerts, exhibitions (Hvar Visual Arts Moment) and lectures by well-known Croatian artists and scientists. These events usually take place in the last week of July.

Hvar town is a protected Cultural Heritage area, as are the rural areas of Velo Grablje, Malo Grablje and Zaraće. In addition, there are five archaeological sites in the area: the hydro-archaeological site of Palmižana, villa rustica Soline, the prehistoric site of Vira, and the prehistoric Lompić fort in the Gračišće Bay.

Architecture

Hvar Town is encircled on its land-side by protective walls, and overlooked by two massive fortresses set on the hills above. The fortifications were commissioned by the Venetians in 1278, to create a haven for their fleet, and have been expanded in the centuries since. Within the walls, the public buildings and palaces combine Venetian architectural style, with a distinct local flavour in materials and workmanship. Much of the old town survives intact, in both layout and architecture, though more modern housing has developed in the surrounding areas.

The town walls date from the 13th century and, with later additions and renovations, stretch from the fortress down to the square where they join the third wall in an east–west direction. This wall is practically camouflaged by a series of patrician houses built into it. The walls are interspersed with four-cornered side towers, the construction of which lasted, with essential repairs, from the 13th to the 16th century. The current fortress Fortica, also known as Tvrđava Španjola (Spanish Fort) was constructed following the gunpowder explosion in 1579 which devastated the old fortress. Today, the fortress includes a modern tourist complex, and provides a superb view of the town and its surroundings. In 1811, during the rule of the Napoleonic Empire, a second fortress Trđava Napoleon was constructed on the higher hill to the northeast. The site now also houses an observatory.

At the heart of the town lies the Pjaca (Piazza), leading from the waterfront to the cathedral. This town square is the largest in Dalmatia at 4500 m², and was fully paved in 1780 when this section of the original bay was filled in. Buildings around the Pjaca are 15th to 17th century, including the Bishop's Palace, the Arsenal, the Governor's Palace and other public buildings. The town well in the middle of the square, dates from 1520.

The Arsenal building faces the waterfront on the south-west corner of the Pjaca. In its present form, the building dates from the reconstruction of the earlier 13th-century warehouse in 1579–1611. Beside the Arsenal is the arched façade of the Fontik, a communal store for cereals and salt. In 1612, Hvar Theatre was built on the first floor of the Arsenal, with entry from the Belvedere terrace above Fontik. The present-day interior – the stage and auditorium with boxes – dates from a major renovation in 1803, when the Theatre Association was founded. Two historical set designs from the 19th century have been preserved and can be seen on the back wall of the stage. The Arsenal building is currently under renovation

The Cathedral of Sv. Stjepan (St. Stephen) and the Bishop's Palace mark the eastern end of the Pjaca. This was the site of an earlier church and medieval Benedictine monastery, which became a cathedral when the Bishopric of Hvar was moved from Stari Grad in the 13th century. The present cathedral was built in stages during the 16th and 17th centuries, while the interior was not completed until the 18th century. It has a Renaissance-baroque style, and a façade with three-cornered gable and a Renaissance Bell Tower in Romanesque style from the 16th century. The sanctuary of the nave is the nave of the former Gothic church: the two pulpits, the stone polyptych with "The Altar of the Apostles", and reliefs "The Scourging of Christ" and the "Annunciation", from the workshop of Juraj Dalmatinac in the 15th century. There are eleven baroque altars, created by Venetian artists.

On the northern side of the Pjaca are many renaissance buildings, such as the Paladini Palace, and the unfinished Hektorovic Palace (Gothic, 15th century). The town Loza (Loggia) lies at the western end of the Pjaca, looking out on to the bay. Together with Leroj (Clock Tower), the Loggia is the only remains of the former Governor's Palace. The Communal Loggia (loggia communis) was first mentioned as early as in the 13th century and referred to again in the Statute of Hvar in 1331. The only remains of the Governor's Palace are two reliefs of the Venetian lion, a large well and a lintel from the Palace chapel dating from 1612. The new Loggia, a late Renaissance building, was the work of the master Tripun Bokanić in the 16th century. Today, the interior of the loggia is decorated in a neo-Renaissance style and serves as a reception hall and exhibition room for the Hotel Palace, and also for the town of Hvar.

A small enclosed marina Mandrać lies at the west side of the Pjaca, and is mentioned for the first time in 1459. In 1795 the Venetian District Governor Marco Dandalo finished the building of Mandrac by putting Baroque pyramids on the walls around it. The stone paved quay, called Fabrika, is one of the oldest in Europe, dating from 1554. On the cape to the south of the town lies the Franciscan Monastery with a church of Our Lady of Mercy, built in the late 15th century. Hanibal Lucić's grave is under the main altar in the church. The cloister, with its monumental rounded arches with a well in the middle, dominates the whole of the Renaissance monastery. The bell tower, in Renaissance style, is the work of an artist from Korčula.

Ljetnikovac Hanibala Lucića (Hanibal Lucić's Summer Residence) lies in the fields outside the town walls, to the east. Built in 1530, it is a fine example of a Renaissance country house with enclosed garden and outbuilding. Currently a museum.

Sights
The first Arsenal was built between 1292 and 1331 and it was used as a shipyard for galleys. New Arsenal was built at the same place in the 16th century but shortly after it was burnt down by the Turks in 1571. During duke Pietro Semitecolo's time, in 1611 Arsenal was renovated and expanded when it got its present look. Fontik (grain warehouse) was built in 1612 along the northern front of the Arsenal and also a big terrace above it, called Belvedere, from which the theatre, founded the same year, was entered. It was the first public theatre in Europe.

Church of St. Veneranda was built in 1561 by the Venetian authorities to serve Greek Catholic sailors in the service of the Venetian Republic. Alongside the Greek Catholic altar, another Catholic altar was raised in 1685 and dedicated to St. Francis. During the Russian invasion on Hvar in 1807 the monastery and the church were damaged. In 1811 the French invaders turned the monastery into a fort. In the mid-19th century the complex was sold to the renowned natural scientist Grgur Bučić, who founded one of the first weather stations in Croatia in 1858.

The Gothic-Renaissance Church of the Annunciation was first mentioned in the 14th century. It had an important role in the commoners' revolt in 1510, when it was used as a sort of headquarters of the insurgents. In the nearby street, insurgents swore to kill all the local noblemen which was why the wooden crucifix cried in blood in the house of Bevilaqua on 6 February, according to a legend. The relief of the Annunciation is in the Renaissance lunette above the portal, made under the stylistic influence of Niccolò di Giovanni Fiorentino. The church became a centre of the Brotherhood of the Holy Cross, which is still active.

The late Gothic Church of the Holy Spirit was built at the end of the 15th century by the Brotherhood of the Holy Spirit at the place of an earlier and smaller church from the 14th century. It was consecrated in 1494. The oldest bell in Hvar dated to 1487 has been preserved in the bell tower. During the French administration (1806–1813) the Brotherhood of the Holy Spirit was abolished. The Brotherhood of St. Nicolas, founded in 1861, succeeded the Brotherhood of the Holy Spirit. An altar piece with the depiction of the Madonna by Padovanino can be seen the church.

Stella Maris church was made by the local builders. It was built at the beginning of the 19th century along the old Venetian coast, at the place of an earlier St. Joseph's church. During the French administration the church lost its religious purpose and became a warehouse, but its cult was subsequently restored. The façade has a semicircular gable with Renaissance and Baroque characteristics. Baroque marble altar with sculpture of Our Lady of Comfort is set in the church, originally from the Augustinian church in Hvar.

Building of the fortress started after 1278 when Hvar came under the Venetian rule. Fortress with the town walls represents a unique defensive system. In 1551 a new fortress was built at the place of the old one and it offered protection to population who had taken refuge there during the Turkish invasion in 1571. Explosion of gunpowder depot caused by thunder considerably damaged the fortress in 1579. It was repaired during the Duke Pietro Semitecolo's time at the beginning of the 17th century by building the Baroque defensive bastions. The last army barracks were built in 1775/76 during the reign of Maria Theresa. Collection of amphorae is located in the fortress.

Church of St. Mary was built in the 15th century as a single-naved Gothic building, at the place of the earlier chapel of the Holy Cross. Inside the lunette of the main portal is a sculpture of the Madonna with Child, the work of Niccolò di Giovanni Fiorentino, set up in 1465–1471. Northern nave of the church with the Renaissance chapel of the Holy Cross was built in 1536. Inside the church we can see the 16th century altars, choir with Renaissance crucifix (Venetian work from the 16th century) and the grave of the local poet Hanibal Lucić. Matteo Ponzoni's painting "Last Supper" is in the reflectory. Library and museum collection are also in the monastery.

Town walls enclose the northern part of the town and they are connected with the Fortica fortress. Their building started in the 13th century and they got the present shape during the 14th and 15th centuries. Top of the walls is fortified with a battlement with merlons, crenels and a walkway. It is reinforced with square towers at several places. Eastern gate is called Porta Badoer. Local name is Gradno vrota which means city gate becausem as opposed to other gates which connect various parts of Hvar, this gate leads outside the town. City walls have four gates.

Originally in the defensive system of the city walls, Clock Tower (Leroj) used to belong to the Duke's Palace complex, which was pulled down at the end of the 19th century. A public clock was incorporated into the tower in 1466 by order of the Duke Venier. The bell which is presently on the roof of the tower is from the year 1564 and is decorated with religious motifs.

Chapel of St. Nicholas was built at the end of the 14th century or the beginning of the 15th century in the Gothic style, at the place of an earlier Augustinian monastery with a church. Augustinian order was abolished in 1787. During French administration church and monastery were demolished for the most part. Church shrine with a Renaissance arch was preserved and presently it is the Chapel of Our Lady of Sadness. This complex was allotted for the town cemetery in 1849. Western front of the cemetery has a big triangular gable and an iron gate with the year 1879. Central part of graves is at the level of the pavement while on the southern side there are graves with tombstones.

Hvar historical Theatre is located on the second floor of the Arsenal building. On the lintel over the entrance door of the theatre is inscribed: ANNO SECVNDO PACIS MDCXII. The year 1612, as the inscription says, was the second year of peace between the confronted sides of the Hvar commune. Auditorium with boxes is dated to the year 1803 when the Theatre Society was founded. Present neo-Baroque appearance dates back to the middle of the 19th century. Two wall scenographies were preserved, fresco from 1819 is still at the back wall of the stage. Fresco from approximately 1900 depicting Duke's Palace was restored and set on large movable boards.

Monastery and the Church of St. Mark were first mentioned in 1312 and present remains date from the 16th and 17th century. Dominican Vinko Pribojević held his famous speech "On the Origin and Glory of the Slavs" in this church in 1525. In former triple-naved building there are graves of local families from the 15th to the 18th century, and the church was also used for the Town Council meetings. Monastery was abolished in 1811 during the French administration. Apse of the church was turned into a chapel in the end of the 19th century.

The Benedictine Convent has been located here since 1664, originally in the residential complex of the poet Hanibal Lucić's family, which was left by his daughter-in law in her will to the Benedictines in 1591. Next to the convent is the Baroque church of St. Antony the Abbot and John the Baptist from the 17th century and the convent collection of arts and lace made of agave threads which nuns have been making from the 19th century and which is inscribed in the UNESCO's List of the Intangible Cultural Heritage of Humanity.

The lower Paladini palace was built by the galley commander and knight Nikola Paladini in the floral Gothic style at the end of the 15th century. In 1870, the owner, doctor Dominik Gazzari changed the façade and the palace got its present look in the 19th century on the basis of Vičenco Kovačević's design. The ground floor and the disposition of windows on the floors were changed. This palace used to be called "summer palace", because before it was reconstructed there had been more rooms on the north side, which protected them from the summer heat.

Palace Užižić, earlier known as the Hektorović Palace incorrectly, was built about 1463 in floral Gothic style, at the place of the early Gothic house from the end of the 14th century, which is preserved within the present palace. It was built above the southern city wall, with a façade richly ornamented with single and triple lancet windows. The palace did not block the passage through the street in accordance with the Duke's decree. Members of the old noble family Užižić served as municipal officials performing various official duties. The palace remained unfinished for more than 500 years.

Central St. Stephen's square in the or Piazza is the largest square in Dalmatia. Originally it was a deep bay which was filled with rocks for centuries until it got its present dimensions. Subsequently, it was a space between two fortified cities: Groda on the north and Burg in the south. By the 15th century Piazza was formed with the cathedral in the east and sea in the west. It used to be wider than it is presently but due to shortage of space in the fortified city, houses were built on the northern part of Piazza in front of the city walls. Communal well in the center of Piazza dates from 1520. Piazza was fully paved in 1780.

On the southern wall towards the main square two gates were opened out of which the western one has the monumental portal in the Gothic style. It is called the Main Gate (Porta Maestra) and the Gate of the Palmtree (Porta del datallo) from the 15th century. In the 16th century this gate was also called the Market Gate (Porta del mercato).

Notable residents

 * Hanibal Lucić (1485–1553) – author
 * Mikša Pelegrinović (1500–1562) – author
 * Petar Hektorović (1487–1572) – poet, author
 * Vinko Pribojević (16th century) – historian, author
 * Martin Benetović (1553–1607) – playwright, author, musician, painter
 * Marin Gazarović (17th century) – poet, playwright, author
 * Ivan Vučetić (1858–1925) – criminologist, pioneered the use of fingerprinting
 * Grga Novak (1888–1978) – historian, archaeologist
 * Dinko Fio (1924–2011) – composer, founder of Klapa Nostalgija
 * Gabi Novak (born 1936) – singer
 * Marin Carić (1947–2000) – theatre director
 * Slobodan Prosperov Novak (born 1951) – professor, history
 * Kuzma Kovačić (born 1952) – sculptor

title: Hvar (town)


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Minilab

A minilab is a small photographic developing and printing system or machine, as opposed to large centralized photo developing labs. Many retail stores use film or digital minilabs to provide on-site photo finishing services.

With the increase in popularity of digital photography, the demand for film development has decreased. This means that the larger labs capable of processing 30,000-40,000 films a day are going out of business, and more retailers are installing minilabs.

In Kodak and Agfa minilabs, films are processed using C41b chemistry and the paper is processed using RA-4. With these chemical processes, films can be ready for collection in as little as 20 minutes, depending on the machine capabilities and the operator.

A typical minilab consists of two machines, a film processor and a paper printer/processor. In some installations, these two components are integrated into a single machine. In addition, some digital minilabs are also equipped with photo-ordering kiosks.

Despite their small size, minilab machines may use chemical processing just like larger dedicated photo processing labs, using processes such as CP-49E or RA-4 for photographic paper processing, and C-41 for film processing. All necessary processing chemicals may arrive in a box (replenishment cartridge) containing enough bleach, developer and fixing agents to be mixed automatically for an estimated amount of paper, eliminating the need to manually handle and mix chemicals. Minilab machines were used in stores to perform film processing and printing in a short period of time, usually less than one hour from start of film development to the end of printing, partly because it eliminated the need to send rolls of film and printed photos to and from a large central photo processing lab.

Film processor
35 mm films are pulled, this means all of the film is extracted from its roll. This can be done manually or by using a small machine that essentially uses tape to pull the film leader and all of the film out of the cassette. This small machine may be integrated into the film processor. If so, rolls are inserted inside a chamber, slot side towards the inside of the machine pointing downwards at an angle of 45°, the chamber is closed and the film inside the rolls is pulled into the processing mechanism. In cases when the end of the film cannot be removed or if the film is damaged, the film can be removed using a dark bag or a dark box. Before processing, a twin check number (a pair of stickers with a unique number) is manually put onto the film and the matching number onto the film processing envelope, so that after processing this film can be easily identified to the customers envelope. Films are spliced on the leader cards one or two at a time, to do this the end of the film is cut square, special chemical-resistant tape is used to attach the film to the leader card. The leader cards are then inserted into the film processor mechanism and are fed through the machine using sprockets in the card. The film goes through a developer, bleach, fix and stabilizer, then through a dryer. After the film is processed it is cut from the leader card and reunited with the processing envelope containing the customer details, and then from here the film goes forward for printing. Alternatively the film may be used immediately to expose silver halide photographic paper, shining a bright light through the film and into the paper using lenses for optical enlarging, which is then processed like film in a separate mechanism. Or the film may be digitally scanned using a CCD image sensor, corrected using software, and sent to a digital silver halide printer.

A minilab is typically a Roller Transport processor, where the film follows a serpentine path over many rollers. Each chemical processing step is done using a chemical immersion tank with replenishment to keep the chemicals fresh. Film advances down into the tank and then turns and rises up and out, then advances down into the next tank, and so forth. Chemical exposure timing is a combination of film advance speed and the physical length of the serpentine film path immersed in the fluid. The fluid in the tanks is usually agitated, filtered and warmed to 100 °F (necessary for the C-41 process), and the fluid also needs periodic replacement. The Film processor also has a dryer, just like wet silver halide printers.

A single minilab can be built to allow many different film widths in one device, from APS films to professional wide format films, using a flexible leader to pull the film through the mechanism. The leader is as wide as the widest possible format, and films attached to it are supported by guide rollers only. The leader may be gripped on each side between toothed drive belts following the same path as the film through the mechanism.

An example of a film processor minilab is the Noritsu QSF series of machines.

Photo printer
Most printer/processes are computer controlled. The front of the film is fed into the printing gate. Sensors see the film and forward the film to the first frame. DX codes on the edge of the film are read by the printer and the film channel is selected accordingly to give the optimum result.

The paper stock is usually a continuous roll which is cut according to the size requirements of the customer. Different image widths are handled using different roll widths, and each width is usually done as a batch process of images all the same size. The light-sensitive photographic paper stock can be contained within light-tight packaging so that the minilab operator only needs to remove the old empty paper container and insert a full one, without needing to darken the room to prevent paper exposure.

Each frame is printed one at a time, the photographic paper is advanced each time and when there is sufficient frames printed the paper automatically advances into the paper processor. The paper passes through a developer, bleach/fix, a wash, and dryer. The prints are then cut up and are collected in a bundle. From here a smaller machine is used to cut the negatives into fours and sleeved to protect them. An intermediate step that conditions the paper using conditioning chemicals may be carried out on the paper before it is dried.

Older minilab printers are analog (optical) and directly expose the paper by shining light through the film and into the paper using an optical enlarger, before developing the paper. Newer minilab printers are digital and first scan the film, whose pictures may then be digitally corrected before being sent off to the printer, which may either expose the paper using lasers and then develop the paper, or be "dry" and essentially be a large inkjet printer. Those that develop the paper are known as Silver halide printers or minilabs. Dry inkjet minilabs are slower than their wet silver halide counterparts but consume less power, in part because dry minilabs do not need power to keep the development chemicals warm. Some minilabs may use light valves instead of lasers.

Printing is carried out using a Photographic printing process that uses modulated red, green and blue laser beams (channels) to directly expose the photographic paper. The laser beams are often controlled (modulated) individually from one another using their own acousto-optical modulator (AOM) crystal, each of which is driven by its own AOM driver. The AOM driver can often fail causing problems in the image produced by the printing process. Many minilabs use DPSS lasers while others use laser diodes to generate the laser beams, or may use both. The printer may also print information onto the back of the paper for identification. Alternatively the laser beams may be modulated directly by varying the power sent to the laser diodes. Often the green and blue lasers are DPSS lasers. Lenses, diaphragms and mirrors are used to ensure that the laser beams are round and converged to ensure that the exposed image is in focus.

Light bleeding or other problems may occur when using this process; light bleeding results in color fringing. Light bleeding occurs due excessive amounts of laser light during exposure. Due to this Minilabs may use a variant of Grey Component Removal (GCR) to minimize exposure to laser light when printing shadows but not when printing solid colors. This printing process may need regular calibration to achieve the best possible results.

Calibration may be performed using a stored profile that may vary depending on things such as the type of paper on the printer or with a calibrator, and the printer may also apply some form of color management. Printers making use of this process can make prints of images that have been scanned using the printer's built-in CCD scanner, images that are in CDs, 3.25 inch floppy disks, ZIP disks or memory cards. More recent (~2005) minilabs may also function as network printers.

Digital wet laser minilabs work in the following way: The paper is pulled from a light-tight box called a "magazine" containing a roll of paper and cut into sheets, or sheet paper may be used. After cutting an inkjet printer marks each sheet with up to 80 characters of information spread over 2 lines, before exposure using a scanning and modulated set of red, green and blue laser beams. After exposure by lasers, the paper passes through tanks, one containing a developer, the next a bleach/fixing agent (which may also be separate) and the next containing filtered rinsing water followed by tanks with conditioning chemicals, before being dried with hot air, ejected and sorted. The chemicals may be automatically mixed from a cardboard box containing the necessary chemicals in separate bottles. The minilab contains filters and heaters for the chemicals, and it discards used chemicals into a separate, single bottle. Minilabs may contain 2 or 4 magazines, each with a paper roll of different width. The laser beams are scanned across the paper using a rotating mirror octagon driven by a stepper motor. Each full rotation of the octagon exposes 8 lines on the paper. Sensors are used to synchronize the rotation of the octagon with the signals sent by the AOM drivers to modulate the lasers. The lasers and AOMs are inside a dust-tight enclosure. Dust outside the output window of the enclosure can affect image quality. The lasers may be heated and their temperature monitored.

The final job is to put the negatives with the prints into a wallet and into the processing envelope. The order is then priced and placed into a rack or drawer waiting for the customer to collect.

Some minilabs have trays that move down; as the prints are made they are ejected from the machine; then a conveyor belt moves the prints sideways towards the tray, depositing them onto it. As soon as the tray has all the prints it needs it moves down and then an empty one drops on top of it, and the process repeats. This can be used to categorize prints, so that all prints belonging to an order are together. Other minilabs may use other mechanisms to categorize prints. This mechanism is called a sorter. Each tray has all the contents of a single order.

An example of a digital minilab silver halide printer is the Noritsu QSS series of machines.

History
The first minilab, the QSS-1 (Quick Service System 1) was introduced by Noritsu in 1976. In 1979 Noritsu released the QSS-2, which for the first time allowed for photo processing, from film development to color printing in just 45 minutes. In 2002 Noritsu introduced the first dry minilab, using Epson's seven color inkjet piezoelectric printing head. It was significantly cheaper than its "wet" silver halide counterparts. In 1996 Fujifilm released the first digital minilab, the Frontier 1000.

Analog silver halide minilabs were replaced by Digital laser silver halide minilabs, which were replaced by dry inkjet minilabs. Dry minilabs used to be more expensive to run than their wet counterparts, but that situation reversed in 2013.

By the end of 2005, two manufacturers, Agfa and Konica went out of business. Minilab Factory GmbH took over the renowned minilab branch of Agfa in 2006. Gretag Imaging, not to be confused with former Gretag Macbeth, went bankrupt in December, 2002. Subsequently, the minilab related assets were sold to the newly formed San Marco Imaging. The wholesale lab related assets were sold to KIS Photo Me Group. In 2006, Noritsu and Fuji announced a strategic alliance. Noritsu were for a short time manufacturing all of Fuji's minilab equipment until they discontinued production. Fujifilm resumed production of the Frontier LP5700R and this remains available as of Dec 2017. Fujifilm's inkjet minilab or dry lab products are sourced from Noritsu and increasingly from Epson who also supplies the older type print head to Noritsu.

Digital minilab

A digital minilab is a computer printer that uses traditional chemical photographic processes to make prints from digital images. Photographs are input to the digital minilab using a built-in film scanner that captures images from negative and positive photographic films (including mounted slides), flatbed scanners, a kiosk that accepts CD-ROMs or memory cards from a digital camera, or a website that accepts uploads. The operator can make many corrections such as brightness or color saturation, contrast, scene lighting color correction, sharpness and cropping. A set of scanning and modulated laser beams, LCD/LED, or Micro Light Valve Array (MLVA) then exposes photographic paper with the image, which is then processed by the minilab just as if it had been exposed from a negative.

The price of a digital minilab can reach up to $250,000 USD. A minilab, such as a Doli DL 1210 has a print resolution of 520dpi, accepts BMP, JPEG, and TIFF formats, and can print up to 8in by 12in. The most popular brands include KIS, Noritsu, Doli and Fuji.

Digital minilabs are generally too expensive for typical home use, but many retailers purchase or lease them to offer photo printing services to their customers. The resulting photographs have the same quality and durability as traditional photographs since the same chemical processes (e.g. RA-4) are used. This is often better than can be achieved by typical home inkjet printers, and for smaller prints generally less expensive.

A new type of minilab is the dry lab, which does not require the use of developer or fixer chemicals, and does not require moistening and then drying of the print. These machines are cheaper, smaller, and use inkjet printing instead of a chemical developing process. This allows them to be installed in smaller retail stores, print shops, and resort/tourist locations that could not justify an expensive, high throughput, wet minilab. Standard questions of inkjet quality and longevity apply.

Dry minilab

"Dry lab" is a term that evolved in the professional and consumer segments of the photo printing industry to distinguish later, chemistry free (or "dry") photo printing systems from traditional, silver halide (or "wet") systems.

There are currently two technologies used by manufacturers as print engines for either professional or commercial "dry labs". Although not strictly "dry", the first technology is a dye based, four colour (Yellow, Cyan, Magenta & Black) inkjet system. Inkjet based dry labs output prints with a relatively wide colour gamut although colours may take a few hours to stabilise after printing while the ink fully dries. The second technology that can be used is "dye diffusion thermal transfer" or D2T2 technology. D2T2 is a three colour (Yellow, Cyan & Magenta) thermal process whereby the colour dyes are transferred from an ink ribbon onto, or rather into, the surface of a special paper substrate. "Dry labs" are becoming increasingly popular with users as they are cheaper and easier to maintain than wet labs.

title: Minilab


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Wikipedia:Articles for deletion/Elyse Sewell

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the article's talk page, if it exists; or after the end of this archived section. The result of the debate was no consensus --cesarb 14:59, 24 Jun 2005 (UTC)

Elyse Sewell

 * KEEP - Active working model, author, noted blogger, and a personality to boot. Those who say that this should be deleted because she was just the "loser of a game show" and other similar comments obviously do not know enough about her to be able to have any valued opinion on this.
 * KEEP- Elyse is a Top model of Hong Kong, she published a book, she has a famous blog, she appeared on a reality television show, she has 3 modeling agencies, she was named one of Wired's 10 sexiest geeks, Hong Kong's Cover Magazine named her the face of 2005, she has been in countless advertisements and on many magazine covers, she was in a 'Shins' music video, etc. She is overqualified to be on Wikipedia, this is ridiculous!
 * Keep- Easily the most entertaining and captivating character on the first season of a successful show. Many fans of the show favored her over the winner and her modeling career is steadily growing, whereas the winner has all but given up on modeling.
 * Loser of a game show. Non notable. Alphax τεχ 14:30, 14 Jun 2005 (UTC)
 * Delete Not notable for anything. Copyrighted images need to be deleted as well. Ashibaka (tock) 14:49, 14 Jun 2005 (UTC)
 * Delete nonnotable. "third to next top model" is not fame. mikka (t)
 * Abstain. Potentially she could be notable as a model (i.e. for work done after her appearance on America's Next Top Model), although more evidence would need to be provided. --Metropolitan90 04:51, Jun 15, 2005 (UTC)
 * Change my vote to Keep per information provided by User:Pictureadder and User:Schreck37; the Harper's Bazaar cover is verifiable. --Metropolitan90 01:49, Jun 17, 2005 (UTC)
 *  Weak Keep marginal notability. JamesBurns 05:54, 15 Jun 2005 (UTC)
 * Delete, come back when you win something. Radiant_ >|< 09:04, Jun 15, 2005 (UTC)
 * Keep-- Elyse is absolutly notable. She is a role model. She is one of the most successful girls Top Model has ever produced. She was in a nationally-airing television comercial and has appeared on several magazine covers. One of her confessionals was rated number 16 on E!'s Most Outrageous Reality TV Moments. She was one of the most notorious girls from her cycle of ANTM. "How non-notable!!!!!!!!!!"
 * Keep--Flagger commented that Elyse is non-notable. This person is starting to be very very well known.  In fact, the E channel took note of her this year. E placed Elyse as 16th in their All Time Most Outrageous Moments.  Please note that all other placers on the show are noteworthy.  Elyse is also burning the internet wires.  Statistics on internet searches this weekend showed that searches for Elyse zoomed more than 500% where as the actual winner's searches zoomed only 250%.  Elyse has been on covers of magazines.  The winner has not.  We know that runners up often achieve more than actual winners do.  With all the other stupid stuff I have seen on Wikipedia in doing my pre-writing work, I cannot believe you would consider deleting her.  Please go to the referenced blog and read thru more than the current entry.  If there is a problem with the pictures, I'll switch them out.  I see you used pictures from the show Elyse was on at the America's Next Top Model page.  If there are no problems with those, there should be no problems with these.  Also, Elyse Sewell's name has been listed on America's Next Top Model page as a contestant because writers of that page, not me, felt the listed contestants are what the show is focusing on each week for more than a couple of months.  She did not appear for just one show and that was it.  She was narrating sections each week for months.  Now the show is being broadcasted over and over again on VH-1. Thank you  Writer of the Article, College Professor, Also known as Pictureadder
 *  Comments regarding sockpuppets, honor, any other subsequent allegations and this process I will write on my personal page. ADMINISTRATORS PLEASE GO TO MY PERSONAL PAGE  Pictureadder 16 June 6:33am

 * Delete The fact that Pictureadder is a professor somehow makes Elyse Sewell more notable? Could rename it to the "next to the next to the next top model". --Xcali 17:57, 15 Jun 2005 (UTC)

 * Keepish Someday, somebody's going to need to look her name up. Gzuckier 13:50, 15 Jun 2005 (UTC)

 * Keep The entry on Elyse should be kept, because she is the only contestant on any season of Top Model to amount to anything in the modeling world that wasn't simply given to her by Top Model's producers. Elyse has appeared on the cover of an Asian edition of Harper's Bazaar in addition to working steadily in Hong Kong and other locations around the world. Keeping her entry provides a useful contrast to the sadly lacking modeling careers of the so-called "winners" of this increasingly laughable reality TV show and highlights its haphazard judging.--Schreck37 21:57, 15 Jun 2005 (UTC)
 * First contribution from Schreck3 (talk • contribs). Suspected sockpuppet. Alphax τεχ 04:59, 16 Jun 2005 (UTC)
 * Keep Whether she's making a big name as a model is irrelevant; the point is that she has a good sized fan base and is going to be of ongoing interest to them, and to those who hear them mentioning her. She may not have won the TV contest, but she was by most reports the main reason the show was a hit -- such a significant hit that the UPN network remade their entire schedule to try to appeal to young female viewers, discarding boy shows like Star Trek: Enterprise.  Since she has been published more than once as a humor writer (which ought to be mentioned in the entry), and her blog audience is growing exponentially due to her wit as a raconteur, this is not someone who is going to drop out of the public eye just because of not being a superstar in modeling. --Paul Kienitz 00:27, 16 Jun 2005 (UTC)
 * First contribution from Paulkienitz (talk • contribs). Suspected sockpuppetAlphax τεχ 04:59, 16 Jun 2005 (UTC)

 * ''The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be placed on a related article talk page, if one exists; in an undeletion request, if it does not; or below this section.

This page is an archive of the proposed deletion of the article below. Further comments should be made on the article's talk page, if it exists; or after the end of this archived section. The result of the debate was Keepkju 05:57, 11 July 2007 (UTC)

 * Non-referenced, pure advertising, and non-notable person. She was on a reality show 5 years ago. Delete! 71.199.240.158 21:16, 1 July 2007 (UTC)
 * Keep Again- This article was put up for deletion two years ago as the dates here indicate. Since then, the article was kept and has undergone a high volume of edits over the years.  Many people keep track of what she is doing.  As the history indicates, she was named "Face of the Year" by a major magazine in Hong Kong.  She appeared in a commercial with Chow Yun Fat.  She has written a popular book.  Most of the information in her entry could be sourced by the book she wrote.  I don't make a lot of Wikipedia entries or updates so I didn't write a cite myself.  In Wikipedia, models have their cover and campaign credits listed so readers know what the people are famous for.  Elyse has a multitude of credits.    ThanksUser:Pictureadder July 3, 2007 (UTC)
 * Keep She is the most notable of the models (especially as an American in China), and the only model from the show I know of that is working in that field as a result of her appearance of said show. With a book too, that should solidify her article's status as a keeper. Jimcripps 04:24, 6 July 2007 (UTC)
 * Keep She is the most notable model from the show, and has written a book. She appears in a lot of decent magazines in HK, and has appeared in a TV commercial with Chow Yun-Fat.  That's notable enough for me.kju 07:09, 6 July 2007 (UTC)
 * Keep - Aside from her notoriety as a reality TV star and her notoriety as an international model, she is also a blogger of note. Her livejournal blog is an interesting look at the world of modeling from the inside, but also a humorous commentary by an American living and working abroad. She has a clean, quick, modern writing style; her viewpoint is open and curious; and she is passionate about the diversity around her. She's a great role-model for the future-- the new global citizen. Mary919 July 9, 2007
 * Keep - She is a published author, a printed model, and a face recognized by America's Next Top Model fans internationally.
 * Keep - Elyse is a internationally recognized blogger, book publisher, model, and cult icon to millions watching ANTM all over the world.
 * KEEP- Not notable? She is an author not only of a published book but an internationally famed blog which is read by thousands every month (if not more). She is one of the ONLY contestants of "America's Next Top Model" to actually have and sustain a successful modeling career - perhaps the only one to do so at an international level.  How she is not a notable figure is beyond me...


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Talk:Full outer shell

For a May 2005 deletion debate over this page see Votes for deletion/Full outer shell

title: Talk:Full outer shell