text:
Memetic engineering

Memetic engineering, also meme engineering, is a term developed by Leveious Rolando, John Sokol, and Gibron Burchett based on Richard Dawkins' theory of memes.

 * The process of developing memes, through meme-splicing and memetic synthesis, with the intent of altering the behavior of others in society or humanity.
 * The process of creating and developing theories or ideologies based on an analytical study of societies, cultures, their ways of thinking and the evolution of their minds.
 * The process of modifying human beliefs, thought patterns, etc.

In contrast, gutation is a term developed by Erik Buitenhuis and is:

 * The process of altering the behaviour of oneself, with the intent of developing new memes.

Definition
According to the theory of Memes coined by Richard Dawkins, evolution depends not on the particular chemical basis of genetics, but only on the existence of a self-replicating unit of transmission—in the case of biological evolution, the gene. For Dawkins, the meme exemplified another self-replicating unit with potential significance in explaining human behavior and cultural evolution: the effect a meme has on society is based on the application of the meme after understanding the qualities essential to the meme. According to the theory, memetic engineering is, simply put, the analysis of an individual or individuals' behavior, the selection of specific memes and the distribution or propagation of those memes with the intent of altering the behavior of others. A memetic engineer doesn't particularly have to consciously make the decision to alter another individuals behavior. It can happen unconsciously when specific behavior is observed, transmitted and then replicated within the observer. Memes themselves are neither good nor bad. For example, "racism" is an ideology that is made up of several memes. When a meme is introduced, those concepts begin to take on their own process of evolution based on the person who adopts the ideology, internalizes it, and reintroduces it into society causing it to spread like a virus.

According to the above theory, typical memetic engineers include scientists, engineers, industrial designers, ad-men, artists, publicists, political activists, and religious missionaries.

Dawkins agrees that much of theology and other theoretical aspects of religion can be viewed as the careful, even worshipful, handling of extremely powerful memeplexes with very odd or difficult traits.

Origins of memetic engineering
Memetic Engineering developed from diverse influences, including cutting-edge physics of consciousness and memetics research, chaos theory, semiotics, culture jamming, military information warfare, and the viral texts of iconoclasts William S. Burroughs, J. G. Ballard, and Genesis P-Orridge. It draws upon Third Culture sciences and conceptual worldviews for Social Engineering, Values Systems Alignment, and Culture Jamming purposes. An important example of macro-historical memetic engineering analysis explaining how domination, patriarchy, war and violence are culturally programmed is Riane Eisler's The Chalice and the Blade (San Francisco: Harper SanFrancisco, 1988), which outlines her Dominator and Partnership Culture thesis. The savvy memetic engineer is able to isolate, study, and subtly manipulate the underlying values systems, symbolic balance and primal atavisms that unconsciously influence the individual psyche and collective identity. A highly educated but susceptible intelligentsia, worldwide travel, and information vectors like the Internet, cable television, and tabloid media, means that hysterical epidemics and disinformation campaigns may become more common. This warfare will be conducted using aesthetics, symbols, and doctrines as camouflage that will ultimately influence our cultural meme pool. These contemporary life conditions (Historic Times; Geographic Place; Existential Problems; and Societal Circumstances) are explored in books like Carl Sagan's The Demon Haunted World: Science As a Candle in the Dark (New York: Ballantine Books, 1996), John Brockman's The Third Culture: Beyond the Scientific Revolution (New York: Touchstone Books, 1996), and Michael Shermer's Why People Believe Weird Things: Pseudo-science, Superstition, and Other Confusions of Our Time (New York: W.H. Freeman & Co, 1996). Fictional descriptions of memetic engineering include Isaac Asimov's seminal Foundation Trilogy (New York: Bantam Books, 1991), George Gurdjieff's artificial mythology Beelzebub's Tales to His Grandson (New York: Penguin USA, 1999); Neal Stephenson's novels Snow Crash (New York: Bantam Spectra, 1993) and The Diamond Age (New York: Bantam Spectra, 1996); and Robert W. Chambers' unearthly The King in Yellow (Buccaneer Books, 1996) tome, which influenced seminal horror author H. P. Lovecraft.

Applied memetic engineering
Memetic engineering as a social science lends examples of itself in multiple areas and disciplines. It is currently being examined and researched by the US military as a means to counterinsurgency and combat terrorism as explained below in "From the Clash to the Confluence of Civilizations" by Thomas P.M. Barnett, an American military geostrategist, and Richard J. Pech's "Inhibiting Imitative Terrorism Through Memetic Engineering".

Other examples of applied memetic engineering are present but not exclusive to the marketing and advertising industries. The question is whether these individuals can be truly considered memetic engineers. Marketing and advertising professionals create memes on an ongoing basis; however, this alone doesn't necessarily qualify them as being memetic engineers. Few if any actually fall into this category. This is possibly due to a lack of understanding of the various memes that have taken root in their target audience minds. According to the definition, industrial designers, musicians, artists, athletes, and other entertainers would more likely better serve this definition. This is because of their ability to create products, phrases and ideas that disseminate the population triggering a response within the brain causing a cultural phenomena.

Game theory provides an empirical means of advancing the science of memetics. Memetic game theory, attempts to mathematically capture behavior in strategic situations; where an individual's success in making choices depends on the choices of others, based on past experiences, emotional behavior and learned behavior. It also offers a scientific approach to analyzing social interactions.

Examples
An example of an engineered meme is Godwin's law, a meme which propagates on mail-lists, and which its author professes to have initiated to reduce spam on those lists; one version is "When someone posts a metaphor about Nazis the thread is no longer useful."

Richard Pech discusses the concept of memetic engineering within the context of countering mind contagions associated with terrorism. School shootings, for example, may be explained as an attempt to demonstrate the ultimate form of rebellion against a system in which the perpetrators feel ostracised or isolated. Acts of violence might appeal to their egos and the means for achieving this is replicated via the shooting meme. To re-engineer such a meme and its ability to infest susceptible minds, all information concerning such violence must be portrayed in an unappealing manner. For example, no one wants to be associated with acts of cowardice. By strongly suggesting that such violence is cowardly and the work of disturbed minds, it has less appeal for replication. In this manner the shooting meme has been re-engineered by removing its attraction, and therefore removing its ability to replicate.

Taiwan
The Taiwanese government has installed memetic engineering teams in each government department which can respond within 60 minutes to disinformation efforts using a “humor over rumor” approach. These teams are used to counter Chinese political warfare efforts as well as domestic disinformation.

title: Memetic engineering


text:
Slow

Slow may refer to various basic dictionary-related meanings:

 * Slow velocity, the rate of change of position of a moving body
 * Slow speed, in kinematics, the magnitude of the velocity of an object
 * Slow tempo, the speed or pace of a piece of music
 * Slow motion, an effect in film-making
 * Slow reaction rate, the speed at which a chemical reaction takes place

Slow, SLOW, Slowing or Slowness may also refer to:

Music

 * Slow (band), a 1980s Canadian band

Albums

 * Slow (Richie Kotzen album), 2001
 * Slow (Starflyer 59 album), 2016
 * Slow (Luna Sea album), 2005
 * Slow (Ann Hampton Callaway album), 2004
 * Slowness (album), an album by cantopop singer Kay Tse

Songs

 * "Slow" (Kylie Minogue song), 2003
 * "Slow" (Rumer song), 2010
 * "Slow" (Matoma song), 2017
 * "Slow" (Jackson Wang & Ciara song), 2023
 * "Slow", song by The Fratellis from the album Eyes Wide, Tongue Tied (2015)
 * "Slow", song by Lisa Mitchell from the EP Said One to the Other
 * "Slow", song by Professional Murder Music from the album Professional Murder Music

Film

 * Slow (2023 film), Lithuanian romantic drama

Books

 * In Praise of Slow, a 2004 book by Carl Honoré containing his analysis of the "Cult of Speed"
 * Slowness (novel), a 1993 novel by Milan Kundera

Culture

 * Slow dance, a type of partner dance
 * Slow movement (culture), a cultural movement that emphasizes a slower pace in a variety of lifestyle and social areas
 * Slow living, a lifestyle applying the Slow Movement philosophy
 * Slow reading, the intentional reduction of the speed of reading
 * Slow Food, an organization that promotes local food and traditional cooking

People

 * Slow (DJ) (born 1975), Finnish producer and DJ
 * Húŋkešni or "Slow", the nickname of Sitting Bull, a Hunkpapa Lakota leader
 * Edward Slow (1841–1925), English poet
 * Mary Taylor Slow (1898–1984), British physicist
 * Robin Slow (born c. 1948), New Zealand Māori painter
 * Warwick Slow (born 1990), New Zealand radio DJ and media personality
 * Karen Slowing (born 1968), Guatemalan swimmer
 * Melanie Slowing (born 1973), Guatemalan swimmer

Other uses

 * South London Orienteers and Wayfarers (SLOW), an orienteering club
 * Slowness (seismology), a property of a seismic wave

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

title: Slow


text:
Talk:Gloriosa (plant)

If someone knows a list of the pollinators for this plant, that could be an interesting addition to the page. The variety that grows "wild" in my North Florida yard has a very unusual presentation of its pistils and stamen.

Species
It appears as if G. rothschildiana is a synonym of G. superba var Rothschildiana Shyamal 04:53, 17 October 2005 (UTC)

Cultivation
According to http://www.hort.purdue.edu/newcrop/CropFactSheets/gloriosa.html it is in wide cultivation in India, the only commercial substance that I could find that was obtained is colchicine which is a pharmaceutical. Is colchicine used so widely that make it necessary to cultivate G. superba in big quantities? --198.54.202.82 23:10, 10 May 2006 (UTC)

National Flower
Hi

The article fails to mention that the Flame Lilly is the National Flower of the Republic of Zimbabwe. It also varies from region to region in said country, with a more brown coloured flower being found in the south (Matabeleland region), a purple or yellow flower being founf in the eastern highlands (Manicaland region) and the red and yellow found in the north (Mashonaland regions) there is also red flower that is found in various areas. One would expect the soil to have something to do with this variation, but we had both red and red and yellow flowers in our garden in Bulawayo (in the south). It is a protected flower in the country, and you would need a permit to obtain one in Zimbabwe.

Thank-you for allowing me to add my tuppence.

PJ (proud Zimbabwean)212.158.219.84 13:47, 29 January 2007 (UTC)

PS I have just read the article, and am very happy to see that you have added the fact that it is our natioanl flower. Thank-you. 212.158.219.84 13:56, 30 January 2007 (UTC)

Other languages
I think the large table of names in other languages should be moved to their respective language pages. --Weedgarden (talk) 02:15, 23 February 2010 (UTC)

title: Talk:Gloriosa (plant)


text:
Talk:Yoder (surname)

This page was voted on for deletion at Votes for deletion/Yoder (surname). The final result was Merge and redirect with Yoder. --Deathphoenix 21:00, 26 May 2005 (UTC)

title: Talk:Yoder (surname)


text:
San Martín de Porres District

San Martín de Porres (SMP) is a district in Lima, Peru, located in the north area of the city. It is bordered by the Chillón River, marks its natural border with Ventanilla and Puente Piedra on the north; Callao on the west; Los Olivos, Comas on the northeast; Rímac and Independencia districts on the east; the Rímac River marks its natural border with Lima District and Carmen de la Legua Reynoso on the south. It is the second most populated district of Lima metropolitan area and Peru.

History
Since 1945, continuous invasions of territory in what was then part of the Carabayllo District, ended up in the creation of the Distrito Obrero Industrial 27 de Octubre on May 22, 1950, which is still celebrated as the district's anniversary.

The district was composed of the following haciendas: Chuquitanta, Pro, Naranjal, Infantas, Santa Rosa, Garagay Alto, G. Bajo, Chavarría, Mulería, Aliaga, Condevilla, San José, Palao, Huerta Sol, Oquendo, San Agustín and Marquez. The last three became part of Callao Province, in 1956.

In 1962, after the canonization of St. Martin de Porras, the name of the district was changed to its current name. Although historians have shown that the saint's actual last name was Porras, the district has retained the original spelling.

The district of Los Olivos was created in 1989, stripping some of San Martín de Porres' northeastern territory.

Borderline conflicts
In 1956, due to the territorial cut due to the expansion of the Constitutional Province of Callao, an area of conflict arose with the Callao District. This dispute arose from the imprecision in the wording of the boundaries and the lack of cartography of the law, in addition to the disappearance of the original stone milestones due to the urbanization process. The conflict or indetermination of limits is still in force, as it corresponds to a district-provincial struggle, and is waiting to be fully defined by the Metropolitan Municipality of Lima, the Regional Government of Callao, the Provincial Municipality of Callao, the Municipality of San Martín de Porres, the Presidency of the Council of Ministers and the Congress of the Republic.

In 1989, due to the territorial reduction due to the creation of the Los Olivos district, two conflict zones arise, one with the Independencia District and the other with the Comas District. These districts argue that, when Los Olivos was created, part of the old industrial zone in San Martín de Porres would correspond to them to be annexed, however, according to San Martín de Porres, the law for the creation of a new district could not detail the transfer of territory to others not involved and because it was not an express request of the residents. It also highlights that the laws creating Comas (Law No. 13757) and Independencia (Law No. 14965, Law No. 16012) mark their limits on the Old Pan-American North (today Avenida Túpac Amaru).The conflict remains and both zones are not yet defined by the Metropolitan Planning Institute, the Metropolitan Municipality of Lima or the Congress of the Republic.

Conflict with Callao district
The area in territorial conflict with the district of Callao has a linear extension of approximately 11 kilometers and is located in two segments between the summit of Cerro Márquez to Cerro La Regla and from the eastern edge of Cerro La Regla to the Rímac River.

The first mentioned segment begins between passing through the summit of Cerro Márquez until entering Cerro La Regla. In this area, since 2000, settlements and urbanizations have been developed such as Floresta de Oquendo, Villas de Oquendo, Costa Azul, Palmeras de Oquendo, among others that are located between Alameda Central and Bertello avenues and archaeological sites such as the Inca Palace of Oquendo.

The second mentioned segment is from the eastern edge of Cerro La Regla moving south, crossing the Rímac River until reaching Colonial Avenue. In this area, since 1980, the El Álamo, Las Fresas, Sesquicentenario, Industrial Bocanegra, Santa Rosa, Bocanegra urbanizations have been developed, among others, which are located between Cuzco and Faucett avenues, close to the Jorge Chávez Airport.

Conflict with Independencia district
The area in territorial conflict with the district of Independencia has a quadrangular shape of 2.40 square kilometers. It is delimited by Panamericana Norte, Naranjal, Tupac Amaru and Tomas Valle avenues, and contains the urbanizations Naranjal, Industrial, Mesa Redonda, Mulería, Industrial El Naranjal, Industria Panamericana Norte and the Residential Naranjal Housing Association. The conflict also affects the municipal tax system since the large shopping centers pay taxes to Independencia, however the urbanizations and small and medium businesses pay taxes in San Martín de Porres.

Conflict with Comas district
The area in territorial conflict with the district of Comas has a triangular shape of 1.28 square kilometers. It is delimited by San Bernardo, Panamericana Norte and Gerardo Unger avenues, up to the next bank of the Chillón River, and contains the urbanizations Santa Luisa, Santa Rosa de Infantas, Pro Industrial IV and IX Sector III Stage; the Municipal Human Settlement No. 02; and the housing associations José de San Martín, José Carlos Mariátegui and San Miguel.

The conflict also affects the municipal tax system since medium-sized and small businesses are taxed in both municipalities, however urbanizations are taxed in San Martín de Porres.

Geography and territorial division
The district of San Martín de Porres is located northwest of the center of Lima, between the right bank of the Rímac River and the left bank of the Chillón River. Its latitude with respect to the equator is 12 degrees, 1 minute and 40 seconds and its longitude is 77 degrees, 2 minutes and 36 seconds west of the Greenwich Meridian. This data corresponds to its capital, the Barrio Obrero del Puente del Ejercito. The district is located 123 meters above sea level. Its climate is temperate and humid. It has an area of 41.5 km². In 2023, its estimated population was 782,075, according to the National Institute of Statistics and Informatics. The district is administratively divided into six sectors.

Mayors

 * 2023–2026: Hernán Tomás Sifuentes Barca (PP)
 * 2019–2022: Julio Abraham Chávez Chiong (AP)
 * 2015–2018: Adolfo Israel Mattos Piaggio (SU)
 * 2011–2014: Freddy Santos Ternero Corrales † (PPC)
 * 2007–2010: Freddy Santos Ternero Corrales † (SP)
 * 2003–2006: Lucio Campos Huayta (UN)
 * 1999–2002: Gladys Ugaz de Vera (SP)
 * 1996–1998: Jaime Kanashiro Ywamoto (C90-NM)
 * 1993–1995: José Arcenio Rubio Valqui (OBRAS)
 * 1990–1992: Marcelino Morales Scandon (FREDEMO-AP)
 * 1987–1989: José Isaac Miranda Valladares (IU)
 * 1984–1986: José Isaac Miranda Valladares (IU)
 * 1981–1983: Willy Fernández Melo (IU)
 * 1967–1969: Enrique León Velarde Gamarra † (AP-DC)
 * 1964–1966: Víctor Reyes Ramos (APRA-UNO)

Urban landmarks
There are shopping centers and institutions according to the official map of the district.

 * Plaza Norte (In dispute with Independencia)
 * Real Plaza Pro
 * Plaza Center San Martín de Porres
 * MegaPlaza (In dispute with Independencia)
 * Royal Plaza (In dispute with Independencia)
 * Metro
 * Tottus
 * PlazaVea
 * Sodimac
 * San Ignacio de Loyola University (In dispute with Independencia)
 * Peruvian North American Cultural Institute (ICPNA) (In dispute with Independencia)
 * Cayetano Heredia University
 * Cayetano Heredia National Hospital
 * National Institute of Mental Health "Honorio Delgado – Hideyo Noguchi"
 * Fiori Comercial Center
 * Mercado Unicachi Pro

Avenues

 * Carretera Panamericana Norte (PE-1N Pan American highway)
 * Avenida Caquetá
 * Avenida Zarumilla (PE-1N)
 * Avenida Eduardo de Habich
 * Avenida Túpac Amaru (PE-20A)
 * Avenida Canta Callao (PE-20)
 * Avenida Naranjal
 * Avenida Tantamayo
 * Avenida Paramonga
 * Avenida Carlos Izaguirre
 * Avenida Los Alisos
 * Avenida Próceres
 * Avenida José Granda
 * Avenida Bocanegra
 * Avenida Angélica Gamarra
 * Avenida Tomás Valle
 * Avenida Universitaria
 * Avenida Germán Aguirre
 * Avenida José Granda
 * Avenida Lima
 * Avenida Bertello (In dispute with Callao)
 * Avenida Pacasmayo (In dispute with Callao)
 * Avenida Dominicos (In dispute with Callao)
 * Avenida Perú
 * Avenida Los Próceres
 * Avenida 12 de Octubre
 * Avenida Salaverry
 * Avenida Quilca
 * Avenida Chillón Trapiche (In dispute with Comas)
 * Avenida Próceres (In dispute with Comas)
 * Avenida San Bernardo (In dispute with Comas)
 * Avenida 25 de Enero (In dispute with Comas)
 * Avenida Francisco Bolognesi (In dispute with Independencia)
 * Avenida El Pacifico (In dispute with Independencia)
 * Avenida Industrial (In dispute with Independencia)

Neighborhoods

 * Urb Barrio Obrero
 * Urb Caquetá
 * Urb Miguel Grau
 * Urb Zarumilla
 * Urb Ingenieria
 * Urb Palao
 * Urb Los Jardines
 * Urb Fiori
 * Urb Perú
 * Urb Condevilla Señor
 * Urb San Germán
 * Urb Antares
 * Urb Los Libertadores
 * Urb El Pacífico
 * Urb Garagay
 * Urb Valdivieso
 * Urb. El Naranjal (In dispute with Independencia)
 * Urb. Mesa Redonda (In dispute with Independencia)
 * Urb. Industrial Panamericana (In dispute with Independencia)
 * Urb. Infantas (In dispute with Comas)
 * Urb. Santa Luisa (In dispute with Comas)
 * Urb Industrial Pro (In dispute with Comas)

Pre-Hispanic Buildings (Huacas)

 * Huaca El Paraiso
 * Huaca Garagay
 * Huaca Palao

 * Huaca Santa Rosa
 * Huaca Fundo Naranjal
 * Huaca Manzanillo 1
 * Huaca Manzanillo 2
 * Huaca Condevilla Señor 1
 * Huaca Condevilla Señor 2
 * Huaca Lechuza
 * Huaca El Paraíso
 * Huaca Cerro La Milla
 * Huaca Chuquitanta

title: San Martín de Porres District


text:
Mimic (Dungeons & Dragons)

In the Dungeons & Dragons fantasy role-playing game, the mimic is a type of fictional monster. It is portrayed as being able to change its shape to disguise its body as an inanimate object, commonly a chest. The mimic uses a powerful adhesive that holds fast to creatures that touch it, allowing the mimic to beat its victims with its powerful pseudopods. The mimic was introduced in the first edition Advanced Dungeons & Dragons game's original Monster Manual. The mimic has appeared in subsequent editions. Several variants of the creature have been introduced, with a variety of abilities and sizes.

Publication history
An original creation for the game's artificial underground environment, this "iconic monster" looks like a treasure chest and is designed as a trap for unwary player characters.

Advanced Dungeons & Dragons 1st edition
The mimic made its first appearance in the original Monster Manual (1977), by Gary Gygax. This book described mimics as "subterranean creatures which cannot stand the light of the sun. They are able to perfectly mimic stone or wood." According to the book, mimics thus pose as items such as stonework, doors, or chests; when a character or creature touches the disguised mimic, the mimic can lash out with a bludgeoning pseudopod. A mimic excretes an adhesive glue to hold fast whatever touches it. The book states that all mimics move about constantly in search of prey. Mimics are described as neutral in alignment.

The Monster Manual mentions that there are two types of mimic encountered in the game. The slightly smaller version is more intelligent, and is generally friendly if offered food, usually telling a player character about what it has seen nearby. These creatures have their own language and can usually speak several other tongues. The book described the larger variety of mimic as a carnivorous creature called a "killer mimic". This creature does not speak, and will attack anything which is nearby. The Monster Manual was reviewed by Don Turnbull in the British magazine White Dwarf No. 8 (August/September 1978). As part of his review, Turnbull comments on several new monsters introduced in the book, referring to the mimic as a thing which adventurers from his Greenlands dungeon "are not going to be best placed to meet".

The July 1983 issue of Dragon magazine (No. 75) featured the article "The Ecology of the Mimic", by Ed Greenwood. This article provides additional in-game descriptions of the mimic, with the information purported as having come from "the Journals of Maerlun the Scholar". The article states that a mimic's hide is naturally gray in hue, with a smooth very hard outer skin that appears stone-like; a mimic is able to change the color and texture of its outer surface to resemble wood-grain by shifting a brown pigmented liquid between its interior and exterior body cells to fill the many capillaries lying just beneath the skin surface, while the creature can empty these capillaries to revert to its normal stone-like appearance. A mimic is amorphous, able to alter the external configuration of its form at will, and the more intelligent ones can even assume the shape of a partition wall, overhanging arch, or rough rock wall; this feat is accomplished by the creature's mode of travel, which involves extending its strong pseudopods, which exude a sticky "glue", and pulling itself along ("unsticking" its own glue at will), traveling on walls and ceilings as easily as it can on floors. The article also describes how a mimic observes its surroundings through its very sensitive "eyespots" (patches of pigment that are sensitive to heat, light, and vibration) all over its skin; bright sunlight effectively blinds a mimic by overwhelming these sensory spots, which is why mimics are almost always found in areas where the sun never reaches. Austin Wood of PC Gamer described Greenwood's article as "probably the closest thing to science to ever come out of D&D".

The monster collection "Creature Catalog III" in Dragon No. 101 (September 1985) featured a creature by contributor Gregory Detwiler known as the metal mimic. The entry states that a metal mimic is a more powerful relative of the "ordinary" mimic, with all of the mimic's basic abilities and characteristics, but being able to imitate metal, in addition to being able to imitate wood and stone. The metal mimic can take on the shape and appearance of items of any raw or finished metal, which includes the color, luster, and texture of any pure metal (such as iron, gold, silver, or platinum) except for adamantite, but cannot form into any alloy. A metal mimic can also create a magical illumination from itself or from any nearby object. A metal mimic can exude a pseudopod in the form of a sword or dagger; such extremities will appear to be a valuable enchanted blade, to lure prey. According to this entry, metal mimics come in two types: the larger, non-belligerent type which may be willing to negotiate for food, and the smaller "killer mimic" which is instinctively aggressive.

Dungeon magazine No. 19 (October 1989) includes the adventure scenario "The Vanishing Village", by Marcus Rowland, which features the house hunters; these creatures are described in the adventure synopsis as "gigantic relatives of mimics, able to imitate cottages and other buildings up to the size of a small inn or temple."

Advanced Dungeons & Dragons 2nd edition
The mimic first appeared for second edition Advanced Dungeons & Dragons in the second volume of the Monstrous Compendium series (1989). In this set, the creature is described as magically-created, and usually appears in the form of a treasure chest, although its natural color is a speckled grey that resembles granite. The entry notes that a mimic can alter its pigmentation to resemble varieties of stone (including marble), and various metals (including gold, silver, and copper); a mimic cannot lose mass in this transformation, but may radically alter its dimensions. This entry reveals the in-game origin of the mimic: "Mimics were originally created by wizards to protect themselves from treasure hunters"; the language spoken by the smaller variety of mimic, also known as the common mimic, is a corruption of the original language spoken by their wizard creators. Mimics have no moral code and are sometimes difficult to employ as guardians; the killer mimic is neutral in alignment like the common mimic, but has a tendency towards evil. The entry also notes that alcohol will weaken a mimic's glue, and that the mimic may neutralize the glue at any time; a mimic is also immune to acid attacks and is unaffected by molds, green slime, and various pudding monsters. The mimic's entry is reprinted in the Monstrous Manual (1993).

The space mimic appeared in the Spelljammer appendix for the Monstrous Compendium series (1990); the introduction credits Bruce Heard with the creature's design. These creatures inhabit the setting's "wildspace" between planetary bodies, and were created by wizards for use in long journeys, but proved unreliable servants and were discarded. A space mimic's natural skin is described as "pitch black, with small specks of twinkling light, imitating a space background," and the creature is about the same size as a common mimic. A space mimic may pass as ship debris floating in wildspace, or as an elaborate desk with books and scrolls on an abandoned ship, and can resemble a piece of furniture of any variety of wood, stone, or metal. A space mimic has two eyes, which are normally hidden under thick eyelids. A space mimic also has the innate ability to cast spells as if it were an illusionist, and the creature has an interest in magic as well as food. The entry states that a space mimic will use its magic to become invisible and hypnotize a wizard, levitating itself to lure him somewhere alone, then steal his books, scrolls, and magic items before eating the victim.

Another mimic variant appears in the Forgotten Realms setting boxed set, The Ruins of Undermountain II: The Deep Levels (1994), in the set's 16-page Monstrous Compendium booklet. Stated to be found only in the setting's Undermountain thus far, the greater mimic is vastly larger than a common mimic and can cover a whole room or a small building such as a tomb; the largest known specimen can cover a 30 ft cubic area. A greater mimic has a higher intelligence than a common mimic, and a limited resistance to magic, and "can alter its coloring and shape to imitate a vast number of textures, colors, and shapes at once... [creating] entire rooms of furniture, treasure and tapestries." A greater mimic can block a corridor and alter its shape to become a room with entrance doors on either side, so that its prey walks directly into it; a greater mimic will always use enticements such as simulated treasure or furniture to lure prey, and will wait until an entire group enters before attacking. A greater mimic will then release its natural adhesive across all its surfaces and attack by slamming the walls of its structure together. A minority of greater mimics can develop an ability to display illusory creatures inside itself, pretending to speak through these creatures' mouths. This mutation of the common mimic, according to its entry in this boxed set, is presumed to be the result of either a mimic having lived for a century and grown to great size, or perhaps a mimic altered by the strange magic of Undermountain and the wizards that reside there. A greater mimic is unlikely to obey a wizard, although Halaster is able to use these creatures as guards and barriers against adventurers. A greater mimic has limited mobility to due its size, and will usually settle in one place. A greater mimic makes pacts with other local creatures for food, but can sustain itself on little or no food for long periods of time if need be; a greater mimic has a prodigious appetite, however, and does not practice conservation if a steady supply of food is available. A greater mimic appears in this boxed set's Campaign Guide booklet, as part of the "Muiral's Gauntlet" scenario, living in an abandoned drow complex. When encountered by player characters, this greater mimic covers most of the floor in an apparent storeroom filled with boxes of coins and valuables; if it appears to be losing a fight against the characters, it will negotiate, trading information for its life. The greater mimic's entry is reprinted in the Monstrous Compendium Annual Two (1995), although no mention is made there of Undermountain.

All three varieties of the house hunter mimic appear for the game's second edition in the Monstrous Compendium Annual One (1994).

Dungeons & Dragons 3rd edition
The mimic appears in the Monster Manual (2000) for the game's third edition. In this edition, the mimic is given the aberration creature type. This book describes mimics as "strange and deadly creatures that can change their pigmentation and shape. They use this ability to lure hapless victims close enough to slay." This book notes that a weapon striking a mimic becomes stuck to the creature's thick, slimy adhesive, though the weapon can be pried off. In this edition, a mimic can assume the general shape of any object that fills roughly 150 cuft. The mimic also appears in the revised Monster Manual (2003) for v 3.5. This book notes that a mimic begins to crush any creature which becomes stuck to one of the mimic's pseudopods.

In the third edition, the two former varieties, common and killer, simply became known as the "mimic". The creature lost its own language, now speaking in the Common tongue to negotiate with adventurers.

Dungeons & Dragons 4th edition
The mimic appeared in the 4th edition Monster Manual 3 (2010).

Dungeons & Dragons 5th edition
The mimic appears in the 5th edition Monster Manual (2014).

Reception
Rob Bricken, for io9, named the mimic as the 3rd most memorable D&D monster, and as one of "The 12 Most Obnoxious Dungeons & Dragons Monsters".

Jennifer Melzer, for CBR, wrote, "The mimic first appeared in Gary Gygax's original Monster Manual in 1977 and was described as a creature that could not stand sunlight and was perfectly able to mimic the appearance of stone or wood. Across the decades and the numerous editions of the game, mimics remain one of the most recognizable and obnoxious monsters because players never know when they might run into one. They aren't exactly the most dangerous enemies for an experienced adventuring party to encounter, but they have been known to nearly take out less worldly adventurers who happen upon them unexpectedly in the wild — or in someone's basement. [...] Unfortunately, they don't have any weaknesses that make up for their immunities, but that shouldn't stop anyone from trying to set one on fire if given the chance".

In other media
The Mimic has been added into hundreds of video games, including Baldur's Gate, Dragon Quest, ToeJam & Earl, Final Fantasy, Borderlands, Magicka, Terraria, Torchlight, and Enter the Gungeon, as well as the Dark Souls franchise. Mods also exist which add the creature into other games.

The mimic appears in the first Bestiary for the Pathfinder Roleplaying Game, and is also detailed in Paizo Publishing's book Dungeon Denizens Revisited (2009), on pages 22–27,

In the manga and anime series Frieren: Beyond Journey's End, a recurring gag is the titular character, determined to find rare magical items, takes her chances with treasure chests that are almost certainly mimics.

title: Mimic (Dungeons & Dragons)


text:
Calliandra brevipes

Calliandra brevipes, the pink powderpuff, is an attractive shrub with finely divided leaves and clusters of red powder-puff flowers. It is native to southeastern Brazil, Uruguay, and northern Argentina.

Portuguese common names include: Esponja, Esponjinha, Manduruvá, Quebra-foice. Botanical synonyms include Acacia selloi Spreng. and Calliandra selloi Macbr.

title: Calliandra brevipes


text:
Talk:Mathias Rust

Older comments
he flew from helsinki, finland!

"Rust was arrested immediately by the Soviet authorities"

This statement is inaccurate. Please check news reports from the time. I recall that no one on Red Square quite believed Rust's ridiculous story of flying in from Finland and Germany. People thought he was a comedian or an aerial stunt man, and Rust and the crowd enjoyed some good banter. The attitude of the first authorities to arrive was the same as the crowd's, and they made the arrest only after overcoming their complete disbelief of Rust's story.
 * Quite true from the A&S article: SpeakFree (talk) 19:56, 19 June 2011 (UTC)

He got out of the Cessna. Expecting to be stormed by hordes of troops and KGB agents, Rust leaned against the aircraft and waited. The people in Red Square seemed nervous or stunned, not sure what was going on. Some thought Rust’s airplane might be Gorbachev’s private aircraft, or that it was all part of a movie production. But once the crowd realized that Rust and the Cessna were foreign—and that he’d just pulled off one of the most sensational exploits they had ever witnessed—they drew closer. Fun fact that I'm not sure is entirely relevant: The early versions of Spectrum Holobyte's version of Pajitnov's 'Tetris' featured an animation of a small plane landing in Red Square, a direct reference to Rust's flight. The Russian Central Committee, upon learning this, was not terribly amused, as they considered Rust's actions terrorism.

Where he lives now
I have replaced Berlin in 2004 with Hamburg in 2002, as the latter is a fairly reliable source (Indy) the former from a website informed by "Bernard". Rich  Farmbrough. 18:57, 28 January 2006 (UTC)

What does this mean?
I got this from the Russian Mathias Rust page:

Когда постовой сказал ему о самолёте, дежурный ответил «Ты смотри, чтобы коровы по площади не ходили, а самолёт — хуй с ним!»

My Russian is really bad: I get something like "When the lookout told him about the ariplane, the sentry answered: "You saw that cows didn't walk on the (red) square, but an airplane - penis with him!"  It sounds really colourful, maybe someone can translate it better? --Slashme 15:16, 4 August 2006 (UTC)

 * "Fuck the plane, make sure there are no cows walking on the square!". Most likely an urban legend, though, not a real quote... Azov 18:51, 4 August 2006 (UTC)

OK, that makes much more sense. But you're right, it isn't really a well-sourced comment. --Slashme 14:16, 5 August 2006 (UTC)

Funny
I'ts quite funny that a young German flew in his small Cessna from Helsinki to Moscow having evaded the suppposedly sophisticated and deadly Soviet Air Defences. The people who operated the air Defence system(s) must have been really wasted at the time. If one German in a small Cessna could evade soviet air defences, imagine how easy it would have been for the USAF.
 * About how he evaded air defences -- that's very simple: he didn't. His plane was consistently tracked at least for half of his flight distance -- to Pskov, that is. At some point he was even escorted by two Soviet fighters, who tried to force him down. However, following scandal with Korean Boeing just about five years before, Soviet air defence had put the regulation that no aggressive meas should be attempted if plane in question is definitely civilian. So after fighter pilots failed to communicate with him (Rust turned off his radio), they returned to base.
 * After Pskov his plane disappeared from radars and there is some evidence that he landed somewhere around Staraya Russa. After that his plane was also spotted several times, but was confused with rescue helicopters, working on the site of recent air crash near Torzhok or even domestic trainer plane defying the regulations.--Khathi 14:36, 15 October 2006 (UTC)
 * I agree with Khathi. This also shows how this article favoring only one side and the power of mass stupidity from both sides. Certainly a breach of POV. --Garrythefish (talk) 18:32, 8 November 2009 (UTC)

Landing on the bridge
People ask why the bridge always pops out -- that's simple. Vasilievsky Spusk, while quite wide, just isn't long enough to land a plane on it, even lighter one like Cessna. But it continues into Moskvoretsky bridge across Moskva river after crossing the embankment, forming a stretch of road long and straight enough to serve as an improvised runway. Read Russian accounts on the landing: they all more or less agree that Rust landed on Moskvoretsky bridge, where was little traffic at the time, then slowed down on Vasilievky Spusk and just taxied into Red Square. --Khathi 18:29, 21 October 2006 (UTC)

 * Hm, interesting! I believe on the pictures that I've seen the plane was between Kremlin and St.Basil's. How did he get there, did he make a turn while driving on Vasilevsky Spusk?.. Would be nice if someone who can dig out the details makes a diagram.  Azov 02:39, 22 October 2006 (UTC)

 * Check this interview. He clearly says that he landed on wide bridge near Red square . --  Zzzzzzzzzz  19:54, 24 October 2006 (UTC)

First Paragraph
Is it just me, or does the first paragraph look really...weird. Not very encyclopaedic, IMHO. 35.11.183.95 08:51, 6 December 2006 (UTC)

The Very Nature of the Act
Shouldn't the reason why Rust wanted to land a plane in the Kremlin be addressed? Bradley Smith 20:45, 25 December 2006 (UTC)bradley.e.smith

 * No, not unless we know it. He himself describes his motivation as an attempt to build "world peace" but some psychologist discovered a nasty habit of overestimating his abilities. It was during his (attempted) murder trial and I haven't got a source handy right now. Because of his criminal acts he has a bad reputation as a nutty whackjob over here in Germany. There is no trace of heroism. 87.78.120.194
 * He really is a flake. His opinions reek of empty-headedness.75.75.110.235 22:21, 25 June 2007 (UTC)
 * Well many people who changed the world were quite nutty. I figure Rust was one of them. SpeakFree (talk) 21:15, 19 June 2011 (UTC)

WikiProject class rating
This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 23:37, 27 August 2007 (UTC)

Air & Space Magazine - good source for editors of this article
I added this as a link, but would like to also draw the attention of this article to anyone editing this entry -- Smithsonian's Air & Space magazine has a July 2005 article "The Notorious Flight of Mathias Rust" that seems to me to be one of the most well-written pieces on the event available online, with a great deal of detail about the flight itself, Rust's prior activities, and the repercussions within the Soviet Union. I recommend it to anyone doing work on this entry. —Preceding unsigned comment added by StrangeAttractor (talk • contribs) 15:46, 24 May 2008 (UTC)

 * This Smithsonian's Air & Space magazine piece is not so well written, as on bottom of page 3 it says "a Soviet MiG-23 fighter-interceptor pulled up beside him. With nearly three times the wingspan and more than 10 times the weight of Rust’s Cessna, the MiG seemed huge." The MiG-23 has a Wingspan (when Spread) of 13.97 m, the Cessna's Wingspan is 11.00 m. That's not quite "nearly three times". How can they mangle basic technical facts that badly? -- Matthead  Discuß   11:23, 27 May 2012 (UTC)

Failure of Soviet PRO?
I thought it is generally agreed that Rust was not shot down simply because noone wanted another international scandal like the recent Korean flight.

Where are the sources that he eluded anyone? —Preceding unsigned comment added by 99.231.50.118 (talk) 20:13, 12 October 2008 (UTC)

Error in timeline?
Quoting the article: "Rust's trial started in Moscow on September 2, 1987 -- After serving 432 days at the Lefortovo jail in Moscow, he was released on parole.[1] He returned to West Germany on August 3, 1988". Problem: If serving 432 days, starting no earlier than Sep 2nd 1987, he's parole couldn't start no earlier than 432-365 = 67 days after September 2nd the next year (1988), meaning ~November 8th 1988. But he returned to Germany less than a year after the trial, "Aug 3rd 1988"... Either the "432 days" is incorrect or the trial date / the return date is incorrect. Sources?

Edit: 100 days less would make sense, 332 days is 33 days short a year which'd be a bit less than year minus a month, so Sep 2nd 87 -> Aug 3rd 88 would make sense.

—Preceding unsigned comment added by 80.223.209.198 (talk) 18:38, 2 July 2009 (UTC)
 * You are quite right - the number is suspect - maybe it includes time already served or not? Regardless, the cited ref does not mention that number, so I have rewritten the para to make more sense. Thanks for pointing out the problem, sometimes it talkes some fresh eyes! - Ahunt (talk) 19:00, 2 July 2009 (UTC)

Where-abouts of the Cessna
Does anyone have information, ie tail number or registry for his aircraft. Also, does anyone know what ever happened to the plane. Was it ever returned to the original owners? Was is kept by the USSR? Does it even still exist? 67.166.155.113 (talk) 08:44, 10 March 2011 (UTC)

 * The information is all in the article and the external links. The Reims Cessna F172P D-ECJB was in the Deutsches Technikmuseum, Berlin in 2009 photo. Perhaps I can add something to make that clearer. - Ahunt (talk) 15:06, 10 March 2011 (UTC)

Article split
This article has a problem: it tries to be both a people article and an aviation incident article, and that can never work. People cannot be categorized as "Aviation incidents..." or "Violations of...", and aviation incidents cannot be categorized as "1968 births". The article should be split in two. HandsomeFella (talk) 06:48, 28 May 2011 (UTC)
 * I disagree that the article should be split as it would be almost 100% duplication, the cats can be fixed, however. - Ahunt (talk) 11:14, 28 May 2011 (UTC)
 * I agree that there will be some overlap, but there are plenty of wikipedia articles related to each other that have overlap, so I don't see that as a problem.
 * However, another solution could be this: is Rust himself notable? If not, then this page should be renamed because it is about the incident (although there will inevitably have to be some background on Rust). On the other hand, what he did might be considered so significant, that the incident alone qualifies him as notable. I'm not sure which, but I'm leaning towards the latter. HandsomeFella (talk) 15:44, 28 May 2011 (UTC)
 * I think he makes the notability requirement. - Ahunt (talk) 15:54, 28 May 2011 (UTC)
 * That might be valid if someone is willing to write a very detailed article named Flight of Mathias Rust with much more details than this article. They could also write an article about the first flight of the Wright brothers. SpeakFree (talk) 21:07, 19 June 2011 (UTC)

Soviet incompetence
This article doesn't stress enough the fact that Rust was not shot down due to Soviet incompetence or a failure within the Anti-aircraft defense systems but due to sheer benevolence product of more "humane" rules of engagement given earlier scandals like KAL 007's case. — Preceding unsigned comment added by 189.181.68.36 (talk) 00:44, 27 February 2012 (UTC)

 * None of the existing refs say this and in fact show the opposite. This can be added, but as per WP:V you need to cite a reference that shows this and given the controversial nature it will have to be a very reliable source. - Ahunt (talk)

 * He was an unidentified aircraft in unauthorized airspace, he was tracked, and they could have shot him down several times during his journey. They certainly had the means. They decided not to do that, at some point because they thought he might be a friendly after all, or because the higher-ups didn't give the go-ahead to shoot down a small civilian one-man aircraft that didn't try to hide or evade. So much is a fact. Whether you call that "benevolence" or "incompetence" is in the eye of the beholder. -- DevSolar (talk) 11:17, 16 May 2012 (UTC)

Age/ DOB
There is some disagreement among sources about his age and DOB at the time. A lot say 19 year old, but if he was June/ July he was 18. Here http://www.bbc.co.uk/news/magazine-20609795 he says he was 19 himself. Also, his DOB is contentious. This is going to be sticky, but it is a pretty serious problem.Jamesx12345 (talk) 15:40, 27 January 2013 (UTC)

 * We just need to gather up all the refs and then indicate disagreement and footnote the cases for each one. It would be good if someone could locate an official source, like a birth certificate. - Ahunt (talk) 15:53, 27 January 2013 (UTC)

Serial number needed as ID
Just like an auto license plate, the ID numbers do transfer, so the serial number (or construction number) is included when known, you should know that, Ahunt. I am also offended you considered my source as self-published when at most it is questionable (the sites are not even listed under WP:SPS). Here is a list of sites that offer corroborative info, here, here, and here. This site lists a number of aircraft made by Reims Aviation, however the serial # is miss-typed, saying 3087 instead of 2087, a look at the larger list show 172's of the same year mfg in the 2000 range. BTW, I am trying to see if DTM listed the S#. Flightsoffancy (talk) 22:26, 17 October 2013 (UTC)

 * I don't have a problem if you really think we need to note the serial number, but that jetphotos ref is user-submitted content by an anonymous user called "Pise". and thus WP:SPS. Citing lots more self-published or user-created content items doesn't add up to one WP:RS. If there is a better ref then please put it in instead. In the meantime I will fix the ref you have there as per WP:EL, external links are not used in article text. - Ahunt (talk) 22:55, 17 October 2013 (UTC)

 * Jetphotos site also has a photo of 172 by user "Christian A. Amado" too, a reason I chose to link that one (I guess you just glanced at it). I am still looking for something from DTM (found this site full of pictures). Appreciate the WP:EL fix, my attempts was breaking the edit. -Flightsoffancy (talk) 14:30, 18 October 2013 (UTC)

 * www.time-o-rama.com is just another website where anyone can post anything, it all falls afoul of WP:SPS. I found an official ref for the museum where the aircraft is on display and I will add that instead. - Ahunt (talk) 16:10, 18 October 2013 (UTC)

 * Yes, that is what I was looking for, and see you beat me to it, that's OK (DTM above is Deutch Technical Museum, which already is refereed to in article). They have 2 pages, here and here. I thought it was only in the first page listed, completely missed it was also in the second page, d'oh!  www.time-o-rama.com is just an archive site, and it is a valid site if the original site is no longer accessible.  Of course the content needs to follow WP:QS rules (and why do you insist to use WP:SPS flag, even when Jetphotos is not on Wiki SPS list?).  Nice editing of the information and adding the registered tag as well, will keep it in mind on future edits. -Flightsoffancy (talk) 01:47, 19 October 2013 (UTC)

 * It really doesn't matter whether the site is on any list of SPS sites, as WP:SPS explains, any site that allows users to just upload content without editorial oversight is not acceptable as a ref for Wikipeida, simply because the content can say anything and maybe dead wrong. Regardless I think we can close this issue now as ✅. - Ahunt (talk) 11:06, 19 October 2013 (UTC)

External links modified (January 2018)
Hello fellow Wikipedians,

I have just modified 3 external links on Mathias Rust. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20110722065932/http://jetphotos.net/viewphoto.php?id=6738463&nseq=1 to http://jetphotos.net/viewphoto.php?id=6738463&nseq=1
 * Added archive https://web.archive.org/web/20110722065932/http://jetphotos.net/viewphoto.php?id=6738463&nseq=1 to http://jetphotos.net/viewphoto.php?id=6738463&nseq=1
 * Added archive https://web.archive.org/web/20070929083532/http://www.telepolis.com/cgi-bin/web/DISTRITODOCVIEW?url=%2F1397%2Fdoc%2FMisterios%2Fmathias.htm to http://www.telepolis.com/cgi-bin/web/DISTRITODOCVIEW?url=%2F1397%2Fdoc%2FMisterios%2Fmathias.htm

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 12:50, 21 January 2018 (UTC)

Photo
There's not much sense in featuring a photo of Rust taken in 2012, 40 years after his famous flight. He was 18 at the time of the astounding event and his youth was a major aspect of the story. Sca (talk) 13:30, 28 May 2018 (UTC)
 * First off, it is a biography article, so while the flight is the main thing he is famous for, the article covers his whole life, plus second, we don't have a photo available of him at the time of his flight. Are you proposing we remove the sole photo we have of the article subject? - Ahunt (talk) 13:35, 28 May 2018 (UTC)
 * I'm proposing we access a photo of him at the time of his flight under fair-use provisions for "illustrating historically significant events." Sca (talk) 14:09, 28 May 2018 (UTC)
 * I'm not a copyright lawyer, so I am not sure if we can justify a fair use image or not in these circumstances, but if you do find one and put it in, I would propose that the more recent image of him just be moved down in the article and not removed. - Ahunt (talk) 14:47, 28 May 2018 (UTC)
 * I'm not expert in such matters, but if a 'then'-photo were obtained, your suggestion makes perfect sense. Good to know you're not a lawyer. Sca (talk) 20:06, 28 May 2018 (UTC)

ENGVAR
Per this old revision, this article was started in British English ("defence", "labour"); there are a couple of American spellings as well but BrEng greatly predominates. Was there a reason to change it to US English? If not it should go back per MOS:RETAIN. --John (talk) 17:27, 28 May 2018 (UTC)
 * The subject is German, so it was probably just sloppy editing. Feel free to fix. - Ahunt (talk) 17:47, 28 May 2018 (UTC)
 * Done. --John (talk) 17:55, 28 May 2018 (UTC)

Pictures of the landing area
Does any of the pictures at commons:Category:Bolshoy Moskvoretsky Bridge show the area where he landed and taxied? I think it should also include the church, as seen in. Not knowing Moscow, I can't choose a picture myself. --Error (talk) 09:40, 15 March 2022 (UTC)

Comma
There is a sentence in the article

I put a comma after "emergency", thus:

But another editor, User:Ahunt, reverted it, and fine, but then here we are, and I'll make my case.

So my argument is that without the comma there's a tendency for some readers to read it like: [Control personnel presumed] [an emergency and a rescue effort] [was organized]... that is, the personnel either presumed that both an emergency and a rescue effort had occurred, or organized an emergency and a rescue effort. Sure, that doesn't make sense and doesn't exactly parse if you think about it, and the rest of the sentence (about the patrol boat) clarifies that further. But, the reader should not have to read to the end of a sentence to figure out what it's saying, nor stop for even a fraction of a second to figure it out.

Or, maybe, "...presumed that and emergency had occurred and a rescue..." should be done, but that is three extra words. Anyway, since placement of commas is more or less a judgement thing, neither the insertion or removal of the comma is "wrong". I just think it's better, particularly when you bear in mind that some of our readers reader are ESLers, or below average in literacy or intelligence, after all. Will to be convinced otherwise. Herostratus (talk) 00:07, 24 August 2023 (UTC)

 * I will simply say that the sentence makes perfectly clear sense as originally written and the use of a comma in addition to a conjunction would be a very odd sentence structure. - Ahunt (talk) 00:28, 24 August 2023 (UTC)

title: Talk:Mathias Rust


text:
Wikipedia:Articles for deletion/Jan van der Niekerk

 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. Mindspillage (spill yours?) 04:07, 9 Jun 2005 (UTC)

Jan van der Niekerk
This looks like a joke. Thue | talk 21:02, 26 May 2005 (UTC)
 * Delete prank/hoax. - Etacar11 21:50, 26 May 2005 (UTC)
 * Delete. Garbage.  Frjwoolley 21:53, 26 May 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.


text:
Wikipedia:Articles for deletion/Ameer Hamza Ahmed

 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. Mindspillage (spill yours?) 04:08, 9 Jun 2005 (UTC)

Ameer Hamza Ahmed
Non notable poet who posts his poetry at a blog... Article created by himself. Vanity. Sarg 21:03, 26 May 2005 (UTC)
 * Delete. Notability not established by article. Mr Bound 21:06, May 26, 2005 (UTC)
 * Delete. Vanity. Jayjg (talk) 21:16, 26 May 2005 (UTC)
 * Delete nn vanity. - Etacar11 21:48, 26 May 2005 (UTC)
 * Delete. Non only vanity, but (I followed the link) nothing to be vain about.  Wow, really awful.  Frjwoolley 21:54, 26 May 2005 (UTC)
 * Delete, not notable, vanity. Megan1967 05:39, 27 May 2005 (UTC)
 * Delete. Karol 05:43, May 27, 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.


text:
Villasis

Villasis, officially the Municipality of Villasis (Baley na Villasis; Ili ti Villasis; ), is a 1st class municipality in the province of Pangasinan, Philippines. According to the 2020 census, it has a population of 65,047 people.

Villasis is 174 km from Manila and is 67 km from the provincial capital, Lingayen.

Geography
Villasis is a farming town situated along the Agno River. On its borders are the towns of Malasiqui (on the west), Urdaneta City (on the north), Asingan (on the east), and Rosales and Santo Tomas (on the south). Hemmed between two bustling areas, Urdaneta City and Rosales, Villasis is one of the fastest developing towns in the province. It also thrives on its rice, corn and tobacco plantations. Its hilly barangays situated along the Malasiqui boundary is an ideal place for resort developers and agri-businessmen.

Barangays
Villasis is politically subdivided into 21 barangays. Each barangay consists of puroks and some have sitios.

 * Amamperez
 * Bacag
 * Barangobong
 * Barraca
 * Capulaan
 * Caramutan
 * La Paz
 * Labit
 * Lipay
 * Lomboy
 * Piaz (Plaza)
 * Zone V (Poblacion)
 * Zone I (Poblacion)
 * Zone II (Poblacion)
 * Zone III (Poblacion)
 * Zone IV (Poblacion)
 * Puelay
 * San Blas
 * San Nicolas
 * Tombod
 * Unzad

Saint Anthony the Abbot Parish Church
The heritage Saint Anthony the Abbot Parish Church, built in 1763, is part of the Roman Catholic Diocese of Urdaneta (from the Archdiocese of Lingayen-Dagupan). Feast Day: January 17; Parish Priest: Father Arturo F. Aquino & Parochial Vicar: Father Dionisio B. Luzano.

Economy
The town's accessibility to all kinds of land transportation has made Villasis a bustling center of trade and commerce. It is intersected by the Manila North Road from north to south, allowing all major bus lines plying the Manila-Region I CAR route to pass through the town 24-hours a day. The main agricultural crops of the town are rice, corn, cassava, and varieties of vegetables and fruits. Raising livestock is another livelihood of the townspeople who raise poultry, swine, goat and cattle.

There are 56 registered small to medium-sized industries in Villasis. These include rice mills, metalcraft industries, cement production, poultry raising and piggeries and an ice-plant.

Local government
Villasis, belonging to the fifth congressional district of the province of Pangasinan, is governed by a mayor designated as its local chief executive and by a municipal council as its legislative body in accordance with the Local Government Code. The mayor, vice mayor, and the councilors are elected directly by the people through an election which is being held every three years.

Culture
The town holds an annual fiesta in honor of its patron saint, San Antonio de Abad (Saint Anthony the Abbot).

Talong festival
On January 18, 2008, Mayor Nonato Abrenica announced that hundreds of balikbayans joined the annual fiesta celebration, highlighted by the Talong Festival / fastest talong eater contest (boiled skin removed eggplant, long-purple casino type), in Villasis, Pangasinan. 12 of 21 villages / barangays are engaged in eggplant production with total of 3.35 km2 planted by 600 residents. It is usually celebrated during the second week of January.

title: Villasis


text:
Wikipedia:Articles for deletion/John Noblitt

 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. Mindspillage (spill yours?) 04:04, 9 Jun 2005 (UTC)

John Noblitt
Article doesn't indicate notability. An IP which may be the original author blanked it. Thue | talk 21:04, 26 May 2005 (UTC)
 * Delete nn vanity. - Etacar11 21:53, 26 May 2005 (UTC)
 * Delete, not notable, vanity. Megan1967 05:40, 27 May 2005 (UTC)
 * Delete. Karol 05:42, May 27, 2005 (UTC)
 * Delete utter vanity--Sophitus 10:09, May 27, 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.


text:
Talk:Violence in art

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 13 January 2020 and 20 April 2020. Further details are available on the course page. Student editor(s): Kacosta0405.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 12:27, 17 January 2022 (UTC)

Wiki Education Foundation-supported course assignment
This article was the subject of a Wiki Education Foundation-supported course assignment, between 25 January 2021 and 30 April 2021. Further details are available on the course page. Student editor(s): Txrharvey.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 12:27, 17 January 2022 (UTC)

2005
I have written this page from scratch but it is now as complete as time currently available allows. It's probably a bit too long, so feel free to pitch in and tighten it up. David91 21:04, 26 May 2005 (UTC)

Yes, you are right. Thank you for your work. Indeed, the topic deserves the article. But in its current state the article is more of an essay than of encyclopedic. Please be ready that large pieces willbe deleted. In no way it is an offense to you and your work. mikka (t) 22:28, 4 Jun 2005 (UTC)

An acceptable solution or just cheating?
I have split the subject matter into two pages. I don't know whether this helps but it seems better than doing nothing and allowing the work simply to be discarded on the ground that it is too long an essay. -David91 16:36, 5 Jun 2005 (UTC)

 * IMO acceptable. In this way the topics are better separated. At the same time, the problem with the article was not its length, but style. In essays, the authors are free to elaborate their opinions on the subject and present interpretations. In encyclopedia the facts must be presented. Opinions of people who are authorities in the area are also facts, if clearly stated that they are opinions of named persons.

 * For example, your phrase "Each Commission hearing is a piece of theatre designed to give all stakeholders the opportunity to be heard and to receive forgiveness and catharsis through reconciliation." is clearly your (or not?) interpretation, rather than a description of a phenomemon. It is a vivid metaphor, but inadmissible in wikipedia. mikka (t) 17:57, 5 Jun 2005 (UTC)

Ah ha! Thank you for the guidance. As you will realise, I am not new to writing but I am new to this activity so all the help offered is much appreciated. I'll give it all some thought and consider how best to neutralise it later today. -David91 18:58, 5 Jun 2005 (UTC)

Well, I've tinketed with it and. hopefully made some of my excessive style less obvious. If you all disagree, I am prepared to try a third time. -David91 20:21, 7 Jun 2005 (UTC)

John Woo?
I think its important to mention john woo, as well as the surrealists, and goya and rembrandt, all of whom dabbled in the "aestheticization of violence" and met with great success....

 * This page is intended to be about the principles. One or possibly two examples would be acceptable but I am against simply turning the page into a catalogue of everyone who might or might not have aestheticised violence. Further, it would be a subjective and arbitratrary exercise to decide who to include or exclude. It is therefore better not to open Pandora's Box. David91 03:52, 5 March 2006 (UTC)

That's just the thing... John Woo is a very notable figure in the entire genre... Just about every movie with stylized violence made after 1990 borrows elements of style from Woo's films. —Preceding unsigned comment added by 71.2.74.161 (talk) 05:56, 27 October 2008 (UTC)

"Essay Tag"
Hi, I put up the essay tag. This is an interesting topic, and the original essay obviously took a lot of work. Many of the supporting/contextual explanations AROUND the topic (e.g. Pierce) have legitimate sources. However the core concept, "aestheticization of violence" needs a definition that represents a consensus of experts (e.g. professors on Media studies/film studies/ media critics). The current definition in the LEDE looks to me like OR (Original Research). IMHO, ideally (and I'd like to help in this regard), the LEDE should say something like "The concept of aestheticization of violence was first developed by Smith in her 1990 article "Aestheticization of violence", in which she argued that XXX XXX XXX. Although Smith defined the concept as XXX XXX, cultural theorist Jones, in her book Aesthetics and Violence (1994) suggests that the definition be nuanced to include the concept of YYY YYY."Nazamo 17:24, 13 October 2006 (UTC)

 * But the lede is precisely not where to get into arguments over such fine distinctions ("nuances"). The lede as currently articulated offers a straightforward, noncontentious, and simple definition of the term, just as it should. It is part of the essential work of encyclopedia writers to summarize the general understanding of terms and present them as clearly and neutrally as possible in the introduction of an article. The crucial debates--which of course must be (a) presented fairly and (b) cited as appropriate--concern exactly what specific cultural artifacts or genres constitute the "aestheticization of violence." Those debates are properly surveyed below the lede. At the moment, it's entirely unclear what, if any, part of the entry reads "like a story or essay." I'm removing the tag pending the identification of unacceptably story- or essay-like elements within the body of the entry. —DCGeist 21:44, 13 October 2006 (UTC)

Article status/structure
I'm appending here Nazamo's comment to me about the current condition of the article. I'll say briefly that (a) the article does not strike me as a "content fork," as the aestheticization of violence is a substantial and relatively discreet topic within the very broad field of aesthetics. On the other hand, (b) I agree fully with Nazamo that the article should survey a few different sources for the term, preferably in the first section following the lede.

 * Hi Dan, this note is about the aestheticization of violence article, which I tagged with the Essay template. Regardless of whether or not the article should have an Essay tag, I believe that there are still problems with it. This article may be "A content fork"..("usually an unintentional creation of several separate articles all treating the same subject"). Perhaps there is a broader article on aesthetics this could go into. Wiki guidelines state that "...content forks and POV forks are undesirable on Wikipedia, as they avoid consensus building and violate one of our most important policies." As well, the article doesn't lay out the different sources of the term "aesthetics of violence" (as in "Professor Jones, the author of six books on aesthetics of violence, defines the term as XXXX. In contrast, Smith defines it as YYYYY.")Nazamo 18:13, 16 October 2006 (UTC)

No Original research
Hi, I am concerned that this article may contain original research. According to Wiki policies, "Original research is a term used in Wikipedia to refer to material that has not been published by a reliable source. It includes unpublished facts, arguments, concepts, statements, or theories, or any unpublished analysis or synthesis of published material that appears to advance a position — or which, in the words of Wikipedia's co-founder Jimbo Wales, would amount to a "novel narrative or historical interpretation."...Wikipedia is not the place for original research. Citing sources and avoiding original research are inextricably linked: the only way to demonstrate that you are not doing original research is to cite reliable sources that provide information directly related to the topic of the article, and to adhere to what those sources say.The Wiki policy goes on to list examples, such as "... introduc[ing] an analysis or synthesis of established facts, ideas, opinions, or arguments in a way that builds a particular case favored by the editor, without attributing that analysis or synthesis to a reputable source". As such, when an editor discusses the "Kelllian cognitive map (sometimes known as the semantic map)" in the article, I worry that this may be original research, unless an expert source on aestheticization of violence (e.g. a professor of film theory/ media criticism, etc.) has stated that the "Kellian cognitive map" is an appropriate analytical method.Nazamo 18:57, 17 October 2006 (UTC)

Martial Arts and Ultraviolence
I have removed the link to 'martial arts' at the bottom of the page, as it has nothing to do with the ultraviolence/aesthetic violence phenominon, other than it is sometimes (unrealistically) used as a medium.

Most times, martial arts teaches non-violence or prevention over violence.

--69.138.61.168 00:38, 28 October 2006 (UTC)

Feedback (lead only)
Nazamo: comparing the version of the lead to this article immediately before your first edit (7 Sep), with the lead as it currently stands (24 Oct), I wonder whether you can reintroduce the earlier format (or similar), incorporating your content? Declare 05:22, 24 October 2006 (UTC)
 * To clarify — the lead to this article very much presents as essay-like, which is ironic in view of the assessment given to the earlier version. Better that an expert deal with this than a lay editor with an itchy finger on the trigger. Declare 15:06, 28 October 2006 (UTC)

Ideas
I was missing a mention of Irréversible and Natural Born Killers here. Or is that too clicheed? MadMaxDog 02:49, 26 May 2007 (UTC)

And a mention of Blue Velvet, perhaps? Cinefile81 11:06, 14 November 2007 (UTC)

Quotes
I think this article uses quotes too excessively. Using quotes is a good thing, but in this article it seems it's used as a lazy way of not putting jargon into layman's terms. There are also a lot of instances that read like this:

Cohen claims that in the film, "...the violence of modern technology sees its reflection in Ultraviolence, beyond violence."

First, that quote is unneeded. If it were needed, the "..." doesn't need to be there, because it's just distracting to the reader. It could easily be changed to:

Cohen claims that in the film that "the violence of modern technology sees its reflection in Ultraviolence, beyond violence."

In short, I think this article needs a lot of work to stop if from sounding like an essay. That probably requires deleting it and starting it over from scratch. It reads as though, no offense, a college student just copied and pasted his/her film studies essay onto the site. —The preceding unsigned comment was added by YellowTapedR (talk • contribs).

A question
"n 1890, Thomas de Quincey wrote that "Everything in this world has two handles" How is that possible? He died in 1859. 71.81.56.237 (talk) 00:02, 23 December 2007 (UTC)

 * This book is supposed to be the source of the quote. It was published in 1827
 * http://en.wikipedia.org/wiki/On_Murder_Considered_as_one_of_the_Fine_Arts

Merge with Ultraviolence
Some users suggested to merge the Ultraviolence article with this one after a proposed deletion. As I said at the A Clockwork Orange article, I'm no expert on the subject though I created the Ultraviolence article, so I think someone who knows the subject better than me is more adequate for aiding on a merge here. I'll put what I consider relevant to merge here, if it's needed (sorry if it's unnecessary, but I really don't know how the merge will happen).

Ultraviolence is a term used roughly to describe acts of excessive and/or unjustified violence. The term was coined by Anthony Burgess in his novel A Clockwork Orange, where the main character Alex DeLarge and his gang of "droogs" roam the streets committing violent crimes out of enjoyment, including rape and murder, referred to as "do[ing] the ultra-violent".

This sense of aesthetic violence has led to the term's usage in media, i.e. criticism regarding the representation of violence as enjoyable spectacle. The term "ultraviolence" has been applied to several works of entertainment such as the Saw series, Hostel , GANTZ , and the Manhunt game series.

(and some links from the external links section which I consider relevant for this article as well:)

 * Clockwork Orange and the Aestheticization of Violence
 * Screening Violence Film theory appoach to ultraviolence in the media
 * UltraViolent Atrocities Saturate Pop Culture

Kreachure (talk) 16:27, 21 January 2008 (UTC)

The Matrix
Is it just me, or does the matrix deserve to be mentioned here because of its fight scene choreography? —Preceding unsigned comment added by 88.91.90.2 (talk) 13:01, 7 August 2008 (UTC)

Essay
This is a fine article indeed. Except it should be put up somewhere else on the internet and then referenced by Wikipedia.

Just one example: Aestheticization_of_violence. Who did the selection? And who compiled the snippets of analysis, integrating them into a larger whole? The Wikipedia contributor(s), that's who.

Regards, Zapp

PS. And yes, I've noticed the old discussion on the essay tag. CapnZapp (talk) 12:43, 26 June 2009 (UTC)

Possibly Original Research...it is unsourced
Hi, I relocated this section. I call it unsourced in the heading. Let me clarify. Yes, the paragaph cites Seymour Feshbach, but there is no reference to a specific article or book. As well, based on my understanding of the WP:OR rules (which may be faulty, but it is the way I understand it), we can't do a novel synthesis of material. I don't think that we can apply the Feshbach form of analysis to "The Accused". If Professor XYZ does it, and we have a source, yes we can. For example: "According to Professor XYZ, a film theory expert, "The Accused" is an example of Feshbach-style sensitization to violence Article name journal etc ...." Now while I don't think the Feshbach or WWE material can go in the analysis of "The Accused", it could be in the general article sectionOnBeyondZebrax (talk) 00:07, 19 November 2009 (UTC)

 * A film such as The Accused could be considered an example of sensitization, a form of reverse modeling in which the audience is invited to react strongly against some extreme example of realistic violence so that they are less likely to imitate it. There may also be a catharsis. Seymour Feshbach (1955; see also Feshbach & Singer 1971) has argued that fantasy violence can have a cathartic effect on the audience, defusing latent aggression, and reducing the possibility of aggressive behavior. Such outcomes would suggest that the depiction of realistic violence can be a public good and that its display should not be limited. Social learning theorists propose that some individuals learn aggressive behaviour by observing a role model. Charismatic film and TV characters are, by definition, role models and suggestible people may imitate observed behaviour if they identify and empathise with the characters, and if the characters' behaviour is presented as justified. Hence, for example, explicit warnings of the danger of imitation are given before World Wrestling Entertainment (WWE) wrestling shows because the narrative context for the action emphasises the good guys and provides vicarious reinforcement; i.e. the acceptability of the violence is reinforced by being shown as benefitting the good guy as the aggressor. Such reinforcement is less likely in shows where the violence is shown as punished or unproductive. This confusion as to whether there are potential justifications for depicting violence aesthetically should lead us to the conclusion that it would be difficult to compose any set of criteria for judging acceptability in a censorship system. If censorship is nevertheless introduced, its operation would be uncertain and arbitrary, and subject to politicisation and manipulation by interest groups.

Polarized title?
It seems to me that this article doesn't take care to avoid bias- It relies on the premise that there is a generally accepted definition of what " stylistically excessive" IS....Of course, there isn't.

Also, the writer assumes that the purpose and intent of the aforementioned works are to beautify/promote violence. — Preceding unsigned comment added by 76.9.70.242 (talk) 06:11, 11 September 2013 (UTC)

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Aestheticization of violence. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
 * Added archive https://web.archive.org/web/20070927021234/http://media.www.hlrecord.org/media/storage/paper609/news/2003/10/16/Etc/Kill-Bill.Beauty.And.Violence-530854.shtml to http://media.www.hlrecord.org/media/storage/paper609/news/2003/10/16/Etc/Kill-Bill.Beauty.And.Violence-530854.shtml
 * Added tag to http://www.deutsche-bank-art.com/art/2005/3/e/2/333-2.php
 * Added archive https://web.archive.org/web/20070822044114/http://www.savingtheworld.co.uk/showPage.php?page=22 to http://www.savingtheworld.co.uk/showPage.php?page=22

When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.

Cheers.— InternetArchiveBot  (Report bug) 14:01, 27 June 2017 (UTC)

Violence in film
I would propose trimming down text dedicated to film. It is relatively new form of art that historically speaking spans very short period. We should expand other sections.Unkwsold (talk) 12:20, 8 April 2020 (UTC)

 * Agreeing 100%. It's a good read, but is lacking something. Mejorasi723 (talk) 10:23, 15 December 2020 (UTC)

Editor reverted my edits
And now I am not sure how to get back where I was, it seems like something is missing. Can someone take me back to my version? Unkwsold (talk) 18:54, 13 April 2020 (UTC)
 * I looked at the history.. Were you told why all those edits were reverted? Mejorasi723 (talk) 10:26, 15 December 2020 (UTC)

Edit the intro?
While reading the intro to the article, I had a difficult time figuring out what the article was about. Some of the introduction gave information that I didn't completely understand. It would be beneficial to give a brief description of who Margaret Bruder is, and how she's related to the article. JakeKalp Hopefully this helps!-- (UTC)

Editing Plans
Hello! I'm studying Technical Editing and have selected this article to help refine as part of our curriculum. I am by no means an expert on this topic, so my edits will consist of tone and format rather than content - I'll do my best to preserve information that hasn't already been deemed extraneous by prior commenters. I will be using the sandbox feature to test my edits prior to making edits to the actual article, and will update the talk page with my progress and proposed edits. At present, my plans to edit consist of minor grammatical issues as well as the following issues:

In early comments, the issue of excessive quotations was raised. If this is still a concern, would it be acceptable to paraphrase and rewrite quotations that still exist (obviously keeping the reference to the source)? At present, the text seems disjointed and hard to read due to being so broken up by quotations, and I believe rewrites would lend to a better flow.

Additionally, I agree with prior comments that the lead is still difficult to read and doesn't represent the rest of the article. In addition, the definition of aestheticization of violence by Margaret Bruder only discusses film. It is unclear if this definition is meant to represent art as a whole - I can see from earlier comments that defining aestheticization of violence was an issue. It may be worthwhile to establish a section simply to consolidate definitions of aestheticization of violence, as employed in Romanticism in Scotland

Additionally, the heading/subheading of "Theories and semiotic analysis"/"Semiotic analysis" seems excessive, as there are no other theories that are discussed. I propose simply naming the section "semiotic analysis" and doing away with the subheading.

My goal is not to trim down the article, as it seems disproportionately slim in certain areas (such as the discussion of history in art) - it almost feels as though the article was pared down to the bare essentials of information. While I don't intend to add unneeded text, I will attempt to bulk up the discussion of the history of art to help the article flow and read less like a bulleted list.

I look forward to collaboratively editing this article, and hearing back from fellow editors with feedback.Txrharvey (talk) 05:38, 2 March 2021 (UTC)

Editing implementations
I added a hyperlink to Revolutions of 1848 in the discussion of Wagner's quote - while it was written in 1849, I believe the revolutions and events referenced in the article are known as the Spring of Nations/Revolutions of 1848 (which did bleed over in 1849).

Edited the discussionn of High Culture to give it more substannce beyond copying direct quotes.

Rewrote sections that I found to be close paraphrasing - to see which sections I'm referencing, I noted in the edit summary.

Rewrote sections of Film for tone, edited out unnecessary quotes that only were detailing rave reviews, focused on quotes that furthered topic of the article.

Deleted unnecessary subheading in Theories section - if there is more discussion and variance of content, the subheading may be necessary. As of right now, only film is being discussed

Could the Heading "Power of Representation" be altered? as of right now I don't know what it means or what it is referencing. Initially I would have suggested "Modern Examples" (in contrast with the History section), but there is discussion of historical representations as well.Txrharvey (talk) 02:47, 15 March 2021 (UTC)

Revisiting Edits
In revisiting this page, I have a few follow up questions/suggestions. As for the film subsection - why is this information located here? There is an article already regarding violence in film. If the qualifying element is that the use of violence is more artistic in nature than Graphic violence, this needs to be more clear in the discussion. Otherwise, my recommendation is to relegate discussion of graphic violence in film to the more suitable article. Furthermore, the headings/subheadings setup for Theories and semiotic analysis is lacking, and the text does not fit the title - or at least, having a heading/subheading seems unnecessary, as there is only one subheading located within it. Would a better title be "Semiotic analysis in film"? Finally, I can understand why the Power in representation>High culture>film heading set exists. However, how can "Power in representation be revised, as now the title is ambiguous. Could "Effects" or "Effects of the aestheticization of violence" be effective?

looking back to getting feedback soon! Txrharvey (talk) 14:36, 5 May 2021 (UTC)

title: Talk:Violence in art