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Lost film

A lost film is a feature or short film in which the original negative or copies are not known to exist in any studio archive, private collection, or public archive. Films can be wholly or partially lost for a number of reasons. Early films were not thought to have value beyond their theatrical run, so many were discarded afterward. Nitrate film used in early pictures was highly flammable and susceptible to degradation. The Library of Congress began acquiring copies of American films in 1909, but not all were kept. Due to improvements in film technology and recordkeeping, few films produced in the 1950s or beyond have been lost. Rarely, but occasionally, films classified as lost are found in an uncataloged or miscataloged archive or private collection, becoming "rediscovered films".

Conditions
During most of the 20th century, U.S. copyright law required at least one copy of every American film to be deposited at the Library of Congress at the time of copyright registration, but the Librarian of Congress was not required to retain those copies: "Under the provisions of the act of March 4, 1909, authority is granted for the return to the claimant of copyright of such copyright deposits as are not required by the Library." A report by Library of Congress film historian and archivist David Pierce estimates that:
 * around 75% of original silent-era films have perished;
 * only 14% of the 10,919 silent films released by major studios exist in their original 35 mm or other formats;
 * 11% survive only in full-length foreign versions or film formats of lesser image quality.

Of the American sound films made from 1927 to 1950, an estimated half have been lost.

The phrase "lost film" can also be used for instances where footage of deleted scenes, unedited, and alternative versions of feature films are known to have been created but can no longer be accounted for. Sometimes, a copy of a lost film is rediscovered. A film that has not been recovered in its entirety is called a partially lost film. For example, the 1922 film Sherlock Holmes was considered lost but eventually rediscovered with some of the original footage missing.

Stills
Many film studios hired a still photographer to take pictures during production for potential publicity use. Some are produced in quantity for display use by theaters, others in smaller numbers for distribution to newspapers and magazines, and have subsequently preserved imagery from otherwise lost films.

In some cases, such as London After Midnight, the surviving coverage is so extensive that an entire lost film can be reconstructed scene by scene from still photographs. Stills have been used to stand in for missing footage when making new preservation prints of partially lost films: for example, with the Gloria Swanson picture Sadie Thompson.

Reasons for film loss

Most lost films originate from the silent film and early talkie era, from about 1894 to 1930. Martin Scorsese's Film Foundation estimates that more than 90% of American films produced before 1929 are lost, and the Library of Congress estimates that 75% of all silent films are lost forever.

The largest cause of silent-film loss is intentional destruction. Before the eras of home cinema, television and home video, films were considered to have little future value when their theatrical runs ended. Similarly, silent films were perceived as worthless after the end of the silent era. Film preservationist Robert A. Harris has said, "Most of the early films did not survive because of wholesale junking by the studios. There was no thought of ever saving these films. They simply needed vault space and the materials were expensive to house." The studios could earn money by recycling film for its silver content. Many Technicolor two-color negatives from the 1920s and 1930s were discarded when studios simply refused to reclaim their films, still being held by Technicolor in its vaults. Some used prints were sold to scrap dealers and ultimately edited into short segments for use with small, hand-cranked 35 mm movie projectors, which were sold as a toy for showing brief excerpts from Hollywood films at home.

Many other early motion pictures are lost because the nitrate film employed for nearly all 35 mm negatives and prints created before 1952 is highly flammable unless carefully conditioned and handled. When in very badly deteriorated condition and improperly stored (such as in a sun-baked shed), nitrate film can spontaneously combust. Fires have destroyed entire archives of films, such as the 1937 storage-vault fire that destroyed all the original negatives of pre-1935 films made by Fox Pictures and the 1965 MGM vault fire that destroyed hundreds of silent films and early talkies, including London After Midnight, now considered among the greatest of all lost films. Eastman Kodak introduced a nonflammable 35 mm film stock in 1909; however, the plasticizers employed to increase the film's flexibility evaporated too quickly, rendering the film dry and brittle and causing splices to separate and perforations to tear. By 1911, the major American film studios had reverted to nitrate stock. "Safety film" was relegated to sub-35 mm formats such as 16 mm and 8 mm until improvements were made in the late 1940s.

Nitrate film is also chemically unstable and over time can decay into a sticky mass or a powder akin to gunpowder. This process can be very unpredictable; some nitrate film from the 1890s is still in good condition, while some much later nitrate film was scrapped as unsalvageable when it was barely 20 years old. Much depends on the environment in which it the film stored. Ideal conditions of low temperature, low humidity and adequate ventilation can preserve nitrate film for centuries, but in practice, storage conditions have usually fallen far below this level. When a film on nitrate base is said to have been "preserved", this almost always means simply that it has been copied onto safety film or, more recently, digitized, but both methods result in some loss of quality.

Some pre-1931 sound films produced by Warner Bros. and First National have been lost because they used a sound-on-disc system with a separate soundtrack on special phonograph records. In the 1950s, when 16 mm sound-on-film reduction prints of early talkies were produced for television syndication, such films without complete soundtrack discs were at risk of permanent loss. Many sound-on-disc films have survived only by way of these 16 mm prints.

As a consequence of this widespread lack of care, the work of many early filmmakers and performers exists in the present day only in fragmentary form. A high-profile example is the case of Theda Bara, one of the most famous actresses of the early silent era. Bara appeared in 40 films, but only six are now known to exist. Clara Bow was equally celebrated in her heyday, but 20 of her 57 films are completely lost, and another five are incomplete. Once-popular stage actresses who transitioned to silent films, such as Pauline Frederick and Elsie Ferguson, have little left of their film performances. Fewer than ten movies exist from Frederick's work from 1915 to 1928, and Ferguson has two surviving films, one from 1919 and the other from 1930, her only talkie. All of the film performances of the stage actress and Bara rival Valeska Suratt have been lost. Most of the starring performances of Katherine MacDonald are gone save for a couple of costar appearances. All of George Walsh's Fox appearances have disappeared. Only three of the films of Fox's William Farnum, an early screen Western star, have survived. Others, such as Francis X. Bushman and William Desmond, accumulated numerous film credits, but films produced in their heyday are missing because of junking, neglect, warfare or the demise of their studios. However, unlike Suratt and Bara, because Bushman and Desmond continued working into the sound era and even on television, their later performances survive.

Films were sometimes destroyed deliberately. In 1921, actor Roscoe "Fatty" Arbuckle was charged with the murder of actress Virginia Rappe. Following a series of trials, he was ultimately acquitted, but not before his name had become so toxic that studios engaged in the systematic destruction of all films in which he had a starring role. The Charlie Chaplin-produced A Woman of the Sea was destroyed by Chaplin himself as a tax write-off.

In contrast, the filmography of D. W. Griffith is nearly complete, as many of his early Biograph films were deposited by the company in paper print form at the Library of Congress. Many of Griffith's feature-film works of the 1910s and 1920s were added to the film collection at the Museum of Modern Art in the 1930s and were preserved under the auspices of curator Iris Barry. Mary Pickford's filmography is nearly complete. Her early years were spent with Griffith, and she gained control of her own productions in the late 1910s and early 1920s. She had originally intended to destroy these films but later relented. She also recovered as many of her Zukor-controlled early Famous Players films as were salvageable. Likewise, almost all of the films created by Charlie Chaplin have survived, as well as extensive amounts of unused footage dating back to 1916; the exceptions are the aforementioned A Woman of the Sea and one of his early Keystone films, Her Friend the Bandit. Stars such as Chaplin and Douglas Fairbanks benefited from their great popularity: because their films were repeatedly reissued throughout the silent era, surviving prints could be found even decades later. Pickford, Chaplin, Harold Lloyd and Cecil B. DeMille were early champions of film preservation, although Lloyd lost a large number of his silent works to a vault fire in the early 1940s.

In March 2019, the National Film Archive of India reported that 31,000 of its film reels had been lost or destroyed.

Later lost films
An improved 35 mm safety film was introduced in 1949. Since safety film is much more stable than nitrate film, comparatively few films were lost after about 1950. However, color fading of certain color stocks and vinegar syndrome threaten the preservation of films made since that time.

Most mainstream films from the 1950s and later survive today, but several early pornographic films and some B movies are lost. In most cases, these obscure films are unnoticed and unknown, but some films by noted cult directors have been lost as well.
 * Several films by Kenneth Anger from throughout his career have been lost for a variety of reasons.
 * The 1972 film The Undergraduate, directed by Ed Wood, was once believed lost, but has since been found and released on DVD. His 1971 film Necromania was believed lost for years until an edited version resurfaced at a yard sale in 1992, followed by a complete unedited print in 2001. A complete print of Wood's previously lost pornographic film The Young Marrieds was discovered in 2004. His 1970 film Take It Out in Trade was thought to exist only in fragments without sound, released on home video in 1995 as Take It Out in Trade: The Outtakes, until the release of a scanned 16mm theatrical print on Blu-ray disc in 2018.
 * The Noble Experiment (1955), the first feature film by director/writer Tom Graeff (in which he played a misunderstood genius scientist), was considered lost for many years until it was found by Elle Schneider during the production of The Boy from Out of This World, a documentary about Graeff.
 * Most of the early films of Andy Milligan are considered lost.
 * Many short sponsored films produced for educational, training or religious purposes from the 1940s through the 1970s are lost, as they were considered disposable or upgradable.
 * Some of the first roles of Jackie Chan and Sammo Hung, including those in Big and Little Wong Tin Bar, were considered lost until their discovery and rerelease in 2016.
 * The first three films of noted Finnish melodramatic actor and director Teuvo Tulio were lost, along with several other films of interest for historians of Finnish cinema, when Adams Filmi's film depository was destroyed by fire in Helsinki in 1959.
 * Some early color films such as The Show of Shows (1929) and Golden Dawn (1930) exist only in partial or complete black-and-white format because the extant copies were created on black-and-white stock.
 * Two three-dimensional films from 1954, Top Banana and Southwest Passage, survived in two-dimensional format because only one print, made for either the left or right eye, exists.
 * The original versions of some films that have undergone revision or reediting have been destroyed.

Lost film soundtracks
Some films produced from 1926 to 1931 using the Vitaphone sound-on-disc system, in which the soundtrack is separate from the film, are now considered lost because the soundtrack discs were lost or destroyed, while the picture elements survive. Conversely, and more commonly, some early sound films survive only as sets of soundtrack discs, with the picture elements completely missing, such as The Man from Blankley's (1930), or surviving only in fragmentary form, such as Gold Diggers of Broadway (1929) and The Rogue Song (1930), two highly popular and profitable early musicals in two-color Technicolor.

Many stereophonic soundtracks from the early to mid-1950s that were either played in interlock on a 35 mm full-coat magnetic reel or single-strip magnetic film (such as Fox's four-track magnetic, which became the standard of magnetic stereophonic sound) are now lost. Films such as House of Wax, The Caddy, The War of the Worlds, War and Peace, The 5,000 Fingers of Dr. T and From Here to Eternity that were initially available with three-track magnetic sound are now available only with monophonic optical soundtracks. The process by which magnetic particles adhere to the tri-acetate film base eventually caused the autocatalytic breakdown of the film (vinegar syndrome). As long as studios had a monaural optical negative that could be printed, studio executives felt no need to preserve the stereophonic versions of the soundtracks.

The original isolated scoring session recordings for the soundtrack of the 1968 musical-fantasy Chitty Chitty Bang Bang were either lost or discarded when United Artists merged its archives, with only the original cut soundtrack recording on the standard 12-inch LP left, as well as several CD releases with mediocre remastering, although still lacking the complete score without dialogue.

List of incomplete or partially lost films
This list consists of films for which any footage survives, including trailers and clips reused in other films.

Rediscovered films
Occasionally, prints of films considered lost have been rediscovered. An example is the 1910 version of Frankenstein, which was believed lost for decades until the existence of a print (which had been in the hands of an unwitting collector for years) was discovered in the 1970s. A print of Richard III (1912) was found in 1996 and restored by the American Film Institute. In 2013, an early Mary Pickford film, Their First Misunderstanding, notable for being the first film in which she was credited by name, was found in a New Hampshire barn and donated to Keene State College.

Beyond the Rocks (1922), with Gloria Swanson and Rudolph Valentino, was considered a lost film for several decades. Swanson lamented the loss of this and other films in her 1980 memoirs but optimistically concluded: "I do not believe these films are gone forever." In 2000, a print was found in the Netherlands and restored by the Nederlands Filmmuseum and the Haghefilm Conservation. It turned up among about two thousand rusty film canisters donated by Haarlem's eccentric Dutch collector, Joop van Liempd. It was given its first modern screening in 2005 and has since been aired on Turner Classic Movies.

In the early 2000s, the German film Metropolis—which had been distributed in many different edits over the years—was restored to as close to the original version as possible by reinstating edited footage and using computer technology to repair damaged footage. However, at that point, approximately a quarter of the original film footage was considered lost, according to the Kino Video DVD release of the restored film. On July 1, 2008, Berlin film experts announced that a copy of the film had been discovered in the archives of the film museum Museo del Cine in Buenos Aires, Argentina, which contained almost all of the scenes still missing from the 2002 restoration. The film now has been restored very close to its premiere version. The restoration process is featured in the documentary Metropolis Refundada.

In 2010, digital copies of ten early American films were presented to the Library of Congress by the Boris Yeltsin Presidential Library, the first film installment from the Russian state archives to be repatriated.

In 2018, the rediscovered 1898 film Something Good – Negro Kiss was inducted into the National Film Registry. Its portrayal of a warm, loving Black couple stands in stark contrast to the typically racist portrayals of that era.

Sometimes, a film believed lost in its original state has been restored, either through the process of colorization or other restoration methods. "The Cage," the original 1964 pilot film for Star Trek, survived only in a black-and-white print until 1987, when a film archivist found an unmarked (mute) 35 mm reel in a Hollywood film laboratory with the negative trims of the unused scenes.

Stock footage
Several films that would otherwise be entirely lost partially survive as stock footage used for later films.

For example, the Universal Pictures short Boo! (1932) contains the only remaining footage of the Universal feature film The Cat Creeps (1930). However, UCLA still has a copy of the soundtrack. The James Cagney film Winner Take All (1932) used scenes from the early talkie Queen of the Night Clubs (1929), starring Texas Guinan; that footage is all that remains of the earlier film.

Actress-turned-gossip columnist Hedda Hopper made her screen debut in the Fox Film The Battle of Hearts (1916). Twenty-six years later, in 1942, Hopper produced her short series "Hedda Hopper's Hollywood #2". In the short, Hopper, William Farnum (the film's star), her son William Hopper, and William Hopper's wife Jane Gilbert view brief portions of The Battle of Hearts. More than likely, Hopper had an entire print of the movie in 1942. However, like many early Fox films, The Battle of Hearts is now lost or missing.

One of the best-known of Charlie Chaplin's works, the silent film The Gold Rush (1925), was re-released in 1942 to include a musical track and narration by Chaplin himself. The reissue would end up having the unintentional result of preserving the film, as the original film (though generally not considered a lost film) shows noticeable degradation of image and missing frames, damage not evident in the 1942 version.

The Polish film  (1939) contains three short fragments of Arabella (1917), one of the early films of Pola Negri which were later lost.

In film and television
Several films have been made with lost film fragments incorporated into the work. Decasia (2002) used nothing but decaying film footage as an abstract tone poem of light and darkness, much like the more historical Lyrical Nitrate (Peter Delpeut, 1991) which contained only footage from canisters found stored in an Amsterdam cinema. In 1993, Delpeut released The Forbidden Quest, combining early film footage and archival photographs with new material to tell the fictional story of an ill-fated Antarctic expedition.

The 2016 documentary Dawson City: Frozen Time, about the history of Dawson City, Canada, and the 1978 discovery of previously lost silent films there, incorporates parts of many of those films.

The mockumentary Forgotten Silver, made by Peter Jackson, purports to show recovered footage of early films. Instead, the filmmakers used newly shot film sequences to look like lost films.

In the double feature Grindhouse (2007), both segments—Planet Terror (directed by Robert Rodriguez) and Death Proof (directed by Quentin Tarantino)—have references to missing reels, used as plot devices.

"Cigarette Burns", an episode of the horror anthology series Masters of Horror directed by John Carpenter, deals with the search for a fictional lost film, "La Fin Absolue Du Monde" ("The Absolute End of The World").

title: Lost film


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Child art

Child art is the drawings, paintings, or other artistic works created by children. The term was coined by Franz Cižek in the 1890s. The art of each child reflects their level of self-awareness and the degree to which they are integrated with their environment.

Meanings
In its primary sense the term was created by Franz Cižek (1865–1946) in the 1890s. The following usages denote and connote different, sometimes parallel meanings:

 * In the world of contemporary fine art, "child art" refers to a subgenre of artists who depict children in their works;
 * "child art" implies art intended for viewing by children — illustrations perhaps in a book for juvenile readers, done by a child or by a professional adult illustrator;
 * as a synonym for juvenilia.

History
J.-J. Rousseau (1712–78), J.H. Pestalozzi (1746–1827), John Ruskin (1819–1900), and Herbert Spencer (1820–1903) laid the premises for understanding the importance of art for children.

Agenda of art education for children was discussed at the International Conference of 1884, held in London at the Health Exhibition. The discussion framework was largely shaped by the widespread of schools of design for professional training of children and youth in the UK, beginning from 1852. Some of the conference participants underlined the importance of creativity, imaginations and special methodology for development of children's artistic skills. Ebenezer Cooke (1837–1913) has pointed out that "if a child follows its bent and draws animals its own way, in action, and repeats them, outlines them, and colours them too, he will produce a drawing which may be comparable to the archaic period of more than one historic school." The proceedings of the conference, ed. by E. Cooke, were issued in the 1885–86 Journal of Education, published by the Society for the Development of the Science of Education.

Robert Ablett (1848–1945) organized the first European exhibition of drawings by children in London, 1890. The first collection of 1250 children's drawing and sculpture pieces was assembled by Corrado Ricci (1858–1934), an Italian art historian.

Aesthetic appreciation of children's art as untainted by adult influence was extolled by Franz Cižek, who called a child's drawing "a marvelous and precious document". Discovery of the aesthetic quality of the unskilled visual expression by children was related to the aesthetics of modernism and, in case of Cižek, to the Vienna Secession.

In 1897, Cižek opened the Juvenile Art Class, a weekend school upholding children creativity uninhibited by adult vocational standards. The initiative was supported by his Secession friends-artists and opposed by the traditional art teachers. The Class accepted pupils of 2 to 14 years old for two hours a week, free of charge, with no selection. Cižek claimed that he was working "as an artist, not as a teacher", and actually "learned and not taught". The work propagated the theory of developmental stages.

Psychologists' interest in children's art was reflected in works by Georg Kerschensteiner (Die Entwickelung der Zeichnerischen Begabung, 1905, on the grounds of analysis of some 100,000 drawings), Georges-Henri Luquet (Les Dessins D’un Enfant, 1912, using 1500 drawings of the author's daughter from 3 to 8 years old), Georges Rouma (Le Langage Graphique de l’Enfant, Paris, 1913), Karl Bühler (1918 ff.), Florence Goodenough, Helga Eng, Robert Coles. According to D.D. Kelly, consequent domination of Piagetian theory of cognitive psychology largely marginalized the psychological studies of children's art, which were revitalized only towards the end of the 20th century.

Stages of child art
As the child develops, their art passes through a number of stages. Four of them were for the first time defined by E. Cooke, under influence of Herbert Spencer's evolutionary theory.

Presently, the stages are generally differentiated as follows:

Scribbling
From about their first birthday children achieve the fine motor control to handle a crayon. At first they scribble. The youngest child scribbles with a series of left and right motions, later up, down and then circular motions are added. The child appears to get considerable pleasure from watching the line or the colours appear. Often however children do not pay attention to the edges of the page and the lines go beyond the confines of the page. Children are often also interested in body painting and, given the opportunity, will draw on their hands or smear paint on their faces.

Later, from about their second birthday, controlled scribbling starts. Children produce patterns of simple shapes: circles, crosses and star-bursts. They also become interested in arrangement and can produce simple collages of coloured paper, or place stones in patterns. Once children have established controlled scribbling they begin to name their scribbles.

Pre-symbolism

From about age three, the child begins to combine circles and lines to make simple figures. At first, people are drawn without a body and with limbs emerging directly from the head. The eyes are often drawn large, filling up most of the face, and hands and feet are omitted. At this stage it may be impossible to identify the subject of the art without the child's help.

Later drawings from this stage show figures drawn floating in space and sized to reflect the child's view of their importance. Most children at this age are not concerned with producing a realistic picture.

Symbolism

In this stage of a child's development, they create a vocabulary of images. Thus when a child draws a picture of a cat, they will always draw the same basic image, perhaps modified (one cat has stripes while another has dots, for example). This stage of drawing begins at around age five. The basic shapes are called symbols or schema.

Each child develops their own set of symbols, which are based on their understanding of what is being drawn rather than on observation. Each child's symbols are therefore unique to the child. By this age, most children develop a "person" symbol which has a properly defined head, trunk and limbs which are in some sort of rough proportion.

Before this stage the objects that child would draw would appear to float in space, but at about five to six years old the child introduces a baseline with which to organize their space. This baseline is often a green line (representing grass) at the bottom of the paper. The figures stand on this line. Slightly older children may also add secondary baselines for background objects and a skyline to hold the sun and clouds.

It is at this stage that cultural influences become more important. Children not only draw from life, but also copy images in their surroundings. They may draw copies of cartoons. Children also become more aware of the story-telling possibilities in a picture. The earliest understanding of a more realistic representation of space, such as using perspective, usually comes from copying.

Realism
As children mature they begin to find their symbols limiting. They realize that their schema for a person is not flexible enough, and does not resemble the real thing. At this stage, which begins at nine or ten years old, the child will lend greater importance to whether the drawing looks like the object being drawn. This can be a frustrating time for some children, as their aspirations outstrip their abilities and knowledge. Some children give up on drawing almost entirely. However, others become skilled, and it is at this stage that formal artistic training can benefit the child most. The baseline is dropped and the child can learn to use rules such as perspective to organize space better. Story-telling also becomes more refined and children will start to use formal devices such as the comic strip.

Therapeutic
Art therapy can be an effective way for children to develop and connect with their emotions. Some children with autism have found that drawing can help them to express feelings that they have difficulty expressing otherwise. Similarly children who have faced horrors such as war can find it difficult to talk about what they have experienced directly. Art can help children come to terms with their emotions in these situations.

Criticism
After visiting a children's art display in San Francisco in the 1980s, educator John Holt stated that, "...An understanding of adultism might begin to explain what I mean when I say that much of what is known as children's art is an adult invention."

Reliability
The reliability of children's art as evidence of their experiences is a matter of professional debate. In recent years courts around the world have become increasingly accepting of children's art being submitted as evidence. In 2004 the International Criminal Court accepted a group of approximately 500 children's drawings as evidence during investigations of crimes against humanity committed during the War in Darfur.

Children's art as historical evidence
Children's art is also a valued source for historians seeking to understand children's lives in the past. In some instances, children's art can provide insight into their experiences. In 1945, the Swiss Red Cross encouraged children liberated from Auschwitz to draw pictures. Some of those drawings have been used by historian Nicholas Stargardt to construct Jewish children's experiences in concentration camps. Historian Jack Hodgson argues that children's art will always come with ambiguity owing to the "need to interpret them" and that is often off-putting to discipline that remains logocentric, "thriving on precise textual details." However, Hodgson advocates for their use due to "enormous communicative potential", particularly regarding "unquantifiable feelings or emotions."

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

title: Child art


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Talk:Robert Jensen

Untitled
An article about Jensen needs more than just shots about his 9/11 editorial. Remember WP:NPOV's commands about balance. And as for this sentence: He is best known for a series of controversial opinion pieces he published in the Houston Chronicle shortly after the September 11th terrorist attacks.  Really? Better than for his professorship? Better than for the three books he's written and who knows how many magazine and other opeds? This language is too authoritative. Maybe conservatives like him least becuase of his 9/11 editorial, but this hardly makes it what he is most well-known for. · Katefan0(scribble) 13:31, Jun 14, 2005 (UTC)

 * Then by all means, Katefan, quit whining and write it! I intentionally flagged this article as a biography stub with the hopes that somebody with the time would develop it beyond the 4 or 5 sentences I put in to get it started. And yes, he is best known for the 9/11 articles which made national news and got him condemned by the university president. Beyond that, the guy's a minor assistant journalism professor of no particular distinction. Using the "google" test so many of your buddies are fond of, the terms "Robert Jensen" and "9/11" get 30,000 hits compared to 22,000 for "robert jensen" and "professor" and 19,000 for "robert jensen" and "journalism," so going by that he is indeed best known for the 9/11 incidents. Rangerdude 16:52, 14 Jun 2005 (UTC)

 * Just a reminder that all edits should be NPOV. It is not sufficient to write a POV stub and then expect other editors to fight to make it NPOV. Thanks, -Willmcw 20:15, Jun 14, 2005 (UTC)

 * Just a reminder that the current stub addresses the material contained in a neutral point of view manner without giving either favor or condemnation to Jensen's most widely known activity. If you contest this, please state the specific wordings you dislike. If you think other material should be added, then please specify what material that you would like to see (or better yet - add it yourself). Rangerdude 21:46, 14 Jun 2005 (UTC)
 * WP:NPOV demands that we seek balance. You created the article yourself and chose to add only what you felt is Jensen's worst criticism and leave the rest of the article substantially devoid of other information.  You cannot claim ignorance of this policy because I myself have pointed it out to you on more than one occasion.  It is not enough to simply dump criticisms (or glowing praise without regard to criticisms) into a stub (or other article) and expect the rest of Wikipedia to balance it for you, as you have done in this article, as well as Houston Chronicle, Sheila Jackson-Lee, Texas Media Watch, Sherry Sylvester, Texans for True Mobility, etc.  · Katefan0(scribble) 22:21, Jun 14, 2005 (UTC)
 * Thanks but no thanks. WP is STRICTLY a voluntary project and the purpose of stubs is to get an article going with some basic material - not introduce a polished essay that conforms to your personal concept of NPOV, which happens to be far more POV in its own right than you admit.. If you spent half the time actually adding whatever material it is you want to this article as you do whining and complaining to me about it, you wouldn't even have an issue to whine about - especially given that since it's still a stub and only has a few sentences to start with. Rangerdude 22:41, 14 Jun 2005 (UTC)
 * There is no "sorry but no" about it. NPOV is an official policy, non-negotiable.  You clearly have time to create stubs about Jensen, Cragg Hines etc.; why not create them a little slower and instead make the articles better before you continue on to another one?  Also, please refrain from being uncivil.  This is the second time you've said I was "whining" today when my issues are legitimate. · Katefan0(scribble) 22:45, Jun 14, 2005 (UTC)

It is absolutely fucking ridiculous to copy his autobiography from his faculty page and put it here. Accordingly I have altered the sentence, "He also is involved in a number of activist groups working against U.S. military and economic domination of the rest of the world." I have deleted everything from "domination of the rest of the world" and replaced it with "policies." If someone is so inclined, I imagine you could put after policies, "which he believes are an attempt to dominate the rest of the world." I guess that assumes he wrote his faculty profile... but something tells me the department secretary didn't think this stuff up.

Removed this paragraph
I removed the following paragraph as it came across as original analysis, as well as non-NPOV:

 * The counter to this criticism, however, is that there is a bankruptcy of critical information in the U.S. news media that disadvantages citizens of the U.S. markedly when it comes to being presented with critiques by the like of Jensen's (see the propaganda model ). Thus, the fact that thousands complained about Jensen's so soon after the attacks is hardly surprising, especially given the hysterical propagandistic coverage that permeated most U.S. mainstream news coverage. In a less Americentric vantage point, Jensen's critique could be said to have mimicked the majority of the rest of the world's sentiments, as various global polling studies have amply demonstrated (i.e. rather high unpopularity of President George W. Bush and past aggressive U.S. foreign policies). The fact that he raised the ire of an elitist, wealthy University president could be interpreted as admirable, even the responsibility of an intellectual.

This statement is unreferenced and seems to be a Wikipedia author's own defense of Jensen's editorial, rather than a paraphrasing of any notable non-Wikipedia defense of Jensen. Also, language like "elitist, wealthy University president" or "hysterical propagandistic coverage" is, of course, not ever remotely NPOV. Peter G Werner 17:09, 22 November 2006 (UTC)

How convenient. —Preceding unsigned comment added by 209.159.64.4 (talk) 07:59, 28 March 2008 (UTC)

Readers of Jensen's page would benefit from inclusion of a link to this extensive review of one of his books, The Heart of Whiteness. I tried to add a link, but got rejected. Could someone add it?

http://stuffwhitepeopledo.blogspot.com/2008/04/saturday-book-rec-heart-of-whiteness.html —Preceding unsigned comment added by 98.212.215.223 (talk) 16:23, 2 May 2008 (UTC)

Quotes?
Can we add quotes? I liked this quote: ""I'm not a pacifist in philosophical terms. I think there are times and places where using violence to stop a greater injustice can be morally justified. This ain't the track I'm gonna go down, though... There were times in US history when that was possible. Even as late as the 1960's, there were revolutionary moments in the world where something more dramatic might have been possible. This is not such a time. So we must first put aside any fantasies about "the revolution"... It doesn't mean however that we put aside revolutionary ideals. To recognize that this is not a revolutionary moment in history, that we are not going to topple sistems of unjust and unsustainable power does not mean that one gives up revolutionary or radical ideals. It means one is sensible about how you strategically try to deploy them in this world. So when I talk about action, I want figure out how do you retain a radical spirit, even if in the moment radical action is not possible or sensible." from his talk Taking Politics Seriously: Looking Beyond the Election and Beyond Elections - http://www.zmag.org/zaudio/2911 (minute 28)Brinerustle (talk) 10:15, 21 January 2009 (UTC)

Radical Christian links to Christian Atheism??
Anyone else think that linking the description "radical christian" to christian atheism without some qualifying remarks will result in puzzlement and perhaps the identification of christian atheism as a form of radical christianity. It's true that Jenson has described himself in these terms, whilst acknowledging at the same time that his beliefs have not changed much from his earlier christian atheism. Perhaps that could be made clearer, and the link placed on the latter term? 62.254.133.139 (talk) 14:33, 9 December 2010 (UTC)

External links modified
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Move discussion in progress
There is a move discussion in progress on Talk:Robert Jensen (disambiguation) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 16:16, 27 January 2018 (UTC)

Some proposed changes
I am Robert Jensen, the subject of this page. As of Sept. 1, 2018, I have retired from the University of Texas. So, this: "has been professor of journalism at the University of Texas at Austin since 1992." Should be updated to say: "was a professor in the School of Journalism at the University of Texas at Austin from 1992-2018." I also thought it would be helpful if somewhere on the page this was included: "Jensen's writing is archived at http://robertwjensen.org/." And, finally, in the "Controversy/Views on transgender ideology," I would suggest adding this: "More of Jensen's writing on this subject is online at http://robertwjensen.org/articles/by-topic/gender-sexuality-and-pornography/." Thank you. RobertWJensen (talk) 21:50, 18 September 2018 (UTC)

Reply 18-SEP-2018

 * 1) ✅ The status as former instructor was appended to the lead section.
 * 2) ❌ The personal website is already reflected in the infobox and in the External links section. Notwithstanding the vast array of links to the subject's written works already furnished within the article, the storage of excess links within the article's prose are generally not allowed. (See WP:NOTLINKFARM.)
 * Regards,  spintendo   23:20, 18 September 2018 (UTC)

Criticism section
Two things that the text of the criticism section did not (in my mind) make clear: 1. Regarding the 9/11 controversy, were those people that condnemned him for writing what he wrote denying that the US government had killed civilians for political reasons? Or, were they not denying that, but merely condemning Robert Jensen for his criticism? 2. The transgender section seems to me to be very vaguely written -- after reading it, I still have no clue what any of those mentioned's opinions actually are :) Firejuggler86 (talk) 07:25, 18 April 2020 (UTC)

 * (Acknowledging the user is blocked, but for general future reference): the tl;dr on the trans thing appears to be “trans people aren’t valid because reasons” but I’m not slogging through paragraphs of academic logorrhea to confirm that. Dronebogus (talk) 16:41, 31 August 2022 (UTC)
 * His stated reasons appear to be tied up with his erotophobia. He conflates drag with transgender "ideology" with pornography, which apparently can be resolved by embracing his version of radical feminism. He's real big on either/or stuff like "Instead of embracing transgenderism to resolved gender conflicts,  why not embrace radical feminism?"
 * It's not just that he sees them as mutually exclusive; he seems to think that radical feminism is some sort of mystery religion that liberates the soul. Something tells me there was a process of extreme guilt underlying his experience, but he seems completely dodgy on any scientific studies both confirming that gender identification can have a neurological basis and that transitioning and affirmative care can mean the difference between life and death for trans children and adults.
 * Honestly, he never comes off the slightest bit convincing,  but I think his career got a big boost from the anti-porn movement,  as he was the first male to really lean into it who wasn't a Bible thumper. Accuracy Banshee (talk) 00:42, 19 May 2023 (UTC)

title: Talk:Robert Jensen


text:
User:FelixH~enwiki

My e-mail-address

title: User:FelixH~enwiki


text:
User talk:FelixH~enwiki

xxx no discussion yet

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Pkg-config

pkg-config is a computer program that defines and supports a unified interface for querying installed libraries for the purpose of compiling software that depends on them. It allows programmers and installation scripts to work without explicit knowledge of detailed library path information. pkg-config was originally designed for Linux, but it is now also available for BSD, Microsoft Windows, macOS, and Solaris.

It outputs various information about installed libraries. This information may include:
 * Parameters (flags) for C or C++ compiler
 * Parameters (flags) for linker
 * Version of the package in question

The first implementation was written in shell. Later, it was rewritten in C using the GLib library.

Synopsis
When a library is installed (automatically through the use of an RPM, deb, or other binary packaging system or by compiling from the source), a  file should be included and placed into a directory with other   files (the exact directory is dependent upon the system and outlined in the pkg-config man page). This file has several entries.

These entries typically contain a list of dependent libraries that programs using the package also need to compile. Entries also typically include the location of header files, version information and a description.

Here is an example  file for libpng: This file demonstrates how  informs that its libraries can be found in   and its headers in , that the library name is  , and that the version is 1.2.8. It also gives the additional linker flags that are needed to compile code that uses this library.

Here is an example of usage of pkg-config while compiling:

pkg-config can be used by build automation software such as CMake.

Alternative implementations

 * pkgconf – Implementation of pkg-config without depending on GLib

 * u-config – Minimal implementation with first-class Windows support
 * PkgConfig – Pure-Perl Core-Only replacement for pkg-config
 * ruby-gnome/pkg-config – Implementation of pkg-config in Ruby

title: Pkg-config


text:
Bobby Julich

Robert "Bobby" Julich (born November 18, 1971), popularly called Bobby Julich, is an American former professional road bicycle racer who last rode for Team CSC in the UCI ProTour racing series. He got his international breakthrough when he finished 3rd overall in the 1998 Tour de France, becoming only the second American to finish on the podium. He is a strong time trialist who won a silver medal at the 2004 Olympic Individual Time Trial, and combined with his high versatility he has won a number of stage races on the international circuits including the 2005 edition of Paris–Nice. In September 2008, he announced his retirement as a professional cyclist.

He served as a technical director for until November 2010, when it was announced that he would move to  for the 2011 season as a race coach. On October 25, 2012, Team Sky announced that Julich would part ways with the team due to his admission to doping in the past. This departure is therefore in line with Team Sky's policy (re-asserted in the wake of the USADA Reasoned Decision and subsequent UCI/Lance Armstrong fall-out) of asking all current team personnel to admit to any past doping offences. After leaving Sky Julich worked as a coach for in 2014 before being announced by Team Tinkoff–Saxo as the team's head coach (Directeur Sportif) for 2015, however in August 2015 he confirmed that he would leave the team at the end of the year.

Biography
Born in Texas, Julich has resided in Glenwood Springs, Colorado, since childhood, with a brief time in Philadelphia, where he met his wife. Most of his living relatives reside in the New York area. Bobby Julich got his start in cycling winning the Red Zinger Mini Classics youth bicycle race in 1985. As an amateur cyclist Bobby Julich won the 1990 Junior National Cyclo-Cross Championship, and as a member of the US National Team he participated in the 1991 Tour DuPont. At the time it was the biggest stage race in the United States, and Julich finished 5th overall in a race which included fellow American cyclist and 3-time Tour de France winner Greg LeMond. Bobby won the award for the Best Young Rider and was heralded as the next LeMond.

After a few "false" starts as a professional, he joined the Motorola team in 1995 alongside Italian rider Andrea Peron and fellow Americans Lance Armstrong and George Hincapie. In the 1996 season, Bobby Julich was diagnosed with re-entrant supraventricular tachycardia (RSVT), a heart condition which meant his heart would beat much faster than normal. Julich was treated with radiofrequency ablation and was ready for the 1996 Vuelta a España late in the season, a race which showed the first glimpses of his potential in international professional cycling. There, Julich held the King of the Mountains jersey for ten stages. Despite a strong performance he relinquished the jersey but did finish 9th overall, the highest placing ever by an American in the Vuelta up until Lance Armstrong finished 4th overall in 1998. It was this performance that made other teams in the peloton take notice of Julich.

When Motorola ended its sponsorship at the end of the 1996 season he joined the French Cofidis team with a few fellow Motorola teammates, including Lance Armstrong. Armstrong's cancer meant that he was not able to compete with the team, while Julich went on to participate in the 1997 Tour de France. He performed well in this Tour, getting stronger as it progressed taking two top 10s in late mountain stages including one where he finished only behind the podium finishers Richard Virenque, Marco Pantani and Jan Ullrich. Then in the final ITT he placed 4th to finish the Tour in 17th overall.

The embattled 1998 Tour de France was a breakthrough for Julich, when he took over the team leadership from Italian Francesco Casagrande. Following the doping scandal of the 1998 Tour, only 96 of 189 riders completed the race, and Julich finished third on the podium with winner Pantani and runner-up Ullrich. Julich was hailed as the next American Tour de France champion and he was once more proclaimed to follow in the footsteps of Greg LeMond. The 1999 Tour de France saw Julich as one of the favorites for the overall win, but a crash during an individual time trial forced him to quit the race, which was in turn won by the recovered Lance Armstrong.

For the 2000 season, Julich moved to another French team Credit Agricole, joining compatriot Jonathan Vaughters. He was part of the Credit Agricole team that won the team time trial stage of the 2001 Tour de France. After a move to Team Telekom of Germany in 2002, Julich rode as a domestique in support of his team captain Jan Ullrich. Julich only enjoyed lacklustre results, and at the end of the 2003 season he contemplated retiring.

Despite an offer below his wages at Team Telekom, Bobby Julich moved to the Danish outfit Team CSC in the 2004 season, where he joined up with former Motorola teammate Andrea Peron. He once again rode as a supporting rider in the Tour de France, but with the freedom to pursue his own chances during the rest of the season. Julich immediately saw his riding and performance improve, as he won a time-trial in the April 2004 race Tour of the Basque Country, his first victory since the 1998 season. With Team CSC teammate Jens Voigt, a rider Julich rode with in his time at Credit Agricole, he also won the two-man time trial LuK Challenge. Bobby Julich won a silver medal in the 2004 Summer Olympics men's individual time trial event behind Russian Viatcheslav Ekimov.

Julich's renaissance continued in 2005 with his best-ever professional season, becoming the first American to win Paris–Nice. He also won the Critérium International and the Eneco Tour, making Julich the 8th ranked rider in the UCI ProTour, helping Team CSC become the highest ranked team of 2005.

For the 2006 season, Julich planned to conserve energy for helping Team CSC captain Ivan Basso in his winning bid for both the 2006 Giro d'Italia in May and 2006 Tour de France in July. Even though he did not start his season as strongly compared to 2005, he managed to finish 3rd at the Tour of California in February and he won the prologue of Paris–Nice in March, results that even positively surprised Julich himself. For the very first Giro d'Italia participation in his career, Julich had early aspirations of conquering the pink jersey for the leader of the general classification early in the race to lessen the pressure on Basso. However, Julich suffered heavily from pollen allergy throughout the race, and he did not play a major role himself, but focused on helping Ivan Basso, as Basso won the 2006 Giro. In the 2006 Tour de France, Julich abandoned the race after he suffered a crash on the stage 7 individual time trial. He went into a turn too fast, slid on small pebbles, and he severely injured his wrist when falling.

In May 2011, Tyler Hamilton, the winner of the men's time trial at the 2004 Summer Olympics, confessed that he had used doping products, and returned his gold medal. On August 10, 2012, Bobby Julich was upgraded from the bronze to the silver medal.

In May 2013, he joined BMC Racing Team as a consultant. In November 2014, it was announced that Julich would join Tinkoff–Saxo as head coach, reuniting with Sean Yates (former sports director of Team Sky) and team founder and manager Bjarne Riis. Julich and Yates left after Riis's firing later in 2015.

Doping
On October 25, 2012, Julich admitted to "using EPO several times from August 1996 until July 1998". and resigned from the United Kingdom-based Team Sky. The team had issued a statement asking both riders and support staff to sign a document verifying that they did not use or administer performance-enhancing drugs during their careers. Julich stated that he wishes to continue to be involved in the sport to some extent, and also that he will pay the consequences for his poor decisions.

Bobby did his self-confession at CyclingNews. His open letter told that during the Tour de France of 1998 his fiancée (now wife) discovered his use from another rider's wife. She told him if it would reoccur, the relationship would be over. His name was also on the list of doping tests published by the French Senate on 24 July 2013 that were collected during the 1998 Tour de France and found suspicious for EPO when retested in 2004.

Major results

 * 1988
 * 1st Jersey yellow.svg Overall Tour de l'Abitibi

 * 1989
 * 1st Jersey yellow.svg Overall Tour de l'Abitibi
 * 1st Jersey yellow.svg Overall Trofeo Karlsberg

 * 1991
 * 5th Overall Tour DuPont

 * 1992
 * 10th Overall Tour DuPont

 * 1994
 * 7th Overall Tour DuPont

 * 1996
 * 7th Overall Escalada a Montjuïc
 * 9th Overall Vuelta a España
 * 10th Japan Cup

 * 1997
 * 1st Jersey yellow.svg Overall Tour de l'Ain
 * 1st Stage 5b (ITT)
 * Route du Sud
 * 1st Stages 2a & 2b (ITT)

 * 1998
 * 1st Jersey yellow.svg Overall Critérium International
 * 2nd Overall À travers Lausanne
 * 2nd Overall Tour du Limousin
 * 2nd Polynormande
 * 3rd Overall Tour de France
 * 5th Züri-Metzgete
 * 6th Grand Prix Eddy Merckx

 * 1999
 * 2nd Trophée des Grimpeurs
 * 5th Grand Prix Pino Cerami
 * 10th Overall Route du Sud

 * 2000
 * 2nd Overall Tour Méditerranéen
 * 5th EnBW Grand Prix (with Jens Voigt)
 * 6th Overall Circuit de la Sarthe

 * 2001
 * 1st Stage 5 (TTT) Tour de France
 * 3rd Gran Premio di Lugano
 * 5th Grand Prix Eddy Merckx
 * 9th Overall Circuit de la Sarthe
 * 9th Overall Tour du Limousin
 * 9th Overall Tour Méditerranéen

 * 2002
 * 7th Breitling Grand Prix (with Kevin Livingston)

 * 2003
 * 3rd LuK Challenge Chrono (with Alexander Vinokourov)
 * 6th GP Triberg-Schwarzwald

 * 2004
 * 1st LuK Challenge Chrono (with Jens Voigt)
 * 2nd Silver medal olympic.svg Time trial, Olympic Games
 * 2nd Grand Prix Eddy Merckx (with Jens Voigt)
 * 3rd Overall Paris–Nice
 * 4th Overall Tour of the Basque Country
 * 1st Stage 5b (ITT)
 * 4th Overall Critérium International
 * 2nd Overall Tour de Georgia
 * 5th Overall Ronde van Nederland
 * 8th Overall Tour Méditerranéen

 * 2005
 * 1st Jersey yellow.svg Overall Paris–Nice
 * 1st Jersey yellow.svg Overall Critérium International
 * 1st Stage 3 (ITT)
 * 1st Jersey red.svg Overall Eneco Tour
 * 1st Stage 7 (ITT)
 * 1st LuK Challenge Chrono (with Jens Voigt)
 * 1st Stage 4 (TTT) Tour Méditerranéen
 * 4th Overall Tour de Georgia
 * 5th Overall Tour of the Basque Country
 * 9th Overall Tour Méditerranéen

 * 2006
 * 1st Prologue Paris–Nice
 * 1st Stage 5 (TTT) Giro d'Italia
 * 1st Eindhoven Team Time Trial
 * 3rd Overall Tour of California
 * 6th LuK Challenge Chrono (with Jens Voigt)

 * 2007
 * 1st Stage 2 (TTT) Deutschland Tour
 * 1st Eindhoven Team Time Trial
 * 2nd Overall Sachsen Tour
 * 4th Overall Tour of California
 * National Road Championships
 * 5th Time trial
 * 8th Road race
 * 7th Klasika Primavera

 * 2008
 * 10th Overall Tour de Georgia

title: Bobby Julich


title: File:HarleyQuinn1.jpg


text:
Dominick Daly

Sir Dominick Daly (11 August 1798 – 19 February 1868) was a British colonial public servant and administrator during the 19th century, who held positions in British North America, Tobago and South Australia.

Born in Ireland to a well-connected family, he obtained the position of private secretary to the Lieutenant Governor of Lower Canada in 1822. He eventually became the provincial secretary of Lower Canada, a member of the Special Council which governed Lower Canada following the Lower Canada Rebellion, and a member of the Legislative Assembly and provincial secretary of the Province of Canada. For a brief time in 1843, he was the sole member of the Executive Council of the Province of Canada. He then became part of a three-man council, advising the Governor General, Sir Charles Metcalfe. His decision to remain in office angered the Reform members of the Assembly, leading to him fighting a duel with one Reform member. He was dismissed from office when the Reformers were returned to power under Louis-Hippolyte Lafontaine and Robert Baldwin in 1848.

After losing office in Canada in 1848, Daly served on a royal commission in England concerning the New Forest and Waltham Forest. He then served as the Governor of Tobago from 1851 to 1852, followed by appointment as Governor of Prince Edward Island from 1854 to 1859. In 1862 he was appointed Governor of South Australia, an office he held until his sudden death on 19 February 1868 in Adelaide, South Australia.

Daly combined an aptitude for public affairs and diligence in his work, along with personal charm and affability. In Canada, he acquired the nickname of "the perpetual secretary", in light of his holding various administrative offices for twenty-five years.

Early life and family
Daly was born in Ardfry, County Galway, Ireland in 1798, the son of Dominic Daly senior and Joanna Harriet Blake. His mother was the sister of Joseph Blake, 1st Baron Wallscourt, and had previously been married to Richard Burke of Glinsk, who was a member of the family of Burke baronets. She had two sons from her first marriage, John Burke and Joseph Burke. Both of Daly's half-brothers inherited the baronetcy in turn. The Dalys were Roman Catholics and Dominick studied at St Mary's College, Oscott in Birmingham.

While in Lower Canada, Daly married Caroline Maria Gore, second daughter of Colonel Ralph Gore of Barrowmount, Goresbridge, County Kilkenny, Ireland, who was on service in Lower Canada. The marriage was conducted in the Anglican Cathedral of the Holy Trinity, Quebec City. They had five children, including the artist Caroline Louisa Daly, whose paintings have only recently been recognized as her own work. One of their sons, Malachy Bowes Daly, became a lawyer in Nova Scotia. He entered federal politics and was a Cabinet minister in Sir John A. Macdonald's ministry, and later was appointed the Lieutenant Governor of Nova Scotia.

Lower Canada (1823 – 1841)
After finishing his schooling, Daly spent some time with an uncle in Paris who was involved in banking, but came back to Ireland. He then acquired the position of private secretary to Sir Francis Nathaniel Burton, Lieutenant Governor of Lower Canada, who was from an Irish family with political connections. In 1823, Daly came to Lower Canada with Burton. Daly was a diligent worker and earned Burton's approval, to the point that Burton ensured Daly's appointment as provincial secretary for Lower Canada in 1827, even though Burton by then had left Lower Canada on indefinite leave. However, Daly was required to remit the salary for the post, £500 a year, to the former absentee office-holder, Thomas Amyot in England. Instead, Daly received the lucrative fees associated with the position. The arrangement was kept secret so the elected members of the Legislative Assembly would not know that the money was still going to the former absentee provincial secretary.

Daly continued in the position of provincial secretary during and after the Lower Canada Rebellion of 1837–1838. He was active in civil life, participating on various civil committees. Aided by his Catholic background, he followed Burton's example of building good personal relations with the French Canadian elites, and acquired a reputation for diligence and integrity, coupled with affability and gallantry. He expressed some sympathies for the concerns of the nationalists, but never took any formal position on the constitutional and political issues which underlay the Rebellion. Individuals and groups on both sides of the debate appear to have considered him to be sympathetic to their position.

Following the Rebellion, the British Parliament passed a law to suspend the 1791 constitution of Lower Canada. The law gave the governor the power to appoint the members of the Special Council of Lower Canada to advise him on matters relating to Lower Canada. The governor and the Special Council together had the power to legislate for the province.

The British government appointed Lord Durham the Governor General of all of British North America, with a mandate to investigate the causes of the Rebellion in Lower Canada, and the related Upper Canada Rebellion of the same year. When Durham arrived, Daly was one of the few public servants in Lower Canada whom Lord Durham kept on in office, including appointing him to the Executive Council of Lower Canada in June, 1838. Daly worked closely with Lord Durham's advisors, particularly Edward Gibbon Wakefield, who was involved in the drafting of Lord Durham's Report. The Report recommended that Lower Canada and Upper Canada be joined into a single province.

Lord Durham completed his report and then resigned in 1839. He was succeeded as Governor General by Charles Thomson, later Lord Sydenham. In 1840, Sydenham appointed Daly to the Special Council of Lower Canada, a post he held until the union of the Canadas came into force in 1841.

Election to the Legislative Assembly, 1841

In response to the rebellions in Lower Canada and Upper Canada (now Ontario), the British government decided to merge the two provinces into a single province, as recommended by Lord Durham in his Report. The Union Act, 1840, passed by the British Parliament, abolished the two provinces and their separate parliaments, and created the Province of Canada, with a single parliament for the entire province, composed of an elected Legislative Assembly and an appointed Legislative Council. The Governor General retained a strong position in the government.

In the government of Lower Canada, the position of provincial secretary had been regarded as a non-partisan public service position. However, in the new government of the Province of Canada, Lord Sydenham considered that the provincial secretary should be a member of the Legislative Assembly and the Executive Council. In the general election of 1841, Sydenham persuaded Daly to stand for election in the riding of Megantick in Canada East (formerly Lower Canada). Daly was elected without opposition as a supporter of the union, and Sydenham then appointed Daly as appointed provincial secretary of Canada East and a member of the Executive Council of the Province of Canada.

For the first two years of the union, the different groups in the Assembly and the Executive Council found Daly an acceptable colleague. In the first session, he voted in favour of the union, and thereafter was a consistent supporter of the governor. Sydenham's first ministry in 1841 was composed of Compact Tories, Reformers, and general supporters of the governor, while the new ministry formed in 1842 was dominated by Reformers. Daly got along well with all. He applied himself with his normal diligence and considered that his role was to give advice in Council based on his long experience in government. He did not speak frequently in the Assembly. Although he was an excellent conversationalist in individual settings, he was not a good public speaker. His tenacity in holding office earned him the nickname "the perpetual secretary", but he was nonetheless a popular and convivial character.

Ministerial crisis, 1843–1844

The situation changed when there was a political crisis in 1843. The new Governor General, Sir Charles Theophilus Metcalfe, was determined to retain the prerogatives of the Crown, particularly in the area of appointments to government offices, to ensure the government was based on Crown supporters. The Reformers, led by Louis-Hippolyte Lafontaine from Canada East and Robert Baldwin from Canada West, were equally determined to implement the system of responsible government, where the governor would follow the advice of the Executive Council, drawn from the group which had the support of a majority in the elected Legislative Assembly. At first, there were manoeuverings behind the scenes. When it started to appear to some Reformers that Daly would likely side with the governor in a dispute, the Assembly held an inquiry into some of Daly's activities as provincial secretary, including the old arrangement where he remitted his salary to the previous absentee secretary. He was defended in the Assembly by Wakefield, who increasingly was moving from the French-Canadian Group to the group of supporters of the governor. The Assembly committee exonerated Daly, but the proceedings hinted that there was a rift within the Executive Council.

The dispute came to a head when Metcalfe made appointments without following the Council's advice. LaFontaine, Baldwin, and the other members of the Executive Council resigned en masse in November 1843, with the exception of Daly. As the sole member of the Council, Daly was the acting head of government for several weeks. In December 1843, Governor General Metcalfe was able to persuade two others members of the Assembly to join the Council: William Draper from Canada West, and Denis-Benjamin Viger from Canada East. The Council, composed of Daly, Draper and Viger, ran the government of the province for several months, under the direction of Metcalfe. The three councillors did not have to account to the Assembly for their conduct of the government, because Metcalfe prorogued the Assembly. It did not meet again prior to dissolution and the general election of 1844. Metcalfe appointed Daly as Provincial Secretary of the Province of Canada, effective January 1, 1844.

The Reformers viewed Daly's decision to stay in office as a betrayal. However, it appears that for the first time in his long career, Daly had been forced to assess his own political views. For the previous twenty years, he had served the governors appointed by the Crown, as a member of the public service. The transition to a political office, as required by Sydenham, did not change his fundamental outlook, namely to support the governor who represented the Crown. He considered himself to be a non-political public servant. The Reformers disagreed, taking the position that a non-political public servant could not be a member of the Council.

Provincial Secretary and dismissal, 1844 – 1849
In the 1844 election, the Reformers were defeated by those who supported Governor General Metcalfe. Lafontaine consolidated his position in Canada East, but not enough to make up for the considerable Reform losses in Canada West. Metcalfe was able to form a new government without LaFontaine and Baldwin. Daly had been re-elected in Megantick as a supporter of the governor, and Metcalfe kept him in the Executive Council. In the Assembly, he was a reliable vote for the governor. Resentment over Daly's conduct continued to fester. In March 1845, Daly was challenged to a duel by Reformer Thomas Cushing Aylwin over Daly's refusal to resign in 1843; shots were fired but no one was injured.

There was another political shift in 1848, with the appointment of Lord Elgin as governor-general. The British government had finally accepted that responsible government had to be implemented in the British North American provinces, as recommended by Lord Durham, ten years earlier. Lord Elgin's instructions were to appoint the government from the political group which had a majority in Assembly. Following the election of 1848, the Reformers under La Fontaine and Baldwin formed the majority, and Lord Elgin followed their advice in the appointment of the Executive Council. Daly had been re-elected in the Megantick riding, but resigned along with the rest of the outgoing members of the defeated government. The "perpetual secretary" had lost his job, after twenty-five years.

Lord Elgin was sympathetic to Daly's position, and wrote to the Colonial Secretary, urging the British government to find some appointment for Daly. Elgin pointed out that Daly had been required to enter the political arena by Governor-General Sydenham, thereby risking his position as a public servant. He had also stood by Governor-General Metcalfe in his dispute with the Reformers, which had led to his dismissal from the Council. Based on assurances from Lord Elgin, Daly returned to England and sought office from the Colonial Office. However he took advice from Wakefield, also back in England, who gave him excessively large expectations. Daly's lobbying efforts were unsuccessful, and the Colonial Secretary refused to give him any position. Instead, in 1849 the British government appointed Daly to a commission of inquiry into the management of the New Forest and Waltham Forest. On receiving that appointment, Daly's seat in the Canadian Parliament became vacant.

Tobago
The forest commission wrapped up its work in 1851. In 1852, Daly was appointed lieutenant-governor of Tobago. However, he resigned the position after only six months, for health reasons.

Prince Edward Island

In 1854, Daly was appointed Lieutenant Governor of Prince Edward Island, the first Catholic governor on the Island. He received a warm welcome when he arrived. The Island had only received responsible government in 1851, and the Conservative government was defeated at the polls shortly after Daly arrived. The premier, John Myrie Holl, resigned in accordance with the principle of responsible government, and was replaced by George Coles and the Liberals, who stayed in power for Daly's time on the Island. He was a popular governor generally, although the Conservatives, who were mainly Protestants, distrusted him, while the Catholic Liberals generally got along with him. In 1858, he announced his resignation as lieutenant governor, and left the Island the next year, generally considered a popular governor.

Daly's daughter Caroline was an accomplished amateur painter, using water-colours. During the family's time on the Island, she painted several paintings of the scenery and buildings in Charlottetown and surrounding areas. Some of her paintings of Government House in Charlottetown were used a century later to assist in reconstruction efforts. Over the years, her artistic role was forgotten, and her paintings were attributed to male artists with similar names, but who had no connection to Prince Edward Island. It was not until 2017 that the paintings were properly attributed to Caroline Daly, in a showing put on by the Confederation Centre Art Gallery, entitled "Introducing Caroline Louise Daly."

South Australia (1861 – 1868)

In October 1861, Daly was appointed the Governor of South Australia, becoming the first Catholic governor in Australia, notably in a colony with a smaller proportion of Catholics amongst its population than any other of the Australian provinces. Presumably on account of his religion, he was not given an official reception when he and his wife and daughters arrived. Nonetheless, as in Canada, he quickly earned the respect and affection of the public, due to his charm, good nature and integrity.

Politics in South Australia were somewhat tumultuous, as the colony had only been granted responsible government in 1857. During Daly's tenure, there were nine changes in government. In addition, there were also the difficulties caused by one of the judges of the Supreme Court of South Australia, Benjamin Boothby, who took a very broad view of the application of English law to South Australia, and a very narrow view of the powers of the Parliament of South Australia, striking down several South Australian laws. Resolutions were passed by the two houses of the South Australian Parliament, urging the British government to remove Boothby. Eventually, in 1867, Daly began proceedings under a British statute of 1782 to dismiss Boothby on grounds of misbehaviour. Following the hearings, Governor Daly and the Executive Council "amoved" Boothby forwith. Boothby filed an appeal to the Judicial Committee of the Privy Council, but died before the appeal could be heard.

Daly began to show effects of anaemia in the last months of his life. He died in office just after noon on 19 February 1868 in Adelaide after unexpectedly falling ill that morning. He was reported as being in failing health prior to his sudden illness. Despite the intense heat, large crowds turned out to watch the funeral cortège pass, a tribute to the affection with which he was held. South Australians had come to know him as a kindly and accessible gentleman, dedicated to his duty, and cheerfully impartial as governor.

His wife outlived Daly by four years, in spite of a stroke which left her paralysed. She died at Glenelg, South Australia, on 16 July, 1872.

Honours and recognition

 * 1856: knighted by Queen Victoria

The following Australian geographic features were named after Daly:
 * 1862: Daly Waters, Northern Territory
 * 1862: County of Daly, South Australia
 * 1862: Daly Head, Yorke Peninsula, South Australia
 * 1865: Daly River, Northern Territory

title: Dominick Daly


text:
Clark electrode

The Clark electrode is an electrode that measures ambient oxygen partial pressure in a liquid using a catalytic platinum surface according to the net reaction:

 * O2 + 4 e− + 4 H+ → 2 H2O

It improves on a bare platinum electrode by use of a membrane to reduce fouling and metal plating onto the platinum.

History
Leland Clark (Professor of Chemistry, Antioch College, Yellow Springs, Ohio, and Fels Research Institute, Yellow Springs, Ohio) had developed the first bubble oxygenator for use in cardiac surgery. However, when he came to publish his results, his article was refused by the editor since the oxygen tension in the blood coming out from the device could not be measured. This motivated Clark to develop the oxygen electrode.

The electrode, when implanted in vivo, will reduce oxygen and thus required stirring in order to maintain an equilibrium with the environment. Severinghaus improved the design by adding a stirred cuvette in a thermostat. A discrepancy between the measured partial pressure of oxygen (pO2) between blood samples and gaseous mixtures of identical pO2, meant that the modified electrode required calibration; consequently a microtonometer was added to the water thermostat.

Mechanism of action
The electrode compartment is isolated from the reaction chamber by a thin Teflon membrane; the membrane is permeable to molecular oxygen and allows this gas to reach the cathode, where it is electrolytically reduced.

The above reaction requires a steady stream of electrons to the cathode, which depends on the rate at which oxygen can reach the electrode surface. Increasing the voltage applied (between the Pt electrode and a second Ag electrode) will increase the rate of electrocatalysis. Clark affixed an oxygen permselective membrane over the Pt electrode. This limits the diffusion rate of oxygen to the Pt electrode.

Above a certain voltage, the current plateaus and increasing the potential any further does not result in a higher rate of electrocatalysis of the reaction. At this point, the reaction is diffusion-limited and depends only on the permeability properties of the membrane (which is ideally well characterized, the electrode being calibrated against known standard solutions) and by the oxygen gas concentration, which is the measured quantity.

Applications
The Clark oxygen electrode laid the basis for the first glucose biosensor (in fact the first biosensor of any type), invented by Clark and Lyons in 1962. This sensor used a single Clark oxygen electrode coupled with a counter-electrode. As with the Clark electrode, a permselective membrane covers the Pt electrode. Now, however, the membrane is impregnated with immobilized glucose oxidase (GOx). The GOx will consume some of the oxygen as it diffuses towards the PT electrode, incorporating it into H2O2 and gluconic acid. The rate of reaction current is limited by the diffusion of both glucose and oxygen. This diffusion can be well characterized for a membrane for both the oxygen and glucose, leaving as the only variable the oxygen and glucose concentrations on the analyte-side of the glucose membrane, which is the quantity being measured.

title: Clark electrode


text:
Roccella

Roccella may refer to:

 * Roccella Valdemone, a municipality in Sicily, Italy
 * Roccella Ionica (or Roccella Jonica), a municipality in Calabria, Italy
 * The lichen genus Roccella, known for the species Roccella tinctoria among others

title: Roccella


text:
Talk:API gravity

What is the history of API Gravity? How was the arbitrary scale developed?

The API standards commitee developed it around 1910(?) I wasn't able to find much historical discussion of the API gravity scale on the net. The arbitrary scale was just a formula based on specific gravity so that the values would be between 10 and 70... why 10 and 70? ... I have no clue. Best bet would be to contact the API standards committee directly or talk to someone in the petrochemical industry for more info. -- jonathan888 29Jun05

The degrees Baumé information given by Gene Nygaard allowed me to track down the history of API gravity and I added a few more pages about degrees Baumé and Antoine Baumé. -- jonathan888 26Sep05

The grades of oil shown need reference. LeadSongDog 06:51, 1 July 2007 (UTC)

Equation
Changed the equations into a proper form..Please check if there are any mistakes Yourdeadin 06:12, 19 August 2007 (UTC)Yourdeadin

Editing Notes
Under the "Direct Measurement of API gravity (Hydrometer method)" I wasn't sure how the first word "Thvus" should be read and/or editted. Overall very insightful article, thanks for starting it.Snapdogs1966 (talk) 13:30, 19 April 2012 (UTC)

Comment / Proposal for Update
The API has deprecated the term "specific gravity". See, for example, Manual of Petroleum Measurement Standards Chapter 11.1 (2004) section A.10 :

<>

Following the convention specified in 15.2.4.8 of API Publication 2564, Second Edition, and with the concurrence of the Institute of Petroleum, the term “specific gravity” was discontinued. It was replaced with the term “relative density.”

<>

As this article relates to the API gravity, it would make sense to use API terminology. Should SG therefore be removed, and replaced by RD? 81.187.236.11 (talk) 12:55, 28 November 2013 (UTC) Mike Seabrook

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title: Talk:API gravity


text:
User:Jacketpocket

Working in language technology in Oxford, UK.

title: User:Jacketpocket


text:
1937 in Norwegian football

Results from Norwegian football in 1937.

Class A of local association leagues
Class A of local association leagues (kretsserier) is the predecessor of a national league competition. In 1937, the leagues were shortened, or not even played because of Norgesserien 1937/38.

National team
Sources:

title: 1937 in Norwegian football


text: User talk:84.92.241.33

title: User talk:84.92.241.33