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Athletics at the Summer Olympics

Athletics has been contested at every Summer Olympics since the birth of the modern Olympic movement at the 1896 Summer Olympics. The athletics program traces its earliest roots to events used in the ancient Greek Olympics. The modern program includes track and field events, road running events, and race walking events. Cross country running was also on the program in earlier editions but it was dropped after the 1924 Summer Olympics.

Events
The events contested have varied widely. From 1900 to 1920, tug of war was considered to be part of the Olympic athletics programme, although the sports of tug of war and athletics are now considered distinct.

Men's events
No new events have been added to the men's athletics programme since the 1952 addition of the short racewalk. The roster of events has not changed since then, with the exception of the omission of the long racewalk in 1976 (the IAAF held a 50 km walk World Championships that year instead and as a result the event was restored in 1980). The long racewalk is the only event currently held for men but not included on the women's programme, with the exception of women taking part in the heptathlon rather than the decathlon and the 100 metres hurdles rather than the 110 metres hurdles. The last women's event added to the roster was the 3000 metres steeplechase in 2008.

A total of 52 different events have been held in the men's competition. The current list comprises 23 events. Many of the discontinued events were similar to modern ones but at different lengths, especially in the steeplechasing, hurdling, and racewalking disciplines. Team racing events have been eliminated after appearing in six early editions of the Games. The athletic triathlon (an unusual event, held only once and featuring gymnasts competing in the long jump, shot put, and 100 metre dash) and pentathlon multi-discipline events were phased out in favor of the decathlon, and the medley relay replaced with even-leg relays. Standing jump competitions are no longer held, nor are the various modified throwing events which were experimented with in 1908 and 1912. Cross country running was on the program from 1912 to 1924 and is the most prominent form of athletics not to feature at the Olympics.

Women's events
Women's competition in athletics began at the 1928 Summer Olympics

Mixed events
The mixed event, a 4 x 400 meters relay, first made an appearance at the 2020 Summer Olympics. The event includes teams of four athletes, two men and two women who are allowed to run in any order decided by the team. Paris 2024 will feature one more mixed team event.

Nations
Nearly every nation that has competed at the Olympics has entered the athletics competition, except Bhutan. The number in each box represents the number of athletes the nation sent.

Medal table
Updated after the 2020 Summer Olympics, considering stripped medals and reallocated medals as of May 2023.

Sources:

title: Athletics at the Summer Olympics


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Depiction

Depiction is reference conveyed through pictures. A picture refers to its object through a non-linguistic two-dimensional scheme, and is distinct from writing or notation. A depictive two-dimensional scheme is called a picture plane and may be constructed according to descriptive geometry, where they are usually divided between projections (orthogonal and various oblique angles) and perspectives (according to number of vanishing points).

Pictures are made with various materials and techniques, such as painting, drawing, or prints (including photography and movies) mosaics, tapestries, stained glass, and collages of unusual and disparate elements. Occasionally, picture-like features may be recognised in simple inkblots, accidental stains, peculiar clouds or a glimpse of the moon, but these are special cases, and it is controversial whether they count as genuine instances of depiction. Similarly, sculpture and theatrical performances are sometimes said to depict, but this requires a broad understanding of 'depict', as simply designating a form of representation that is not linguistic or notational. The bulk of studies of depiction however deal only with pictures. While sculpture and performance clearly represent or refer, they do not strictly picture their objects.

Objects pictured may be factual or fictional, literal or metaphorical, realistic or idealised and in various combination. Idealised depiction is also termed schematic or stylised and extends to icons, diagrams and maps. Classes or styles of picture may abstract their objects by degrees, conversely, establish degrees of the concrete (usually called, a little confusingly, figuration or figurative, since the 'figurative' is then often quite literal). Stylisation can lead to the fully abstract picture, where reference is only to conditions for a picture plane – a severe exercise in self-reference and ultimately a sub-set of pattern.

But just how pictures function remains controversial. Philosophers, art historians and critics, perceptual psychologists and other researchers in the arts and social sciences have contributed to the debate and many of the most influential contributions have been interdisciplinary. Some key positions are briefly surveyed below.

Resemblance
Traditionally, depiction is distinguished from denotative meaning by the presence of a mimetic element or resemblance. A picture resembles its object in a way a word or sound does not. Resemblance is no guarantee of depiction, obviously. Two pens may resemble one another but do not therefore depict each other. To say a picture resembles its object especially is only to say that its object is that which it especially resembles; which strictly begins with the picture itself. Indeed, since everything resembles something in some way, mere resemblance as a distinguishing trait is trivial. Moreover, depiction is no guarantee of resemblance to an object. A picture of a dragon does not resemble an actual dragon. So resemblance is not enough.

Theories have tried either to set further conditions to the kind of resemblance necessary, or sought ways in which a notational system might allow such resemblance. It is widely believed that the problem with a resemblance theory of depiction is that resemblance is a symmetrical relation between terms (necessarily, if x resembles y, then y resembles x) while in contrast depiction is at best a non-symmetrical relation (it is not necessary that, if x depicts y, y depicts x). If this is right, then depiction and resemblance cannot be identified, and a resemblance theory of depiction is forced to offer a more complicated explanation, for example by relying on experienced resemblance instead, which clearly is an asymmetrical notion (that you experience x as resembling y does not mean you also experience y as resembling x). Others have argued, however, that the concept of resemblance is not exclusively a relational notion, and so that the initial problem is merely apparent.

In art history, the history of actual attempts to achieve resemblance in depictions is usually covered under the terms "realism", naturalism", or "illusionism".

Illusion
The most famous and elaborate case for resemblance modified by reference, is made by art historian Ernst Gombrich. Resemblance in pictures is taken to involve illusion. Instincts in visual perception are said to be triggered or alerted by pictures, even when we are rarely deceived. The eye supposedly cannot resist finding resemblances that accord with illusion. Resemblance is thus narrowed to something like the seeds of illusion. Against the one-way relation of reference Gombrich argues for a weaker or labile relation, inherited from substitution. Pictures are thus both more primitive and powerful than stricter reference.

But whether a picture can deceive a little while it represents as much seems gravely compromised. Claims for innate dispositions in sight are also contested. Gombrich appeals to an array of psychological research from James J. Gibson, R. L. Gregory, John M. Kennedy, Konrad Lorenz, Ulric Neisser and others in arguing for an 'optical' basis to perspective, in particular (see also perspective (graphical). Subsequent cross-cultural studies in depictive competence and related studies in child-development and vision impairment are inconclusive at best.

Gombrich's convictions have important implications for his popular history of art, for treatment and priorities there. In a later study by John Willats (1997) on the variety and development of picture planes, Gombrich's views on the greater realism of perspective underpin many crucial findings.

Dual invariants
A more frankly behaviouristic view is taken by the perceptual psychologist James J. Gibson, partly in response to Gombrich. Gibson treats visual perception as the eye registering necessary information for behaviour in a given environment. The information is filtered from light rays that meet the retina. The light is called the stimulus energy or sensation. The information consists of underlying patterns or 'invariants' for vital features to the environment.

Gibson's view of depiction concerns the re-presentation of these invariants. In the case of illusions or trompe l'oeil, the picture also conveys the stimulus energy, but generally the experience is of perceiving two sets of invariants, one for the picture surface, another for the object pictured. He pointedly rejects any seeds of illusion or substitution and allows that a picture represents when two sets of invariants are displayed. But invariants tell us little more than that the resemblance is visible, dual invariants only that the terms of reference are the same as those for resemblance

Seeing-in
A similar duality is proposed by the philosopher of art Richard Wollheim. He calls it 'twofoldness'. Our experience of the picture surface is called the 'configurational' aspect, and our experience of the object depicted the 'recognitional'. Wollheim's main claim is that we are simultaneously aware of both the surface and the depicted object. The concept of twofoldness has been very influential in contemporary analytic aesthetics, especially in the writings of Dominic Lopes and of Bence Nanay. Again, illusion is forestalled by the prominence of the picture surface where an object is depicted. Yet the object depicted quite simply is the picture surface under one reading, the surface indifferent to picture, another. The two are hardly compatible or simultaneous. Nor do they ensure a reference relation.

Wollheim introduces the concept of 'seeing-in' to qualify depictive resemblance. Seeing-in is a psychological disposition to detect a resemblance between certain surfaces, such as inkblots or accidental stains, etc. and three-dimensional objects. The eye is not deceived, but finds or projects some resemblance to the surface. This is not quite depiction, since the resemblance is only incidental to the surface. The surface does not strictly refer to such objects. Seeing-in is a necessary condition to depiction, and sufficient when in accordance with the maker's intentions, where these are clear from certain features to a picture. But seeing-in cannot really say in what way such surfaces resemble objects either, only specify where they perhaps first occur.

Wollheim's account of how a resemblance is agreed or modified, whereby maker and user anticipate each other's roles, does not really explain how a resemblance refers, but rather when an agreed resemblance obtains.

Other psychological resources
The appeal to broader psychological factors in qualifying depictive resemblance is echoed in the theories of philosophers such as Robert Hopkins, Flint Schier and Kendall Walton. They enlist 'experience', 'recognition' and 'imagination' respectively. Each provides additional factors to an understanding or interpretation of pictorial reference, although none can explain how a picture resembles an object (if indeed it does), nor how this resemblance is then also a reference.

For example, Schier returns to the contrast with language to try to identify a crucial difference in depictive competence. Understanding a pictorial style does not depend upon learning a vocabulary and syntax. Once grasped, a style allows the recognition of any object known to the user. Of course recognition allows a great deal more than that – books teaching children to read often introduce them to many exotic creatures such as a kangaroo or armadillo through illustrations. Many fictions and caricatures are promptly recognised without prior acquaintance of either a particular style or the object in question. So competence cannot rely on a simple index or synonymy for objects and styles.

Schier's conclusion that lack of syntax and semantics in reference then qualifies as depiction, leaves dance, architecture, animation, sculpture and music all sharing the same mode of reference. This perhaps points as much to limitations in a linguistic model.

Notation
Reversing orthodoxy, the philosopher Nelson Goodman starts from reference and attempts to assimilate resemblance. He denies resemblance as either necessary or sufficient condition for depiction but surprisingly, allows that it arises and fluctuates as a matter of usage or familiarity.

For Goodman, a picture denotes. Denotation is divided between description, covering writing and extending to more discursive notation including music and dance scores, to depiction at greatest remove. However, a word does not grow to resemble its object, no matter how familiar or preferred. To explain how a pictorial notation does, Goodman proposes an analogue system, consisting of undifferentiated characters, a density of syntax and semantics and relative repleteness of syntax. These requirements taken in combination mean that a one-way reference running from picture to object encounters a problem. If its semantics is undifferentiated, then the relation flows back from object to picture. Depiction can acquire resemblance but must surrender reference. This is a point tacitly acknowledged by Goodman, conceding firstly that density is the antithesis of notation and later that lack of differentiation may actually permit resemblance. A denotation without notation lacks sense.

Nevertheless, Goodman's framework is revisited by philosopher John Kulvicki and applied by art historian James Elkins to an array of hybrid artefacts, combining picture, pattern and notation.

Pictorial semiotics
Pictorial semiotics aims for just the kind of integration of depiction with notation undertaken by Goodman, but fails to identify his requirements for syntax and semantics. It seeks to apply the model of structural linguistics, to reveal core meanings and permutations for pictures of all kinds, but stalls in identifying constituent elements of reference, or as semioticians prefer, 'signification'. Similarly, they accept resemblance although call it 'iconicity' (after Charles Sanders Peirce, 1931–58) and are uncomfortable in qualifying its role. Older practitioners, such as Roland Barthes and Umberto Eco variously shift analysis to underlying 'connotations' for an object depicted or concentrate on description of purported content at the expense of more medium-specific meaning. Essentially they establish a more general iconography.

A later adherent, Göran Sonesson, rejects Goodman's terms for syntax and semantics as alien to linguistics, no more than an ideal and turns instead to the findings of perceptual psychologists, such as J. M. Kennedy, N. H. Freeman  and David Marr  in order to detect underlying structure. Sonesson accepts 'seeing-in', although prefers Edmund Husserl's version. Resemblance is again grounded in optics or the visible, although this does not exclude writing nor reconcile resemblance with reference. Discussion tends to be restricted to the function of outlines in schemes for depth.

Deixis
The art historian Norman Bryson persists with a linguistic model and advances a detail of parsing and tense, 'deixis'. He rejects resemblance and illusion as incompatible with the ambiguities and interpretation available to pictures and is also critical of the inflexible nature of structuralist analysis. Deixis is taken as the rhetoric of the narrator, indicating the presence of the speaker in a discourse, a bodily or physical aspect as well as an explicit temporal dimension. In depiction this translates as a difference between 'The Gaze' where deixis is absent and 'The Glance' where it is present. Where present, details to materials indicate how long and in what way the depiction was made, where absent, a telling suppression or prolonging of the act. The distinction attempts to account for the 'plastic' or medium-specific qualities absent from earlier semiotic analyses and somewhat approximates the 'indexic' aspect to signs introduced by Peirce.

Deixis offers a more elaborate account of the picture surface and broad differences to expression and application but cannot qualify resemblance.

Iconography
Lastly, iconography is the study of pictorial content, mainly in art, and would seem to ignore the question of how to concentrate upon what. But iconography's findings take a rather recondite view of content, are often based on subtle literary, historical and cultural allusion and highlight a sharp difference in terms of resemblance, optical accuracy or intuitive illusion. Resemblance is hardly direct or spontaneous for the iconographer, reference rarely to the literal or singular. Visual perception here is subject to reflection and research, the object as much reference as referent.

The distinguished art historian Erwin Panofsky allowed three levels to iconography. The first is 'natural' content, the object recognised or resembling without context, on a second level, a modifying historical and cultural context and at a third, deeper level, a fundamental structure or ideology (called iconology). He even ascribed the use of perspective a deep social meaning (1927). However more recently, a natural or neutral level tends to be abandoned as mythical. The cultural scholar W. J. T. Mitchell  looks to ideology to determine resemblance and depiction as acknowledgement of shifts in relations there, albeit by an unspecified scheme or notation.

Iconography points to differences in scope for a theory of depiction. Where stylistics and a basic object is nominated, resemblance is prominent, but where more elaborate objects are encountered, or terms for nature denied, simple perception or notation flounder. The difference corresponds somewhat to the division in philosophy between the analytic and continental.

Other issues
Dozens of factors influence depictions and how they are represented. These include the equipment used to create the depiction, the creator's intent, vantage point, mobility, proximity, publication format, among others, and, when dealing with human subjects, their potential desire for impression management.

Other debates about the nature of depiction include the relationship between seeing something in a picture and seeing face to face, whether depictive representation is conventional, how understanding novel depictions is possible, the aesthetic and ethical value of depiction and the nature of realism in pictorial art.

Books

 * Alloa, Emmanuel (2021) Looking Through Images. A Phenomenology of Visual Media (New York: Columbia University Press)
 * Barthes Roland (1969), Elements of semiology (Paris, 1967) translated by Annette Lavers and Colin Smith, (London: Cape).
 * Bryson Norman (1983) Vision and Painting: The Logic of The Gaze, (New Haven and London: Yale University Press).
 * Eco Umberto (1980), A Theory of Semiotics (Milan 1976) (Bloomington: Indiana University Press).
 * Elkins James (1999), The Domain of Images (Ithaca and London: Cornell University Press).
 * Freeman N. H. and Cox M. V. (eds.) (1985), Visual Order: The Nature and Development of Pictorial Representation (Cambridge, Cambridge University Press).
 * Gombrich E. H. (1989–95), The Story Of Art (15th ed. London: Phaidon Press).
 * Gombrich E. H. (1960), Art and Illusion (Oxford: Phaidon Press).
 * Gombrich E. H. (1963), Meditations on a Hobbyhorse (Oxford: Phaidon Press).
 * Gombrich E. H. (1982), The Image and the Eye (Oxford and New York: Phaidon Press).
 * Goodman, Nelson (1968), Languages of Art: An Approach to a Theory of Symbols (Indianapolis and New York: The Bobbs-Merrill Company, Inc.).
 * Goodman Nelson and Elgin Catherine Z. (1988), Reconceptions in Philosophy (London and New York, Routledge)
 * Gregory R. L. (1970) The Intelligent Eye (London: Weidenfeld & Nicolson).
 * Hopkins, Robert (1998), Picture, Image, and Experience (Cambridge: Cambridge University Press).
 * Husserl, Edmund (1928), Zur Phänomenologie des inneren Zeitbewusstseins. Halle. (Republished in Husserliana X, The Hague: Nijhoff, 1966).
 * Husserl, Edmund (1980), Phantasie, Bildbewusstsein, Erinnerung, Husserliana XXIII. (The Hague: Nijhoff).
 * Hyman, John (2006), The Objective Eye: Colour, Form and Reality in the Theory of Art (Chicago and London: The University of Chicago Press).
 * Kulvicki, John (2006), On Images: Their structure and content (Oxford: Oxford University Press).
 * Lopes, Dominic (1996), Understanding Pictures (Oxford: Clarendon Press).
 * Lopes, Dominic (2005), Sight and Sensibility: Evaluating Pictures (Oxford: Clarendon Press).
 * Maynard, Patrick (1997), The Engine of Visualization: Thinking Through Photography (Ithaca: Cornell University Press).
 * Maynard, Patrick (2005), Drawing Distinctions: The Varieties of Graphic Expression (Ithaca: Cornell University Press).
 * Mitchell, W. J. T. (1980), The Language of Images (Chicago and London: University of Chicago Press).
 * Mitchell, W. J. T. (1986), Iconology: Image, Text, Ideology, (Chicago and London: University Of Chicago Press).
 * Mitchell, W. J. T. (1994), Picture Theory (Chicago and London: University Of Chicago Press).
 * Novitz, David (1977), Pictures and their Use in Communication (The Hague: Martinus Nijhoff).
 * Panofsky, Erwin (1955) Meaning in the Visual Arts (New York: Doubleday).
 * Peirce, Charles Sanders - (1931–58), Collected Papers I-VIII. Hartshorne, C, Weiss, P, & Burks, A, (eds.). (Cambridge MA: Harvard University Press).
 * Podro, Michael (1998), Depiction, (New Haven and London: Yale University Press).
 * Schier, Flint (1986), Deeper Into Pictures (Cambridge: Cambridge University Press).
 * Sonesson, Göran (1989), Pictorial Concepts: Inquiries into the semiotic heritage and its relevance for the analysis of the visual world. (Lund: Aris/Lund University Press).
 * Walton, Kendall (1990), Mimesis as Make-believe (Cambridge, Mass.: Harvard University Press).
 * Willats, John (1997), Art and Representation: New Principles In The Analysis Of Pictures (Princeton, N.J: Princeton University Press).
 * Wollheim, Richard (1987), Painting as an Art (London: Thames and Hudson).

Articles

 * Alloa, Emmanuel (2010) 'Seeing-as, seeing-in, seeing-with. Looking Through Pictures' Image and imaging in philosophy, science and the arts : proceedings of the 33rd International Ludwig Wittgenstein-Symposium in Kirchberg, Frankfurt:ontos 2010, 179–190.
 * Abell, Catharine (2005a), 'Pictorial Implicature', The Journal of Aesthetics and Art Criticism, 63(1): 55–66.
 * Abell, Catharine (2005b), 'Against Depictive Conventionalism', The American Philosophical Quarterly, 42(3): 185–197.
 * Abell, Catharine (2005), 'On Outlining the Shape of Depiction', Ratio, 18(1): 27–38.
 * Abell, Catharine (2005), 'McIntosh's Unrealistic Picture of Peacocke and Hopkins on Realistic Pictures', British Journal of Aesthetics, 45(1): 64–68.
 * Bennett, John (1971), 'Depiction and Convention?', The Monist 58: 255–68.
 * Budd, Malcolm (1992), 'On Looking at a Picture', in Robert Hopkins and Anthony Savile (eds.), Psychoanalysis, Mind, and Art (Oxford: Blackwell).
 * Budd, Malcolm (1993), 'How Pictures Look' in Dudley Knowles and John Skorupski (eds.), Virtue and Taste (Oxford: Blackwell).
 * Bach, Kent (1970), 'Part of What a Picture Is', British Journal of Aesthetics, 10: 119–137.
 * Black, M. (1972), 'How Do Pictures Represent', in Black, Gombrich and Hochburg, Art, Perception, and Reality (Baltimore, Md.).
 * Carrier, David (1971), 'A Reading of Goodman on Representation?', The Monist 58: 269–84.
 * Carrol, Noel (1994), 'Visual Metaphor' in Jaakko Hintikka (ed.), Aspects of Metaphor (Kluwer Publishers), 189–218; reprinted in Noel Carrol (2001), Beyond Aesthetics (Cambridge: Cambridge University Press).
 * Dilworth, John (2002), 'Three Depictive Views Defended', The British Journal of Aesthetics, 42(3): 259–278.
 * Dilworth, John (2002), 'Varieties of Visual Representation', Canadian Journal of Philosophy, 32(2): 183–205.
 * Dilworth, John (2003), 'Medium, Subject Matter and Representation', The Southern Journal of Philosophy, 41(1): 45–62.
 * Dilworth, John (2003), 'Pictorial Orientation Matters', The British Journal of Aesthetics 43(1): 39–56.
 * Dilworth, John (2005), 'Resemblance, Restriction and Content-Bearing Features', The Journal of Aesthetics and Art Criticism 63(1): 67–70.
 * Dilworth, John (2005), 'The Perception of Representational Content', British Journal of Aesthetics, 45(4): 388–411.
 * Freeman, N. H., (1986) How should a cube be drawn? British Journal of Developmental Psychology, 4, 317–322.
 * Freeman, N. H. Evans, D., and Willats, J. (1988) Symposium overview: the computational approach to projection drawing-systems. (Budapest, Paper given at Third European Conference on Developmental Psychology,
 * Gibson, James J. – (1978), 'The Ecological approach To Visual Perception In Pictures', Leonardo, 11, p. 231.
 * Hopkins, Robert (1994), 'Resemblance and Misrepresentation', Mind, 103(412): 421–238.
 * Hopkins, Robert (1995), 'Explaining Depiction', Philosophical Review, 104(3):
 * Hopkins, Robert (1997), 'Pictures and Beauty', Proceedings of the Aristotelian Society, XCVII: 177–194.
 * Hopkins, Robert (1997), 'El Greco's Eyesight: Interpreting Pictures and the Psychology of Vision', Philosophical Quarterly, 47(189): 441–458.
 * Hopkins, Robert (2000), 'Touching Pictures' British Journal of Aesthetics 40: 149–67.
 * Hopkins, Robert (2003), 'What Makes Representational Painting Truly Visual? Proceedings of the Aristotelian Society Supplementary, LXXVII: 149–167.
 * Hopkins, Robert (2003), 'Pictures, Phenomenology and Cognitive Science', The Monist, 86.
 * Hopkins, Robert (2005), 'What Is Pictorial Representation', in Mathew Kieran (ed.), Contemporary Debates in the Philosophy of Art (Oxford: Blackwell).
 * Howell, R. (1974), 'The Logical Structure of Pictorial Representation', Theoria 2: 76–109.
 * Hyman, John (2000), 'Pictorial Art and Visual Experience', British Journal of Aesthetics 40:2 1-45.
 * Kennedy, J. M. and Ross, A. S. (1975), 'Outline picture perception by the Songe of Papua', Perception, 4, 391–406.
 * Kjorup, Soren (1971), 'George Inness and the Battle at Hastings or Doing Things With Pictures', The Monist 58: 217–36.
 * Kulvicki, John (2003), 'Image Structure', The Journal of Aesthetics and Art Criticism, 61(4): 323–39.
 * Lehrer, Keith (2004), 'Representation in Painting and Consciousness', Philosophical Studies, 117(1); 1–14.
 * Lewis, H. P. (1963) 'Spatial representation in drawing as a correlate of development and a basis for picture preference'. Journal of Genetic Psychology, 102, 95–107.
 * Lopes, Dominic (1997), 'Art Media and the Sense Modalities: Tactile Pictures', Philosophical Quarterly, 47(189): 425–440.
 * Lopes, Dominic (2004), 'Directive Pictures', The Journal of Aesthetics and Art Criticism, 62(2): 189–96.
 * Lopes, Dominic (2005), Sight and Sensibility: Evaluating Pictures (Oxford: Clarendon Press).
 * Lowe, D. G. (1987), 'Three-dimensional object recognition from single two-dimensional images', Artificial Intelligence, 31, 355 – 395.
 * Malinas, Gary (1991), 'A Semantics for Pictures', Canadian Journal of Philosophy, 21(3): 275–298.
 * Manns, James W. (1971), 'Representation, Relativism and Resemblance', British Journal of Aesthetics 11: 281–7).
 * Marr, David (1977), 'Analysis of occluding outline', Proceedings of the Royal Society of London, Series B 197 441–475.
 * Marr, David (1978), 'Representing visual information: a computational approach.' in Computer Vision, A. R. Hanson and E. M. Riseman (eds.) Academic Press, New York and London, pp. 61–80.
 * Maynard, Patrick (1972), 'Depiction, Vision and Convention', American Philosophical Quarterly, 9: 243–50.
 * McIntosh, Gavin (2003), 'Depiction Unexplained: Peacocke and Hopkins on Pictorial Representation', The British Journal of Aesthetics, 43(3):279-288.
 * Nanay, Bence (2004), 'Taking Twofoldness Seriously: Walton on Imagination and Depiction', Journal of Aesthetics and Art Criticism, 62(3): 285–9.
 * Nanay, Bence (2005), 'Is Twofoldness Necessary for Representational Seeing?', British Journal of Aesthetics 45(3): 263–272.
 * Neander, Karen (1987), 'Pictorial Representation: A Matter of Resemblance', British Journal of Aesthetics, 27(3): 213–26.
 * Newall, Michael (2003), 'A Restriction for Pictures and Some Consequences for a Theory of Depiction', Journal of Aesthetics and Art Criticism, 61: 381–94.
 * Nicholas, A. L. and Kennedy, J. M. (1992), 'Drawing development from similarity of features to direction', Child Development, 63, 227–241.
 * Novitz, David (1975), 'Picturing', Journal of Aesthetics and Art Criticism, 34: 144–55.
 * Panofsky, Erwin (1924-5), 'Die Perspective als Symbolische Form' in Vortrage der Bibliotek Warburg.
 * Pateman, Trevor (1980), 'How to do Things with Images: An Essay on the Pragmatics of Advertising', Theory and Society, 9(4): 603–622.
 * Pateman, Trevor (1983), 'How is Understanding an Advertisement Possible?' in Howard Davis and Paul Walton (eds.), Language, Image, Media (London: Blackwell).
 * Pateman, Trevor (1986), 'Translucent and Transparent Icons', British Journal of Aesthetics, 26: 380–2.
 * Peacocke, Christopher (1987), Depiction, The Philosophical Review, 96: 383–410.
 * Ross, Stephanie (1971), 'Caricature', The Monist 58: 285–93.
 * Savile, Anthony (1986) 'Imagination and Pictorial Understanding', Aristotelian Society Supplementary Volume 60: 19–44.
 * Sartwell, Crispin (1991), 'Natural Generativity and Imitation', British Journal of Aesthetics, 31: 58–67.
 * Schier, Flint (1993) 'Van Gogh's Boots: The Claims of Representation' in Dudley Knowles and John Skorupski (eds.) Virtue and Taste (Oxford: Blackwell).
 * Scholz, Oliver (2000), 'A Solid Sense of Syntax', Erkenntnis, 52: 199–212.
 * Sonesson, Göran (2001), 'Iconicity strikes back: the third generation – or why Eco is still wrong'. VISIO 9: 3–4.
 * Sonesson, Göran (Revised August 2006), 'Current issues in pictorial semiotics. Lecture three: From the Critique of the Iconicity Critique to Pictorality' . Third conference of a series published online at the Semiotics Institute Online. January 2006.
 * Sorenson, Roy (2002), 'The Art of the Impossible' in Tamar Szabo Gendler and John Hawthorne (eds.), Conceivability and Possibility (Oxford: Clarendon Press).
 * Soszynski, Marek (2006), 'How Do Pictures Represent?', Philosophy Now, 57: 20–21.
 * Walton, Kendall (1971), 'Are Representations Symbols?', The Monist 58: 236–254.
 * Walton, Kendall (1974), 'Transparent Pictures: On the Nature of Photographic Realism', Critical Inquiry, 11(2): 246–277.
 * Walton, Kendall (1992), 'Seeing-In and Seeing Fictionally', in James Hopkins and Anthony Savile (eds.), Mind, Psychoanalysis, and Art: Essays for Richard Wollheim, (Oxford: Blackwell), 281–291.
 * Walton, Kendall (1993), 'Make-Believe, and its Role in Pictorial Representation and the Acquisition of Knowledge', Philosophic Exchange 23: 81–95.
 * Walton, Kendall (1997), 'On Pictures and Photographs: Objections Answered', in Richard Allen and Murray Smith (eds.), Film Theory and Philosophy (Oxford: Oxford University Press) 60–75.
 * Walton, Kendall (2002), 'Depiction, Perception, and Imagination: Responses to Richard Wollheim', Journal of Aesthetics and Art Criticism 60(1): 27–35.
 * Wilkerson, T. E. (1991), 'Pictorial Representation: A defense of the Aspect Theory', Midwest Studies in Philosophy, 16: 152–166.
 * Wilson, B. and Wilson, M. (1977) 'An iconoclastic view of the imagery sources in the drawings of young people', Art Education, 30(1), 4–6.
 * Wollheim, Richard (1990), 'A Note on Mimesis as Make-Believe', Philosophy and Phenomenological Research, 51(2): 401–6.
 * Wollheim, Richard (1998), 'Pictorial Representation', Journal of Aesthetics and Art Criticism 56: 217–26.
 * Wolsterstorff, Nicholas (1991a), 'Two Approaches to Representation – And Then a Third', Midwest Studies in Philosophy, 16: 167–199.

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

title: Depiction


text:
Talk:Histogenesis

Good article nomination
I don't think this meets the good article criteria at the moment, but I don't think it should take too much work to make it meet them. First of all the intro needs to be made much more general. Why 'is defined as' and not just 'is'? What is meant by undifferentiated? Are we talking about animals, plants or what?

Second, some sections are only a sentence long. They should either be expanded or merged with another section.

Third, the meaning of the 'production' section is not clear at all. What does the table mean? Also a problem here is the layout - there's an image overlapping the table.

Fourth, the encarta reference does not verify anything in the article, so I'm not sure why it's there.

If these things are fixed I'll re-review it and add it to the good articles list. Worldtraveller 14:23, 25 April 2006 (UTC)

 * My screen resolution is not of the average computer, therefore, the article looks organized. I will view the article to better understand the formatting issues. Unfortunately, I cannot make the stated alterations until next week, but I thank you for your comments.

 * --  J.Steinbock  (Talk)

 * I edited the first sentence, in part as per Worldtraveller, and can confirm that there is and image and a table in layout conflict. Pete.Hurd 03:42, 28 April 2006 (UTC)

 * The first image in the section titled “Production” overlaps the table in my browser as well. (I use Firefox.)  The table can be made fully visible by reducing the text size (by pressing the - key sequence a few times.)  However, this makes the text harder to read.  --KBlott (talk) 01:23, 9 March 2008 (UTC)

title: Talk:Histogenesis


text:
Wikipedia:Articles for deletion/Glass plate university

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was KEEP. Postdlf 05:05, 23 July 2005 (UTC)

Glass plate university
At best this is a neologism; at worst totally original research. A search on Google shows this phrase being used a number of times - unfortunately these are all occasions where the article is either linking to or drawing text from this Wikipedia article or the research for the article seems to have come from reading Wikipedia. The term is not afik in common usage in the UK. We should not be in the businesws of creating new phrases, terms or taxonomies as of principle. 62.253.64.15 21:27, 12 July 2005 (UTC)
 * In the light of the references found by Splash below I'm changing my vote to *Keep. Sorry to have caused a fuss but I douldn't find any references myself. Guess I got it wrong on this one. 62.253.64.15 11:06, 16 July 2005 (UTC)

 * Keep, an article having a title which might be bad is not a reason for destroying someone's hard work - these unis became because of the Robbins Report and they deserve to be grouped together. Take it to talk:Glass plate university, not VFD.  Anons should log in. Dunc|☺ 21:39, 12 July 2005 (UTC)
 * Except it's a categoriosation which does not exist. Are you saying that we should abandon the policy on "no original research" just because the person worked hard? That quite specifically is NOT what the policy says. 62.253.64.15 22:56, 12 July 2005 (UTC)

 * Absolutely keep. This is a term in the UK, where I am at University (though a redbrick). There are not many Unis that fall into this categorization but it is no less valid for it. Producing a reference for it appears to be rather hard; so you can believe me or not as you choose. -Splash 02:32, 13 July 2005 (UTC)
 * I want to believe you, but articles must be verifiable. This article absolutely needs a reference.  If the phrase is really used surely it must appear in a newspaper or magazine that can be used as a source. Quale 04:51, 13 July 2005 (UTC)
 * I know. I've been rather distracted from my search today. I have managed to find some usages of the term however. There is this from what appears to be a news-sourcey sort of thing. About halfway down it refers to the plate-glass universities. There's also this from what I think is an editorial-sort-of-thing. It also refers to plate-glass unis rather than glass plate. Ah, better is a published conference paper using the plate-glass term. It's not really a reference, but I did find this from Sheffield University which uses "glass plate" and "Robbins Report" in the couple of sentences; not a direct reference I know. Given all this, I think perhaps a move to plate-glass university might be in order. (My Google search was "Robbins Report" glass plate — but beware the Wikimirrors. There may also be other references among the results; I figured three refs was enough, especially including a conference paper.) -Splash 00:03, 14 July 2005 (UTC)
 * Keep, per Splash. -- BD2412 talk 23:07, July 13, 2005 (UTC)
 * I'm sort of amazed that I see lots of "keeps" and not one piece of evidence that this doesn't breach the "no original research" policy. Dont we care about wikipedia policy? 62.253.64.14 23:22, 13 July 2005 (UTC)
 * Please see my comment above.

 * Keep, though move to "Plate-glass university" as that does appear to be the common usage. I think it is in general use in the UK, (though not universal use - it's a fairly esoteric subject area) - see the citations above; in anecdotal addition, someone entirely unrelated to this discussion used "plate-glass universities" in an email to a mailing list I'm on this morning, which looks like general use to me :-) TSP 11:30, 15 July 2005 (UTC)
 * Keep per Splash's research. Article should be moved to "Plate-glass uni" as glass-plate makes no sense as was noted on the article's talk page some months ago.  Article needs a reference on it and will need to be careful to not make original research claims -- Splash's references show that the term is used, but they don't provide a good definition of it. Quale 07:38, 17 July 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text:
User:443

Welcome
Hello, and thank you for visiting.

Excuse the plainness of this page. I'm still a new Wikipedia user.

About me
I am a native of the Philippines from the province of Ilocos Sur. I mostly visit Philippine related pages on Wikipedia to learn a little more about my origin. I like contributing a little here and there once in a while.

...that's about it. :)

Articles created

 * Smart Communications

Contributions/Edits

 * Special:Contributions/443

My website

 * Ilocano Community Online

title: User:443


text:
Talk:Saint Vincent (Saint Vincent and the Grenadines)

[Untitled]
I went to St Vincent when I was 13 years of age, because my uncle George came from there, and has now gone back there to retire. This was 24 years ago before the island got touristy.. It is something that will stay with me for ever.. The people were all friendly. They would give so much.. I stayed in a place called Baroulee.. sorry if I have the spelling wrong. Often this time of year I think of that place because it is sunny in England. Me and my mum were the only few white people on the island.. I know how immigrants must have felt when they first came to this land.. has anyone got some stories to share.. regarding St vincent.. —Preceding unsigned comment added by 195.92.67.67 (talk) 21:28, 12 July 2005 (UTC)
 * don't worry the island still isn't touristy (outside of kingstown and bequ-way), and yeah the people are friendly beyond belief, especially in Baroulee (which i think actually has a q in its spelling, although i like your spelling better) --T-rex 22:46, 7 April 2006 (UTC)

Pirates of the Caribbean Usage
I have a few sources stating that Saint Vincent was the location used for the set of Port Royal in the Pirates of the Caribbean movies. If you'd like to add it in...unless, you want me to. BlackPearl14 Pirate Lord-ess 00:01, 24 January 2008 (UTC)
 * Hi. Indeed, several scenes for all 3 Pirates movies were filmed in St. Vincent. See http://www.flickr.com/photos/karlek/sets/72157600164104454/ for some pictures.
 * Feel free to add to the article. -Roger (talk) 00:16, 24 January 2008 (UTC)

Question from the Netherlands

 * Is there someone from this Island who would like to contact me and inform me about Saint Vincent? My name is Mart and I am from the Netherlands. My email address is brayart@hotmail.com. Thanks. 3 may 2008 03:37am —Preceding unsigned comment added by 82.173.121.100 (talk) 01:39, 3 May 2008 (UTC)

Merge proposal
I am personally against the proposed merge, and feel that we are better off with two seperate articles as this on can deal with the geographical area, while the other can deal with the government. --T-rex 19:38, 25 August 2008 (UTC)
 * The geography section is the only one that strictly pertains to St. Vincent. The other sections are more general and probably belong in the other article.
 * I think there's just too much overlap to justify having two separate articles. -Roger (talk) 20:59, 25 August 2008 (UTC)
 * I think we should have two articles - you just need to move stuff around. The island shouldn't be just covered within the country. -- Beardo (talk) 20:52, 30 November 2008 (UTC)

Name
Any idea why it was called St. Vincent ? -- Beardo (talk) 20:52, 30 November 2008 (UTC)
 * Named by Columbus after and Italian Saint --T-rex 21:50, 30 November 2008 (UTC)

Recent Eruption
I have temporarily added the current related template due to the La eruption which took place on the island. Feel free to remove it in a couple of days. Owen250708 (talk) 20:20, 10 April 2021 (UTC)

Requested move 11 June 2023

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: moved to Saint Vincent (Saint Vincent and the Grenadines). (closed by non-admin page mover) C LYDE TALK TO ME/STUFF DONE (please mention me on reply) 02:24, 18 June 2023 (UTC)

Saint Vincent (Antilles) → Saint Vincent (island) – Not only the new name is more specific, but the old name doesn't properly describe what Saint Vincent is before clicking on the article. 📖 ( 💬/📜 ) 02:19, 11 June 2023 (UTC)
 * Oppose the Antilles dab is there for a reason St. Vincent Island (Florida) In ictu oculi (talk) 11:13, 11 June 2023 (UTC)
 * How would an average person know what Antilles is? 📖 (💬/📜) 11:48, 11 June 2023 (UTC)
 * Also, the link I'm requesting to move this article to redirects to said article. 📖 (💬/📜) 11:51, 11 June 2023 (UTC)
 * Oppose as proposed, but would support Saint Vincent (Antilles) → Saint Vincent (Saint Vincent and the Grenadines) per such examples as Great Bird Island (Antigua and Barbuda), Long Island (Antigua and Barbuda), Maiden Island (Antigua and Barbuda), Discovery Island (Bahamas), Man Island (Bahamas), Pelican Island (Barbados) or even examples using "(Saint Vincent and the Grenadines)" as a parenthetical qualifier, such as Democratic Republican Party (Saint Vincent and the Grenadines), New Democratic Party (Saint Vincent and the Grenadines) and United Progressive Party (Saint Vincent and the Grenadines). There are also entries for Pigeon Island (Grenadines), Young Island (Grenadines) and Savan (island), with those three entries also having their qualifiers moved to "(Saint Vincent and the Grenadines)". —Roman Spinner (talk • contribs) 16:23, 11 June 2023 (UTC)
 * Move to Saint Vincent (Saint Vincent and the Grenadines) per above. While wordier, this is the correct disambiguation tag. Saint Vincent (island) is incomplete disambiguation, and should redirect to Saint Vincent. 162 etc. (talk) 17:21, 11 June 2023 (UTC)

 * Oppose the move as it's a disambiguated title and I think I oppose making the name longer as well. SportingFlyer  T · C  14:37, 12 June 2023 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Move to Saint Vincent (Saint Vincent and the Grenadines) per convention as mentioned above. I don't thin (Antilles) is a proper disambiguator.--Ortizesp (talk) 04:54, 13 June 2023 (UTC)


text:
Talk:Brandon Whitt

Why attention needed
He won a race in the Truck series, but there is hardly any imformation outside of that. The page is outdated as well.

title: Talk:Brandon Whitt


text:
American Coalition for Clean Coal Electricity

The American Coalition for Clean Coal Electricity (ACCCE, formerly ABEC or Americans for Balanced Energy Choices) is a U.S. non-profit advocacy group representing major American coal producers, utility companies and railroads. The organization seeks to influence public opinion and legislation in favor of coal-generated electricity in the United States, placing emphasis on the development and deployment of clean coal technologies.

Since carbon capture and sequestration—which ACCCE and its member companies advocate to reduce greenhouse gas emissions from coal burning—has yet to be tested on a large scale, some have questioned whether this approach is feasible or realistic.

In 2009, ACCCE faced a Congressional investigation when it was discovered that a lobbying firm hired by ACCCE had sent forged letters to lawmakers. The letters, purporting to come from a variety of minority-focused non-profit groups, were in fact forged by a lobbying firm hired by ACCCE.

History
The ACCCE began operations in 2008, the result of a combination of two organizations: the Center for Energy and Economic Development (CEED) and Americans for Balanced Energy Choices (ABEC). CEED had been founded in 1992 and since then had been involved in a wide range of climate and energy policies related to coal-based electricity. ABEC, formed in 2000, had focused on consumer based advocacy programs concerning the use of coal-based electricity. In 2008 these two groups were combined to form ACCCE, with the goal of focusing on both legislative and public advocacy efforts. The main programs include the America's Power campaign, launched in 2007 by ABEC, which had a significant presence during the 2008 and 2012 elections, as well as legislative efforts during the United States House of Representatives debate over the Waxman-Markey cap and trade legislation.

Mike Duncan became President and CEO of ACCCE in 2012. By 2017, Duncan had been succeeded in that position by Paul Bailey, who had previously been named one of the top lobbyists by The Hill, where he was described as ACCCE's "point man for policy... essential in crafting the ACCCE's response" to the positions taken by the Obama administration. Another notable ACCCE lobbyist, Jaime Harrison, was a Democratic political operative, who worked on behalf of ACCCE from 2009 to 2012. Harrison thereafter chaired the South Carolina Democratic Party, and in January 2017 made a bid for DNC chair, which he ended on February 23 with his endorsement of eventual winner Tom Perez. Harrison later accepted an appointment from Perez as Associate Chairman and Counselor of the Democratic National Committee.

In June 2017, Paul Bailey joined Republican leaders including Paul Ryan and Mitch McConnell in welcoming the announcement by President Donald Trump of the United States withdrawal from the Paris Agreement. Bailey stated that "[t]he previous administration volunteered to meet one of the most stringent goals of any country in the world, while many other countries do far less to reduce their emissions", and contended that "[m]eeting President Obama's goal would have led to more regulations, higher energy prices, and dependence on less reliable energy sources". The organization maintains headquarters in Washington, D.C.

Legislative
In addressing comprehensive climate change legislation that would place a cap on greenhouse gas emissions and allow for trading of emission allowances, the position of ACCCE has primarily involved advocating for the development and use of clean coal technologies, while also including provisions concerning the allocating of carbon emission allowances. ACCCE has as also expressed support for a ceiling on emission allowances prices. At the time in 2008 when the U.S. Senate was considering the Lieberman-Warner bill (bill number ) – which would create a cap and trade system – ACCCE changed its prior stance towards climate-change legislation, noting that it "would support mandatory limits on carbon dioxide as long as legislation met a set of principles that encouraged 'robust utilization of coal.'"

The group also employed legislative efforts surrounding the 2009 debate over the Waxman-Markey cap and trade legislation (bill number ), to which it argued that regulations relating to carbon emissions in the proposed legislation would have led to increased energy costs and reduction in employment – potentially placing additional strain on the economy during the late 2000s recession. ACCCE provided proposals to Members of Congress for changes in this legislation, and approved of some changes that were adopted; though the group did not support the final version of the bill that passed the U.S. House of Representatives on account of concerns that there were not enough measures taken to control energy rates.

Advocacy-based
In addition to legislative methods employed by ACCCE, the organization has engaged in consumer-focused advocacy efforts in response to perceived environmental effects surrounding clean coal, consisting of direct to consumer advertising, as well as a group of approximately 225,000 volunteers (referred to as "America's Power Army," according to their website ) involved in "visiting town hall meetings, fairs and other functions attended by members of Congress (to) ask questions about energy policy."

Initiatives of this form became the subject of news coverage surrounding the 2008 United States presidential election, as the organization's presence at the Democratic National Convention, Republican National Convention, presidential debates and other events has been described as having impacted both Senators John McCain and Barack Obama's positions in regards to investment in clean coal. In the last debate held prior to the election in 2008, Senator Obama noted his support of clean coal technology, when prompted by Senator McCain to explain a time in which he had backed a position not favored by the leaders of the Democratic Party.

The organization actively countered President Obama's climate change agenda, arguing in 2013 that the industry had "made strides toward making coal more environmentally friendly", with ten new clean-coal technology plants having built between 2011 and mid-2013, and five more in development or scheduled to begin operations at that time. Duncan asserted that regulations propounded by the Environmental Protection Agency had contributed to nearly 290 coal plant closures that year, with more likely to come if additional regulations were enacted, and that absent the additional burdens imposed on the industry by such interference, the coal industry would continue developing cleaner technologies. ACCCE supported the FutureGen capture and sequestration project, first announced by President George W. Bush in 2003. The project was funded in the American Recovery and Reinvestment Act of 2009, but the Department of Energy suspended the project in February, 2015.

ACCCE's legislative positions and advocacy-based actions have been met with opposing viewpoints from advocacy groups such as the Sierra Club and Greenpeace, which have questioned the viability of developing environmentally sustainable clean coal within an adequate time frame and budget – representing their perspective that funding of such projects should be sourced exclusively from within the coal industry.

Climate change denial
Since 2009 the Coalition has – according to The Atlantic – "pushed outright denial of climate science". For example in a 2014 report it said that human-caused climate change was a "hypothesis" and a "debate" and claimed that carbon pollution would be beneficial instead of negative and that its benefits could be up to 400 times as high as its costs. Higher atmospheric carbon dioxide levels would be a benefit and more carbon dioxide had no "discernable influence" on how much sea-level would rise.

A 2009 article by Josh Harkinson of Mother Jones magazine said ACCCE was among the most prominent organizations in promoting climate disinformation, grouping it with entities including ExxonMobil, the American Petroleum Institute, The Heartland Institute, and the Institute for Energy Research, as "members of the chorus claiming that global warming is a joke and that CO2 emissions are actually good for you".

Forgery controversy
During the 2009 debate over the Waxman/Markey bill, Bonner & Associates, a Washington, D.C. lobbying firm subcontracted by ACCCE though the Hawthorne Group to drum up "grassroots support" for this effort, sent a number of fraudulent letters to lawmakers on behalf of ACCCE. The letters were forged to appear to come from various minority-focused non-profit groups, including the National Association for the Advancement of Colored People and the American Association of University Women.

When the forgery was exposed, and faced with a proposed Congressional investigation, ACCCE apologized to the community groups and to the members of Congress involved. ACCCE disavowed the tactic and blamed the forgeries on their subcontractor, who in turn blamed a temporary worker, acting alone. The Washington Post described the situation as a "saga of modern Washington, in which an 'American coalition' [the ACCCE] claiming 200,000 supporters still relies on a subcontractor to gin up favorable letters."

An investigation of ACCCE by U.S. Representative Edward Markey, launched in response to the forgeries, disclosed an additional set of fraudulent letters sent to lawmakers to lobby against the environmental legislation. In response to the investigation, the ACCCE pledged to take "all possible steps" to verify the authenticity of letters sent by Bonner & Associates on its behalf, and stated that it was cooperating with Markey's investigation. The investigation concluded in October 2009 with Jack Bonner, chairman of Bonner & Associates, taking “full responsibility” for the forged letters. Bonner and Associates was never paid by ACCCE for their work on the legislation.

Members
, ACCCE is supported by 31 member organizations:

 * Alliance Coal, LLC
 * American Electric Power
 * Associated Electric Cooperative Inc.
 * Berwind Natural Resource Corp
 * Big Rivers Electric Corporation
 * BNSF Railway
 * Buckeye Power Inc.
 * Carbon Utilization Research Council (CURC)
 * Caterpillar Incorporated
 * Charah
 * Crounse Corporation
 * CSX Corporation
 * Drummond Company, Inc.
 * Jackson Walker LLP
 * John T. Boyd Company
 * Kentucky River Coal Corporation
 * Kentucky Coal Association
 * Komatsu Mining Corporation
 * Murray Energy Corporation
 * Natural Resource Partners
 * Norfolk Southern Corporation
 * Oglethorpe Power Cooperative
 * Ohio CAT
 * Peabody Energy Corporation
 * PowerSouth Energy Cooperative
 * Prairie State Generating Company, LLC
 * Southern Company
 * Trapper Mining
 * Union Pacific Railroad
 * Western Fuels Association
 * White Stallion Energy Center, LLC


text:
Small mountain ringlet

The small mountain ringlet or mountain ringlet (Erebia epiphron) is a butterfly of the family Nymphalidae. It is found in mountainous regions of southern and central Europe.

Distribution
Mountain areas of Albania, Andorra, Austria, Great Britain, Czech Republic, France, Germany, Greece, Italy, Liechtenstein, North Macedonia, Poland, Romania, Slovakia, Spain, Switzerland, Yugoslavia (Serbia, Kosovo, Voivodina, Montenegro, Bosnia and Herzegovina, Croatia).

Great Britain
It is Britain's only true alpine species of butterfly. The larva feeds on moor matgrass near bogs and springs and the nectar-feeding adult visits bilberry, tormentil and heath bedstraw.

Life history
The pale cream eggs are laid singly, each female laying up to 70. The egg stage lasts two or three weeks.

The larva is green with a double dorsal and a single lateral white or yellowish line. The third instar larvae hibernate in grass tussocks. They emerge in the spring and recommence feeding. Some larvae spend two years in this stage, the result of a late spring and short summer restricting growth. Recorded larval food plants are Aira praecox (Czechoslovakia, Spain), Deschampsia cespitosa (Czechoslovakia), Festuca ovina (Spain), Nardus stricta (British Isles) and Poa annua (Spain)

The pupa is formed deep in grass tussocks, encased within a loose silk structure. The pupa stage lasts about three weeks.

The flight period is extremely short, a few weeks only, June to August depending on altitude.

Description
Description in South (1906).

Adult
Wingspan 16 –. "The typical form of this butterfly, epiphron, Knock, has the tawny bands unbroken on the fore wings, and almost so on the hind wings; the black dots on the hind wings of the female are often pupilled with white, and more rarely this is so in the male also. It has been stated that specimens occur in Perthshire which exhibit these characters. All the British examples of the small mountain ringlet that I have seen are referable to the form known as cassiope, Fab. (Plate 77). The tawny, or orange, bands are rarely so entire on the fore wings as in epiphron, and are generally rather narrower; and that on the hind wing is broken up into three or four rings. The black dots are usually smaller and without white pupils. The female is somewhat larger and the bands or rings paler. Variation in the markings is extensive. The bands on the fore wings become less and less complete, until they are reduced to a series of mere rings around the black dots. The black dots decrease in size and in number until they, together with the tawny marking, entirely disappear, and a plain blackish-brown insect only remains. This extreme form has been named obsoleta, Tutt. The earliest rings to vanish seem to be the third on the fore wings and the first on the hind wings. Similar modifications occur on the underside also, but there may be an aberration on the upper side of a specimen, and not, or at least not in the same way, on the underside."

Wheeler (1903) gives a short description

Early stages
"The egg when first laid, is yellow, changing afterwards to fawn color with darker markings, especially towards the top. It is laid in July on blades of grass. The larva hatches in about sixteen days. The young caterpillar, before hibernation in October, is greenish, with darker green and yellow lines. Head brownish. Feeds in July and after hibernation on various grasses, among which Poa annua, Festuca ovina, Aira praecox, and A. caespitosa have been specified as eaten by caterpillars in confinement. A distinct preference, however, has been shown for mat grass (Nardus strictus), and it has been suggested that this may be the natural food. The full-grown caterpillar appears to be undescribed. The chrysalis is described by Buckler as being "little more than three-eighths of an inch in length, rather thick in proportion, being less dumpy in form than hyperanthtis, but more so than blandina [Erebia cethiops]. The color of the back of the thorax and wing cases is a light green, rather glaucous; the abdomen a pale drab or dirty whitish; a dark brown dorsal streak is conspicuous on the thorax, and there is the faintest possible indication of its being continued as a stripe along the abdomen. The eye-, trunk-, antenna-, and leg-cases are margined with dark brown, and the wing nervures are indicated by the same colors."

Subspecies
Hybrid Erebia serotina epiphron × Erebia pronoe
 * Erebia epiphron epiphron Harz Mountains
 * Erebia epiphron aetheria Esper, 1805
 * Erebia epiphron mackeri Fuchs, 1914 (synonym Erebia epiphron vögesiaca Goltz, 1914 )
 * Erebia epiphron mnemon Haworth, 1812 (synonym Erebia epiphron scotica Cooke, 1943 )
 * Erebia epiphron orientpyreanica Eisner, 1946 (synonym Erebia epiphron fauveani) Pyrénées-Orientales
 * Erebia epiphron pyreanica Herrich-Schläffer, 1851
 * Erebia epiphron silasiana Meyer-Dür, 1852
 * Erebia epiphron transylvanica Rebel, 1908
 * Erebia epiphron retyezatensis Warren 1931
 * Erebia epiphron roosi Arnscheid & Sterba
 * Erebia epiphron orientalis or Erebia orientalis Bulgaria
 * Erebia epiphron nelamus high altitude

title: Small mountain ringlet


text:
He Said, She Said (game show)

He Said, She Said was an American game show hosted by Joe Garagiola, with Bill Cullen occasionally filling in when Garagiola was covering baseball games. The show, which asked couples questions about their personal lives, aired in syndication during the 1969-1970 season, and was taped at NBC Studios in New York City.

The show was produced by Goodson-Todman Productions for primary sponsor Holiday Inn (American Home Products, the makers of over-the-counter drugs such as Dristan and Anacin, also sponsored). Johnny Olson and Bill Wendell announced.

The show had two formats during its run; one in which four celebrity couples (one or both of the members being a celebrity) competed, and one which had a single celebrity couple and three civilian couples.

The format was modified and brought back on CBS in 1974 as Tattletales, with Bert Convy as host.

Game play
Each team was given 100 points to begin the game (later they began with nothing). One member of each team (the men for the first half of the show, the women during the second half) were asked the questions, while the other member was taken to an off-stage room. Each could be seen and heard via a fake monitor that sat before each player using an electronic chroma key process; Garagiola communicated with them via an on-stage speaker phone.

Garagiola read a statement (e.g., "How he shows affection"), and each contestant would have to raise his hand. The first three to raise their hands would say a one- or two-word answer, which Garagiola would ask them to explain. The answers would then be read one at a time over the phone, and the off-stage partner would have to ring in if she thought her partner had said it. If the first person to ring in was correct, the couple won 25 points. If she was wrong, the couple lost 10 points, as did the team which originally gave the answer. Each of the three answers would be read in random order. During the all-celebrity format, the off-stage partner would have to not only ring in for the correct answer, but also relate the same explanation or story about the answer as the on-stage partner to get the points; otherwise they lost 10 points.

Each game consisted of four questions with the men and women switching positions halfway through the game. For the last question, only two people were allowed to raise their hands to answer.

At the end of the game, the team(s) with the most points won $250 and a full week's stay at any Holiday Inn. The remaining couples would each win a $100 gift certificate redeemable at any Holiday Inn. The celebrity couple played for a designated couple in the audience which was revealed at the end of the show. In the all-celebrity format, each celebrity couple played for a different couple in the audience.

1966
The original pilot, taped on November 7, 1966, titled It Had to Be You (not to be confused with the song by Frank Sinatra of the same name), was originally produced for NBC with Ed McMahon as host and had all-civilian couples, it also had a mixture of both genders instead of the same. This pilot was seen on YouTube on its channel The W/O/C Archive on April 26, 2021. Six months later, another pilot aired on Buzzr as part of their 6th Annual Lost & Found marathon on September 25, 2021.

1969
Among the episodes aired by GSN is the pilot for the 1969 series. The format features only one celebrity couple (Gene Rayburn and his wife Helen) playing against three civilian couples. The pilot exists as a black-and-white kinescope, although virtually all American television production had fully converted to color by this point.

1971
The 1971 pilot of the same name used a similar format. Round 1 was the same as what made it to air, only using dollars instead of points and buzzers instead of raising their hands. The remaining teams were given $400, $200, and $100 depending on where they finished.

In Round 2, three questions were asked to each couple in the same manner as Tattletales – $50 each if all three matched, $100 if two matched, and $150 if only one matched.

The two highest scorers moved on to Round 3, in which each member of the team was out on stage. Each of the four players got half the bank to bid on a question. Host Garagiola presented a question to one member of each team of the same gender. They wrote their answer on a card and then their partner gave a bid and an answer. If they were correct, they won their bid; if wrong, they lost it. The two players switched roles and repeated the process.

The top scorer played the Big Match, a single question where each player wrote their answer on a card. If they matched, they drew from a hopper of balls with dollar amounts from $250 to $1,500 in $250 increments with two of each amount, for a possible total of $3,000.

Proposal
The show was planned to be revived in Syndication for the Fall 2016 season, but no distribution plans were made.

About Last Night
On March 12, 2021, the streaming service HBO Max announced that it had ordered a reboot of the show which will be produced by Ayesha and Stephen Curry and like He Said, She Said & Tattletales before it will feature celebrity couples playing for charity. Fremantle stated that this version would also feature physical challenges and viewer-submitted questions. On August 23, 2021; it was announced that the show would be retitled as About Last Night, with an initial premiere set for Fall 2021. However, on January 19, 2022 it was announced that it will premiere on February 10.

Episode status
The show's status is unknown. Relatively few episodes of the series have been aired by GSN, mostly featuring more well-known guests (including Sally Field). This includes the pilot which has survived only as a black-and-white 16mm film that was originally videotaped in color.

On Valentine's Day 2016, Buzzr aired six episodes of the series as part of a marathon. The network also aired two episodes as part of the "Buzzr's 3rd Annual Lost and Found" on September 30, 2018.

title: He Said, She Said (game show)


text:
1936–37 in Scottish football

The 1936–37 season was the 64th season of competitive football in Scotland and the 47th season of the Scottish Football League.

Scottish League Division One
Champions: Rangers

Relegated: Dunfermline Athletic, Albion Rovers

Scottish League Division Two
Promoted: Ayr United, Greenock Morton

Scottish Cup
Celtic were winners of the Scottish Cup after a 2–1 final win over Aberdeen.

County

 * * – aggregate over two legs
 * # – replay

Junior Cup
Arthurlie were winners of the Junior Cup after a 5–1 win over Kirkintilloch Rob Roy in the final.

Scotland national team
Key:
 * (H) = Home match
 * (A) = Away match
 * BHC = British Home Championship

title: 1936–37 in Scottish football


text:
Standard treatment

The standard treatment, also known as the standard of care, is the medical treatment that is normally provided to people with a given condition. In many scientific studies, the control group receives the standard treatment rather than a placebo while a treatment group receives the experimental treatment. After the clinical trial, researchers compare the outcomes of the two groups to see if the experimental treatment is better than, as good as or not as beneficial as the standard treatment.

Active (positive) concurrent control
In an active control or positive control trial, subjects are randomly assigned to the test treatment or to an active control treatment. Such clinical trials are usually double-blind, but this is not always possible; many oncology trials, for example, are considered difficult or impossible to blind because of different regimens, different routes of administration, and different toxicities. Active control trials can have two distinct objectives with respect to showing efficacy: (1) to show efficacy of the test treatment by showing it is as good as a known effective treatment or (2) to show efficacy by showing superiority of the test treatment to the active control. They may also be used with the primary objective of comparing the efficacy and/or safety of the two treatments. Whether the purpose of the trial is to show efficacy of the new treatment or to compare two treatments, the question of whether the trial would be capable of distinguishing effective from less effective or ineffective treatments is critical.

title: Standard treatment


text: User talk:84.114.183.225

title: User talk:84.114.183.225


text:
Jandía

Jandía is a peninsula in the southwestern part of the island of Fuerteventura in the Canary Islands. The peninsula is entirely in the municipality of Pájara. Within the peninsula is Fuerteventura's tallest mountain, Pico de Jandía or Pico de la Zarza, that rises to an elevation of 807 m. Jandía is connected with the rest of Fuerteventura through the isthmus Istmo de la Pared. Most of the peninsula has been a nature reserve (Parque Natural de Jandía) since 1987.

On the south and east coasts of Jandía there are the beach resorts Jandía Playa and Morro Jable. The western coast has some of the most beautiful and sandiest beaches in Fuerteventura and these are also used by surfers. The small fishing village of Cofete and the Villa Winter are situated on the north side of the peninsula.

title: Jandía


text:
Queen of Spain fritillary

The Queen of Spain fritillary (Issoria lathonia) is a butterfly of the family Nymphalidae.

Subspecies
Subspecies include:
 * Issoria lathonia lathonia
 * Issoria lathonia isaea (Gray, 1846) (Himalaya, Yunnan)
 * Issoria lathonia messora (Fruhstorfer, 1909) (China)
 * Issoria lathonia isaeoides Reuss, 1925 (Sichuan, China)

Distribution and habitat
This migratory species is widespread in most of Europe, in North Africa, Canary Islands, and in the eastern Palearctic realm (Central Asia, Himalayas, Baluchistan, and Western China). These butterflies live in open areas, in dry lawns, agricultural wastelands and in extensive crops at altitudes between sea level and 2700 m.

Description
Issoria lathonia is a medium-sized butterfly with a wingspan of 38 - 46 mm. The wings show a deep orange-violet background, with rounded black spots arranged in regular rows and suffused with greenish gray in the females. The underside of the hindwings is decorated with large pearly nacreous spots and it is crossed by a postdiscal row of black eyespots with pearly pupils. Some pearly spots also appear at the apex of the forewings.

The caterpillar can reach a length of 35 mm. It is grayish brown, with black spots, and relatively short brown spines with white tip, and a double row of dorsal white streaks. The suspended chrysalis is dark brown, with a large white saddle-shaped stain and some smaller ones of the same color, resembling a bird's dropping.

The imago is loosely similar to Speyeria aglaja, Fabriciana adippe and Brenthis daphne, which have the same orange color on the upperside of the wings, but show different markings and spots. Moreover, the underside of the hindwings does not have the large pearly spots characteristic of the Queen of Spain fritillary.

Biology
This species is present almost throughout the year, with three or four successive generations. The eggs are laid separately on the underside of the leaves of the host plant. The larval cycle is exceptionally short. The pupation takes place among the low vegetation, between a few leaves united by silk. This species may overwinter at all larval stages.

Adults are strong flyers and fly from March to October. The heat-dependent caterpillars feed on Viola species (wild pansy or heartsease (Viola tricolor), field pansy (Viola arvensis), Viola canina, Viola odorata, Viola calcarata, Viola lutea, Viola biflora), lucerne (Medicago sativa), borage (Borago officinalis), Anchusa, Rubus and Onobrychis species.

In the dry regions Issoria lathonia carries out a seasonal vertical migration between hardy evergreen shrubs and small trees of plains and mountain fir pines, where it remains in summer to descend in autumn at low altitude.

title: Queen of Spain fritillary


text:
User:Harmil/Notability definition

I'm evolving a sense of notability from the various Wikipedia guidelines and my own sense of what the term means to an electronic encyclopedia. I'll outline it below, and then include sections for some thoughts on why notability should be considered.

Search egnines
A major search engine (say, Google) shows references to the subject that are not derivatives of Wikimedia sources. Here is an example search for "brain fart" on Google. Adding in contextual terms helps, so if someone said in their article, "Brain Fart is an expert system that finds failures in plumbing", then you could search more specifically. Make sure you check those answers and look at at least the first 10 or 20 for false positives. Refine your search using "-" before irrelevant terms.
 * 0 results - Probably means that the subject is a hoax or original research.
 * <200 hits - Probably indicates that the topic is either very new (a neologism, perhaps?) or is highly obscure (see below).
 * <1000 hits - Semi-notable. Could be a sub-culture or regional topic. Could be obscure (see blow)
 * <10,000 hits - Notable. Now it gets hard. WHY is it notable? Will it last? Will anyone care in a year? Hard questions.
 * More - Now you are into the range of no debate. Topics which get so much thought devoted to them are encyclopedic.

Obscurity
Let's say that you used a search engine and something comes up with 100 hits. What does that mean? Well, here's an example search which shows that, outside of Wikipedia, Polish plait gets about 100 hits. And yet, this is a topic of significant interest to certain historians.

It is important to remember that a search engine is not the perfect tool, and eventually you will find edge cases where it's insufficient. Consider:
 * How recently anyone was likely to discuss the topic
 * How important the topic was to its time
 * Is the topic one which would be discussed almost exclusively by computer illiterates (e.g. the finer points of mountain hiking as taught by the Sherpa.

Physical research
Some topics (such as the above) demand physical research. Start with the most general sources you can find. Work your way down to the most specific. Look for references to the terms, but also look for context, and the extent of research done later on. A newly discovered topic is probably not something that should show up first in Wikipedia.

Notability vs fringe beliefs and theories
It is often the case that a topic will be widely considered to be "obviously wrong". Cults are an obvious example, so let me just pick on one (with no malice at all, I assure you): the Moonies. Now, it is true that there is significant bias against their beliefs, and many people would argue that a concept that stems from their religion is innapropriate for Wikipedia. Others would not say so, but only on the basis of there being a religion involved, and would want to excluded other "cult-like" theories and beliefs if they were not explicitly religios.

The problem with this approach is that one of the contexts in which an encyclopedia is useful is understanding culture, and cultures are made up of many (often conflicting) sub-cultures. As such, it is important to record the beliefs of these sub-cultures and catalog them in as much detail as possible, while not explicitly giving in to a point of view.

title: User:Harmil/Notability definition


text:
Scotch argus

The Scotch argus (Erebia aethiops) is a butterfly of the family Nymphalidae. In spite of its English name argus, it is not a close relation of the brown argus nor the northern brown argus.

Taxonomy
Subspecies include:
 * Erebia aethiops ssp. aethifps (Esper, 1777) (Europe)
 * Erebia aethiops ssp. caledonia (Verity, 1911 (Scotland)
 * Erebia aethiops ssp. deprezzivaga Verity, 1935
 * Erebia aethiops ssp. fogarasica Warren, 1931
 * Erebia aethiops ssp. isouata Goltz, 1939 (Shansi)

Distribution and habitat
Erebia aethiops is widespread in the Palearctic realm, including most of Europe, the Alps and Apennines, Balkans, Asia Minor, the Urals, and the Caucasus. English colonies are found at Arnside Knott and Smardale Gill both in Cumbria. This species is found in most of northern Scotland, and in western areas in south Scotland. In Europe and Russia, these butterflies prefer the edge of pine forests and tall damp grassland in hills and mountains up to 2400 m.

Description
Erebia aethiops has a wingspan of 42–46 mm. Antennae are clavate (club shaped). The background colour of the wings varies from dark brown to black brown, with reddish-yellow bands, black eyespots with white pupils and greyish wing fringes, weakly chequered in the females. On the forewing there are three or four eyespots, usually two apical plus a third detached, while on the hindwings there are four or five.

The underside of the hindwings shows a whitish or cream banding but there is a slightly marked sexual dimorphism. In Scotland, the subspecies caledonia has a narrower reddish-yellow band and never contains more than three small eyespots. Three black spots are present on each hindwing. The egg is oval shaped, with 20 to 28 longitudinal ribs. The mature caterpillar is yellow brown, with a brown head. The pupae are yellow brown and relatively short and compact, reaching a length of 12.5 - 124.5 mm.

This species is rather similar to Erebia ligea, but the fringes on the edges of the upper side of the wings are more light grey, while in E. ligea they are white.Wheeler (1903) gives a short description of both species.

Biology
This species is univoltine. Adults fly from June to August. The eggs are laid singly on the leaves of grass. The larvae hatch after two weeks. The hibernating larva is reported to feed on Agrostis, Dactylis, Poa annua, Bromus erectus and other grasses. In Scotland the main host plants are purple moor-grass (Molinia caerulea) and blue moor-grass (Sesleria caerulea).

title: Scotch argus


text:
Theophil Hansen

Baron Theophil Edvard von Hansen (original Danish name: Theophilus Hansen, ; 13 July 1813 – 17 February 1891) was a Danish architect who later became an Austrian citizen. He became particularly well known for his buildings and structures in Athens and Vienna, and is considered an outstanding representative of Neoclassicism and Historicism.

Biography
Hansen was born in Copenhagen. After training with Prussian architect Karl Friedrich Schinkel and some years studying in Vienna, he moved to Athens in 1837, where he studied architecture and design, with a concentration and interest in Byzantine architecture. During his stay in Athens, Hansen designed his first building, the National Observatory of Athens and two of the three contiguous buildings forming the so-called "Athenian Trilogy": the Academy of Athens and the National Library of Greece, the third building of the trilogy being the National and Capodistrian University of Athens, which was designed by his brother Hans Christian Hansen (1803–1883).

The Greek-Austrian entrepreneur Georgios Sinas (1783-1856), who donated the observatory, called Hansen to Vienna in 1846, where Hansen took up an apprenticeship with noted Austrian architect Ludwig Förster (1797–1863). In his early works, such as the museum at The Arsenal in Vienna, Hansen was still rather aligned to a more romantic style. In later years, he became the most outstanding representative of Renaissance-inspired historicism (Neo-Renaissance), which also came to be known as Viennese-style. This style extended into the smallest details of the interior design and partially accepted the courses of a synthesis of the arts.

Along with Förster and many others, Hansen was one of the most important and influential architects of the Viennese Ringstraße. His most famous work is the Austrian Parliament building, which was created in the style of an ancient, neo-classic temple, and serves to refer to the Greek beginnings of democracy. Hansen was originally a staunch critic of the Classical style that was taught to him at the Copenhagen Academy. Over the years, however, he came to incorporate Classical elements into his forms. Bauleiter on this project was Swiss-Austrian architect Hans Auer (1847–1906) who would go on to win the competition for the Swiss Bundeshaus.

Hansen's famed Musikverein in Vienna is one of the most notable concert halls in the world; a concert hall whose design and acoustics are often admired and copied in present-day music houses.

Hansen worked together with Austrian sculptor Vincenz Pilz (1816-1896) and artist Carl Rahl (1812–1865), as well as with architect Otto Wagner (1841-1918).

In 1884 Emperor Franz Joseph honoured Hansen with a barony in the Austrian nobility and he was since styled "Freiherr von Hansen".

He died in 1891 in Vienna.

Work

 * National Observatory of Athens, 1842
 * House of military invalids, Lviv, 1851-1863
 * Academy of Athens, Athens, starting from 1856
 * Museum of Military History in the Arsenal, Vienna, 1856
 * Old Municipal Hospital in Patras, Greece, 1857
 * Cemetery chapel Christuskirche at the Matzleinsdorf Protestant Cemetery, Vienna, 1858
 * Holy Trinity Greek Orthodox Church, Vienna, 1858–1861
 * Palais Todesco, Ringstrasse, Vienna, 1861-1864
 * Palace of Archduke Wilhelm, Vienna, 1864–1868
 * Musikverein, Vienna, 1867–1870
 * Academy of Fine Arts Vienna, 1871–1876
 * Philharmonic Concert Hall, Brno, 1871–1873
 * Vienna Stock Exchange, 1874–1877
 * Austrian Parliament Building, Vienna, 1874–1883
 * Zappeion, Athens, 1874-1888
 * New Lutheran church, Kežmarok, 1879-1892
 * Castle Nadelburg, Lichtenwörth, Lower Austria 1880-1882
 * National Library of Greece, Athens, starting from 1888

Other sources

 * George Niemann (Hrsg.), Ferdinand von Feldegg: Theophilus Hansen und seine Werke. A. Schroll & Co., Wien 1893.
 * Renate Wagner-Rieger and Mara Reissberger (1980( Theophil von Hansen. (Series: Die Wiener Ringstraße VIII; Band 4) Wiesbaden: Steiner ISBN 3-515-02676-2
 * Manfred Leithe-Jasper: Hansen, Theophilos Edvard Freiherr von. In: Neue Deutsche Biographie (NDB). Band 7, Duncker & Humblot, Berlin 1966, ISBN 3-428-00188-5, S. 634 f.
 * Julius Leisching: Hansen, Theophilos Edvard Freiherr von. In: Allgemeine Deutsche Biographie (ADB). Band 49, Duncker & Humblot, Leipzig 1904, S. 762–766.
 * Hansen Theophil Edvard Frh. von. In: Österreichisches Biographisches Lexikon 1815–1950 (ÖBL). Band 2, Verlag der Österreichischen Akademie der Wissenschaften, Wien 1959, S. 181 f.
 * Alice Strobl: Das k. k. Waffenmuseum im Arsenal. Der Bau und seine künstlerische Ausschmückung, in: Schriften des Heeresgeschichtlichen Museums in Wien, herausgegeben von der Direktion. Graz / Köln, 1961
 * Robert Bachtrögl: Die Nadelburg - Geschichte ab 1747. 2010 (Theophil Hansen ab S.77)
 * Adolf Stiller (Hrsg).: Theophil Hansen - Klassische Eleganz im Alltag. Müry Salzmann, Salzburg / Wien 2013, ISBN 978-3-990140-76-5.
 * Andreas Pittler, Hermann Schnell: Der Baumeister des Parliaments - Theophil Hansen (1813-1891). Edition Winkler-Hermaden, Wien 2013, ISBN 978-3950361100

title: Theophil Hansen


text:
User:Elmidae/T.O.T.E.

The T.O.T.E. or TOTE, standing for "Test - Operate - Test - Exit", is an iterative problem solving strategy based on feedback loops. It was described by George A. Miller, Eugene Galanter, and Karl H. Pribram in their 1960 book, Plans and the Structure of Behavior which outlined their conception of cognitive psychology.

Background

By 1960, psychology had come to be dominated by behaviorism and learning theory, which emphasized the observable stimulus and response components of human and animal behavior while ignoring the cognitive processes that mediate the relationship between the stimulus and response. The cognitive phenomena occurring within the "black box" between stimulus and response were of little interest to behaviorists, as their mathematical models worked without them. In 1960, the book Plans and the Structure of Behavior, authored by George A. Miller, Eugene Galanter, and Karl H. Pribram, was published. In this volume, Miller and his colleagues sought to unify the behaviorists' learning theory with a cognitive model of learned behavior. Whereas the behaviorists suggested that a simple reflex arc underlies the acquisition of the stimulus-response relationship, Miller and his colleagues proposed that "some mediating organization of experience is necessary" somewhere between the stimulus and response, in effect a cognitive process which must include monitoring devices that control the acquisition of the stimulus-response relationship. They named this fundamental unit of behavior the T.O.T.E.

The TOTE unit in human cognition
The self-control mechanisms in human tasking are explained in terms of both operations and monitoring processes. Each recurring operation would be associated to a monitoring process, to test if the intended control was yes or not.

Its premise is that a common algorithm for solving non-deterministic problems in a complex system, is to test where the system is currently, then perform some operation that makes a change, then retest again, and to repeat this until the answer is satisfactory, at which point the process is complete and ends (or exits).

The generic TOTE structure is:
 * 1) Test to obtain some representation of the problem state
 * 2) Operate – intervene in some way
 * 3) Test again to see if the desired result has been achieved. If it has not, loop back to operate. If it has:
 * 4) Exit – problem solved

TOTEs are often nested within other TOTEs, since as a means to meet a goal, they are applicable to sub-goals too.

TOTE units commonly used in many disciplines where iterative methods are applicable, such as engineering, artificial intelligence, and cybernetics. In psychology, it is explicitly used as a key strategy within neuro-linguistic programming.

Central to the concept of the TOTE unit are the following principles:
 * 1) Planning, consisting of TOTE units, is essential in cognitive process.
 * 2) Control of behavior exposes a set of chunks and TOTE units

Examples
The following is an example of a simple TOTE: When driving a car and looking for the appropriate turn off. (this only finds the correct turnoff, and would be embedded in a larger TOTE)
 * Test – is this the turnoff? – No
 * Operate – keep driving
 * Test – is this the turnoff? – No
 * Operate – keep driving
 * Test – is this the turnoff? – Yes
 * Exit

A TOTE can also be nested within other TOTEs, for example: Cooking a meal:
 * 1) The top level TOTE for "testing if meal is cooked" is:
 * Check meal—leave a while—recheck meal—take out of oven.
 * 1) As part of the "leave a while" part, there is a nested TOTE:
 * Check if 5 minutes is up—wait a while—recheck if 5 minutes is up—exit (ie "leave a while" subgoal is achieved)

title: User:Elmidae/T.O.T.E.


text:
Talk:Mike Hailwood

Untitled
The cat Category:Fatally crashed racecar drivers is technically accurate but misleading because he didn't die during a race or in a racecar as the category might indicate.--Hooperbloob 21:33, 12 July 2005 (UTC)

Mysterious Michelle
Who is the Michelle mentioned in regards to his road accident? His wife, daughter?daghter

Copyvio
Oh dear, this article seems to be shot through with straight cut-and-paste copyvio from the Motorcycle HoF site. I'll remove it when I get chance, but please feel free to start without me... Pyrope 07:03, 13 August 2007 (UTC)
 * I would suggest rewording it rather than deleting it as most of it is useful informationOrsoni 11:18, 14 August 2007 (UTC)
 * ...as should have been done when you added it in the first place. Rather than asking someone else to go round and sweep up your mess, perhaps you could do it? Pyrope 12:57, 15 August 2007 (UTC)
 * I apologize if I seemed to be asking you to clean up my mess. It wasn't my intention to upset you. My only intention was to help.Orsoni 06:18, 19 August 2007 (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 23:56, 27 August 2007 (UTC)

George Medal
Several otherwise reliable sources sate the Mike Hailwood was awarded the George Cross eg The History of the TT by the Isle of Man Department of Tourism and Leisure.

The Official Mike Hailwood site muddies the water by saying: "He was awarded The George Medal, Britain's highest award for civilian bravery, for his heroic rescue of Clay Regazzoni ...". (Not to take anything away from those awarded an M.C., but Britain's highest award for civilian bravery is the George Cross)

Without going a library to check the London Gazette, looking in Google Books would seem be the simplest way to check. As search on [Mike Hailwood "George Cross"] returned 2 books, [Mike Hailwood "George Medal"] returns 14 books one of which was the Oxford Dictionary of National Biography. The online edition (restricted access) says "He was appointed MBE in 1968 and was awarded the George Medal when he rescued Clay Regazzoni from a blazing car in 1973." -- PBS (talk) 01:36, 8 July 2010 (UTC)

External links modified
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External links modified
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External links modified (January 2018)
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Nationality
According to the Motor Cycle newspaper writing in 1968 Hailwood renounced his British citizenship and became a South African. I thought this might be referenced in the ODNB, but it doesn't mention it. Does anyone know for sure? Mighty Antar (talk) 18:17, 23 June 2020 (UTC)

Murray Walker RIP charity patron?
Murray Walker is listed as a patron of a charity. But he died in 2021. 82.43.160.220 (talk) 18:24, 19 April 2024 (UTC)
 * I've removed the statement. Thanks for pointing out the error. DH85868993 (talk) 10:28, 20 April 2024 (UTC)

Death
I am concerned that there is no independent evidence that Mike Hailwood foretold his death. Reference 54 is from Elizabeth McCarthy. Her writings all post-date his death. She has unusual ideas about death, visitations, feelings of presence which do not amount to evidence or credibility. They are disrespectful to his memory and family. 593441861prime (talk) 09:37, 14 June 2024 (UTC)

Text originally added to the article by 593441861prime, transferred here by DH85868993:

 * There's a well-known anecdote in motorcycle racing circles about Mike Hailwood and a supposed prediction by a fortune teller, but it's challenging to verify its authenticity since it often circulates as hearsay or anecdotal evidence without concrete sources.

 * Mike Hailwood, a legendary motorcycle racer, tragically died in a road traffic accident in 1981 at the age of 40, which adds to the intrigue surrounding any stories about predictions related to his death.

 * However, whether he actually claimed to have been told by a fortune teller in South Africa about his fate is uncertain. Here's what we know:

 * Lack of Verifiable Sources:
 * There doesn't appear to be any direct, verifiable sources or documented interviews where Mike Hailwood himself stated this.
 * Many anecdotes and stories in sports, especially ones that involve famous personalities, can sometimes be embellished or distorted over time.
 * Circulation in Motorcycle Racing Lore:
 * The story has been circulated within motorcycle racing communities and is often mentioned in books, articles, and discussions about Mike Hailwood.
 * It's possible that this story has become part of racing folklore.
 * Consideration:
 * Without direct quotes or documented sources, it's challenging to confirm the accuracy of such stories.
 * It's worth considering that even if Hailwood did mention such a prediction informally, it might have been taken out of context or exaggerated over time.
 * Importance of Context:
 * It's also essential to consider the context of such statements. Hailwood's untimely death in a road accident could have led to retrospective storytelling and speculation.
 * In conclusion, while the story about Mike Hailwood being told by a fortune teller about his fate is widely circulated, it's difficult to verify its authenticity. It remains more of a :part of racing lore rather than a verifiable fact unless supported by direct quotes or documented sources.

(end of text transferred from article)

title: Talk:Mike Hailwood


text:
Trax

Trax may refer to:

Music

 * Trax (album), the debut album from Japanese electronic music group Ravex
 * TRAX (band), a Korean rock band
 * Trax Records, first house music label owned by Larry Sherman in Chicago
 * Trax (sequencer), an old MIDI sequencer
 * Trax (duo), featuring the Danish singer Lise Haavik

Automobiles

 * Chevrolet Trax, a subcompact SUV introduced in 2012
 * Chevrolet Trax (concept car), a subcompact crossover SUV concept that debuted in 2007
 * Force Trax, a mid-size SUV built since 1988, originally called Bajaj Tempo Trax

Rail

 * TRAX (light rail), a light rail system in the Salt Lake City area

Computing

 * TrAX, the Transformation API for XML (now considered a part of JAXP)
 * Trax Image Recognition, also known as Trax Retail, a Singaporean software technology company

Toys and games

 * Trax (game), a strategy board game played with tiles
 * Trax (video game), a shooter game developed by HAL Laboratory
 * Trax Models, a brand of Australian classic diecast model cars and buses

Other uses

 * LG Trax (CU575), a mobile phone from AT&T Mobility
 * Trax (nightclub), Charlottesville, Virginia
 * Trax Colton (born 1929), American actor
 * Trax FM, a radio station based in South Yorkshire, England

title: Trax


text:
Pileus

Pileus may refer to:

 * Pileus (hat), a brimless cap
 * Pileus (mycology), the "cap" of a mushroom
 * Pileus (meteorology), a cloud formation
 * the crown of a bird's head
 * the scales on the top of lizard and snake heads

title: Pileus


text:
Talk:Guided rat

infobox
Placing animal-rights movement infobox onto descriptions of research not related to the animal-rights movement introduces non-neutral POV, unless this research was relevant to the animal-rights movement in some way, ie Pit of Despair or BritchesCzyl 13:50, 17 August 2007 (UTC)

Page move
I moved the page to guided rat from roborat because the researchers deny that their rats are merely controlled automata. See the external link I added to the article. Dave (talk) 21:34, July 12, 2005 (UTC)

Having worked in John Chapin's lab -- the rats are correctly referred to as "robo-rats" within the lab, not just in a popular setting. The name doesn't make any claim about whether or not the rats are actually automatons. The appellation comes by analogy with robo-cop, I imagine - a hybrid biological/electronic creature. Czyl 06:31, 25 September 2005 (UTC)

explosives
I removed this sentence:
 * Currently, these rats are primarily being trained to detect explosives in areas where humans and existing robots cannot efficiently search, such as crowds and cargo ships.

I think it rests on confusion between this study and the African pouched rat, which is being trained. The roborats have not yet been trained for this, according to the BBC. 21:34, July 12, 2005 (UTC)

At the time I was in the Chapin lab [2004], they were being trained for explosives detection in this context. The BBC article dates to 2002. Czyl 06:31, 25 September 2005 (UTC)

title: Talk:Guided rat