text:
Talk:Creative industries

Measuring performance
I propose to delete the ==Measuring performance== section of the article because it contains nothing specific to creative industries. —Theo (Talk) 13:51, 22 July 2005 (UTC)

Thanks for raising this valid point. Rather than deletion, would you consider expanding the definition based on your own insight to make it specific? As a practitioner in this area I would say that we are only just beginning to understand how to measure performance for these kinds of industries. I'd welcome the input of another voice to develop this area of the definition Infilms (Talk)

Although I would live to do what you ask, I have no experience of measuring performance in creative industries. My work in that sector was outside that area and my experience of performance measurement is confined to sectors like financial services, manufacturing and retail. The performance measurement element of my MBA studies made no special case for creative industries. So, while I have travelled all round the edges, I have no specific knowledge of this topic. It is my opinion that no financial performance indicator is special to this sector, but I recognise that different specific success criteria may be applied uniquely here. In your opinion, how might performance measurement differ in these industries compared to other sectors? For example, in the book trade, readership is an indicator that complements units sold. —Theo (Talk) 10:32, 23 July 2005 (UTC)

I think these are critical questions. At Pembridge Partners we ask them each time we risk our hard-earned cash on an investment in this sector! After four years of doing that and our fair share of plums/lemons, I think the conclusion we're reaching is that, in pragmatic terms, it has to be possible to use general financial performance indicators to measure Creative Industries firms day to day, otherwise investors cannot compare 'apples with apples'. That said, we do feel what's been missing is an analysis of the actual benchmarks one might look for on those indicators and so that is where our current work is focussed. But we also have a hunch that there is another kind of measurement that may be missing as we seek to characterise the long term equity value of firms in this sector (which is of course what one is interested in as an investor). Many investors focus more or less exclusively on IP as the only true seat of value in a Creative Industries firm yet we've made good money investing in firms that have absolutely no IP such as PR firms. And of course developments like peer-to-peer filesharing threaten the value of business models built crudely on traditional visions of what IP can be anyway. So we think there's probably another, yet to be discovered way of looking at long term value (as opposed to day-to-day performance) that reflects the intriguing/challenging mix of goodwill and intellectual property that these firms frequently embody. How to calculate it? Not sure yet and very open to suggestions! Infilms (Talk)

I have been giving this some thought. My problem is that I can find no sources for effective non-financial measures in this area. (Note that I have not looked very hard). The quantification of reputation (I carefully avoid the accounting term "goodwill") seems to offer a real challenge and I conclude that it is yet to be a suitable encyclopedia topic (too close to original research/new ideas). —Theo (Talk) 14:01, 7 August 2005 (UTC)

Thank you for these sound points. I agree that this is a topic of current research and indeed in my professional life I am just starting a thorough literature search on that very topic. I note No original research and suggest that perhaps adding the important questions you have raised as a caveat to readers might be the best way forward? My preference would be to do this to reflect a NPV rather than deleting what insight can be articulated at this time - your call Infilms (Talk)

I believe that the well-known book of Caves (Creative Industries, 2000) can help in defining what is distinctive for the Creative industries. Although I do not totally agree with all of his arguments, some are really useful. For example, some properties (time flies, motley crew, A list B list, infinite variety, art for art's sake, nobody knows) and the use/variety of contracts are useful in understanding the business models within the Creative Industry. I also believe that the concept "authenticity" needs to be addressed, as it is relevant to many players within the creative industry to capture their value. --Thijs Broekhuizen 20:07, 4 August 2006 (UTC)

Updates to DCMS definition
Hi, a couple of suggestions on this useful page - (1) I think the DCMS definition has moved on a bit since the existing list. Couldn't locate the origin of this list and am reluctant simply to replace it - can you give a citable reference to establish the origin of this list?

 * http://www.culture.gov.uk/NR/rdonlyres/70156235-8AB8-48F9-B15B-78A326A8BFC4/0/CreativeIndustriesEconomicEstimates2006.pdf

shows the categories used in the DCMS mapping framework which are Advertising, Architecture, Arts and Antiques, Crafts, Design, Designer Fashion, Video, Film and Photography, Music and the Visual and Performing Arts, PUblishing, Software, Computer Games and Electronic PUblishing, Radio and TV.

(2) Some comment on the DET framework http://www.culture.gov.uk/Reference_library/Research/det/ may be worth adding. This is an attempt to incorporate a value-chain approach

(3) might be useful to mention the Creative Economy Programme?

(4) Should there be something in about Richard Florida's work on the Creative Class?

Alan XAX Freeman 07:01, 23 May 2007 (UTC)

I agree with all these points. When you feel an article needs improvement, please feel free to make those changes. Wikipedia is a wiki, so anyone can edit almost any article by simply following the Edit this page link at the top. You don't even need to log in (although there are many reasons why you might want to). The Wikipedia community encourages you to be bold in updating pages. Don't worry too much about making honest mistakes — they're likely to be found and corrected quickly. —Theo (Talk) 11:46, 24 May 2007 (UTC)

OK will work on this. It would help to know the source of the original definitions as what I would like to do is place in the new definitions without obliterating what is already there. To do this I need to say something like 'in (date and sour`e) DCMS defined CI thusly (followed by what is already there now); in (date and source) this was refined to (new 11-industry definition); the DCMS Evidence Toolkit (DET) definition, is proposed as an experimental standard, but has so far found little buy-in. The Creative Economy Project (CEP, ref) has indicated further research on CI categories is likely.

Something like that.

Alan XAX Freeman 20:55, 24 May 2007 (UTC)

Tidy up?
This article is getting stronger, isn't it. I wonder if it's become a bit straggly though and now needs a good short back and sides to tidy it up? anyone want to take on the job? Sadly Dad duty doesn't give me the time to it! Infilms (talk) 10:15, 19 January 2008 (UTC)

Out of curiosity, does the "canadian statistical office" refer to Statistics Canada and if so would this document be a reliable source to cite from? - Brain fork (talk) 10:18, 22 July 2009 (UTC)

Merger Proposal
I'm going to have a bit of a go at tidying this whole article. As part of this I think that Cultural industry should be merged and redirected here. The culture industries/creative economy/creative industries distinction is very vague, therefore, having separate pages serves no real purpose. The cultural industry article itself states in the first paragraph that it is also sometimes known as "The creative industries". Comments? Jnthn0898 (talk) 22:59, 24 November 2009 (UTC)

 * Although cultural industries and creative industries overlap, they are not the same. Note that the definition of cultural industries refers to "creation, production, and distribution."  Production includes manufacturing, which intentionally is not part of creative industries.  Distribution includes retail businesses, which do not create (just distribute).  There are yet other differences, but at the moment I'm still digesting the major changes recently made to this article, which seem to have omitted some significant creative industries, especially businesses that create software (besides computer games).

 * Part of the importance of the term "creative industries" is that it gives a name for business activities that invigorate an economy in ways that are not covered by manufacturing industries and agriculture, which also create/produce what previously did not exist (yet are already recognized for their economic importance). Let's correct and refine the definition of creative industries before attempting to claim that it's the same as another term (which I believe is significantly different).

 * Also note that the cultural industries article is flawed because there is a significant gap between its opening definition and its "the concept" section. VoteFair (talk) 02:04, 26 November 2009 (UTC)

 * sorry, no, totally different things. they should not be merged.--Buridan (talk) 03:33, 26 November 2009 (UTC)

 * Hi - can you cite anything to back your arguement up? The Cultural Industry article very clearly states they may also be known at "creative industries", which is backed-up by UNESCO and Hesmondhalgh. I accept there may be some slight difference between the two terms, cultural perhaps concerned more with the arts, creative encompassing wider technology/science/R&D, but I think this could be better covered in one article, since both at their core are emblematic of the post-industrial paradigm of flexible, knowledge-intensive, production (Lash & Urry, David Harvey Spaces of Capital). Jnthn0898 (talk) 09:42, 26 November 2009 (UTC)

 * ETA: This is not a suitable place to correct and refine the definition of the creative industries. We need to look to sources. And I'm not sure you can point out that the Cultural industry article is flawed, and then use it to support your arguement. I don't recognise that definition of the cultural industries (it's also unsourced).

 * I'm not sure we could find anywhere a definition of the creative industries that excludes cultural industries, and having separate articles would result in way too much overlap. If you prefer you can view the cultural industries as a sub-set of the creative industries (I could look for a reference). The arts, however, are firmly embedded in the creative industries, and are most certainly concerned with economic invigoration (cf. UK Minister Ben Bradshaw on BBC Radio 4 Front Row 25th Nov 2009).

 * I've re-edited the lead to mention software. That was a mistake, sorry. It was always in the article, however. Jnthn0898 (talk) 12:00, 26 November 2009 (UTC)

 * actually, if you need me to cite something to back that up.. you can cite me now saying it. sure you can write these two into the same box, but they are not the same and that would be a classic category mistake of logic.  they seem the same in wikipedia only because it is wikipedia and not particularly well researched, but for anyone who actually does work in this area it is clear they are different and need separate articles.   oh sure you will also find people on each side that will argue they are the same in terms of x or y, but clearly they have different histories, different people tied to them, and different concepts they use and relate too.   it is sort of like going to an apple and saying 'oh yes this and that persian apple are the same thing'  which is true, they are both called apple, and both fruit,  but to someone who knows, a persian apple is a peach. a bit of historical research on anyone's behalf would clearly make this proposal fail.   I'd say at this state, they both need marked for improvement and then some. --Buridan (talk) 13:17, 26 November 2009 (UTC)

 * Ignoring the need for verifiable evidence at this point, can you please highlight the major differences between Creative Industries and Cultural Industry as you see them? I may be making a huge mistake here (I note that it's Cultural Industry rather than Industries, an entirely semantic difference? Or something more telling?), so I'd like to hear your views so I can stop wasting my time. Just to be clear, my contention at this point is not that they're identical, but that they're used almost synonymously, that one encompasses the other, and that (to continue the fruit analogy) having two articles at this time is akin to having one for big granny smith apples and another for small granny smith apples. Jnthn0898 (talk) 00:51, 27 November 2009 (UTC)

ok, let's just say ... there is no support nor any positive argument for the merge from my part, and given there is only 2 of us, that means no consensus. if we need to marshall the various populations of experts around the world to comment, we can do that, but it will come down against it. to understand why, you just have to look at the histories of the two terms. they aren't used synonomously at all, not in my work or anyone that uses them. creative industries was created in the late 60's early 70's to be different from cultural industries. --Buridan (talk) 04:38, 27 November 2009 (UTC)

 * You still haven't defined any major (or minor) differences between the two terms, your only argument appears to be "Well they are different, so accept it," which isn't good enough. I'll list this on WP:Proposed Mergers. Jnthn0898 (talk) 10:07, 27 November 2009 (UTC)

 * Okay - I've done a bit more reading around now and think I see where you're coming from. First - there is definitely a shift between European and North American usage. Second - if we accept that the major difference between 'Creative industries' and 'Cultural industry' concepts is largely one of scope (Creative industries includes software, R&D) and ideology (Creative industries is more market and non-subsidy driven), but, that the scope and ideology differs geographically (DCMS don't extend the creative industries out to R&D; cultural industries, as used by Harvey, Lash & Urry, and Hesmondhalgh, is already very market driven; subsidised-arts are central to DCMS use of creative industries), then it remains more useful to discuss both terms in the same article.

 * I'm enjoying this discussion quite a lot, but please, can you try and find some sources to back your argument up? I'm ready and willing to be proved wrong, but I'm not going to take your word for it. Jnthn0898 (talk) 11:25, 27 November 2009 (UTC)

 * all i need to do for sources is to point toward the histories of the term, that two books use it more like creative industries does not mean that it shares that meaning, it just means that they have their slightly different usages. two citations does not a merger make.   just keep reading about creative industries, try to find the first use of the term, i believe it is a u.n. report as best as most of use can make out.  as for cultural industries, it derives from the german tradition and goes back quite a bit more.  now, certainly i can see you might put a passage in cultural industries that claims as you do above that some authors use it more like creative industries, but we'll also find that many authors use them completely differently.  --Buridan (talk) 12:51, 27 November 2009 (UTC)

 * The histories of the term as told where? Which UN report? (To go back to the beginning of this discussion) a UN body (UNESCO) is now using Creative Industries and Cultural Industry interchangeably. Despite their distinct origins, it doesn't mean they can't be talked about together. Jnthn0898 (talk) 14:15, 27 November 2009 (UTC)

In the United States, the terms creative industries and cultural industry are quite different. I can see that from the perspective of the United Nations the terms are very similar, and even equivalent, because their perspective is inherently cross-cultural, but that is their biased over-simplification.

Of course the terms have some overlap. For example, they both apply to a business that makes art (e.g. jewelry) that is characteristic of a particular culture. But that overlap is not large, at least not in the U.S.

The term creative industries has strong economic implications because there are now many businesses that create new things of value that do not fit within the manufacturing and farming categories (which also create what previously did not exist, and has value). This distinction is especially important during the current economic recession because creating new things of value attracts money to a region, whereas, in contrast, non-creative businesses such as banks and insurance companies just redistribute what already exists, so they do not provide a net gain economically. This important distinction was recently removed from this article, and needs to be restored.

The term cultural industry focuses on cultural differences such as language, ethnicity, race, religion, etc. Those distinctions, at least in the U.S., have virtually nothing to do with the term creative industries.

If you want references, look online, not just in printed and paper-like documents. The business part of the software world (as opposed to the academic part of the software world), which is economically the most notable creative industry, publishes online. Also note that the term creative industries is new and developing--exactly because "industrial industries" no longer dominate the economies of developed nations.

Obviously I oppose the merger of these different terms. Although I'm not offering to add a reference (partly because one such reference refers to this article as its basis), let's not presume that the United Nations' printed document is the only one of importance. VoteFair (talk) 21:12, 27 November 2009 (UTC)

 * Sorry, but you're very much incorrect on the term 'cultural industry'. 'Culture industry' comes from Adorno's critique of mass consumption/commodification of cultural products. It was later redefined as the 'cultural industries', removing Adorno's negative connotations, and used as a term to talk about those same processes of mass culture, and the increasing importance of their associated industries in post-industrial economies. I contend the term is still being redefined and is broadening in scope (see above arguments). You seem to be defining plain "culture". I'd also like to remind you that Wikipedia should maintain a neutral POV, therefore what is most relevant in the US may have bearing on what's in an article, but should not be the primary factor in defining an article's scope where there is an international element.

 * Regarding what you feel is missing from the article - surely this (from the lede) points out their economic importance: "The creative industries have been seen to become increasingly important to economic well-being, proponents suggesting that "human creativity is the ultimate economic resource," (Florida 2002, p. xiii) and that “the industries of the twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation," (Landry & Bianchini 1995, p. 4)." Apart from rewriting (the unsourced lede) the only other information taken out was, from the end of the article, a slight variation of DCMS list of creative industries. The previous lede did have something about creative industries creating something from nothing, but don't think its a good definition of the term and doesn't really differentiate finance and creative industries (notice the similarity between the bursting of the tech-bubble and the sub-prime crash).

 * I did however delete a link to this UN report which actually has a pretty good overview of "cultural industries" and "creative industries", origins and various uses. Please take a look, see what you think. Jnthn0898 (talk) 02:26, 28 November 2009 (UTC)

 * currently there is no consensus for merger, and i do not see the will to debate the merits of a merger which as best as i can tell is not well supported, so i think we should just wait and see if anyone else comes in on either side, give it two or three weeks, to see if there will be debate that can arise to some consensus. if people come along and agree with merger that's fine, but right now, the merger position is not convincing as I've seen no positive evidence beyond ... some people may have used them interchangeably.  However that doesn't mean much at all, some people use that and which interchangeably too. so let's just give the merger 2 weeks and see if other voices arise, and stop defending or promoting a merger until we have some more opinions, then take them all at once, if necessary. --Buridan (talk) 03:14, 28 November 2009 (UTC)

 * I find it very frustrating that you're able to block this, despite offering no evidence whatsoever -- not one link, not one book referenced nor one concrete fact beyond "Look at the history," and "Everyone knows they're different," -- but, yes, we shall have to wait to see if anyone else comes along. Jnthn0898 (talk) 12:14, 28 November 2009 (UTC)

I briefly looked at the U.N. document for which you/Jnthn0898 provide a link, and it clearly indicates that 'creative industries' and 'cultural industry' are defined differently.

You point out that the term 'cultural industry' emphasizes non-commodity (non-mass-audience?) types of (intellectually created) products. This is quite different from creative industries where the focus is on using intellectual ability to create, without any implications about whether the created product is for mass consumption or not. (Of course both terms overlap because they both emphasize the importance of creating what can be protected as intellectual property.)

I have no desire to emphasize a U.S.-centric perspective.

I do see the need to avoid confusing a governmental (and NGO and U.N.-centric) orientation with an economic/business orientation. (And perhaps there is also an academic orientation.) Although the governmental and economic orientations overlap, there are significant differences.

I too would like to see more input from others. Alas, considering the economic importance of this article during the current economic crisis, this article is not getting as much attention as it deserves. To repeat the importance, money is attracted to a region by businesses that create things of value that previously did not exist. In contrast, many businesses (such as banks, legal firms, insurance companies, etc.) just redistribute what already exists, and therefore do not provide any net gain economically. VoteFair (talk) 17:43, 29 November 2009 (UTC)

 * You're grossly misquoting the report - it defines the 'cultural industries' then goes on to say that 'creative industries' is either a slight modification of 'cultural industries' (symbolic texts model, DCMS model, concentric circles model) or a broader extension (WIPO copyright model). It also points out that an exact definition doesn't exist, and that (in at least one case) 'creative' is used instead of 'cultural' entirely for political reasons. I'll say again - I acknowledge that differences may be observed between 'creative' and 'cultural' industries, but these differences are contested, and the amount of overlap between the two is so great that the topic better served by one article. Jnthn0898 (talk) 23:33, 29 November 2009 (UTC)

 * Yes, the report contains statements that the terms are modifications and/or extensions of one another, but that's alongside also giving different definitions for the terms.

 * I do agree that an exact definition of each term does not exist. For this reason, the two terms must be in separate articles.  If the exact definitions evolve in such a way that they become more similar, the articles could be merged later.  But in the meantime, let's allow the terms to diverge, which is what I expect will happen.

 * Note that the creativity article is similarly controversial. Its meaning has evolved under the influence of many people.  Until we get more people involved here, including people in creative industries who understand the software business world where written sources appear online (instead of primarily in abstract academic texts), we'll agree to disagree.

 * In the meantime, thank you for not ignoring the two of us who keep saying that no, the articles should not be merged. VoteFair (talk) 20:21, 30 November 2009 (UTC)

Folks I have spent twenty years working in this sector, the first decade as a practitioner and the second as an investor, mentor and consultant engaged with numerous businesses and government agencies around the world. During that time I have been unable to identify any definition of the sector on which all interested parties agree. Even within individual territories (eg the UK) there is no clear mapping between this sector and official statistics such as the Standard Industrial Classification. Rather, individual authors choose definitions to suit their own purposes. Perhaps it might be sensible to reflect that in the text of this article as you are not the only people to have difficulty pinning down a definition. For a more general discussion on the challenges of classification, Everything is Miscellaneous: The Power of the New Digital Disorder is an excellent (and surprisingly entertaining) read. Hugh Mason (talk • contribs 23:49, 26 December 2009 (UTC)

All very interesting, but I agree with Hugh that the point is that there is dispute - and as was mentioned in the discussion the differences are in part a reflection of politics. This IS the issue. I'd go for one article that has all the terms in it and discusses their histories and tensions. First, 'Cultural Industry' is the Adorno term (note singular and it is presented as a negative). Second, 'Cultural industries' adopted by French communications scholars in 1980s (they stress the plural, and make the positive). Third, Creative industries adopted by UK government in 1997 (borrowed from British Council) explicitly to address issues of intellectual property and trade. Creative economy a more inclusive terminology adopted in the UNCTAD report 2008 to reflect a compromise (and debates have moved on as the label has grown in popularity, and the actual cultural/creative economy has grown. In original usage each term has a particular meaning and inflection. However, these meanings have tended to be fudged via sloppy usage. At a more detailed level, and linking back to definitions and measures, these terms refer to particular definitions. As noted the original DCMS one had a vague 12 industries; however, it was very difficult to operationalise with census data. As Alan Freeman notes a step beyond was a very clear definition the DCMS Data Evidence Toolkit. In addition, this took on a production chain concept (not just counting end users/products, but the means to produce and sustain them). This approach has been incorporated into the UNESCO Framework for Cultural Statistics. As noted in this latter document the really critical issues in understanding the concept lie at the boundaries of the formal and informal, for profit and not for profit, and consumption and production. Historically, and nationally, these terms have grown out of usage that prioritises one side of these dualisms. The practice and action in the cultural and creative industries lies at the intersection. Hence, policy makers, analysts, industry practitioners, and commentators should be challenged to re-think these questions. See Pratt, A.C. 2009, The cultural economy,  in R Kitchen & N Thrift (eds), International encyclopaedia of human geography, Elsevier, Oxford.; Hesmondhalgh, D. & Pratt, A.C., 2005, Cultural industries and cultural policy, International Journal of Cultural Policy, 11(1), pp. 1-14.; Pratt, A.C., 2005, Cultural industries and public policy: An oxymoron? International Journal of Cultural Policy, 11(1), pp. 31-44.;Pratt, A.C., 1997, The cultural industries production system: a case study of employment change in Britain, 1984-91, Environment and Planning A, 29(11), pp. 1953-74.Andycpratt (talk) 18:58, 16 July 2010 (UTC)

Hi, I would like to raise this issue again. Difference between Creative Industries and Cultural Industries is still not clear in the articles. From my observations, readings and the above discussion, which is absolutely valuable, I can say that cultural industries include creative industries. The world "industries" in both terms clearly defines the connection where both are built on a production process. Yet, cultural industries also include things beyond creativity like festivals, events, sports, exhibitions, heritage, museums, and architecture.. among others. Economists have long referred to both terms interchangeably. The best source I can think of is (Victor Ginsburgh and David Throsby, Handbook of the Economics of Art and Culture, Elsevier North Holland). Thus I am with the opinion of Andycpratt and Hugh to merge both terms in one article and elaborate on the history. Dy2007 (talk) 10:11, 22 March 2012 (UTC)

Potentially offensive term to engineers
As a life long professional engineer, ever since I first heard the term Creative industries probably only in the past decade or 2, I have found it generally offensive, as it has most often been used to apply exclusively to artistically creative industries. Similarly in the past decade or 2 the term creativity has also been 'hijacked' by artists, effectively implying that other fields like engineering do not involve creativity.

Probably the most creative industry is engineering, where the term applies to technological inventing, manufacturing and the development of new products and technologies, but not train driving (North American term) or mending washing machines etc. (UK terminology).

The article makes some attempt to explain the exclusion of engineering, but in general the terms creativity and Creative industries are poorly defined and should ideally be abandoned in their current meanings, predominantly referring to artistic and cultural activities.

Ironically part of my engineering field is included in the UK DCMS definition list IT, software and computer services. Embedded software development is most definitely engineering, yet it is also software and therefore creative. Whereas my qualification in the closely related Electrical and Electronic engineering (embedded software is taught as part of this), would not be classed as creative according to the DCMS list.

Just because a government has made a list attempting to define the term, does not mean that it is any good. Lkingscott (talk) 12:40, 9 January 2024 (UTC)

title: Talk:Creative industries


text:
St. Mary's Cathedral, Tallinn

St. Mary's Cathedral, Tallinn (Toomkirik, full name: Tallinna Püha Neitsi Maarja Piiskoplik Toomkirik, Ritter- und Domkirche, The Episcopal Cathedral of the Holy Virgin Mary, Tallinn, also known as the Dome Church) is a cathedral church located on Toompea Hill in Tallinn, Estonia. Originally established by Danes in the 13th century, it is the oldest church in Tallinn and mainland Estonia. It is also the only building in Toompea which survived the 17th-century fire.

Originally a Roman Catholic cathedral, it became Lutheran in 1561 and now belongs to the Estonian Evangelical Lutheran Church. It is the seat of the Archbishop of Tallinn, the spiritual leader of the Estonian Evangelical Lutheran Church, and chairman of that church's governing synod.

The church has been a national cultural monument of Estonia since 20 September 1995.

History
The first church was made of wood most likely already and built by 1219, when the Danes invaded Tallinn. In 1229, when the Dominican friars arrived, they started building a stone church replacing the old wooden one. The monks were killed in a conflict between the Knights of the Sword and vassals supporting the pope's legate in 1233, and the church was thus desecrated. A letter asking permission to consecrate it anew was sent to Rome in 1233, and this is the first record of the church's existence.

The Dominicans could not finish the building and built only the base walls. The building was completed in 1240, and it was a one-aisled building with a rectangular chancel.

In 1240, it was also named cathedral and consecrated in honour of the Virgin Mary. In the beginning of the 14th century, reconstruction of the church began. The church was made bigger. The reconstruction began with building a new chancel. At about the same time, the new vestry was built.

The enlargement of the one-aisled building to a three-aisled building began in the 1330s. The construction work, however, lasted almost 100 years. The new longitudinal part of the church, 29 m long, built by following the principles of the basilica, was completed in the 1430s. The nave's rectangular pillars had been completed in the second half of the 14th century, though.

The church suffered considerable damage in the great fire of 1684 when the entire wooden furnishings were destroyed. Some vaults collapsed and many stone-carved details were severely damaged – especially in the apse.

In 1686, after the fire, the church was practically rebuilt to restore it to its previous state. The new pulpit with figures of the apostles (1686) and the altarpiece (1696) were made by the Estonian sculptor and carver Christian Ackermann. Paintings were added by Ernst Wilhelm Londicer.

The Dome Church's exterior dates from the 15th century, the spire dates from the 18th century. Most of the church's furnishings go back to the 17th and 18th centuries. From 1778 to 1779, a new baroque spire was built in the western part of the nave.

One should also mention the numerous different kinds of tombstones from the 13th–18th centuries, the stone-carved sarcophagi from the 17th century, also the altar and chancel, chandeliers, numerous coats of arms from the 17th–20th centuries. Two of the church's four bells date back to 17th century, two date to the 18th century. The organ was made in 1914.

Among the people buried in the cathedral are the Bohemian nobleman Jindřich Matyáš Thurn, one of leaders of the Protestant revolt against Emperor Ferdinand II and in events that led to the Thirty Years' War; the Swedish general Pontus De la Gardie and his wife, Sofia Johansdotter Gyllenhielm (King John III's daughter); as well as the Scotsman Samuel Greig (formerly Samuil Karlovich Greig of the Russian Navy); the Swedish field marshals and cousins Otto Wilhelm and Fabian von Fersen; and the Russian navigator, Adam Johann von Krusenstern.

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

title: St. Mary's Cathedral, Tallinn


text:
Talk:Southampton

Nickname
Is Soton/Sot'on really a nickname or just the abbreviation used on road signs and markings? in 35 years in the city I've never heard it actually voiced. Can someone find a reference for this claim. Murgatroyd49 (talk) 19:20, 6 August 2022 (UTC)
 * I never heard anyone say it when I lived there 1960s and 1970s. (If anyone did say it, they wouldn’t have pronounced the t in any case!) — Preceding unsigned comment added by Northernhenge (talk • contribs) 20:35, 6 August 2022 (UTC)
 * It's a fairly common abbreviation, and was especially common in the 1990s/2000s when the University's domain name was soton.ac.uk - and of course a person from Southampton is called a sotonian. That said, I wouldn't call it a nickname as such, just a common alternative name / abbreviation. WaggersTALK  10:24, 8 August 2022 (UTC)
 * Hi 148.74.78.43 (talk) 23:40, 24 December 2023 (UTC)

titanic
the titanic sinking 2 made in uk 7,000&die icehit of ano eto MOVIE lang buo set 31 day 112.206.56.19 (talk) 09:14, 27 September 2022 (UTC)

Forgotten Notable Resident
Captain E.J. Smith of the R.M.S. Titanic also lived in Southampton with his wife and daughter. Captain E.J. Smith should be added to the list of notable residents in Southampton. Titanic19122003 (talk) 00:00, 27 November 2022 (UTC)
 * I've been looking for a reference as the article on Smith states he lived in Highfield from 1907 but doesn't have a cite for it. Murgatroyd49 (talk) 09:16, 27 November 2022 (UTC)

This is just prior knowledge about what I already know about Captain E.J. Smith. Highland is a part of Southampton if that clarifies what I was saying. Titanic19122003 (talk) 17:52, 27 November 2022 (UTC)

 * Highfield, not Highland! It's the area round the university. I believe he did live there but can't find a suitable reference. Murgatroyd49 (talk) 18:05, 27 November 2022 (UTC)

Stupid autocorrect! I meant to say Highfield, but my phone used autocorrect. Sorry about that. Titanic19122003 (talk) 18:07, 27 November 2022 (UTC)

 * If you look in the archives for this talk page you'll see that we've discussed the list of notable people from Southampton several times previously. In short, there are too many to list them all in the article. Somebody not being present doesn't mean they've been "forgotten" but listing every notable person from the city would be undue weight. We already have Category:People from Southampton but perhaps we could do with a "proper" list article - as long as it stays separate from the main article.
 * In this particular case, since we don't even have a robust reference to use, I don't think Captain Smith should be added. WaggersTALK  15:48, 28 November 2022 (UTC)

Proposed merge of Mayor of Southampton into Southampton
More comprehensive article, unnecessary for this article to be separate. RJFJR (talk) 05:42, 16 May 2023 (UTC)

 * Support - it could feasibly be expanded into a decent list article but Wikipedia is not a database - that kind of listing would make much more sense over at Wikidata. However, I don't think we'd want a full list of all the mayors of Southampton in the Southampton article. Probably the best plan is to merge this for now into a section on this page, and if it grows sufficiently big it can be split out again, per WP:SUMMARY. WaggersTALK  08:27, 16 May 2023 (UTC)
 * Support - per nom
 * Murgatroyd49 (talk) 08:39, 16 May 2023 (UTC)
 * ✅ Klbrain (talk) 13:05, 19 December 2023 (UTC)

title: Talk:Southampton


text: Category:Misumalpan languages

title: Category:Misumalpan languages


text:
Scotland Rugby League

The Scotland Rugby League is the governing body for rugby league football in Scotland. It administers the Scottish National League and the Scotland national rugby league team.

The body joined the International Rugby League as an observer upon creation in 1994 before being upgraded to affiliate in 2007 and later full member in 2011.

In 2024, the body was downgraded to affiliate member due to noncompliance with the full membership criteria.

Scottish National Team
The Scotland national rugby league team represent Scotland in international rugby league football tournaments. and are nicknamed The Bravehearts. For most of its history, Scotland (along with the other home nations) were represented as Great Britain which ceased playing in the World Cup starting in 1995 (which Scotland did not qualify) and fully disbanded following the 2007 All Golds Tour, Following this, Scottish players play solely for Scotland, apart from the one off 2019 Great Britain Lions tour.

The team formally began in 1995, making them the newest international rugby league team in Great Britain. In their first match they played Ireland, losing narrowly. Since then, Ireland has become the team's main rival, the two teams having played each other many times in their short histories. In 2000 they qualified for their first ever World Cup, but failed to make an impact, losing all three of their group matches; however, their biggest losing margin was just 12 points. In 2008 they beat Wales over two matches to qualify for the 2008 World Cup.

In 2016, Scotland competed at their first every Rugby League Four Nations. They competed against Australia, New Zealand and England.

Scotland became the first nation outside of the three traditionally strongest Rugby League nations to take a competition point with their 18–18 draw against New Zealand in Workington. Scotlands other results were a 12–54 loss to Australia and a galant 12–38 loss to England.

The Board
The SRL board consists of the following:
 * Chairman: Keith Hogg
 * Operations Director: Ollie Cruikshank
 * Finance Director: Allan Cameron
 * Governance Director: Hilary Smith-Milne
 * Commercial Director: Rob Moffat
 * Non-Exec Director: Bob Baxendale
 * Head of Development: Vacant
 * Head of Player Pathways: Vacant
 * Head of Wheelchair Rugby League: Vacant
 * Club Representative: Vacant

title: Scotland Rugby League


text: User talk:81.154.157.73

title: User talk:81.154.157.73


text:
1889 in archaeology

Below are notable events in archaeology that occurred in 1889.

Excavations

 * Early excavations at Lindholm Høje.
 * Birka female Viking warrior in Sweden.
 * Excavations in Plataea by the American School of Classical Studies at Athens begin.

Finds

 * October – Folkton Drums (decorated Neolithic chalk cylinders) found in a barrow in Yorkshire, England.
 * Tauroctony found in Walbrook adjacent to the site of the London Mithraeum.

Births

 * January 22 – Umberto Zanotti Bianco, Italian archaeologist, environmentalist and senator (d. 1963)
 * July 18 – Axel Boëthius, Swedish-born archaeologist of Etruscan culture (d. 1969)
 * August 5 – Rhys Carpenter, American Classical art historian (d. 1980)
 * December 1 – Alexander Keiller, Scottish archaeologist of Avebury (d. 1955)

title: 1889 in archaeology


text:
Highland Spring

Highland Spring is a Scottish supplier of natural source bottled water. It produces still and sparkling water at its factory in Blackford, Perth and Kinross, although despite the name this area is not within the Scottish Highlands. Its water is sourced from protected, organic land in the Ochil Hills. It is owned by Emirati born businessman Mahdi Al Tajir

Highland Spring is the UK's leading natural source water brand. UK sales volumes grew by 6.3% to 348.6 million litres in 2021, securing a healthy market share of 10.0% of the total UK plain packaged water volumes.

The company has expanded through organic growth and also by acquisition, taking over the Gleneagles Spring Water Company, also based in Blackford, in 2001, the Speyside Glenlivet Water Company, based in Ballindalloch in 2009, and acquiring Campsie Spring (Glasgow) from Greencore in 2010. The company formally ceased production at the Speyside Glenlivet Water Company site in 2020.

Simon Oldham and Mark Steven were appointed Joint Managing Directors in August 2021, following Les Montgomery's retirement from as Chief Executive after 36 years with the business. The company is owned by billionaire UAE businessman Mahdi Al Tajir.

In June 2018, the company became the first UK water brand to introduce and trial a 100% recycled and recyclable plastic bottle in a bid to cut plastic waste. Following the success of the trial, in January 2019, it formally launched a commercial bottle range that was 100% recycled and recycled called "Eco-Bottle". As of 2020, its entire "Eco-Bottle" sub-range is made from 100% recycled PET plastic.

In August 2022 the business launched a landmark rail freight facility adjacent to its headquarters in Blackford, the facility which has been 10 years in development is part of their ambition to reach net zero by 2040.

title: Highland Spring


text:
Lloyd Douglas Jackson

Lloyd Douglas Jackson (April 22, 1888 – September 11, 1973) was mayor of Hamilton, Ontario, Canada from 1950 to 1962.

Born near Sarnia, Ontario, Jackson attended McMaster University while it was still in Toronto, earning a bachelor's degree in Chemistry. He began his political career in Hamilton's Board of Education, whereupon he served as Mayor for 13 years. As mayor, he focused on the development of Hamilton's downtown area, including the construction of the new City Hall.

In 1970, a shopping and commercial centre, Lloyd D. Jackson Square (known as Jackson Square), was named in his honour.

title: Lloyd Douglas Jackson


text:
Talk:Windows Longhorn

Windows in 2004
Windows Longhorn 12.36.90.228 (talk) 17:48, 6 June 2022 (UTC)

title: Talk:Windows Longhorn


text: Talk:Lloyd Douglas Jackson

title: Talk:Lloyd Douglas Jackson


text:
Adriaen van der Cabel

Adriaen van der Cabel or Ary van der Touw (1631 – 16 June 1705), was a Dutch Golden Age landscape painter active in France and Italy.

Biography
He was born and grew up in the small town of Rijswijk, near The Hague. Cabel was also known as Ary. According to Houbraken, he was a student of Jan van Goyen, and his real name was van der Touw (English: "of String"), but that wasn't grand enough according to Van Goyen, so he changed it to mean "of Cable". Houbraken wrote that his brother Engel was also a painter, and that Adriaen was already living in Lyon when Johannes Glauber made his grand tour. Cabel moved to Lyon as a young man and spent the rest of his life there.

According to the RKD, he lived in Lyon from 1655 to 1658, then Rome from 1659 to 1666, and finally Lyon again from 1668 to his death. His bentname was Geestigheid. His work is sometimes confused with that of his brother Engel van der Cabel (1641-after 1695), also known as Ange or Angelo. Engel accompanied his brother on his travels and they both married on the same day. Like his brother, Engel became a member of the Bentvueghels with the nickname Corydon, and he moved with him to Lyons, where in the year 1672, he became a 'Maître-Garde' of the Guild of Saint Luke there.

Van der Cabel's best known student was Lyonnaise landscape painter Adrien Manglard, who was also his godson. Like van der Cabel, Manglard moved to Rome, where he became one of the best known landscape painters of his day. Van der Cabel introduced young Manglard to the Dutch landscape painting tradition, as well as the Romano-Bolognese landscape painting style typical of the seventeenth century, which came to influence Cabel during his stay in Italy.

title: Adriaen van der Cabel


text:
Talk:Ibagué

Untitled
This article has 3 paragraphs... I think it should not be a stub anymore --ManagementBoy 13:57, 22 July 2005 (UTC)
 * Going through doing WP:COLA assessment, tend to disagree. Most of the info is just narrative of geodata and some important people. No history or real importance stated. No context. Hwonder   talk   contribs  15:58, 25 February 2007 (UTC)
 * I agree; definitely still a stub. — M ETS 501 (talk) 21:24, 1 March 2007 (UTC)

Monkey Invasion
I have lived in Ibague all my life and I find it strange that no one has mentioned the famous monkey invasion of 1987. Someone should add a section. --Ibague Monkey 19:02, 15 February 2007 (UTC)
 * Probably because it never happened. — Arthur Rubin |  (talk) 19:14, 15 February 2007 (UTC)
 * Actually, it did. It was all over the news here in Columbia.  I'm sure that someone mentioned it in the States. --Ibague Monkey 07:35, 16 February 2007 (UTC)
 * Actually, I found references to monkey invasions in India in 1987, but not in Columbia. (And you're blocked indefinately, as your edit to the main article reverted it to a previous version that would have been considered vandalised even if the monkeys were real.)  — Arthur Rubin |  (talk) 14:45, 16 February 2007 (UTC)
 * Arthur, clearly you have a problem understanding what I am saying. So in the interest of clarity I will repeat it.  This Invasion did happen.  I was there.  I was there.  I was there.  Leave my submission alone, it is NOT vandalism. --Ibague Monkey 2 20:04, 16 February 2007 (UTC)
 * If you were to just add the Monkey paragraph, it would be wrong, but not vandalism. Restoring a previous incorrect version is vandalism.  And you get blocked permanently for evading the first block.  Please use the first monkey account to enter reason on its talk page.  — Arthur Rubin |  (talk) 20:26, 16 February 2007 (UTC)
 * Hehe as a person who was there, we all know it was Vin Diesel (did you know he can divide by zero???) who the government hired...come on Monkey, get your facts right! Shot info 12:46, 17 February 2007 (UTC)
 * So when you restore after every edit I do, what is that? Is that not in fact the same thing I am doing, just from the other side?  I guess you like to vandalize too...  --Ibague Monkey 4 03:03, 18 February 2007 (UTC)
 * Feel free to add a verifiable and reliable source per the Wikipedia policies (see WP:RS and WP:V). Until you do that, your information will be deleted per those policies.  Since Arthur is following the policies, he is not vandalising.  However since you aren't...  Shot info 03:28, 18 February 2007 (UTC)

Why does this keep getting removed? IT DID HAPPEN! Monkey Trouble 1 02:00, 25 February 2007 (UTC)
 * I also have lived in Ibague my entire life, the Monkey Invasion DID HAPPEN. It truely was a dark day in the history of our city. Not Cool Bob Saget 08:57, 27 February 2007 (UTC)

Photo
I added the requested photo, should remove the tag? --198.68.247.143 01:56, 27 January 2007 (UTC)

Page Lock
Why is there a page lock? ProteinTotal 18:06, 4 April 2007 (UTC)
 * See above.  — Arthur Rubin |  (talk) 22:49, 4 April 2007 (UTC)
 * Well, I think it is time to remove the lock. ProteinTotal 20:24, 10 April 2007 (UTC)

 * I agree. Let's hope the invasion is over. -Will Beback · † · 21:37, 10 April 2007 (UTC)

About Basic Information (Infobox)
According to the official website of the city of Ibagué, Jesús Botero is the current mayor of the city following the 2007 elections and will stay in office between 2008 and 2011 so I don't understand why this information was deemed as incorrect. Elevation and Area are also correct and have been verified through different sources, however the area of 1498 Km2 is the total area of the municipality and logically includes urban and rural zones. Should this number be classified as a total area or as a land area? It is certainly necessary to research the specific urban area. About population: as far as we know Ibagué doesn't have a metropolitan area because the city itself hasn't absorbed a neigbouring urban area belonging to a different municipality, thus the layout for population should be: Total (or city, also understood as municipality): 490000+ Urban: 460000+

For now, I'm reverting changes made by Arthur Rubin, whom reverted the changes made by an anonymous user. The info listed before was RIGHT. Maybe the layout of the info can be subject of improvement. Mannschaftskapitän (talk) 03:31, 16 January 2008 (UTC)

Assessment comment
Substituted at 18:43, 29 April 2016 (UTC)

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title: Talk:Ibagué


text:
Jean-Baptiste Vivien de Châteaubrun

Jean-Baptiste Vivien de Châteaubrun (1686 – 16 February 1775) was a French dramatist and a member of the Académie française. He was born and died in Angoulême.

He spent 40 years of his life polishing two plays, but his maid mistook them for wrapping paper, thus losing his life's work. Today, his work Les Troyennes (1734) survives.

title: Jean-Baptiste Vivien de Châteaubrun


text: User talk:81.157.223.186

title: User talk:81.157.223.186


text: User talk:68.93.80.101

title: User talk:68.93.80.101


text: Template:Tour de France

title: Template:Tour de France


text:
File:Toee 5.jpg

A Screenshot of The Temple of Elemental Evil showing the radial menu.

Fair Use Rationale

 * Illustrates significant game mechanics
 * Does not cause harm to copyright holder
 * Relatively low resolution

Copyright currently held by Atari, Inc.

title: File:Toee 5.jpg


text:
Talk:Sarada Devi

Untitled
"Sarada Devi was a spiritual giant in her own right"? "Those who associated with her were overwhelmed by her unconditional love and selfless service. All were her children irrespective of nationality, religious affiliation, or social position. No one was ever turned away. She accepted all"? I'm afraid that's not a suitable tone for an encyclopedia. I'm, however, so overwhelmingly ignorant of the subject of Devi's life that I'm not willing to edit it. 62.57.4.185 14:00, 22 July 2005 (UTC)

Lead rewritten
I have rewritten the lead, it had an unencyclopedic tone, dwelt with her biography in greater detail. — Nvineeth talk 12:09, 7 November 2008 (UTC)

Suggestions
-- Redtigerxyz Talk 14:13, 13 March 2009 (UTC)
 * Quote in infobox needs a ref
 * "Ramchandra's earned his living as a farmer and through the performance of priestly duties". Something is wrong shouldn't it be "Ramchandra earned his living as a farmer and through the performance of priestly duties"
 * "and was considered generous by ________" Fill in the blanks
 * "She is said to have started meditating on the Divine Mother": Shakti, Devi, Kali?
 * "was practicing spiritual austerities at that time" vague. yr?
 * "According to Saradananda" who is he?
 * "addressing her as the Holy Mother" Did Ramakrishna know english? There must an accurate Bengali term, Holy Mother may be a translation. Shouldn't Sri Maa used throughout?

An article about Udbodhan
Can I create an article on 'Mayer Bari', Udbodhan? I'm afraid that I don't have much information presently.--Soumit Banerjee (talk) 09:47, 21 January 2012 (UTC)
 * Already there is a small article. I have linked it to the title "Udbodhan". Please develop it. The best source would be the website of Udbodhan. —BlisSalvation (talk) 09:21, 13 November 2013 (UTC)

title: Talk:Sarada Devi


text:
Miskito language

Miskito (Miskitu in the Miskito language) is a Misumalpan language spoken by the Miskito people in northeastern Nicaragua, especially in the North Caribbean Coast Autonomous Region, and in eastern Honduras.

With around 150,000 speakers, Miskito is the most widely spoken of a family of languages of Nicaragua and Honduras that has come to be known as Misumalpan. This name is formed from parts of the names of the family's subgroups: Miskito, Sumo, Matagalpan. The relationship of some aspects of the internal family tree to the family is uncertain. However, it is clear that: (1) Miskito is apart from Sumo and Matagalpan, which seem to share a common lower node, and (2) in the past Miskito was heavily influenced by other languages like English, German and Dutch. Sumo is thought to have been dominant in the area before the period of Miskito ascendancy. Today the relationship has been reversed: many former Sumo speakers have shifted to Miskito, which has in turn heavily influenced the Sumo dialects. Several of these (Tawahka, Panamahka and Tuahka) constitute the Mayangna sub-branch of Sumo, while the Ulwa language is in another sub-branch. The Matagalpan branch of Misumalpan contains two languages that are now extinct: Matagalpa and Cacaopera. The latter was formerly spoken in parts of eastern El Salvador.

In addition to many elements borrowed from other Misumalpan languages, Miskito has many loanwords from Germanic languages like English, German and Dutch. Even though Spanish is the official language of Nicaragua and Honduras, its influence on Miskito is much more recent and hence more superficial. Many other languages appear to have had influence on Miskito vocabulary and grammar, including various Sumi dialects, Arawak, Rama, Carib, and certain Western African languages.

Miskito Alphabet
The alphabet for Miskito consists of 19 letters, and includes vowels and consonants.

A (a), B (be), D (de), G (ge), H (ha), I (i), J (je), K (ka), L (el), M (em), N (en), P (pe), Q (ku), R (ar), S (es), T (te), U (u), W (dubilu), Y (yei).

History
Many of the Miskitos are native American and also mixed with British, Chinese, Dutch, German, North American, Latinos and African. The Miskito people had a strong relationship with the British and they signed the Treaty of Friendship and Alliance. Eventually, the British began to lose interest in the region, and Britain allowed Nicaragua to have uncontested claim over the Mosquito Coast. A treaty was signed in which a Miskito reserve, a self-governing entity that enjoyed semi-sovereign rights, was given to the Miskito people, but Honduras eventually took over the area.

In the 20th century the Miskito language started to dwindle. Honduras, being a former Spanish colony, officially used the Spanish language, and this stifled the proliferation of the Miskito language in the 20th century. In schools, children were forbidden from speaking Miskito for most of the 20th century and could only speak Spanish; young generations had less of an opportunity to practice the language.

In the 1990s, many groups lobbied against the rule and promoted bilingual schools to preserve the Miskito language. Twenty such bilingual schools exist.

Orthography and phonology
G. R. Heath wrote on Miskito grammar in American Anthropologist in 1913 and describes its orthography and phonology as follows: "The vowels a, e, i, o, u correspond almost exactly to the same sound of those letters in German.

The consonants g, j, s, w, y represent the sounds heard in the English words get, jet, set, wet, and yet; and the combination ch stands for the sound heard in the word chest. C by itself will not be used. The other letters have the same power as in English, except that the aspirate h is always to be pronounced, even at the end of a syllable.

The stress accent in Miskito is almost invariably on the first syllable.

When the grave and acute accents occur on the same vowel, will be imaginary accentuated just like English.

Nasalized vowels are sometimes met with: they resemble the ordinary vowels followed by a sound corresponding to the French n in mon. But as this nasal sound seems to be pronounced not after, but simultaneously with, the vowels, it seems better to mark the vowels with the tilde (˜), to indicate that the vowels themselves are nasalized. Such nasalized vowels are always long, thus: ã, ẽ, ĩ, õ, ũ.

The combination ng is a single sound: the double sound in the English word 'longer' will be represented by ngg."

There is still much controversy about Miskito orthography and it cannot be considered settled, even with printed Miskito grammars, Bible translations, and other texts.

Modern Miskito numbers
By Felix Ramsin.

Days of the week
By Felix Ramsin.

title: Miskito language


text:
Devon Murray

Devon Michael Murray (born 28 October 1988) is an Irish actor, best known for playing Seamus Finnigan in the Harry Potter film series.

Early life
Devon Michael Murray was born on 28 October 1988 in County Kildare, Ireland, to Fidelma and Michael Murray.

Career
When he was seven, his parents sent him to the Billie Barry Stage School and within five weeks he landed a Tesco television ad. Within two months he was in his first film, acting alongside Aidan Quinn in This Is My Father (1998). He then joined the National Performing Arts School and had his breakthrough role in Angela's Ashes (1999). He also acted alongside Jane Seymour in Yesterday's Children (2000).

Murray auditioned four times before landing the role of Seamus Finnigan in the Harry Potter film series. He played the character in all eight movies, the production of which spanned from 2000 to 2010.

Unlike other cast members, Murray was absent from the Harry Potter 20th Anniversary: Return to Hogwarts reunion, which released in 2022.

Personal life
Murray has been in a relationship with Shannon McCaffrey Quinn since late 2020. The couple have a son, Cooper Devon Murray, born on 2 January 2021. They are engaged.

Murray struggled with depression for 10 years.

title: Devon Murray


text:
Hopper balloon

A hopper balloon (simply hopper) is a small, one-person hot air balloon. Unlike a conventional hot air balloon where people ride inside a basket, there is no basket on a hopper balloon. Instead, the hopper pilot usually sits on a seat or wears a harness similar to a parachute harness. Hoppers are typically flown for recreation. These aircraft are sometimes called "cloud hoppers" or "cloudhoppers". However, these terms formally refer to the products of a particular manufacturer, specifically Lindstrand Balloons. Nonetheless, "cloudhopper" is used by many people as a genericized trademark, which refers to all craft of this general type. Most hopper balloons have envelopes that range in volume from 14000 to 35000 ft3 and have a maximum flight duration of 1 to 1.5 hours. The two principal commercial balloon manufacturers today offering hopper balloons for sale are Cameron Balloons and Lindstrand Balloons. Most other hopper balloons are experimental aircraft designed and built by amateur constructors.

History
Balloon-jumping as a sport emerged in the United States as early as 1923, and in England not later than 1927. Balloon-jumping really meant jumping for many enthusiasts: with insufficient buoyancy to sustain flight, the balloonists actually had to use their muscles to start a balloon-assisted hop. In the United States helium was hailed as the choice lifting gas due to its fire safety, allowing the balloonists to smoke while airborne; elsewhere, hydrogen was common, but hot air balloons were not.

Hopper balloons, or jumping balloons, consisting of nothing more than an air bag and a suspension sling with a primitive bench, were immediately employed by operators of large airships and stratospheric balloons as cheap tools for inspecting and repairing aircraft surfaces. The tool was especially handy, since the safest places to launch large high-altitude balloons (Stratobowl and Crosby, Minnesota iron pits) were located in remote places without real airport facilities. In one instance, the second launch of Georgy Prokofiev's ill-fated USSR-3, it took two hopper balloons to untie the tangled nets on top of the giant balloon: the first jumper fell off his bench but managed to hold on to the balloon's cables and survived.

The first modern hot air balloon was flown by Ed Yost under sponsorship by the U.S. Office of Naval Research on October 22, 1960, in Bruning, Nebraska. Since Yost's balloon had a small envelope of 31000 ft3 and a chair for the pilot, not a basket, this was arguably also the first hopper balloon flown since the golden age of airships in 1930s.

Cloudhopper
The name cloudhopper is often used to refer to a one-person hot air balloon where the pilot sits in a harness or small seat. There is often a propane tank behind the pilot's back, and the burner is on a frame above the pilot's head. Often the balloon's burner, tank, and pilot's harness can swivel independently of the hot air balloon envelope, to let the pilot turn to any direction in flight and for landing.

The term "Cloudhopper" was originally coined and trademarked by British balloonist Colin Prescot. The development of the cloudhopper was carried out by Per Lindstrand of Colt Balloons in 1979. Colt Balloons later merged with Thunder Balloons to form Thunder & Colt Balloons, which inherited the Cloudhopper name. Finally, Per Lindstrand left Thunder & Colt to form his own Lindstrand Balloons, which manufactures the present-day Cloudhopper.

Shortly after the team at Colt built and flew its first Cloudhopper, Cameron Balloons came up with its own backpack-style balloon, called the SkyHopper. Its main distinguishing feature was a twist-grip mounted on an arm rest to control the burner. On the original Colt Cloudhopper, as well as all modern-day cloudhopper designs, the burner controls are mounted at the bottom of the burner, like on regular passenger-carrying hot air balloons.

title: Hopper balloon


text:
Splints

Splints is an ailment of the horse or pony, characterized by a hard, bony swelling, usually on the inside of a front leg, lying between the splint and cannon bone or on the splint bone itself. It may be "hot," meaning that it occurred recently and is still painful; or "cold," meaning that the splint has completely recovered and there is no longer any swelling or pain associated with it. Bucked shins are sometimes called 'shin splints,' which involve small stress fractures of the dorsal cannon bone, often seen in race training, and discussed elsewhere.

Anatomy
The splint bones, (metacarpal or metatarsal II and IV), which are remnants of two of the five toes of prehistoric horses, run down either side of the cannon bone. They narrow as they go from the carpal or tarsal joint down, and form a "button" at the bottom or their length, a few inches above the fetlock. Splint bones are attached to the cannon by the interosseous (suspensory) ligament, providing some mobility in the young horse. As the horse ages, the interosseous ligament is typically replaced by bone. In some older horses, the cannon and splint bones may become completely fused.

Causes
Direct trauma, such as from an interference injury or a kick from another horse, is a common causes of splints. The periosteum is damaged by the trauma, and the horse's body lays down new bone in the injured area. Splints caused by trauma are more commonly seen lower down the leg than ones caused by strain. The splints may occur in a front leg or hind, in one leg or both. Severe enough trauma can fracture the splint bone. If minimally displaced, and in the lower portion, some heal well. Others may need surgical removal of a portion of the damaged splint bone.

Concussion is another cause of splints. Concussive forces run from the carpus or tarsus into the splint bones. Working a horse on hard surfaces increases the concussion received by the interosseous ligament, which causes tearing. Splints caused by concussion are usually found on both front legs, most commonly on the inside of the leg a few inches below the knee.

Overworking young or unfit horses at speed or in tight circles may cause splints. The uneven loading of the limb in tight circles places excessive force on the medial splint, which can cause it to move excessively relative to the cannon bone, causing tears in the interosseous ligament and periosteal reaction.

Bench-kneed conformation causes excess loading of the medial splint bone, which can lead to splints.

Blind splints
Because the splint bone does have some mobility independent of the cannon bone, it can cause tension and strain on the periosteum of the splint bone where the interosseous ligament attaches. The horse will then lay down new bone and the area will become inflamed. "Blind splints" are named because the bony reaction happens on the inside border between the splint bone and cannon bone, where it can not be seen, and is usually not palpable. Besides causing pain as any active splint reaction can, the swelling can impinge on the suspensory ligament. This condition is difficult to diagnose, but ultrasound is generally diagnostic. MRI and CT also show these well.

Symptoms
Splints usually cause mild lameness (a grade of 1–2 out of 5). The injured area is hot, painful, and inflamed with a small bony swelling. However, splints do not always cause lameness, especially once "cold". More severe lameness is sometimes associated with a fractured splint bone, or soft tissue injury adjacent to the splints.

"Blind splints" usually produce mild lameness that is difficult to pinpoint because there is no obvious swelling, pain, or bony changes related to the exterior of the splint bone. At times, bone proliferation on the axial border of the splint bone can be seen radiographically, but ultrasound is much more sensitive for detecting blind splints.

The body will eventually absorb some of the bone it placed down in the splint, flattening out the splint over several months and possibly making it completely disappear. A splint involving the cannon alone is more likely to disappear than one involving the splint bone itself.

Treatment
The horse should have a reduced workload for 1–3 weeks. If a trainer does not decrease the workload sufficiently, and the splint bone continues to receive concussion, the injury is likely to continue or worsen. Light exercise on soft ground is best for a horse with splints, as work can help encourage the needed bone growth to heal the splint. Those trainers concerned with the cosmetic appearance of their horse usually prefer to hand-walk twice daily and keep the animal stalled until the splint is resolved, eliminating the chance that the splint will accidentally be knocked during work and the swelling increased.

Several days of cold therapy, sweats, and NSAIDs can help a "hot" splint. NSAIDs can help reduce the inflammation and help the bone growth by doing so. However, none of these treatments are incredibly effective. The most important factor is time. Counter-irritants, which increase inflammation, only hinder the formation of bone and can actually prolong the healing process.

Surgery to remove the fractured end of the splint bone, particularly in the lower third, is typically successful. However, surgical removal of the bone growth in large splints, performed by chiseling it away, usually does not produce satisfying results. Often, bone growth is stimulated by the surgery, and the size of the splint is increased. Only about a third of the time is surgery at all successful.

Prognosis
Prognosis is excellent in uncomplicated cases. The horse will be able to return to full work once the inflammation and pain ceases. Although the horse usually recovers quite quickly, horses with "blind splints" may take longer because there may be impingement on the suspensory ligament. The calcification of the splint is usually a permanent blemish, though over a period of many years, the excess calcification may be reabsorbed to some degree, occasionally to the point that the splint is no longer visible.

title: Splints


text:
RKG-3 anti-tank grenade

RKG-3 is a series of Soviet anti-tank hand grenades. It superseded the RPG-43, RPG-40 and RPG-6 series, entering service in 1950. It was widely used in the 1973 Arab–Israeli War and remained a common weapon into the 2000s and early 2010s, being favoured by Iraqi insurgents during the American-led occupation. Modified versions of the RKG-3 series have also emerged in the Russian invasion of Ukraine.

Design
RKG stands for Ruchnaya Kumulyativnaya Granata ("handheld shaped-charge grenade"). The grenade has an odd strap-like lever (or "spoon") that covers the base of the handle and runs up each side of the handle. When the pin is pulled, the "spoon" falls away, and when the grenade is thrown a spring deploys a four-panelled drogue parachute. This parachute stabilizes the grenade in flight and ensures that the grenade strikes the target at a 90-degree angle, maximising the effect of the shaped charge. Realistic accurate throw ranges are within 15 to 25 m. The lethality radius is within 2 m due to concussion and fragmentation. The casualty radius is within 20 m and the danger space from fragmentation is within 50 m.

The fuze in the handle activates the grenade. When the parachute deploys, its ejection throws a weight to the rear of the handle and disables the safety. When it impacts or stops, inertia causes the weight to fly forward and hit the spring-loaded firing pin, which activates the primer detonator in the base. This sets off the booster charge in the base of the shaped charge, detonating and enhancing the main charge. The sensitive fuze guarantees that the grenade will detonate if it impacts any target.

Armour penetration depends on the model. The original RKG-3 used a basic shaped charge with a steel liner and could penetrate 125 mm against Rolled Homogeneous Armor (RHA). The RKG-3M used a copper-lined shaped-charge warhead and had a penetration of 165 mm; the RKG-3T had an improved copper liner that had a penetration of 170 mm. The RKG-3EM has a larger warhead and boasts a penetration of 220 mm.

History
The RKG-3 was adopted into service in 1950. A few years later it was replaced by the improved RKG-3M and enhanced RKG-3T. Thicker top armor caused the Soviets to develop the larger RKG-3EM. In the early 1970s the Soviet Army replaced this grenade with the RPG-18, but many other countries and guerrilla movements are still using the RKG-3 in their armed forces. It was used extensively during the 1973 Yom Kippur War.

Ulrike Meinhof was injured by an RKG-3 while training with the PLO in a Syrian training camp.

RKG-3 and RKG-3M grenades were used by Chechen forces during the First Chechen War.

RKG-3 grenades were widely used by Iraqi insurgents against American Humvees, Strykers and MRAPs.

The grenade has also been seen in use by the Aerorozvidka unit of the Ukrainian military in the 2022 Russian Invasion of Ukraine. PJSC Mayak modifies the grenade into the RKG 1600 by changing the fuze timing and adding 3D printed fins to stabilise its trajectory when dropped from a commercial drone. Footage of these being used by Ukrainian forces against Russian forces has been published officially. The estimated total cost is "less than $100".

Models

 * RKG-3 Penetration : 125 mm RHA. Gross Weight: 1.07 kg. (2.35 lbs.)
 * RKG-3M (-Modernizirovannaya, "Improved") Model with liner changed from steel to copper. Penetration : 165 mm RHA. Gross Weight: 1.1 kg. (2.42 lbs.) Copies manufactured by East Germany (RKG-3Cu).
 * RKG-3T Model with improved copper liner. Penetration: 170 mm RHA
 * RKG-3EM Model with larger warhead. Penetration: 220 mm RHA Gross Weight: 1.7 kg. (3.74 lbs.)
 * RKG-1600 Ukrainian adaptation with 3D printed stabilisation fins and modified fuzing for dropping from commercial drones.
 * UPG-8 (Uechebnaya Protivotankovaya Granata, "Training Anti-Tank Grenade"). Black body with white markings. The reusable warhead contains a reloadable black powder charge that mostly produces black smoke that is vented through holes in the heavy-gauge sheet-metal. A new fuze and parachute can be quickly reloaded in the handle after use by using special armorer tools.
 * M79 Copy of the RKG-3EM by Yugoimport SDPR. Copies are now manufactured by Serbia (M79) and Bosnia-Herzegovina (RKB-M79). Filling: 400g (0.88 lbs.) Hexolite, Penetration: 220 mm RHA, Gross Weight: 1.1 kg. (2.42 lbs.).
 * Type F-3 Chinese licensed production of the original Soviet RKG-3 with improvements. Penetration: 130 to 170 mm RHA Gross Weight: 1.07 kg. (2.35 lbs.)

title: RKG-3 anti-tank grenade


text:
Ruth Hayman

Ruth Hayman (1913 - 1981) was a lawyer and anti-apartheid campaigner. She was one of the first women in South Africa to qualify as an attorney. Through the Black Sash organisation, Hayman offered free legal advice to many people, usually women, who had approached the Black Sash Advice Centre in Johannesburg, and often appeared herself in court to represent them. She also defended the anti-apartheid activists Walter and Adelaine Hain, parents of the British Cabinet Minister Peter Hain.

Her activities brought her into direct opposition with the National Party government, and on 22 April 1966 she was served with a "banning order" under the Suppression of Communism Act and placed under house arrest. "This banning was, according to Sydney Kentridge, 'inexplicable save on the assumption that it was a punishment for her professional work' ('Legal Aid and Political Trials' in Legal Aid in South Africa (1974) 215). The Transvaal Law Society refused to come to her aid. This sent out a clear message to attorneys." (Dugard, J., 2004, p508)

Hayman moved to London, with her husband, Mervyn Lazar, in 1968, and was a pioneer in the field of teaching English as a second language. In 1977 she was one of the founders of the National Association for the Teaching of English as a Second Language to Adults. Now renamed as NATECLA. The Ruth Hayman Trust, set up in her memory, gives small personal grants to support the education and training of adults who live in the United Kingdom and whose first language is not English.

She was born in Johannesburg, South Africa in February 1913, and died in London, England in October 1981.

title: Ruth Hayman


text:
Jesus Merino

Jesús Merino (born 1965) is a Spanish comic book artist, best known in the American comic industry for his collaborations with penciller Carlos Pacheco.

Merino himself raised from the Línea Laberinto of Planeta-DeAgostini Spanish publisher, where he drew three mini-series: Aníbal Gris (1996), Jaque Mate (1997) and Triada Vértice (1998). In 1998 he began to work with Pacheco, inking his layouts on titles such as Avengers Forever, Superman/Batman and Green Lantern.

Merino's work on DC included art for many issues of Justice Society of America, vol. 3 and a Superman/Batman story.

In September 2011, DC launched a new Superman series written by George Pérez with art by Pérez and Merino.

title: Jesus Merino


text:
Members of the National Parliament of Papua New Guinea, 2002–2007

This is a list of members of the National Parliament of Papua New Guinea from 2002 to 2007 as elected at the 2002 election.


text:
Sumo languages

Sumo (also known as Sumu) is the collective name for a group of Misumalpan languages spoken in Nicaragua and Honduras. Hale & Salamanca (2001) classify the Sumu languages into a northern Mayangna, composed of the Tawahka and Panamahka dialects, and southern Ulwa. Sumu specialist Ken Hale considered the differences between Ulwa and Mayangna in both vocabulary and morphology to be so considerable that he prefers to speak of Ulwa as a language distinct from the northern Sumu varieties.

title: Sumo languages


text:
Talk:Liberty Stadium (Swansea)

This article is about the ground of Swansea City A.F.C.. As you can see it doesn't have much information! Bornintheguz 14:06, 22 July 2005 (UTC)

Photo
It's not brilliant, but it's about the best I could do from the window of a passing train on the up line. I might see if I can get a better picture from the down line next time I head some. Chris talk back 19:19, 25 November 2005 (UTC)

Also down towards bottom of the page can an updated google (aerial) photo be placed as the up-do-date version now shows the stadium in all of its glory Craig Map 00:32, 22 December 2006 (UTC)

The name
This article is showing up in Category:Articles with unsourced statements due to the comment "However, many fans still prefer to use the working title of White Rock." Whilst I appreciate the idea of carrying on the name (copper works and all that), the most common name I hear is the Morfa. So can we either find a cite or lose this? Telsa (talk) 21:31, 18 October 2006 (UTC)

 * Apparently we couldn't find a cite so I nuked it. Telsa (talk) 13:37, 2 November 2006 (UTC)

Capacity
Practically since it was created, the article has said 20,280 for the capacity. BBC last night reported 20,530, and during the game (Ospreys v Aus), the television showed the higher number come up on the board in the stadium. It's mentioned in the press today. So where did the figure 20,280 come from? Telsa (talk) 13:37, 2 November 2006 (UTC)
 * I remember the figure of 20,280 coming from news reports but checking on the web now the figure varies depending on which site you look at. The number of seats can be anything from 20,000 to 20,580.  There is also talk of increasing the capacity by 3,000 seats or so, since at the moment they have to turn fans away from Swans matches due to high demand.  I don't think you can ever put an exact figure on it as they can put in temporary seating sometimes to cope with demand.  I also wonder if the VIP boxes/rooms are taken into account when counting seats since they can have loads of variation in temporary seating.  Maybe the most accurate thing that can be stated is that the stadium has just over 20,000 seats. (Sloman 17:30, 7 November 2006 (UTC))
 * When I head down to the Stadium tomorrow to purchase Crewe tickets I will ask for the official seating figure Craig Map 00:36, 22 December 2006 (UTC)
 * Did you get a chance to do this, Craig Map? Because the latest number is different again. The BBC reported the Boxing Day derby crowd as "sell-out" and "20,500". Telsa (talk) 14:37, 2 January 2007 (UTC)
 * When I was at the Liberty Stadium today I asked in the Ticket Office for the official attendance which was quoted at 20,532 Craig Map 23:43, 21 January 2007 (UTC)

title: Talk:Liberty Stadium (Swansea)


text:
User talk:Theamazingflyingsheep

Harry Paye Sometimes refered to as Henry Paye was most famously known as a pirate from the town of Poole who plundered Spanish vessels. These pirate tendancies let to the burning of Poole in 1405 by the Spanish. Harry Paye was also a high ranking member of the Navy.

Harry Paye was Admiral of the Cinque Ports Fleet, a precursor of the English and later Royal Navy. It is true he was alos something of a privateer, sacking ports, monasteries and shipping for personal gain. He had an eventful career, mainly against the French and he captured over 200 French caravelles, and was involved in the battle of Gravelines. It was the French who destroyed Poole when he was out of harbour, reducing what was a major port to rubble. Poole never regained its pre-eminence. His brother was also killed in this attack. Though knighted, he was never part of the establishment he is buried Faversham church in Kent.

title: User talk:Theamazingflyingsheep


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Cacaopera language

Cacaopera is an extinct language belonging to the Misumalpan family, formerly spoken in the department of Morazán in El Salvador by the Cacaopera people. It was closely related to Matagalpa, and slightly more distantly to Sumo, but was geographically separated from other Misumalpan languages.

The last semi-speakers of Cacaopera lived in the 1970s. All native speakers had died before this time.

title: Cacaopera language


text:
Ngolo Diarra

Ngolo Diarra was faama of the Bambara Empire from 1766 to 1790.

As a young man his village, Niola, gave Ngolo to the state as disongo annual tribute and became a ton djon or slave warrior in the service of Bitòn Coulibaly. After his rise to power, Ngolo returned to his native village and destroyed it as revenge.

Following the 1755 death of empire founder Bitòn Coulibaly, his descendants (the Bitonsi) proved unable to maintain control, and the kingdom fell into chaos. Ngolo Diarra, by now a leader of the ton djon, seized the throne in 1766 and soon restored order. He defeated the Macina Empire and re-established firm control over Djenne and Timbuktu. His reign is remembered in oral histories as a time of great economic prosperity.

Mungo Park, passing through the Bambara capital of Ségou two years after Diarra's 1795 death, recorded a testament to the Empire's prosperity under his reign:
 * "The view of this extensive city, the numerous canoes on the river, the crowded population, and the cultivated state of the surrounding countryside, formed altogether a prospect of civilization and magnificence that I little expected to find in the bosom of Africa."1

Ngolo Diarra died in a campaign against the Mossi in 1790 and was succeeded by his son Mansong Diarra. His descendants, the Ngolosi, continued to rule the Empire until its fall to Toucouleur conqueror El Hadj Umar Tall in 1861.

title: Ngolo Diarra


text:
Term of patent

The term of a patent is the maximum time during which it can be maintained in force. It is usually expressed in a number of years either starting from the filing date of the patent application or from the date of grant of the patent. In most patent laws, annuities or maintenance fees have to be regularly paid in order to keep the patent in force. Thus, a patent may lapse before its term if a renewal fee is not paid in due time.

International harmonization
Significant international harmonization of patent term across national laws was provided in the 1990s by the implementation of the WTO's Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPs Agreement). Article 33 of the TRIPs Agreement provides that
 * "The term of protection available [for patents] shall not end before the expiration of a period of twenty years counted from the filing date."

Consequently, in most patent laws nowadays, the term of patent is 20 years from the filing date of the application. This however does not forbid the states party to the WTO from providing, in their national law, other type of patent-like rights with shorter terms. Utility models are an example of such rights. Their term is usually 6 or 10 years.

Europe
The European Patent Convention requires all jurisdictions to give a European patent a term of 20 years from the actual date of filing an application for a European patent or the actual date of filing an international application under the PCT designating the EPO. The actual date of filing can be up to a year after the earliest priority date. The term of a granted European patent may be extended under national law if national law provides term extension to compensate for pre-marketing regulatory approval. For EEA member states this is by means of a supplementary protection certificate.

United States
In the United States, for utility patents filed on or after June 8, 1995, the term of the patent is 20 years from the earliest filing date of the application on which the patent was granted and any prior U.S. or Patent Cooperation Treaty (PCT) applications from which the patent claims priority (excluding provisional applications). For patents filed prior to June 8, 1995, the term of patent is either 20 years from the earliest filing date as above or 17 years from the issue date, whichever is longer. Extensions may be had for certain administrative delays.

The patent term will additionally be adjusted to compensate for delays in the issuance of a patent. The reasons for extensions include:

 * Delayed response to an application request for patent.
 * Exceeding 3 years to consider a patent application.
 * Delays due to a secrecy order or appeal.

Because of significant backlog of pending applications at the USPTO, the majority of newly issued patents receive some adjustment that extends the term for a period longer than 20 years.

For design patents (patents based on decorative, non-functional features), for design applications filed on or after May 13, 2015, the term is 15 years from the issue date. For design applications filed before May 13, 2015, the term is 14 years from the issue date.

title: Term of patent


text:
Brenda Fowlie

Brenda Olive Fowlie (born May 15, 1953) is a journalist and politician in the Canadian province of New Brunswick. She was formerly a member of the Legislative Assembly of New Brunswick and a member of the cabinet.

A resident of Quispamsis, New Brunswick, Fowlie was first elected to the legislature in the 1999 election and was re-elected in 2003 by a very narrow margin. She was originally declared the winner in 2003 by a margin of 16 votes and a recount delayed the swearing in of the cabinet and the first session of the legislature. The results of the election were so close that Fowlie's uncertain victory meant the difference between a majority government for her Progressive Conservative Party of New Brunswick and a tie in seats with the PCs and the opposition New Brunswick Liberal Association. The recount reaffirmed her victory increasing her margin to 18 votes.

Prior to her election to the legislature, Fowlie had been a member of her local school board and was elected to Quispamsis town council in 1995 and re-elected in 1998. She wrote a column for local newspapers and hosted several news and public affairs programs on public access television.

She was sworn into cabinet as the Minister of Environment and Local Government on June 27, 2003 and resigned from cabinet on July 21, 2005 after the provincial ombudsman reported she had violated provincial privacy laws when she used personal information, from her department, on fellow MLA Stuart Jamieson to attack his character in the legislature and to reporters. She made a quick political recovery however when she was re-added to cabinet on February 14, 2006 as Minister of Energy.

She was defeated in her bid for a third term in the 2006 election and thus left the legislature and the cabinet.

title: Brenda Fowlie


text:
Category:Burials at Arlington National Cemetery

Articles and categories related to burials at Arlington National Cemetery in Arlington County, Virginia


text:
Economic and Philosophic Science Review

The Economic and Philosophic Science Review (EPSR) is a British Marxist–Leninist newspaper founded by Royston Bull, formerly a leading member of the Workers Revolutionary Party and industrial correspondent for The Scotsman newspaper.

Bull split from the WRP in 1979 and with a number of supporters to form the Workers Party. The group, upon formally repudiating Trotskyism, renamed themselves the International Leninist Workers Party and later the Economic and Philosophic Science Review. Although Royston Bull died aged 69 on 2 January 2005, the EPSR continues to be published fortnightly, by its supporters.

Policies
The ILWP/EPSR are avowedly Marxist-Leninist and supportive of the Soviet Union model but critical of its party's revisionism which they attribute to Joseph Stalin's political errors. They are also very strongly supportive of Sinn Féin (and until its dissolution, of the Irish Republican Army) and many Third World national liberation movements.

During the 1970s Eurocommunists outside the group (adopting ideology of the New Left) attempted to promote a panoply of LGBT rights on the far-left. This gathered steam such that by the 1990s it was mainstream policy among far-left publications; the EPSR rejected the stance in 1999 outright as anti-social, saying homosexuality had "obvious disadvantages for any species in evolutionary terms". John Pearson, a member of the revisionist Communist Party of Great Britain (Provisional Central Committee) in their Weekly Worker said this was homophobia.

Relations to Socialist Labour Party
With the foundation of the Socialist Labour Party by the leader of the National Union of Mineworkers, Arthur Scargill in 1996, the EPSR dissolved itself into the SLP where they operated as a faction around their paper, the EPSR. Royston Bull was elected Vice-President of the SLP in 1998, but was then almost immediately expelled (or 'voided') from party membership. Arthur Scargill, who had supported Bull's candidacy, used it to strengthen his position within the SLP. The election caused a significant rift within the SLP, with one member, Brian Heron, calling Bull's election "a disaster". Whilst some of Bull's supporters stayed within the SLP, most left to rejoin Bull and organised themselves as "EPSR supporters".

title: Economic and Philosophic Science Review


text:
File:JohnnyCashRideThisTrain.jpg

Fair use in Ride This Train
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) It's a low resolution copy of a CD/album cover.
 * 2) It doesn't limit the copyright owner's rights to sell the CD/album in any way, in fact, it may encourage sales.
 * 3) Because of the low resolution, copies could not be used to make illegal copies of the album artwork on another CD.
 * 4) The image is itself a subject of discussion in the article or used in the infobox thereof.
 * 5) The image on the cover is significant because it was made by a famous artist.

Source

 * 1) Derived from a digital capture (scan/photo) of the album/CD cover (creator of this digital version is irrelevant as the copyright in all equivalent images is still held by the same party). Copyright held by the record company or the artist. Claimed as fair use regardless.

title: File:JohnnyCashRideThisTrain.jpg


text:
Rafael Gómez Ortega

Rafael Gómez Ortega, (1882 – 1960) also known as El Gallo ("the rooster") was an early twentieth century bullfighter. He came from a family of famous bullfighters, including his matador father, Fernando Gómez García and matador younger brother, José Gómez Ortega. He is today remembered for several of his unique fighting techniques such as the espantada - or "sudden flight", which simply consisted of him fleeing when the bull entered the ring. Other techniques included fighting bulls from a chair.

His fights were considered amusing to audiences, and he was brought out of retirement seven times because of this "sportsmanship". He finally retired on October 4, 1936. Commentators find that his intermittent fear of the bulls was characteristic of his style, noting that he was often brave when it suited him, and gave in to panic when it did not.

Ortega later wasted his fortune, and was supported by Juan Belmonte. He was briefly married to Pastora Imperio, a famous flamenco dancer.

He died on 25 May 1960 at the age of 77.

title: Rafael Gómez Ortega


text:
Alberto Ruz Lhuillier

Alberto Ruz Lhuillier (27 January 1906 – 25 August 1979) was a Mexican archaeologist. He specialized in pre-Columbian Mesoamerican archaeology and is well known for leading the National Institute of Anthropology and History (INAH) excavations at the Maya site of Palenque, where he found the tomb of the Maya ruler, Pakal. Ruz Lhuillier is sometimes referred to as the "Hitchcock of Archaeology".

Early life
Ruz Lhuillier was born in Paris, France, to a Cuban father and a French mother. He went to college in Havana where he learned about the impact of American interference in Cuban affairs and he became deeply involved in the socialist revolution to oust the current government. These early student life experience exposed him to other students who espoused the theories and ideas of Karl Marx. Later Ruz would use some of these theories to explain the development and fall of ancient Maya civilization. He moved to Mexico in 1936, later acquiring Mexican citizenship.

Career
After the unexpected death of Miguel Ángel Fernández in 1945, Ruz Lhuillier took charge of the INAH's investigations at Palenque. While he served as the INAH's southern Director of Pre-Hispanic Monuments, Ruz Lhuillier excavated much of the city and restored and conserved such edifices as the Palace. In 1948, he discovered the entrance to the tomb of the Maya ruler, K'inich Janaab' Pakal, hidden beneath the Temple of the Inscriptions. After four seasons of clearing the rubble-filled stairway, he found Pakal's sarcophagus and body. Ruz Lhuillier's team also found the Tablet of the Palace, which served as the back to a throne, and the Tablet of the Slaves which depicts a cahal amid bound captives. Ruz Lhuillier continued working at the site until 1958.

Ruz Lhuillier died in Montreal, Quebec, Canada on 25 August 1979. Several of his books on the Maya, including Los Antiguos Mayas, were published posthumously.

Honoring his works, the Mexican Government permits that his remains rest in peace in front of the Necropolis that was discovered by him at the Maya site of Palenque, Chiapas.

Works

 * Los Antiguos Mayas, Una Antologia (The Ancient Maya: An Anthology) - (January 1981)
 * El Pueblo Maya (The Maya People) - (January 1982)
 * Frente Al Pasado De Los Mayas (Facing the Past of the Maya) - (January 1987)
 * El Templo De Las Inscripciones, Palenque (The Temple of the Inscriptions) - (January 1992)
 * Palenque 1947-1958 - (January 2007)

title: Alberto Ruz Lhuillier


text:
Talk:Matthew 2:1

Untitled
Why are the Bible quotes in pseudo-verse layout? DJ Clayworth 22:31, 17 December 2005 (UTC)
 * Mainly for aesthetic reasons. It looks good, and makes explicitly clear that the text of the verse is not part of the encyclopedia article. These articles also contain frequent quotes from scholars, and having a somewhat different formatting for the verses from the standard one for long quotes is also useful. There is also an alternate method, used at Matthew 2:16 and some other verses, of placing the text in a table. - SimonP 23:11, 17 December 2005 (UTC)

WEB
For some reason my last edit (13:20, 18 December 2005) was unsigned. It is per User_talk:SimonP. NTK 13:29, 18 December 2005 (UTC)

title: Talk:Matthew 2:1