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Museum of Contemporary Art Australia

The Museum of Contemporary Art Australia (MCA), formerly the Museum of Contemporary Art, Sydney, is located on George Street in The Rocks neighbourhood of Sydney. The museum is housed in the Stripped Classical/Art Deco-styled former Maritime Services Board (MSB) building on the western side of Circular Quay. A modern wing was added in 2012.

While the museum as an institution was established in 1991, its roots go back a half-century earlier. Expatriate Australian artist JW Power provided for a museum of contemporary art to be established in Sydney in his 1943 will, bequeathing both money and works from his collection to the University of Sydney, his alma mater. The works, along with others acquired with the money, were exhibited mainly as a travelling collection in the decades afterward, stored in two different university buildings. This collection was known as the Power Gallery of Contemporary Art.

When the MSB building became available the Museum of Contemporary Art, Sydney was established in 1991. It rapidly outgrew its space and ran into financial difficulties that were alleviated in the early 21st century under new director Elizabeth Ann Macgregor, who eliminated regular admission fees and diversified the museum's funding sources. After two proposed expansions failed, a design by local architect Sam Marshall met with sufficient approval to raise money for its construction. From 2010 the building underwent a major expansion and re-development, reopening in 2012 as the Museum of Contemporary Art Australia.

Power's original intent was for the museum to exhibit contemporary art from all over the world, with work by Australian artists shown only if it was relevant to the other works, but its focus has since changed primarily to Australian contemporary art. The museum's collection contains over 4,000 works by Australian artists acquired since 1989. They span all art forms with strong holdings in painting, photography, sculpture, works on paper, and moving images, as well as significant representation of works by Aboriginal and Torres Strait Islander artists. The museum runs programs to engage the interest of youth and disabled communities in appreciating and making art.

Location
The museum building has two wings: the main section housed in the former Maritime Services Board (MSB) building, and the newer Mordant Wing on the museum's northern end. It is located on the waterfront in Sydney's The Rocks neighbourhood. George Street is to the west, and First Fleet Park to the south, Circular Quay on the north and east (pedestrians only on that side, abutting the water). Immediately beyond it, the Cahill Expressway separates the park and The Rocks from Sydney's central business district (CBD). Two of the city's landmarks are nearby—the Sydney Opera House is visible a short distance across the harbour and the Cahill turns onto the Sydney Harbour Bridge to the north. Just beyond the expressway to the south are some of Sydney's skyscrapers such as 1 Macquarie Place and the Salesforce Tower

A broad lawn separates the museum from the quay to its east. To the west and northwest, the Rocks is urban and densely developed up to the bridge's southern approach, with attached two- and three-storey mixed-use buildings from the 19th and early 20th centuries. Nearby, cruise ships moor at the quay, and ferries serving the Sydney area arrive and depart from slips.

Exterior
The architectural style of the building is Stripped Classical/Art Deco.

Former Maritime Services Board building
The former MSB building is a six-storey, 17-bay light orange-brown stone structure in the Stripped Classicism style with Art Deco ornamentation. A slightly projecting central clock tower is complemented by three-bay pavilions projecting two bays at the ends of both elevations. Atop the roof is a modern penthouse with glass facing and a flat roof with wide eaves. Two modern roofs, supported by circular metallic pillars, shelter the concrete deck in front of the ground-floor windows between the entrance and the pavilions. The one on the south side has tables and chairs serving the museum's restaurant. On the west (rear) elevation, the space between the pavilions is filled in with a block of modern shop spaces in an irregularly alternating black and white pattern on the upper storeys similar to that on the museum's newer Mordant Wing.

On the exterior, the foundation level is one course of rusticated polished pink Rob Roy granite which also forms the surround of the main entrance on the east elevation and the auxiliary entrance on the south. The rest of the facade is smooth-dressed orange sandstone, which also forms the surround of the tertiary entrance on the north pavilion of the west facade. Fenestration takes the form of triple-paned double windows separated by a continuous stone muntin in a continuous vertical recessed strip. On the south end of the building, the windows on the first two storeys are also continuous. The recessed strips and muntins end in a broad plain frieze above the fifth storey separating similar but shorter windows on the sixth storey of the main block.

On the central clock tower, the main entrance is a recessed pair of dark bronze doors topped by a sandstone frieze depicting sailors and dockworkers. Above it is a transom of three small four-paned windows with stone muntins. Atop the entryway is a bronze plaque with "Museum of Contemporary Art".

Above the entrance, the clock tower treatment consists of three more widely separated but otherwise similar windows rising from the third storey to the sixth and topped with a decorative pink granite facade depicting a propeller, wheel, and anchor. A clock set against the sandstone is above. The tower is topped by a narrower stage, a square cupola and three flagpoles.

Mordant Wing
The Mordant Wing on the MSB building's north end is also six storeys high, occupying three-quarters of the remainder of the block not taken up by a local police station building. It is faced in smooth, mostly windowless panels of black, white, and brown stone, made of blocks rectilinear in shape and irregular in size. On the north end is a basement delivery entrance.

The main entrance to the museum is at the southeast corner of the wing, where it abuts the MSB building at a glass-faced stairwell. Sliding glass doors in a glass two-storey entryway open onto a wide stair to the main foyer. Above it is an unsupported projecting three-storey pavilion with strip windows. North of it, a large downward-pointing arrow in the facade at ground level directs visitors to a poem carved in the concrete deck.

On the west, the wing is similarly faced, with an alleyway leading to another service entrance between the wing and the MSB building. At street level is another, smaller entrance, with glass doors, accompanying the museum's gift shop to its south. The facade also overhangs this entrance, but to a lesser extent than its counterpart on the other facade. On the roof is a cafe, partially open, with views of the bridge, opera house, and harbour.

Interior
When used by the Maritime Services Board the interior made extensive use of scagliola and terrazzo to imitate marble flooring and walls, a common technique at the time. A war memorial and associated artwork were also included. These features remain in what was known as Wharfage Hall, the two-story lobby at the building's central entrance. Today, adapted for use as a museum, much of the interior is now gallery space with plain white walls, concrete floor, and high ceilings. The fourth story's offices have been retained for the museum administration.

1798–1942: Prior history of site
The Museum of Contemporary Art Australia is located south of the landing spot of the First Fleet. The site originally housed two Commissariat Stores, built using convict labour. The state government assumed control of the Commissariat Stores in 1901 and leased them to commercial tenants. In 1937, the Circular Quay Planning Committee, which had originally recommended the buildings be demolished to provide parkland, changed its mind and called for them to be replaced with a new office for the Maritime Services Board (MSB), which had been displaced by the Circular Quay Railway. Demolition was completed in 1939. Originally the committee had considered holding a competition for the new building's design, but by then it had decided to use the MSB's own architects. One, William Henry Withers, designed a Stripped Classical building for the agency, with a central tower meant to echo the pylons of the nearby bridge. After site clearance construction was halted in late 1940 since restrictions resulting from the onset of World War II made continued work impossible. The building was resumed in late 1944 with the erection of its steel frame and the offices were opened eight years later by Premier Joseph Cahill. It is listed on both the Register of the National Estate and the New South Wales State Heritage Register.

1943–1991: Power Gallery of Contemporary Art
The MCA's roots are in the 1943 will of Australian expatriate artist JW Power (1881–1943), the first Australian-born painter to experiment with Cubism. Independently wealthy from his previous medical career, he specified that upon his wife's death, his personal fortune, mostly stock worth £A2 million (A$ today), was to go to his alma mater, the University of Sydney, with the express purpose of informing and educating Australians in the contemporary visual arts. It was to be used specifically for "museums and other places for the purpose ... of suitably housing the works purchased so as to bring the people of Australia in more direct touch with the latest art developments in other countries."

When Powell's wife died in 1961, the bequest was made public; she also willed most of her husband's works to the university. At the time it was the largest monetary bequest ever made to any Australian university or arts organisation. Four years later the university's senate voted to create the Power Institute of Fine Arts as a beginning of fulfilling Power's wishes.

In December 1970 the University of Sydney also received the Seymour Bequest for the purposes of a performing arts centre, and sought to combine the two bequests into an arts complex that would include within it the Seymour Centre and the Power Institute facilities, including a home for the Power Gallery. It was opened in 1975 as just a performing arts venue.

This collection of artworks took the form of the 'Power Gallery of Contemporary Art', a traveling collection without a permanent address. Between John Power's death and the eventual establishment of the museum, the collection was mainly housed in the University of Sydney's Fisher Library during the 1970s. It was exhibited in the Madsen Building on campus between 1980 and 1989.

1991–1999: Museum of Contemporary Art
After the relocation of the Maritime Services Board (MSB) to larger premises in 1989, the building and site were donated by the Government of New South Wales to the Museum of Contemporary Art. Funded by the University of Sydney and the Power Bequest, restoration, and refurbishment of the building commenced in 1990 under the direction of Andrew Anderson of Peddle Thorp/John Holland Interiors, and the following year the Museum of Contemporary Art, Sydney, officially opened.

Those early years in the museum's own space were difficult. The university agreed to help fund the museum's initial costs but did not make any commitment to the long term, as it was expected that the museum would eventually become financially independent. To that end an admission fee was charged; it did not make up for the shortfall as the university began phasing out its support, and the local and national media began expressing concern for the museum's future. Newspaper stories called attention to the paucity of visitors and called the museum "a place for wankers". The building's former offices had been renovated into a more open space with movable walls to accommodate exhibition requirements, with some rooms left intact as archival spaces. The inadequacy of the renovated MSB building as a gallery space, including circulation and accessibility issues, prompted plans for further renovations. In 1997, an international competition was launched for redesigns of the site. The Japanese architectural studio SANAA won, but its plans were abandoned after site investigations revealed the archaeological remains of a colonial dockyard beneath the museum's car park. Another competition was held in 2000; it was won by Sauerbruch Hutton. Their proposal, which called for demolishing the MSB building, met public outcry, and these plans too were abandoned.

1999–2010: Macgregor hiring
In 1999, with the MCA facing the prospect of bankruptcy, having just enough money to make payroll for a few weeks, the board hired Elizabeth Ann Macgregor, a Scot who had worked with the Arts Council of Great Britain, as director. She nearly quit within 48 hours of taking the job when the board wanted to hire a co-director so she could focus on the artistic vision behind the museum.

Macgregor had previously held the same post at the Ikon Gallery, a major contemporary art museum also housed in a repurposed heritage-listed building in Birmingham. Shortly after taking over, to encourage more visitation, she eliminated the $12 entrance fee, after securing a half-million-dollar sponsorship  from Telstra. Initially, Macgregor was apprehensive, sleeping poorly for a week out of fear no one would come to see the museum even if it cost them nothing to do so.

When the museum opened for the 12th Biennale of Sydney in 2000, a festival headlined by Yoko Ono, "we were packed", Macgregor recalled. "As soon as we did that, it completely changed the atmosphere. People came in out of curiosity", she later told The New York Times (A fee is still charged for admission to temporary special exhibitions). Within a year, visitation increased threefold.

Per her belief that contemporary art should be for everyone, especially the many people who believe it is only for the wealthy cultural elite, Macgregor began reaching out to the communities of Greater Western Sydney. After the museum sponsored a free shuttle bus from a Blacktown festival to the museum, the mayor told her that he had much appreciated the museum and begun to rethink his position on contemporary art. The museum also partnered with the Penrith Panthers rugby team. "They were looking to change their image as much as we were looking to change ours," Macgregor said.

Macgregor also began requiring that curators consult with less artistically inclined peers about the text in wall labels identifying and describing the adjacent works. "Sometimes it's an IT manager, sometimes it's a receptionist", she said later. "[I]t's about curators making sure their labels are legible to their peers."

After fending off a 2000 effort by the Art Gallery of New South Wales to annex the MCA, McGregor began developing plans in 2002 for an extension to the museum. Two years later, developers sought to get the museum to agree to move off the Quay in order to build a luxury hotel on the site. In 2005, the museum's permanent collection was moved to storage offsite to create more exhibit space.

The sixfold increase in annual visitation that ensued made problems with the museum's ageing physical plant more apparent. "The elevators were well past their natural life, the stair circulation was not appropriate and there was no infrastructure to deal with disabled people", recalled Simon Mordant, a Sydney investment banker who later chaired the MCA board. "We started to burst at the seams." Some state officials, hoping to redevelop the site more commercially, urged the museum to move and tried to direct it to other locations, but Mordant and the museum management insisted on remaining, finding the current site to be a unique asset.

2010–2012: Addition
In 2010 the museum closed for its long-desired extensions. They were built to a design by Sydney architect Sam Marshall, taking two forms: infill on the building's west facade, allowing shop space on the ground floor facing George Street, and the new Mordant Wing on the north. The latter was named after the board chairman and his wife, whose initial gift of $10 million, followed by a later $5 million, was the largest single financial contribution to it, allaying concerns that the recent financial crisis would make the addition impossible to finance. The federal, state and city governments combined for $27 million; private benefactors donated the remaining $7.5 million of the building's total $53 million cost. From 2010 the building underwent a A$58 million expansion and re-development, It was constructed in a Cubist architectural style, appearing as a series of overlapping white, black, and brown boxes that contrasts with the main building.

The building reopened as the Museum of Contemporary Art Australia. A portion of the new wing opened with an exhibit of work by Rafael Lozano-Hemmer in December 2011; the remainder was opened the following March. The wing added 4500 m2 in floor space, including a café, sculpture terrace and two harbour-side function venues, nearly doubling the museum's available exhibit space and allowing additional revenue to keep the museum financially independent (Approximately 70 per cent of the museum's annual income is from a variety of sources such as exhibitions and events, sponsorship, donations and venue hire. The balance is made up through ongoing funding and support from the state government through Create NSW and the federal government through the Australia Council. ). The renovations additionally supplied the new National Centre for Creative Learning with multimedia and digital studios, as well as a 117-seat lecture theatre. The dual entranceways of the new wing additionally connected George Street and Circular Quay for the first time.

Marshall's primary inspiration for the new wing was the sculptures of Donald Judd. The volumes of the individual blocks vary to reflect the function of the space within them. Their colors are taken from those appearing in the vicinity: the bridge, expressway, and various buildings in The Rocks, all visible from the museum. Marshall and the architects who reviewed and advised on his plans were mindful of modern additions to older museums that have not been seen as architecturally successful, such as Daniel Libeskind's addition to Toronto's Royal Ontario Museum, where the inclined walls precluded hanging paintings.

Reception
Before it was even opened in full the new wing had sharply divided architects and critics, primarily over the question of how it balanced the new and the old. The direct connection between George Street and the Quay was praised by most commentators regardless of their overall verdict. Elizabeth Farrelly, generally cool to the wing in a March 2012 Sydney Morning Herald opinion piece, called that connection "undeniably the new building's triumphant spatial moment." Artist Profile, much more enthusiastic about the addition, which it said "successfully fuses the old with the new by forging innovative ways through which audiences can interact with and understand the work on offer", used similar language. But both they and Farrelly thought that entrance might have been better located at the MSB building's centre rather than the junction between the new and old wings.

Another aspect of the addition that bridged both positive and negative views of it was a belief that the MSB building should have been demolished. Farrelly, who did not express that opinion, wrote that the best thing about the new wing was that it was now obvious that "inside the World's Dreariest Building, something interesting is happening." In a glowing review, calling the building "a resounding success", ArchitectureAU's Penny Craswell said it was "unfortunate" that the MSB building had been retained. Architect Philip Cox, designer of The Star, Sydney casino on the nearby Pyrmont waterfront, who called the addition "bland architecture of old with the bland architecture of new", told Marshall at a debate that the MCA building should have been demolished, as the SANAA plan had proposed, so the museum could start afresh: "There was a one in 500-year opportunity to do a great building at Circular Quay." Marshall allowed that if he could have demolished the MCA building, he would have.

Anderson, the architect who had supervised the original adaptation of the MSB into the MCA, was also unimpressed with the addition, calling it "insensitive" to the original building. "As you get closer and closer to a building there should be finer details that hold the eye and delight. With this building as you move closer there is nothing more to see", he told the Herald. He was also critical of the building's lack of windows on its north and east faces. "That's the most iconic view in Sydney ignored."

2012–2019: Growth
With the new addition completed, museum attendance in 2012 reached nearly 850,000, a 31 per cent increase from the last time it had been fully opening two years prior. In 2015 the Herald noted that the MCA had become as popular with museumgoers as the Art Gallery of New South Wales, despite receiving much less government funding. In the years afterward, the MCA began exceeding a million visitors annually, with a new record of 1.1 million in 2018, more than London's Serpentine Galleries and Beijing's UCCA Center for Contemporary Art attracted that same year. International and younger visitors account for significant shares of the MCA visitation, at 40 and 46 per cent respectively.

In 2019 McGregor, recalling the beginning of her career driving a traveling contemporary art exhibit around Scotland in a bus, told The Art Newspaper that "I have a great belief that contemporary art should and could be for everyone." To that end, she hired around 84 working artists for the museum's visitor services team, particularly in the front of the house and as educators. "We are probably the largest employer of artists in Australia," says Mordant. "I think that is one reason for our success—we place artists at the centre of everything we do."

The artists on staff who interact with the public are also trained to make the work on display accessible to the public. "We don't shy away from putting on difficult art, but we want people to feel comfortable while they engage with it", says McGregor. In late 2017 the museum put on one of its most successful exhibits ever, Pipilotti Rist's Sip My Ocean. "It set a benchmark that I don't know if we'll ever reach again", she recalled. Tickets to it sold out regularly over the nearly four months it was at the MCA; the museum extended its hours and offered special "unplugged" nights where selfies were forbidden to accommodate the crowds. McGregor credited the coincidence of an exhibit by an artist whose work celebrates the female body opening just as the movement began trending worldwide. For 2019 the museum's visitation again exceeded a million; according to The Art Newspaper this made it the world's most-visited contemporary art museum.

2020–present: Pandemic and leadership changes
Those increased attendance numbers did not last. The severe bushfires that began in summer 2019 had the effect of depressing tourism in New South Wales, and just as the fires were finally being extinguished the COVID-19 pandemic began. The Australian government limited all non-essential indoor gatherings to a hundred people, including staff; the MCA complied with the order by severely limiting attendance.

By May all galleries and museums in the country were closed indefinitely. In the absence of foot traffic, McGregor estimated, 40 per cent of the museum's funding was lost instantly, which she said made "our much-lauded funding mix" problematic, as the MCA relies on government support for only a quarter of its budget, unlike other institutions for which it constitutes the majority of funding. The museum relied at first on its donor base, which McGregor said was very willing to let it use the money they had contributed with other purposes in mind for the more basic purpose of keeping the museum running. Because of that reliance on private funding, later the MCA was able to tap the government JobKeeper program to keep staff on the payroll, which helped it avoid some "truly horrible" scenarios such as the voluntary administration that Carriageworks, elsewhere in Sydney, had been forced into by then as the pandemic dried up its revenue stream, or laying off 30 per cent of its staff. The MCA established digital online programs to keep the public engaged. When Macgregor learned that many of the children at schools in West Sydney the museum had been doing outreach to did not have Internet access at home, she reached out to The Daily Telegraph, and the museum staff wound up producing the creative activities section for the paper's Hibernate supplement for the duration of the lockdowns. In June the museum was able to reopen at least for visits to the exhibit halls by individuals or small groups and stay open through October.

During this break, the museum's leadership changed. In July 2020, Lorraine Tarabay, another investment banker and contemporary art collector, took over the chair of the board from Mordant, who remains involved with the museum as its international ambassador. Artist Danie Mellor also joined the 11-member board, which already includes Qantas head Alan Joyce, Carnival Australia head Ann Sherry and other prominent individuals from the art and business worlds.

By the end of 2020, the museum had been closed for 114 days. Visitation had dropped by nearly two-thirds from 2019, to under 370,000. In February 2021 the museum opened a major rehang of its permanent collection on the second floor, and in October the entire museum was able to reopen, albeit with strict health protocols required by the state in place, not only the previous capacity restrictions but mask requirements throughout the building and proof of vaccination required for all visitors over 16. Exhibitions by Richard Bell and Doug Aitken greeted those museumgoers who returned.

Within her first year as chair, Tarabay oversaw the hiring process for a new director when McGregor stepped down in March 2021 after 22 years at MCA to return to Scotland and spend more time with her family. Melbourne native Suzanne Cotter, was hired to replace McGregor in July 2021. Cotter had previously been director of the MUDAM in Luxembourg and the Serralves Foundation Museum of Contemporary Art in Portugal. McGregor stayed in the position through October; Cotter formally assumed responsibilities in January 2022.

Financing and governance
Macgregor made up for the loss of revenue from the abolition of the regular entrance fee at the beginning of her tenure with increased monetization of the museum's book and gift shops. "As one of my colleagues says, you charge them to get out", she told The Art Newspaper in 2019. The donation boxes at the entrances also captured additional funding from patrons, and after the 2010 renovations the cafés and rent from the spaces inside the museum ($4 million, according to Macgregor. ) and shops and other tenants on George Street, including the 600 m2 main offices of the Australian Olympic Committee, further supplemented the museum's self-generated income.

In the years before the pandemic, the museum had been taking $22–23 million annually (it dropped to $20 million in 2020 ) About 22 per cent of that (around $5 million) came in the form of government grants; the 2020 JobSeeker grant added an additional $3.8 million in public money. Another 24 per cent was from private and corporate donors; the rest came from its various other sources of revenue, such as spending at the shops, admission fees to special exhibitions and earned interest.

Most of the museum's revenue went to expenses, leaving a small surplus in 2018 but a half-million dollar deficit in 2019. A $4.5 million drop-in program expenses, combined with the JobSeeker grant, resulted in a $2.3 million surplus for 2020 (donations also increased tenfold, largely thanks to one individual ). Macgregor said in early 2021 that the museum would still have a deficit the next year, and will need to find $800,000 in new funding every year "just to stand still".

The museum's direction is set by its board, which has 11 members. Lorraine Tarabay is the current chair, having taken over from Simon Mordant in 2020 after joining the board four years previously. Director Suzanne Cotter, who took over from MacGregor in 2022, oversees a staff of 10 directors who have responsibility for all areas of the museum's administration, from curation to digital production.

Collections
What is now the museum's main collection emerged from the Power Collection in the original founding of the museum. The museum's initial acquisitions policy, based on the will of John Power, sought to acquire mainly international contemporary art whilst only "very occasionally" purchasing Australian art as complementary to its foreign collection. From 2002, the museum has shifted to increase its emphasis on Australian artists and held over 4,500 works. it was the only contemporary art museum in Australia with a permanent collection.

The Ramingining Collection
The Ramingining Collection, purchased in 1984–1985, comprises more than 250 works by over 80 Yolŋu artists from Ramingining, Arnhem Land, Northern Territory. the collection contains 257 items, consisting of bark paintings, woven objects, sculpture, and cultural objects such as spears and tools. The collection was originally acquired by the University of Sydney for the Power Collection following the 1984 exhibition Objects and Representations from Ramingining, curated by Djon Mundine for the Power Gallery of Contemporary Art. Mundine had created the collection between 1981 and 1984, when he was an arts adviser at Bula'Bula Arts in Ramingining.

In 1996, the Ramingining Collection was displayed at the MCA. The Native Born: Objects and Representations from Ramingining, Arnhem Land., its first exhibition, was curated by Djon Mundine. Four years later, it was displayed in the entrance galleries in the Yolnu Science: Objects and Representations from Ramingining, Arnhem Land exhibition to coincide with the Olympics, curated by Djon Mundine and Linda Michael.

The Maningrida Collection
Formed by Diane Moon in 1990, the Maningrida Collection contains 560 works from the Maningrida community in Arnhem Land, Northern Territory. Ownership of the pieces belongs to the Maningrida people, with the collection subject to a unique cultural agreement between the museum and the community. The collection includes sculpture, woven objects and bark paintings. The museum works with Indigenous researchers, curators and artists and Maningrida Arts and Culture to document and research objects within the collection. The cultural agreement between both parties is renegotiated regularly to ensure a positive relationship.

In 2018, the MCA in association with Maningrida Arts and Culture held the John Mawurndjul: I am the old and new exhibition of works by John Mawurndjul. More than 130,000 people attended; it was additionally displayed at eight regional Australian galleries. Two works by John Mawurndjul, Nawarramulmul (Shooting Star Spirit, 1988) and Ngalyod (Female Rainbow Serpent, 1988), were the first artworks acquired for the dedicated MCA collection in 1989.

The Arnott's Collection
The Arnott's Collection was formed following the donation of 285 bark paintings by the Arnott family in 1993. The collection featured in Djon Mundine's 2008 exhibition They are meditating: bark paintings from the MCA's Arnott's Collection.

The Smorgon Collection
The Smorgon Collection was donated to the MCA in 1995 by philanthropists Loti and Victor Smorgon. It contains 149 contemporary Australian works from the 1980s and 1990s. In 2012, a donation by Loti went to build a sculpture terrace on the museum's fourth level, subsequently named for her.

Selected temporary exhibitions

 * Pipilotti Rist – ‘Sip My Ocean’ (2018)
 * Grayson Perry – ‘My Pretty Little Art Career’ (2016)
 * Yoko Ono – ‘War is Over! (if you want it)’ (2013)
 * Anish Kapoor (2013)
 * Annie Leibovitz – ‘A Photographer’s Life 1990–2005’ (2011)
 * Yayoi Kusama – ‘Mirrored Years’ (2009)
 * Patricia Piccinini – ‘Call of the Wild’ (2002)
 * Cindy Sherman – ‘Retrospective’ (1999)
 * Marina Abramović – ‘objects, performance, video, sound’ (1998)
 * Keith Haring (1996)
 * Andy Warhol – 'Portraits’ (1994)

Primavera exhibition
Primavera: The Belinda Jackson Exhibit, Australia's longest running exhibition, has been staged annually since 1992 in honour of Edward and Cynthia Jackson's daughter Belinda, a jewellery maker. It exhibits the work of Australian artists aged 35 or younger for several summer months. Primavera provides the opportunity for artists not yet established to have their work displayed in a large institution. The exhibition often utilises guest curators, although curatorial staff from the Museum of Contemporary Art have also worked on past Primaveras. Each yearly exhibit is designed with a unique theme. In 2011, as a result of the museum renovations, the Primavera exhibit was held off-site. Artworks from the exhibition were displayed in various places around the museum and throughout The Rocks area of Sydney.

Tate x MCA Collaboration
In 2015, a five-year collaborative project was announced between the Tate Galleries of Britain and the MCA for the mutual acquisition of contemporary Australian artworks. It is aimed at increasing the reputation of Australian art internationally. Funded by a $2.75 million donation from the Qantas Foundation, the galleries have acquired 23 pieces by 16 major Australian artists, many of which have been displayed at both institutions.

The National
The National is a series of biennial survey exhibitions featuring contemporary artists, run as a partnership between the Art Gallery of New South Wales, Carriageworks and the MCA and held across the three venues. The National: New Australian Art exhibition was launched in 2017, designed to "reflect the diversity of cultural, political and social perspectives that preoccupy [Australian] artists". The National was designed in three iterations, with the later ones in 2019 and 2021, exhibiting the work of 150 Australian artists.

Programs
The Museum of Contemporary Art holds a number of public programs over its calendar year, including an Indigenous learning program and an 'Art + Dementia' research program.

The Bella program
The Bella program was established in 1993 by patrons Edward and Cynthia Jackson and the Jackson family. The program season previously coincided with the Primavera exhibition, however the addition of the National Centre for Creative Learning and funding from private benefactors in 2012 allowed for the Bella program to be run year-round. Tailored for young people the program focuses on issues of access to contemporary art for people with disabilities, and socially and financially disadvantaged individuals. The program offers sessions in the galleries and hands-on workshops.

In 2011, the Bella program collaborated with Good Vibrations, a touring interactive art project for young people and adults with disabilities. The caravan, designed by artists Bruce Odland and Michael Luck Schneider, is fitted with technical devices that create sensory responses to sights, sounds and vibrations.

The dedicated Bella Room was installed in the National Centre for Creative learning in 2012. Each year a new artist is commissioned to produce a work in the Bella Room concerned with a different type of disability. The room offers a sensory environment in which students, led by artist-educators, can interact with art.

GENEXT
'GENEXT' has been held since 2005 as a public engagement program aimed at young people aged from 12 to 18, run by MCA's Youth Committee. GENEXT is an after-hours program that includes activities such as live music, discussions, and art workshops. It is held four times annually and included over 16,000 participants over the course of its first ten years of operation.

In collaboration with the Art Gallery of New South Wales, the Museum of Contemporary Art takes part in the Sydney Festival and the Biennale of Sydney, an event held partially online in 2020 due to the pandemic.

MCA Zine Fair
The annual MCA Zine Fair, first held in 2008, is organised in conjunction with the Sydney Writers' Festival. Held on the front lawn of the MCA, it features over 50 stalls of new and established zine artists.

The Artful: Art and Dementia
In 2016, The Artful: Art and Dementia program was launched as a three-year research collaboration between the MCA, the Brain and Mind Centre, the University of Sydney and Dementia Australia with the goal of establishing a link between art and enhanced neuroplasticity. The program continues annually.

The six-week program includes a tour of selected works throughout the museum, weekly two-hour creative art-making sessions with trained artist-educators, and an 'Artful at home' package containing materials for art-making at home. The final week of the program is an exhibition session, in which participants' friends and family are invited to view their art. In 2020, the program launched an online digital toolkit to enable offsite participation.

title: Museum of Contemporary Art Australia


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Talk:Manapua

Merge Proposal - Merge into Cha siu baau
If this is a Cha siu baau, it should be merged into Cha siu baau. Badagnani (talk) 00:39, 2 July 2008 (UTC)

 * Oppose Does the hawaii version have multiple dough? If not, then it likely isn't identical. Benjwong (talk) 01:11, 16 September 2008 (UTC)
 * Support Many Chinese communities have non-multiple dough chashao bao. I think that criteria alone does not justify that this kind of bun have an article of its own. Sjschen (talk) 02:28, 19 October 2008 (UTC)
 * Support Absolutely. Even if it isn't identical it's in no way different enough to have a separate article. Bienfuxia (talk) 20:50, 15 March 2009 (UTC)

title: Talk:Manapua


text:
Electron avalanche

An electron avalanche is a process in which a number of free electrons in a transmission medium are subjected to strong acceleration by an electric field and subsequently collide with other atoms of the medium, thereby ionizing them (impact ionization). This releases additional electrons which accelerate and collide with further atoms, releasing more electrons—a chain reaction. In a gas, this causes the affected region to become an electrically conductive plasma.

The avalanche effect was discovered by John Sealy Townsend in his work between 1897 and 1901, and is also known as the Townsend discharge.

Electron avalanches are essential to the dielectric breakdown process within gases. The process can culminate in corona discharges, streamers, leaders, or in a spark or continuous arc that completely bridges the gap between the electrical conductors that are applying the voltage. The process extends to huge sparks — streamers in lightning discharges propagate by formation of electron avalanches created in the high potential gradient ahead of the streamers' advancing tips. Once begun, avalanches are often intensified by the creation of photoelectrons as a result of ultraviolet radiation emitted by the excited medium's atoms in the aft-tip region.

The process can also be used to detect ionizing radiation by using the gas multiplication effect of the avalanche process. This is the ionisation mechanism of the Geiger–Müller tube and, to a limited extent, of the proportional counter and is also used in spark chambers and other wire chambers.

Analysis
A plasma begins with a rare natural 'background' ionization event of a neutral air molecule, perhaps as the result of photoexcitation or background radiation. If this event occurs within an area that has a high potential gradient, the positively charged ion will be strongly attracted toward, or repelled away from, an electrode depending on its polarity, whereas the electron will be accelerated in the opposite direction. Because of the huge mass difference, electrons are accelerated to a much higher velocity than ions.

High-velocity electrons often collide with neutral atoms inelastically, sometimes ionizing them. In a chain-reaction — or an 'electron avalanche' — additional electrons recently separated from their positive ions by the strong potential gradient, cause a large cloud of electrons and positive ions to be momentarily generated by just a single initial electron. However, free electrons are easily captured by neutral oxygen or water vapor molecules (so-called electronegative gases), forming negative ions. In air at STP, free electrons exist for only about 11 nanoseconds before being captured. Captured electrons are effectively removed from play — they can no longer contribute to the avalanche process. If electrons are being created at a rate greater than they are being lost to capture, their number rapidly multiplies, a process characterized by exponential growth. The degree of multiplication that this process can provide is huge, up to several million-fold depending on the situation. The multiplication factor M is given by

$$M = \frac{1}{1-\int_{X_1}^{X_2} \alpha\, dx}$$

Where X1 and X2 are the positions that the multiplication is being measured between, and α is the ionization constant. In other words, one free electron at position X1 will result in M free electrons at position X2. Substituting the voltage gradients into this equation results in

$$M = \frac{1}{1-|\frac{V}{V_\mathrm{BR}}|^n}$$

Where V is the applied voltage, VBR is the breakdown voltage and n is an empirically derived value between 2 and 6. As can be seen from this formula, the multiplication factor is very highly dependent on the applied voltage, and as the voltage nears the breakdown voltage of the material, the multiplication factor approaches infinity and the limiting factor becomes the availability of charge carriers.

Avalanche sustenance requires a reservoir of charge to sustain the applied voltage, as well as a continual source of triggering events. A number of mechanisms can sustain this process, creating avalanche after avalanche, to create a corona current. A secondary source of plasma electrons is required as the electrons are always accelerated by the field in one direction, meaning that avalanches always proceed linearly toward or away from an electrode. The dominant mechanism for the creation of secondary electrons depends on the polarity of a plasma. In each case, the energy emitted as photons by the initial avalanche is used to ionise a nearby gas molecule creating another accelerable electron. What differs is the source of this electron. When one or more electron avalanches occur between two electrodes of sufficient size, complete avalanche breakdown can occur, culminating in an electrical spark that bridges the gap.

title: Electron avalanche


text:
Talk:Plate lunch

Hawaiian Barbecue merger
Whenever I travel abroad for Business trip. I dream and love Korean BBQ " Yummy". The lunch special is a Heaven. I miss so much two scoop of rice, Kalbi, one scoope of Marcaroni, Korean side dish. Whenever I land in Hawaii. Yummy Korean BBQ is my first visit. It's how I recooperate my energy from along Business trip.

I'm proposing merging Hawaiian Barbecue into this article since it describes the same thing, Hawaiian Barbecue being a name that L&L came up with when they expanded to the mainland. -- Hawaiian717 01:04, 27 February 2007 (UTC)

 * I think these are two distinctly different articles, as a plate lunch is a specific serving style of certain foods and is nothing like a Hawaiian Barbecue. Plate lunches are served at small food trailers or food stands and consists of one meat, rice, and macaroni salad. A Hawaiian Barbecue takes place in a large area with pits dug into the ground to cook the pork underground, can include any type of Hawaiian food, and is generally a buffet type setup. —The preceding unsigned comment was added by 70.101.92.136 (talk • contribs) 20:14, 13 March 2007 (UTC-7)

 * Have you actually read the Hawaiian Barbecue article? It's not remotely close to what you're describing.  What you're describing as a Hawaiian Barbecue, I would call a luau. -- Hawaiian717 04:44, 14 March 2007 (UTC)

 * Lacking any significant objection, I've gone ahead and redirected the Hawaiian Barbecue article here. Much of it discussed the origin of the term Hawaiian Barbecue as coming from L&L's expansion to the mainland, but I didn't add that bit to this article since the listed references didn't really back that up. -- Hawaiian717 22:50, 17 May 2007 (UTC)
 * Good work. —Viriditas | Talk 02:49, 18 May 2007 (UTC)

a vaguely Pacific-Rim/American menu item
What exactly is that phrase supposed to mean? Can someone edit the article to clarify? —The preceding unsigned comment was added by 144.15.115.165 (talk • contribs) 11:21, 19 June 2007 (UTC-7)

Grammar
Does "plate" describe "lunch" or does "lunch" describe "plate"? "Plate lunch" seems to mean "lunch on a plate", whereas "lunch plate" seems to mean "a plate of lunch". Which is a better description? I just want to clarify so that I can tweak the Hawaiian term if necessary. —Kal (talk) 09:43, 13 August 2008 (UTC)
 * Lunch on a plate. I don't really understand why we are using Hawaiian in this article. I mean, you can find the term "plate lunch" in any Hawaiian dictionary, but so is the word for computer.  Please understand, it doesn't bother me to include it, I just don't think the Hawaiian term is in use. Or is it? Viriditas (talk) 10:43, 9 December 2008 (UTC)

Meat and threes
roughly equivalent to a Southern U.S. meat-and-threes plate
 * This was added by an anon in 2005 and frankly, I don't see the equivalence. Nor have I been able to find a ref. The only thing I see in common between the two is that both offer meat on a plate.  I'm not convinced.  I suggest removal. Viriditas (talk) 10:47, 9 December 2008 (UTC)
 * Ok, I figured out why it was added. Apparently the "meat-and-threes plate" is also known as a plate lunch.  I was unaware of this.  This complicates the matter somewhat and demands some kind of disambiguation. Viriditas (talk) 12:38, 10 December 2008 (UTC)

Hamburger patty (hanbag) non-Japanese in origin, but chicken katsu not?
If you're going to distinguish the 'hanbag' with gravy (which is very popular in Japan - especially on kids' menus; the closest thing in genuine US cuisine is the Salisbury Steak [which you hardly see these days outside of maybe some retro buffets]) as being a purely American contribution to the plate lunch, why describe chicken katsu as being natively Japanese? Even on the 'katsu' article here on wikipedia, it explains that this dish is not natively Japanese, and that 'katsu' comes from the English word "cutlet," or "cuts," for short. —Preceding unsigned comment added by 71.178.109.230 (talk) 02:07, 11 April 2010 (UTC)

Hawaiian name
No one ever calls it by the Hawaiian name. Therefore I don't think that should be in the lead, as it just confuses matters. Put it in a footnote only, if it has to be in the article at all. We don't put the Hawaiian word for every article concerning Hawaii, unless it's commonly used, so I'm not sure why this popped up here to muddy the waters. Softlavender (talk) 12:21, 27 May 2013 (UTC)

Photo in lede isn't accurate
The photo in the lede isn't really accurate because it doesn't have a scoop of macaroni salad. Need to use a photo that's accurate. There's one in the gallery at the bottom; it's rather dark but at least it's what it should be. If no other option, the two photos should be swapped. Softlavender (talk) 12:30, 27 May 2013 (UTC)

This article is misleading
I don't have time to edit it at the moment (just to gripe about it), but "plate lunch" is used often in the South, and NOT to indicate some sort of Asian-food experience. For the article to start off defining it as Hawaiian is misleading, though obviously that is one kind of "plate lunch." --Tbanderson (talk) 20:28, 25 September 2013 (UTC)

 * I grew up in the South (lived there 29 years) and have now lived in Hawaii for the past 12 years, and "plate lunch" is much more definitely Hawaiian than any other place or region. "Plate lunch" can be used generically all over the U.S., but only in Hawaii does it have a very specific meaning and is much much much more widely used -- it's used in every restaurant, not just casual diners and cafes. Softlavender (talk) 23:28, 25 September 2013 (UTC)

Wording
Ferretsrock, as I explained on your talk page, you need to discuss on this Talk page and establish consensus before restoring edits you made which have been reverted. As I also linked on your talk page, per WP:BRD, the person changing the article has the burden to make their case; until that time the status quo is maintained. Again, I strongly encourage you to follow Wikipedia policies and avoid edit-warring in order to avoid being blocked from editing. Softlavender (talk) 01:11, 7 March 2015 (UTC)

>>I responded to you on the next page down, please read my post in this talk page. Ferretsrock (talk) 01:17, 7 March 2015 (UTC)Ferretsrock

This article needs to have choice of words chosen to fit a broader range of Wikipedia readers to understand.
I changed this article at the top because it said "A plate lunch is a quintessentially Hawaiian meal", and didn't understand what "quintessentially" meant. And I am VERY smart. Graduated with honors, 4.0 GPA and such. And I'm saying this as a common, everyday person, being smart (not trying at all to boast here, I'm trying to prove a point), I still didn't understand what quintessential meant. I went and I conducted a survey to ask people if they knew what "quintessential" meant, and 89% of the people did not know what it meant. And that was a survey conducted on a complete variety of random everyday people just like you and I.

Therefore, I found it better for the article to be changed after I looked up the definition and changed it to something that a broader spectrum of everyday Wikipedia readers could understand: I changed it to this instead:

"A plate lunch is essentially known as a typical Hawaiian meal", because that's what it is! It's a typical Hawaiian meal served on a plate. Very easy to read, understand, everyone can understand it, not just the 11% of everyday people that knew what "quintessential" meant. Therefore, I don't think there was any harm done....But for some reason I was reverted twice for making this simple change. I explained why it was constructive editing for the article, but there wasn't even a reason for why it was changed back to the very unknown, confusing word "quintessential".

Another thing is that there were issues with quotes in this article. I'm a grammar freak and noticed that there were a lot of things wrong with the quotes here, with capitalization issues and run-on sentences and so on and so forth, so I went and read the entire article that was cited on this Wiki page, in that particular part of the page where a quote was laid out. I noticed that it was not correctly placed in the Wiki page so I edited it and my edit was reverted!! That's something I don't understand as well, about why the hell that was reverted! I place a direct quote in the article with correct grammar and punctuation and such and it gets reverted to the non-grammatically correct version, saying that I can't "mess with quotes", when I didn't mess with the quote! I went to the article and put it EXACTLY as it was said in the article! That's why they call it a direct quote, right?

Anyway, now I'm being accused of edit-warring, when there's no way in hell that I would want to willingly do that. I try to make honest, constructive, FAIR edits to this article and get it changed back continuously and then what. What the hell am I supposed to do then? For crying out loud......

Ferretsrock (talk) 01:14, 7 March 2015 (UTC)Ferretsrock

OH, and forgot to mention. Meat-and-threes. Not everyone knows that a meat-and-three is! It is a type of restaurant and it is HARMLESS to the article to say that it is a meat-and-three RESTAURANT, it shouldn't at all matter that I put it as a meat-and-three restaurant, not just a meat-and-three. Putting restaurant after meat-and-three makes it EASY to know what a meat-and-three is. One shouldn't have to investigate what something means when a simple word can be added at the end to cover that. AND it shouldn't be reverted BACK when there has been a logical and fair explanation for why an edit was made. Ferretsrock (talk) 01:22, 7 March 2015 (UTC)Ferretsrock

 * Hi Ferretsrock, you're really going to have to discuss each of your requested edits one at a time, instead of all in one post, I think. Otherwise, the discussion becomes too unwieldy. Most of your edits that I reverted or re-worded were non-grammatical, overly wordy, and/or insufficiently specific or accurate. If you want to make a list of them (with numbers, if that helps), that might be the easiest way to approach this matter. And "quintessential" or "quintessentially" is a very common word; one form or another occurs 8,000 times in Wikipedia. Softlavender (talk) 01:31, 7 March 2015 (UTC)

title: Talk:Plate lunch


text:
User talk:Bonnie Ventura

Bonnie

the stuff you delete about the flamewars was partially re-added by RN again JoeMele 16:03, 30 August 2005 (UTC)

auitistic rights movement in see also
Please remember that you only wikilink something ONCE in an article, and if something in wikilinked in the article you do not put it in see also. These are in the style guide.

Thanks Bonnie :-) Ryan Norton T 20:31, 3 September 2005 (UTC)

deleting content
When you delete content in an article that was in good faith you need to explain in your edit summary or in the talk page why you did so, as calling something "argumentative" generally does not warrant its removal.

Thanks! Ryan Norton T 20:33, 3 September 2005 (UTC)

Welcome
No one has welcomed you :( so here's a welcome :)

Welcome!

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Ryan Norton T 20:34, 3 September 2005 (UTC)

User:Bonnie Ventura
I've added the "" template to your user page (User:Bonnie Ventura), suggesting that it be deleted according to the proposed deletion process. I've explained why in the deletion notice (see also "What Wikipedia is not" and Wikipedia's deletion policy).

Please note that the purpose of a user page is not as personal homepage or used as a general webhosting service, but as way for active editors of Wikipedia to introduce themselves to other editors. If you disagree with the notice, discuss the issues here or on my user talk page. You may remove the deletion notice, and the page will not be deleted for the moment, but note that it may still be sent to Miscellany for Deletion, where it may be deleted if consensus to delete is reached, or if it matches any of the speedy deletion criteria. Calton | Talk 00:31, 10 February 2007 (UTC)

title: User talk:Bonnie Ventura


text: Category:Warsaw Metro

title: Category:Warsaw Metro


text:
Talk:Taufik Hidayat

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title: Talk:Taufik Hidayat


text:
User talk:Hrbaptista

Welcome!

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Image copyright problem with Image:CriticalChain.png
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title: User talk:Hrbaptista


text: Template:WikiProject Game theory

title: Template:WikiProject Game theory


text:
Maspalomas

Maspalomas is a tourist resort in the south of the island of Gran Canaria, Canary Islands, stretching from Bahía Feliz in the east to Meloneras in the west, including the resort towns of San Agustín, Playa del Inglés and San Fernando. Maspalomas constitutes the southernmost part of the municipality of San Bartolomé de Tirajana, and of the island.

Overview
Before the era of tourism, Maspalomas was the name of a hamlet in what today is San Fernando de Maspalomas. Its name may derive from that of Rodrigo Mas de Palomar, a settler and soldier from Majorca, or from Francisco Palomar, a Genoese friend of Alonso Fernandez de Lugo who purchased 87 Guanche slaves from Güímar and settled in the area.

Present-day Maspalomas is the result of an ambitious development project, organized in the form of an International Ideas Contest (opened to any member of the International Union of Architects), held in 1961 under the auspice of Alejandro del Castillo, owner and promoter of most of the space under construction. The contest was won by the French office SETAP (including the urbanist Guy Lagneau and the economist Michel Weill) and covered the 1060 ha and 19 km of coast that constitute the core area of Maspalomas - Costa Canaria. The contest paved the way for a particular way of understanding "touristic" urbanism that served as a model for later tourist development in other Canary Islands.

Tourism
Unlike the resort-like development model later extended to other locations in the Canary Islands and the Caribbean, Maspalomas has a personality of its own, as it evolved into a fully equipped town much closer to the "tourist" concept of destinations like Palm Springs, California or Palm Beach, Florida. It has a variety of infrastructure and public institutions rarely seen in other tourist areas, including private clinics and two hospitals, local and foreign schooling institutions (Spanish, English and Swedish schools), shopping and convention centres, two casinos, golf courses, sports centres, theme parks and a Summer University (in collaboration with the university of Las Palmas de Gran Canaria, mainly focused on tourism-related activities).

It has a wide range of accommodation on offer, although the urbanism concept speaks of an horizontal expansion (bungalows) rather than high rises. Much appreciated as a winter destination for foreign tourists, mostly from north-European countries (Sweden, Norway, Finland, Germany, Netherlands, etc.), it remains the largest tourist destination in the Canary Islands and a worldwide-known destination for LGBT tourism.

The development of luxury hotels along the coast between Maspalomas and neighbouring Meloneras has resulted in some notable architectural developments. The Lopesan Villa del Conde and the Lopesan Costa Meloneras Hotels have both been designed in a Canarian Spanish Colonial Revival style, partly derived from de la Torre's Hotel Santa Catalina (1890) in Las Palmas. For the Costa Meloneras Hotel, opened in 2005, the architect created a replica of the nearby town of Agüimes (the home town of Eustasio López González, founder of the Lopesan Hotel Group), including a distinctive replica of the large, domed Church of San Sebastián, which serves as the hotel reception.

Maspalomas serves as the base for Gran Canaria's only English language newspaper, which serves a print readership in excess of 20,000 every month and reaches up to another 30,000 readers on-line.

In September 2012, the World Tourism Organization organized its World Tourism Day in Maspalomas, as a form of commemoration of its 50 years of existence.

Maspalomas is a gay-friendly destination with many establishments catering for the LGBT community and a popular gay beach by the sand dunes. Particularly centred around Playa del Inglés.

Landmarks and geography
The seafront at Punta de Maspalomas, the southernmost point of the resort, is dominated by a 56 m lighthouse, El Faro de Maspalomas. Completed in 1890, it was built to guide ships travelling between Europe and the Americas.

The lighthouse overlooks the popular 12 km-long Maspalomas beach. To the east of the lighthouse, the Maspalomas Dunes stretch inland all the way to Playa del Inglés. During the 1960s and 70s, the construction of hotels and the tourist resort began to encroach on the dunes, damaging the natural habitat, and in 1994 a 4 km2 area of dunes was declared a nature reserve to protect native wildlife. El Charco is a natural lagoon at the edge of the dunes which attracts many species of birds, eels and guppies.

In the north of Maspalomas San Fernando and El Tablero were built for people working in the tourist industry. In between Sonnenland was constructed, on a crest, to accommodate expats.

An array of large satellite dishes visible on a hill from Meloneras is Maspalomas Station, an ESA ground station that supported several NASA space missions, including the Mercury Program, the Gemini Program, the Apollo 11 Moon landings, and Skylab.

Transport
Maspalomas is served by the Faro de Maspalomas bus station run by the Gran Canaria Transport Authority, which is located near the lighthouse at the end of Avenida Cristobal Colon. Bus services operated by Global Transport provide connections to other tourist resorts and towns in the south of the island, including Playa del Inglés and Mogán, as well as to towns along the east coast and to the island capital, Las Palmas.

Plans have existed for several years to construct a rail link, called Tren de Gran Canaria, connecting Maspalomas to Gran Canaria Airport and Las Palmas. A terminus station is planned at Meloneras underneath Av. Cristóbal Colón, near the lighthouse. The scheme, estimated to cost €1,500 million, has not been confirmed due to funding problems.

title: Maspalomas


text:
User:Illtillwillkillbill

My name is Till. Born in 1982 in Karl-Marx-Stadt (renamed to: Chemnitz) in the former GDR, I grew up in Gablenz, lived abroad in Lebanon, PA (U.S.) and currently settled in the reunited Berlin (Kreuzberg), Germany.

I like to travel, practise Buddhism and I like to extend articles on Wikipedia, when I am bored early in the morning.

For for information, please check here: http://till.klampaeckel.de/

title: User:Illtillwillkillbill


text:
Arab Academy for Science, Technology and Maritime Transport

The Arab Academy for Science, Technology & Maritime Transport (AASTMT) or (AAST) (الأكاديمية العربية للعلوم والتكنولوجيا والنقل البحري) is a regional university operated by the Arab League, which runs programs in marine transportation, business, and engineering. AASTMT started as a notion in the Arab League Transport Committee '' s meetings on 11th of March, 1970. The Academy's inception was in 1972 in the city of Alexandria, Egypt. After that it expanded into Cairo.

The Arab Academy for Science and Technology
AASTMT's name has become the Arab Academy for Science and Technology: "A university specialized in maritime transport and many other disciplines" and its certificates have been made equivalent to those granted by Egyptian universities.

The Arab Academy for Science, Technology and Maritime Transport (AASTMT)
Over five years (from 1991 to 1996), the educational and maritime training services were funded by the Egyptian Ministry of Transport. Consequently, in 1992, the AASTMT was granted the most modern training ship, "Aida 4", as a donation from the Japanese government.

In 1994 the AASTMT was awarded the most modern simulator in the world (completed in two phases) by the USA administration. Cooperation with the American counterpart continued to found an advanced technology center. Scholarships have exceeded 120,000 for students from 58 countries.

The World Bank has chosen the AASTMT from four international organizations representing the Norwegian Swedish Group, the Hungarian Group and the Danish Group to develop maritime education in Bangladesh by a limited tender. The AASTMT proposal was chosen as the best both technically and financially to carry out the project.

In October 1996 modified its title from: "The Arab Academy for Science and Technology: A university specialized in maritime transport." to "The Arab Academy for Science, Technology and Maritime Transport" (AASTMT).

Certificates
The AASTMT has obtained the approval of the Egyptian Supreme Council of Universities for considering the holders of the High Seas Second Officer eligible for affiliation with any Egyptian University or any four-year higher education entity which a student can join after high school.

The AASTMT has flexibility in the process of transferring marine officers from vocational studies to that which allows them to obtain the bachelor's degree in Marine Navigation Technology. This is due to the application of the American Credit Hours System. In order to show the importance of this achievement, the holder of the High Seas Captain certificate, when sent to the United Kingdom to obtain the bachelor's degree, had to start his studies over regardless of his previous studies. However, due to the flexibility of the current system the AASTMT applies, it opened the door for its officers to obtain the bachelor's degree as well as the eligibility certificate in four years.

A report which was prepared by the Japan Transport Cooperation Association in March 1997 tells of the AASTMT progress and the flexibility with which it switched to science and technology than to science, technology and maritime transport. AASTMT has made its certificates equivalent to those granted by Egyptian universities in the fields of engineering and management.

Services and student activities
Dormitory, hostel, and restaurant services are available. The girls' hostel may house up to 100 girls.

In addition to tours and athletic activities, the Cultural Activities Department organizes seminars and talks. The annual Parents Day is organized by students.

Marwa Elselehdar, a graduate of the Department of Maritime Transport and Technology, is Egypt's first female sea captain. She works on the Egyptian government's training ship, the Aida IV (IMO: 9018775).

Community service programmes and continuous education
AASTMT offers educational programmes to serve the community of Alexandria. The programmes enhance the skills of students in language, computing, secretarial work, aviation tickets reservation, marketing and management.

The programmes start-over every three months, and run all year round. They are carried out at the AASTMT headquarters in Miami, Sidi Bishr and downtown. The programmes are offered according to an evening schedule. The courses are sometimes designed for groups of employees in a company or organizations. The estimated number of those benefiting from these programmes throughout the year, ranges from 15,000 to 20,000 Alexandrians. There are summer courses for the education of children which benefit around 5,000 children.

Colleges

 * Maritime Transport & Technology
 * Archaeology and Cultural Heritage
 * Engineering & Technology
 * Management & Technology
 * Computing & Information Technology
 * Graduate School of Business
 * International Transport & Logistics
 * Language & Communication
 * Fisheries Technology & Aquaculture
 * College of Pharmacy
 * College of Law
 * College of Dental Medicine
 * College of Artificial Intelligence
 * College of Medicine

These colleges can be in Arabic, English or French languages.

Institutes

 * Maritime Safety Institute Alexandria.
 * Productivity & Quality Institute Alexandria.
 * Technical & Vocational Institute Alexandria.
 * Institute of International Transport & Logistics Alexandria & Cairo.
 * Port training Institute Alexandria & Port Said.
 * Institute for Language Studies Alexandria &  Cairo.
 * Investment & Finance Institute Alexandria.
 * Arab Institute for Trade & Commodities Exchange Alexandria.
 * Maritime Upgrading Studies Institute Alexandria.

Centers

 * International Examination Center Alexandria.
 * Academy Publishing Center
 * Strategic Marketing & Entrepreneurship Center
 * Industry Service Center Alexandria.
 * Marine Hotel Center Alexandria.
 * Information and Documentation Center Alexandria.
 * Multimedia Center Alexandria.
 * Regional informatics Center Alexandria.
 * Computer Services Center Alexandria.
 * Computer Networks & Data Center Alexandria.
 * Research & Consultation Center Alexandria & Portsaid.
 * Business Development Center Alexandria.
 * Regional Center for Disaster Risk reduction Alexandria.
 * Arab Center for Transport Study Alexandria.
 * Arab Center for Media Alexandria.
 * Maritime Certificates Renewal
 * International Maritime Transport Forum
 * Agreements and International Cooperations Center

Deaneries

 * International Education Programs Deanery Alexandria.
 * Community Service and Continuing Education Alexandria.
 * Deanery of Postgraduate Studies Alexandria.
 * Deanery of Student Affairs Alexandria.
 * Deanery of Sports Alexandria.

Complexes

 * Integrated Simulators Complex Alexandria  & Portsaid.
 * International Maritime Organization Compound Alexandria.

Campuses
Abroad:
 * Alexandria (Main HeadQuarter).
 * Dokki.
 * Heliopolis.
 * Port Said.
 * South Valley
 * Smart Village
 * El Alamein
 * Lattakia


text:
Jacob Metius

Jacob (Jacobus; sometimes James) Metius (after 1571–1628) was a Dutch instrument-maker and a specialist in grinding lenses. He is primarily known for the patent application he made for an optical telescope in October 1608, a few weeks after Hans Lippershey submitted a patent for the same device. He was the brother of the geometer and astronomer Adriaan Metius.

Biography
Little is known of Jacob Metius other than he lived his life in Alkmaar. His father was Adriaan Anthonisz, a mathematician/map-maker/military engineer and Alkmaar burgomaster, and his brother was Adriaan Metius. Jacob's date of birth was some time after his brother's (1571). He died in Alkmaar, his death date usually given in sources as 1628 although some put it between 1624 and 1631.

Invention of the telescope
In October 1608, the States General discussed Jacob Metius's patent application for a device for "seeing faraway things as though nearby", consisting of a convex and concave lens in a tube, and the combination magnified three or four times. His use of a convex objective lens and concave eyepiece may have been a superior design to the Lippershey telescope design which was submitted for patent only a few weeks before Metius'.

Metius informed the States General that he was familiar with the secrets of glassmaking and that he could make an even better telescope with the government's support. The States General voted him a small award, although it ended up employing Lippershey to make binocular versions of the telescope. Metius is described as feeling rebuffed by the States General, withdrawing his patent, and not allowing anyone to see his telescope. His will and testament ordered that all his tools and designs be destroyed to prevent anyone else from profiting from them.

There is a claim by Johannes Zachariassen, Zacharias Janssen's son, that Janssen had invented the telescope and that (Adriaan) Metius and Cornelis Drebbel had bought a telescope from him and his father in 1620 and copied it, although this claim is put in doubt since Adriaen Metius was using telescopes by 1613, Drebbel had described them in 1609, and Jacob Metius had tried to patent one in 1608.

title: Jacob Metius


text:
Template talk:Sail types

Martingale rigging
I have been adding some info to the sailing articles, and ended up adding the nautical term martingale to the page martingale (fastener). Should that page be added to this template? Perhaps it should be spun off into its own article for expansion and added? --Fxer 16:07, August 30, 2005 (UTC)

 * I'd say no, because it's really pretty obscure, and since you only find them on i) large boats with ii) a bowsprit, I suspect very few of our readers are going to run into them. I'd suggest we limit it to common things that all sailing vessels have.
 * One idea though: we could link to Glossary of nautical terms from this template (if we don't already), and make sure it includes links to all the more obscure terms. Noel (talk) 21:06, 26 September 2005 (UTC)
 * Hmm, I just added martingale (rigging) to get sail info out of the martingale (fastener) which I think I'm going to move to a different name. So if that's a stub that'll never get filled in, maybe it shd be changed to a redirect to where the term is discussed?  Elf | Talk 17:04, 8 March 2006 (UTC)

Stay mouse
In an attempt to control template bloat, my suggestion is to remove Stay mouse - it's so obscure, it's not worth including it. Sailing is full of all sorts of obsolete terms (like those little round wooden blocks used for mechanical advantage in tightening the shrouds of old sailing vessels, I'm drawing a blank on their name here momentarily), and we simply can't include them all. We should stick to the ones people are likely to run across in common usage. Noel (talk) 21:27, 23 September 2005 (UTC)

I finally remembered the correct name for those things. They are called deadeyes (in case anyone was wondering :-). Noel (talk) 14:37, 24 September 2005 (UTC)
 * both marked like this† D1gggg (talk) 03:19, 23 October 2017 (UTC)

Sprit
FYI: This template is missing the spar called the sprit and its corresponding rig. -Onceler 10:16, 26 March 2006 (UTC)

Obsolete Terms
If this template is to be any use it needs to retain and glory in obsolete terms. The discussion above is amusing. has it paid any heed to the template itself:

"Driver"

Of those I see 12 out of 18, two thirds of the total, as not in common parlance. Keep the obsolete, glory in being encyclopaedic, and expand the terms. If you think it important enough subdivide the box into "current" and "obsolete"

Fiddle Faddle 12:15, 22 May 2006 (UTC)
 * Well, some things are still used in the present, but I don't come across them much in the subset of sailing (monohull small-sport-boat racing) that I engage in... things like mizzen mainsails, staysails, and gybe-preventers come to mind. So if you're going to subdivide, does it have to be based on age and present usefulness?  How about dividing on other criteria, like type of rig or type of boat?  That way obsolete sails/rig could be grouped with the obsolete boats you find them on...
 * Infinoid 17:39, 28 August 2006 (UTC)
 * I decided to separate them based on form, but then decided to stick with more abstract 3/4-edged sails
 * archaic or rare sails should be indicated as such D1gggg (talk) 16:39, 23 October 2017 (UTC)

Polynesian Sailing Rigs
There is a wiki page on Crab claw sails from Oceania, used there likely since long before Captain Cook was playing with toy boats on the sea shore. C. A. Marchaj includes study of them in at least one of his books (I only have his Aero-Hydrodynamics of Sailing but it's not handy to me at the moment). This sail configuration might be included in the template, especially since Marchaj's Sail Performance apparently rates them top in reaching and running performance (see the "Crab claw sail" article). Newportm (talk) 00:52, 30 August 2008 (UTC)
 * Added Crab claw sail. Newportm (talk) 15:40, 9 September 2008 (UTC)

Cat boat vs. Cat rig
The section in the template is headed "rigs", so I think the appropriate link here is to the (admittedly bad) Cat rigged page. I'm not saying that a link to Catboat doesn't belong in this template somewhere, just not in the section labeled "rigs". Right? -- B.S. Lawrence (talk) 18:26, 23 January 2014 (UTC)
 * The problem is that Cat boat and Cat rig overlap, but are not quite synonyms. The terms are often used in parallel.  A cat rigged boat is a very different thing then the other "rigs."  Trying to fit this into the mesh of little boxes on a shelf ain't easy.  7&6=thirteen (☎) 18:36, 23 January 2014 (UTC)

Pilot rig
Hit upon this in a 1950s-era book but no idea what it means and no listing here. Probably deserves an entry, even if its to redirect. Online I did find "Pilot cutters carry a versatile gaff rig which is designed to give the vessel power and speed whilst arranged to be handled by an experienced crew of two." Can someone more knowledgeable please add and/or clarify this? prat (talk) 04:16, 12 October 2014 (UTC)

Apparent wind indicator?
✅ Template:Sailing ship elements

Do we need it here at all? It should be another template with anchor D1gggg (talk) 02:42, 23 October 2017 (UTC)

Several items left in "Rigging"
Not sure where to place them or to remove. D1gggg (talk) 03:56, 23 October 2017 (UTC)
 * only 4 left D1gggg (talk) 20:36, 23 October 2017 (UTC)

"Sail template"
Can you explain that thing to me? It seems to have some foresails and stern sails intermixed. Anmccaff (talk) 18:39, 9 November 2017 (UTC)
 * Main separation is done based on "edges" (unknown, 3, 4, 3 and 4)
 * Rig-based separation would be more useful more even more tall (it is very tall already)
 * Additional edits may help.
 * Any specific problems? D1gggg (talk) 18:43, 9 November 2017 (UTC)

Ahh, so 3 is a lateen, bermuda, jib, I see that. 4 a squaresail, gaff... lug and junk belong here, then. What does the blank row signify? Anmccaff (talk) 20:21, 9 November 2017 (UTC)
 * Probably.
 * blank row is "everything else"
 * In case of sail it is "other number of edges"
 * Probably would make more sense to place it below others. D1gggg (talk) 20:24, 9 November 2017 (UTC)
 * problem with Junk rig is that edges are not in smooth line; an alien to all sails D1gggg (talk) 20:31, 9 November 2017 (UTC)

two templates about rigs

 * Template:Sailing vessels and rigs
 * this one

I don't know what to do but they are different now. D1gggg (talk) 19:58, 9 November 2017 (UTC)

Number of sides to a sail
I updated the template to make it clear that the groupings in the sail section refer to the number of sides each type of sail has. I'm not sure this categorization is useful, though, nor am I certain that all the sails are properly grouped.  Uninvited Company 14:26, 16 August 2019 (UTC)

title: Template talk:Sail types


text:
User:BlogBuilder

I love blogs.

title: User:BlogBuilder


text:
Sean Hessey

Sean Peter Hessey (born 19 September 1978 in Whiston, Merseyside) is an English football manager and former professional footballer who played as a defender.

Career
During a career which spanned eighteen years, Hessey played for Liverpool, Leeds United, Wigan Athletic, Huddersfield Town, Kilmarnock, Blackpool, Chester City, Macclesfield Town and Barrow.

Hessey had a fairly successful five-year spell at Scottish club Kilmarnock. However, this was marred by a number of serious knee injuries He scored his first professional goal at Kilmarnock in a 2–1 win over Livingston in September 2003.

Hessey joined Chester after the club were promoted back to the Football League in 2004 and was a first-choice player for much of his first three years at the club, although he quite often missed games because of injury and suspension problems. The most notable was a five-match ban for violent conduct at the start of the 2006–07 season after an incident in the home game against Stockport County the previous season. Hessey has proved to be a versatile player, operating in both central defensive and full back roles and also in a holding midfield spot. He scored twice at Chester; once in a Football League Trophy tie against Rochdale and once in a league match against Rushden & Diamonds.

Chester manager Bobby Williamson, who managed Hessey at Kilmarnock, placed him on the transfer list in the summer of 2007. He did not figure in the Chester 16-man matchday squad in any game for the 2007–08 season and was allowed to join League Two rivals Macclesfield Town on 10 November 2007 in a two-month loan. In January 2008, this was extended until the end of the season.

Hessey followed up his successful loan period by signing a two-year contract with Macclesfield who he went on to captain. He Left the club, along with 10 other players at the end of the 2009–10 season.

He joined Accrington Stanley in August 2010 on a twelve-month contract and signed a 1-year extension at the end of that season. On 14 May 2012 it was announced Hessey had left Stanley after failing to agree a new contract. He spent the 2012–13 season with Barrow in the Conference National, but left at the end of the season after the club were relegated. He moved to Prestatyn Town of the Welsh Premier Division for the start of the 2013–14 season.

Shortly after he joined Marine on loan (initially until January) and made his debut on 30 August 2014 in a 2–1 defeat at home to Buxton. This loan deal was extended, and Hessey subsequently became caretaker manager following the departure of Carl Macauley. An excellent run of form saw Hessey secure the managerial post with 2 games left in the season. The change in form under Sean's leadership saw Marine maintain their place in the Northern Premier League Premier Division for the 2015–16 season

title: Sean Hessey


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Javadi Hills

The Javadhu Hills (also Jawadhu, Jawadhu Hills) are an extension of the Eastern Ghats spread across parts of Vellore, Tirupattur and Tiruvannamalai districts in the northern part of the state of Tamil Nadu in south-eastern India. The hills separate Vellore, Tirupattur and Tiruvannamalai districts: Tirupattur district, with its towns of Tirupattur, Vaniyambadi and Ambur, lie on the north-western side; Vellore district with the city of Vellore and Amirthi forest are located on the North-eastern side. and Tiruvannamalai district with the towns of Chengam and Polur are located on the south-eastern side.

The hills consist of bluish-grey granites, with peaks averaging 3,800–4,000 feet (1,300–1,350 m). About 50 miles (80 km) wide and 20 miles (32 km) long, they are bisected into eastern and western sections by the Cheyyar and Agaram rivers, tributaries of the Palar. "The Barahmahal hills to the west are somewhat bare, but the Jawadhi are clothed in verdure to the very summit on the east: towards sunset the whole range puts on a purple tinge like heather bloom. The sharper shadows mark out minor ranges and valleys, which in the midday merge in the mass of the range, and beyond Bommaikuppam, looking from Tirupatur, a silvery cascade may be seen, shining bright in the setting sun.". 8 During the British colonisation of India, the Javadhu Hills appeared occasionally in government gazetteers and manuals, ethnographies, and travelers' accounts. Henry le Fanu, writing in 1883, admired the beauty of the Jawadhi hills.

The Indian astronomer Vainu Bappu selected the hills as the site of the Kavalur Observatory (VBO), which began operations in 1967.

There are few tourist places near Javadhu Hills; Beemanmadavu waterfalls is one of the most frequented one.

Jamanamarathur is one of the larger villages in these hills, populated with around 10,000. With an altitude of 857m, it is the second village in height in Javadhi hills in Tiruvannamali district. One can reach Jamanamarathur, from west – Tirupattur or Vaniyambadi, from east – Polur, from northeast –Vellore, and from by South Chengam.

Highest peak : 1,400 m.

Way : ● Vellore ● Polur ● Alangayam ● Tirupattur.

Nearest City Corporation : ● Vellore.

Nearest airport : Vellore Airport

significent
The Javadi Hills, also known as Jawadhu Hills, are indeed significant in influencing weather patterns in the surrounding districts of Tamil Nadu, including Vellore, Ranipet, Tirupattur, Chennai, Kanchipuram, Tiruvallur, and Chengalpattu. These hills contribute to the formation of thunder and rain clouds due to their elevation and geographical features, making them a critical area for rainfall production in the region.

The Javadi Hills, part of the Eastern Ghats, are indeed an important geographical feature. They mark the end of the Deccan Plateau and play a crucial role in weather patterns, particularly in rain cloud formation. The hills' elevation and location contribute to the strength and prevalence of the clouds that form there, impacting the weather in the surrounding districts.

Cultivation in the Javadi Hills
The hills are sparsely populated; the majority of the inhabitants are Malayali tribes people, though other castes are also present.

Malayali tribes people grow a variety of trees on their patta land, including tamarind, jackfruit, gooseberry, guava, pomegranate, mango, lemon, coconut, plantain, Paddy, Saamai etc.

The trees of the Javadhi Hills also produce a range of forest products. These include millettia pinnata, Smilax regelii, Castor oil plant

They are noted both for their fruit bearing trees, medicinal and for their sandalwood. Presently (2012), there are no sandalwood trees remaining due to illegal logging. This theft was going on for many years.

Access
Javadhu hill range is large, and thinly populated. Many peaks and valleys have tribal settlements. Jamuna Marathur is the most populated in the range, located centrally.

By Road : Chennai-Arcot-Arni-Polur-Jamuna Marathur.(JavvadhuHills)

By Road : Chennai-Arcot-Kannamangalam-Amirthi-Jamuna Marathur.(JavvadhuHills)

By Road : Tirupattur-Alangayam-Jamuna Marathur.(JavvadhuHills)

By Road : Bangalore-Krishnagiri-Tirupattur-Alangayam-Jamuna Marathur.(JavvadhuHills)

By Road : Vellore-Vanniyambadi-Alangayam-Jamuna Marathur.(JavvadhuHills)

By Road : Vellore-Amirthi-Jamuna Marathur.(JavvadhuHills)(Shortest route)

From Chennai Take NH4, Chennai-Poonamallee Bypass- Arcot and take Arni road, after Arni Bypass take the Polur Road, upon reaching Polur town, ask the route for Aththimur and after Aththimur one can see the sign boards for Jamuna Marathur. The weather and roads are very nice, thanks to Tamil Nadu government and its state highways department for maintaining the roads in good condition. Please Avoid driving at night or dark hours Safe timing for travelling is 6am-5pm, After polur town To jamuna marathur 40 km of Ghat roads, mostly one cannot see any shops or even people. But it is mind blowing road. Places like Bheeman falls have become alcohol drinking spot for the tourist groups, so not so safe for families unless law and order is enforced.

title: Javadi Hills