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

title: File:Buckyohare.jpg


text: Template:Non-free AUSPIC

title: Template:Non-free AUSPIC


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Little Red Riding Hood (1997 film)

Little Red Riding Hood is a 1997 black and white short film based on the traditional children's fairytale Little Red Riding Hood. Written and directed by David Kaplan, it features Christina Ricci in the title role and Quentin Crisp as the narrator. The short film has influences from "The Story of the Grandmother".

Plot
The black-and-white short-film shows the forest of the tale.

An anthropomorphized black wolf tries to trick Little Red Riding Hood. Little Red is seen watching the wolf through the trees as he is dancing within a clearing. He notices her watching, and as Little Red walks away, he rushes up to her, asks her where is she going and what path will she take. Upon knowing her path, he gracefully runs and jumps to get to the grandmother's house before Little Red does. He successfully eats her grandmother, and then tries to eat her. However, she tricks him and survives.

Cast

 * Christina Ricci: Little Red Riding Hood
 * Timour Bourtasenkov: The Wolf
 * Evelyn Solann: The Grandmother
 * Quentin Crisp: Narrator

Themes
The film has been interpreted by scholar Jennifer Orme as having queer themes present throughout. She argues that Kaplan's adaptation puts into question the heteronormative interpretation of the classic Little Red Riding Hood story and invites viewers to have a queer reading of it, through various aspects of the film.

Awards

 * Chicago International Film Festival, 1997: Silver Hugo award – Best Narrative Short Film, David Kaplan
 * Palm Springs International ShortFest, 1997: Honorable Mention – Best of Festival, David Kaplan
 * Avignon Film Festival, 1998: Prix Panavision award, David Kaplan
 * Avignon/New York Film Festival, 1998: Vision Award, Scott Ramsey
 * Williamsburg Brooklyn Film Festival 1999: Certificate of Excellence – Best Cinematography, Scott Ramsey

title: Little Red Riding Hood (1997 film)


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Taliqu

Taliqu (also known as Naliqo'a) was Khan of the Chagatai Khanate (1308–1309). He was the son of Qadaqchi and a princess of Kerman, and a grandson of Büri. Following the death of Könchek, Taliqu seized power and became Khan. As a Muslim, he attempted to convert his subjects to Islam; this move was unpopular. This, combined with resentment that he was not a descendant of Duwa, led to a revolt against his rule. His enemies selected Duwa's son Kebek to become Khan, and defeated Taliqu in battle in 1309. His supporters joined the forces of Kebek, and were instrumental in defeating the sons of Kaidu that same year.

title: Taliqu


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Evenburg

The Evenburg is a water castle in the village of Loga (Leer) in north Germany (East Frisia/Ostfriesland) not far from the River Leda.

History
It was built by Colonel Erhard Reichsfreiherr von Ehrentreuter of Hofrieth (1596-1664), commander of the Dutch garrison in Emden, between the years 1642 and 1650. He named the castle after his wife Eva, Baroness Ungnad, of Bohemia, whom he had married in 1631. Colonel von Ehrentreuter had been enfeoffed with Loga and the neighbouring village of Logabirum by Count Ulrich II of East Frisia to pay off his considerable gambling debts.

Marie von Ehrentreuter (1633-1702), the youngest daughter of the colonel, married Gustav Wilhelm Freiherr von Wedel (1641-1717) who came from Königsberg. The later field marshal of the Danish King Christian became the new lord of Evenburg and also the Governor of Oldenburg Land. In 1684, having amassed a considerable fortune, he bought the Jarlsberg near Christiania (Oslo) in Norway as well. From that time onwards, the von Wedels were given the title of Count.

Descendants of the von Wedel family, whose main residence today is Gödens Castle in the parish of Sande, occupied the Evenburg for centuries.

Architecture
In 1861/62, the building, which was one of the earliest examples of classical architecture in the Dutch style, was badly in need of repair and was largely demolished. Only the foundation walls and the vault of the old transept in the centre were incorporated into the new residence, which was otherwise executed in the Neo-Gothic style; its architect being Richard Stueve from Hanover.

During the Second World War (1939-1945) the castle was badly damaged. The filigreed roof structures could not be restored, the roof was covered very simply.

After extensive renovation work the Evenburg is now home to various institutions including the Education Academy of East Frisia and a college for grammar school teachers. Until a few years ago it also housed the district media centre for Leer district, who had acquired the Evenburg in June 1975 along with its estates for about seven million deutschmarks from the von Wedels. Its attractions include the long double avenue, which leads from the town of Leer to the castle, the baroque bastion (Vorburg) of 1703 (home to the district music school), the hallway, the remains of the old stables and the extensive landscaped park in the style of an English garden with paths to the Ledadeich (dyke).

By 2006 the Evenburg had been returned to its appearance in the mid-19th century. The neo-Gothic roof and many interior details were restored. It was opened in January 2007. The castle may be visited as part of a guided tours. The hall (Saal) and the bastion host concerts and other events.

title: Evenburg


text: User talk:66.226.32.202

title: User talk:66.226.32.202


text: User talk:81.60.102.73

title: User talk:81.60.102.73


text: Category:Parliament of Australia images

title: Category:Parliament of Australia images


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FLC

FLC may refer to:

 * Federal Laboratory Consortium, a U.S.-based technology transfer organization
 * Feminist literary criticism
 * Ferroelectric liquid crystal
 * Fisheries Law Centre, in Vancouver, British Columbia, Canada
 * FLIC (file format), used to store animation files
 * Florida Literacy Coalition, Inc., an American non-profit organization
 * Flowering Locus C, a plant gene
 * Folsom Lake College, in California, United States
 * Football League Championship, in England
 * Football League Cup, in England
 * Forest Lake Camp, in New York, United States
 * Forming limit curve
 * Fort Lewis College, in Durango, Colorado, United States
 * Free light chains of antibodies
 * Front de Liberation du Champa in Southeast Asia
 * Full load current
 * Fun Lovin' Criminals, an American band

title: FLC


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Mark Arden

Mark David Darwin Arden (born 31 July 1956) is a British comedian and actor, best known for his television appearances. During the 1980s, he was one half of comic double act 'The Oblivion Boys', alongside Stephen Frost.

Arden was born in Newbury, Berkshire. He and Frost came to prominence in the late 1970s alternative comedy boom, and became recognisable to a national audience with regular spots on Saturday Live. In the early 1980s, they were instrumental in the forming of the long-running north London comedy show News Revue, and shortly afterwards began appearing as a pair in episodes of series such as The Black Adder and The Young Ones; they are perhaps most remembered for a series of commercials for Carling Black Label lager, one of which involved Arden and Frost appearing in the nude. Arden continued to perform with Frost in comedy clubs, although he did not follow his partner into the genre of improvisation. Nevertheless, he featured as the chauffeur Johnny Blackpool (a paranoid ex-soldier) in the partially-improv 1994 comedy film There's No Business..., opposite Raw Sex (Simon Brint and Rowland Rivron).

Arden had a role as Roland 'Vaseline' Cartwright in London's Burning, appearing in the original pilot film and the first two series; he has also had roles in such comedies as Blackadder II and Bottom. He and Frost also played the title roles in the surrealist police sitcom Lazarus and Dingwall. Later, Arden appeared in the 1992 film Carry On Columbus and in the 1990s series Harry Enfield and Chums. In October 1996 he played Jansson in an episode of the 6th series of Heartbeat (Snapped).

Arden also has had a theatre career, appearing in Willis Hall's play The Long, the Short and the Tall in the West End. He also played the inspector in An Inspector Calls at the Garrick Theatre, Pop in the musical We Will Rock You at London's Dominion Theatre, and in Fings Ain't Wot They Used T'Be at the Theatre Royal Stratford East.

Arden's television career continued in 2002 with The Estate Agents. In 2018, he appeared in several episodes of Endeavour.

title: Mark Arden


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Talk:Classical music/Archive 1

The term again
I think that the term "Classical music" is totally ridiculous. Let's say someone ask a composer, "what do you write?" He says, "I write classical music." So what he writes automatically becomes classics??

Can you imagine someone making an "Art Film" and people call it "classical film" immediately??

It's a total disrespect for the living composers. Classical music means Mozart, Beethoven, Haydn, Schubert etc. and that is it.

 * Sigh, this controversy just won't go away. The line I would take is:  "classical music" is a conventional term, not necessarily to be taken literally.  So, for example, it's what a record store uses to label the bin containing Mozart, Beethoven, Haydn, Schubert, etc.  The record store's staff hasn't evaluated every CD in the bin to make sure it's a "classic"; they just want to make it clear that this is the classical music bin, so that the classical music fans can find it.

 * English has many conventionalized terms. Lots of suitcases never carry a suit, monkey wrenches have nothing to do with monkeys, many kindergartens lack plants.  It's really best just to accept this conventionality, and not start pointless crusades to change the English language.  Especially not on the Wikipedia, where our job is be as clear as possible by using standard terms.  Cheers, Opus33 20:41, 6 May 2004 (UTC)

 * As I noted below, there shouldn't be any controversy. Just check a dictionary. Mine says: "Classical 3. Music a. Of or relating to European music during the latter half of the 18th and the early 19th centuries. b. Of or relating to music in the educated European tradition, such as symphony and opera, as opposed to popular or folk music." That's what the phrase means. So the following statements are accurate:

 * The Bach Brandenburg concerti are examples of classical, rather than popular music.
 * The Bach Brandenburg concerti are examples of baroque, rather than classical music.
 * John Williams' film scores may not be immortal art, but are in composed in the idiom of classical music.
 * Dave Brubeck's Take Five is a jazz classic, but is not classical music.

 * Dpbsmith 23:47, 6 May 2004 (UTC)

Baroque
I think it's odd to think of separating the Baroque (or any other) era without considering other forms of art from that era (sculpture, archetecture, etc), because they all were influenced by the same forces of those times. As such, I am wondering if we shouldn't organize the eras more generically, link to the generic eras, and within the generic eras describe more specific issues per field of art. Something like this is already starting to take place in Baroque.

Doing so could help tie the various arts together, and avoid duplications of effort in helping someone understand how the arts were influenced by elements within history.

Anyone else with me on this?

-- Fleeb
 * A problem with an overarching 'Baroque' entry that includes Baroque politics and Baroque religion and Baroque science as well as Baroque jewelry design is that even if you're quite brilliant, b.s. is always only a hair's-breadth away. The fact is, a style is scarcely ever completely in control of a work of art (or culture), making for more interesting approaches, such as 'Baroque influences on Brahms' etc. It's hard enough to define what is 'classical' about 'classical music': at least it hasn't been done well enough yet here (it will be it will be...) User:Wetman

Should their be a section for Film Music or Soundtracks (yes, I know not *all* film-music is classical, but there is lots of it and some distinguished composers have composed for it - eg Vaughn Williams)

 * This is absolutely a great idea. It should have a link here. There should be a highly-selective List of film soundtracks that have succeeded as concert music or a better title. But a genuinely selective list. Wetman 15:50, 20 Mar 2004 (UTC)
 * Certainly needs a section on the use of original classical music in films, not just film scores that succeeded as concert pieces. There is a brief mention of the use of previous-composed classical music in films that could porbably use some more/better examples. Rmhermen 16:13, Mar 20, 2004 (UTC)
 * I think we should include some discussion of Fantasia, Silly Symphonys and John Williams. Who/what else? Rmhermen 18:03, Mar 20, 2004 (UTC)

Disambiguating "classical"
'Classical' is used in two senses: classical music including romantic and baroque and classic music as opposed to romantic and baroque. This article mentions the distinction, but doesn't make it clear enough. When a word or phrase has two closely related meanings, they should be distinguished in the first paragraph or so. -- SJK

I added the synonymous term "serious music." It means the same thing, but also refers mainly to the works of living composers who currently write "classical" music as an artform. "New music" is also used, in the academic sense, to refer to such music recently composed.

I can't believe that anyone could be so pompous as to say "Important points from a music graduate". I don't care what your degree is in, or whether you've got one at all - just whether your work on this encylopedia is any good. Please!

I was not trying to be pompous! A contributor of this article, whether that is you or someone else, asked, "Is anyone a music major?" I was merely trying to indicate that yes, I majored in music in college. I was not implying that I'm better than anyone else. If I've offended anyone, or caused a misunderstanding, I apologise.

 * In which case I in turn will apologise for very clearly having overreacted. Sorry.

I changed sax for sitar, hope no-one minds. It was this bit: Instruments invented in the twentieth century or outside western musical traditions which then goes on to give B.gtr, synth and sax as examples. Since the sax was NOT invented in the twentieth century or and was NOT invented outside western musical traditions, I thought it rather weakened the point - in its present form anyway. Sitar is maybe a bit of a feeble example but I hope it helps make the point better. Nevilley 22:25 Dec 14, 2002 (UTC)

 * I agree with you (also, of course, composers like Debussy, Rachmaninov etc used the sax). As the article stands, there is so little talk of non-western classical music that the sitar is probably fine - however, the sitar is used in Indian classical music (as opposed to Indian folk music), so I'm going to change it for the didgeridoo. --Camembert

 * Rachmaninoff composed for saxophone? What? That would interest me... Malbi 15:47, 14 Sep 2003 (UTC)

 * He didn't write any solo pieces for it, but there's a prominent part for a sax in the first of his Symphonic Dances. --Camembert

Denouncing vulgar errors
The stuff about Beethoven, etc, not being known until long after their lifetimes is nonsense. All three had international reputations in their lifetime. Why did a London music organisation commission a major work from B. if he was not already highly regarded. Haydn was also well known in London and Paris.

 * Agreed. In my arrogant opinion, this sort of thing was a mythology created in the 1950s and 1960s in order to deflect criticism of twelve-tone music. Very few concertgoers liked the stuff, and orchestras were forced to program Bach/Schoenberg/Beethoven sandwiches in order to avoid having people walk out, but the argument always was that this stuff was destined to become beloved and popular Real Soon Now, and the fact that nobody liked it was something it had in common with Beethoven. Gee, Stravinsky's Rites of Spring caused a riot on its first performance, etc. etc. Incidentally, I notice that the apotheosis of twelve-tone composers seems to have eased off considerably, and it is now much easier to indulge an appetite for diatonic music without being forced to "eat your Webern-spinach, it's good for you." Dpbsmith 19:21, 6 May 2004 (UTC)

 * I don't share your "arrogant opinion", i.e. I don't believe that this myth has been created to defend dodecaphony or serialism. Besides that there is some truth in it: Beethoven's late piano sonatas or string quartets were very hard to understand for his contemporary audience (why, they still are for many people ...). And, oddly enough, Mozart had a bad reputation as being a "Dissonanzenjäger" (hunter for dissonances). --- Utis 11:20, 13 Oct 2004 (UTC)

Haydn's father was a wheelwright and Beethoven's a musician but not a composer.

All this should be altered.

If you count B as a Classical composer, it is absurd to say: "Classical music was written specifically for the sake of music; there is no grand design or no emotion built into it." This is untrue of Haydn and Mozart, too. Both wrote music that is intensely emotional.
 * Beethoven is a classical composer sometimes and a romantic composer sometimes. To be really good, the entry must distinguish what is 'classical' in Beethoven. User:Wetman
 * Doesn't that go a bit over the scope of this article? It amounts to a discussion about the subtle aesthetical differences between two closely related artistic movements/principles/aeras.  That classical artists have strong, sometimes very strong romantic elments in their works is far from being uncommon (cf. Goethe).  I don't know about music, but in literature it is up to today an open debate, whether some writers, e.g. Hölerlin, are classical or romantic.  So I'd say: leave it there.  Beethoven is commonly reckognized as "classical".  [As an aside: I tend to think that "the classical" includes "the romantic" as a subset ... I formed this conlusion based on the works of Goethe.] --- Utis 11:45, 13 Oct 2004 (UTC)

BevRowe 18:06 Apr 3, 2003 (UTC)

 * Do I assume that the lack of response to my comments indicates agreement or that no one is reading this page?

BevRowe 08:16 Apr 10, 2003 (UTC)

 * I'm reading it! I think you are probably right. You could always change it to how you think is correct and see if anyone protests. :) Nevilley 20:36 Apr 10, 2003 (UTC)

Denouncing the article
For this to be an encyclopedia, the page would have to be accurate. In my teaching profession, I write my own curriculum for music theory and ran across this page in preparation for a lesson on compound ternary form. I am astounded at the lack of knowledge of music involved. I recommend to anyone who visits this site to go to www.grovemusic.com or go to the library and consult the New Grove Dictionary of Music and Musicians to get a true account of what they should know.

I'll check to make sure http://www.grovemusic.com is linked from this site as an External link Wetman 15:50, 20 Mar 2004 (UTC)

 * Yes, this page needs work. Feel free to edit the article and improve it. See Welcome, newcomers if you're interested. --Camembert

 * By the way, see ternary form. --Camembert

I reverted the paragraph break between the "snobbery" paragraph and the music lessons paragraph. Without the break, the article seems to imply that anyone who signs up Junior for music lessons is a snob, which I don't think we want to say.

 * 169.232.226.5 06:36, 6 Nov 2003 (UTC)

Odious paragraph on sexiness of classical and popular performers
I removed the following paragraph which is nowhere near being NPOV. I don't think its a valid or true observation, so I'm not willing to NPOV it to death and add it back in, but feel free.-Hyacinth 17:13, 15 Dec 2003 (UTC) "One last difference between classical and popular music is worth observing. New performers entering the field of popular music are expected, virtually without exception, to be young and sexually attractive.  Older performers are sometimes successful, but typically their following consists largely of fans who encountered them when they were young.  In the case of classical music, it is likewise a professional advantage for beginning performers to be attractive, but there is no rigid requirement in this regard.  Older performers continue to attract new listeners, and indeed, artists such as Vladimir Horowitz and Artur Rubinstein performed before enthusiastic audiences in advanced old age.  Further, a number of opera singers attract enthusiastic followings despite being quite stout or even obese."

 * Thank you. UninvitedCompany 23:53, 15 Dec 2003 (UTC)

 * Glad it's gone. Good riddance.  Antandrus 17:09, 30 Jul 2004 (UTC)

Classical music for beginners?
In the coming days, I want to start adding some suggested repertoire for the new listener. Not sure the best way to organize it, so I'm open to suggestions. UninvitedCompany 18:30, 19 Mar 2004 (UTC)

 * This seems rather, ummm, unencyclopedic, but if you insist, why not start a new article? -- Viajero 18:49, 19 Mar 2004 (UTC)

The answer I was looking for was whether it should be by era and style, by instrument, or both. There are some sample pieces listed here are there already. I don't think putting the material off by itself would be especially helpful.

People with limited exposure to classical music often ask where to start listening to learn what such music is like. The answers are fairly standard, so I can't imagine why we wouldn't include them. UninvitedCompany 19:02, 19 Mar 2004 (UTC)

 * Hi Uninvited--I'm a little daunted by the size of the task; there are so many nice pieces. I myself wouldn't feel capable of giving "standard answers," since anything I would recommend would reflect my own taste.

 * I agree with Viajero that if you do make such a list, it ought to be a separate page, since it's likely to grow a lot as people add their favorites (tastes are so diverse...). I would also suggest organizing by the major eras, and within era by composer.  Organizing by instrument is better done by letting people visit the article for the relevant instrument.  Be sure to cross-link works that already have Wikipedia articles.  Cheers, Opus33 19:25, 19 Mar 2004 (UTC)

The value in such a list is to avoid having it become exhaustive. Some works are such staples of classical music -- Beethoven's 2nd symphony, Hadyn's "surprise" symphony, the Brandenburg concertos, Mass_In_B_Minor_(Bach, Handel's Messiah that they are worth mentioning. Then there are some works that are so characteristic of particular instruments and periods, e.g. Bach's d minor toccata and fugue (Baroque organ), Beethoven and Mozart's piano sonatas for classical piano (pick any of about two dozen).  We have a list of famous operas already.  There are other forms, of course, but I'll stick to what I know.  The romantic era does pose more of a challenge than earlier times because there are so many more composers and works but I think we could still pick some.

While I suppose there are those who will not be satisfied unless their particular favorite is on the list, they miss the point, which is to help the novice reader get their bearings in an unfamiliar world. In the olden days, record stores were intimidating enough for newly-minted classical music enthusiasts, and amazon.com is worse because their is so much from which to choose.

UninvitedCompany 20:02, 19 Mar 2004 (UTC)

A good idea that needs a good title that shows how brief the list is. It needs to be well linked to from here. Personal experience shows that concert music over 20 minutes long exhausts the three-minute attention span of pop fans-- a cue from the "Great Baroque Mood Music" type of CD. This entry should be the next step from one of those CDs. Familiarity helps: Satie's "Gymnopedies" and Holst's "Planets" and Orff's "Carmina Burana"? Bach's "Mass in B-Minor" will scare 'em off. How about that suite for unaccompanied cello? "Less than twenty minutes long" might even be in the opener.

 * Hi Rh--I enjoyed your remarks but have to say I agree more with Uninvited. Why would someone with a musical attention span of three minutes want to take up classical music at all?

 * I think the Wikipedia could be more helpful to beginners who come to it with the question, "Which classical works would I enjoy very much if I listened to them enough times to get to know them well?". On that basis, the B Minor Mass is definitely in contention, or so I believe.

 * P.S.: Rh, please add four tildes ("~") after your discussion contributions so we know who's talking.  The software translates the tildes into your Wikipedia handle.  Thanks, Opus33 02:14, 21 Mar 2004 (UTC)

I do think that such a list of typical works is a good idea. If somebody seriously wants to explore a new field, such recommendations are invaluable. It should be by aera and it should strieve to do treat each aera equally (i.e. not 30 pieces for "classic", two for "early baroque" and none for "contemporary". Ideally the number of pieces for each aera should be fix.  So if one wants to add a (favourite) piece, he or she has to decide on removing one already listed.  "Typical" would be more important than "advanced".  (E.g. Beethoven's late piano sonatas are probably not typical for "classic", great as they are.)  Separate listings for genres (opera, concerto ...) might be a good thing, though I am not sure whether that is feasible. --- Utis 11:11, 13 Oct 2004 (UTC)

Marsalis's Haydn
"[The Marsalis Haydn trumpet concerto recording] on the strength of Marsalis' jazz notoriety, became a classical best-seller." ~ Richard S. Ginell, All Music Guide

There would be no point in including the Haydn Trumpet Concerto in this section were it not for Marsalis's recording--otherwise, it wouldn't be an example of crossover, right? So anyone who wants to delete should delete the concerto, too.

Opus33 22:59, 20 Mar 2004 (UTC)

Yes, you're right. Sorry. It was a very bad example of a crossover and the point about Marsalis is wrong (the Ginell quote can be no more than conjecture), so I have removed it entirely as you suggest. Nevilley 00:41, 22 Mar 2004 (UTC)

Move this Article to "Art music"
This article is not about classical music - it is about art music in its entirity. A redirect from "classical music" can either go directly to the art music page - or serve as a disambiguation page (for both Art music and the Classical period).

How do we go about deleting the current content of art music so as to move the page there? --OldakQuill 10:26, 27 Mar 2004 (UTC)

 * No, please do not move the article. People will find it under "classical music" which is where they will look first. The term "art music" is MUCH less used. We are supposed to put things where people can find them. There is plenty of room on the page itself for something about the terminologies. The business of the loose term "classical music" vs the Classical period in music is something which we can live with and is no reason to move the article to somewhere less obvious. Nevilley 11:17, 27 Mar 2004 (UTC)

 * We have the opportunity to end the perpetuation of mistakes and falsitudes. It would be no harder to find as there would be an automatic redirect/disambiguation page. I feel it is important, as an encyclopedia (and hence authority on information) to be CORRECT.--OldakQuill 12:07, 27 Mar 2004 (UTC)

 * Your ambition is laudable, OldakQ, but the Wikipedia can't change the English language! We're stuck with the terminology we have, and unfortunately some of it is ambiguous.  "Classical music" really does mean "art music" and not just "music of the Classical era."

 * A more realistic goal is to serve our readers, and, as Nevilley said, they are most likely to look for classical music under "classical music." Moreover, the current article does explain the "classical/Classical" distinction, so I think we've already done what feasibly can be done for clarification.  Cheers, Opus33 23:22, 27 Mar 2004 (UTC)

I have to agree with Nev and Opus. "Classical music" is by far the most common term for this kind of music, and so it's right that the article is called that. I'm not sure that "art music" is such a good substitute in any case, since it's virtually never used in reference to music written before 1900 and might just as well be applied to something by Jacques Brel as Jacques Ibert. --Camembert

I strongly agree with Nev/Opus/Camembert. The dictionary says: "Classical 3. Music a. Of or relating to European music during the latter half of the 18th and the early 19th centuries. b. Of or relating to music in the educated European tradition, such as symphony and opera, as opposed to popular or folk music." Lay readers in an everyday context understand it to mean b; scholars and musicians in a technical context understand it to mean a. The distinctions are properly explained in Classical music and Classical music era. This is not a case of "mistakes and falsitudes" or "making things CORRECT." The use of the word to mean "music in the educated European tradition, such as symphony and opera" is perfectly correct, though some might wish it otherwise. It's like the question which once appeared on College Bowl: "If a cat is a carnivore, then what is a kangaroo?" A contestant, knowing that kangaroos have an herbivorous diet, replied "herbivore," and was scored as wrong because the intended correct answer was "marsupial." In other words, it was a trick question, resting on the technical meaning of "carnivore," not as "meat-eater," but as "member of class order Carnivora"Dpbsmith 16:21, 18 Apr 2004 (UTC)

Concert music
Partly because its the terminology I use, and partly for completeness, I propose Concert music over classical music when refering to Eastern Asian (European) music of the middle to upper class and its descendents. It nicely avoids the vaguries of art music, while it avoids the double meaning of classical music. Sure, almost all music is "concert music" in that it is performed in concerts (while some (much) classical music is not), but this works to the terms advantage in that there isn't any other kind of music designated "concert." Hyacinth 22:41, 5 May 2004 (UTC)

 * That's certainly one of the terms I have tried out, but I find a lot of my non-classical-music friends don't know what I'm talking about when I say it. Unfortunately, though I still feel like I'm chewing gravel each time I say it, it seems that "classical music" is the most widely understood.  I have to admit I have a hard time labeling Terry Riley, Philip Glass or John Zorn, to grab a few random names, as "classical," though, so I usually perform contortions to avoid using a label at all.  Blame Aristotle for making us think we need to label everything.  Antandrus 17:07, 30 Jul 2004 (UTC)

"concert music" seems plain wrong to me, unless you stretch the meaning of "concert" so far that it is not a differentia specifica anymore. Why should performance of chamber music in a small private circle be a "concert", while a "rock concert" should not be one? I think "art music" is the proper term. If it does, taken properly, exclude some now forgotten works, say, of the classical aera, while it includes, taken properly again, some very advanced Jazz pieces ... so what? The point is that this kind of music does not accompany social practices but is meant to provide an aesthetical experience sui generis. That's art. (Well, yes, there is a use of "art" to accompany social practice. The boundaries are a bit blurry---they almost always are.)  I am content acknowledging the artistic qualities of certain advanced pieces not commonly considered to be "classical music". That said, it is right that this article is named "classical music", for that is the term most people know. --- Utis 11:02, 13 Oct 2004 (UTC)

Piece "Taxobox"
Anyone think we should have a common table for classical pieces? For reference purposes. Other fields for other genre - key, movements, famous from (for the more populist fans (Volvo advert, etc.) etc --OldakQuill 17:27, 17 Apr 2004 (UTC)

Hi OldAkQ,

I certainly admire your technical skill with tables, but nevertheless I'd like to make a case for not doing this.

I mostly write about pieces that mean a lot to me personally, and the table you propose seems just too vulgar to fit the subject matter. It's sort of like seeing your favorite pieces advertised in huge letters on a sign in Wal-Mart; there's a certain feeling of desecration. I think we'll attract more and better articles on classical music if potential contributors aren't made to feel that the standard article format demeans the composer's work.

I also feel that making hundreds (ultimately: thousands) of tables is not necessarily a good use of your own time. There are so many great classical pieces the Wikipedia has no article about--why not pick your favorites and start writing about them? Cordially, Opus33 15:56, 18 Apr 2004 (UTC)

Query for classical music editors
I've posted a query about policy concerning classical music articles at Talk:Ludwig van Beethoven. Your input would be very welcome. Opus33 18:44, 7 Jul 2004 (UTC)

Art music and popular music
When discussing the relationship between art music and popular music, it might be worth mentioning that some pieces especially of the classical and romantic aera have become folk music (in the actual sense of that term.) This is at least true in Germany for pieces like Schubert's "Das Wandern is des Müllers Lust" from "Die schöne Müllerin" or his "Am Brunnen vor dem Tore" from the "Winterreise". It is probably also true for the Papageno songs from the "Zauberflöte" or for "Freude, schöner Götterfunken" from Beethoven's 9th. --- Utis 11:25, 13 Oct 2004 (UTC)

 * Also, the principal melody of the largo movement of Dvorak's 9th symphony was adapted to an American spiritual called "Goin' home." --Herschelkrustofsky 12:17, 15 Oct 2004 (UTC)

title: Talk:Classical music/Archive 1


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Haneburg

Haneburg is a castle in East Frisia, Germany. It is one of the few buildings remaining of the Renaissance time in north-west Germany, which was much affected by the Netherlands. The castle was built by the chieftain of Leer, Hayo Unken, in the middle of the 15th century.

Subsequently, the castle passed via the Frese family into the possession of the Hane family, from whom the building takes its present name. Joest Hane, the steward (Drost) of the Count of East Frisia in Stickhausen, began to repair the castle in 1621 and extended it by the addition of the southern Renaissance wing. His son Dietrich Arnold Hane built the northern wing in 1671.

Until some years ago the Haneburg was an old people's home. After complex renovation work it is today the home of the office of the people's high school for the city and district of Leer. Temporarily it is in use for art exhibitions and conferences. It is the property of the district of Leer, which uses the knights' hall for representative causes. However, historical interiors are no longer present in the castle.

title: Haneburg


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User:Ish warsaw

www.enklawa.prv.pl, www.warsaw.poland.prv.pl

title: User:Ish warsaw


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Talk:Lake Borgne

Untitled
The three large lakes, Maurepas, Pontchartrain, and Borgne (truthfully a lagoon) cover 55 % of the basin. Which basin? --Rafeco 15:01, 31 August 2005 (UTC)
 * The Lake Pontchartrain Basin. The opening sentence of the source cited in the article sort of says that, but doesn't, so it's not very clear, but that's what they mean. -- Muffuletta 20:40, 7 May 2006 (UTC)

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Jacob Heinrich Wilhelm Lehmann

Jacob Heinrich Wilhelm Lehmann (3 January 1800 – 17 July 1863) was a German astronomer. His specialty was computational astronomy, and at the time he was widely known and recognized within his field. He is most noted today as the namesake for the crater Lehmann on the Moon.

title: Jacob Heinrich Wilhelm Lehmann


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User talk:Shafique

Welcome
Hello , and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~~~. Four tildes (~~~~) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my talk page. Again, welcome! --Lord Voldemort (Dark Mark) 15:02, 31 August 2005 (UTC)
 * The Five Pillars of Wikipedia
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title: User talk:Shafique


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User:SimonMorgan

The good life is one inspired by love and guided by knowledge.
 * Bertrand Russell

title: User:SimonMorgan


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Harderwykenburg

The Harderwykenburg is one of the oldest extant castles of East Frisia. It was built in the style of a medieval stone house soon after 1450 in Leer, Lower Saxony, Germany.

The original building, in the form of a tower, was built of stones from a monastery, and measures 8.09 x 11.13 meters. The external walls are between 0.96 and 1.23 meters thick. The tower was later supplemented by a two-storey extension. The steeply proportioned building has now been not entirely satisfactorily restored.

The first owner of the castle was probably the chieftain Hayo Unken, on his mother's side a grandchild of the chieftain Focko Ukena. The castle was also known as the "Unkenburg", after Hayo's family name. In 1588 the steward (Drost) Dietrich Harderwyk Armgard married a daughter of Hayo Unken IV, and thus came into possession of the castle, which now bears his family name.

In 1788 possession of the building passed from the then owner, Carl Stephan von Schilling, to Carl Gustav, Baron zu Inn und Knyphausen, whose descendants continue to live there.

title: Harderwykenburg


text:
Talk:2005 FIFA U-17 World Championship

Untitled
Is this championship contested by the national football teams? Surely all the young players are not on those teams (yet), so why link to them from the country.

Dead link
During several automated bot runs the following external link was found to be unavailable. Please check if the link is in fact down and fix or remove it in that case!

 * http://www.fifa.com/tournaments/archive/tournament=102/edition=9095/index.html
 * In 2005 FIFA U-17 World Championship on 2011-05-25 07:58:37, 404 Not Found
 * In 2005 FIFA U-17 World Championship on 2011-06-12 01:11:30, 404 Not Found

--JeffGBot (talk) 01:11, 12 June 2011 (UTC)

title: Talk:2005 FIFA U-17 World Championship


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Philippe Kahn

Philippe Kahn (born March 16, 1952) is a French engineer, entrepreneur, and founder of four technology companies: Borland, Starfish Software, LightSurf Technologies, and Fullpower Technologies. Kahn is credited with creating the first camera phone, being a pioneer for wearable technology intellectual property, and is the author of dozens of technology patents covering Internet of Things (IoT), artificial intelligence (AI) modeling, wearable, eyewear, smartphone, mobile, imaging, wireless, synchronization and medical technologies.

Early life and education
Philippe Kahn is the son of Charles-Henri Kahn (1915-1999) and Claire Monis (1922-1967).

Kahn was born and raised in Paris, France. He was born to Jewish immigrants of modest means.

His mother was a French singer, actress, and violinist, raised in Paris by parents who had fled the Russian pogroms. Arrested in 1942 for being Lieutenant in the French Resistance, she was 21 years old when she was sent to the Auschwitz extermination camp. She survived as a member of the Auschwitz Women's Orchestra conducted by Alma Rosé. After his parents separated in 1957, Philippe Kahn was raised solely by his mother. He was only 15 years old when his mother died in a car accident in Paris.

Kahn was educated in mathematics at the ETH Zurich, Switzerland (Swiss Federal Polytechnic Institute), on a full scholarship and University of Nice Sophia Antipolis, France. He received a master's in mathematics. He also received a master's in musicology composition and classical flute performance at the Zurich Music Conservatory in Switzerland. As a student, Kahn developed software for the MICRAL, which is credited by the Computer History Museum as the first ever microprocessor-based personal computer.

Technology companies
Kahn has founded four software companies: Borland, founded in 1982 (acquired by Micro Focus in 2009), Starfish Software, founded in 1994 (acquired by Motorola in 1998, and subsequently Google in 2011), LightSurf Technologies, founded in 1998 (acquired by Verisign in 2005), and Fullpower Technologies, founded in 2005.

Borland (1982–1995): compilers and tools
Kahn founded Borland in 1982, and was its CEO until 1995. At the time it was a competitor of Microsoft's, and produced programming language compilers and software development tools. Its first product, Turbo Pascal, sold for $49.95 at a time when programming tools cost hundreds or thousands of dollars. Kahn was President, CEO, and Chairman of Borland and, without venture capital, took Borland from no revenues to a US$500 million run-rate. Kahn and the Borland board came to a disagreement on how to focus the company. In January 1995, Kahn was forced by the board to resign from his position as CEO, and he founded Starfish Software. Kahn encouraged a collegial and hard-charging atmosphere at Borland, which attracted and cultivated technology leaders including Anders Hejlsberg, creator of Turbo Pascal, and Marc Randolph, cofounder of Netflix.

Starfish Software (1995–1998): wireless synchronization
Starfish Software was founded in 1995 by Philippe Kahn as a spin-off from the Simplify business unit from Borland and Kahn's severance from Borland. TrueSync was the first Over-The-Air (OTA) synchronization system. Starfish was successfully acquired by Motorola for US$325 million in 1998.

LightSurf Technologies (1998–2005): multimedia messaging
Kahn and his wife Sonia co-founded multimedia messaging company LightSurf Technologies in 1998. LightSurf commercialized Picture-Mail and the camera phone.

In 2005, LightSurf was acquired by Verisign for US$300 million. Syniverse Technologies acquired Lightsurf from Verisign in 2009.

Fullpower Technologies (2005–present): sensing, sleep, and wearable technology
Fullpower, founded in 2005, provides a patented ecosystem for wearable and Internet of Things sensor-fusion solutions supporting networks of sensors. The company's expertise is sleep monitoring technology using sensors and artificial intelligence.

The inspiration behind some of Fullpower's technology stems from Kahn's passion for sailing. During a demanding race requiring sailors to sleep less than an hour every 24-hour period, Kahn began experimenting with biosensors and three-axis linear accelerometers that could detect micromovements and provide meaningful recommendations. Kahn created prototype sleep trackers using biosensors that optimized 26-minute power naps to maximize sleep benefits and sail time.

First camera phone
In 1997, Kahn created the first camera phone solution sharing pictures instantly on public networks. The impetus for this invention was the birth of Kahn's daughter. Kahn had been working for almost a year on a web server-based infrastructure for pictures, that he called Picture Mail. At the hospital, while his wife was in labor, Kahn jury-rigged a connection between a mobile phone and a digital camera and sent off photos in real time to the picture messaging infrastructure he had running in his home. Kahn later said "I had always wanted to have this all working in time to share my daughter’s birth photo, but I wasn’t sure I was going to make it. It’s always the case that if it weren’t for the last minute, nothing would ever get done."

In 2016 Time Magazine included Kahn's first camera phone photo in their list of the 100 most influential photos of all time. In 2017, Subconscious Films created a short film recreating the day that Philippe instantly shared the first camera-phone photo of the birth of his daughter Sophie.

Gay rights advocacy
Under Kahn's direction, Borland became the first software company to offer domestic partners full benefits and a pioneer for gay rights in Silicon Valley. Kahn was a key speaker at the pivotal gay rights conference on the Apple campus on October 19, 1993.

Personal life
Kahn has four children, three of which are from his first marriage. He later married Sonia Lee, with whom he has a daughter, Sophie. Sonia co-founded three of Kahn's companies with him: Fullpower Technologies, LightSurf and Starfish Software.

Sailing and sports
Philippe Kahn's focus on the environment and the outdoors led him to the sport of sailing. He started late, but in a few short years of going hard he won more races than most people manage in a lifetime. He declared, “I have to learn how to sail before I die.” Santa Cruz was the perfect place for his sailing activity:  "I tell people, if you love sailing, you’ll love Santa Cruz."

Kahn's sailing team, Pegasus Racing, competes in many world championships each year around the world. An offshore sailor with over 10 trans-Pacific crossings, Kahn holds the Transpac double handed (two-crewmember) record from San Francisco to Oahu, Hawaii.

His sailing achievements also include winning the double handed division of the 2009 Transpacific Yacht Race from Los Angeles to Hawaii and setting the Transpac record at 7 days, 19 hours, beating the previous time of 10 days, 4 hours.

Kahn's son Samuel ("Shark") also took up sailing as a boy. In his teenage years he had several outstanding race wins, including the 2003 Melges 24 Worlds race right after he turned 15. He has competed against his father.

Lee-Kahn Foundation
Kahn and his wife Sonia run the Lee-Kahn Foundation. According to the Foundation's website, it sponsors local and national non-profit organizations focused on environmental causes and works to improve access to health care, education, and the arts.

title: Philippe Kahn


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Talk:Pascal Nouma

Untitled
Pascal Nouma is best the best player of the world.All Besiktas fans wish to see him again at Besiktas.He is the most famous foreign player of Turkey.Now We want to him to be the president of Besiktas.

Kenan Aksoy,A Besiktas supporter

Pascal Nouma was a very good player he both in the air and technical skills and had scored a number of goals for Besiktas and was a crowd favourite. Anger was Nouma's weak point as his anger which earned him a number of red cards was his down-fall to a call from the French national team, if only he could control his temperment he could have been a greater player then what he already was. The ending of Nouma's time at Besiktas was becuase of Pascal putting his hand down his pants after scoring a goal.

Besiktas fans will always remember Pascal as a great player.

Mustafa Altindal-London-England-A Galatasaray supporter

It's called tombala, not tombola.

WikiProject class rating
This article was automatically assessed because at least one article was rated and this bot brought all the other ratings up to at least that level. BetacommandBot 07:41, 27 August 2007 (UTC)

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The Mansions, Brisbane

The Mansions is a heritage-listed row of six terrace houses at 40 George Street (corner of Margaret Street), Brisbane City, City of Brisbane, Queensland, Australia. It was designed by G.H.M. Addison and built in 1889 by RE Burton. It was added to the Queensland Heritage Register on 21 August 1992.

The architectural style is Victorian with Italianate influences.

History
The Mansions, built in 1889 and located near Parliament House on the George Street ridge at the corner of Margaret Street, was designed by architect George Henry Male Addison as six attached elite masonry houses. Constructed by RE Burton for £11,700, it was an investment for three Queensland politicians – Boyd Dunlop Morehead, then Premier; William Pattison, Treasurer; and John Stevenson, member for Clermont – during a decade of enormous population growth and land development in Brisbane.

Since the 1820s, the north bank and adjacent ridgeline of the Brisbane River, now containing William and George Streets, has always featured a concentration of government and associated activities and uses. Over the period of the Moreton Bay penal settlement, buildings constructed along this ridgeline, were used by government officials for "accommodation, administration and control". When the settlement was closed in 1842, the remnant penal infrastructure was used by surveyors as a basis for the layout for the new town of Brisbane. Set at right angles to the river, the prisoner's barracks determined Queen Street, while the line of buildings along the ridge determined William Street. Streets surveyed parallel to these streets including George Street, formed Brisbane's rectangular grid.

While a range of buildings and activities occurred along George and William Streets from the 1840s, the government maintained its dominant presence in the area. At some sites (such as the former Commissariat Store and Brisbane Botanic Gardens) earlier uses were continued. The establishment phase following the separation of Queensland in 1859 saw the new colonial government reserve land parcels and construct a range of buildings to facilitate its functions. The building of Government House (now Old Government House) and Parliament House along the eastern end of the George Street alignment in the 1860s firmly entrenched the physical reality of a government precinct in the area.

The siting of Parliament House had a pronounced effect on the built environment around lower George Street. Many of Queensland's early politicians were pastoralists, a reflection of their economic dominance in the colony. Together with a growing workforce of public servants, these politicians required accommodation when in Brisbane. From the 1860s to the 1880s, a range of buildings, many built by, or for politicians, were built to address these needs.

Throughout the 1880s Brisbane was transforming into a colonial city. Many of Queensland's immigrants remained in the capital, swelling the population from almost 40,000 in 1881 to well over 90,000 in 1891. This growth stimulated building, municipal organisation, amenities and services, and cultural and leisure outlets. The flourishing building activity caused Brisbane's practising architects to treble in number, and builders and contractors to rise from 16 in 1882 to 87 in 1887. Brisbane's centre sprouted a host of impressive new stone buildings including the Customs House, additions to the Government Printing Office, the first wing of the Treasury Building and the Alice Street facade of Parliament House. The number of inhabited dwellings in the capital almost doubled between 1881 and 1891 from 5,814 to 10,321, causing the town to overshoot its old boundaries. Consequently, land speculation was extensive and the capital value of metropolitan land rose towards its peak in 1890, a level not approximated again until 1925.

The land on which The Mansions was later erected, lots 1 and 2 of Portion 38, was originally purchased as Town Lot 56 in 1852 by land speculator James Gibbon. By 1863 he had subdivided the land into three lots, but lots 1 and 2 remained vacant. The land was transferred in 1882 to William Williams, a successful Brisbane businessman associated with the Australian Steam Navigation Shipping Company. He in turn sold the vacant land in August 1888 to Pattison, Morehead and Stevenson who were members of parliament, business associates and friends.

BD Morehead (1843–1905) was a pastoralist, businessman and politician who served in both the Queensland Legislative Assembly and Legislative Council. With AB Buchanan he established BD Morehead and Co. in 1873 which comprised a mercantile and trading business and a stock and station agency. He experienced financial disaster in the 1893 economic crisis. William Pattison (1830–96), a businessman, mine director and politician, served in the Queensland Legislative Assembly between 1886 and 1893. He was one of the original shareholders and later chairman of directors of the Mount Morgan Gold Mining Company but was damaged politically and economically by the 50% collapse of the company's share price from mid-1888. John Stevenson was a pastoralist who bought into the firm of BD Morehead and Co., managing the stock and station business until 1896 when he formed the business J Stevenson and Co. He was a member of the Queensland Legislative Assembly from 1875 to 1893.

These three men engaged architect George Henry Male Addison to design a row of houses for the George Street site. Addison had moved from Melbourne to Brisbane and established a branch of Oakden, Addison and Kemp, which in 1888 won the competition to build a new exhibition hall for the National Agricultural and Industrial Association on Gregory Terrace (now known as the Old Museum Building). Addison was an accomplished designer, his buildings stylistically eclectic and more ornately and highly finished than any previously seen in the city. The distinctive use of face brickwork relieved with stone or rendered detailing and steep dominant roof forms are characteristics of his work. Other Addison-designed buildings include the Albert Street Uniting Church in Brisbane and the Strand Theatre in Toowoomba Addison's skills and distinctive style of domestic architecture were recognised and attracted business from Queensland's leading professionals. Noteworthy houses designed by him are Cliveden Mansions in Brisbane; Kirkston in Brisbane; Oonooraba in Maryborough, and Ralahyne, and Cumbooquepa both in South Brisbane. Addison called tenders for the construction of The Mansions viz "city residences in George street" in the Brisbane Courier on 29 September 1888, closing on 15 October. RE Burton's tender of £11,600 was accepted.

The Mansions was designed to be impressive and aesthetically pleasing, using high quality materials, generous use of ornamentation and careful composition of building forms, the six individual houses being unified by the overriding use of arcades and the arrangement, in alternating pairs, of entries and roof dormers. The design was well suited to the climate, the arcades providing shade without impeding ventilation. Soon after the residences were completed in late 1889 The Boomerang described them as: "'unique in their way, being built after the Queen Anne style of red brick with stone facing. They have been constructed to suit the climate. The mantelpieces are very rich and were specially imported. In fact, its as fine a terrace as any in Australia'."Addison published a drawing of The Mansions in 1890 in the Building and Engineering Journal of Australia, describing them as: "'convenient and roomy having three reception rooms and ten bedrooms, exclusive of servants' quarters. The front is of brick, relieved with Oomaroo [sic] stone, the total cost £11,700...'."The Mansions as terraced houses were a type of land use that was uncommon in colonial Queensland due to the enactment of the Undue Subdivision of Land Prevention Act 1885. This legislation enforced a minimum lot size of 16 sqperch and a minimum frontage of 30 ft effectively stopping the building of terraced housing in Queensland except as a rental investment. Early pre-legislation versions of terraced housing in Brisbane included Harris Terrace and Hodgson's Terrace (demolished) in George Street; Athol Place in Spring Hill (1860s); Princess Row in Petrie Terrace (1863) and a group of four houses (c. 1884-1885) in Wellington Road, Petrie Terrace. Terraces built around 1885 or afterwards included Byrne Terrace on Wickham Terrace (1885–86, architects John Hall and Son, demolished); O'Keefe Terrace on Petrie Terrace (1886–87, architect Andrea Stombuco and Son); Cook Terrace (1889, possibly Taylor and Richer) on Coronation Drive; Cross Terrace in Red Hill (1886); Petrie Mansions on Petrie Terrace (1887–88); Brighton Terrace in West End (1890 John Beauchamp Nicholson); and two terrace houses on Wellington Street, Petrie Terrace (1894/95). Of these, The Mansions was the grandest and most ambitious architecturally.

Elite tenants began to occupy the well-located residences from 1889 but the economic downturn which culminated in the 1893 depression denied full occupancy. Although the Queensland economy experienced problems from the mid-1880s, the downturn only became apparent from 1889 after local confidence waned and British investment funds dried up. The building industry was affected first and most severely, then depression spread to other sectors of the economy. The severest years of the depression in Queensland were from 1891 to 1893. Brisbane's economic experiences followed those of the Queensland economy overall but with different emphases. The phenomenal growth of the 1880s had culminated in widespread speculation in land and buildings, which created an excess capacity of offices and dwellings. Brisbane's descent into depression began with a crash in the construction and building materials industries and the collapse of building societies towards the end of 1891 after the climax of its land and building boom. Land and rent values began dropping in 1890, reaching their lowest level in 1893-1894. Empty dwellings became a common sight in the city and suburbs - some deserted while other recently built ones had never been occupied. All three investors in The Mansions suffered severe financial losses during this depression.

By 30 November 1889, two of the villas were occupied by members of parliament, William Pattison and the Hon. Hume Black. Advertisements in the Brisbane Courier for tenants to let both the "George Street Mansions and Harris Terrace" on the opposite corner of Margaret Street appeared in the Brisbane Courier during December 1889. Other early residents were doctors – in 1890 Dr Fourness Simmons and a Dr Bennett. The 1891 Post Office Directory listed four houses as unoccupied and two occupied by doctors, EM Owens and A Bennett. In December 1891, Dr Lilian Cooper, Queensland's first woman doctor and Australia's first female surgeon, established her consulting rooms in The Mansions and resided there for several years after the 1893 floods. Pattison moved from The Mansions in July 1891 and a Mrs Prince, previously of Glencairn, Wickham Terrace advertised that she had leased: "'the Hon. W Pattison's late residence, The Mansion, George Street' and would be 'pleased to receive applications for Accommodation. The buildings are situated close to Parliament House and are therefore highly suited to members'."In 1892 The Mansions housed a Mrs Probyn who resided in "The Grange" (possibly a boarding house) and which was replaced the following year by Elizabeth Bird's boarding house.

Between 1896 and 1954 The Mansions was used primarily as boarding houses, which operated under various names. Guests included professional families such as barrister and later University of Queensland Registrar Frank Cumbrae-Stewart and family from 1906, the Commissioner of Public Health John Simeon Colebrook Elkington and wife in 1912, District Court Judge Allan Wight McNaughton and electrical engineer William Muir Nelson. Some doctors such as Arthur Benjamin Carvosso continued to practice from The Mansions.

Despite ownership of The Mansions changing a number of times, this did not result in changes of use. The property was transferred to the Queensland National Bank in August 1898 and was sold in 1912 to Gerard Ralph Gore and Christiana Gore, pastoralists on the Darling Downs, in order to recoup the loan for its construction. In 1925 the property was sold again but due to the owner's death quickly transferred to the Queensland Trustees. In 1947 the property was sold to three new owners, two of whom ran three boarding houses using the property's six villas. The boarding houses (from the Alice Street end) were named Lonsdale (24–26 George Street), Glenmore (28–30) and Binna Burra (32–44).

In 1954 The Mansions was offered at public auction, but passed in when the reserve was not reached.

Subsequently, the Queensland Government purchased the property for use as government offices as part of its acquisition of buildings in George Street under what was then officially known as the "George Street Plan". A shortage of accommodation for administrative offices in State-owned buildings had been identified immediately after World War II when the Queensland Government began to expand their activities considerably in Brisbane city. Most public servants were then located in the Treasury and Executive Buildings in George Street and in offices in Anzac Square. The shortage of office accommodation in the Brisbane central business district, and the need to address future requirements, led to a phase of governmental property acquisition in the city. The purchase of properties on George and William Streets between the Government Printing Office and Parliament House was a key focus, in addition to other acquisitions on Charlotte, Mary and Margaret Streets. Properties in William Street were purchased in 1946-1947 and the expenditure in 1954 on properties for this purpose in George, William and Margaret Streets, including The Mansions, was £60,500. Despite their varying condition and former uses, many of these newly acquired buildings were quickly adapted for government use.

At this time the Department of Public Works prepared measured drawings of The Mansions. "Lonsdale" and "Glenmore" were described as: "'a three storey double brick building...conducted as a residential and compris[ing] 32 rooms, 16 of which are let as flatettes and 16 as serviced rooms'."Linings and ceilings were plaster except at the top floor where ceilings were beaded pine. Floors were mainly pine. There were 10 fireplaces of which two were marble and the remainder "ornamental timber". There was one "set of 4 foot [1.2m] wide twin cedar staircases in excellent condition". Four bathrooms, two shower rooms, two laundries and six sewerage units served the property. The condition of the properties was considered to be fair. At the rear of the land, there were two double storey brick dormitories and a garage, which were of much inferior construction and finish to the main building.

Conversion of The Mansions into government offices cost £45,054. Drawings prepared for the conversion show that the general configuration of the houses was changed. Walls were removed, new doorways made, fireplaces blocked, internal partitions installed, concrete floors for toilets added and all stairs except one at the rear of no. 28-30 were removed or altered. Original details including dado panelling in the halls and dining rooms, and leadlight sidelights on the front doors were removed. Evidence of the original asymmetrical arrangement of bay windows at ground floor level was lost except in no. 24-26 and new load-bearing partitions were installed on the first and second floor levels above the dining rooms.

A range of government departments occupied The Mansions until the 1970s. The Government Statistician's Office was located on the ground floor from c. 1956 and by 1961 the Medical boards, Licensing Commission, Prices Branch, Department of Public Works and Probation Office occupied the first floor. Replanning of the Medical boards' offices took place in 1967 and remodelling of the ground floor for the Comptroller-General of Prisons occurred in 1972.

The consolidation of government ownership and usage along George and William streets led to a number of schemes in being investigated by the state to further the development of a "government precinct". By 1965, a masterplan had been developed involving the demolition of all buildings between the Executive Building (Land Administration Building) and Parliament House, to enable the construction of three high-rise office buildings in a "plaza setting". In November 1965 the government announced the proposed demolition of its George Street office buildings. A new Executive Building was completed in 1971 as part of this plan (scheduled for demolition in 2017 as part of the Queen's Wharf Redevelopment). However, by the early 1970s this plan for the precinct was considered no longer suitable and a number of other proposals for the area were explored.

A 1974 "George Street Masterplan" involved lower rise buildings spread out over greater areas and the demolition of the Bellevue Hotel and The Mansions. A major influence in ultimately shaping the layout of the area during the 1970s was the growing community support for the retention of older buildings within the government precinct. In 1973 the National Trust of Queensland began a public campaign to save both The Mansions and its next-door neighbour in George Street, the Bellevue Hotel, from demolition under the Queensland Government's "George Street Masterplan". The campaign highlighted the government-related associations and links between buildings, their architectural qualities, and aesthetic contributions to the area in submissions to the government and in the public sphere. In 1973, a green ban was imposed on The Mansions by the Builders Labourers Federation to stop its destruction to make an office block, along with green bans on Queensland Club and Bellevue Hotel. The unannounced June 1974 removal of the balconies of the Bellevue Hotel was a deliberate action by the Queensland Government to degrade the visual appearance of the area, and drew further attention to the conservation cause.

Ultimately the Bellevue Hotel was demolished in April 1979 after Cabinet adopted a recommended schedule of demolition work to further the development of the government precinct. The Bellevue Hotel was to be demolished, but The Mansions and the original section of Harris Terrace were to be retained, renovated and adapted. On 21 April, three days after this decision, the Bellevue Hotel was demolished in the early hours of the morning, a notorious event in the history of heritage conservation in Queensland causing a furore of public complaint.

The Mansions servants' wings and stables were demolished later in 1979 in accordance with the Cabinet decision. However, this did not cause a complete loss of the area to the rear of The Mansions, which may still reveal archaeological information about foundations and material culture related to servants' occupation of this area of the site.

Subsequently, several schemes were prepared for the reconstruction and conservation of The Mansions. Measured drawings of the remaining sections of the building were prepared and exteriors photographed. Plans for the renovations and alterations were prepared by Lund Hutton Ryan Architects in 1980 and in 1982 further plans for the restoration were prepared by Conrad and Gargett in association with the Department of Public Works. At this time it was reported that there were problems with rising damp; the existing roof framing was generally sound; none of the original staircases survived; all internal walls were plastered brick or plaster and lathe on timber framing; the few original ceilings on the ground and first floors were plaster and lathe while on the second floor they were tongue and groove pine; some original skirtings, architraves, cornices and ceiling roses remained; some original fire surrounds and grates survived; many original doors and windows survived but were in disrepair; and hardware had been changed.

A final renovation scheme was prepared then carried out in 1983-1984. This development removed most of the 1950s fit-out as well as removing original material, reconstructing features and adding new features such as a lift and air conditioning plant. A transverse corridor was created by enclosing parts of the rear courtyards in glass requiring reconfiguration of the rear verandahs. Stairs and toilets were installed in the second reception room at the ground floor level. Walls which formed the small front room at the first floor level were removed. All the ceilings and the remaining evidence of the original off centre bay layout of no. 24-26 at ground floor level and the surviving dining room fireplace in no. 40 were removed. Castings of ceiling roses were installed throughout the rooms. Most of the wall plaster was removed. Most door and window joinery was reconstructed. New stairs were constructed using detail and parts from the original but in a new configuration. The roof sheeting was replaced, new finials constructed and the rear verandahs rebuilt. New dormer windows at roof level were constructed facing south-west over the new rear verandahs. Most of the ground floor and second floor ceiling framing and some of the roof framing was replaced. All floors were re-laid with plywood and hearths removed, concrete slabs were laid in wet areas, tie downs were installed and new ceramic tile paving was laid on verandah floors.

On 28 April 1986 Premier Joh Bjelke-Petersen officially opened the Government Precinct Development incorporating the State Works Centre, the renovated Harris Terrace and The Mansions. After the redevelopment, The Mansions housed a variety of professional offices and exclusive specialist retail stores. A restaurant also operated in the building.

Since this refurbishment only minor alterations have occurred to the buildings, apart from updating of services and the provision of disability access. A freestanding roof was constructed next to the south-east rear verandah of the house at the Alice Street end for the restaurant tenant in 1988.

In 1990 there was a proposal to sell The Mansions with the Port Office and Smellies building but this did not proceed.

In 2002, the Mansions was featured in a television advertisement for the Australian Quarantine and Inspection Service, which starred Steve Irwin.

In 2005 timber decking and ramps were added in Queen's Place for access at the Alice Street end.

In 2015, it was announced that The Mansions would be restored and used as an up-market tea house, dining and bar, and serviced apartments as part of the Queen's Wharf Redevelopment.

Description
The Mansions is a three-storeyed brick and stone terrace on the corner of Margaret and George Street, Brisbane. The building stands in an urban context, on a high ridge of land, with open landscaped space behind and beside it. The precinct is dominated by mid-to-late nineteenth and early twentieth century state government-related buildings including the nearby Parliament House, Queensland Club, Harris Terrace, the former Government Printing Office, former Land Administration Building, and the former Treasury Building. It makes a strong contribution to the George and Margaret Streets streetscapes as a prominent, decorative and striking form.

The Mansions is a face brick structure with limestone dressings and a painted corrugated steel roof. It sits back slightly from the George Street alignment behind a brick pier fence with wrought iron panels. However, it is built to the Margaret Street alignment. The building is visibly separated into six houses unified by the facade - a deep arcade of arches on the ground and first floors along both street fronts. The second floor is partially incorporated within the roof space behind a decorative parapet. Each house has an octagonal bay projecting onto the arcade on both levels that is carried through onto the roof as a multi-faced hip perpendicular to the main roof. Although fully cohesive, the design is perceptibly five houses facing George Street that are mirrors of each other in plan with a sixth house, on the corner, primarily facing Margaret Street that is of an individual layout and superior scale. The sixth house has two octagonal bays and they are larger and project fully to the street alignment. The entrance to the sixth house is from Margaret Street.

The building is designed in a Victorian style with Italianate influences. The arcade is decoratively treated. Short cast iron colonettes (thin columns) have Ionic order capitals incorporating garland swags, carved limestone panels, and entrances accentuated by triangular pediments. Two sculpted limestone cats sit atop the parapet of the George Street facade. The white details and cat sculptures were rendered in Oamaru limestone imported from New Zealand.

Wings with timber verandahs on their ground and first floors extend off the rear and are separated by courtyards. Rear walls feature cement render indicating the profile of demolished service wings.

The interior of the building is considerably altered. Room layouts indicate original separate tenancies but openings in the party walls now connect them. Fittings, though ornate, are reproductions and suspended ceilings conceal air-conditioning ducts. A lift and other modern facilities are also installed.

Heritage listing
The Mansions was listed on the Queensland Heritage Register on 21 August 1992 having satisfied the following criteria.

The place is important in demonstrating the evolution or pattern of Queensland's history.

The Mansions (1889) is important in demonstrating the evolution of urban development in colonial Queensland as a result of the 1880s land boom, especially in the capital city Brisbane.

It demonstrates the pattern of development of the Brisbane CBD with lower George Street as a prestigious residential area associated with parliament and the site of professional offices from the 1860s. The Mansions is a distinctive example of this residential development of lower George Street.

It also demonstrates, through its purchase and refit for government offices, the development of lower George Street as a government office precinct post World War II.

The survival of The Mansions, despite 1960s plans for its demolition, demonstrates how increased public concern about the preservation of heritage buildings influenced government redevelopment plans during the 1970s and 1980s.

The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage.

The Mansions demonstrates nineteenth century terraced housing - a form of housing, which was uncommon and is now rare in Queensland. The building is a distinctive and exceptional example of prestigious, late nineteenth century terraced housing.

The place has potential to yield information that will contribute to an understanding of Queensland's history.

The Mansions has potential to contribute to a greater understanding of Queensland's history. Potential exists at the rear of The Mansions for archaeological materials including footings and foundations associated with the former servants' and kitchen wings, and objects and refuse commonly found within domestic contexts, particularly ceramic, glass and personal items.

The place is important in demonstrating the principal characteristics of a particular class of cultural places.

The Mansions is important in demonstrating the principal characteristics of late nineteenth century, terraced housing. Defining elements of this style of housing include its shared dividing walls, repetition of form and linear house plan. Comprising six residences, the building is a fine and rare Queensland example of prestigious, late nineteenth century terrace housing and exemplifies the urban lifestyle experienced by affluent Queenslanders of this period.

The Mansions are also an excellent example of the work of George Henry Male Addison, a designer who made an important contribution to Queensland's built environment. Stylistically these highly finished and ornate terrace houses are unlike any others in Queensland but are characteristic of Addison's work as an accomplished designer achieving maximum effect with roof form and face brickwork relieved with stone detailing.

The place is important because of its aesthetic significance.

The Mansions is important for its architectural attributes. The skilful and complex composition of face brickwork, stone detailing, shady arcaded verandahs, integrated gardens and fencing, and complex roof form are of aesthetic beauty and make a strong contribution to the George and Margaret Streets streetscape and to the government precinct in George and William Streets.

The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.

The Mansions has a strong association for its cultural heritage significance with Queenslanders concerned about heritage issues. It was the focus of the National Trust of Queensland's campaign to save the Belle Vue Hotel and The Mansions during the 1970s, which had wide public support and resulted in The Mansions not being demolished. Newspaper, film, magazine and journal articles from the period demonstrate this association.

title: The Mansions, Brisbane


text:
TCP tuning

TCP tuning techniques adjust the network congestion avoidance parameters of Transmission Control Protocol (TCP) connections over high-bandwidth, high-latency networks. Well-tuned networks can perform up to 10 times faster in some cases. However, blindly following instructions without understanding their real consequences can hurt performance as well.

Bandwidth-delay product (BDP)
Bandwidth-delay product (BDP) is a term primarily used in conjunction with TCP to refer to the number of bytes necessary to fill a TCP "path", i.e. it is equal to the maximum number of simultaneous bits in transit between the transmitter and the receiver.

High performance networks have very large BDPs. To give a practical example, two nodes communicating over a geostationary satellite link with a round-trip delay time (or round-trip time, RTT) of 0.5 seconds and a bandwidth of 10 Gbit/s can have up to 0.5×10 Gbits, i.e., 5 Gbit of unacknowledged data in flight. Despite having much lower latencies than satellite links, even terrestrial fiber links can have very high BDPs because their link capacity is so large. Operating systems and protocols designed as recently as a few years ago when networks were slower were tuned for BDPs of orders of magnitude smaller, with implications for limited achievable performance.

Buffers
The original TCP configurations supported TCP receive window size buffers of up to 65,535 (64 KiB - 1) bytes, which was adequate for slow links or links with small RTTs. Larger buffers are required by the high performance options described below.

Buffering is used throughout high performance network systems to handle delays in the system. In general, buffer size will need to be scaled proportionally to the amount of data "in flight" at any time. For very high performance applications that are not sensitive to network delays, it is possible to interpose large end to end buffering delays by putting in intermediate data storage points in an end to end system, and then to use automated and scheduled non-real-time data transfers to get the data to their final endpoints.

TCP speed limits
Maximum achievable throughput for a single TCP connection is determined by different factors. One trivial limitation is the maximum bandwidth of the slowest link in the path. But there are also other, less obvious limits for TCP throughput. Bit errors can create a limitation for the connection as well as RTT.

Window size
In computer networking, RWIN (TCP Receive Window) is the amount of data that a computer can accept without acknowledging the sender. If the sender has not received acknowledgement for the first packet it sent, it will stop and wait and if this wait exceeds a certain limit, it may even retransmit. This is how TCP achieves reliable data transmission.

Even if there is no packet loss in the network, windowing can limit throughput. Because TCP transmits data up to the window size before waiting for the acknowledgements, the full bandwidth of the network may not always get used. The limitation caused by window size can be calculated as follows:

$$ \mathrm{Throughput} \le \frac {\mathrm{RWIN}} {\mathrm{RTT}} \,\!$$

where RWIN is the TCP Receive Window and RTT is the round-trip time for the path.

At any given time, the window advertised by the receive side of TCP corresponds to the amount of free receive memory it has allocated for this connection. Otherwise it would risk dropping received packets due to lack of space.

The sending side should also allocate the same amount of memory as the receive side for good performance. That is because, even after data has been sent on the network, the sending side must hold it in memory until it has been acknowledged as successfully received, just in case it would have to be retransmitted. If the receiver is far away, acknowledgments will take a long time to arrive. If the send memory is small, it can saturate and block emission. A simple computation gives the same optimal send memory size as for the receive memory size given above.

Packet loss
When packet loss occurs in the network, an additional limit is imposed on the connection. In the case of light to moderate packet loss when the TCP rate is limited by the congestion avoidance algorithm, the limit can be calculated according to the formula (Mathis, et al.):

$$ \mathrm{Throughput} \le \frac {\mathrm{MSS}} {\mathrm{RTT} \sqrt{ P_{\mathrm{loss} }}}$$

where MSS is the maximum segment size and Ploss is the probability of packet loss. If packet loss is so rare that the TCP window becomes regularly fully extended, this formula doesn't apply.

TCP options for high performance
A number of extensions have been made to TCP over the years to increase its performance over fast high-RTT links ("long fat networks" or LFNs).

TCP timestamps (RFC 1323) play a double role: they avoid ambiguities due to the 32-bit sequence number field wrapping around, and they allow more precise RTT estimation in the presence of multiple losses per RTT. With those improvements, it becomes reasonable to increase the TCP window beyond 64 kB, which can be done using the window scaling option (RFC 1323).

The TCP selective acknowledgment option (SACK, RFC 2018) allows a TCP receiver to precisely inform the TCP sender about which segments have been lost. This increases performance on high-RTT links, when multiple losses per window are possible.

Path MTU Discovery avoids the need for in-network fragmentation, increasing the performance in the presence of packet loss.

Tuning slow connections
The default IP queue length is 1000, which is generally too large. Imagine a Wi-Fi base station having a speed of 20 Mbit/s and an average packet size of 750 byte. How large should the IP queue be? A voice over IP client should be able to transmit a packet every 20 ms. The estimated maximum number of packets in transit would then be: Estimated buffer size = 20000000 * 0,020 / 8 / 750 = 66 A better queue length would be: ifconfig wlan0 mtu 1492 txqueuelen 100

title: TCP tuning


text: User talk:66.69.219.9

title: User talk:66.69.219.9


text: User talk:70.34.248.152

title: User talk:70.34.248.152


text:
User talk:Jouk pleiter

POV
Jouk, I strongly recommend that you read over the neutral point-of-view guidelines here at Wikipedia. Your creation of the Ajax (Declarative Programming) article, an article inspired by "a vision paper 'AJAX & Beyond' by Backbase's Jouk Pleiter", demonstrates a lack of understanding about what Wikipedia is, and more importantly, what behavior is and isn't recommended in contributing to Wikipedia. Your company clearly has a lot of Ajax experience, and your contributions in a neutral fashion to the existing Ajax article (and related articles) are more than welcome, but using Wikipedia as an advertising board is very much frowned upon.

Thanks for considering this; as you've said you're just getting into Wikipedia, I hope you take this in the spirit I offer it, namely as guidance to being a good citizen here, and not as a request to go away. As I said, I'm certain that you have a lot to offer here, being a reasonably good expert on web programming concepts and the businesses built around them, but I'd like to help you guide those contributions in a manner that contributes to Wikipedia in a productive way. Jason t c 15:07, August 31, 2005 (UTC)

title: User talk:Jouk pleiter