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Talk:Michael Chabon

"Final Solution" written in 2004?
I was under the impression that "Final Solution" was written as a short story published in "Harper's" before its publication as a novella.

Reverted a major rewrite
The series of anonymous edits that started on August 9 had the effect of throwing out most of a small but solid article, replacing it with outrageously POV statements and bad writing. I don't think subsequent edits should be based on that version. If 69.37.33.235 wants to reinstate some of his/her language, he/she can do it one sentence at a time and provide justifications in the edit summaries. There have been a few good edits by others since then, which I'll try to duplicate. ←Hob 17:20, August 24, 2005 (UTC)
 * Oh, actually most of those later edits were just damage control. Well, let's move on.  ←Hob 17:23, August 24, 2005 (UTC)

"gay writer" reverts
To the anonymous editor who keeps changing the "gay writer" passage: if you feel strongly enough about it, please discuss it here, rather than just repeating the same revert; edit summaries are not the right venue for a debate. As for "who cares" - it's notable because Chabon and his critics thought it was notable. It figured pretty prominently in the reviews of his first few books, and many of his interviews - a lot of critics just assumed that no straight writer would choose to write about gay protagonists, or would be able to do it at all well. It's interesting both as a footnote to Chabon's biography and as a symptom of widespread attitudes about literature and identity. ←Hob 03:59, 26 October 2005 (UTC)

Is it possible to create a section for that? I mean, there's sporadic details in a bunch of the articles about his books.

Hey I'm not the guy editing things I just want to ask a question, I've only read yiddish policemen's union and gentlemen of the road I'm about 1/2 way through. I was really surprised to see a reference to his 'often' using bisexual characters (or something along those lines) in one of the introductory statements which rather than expanding and justifying it just points people to footnoted reviews. I think that's really sloppy writing. I'm aware of the 90% confirmed gay character in yiddish and what certainly a human sexuality student will infer is a homoerotic undercurrent between the two leads in gentleman but that's sort of a far cry from how I interpreted the statement I'm referring to. I think if you want to say something like that you need to sort of dig down and justify it right then and there in a subsection or else avoid it entirely because a 'straight' (is that even 100% confirmed I mean has someone called him on it [I know he's married to a woman]?) writer having gay/bi/lesbian/trangendered etc characters isn't exactly noteworthy

Film
"...and is at work on a rewrite of a project for Disney, a live-action martial arts retelling of Snow White and the Seven Dwarfs, to be directed by master Hong Kong fight choreographer and director Yuen Wo Ping."

I put a after this, because even though I know this is true, it sounds ludicrous in and of itself and I couldn't find a credible source to support it. Anyone have one they care to link to?

68.9.101.244 22:20, 29 May 2006 (UTC)

How about Michael Chabon's own website:

''Snow and the Seven

As of March 29, 2006, 12:59 AM

Writing is ongoing for this Disney/Yuen Wo Ping martial arts fantasy.''

http://www.michaelchabon.com/works/

ShelfSkewed 03:57, 30 May 2006 (UTC)

swell. can we put it on the page itself?

68.9.101.244 01:14, 31 May 2006 (UTC)

Done and done--with two additional references, as well.

ShelfSkewed 02:01, 31 May 2006 (UTC)

Editing problem
Can anyone with more Wikipedia experience explain to me what I might have done wrong trying to edit this page? When I previewed my edits, everything was fine, but when I saved the page, half the article disappeared. I fixed the mistake (twice) by reverting to a previous version, but I've never had that happen before. Thanks in advance for any advice.ShelfSkewed 04:34, 22 June 2006 (UTC)
 * You were trying to add a biography section right? I just tried and it seemed to work fine for me, unless you're refering to something else. I don't know what the problem would be. -Fearfulsymmetry 18:03, 22 June 2006 (UTC)
 * I tried what you did, plus removing the Personal Life heading and moving that sentence to the end of the Biography section. Well, maybe my earlier experience was just a fluke: I just tried it again, and had no problem at all.ShelfSkewed 14:07, 23 June 2006 (UTC)
 * In case anyone still cares, I ran across this recently in Article_size: "There is currently (June 2006) a problem with the latest version of Firefox when combined with the Google toolbar. See the Bugzilla case for more information." The Bugzilla link leads to a page citing many, many experiences like mine.  And I do use the latest version of Firefox plus the Google toolbar, so I guess that explains it.ShelfSkewed 22:55, 13 July 2006 (UTC)

"Homosexuality as a theme" section
I read the NY Review of Books article that's linked to in this section. In it, Chabon does mention his own same-sex experiences, but doesn't mention anything about the main character's "homosexuality" as this section previously said it did. Indeed, in the novel, the narrator says that he is not gay, but felt that he needed to expand his range of experiences. So, I moved the citation. I also removed the bit about Chabon being married to a woman since it's superfluous, and if Chabon is bi (I don't know whether he identifies as such), his marriage doesn't contradict that. 213.199.128.149 10:54, 31 October 2006 (UTC)

Grady Tripp's novels
Just for future reference, in chronological order: -- ShelfSkewed [Talk] 05:28, 2 February 2007 (UTC)
 * The Bottomlands (1976)
 * The Arsonist's Girl ("an unpleasant little story of love and madness....a slender volume")
 * The Land Downstairs ("won a PEN award and...[sold] twelve thousand copies")
 * Wonder Boys (unpublished)

"Sexual orientation as a theme" section and undue weight
I thought I would clarify this edit of mine. It's already obvious from the quotation from Chabon that he's not gay, and since being gay is purely a matter of self-identification, it's usually best to present this sort of thing in the subject's own words (which is why the quotation from the NY Times interview is good). Saying repeatedly that Chabon "is not gay" veers perilously close to being POV, since it implies it's very important to emphasize that's he's not gay. I think it's also important to avoid using language like this because it's not clear from the article (or from any reliable sources I know of) whether Chabon identifies as bisexual or as heterosexual. The only verifiable information we have in the article is that he's married to a woman now, and has had relationships with people of both sexes in the past. To many people, unfortunately, "not gay" implies "heterosexual", and so it's doubly important to be clear and even-handed. SparsityProblem 22:44, 5 March 2007 (UTC)

 * Chabon is bisexual. Read the essay that he wrote that was published in the newer edition of the Mysteries of Pittsburgh.  Also read an interview that he did in the 80s when his book the mysteries of Pittsburgh was first published and he came out then as being bisexual. — Preceding unsigned comment added by 71.58.74.161 (talk)

Note from Michael Chabon
I know it's not kosher to edit one's own biography on Wikipedia, so I thought that it would be most appropriate for me to comment here on one of a number of errors in this entry. This one has been drawn to my attention repeatedly in recent weeks as various journalists have cited it, and this article, when interviewing me, or have relied on this article to attribute to me words or sentiments that I did not actually say or express.

For the record:

As far as I know, I have never said that my "desire is nothing less than annihilation of literary categories." I realize that the article does not attribute this quote to me directly--in fact as the footnote indicates, these are the words of Erik Spanberg in the Christian Science Monitor--but given the number of times that I have recently been asked to justify or defend this supposed desire, I think the entry could stand to be rewritten. In fact, if anyone is interested, I am perfectly happy to allow the literary categories to continue their existence unmolested; what I would like to see annihilated is not the categories but the bias against certain ones of them (e.g., sf, fantasy, mystery, nurse romance) and the lazy, unexamined reliance on stale labels and on received ideas about genre. In the unlikely event that I ever did express, at any time, the desire to see literary categories annihilated, I hereby repudiate it, and apologize to the categories for whatever hurt feelings I may have caused them.

I hope that I have not violated any of the sacred tenets of Wikipedia in posting under this page.

Michael Chabon 03:18, 25 May 2007 (UTC)Michael Chabon

I don't know enough to make the subsequent changes, but the POV stub has been added until someone can edit the article so its subject doesn't consider it erroneous. This seems like the logical step to me, but I reckon someone can take it down if they want to disregard the author's perspective, or consider Mr. Chabon to have a poor understanding of... himself. - Alaaious 23:27, 19 June 2007 (UTC) -

This has already been done, promptly, in the wake of Mr. Chabon's comment. Please see my edit of May 25. In respect of this, I've pulled the POV. Thanks. -- P L E A T H E R talk 00:28, 20 June 2007 (UTC)

Ah, sorry about that. Didn't even think of looking. At least now it's clear on the talk page that Mr. Chabon's comment was addressed, so we won't get more people like me who are too zealous for their own good. - Alaaious 02:20, 24 June 2007 (UTC) -
 * Mr. Chabon just TPed his own page with a poorly photoshoped image which featured the bridge of the Star Ship Enterprise. Numskll 19:30, 13 July 2007 (UTC)

ISBNs
In the Works section: is it necessary to include ISBN numbers for all of Chabon's writings (especially those which have their own articles)? I'm asking this because I've noticed that very few other author articles (and none of Wikipedia's featured articles on 20th-century authors) include ISBN #s for an author's works. It seems to me that ISBN numbers muddy up this section and are not crucial; after all, they're no more important than, say, the exact day of release and the publisher. If no one disagrees, I'll remove the #s from this section in a few days. -Hobbesy3 16:48, 4 July 2007 (UTC)
 * I agree with you. Although I've added a few ISBNs in the past, just because the other books in the article already had them, I think they are unsightly and have limited usefulness. All they are, really, are inventory-control numbers, which I don't see included in other types of articles. Does the article banana mention that the US cash-register code is 4011? I doubt it.-- Shelf Skewed  Talk  18:51, 4 July 2007 (UTC)

I find ISBN numbers to be extremely helpful in quickly locating books at Amazon, B&N, and in libraries.Lestrade (talk) 16:15, 10 July 2008 (UTC)Lestrade

GA Passed
A few things are holding this back with regard to the GA criteria:
 * Lead: too short, provide slightly more context and background, say something about what characterizes his writing the best or repetitive themes,etc. Perhaps use some of the stuff in Early years.
 * Citing: Van Zorn and Chabon universe paragraphs have no citations - get from the books discussed?
 * Put up one of those "Do you have a picture of this person?" tags in the infobox.

That's it and it's GA! --Meowist 03:04, 27 July 2007 (UTC)

I'm extremely pleased with the rewrite of the lead! It now excellently summarizes the subject and provides context. The Van Zorn and Chabon universe sections are now well-cited with Chabon's works and the picture tag is there. Suggestions for improvement: since I haven't read any of his books, I am at a loss to find something to improve the article with - it looks extremely good now. --Meowist 20:32, 29 July 2007 (UTC)

Sidewise Award
I'm restoring the mention of his winning the Sidewise award. I'll grant that it's not as significant as the Hugo or Nebula, but it isn't trivial. It gets 11,100 Google hits when it's spelled correctly, even though it's only been around for one fourth as long as the Hugos and a third as long as the Nebulas. All other winners have it mentioned on their web pages. Keith Lynch (talk) 00:15, 13 August 2008 (UTC)

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title: Talk:Michael Chabon


text:
A. K. Shiva Kumar

A. K. Shiva Kumar (29 June 1956), is a development economist, policy advisor, and evaluator, who has over the past 40 years, taught economics, undertaken evaluations, conducted research and policy analysis, worked closely with governments, international agencies, and civil society organisations to advocate for changes in public policy and legislation. He teaches various courses at Harvard University, Indian School of Business, BITS School of Management, Young India Fellowship, S. P. Jain Institute of Management and Research and Ashoka University.

He is a board member of the Global Partnership to End Violence against Children, co-chair of Know in Violence in Childhood, and a member of the leadership councils of both the International Center for Research on Women (ICRW) and Global Women's Institute, The George Washington University, Washington DC. In addition to serving as a senior policy adviser UNICEF – India (1992-2017), he was a member of India's National Advisory Council to the Prime Minister of India, constituted by the Chairperson Sonia Gandhi. The council was set up in June 2004 to oversee the implementation of India's National Common Minimum Programme.

Early life
Kumar earned his postgraduate diploma in management from the Indian Institute of Management, Ahmedabad, and his MA in economics from Bangalore University. He also holds a master's degree in public administration and a Ph.D. in political economy and government from Harvard University. At Harvard, Kumar's Ph.D. supervisor was Nobel Laureate Amartya Sen.

Career
Kumar teaches economics and public policy at the Harvard Kennedy School and is a visiting professor at the Indian School of Business in Hyderabad, the Young India Fellowship at Ashoka University and S. P. Jain Institute of Management and Research in Mumbai. He has focused his research on poverty and human development, social sector analysis, and the impact of development policies on children and women. He is recipient of the MacArthur Fellowship, Mason Fellowship, and the Certificate of Excellence in Teaching from Harvard University. He serves as the President of the Board of Trustees of Sanskriti Foundation.

Kumar is the convener of the Kolkata Group Meeting annual workshops which are organised by Pratichi (India) Trust, the Harvard Global Equity Initiative and UNICEF India – and supervised and led by Amartya Sen. He serves on the Academic Council of Ashoka University. Kumar is also a member of the Executive Board of India's leading environmental protection organisation – the Centre for Science and Environment. In 2011, the Comptroller and Auditor General of India constituted an Audit Advisory Board (AAB) of which Dr. Kumar was a member.

Kumar has been a regular contributor to UNDP's Annual Human Development Reports. He has also been associated with the preparation of national human development reports in a number of countries including Bhutan, Maldives, Mongolia, Myanmar and Serbia. He was appointed by the Government of Sikkim as advisor for formulating Sikkim's second Human Development Report.

In 2003, Kumar co-edited the book Readings in Human Development. His other publications include the Public Report on Basic Education (PROBE) (Oxford University Press, 1999) and a co-authored report entitled, ''Women in India: How free? How Equal'', for the UN System in India. He also put together The Oxford Handbook of Population and Development.

Kumar released the Delhi Human Development Report 2013 along with Delhi CM Sheila Dikshit and Vice-President Hamid Ansari. He formerly served as the Director of the International Centre for Human Development (IC4HD), New Delhi. The IC4HD was a constituent of the United Nations and along with support from the Ministry of Human Resource Development (India).

Other activities

 * Global Partnership to End Violence Against Children, Member of the Board (since 2016)

title: A. K. Shiva Kumar


text: User talk:69.69.217.67

title: User talk:69.69.217.67


text:
Tamás Darnyi

Tamás Darnyi (born 3 June 1967 in Budapest) is a Hungarian retired male swimmer. He is considered by many to be one of the greatest medley swimmers in history. He won four gold medals at two Olympic Games (1988 and 1992) and was unbeaten in the individual medley events from 1985 until his retirement in 1993. He is the first swimmer ever to swim the 200 m medley (long course) in less than 2 minutes.

Career
Possibly one of the greatest medley swimmers of all time, Tamás Darnyi dominated his speciality between 1985 and 1993. He won the 200/400 m medley double at the 1988 and 1992 Olympics, the 1986 and 1991 World Championships, and the 1985, 1987 and 1989 European Championships. He also won a European title in the 200 m butterfly, and a world bronze in the same event.

A teen talent, Darnyi might have competed at the 1984 Olympics, but both the Eastern European boycott and a personal accident prevented this. He was hit by a snowball in the left eye, which left him blind in one eye. After recovering, he started an unbeaten streak in medley events that lasted from 1985 to 1993. During that period, he bettered the world record in both medley events three times. After his final European title in 1993 (400 medley), he retired and managed a Budapest sports school.

He was named Male World Swimmer of the Year in 1987 and 1991 by Swimming World magazine. He was elected Hungarian Sportsman of the Year in 1986, 1987, 1988, 1990 and 1992 for his achievements.

title: Tamás Darnyi


text:
António Pinho Vargas

António Pinho Vargas (born August 15, 1951 in Vila Nova de Gaia) is a Portuguese composer and pianist specializing in jazz and contemporary music. He has also written books, essays, and articles on music.

Career
Having obtained a degree in history at the University of Porto, he studied music at the Rotterdam Conservatory from 1987 to 1990 and graduated with a degree in Musical Composition. In 1991, he began teaching musical composition at the Escola Superior de Música in Lisbon. His first jazz album was Outros Lugares (1983). He also wrote soundtracks for Portuguese films and theatrical plays.

Since his return from the Netherlands he has mainly been a classical composer, having written operas, orchestral and ensemble pieces, and works recorded by the Arditti Quartet, Galliard Ensemble, Royal Scottish Academy Brass, and the Northern Sinfonia.

 * 1983 Outros Lugares
 * 1985 Cores e Aromas
 * 1987 As Folhas Novas Mudam de Cor
 * 1989 Os Jogos do Mundo
 * 1991 Selos e borboletas
 * 1995 Monodia
 * 1996 A Luz e a Escuridão
 * 2001 Versos
 * 2003 Os Dias Levantados
 * 2008 Solo
 * 2009 Solo II
 * 2011 Concerto No IST  Improvisações
 * 2014 Step by Step, Drumming GP plays António Pinho Vargas
 * 2014 Outro Fim
 * 2014 Requiem & Judas

Ensemble
for Violoncello and Large Ensemble alto fl, ob, cl, bcl, fg, tp, cor, tbn, 3 perc., pf, Cello Solo, 6 vln, 2 vla, 2 vlc, 2 cb; Duration: 27' Commissioned by: Casa da Música / Porto 2001 First Performance: Anssi Karttunen (violoncello) and Remix Ensemble, dir: Frank Ollu, Porto, 2005
 * SIX PORTRAITS OF PAIN (2005)
 * critic |

for Ensemble fl; ob; cl; bcl, fg; 2 perc; pf; vl I; vl II; vla; vlc; cb; Duration: 12 ' Commissioned by: Fundação Oriente First Performance: OchestrUtópica, dir. Yu- Feng, Lisboa, 2003
 * MACHINES FICTIVES (pour Pierrot le fou) (2003) (withdrawn for rev.)

for 12 instruments fl; ob; cl, cor; fg;; pf; perc; vln I ; vl II; vla; vlc; cb Duration: 10' Commissioned by: Foundation Calouste Gulbenkian First Performance: Ensemble Nuova Sincronia, dir. Renato Rivolta, Lisboa and Milano, 1997
 * TRÊS VERSOS DE CAEIRO (1997)
 * record |

for 10 instruments fl, cl1, cl/clb, fg/cfg, tp, cr, tbn, pf, vln, vlc, Duration: 17' Commissioned by: Professional School of Music – Almada First Performance: Soloists from Orq. Sinfónica Portuguesa, Lisboa
 * TRÊS QUADROS PARA ALMADA (1994)
 * record |

for 10 instruments fl; cl; c.i.clb; vib/mar; cel/pf vln I vla; vlc; cb Duration: 12' Commissioned by: First Performance: Performance: Ensemble RC, dir. Arie Van Beck, Amsterdam
 * ESTUDO/FIGURA (1990)

for Opus Ensemble (withdrawn) ob/c.i.,vla, cb, pf. Duration: 12' Commissioned by: RTP First Performance: Soloists from Rotterdam's Conservatorium, Amsterdam (withdrawn for rev.)
 * MÚSICA PLANA / MÚSICA CONTRAPLANA (1989)

Orchestra
for Violino and Orquestra Commissioned by CCN First Performance February 2016, Tamila Kharambura, violin, Orquestra Metropolitana de Lisboa dir. Gary Walker
 * CONCERTO para VIOLINO in memorian Gareguin Aroutiounian

para Orquestra Commissioned by Orquestra Clássica do Sul First Performance July–August 2014
 * QUADROS (de arte moderna)

(2.2.2.2–4.2.2.1-Timp. 1/2 perc .hp.- 8.8.6.6.5.) Duration:12' Commissioned by: Guimarães Capital Europeia da Cultura. First Performance: Orq. Estúdio Guimarães, dir. Rui Massena, Outubro2012, Auditório do CC Vila Flor.
 * OUVERTURES AND CLOSURES (2012)for orchestra

for Orchestra, 3 narrators prerecorded and electronics Commissioned by Casa da Música, Centro Cultural de Belém e Teatro de São Carlos, for the composer's 60 birthday First Performance: OS CdM, dir. Christopher Konig, 1-10- 11, Second performance: OSP, dir. Diego Masson, 17 – 1 -12,
 * ONZE CARTAS (2011)

for orchestra (Strings 3 vlns 2 vlas, 3 vlc, 1cb e harpsichord) Duration: 12 ' Commissioned by: Centro Cultural de Belém First Performance: Orq. Metropolitana de Lisboa, dir. MICHAEL ZILM, Abril 2009 Grande Auditório do CCB
 * AN IMPOSSIBLE TASK (2009)

for speaker and orchestra (2.2.2.2- 2.2.2.-1 perc, .hp.-6.6.4.4.2) Duration: 12 ' Commissioned by: Orquestra Metropolitana de Lisboa First Performance: Orq. Sinfónica Portuguesa, dir. MICHAEL ZILM, Dezembro 2007 Pequeno Auditório do CCB
 * UM DISCURSO DE THOMAS BERNHARD (2009)

for large orchestra (3.3.3.1.3.1- 6.3.3.1–5 perc. pf.hp.-16.14.12.10.8) Duration: 25 ' Commissioned by: Teatro Nacional de São Carlos First Performance: Orq. Sinfónica Portuguesa, dir. LOTHAR KÖNIGS, Março 2006, Grande Auditório do CCB
 * GRAFFITI [just forms] (2006)
 * critic |

for orchestra and percussion obligato (2.2.2.2. – 0.2.0.2. -1perc) (10.8.6.5.4) Duration: 8 ' Commissioned by: Teatro Nacional de S. Carlos First Performance: Orq. Sinfónica Portuguesa dir. Donato Renzentti, Lisboa, 2004
 * REENTERING (2004)
 * opinion |

for piano solo and orchestra (2.2.2.2 – 4.2.0.0. – 2 perc- 14.12.10.6.5) Duration: 18 ' Commissioned by: International Music Festival of Coimbra First Performance: Orq. Gulbenkian, dir. Yu Feng; piano: Anne Kaasa, Coimbra, 2004 (withdrawn for rev.)
 * ... VON FREMDEN LÄNDLER ... (2004) (withdrawn for rev.)

for string orchestra (8.6.6.6.5) Duration: 15' Commissioned by: First Performance: Orq. Nacional do Porto, dir. Cesário Costa, V.N. Gaia
 * DUAS PEÇAS (1992–2000)

for orchestra (2.2.2.2 – 4.2.0.0. 1 perc); (14.12.10.6.5) Duration: 20 ' Commissioned by: Foundation Calouste Gulbenkian First Performance: Orq. Gulbenkian, dir. Michael Zilm, Lisboa, 2001
 * A IMPACIÊNCIA DE MAHLER (1999)

for piano, percussion and orchestra (2. 2. 2. 1. 2 – 2. 2. 2. 2. 1. 2 perc); strings A (6.6.4.4.3); strings B (6.6.4.4.3) Duration: 19 ' Commissioned by: Teatro Nacional de São Carlos http://www.mic.pt/ First Performance: Orq. Sinfónica Portuguesa, dir. António Saiote. Piano: Miguel Henriques, Percussion: Elizabeth Davies, Lisboa, 1998
 * ACTING-OUT (1998–2000)
 * critic |

for orchestra and jazz trio Duration: 20 ' Commissioned by: Comissão Portuguesa dos Descobrimentos First Performance: Orq. Gulbenkian, dir. Michel Swiertchevisky, Lisboa.
 * EXPLICIT DRAMA (1992) (withdrawn for rev.)

GEOMETRAL (1988–2000) (withdrawn for rev.) for Orchestra (27 instruments) Duration: 20 ' Commissioned by: Foundation Calouste Gulbenkian First Performance: Orq. Gulbenkian, dir. Michel Tabachnik, Lisboa, 1989

Chamber music
for string quartet and piano Duration: 9' Commissioned by: Síntese, GMCG First Performance: (14-11-2013)
 * NO ART II (2013)

version for flute and piano Duration: 9' Commissioned by: Luís Meireles 2010 First Performance: (5-1-2013)
 * QUATRO NOVOS FRAGMENTOS (2012)

for String Quartet Commissioned by Instituto Superior Técnico de Lisboa First performance: Quarteto de Cordas de Matosinhos at IST, July 2012
 * STRING QUARTET Nº 3 (2011)

for violin and piano Duration: 10' Commissioned by: Centro Cultural de Belém First Performance: 29-5-2011
 * QUASI UNA SONATA (2011)

for clarinet and piano Duration: 9' Commissioned by: António Saiote 2010 First Performance: (2012)
 * QUATRO NOVOS FRAGMENTOS (2010)

for Sond'art Ensemble (fl, cl, ln, vlc, pno) Duration: 1' Commissioned by: para os 25 anos do MisoMusic Portugal – 2010 First Performance: 14 April 2010, Instituto Franco-Português
 * ONE MINUTE TO GO (2010)

for String Quartet Duration: 11' Commissioned by: XXX Festival Internacional de Música da Povoa de Varzim First Performance: Quarteto Verazin, Póvoa de Varzim, 2008
 * MOVIMENTOS DO SUBSOLO, QUARTETO DE CORDAS Nº 2 (2008)

for 2 violins (2.2.2.2. – 0.2.0.2. -1perc) (10.8.6.5.4) Duration: 6 ' Commissioned by: Movimentos Perpétuos First Performance: Aníbal Lima e Pedro Pacheco, Lisboa, 2003
 * DOIS VIOLINOS FOR CARLOS PAREDES (2003)
 * record |

for 6 percussionists (2.2.2.2. – 0.2.0.2. -1perc) (10.8.6.5.4) Duration: 6 ' Commissioned by: Drumming First Performance: Drumming, dir. Miguel Bernat, 2002
 * STEP BY STEP, WOLFS! (2002)
 * critic |

for 2 pianos Duration: 15 ' Commissioned by: First Performance: Miguel Henriques, Ana Valente, Lisboa, 2001
 * TRÊS ESTUDOS FOR 2 PIANOS (2000–2001)
 * critic |

for 2 trumpets or 2 recorders Duration: 6 ' Commissioned by: International Music Festival of Mafra First Performance: John Wallace, John Miller, Mafra, 2001
 * TWO FAMILY DISCUSSIONS (2001)
 * record | | critic |

for clarinet trio Duration: 15 ' Commissioned by: First Performance: Cl: António Saiote, Vlc: Jed Barahal, Pf: António Rosado, Póvoa de Varzim, 2001
 * QUATRO OU CINCO MOVIMENTOS FUGIDIOS DA ÁGUA (2001)
 * critic | record |

for barítone and piano Duration: 18' Commissioned by: First Performance: Paulo Ferreira, Jaime Mota, Porto, 2000
 * SETE CANÇÕES DE ALBANO MARTINS (2000)
 * critic | record |

for 6 percussionists Duration: 25' Commissioned by: First Performance: Drumming, dir. Miguel Bernat, Lisboa, 2000
 * ESTUDOS E INTERLÚDIOS (2000)
 * critic |

for 4 instruments Duration: 10' Commissioned by: "Sven for Parlor" First Performance: "Sven for Parlor", Athens, 1997
 * TERCEIRO VERSO DE CAEIRO (1997)

for voice e piano Duration: 25' Commissioned by: Encontros Primavera de Guimarães First Performance: Rui Taveira, Jaime Mota, Guimarães, 1995
 * NOVE CANÇÕES DE ANTÓNIO RAMOS ROSA (1995)
 * critic | record |

for string sextet Duration: 8' Commissioned by: Câmara Municipal do Porto First Performance: Sextuor L'Artois de Lille, Porto, 1994
 * NOCTURNO/DIURNO (1994)
 * record |

for string quartet Duration: 15' Commissioned by: Câmara Municipal do Porto para as Jornadas de Arte Contemporânea de 1993 http://www.mic.pt/ First Performance: Ensemble MusikFabrik, Porto, 1993
 * MONODIA – quasi un requiem (1993)
 * critic | record 1 | record 2 |

for string orchestra (8,6,6,4,4) Duration: 6' Commissioned by: Orquestra Metropolitana de Lisboa First Performance: Orq. Metropolitana de Lisboa, dir. Miguel Graça Moura, Lisboa, 1992
 * MECHANICAL STRING TOYS (1992)

for flute and string quartet Duration: 6' Commissioned by: Oficina Musical First Performance: Oficina Musical, dir. Álvaro Salazar, Porto, 1990
 * POETICA DELL ESTINZIONE (secondo mikhal serguieievitch) (1990)
 * record |

for saxophone quartet alto/soprano; alto; tenor; baritone Duration: 8' Commissioned by: First Performance: Quarteto de Saxofones de Lisboa, Lisboa, 1989
 * CUT (1989 / rev.: 2004)

for flute and clarinet alto/soprano; alto; tenor; baritone Duration: 6' Commissioned by: Oficina Musical First Performance: Eduardo Lucena, Américo Aguiar (Oficina Musical), Porto, 1984 (withdrawn for rev.)
 * GRAVITAÇÕES (1984)

Opera, Oratoria
Choir a cappella Commissioned by Paulo Lourenço First performance: May 2014
 * DE PROFUNDIS (2014)

Choir and Orchestra Commissioned by Culturgest First performance: Choir and Orchestra Gulbenkian, dir. Cesário Costa, 11/12 Oct. 2013
 * MAGNIFICAT (2013)

Choir and Orchestra Duration: 30' Commissioned by Fundação Calouste Gulbenkian First performance: Choir and Orchestra Gulbenkian, dir. Joana Carneiro, 21/22 Nov. 2012
 * REQUIEM (2012)

chamber opera 5 singers; fl; ob; cl; Bcl; fg/cf; 2hn; tbn; 2 perc; pf; 3 vl I;3 vl II;2 vla;2 vln;2 cb; Libreto: José Maria Vieira Mendes Duration: 1h 30' Commissioned by: Culturgest First Performance: Sónia Alcobaça, Luís Rodrigues, Larissa Savchanko, Mário Alves, Madalena Boleo Orquestra Sinfónica Portuguesa, dir.Cesário Costa, Lisboa, 2008
 * OUTRO FIM (2009)

chamber opera 3 singers; fl; ob; cl; Bcl; fg; tp; hn; tbn; 2 perc; harp; pf; vl I; vl II; vla; vln; cb; Electronics by Carlos Caires and Antonio Pinho Vargas Libreto: Paulo Tunhas Duration: 32' Commissioned by: Casa da Música First Performance: Eduarda Melo, Matthew Bean, Ivan Ludlow Remix Ensemble, dir. Franck Ollu, Lisboa, 1996
 * A LITTLE MADNESS IN THE SPRING (2006) (withdrawn for rev.)
 * critic |

for choir and orchestra Large Choir; (2.2.2.2.4.2.2.0. 1 perc); (12.10.8.8.6) Duration: 30' Commissioned by: Festival de Música Sacra de Viana do Castelo First Performance: Choir and Orq. Gulbenkian dir. Fernando Eldoro, 2002
 * JUDAS (secundum Lucam, Joannem, Matthaeum et Marcum) (2002)
 * critic |

opera 8 singers; Large Choir; (2.2.3.2 – 2.0.2.2 – 3 perc) ; Strings Libretto: Manuel Gusmão Duration: 105' Commissioned by: Expo'98 First Performance: Orq. Sinfónica Portuguesa, Choir from Teatro Nacional de S. Carlos, dir. João Paulo Santos, Lisboa, 1998
 * OS DIAS LEVANTADOS (1998)
 * critic | record critics | record |

opera 4 singers; 32 choir; fl;fg; cl; ob; tp; tbn; 2 perc pf; vl I; vl II; vla; vln; cb; Libretto: Pedro Paixão Duration: 64' Commissioned by: Culturgest First Performance: Soilists from Orq. Sinfónica Portuguesa, Choir from Teatro Nacional de S. Carlos, dir. João Paulo Santos, Lisboa, 1996
 * ÉDIPO – Tragédia de Saber (1996)

opera for 4 mixed choir Duration: 5' Commissioned by: First Performance: Coro de Câmara de Lisboa, dir. Teresita Gutierrez Marques, Lisboa, 1994
 * ANCESTRAL E MUDO (1994)
 * record |

Solo
!Title !!Year !!Instrument !!Duration !!Published by !!Commissioned by !!1st performance

for Vibrafone Solo || 6' || Auditório da Academia de Música de Espinho || Miquel Bernat, 2011
 * NO ART: four études for solo violin (2012)
 * POLÍTICAS DA AMIZADE: ESTUDO PARA VIBRAFONE (2011)

for Cello Solo || 12' || Conservatório de Música das Caldas de Rainha || Nuno Abreu, Caldas de Rainha, 2008
 * SUITE PARA VIOLONCELO SOLO (2008)

for harpsichord ||14' ||International Music Festival of Mafra ||Instituto Camões, 2003 ||Ana Mafalda Castro, Mafra (withdrawn for rev.)
 * IL RITORNO (2002)

for piano ||26' ||International Music Festival of Coimbra ||Partituras PortugalSom; www.dgartes.pt ||Miguel Henriques, Coimbra.
 * HOLDERLINOS (2001)

for guitar ||3' ||Cecilia Colien Honneger ||Cecilia Colien Honneger Album; https://web.archive.org/web/20080920114718/http://www.editions-ava.com/store/category/88/ ||Gabriel Estrahellas, Madrid.
 * LA LUNA (1996)

for piano ||9' ||Secretaria de Estado da Cultura ||Musicoteca, 1994; Portuguese Music Information Centre http://www.mic.pt/ ||Paul Prenen, Amsterdam, 1990.
 * MIRRORS (1989)

for clarinet solo ||5' ||Oficina Musical, 1995 ||António Saiote, Lisboa.
 * TRÊS FRAGMENTOS (1985–87)

for flute solo ||4' ||Calouste Gulbenkian School of Braga ||-- ||Olavo Tengner, Jorge Salgado, Braga, (withdrawn for rev.).
 * PEÇA (1983)

Film music
Directed by João Botelho Directed by José Fonseca e Costa
 * 1988: Tempos difíceis
 * 1993: Aqui na Terra
 * 2001: Quem és tu?
 * 1996: Cinco dias, cinco noites
 * 2003: O fascínio

title: António Pinho Vargas


text:
Lysimachia (Thrace)

Lysimachia (Λυσιμάχεια) was an important Hellenistic Greek town on the north-western extremity of the Thracian Chersonese (the modern Gallipoli peninsula) in the neck where the peninsula joins the mainland in what is now the European part of Turkey, not far from the bay of Melas (the modern Gulf of Saros). It is located near the modern village of Bolayır, not at Hexamili as previously thought.

History
The city was built by Lysimachus in 309 BC, when he was preparing for war with his rivals; for the new city, being situated on the isthmus, commanded the road from Sestos to the north and the mainland of Thrace. In order to obtain inhabitants for his new city, Lysimachus destroyed the neighbouring town of Cardia, the birthplace of the historian Hieronymus, and settled the inhabitants of it and other Chersonesean cities here. Lysimachus no doubt made Lysimachia the capital of his kingdom, and it must have rapidly risen to great splendour and prosperity.

After his death the city fell under Seleucid dominion, and during the wars between Seleucus Callinicus and Ptolemy Euergetes it passed from the hands of the Seleucids into those of the Ptolemies. Whether these latter set the town free, or whether it emancipated itself, is uncertain; at any rate it entered into the relation of sympolity with the Aetolian League. In 287 BC, the city was severely damaged by an earthquake, as reported by the Roman historian Justin (17.1.1–3). In 277 BC, near Lysimachia the Macedonian king Antigonus II Gonatas defeated the Gauls. As the Aetolians were not able to afford the town the necessary protection, it was destroyed again in 197 BC by the Thracians during the war of the Romans against Philip V of Macedon. The Seleucid king Antiochus the Great restored the place, collected the scattered and enslaved inhabitants, and attracted colonists from all parts by generous promises. This restoration, however, appears to have been unsuccessful, and under the dominion of Rome it decayed more and more.

The last time the place is mentioned under its ancient name, is in a passage of Ammianus Marcellinus. The emperor Justinian (527–565) restored it and surrounded it with strong fortifications, and after that time it is spoken of only under the name of Hexamilion. The place now occupying the site of Lysimachia, Eksemil, derives its name from the Justinianian fortress, though the ruins of the ancient city are more numerous in the neighbouring village of Ortaköy.

title: Lysimachia (Thrace)


text:
Category:Arcade games by company

Coin-operated video arcade games by company

title: Category:Arcade games by company


text:
National Coastwatch Institution

The National Coastwatch Institution is a voluntary organisation and registered charity,  providing a visual watch along the UK's coasts, and is not to be confused with HM Coastguard.

History
The National Coastwatch Institution (NCI) was founded in Cornwall in 1994 following the deaths of two local fishermen whose boat sank within sight of a then recently closed coastguard station at Bass Point. Most of HM Coastguard's visual watch stations were closed following a period of rationalisation and modernisation.. Although never fully admitted or responsibility accepted by the Maritime and Coastguard Agency or HM Government, it was speculated within the local community that were the watch keepers' station still staffed then the fishermen in distress would have been spotted and assistance sent. Therefore the institution became established from a campaign to re-establish a visual coastal watch in Cornwall. The first NCI Coastwatch station was thus established at Bass Point, on The Lizard Peninsula, Cornwall, by November 1994.

Following the successful launch of NCI Bass Point, other stations quickly followed in Devon, Cornwall, East Anglia, Somerset, Sussex, Essex, Dorset, and South Wales. As of December 2023, there are 60 NCI stations operational around the coast of England and Wales, from Fleetwood in the Northwest, through Wales, along the south coast, and up the east coast to Filey, North Yorkshire with over 2,740 trained volunteer watchkeepers.

The Institution has a joint Memorandum of Understanding with the Maritime and Coastguard Agency (MCA), and more recently UK's Border Force, and this outlines the NCI's role and provides the basis for the working relationship between the Institution and these departments. Most NCI stations have acquired, or are working towards acquiring, "declared facility status", giving those NCI stations potential to participate in active operations of the UK's search and rescue organisations. Many have also achieved the Queen's Award for Voluntary Service (QAVS) and, in 2023, NCI Newhaven was awarded the King's Award for Voluntary Service (KAVS).

Work
As of December 2023, the NCI's 2,740-plus uniformed trained volunteer watchkeepers maintain a visual watch along part of the UK coastline with 60 established NCI watch stations. These stations provide a daily visual watch in all weathers, monitoring marine radio channels, sea conditions and weather, using radar and providing a listening watch in poor visibility. All emergencies are reported to the appropriate authorities for action, the majority of NCI work being working mainly with HM Coastguard and other statutory authorities. Most NCI stations are staffed on a daily basis providing a regular daily watch from 8:00am to dusk. In 2022 a total of 274,543-person-hours watch was performed by NCI watchkeepers, recording over 222,458 commercial, military and leisure vessel movements, and reporting a total of 826 incidents to HM Coastguard, fire, police and ambulance services, of which 336 were NCI-initiated lifeboat rescues. All this work was carried out at no cost to the public purse.

All volunteers are provided with training in visual observation techniques, marine chart-work, Ordnance Survey mapping, critical reporting, marine radio procedures, and radar, ensuring all volunteers reach the standards expected by the Maritime and Coastguard Agency.

The NCI works with HM Coastguard, the MCA, the RNLI and the other emergency services. In 2023, some of the 852 incidents reported by NCI to the MCA ended with the call-out of the RNLI lifeboats, RAF air-sea rescue, MoD ordnance units, fire, ambulance and other rescue agencies. These incidents included vessels sinking, vessels on fire, vessels in danger and distress, swimmers, surf boarders and kite boarders in difficulties, inflatable toys with children on board being blown out to sea, persons fallen over cliffs, persons washed off jetty, land fires, dangerous munitions washed up, personal injuries, and so on.

In addition, many hundreds of minor incidents were dealt with including informing the coastguard and police of lost, found and missing children, distressed marine wildlife, ordnance on beaches, chemical drums, large carcasses and dangerous debris washed up.

2019 saw the twenty fifth anniversary of the foundation of the National Coastwatch Institution. A national office is now open in Liskeard, Cornwall.

NCI contributes to SAR by maintaining a visual lookout (‘Spot, Plot, Report and Respond’) around the coastline.

All NCI stations have, or are working towards achieving, Declared Facility Status from the Maritime & Coastguard Agency. DFS outlines what MCA expect from NCI stations, this includes the training and skills watchkeepers are expected to have and what equipment lookouts are expected to have. For watchkeepers this includes but is not limited to, understanding VHF Mayday, Pan Pan & Securite and the associated procedures, communication protocols for working with SAR assets, observation techniques, plotting and chart work, understanding of emergency beacons and operation of AIS / radar terminals. For stations this includes but is not limited to high power binoculars, VHF Radios, nautical charts, AIS / radar and usually a weather station and CCTV system.

Once a station has achieved DFS it is listed as an asset within the Search and Rescue community.

Coastwatch stations
The National Coastwatch Institution maintains 60 operational Coastwatch stations around the coastline of England and Wales, at the following locations:

East coast

 * Caister, Norfolk
 * Chapel Point, Lincolnshire
 * East Runton, Cromer, Norfolk
 * Felixstowe, Suffolk
 * Filey, North Yorkshire
 * Gorleston, Great Yarmouth
 * Herne Bay, Kent
 * Hornsea, East Yorkshire
 * Canvey Island, Essex
 * Jaywick, Jaywick Sands, Essex
 * Mablethorpe QAVS, Lincolnshire
 * Mundesley, Norfolk
 * Pakefield, Suffolk
 * Southend, Essex
 * Sunderland VLB (affiliate), Tyne & Wear
 * Skegness, Lincolnshire
 * Wells-next-the-Sea, Norfolk
 * Whitstable, Kent

South coast

 * Bembridge, Isle of Wight
 * Calshot, Hampshire
 * Folkestone, Kent
 * Gosport, Hampshire
 * The Needles and Alum Bay, Isle of Wight
 * Lee-on-the-Solent, Hampshire
 * Newhaven, East Sussex
 * Shoreham, Sussex

West country

 * Bass Point The Lizard, Cornwall
 * Boscastle, Cornwall
 * Cape Cornwall, St Just, Penzance, Cornwall
 * Charlestown, St Austell, Cornwall
 * Exmouth, Devon
 * Froward Point, Devon
 * Gwennap Head, St Levan, Cornwall
 * Lyme Bay, Dorset
 * Minehead, Somerset
 * Nare Point, The Lizard, Helston, Cornwall
 * Penzance, Cornwall
 * Peveril Point, Swanage, Dorset
 * Polruan, Cornwall
 * Portland Bill, Dorset
 * Portscatho, Pednvadan Point, Cornwall
 * Prawle Point, Kingsbridge, Devon
 * Rame Head, Cawsand, Devon
 * St Agnes Head, Cornwall
 * St Alban's Head, Worth Matravers
 * Swanage, Dorset
 * St Ives, Cornwall
 * Stepper Point, Padstow, Cornwall
 * Teignmouth, Devon
 * Torbay, Devon

North west coast

 * Fleetwood, Rossall Point, Lancashire

Wales

 * Llandudno, North Wales
 * Moelfre, Anglesey
 * Nells Point, Barry Island, South Wales
 * Porthcawl, Bridgend, South Wales
 * Porthdinllaen, North Wales
 * Rhoscolyn, Anglesey, Wales
 * St Donat's Bay, Vale of Glamorgan, South Wales
 * Wooltack Point, Pembrokeshire
 * Worm's Head, Gower Peninsula, South Wales

title: National Coastwatch Institution


text:
Talk:ICE

Eliminating redirect
Since ICE now redirects to ICE (disambiguation) rather than InterCity Express, would there be any objection to moving the disambig content to ICE and deleting this page? slambo 17:23, August 24, 2005 (UTC)

 * I've reverted that change that was done without explanation. When I last checked, the ICE train was by far the most popular use of "ICE" we had. I'm not a priori opposed to such a change, but it needs to be explained first. --Joy [shallot]   21:05, 24 August 2005 (UTC)

 * I'm thinking we need ICE to point to the disambiguation page now, especially with the growing meme of In case of emergency; though I usually react to attempts to create email memes, this one (unlike most) seems useful (certainly more useful to the general class of English-speaking Wiki readers than InterCity Express). --jpgordon∇∆∇∆ 22:34, 24 August 2005 (UTC)
 * I'm indifferent to where ICE points right now. When I started editing, I always thought the acronym referred to InterCity Express, and seeing the redirect point there only reinforced that idea.  However, as an American and a native English speaker, I must say that I hadn't heard the In case of emergency meme yet (but that's not saying much since it took a User Friendly comic to alert me to Badger Badger Badger).  I've already gone through the railroad-related links to point them to InterCity Express to avoid confusion there.  slambo 23:16, August 24, 2005 (UTC)

Whoops, I undid the redirect, not realizing there was a discussion going on here. At least in the US, ICE is becoming a major topic of discussion, and it's about cell phone emergency numbers, not InterCity Express. I think the redirect to the disambig page is the way to go. Zoe 23:36, August 24, 2005 (UTC)

All relevant links to ICE meaning InterCity Express have been made to point directly to that page, so I condoned the change and indeed merged the two pages. --Joy [shallot]   00:12, 25 August 2005 (UTC)

title: Talk:ICE


text:
Vehicle registration plates of Norway

The registration plates of cars in Norway are maintained by the Norwegian Ministry of Transport and Communications. As in most countries, cars are identified only by number plates read visually. Each plate is a legal document that both identifies the vehicle and permits its use, and shall be returned to the registration authority when the vehicle is no longer in use.

The current alphanumerical system (two letters followed by four or five numbers) was introduced in 1971. The design of the plates remained the same until 2002, when the road authorities decided on a new font which standardized the width of each character. The new design was unsuccessful due to legibility issues, for example the letters "A" and "R" were often hard to distinguish. From 2006 the font was changed again to improve legibility, and space was provided for a blue nationality stripe with a Norwegian flag. From 2009, plates were made of plastic, and produced in a factory at Tønsberg. From 2012, plates are again produced in aluminium due to the plastic plates easily getting damaged in winter.

Licence plate design
The licence plates may have one of the following designs:

A – White reflective plate, black print
For cars, trucks, buses, etc. taxed and fit to drive on public roads. Most cars in Norway have these plates. Motorcycles, mopeds, moped cars, trailers, caravans etc have plates with two letters and four digits.

B – Black plate, yellow print
These are for all vehicles that are approved and deemed safe but never drive on public roads. This includes logging and mining equipment, snowmobiles, various transports at airports and ports, etc. Such vehicles are tax exempt. Vehicles registered on Svalbard also use these plates, as according to the Svalbard Treaty, national taxes may not be levied on Svalbard.

C – Black plate, white print
Rally and other competition cars. The vehicle may be driven legally on the road to and from training and events if a NMF licence and a statement from the local club on training times is presented. Insurance and road tax has to be paid, but there is no import tax on new vehicles.

D – Orange plates, black print
Military cars, trucks, buses, tanks etc.

Orange plates with red print are military cars, such as tanks etc., see class I below

E – Green reflective plate, black print
For cars, vans, small trucks, etc. taxed and fit to drive on public roads, equipped with only one row of seats (driver included) and with sufficient internal volume to fit a crate 140 cm long by 90 cm wide by 105 cm high. This category is primarily intended for tradesmen, couriers and such, but there is no restriction on who can own or operate such a vehicle. Vehicles with green plates are taxed more lightly than vehicles with white plates.

F – Blue plate, yellow print
These are diplomatic corps plates; they are used on official cars of foreign embassies and consular services. These plates always use prefix CD. The first two digits shows which diplomatic mission the vehicle belongs to. They are tax exempt.

G – Red plate, white print
Dealer plates. These plates are assigned to car dealerships and used for ferrying or test driving. They can be moved freely from car to car. Since mid 2015 there is a new format starting from AAA10. This format is centrally issued. Dealer plates for trailers has a T as suffix.

H – Red plate, black print
Stickers used for ferrying or testing unregistered but roadworthy vehicles, prototypes etc. Issued on day-to-day basis at a cost of NOK 310 per day. The date of issue is printed to the right of the registration number.

I – Orange plate, red print
Military test plates, with two or three letters (FMU or T-U) followed by three number with leading zero. FMU is for "Forsvarsmuséet" (the Armed Forces Museum) or T-U for "Test og utvikling" (testing and development).

J – White plates, black print, red margins
Export and tourist plates. No letters. Left and right is a red border with the month/year of expiry written vertically.

Personalised number plates
Starting in 2017, it is possible to apply for personalised number plates bearing any combination of two to seven letters and digits, with certain exceptions, mainly for offensive words or phrases and registered trademarks. Subject to those conditions, and upon payment of a NOK 9 000 fee, the applicant is granted the exclusive right to use the requested registration number on any class A or E vehicle they own for ten years.

Validation sticker
Between 1993 and 2012, self-adhesive validation stickers in primary colours were issued annually to every car that had valid road tax and insurance and had passed its latest biennial safety and emissions test. The stickers included the registration number in the form of a bar code, and changed colour every year on a three-year cycle: red, blue and yellow.

The use of validation stickers was discontinued from May 2012. The police will now rely on automated systems which photograph the number plate, identify the registration number using optical character recognition, and check the car's status in a database.

Nationality stripe
Norwegian plates manufactured after 1 November 2006 have a nationality stripe on the left end of the plates. This stripe is blue with Norway's national flag and international vehicle registration code "N", in a similar format to that used by many central European countries before they became EU members. The resemblance to EU registration plates infuriated some adherents of the anti-EU movement, leading the Public Roads Administration to issue white or black adhesive labels with which they could cover the blue stripe.

Manufacture of licence plates
The manufacture of licence plates is strictly controlled by the authorities. Plates are provided when a registration application is accepted. If plates are stolen, new ones will not be issued until a police enquiry is complete. Plates of all types, except some F-type plates, were previously produced in aluminium. Between 1 January 2009 and 31 December 2011, plates were made of plastic, which made them slightly thicker than the older aluminium ones (requiring thicker plate holders). These plates were much less expensive. They had a transparent plastic layer on top of the layer with the writing, which was especially prone to breaking on impact during cold weather (such as being hit by another car's trailer hitch). This, in addition to the higher recycling costs of plastic compared to aluminium led to the cessation of plastic plates in favour of aluminium ones as of 1 January 2012, although with the same price as the plastic plates.

Prefixes and sequence numbers

All Norwegian licence plates for civilian vehicles have a prefix of two letters, followed by a sequence of numbers. Military licence plates have numbers only. Most vehicles have five-digit registration numbers between 10000 and 99999. Motorcycles, farming equipment and trailers have four-digit registration numbers between 1000 and 9999 is used. Temporary plates have three-digit registration numbers between 100 and 999. Dealer plates have two-digit registration numbers between 10 and 99.

Special prefixes are: Ordinary vehicle plates have a prefix based on the geographic location for the first registration, and will be unchanged later.
 * CD: Corps Diplomatique
 * EL, EK, EV, EB, EC, ED, EE, EF, EH and EJ : Electrically powered vehicles (not hybrids)
 * FE: Former military vehicles (of vintage 2005 or later) sold or transferred to civilian use
 * GA: autogas/LPG (liquified petroleum gas) or other gas powered vehicles
 * HY: Hydrogen powered vehicles

The letters G, I, O and Q are not used due to their similarity with other letters or numbers; an exception is that CNG vehicles such as gas buses use "GA". M and W were originally not used as they are much wider than other letters, but some codes including W are now assigned. The Norwegian letters Æ, Ø, and Å are not used either. Additionally, the combinations "NS" and "SS" have been omitted because of their connotations to World War II. (Although SS is in use on four-digit plates used for motorcycles, tractors and trailers etc.)

When a vehicle is scrapped or exported, the registration number/chassis is tagged as such, and the vehicle is no longer allowed to travel by road. Neither can the registration number be reused. Example; BL50000 will always be the real-life version of the legendary "" from the Flåklypa Grand Prix movie.

Single-letter plates are reused when vacant, but only available for vintage vehicles from 1971 or earlier.

If a set of licence plates is stolen, the vehicle will be re-registered on different plates.

Diplomatic Corps codes
The diplomatic fleet is identified by a code built up by CD  where  is the country identifier as described below and is a sequence number.

Other issues
Norway does not have any particular numbering scheme or plate kind to indicate vehicle usage such as police, taxi, ambulance or others, except for type E plates used by foreign diplomats.

The numbers for all plates except type C have a code consisting of two letters and a serial number. Class C only carries a sequence number. The letters identify the district in which the vehicle was first registered. For example, in Stavanger, prefixes like RE, RH and RJ are used. The car registration number is not altered when the owner moves to another town, or if it is sold.

The registration number is assigned to a vehicle's chassis number (often etched into the wall, or on a plaque inside the engine room (older cars), or on a small plate in the lower corner of the windscreen (newer cars)) when it is first imported to Norway. Example; A Toyota Corolla from 1972 imported and first-time registered in Oslo would have the letters DA assigned to its chassis number (KE20-XXXXX) + the five numbers that makes the car unique. Also, registration numbers are usually assigned to groups of cars imported into Norway. Another example; If a car dealer imports 16 cars to Hamar in one shipment, the entire shipment would, as an example, be registered as FS10000, FS10001, and so on, up to FS10015. A way of seeing how old a car is from its registration number is noticing the car's age and compare it to the registration number, as a 1970–1973 model car registered in Oslo will have the DA-prefix. This is not always the cause, as it depends on when the car is imported into Norway. Oslo began in 1971 with "DA", and proceeded to "DB" around 1974, to DC in 1977, DD around 1980, DE around 1984, DF around 1987, DH in 1992, DJ around 1997, DK around 2000, DL around 2006, DN around 2008, and DP around 2010. A car may also have been assigned a new registration number after its former one has been reported stolen or lost.

The city of Bergen has previously used the SV-series. However, SV is also used as the short form for "Sosialistisk Venstreparti," (Socialist Left Party) a political party. This caused some people from Bergen to register their cars elsewhere.

History
From 1 April 1900 to 31 March 1913 regional license plates with only digits were in use. The license plates were in black with digits and the name of the province/town in white. Surviving vehicles from the period may use the original license plates. Only a handful of such vehicles exist today.

From 1 April 1913 to 31 March 1971 only a single letter was used on Norwegian vehicle license plates. From 1958 an additional series with 6 digits in 3 groups was in use in Oslo. Vehicles older than 1971 (import or Norwegian) may use single-letter plates of the current owners choice, although within existing letter codes and 3–6 digits, or 6 digits without letter. Once chosen, the license plates follow the vehicle. Common practice is to use the earliest known or available single-letter plates on which the car was registered.

Registration letter codes 1913–1971
County (name before / after 1918):
 * no letter: Kristiania amt / Oslo
 * A: Kristiania amt / Oslo
 * B: Smaalenenes amt / Østfold
 * C: Akershus amt / Akershus
 * D: Hedemarkens amt / Hedmark
 * E: Kristians amt / Oppland
 * F: Buskeruds amt / Buskerud
 * G: Jarlsberg og Larviks amt / Vestfold until 1929: G
 * Z: Vestfold from 1929
 * H: Bratsberg amt / Telemark
 * I: Nedenes amt / Aust-Agder
 * K: Lister og Mandals amt / Vest-Agder
 * L: Stavanger amt / Rogaland
 * O: Bergen amt / Bergen
 * R: Søndre Bergenhus amt / Hordaland
 * S: Nordre Bergenhus amt / Sogn og Fjordane
 * T: Romsdals amt / Møre og Romsdal
 * U: Søndre Trondhjems amt / Sør-Trøndelag
 * V: Nordre Trondhjems amt / Nord-Trøndelag
 * W: Nordlands amt / Nordland
 * X: Tromsø amt / Troms
 * Y: Finmarken amt / Finnmark

title: Vehicle registration plates of Norway


text:
Talk:Hampton Roads Admirals

Second Year team ?
The history copy I edited, mentioned implied that this franchise existed somewhere else before it moved to here in 1989. All teams in the ECHL from the previous season are accounted for assuming the Carolina Thunderbirds were renamed the Winston-Salem Thunderbirds. ccwaters 11:31, 2 September 2005 (UTC)
 * The Admirals were an expansion team that began playing in 1989. So, it was the second year of the ECHL, but not the franchise.  BTW, thanks for you edits, the article's looking good. Uvaduck 02:00, 3 September 2005 (UTC)

title: Talk:Hampton Roads Admirals


text:
User:Urbie

Hello, I'm Urbie. Some of you may know me as URBILD

Articles I'm currently working on:

Lusitanian Catholic Apostolic Evangelical Church

David Ray Griffin.

title: User:Urbie


text:
Timiș-Cerna Gap

Timiș-Cerna Gap (Culoarul Timiș-Cerna) is a mountain pass in South-Western Romania, mostly in Caraș-Severin County, dividing the Southern Carpathians and the Banat mountain ranges, both part of the Carpathians.

The pass follows the paths of the rivers Timiș (which flows northward) and Cerna (which flows southward). To the west lie the Almăj and Semenic Mountains and to the east the Mehedinți, Cerna, Țarcului, and Poiana Ruscă Mountains.

The town of Caransebeș lies in the Timiș-Cerna Gap and Orșova lies on the Danube at the gap's southern end.

title: Timiș-Cerna Gap


text:
File:Cover-of-the-fantastic-adventures-of-dizzy.jpg

Description
Cover of the Fantastic Adventures of Dizzy for the Nintendo Entertainment System by the Oliver Twins. Released April 1993.

Fair use in Fantastic Dizzy
Though this image is subject to copyright, its use is covered by the U.S. fair use laws because:
 * 1) Codemasters has released no such images into the public domain, and a replacement image could not be created that would adequately provide the same information.
 * 2) The image is being used for no purpose other than to identify the subject of the article.
 * 3) The image resolution has been significantly decreased from the original, so copies made from it would be of inferior quality.
 * 4) The use of this image neither detracts from the game nor inhibits its salability in any way.


text:
Talk:Heisenberg picture

Article is too technical
I've added the technical tag, as this article seems to be too technical. There's no introduction to the subject, and it launches into the mathematical formulism without too much background. I'm tempted to add a "clean up" tag as well, as the article seems somewhat confusing and hard to follow. Thoughts? Privong 17:25, 24 August 2005 (UTC)

I agree that the article is too advanced for the casual reader. But this is organized in as orderly a way as mathematics will allow. I will add an introduction and a brief historical section and remove the tag. Beyond the history of Matrix mechanics nothing can be said about it without "advanced" mathematics. Such is the nature of quantum physics. --Hfarmer 18:09, 25 August 2005 (UTC)

 * Yea. I agree that, by the nature of the topic it's very technical. I was more looking for an introduction like the one you provided, so that the casual reader could at least get a sense of what the Heisenberg picture is, even if they don't understand the mathematics behind it. Thanks for adding the introduction! Privong 15:13, 1 September 2005 (UTC)

To the original Author of the page I feel it would be best to give a more basic but mathematical presentation of the matterial. By more basic what I mean is a presentation of how to solve for the state vector given the Hamiltonian operator of the interaction. I will work on this and add such a section latter. --Hfarmer 18:42, 25 August 2005 (UTC)

Redirecting
I am moving this material over to Matrix mechanics. There is no need for two articles and the topic is more commonly known by that name. DV8 2XL 20:50, 2 November 2005 (UTC)
 * I probably don't agree with that. Matrix mechanics is really just a historical theory these days, whereas the Heisenberg picture is still used and discussed.  -Lethe | Talk 06:44, 3 November 2005 (UTC)
 * I also disagree. The Heisenberg picture and Schrodinger picture (and the interaction picture) are different from any distinction between matrix mechanics and wave mechanics. --MarSch 13:00, 3 November 2005 (UTC)

Why isn't the equation given for...?
Heisenberg's quote "famous 'commutation relation' for the quantization condition that is at the basis of quantum mechanics" as shown on the web page:

I can't add it because I don't know how to make the math symbols, but I think it is important because it shows the difference between the Fourier series of amplitudes of position and momentum not to commute by a value of h/2pi. (h-bar) of intensity.--Voyajer 02:36, 27 December 2005 (UTC)

About the formalism
Hi. I've noticed that this article's author have used Schrödinger equation to derive Heisenberg's. But as long as heisenberg's picture of quantum mechanics is complete by it's own, this is not really necessary...

I agree, deriving the Heisenberg picture from the Schrodinger picture doesn't make any more sense than deriving the Schrodinger picture from the Heisenberg picture. The article assumes there's something fundimental about attaching time dependence to psi, rather than the operator, and their isn't. Maybe somebody can replace this with something better. —Preceding unsigned comment added by 128.211.179.162 (talk) 22:58, 30 June 2010 (UTC)

Somewhat Circular
The derivation, is somewhat circular. Also, interestingly, there is no mention of where the (del A / del t)classical comes from, and, as it appears in the derivation, I think its wrong! Not to say its wrong but it comes up differently I think. —Preceding unsigned comment added by 131.94.41.41 (talk) 13:21, 4 January 2008 (UTC)

Is this correct? « noting that $$\frac{\partial A}{\partial t}$$ is the time derivative of A(t), the transformed operator, not the one we started with. » I think $$\frac{\partial A(t)}{\partial t}$$ is not the same as $$e^{iHt / \hbar} \frac{\partial A}{\partial t} e^{-iHt / \hbar}$$ 189.179.243.82 (talk) 06:55, 14 January 2011 (UTC)

You are right, I fixed the mistake. Tank00 (talk) 09:56, 5 April 2012 (UTC)

 * I hope you are satisfied hy the way I fixed it. The initial A is basically Schroedinger's A, a function of x, p, and explicit t. The partial derivative always indicates derivation with respect to this explicit t--In the overwhelming bulk of applications it vanishes; it is only there for time-dependent external fields, etc. Now after ∂A(x,p,t)/∂t is taken, the similarity transformation by exp(iHt) and its inverse on it converts all xs and ps to x(t)s and p(t)s, and thus the last term to   ∂A(t)/∂t as asserted. I would recommend switching off all explicit time dependence first, and thus all partial time derivatives,  to appreciate the convective canonical structure involved, and only then introduce it to take care of the special cases mentioned. Of course it is a technical issue, and unfortunately I cannot see how it could be made less technical, but the two QM texts referenced should settle any questions or misgivings. Cuzkatzimhut (talk) 21:02, 3 December 2012 (UTC)

Lorentz invariance
"Lorentz invariance is manifest in the Heisenberg picture."

Really? Like the Schrödinger equation, the Heisenberg equation has first order derivatives in t and second order derivatives in space ($$H = - \frac {\hbar^2}{2m} \nabla^2$$), which doesn't look too good. I think this could use some backing up. 195.37.186.62 (talk) 03:05, 15 September 2010 (UTC)
 * I put in a small clarification to the self-evident point: the state vectors |ψ> in this picture are Lorentz scalars, as they have no explicit time, or space!, dependence. The expressions one ends up getting are as Lorentz covariant or not as the respective transformation properties of the operators one chooses to hit them with. You are not going to get a Lorentz invariant equation by hitting them with a nonrelativistic Hamiltonian. If, on the other hand, you acted on them through a relativistically invariant QFT,..... Cuzkatzimhut (talk) 15:06, 18 October 2013 (UTC)

Poor article
The content is very poor and too informal. Can someone take the time to give a hand?88.243.167.81 (talk) 17:39, 10 September 2011 (UTC)
 * In agreement, I tried something. Properly, the article is a footnote in a standard text; however, it is mostly of interest to quantum field theory students and those of the classical correspondence. If they are here, it is probably because their texts failed them, and skipped it by overexposing them to the Schroedinger picture. This is the (valid) reason for introducing it through the Schroedinger equation/picture, contrasting to complaints above.Cuzkatzimhut (talk) 21:52, 2 December 2012 (UTC)

Article too old
The article lacks results from recent researches, which could be useful for the readers. It's too retrospective. — Preceding unsigned comment added by Waterwizardm (talk • contribs) 11:26, 9 June 2020 (UTC)
 * Like what?--ReyHahn (talk) 11:34, 9 June 2020 (UTC)

Undefined subscripts
I'm discussing this mathematical box:

"In the Heisenberg picture of quantum mechanics the state vectors |ψ〉 do not change with time, while observables $A$ satisfy

where $H$ is the Hamiltonian and [•,•] denotes the commutator of two operators (in this case $H$ and $A$). Taking expectation values automatically yields the Ehrenfest theorem, featured in the correspondence principle."

After a google search, I've decided that the H and S subscripts probably stand for "Heisenberg" and "Schrödinger", and that this equation is relating definitions of variables between the two pictures, but that is not at all clear from the article, and I don't want to add this in, as I have no experience with these concepts and I'm just guessing based on a google search and common sense. If someone can confirm that I've guessed correctly, I would strongly suggest that this be clarified in the text. Equations are often more informative than text, but not defining all of the variables is the easiest way to make equations absolutely useless to the reader.98.17.108.86 (talk) 06:43, 14 January 2021 (UTC)
 * You are right, the labels refer to the name of the picture. Thanks for noticing.--ReyHahn (talk) 19:15, 14 January 2021 (UTC)

title: Talk:Heisenberg picture


text:
Commonwealth Land Party (UK)

The Commonwealth Land Party was a Stoke based political party in the United Kingdom. It was founded in 1919 by J. W. Graham Peace and R. L. Outhwaite as the Commonwealth League, and was initially associated with the Independent Labour Party. It campaigned for the redistribution of land and the abolition of all taxation other than land rent.

Outhwaite was a former Liberal Member of Parliament who had sat for Hanley from 1912 to 1918 and a passionate advocate of the single tax policy. He had some success in persuading Liberal Chancellor of the Exchequer, David Lloyd George to adopt aspects of his views into the Liberal Party Land Campaign. However, land reform took a back seat at the outbreak of World War One.

The group renamed itself the "Commonwealth Land Party" in 1923. It had two candidates run in the 1931 general election, Arthur Rowland-Entwhistle at Burslem and Graham Peace himself at Hanley. Peace died in 1947, after which it was again renamed, as the Common Land Party. It was ultimately disbanded in 1954.

title: Commonwealth Land Party (UK)


text:
User talk:LuisVeiga

Hello and welcome! While your contribution is greatly appreciated, the article on the Portuguese jazz musician is still too short for inclusion as is. Rather than delete it again, may I suggest instead that you review the Manual of style to see how you can add more to it? Welcome to the club and above all else...have fun. - Lucky 6.9 17:25, 24 August 2005 (UTC)

title: User talk:LuisVeiga


text:
C tuning (guitar)

C tuning is a type of guitar tuning. The strings of the guitar are tuned two whole steps lower than standard tuning. The resulting notes can be described most commonly as C-F-A♯-D♯-G-C or C-F-B♭-E♭-G-C. This is not to be confused with C♯ tuning, which is one and one half steps lower than standard tuning.

The tuning is commonly used by metal and hard rock artists to achieve a heavier, deeper sound. Slackening regular strings on a regular guitar to a lower pitch makes bending easier. Depending on personal playing style, some guitarists find this desirable, while others switch to heavier-gauge strings to avoid unintentional bending and to play chords in tune more easily. Another option is the use of a baritone guitar, which is built slightly longer and stronger than a regular guitar to achieve the desired pitch with heavy strings at average tensions.

 * Abysmal Dawn
 * The Absence
 * Acid Bath
 * Akercocke
 * Alestorm
 * Al-Namrood
 * Amaranthe (this tuning and drop B-flat used on their first two studio albums)
 * Amatory
 * Amon Amarth (on the albums Sorrow Throughout the Nine Worlds, Once Sent from the Golden Hall, and their new album Berserker along with drop B-flat)
 * Anaal Nathrakh
 * Ani Di Franco
 * Anathema (on their recent progressive rock albums)
 * Arch Enemy (2001–present)
 * Avatar (on the first three studio albums)
 * Autopsy
 * Bad Company
 * Behemoth
 * Black Sabbath (on live performances of most songs from Master of Reality and Vol. 4 since 2012, including "Into the Void", "Under the Sun", and "Snowblind")
 * Blasphemy
 * Blut Aus Nord
 * Bolt Thrower (on their debut album In Battle There Is No Law!)
 * Brendon Small
 * Bring Me the Horizon
 * BroodMother
 * Burnt By The Sun
 * Called To Arms
 * Cancerslug
 * Chthonic
 * Chuck Berry (most notable songs were recorded in standard tuning)
 * Cold
 * Colour Haze
 * Cradle of Filth (In "Better to Reign in Hell" from Damnation and a Day)
 * DarkWrench
 * Dawn Of Demise
 * Deadlock
 * Death (metal band) (1985)
 * Deathstars
 * Defeated Sanity
 * Dethklok
 * Devourment
 * Die Apokalyptischen Reiter
 * Dimension Zero
 * Dirty Sound Magnet (most songs on their album DSM-III)
 * Disgorge
 * Dismember
 * Dissection
 * Dream Theater (used on "As I Am", "Honor Thy Father" and "In the Name of God" on Train of Thought, "A Nightmare to Remember" on Black Clouds & Silver Linings, and "Untethered Angel" on Distance over Time)
 * Entombed (From Clandestine onward)
 * Elder (On debut album only)
 * Electric Wizard
 * Epica (on most songs from Consign to Oblivion)
 * Evanescence on some songs
 * EyeHateGod
 * Fight (band)
 * From The Vastland
 * Full of Hell
 * George Cromarty
 * George Ezra
 * Goat Horn
 * Gorguts (since Obscura)
 * Grand Magus
 * Guía Luz Negra (d bandolier)
 * Hamlet (main tuning)
 * Harvey Milk
 * Hatebreed
 * Hatesphere
 * Heaven Shall Burn
 * High on Fire
 * Hypocrisy (from Penetralia to The Final Chapter)
 * Immolation
 * Incantation
 * In Flames (since The Jester Race; after Reroute to Remain, they started using drop A# exclusively)
 * Into Eternity
 * Jimi Hendrix (In the song "Here My Train A' Comin' (Acoustic)")
 * John Butler
 * Judas Priest (on "Dead Meat", "Brain Dead", and "Cathedral Spires" from Jugulator, "Hell Is Home" from Demolition)
 * Katatonia (all albums since Viva Emptiness)
 * Kip Winger (solo)
 * Kittie
 * Kyuss
 * Kreator
 * Kuthah
 * Legion Of The Damned
 * Life of Agony (on half of “Ugly”, the entirety of “Soul Searching Sun”, and some songs from "The Sound of Scars")
 * Licuation
 * Monster Magnet
 * Murder by Death
 * NAILS
 * Necrophagia
 * Nervosa
 * Neuraxis
 * Nick Drake
 * Nightrage
 * Noah And The Whale
 * One Ok Rock
 * Panopticon
 * Paradise Lost (first two albums)
 * Parasite Inc.
 * Pantera (in most tracks of their eighth studio album The Great Southern Trendkill)
 * Pile
 * Porcupine Tree (in Anesthetize and Way Out of Here)
 * Punch the Klown
 * Queens of the Stone Age (used exclusively on their debut album, after which C standard, E standard and various other tunings were used)
 * Royal Blood (How Did We Get So Dark?)
 * Salticid (in "Black Fly")
 * Scorpions (on "Love 'em or Leave 'em")
 * Scythrow
 * Sentenced (on their first album Shadows of the Past)
 * Septicflesh (in a few earlier songs, and in much of their recent symphonic death metal material)
 * Sepultura (on "Antichrist" and "Necromancer")
 * Six Feet Under
 * Sleep
 * Suffocation (on Effigy of the Forgotten)
 * The Black Dahlia Murder
 * The Smashing Pumpkins (in "The Everlasting Gaze" "Lucky 13" "Heavy Metal Machine" and "The Imploding Voice")
 * The Sword
 * Sibylle Baier
 * Sodom (in "Masquerade in Blood")
 * Soundgarden (occasionally on other releases)
 * Spectrum Disorder
 * Spiritual Beggars
 * Starkill
 * Static-X (all up until Shadow Zone – since then, they drop the low string to Bb)
 * Strapping Young Lad
 * Suidakra
 * Tal Wilkenfeld (open C# in Pieces of Me, among others)
 * Therion (on their early death metal albums)
 * Tiamat (on their first album Sumerian Cry)
 * Tony Iommi (on the song "Who's Fooling Who")
 * Tremonti (on the songs "Arm Yourself", "Throw Them to the Lions" (performed in B tuning live), and "Make it Hurt")
 * While Heaven Wept
 * The Wildhearts (on 2009's "Chutzpah" album)
 * Witchfinder General
 * Wolfchant

title: C tuning (guitar)


text:
User:Jasonclk

Name: Jason Clarke

Occupation: Molecular Biology and Genetics

Specifically: Molecular and genetic development of the kidney, mutational analysis and genetics of human renal disorders and abnormalities.

Where: University of Michigan Department of Pediatrics

Website: www.kidneygenes.com

Article Contributions: Potter's Syndrome

--Jasonclk 17:25, 24 August 2005 (UTC)

title: User:Jasonclk