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Powder coating

Powder coating is a type of coating that is applied as a free-flowing, dry powder. Unlike conventional liquid paint, which is delivered via an evaporating solvent, powder coating is typically applied electrostatically and then cured under heat or with ultraviolet light. The powder may be a thermoplastic or a thermoset polymer. It is usually used to create a thick, tough finish that is more durable than conventional paint. Powder coating is mainly used for coating of metal objects, particularly those subject to rough use. Advancements in powder coating technology like UV-curable powder coatings allow for other materials such as plastics, composites, carbon fiber, and MDF (medium-density fibreboard) to be powder coated, as little heat or oven dwell time is required to process them.

History, properties, and uses of powder coating
The powder coating process was invented around 1945 by Daniel Gustin and received US Patent 2538562 in 1945. This process coats an object electrostatically and then cures it with heat, creating a finish harder and tougher than conventional paint. Originally used on metal manufactures, such as household appliances, aluminium extrusions, drum hardware, automobile parts, and bicycle frames, the practice of powder coating has been expanded to allow finishing of other materials.

Because powder coating does not have a liquid carrier, it can produce thicker coatings than conventional liquid coatings without running or sagging, and powder coating produces minimal appearance differences between horizontally coated surfaces and vertically coated surfaces. Further, because no carrier fluid evaporates away, the coating process emits few volatile organic compounds (VOC). Finally, several powder colors can be applied before all are cured together, allowing color blending and special bleed effects in a single layer.

While it is relatively easy to apply thick coatings that cure to smooth, texture-free coating, it is not as easy to apply smooth thin films. As the film thickness is reduced, the film becomes more and more orange peeled in texture because of the particle size and glass transition temperature (Tg) of the powder.

Most powder coatings have a particle size in the range of 2 to 50 μm, a softening temperature Tg around 80 °C, and a melting temperature around 150 °C, and are cured at around 200 °C for a minimum of 10 minutes to 15 minutes (exact temperatures and times may depend on the thickness of the item being coated). For such powder coatings, film build-ups of greater than 50 μm may be required to obtain an acceptably smooth film. The surface texture which is considered desirable or acceptable depends on the end product. Many manufacturers prefer to have a certain degree of orange peel since it helps to hide metal defects that have occurred during manufacture, and the resulting coating is less prone to showing fingerprints.

There are very specialized operations that apply powder coatings of less than 30 μm or with a Tg below 40 °C in order to produce smooth thin films. One variation of the dry powder coating process, the Powder Slurry process, combines the advantages of powder coatings and liquid coatings by dispersing very fine powders of 1–5 μm sized particles into water, which then allows very smooth, low-film-thickness coatings to be produced.

For small-scale jobs, "rattle can" spray paint is less expensive and complex than powder coating. At the professional scale, the capital expense and time required for a powder coat gun, booth and oven are similar to those for a spray gun system. Powder coatings do have a major advantage in that the overspray can be recycled. However, if multiple colors are being sprayed in a single spray booth, this may limit the ability to recycle the overspray.

Advantages over other coating processes

 * 1) Powder coatings contain no solvents and release little or no amount of volatile organic compounds (VOC) into the atmosphere. Thus, there is no need for finishers to buy costly pollution control equipment. Companies can comply more easily and economically with environmental regulations, such as those issued by the U.S. Environmental Protection Agency.
 * 2) Powder coatings can produce much thicker coatings than conventional liquid coatings without running or sagging.
 * 3) Powder coated items generally have fewer appearance differences than liquid coated items between horizontally coated surfaces and vertically coated surfaces.
 * 4) A wide range of speciality effects are easily accomplished using powder coatings that would be impossible to achieve with other coating processes.
 * 5) Curing time is significantly faster with powder coatings compared to liquid coatings especially when using ultraviolet cured powder Coatings or advanced low bake thermosetting powders.

Types of powder coating
There are three main categories of powder coatings: thermosets, thermoplastics, and UV curable powder coatings. Thermoset powder coatings incorporate a cross-linker into the formulation.

Most common cross-linkers are solid epoxy resins in so-called hybrid powders in mixing ratios of 50/50, 60/40 and 70/30 (polyester resin/ epoxy resin) for indoor applications and triglycidyl isocyanurate (TGIC) in a ratio of 93/7 and β-hydroxy alkylamide (HAA) hardener in 95/5 ratio for outdoor applications. When the powder is baked, it reacts with other chemical groups in the powder to polymerize, improving the performance properties. The chemical cross-linking for hybrids and TGIC powders—representing the major part of the global powder coating market—is based on the reaction of organic acid groups with an epoxy functionality; this carboxy–epoxy reaction is thoroughly investigated and well understood, by addition of catalysts the conversion can be accelerated and curing schedule can be triggered in time and/or temperature. In the powder coating industry it is common to use catalyst masterbatches where 10–15% of the active ingredient is introduced into a polyester carrier resin as matrix. This approach provides the best possible even dispersion of a small amount of a catalyst over the bulk of the powder. Concerning the cross-linking of the TGIC-free alternative based on HAA hardeners, there is no known catalyst available.

For special applications like coil coatings or clear coats it is common to use glycidylesters as hardener component, their cross-linking is based on the carboxy–epoxy chemistry too. A different chemical reaction is used in so-called polyurethane powders, where the binder resin carries hydroxyl functional groups that react with isocyanate groups of the hardener component. The isocyanate group is usually introduced into the powder in blocked form where the isocyanate functionality is pre-reacted with ε-caprolactame as blocking agent or in form of uretdiones, at elevated temperatures (deblocking temperature) the free isocyanate groups are released and available for the cross-linking reaction with hydroxyl functionality.

In general all thermosetting powder formulations contain next to the binder resin and cross-linker additives to support flow out and levelling and for degassing. Common is the use of flow promoter where the active ingredient—a polyacrylate—is absorbed on silica as carrier or as masterbatch dispersed in a polyester resin as matrix. Vast majority of powders contain benzoin as degassing agent to avoid pinholes in final powder coating film.

The thermoplastic variety does not undergo any additional actions during the baking process as it flows to form the final coating. UV-curable powder coatings are photopolymerisable materials containing a chemical photoinitiator that instantly responds to UV light energy by initiating the reaction that leads to crosslinking or cure. The differentiating factor of this process from others is the separation of the melt stage before the cure stage. UV-cured powder will melt in 60 to 120 seconds when reaching a temperature 110 °C and 130 °C. Once the melted coating is in this temperature window, it is instantly cured when exposed to UV light.

Some specific applications, such as sensitive electronic equipment, are adversely affected by radiated interference, known as electromagnetic interference (EMI), and require conductive powder coating. Advancements with single wall carbon nanotubes (SWCNTs) in this field make it possible to enable conductivity while maintaining good aesthetic performance in a variety of surface textures and colors.

The most common polymers used are polyester, polyurethane, polyester-epoxy (known as hybrid), straight epoxy (fusion bonded epoxy) and acrylics.

Production

 * 1) The polymer granules are mixed with hardener, pigments and other powder ingredients in an industrial mixer, such as a turbomixer
 * 2) The mixture is heated in an extruder
 * 3) The extruded mixture is rolled flat, cooled and broken into small chips
 * 4) The chips are milled and sieved to make a fine powder

Methodology
The powder coating process involves three basic steps: part preparation or the pre-treatment, the powder application, and curing.

Part preparation processes and equipment
Removal of oil, dirt, lubrication greases, metal oxides, welding scale etc. is essential prior to the powder coating process. It can be done by a variety of chemical and mechanical methods. The selection of the method depends on the size and the material of the part to be powder coated, the type of impurities to be removed and the performance requirement of the finished product. Some heat-sensitive plastics and composites have low surface tensions and plasma treating can be necessary to improve powder adhesion.

Chemical pre-treatments involve the use of phosphates or chromates in submersion or spray application. These often occur in multiple stages and consist of degreasing, etching, de-smutting, various rinses and the final phosphating or chromating of the substrate and new nanotechnology chemical bonding. The pre-treatment process both cleans and improves bonding of the powder to the metal. Recent additional processes have been developed that avoid the use of chromates, as these can be toxic to the environment. Titanium, zirconium and silanes offer similar performance against corrosion and adhesion of the powder.

In many high end applications, the part is electrocoated following the pretreatment process, and subsequent to the powder coating application. This has been particularly useful in automotive and other applications requiring high end performance characteristics.

Another method of preparing the surface prior to coating is known as abrasive blasting or sandblasting and shot blasting. Blast media and blasting abrasives are used to provide surface texturing and preparation, etching, finishing, and degreasing for products made of wood, plastic, or glass. The most important properties to consider are chemical composition and density; particle shape and size; and impact resistance.

Silicon carbide grit blast medium is brittle, sharp, and suitable for grinding metals and low-tensile strength, non-metallic materials. Plastic media blast equipment uses plastic abrasives that are sensitive to substrates such as aluminum, but still suitable for de-coating and surface finishing. Sand blast medium uses high-purity crystals that have low-metal content. Glass bead blast medium contains glass beads of various sizes.

Cast steel shot or steel grit is used to clean and prepare the surface before coating. Shot blasting recycles the media and is environmentally friendly. This method of preparation is highly efficient on steel parts such as I-beams, angles, pipes, tubes and large fabricated pieces.

Different powder coating applications can require alternative methods of preparation such as abrasive blasting prior to coating. The online consumer market typically offers media blasting services coupled with their coating services at additional costs.

A recent development for the powder coating industry is the use of plasma pretreatment for heat-sensitive plastics and composites. These materials typically have low-energy surfaces, are hydrophobic, and have a low degree of wetability which all negatively impact coating adhesion. Plasma treatment physically cleans, etches, and provides chemically active bonding sites for coatings to anchor to. The result is a hydrophilic, wettable surface that is amenable to coating flow and adhesion.

Powder application processes

The most common way of applying the powder coating to metal objects is to spray the powder using an electrostatic gun, or corona gun. The gun imparts a negative charge to the powder, which is then sprayed towards the grounded object by mechanical or compressed air spraying and then accelerated toward the workpiece by the powerful electrostatic charge. There is a wide variety of spray nozzles available for use in electrostatic coating. The type of nozzle used will depend on the shape of the workpiece to be painted and the consistency of the paint. The object is then heated, and the powder melts into a uniform film, and is then cooled to form a hard coating. It is also common to heat the metal first and then spray the powder onto the hot substrate. Preheating can help to achieve a more uniform finish but can also create other problems, such as runs caused by excess powder.

Another type of gun is called a tribo gun, which charges the powder by the triboelectric. In this case, the powder picks up a positive charge while rubbing along the wall of a Teflon tube inside the barrel of the gun. These charged powder particles then adhere to the grounded substrate. Using a tribo gun requires a different formulation of powder than the more common corona guns. Tribo guns are not subject to some of the problems associated with corona guns, however, such as back-ionization and the Faraday cage effect.

Powder can also be applied using specifically adapted electrostatic discs.

Another method of applying powder coating, named as the fluidized bed method, is by heating the substrate and then dipping it into an aerated, powder-filled bed. The powder sticks and melts to the hot object. Further heating is usually required to finish curing the coating. This method is generally used when the desired thickness of coating is to exceed 300 micrometres. This is how most dishwasher racks are coated.

Electrostatic fluidized bed coating
Electrostatic fluidized bed application uses the same fluidizing technique as the conventional fluidized bed dip process but with much more powder depth in the bed. An electrostatic charging medium is placed inside the bed so that the powder material becomes charged as the fluidizing air lifts it up. Charged particles of powder move upward and form a cloud of charged powder above the fluid bed. When a grounded part is passed through the charged cloud the particles will be attracted to its surface. The parts are not preheated as they are for the conventional fluidized bed dip process.

Electrostatic magnetic brush (EMB) coating
A coating method for flat materials that applies powder with a roller, enabling relatively high speeds and accurate layer thickness between 5 and 100 micrometres. The base for this process is conventional copier technology. It is currently in use in some coating applications and looks promising for commercial powder coating on flat substrates (steel, aluminium, MDF, paper, board) as well as in sheet to sheet and/or roll to roll processes. This process can potentially be integrated in an existing coating line.

Thermoset
When a thermosetting powder is exposed to elevated temperature, it begins to melt, flows out, and then chemically reacts to form a higher-molecular-weight polymer in a network-like structure. This cure process, called crosslinking, requires a certain temperature for a certain length of time in order to reach full cure and establish the full film properties for which the material was designed.

The architecture of the polyester resin and type of curing agent have a major impact on crosslinking.

Common powders cure at 200 °C object temperature for 10 minutes. In European and Asian markets, a curing schedule of 180 °C for 10 minutes has been the industrial standard for decades, but is nowadays shifting towards a temperature level of 160 °C at the same curing time. Advanced hybrid systems for indoor applications are established to cure at a temperature level of 125 – preferably for applications on medium-density fiberboards (MDF); outdoor durable powders with triglycidyl isocyanurate (TGIC) as hardener can operate at a similar temperature level, whereas TGIC-free systems with β-hydroxy alkylamides as curing agents are limited to approx. 160 °C.

The low-temperature bake approach results in energy savings, especially in cases where coating of massive parts are task of the coating operation. The total oven residence time needs to be only 18–19 min to completely cure the reactive powder at 180 °C.

A major challenge for all low-temperature cures is to optimize simultaneously reactivity, flow-out (aspect of the powder film) and storage stability. Low-temperature-cure powders tend to have less color stability than their standard bake counterparts because they contain catalysts to augment accelerated cure. HAA polyesters tend to overbake yellow more than do TGIC polyesters.

The curing schedule may vary according to the manufacturer's specifications. The application of energy to the product to be cured can be accomplished by convection cure ovens, infrared cure ovens, or by laser curing process. The latter demonstrates significant reduction of curing time.

UV cure
Ultraviolet (UV)-cured powder coatings have been in commercial use since the 1990s and were initially developed to finish heat-sensitive medium density fiberboard (MDF) furniture components. This coating technology requires less heat energy and cures significantly faster than thermally-cured powder coatings. Typical oven dwell times for UV curable powder coatings are 1–2 minutes with temperatures of the coating reaching 110–130 °C. The use of UV LED curing systems, which are highly energy efficient and do not generate IR energy from the lamp head, make UV-cured powder coating even more desirable for finishing a variety of heat-sensitive materials and assemblies. An additional benefit for UV-cured powder coatings is that the total process cycle, application to cure, is faster than other coating methods.

Removing powder coating
Methylene chloride and acetone are generally effective at removing powder coating. Most other organic solvents (thinners, etc.) are completely ineffective. Recently, the suspected human carcinogen methylene chloride is being replaced by benzyl alcohol with great success. Powder coating can also be removed with abrasive blasting. 98% sulfuric acid commercial grade also removes powder coating film. Certain low grade powder coats can be removed with steel wool, though this might be a more labor-intensive process than desired.

Powder coating can also be removed by a burning off process, in which parts are put into a large high-temperature oven with temperatures typically reaching an air temperature of 300–450 °C. The process takes about four hours and requires the parts to be cleaned completely and re-powder coated. Parts made with a thinner-gauge material need to be burned off at a lower temperature to prevent the material from warping.

Market
According to a market report prepared in August 2016 by Grand View Research, Inc., the powder coating industry includes Teflon, anodizing and electro-plating. The global powder coatings market is expected to reach US$16.55 billion by 2024. Increasing use of powder coatings for aluminum extrusion used in windows, door frames, building facades, kitchen, bathroom and electrical fixtures will fuel industry expansion. Rising construction spending in various countries including China, the U.S., Mexico, Qatar, UAE, India, Vietnam, and Singapore will fuel growth over the forecast period. Increasing government support for eco-friendly and economical products will stimulate demand over the forecast period. General industries were the prominent application segment and accounted for 20.7% of the global volume in 2015. The global market is predicted to be 20 billion dollars by 2027.

Increasing demand for tractors in the U.S., Brazil, Japan, India, and China is expected to augment the use of powder coatings on account of its corrosion protection, excellent outdoor durability, and high-temperature performance. Moreover, growing usage in agricultural equipment, exercise equipment, file drawers, computer cabinets, laptop computers, cell phones, and electronic components will propel industry expansion.

title: Powder coating


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Wikipedia:Articles for deletion/How does xp works

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination).  No further edits should be made to this page.

The result of the debate was blatant copyvio. DS 13:08, 12 October 2005 (UTC)

How does xp works
This is a howto, and not a good one. Pilatus 09:18, 12 October 2005 (UTC)
 * Delete per WP:NOT. — J I P | Talk 10:27, 12 October 2005 (UTC)
 * Blatant copyvio from howstuffworks.com; closing up early. DS 13:08, 12 October 2005 (UTC)
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.

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


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Category:Regalia

For definitions of Regalia, and a systematical typology, see the article of that name.

This category aims to include terms that are specifically used for concrete regalia, such as crown jewels and other princely Formal insignia (see that category).

title: Category:Regalia


text:
User talk:TimTim

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! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you have any questions, check out Where to ask a question or ask me on my talk page. Again, welcome! --Cyberjunkie | Talk 09:18, 12 October 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
 * How to write a great article
 * Manual of Style

It wasn't me Tim, check the history of edits, i.e. http://en.wikipedia.org/w/index.php?title=User_talk:TimTim&action=history Grant65 | Talk 10:03, 19 March 2006 (UTC)

My Username
Hi. In June last year my username User:Jebus Christ was blocked. I discovered recently that the admin responsible User:Secretlondon was involved in protecting the article relating to the profet mahommed images under the banner of freedom of speach. I personally find this hypocritical.

I've started a petition to get my username back. If you support this can you please sign my petition on my talk page User talk:Jebus Christ.

Thanks Jimididit 12:04, 19 March 2006 (UTC)

title: User talk:TimTim


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Talk:Cannabidiol

Information on Side Effects and Warnings from the FDA
The following highlighted content is, apparently, worthy of a dispute:

Side effects
[…]

In 2022, the FDA stated that "scientific studies show possible harm to the male reproductive system, including testicular atrophy, harm to the liver, and interactions with certain medications. The FDA has not found adequate information showing how much CBD can be consumed, and for how long, before causing harm. This is particularly true for vulnerable populations like children and those who are pregnant." The full statement provides links to warning letters that the FDA sent to 5 companies, whom the FDA accused of marketing CBD-based products in a manner not consistent with safety or law. For instance, the first letter did mark for disapproval a certain beverage product, which a third-party review describes as "a line of herbal teas in 12 oz. bottles infused with 33 mg of [CBD] extract"; in the letter, the FDA invites the reader to review the information on a web page the FDA has dedicated to cannabis-derived products (including CBD). By 28 January 2023, that page of resources included the following document:
 * Safety of CBD in Humans – A Literature Review (As of December 12, 2019)

That document has a section titled "Safety related to ingestion", which states:
 * We reviewed four primary clinical trials that supported Epidiolex approval. In addition, a total of 94 trials (as of December 12, 2019) were identified through PubMed and ClinicalTrials.gov search that used single (34 trials) or repeated doses of oral CBD (60 trials); 30 of them were in patients with epilepsy or other seizure disorders. Twenty-four were silent on safety findings, while 21 trials included a conclusive statement (e.g., “CBD is well tolerated” from the author’s perspective) without providing detailed safety results. Below is a high-level summary of the notable safety findings in the repeated dose trials.
 * […] ⬅ this is part of the content

The aforementioned summary lists a number of dosages used in various trials: The document goes on to state:
 * "One placebo-controlled trial assessed CBD’s effect at 750 and 1500 mg for 6 days."
 * "Repeated doses in [198] patients with epilepsy […] treated with 20 mg/kg/day CBD"
 * "Repeated doses in patients with [schizophrenia at] 600 mg/day for 6 weeks [or] 1000 mg/day for 6 weeks"
 * "Repeated doses in patients with […] fatty liver disease using 200, 400, or 800 mg/day CBD for 8 weeks"
 * FDA’s review of the four randomized placebo-controlled trials describes Epidiolex’s attributable risks: somnolence (18%; 3% is severe), CNS adverse reactions such as agitation and sedation (1-4%), decreased appetite (16%), diarrhea (9%), and decreased weight (3%). Based on the information in these trials, the estimated risk of severe liver injury, irreversible liver failure that is fatal or requires liver transplantation, is 0.3 to 0.4%, although no cases of severe liver injury were reported. It also notes that it is clear that many patients will develop cannabidiol-induced adverse reactions; however, those observed in the development program would be expected to be detectable by patients and/or caregivers, self-limited, and reversible.

[…]

Undue Detail
 What exactly is undue? Surely not everything. If there is unnecessary detail, then perhaps that particular detail should be removed, or summarized better, or integrated more concisely in other parts of the text. User 24.118.62.152  ("Author"), too, is a reader and editor of Wikipedia, and the very fact that Author wrote the text in question is proof that at least one reader finds this information valuable, and wishes that such information had been available from the very beginning—that is to say, at least one editor cared enough to have gone to the considerable effort to construct the text in question, along with its citations. So, why should the opinion of Bon courage override the opinion of Author, especially when Author wants to supply information and Bon courage wants to hide information.  The disputed content is useful, because it expresses the context in which the FDA statement was made; it answers questions like the following:  Why did the FDA make such a statement?  What is the basis for the FDA's claims?  What are further sources of information that might be useful to a reader who would like to delve deeper into the subject of side effects and regulatory activity?  Author was completely unaware that the FDA's statement was the result of the FDA writing warning letters to various companies; when Author read the FDA's statement in full, Author wished that such information had been presented in the Wikipedia article, and so took the time to integrate such information for the benefit of future readers. Why should future readers not benefit from this useful information?  The text in question appears in a section of the article titled "Side effects"; at the top of this section, it states: Research indicates that cannabidiol may reduce adverse effects of THC, particularly those causing intoxication and sedation, but only at high doses. [44] Safety studies of cannabidiol showed it is well tolerated, but may cause tiredness, somnolence, sedation, diarrhea, or changes in appetite as common adverse effects with the most common being somnolence and sedation. Side effects of CBD are dose related. [45] Epidiolex documentation lists sleepiness, insomnia and poor quality sleep, decreased appetite, diarrhea, and fatigue.[6][46] However, until Author introduced the disputed content, there was no information on either dosing or prevalence of side effects. These details, introduced by Author, are not undue, but are in fact very important, exactly as implied by the existing text. Perhaps, editor Bon courage believes that such information could be better integrated into the existing text in this section; if so, then why doesn't Bon courage do that integration rather than lazily just delete everything? If Bon courage is uninterested in performing such work, then Bon courage should defer to Author, who was motivated enough to actually write the useful content in the first place.

 While reading through the sources to construct the disputed content, Author attempted to be very careful about ensuring that the chronological availability of information is also represented accurately; that is to say, it is valuable for the reader of the article to be presented with the accurate context in which the FDA made its statement, and that context is dependent on when certain information was available to the FDA and to the companies who were being warned, and to the general public at the time of the warning. More concretely, Author wondered:

 What kind of product was the FDA warning about?

 What was the dosage that was delivered by such a product?

 How did that dosage compare to the dosages on which the FDA was basing its claims?

 What exactly is the nature of the side effects that the FDA lists (what kind of liver problems, and what is the risk)?

 When did the FDA know such information (especially with regard to the timing of the warning letters), and when was such information available to the public (especially via the FDA's website)?

 Author was concerned that the FDA's warning letter may have prompted a company to change its product's dosage; consequently, Author found a third-party review of the product in question from around the time (and from before the warning letter), so as to ensure that the context of the warning letter could be presented as accurately as possible. All of these questions are pertinent, and all of the answers are valuable; in short, the content in question is properly detailed, and no details are undue.

title: Talk:Cannabidiol


text:
Aburakawa Station

Aburakawa Station (油川駅) is a railway station on the East Japan Railway Company (JR East) Tsugaru Line located in the city of Aomori, Aomori Prefecture, Japan.

Lines
Aburakawa Station is served by the Tsugaru Line and is located 6.0 km from the starting point of the line at Aomori.

Station layout
Aburakawa Station has one side platform serving a single bi-directional track. The station is a kan'i itaku station, administered by Aomori Station, and operated by the local Jaster Corporation, with point-of-sales terminal installed. The short platform requires that trains longer than seven carriages use a door cut system.

History
Aburakawa Station was opened on December 5, 1951, as a station on the Japanese National Railways (JNR). Freight operations were discontinued from July 1970. The station became a kan'i itaku station on April 1, 1971, operated by the Japan Travel Bureau. With the privatization of the JNR on April 1, 1987, it came under the operational control of JR East and was operated by JR East until October 1, 2003, when it again became a kan'i itaku station, this time under the Jaster Corporation.

Route bus

 * Aburakawa-Eki-dōri bus stop
 * Aomori municipal Bus
 * For Ushirogata via Okunai
 * For Furukawa via Oxidate

Passenger statistics
In fiscal 2016, the station was used by an average of 405 passengers daily (boarding passengers only).

Surrounding area

 * Aburakawa Post Office
 * Aomori-Kita High School

title: Aburakawa Station


text:
User talk:Katrina and Waves

 * [[Image:Stop_hand.png|left|30px]]
 * Welcome to Wikipedia. We invite everyone to contribute constructively to our encyclopedia. Take a look at the welcome page if you would like to learn more about contributing. However, unconstructive edits are considered vandalism, and if you continue in this manner you may be blocked from editing without further warning. Please stop, and consider improving rather than damaging the hard work of others. Thanks. --JoanneB 09:19, 12 October 2005 (UTC)

title: User talk:Katrina and Waves


text:
Talk:XMule/Archive 1

Boys and girls, grow up and please do your rants and flamewars somewhere else. Wikipedia definitely isn't the place for it. Stick to facts that are of interest for a normal reader and cut the propaganda. And this is adressed to both sides. Deleted:

 * xMule has since suffered from a negative publicity campaign by aMule users, who post exagerrated negative comments on software review sites such as GnomeFiles and Zeropaid  while promoting aMule, even going so far as to suggest that the xMule project has stopped, , , etc. To be fair, the 'xMule is dead' statements might be caused by the fact that its main developer states that every 4 or 5 months, like this , , ,  etc.

 * The goal for the current xMule mantainer and developer is however to close xMule source and remove the GPL license to a closed-source one. He states that forks are a bad practice encouraged by GPL and so GPL is a viral license that must never be used ( (3.6 - conclusion),, ,  , , and many others).

 * NOTE! GAH!!! AMULE PROPAGANDA!! Straight from the xMule maintainer's mouth: I wish to keep xMule 100% open source!  I want to discourage hostile forks.  The GPL is *totally* inadequate for this purpose, thus I must rewrite xMule completely and relicense it under a more developer-centric license, such as the Qt License, Mozilla PL, PHP License, etc.  If you claim Mozilla is closed source, then you are insane imho.

 * A little searching turned up this gem:

 * 12:49:00 IIRC you wanted to separate core & GUI - am I correct?

 * [...]

 * 12:49:08  yes

 * 12:49:33 What is the state of each of both? Are they working?

 * 12:49:51 Or is only one of it working?

 * [...]

 * 12:50:40  if you wanted a specific answer, should have asked a specific question

 * 12:50:44 I didn't want to get that so elaborately...

 * [...]

 * 12:51:29  don't hold your breath for 2.0

 * 12:52:32 Why don't you release what you have already?

 * [...]

 * 12:52:48  it is going to be PROPRIETARY

 * 12:52:50  PROPRIETARY

 * 12:53:03  only contributors to my cause will get access to it

 * 12:53:07  code contributors get betas

 * 12:53:16  ppl who pay get the releases

 * 12:53:24  ppl who pay slightly more also get the betas

 * Another quote, from the xMule maintainer's mouth. So which are we supposed to believe?

 * Asshole, look. Madcat (Alo Sarv) had made bothie (whom i had never met) an administrator of the SourceForge xMule project and had TOTALLY removed me from the project.  This particular piece of correspondence was written *in*private* to bothie who then subsequently made it public.  The ideas from this were specifically coined by Madcat who then used it against me less than a WEEK after this statement was made in a vicious public relations campaign that continues to this day (just see this post).  The only developers at this time were myself (founder), Madcat, and Kry.  Madcat's project failed, Kry went on to take over aMule.
 * Asshole, look. Madcat (Alo Sarv) had made bothie (whom i had never met) an administrator of the SourceForge xMule project and had TOTALLY removed me from the project.  This particular piece of correspondence was written *in*private* to bothie who then subsequently made it public.  The ideas from this were specifically coined by Madcat who then used it against me less than a WEEK after this statement was made in a vicious public relations campaign that continues to this day (just see this post).  The only developers at this time were myself (founder), Madcat, and Kry.  Madcat's project failed, Kry went on to take over aMule.

 * Any questions?

Background?
Hmmmm sounds complicated, does anyone know exactly what's going on? We can add information that is NPOV. What caused the fork, and lMule's website being taken over? Sounds like lots happened.

I am here since I am still debating moving towards GNU/Linux and am researching software I'd need to replace (eMule) with GNU/Linux versions. --ShaunMacPherson 11:18, 6 September 2005 (UTC)

Relevant message deleted
Ted Smith is now the sole maintainer of xMule. I think that what he says basically _represents_ xMule. In addition to that, the letter supplied gives a brief, untold history of xMule. True, his letter is not quite Neutral POV, but something is better than nothing.

 * I removed the letter and references, to end this useless ranting between Ted and you. Kry 22:38, 5 October 2005 (UTC)

title: Talk:XMule/Archive 1


text: User talk:85.30.65.5

title: User talk:85.30.65.5


text: User talk:210.23.151.254

title: User talk:210.23.151.254


text:
Art in Nazi Germany

The Nazi regime in Germany actively promoted and censored forms of art between 1933 and 1945. Upon becoming dictator in 1933, Adolf Hitler gave his personal artistic preference the force of law to a degree rarely known before. In the case of Germany, the model was to be classical Greek and Roman art, seen by Hitler as an art whose exterior form embodied an inner racial ideal. It was, furthermore, to be comprehensible to the average man. This art was to be both heroic and romantic. The Nazis viewed the culture of the Weimar period with disgust. Their response stemmed partly from conservative aesthetics and partly from their determination to use culture as propaganda.

Theory
As indicated by historian Henry Grosshans in his book Hitler and the Artists, Adolf Hitler who came to power in 1933 (quote): "saw Greek and Roman art as uncontaminated by Jewish influences. Modern art was [perceived by him as] an act of aesthetic violence by the Jews against the German spirit. Such was true to Hitler – wrote Grosshans – even though only Liebermann, Meidner, Freundlich, and Marc Chagall, among those who made significant contributions to the German modernist movement, were Jewish. But Hitler ... took upon himself the responsibility of deciding who, in matters of culture, thought and acted like a Jew." The supposedly "Jewish" nature of art that was indecipherable, distorted, or that represented "depraved" subject matter was explained through the concept of degeneracy, which held that distorted and corrupted art was a symptom of an inferior race.

By propagating the theory of degenerate art, the Nazis combined their anti-Semitism with their drive to control the culture, thus consolidating public support for both campaigns. Their efforts in this regard were unquestionably aided by a popular hostility to Modernism that predated their movement. The view that such art had reflected Germany's condition and moral bankruptcy was widespread, and many artists acted in a manner to overtly undermine or challenge popular values and morality.

In July 1937, two officially sponsored exhibitions opened in Munich: Entartete Kunst, (the Degenerate Art Exhibition), displayed modern art in a deliberately chaotic installation accompanied by defamatory labels that encouraged the public to jeer; in contrast, the Große Deutsche Kunstausstellung (Great German art exhibition) made its premiere amid much pageantry. This exhibition, held at the palatial Haus der deutschen Kunst (House of German Art), displayed the work of officially approved artists such as Arno Breker and Adolf Wissel. "The audience entered the portals of the new museum, already dubbed "Palazzo Kitschi" and "Munich Art Terminal", to a stultifying display carefully limited to idealized German peasant families, commercial art nudes, and heroic war scenes, including not just a few works by jurist Ziegler himself." "...The show was essentially a flop and attendance was low. Sales were even worse and Hitler ended up buying most of the works for the government." At the end of four months Entartete Kunst had attracted over two million visitors, nearly three and a half times the number that visited the nearby Grosse deutsche Kunstausstellung.

Historical background
The early twentieth century was characterized by startling changes in artistic styles. In the visual arts, such innovations as cubism, Dada and surrealism, following hot on the heels of Symbolism, post-Impressionism and Fauvism, were not universally appreciated. The majority of people in Germany, as elsewhere, did not care for the new art which many resented as elitist, morally suspect and too often incomprehensible. During recent years, Germany had become a major center of avant-garde art. It was the birthplace of Expressionism in painting and sculpture, the atonal musical compositions of Arnold Schoenberg, and the jazz-influenced work of Paul Hindemith and Kurt Weill. Robert Wiene's The Cabinet of Dr. Caligari and Fritz Lang's Metropolis brought expressionism to cinema.

Creation of the Reichskulturkammer
In September 1933, the Reichskulturkammer (Reich Culture Chamber) was established, with Joseph Goebbels, Hitler's Reichsminister für Volksaufklärung und Propaganda (Reich Minister for Public Enlightenment and Propaganda) in charge. Individual divisions in the Chamber of Culture for the Reich included: "press, radio, literature, movies, theater, music, and visual arts." "The purpose of this chamber was to stimulate the Aryanization of German culture and to prohibit, for example, atonal Jewish music, the blues, surrealism, cubism, and Dadaism."

Nazi cultural policy
By 1935, the Reich Culture Chamber had 100,000 members. Goebbels made clear that: "In the future only those who are members of the chamber will be allowed to be productive in our cultural life. Membership is open only to those who fulfil the entrance condition. In this way all unwanted and damaging elements have been excluded." Nonetheless, there was, during the period 1933–1934, some confusion within the Party on the question of Expressionism. Goebbels and some others believed that the forceful works of such artists as Emil Nolde, Ernst Barlach and Erich Heckel exemplified the Nordic spirit; as Goebbels explained, "We National Socialists are not un-modern; we are the carrier of a new modernity, not only in politics and in social matters, but also in art and intellectual matters." However, a faction led by Rosenberg despised Expressionism, leading to a bitter ideological dispute which was settled only in September 1934, when Hitler declared that there would be no place for modernist experimentation in the Reich.

Document No. 2030-PS: Decree Concerning the Duties of the Reich Ministry for Public Enlightenment and Propaganda of June 1933 stated that: "The Reich Minister of Public Enlightenment and Propaganda has jurisdiction over the whole field of spiritual indoctrination of the nation, of propagandizing the State, of cultural and economic propaganda, of enlightenment of the public at home and abroad; furthermore, he is in charge of the administration of all institutions serving these purposes". This increased the jurisdiction of the Reich Minister of Public Enlightenment and Propaganda to include "enlightenment in foreign countries; art; art exhibitions; moving pictures and sport abroad" ... [and increased jurisdiction in domestic] "Press (including the Institute for Journalism); Radio; National anthem; German Library in Leipzig; Art; Music (including the Philharmonic Orchestra); Theater; Moving Pictures; Campaign against dirty and obscene literature" ... Propaganda for tourism." Signed by The Reich Chancellor, Adolf Hitler.

Document No. 2078-PS: Decree concerning the establishment of the Reichs Ministry of Science, Education and Popular Culture of 1 May 1934 stated that: "The Chancellor of the Reich will determine the various duties of the Reich Ministry for Science, Education, and Popular Culture." Signed by The President of the Reich, von Hindenburg, and The Chancellor of the Reich, Adolf Hitler.

Document No. 1708-PS: The program of the NSDAP stated that: only members of the German race can be citizens (Jews, specifically are denied citizenship), and that non-members of the race can only live in Germany as registered 'guests'. Point 23 stated: "We demand legal prosecution of artistic and literary forms which exert a destructive influence on our national life, and the closure of organizations opposing the above made demands.

Art theft
Nazis began plundering Jewish collections from 1933 in Germany with the Aryanization of Jewish art dealerships like that of Alfred Flechtheim and the transfer to non-Jewish owners. In each country occupied by the Nazis, including Austria, France, Holland and others, Jewish art collectors and art dealers were forced out of business and plundered as part of the Holocaust.

Later, as the occupiers of Europe, the Germans trawled the museums and private collections of Europe for suitably "Aryan" art to be acquired to fill a bombastic new gallery in Hitler's home town of Linz. At first a pretense was made of exchanges of works (sometimes with Impressionist masterpieces, considered degenerate by the Nazis), but later acquisitions came through forced "donations" and eventually by simple looting.

The purge of art in Germany and occupied countries was extremely broad. The Nazi theft is considered to be the largest art theft in modern history including paintings, furniture, sculptures, and anything in between considered either valuable, or opposing Hitler's purification of German culture.

During the Second World War, art theft by German forces was devastating, and the resurfacing of missing stolen art continues today, along with the fight for rightful ownership. Not only did the Reich confiscate and reallocate countless masterpieces from occupied territories during the war, but also put to auction a large portion of Germany's collection of great art from museums and art galleries. In the end, the confiscation committees removed over 15,000 works of art from German public collections alone.

It took four years to "refine" the Nazi art criteria; in the end what was tolerated was whatever Hitler liked, and whatever was most useful to the German government from the point of view of creating propaganda. A thorough head-hunting of artists within Germany was in effect from the beginning of the Second World War, which included the elimination of countless members within the art community. Museum directors that supported modern art were attacked; artists that refused to comply with Reich-approved art were forbidden to practise art altogether. To enforce the prohibition of practising art, agents of the Gestapo routinely made unexpected visits to artist's homes and studios. Wet brushes found during the inspections or even the smell of turpentine in the air was reason enough for arrest. In response to the oppressive restrictions, many artists chose to flee Germany.

Before the impending war and a time of simply looting occupied nation's art treasures, but during the Reich's efforts to free Germany of conflicting art, authorities of the Nazi party realized the potential revenue of Germany's own collection of art that was considered degenerate art which was to be purged from German culture. The Reich began to collect and auction countless pieces of art—for example, "on June 30, 1939 a major auction took place at the elegant Grand Hotel National in the Swiss resort town of Lucerne". All of the paintings and sculptures had recently been on display in museums throughout Germany. This collection offered over 100 paintings and sculptures by numerous famous artists, such as Henri Matisse, Vincent van Gogh, and Pablo Picasso; all of which were considered "degenerate" pieces by Nazi authorities and were to be banished from Germany. An auction of this magnitude was viewed as suspicious by potential buyers, who feared that the profits would end up funding the Nazi party: "The auctioneer had been so worried about this perception that he had sent letters to leading dealers assuring them that all profits would be used for German museums". In reality, all of the proceeds from the auction were deposited into "German controlled-accounts", and the museums "... as all had suspected, did not receive a penny".

Genres
Belief in a Germanic spirit—defined as mystical, rural, moral, bearing ancient wisdom, noble in the face of a tragic destiny—existed long before the rise of the Nazis; Richard Wagner celebrated such ideas in his work. Beginning before World War I the well-known German architect and painter Paul Schultze-Naumburg's influential writings, which invoked racial theories in condemning modern art and architecture, supplied much of the basis for Adolf Hitler's belief that classical Greece and the Middle Ages were the true sources of Aryan art.

Among the well-known artists endorsed by the Nazis were the sculptors Josef Thorak and Arno Breker, and painters Werner Peiner, Arthur Kampf, Adolf Wissel and Conrad Hommel. In July 1937, four years after it came to power, the Nazi party put on two art exhibitions in Munich. The Great German Art Exhibition was designed to show works that Hitler approved of, depicting statuesque blonde nudes along with idealized soldiers and landscapes. The second exhibition, just down the road, showed the other side of German art: modern, abstract, non-representational—or as the Nazis saw it, "degenerate".

According to Klaus Fischer, "Nazi art, in short, was colossal, impersonal, and stereotypical. People were shorn of all individuality and became mere emblems expressive of assumed eternal truths. In looking at Nazi architecture, art, or painting one quickly gains the feeling that the faces, shapes, and colors all serve a propagandistic purpose; they are all the same stylized statements of Nazi virtues—power, strength, solidity, Nordic beauty."

Painting

Art of Nazi Germany was characterized by a style of Romantic realism based on classical models. While banning modern styles as degenerate, the Nazis promoted paintings that were narrowly traditional in manner and that exalted the "blood and soil" values of racial purity, militarism, and obedience. Other popular themes for Nazi art were the Volk at work in the fields, a return to the simple virtues of Heimat (love of homeland), the manly virtues of the National Socialist struggle, and the lauding of the female activities of child bearing and raising symbolized by the phrase Kinder, Küche, Kirche ("children, kitchen, church").

In general, painting—once purged of "degenerate art"—was based on traditional genre painting. Titles were purposeful: "Fruitful Land", "Liberated Land", "Standing Guard", "Through Wind and Weather", "Blessing of Earth", and the like. Hitler's favorite painter was Adolf Ziegler and Hitler owned a number of his works. Landscape painting featured prominently in the Great German Art exhibition. While drawing on German Romanticism traditions, it was to be firmly based on real landscape, Germans' Lebensraum, without religious moods. Peasants were also popular images, reflecting a simple life in harmony with nature. This art showed no sign of the mechanization of farm work. The farmer labored by hand, with effort and struggle. Not a single painting in the first exhibition showed urban or industrialized life, and only two in the exhibition in 1938.

Nazi theory explicitly rejected "materialism", and therefore, despite the realistic treatment of images, "realism" was a seldom used term. A painter was to create an ideal picture, for eternity. The images of men, and still more of women, were heavily stereotyped, with physical perfection required for the nude paintings. This may have been the cause of there being very few anti-Semitic paintings; while such works as Um Haus and Hof, depicting a Jewish speculator dispossessing an elderly peasant couple exist, they are few, perhaps because the art was supposed to be on a higher plane. Explicitly political paintings were more common but still very rare. Heroic imagery, on the other hand, was common enough to be commented on by a critic: "The heroic element stands out. The worker, the farmer, the soldier are the themes .... Heroic subjects dominate over sentimental ones".

With the advent of war, war paintings became far more common. The images were romanticized, depicting heroic sacrifice and victory. Still, landscapes predominated, and among the painters exempted from war service, all were noted for landscapes or other pacific subjects. Even Hitler and Goebbels found the new paintings disappointing, although Goebbels tried to put a good face on it with the observation that they had cleared the field, and that these desperate times drew many talents into political life rather than cultural. In a speech at the Great German Art Exhibition in Munich Hitler said in 1939:

"The first goal of our new German creation of art [...] has surely been achieved. Analogous to the recovering of architectural art which began here in Munich, here also started the purification in the sphere of painting and sculpture, that maybe had been even more devastated. The whole swindle of a decadent or pathological trend-art has been swept away. A decent common level has been reached. And this means a lot. Only out of this can the truly creative genius arise.'"

By 1938, nearly 16,000 works by German and non-German artists had been seized from German galleries and either sold abroad or destroyed.

Sculpture

The monumental possibilities of sculpture offered greater material expression of the theories of Nazism. The Great German Art Exhibition promoted the genre of sculpture at the expense of painting. As such, the nude male was the most common representation of the ideal Aryan; the artistic skill of Arno Breker elevated him to become the favourite sculptor of Adolf Hitler. Josef Thorak was another official sculptor whose monumental style suited the image Nazi Germany wished to communicate to the world. Nude females were also common, though they tended to be less monumental. In both cases, the physical form of the ideal Nazi man and woman showed no imperfections.

Music
Music was expected to be tonal and free of jazz influence; films and plays were censored. "Musical fare alternated between light music in the form of folk songs or popular hits (Schlager) and such acceptable classical music as Bach, Mozart, Beethoven, and Italian Opera."

Germany's urban centers in the 1920s and '30s were buzzing with jazz clubs, cabaret houses and avant-garde music. In contrast, the Nazi regime made concentrated efforts to shun modern music (which was considered degenerate and Jewish in nature) and instead embraced classical German music. Highly favored was music which alluded to a mythic, heroic German past such as Johann Sebastian Bach, Ludwig van Beethoven and Richard Wagner. Anton Bruckner was highly favored, as his music was regarded as an expression of the zeitgeist of the German volk. The music of Arnold Schoenberg (and atonal music along with it), Gustav Mahler, Felix Mendelssohn and many others was banned because the composers were Jewish or of Jewish origin. Paul Hindemith fled to Switzerland in 1938, rather than fit his music into Nazi ideology. Some operas of Georg Friedrich Händel were either banned outright for themes sympathetic to Jews and Judaism or had new librettos written for them. German composers who had their music performed more often during the Nazi period were Max Reger and Hans Pfitzner. Richard Strauss continued to be the most performed contemporary German composer, as he had been prior to the Nazi regime. However, even Strauss had his opera The Silent Woman banned in 1935 due to his Jewish librettist Stefan Zweig.

Music by non-German composers was tolerated if it was classically inspired, tonal, and not by a composer of Jewish origin or having ties to ideologies hostile to the Nazi regime. The Nazis recognized Franz Liszt for having German origin and fabricated a genealogy that purported that Frédéric Chopin was German. The Nazi Governor-General of occupied Poland even had a "Chopin Museum" built in Kraków. Music of the Russian Peter Tchaikovsky could be performed in Nazi Germany even after Operation Barbarossa. Operas by Gioacchino Rossini, Giuseppe Verdi and Giacomo Puccini got frequent play. The most-performed modern non-German composers prior to the outbreak of war were Claude Debussy, Maurice Ravel, Jean Sibelius and Igor Stravinsky. After the outbreak of war, the music of German allies became more often performed, including the Hungarian Béla Bartók, the Italian Ottorino Respighi and the Finn Jean Sibelius. Composers of enemy nations (such as Debussy, Ravel and Stravinsky) were largely banned and almost never performed – although there were some exceptions.

There has been controversy over the use of certain composers' music by the Nazi regime, and whether that implicates the composer as implicitly Nazi. Composers such as Richard Strauss, who served as the first director of the Propaganda Ministry's music division, and Carl Orff have been subject to extreme criticism and heated defense. Jews were quickly prohibited from performing or conducting classical music in Germany. Such conductors as Otto Klemperer, Bruno Walter, Ignatz Waghalter, Josef Krips, and Kurt Sanderling fled Germany. Upon the Nazi seizure of Czechoslovakia, the conductor Karel Ančerl was blacklisted as a Jew and was sent in turn to Theresienstadt and Auschwitz.

Musicologists of Nazi Germany
As the Nazi regime accrued power in 1933, musicologists were directed to rewrite the history of German music in order to accommodate Nazi mythology and ideology. Richard Wagner and Hans Pfitzner were now seen as composers who conceptualized a united order (Volksgemeinschaft) where music was an index of the German community. In a time of disintegration, Wagner and Pfitzner wanted to revitalize the country through music. In a book written about Hans Pfitzner and Wagner, published in Regensburg in 1939 followed not only the birth of contemporary musical parties, but also of political parties in Germany. The Wagner-Pfitzner stance contrasted ideas of other notable artists, such as Arnold Schoenberg and Theodor W. Adorno, who wanted music to be autonomous from politics, Nazi control and application. Although Wagner and Pfitzner predated Nazism, their sentiments and thoughts, Wagner's Gesamtkunstwerk, were appropriated by Hitler and his propagandists—notably Joseph Goebbels. According to Michael Meyer, "The very emphasis on rootedness and on tradition music underscored Nazi understanding of itself in a dialectic terms: old gods were mobilized against the false values of the immediate past to offer legitimacy to the epiphany of Adolf Hitler and the music representation of his realm."

Composers, librettists, educators, critics, and especially musicologists, through their public statements, intellectual writings, and journals contributed to the justification of a totalitarian blueprint to be implanted through nazification. All music was then composed for the occasions of Nazi pageantries, rallies, and conventions. Composers dedicated so called 'consecration fanfares,' inaugurations fanfares and flag songs to the Fuhrer. When the Fuhrer assumed power the Nazi revolution was immediately expressed in musicological journalism. Certain progressive journalism pertaining to modern music was purged. Journals that had been sympathetic to the ‘German viewpoint,’ entrenched in Wagnerian ideals, like the Zeitschrift für Musik and Die Musik, showed confidence in the new regime and affirmed the process of intertwining government policies with music. Joseph Goebbels used the Völkischer Beobachter, a journal that was disseminated to the general public in addition to elites and party officials, as an organ of Reich Culture. By the end of the 1930s the Mitteilungen der Reichsmusikkammer became another prominent journal that reflected the music policy, organizational and personnel changes in musical institutions.

In the early years of Nazi rule, the musicologists and musicians redirected the orientation of music, defining what was "German Music" and what was not. Nazi ideology was applied to the evaluation of musicians for hero status; musicians defined in the new German musical era were given titles of prophets, while their accomplishments and deeds were seen as direct accomplishments of the Nazi regime. The contribution of German musicologists led to the justification of Nazi power and a new German music culture in whole. The musicologists defined the greater German values that musicians would have to identify with, because their duty was to integrate music and Nazism in way that made them look inseparable. Nazi myth making and ideology was forced upon the new musical path of Germany rather than truly embedded in the rhetoric of German music.

Graphic design

The poster became an important medium for propaganda during this period. Combining text and bold graphics, posters were extensively deployed both in Germany and in the areas occupied. Their typography reflected the Nazis' official ideology. The use of Fraktur was common in Germany until 1941, when Martin Bormann denounced the typeface as "Judenlettern" and decreed that only Roman type should be used. Modern sans-serif typefaces were condemned as cultural Bolshevism, although Futura continued to be used owing to its practicality. Imagery frequently drew on heroic realism. Nazi youth and the SS were depicted monumentally, with lighting posed to produce grandeur. Graphic design also played a part in Nazi Germany through the use of the swastika. The swastika was in existence long before Hitler came into power—serving purposes that were much more benign than the ones it [the swastika] is associated with today. Because of the stark, graphic lines used to create a swastika, it was a symbol that was very easy to remember.

Literature
The Reich Chamber of Literature Reichsschriftstumskammer Literature was under the jurisdiction of Goebbels's Ministry of Propaganda and Popular Enlightenment. According to Grunberger, "At the beginning of the war this department supervised no less than 2,500 publishing houses, 23,000 bookshops, 3,000 authors, 50 national literary prizes, 20,000 new books issued annually, and a total of 1 million titles constituting the available book market." Germany was Europe's biggest producer of books—in terms both of total annual production and the number of individual new titles appearing each year. In 1937, at 650 million RM, the average sales value of the books produced took third place in the statistics on goods, after coal and wheat. The first Nazi literature commission set itself the goal of eradicating the literature of the 'System Period', as Weimar was contemptuously called, and of propagating volkisch-nationalist literature in the Nazis state. Literature was recognized early on as an essential political tool in Nazi Germany, as virtually 100 percent of the German population was literate. "The most widely-read-or displayed-book of the period was Hitler's Mein Kampf, a collection (according to Lion Feuchtwanger) of 164,000 offences against German grammar and syntax; by 1940, it was, with 6 million copies sold, the solitary front-runner in the German best-seller list, some 5 million copies ahead of Rainer Maria Rilke and others."

Richard Grunberger says, "In 1936 literary criticism as hitherto understood was abolished; henceforth reviews followed a pattern: a synopsis of content studded with quotations, marginal comments on style, a calculation of the degree of concurrence with Nazi doctrine and a conclusion indicating approval or otherwise."

The Nazis permitted much foreign literature to be read, in part because they believed that the writings of authors such as John Steinbeck and Erskine Caldwell substantiated the Nazis' condemnation of Western society as corrupt. However, when the United States entered the war, all foreign authors were strictly censored. Themes in Nazi literature were defined as a range of "permissible literary expression" largely limited to four subjects: German war glorification, Nazism and race, blood and soil, and the Nazi movement." Popular Nazi Germany authors included Agnes Miegel, Rudolf Binding, Werner Bumelburg and Börries von Münchhausen.

Fronterlebnis (War as a Spiritual Experience)
This was one of the most popular themes during the interwar period. Writers celebrated the "heroics of front-line soldiers in [World War I], ... the thrill of combat and the sacredness of death when it is in the service of the fatherland." Popular writers in this genre included Ernst Jünger and Werner Beumelburg (de), an ex-officer. Prominent books include Ernst Junger's Storm of Steel (1920), Struggle as Inner Experience (1922), Storms (1933), Fire and Blood (1925), The Adventurous Heart (1929), and Total Mobilization (1931).

Blut und Boden (Blood and Soil)
Novels in this theme often featured an instinctive and soil-bound peasant community that warded off alien outsiders who sought to destroy their way of life. The most popular novel of this kind was Hermann Lons's Wehrwolf published in 1910.

Historical ethnicity
Klaus Fischer says Nazi literature emphasized "Historic Ethnicity—that is, how a group of people defines itself in a process of historical growth. Writers tried to highlight prominent episodes in the history of the German people; they stressed the German mission for Europe, analyzed the immutable racial essence of Nordic man, and warned against subversive or un-German forces—the Jews, Communists, or Western liberals." Prominent writers included: Erwin Guido Kolbenheyer (Die Bauhutte: Elemente einer Metaphysik der Gerenwart; The building hut: Elements of a contemporary metaphysics, 1925), Alfred Rosenberg (Der Mythus des 20.Jahrhunderts; The myth of the twentieth century, 1930), Josef Weinheber, Hans Grimm (Volk ohne Raum; People without living space, 1926), and Joseph Goebbels (Michael, 1929).

Architecture
Hitler favored hugeness, especially in architecture, as a means of impressing the masses. "A once mediocre artist and aspiring architect, Hitler also pronounced upon the ‘decadence’ of modern art and pushed his planners to create monumental buildings in older neoclassical or art deco styles."

Theatre and cinema
"The Reich Film Chamber (Reichsfilmkammer) controlled the lively German film industry, while a Film Credit Bank (also under Goebbels' control) centralized the financial aspects of film production." Approximately 1,363 feature pictures were made during Nazi rule (208 of these were banned after World War II for containing Nazi Propaganda). Every film made in Nazi Germany (including features, shorts, newsreels, and documentaries) had to be passed by Joseph Goebbels himself before they could be shown in public.

Mass culture was less stringently regulated than high culture, possibly because the authorities feared the consequences of too heavy-handed interference in popular entertainment. Thus, until the outbreak of the war, most Hollywood films could be screened, including It Happened One Night, San Francisco, and Gone with the Wind. While performance of atonal music was banned, the prohibition of jazz was less strictly enforced. Benny Goodman and Django Reinhardt were popular, and leading English and American jazz bands continued to perform in major cities until the war; thereafter, dance bands officially played "swing" rather than the banned jazz.

A film premiered in Berlin on November 28, 1940, which was clearly a tool used to promote Nazi Ideology. The release of the film Der ewige Jude (The Eternal Jew) was only two months prior to the announcement made by German officials of the establishment of the ghetto in Łódź. The film was portrayed in the Nazi press as a documentary to emphasize the cinema as truth, when in reality it was nothing more than propaganda to raise hatred against the Jewish community in its viewers.

The filmmaker, Fritz Hippler, used numerous visual techniques to portray Jews as a filthy, degenerate, and disease-infested population. Purporting to provide the viewer with an in-depth look at the Jewish lifestyle, the film showed staged scenes of Łódź (soon to be ghetto) with the presence of flies and rats, to suggest a dangerous-to-life area of Europe, which, in turn, only perpetuated underlying superstition and fear to the viewer. To add to this staged and exaggerated scene of filth was a warning released by officials of The Reich: an advisory that Łódź is an area of widespread infectious disease. The film director utilized racist cinema to bolster the illusion that Jews were parasites and corruptors of German culture.

Hippler made use of voice-overs to cite hate speeches or fictitious statistics of the Jewish population. He also borrowed numerous scenes from other films, and presented them out of context from the original: for example, a scene of a Jewish businessman in the United States hiding money was accompanied with a bogus claim that Jewish men get taxed more than non-Jews in the United States, which was used to insinuate that Jews withhold money from the government. Through the repetitive use of side angles of Jewish people, who were filmed (without knowledge) while looking over their shoulder at the camera, Der ewige Jude created a visual suggesting a shifty and conspiring nature of Jews. Yet another propaganda technique was superposition. Hippler superimposed the Star of David onto the tops of world capitals, insinuating an illusion of Jewish world domination. Der ewige Jude is notorious for its anti-Semitism and its use of cinema in the fabrication of propaganda, to satisfy Hitler and to embrace the Germanic ideology that would fuel a nation in support of an obsessive leader. "On the lighter side, a Jewish actor named Leo Reuss fled Germany to Vienna, where he dyed his hair and beard and became a specialist in 'Aryan' roles, which were greatly praised by the Nazis. Having had his fun, Reuss revealed he was a Jew, signed a contract with MGM, and departed for the United States".

Führermuseum
Apart from auctioning art that was to be purged from Germany's collection, Germany's art that was considered as especially favourable by Hitler were to be combined to create a massive art museum in Hitler's hometown of Linz, Austria for his own personal collection. The museum to-be by 1945 had thousands of pieces of furniture, paintings, sculptures and several other forms of fine craft. The museum was to be known as the "Führermuseum".

By the late spring of 1940 art collectors and museum curators were in a race against time to move thousands of pieces of collectables into hiding, or out of soon-to-be-occupied territory where it would be vulnerable to confiscation by German officials—either for themselves or for Hitler. On June 5, a particularly important movement of thousands of paintings occurred, which included the Mona Lisa, and all were hidden in the Loc-Dieu Abbey located near Martiel during the chaos of invasion by German forces. Art dealers did their best to hide artwork in the best places possible; Paul Rosenberg managed to move over 150 great pieces to a Libourne bank, which included works by Monet, Matisse, Picasso, and van Gogh. Other collectors did whatever they could to remove France's artistic treasures to the safest locations feasible at the time; filling cars, or large crates en route to Vichy, or south through France and into Spain to reach transport by boat. Art dealer Martin Fabiani, whom after WWII was arrested for his involvement in Nazi art looting, moved mass quantities of pictures: drawings and paintings from Lisbon destined for New York, however they were seized by the Royal Navy which relocated them to Canada, in the charge of the Registrar of the Exchequer Court of Canada where they were to remain until the end of the war. Similar shipments landed in New York.

By the end of June, Hitler controlled most of the European continent. As people were detained, their possessions were confiscated; if they were lucky enough to escape, their belongings left behind or in storage became the property of Germany. By the end of August, officials of the Reich were granted permission to access any shipping containers and remove any desirable items inside. As well as looting goods that were to be shipped out of occupied territories, Arthur Seyss-Inquart authorized the removal of any objects found in houses during the invasion, after which a long and thorough search was in effect for European treasures.

Artwork became an important commodity in the German economy: no one in German or axis-controlled countries was allowed to invest outside of the new Germanic-controlled territory, which in turn created a self-contained market. With few options available for investments, art was of great importance to anyone with cash, including the Führer himself, as a safe form of investment, and even in trade for the lives of others. At the height of trading in 1943, art was used by Pieter de Boers, the head of the Dutch association of art dealers and the largest art seller to Germans in the Netherlands, in the exchange of the release of his Jewish employee. Demand began to increase dramatically, forcing prices to rise, and only furthering the desire to discover hidden treasures within occupied territory.

As exploration continued within occupied France, and by Hitler's orders, a list was created which included all of the great works of art in France, and the German Currency Unit began to open private bank units which contained countless collectors' property and possible items on the list. The owner of the vault was required to be present. One particular investigation of a vault was that of Pablo Picasso; he chose a rather clever tactic when soldiers searched the contents of his vault. He packed his own artworks with countless other artists’ works of his collection in a chaotic manner, with the result that the investigators thought that nothing in the collection was significant, and took nothing.

As confiscations began to pile up in massive quantities, the items filled the Louvre, and forced Reich officials to use the Jeu de Paume, a small museum, for additional space, and for proper viewing of the collection. The grand stockpile of art was ready for Hitler to choose from: Hitler had first choice for his own collection; second were objects that would complete collections of the Reichsmarschall; third was intended for whatever was useful to support Nazi ideology; a fourth category was created for German museums. Everything was supposed to be appraised and paid for, with proceeds being directed to French war-orphans.

Hitler also ordered the confiscation of French works of art owned by the state and the cities. Reich officials decided what was to stay in France, and what was to be sent to Linz. Further orders from Hitler also included the return of artworks that were looted by Napoleon from Germany in the past. Napoleon is considered the unquestioned record holder in the act of confiscating art.

Individual NSDAP artists
According to Klaus Fischer, "Many German writers, artists, musicians, and scientists not only stayed but flourished under the Nazis, including some famous names such as Werner Heisenberg, Otto Hahn, Max Planck, Gerhart Hauptmann, Gottfried Benn, Martin Heidegger, and many others".

In September 1944, the Ministry of Public Enlightenment and Propaganda prepared a list of 1,041 artists considered crucial to Nazi culture, and therefore exempt from war service. This Gottbegnadeten list provides a well-documented index to the painters, sculptors, architects and filmmakers who were regarded by the Nazis as politically sympathetic, culturally valuable, and still residing in Germany at this late stage of the war.

Official painters

Official sculptors

Musicians
 * Werner Egk
 * Hans Pfitzner
 * Carl Orff
 * Richard Strauss
 * Richard Wagner

Architects

Writers

Actors and actresses

Degenerate art forms

Hitler's rise to power on January 31, 1933, was quickly followed by actions intended to cleanse the culture of degeneracy: book burnings were organized, artists and musicians were dismissed from teaching positions, artists were forbidden to utilize any colors not apparent in nature, to the "normal eye", and curators who had shown a partiality to modern art were replaced by Nazi Party members. "Through the Ministry of Propaganda or the ERR, the Nazis destroyed or quarantined the culture of all the nations they invaded." "A four-man purge tribunal (Professor Ziegler, Schweitzer-Mjolnir, Count Baudissin and Wolf Willrich) toured galleries and museums all over the Reich and ordered the removal of paintings, drawings and sculptures that were regarded as 'degenerate'." "The swathe these four apocalyptic Norsemen cut through Germany's stored-up artistic treasure has been estimated at upwards of 16,000 paintings, drawings, etchings and sculptures: 1,000 pieces by Nolde, 700 by Haeckel, 600 each by Schmidt-Rottluff and Kirchner, 500 by Beckmann, 400 by Kokoschka, 300–400 each by Hofer, Pechstein, Barlach, Feininger and Otto Muller, 200-300 each by Dix, Grosz and Corinth, 100 by Lehmbruck, as well as much smaller numbers of Cézannes, Picassos, Matisses, Gauguins, Van Goghs, Braques, Pissarros, Dufys, Chiricos and Max Ernst." On March 20, 1939, more than 4000 of those works seized were burned in the courtyard of the headquarters of the Berlin Fire Department.

The term Entartung (or "degeneracy") had gained popularity in Germany by the late 19th century when the critic and author Max Nordau devised the theory presented in his 1892 book, Entartung. Nordau drew upon the writings of the criminologist Cesare Lombroso, whose The Criminal Man, published in 1876, attempted to prove that there were "born criminals" whose atavistic personality traits could be detected by scientifically measuring abnormal physical characteristics. Nordau developed from this premise a critique of modern art, explained as the work of those so corrupted and enfeebled by modern life that they have lost the self-control needed to produce coherent works. Explaining the painterliness of Impressionism as the sign of a diseased visual cortex, he decried modern degeneracy while praising traditional German culture. Despite the fact that Nordau was Jewish (as was Lombroso), his theory of artistic degeneracy would be seized upon by the Nazis during the Weimar Republic as a rallying point for their anti-Semitic and racist demand for Aryan purity in art.

Germany lost "thousands of intellectuals, artists, and academics, including many luminaries of Weimar culture and science", according to Raffael Scheck. Fischer says that "as soon as Hitler seized power, many intellectuals rushed to the exits."

Though pornography was officially banned in Nazi Germany, it has been acknowledged that pornographic films were privately filmed and screened for senior Nazi Party figures, and were also traded to north Africa for insect repellent and other commodities. One notable series of erotic films which were secretly shot in 1941 were Sachsenwald films.

Proscribed literature
According to Pauley, "literature was the first branch of the arts to be affected by the Nazis." "As early as April 1933, the Nazis had compiled a long blacklist of left, democratic, and Jewish authors which included several famous authors of the nineteenth century." Large scale book burnings were staged across Germany in May 1933. Two thousand five hundred writers, including Nobel prize winners and writers of worldwide best sellers, left the country voluntarily or under duress, and were replaced by people without international reputations."

In June 1933, the Reichsstelle zur Forderung des deutschen Schrifttums (Reich Office for the Promotion of German Literature) was established. Jan-Pieter Barbian says, "On the level of the state, the Reich Ministry of Popular Enlightenment and Propaganda and the Reich Chamber of Literature had to share responsibility for literary policy with the new Reich Ministry of Science, Education, and Public Instruction and the Foreign Office." "The full repertoire—which also included the consistent removal of Jews and political opponents—was brought to bear during the twelve years of Nazi rule: on writers and publishers; book wholesaling; the retail, door-to-door, and mail-order book libraries, public libraries, and research libraries."

Between November 1933 and January 1934, publishers were informed "that supplying and distributing the works named is undesirable for national and cultural reasons and must therefore cease." Publishers, who often faced enormous economic losses when books were banned, received letters stating that the "authorities responsible would proceed against any indiscretion in the most rigorous manner". Companies which had published primarily "the fiction of naturalism, expressionism, Dadaism, and New Objectivity; modern translated literature; and critical nonfiction ... suffered enormous economic losses." A few of the hardest hit publishers were Deutsche Verlags-Anstalt, S.Fischer Verlag, Gustav Kiepenheuer Verlags-AG, Rowohlt, Ullstein Verlags-AG, and Kurt Wolff Verlags. In 1935, the same year that "Goebbels assumed complete control over censorship," the Reichsschrifttumskammer banned the work of 524 authors. "The Office for the Supervision of Ideological Training and Education of the NSDAP...became another watchdog of the state, spying on writers, developing black lists, encouraging book burnings, and emptying museums of 'non-German' works of art." Punishments varied, some individuals were censored or had their work destroyed or publicly ridiculed, while others were incarcerated in concentration camps.

"During World War II, 1939–1945, identical indexes of forbidden literature were applied by the Nazis in all occupied countries as well as in Germany's allied countries: Denmark, Norway, France, Luxembourg, Belgium, the Netherlands, Lithuania, Latvia, Estonia, Belarus, Poland, Yugoslavia, Greece, and of course, Germany."

Book burnings
Described as a cleaning action or Sauberung, book burnings, known as the Bücherverbrennung in Germany, and sometimes referred to as the "bibliocaust", began on May 10, 1933, when the Association of German Students confiscated some 25,000 books from the Institute for Sexual Research and several captured Jewish libraries, which were burned in Opernplatz. Like a lit fuse, the bonfire triggered book burning in other cities all over Germany, including Frankfurt and Munich, where the burnings were part of an orchestrated program, including music and speeches. "Political police groups like the SA, the SS, and the Gestapo unleashed a campaign of intimidation that often frightened people into burning their own books."

"The blind writer Helen Keller published an Open Letter to German Students: 'You may burn my books and the books of the best minds in Europe, but the ideas those books contain have passed through millions of channels and will go on.'"

Degenerate Art exhibition
Modern artworks were purged from German museums. Over 5,000 works were initially seized, including 1,052 by Nolde, 759 by Heckel, 639 by Ernst Ludwig Kirchner and 508 by Max Beckmann, as well as smaller numbers of works by such artists as Alexander Archipenko, Marc Chagall, James Ensor, Henri Matisse, Jean Metzinger, Pablo Picasso and Vincent van Gogh. These became the material for a defamatory exhibit, Entartete Kunst ("Degenerate Art"), featuring over 650 paintings, sculptures, prints, and books from the collections of thirty-two German museums, that premiered in Munich on July 19, 1937, and remained on view until November 30 before travelling to eleven other cities in Germany and Austria. In this exhibition, the artworks were deliberately presented in a disorderly manner, and accompanied by mocking labels. "To 'protect' them, children were not allowed in."

Coinciding with the Entartete Kunst exhibition, the Große Deutsche Kunstausstellung (Great German art exhibition) made its premiere amid much pageantry. This exhibition, held at the palatial Haus der deutschen Kunst (House of German Art), displayed the work of officially approved artists such as Arno Breker and Adolf Wissel. At the end of four months Entartete Kunst had attracted over two million visitors, nearly three and a half times the number that visited the nearby Grosse deutsche Kunstausstellung.

The Degenerate Art Exhibition included works by some of the great international names—Paul Klee, Oskar Kokoschka and Wassily Kandinsky—along with famous German artists of the time such Max Beckmann, Emil Nolde, and Georg Grosz. The exhibition handbook explained that the aim of the show was to "reveal the philosophical, political, racial and moral goals and intentions behind this movement, and the driving forces of corruption which follow them". Works were included "if they were abstract or expressionistic, but also in certain cases if the work was by a Jewish artist", says Jonathan Petropoulos, professor of European History at Claremont McKenna College and author of several books on art and politics of the Nazi era. Hitler had been an artist before he was a politician—but the realistic paintings of buildings and landscapes that he preferred had been dismissed by the art establishment in favor of abstract and modern styles. So the Degenerate Art Exhibition was his moment to get his revenge. He had made a speech about it that summer, saying "works of art which cannot be understood in themselves but need some pretentious instruction book to justify their existence will never again find their way to the German people". The Nazis claimed that degenerate art was the product of Jews and Bolsheviks, although only six of the 112 artists featured in the exhibition were actually Jewish. The art was divided into different rooms by category—art that was blasphemous, art by Jewish or communist artists, art that criticized German soldiers, art that offended the honor of German women. One room featured entirely abstract paintings, and was labelled "the insanity room". The idea of the exhibition was not just to mock modern art, but to encourage the viewers to see it as a symptom of an evil plot against the German people. The curators went to some lengths to get the message across, hiring actors to mingle with the crowds and criticize the exhibits. The Degenerate Art Exhibition in Munich attracted more than a million visitors—three times more than the officially sanctioned Great German Art Exhibition.

Individual artists forbidden under Nazi rule
Banned in German-occupied Europe and/or living in exile:

title: Art in Nazi Germany


text:
Rublev

Rublev is a Russian surname Рублёв (Rublyov). Notable people with the surname include:

 * Andrei Rublev, Russian icon painter
 * Andrey Rublev (born 1997), Russian tennis player

title: Rublev