text:
Wikipedia:Requests for adminship/Adam1213

 * ''The following discussion is preserved as an archive of a request for adminship that did not succeed. Please do not modify it.

Please read what I have said below before voting and just saying not enough edits

Support

Oppose
 * 1) I will be delisting this nomination. Its good faith, but you're just too new. R  e  dwolf24  (talk) 23:56, 2 October 2005 (UTC)
 * 2) Oppose This user only has around 150 edits, despite making first edit in May 2005. He also did not show a command of Wikipedia editing in creating this self-nomination. The answers to the questions do not show a grasp of policy or basic Wikipedia guidelines. Maybe, if you continue for another six to eight months with good, Wikipedia editing, we can revisit this nomination. Until then, I cannot approve this nomination. Bratsche talk 23:59, 2 October 2005 (UTC)
 * 3) Oppose as above. Many of the small number of edits were to own user page to boot. Fawcett5 00:24, 3 October 2005 (UTC)
 * 4) Oppose. Lack of edit summaries. Oleg Alexandrov 00:42, 3 October 2005 (UTC)
 * 5) Oppose. You are joking right? You don't meet a single one of my standards. --Maru (talk) 00:57, 3 October 2005 (UTC)
 * 6) Oppose. While this user has been around since May 25, he has only been truly active on Wikipedia for about three days.  It is much too soon for the community to make an informed decision on Adam1213's trustworthiness. --Allen3 talk 02:12, 3 October 2005 (UTC)
 * 7) Oppose: this really shouldn't have proceeded.--Cyberjunkie | Talk 03:10, 3 October 2005 (UTC)
 * 8) Oppose. The user claims having removed lots of vandalism while in fact, a good part of the removals wasn't vandalism at all.  -  Introvert   talk  03:46, 3 October 2005 (UTC)
 * 9) Oppose. In addition to leaving notes that he removed vandalism, he is leaving behind new original vandalism in the same edit! At least on some. Strange case this Jekell and Hyde. Stbalbach 05:17, 5 October 2005 (UTC)

Neutral

Comments

You cant rate a user on how many edits they make entirerly. I have removed lots of vandalism quickly. Try prove me worse than a user that has been on wikipedia a long time. There edits will be greater. But does this mean that if I was an admin and they were an admin they would do a better job? I really dont think so at all, they will contributed to a lot of articles, I will do the same but also remove a lot of vandalism.

Think of the huge ammount of things that I will acomplish for wikipedia not what I already have.

I have found admins with below 1200 edits

Questions for the candidate

A few generic questions to provide guidance for voters:
 * 1. What sysop chores, if any, would you anticipate helping with? (Please read the page about administrators and the administrators' reading list.)
 * A. I will remove vandalism very fast. I will speak about ideas to change certaint things about the GUI and if aproved changed them
 * 2. Of your articles or contributions to Wikipedia, are there any about which you are particularly pleased, and why?
 * A. Yes all of them but mainly the ones where I removed vandalism in not to long.
 * 3. Have you been in any conflicts over editing in the past or do you feel other users have caused you stress? How have you dealt with it and how will you deal with it in the future?
 * A. Yes I have seen this, I think that on the talk page the reasons to add or delete something need to be stated this alone can even fix this problem. But an admin might need to help them get in to negotiating

I have an idea on making it faster to find people vandalising. There needs to be a search function for in artciles and a list of pages with commonly used vandalsit's words (boring, is the king, is shit)
 * ''The above discussion is preserved as an archive of the discussion. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page. No further edits should be made to this page.


text:
Psi Boötis

Psi Boötis (ψ Boötis) is a single, orange-hued star in the northern constellation of Boötes. It is a dim star that is visible to the naked eye with an apparent visual magnitude of +4.55. Based upon an annual parallax shift of 13.26 mas as seen from the Earth, it is located about 246 light years from the Sun. At that distance, the visual magnitude is diminished by an extinction of 0.09 due to interstellar dust. It is traversing the sky with a net proper motion of 0.176 arc seconds per year, and has a radial velocity toward the Sun of −25.72 km/s.

This star has a stellar classification of K2 III, matching an evolved K-type giant star. It belongs to the so-called "red clump", indicating that it is generating energy through helium fusion at its core. This star is about four billion years old and is spinning with a projected rotational velocity of 3.5 km/s. It has an estimated 1.38 times the mass of the Sun and has expanded to 20 times the Sun's radius. Psi Boötis radiating 135 times the Sun's luminosity from its enlarged photosphere at an effective temperature of 4,302 K.

Name
This star, according to Assemani, with another in the right arm that may have been ε Boo (Izar), constituted the Arabs' Al Aulād al Nadhlāt, which he rendered filii altercationis (sons of contention); but the original signifies "the Low, or Mean, Little Ones".

Al Aulād al Nadhlāt or Aulad al Nathlat was the title of this star in the catalogue of stars in Technical Memorandum 33-507 - A Reduced Star Catalog Containing 537 Named Stars.

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

title: Psi Boötis


text:
Li Li (Water Margin)

Li Li is a fictional character in Water Margin, one of the Four Great Classical Novels in Chinese literature. Nicknamed "Life Taking Judge", he ranks 96th among the 108 Stars of Destiny and 60th among the 72 Earthly Fiends.

Background
The novel depicts Li Li as having a reddish beard and fiery round eyes like those of a tiger. Born in Luzhou (蘆州; present-day Hefei, Anhui), he moves to Jieyang Ridge (揭陽嶺; believed to be in present-day Jiujiang, Jiangxi), where he robs customers after knocking them unconscious with spiked drinks and then butchers them to make filling in baozi with their flesh. He is a close friend of Li Jun, who smuggles salt on Xunyang River, which flows below Jieyang Ridge.

Joining Liangshan
When Song Jiang is on the way to his exile in Jiangzhou (江州; present-day Jiujiang, Jiangxi), a reduced sentence for killing his mistress Yan Poxi, he and his two escorts pass by Jieyang Ridge and comes to eat in Li Li's inn. The three are knocked out. Li Li is waiting for his assistants to come help cut them up when Li Jun and his sidekicks Tong Wei and Tong Meng comes to his inn for some refreshments. Li Jun checks the official documents on the escorts and is shocked to learn that the exile is Song Jiang, the chivalrous hero he greatly admires. In fact, Li Jun has been waiting for days in hopes of meeting Song at the river bank. Li Li quickly revives the three and apologises to Song. The four treat Song Jiang as an honoured guest until he leaves for Jiangzhou.

In Jiangzhou Song Jiang is arrested and sentenced to death for being the author of a seditious poem found on a wall in a restaurant. The outlaws from Liangshan Marsh rush to Jiangzhou and save him just when he is going to be beheaded. But have gotten stranded at a river bank. In the meantime, friends that Song Jiang has made in the Jieyang region, led by Li Jun and including Li Li, are sailing to Jiangzhou to rescue Song. They come upon the group and ferry them to safety. Together they head to Liangshan, where Li Li becomes one of the chieftains.

Campaigns and death
Li Li is put in charge of an inn that acts as a lookout for Liangshan after the 108 Stars of Destiny came together in what is called the Grand Assembly. He participates in the campaigns against the Liao invaders and rebel forces in Song territory following amnesty from Emperor Huizong for Liangshan.

In the battle of Qingxi County (清溪縣; present-day Chun'an County, Zhejiang) in the campaign against Fang La, Li Li is severely injured and soon dies from the wounds.

title: Li Li (Water Margin)


text: Category:Houston Colt .45s managers

title: Category:Houston Colt .45s managers


text:
Talk:Takashi Fujii

I've updated all the details and expanded, changed the redirect because his real name is Takashi Fujii. More details needed on past appearances and a little translation would help to clean up some parts. I'm not really sure about the style policy in some parts. Freshgavin 06:02, 14 October 2005 (UTC)
 * Pfft! Well I am! freshofftheufo  ΓΛĿЌ  11:19, 20 June 2006 (UTC)

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title: Talk:Takashi Fujii


text:
Talk:Canada Aviation and Space Museum

Untitled
It would be interesting to add a section about how the museum used to fly some of its exhibits. I don't have the details at hand, but I know that the museum did this in the past. (Strangely, a number of the museums exhibits still carry civil aircraft registrations, although they haven't flown in decades...)

--Voodude 18:10, 20 April 2007 (UTC)

New Photo Needed
Could someone get a new museum photo? The present one shows mainly a big green field. The actual museum is difficult to make out. Perhaps an interior shot showing some aircraft?BC 15:44, 25 September 2007 (UTC)

 * I did add a nice aerial photo some time ago! - Ahunt (talk) 01:00, 31 May 2008 (UTC)
 * Since I wrote the original message in Sept., lots of good photos have been included. Article looks a whole lot better. I like the aerial shot.BC (talk) 02:18, 1 June 2008 (UTC)

 * Thanks for your positive comment! I thought the article looked pretty bare, so I added all of those. Easy to do when you live nearby the museum! I think it looks a lot better now! - Ahunt (talk) 12:22, 1 June 2008 (UTC)

 * Now that we have some better pictures posted here the second photo File:Canada-aviation-museum.jpg ("big green field" as described above) really looks a bit out of place. Is there any consensus to retain it in the article? If not I will remove it. - Ahunt (talk) 13:50, 16 December 2008 (UTC)

 * With no objections I will remove it. - Ahunt (talk) 21:58, 11 January 2009 (UTC)

Gallery?
User:Victoriaedwards converted all the photos into a gallery at the top of the article. I have reverted this, as the placing of a gallery at the top is very non-standard. This also leaves a long area of text with no images, just text and a very long list of aircraft. I have tested the page at several screen resolutions and image preferences settings and I really think the right hand row of photos helps to illustrate the list of aircraft in the collection and also makes the article more interesting to the reader. - Ahunt (talk) 22:03, 11 January 2009 (UTC)
 * This edit by NiD.29 converted the list of aircraft to a table. Nothing wrong with that, but it broke the layout somehow, causing the right hand column of photos to all be displayed before the start of the table. This leaves a huge gap of vertical space, so now the "Aircraft in collection" subsection appears empty at first glance. --Colin Douglas Howell (talk) 20:07, 2 January 2015 (UTC)
 * That is odd, it appears fine in Firefox 34.o, which browser are you using? - Ahunt (talk) 21:19, 4 January 2015 (UTC)
 * *facepalm* Firefox 34.0.5, but I had forgotten that I had one step of Zoom In active. That was the cause. Sorry for the bother. --Colin Douglas Howell (talk) 21:33, 4 January 2015 (UTC)
 * No problem, at least we solved it! - Ahunt (talk) 22:42, 4 January 2015 (UTC)

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title: Talk:Canada Aviation and Space Museum


text:
WKBF

WKBF may refer to:
 * WKBF (AM), a defunct AM radio station in Rock Island, Illinois
 * WKBF-TV, a defunct Independent television station in Cleveland, Ohio
 * WPRO (AM), an extant radio station in Providence, Rhode Island, which held the call sign WKBF from 1924 to 1925

title: WKBF


text:
Talk:Canadian Museum of Nature

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.) For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, and according to fair use may copy sentences and phrases, provided they are included in quotation marks and referenced properly. The material may also be rewritten, but only if it does not infringe on the copyright of the original or plagiarize from that source. Therefore such paraphrased portions must provide their source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. The Interior (Talk) 00:37, 22 November 2014 (UTC)

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text:
NER Class T3

The North Eastern Railway Class T3, classified as Class Q7 by the LNER, is a class of 0-8-0 steam locomotive designed for heavy freight. Five were built by the NER in 1919 and a further 10 by the London and North Eastern Railway (LNER) in 1924.

Performance
The first of the T3s, No.901 was outshopped from Darlington Works in November 1919. A month later the NER organised a test train, over the Newcastle to Carlisle line, including a brake van and the company's dynamometer car to record the locomotive's performance. No.901 had 1,402 LT in tow but handled the load with ease, registering both high power and steady acceleration. There were no problems starting on a 1 in 298 (0.335 %) grade and on the return, with a reduced load of 787 LT, the engine was untroubled by gradients as severe as 1 in 107 (0.93%).

LNER
Despite their prowess, the original quintet of T3s was not augmented by the North Eastern Railway, a move that would have pleased footplate crews who disliked having to lubricate and maintain the centre cylinder and valve gear. Instead the enlargement of the class came under LNER. it authorised the construction of ten additional T3s and these emerged from Darlington Works during 1924.

Of the new engines two were allocated to York and a further four went to Hull. The remaining four gravitated to their natural habitat, Tyne Dock depot near South Shields. It was there eventually that all 15 T3s/Q7s congregated. Here they performed the role they were designed for. This was to haul 700 LT rakes of iron ore hoppers to the steelworks at Consett 1000 ft above sea level. On the steepest section, as severe as 1 in 35 (2.86%) in places, one 0-8-0 pulled while another pushed.

British Railways
All 15 passed into British Railways ownership in 1948 and they were numbered 63460-63474. They remained master of their task till the arrival of BR Standard Class 9F 2-10-0s in the 1950s. With the loss of their bread and butter work British Railways retired all 15 of the Q7s in November and December 1962.

Preservation
One, NER 901 (BR 63460) has survived and is currently on display at Darlington Railway Centre and Museum. It is the newest exhibit at the museum.

Models
DJH Models has made a kit for 1:76 (OO gauge) of the class

title: NER Class T3


text:
African Peer Review Mechanism

The African Peer Review Mechanism (APRM) is a mutually agreed instrument voluntarily acceded to by the member states of the African Union (AU) as a self-monitoring mechanism. It was founded in 2003.

The mandate of the APRM is to encourage conformity with regards to political, economic and corporate governance values, codes and standards, among African countries and the objectives in socio-economic development as well as to ensure monitoring and evaluation of AU Agenda 2063 and SDGs 2030.

Africa's self-assessment for good governance
A Specialized Agency of the African Union (AU), the African Peer Review Mechanism (APRM) was initiated in 2002 and established in 2003 by the African Union in the framework of the implementation of the New Partnership for Africa's Development (NEPAD).

APRM is a tool for sharing experiences, reinforcing best practices, identifying deficiencies, and assessing capacity-building needs to foster policies, standards and practices that lead to political stability, high economic growth, sustainable development and accelerated sub-regional and continental economic integration.

Member countries within the APRM undertake self-monitoring in all aspects of their governance and socio-economic development. African Union (AU) stakeholders participate in the self-assessment of all branches of government – executive, legislative and judicial – as well as the private sector, civil society and the media. The APRM Review Process gives member states a space for national dialogue on governance and socio-economic indicators and an opportunity to build consensus on the way forward.

The APR Forum of Heads of State and Government adopted the 2016-2020 Strategic Plan and the APRM Statute at the 25th Summit of the APR Forum held in Nairobi, Kenya. The 28th AU Assembly of Heads of States and Government further extended the APRM's mandate to include tracking of the implementation and overseeing the Continent's key governance initiatives. In addition, the AU Assembly further extended the mandate of the APRM to include monitoring of the implementation of the African Union (AU) Agenda 2063 and United Nations Sustainable Development Goals (SDGs), Agenda 2030.

In 2018, the 11th AU Extraordinary Summit of Head of States and Government reached the decision to fully integrate the APRM to the African Union in accordance to Assembly/AU/Dec.635(XXVIII) decision adopted by 28th Ordinary Session of the Assembly Union held in Addis Ababa. The Assembly further encouraged the universal accession of AU member countries to the APRM, now counting 40 members with the accession of the Republic of Seychelles and Zimbabwe at the 32nd APR Forum in Addis Ababa, Ethiopia, in January 2020.

Four types of country reviews
1. Base Review – carried out immediately after a country becomes a member of the APRM

2. Periodic Review every four years

3. Targeted Review – requested by the member country itself outside the framework of mandated reviews

4. A Review commissioned by the APR Forum when there are early signs of pending political and economic crisis.

Four Thematic Areas
1. Democracy and Political Governance (DPG)

2. Economic Governance and Management (EGM)

3. Corporate Governance (CG)

4. Broad-based Sustainable Socio-economic Development (SED)

Consultation
The APR Secretariat and the Country under review consult on the process overview and terms of the Memorandum of Understanding (MoU). The Country under review creates a Focal Point to liaise with the Secretariat and provide it with relevant laws, treaty ratifications, budgets and development plans. The Secretariat prepares a background assessment document. At the same time, the Country under review independently completes the APR Self-Assessment Questionnaire, gathers inputs from civil society and drafts a paper outlining the nation's issues and a National Programme of Action (NPoA) with clear steps and deadlines on how it plans to conform to APRM codes and standards, the African Union Charter, and UN obligations. The Country Review Team that is set up writes a report outlining issues to be focused on during the review mission.

2. THE REVIEW MISSION

Visits the Country under review and conducts broad-based consultations with government, officials, political parties, parliamentarians, and representatives of civil society organisations (e.g. media, academia, trade unions, professional bodies), and the private sector. The mission typically lasts two-and-a-half to three weeks.

3. DRAFT REPORT

The APR Country Review Team drafts a report on the Country under review.

4.THE PEER REVIEW

takes place at the level of the APR Forum, using the APR Panel's report on the team's findings as a basis. The APR Forum discusses these recommendations with the Reviewed Country's leadership.

5. FINAL REPORT

Within six months, after the peer review, the published Country Review Report must be tabled in sub-regional institutions (Pan-African Parliament, African Commission on Human and Peoples' Rights, AU Peace and Security Council, Economic, Social and Cultural Council of the African Union [ECOSOCC AU]). The report is then made publicly available.

The second generation review
The objective of the APRM Second Generation Review is to assess progress made in Governance and Socio-economic Development in Member States in the period since the Base Review. The specific objectives are to:

 * reinvigorate, rationalize and institutionalize the APRM in governance reforms within a Member States.
 * appraise to what extent the National Programme of Action (NPoA) is implemented and its continued relevance, on the basis of which a new NPOA with a few key actions will be proposed;
 * facilitate the development of a second NPOA with greater focus and based only on key actions; and
 * make the APRM Review process more relevant to citizens' needs, more cost-effective and in tune with the Agenda 2063 priorities and goals.

What happens after the country review
The National Programme of Action (NPoA) is divided into short-term, medium-term and long-term goals and is continuously monitored by the National Governance Commission/Governing Council, or a smaller body of state and non-state representatives. Progress Reports on implementation are presented annually to the APR Forum. The APR Secretariat follows up on commitments made, holds regional workshops to share best practices identified in the reviews, and offers technical support to fulfill APRM plans.

APR FORUM
(Committee of Participating Heads of State and Government)

Highest decision-making authority.

APR PANEL

(Panel of Eminent Persons)

Oversees the review process to ensure its independence, professionalism and credibility, and reports to the Forum. The APR Panel is also responsible for selecting and appointing and the Review Teams.

COMMITTEE OF FOCAL POINTS

Committee of representatives of Heads of State and Government

Manages the budgetary process, resource mobilisation through Member States, Strategic and Development Partners, and the APRM Trust Fund and Audit.

National Governing Council (NGC)

The National Governance Commission/National Governing Council (NGC) is the body that oversees implementation of the APRM process at the Member State level. In addition to providing guidance in terms of policy direction, the NGC ensures professionalism, credibility and independence of the national APRM self-assessment and review processes. The NGC is composed of key stakeholder groups from government, civil society and the private sector, in line with the APRM principle of broad-based participation.

APRM SECRETARIAT

Provides technical, coordinating and administrative support services. It must have sufficient capacity for the analytical work that underpins the peer review process.

Membership of the APRM
Membership of the APRM is voluntary and open to all African Union (AU) countries. Accession begins with an expression of interest in membership followed by the signing of a Memorandum of Understanding (MoU) between the country and the APR Forum.

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Strategic Partners
The APRM has entered into special support agreements with partner institutions designated by the Forum as Strategic Partners. These are: African Capacity Building Foundation (ACBF), the African Development Bank (AfDB); Mo Ibrahim Foundation; United Nations Economic Commission for Africa (UNECA); Office of the Special Advisor on Africa (OSAA); United Nations Development Programme (UNDP) Regional Bureau for Africa.

APRM documents

 * APRM Base document The APRM base document
 * Memorandum of Understanding on the APRM The Memorandum of Understanding (MOU)
 * Guidelines Guidelines for Countries to prepare for and participate in the APRM
 * Organisation and Processes Organisation and Processes
 * The objectives, standards, criteria and indicators for the APRM. Retrieved 27 May 2006.
 * The Africa Governance Report 2019

Critiques and studies of the APRM process

 * An Analysis of the Implementation of the African Peer Review Mechanism in Ghana, Kenya and Mauritius Grant Masterson, EISA, February 2005
 * NEPAD’s APRM: A Progress Report, Practical Limitations and Challenges Paper by Ayesha Kajee on the APRM, 2004, retrieved 27 May 2006.
 * Becoming my brother's keeper eAfrica October 2003 by Ross Herbert, retrieved 27 May 2006.
 * The APRM process in Kenya: A pathway to a new state? Report by OSIEA/AfriMAP, April 2007
 * Critical review of the African Peer Review Mechanism Process in Rwanda Report by Ligue des Droits de la Personne dans la Région des Grands Lacs (LDGL), January 2007
 * Between Hope and Scepticism: Civil Society and the African Peer Review Mechanism Partnership Africa Canada, October 2005
 * Strategies for promoting effective stakeholder participation in the African Peer Review Mechanism, UNECA, 2005
 * Inadequately Self-Critical: Rwanda’s Self-Assessment for the African Peer Review Mechanism Eduard Jordaan, African Affairs, April 2006
 * Effective Stakeholder Participation. in the APRM Process for the Promotion. of Democratic Governance:. A Case Study of Ghana, Eric Opoku, UNDP, December 2006
 * Ghana and the APRM: A Critical Assessment, Adotey Bing-Pappoe, AfriMAP & OSIWA, June 2007
 * The African Peer Review Mechanism in Mauritius: Lessons from Phase I Sheila Bunwaree, AfriMAP & OSISA, August 2007
 * Further analysis of the African Peer Review Mechanism and the ECA/OECD-DAC Mutual Review of Development Effectiveness in the context of NEPAD Report to the UN High Level Task Force on the Implementation of the Right to Development, January 2008
 * The African Peer Review Mechanism: Lessons from the Pioneers, Ross Herbert and Steven Gruzd, South African Institute of International Affairs, March 2008
 * Civil Society Participation in Uganda’s APRM Process Juliet Nakato Odoi, SAIIA, June 2008
 * Assessing South Africa’s APRM: An NGO Perspective, Nick Hutchings, Mukelani Dimba, and Alison Tilley, SAIIA, June 2008
 * Addressing the African Peer Review Mechanism's Programmes of Action, Faten Aggad, SAIIA, June 2008
 * Understanding APRM Research: Planning, Process and Politics. A Practical Handbook for Peer Review Research, George Katito, SAIIA, June 2008
 * The African Peer Review Process in Nigeria, Adele Jinadu, AfriMAP, August 2008
 * Benin and the African Peer Review Mechanism: Consolidating Democratic Achievements Gilles Badet, AfriMAP, August 2008
 * Making the News: Why the APRM Didn't, Brendan Boyle, SAIIA, September 2008
 * Media Freedom, Transparency and Governance, Raymond Louw, SAIIA, September 2008

title: African Peer Review Mechanism


text:
Nadir

The nadir is the direction pointing directly below a particular location; that is, it is one of two vertical directions at a specified location, orthogonal to a horizontal flat surface.

The direction opposite of the nadir is the zenith.

Space science
Since the concept of being below is itself somewhat vague, scientists define the nadir in more rigorous terms. Specifically, in astronomy, geophysics and related sciences (e.g., meteorology), the nadir at a given point is the local vertical direction pointing in the direction of the force of gravity at that location.

The term can also be used to represent the lowest point that a celestial object reaches along its apparent daily path around a given point of observation (i.e. the object's lower culmination). This can be used to describe the position of the Sun, but it is only technically accurate for one latitude at a time and only possible at the low latitudes. The Sun is said to be at the nadir at a location when it is at the zenith at the location's antipode and is 90° below the horizon.

Nadir also refers to the downward-facing viewing geometry of an orbiting satellite, such as is employed during remote sensing of the atmosphere, as well as when an astronaut faces the Earth while performing a spacewalk. A nadir image is a satellite image or aerial photo of the Earth taken vertically. A satellite ground track represents its orbit projected to nadir on to Earth's surface.

Medicine
Generally in medicine, nadir is used to indicate the progression to the lowest point of a clinical symptom (e.g. fever patterns) or a laboratory count. In oncology, the term nadir is used to represent the lowest level of a blood cell count while a patient is undergoing chemotherapy. A diagnosis of neutropenic nadir after chemotherapy typically lasts 7–10 days.

Figurative usage
The word is also used figuratively to mean a low point, such as with a person's spirits, the quality of an activity or profession, or the nadir of American race relations.

title: Nadir


text:
Talk:Nadir

Mythology
I believe the words zenith and nadir come originally from ancient mythology (Greek and Mesopothamian). The universe had an egg shape. Zenith was the highest point of heaven; earth was flat in the middle; nadir was the lowest point of the underworld. It would take a lot of research to find the right sources to verify all that. Grushenka (talk) 08:19, 29 June 2021 (UTC)

Medical, Emotional, and other meanings sections
These sections seem out of place on an astronomy subpage. I suggest we move them to separate articles and keep the current one focused on the astronomical meaning. This page also did not show up in the disambiguation. — Preceding unsigned comment added by Triceraranger (talk • contribs) 19:48, 26 September 2018 (UTC)

May 2007
I think a figure would be of great value here...anyone know of one rattling around? --Leila 20:34, 1 May 2007 (UTC)

Text moved from article
I moved the following text here. It first needs some explanation as to its relevance to the English meaning of 'point opposite the zenith', then it can be moved back:
 * Nadir also means 'precious' and 'rare' in arabic and Hebrew. (spelt nadir or nader) -- User:57.73.15.6

BillC 22:06, 29 November 2005 (UTC)

Actually, it's from the phrase "nazir as-samt", that is, "opposite the zenith". While I'm not sure what "nadir" means in 'Arabic, I'm sure that the 2 words are not related (the root of one is nun-dal-rah and the other is nun-zah-rah). The English pronunciation of "nazir" is simply a mistake (like "samt" being pronounced "zenith", or "sifr" being pronounced "zero" etc). Zyxoas (talk to me - I'll listen) 13:44, 9 July 2006 (UTC)

 * This question has again been raised. — BillC talk 23:48, 20 May 2007 (UTC)

Meaning
Nadir also means rare in Hebrew, not only in Arabic It is written as נדיר. My name is Nadir and I am Israeli, that is why I know it. Please add it. --Idontknow610 18:33, 15 November 2007 (UTC)

Consider adding this to https://en.wikipedia.org/wiki/Nadir_(name) instead of here.

Pronunciation (vowels)
I am hearing this term a lot being used on NASA TV, watching the coverage of STS-116. There, it is pronounced "Nader", as in Ralph Nader. Is this the universal pronunciation of the word (at least, in English)? If so, that is a piece of information that would be useful to include (seeing the word, I would interpret the spelling as "Nah-DEER", particularly given the apparent Arabic origin). On that note, I have added a clarification to the link on "Nader". --RealGrouchy 00:31, 14 December 2006 (UTC)
 * It's a very common term if you ever have studied astrology or navigation by celestial bodies. Ronbo76 07:14, 9 January 2007 (UTC)

Image Request
A request was made at the Graphic Lab for an Image to improve this article: your comments would be welcome. ---Dave the Rave (DTR) talk 09:45, 16 August 2007 (UTC)

Examples of usage
Those seeking example(s) of the term's usage can review audio and/or transcripts of air/ground NASA communications during astronaut EVA (Extra-Vehicular Activity) work, such as to structures on the International Space Station. - Ageekgal (talk) 14:59, 11 February 2008 (UTC)

Nadir as persian name
I believe that the right English spelling for the Persian name is: Nader(نادر), as the pronunciation seems to differ from the Arabic variant which is written the same using Arabic alphabet(نادر ) but pronounced: Nadir.--217.29.87.11 (talk) 18:23, 24 December 2008 (UTC)kasvi

Consider adding this to the following page, not here. https://en.wikipedia.org/wiki/Nadir_(name) — Preceding unsigned comment added by Triceraranger (talk • contribs) 19:42, 26 September 2018 (UTC)

Nadir is a direction, not a point
Nadir refers to a direction, not to a point, as do zenith, horizon, etc. Wulfgang (talk) 16:35, 21 January 2009 (UTC)
 * I've edited the page accordingly, and incorporated the introductory paragraph from zenith to help unify these two related articles. 98.185.216.60 (talk) 23:14, 2 February 2009 (UTC)
 * Nadir refers to a direction at a point. In General Relativity the Nadir at all points is never identical.  In Special Relativity the Nadir of some points is perceived to be identical because of measurement imprecision. Dsoconno (talk) 09:52, 3 May 2023 (UTC)

Clarification of Nadir Satellite Viewing Geometry
My colleagues find the description of the Nadir satellite viewing geometry to be insufficient to properly understand it. I will attempt to address this by rewording the current text in terms of a viewing geometry instead of an angle. I will also attempt to put in a second figure depicting a satellite. The current figure is quite correct, but it is difficult to imagine how it applies to satellites unless you are already familiar with the meaning. Grayob (talk) 20:10, 4 June 2009 (UTC)

Nadir And Nenith
Nadir comes from ottoman empire (old turkish) with the meaning of "down". Zenith comes from roman empire (latin) with the meaning of "up". Nadir and Zenith are 2 directions that they can help people to orient themselves. Attention!!! North Pole and South Pole with Nadir and Zenith are a total differention. Poles are points and N&Z are directions. If you wanna find more about stars (constelations) search on youtube "Astroscope" Good luck! 2A02:2F05:1202:7100:410A:4601:C53B:8A92 (talk) 21:09, 8 January 2023 (UTC)

title: Talk:Nadir


text:
18 Boötis

18 Boötis is a single star in the northern constellation of Boötes, located about 85 light years away from the Sun. It is visible to the naked eye as a faint, yellow-white hued star with an apparent visual magnitude of 5.41. This object is a suspected member of the Ursa Major Moving Group, based on velocity criteria. It has a magnitude 10.84 optical companion at an angular separation of $0.385$ along a position angle of 219°, as of 2010.

This is an F-type main-sequence star with a stellar classification of F3 V. Older surveys gave a class of F5 IV, showing the luminosity class of a subgiant star. It shows strong evidence for short-term chromospheric variability, although it is not optically variable.

18 Boötis is an estimated 1.15 billion years old and is spinning with a projected rotational velocity of 40.5 km/s. It has 1.3 times the mass of the Sun and 1.4 times the Sun's radius. The star is radiating 3.9 times the luminosity of the Sun from its photosphere at an effective temperature of 6,731 K. An infrared excess has been detected that suggests a cold debris disk is orbiting $−0.40$ from the host star with a blackbody temperature fit of 65 K.

title: 18 Boötis


text:
Fingallian

Fingallian or the Fingal dialect is an extinct language formerly spoken in Fingal, Ireland. It is thought to have been an offshoot of Middle English, which was brought to Ireland during the Norman invasion, Although little is known of Fingallian, it is thought to have been similar to the Forth and Bargy dialect of County Wexford.

The surviving literature of Fingallian consists of two satirical or humorous poems, the short "Fingallian Dance" and the much longer Purgatorium Hibernicum. Both poems are anonymous and are thought to be humorous parodies of Fingallian.

History

Fingallian was spoken in the region of Fingal, traditionally the part of County Dublin north of the River Tolka. It was spoken in the area near the northern border. The name "Fingal" is from the Irish Fine Gall, or "territory of foreigners", probably a reference to a Norse settlement in the area. The linguist Alf Sommerfelt proposed Old Norse influence on the Fingallian dialect, but later scholars have found no evidence of such a connection.

Like the Yola dialect of Forth and Bargy in County Wexford, Fingallian is thought to have derived from Middle English, which was introduced by "Old English" settlers after the Anglo-Norman invasion of Ireland in 1169, and Leinster Irish. Middle English was well established in southeastern Ireland until the 14th century, when the area was re-Gaelicized and English was displaced. As such, the Yola and Fingal dialects would have been the only attested relicts of this original English variety in Ireland.

The Fingallian Dance
The poem most likely to have been composed by a native speaker of Fingallian is The Fingallian Dance, a brief, three-stanza poem written between about 1650 and 1660. It is a mildly indecent poem about a man going to see dancers at a bullring (bull fighting was practised in 17th century Ireland). Although the poem is likely to have been standardised when written down, it gives a flavour of Fingallian, particularly forms like fat for "what" or fen for "when". Other words that need explanation are ame for "them", plack-keet for "placket" (a slit at the top of a petticoat, here used to mean a vulva), and abateing for "abutting, bordering on".

The Fingallian Dance c.1650

On a day in the Spring, As I went to bolring To view the jolly Daunciers, They did trip it so high (Be me shole!) I did spee [By my soul, I did spy] Six Cunts abateing Seav'n hairs.

But wondering on 'ame, Fat make 'em so tame [docile, tractable], Fen de catch at their plack-keet, The maids of y-yore Wou'd y-cree, and y-rore, And y-make o foul Rac-keet.

But fire take 'ame, [to hell with them!] They made me ashame, And when I went home to me weef And told her the Chaunce [chance, here meaning "account"] Of the Maids in the Daunce, 'Peace thy prateing', say'd shee, 'for dee [thy] Leef!' ["Keep quiet, for goodness' sake!"]

Purgatorium Hibernicum
The Purgatorium Hibernicum is a humorous and bawdy burlesque or travesty on the Roman poet Virgil's Aeneid. It exists in three versions: the original manuscript (Purgatoriam Hibernicum), another manuscript entitled The Fingallian Travesty: the Sixt Book of Virgill's Aenoeids a la mode de Fingaule (1670–5), and a printed version called The Irish Hudibras or The Fingallian Burlesque (1689).

Virgil's prince Aeneas and his noble lover Dido are transformed into a bumbling young Fingallian called 'Prince' Nees and a coarse ex-nun Dydy. The names of all the characters are converted into mock 'Irish' forms and the places mentioned in Virgil's text become places in Fingal. Part of the humour for the Anglo-Irish readers of the poem is that Nees and Dydy converse with each other in broad Fingallian. Although the intention is supposedly to mock their speech, it is rendered with such vitality and wit that the effect is actually to give the reader an appreciation of its richness.

The short extract below provides a good example of Fingallian. In it Nees encounters Dydy again and seeing her look pale and unwell realises that he may have been responsible for giving her the 'flame' or venereal disease. A few features need explanation: 'V' is used instead of 'W' in Fingallian; 'suggam' is a kind of straw rope'; Ful dea ro is derived from Irish fuil Dé, a rogha 'God's blood, my sweetheart':

 * 'Sure, Sure!' sayes Nees, 'dis me old vench is!'
 * But when he drew more neare her quarters,
 * And know her by her suggam garters,
 * 'Ful dea, ro, dou unlucky jade,
 * I'll chance upon dee! Art thou dead?
 * Fat devill vas be in dee, vench?
 * Vas he soe hot is cou'd no quench
 * De flame?' Indeed, oh no! but Nees chief
 * Occasion is of all dis mischeif'.

Nees continues with an attempt to sweet talk Dydys and asks her for a 'pogue', but his fears are justified and Dydy is having none of it. She tells him that if he think he can have another 'bout' with her, he can think again – after he has play'd the vagge (been a wag) with her and given her the bagge (rejected her) she will vatch de vales ('watch the walls', be on guard) and foil his plan:

 * 'I, Nees', sayes she in mighty snuffe,
 * 'and be! is tink is varm enough,
 * If dou cam shance but to find out
 * Dee old consort to have a bout –
 * and den, fen dou has play'd de vagge,
 * to give me, as before, de bagge!
 * Butt I will vatch de vales, Nees,
 * And putt foile on dee by dis chees,'

Then Dydy goes on her way in high dudgeon.

Letters from Ireland
In John Dunton's Letters from Ireland (1698) he writes that in Fingal "they have a sort of jargon speech peculiar to themselves, and understand not one word of Irish, and are as little understood by the English". Dunton gives a sample of the language: a lamentation that a mother made over the grave of her son, who was a keen fisher and hunter. Note that a roon and moorneeng are from the Irish a rúin "(secret) love" (vocative) and múirnín "love" (lit. "little trust"):

Ribbeen a roon Ribbeen moorneeng Thoo ware good for loand stroand and mounteen For rig a tool and roast a whiteen Reddy tha taakle Gather tha baarnacks Drink a grote at Nauny Hapennys

This is roughly translated as: Robin my love Robin my dear Thou wast good for land, strand and mountain Good with a tool and [at] roast[ing] a whiting Ready the tackle Gather the bannocks Drink a groat at Nanny Halfpenny's [alehouse]

Modern Fingal English
Although Fingallian is no longer spoken, a large number of dialect words unique to Fingal have survived, especially in traditional Fingal towns and villages such as Swords (now a large suburb of Dublin), Skerries, Rush, Lusk, Donabate, Garristown, Oldtown, Balrothery, Portrane and Naul. Major sources for these include glossaries in an article in the folklore Journal Béaloideas by J. J. Hogan and Patrick O'Neill and a book on Fingal lore entitled Fair Fingall by Patrick Archer.

Examples from Archer's Glossary include:

 * Cinnit (pronounced with hard 'C') – a dodger, trickster
 * Cloustered – covered up in clothes
 * Dalk – a thorn, Ir. dealg
 * Dawney – delicate, weak
 * Glauming – groping
 * Lawneyday – an exclamation of surprise or regret, Ir. Láine Dé
 * Mullacking – working or walking in mud
 * Possing – sopping wet
 * Rossie – robust, blustering female
 * Scut – a short, mean person, a wren

Examples from Hogan and O'Neill's Glossary include:

 * Barney – a quarrel, a row
 * Bunched – ruined, finished
 * Buthoon – a bad blunder, Ir. Botún
 * Clift – an idiot, especially a normally sensible person who has done something stupid
 * Cobby – cunning, worldly wise
 * Dugging – prodding or punching a person, fighting
 * Foopah – a blunder, Fr. faux pas
 * Gollockers – eyes (contempuously)
 * Go-boy – a sly fellow who goes about doing harm in secret
 * Launa-wallya – something to think about 'a bellyful', Ir. Lán a' mhála (meaning 'bagful' )
 * Malavogue – to beat or maul
 * Moggy – a fat lazy person
 * Randyvoo – a house where people meet for a chat or mischief, Fr. rendez-vous
 * Raucie – a girl given to gadding about
 * Simmy-saumy – a foolish-looking person
 * Squib – a word used to address a stranger, esp. a boy e.g. 'hey, squib'
 * Tamboo – a shebeen, a miserable looking house
 * Whack – nothing, nobody, Ir. faic

title: Fingallian


text:
Don't Stop (Wiggle Wiggle)

"Don't Stop (Wiggle Wiggle)" is a song by American hip-house duo the Outhere Brothers, released in 1994 as a single from their debut album, 1 Polish, 2 Biscuits & a Fish Sandwich (1994). The song topped the charts in the Republic of Ireland, Spain, and the United Kingdom. Although the music video and radio edit of the song featured a remixed, clean version of the song, the original, explicit lyrics were featured on different versions of the track on the CD single.

Chart performance
"Don't Stop (Wiggle Wiggle)" was a major hit on the charts on several continents and remains the duo's most successful song to date, along with "Boom Boom Boom". In Europe, the song topped the charts in the Republic of Ireland, Spain and the United Kingdom. In the latter country, the song peaked at the top of the UK Singles Chart on March 26, 1995 – for the week ending date April 1, 1995 – during its third week on the chart. In Spain, it spent a total of five weeks at the top position. It was a top 10 hit also in Belgium (2), Italy (10) and the Netherlands (3), as well as on the Eurochart Hot 100, where it hit number four. Outside Europe, "Don't Stop (Wiggle Wiggle)" peaked at number five in Australia, number 22 on the Billboard Hot Dance Club Play in the Outhere Brothers' native United States and number 29 in New Zealand.

Track listings

 * 12-inch maxi – UK (1995)
 * 1) "Don't Stop (Wiggle Wiggle)" (OHB Club Version) – 4:40
 * 2) "Don't Stop (Wiggle Wiggle)" (OHB Club Remix) – 4:58
 * 3) "Don't Stop (Wiggle Wiggle)" (Ramirez Tribal Remix) – 4:23
 * 4) "Don't Stop (Wiggle Wiggle)" (Itchy And Scratchy Vocal Mix) – 5:50
 * 5) "Don't Stop (Wiggle Wiggle)" (Seb And Vernes Dub) – 5:28

 * CD single – UK (1995)
 * 1) "Don't Stop (Wiggle Wiggle)" (Townhouse Radio Edit) – 3:06
 * 2) "Don't Stop (Wiggle Wiggle)" (Original Radio Version) – 3:19
 * 3) "Don't Stop (Wiggle Wiggle)" (OHB Club Version) – 4:40
 * 4) "Don't Stop (Wiggle Wiggle)" (Itchy & Scratchy Vocal Mix) – 5:50
 * 5) "Don't Stop (Wiggle Wiggle)" (DFC Tribal Remix) – 4:20
 * 6) "Don't Stop (Wiggle Wiggle)" (DFC Techno Remix) – 4:26

title: Don't Stop (Wiggle Wiggle)


text:
Wikipedia:Miscellany for deletion/Wikipedia:Template messages/Stubs/Sports

 * 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 in a deletion review).  No further edits should be made to this page.

The result of the debate was Supercession by events/redirect. Xoloz 05:51, 1 November 2005 (UTC)

Template messages/Stubs/Sports
Overlooked when all the other stub message subpages were deleted redirected a couple of weeks back. Delete redirected this one too. Grutness...  wha?  06:10, 14 October 2005 (UTC)
 * Delete per nom. Xoloz 17:45, 14 October 2005 (UTC) Apparently superceded by events. Xoloz 05:51, 1 November 2005 (UTC)
 * please note change of vote, due to bad block in user memory. Grutness...  wha?  00:31, 21 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 a deletion review). No further edits should be made to this page.


text:
Old Todd County Courthouse

The Old Todd County Courthouse (c.1835) is the second courthouse to be constructed in Todd County, Kentucky The first court house building was constructed on the same site. Planning for the building began in 1834. Construction was begun in 1835 and the project was completed in 1836. Bricks used in the building's construction were fired on the site. The construction of the courthouse which occupies the center square in Elkton, was authorized by the Fiscal Court, Tuesday, November 11, 1834, at which time they arranged for the selection of a building site.

History
The Commissioners further mandated the county to meet the cost in three payments, the first of which would come from unappropriated funds, which were being held by the sheriff. Thereafter, the balance would be remitted in two equal payments. The building was erected according to a plan drafted by "R. Rowland." The building contained two large open rooms; one on the first floor, and another on the second. The first floor room was used as a formal court room containing a judge's stand framed in a frontispiece and a railing separating the auditorium and bar. Small rooms concealed behind semi-circular shaped walls held jury deliberation spaces and judge's chambers. The semi-circular walls in both court rooms are similar to design features used in the courthouses and pattern books of architect Robert Mills. The second floor room, though also having small rooms located on the south-west and south-east corners, was used as a space for the Grand Jury, County Fiscal Court, and for community gatherings. Two large Doric columns that embody the architectural principles of entasis were placed in the lower court room to support the second floor. These columns are created of custom formed circular brick. The millwork details located in the building's judge's stand frontispiece are directly inspired by Asher Benjamin's Country Builder's Assistant pattern book. The building originally contained no county offices. The county instead constructed a county office annex known as the "Clerk's Office" located near the south-west corner of the Elkton town square in 1822.

The building's mason Jesse Russell, of Elkton, was employed to supervise the construction, along with Commissioner Hazel Petrie. There are two accounts of the building of the walls. Russell is said to have hired four brickmasons, each of whom was to construct a wall: the mason with the best wall was to receive a gold watch. In another account, Jesse Russell and another brick mason were said to have boasted on their masonry skills. To settle the dispute, each was told to build a wall. Each man bet upon himself and Russell's wall was superior.

In 1856, a new Clerk's Office was ordered to be constructed by the court. A new site was selected and a new clerk's office was erected by 1860, costing the county $2,000.

The court house was heavily used for various reasons, including for the boarding of soldiers, during the Civil War to the point of being unfit for the use of the court. County courts left the building to instead use the Masonic Lodge in Elkton. In 1871, the building was renovated using funds from the sale of the 1860 Clerk's Office. The renovation of the building called for the building to have only one court room and to incorporate the county Clerk's Offices. The courtroom was moved upstairs and the Clerk's Offices were established on the ground floor.

The clock tower was added during this time in the Victorian architectural style known as the Second Empire.

During another restoration project in 1975 the courthouse was designated as a National Historic Landmark. In 1961 city officials voted to paint all woodworking and the clock tower white for lack of funds. The tower was originally painted in multiple colors.

In the following years the court out-grew the courthouse and moved to a new location in southern Elkton. The courthouse currently stands in downtown Elkton and is county owned and leased to the City of Elkton.

title: Old Todd County Courthouse


text:
Talk:Harmonic Convergence

I removed a recent amusing insert, but reproduce it here in (what I hope was intended to be) its sarcastic entirety, for the entertainment of future readers:
 * After two minutes, various sites of racial disharmony and overt political oppression across the globe suddenly became encapsulated in a shimmering gossamer glow. Widespread accounts of "phantom chanting" were reported by bewildered citizens the world over. Ultimately, war, disharmony, and bad moods were eliminated forever. In the years since, the planet Earth has become a place of peace and discovery, a veritable utopia.

--cjllw | TALK  06:11, 14 October 2005 (UTC)

I removed alot of the "Gaya is proud..." and "Great Souls of True Christ.." language. Since the page is fully linked, anyone interested can read about the beliefs behind this event elsewhere, without this page having to be ladden with scripture and personal narrative. - user:Crocodilicus —Preceding undated comment was added at 15:55, 19 August 2008 (UTC)

Based on WP:Weight, there was no noticeable change in the human spirit. The Alwaites and the Sunnis are shedding blood in Syria, Dems and Reps went over the United States fiscal cliff hand in hand in the US, Scotland wants to succeed from the UK, and those guys on the other side of the hill want to kill those other guys on the other side of the hill. However, as serious as I can be on this subject, I do think a Resolution to Prophesy, Aftermath of Harmonic Convergence, or Costs of Prophesy section would improve the article and serve a purpose to future researchers and readers, when the next eschatological crisis is claimed. My proposal is similar the to the Costs subsection of the Year 2000 problem article. Geraldshields11 (talk) 01:37, 7 January 2013 (UTC)

Hello -- why is "Arguelles" mentioned in the first paragraph? I looked it up and found it must be José Arguelles, so obviously someone made an edit and left these fragments. I normally don't see stuff like this on Wikipedia. Who ever is responsible -- could you please fix this? Thanks. Roricka (talk) 11:39, 3 June 2016 (UTC)

10 planets?
"eight (out of ten) planets were aligned in an unusual configuration called a grand trine." What's the 10th? --AW (talk) 21:03, 25 August 2009 (UTC)

Astrologers, being ignorant, think that the moon is a planet. Sbz5809 (talk) 09:47, 8 September 2009 (UTC)

 * It isn't because of ignorance; it is because of an older meaning of the word "planet". (For the same reason, the sun is also called a planet. The Earth usually doesn't count because it is the center of measurement.) --Zzo38 (talk) 18:06, 13 March 2012 (UTC)

 * To astrologers, the Earth is not merely the center of measurment, it is the center of all things. It is very human-centric. Geraldshields11 (talk) 01:37, 7 January 2013 (UTC)

Cosmic Convergence July 17-18, 2010
I am reading about the Cosmic Convergence, a phenomenon being related to the Harmonic Convergence. Does anyone have more information about this second phenomenon? __meco (talk) 14:46, 30 October 2009 (UTC)

This is ridiculous, everyone knows the harmonics diverge. — Preceding unsigned comment added by 128.12.20.92 (talk) 09:43, 17 November 2011 (UTC)

Horoscope
I have computed the horoscope (a diagram of ecliptic longitudes of planets relative to the Earth) for Aug 24, 1987 at 12:00 UTC. The Sun is at 150.797°, the Moon at 150.808°, Venus at 151.135°, Mars at 151.064° (however, their ecliptic latitudes differ; the Sun at 0°00' and Moon at 2°44'). Mercury is close, at 155.061°. (In astrological signs, they are all Virgo; subtract 150 for the degree past start of Virgo.) They form an approximate Grand Trine (meaning their ecliptic longitudes are approx. 120 degrees from each other) with Jupiter and Neptune. (In equatorial coordinates, the Grand Trine is missing; right ascensions are: Sun at 10h 11m 24s, Moon at 10h 15m 26s, Venus at 10h 14m 40s, Mars at 10h 14m 04s.) --Zzo38 (talk) 18:06, 13 March 2012 (UTC)

Events & Gatherings Worldwide
148.8.52.95 (talk) 03:13, 25 January 2017 (UTC)Jean148.8.52.95 (talk) 03:13, 25 January 2017 (UTC)The Harmonic Convergence was a significant event in known history because of the large number of non-local people that gathered synchronously in a shared purpose. People joined together to meditate and hold intention for the future of humanity in conjunction with the cosmic events described in the Mayan codices and calendar with the goal to seed a world vision for the next historic epoch.

The Harmonic Convergence may have been the largest synchronous non-local gathering of humans ever held up to that time. This event inspired other worldwide gatherings including the 2000 Worldwide Millennial Drum Circle for the 21st Century held on December 31, 1999, in which drum circles drummed at midnight in every occupied time zone to hail the beginning of the 21st century.

Harmonic Convergence events and gatherings were organized locally in hundreds of locations for the three days culminating on August 17, 1987. Many programs called on religious leaders, and native shamans to speak and lead ceremonial programs with drum circles, spirit dances, chanting Om and collective meditation. Locations were as disperse as Anchorage, Alaska and Jakarta,Indonesia. Known gatherings sites were: Giza Plateau, Egypt, Mount Shasta, Machu Picchu, Peru, Isle of Man, Mexican Mayan Pyramids, Tibet, Iceland, Africa, Paris, Rome, Hawaii, Milwaukee, Manhattan, Denver, and Taos. Estimates for the number of people assembled range from several hundred thousand to a million and a half. 148.8.52.95 (talk) 03:45, 25 January 2017 (UTC)148.8.52.95 (talk) 03:35, 25 January 2017 (UTC)

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External links modified
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Marvel Universe
The subject of this article was likely taken by Marvel for Thor: The Dark World and called the "Convergence." Its a time when all the Nine Realms of the Thor saga align, and it occurs every 5,000 years or so. I am not sure if a link or a note in the article is appropriate. Wastrel Way (talk) Eric Wastrel Way (talk) 00:40, 12 September 2023 (UTC)

title: Talk:Harmonic Convergence


text: User talk:24.166.23.142

title: User talk:24.166.23.142


text:
File:The Franchise (1983 Peter Gent book) cover.jpg

Image Description

 * Front cover of The Franchise.

Non-free/fair use media rationale in The Franchise (novel)
Although this image is subject to copyright, it is covered by US fair use laws because:
 * 1) The image is only being used in the article about the book (The Franchise) for informational and educational purposes.
 * 2) Use of the book cover visually identifies the book and its author in a manner that mere prose cannot, and meets all criteria in WP:NFCC.
 * 3) This image enhances the article in which it's displayed, as it provides an immediate relevance to the reader more capably than the textual description alone.
 * 4) The image is not replaceable with an uncopyrighted or freely copyrighted image of comparable educational value.
 * 5) The image is the primary means of visual identification of the article topic.
 * 6) The image is a low resolution image of the book cover, in an inferior graphics format (JPEG).
 * 7) The image is only a small portion of the commercial product.
 * 8) The use of this image will not affect the value of the original work.
 * 9) The use of this image will not limit the copyright holder's rights or ability to distribute or make a profit from the original. In particular, copies could not be used to make illegal copies of the book.


text:
User talk:Righteousbros

Copyright infringments
The picture you uploaded was obviously a commercial pornography image, uploaded with no licence and no way of verifying our rights to use it. I've removed it from cocksucker and listed it for deletion. --Tony Sidaway Talk 06:11, 14 October 2005 (UTC)

title: User talk:Righteousbros


text:
Vodka Collins (band)

Vodka Collins was a Tokyo-based Japanese-American rock band, formed in 1971. The core band members were drummer Hiroshi Oguchi (formerly of The Tempters), singer-guitarist Alan Merrill, singer-guitarist Hiroshi "Monsieur" Kamayatsu (formerly of The Spiders) and bassist Take Yokouchi (formerly of the Four Leaves touring band, High Society). In later reunion recordings in the 1990s, Yokouchi was replaced by Masayoshi "Mabo" Kabe (formerly of The Golden Cups) on bass guitar.

Most of the band's released works were original compositions by the lead singer Alan Merrill. The band recorded four albums, the most well known being the glam rock Tokyo – New York, released in 1973 on Toshiba EMI Records. Later albums were Chemical Reaction, Pink Soup ', Boy's Life and greatest hits compilation Boys In The Band. The band's most notable contribution was recording and releasing one of the first singles in the glam rock genre in Japanese, 1973's double A-sided single "Sands Of Time" and "Automatic Pilot" on Toshiba Express records.

Vodka Collins were the opening act on the Jackson 5's first show in Japan on April 27, 1973, at the Imperial Theater in Tokyo. The show was broadcast live on Fuji Television.

The band's founding member and drummer Hiroshi Oguchi died January 25, 2009. A memorial concert was given for him by all surviving band members on January 25, 2010, at the Duo Exchange in Tokyo, with Yoshihiro Tomioka taking Oguchi's place on drums. The band's rhythm guitarist, Hiroshi Kamayatsu, died on March 1, 2017. Lead singer Alan Merrill hosted a memorial concert for Kamayatsu with star guests in Tokyo in April 2017 at the Duo Music Exchange. Merrill and Kabe both died in 2020.

Discography

 * Tokyo – New York (1973)
 * Chemical Reaction (1996)
 * Pink Soup (1996)
 * Boy's Life (outtakes compilation, 1998)
 * Boys In The Band (greatest hits compilation, 2004)

title: Vodka Collins (band)


text:
Midland Railway 156 Class

The Midland Railway 156 Class was a class of tender engines built at Derby Works between 1866 and 1874. In total 29 of the class were built under the Midland Railway. They were rebuilt sometime between 1873 and 1903.

History
These engines were used on express passenger trains to London King's Cross railway station, which was then the Midland Railway's terminus there. 21 survived to become part of the London, Midland and Scottish Railway (LMS) fleet of engines in 1923. By then they were reduced to the humblest of roles. In September 1930, the LMS recognised the significance of the class and number 156 itself was ear-marked for preservation. However, William Stanier chose not to preserve it and the engine was scrapped two years later.

Preservation
One engine, 158A (originally built as 158 before subsequently renumbered, becoming Midland Railway No. 2 in 1907 and finally 20002 by the LMS in 1934) survives. It was withdrawn from service in July 1947 as a station pilot at Nottingham station by the LMS and restored to Midland condition and original number. It was a static exhibit in Birmingham during the centenary celebrations at the New Street station in 1954.

The locomotive was preserved at Derby Works until being moved to the National Railway Museum. It was placed on loan to the Midland Railway – Butterley in Derbyshire in 1975 and remained on display there until 2021. Following cosmetic attention at the Locomotion Museum in Shildon, the locomotive was placed on a three-year loan to Barrow Hill Engine Shed from August 2022. The surviving example is not in as built condition, being reboilered twice and having the front end rebuilt, and the current tender being taken from scrapped 700 Class No. 2846.

title: Midland Railway 156 Class


text:
Hideaki Sena

Hideaki Sena, Ph.D. (瀬名 秀明) is a Japanese pharmacologist and novelist. Sena was a graduate student at Tohoku University when he wrote his prizewinning debut novel, Parasite Eve.

Writing career
His most famous novel, Parasite Eve, was adapted into a film directed by Masayuki Ochiai in 1997 and a popular horror role-playing video game by Square. When Parasite Eve was adapted as a video game, Hideaki Sena did not learn the title's plot until it was completed, since the game was a collaboration between Square and his publisher. He is also the author of Brain Valley, for which he won the Nihon SF Taisho Award, and Tomorrow's Robots.

Personal life
Dr. Sena currently lives in Sendai, Japan where he lectures on microbiology and genre fiction. Sena is a pen name, while the author's real name is Suzuki.

Novels

 * パラサイト・イヴ Parasite Eve (Kadokawa Shoten, 1995 / Kadokawa Horror Bunko, 1996 / Shincho Bunko, 2007)
 * BRAIN VALLEY (Kadokawa Shoten, 1997 / Kadokawa Bunko, 2000 / Shincho Bunko, 2005)
 * 八月の博物館 Hachigatsu no Hakubutsukan (August Museum) (Kadokawa Shoten, 2000 / Kadokawa Bunko, 2003 / Shincho Bunko, 2006)
 * デカルトの密室 Dekaruto no Misshitsu (Descartes' Locked Room) (Shinchosha, 2005)
 * エヴリブレス Every Breath (Tokyo FM, 2008)
 * 小説版ドラえもん のび太と鉄人兵団 Shōsetsuban Doraemon - Nobita to Tetsujin Heidan (Doraemon: Nobita and the Steel Troops) (Shogakukan, 2011)
 * 大空のドロテ Ōzora no Dorote (Dorothée's Sky) (Futabasha, 2012). Published in 3 volumes between October and December 2012; further publication in 2 volumes in November 2015 by the same publisher.
 * この青い空で君をつつもう Kono Aoi Sora de Kimi wo Tsutsumō (Let's Wrap You in This Blue Sky) (Futabasha, 2016)
 * 魔法を召し上がれ Mahō wo Meshiagare (Enjoy My Magic) (Kodansha, 2019)
 * 小説 ブラック・ジャック Shōsetsu Burakku Jakku (Black Jack) (Seibundo Seikosha, 2019). Original novel based on the manga series.

Novellas

 * 虹の天象儀 Niji no Tenshōgi (The Rainbow Planetarium) (Shodensha, 2001) (Astronomic Museum, Goto Planetarium) Set in Tonichi Tenmonkan Astronomic Museum
 * ゴッサマー・スカイ Gossamer Sky (e-novels, 2007)

Collections

 * あしたのロボット Ashita no Robotto (Tomorrow's Robots) (Bungeishunju, 2002).
 * Re-published under the title ハル Hal (Bungeishunju, 2005).
 * 第九の日　The Tragedy of Joy Daiku no Hi - The Tragedy of Joy (The 9th Day - The Tragedy of Joy) (Kobunsha, 2006)
 * 希望 Kibō (Hope) (Hayakawa Shobo, 2011)
 * 月と太陽 Tsuki to Taiyō (The Moon and The Sun) (Kodansha, 2013)
 * 夜の虹彩 Yoru no Kōsai (The Iris of The Night) (Shuppan Geijutsusha, 2014)
 * 新生 Shinsei (New Life) (Kawade Shobo Shinsha, 2014)

Anthologies edited

 * ロボット・オペラ Robot Opera: An Anthology of Robot Fiction and Robot Culture (Kobunsha, 2004)

Nonfiction

 * 小説と科学　文理を超えて創造する Shōsetsu to Kagaku - Bunri wo Koete Sōzō Suru (Novels & Science - Creation Surpassing the Science/Literature Boundary) (Iwanami Shoten, 1999).
 * Extended under the title ハートのタイムマシン！　瀬名秀明の小説 / 理科倶楽部 Hāto no Taimu Mashin! Sena Hideaki no Shōsetsu / Rika Kurabu (The Heart's Time Machine! - A Novel by Hideaki Sena / Science Club) (Kadokawa Shoten, 2002)
 * ロボット21世紀 Robotto Nijūisseiki (21st Century Robot) (Bungeishunju Bunshun New Works, 2001)
 * おとぎの国の科学 Otogi no Kuni no Kagaku (Science in Wonderland) (Shobunsha, 2006)
 * 瀬名秀明ロボット学論集 Sena Hideaki Robotto Gakuronshū (Hideaki Sena's Essays on Robots) (Keiso Shobo, 2008)
 * 瀬名秀明解説全集＋α Sena Hideaki Kaisetsu Zenshū Purasu Arufa (Hideaki Sena's Complete Commentaries + α) (e-novels, 2008)
 * Computer Kakumei: Saikyou × Saisoku no Zunou Tanjou (2012)

title: Hideaki Sena


text:
Talk:Flammarion engraving

Astral plane
In my opinion this woodcut does not depict an astronomer peering through the Earth's atmosphere to see the universe, but a man piercing the "veil" and seeing beyond the physical plane into the astral plane and beyond. Such is clearly evident by the intangible nature of the world he beholds beyond the veil. -wanderingOne
 * He's looking backstage. You can tell because they're keeping all the rigs and pulleys back there, and old props like Ezekiel's wheel.

¶ This image has something to do with the ancient (or supposedly medieval) notion of a flat earth and a dome of limited thickness of the visible stars, beyond which were the angelic heavens. I am, in any case, very gratified that someone has gone to what must be considerable trouble of researching and assembling information on this picture, which is enormously famous and much reprinted, with so very little generally known of its history. Sussmanbern (talk) 21:15, 6 July 2016 (UTC)

B&W vs Color
I challenge the removal of. This article is about an artwork, and thus a colorized version is hardly redundant. Had it been an article that referenced the piece, then sure. --HantaVirus 13:33, 26 July 2006 (UTC)

 * But why this particular colorization, and not any of the myriad others in circulation? The image you bring up is not even one of the better known colorizations (see, e.g., the cover illustration to Boorstin's The Discoverers).  (And, incidentally, what's with the peculiar "Urbi et Orbi" caption?)  I personally think that the original woodcut more than suffices to illustrate this article.  -- Eb.hoop 15:39, 26 July 2006 (UTC)
 * I totally agree with you. The article is about the woodcut. Not about the colorized versions people have made. The colorized version does nothing for the article. Everything is illustrated by the original woodcut. Nlm1515 22:38, 8 September 2007 (UTC)
 * This "Urbi et Orbi" colorization is a commercial product, the album cover for Urbi Et Orbi (EP). I think that it has been repeatedly introduced into Wikipedia articles because its artist, or a fan of the artist, is interested in promoting his work. However, regardless of motive, it amounts to Wikipedia endorsing a commercial product, and should, I think, be avoided. RandomCritic (talk) 14:20, 23 January 2011 (UTC)

 * THere seem to be at least five or six other colourings http://images.google.co.uk/images?as_q=&um=1&hl=en&newwindow=1&btnG=Google+Search&as_epq=flammarion+woodcut&as_oq=&as_eq=&imgtype=&imgsz=&as_filetype=&imgc=color&as_sitesearch=&safe=off&as_st=y 80.2.192.102 (talk) 13:37, 10 May 2008 (UTC)

 * Both the color and B&W versions were made to parody the medieval worldview, not by someone who sincerely thought the world might be flat. So I think the quest for an "original" or "authentic" version of the image is misguided. I put the colorized version on the top for aesthetic reasons. Kauffner (talk) 13:19, 22 May 2009 (UTC)

 * I think it's unacceptable to give precedence to the colorized version over Flammarion's original. For starters, Flammarion's version is a Wikipedia Featured Picture, and it's completely illogical to demote it to a tiny thumbnail in the article about it.  Second, Flammarion's version is, as far as we can ascertain, the original engraving.  The colorized version is just one of maybe hundreds of colorizations in circulation, and does not even correspond to one of the published versions.  Also, it carries an extraneous "Urbi et Orbi" caption, whose purpose is completely obscure to me.  Finally, I personally find the colorized version to be aesthetically much inferior to the original (though the original is improved by removing the surrounding border).  I suspect that the original's status as a Featured Picture is an indication that I'm not alone in this appreciation.  So please don't reintroduce the colorized version without further discussion.  -- Eb.hoop (talk) 00:39, 17 June 2009 (UTC)

Woodcut
How many of you have actually read the article???? as in:

 "is an anonymous wood engraving"

The article is primarily about the fact that this is not a medieval woodcut but a much later wood engraving. Seems to me that people should read first and comment later. To forestall the inevitable: miaow.Freiherrin (talk) 19:40, 7 January 2008 (UTC) And before I forget again, that should also require the change of title to Flammarion wood engraving or, failing that, Flammarion "woodcut". Incorrect destription on the image page should also be changed.Freiherrin (talk) 19:44, 7 January 2008 (UTC)

Removed trivia + external link
I've removed "The ending of the film The Truman Show may have been inspired by the Flammarion woodcut." from the article, which was all of the Trivia section, as there is no evidence for it. Cite a source saying that it was, and it can go back into the article. I've also removed the external link, as it doesn't work. Mike Peel 09:44, 19 November 2006 (UTC)
 * I came to this page to suggest a mention of The Truman Show! It seems a pity to remove that earlier mention; perhaps it could be reworded "The Flammarion Woodcut finds a cinematic echo in the ending of the film The Truman Show where the hero bumps into, and penetrates, the edge of his universe"? Andrew K Robinson 15:06, 4 October 2007 (UTC)

A similar illustration?
"the depiction of a spherical heavenly vault separating the earth from an outer realm is similar to an illustration in Sebastian Münster's Cosmographia of 1544" says the article. It would be nice to have a link or picture of this other illustration for comparison purposes. The woodcut on the Sebastian Munster page does not look similar. Also more about when the illustration may have been created or not. 80.2.192.102 (talk) 13:31, 10 May 2008 (UTC)

Regardless of the source, I think the entire image should be shown, not just the familiar cropped square picture. The full image is a rectangle that extends much further to the left and shows more of the mechinations behind the visual universe; the discovery of telescope? The cropped image is the "prettiest" part. —Preceding unsigned comment added by 66.90.217.73 (talk) 18:50, 10 January 2009 (UTC)

Purpose and Use
Is this just a fanciful picture? Or was it intended to illustrate or convey a certain idea?

It seems to have been used to convey the idea that Medieval Christianity was "backward" or ignorant, e.g., believing in a Flat Earth. I wonder how influential Danial Boorstin's book was.

History professor Jeffrey Burton Russell blames Boorstin for spreading "the lie" that the Flat Earth idea was widely believed in Europe until the renaissance (see Myth of the Flat Earth).

James Hannam wrote:
 * Anti-clerical history of science writers have promulgated the myth so that even today, in his book The Discoverers, Daniel Boorstin manages to produce a totally misleading account (although he eventually gets Columbus right). His bias shows badly when he castigates Christians for thinking the world was flat when they did not and then praises the erudition of Chinese geographers who actually did believe it.

What's the best way to describe the usage that this image has been put to? --Uncle Ed (talk) 13:03, 22 April 2010 (UTC)

 * I notice that Ed Poor has complained about the unsourced statement that the image was probably just intended by Flammarion as a fanciful illustration of the fact that the sky is not an actual physical barrier. I think that I might have been the one who wrote that originally.  Here, I think we are up against one of the problems of sourcing that's so hard for Wikipedia to deal with.  I understand Wikipedia's wariness of conclusions that are not sourced by publications, but I think it shall be abundantly clear to anyone who actually reads the passage in Flammarion's book surrounding this illustrations, that this is the most plausible interpretation of his intentions.  Here it is in the original (which unfortunately is in French).  Go to page 162 for Flammarion's discussion of the ancient belief that the sky was a barrier, separating us from another realm, and for his mention (without names or attribution) of the story that a missionary found an opening in the "curtain" of the sky.  The famous woodcut itself is on the next page.

 * Whether other people later used the engraving to propagate the myth that medieval Europeans widely believed the Earth to be flat, is a separate issue, probably too complicated and speculative for the article to cover. I can see no reason at all to think that this was Flammarion's intention.  Daniel Boorstin does talk quite a bit about the flat earth in the Discoverers, and I understand Russell's objections in that regard, but other than using the woodcut as a cover illustration (and including it in the the deluxe illustrated edition), he doesn't invoke it at all in his argument.  It's never mentioned in Boorstin's text.  - Eb.hoop (talk) 04:25, 25 April 2010 (UTC)

 * Flammarion's main intention is certainly to dispel the naïve impression that the sky has a tangible, solid existence. He also has, I think, some other subtexts: the superiority of modern (i.e. 19th century) over medieval or ancient knowledge, and the superiority of science to religious legends and fables. The fact that the central character in his composite fable is always a religious personage - missionary, monk, or anchorite -- and his long and sarcastic list of things that might be found in the Empyrean (which his 19th-century translator had to tone down for an English-speaking audience!) point to issues which Flammarion alludes to, but does not address very directly; partly because they were beside the main point, and also because they had a political and religious context in Third Republic France which he could expect his readers to be familiar with. But all that is really too much to include in this article.  It is reasonable, however, to say something about the uses to which the engraving has been put, independent of Flammarion's intent.RandomCritic (talk) 02:22, 23 January 2011 (UTC)

Forgery?
What is the rationale for categorising this artwork as a forgery? Simple Machine (talk) 14:33, 20 October 2010 (UTC)

None.RandomCritic (talk) 19:21, 22 January 2011 (UTC)

 * it's a strange conundrum. It's supposed to LOOK like an ancient woodcut, but is in fact a 19th century engraving. That kind of makes it a forgery, but on the other hand, nobody said that it WAS an ancient woodcut, it's just an illustration, so it's not.Ericl (talk) 18:18, 31 January 2012 (UTC)

 * It's neither a woodcut nor a wood engraving. The lines don't look like copperplate or steel engraving either. It's a pen and ink illustration. -- 22:34, 31 May 2021 ZoneAlarm5

Needs improvement
This article fails to state the role that the woodcut plays in Flammarion's book, the relevant text that it illustrates, and the history of this idea in Flammarion's thought and that of its precursors. I will make a stab at supplying some of the deficiencies, but there's a good deal to be said.RandomCritic (talk) 19:21, 22 January 2011 (UTC)

External links modified
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Similarities
Just some reminding with Hexameron by Hildegard of Bingen 82.126.28.18 (talk) 15:14, 21 December 2017 (UTC)

Woodcut or Wood Engraving? No, it's a pen and ink drawing
What's the difference between a woodcut and a wood engraving? The grain of the wood. A wood cut is a relief printed image cut into a plank of wood so that you can sometimes see the grain in the lines of the image. A wood engraving is also a relief printed image cut into the end-grain of wood; you can't see the grain. In both cases, the cuts into the wood make the white spaces in the image and the dark lines in the image are from the wood that is left type-high and inked to print on the paper.

Neither process was used in this image, even though it is made to look like a wood engraving. You can see that the white spaces are extremely varied but the line widths are even, which would be difficult to do with any wood cutting instrument (burin or otherwise). There are lines that cross in the image, which is also hard to do. Overall, the image is most consistent with a pen and ink drawing simulating a wood engraving to make it look older than it is.

Agreed? Can I change the article? ZoneAlarm5 (talk) 22:19, 31 May 2021 (UTC)

 * By what printing process would a "pen-and-ink drawing" have been mass-reproduced in 1888? AnonMoos (talk) 22:42, 31 May 2021 (UTC)

Do you happen to know what this kind of 'printable' drawing is called? Unknow0059 (talk) 11:26, 5 August 2021 (UTC)

title: Talk:Flammarion engraving