text:
Talk:Nash the Slash

/Archive 1 - commentary/dispute

RFC summary
This RFC pertains to the ongoing dispute (see article history) about whether the article should or should not give the artist's real name.

The user who introduced the current uncertainty did so only after being advised that the "Jeff Plewman" name could only be removed if it were factually wrong (and after this RfC was launched); prior to that, his own edits and e-mails on the subject clearly stated that the name was correct but Wikipedia's use of it was a personal inconvenience for Nash.

The following question has been posted to Requests for comment: ''Does the subject of an article (or the president of his fan club) have the right to insist that Wikipedia cannot give his real name, if his real name is already publicly available on other websites? Nobody's claiming that the information is wrong; the claim is that the artist doesn't want it publicized (even though it already has been elsewhere).''

My points are as follows:
 * 1) The information is already out there, and nobody disputed its accuracy until after I made clear that Wikipedia would only remove it on factual grounds. Previously, the user's own words communicated the exact opposite position of what he chooses to communicate now.
 * 2) The subject of a Wikipedia article does not have the right to dictate what Wikipedia can or cannot write about him unless the information is objectively false.

Comments? Bearcat 17:29, 3 October 2005 (UTC)

Comments

 * This isn't exactly neutral now, is it?

due to poor distribution and management it never got the proper exposure it deserved. it's an opinion.

 * Nash's real identity was revealed in a 1996 edition of the Gary Numan Digest, and is now available to anyone with Google access. I can respect the artist (and/or his fan club president) for wanting to preserve the "invisible man" mystique, but this information has been in the public domain for some time.

 * Bearcat is correct on both points. Unless there are questions of accuracy (and I don't believe this is the case), the information should be retained.  CJCurrie 18:17, 3 October 2005 (UTC)

 * Agreed This information should be retained. This information is available through other accessible sources (i.e., the public domain); as well to my knowledge, there are no outstanding legal issues challenging this.   There's no need or basis to 'slash' this information. :)  E Pluribus Anthony 18:26, 3 October 2005 (UTC)

 * Agreed. The name is a fact, therefore, not slander, therefore, there is no reason ont to include it. Zhatt  19:58, 3 October 2005 (UTC)

 * Agree. The real name of a performer is encyclopedic information. So long as this is verifiable (which it appears to be) there is no legitimate reason to remove it. Nash/Plewman seeks publicity. Unfortunately, it is not possible in this world to demand attention yet control what people say. -Willmcw 20:59, 3 October 2005 (UTC)

 * Agree for exactly the same reasons as I would oppose anyone else who wanted to suppress inconvenient facts about themselves. DJ Clayworth 21:05, 3 October 2005 (UTC)

 * Nash's real identity was revealed in a 1996 edition of the Gary Numan Digest., and is now available to anyone with Google access. I can respect the artist (and/or his fan club president) for wanting to preserve the "invisible man" mystique, but this information has been in the public domain for some time.   - How accurate is this fanzine !!, and what are its sources. Nashferatu''

 * Disagree User:Nashferatu - This is laughable because on many web pages he is identified as 'Ben Mink', so its up to you lot to reveal his true identity, and until that time the edit should be removed. ...

 * Agree If the name were not in fact correct it would likely have already been proven so and removed. The suggestion that Nash is in fact Ben Mink is positively untrue. I have seen both Ben Mink (Live with FM, 1980, Holiday Inn, Winnipeg, and in many photos) and Nash the Slash (twice on TV Ontario, Nightmusic Concert, 1977 or 78 (NO BANDAGES) and photo on the original Black Noise album sleeve (NO BANDAGES)). Clearly two different people.--DLWay 07:42, 20 September 2006 (UTC)

 * A belated addition to this argument: I've met Nash personally many times and have seen him without his bandages each time. He is definately not Ben Mink. As for a source for "Jeff Plewman", I would like to point out that the Encyclopedia of Music in Canada (which exists as a paper book; I have a copy myself bought 2nd-hand) clearly gives a name. Here is the article online from it about the band FM, which Nash was in. Tabercil 23:13, 5 August 2007 (UTC)

This shouldn't even be that big a deal. His identity is in the public domain. You can go to the ASCAP searchable database and find (for example) that Black Noise was written by "George Cameron Hawkins" and "James Plewman". Given that he probably wants to receive his royalty cheques, this source can therefore be assumed to give his correct legal name. And, having seen him live and played with him, he doesn't go out of his way to hide from the general public before he goes on stage - he sets up his gear in his civvies. It's fine if he wants to maintain a public image, but Wikipedia is here to report facts and not to conform to an artist's promotional methods. AllGloryToTheHypnotoad (talk) 16:42, 19 June 2008 (UTC)

 * Is there room for one more belated addition? Probably the first publicly released record Nash appeared on, even before that 500-print-run FM CBC album, was Nocturnal Earthworm Stew by David Pritchard.  On that album there is a track titled "Nash Metropolitan" which is a short unaccompanied violin solo by Nash the Slash, and its composer credit reads "Plewman".  This is followed by a longer improvised piece by the trio of Pritchard, Nash, and (FM drummer) Martin Deller, and its composer credit reads "Pritchard, Plewman & Deller".

 * In the near future I hope to correct the problem of a near-absence, anywhere on the web, of references to Nash's involvement on records by Slasher/Breathless, Drastic Measures, and the 102.1 Band, all of which I have in my hot little hands... :) --A Knight Who Says Ni (talk) 23:03, 21 April 2008 (UTC)

Nash the Slash's full birth name is James Jeffery Plewman. Source: he told me directly —Preceding unsigned comment added by 70.24.136.162 (talk) 21:38, 25 February 2009 (UTC)

 * Unfortunately, being told directly is not a citable source, and cannot be used on WP. --A Knight Who Says Ni (talk) 01:51, 26 February 2009 (UTC)

Robert Plant music video cameo?
Does Nash the Slash make a cameo appearance in the music video for Robert Plant's song Burning Down One Side (from Plant's debut solo record Pictures at Eleven)?

71.168.140.243 (talk) 18:05, 12 March 2008 (UTC)

Photo
Nice addition to the article; thanks to Tabercil for contributing it. --A Knight Who Says Ni (talk) 21:36, 29 June 2008 (UTC)
 * Thank you for the compliment. I'd taken one at an earlier concert (which can be seen here) but chose not to upload it as it's not too flattering. I also took a bunch of photos of him before that concert without his bandages but I won't be putting them up... at least not while Nash is still alive. Tabercil (talk) 00:03, 30 June 2008 (UTC)

Realizing this is against WP policy
That photo alone gives me the utter creeps, even if he has a million of them, and perusing Flickr, that's true. Brrrr. Just a comment, not trying to make any changes, I'm just gonna avoid this article. --leahtwosaints (talk) 06:33, 8 March 2009 (UTC)

Virgin Records
I couldn't find a source that said he was signed by Virgin. What is the source that says so? Dlabtot (talk) 04:31, 3 April 2009 (UTC)

 * His album "Children of the Night" was released in Canada on Virgin, and in England on Dindisc. Prior to the album's release Nash discussed his new contract with Virgin in a radio interview (which I have on tape), where he praised Virgin for signing up several Canadian artists to release their records in England and Canada (Martha and the Muffins being another).  Dindisc wasn't mentioned at that point, and I wonder if Nash realized the UK releases were going to come out on Dindisc instead of Virgin!  The Canadian label actually lists 3 names: Virgin, Dindisc and Cut-throat, but Dindisc did not really exist as a company in Canada, it was just part of Virgin, and used Virgin's catalogue numbering (unlike in the UK where they were separate). --A Knight Who Says Ni (talk) 13:34, 4 April 2009 (UTC)
 * I didn't ask for an argument, I asked for a source. I'll ask again: Do you have a reliable, published source that states that he was signed by Virgin? If not, the assertion that he was must be removed from this article, as per WP:V. Dlabtot (talk) 16:36, 4 April 2009 (UTC)
 * Just so you understand, I'm not disputing that fact that the DinDisc label was distributed by Virgin. In other words, an artist who had a contract with DinDisc, would have their records distributed by Virgin.  That's not the same thing as having a contract with Virgin. Dlabtot (talk) 17:21, 4 April 2009 (UTC)
 * Well since he was signed by the Canadian arm of the combined company (whether it says "Dindisc" or "VIrgin" on the contract is something only the people involved would be able to verify), and since he said "Virgin" in interviews in 1980, I'm thinking the contract was with Virgin Canada. You are right that the infobox instructions say "label" refers to the company the artist was contracted with, rather than the name on the record label itself, and that makes sense because companies often license rights to other companies, and the latter are not really the artist's label.  So since there is a dispute over this, I'll agree to its being omitted from the infobox.  Now I see you have also removed mention of the actual names that appeared on the label from the body of the article, and I'm mystified about that, because it has nothing to do with contracts.  Can we have that bit restored, since it's a matter of record? (ha ha, sorry) --A Knight Who Says Ni (talk) 13:23, 30 April 2009 (UTC)

Nash's website explicitly said that "Children Of The Night" was released by Virgin and that they still own the rights to the album, making Nash's own CD release of the album technically a pirated edition (which again was openly admitted on the website) —Preceding unsigned comment added by 67.193.128.193 (talk) 05:12, 26 July 2009 (UTC)

 * That's not the way I read the website note, but I believe the details have been removed, so I don't think we can reference it in the article. From what I recall, Nash did not say Virgin still owned the album (and probably never owned it exclusively, since the Cut-Throat logo's appearance suggests Cut-Throat co-owned it, and that label is still active, and presumably owned entirely by Nash), but rather, that other companies that had nothing to do with the labels involved (not only the three that appear on the label, but also distributor Polygram, AND still more companies which bought out those companies over the years)* claimed to have inherited the rights through cross-company acquisitions, and some went as far as to claim 100% ownership, which Nash regarded as bogus.  I never saw him claim his edition is a "pirate", but did state he was unable to resolve the co-ownership disputes, and after concluding it was impossible to do so, issued his own edition, leaving to the other companies (rather than him) to issue legal challenges, if they felt so inclined (which presumably never happened)*.  If anyone thinks they can find citations to put this in the article, it would be welcome, but we need to get the facts right because of the legal implications, and I don't know if that can be done, or if Nash's own version of the story (being the view from one side)* could be considered reliable. --A Knight Who Says Ni (talk) 22:26, 1 August 2009 (UTC)
 * * these bits expanded --A Knight Who Says Ni (talk) 07:43, 1 January 2010 (UTC)

RfC: Should the Nash the Slash article state that he was signed to Virgin Records?
In 1980, Nash the Slash was signed to DinDisc, a subsidiary of Virgin Records. Should the Nash the Slash article state that he was signed to Virgin Records? 15:16, 30 April 2009 (UTC)

 * Correction to the question, it is an over-simplification of the situation, and ignores:
 * The issue under debate is what the "label" field in the infobox should say, not the article itself.
 * DinDisc was a subsidiary of Virgin in Canada, but not in the UK, and the question has been raised about not only which company did he sign with, but which office (i.e. in which country) of that company, all of which is not something anyone discussing this article claims to know. (Elaboration: this RfC itself states "NtS was signed to Dindisc", and edit summaries say "he was never signed to Virgin", but these claims are not cited any more than the claim that he was signed to Virgin.)
 * A related question recently asked (by me) is why some content about the actual record labels was removed from the article, and how is this related to the separate contract debate, a question which hasn't been answered yet, although I notice the person who did the removal of that content also initiated this RfC, and could have given an answer to clear up this part of it before making the RfC (and is still invited to explain).
 * --A Knight Who Says Ni (talk) 15:16, 30 April 2009 (UTC)
 * I think the article should be based on what is published in reliable sources. By no means did I intend for the RfC question to be limited to discussion of the infobox only. I look forward to the RfC responses. Dlabtot (talk) 15:40, 30 April 2009 (UTC)

 * With all due respect to the citations rules (which I highly respect), I've never heard of disallowing mention of the record label name that appears right on the label, with the reason being that it's not explicitly mentioned in citations, unless there is a situation where someone expresses doubt about this info, which you aren't. (And you if you were doubtful before, you shouldn't be now, since I posted the picture.) --A Knight Who Says Ni (talk) 15:48, 30 April 2009 (UTC)

 * I restored the part about the label the record appeared on, since it's not covered by the RfC title ("Should the Nash the Slash article state that he was signed to Virgin Records?"), and there has been no discussion about why you want it removed. You have taken it out again, saying to wait for RfC reponses.  I doubt we're going to see any by this point, and I still don't see why the RfC was posted, since I consented to the removal of the item under discussion, even though I don't agree with the removal.  Why are you removing the label info, and what is objectionable about it? --A Knight Who Says Ni (talk) 01:27, 6 May 2009 (UTC)
 * Well, it's not true that there's been no discussion, it's just that you keep insisting that what I am saying means not what I want it to mean but what you want it to mean. First you said that the RfC question only applied to the infobox. No, that's not true. The question was never meant to apply only to the infobox. Now you've said the edits are "unrelated to "contracts" issue being discussed on talk page" = simply a false characterization of this discussion.  How about a compromise, we simply say "he was signed to DinDisc, a subsidiary of Virgin Records", or "These records were distributed by Virgin Records".  ?? Dlabtot (talk) 02:56, 6 May 2009 (UTC)

 * I'm not trying to be difficult, but maybe I don't understand it from your viewpoint. This discussion started when you removed "Virgin" from the "labels" field of the infobox, stating bluntly in your edit summary that "he was never signed to Virgin".  I'm still not sure if that's true, and have yet to see why you are certain it's true, BUT... if it were true, then it would be correct to remove it from the infobox, because its instructions state that this field is for labels that the artist was contracted to, rather than labels his record appears on (which is not what many editors would presume).  At the time you opened the RfC, this was what the whole discussion was about; I don't believe you removed anything from the body of the article about contracts.

 * After opening the RfC, you removed a statement from the body of the article about the labels his records appeared on, and said this removal was connected to the RfC. I don't see why that should be, nor do I see why this should be an issue at all, because I don't think you're disputing which label names were used, after I posted the picture.  (If you're disputing what label names were used in the UK, "Dindisc / Cutthroat", I can post a picture of that, too!)  Assuming that's true, I didn't think it was fair to lump the "labels" issue together with "contracts" when we're only in disagreement over the latter, and only the latter was referred to in the RfC title.

 * I had always presumed your reason for objecting in the first place, is that there is often a misunderstanding about the relationship between Dindisc and Virgin in the UK. I have seen mention of Dindisc being a subsidiary of Virgin, but in 1981 that wasn't true.  Richard Branson set up Dindisc as a separate independent company which issued mostly obscure artists.  He owned both companies, but there was no corporate connection between them.  Later in the mid 1980s, when Dindisc mainly had one artist left (OMD), they became a subsidiary of Virgin, and older Dindisc albums were reissued on CD by Virgin.  So I presumed that when you saw "Virgin" in the infobox, you said to yourself, "Aha, that's a mistake people often make, thinking Virgin and Dindisc were connected from the beginning, but it wasn't so in 1981", and your claim that Nash wasn't signed to Virgin was made from that basis.  My response was, "Aha, that's a mistake one would make if one only saw a UK release, and didn't realize the situation was different in Canada."

 * Now if I'm right about your reasons for objecting in the first place, then the 2 statements you propose adding, are surely adding to the confusion. I don't want to force a compromise that is factually incorrect.  In the UK, Dindisc was not a subsidiary of Virgin in 1981, so it would be misleading to say it was.  Furthermore, in Canada, the records were not just distributed by Virgin, they were released on the Virgin and Dindisc labels.  So "Dindisc, distributed by Virgin" is not accurate in either Canada or the UK, for different reasons!

 * Getting back to the contracts question (assuming you don't have some inside information about this), here is my reason for believing Nash signed directly with Virgin Canada: In nearly every country in the world, except the USA and UK, there is always controversy about "foreign" record companies setting up shop to sell and promote American and British artists almost exclusively, ignoring local artists. Big record companies in every country are pressured to sign up local artists, which the companies are often reluctant to do, partly because it doesn't bring them in as much money, and partly because this isn't the reason they came to the country to do business.  In Canada, this has led to "Canadian content" regulations for radio stations, who must broadcast a certain percent of Canadian music.  This has led to rules defining what is "Canadian" music, and if you look again at the label picture I posted, you can see markings which indicate the "Canadian-ness" of each track: the circles with "MAPL" logo (music, artist, producer, lyrics); a song with a logo that is "half highligted" counts as a "half Canadian" song for radio airplay obligations.  Unfortunately there are no obligations for the record companies themselves.  I have seen the "playlist" CDs big companies distribute to radio stations on a weekly, bi-weekly, or monthly basis, and been surprised to see comp CDs with 15 tracks, and not one of them is a Canadian artist.

 * So in the radio interview with Nash that I was mentioning, he was praising Virgin for taking the initiative to sign up Canadian artists, including himself. Now if he had signed up with Dindisc in the UK, and Dindisc had merely licensed the recordings to Virgin Canada for Canadian release, I wonder why Nash would be praising Virgin.  It wouldn't make sense.  And as I said before, he only mentioned Virgin in the interview.  Dindisc was not mentioned at all, and this leads me to think the Dindisc contract/arrangement came later.

 * Hope this goes further to explain how I see it. I'm really not trying to be difficult, and don't agree that I've misrepresented you.  I do want to get this right, and not put things in the article that are either misleading or factually incorrect, and I know you feel the same way.  I would like to hear why you believe what you do (about why Nash could not have been signed to Virgin, or why you feel it's not appropriate to be explicit about the labels his records were released on), and when I've asked this before, you said you prefer to wait for comments from others, which don't appear to be coming.  Please feel free to state your thoughts, if you have a different perspective from what I've written. --A Knight Who Says Ni (talk) 08:45, 8 May 2009 (UTC)
 * I think the article should be based on what the reliable sources say. Since he was never signed by Virgin, and no reliable sources say that he was signed by Virgin, I think the article should reflect that. I look forward to the responses to the RfC by uninvolved editors. Also, my comments mean what they appear to mean; I don't have any difficulty expressing myself, and I don't feel any obligation to repeatedly explain that I meant what I said, not what you say I meant. Dlabtot (talk) 15:46, 8 May 2009 (UTC)

 * Well then I'll be more blunt. You keep saying "he was never signed to Virgin", but have never provided the slightest explanation for that opinion.  Nash said he was signed to Virgin in 1980, and his records appeared in Canada in his native country, so that should be the end of it, unless you can give a reason why you suspect what you say is true.  Citations from reliable sources are not needed for things that are self-evident.  A fact like this would require citation if there is an unusual circumstance that needs to be explained, or if it is challenged, but "I don't believe it" with no explanation is not a challenge.  Enough time has passed for RfC responses, it's been several weeks now. --A Knight Who Says Ni (talk) 16:22, 16 May 2009 (UTC)
 * Wikipedia content must be verifiable to reliable sources. Your assertions that Jeff Plewman made self-serving comments that he was signed to Virgin Records are totally irrelevant to the discussion. For all we know, you may very well be Jeff Plewman. added: please don't misinterpret this as me actually accusing you of acting in bad faith.  I'm simply pointing out one of the many reasons that Wikipedia requires that content must be verifiable to published reliable sources. Look - it is completely understandable why he would want to pad his resume - but Wikipedia is not the place to do it.   Dlabtot (talk) 03:57, 21 May 2009 (UTC)

Good Christ Almighty, I hope you people eventually found lives. — Preceding unsigned comment added by 12.104.195.40 (talk) 20:13, 13 May 2014 (UTC)

Nash the Slash external links
Is there a reason why the external website additions for this page, ie my own fansite, the Official UK fansite, the Official MySpace page, the Official Two Artists page, the FM fansite and the two Facebook pages, have all been removed?

The inclusion of these external links is important, as my own fansite ‘stats’ show……… Wikipedia can get users to these sites in a way that few other Wikipedia-type sites can.

By including these external links you create a ‘chain’ of events – for instance, a user might visit a fansite, from there get directed to a Facebook group and from there they might get linked up with like-minded people – ‘networking’ in short. By including only the official Canadian site (good though it is) this ‘chain’ never gets started.

I often get emails from people here in the UK who were absolutely gutted because they didn’t know about his 2008 tour. For a minor act like Nash, every person who buys a ticket to a show is important. So, you could ask “Why didn’t they just look at the official site”? The reason is that these are not the ‘hardcore’ fans we are talking about here – they are the people who saw the Gary Numan gigs in the early 80s and were impressed enough to have bought a 2008 tour ticket had they known about it; and how would they have know about it? …… browsing through Wikepedia, Facebook, fansites etc and entering the ‘chain’.

Poppet34 (talk) 13:16, 1 May 2009 (UTC)

 * WP:ELNO #11 Dlabtot (talk) 15:48, 1 May 2009 (UTC)

You deleted the links to three OFFICIAL websites!

OK, deleting the link to the MySpace site - I can understand this as it violates the Wikipedia rules (and I note that you have moved Two Artists into 'References'), but to delete Nash's Official UK site - this is pedanticity for it's own sake.

Poppet34 (talk) 09:23, 2 May 2009 (UTC)

 * I agree that Wikipedia is often overzealous in its removal of "fan" sites which often have a lot of information relevant to the article. (Or at least, some editors' interpretation of the rules is overzealous.)  As the "external links" policy (link posted above) says, these sites can be relevant if they contain information (images, interviews, detailed credits, etc.) which cannot be used at Wikipedia, but are not in themselves copyright violations.  (The sites could be authorized to publish the info, if it's an interview, for example.  Also keep in mind that Wikipedia's rules as to what content is allowed, is more narrow than general copyright rules.  So, for example, Wikipedia may disallow multiple pictures of cover art with minor variations because it's considered redundant for our purposes, but this does not mean to say that it violates copyright rules when used in another website's context.)

 * On the other hand, we do have to keep out links that exist mainly to promote fansites. The question is, does the site contain specific information that is helpful to the article?  If so, it can be used for citation.  A general link to the fansite is not needed for Wikipedia's purposes, but links to back up, or provide more information on specific facts, in the form of a citation, are useful.  I think you will find most of these sites removed from the "external links" section are still linked from Wikipedia in other ways.

 * As for the removal of the "Two Artists" site, it is an official site, and I was surprised to see its removal. But then, that site didn't have any real information to supplement the article, so even though it's official, it didn't seem to be serving any purpose here.  I wouldn't be against either its inclusion or removal. --A Knight Who Says Ni (talk) 22:47, 5 May 2009 (UTC)
 * Hmm... some of the links could certainly be restored. Besides the Two Artists page, I'd say his MySpace link is safe to return, and I've done just that. Tabercil (talk) 23:06, 5 May 2009 (UTC)

The Not-So-Silent Film Collection (2008)
This should be listed in the works section, as I remember seeing it on Nash's site and wishing to buy it myself. Couldn't afford it and it was a limited run item, thus no current listing for it on his site. And I've checked the Wayback Machine - it looks like their most recent page is late 2007. Tabercil (talk) 12:44, 16 May 2009 (UTC)

 * If it were ever avaliable, it should be available now. Maybe it was a planned forthcoming release?  Or a "wish list" item on a fansite?  I would like to see such a release, but there would be a lot of copyright work involved, and if it had happened, it would surely have been a big event, and would not have disappeareared in under a year. --A Knight Who Says Ni (talk) 16:26, 16 May 2009 (UTC)

 * This was issued last year and was a limited edition of 100. Poppet34 (talk) 20:24, 25 May 2009 (UTC)

 * There is now a section for vidoes in the Cut-throat Records article. If anyone has full information about this release (films included / label / cat # would be nice, but not mandatory), please feel free to update. --A Knight Who Says Ni (talk) 07:31, 1 January 2010 (UTC)

Are the mural locations still accurate?
FTA, I read "Images of Nash the Slash are featured in a variety of murals painted by artist Jungle Ling in Toronto. These images are located in the Leslieville district, next to a TD Bank at Queen St. East and Logan Avenue". I went looking in google street view, but did not find the mural anywhere (i.e., it's gone). Somebody please update any mural locations; I'd love to see them if they're still there. 24.78.190.118 (talk) 02:29, 27 February 2019 (UTC)

Yes, the mural is on the building west of the bank. I've seen it. You have to look hard to find Nash in it though, he's not the focus.99.252.153.107 (talk) 21:26, 14 October 2019 (UTC)

Is this it? 24.78.190.118 (talk) 01:05, 19 October 2019 (UTC)

title: Talk:Nash the Slash


text:
Wikipedia:Articles for deletion/Winter pop

 * 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 DELETE. -Splash talk 18:04, 16 October 2005 (UTC)

Winter pop
Is there really such a thing? Deb 17:26, 3 October 2005 (UTC)
 * Conditional Delete I cannot find any evidence that such a genre exists, so I'm guessing this is a neologism... BUT I don't live in Japan and since the author has stated this is primarily a Japanese phenomenon, I will change my vote if someone can cite sources (preferably in English) that this is an established genre of music in Japan.--Isotope23 18:02, 3 October 2005 (UTC)
 * Comment: i found a page that is presumably about it, and there is a snowman (?) and snowflakes on it; but I don't know japaneese, so I can only gues what's written there. Karol 18:44, 3 October 2005 (UTC)
 * I saw that too, but I can't read Japanese to save my life. Any established editors out there read Japanese?--Isotope23 20:12, 3 October 2005 (UTC)
 * Comment: The web adress shown below belongs to Konami Gateway on Pop'n Music 7 from where this music genre appared. Please keep the page for the sake of learning something new.
 * Delete. pop'n music has many genres that are made up specifically for the game. Winter pop is just their name for a pop song related to winter. Other bullshit genres include miracle, precious, sunny and des-reggae (death reggae). --SPUI (talk) 01:02, 5 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/


text:
Dornoch Cathedral

Dornoch Cathedral is a Church of Scotland parish church serving the small Sutherland town of Dornoch, in the Scottish Highlands. As a congregation of the Church of Scotland, which is Presbyterian, the church is not the seat of a bishop but retains the name due to being, historically, the seat of the Bishop of Caithness. The cathedral's churchyard is adjoined by Dornoch Castle, the somewhat reconstructed remains of the medieval palace of the Bishops of Caithness. It was formerly a Catholic Cathedral.

History
The cathedral was dedicated to its founder, St. Gilbert and was built in 1224, in the reign of King Alexander II (1214–49) and the episcopate of Gilbert de Moravia (died 1245) (later Saint Gilbert of Dornoch) as the cathedral church of the diocese of Caithness (moved to Dornoch from Halkirk). William de Moravia (later Sutherland), 1st Earl of Sutherland, was buried in the cathedral in 1248.

In 1570, the cathedral was burnt down by the Mackays of Strathnaver during local feuding. Full renovations were not carried out until 1835–37, by the architect William Burn, funded by Elizabeth the Countess of Sutherland at a cost of £15,000. Among the renovations carried out, the ruined but still largely intact aisled medieval nave was demolished and a new narrow nave without pillars built on its site. In the 17th century, Dornoch ceased to be the seat of the Bishops of Caithness due to the abolition of the episcopate in the Church of Scotland, but the name has remained due to this historical association.

On 30 September 1866, the Duke and Duchess of Sutherland were present to welcome the Prince and Princess of Wales, and the Duke of Edinburgh, who attended the morning service.

The interior was reordered between 1924 and 1926 by Rev. Charles Donald Bentinck, with the removal of Victorian plasterwork to reveal the stonework (although the medieval church would have been plastered throughout). The site of the medieval high altar was raised and converted into a burial area for the Sutherland family, who introduced large marble memorials.

The previous minister was the Very Rev Dr James Simpson, who was Moderator of the General Assembly of the Church of Scotland in 1994. As of May 2018, the minister (since 1998) was the Rev Susan Brown. On 9 October 2017, it was announced that she had been nominated as the next Moderator of the General Assembly of the Church of Scotland. She took up the position in May 2018 and served for a year.

Burials

 * Adam of Melrose - body moved here from the church of Skinnet in 1239
 * William de Moravia, 1st Earl of Sutherland, was buried in the cathedral in 1248.
 * Saint Gilbert of Dornoch - founder of Dornoch Cathedral
 * Richard de Moravia, was buried in the cathedral after he was killed during the Battle of Embo in 1245.
 * George Leveson-Gower, 1st Duke of Sutherland
 * Elizabeth Leveson-Gower, Duchess of Sutherland

Organ
The first organ was built by Eustace Ingram and given by Andrew Carnegie and installed in 1893 and opened in January 1894. It was the first organ installed in the county of Sutherland. It was enlarged and hydraulic power introduced in 1909 at a cost of £200 given by Andrew Carnegie. A specification of the organ can be found on the National Pipe Organ Register.

title: Dornoch Cathedral


text:
Talk:Tomsk State University

Merge proposal
Articles on individual departments should in general be merged into articles for the university. DGG (talk) 08:27, 23 March 2008 (UTC)
 * Agree, this article definitly needs to be merged into Tomsk State University.  Gülməmməd Talk 00:39, 29 July 2008 (UTC)

Article revival
This article seems heavily outdated, I have a few suggestions to make, But i am not sure if i must directly edit them, So i am just asking the opinion of those who might be interested

 * 1) Shouldn't we delete the "Computer Science" record of the faculties table since it has been replaced by the Institute of Applied Mathematics and Computer Science
 * 2) There is no university newspaper in this institution, But the overview section has a "newspaper" row that oddly states "Alma mater" as the newspaper, That should be removed right?
 * 3) The official webpage says there are only 16000 students in the university, The overview sections puts it at 23000

I hope these questions arent dumb and i am sorry i wasted your time! -- KindCowboy69 ☮ 07:50 AM January 8, 2021 07:50, 8 January 2021 (UTC)

title: Talk:Tomsk State University


text:
Esphigmenou

The Sacred Patriarchal and Stauropegic Monastery Esphigmenou (Ιερά Πατριαρχική και Σταυροπηγιακή Μονή Εσφιγμένου) is an Eastern Orthodox monastery dedicated to the Ascension of Christ in the monastic state of Mount Athos in Greece. It is built next to the sea at the northern part of the Athonite peninsula. Located near the Hilandar monastery, it is the northernmost of all Athonite monasteries.

The current monastery dates back to the 10th century, while tradition holds that the site had been used as a monastery since as early as the 5th century. Esphigmenou ranks eighteenth in the hierarchy of the Athonite monasteries and since the early 1970s has been embroiled in legal and ecclesiastical disputes. It is considered amongst the most conservative of the monastic houses on Mount Athos.

Name
In Greek, the monastery's name literally means tightened, and there are conflicting traditions regarding the origin of the name. One attributes it to the fact that the monastery is built on a stretch of land, tightened by three surrounding hills and the sea. John Comnenus, a 17th-century metropolitan of Drystra, wrote in his book Proskynetarion tou Agiou Orous tou Athonos: It is called Esphigmenou because it is restricted by three small mountains, close to the sea. Another tradition attributes the name to a monk who either founded or restored the monastery, recounting that he used to wear a tight rope around his waist, so from him the monastery got its name "of the tightened".

History
Athonite tradition attributes the foundation of the monastery to the Byzantine Emperor Theodosius II and his sister St. Pulcheria during the 5th century; the remains of this early monastery, having been subsequently destroyed by a huge rock that fell from the nearby hills, can still be found 500 metres from the existing monastery. However, historical and archaeological evidence cannot safely confirm this tradition and, therefore, the precise time of the monastery's foundation, as well as its founders, cannot be positively identified.

The evidence can however confirm that as early as the late 10th or early 11th century the monastery existed. It is mentioned in at least three manuscripts. The monastery is referred to in a letter by Saint Paul of Xeropotamou dating from 1016. The will of the monk Demetrius of Chalki, dating from 1030, is signed by a monk who calls himself "Theoktistos monk and abbot of Esphigmenou Monastery". Finally, the monastery is mentioned in the second Typicon of Mount Athos in 1046.

The monastery greatly prospered until the Ottoman conquest. Many Byzantine emperors, such as John V Palaiologos, contributed to this prosperity, as did other Orthodox rulers such as Serbian Emperor Stefan Dušan and Serbian Despot Đurađ Branković. This prosperity was however shrouded by constant disputes over land issues with the neighboring Vatopediou monastery, as well as by many pirate raids and two great fires that damaged the monastery during the 14th century. According to manuscripts held in the monastery's collection, the pirates posed a serious threat to the monastery because the sea near it is usually calm compared to the seas around the rest of the Athonite peninsula. Because of these reasons the monastery was eventually ruined and practically deserted which allowed the nearby monasteries of Hilandar and Zograf to grab various portions of land from it, which led to further legal disputes.

However, the monastery managed to recover eventually, as evidenced by a manuscript dated from 1569 that tells of 51 monks working for its reestablishment. In 1655, Czar Alexis I of Russia gave the monks permission to travel throughout his lands every five years to raise funds for the monastery. During the same period the rulers of the Danubian Principalities also made significant contributions to the monastery. During the early 18th century, Bishop Gregory of Melenikon made donations to the monastery and eventually become one of its monks, undertaking a renovation of the monastery. Also, Bishop Daniel of Thessaloniki took care of the monastery's finances and, with the consent of the Athonite community and Patriarch Gerasimus III of Constantinople, made the monastery a cenobium. The relevant patriarchical edict was published in 1797 by Patriarch Gregory V of Constantinople, who also rebuilt the southern part of the monastery that had been ruined.

A series of competent abbots (Acacius, Euthymius, Theodoritus, and Agathangellus) greatly renovated and expanded the monastery, to the point where the current structures date almost exclusively from their time. The successor of Agathangellus, Lucas, founded an iconographic school, which did great service to the monastery for many years.

During the Greek War of Independence, the monastery, being the northernmost on the peninsula, suffered gravely from the Ottoman armies that ravaged Mount Athos. However, during this period, it also experienced some degree of prosperity.

During the Macedonian Struggle, the monastery supported the Greek guerillas in their struggle against the Bulgarian komitadjis.

Controversy
Esphigmenou along with other Mt. Athos monasteries, sketes and monks, had been involved in a long dispute with the Ecumenical Patriarchate of Constantinople. The dispute continues since a new "Esphigmenou brotherhood", was established.

The monastic community of Mount Athos is under the direct spiritual jurisdiction of the Ecumenical Patriarch and all Athonite monks are canonically required to commemorate (Greek: να μνημονεύουν) the Patriarch. However, since the 1970s, Esphigmenou, along with other Mt. Athos monasteries, had accused the Ecumenical Patriarch Athenagoras of being ecumenist and had refused to commemorate him. These complaints mainly consist of canon law prohibiting Orthodox from praying with heretics.

The relationship between the current occupant monks of Esphigmenou Monastery and the Ecumenical Patriarchate has greatly deteriorated since 2002, when Ecumenical Patriarch Bartholomew I of Constantinople declared them as being in schism from the Orthodox Church (using a rule that many believe was created to keep Roman Catholics out of the Holy Mountain). Since the Constitution of Greece prohibits schismatics (or Roman Catholics) from dwelling in Athos, the occupants of Esphigmenou were ordered by a Thessaloniki court to leave the monastery; however they refused to comply. The case was taken to the Supreme Court of Greece.

The Holy Synod of the Ecumenical Patriarchate of Constantinople reacted by declaring the schismatic monks inside Esphigmenou illegal, and on 3 October 2005 sanctioned the formation of a new Esphigmenou brotherhood, under the spiritual guidance of Archimandrite Chrysostomos Katsoulieris. In November 2005 Katsoulieris and his monks tried to take over the ‘old’ Esphigmenou konaki in Karyes (building 23), but failed and the police had to be invoked to separate the parties. On Sunday, October 22, 2006, Patriarch Bartholomew himself placed the “foundation stone” of the new and official konaki of Esphigmenou. This is a new building near the old konaki (nr 23A). Temporary, until the dispute is resolved, this konaki will be the (official) monastery itself. For this event a heavy police force was mobilized but the ceremony was completed calmly and peacefully. Esphigmenou again gained global attention in December 2006 when members of the new brotherhood tried to force their way into the monastery's offices in Karyes (in the "old" konaki at nr 23). In the ensuing clashes seven monks were severely injured: four of the ‘official’ monks and three of the schismatic monks. All were brought to hospital by the police outside Athos. The last three were not allowed to return to the Holy Mountain.

In January 2007, the district attorney of Thessaloniki pressed charges against the monks of Esphigmenou ("σχισματικοί ρασοφόροι") for "embezzlement" of over 150,000 euros and the estate rightfully belonging to the monastery.

In 2014, Greek police took part in an operation to clear an apartment in Thessaloniki used as a hostel by the 'old' Esphigmenou monks. Police said one monk and five supporters were in the apartment in central Thessaloniki during the raid, which followed a court ruling for the eviction. Riot police cordoned off surrounding blocks to prevent other supporters from hindering the operation.

The monks continued to remain inside the premises of Esphigmenou Monastery, under blockade, as shown in a 2016 travel documentary by British presenter Simon Reeve. The supply ship that supports Mt. Athos no longer stops at Esphigmenou, their bank accounts have been seized and nearly all of their property outside Mt. Athos has been taken over by the 'new' monastic community.

In January 2017, eight monks of 'old' Esphigmenou monastic community, including abbot Methodios (Papalamprakopoulos), received jail sentences in-absentia from Thessaloniki Mixed Jury Criminal Court. The monks were charged with instigating violence and throwing Molotov cocktails at police officers following an incident in July 2013 in the Athonite capital of Karyes (relating to the occupation of the 'old' konaki building). The incident in question occurred when court bailiffs arrived to the Esphigmenou administrative offices in Karyes on July 29, 2013, to evict the schismatic monks, who responded by throwing three Molotov cocktails and an explosive device. Abbot Methodios and monk Antypas, the main aggressor, both received twenty-year sentences, effective immediately. The other six monks were charged as accomplices, receiving sentences of ten years and four months. The sentence was appealed by the defendants.

In April 2019, the monks inhabiting the buildings of Esphigmenou Monastery, considered squatters by the Ecumenical Patriarchate and the Sacred Community of Mt. Athos, were sentenced to 6-months imprisonment with a 3-year suspension for fraud against the Greek state. The schismatic monks were illegally exempted from the value-added tax and pretending to be the regular administration of the monastery by using the name and seal of the Holy Monastery of Esphigmenou. Thus, they were illegally receiving economic benefits, not paying the taxes due. Monks of the Holy Mountain are exempt from the tax, but the squatter monks are not officially considered Athonites. A few days later, a Thessaloniki appeals court handed down a sentence of 17-years’ imprisonment and a fine of 600 euros for the abbot Methodios and the monk Antypas for the 2013 attacks. The other six monks were sentenced to 9 years and 5 months (all prison sentences were slightly reduced from the 2017 ruling).

On 8 July 2020, the Greek Supreme Court rejected the appeal filed by the 'old' Esphigmenou community against the decision of the Court of Appeals of Thessaloniki from June 17, that obliged them to hand over all the occupied territories both on and outside of Mt. Athos to the new Esphigmenou brotherhood, currently based in the Athonite capital of Karyes. On July 23 police officers arrived at the monastery's dependencies in Ierissos and in Nea Roda and forced the monks to leave.

As of 2022, the conflict is ongoing, with the 'old' Esphigmenou monks still occupying the monastery buildings and the administration building in Karyes. Banners with the slogan Orthodoxia i Thanatos (Ορθοδοξία ή Θάνατος, "Orthodoxy or Death") can still be seen at the monastery.

Architecture
The monastery is home to various important structures. Although the monastery was founded no later than the 11th century, the current structures were built mainly during the first half of the 19th century. The general outline of the monastery is a rectangular wall which forms a spacious inner courtyard. In the middle of the courtyard lies the catholicon surrounded by the wings that house the monks' cells, the guesthouse and the refectory.

The catholicon, which is dedicated to the Ascension of Christ, was built between 1806 and 1810 by the abbot Theodoritos on the site of an earlier catholicon and in the manner of Athonite churches. It was consecrated by Patriarch Gregory V in 1811. The construction of the catholicon was greatly aided by personal donations from Bishop Ignatius of Kassandreia. The temple itself is spacious and majestic and bears eight domes on its lead-covered roof, the central dome being the largest. The marble used for its construction was transported to Athos from Tinos, the place of origin of the church's architect, Paul.

The nave of the catholicon was decorated with iconography in 1811 and the sanctuary in 1818 by the iconographers Veniamin, Zacharias and Makarios. The decoration was completed in 1841 with iconography of the narthex by the iconographers Ioasaf, Nikiforos, Gerasimos and Anthimos. The altar, the iconostasis, as well as other features of the temple, date back to this era. The iconostasis in particular, which depicts scenes from the Old and the New Testaments, is carved wood, covered with golden plating and is considered one of the most important post-Byzantine iconostases on Athos. The catholicon also has two chapels, a vestibule and a porch, added in 1845 by Ecumenical Patriarch Anthimus VI of Constantinople, a previous Esphigmenite monk.

Outside the southeastern corner of the catholicon there is a font (Greek: Φιάλη), that is used to keep holy water. It was built in 1815 by the abbot Euthymios, at the site of an older similar structure that dated from the time of John V Palaiologos. The structure is roofed by a dome that is held up by eight marble columns, connected by sculpted marble metopes.

The refectory is the oldest building in the monastery. It is a semi-detached building in the west wing, across from the catholicon. It is a rectangular building, renovated in 1810 by Abbot Euthymios. Its iconography, dating back to the 16th and 17th centuries still survives, albeit greatly damaged by the fires that the Ottoman soldiers lit to accommodate themselves during their stay in the monastery during the Greek revolutionary war.

The monastery also has 13 chapels, eight inside the main complex and five outside. Among the inner chapels, the most important are the chapel of the Presentation of Mary and the chapel of the Archangels at the sides of the catholicon. The other inner chapels are distributed at various sites inside the monastery and contain no frescoes but house important icons. Of the outer chapels, the most notable is the chapel of Saint Anthony of Kiev, the founder of the Kiev Pechersk Lavra — St. Anthony's life states he became a monk on Athos and Esphigmenou's tradition has his having lived in a secluded cave there overlooking the sea, which is still shown to visitors, and he is commemorated on the feast for All Saints of Esphigmenou — that lies just across from the monastery.

Cultural treasures
The monastery's treasury houses many important relics. The treasury, along with the monastery's library are temporarily housed over the catholicon's narthex. Among important cultural treasures, such as crosses, books, garments, etc., Esphigmenou has in its possession a large (3.05×2.80 m) part of Napoleon Bonaparte's tent, which was donated to the monastery by Patriarch Gregory V of Constantinople. The monks use this once a year, at the celebration of the Ascension of Christ, as a tent over the entrance of the catholicon.

The so-called Cross of Pulcheria lies at the catholicon's altar, which also houses cases of holy relics and a very important Byzantine mosaic icon. The icon is barely 0.15×0.07 m2 and depicts Christ in a standing position in great detail. The icon is surrounded by a silver frame that depicts the apostles, while holy relics are embedded on its lower side.

The monastery also has a large collection of manuscripts. Its library houses 372 manuscripts, of which 75 are parchment, some bearing iconographic decoration. Famous among these is the renowned Minologion, coded #14, that bears 80 miniatures. The library also holds a collection of roughly 2,000 printed books, while 6,000 more are housed in another part of the monastery, on the second floor of the northern wing.

Administration of Mount Athos
The Holy Mountain is governed by the "Holy Community" (Ιερά Κοινότης) which consists of the representatives of the 20 Holy Monasteries, having as executive committee the four-membered "Holy Administration" (Ιερά Επιστασία), with the Protos (Πρώτος) being its head. Civil authorities are represented by the Civil Governor, appointed by the Greek Ministry of Foreign Affairs, whose main duty is to supervise the function of the institutions and the public order.

Due to its irregular relations with the patriarchate of Constantinople, the current occupants of Esphigmenou Monastery had long not been represented in the "Holy Community", but presently the new canonical Esphigmenou brotherhood, which is still seeking access to the monastery land, seats a representative.

title: Esphigmenou


text: Category:Pakistani film producers

title: Category:Pakistani film producers


text:
Joseph Héliodore Garcin de Tassy

Joseph Héliodore Sagesse Vertu Garcin de Tassy (25 January 1794, Marseille – 2 September 1878) was a French orientalist.

Life
Garcin de Tassy was born in 1794 in Marseille to a family of merchants. He started learning Arabic at the age of 20 after meeting his father's business partners from Egypt.

He left for Paris in 1817 where he studied oriental languages under Silvestre de Sacy and was awarded professorship for Indology at the School for Living Oriental Languages, that was founded for him. In 1838 he was elected to the Académie des Inscriptions et Belles-Lettres. and was one of the founders and later president of the Société Asiatique.

Garcin first received prominence through general works on Islam and translations from the Arabic, namely L'Islamisme d'aprés le Coran (3. Ed., Par. 1874), La poésie philosophique et religieuse chez les Persans (4. Ed. 1864, 3 Vols.) and the Allégories, récits poétiques etc. (2. Ed. 1877). Later, he devoted himself to the study of the Hindustani language, where he was reputed as Europe's first capacity. His major works in this area are; Mémoires sur les particularités de la religion musulmane dans l'Inde (1832); Les aventures de Kamrup (translation, 1834); translations of works by the poet Wali (1834); the Histoire de la littérature hindoue e hindoustani (2. Ed. 1871, 3 Vols.); Rudiments de la langue hindouie (1847); Rhétorique et prosodie des langues de l'Orient musulman (1848, 2. Ed. 1873); Chrestomathie hindie et hindouie (1849); La doctrine de l'amour (translation from Hindi, 1859); Cours d'hindoustani (1870) and La langue et la littérature hindoustanies 1850-69 (2. Ed. 1874), to which he added since 1870 a yearly revue under the same title.

Publications

 * Les Oiseaux et les Fleurs, allégories morales d'Azz-eddin Elmocaddessi, publiées en arabe avec une traduction et des notes (1821)
 * Exposition de la foi musulmane, traduite du turc de Mohammed ben Pir-Ali Elberkevi, avec des notes, par M. Garcin de Tassy, suivie du Pend-Nameh, poème de Saadi, traduit du persan par le même, et du Borda, poème à la louange de Mahomet, traduit de l'arabe (1822 ; 1828).
 * Doctrine et devoirs de la religion musulmane, tirés textuellement du Coran, suivis de l'Eucologe musulman, traduit de l'arabe (1826).
 * Conseils aux mauvais poètes, poème de Mir Taki, traduit de l'hindoustani (1826).
 * Rudimens de la langue hindoustanie (1829 ; 1847). Réédition : Rudiments de la langue hindoustanie, 2e édition, adaptée aux dialectes urdu et dakhni, Duprat, Paris, 1863.
 * Mémoire sur les particularités de la religion musulmane dans l'Inde, d'après les ouvrages hindoustani (1831 ; 1869).
 * Les Aventures de Kamrup, par Tahcin-Uddin, traduites de l'hindoustani (1834).
 * Appendice aux Rudimens de la langue hindoustani, contenant, outre quelques additions à la grammaire, des lettres hindoustani originales, accompagnées d'une traduction et de fac-simile (1833).
 * Les Œuvres de Walî, publiées en hindoustani (2 volumes, 1834–36).
 * Manuel de l'auditeur du cours d'hindoustani, ou Thèmes gradués, accompagnés d'un vocabulaire français-hindoustani (1836)
 * Histoire de la littérature hindoui et hindoustani (2 volumes, 1839–47).
 * ''La Rhétorique des nations musulmanes d'après le traité persan intitulé : Hadayik Ul-Balagat (1844–48). Réédition (2e édition revue et augmentée) : Maisonneuve, Paris, 1873.
 * Les Séances de Haidari, récits historiques et élégiaques sur la vie et la mort des principaux martyrs musulmans, ouvrage traduit de l'hindoustani par M. l'abbé Bertrand, Suivi de l'Élégie de Miskin, traduite de la même langue par M. Garcin de Tassy (1845).
 * Prosodie des langues de l'Orient musulman, spécialement de l'arabe, du persan, du turc et de l'hindustani (1848).
 * Chrestomathie hindie et hindouie à l'usage des élèves de l'École spéciale des langues orientales vivantes (1849).
 * Analyse d'un monologue dramatique indien (1850).
 * Tableau du Kali yug ou de l'Âge de fer, par Wischnu-Dâs (1854 ; 1880).
 * Mémoire sur les noms propres et les titres musulmans (1854). Réédition : Mémoire sur les noms propres et les titres musulmans, 2e édition, suivie d'une notice sur des vêtements avec inscriptions arabes, persanes et hindoustanies (1878).
 * Les Femmes poètes dans l'Inde (1854).
 * Chants populaires de l'Inde (1854).
 * Les Auteurs hindoustanis et leurs ouvrages (1855 ; 1868). Réédition : Les Auteurs hindoustanis et leurs ouvrages d'après les biographies originales, Ernest Thorin, Paris, 1968.
 * La Poésie philosophique et religieuse chez les Persans. Le Langage des oiseaux (1856 ; 1860 ; 1864)
 * Mantic Uttaïr, ou le Langage des oiseaux, poème de philosophie religieuse, par Farid-Uddin Attar, publié en persan (1857 ; 1863). Réédition : La Conférence des oiseaux. Farîd Uddîn Attâr. Traduit du persan par Garcin de Tassy, Albin Michel, Paris, 1996.
 * La Doctrine de l'amour, ou Taj-Ulmuluk et Bakawali, roman de philosophie religieuse, par Nihal Chand de Dehli, traduit de l'hindoustani (1858).
 * Le Bostan, poëme moral de Saadi, analyse et extraits (1859).
 * Description des monuments de Delhi en 1852 d'après le texte hindoustani de Saïyid Ahmad Khan (1863).
 * Un Chapitre de l'histoire de l'Inde musulmane, ou Chronique de Scher Schah, sultan de Delhi (1865).
 * Histoire de la littérature hindouie et hindoustanie (3 volumes, 1870–71).
 * La Langue et la littérature Hindoustanes en 1871 (1872).
 * Science des religions. L'Islamisme, d'après le Coran, l'enseignement doctrinal et la pratique (1874).
 * La Langue et la Littérature hindoustanies en 1876 (1876)
 * Allégories, récits poétiques et chants populaires, traduits de l'arabe, du persan, de l'hindoustani et du turc (1876).
 * La Langue et la littérature Hindoustanes en 1870, A. Labitte et Maisonneuve et Cie, Paris, 1971.
 * Bag o bahar, le Jardin et le printemps, poème hindoustani (1878). Réédition : Institut national des langues et civilisations orientales, Paris, 1973.
 * Saadi, auteur des premières poésies hindoustani, Journal asiatique 1843, réédition en 2006 in La Danse de l'âme, recueil d'odes mystiques et de quatrains des soufis, collection « D'Orient et d'Occident », éditions InTexte.
 * Translations
 * Farid Ud-Din Attar. The Conference of the Birds (Mantiq Ut-Tair). Rendered into English from the literal and complete French translation of Garcin de Tassy by C. S. Nott, The Janus Press, Londres, 1954.
 * Muslim Festivals in India and Other Essays. Translated and edited by M. Waseem, Oxford University Press, Delhi, 1995.

title: Joseph Héliodore Garcin de Tassy


text: Category:Pakistani comedians

title: Category:Pakistani comedians


text:
Igors Stepanovs

Igors Stepanovs (born 21 January 1976) is a Latvian professional football coach and a former player who played as a defender. He was the manager of the Maldives under-19 national team. Stepanovs played 100 international matches and scored four goals for the Latvia national team. He made his debut in 1995, and played at Euro 2004.

Skonto
Born in Ogre, Stepanovs started his club career at Skonto-Metāls (later Skonto Riga). He made his debut in senior football at an early age, being just 16 years old. Together with Skonto Riga he won seven national titles. In 1995, he made his debut for Latvia national team and soon he became a regular member of the side. While playing with Skonto, Stepanovs played against teams like Inter Milan, Barcelona, and Chelsea. In these games, Skonto and Stepanovs performed well. In 2000, he attracted interest from many European teams.

Arsenal
In 2000, Arsenal captain Tony Adams was injured, prompting Arsène Wenger to sign Stepanovs for a transfer fee of £1.35 million. He started the season well, scoring a goal for Arsenal in a 2–1 League Cup defeat against Ipswich Town on his debut. His playing time grew until a match against Manchester United, when both sides were battling for the Premier League title. Arsenal lost this game 6–1 and their chances of winning the title were hit. After this disappointing performance, Stepanovs played only once again that season in a game against Manchester City. He recovered to make six Premier League appearances the following season as Arsenal won the 2001–02 FA Premier League. Six would not normally be enough to earn a medal but he was an unused substitute on the day Arsenal clinched the title against Manchester United at Old Trafford, the scene of his lowest point the season before. Arsenal also won the FA Cup in 2002 and 2003 but Stepanovs was left out of both matchday squads. He contributed to their 2002 triumph when featuring in a game against Newcastle United during their run.

Overall, he played just 17 times in the league for Arsenal, all of them starts, and 31 times in all competitions.

Later years
After unsuccessful years with Arsenal, Stepanovs was moved to K.S.K. Beveren, which had a co-operation agreement with the English club. There he gained back some confidence and he was again in good shape. Stepanovs played well in the Latvia national team, helping it to qualify for Euro 2004 where he played in all of Latvia's three games.

After Euro 2004, Stepanovs joined Grasshopper Club Zürich. There he played for two seasons, but was released. In 2006, he returned to Latvia and played some games for FK Jūrmala. On 26 January 2007, he moved to Danish Premier League side Esbjerg fB on a free transfer, but after just a year he moved to the Russian FC Shinnik Yaroslavl. He was released by Shinnik on 9 July 2008 and in April 2009 he signed for Latvian side RFS/Olimps, but a year later re-joined his previous team FK Jūrmala. He played there for two seasons, making 25 league appearances, scoring a solitary goal. In August 2011, the player announced his retirement from professional football. On 10 August 2011, Stepanovs was called up to the Latvia national team for a friendly match against Finland. He played his 100th and last match for Latvia then, and was honoured during the match for his long-term commitment to the national squad.

Coaching career
During his time at FK Jūrmala, Stepanovs worked as a player-coach assisting the club's manager Vladimirs Babičevs. In March 2012, Stepanovs was appointed as the manager of Latvia under-17 national team.

Honours
Arsenal
 * Premier League: 2001–02
 * FA Cup: 2001–02, 2002–03

Individual
 * Latvian Footballer of the Year: 2005

title: Igors Stepanovs


text:
Tony Tetuila

Anthony Olanrewaju Awotoye, better known as Tony Tetuila, also regard as the golden father of Afrobeats artist from Nigeria. He was born in 1973, he is a native of Oro, Kwara state.

His name, Olanrewaju, means "Wealth would be found ahead". He was a member of the now-defunct hip-hop group of The Remedies (along with Eedris Abdulkareem and Eddy Montana). Tony Tetuila split from the group and became successful as a solo artist. He is best known for his hit song My Car, as well as Nigeria's first-ever diss track, Omode Meta.

Politics
In 2014, Tony Tetuila ran for political office in the House of Assembly of Kwara State as a candidate for the All Progressives Congress party. He later claimed that he was denied the Political position.

Controversy
In December 2019, Tony sued Wizkid, he alleged that Wizkid had violated his copyrights, in his collaboration song with Ghanaian singer Tic Tac for their song Fefe N'efe. The lawsuit was reportedly worth 30 million naira.

title: Tony Tetuila


text: User talk:87.242.134.208

title: User talk:87.242.134.208


text:
InVision Technologies

InVision Technologies, Inc. was a publicly traded company based in Newark, California, that manufactured and sold airport security screening devices to detect explosives in passenger baggage. One of its most well-known products is the CTX explosive-detection device. One of its founding members was Sauveur Chemouni.

FCPA case
The company was notable, in part, because its case was the first time the US Department of Justice had resolved a Foreign Corrupt Practices Act (FCPA) case through a non-prosecution agreement.

The charges were based upon conduct of the company's third party distributors (but not the company itself), while InVision's staff failed to timely investigate certain "red flag" emails copied to their addresses. The company voluntarily disclosed its findings resulting from internal investigations related to the issues which arose during the preparation for the acquisition of InVision by General Electric Company.

The NPA, concluded in December 2004, required from the company, in part, a $800,000 penalty and a requirement to improve the enforcement of FCPA compliance.

On July 1, 2009, the European Union approved GE Security's sale of 81 percent of the previous InVision business division to French company Safran.

title: InVision Technologies


text: Category:Pakistani bankers

title: Category:Pakistani bankers


text:
Homer L. Dodge

Homer Levi Dodge was the Chair of the Department of Physics, Dean of the Graduate school, and founder of the Oklahoma Research Institute, at the University of Oklahoma in Norman, Oklahoma and President of Norwich University.

In 1919 Dodge became chairman of the Physics Department at the University of Oklahoma, and in 1926 he became dean of the graduate school.

He was president of the Board of Trustees for the School of Religion from 1927 to 1944.

At the December 1930 meeting of the American Physical Society, Dodge helped to organize the American Association of Physics Teachers (AAPT).

He was elected the first President of the AAPT.

In 1941, he organized the Oklahoma Research Institute and became its first director.

From 1942 to 1944, he took a leave of absence from the University of Oklahoma to serve as director of the Office of Scientific Personnel of the National Research Council.

Homer Dodge stopped by Omaha when he was heading to the west for vacation in 1956 to invest with young Warren Buffett. Warren Buffett was young, but he looked even younger. So, many investors didn't want to give serious money to Warren. However, Homer trusted the analytical mind of Warren Buffett and wanted to put in $120,000 in Buffett Associates. The only problem was Buffett Associates was for "family members or close friends only," Homer and Warren Buffett set up a separate partnership. Homer Dodge was worth tens of millions when he died in 1983, thanks to his early trust in Warren Buffett.

His son Norton Dodge was an economist and prominent art collector who purchased the Cremona estate in Maryland.

Archival collections

 * Homer L. Dodge papers, 1852-1994 (bulk 1910-1960), Niels Bohr Library & Archives
 * Homer L. Dodge addition to papers, 1905-1994, Niels Bohr Library & Archives

title: Homer L. Dodge


text:
User:Praetor alpha

Has written/started the following articles:
 * Shadow mapping
 * Mobile PCI Express Module
 * Stephen Clarke-Willson

title: User:Praetor alpha


text:
Wikipedia:Peer review/Colectivo/archive1

Colectivo
User:Zzzzzzus and other editors worked a lot around this article. We believe is colorful, original and will provide a window into a different culture that many never know existed. It is also a part of Argentine folk and one us "porteños" are very proud of. We'd be delighted to hear constructive criticism, especially since none of the contributors has English as our native tongue.

--Sebastian Kessel Talk 17:32, 3 October 2005 (UTC)

 * To start with, there are colectivos all around Argentina, not just in BA. Ejrrjs | What? 20:57, 3 October 2005 (UTC)

 * True, although they don't share the same folk characteristics. Feel free to edit to accomodate this statements. --Sebastian Kessel Talk 21:00, 3 October 2005 (UTC)

 * Thats not true. El Colectivo is just like the futbol (or almost everything in Argentina), something Metropolitano, unitarist. To think in other way is erroneous (and ridiculous). The real federalism of Argentina (a coincidence) started with Menem in 1990 (when the blurring of the colectivo tradition). Again the example of La Fiesta De Todos, Argentina played in Rosario, but all the histories are in the buildings of Buenos Aires... not "all around". That populism of the Proceso dictated this time that Argentina is: Buenos Aires, Futbol, Malvinas, Peron, etc... Yo can go to discuss that to Videla and the Military Forces of those years... But its not recommendable.--Zzzzzzus 15:21, 4 October 2005 (UTC)zzzzzzus

 * I have a hard time believing that "futbol" is "unitarist"... You keep on citing a single movie but you forget that almost every Argentine city has colectivos and soccer teams.
 * To prove my point, I invite you to look at the stats in the Argentina national football team. How many players were born in Buenos Aires? You'll see that only a small percentage...
 * --Sebastian Kessel Talk 15:52, 4 October 2005 (UTC)

 * Santiago regresa al paradero, el colectivo que toma es un Chevrolet y tiene la radio encendida, in Mario Vargas Llosa, Conversación en La Catedral (1969), ISBN 8420484164
 * This is Lima circa 1955. Further descriptions indicate that it is the same kind of public transportation than the original colectivo porteño. Perhaps some Peruvian wikipedian could help on this one. Ejrrjs | What? 21:14, 3 October 2005 (UTC)
 * Chevrolet its only one kind of van-buses, before the arrival of Mercedes Benz. --Zzzzzzus 13:39, 4 October 2005 (UTC)zzzzzzus


text:
Wikipedia:WikiProject Missing encyclopedic articles/Hot/C10/Cor-Cou

Coro-Corp

 * 1) Coromandel Screen
 * 2) Corona wire
 * 3) Coronach
 * 4) Coronado Bay
 * 5) Coronado National Memorial
 * 6) Coronatae
 * 7) Coronation Carpet
 * 8) Coronel
 * 9) Coroner's Jury
 * 10) Coronilla iberica
 * 11) Coronilla
 * 12) Coronograph
 * 13) Coronoidea
 * 14) Corporate portal
 * 15) Corporation Des Menuisiers-Ebenistes
 * 16) Corporation for Open Systems
 * 17) Corporative state
 * 18) Corposant
 * 19) Corps Legislatif
 * 20) Corpus Christi Bay

Corr-Cory

 * 1) Correa cardinalis
 * 2) Correggio Family
 * 3) Correggio
 * 4) Correlation Interferometer
 * 5) Correspondence Education
 * 6) Corrievrekin
 * 7) Corrosive sublimate
 * 8) Corrupt practices
 * 9) Corrupted file
 * 10) Corryvreckan
 * 11) Corsican National Liberation Front
 * 12) Corsini Family
 * 13) Corso Donati
 * 14) CorStream
 * 15) Cortes
 * 16) Corticosteroid drug
 * 17) Cortile
 * 18) Corts
 * 19) Cortusa matthioli
 * 20) Coryphodon

Cose-Cosm

 * 1) COSE
 * 2) Cosecant
 * 3) Cosimo Tura
 * 4) Cosine
 * 5) Cosmati work
 * 6) Cosmea bipinnata
 * 7) Cosmetic electrolysis
 * 8) Cosmetic surgery
 * 9) Cosmic Abundance
 * 10) Cosmic Censorship Hypothesis
 * 11) Cosmic spherules
 * 12) Cosmic Wind
 * 13) Cosmogenic nuclide
 * 14) Cosmological Density
 * 15) Cosmological Distance
 * 16) Cosmological Equations
 * 17) Cosmological Optical Depth
 * 18) Cosmotron
 * 19) Cosmé Tura

Coss-Cost

 * 1) Cossack Marlinsky
 * 2) Cossacks
 * 3) Cossimbazar
 * 4) Cost-based query optimizer
 * 5) Cost/benefits analysis
 * 6) Costermansville
 * 7) Costmary
 * 8) Costumbrismo

Cot

 * 1) Cotangent
 * 2) Cotentin
 * 3) Cotes' Spiral Orbit
 * 4) Cotes-D'armor
 * 5) Cotrone
 * 6) Cotta Family
 * 7) Cottage Furniture
 * 8) Cottius
 * 9) Cotton effect
 * 10) Cotton grass
 * 11) Cotton Harvester
 * 12) Cotton-Mouton Effect
 * 13) Cottonseed
 * 14) Cottony-Cushion Scale
 * 15) Cotyledon chrysantha

Coua-Coul

 * 1) Coua
 * 2) Coucal
 * 3) Coudé focus
 * 4) Cougar
 * 5) Coulomb Energy
 * 6) Coulomb excitation
 * 7) Coulomb explosion
 * 8) Coulomb Force
 * 9) Coulomb Gauge
 * 10) Coulomb Potential
 * 11) Coulomb's Constant
 * 12) Coulometer

Counc-Couns

 * 1) Council area and former county
 * 2) Council for the Defence of the Revolution
 * 3) Council of Antioch - 341 refers to this as a Council of Encaenia Bluap
 * 4) Council of Arab Economic Unity
 * 5) Council of Arles
 * 6) Council of Ferrara-Florence
 * 7) Council of Florence
 * 8) Council of Foreign Ministers
 * 9) Council of the Indies
 * 10) Council of the Islamic Republic
 * 11) Council of Troubles
 * 12) Council of
 * 13) Councils of Ephesus
 * 14) Counselor at law

Count

 * 1) Count Basie
 * 2) Count Carol Gozzi
 * 3) Count de Montemolin Carlos Luis de Borbon
 * 4) Count Folke Bernadotte
 * 5) Count Fredrik Axel Fersen
 * 6) Count Hans Axel Fersen
 * 7) Count Julius Károlyi
 * 8) Count Magnus Stenbock
 * 9) Count Michael Károlyi
 * 10) Count Mieczisaw Ledóchowski
 * 11) Count Octavian
 * 12) Count of Holland William
 * 13) Count of Oldenburg Christopher
 * 14) Count of Toulouse Raymond IV
 * 15) Count of Toulouse Raymond VI
 * 16) Count of Toulouse Raymond VII
 * 17) Count of Tripoli Raymond
 * 18) Count Paul Teleki
 * 19) Count Sergei Yulyevich Witte
 * 20) Count Stephen Bethlen
 * 21) Count Stephen Szechenyi
 * 22) Count Stephen Tisza
 * 23) Count-key-data

Counte-Countr

 * 1) Counter mode
 * 2) Counter Purple Light
 * 3) Counter-rotating ring
 * 4) Countercurrent Distribution
 * 5) Countercurrent exchange (biology)
 * 6) Countercurrent transfer operations
 * 7) Counterglow
 * 8) Counterpoise
 * 9) Countess Maria Aurora Königsmark
 * 10) Countess Maria Walewska
 * 11) Countess of Tuscany Matilda
 * 12) Country Cameroon
 * 13) Country codes A-E
 * 14) Country codes F-M
 * 15) Country codes N-Z
 * 16) Country Furniture

Coup-Cout

 * 1) Coup of 18 Fructidor
 * 2) Coupled circuits
 * 3) Coupled Pendula
 * 4) Coupled reactions
 * 5) Coupled substitution
 * 6) Coupler
 * 7) Coupling Facility
 * 8) Courier modem
 * 9) Courlan
 * 10) Courland Lagoon
 * 11) Courseware
 * 12) Court Baron
 * 13) Court Cupboard
 * 14) Court of Augmentations
 * 15) Court of Exchequer
 * 16) Court system in the United States
 * 17) Court tennis
 * 18) Courtesy Literature
 * 19) Courts of love
 * 20) Courtyard Theatre
 * 21) Cousin Pons
 * 22) Coutchiching Series
 * 23) Coutchiching
 * 24) Coutume


text:
Pauli Jaks

Pauli Jaks (born January 25, 1972) is a Swiss former professional ice hockey goaltender who played one game in the NHL with the Los Angeles Kings during the 1994–95 season. The rest of his career, which lasted from 1989 to 2006, was mainly spent in the Swiss Nationalliga A. Internationally Jaks played for the Swiss national team at the junior and senior level, including the 1996 World Championship B Pool.

Biography
Jaks played in the 1985 Quebec International Pee-Wee Hockey Tournament with a Swiss-Italian youth team.

Jaks was selected in the 5th round (108th overall) in the 1991 NHL Entry Draft by the Los Angeles Kings. He played one game for the Kings, on January 29, 1995, against the Chicago Blackhawks. Jaks was the first Swiss-trained player to appear in the NHL.

Jaks also played in the IHL for the Phoenix Roadrunners, but he is best known for his play in the Switzerland National League A.

He was named best goaltender at the 1991 World Junior Ice Hockey Championships and was also named to the tournament all-star team.

title: Pauli Jaks


text:
Talk:Shadow mapping

praetor_alpha 17:33, 3 October 2005 (UTC) 🔐 🔐

Untitled
This statement is completely incorrect, so I removed it: "The rough edges of shadow maps are sometimes referred to as "shadow acne"." Shadow acne occurs when the depth parameter is too low relative to the shadowmap resolution, and a surface begins to self-shadow. It usually creates dark bands where there should be none. Pixellated edges of shadows has nothing to do with "shadow acne".

-Josh

I disagree about the merging with Shadow Maps for two reasons:

 * Shadow maps are static, while shadow mapping is dynamic. Shadow maps are loaded once and usually never again, while shadow mapping is constantly updating.

 * Shadow mapping involves comparing depth values, rather than just putting a brighter/dimmer shade on a polygon.

 * Oh, I see what you are trying to say; you mean light maps? These are precomputed maps; but shadow mapping is dynamic and is usually run inside a GPU.

I agree about merging with Shadow Maps since they are both the same, or even simply linking Shadow Maps to this page. Its just unfortunate someone wrote a (small and inaccurate) article about static shadow mapping (or light mapping) and called it 'Shadow Maps' and someone else wrote a larger and more detailed one about dynamic shadow mapping and called it 'Shadow Mapping'. The underlying theory is always the same, working out shadows and storing them in some texture map, then recalling that information to reconstruct shadows. Whether you use depth maps or color maps, do it dynamically or statically, it all falls under the loose description of shadow mapping in my opinion.

Jheriko 22:08, 22 January 2006 (UTC)

Shadow maps and shadow mapping are the same thing. There may have at one point been a static implementation of shadow maps, like back in the 80's, but the term now means dynamic depth-texture-based shadows, usually calculated on the GPU, but I am sure Pixar has a CPU approach. -Josh

Wiki Education Foundation-supported course assignment
This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): VjiaoBlack.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 09:08, 17 January 2022 (UTC)

More information needed to adhere to quality standards
Shadow mapping involves finding the world coordinates of a point, projecting it back into light space and then performing a compare. These steps and also the disregard of vertex/pixel shaders which are extremely crucial (also the current hardware capability allows everything to be performed in real-time) is missing in this article. Until one of us updates to reflect this, I am adding a stub/cleanup for this page. -- dormant25, Feb 8, 2006 Moreover, the information given is not in the right side of "highly technical" nor in the "amateur level" - it is more of a passing information...

 * I noticed that too. The whole "pass two" step contains basically know information. "Some magic happens" would be almost as good. I'll see if I can learn what is going on there from the cited NVIDIA articles and incorporate it into the article. - Rainwarrior 17:45, 26 July 2006 (UTC)

 * Ahh, okay. The shadow map is a collection of depth values which will be used for a visibility test. When drawing a fragment, project that fragment's location into the light's space, and it will have a depth that can be compared against the shadow map. If it's further away than the depth in the shadow map, the fragment is in shadow. The actual matrix transformation will be something like a translation and rotation from the light to the eye (maybe a scaling as well, the light-view frustrum doesn't have to be the same size), and the trickiest part is turning the projected coordinates into a depth value that you can compare against the shadow map (I haven't quite figured that part out yet). - Rainwarrior 18:25, 26 July 2006 (UTC)

 * I rewrote that section of the article, and cleaned up the rest as best I could. How is it now? - Rainwarrior 19:30, 30 July 2006 (UTC)

Edits by Praetor Alpha, 20:32, 13 August 2006
I have several comments about this edit.

 * 1) I think "cross multiplied" is the wrong term (isn't cross multiplication a technique for dealing with fractions in equations?). It is simply the Ordinary matrix product of these matrices.
 * 2) It must also be clarified what $$modelview_{light}$$ is. There is currently no explanation. The scale bias matrix is also completely unexplained. It maps -1 to 1 onto 0 to 1, but it really isn't a part of the "shadow mapping" technique, per-se. It's just necessary in many hardware implementations. I think this extra matrix should be left out of the equation, and instead mentioned in a footnote that explains its purpose.
 * 3) I don't think it's really necessary to speak of "three passes" in this article. Whether to use two or three passes is really up to the person implementing it. (3 passes aren't inherent in the technique, nor are they the most efficient or common way to do this these days.) We should describe the process in terms of what needs to be done, rather than how to do a particular implementation of it. It deserves mention that there are two and three pass techniques, but probably after the description of the basic principles.
 * 4) Not all lighting models "should" have an ambient term. There are many types of environments in which zero ambient lighting is very appropriate (space simulations, for instance), and there are global illumination techniques which very much should not have an ambient term.
 * 5) I think that caption which currently reads "Pass two, depth map transformed onto the scene" should actually read "Visualization of the depth map projected onto the scene." It is merely a visualization of the depth map, and not really part of the rendering, which is why I chose to word it the way I did. As above, I also think we should remove the references to passes from the images as well to match the suggestion above.

- Rainwarrior 21:58, 13 August 2006 (UTC)

 * Looking back on material, you're right. I must have been mixed up with vertex normals at the time... or something...
 * I'm using OpenGL terminology. That scale bias matrix is required in the calculations; it isn't automatically done by any implementation, at least any of importance, as of my knowledge.
 * I was trying to keep this article simple when i wrote it, as shadow mapping is a very complex idea to get a grasp of (or at least, for me). When any computer graphic concept is introduced, it always starts out as a simple implementation, then goes on to say that there are better, more common, or efficent ways of doing it, and I think that a three pass approach is the simplest.  I would keep it, even if to emphasize the importance of ambient light in a scene.
 * Even in space, there is still light bouncing off of stuff, even in the shadows. The only place I have been that is completely dark is far into a cave.  I will reword it to something like "all good lighting models should have...".
 * It said "shadow map" which is incorrect, as it is the depth map on the scene.
 * Anyways, it's now much better than (as you said) "some magic happens", as it was before.
 * praetor_alpha 00:21, 14 August 2006 (UTC)

 * Yes, the scale bias would usually be required in OpenGL or DirectX hardware implementations. It's not that I am suggesting that any implementation does it automatically, it's that it's something that is more or less specific to those types of implementations. A software rendering shadow mapper, or a procedurally generated shadow map would not have this need.

 * In space, there are very few things to bounce light off of that take up enough of a solid angle view from the surface of an object that they would have an appreciable "ambient" light. Everything's just too far apart. Take a look at this image of Jupiter taken by Cassini. I think it wrong to say that the ambient term has anything to do with how "good" a lighting model is (as well, it is usually the least expensive component, computationally, so it's not like omitting it gets you a cheaper model). Now, if one object is close to another in space, there are cross-reflections, but this will only apply to the surfaces of those objects that face one another. Local lighting models just aren't "good" at this, and having a global ambient light is a very poor approximation in this kind of situation.

 * I have some suggestions as to the structure of the page, maybe I'll create it in my userspace first so you can see what I have in mind. I like the material you have added, as it helps with the specific type of implementation that is common, but I feel like there is a mixture of two types of information, one about the practice of shadow mapping, and one about this particular implementation, and I would like to separate them. - Rainwarrior 01:09, 14 August 2006 (UTC)

 * If an implementation had a black spot for the shadow where there logically should be (in an environment like ON earth), it would definitely a bad implementation. So a "better" one would have the same lit up a bit.  Besides, I worded it so that it isn't a requirement for a good one, then you can go on about the space/cave exception.  I wrote this article based from my experience programming graphics, using bits and pieces of tutorials and powerpoint presentations on the net.  All of the basic ones (which means about 90%) were three pass solutions, which the tutorials said were the simplest.  Then they said that there are several (complicated) ways to combine the last two.  Then I made my program use the shadow_ambient extension, so I could focus on other things.  I, like the tutorial authors, prefer not to dive too much into the various ways (shadow_ambient, nVidia's register combiners, shaders, soft shadows, etc...).  And frankly, I don't have the energy, or the time (I'm going to college in two weeks) to learn or describe them here, especially without going into more 'some magic happens' scenarios.  I'm glad you're into this!  praetor_alpha 02:59, 14 August 2006 (UTC)

I have rewritten the section as I proposed above. All of your information remains, I think, but I have tried to make it clear which parts belong to specific implementations (i.e. through hardware, or OpenGL, etc.), and which are an integral part of the shadow mapping process.

I did make one omission though: I removed your image of the scene rendered with black shadows. It makes more sense to render the shadowed scene first, and then draw lights on top of it (the reverse makes lighting impossible). A dicussion of the difference between lighting with a global ambient and without I think belongs over at Phong reflection model, which I've linked to from the appropriate place. Also, generally with shadows, a little bit of diffuse light is included as well. If you think the two passes need to be visualized, I would reccomend you change the first image (the one I removed) to be of the scene completely in shadow instead (to do shadowed first, then draw light over top of it). - Rainwarrior 17:54, 14 August 2006 (UTC)

 * Looks very good. I like it. praetor_alpha 13:05, 15 August 2006 (UTC)

NVIDIA link broken
http://developer.nvidia.com/attach/6769, the second external link, is broken at the time I write this - August 8th, 2011. Anyone have a substitute link? --DangerOnTheRanger (talk) 22:11, 8 August 2011 (UTC)

OT? - Disambig with "shadow buffer" CS term
An maybe-odd-seeming question here. Is there a "mainstream unix" object known as a "shadow buffer" (or is that another name for a shadow table)? If so, I think a disambig on this page should point to it - although not a full disambig page, as the graphics term 'shadow buffer' is most certainly the more used meaning. I've run into the term in the Apple Newton ROM (CShadowBufferSegment, along with CBufferSegment) - so it is altogether possible that it is NOT a standard UNIX term (the NOS implementation of the stdc libs is strange and certainly not complete). But I have no idea whether there is a UNIX term 'shadow buffer' at all - which is how I ended up here.. Jimw338 (talk) 17:49, 3 July 2012 (UTC)

title: Talk:Shadow mapping


text:
Kenyatta Walker

Idrees Kenyatta Walker (born February 1, 1979) is an American former professional football player who was an offensive tackle in the National Football League (NFL) for six seasons. Walker played college football for the University of Florida. A first-round pick in the 2001 NFL draft, he played professionally for the Tampa Bay Buccaneers of the NFL.

Early years
Walker was born in Meridian, Mississippi in 1979. He attended Meridian High School, where he was a standout high school football player for the Meridian Wildcats. As a senior in 1996, Walker was an all-state selection and received high school All-American honors from PrepStar and USA Today.

College career
Walker accepted an athletic scholarship to attend the University of Florida in Gainesville, Florida, and played on the offensive line for coach Steve Spurrier's Florida Gators football team from 1998 to 2000, after redshirting in 1997. Walker was a second-team All-Southeastern Conference (SEC) selection in 1999 and received first-team All-SEC and second-team All-American honors in 2000, winning the SEC's Jacobs Blocking Trophy as a junior in 2000. After his junior season, Walker decided to forgo his final year of NCAA eligibility and enter the NFL draft.

After his NFL career ended, Walker returned to Gainesville to complete his degree, graduating from the University of Florida with a bachelor's degree in sociology in 2007.

Awards and honors

 * Knoxville News-Sentinel All-SEC (1998)
 * Football News Freshman All-American (1998)
 * Co-recipient of Gators' Best Effort Award (1999)
 * Second-team All-SEC (1999)
 * Gators' Most Outstanding Offensive Lineman (2000)
 * Consensus first-team All-SEC (2000)
 * Jacobs Blocking Trophy (2000)
 * All-American selection by Associated Press, Sporting News, Football News, Sports Xchange and Walter Camp (2000)
 * Outland Trophy semifinalist (2000)

Professional career
The Tampa Bay Buccaneers chose Walker in the first round (fourteenth pick overall) of the 2001 NFL Draft, and he played for the Buccaneers for six seasons from 2001 to 2006. He was originally slated to play left tackle and protect the quarterback's blindside. However, after his rookie season he was switched to right tackle, where he found success starting for the Buccaneer's Super Bowl XXXVII victory over the Oakland Raiders. After starting in seventy-three of the seventy-five games in which he played, the Buccaneers released Walker on March 1, 2007.

On August 13, 2007, the Carolina Panthers signed Walker as a free agent. He was released by the team on September 1 during final cuts. On September 8, 2008, Walker was signed by the Toronto Argonauts of the Canadian Football League (CFL), and was assigned to their practice roster.

title: Kenyatta Walker


text:
File:Expandingsenses.jpg

Summary
Darkane – Expanding Senses album cover. Copyright 2002 Nuclear Blast America.

title: File:Expandingsenses.jpg


text:
User talk:Thetiredsaint

Welcome to Wikipedia
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title: User talk:Thetiredsaint