text:
Blender 3D: Noob to Pro/3D View Windows

3D View windows are used to visualize 3D scenes. You’ll do a lot of work in these windows, so you will need to learn your way around.

In this module, you'll learn:
 * to recognize 10 things commonly seen in viewports
 * to tell which mode Blender is in
 * how to change viewport options and viewpoints
 * how to position the 3D cursor

You'll also learn the fundamentals of:
 * visibility layers

The Viewport and its Contents
Aside from its header, the remainder of a 3D View window is its. You use viewports any time you need an up-to-date view of the scene you're working on.

Viewports are busy places. Go on a scavenger hunt and see what you can find in a simple viewport.

(If you're unsure what means, please review the Keystroke, Button, and Menu Notation module.)
 * 1) Launch Blender.
 * 2) Just so we're all looking at the same scene, load the factory settings using File → Defaults ->  Load Factory Settings.
 * 3) Confirm the “Load Factory Settings” popup with  (or ).
 * 4) If the NumLock indicator on your keyboard is unlit, press  so that numpad hotkeys will work properly.

You should see something like this:

A Virtual Scavenger Hunt
Look at the default scene and find the following eight items:

1. a solid gray cube with orange edges.
 * In the Center
 * This is the, your first Blender object!

2. Three arrows, one red, one green and one blue, their tails joined to a white circle
 * This is not an object (part of your model/scene), but part of Blender’s user interface for manipulating objects. It is the, also known as the.
 * The arrows represent the directions of the, and  axes of the currently chosen  coordinate system. Initially this is the.
 * The circle represents the center of the selected object (the cube).
 * If you don't know what the "global coordinate system" is, please review the module on Coordinate Spaces in Blender.

 * It's possible that a tool is active. Press  to cancel any tool action.
 * Another possibility is that the manipulator has been disabled:
 * Toggle it on or off with.

3. A red-and-white striped circle with black cross-hairs
 * This is not an object. It is the 3D Cursor, which indicates where newly-created objects will appear in the scene.
 * The cursor is similar to the insertion point in a text editor, which indicates where new text will be inserted in a document.

4.
 * In the Lower Left Corner
 * This is not an object. It is the mini axis, and its orientation matches that of the global coordinate system, with the usual conventions: red for X, green for Y and blue for Z. Think of it as a little compass, reminding you which way is left/right, front/back and up/down.

5. The notation "(1) Cube"
 * This is not an object. It is, indicating that:
 * You're viewing the first frame of an animation.
 * and
 * The current or most recently selected object is named "Cube".

6. The notation “User Persp”
 * In the Upper Left Corner
 * This is not an object. This tells you which mode the viewport is in. The first word will change if you select one of the perfect views or the camera view (see below), otherwise it just says “User”, and the second word is “Persp” or “Ortho” to indicate whether this is a perspective or orthographic view.

7. A black round thing that resembles a sun symbol
 * To the Right of Center
 * This represents a lamp, a light source for the scene. (It is an object.)

8. A pyramidal wireframe item
 * This represents a camera, a viewpoint that can be used for rendering. (It too, is an object.) The camera is looking at the base of the pyramid. The solid triangle attached to one side of the base is to remind you which way is up in the image that the camera takes.
 * On a small display, the camera might initially lie outside of the viewport and thus be invisible. In that case,  to zoom out until it becomes visible.

9. A dark gray background, divided into squares by lighter lines. This is the, which you can (but don’t have to) use as a ground plane for positioning your models.
 * Throughout
 * Each grid square is one blender unit (or BU) on a side. A BU can be whatever you wish, e.g. an inch, a centimeter, a mile, or a cubit.  Blender lets you choose your scene scale in the Scene tab of the Properties Panel.

10. Three mutually perpendicular coloured lines associated with the grid floor: the red and green ones lying horizontally in the floor and the blue one running vertically. These are the global coordinate axes for orienting your scene. Red is the X-axis, green the Y-axis, and blue the Z-axis.
 * In Blender 2.67a, you can't see the blue line for Z-axis here, but you can see it in Front or Side view.

Modes
Blender has many modes, i.e. settings that affect its behavior, and this is especially true of the 3D View window.

Sometimes it's not obvious which mode is active. This leads to mode errors where Blender will do something you didn't expect because you thought it was in one mode and it was actually in another.

The function performed by a hotkey or mouse button can depend on:
 * what mode the user interface is in,
 * whether the keyboard is in NumLock mode,
 * which window is active,
 * the mode the active window is in,
 * which item or items are selected,
 * whether you've initiated a hotkey sequence.

It helps to recognize the common modes and how to get out of them.

Object Mode vs. Edit Mode
The 3D View windows are normally in Object Mode. In this mode:
 * The mouse pointer is the default arrow normally used on other programs.
 * is used to select objects in the scene.
 * In versions 2.8 and above Use to select objects in the scene

If there are objects in the scene, you can get into five other modes:
 * Edit Mode: used to edit the shapes of objects
 * The mouse pointer is a thin inverse-video cross.
 * is used to select vertices, faces or edges of the current object.
 * Press to enter/exit this mode.
 * Sculpt Mode/Vertex Paint/Texture Paint/Weight Paint
 * The mouse pointer is now a thin, orange (white in Texture Paint) circle.

These modes are also indicated by a menu in the 3D View header. You can use this menu to change modes.

These modes are a setting shared by all 3D View windows. In other words, when you change the mode in one window, any other 3D View windows change mode also.

Solid vs. Wireframe
By default, the 3D View window draws objects using the Solid drawtype, in which surfaces are opaque. To toggle between Solid and Wireframe drawtype (edges only, no faces) for a particular viewport:
 * 1) Activate the 3D View window

Alternatively, you can choose these and other drawtypes from the "Viewport shading" menu in the 3D View window header.
 * 1) Press.

Orthographic vs. Perspective
By default, viewports draw orthographic views. To toggle a viewport between orthographic and perspective views:
 * 1) Activate the 3D View window.
 * 2) Press.

(If you're unsure what the difference is, please review and .)

Note this perspective versus orthographic setting for the 3D viewport is completely separate from the similar setting in the camera properties. The former takes effect while you’re working on the model, the latter when you render.

So why have a separate setting for the 3D view? Because certain aspects of modelling are easier in one view than another. If the final render will be using perspective, then showing perspective in the 3D view naturally gives you a better idea of how the final render will look. But perspective foreshortening can sometimes make it hard to ensure the model has the proper shape, which is why there is the option to switch to orthographic view.

... you should activate the View Name option. This is enabled by default and causes the name of the current view ("User Persp", for instance) to appear in the upper left corner of every viewport. If there is no text, then you can enable it by:
 * 1) Accessing the User Preferences window.
 * 2) Click on the Interface tab.
 * 3) Enable View Name.

Changing Your Viewpoint, Part One
Each viewport has a viewpoint, which takes into account:
 * the location of the viewer in the 3D scene (There doesn't need to be an object at that location.)
 * the direction the viewer is looking
 * the magnification (or zoom factor) used

Changing your viewpoint allows you to navigate your way through a 3D scene.

We'll start with three very basic techniques:
 * Zooming
 * Orbiting/View Rotation
 * Perfect Views.

Additional techniques will be covered later in this module.

Zooming
Blender offers several ways to zoom in and out:
 * Use
 * Click and drag vertically with.
 * Use and  to zoom in and out in small increments.

Note the following limitations of Blender's zoom feature:
 * If the viewport is in orthographic mode, Blender zooms as if looking through a telescope. You can increase the magnification, but the viewpoint's location doesn't change.  For this reason, you cannot zoom into or through objects in orthographic mode.
 * If the viewport is in perspective mode, Blender zooms to the center of the viewport. The viewpoint can pass through objects, but can't pass beyond this point, no matter what you do. Zooming only gets slower and slower and slower.  If the center of the viewport is somewhere you don't expect, zooming may appear to be broken.

Orbiting and View Rotation
Let's fly around the default cube, viewing it from different angles. In this way you'll see that it really is a cube, centered on the origin, half above the X-Y plane and half below it.

 * 1) Activate the 3D View window by placing the mouse pointer inside it.
 * 2) Now you can:
 * 3) *Click and drag with to orbit freely around the center of the view.
 * 4) *Use to rotate the viewpoint vertically around the center of the view.
 * 5) *Use and  to rotate the viewpoint vertically around the center of the view in 15-degree increments.
 * 6) *Use to rotate the viewpoint around the Z axis.
 * 7) *Use and  to rotate the viewpoint around the Z axis in 15-degree increments.

If this is all very confusing for you, don't worry! You'll learn as you get more experience.

When you are finished flying around the cube, you can restore the original view by reloading the factory settings with File → Load Factory Settings.

You may have pressed number keys above the letters instead of the ones on the numpad. If you do, the default cube will vanish. This is because the scene consists of multiple layers. The default cube is in layer 1, and you've told Blender to switch to the layer of the number you just pressed. The selected object (the cube in this case) remains in layer 1, which is no longer visible. For instance, tells Blender to switch to layer 2. To switch to layer 1 again, press. You can view the different layers by clicking on the little squares on the layer map:

The Shift + Alt + Scroll and Ctrl + Alt + Scroll do not work for me with factory settings in Blender 2.92.0 (Doesnt Work Counter: 2.People)

Perfect Views
It's often useful to get a perfect view of a scene, i.e. to view it along one of the main axes, with the other two main axes oriented up-down and left-right.

The following screenshot shows all three perfect views plus camera perspective for the Suzanne primitive:

This layout is used so often, it has a keyboard shortcut:.

Positioning the 3D Cursor
Positioning the 3D cursor is a very basic operation, yet one that many beginners find challenging. It touches on an issue common to all 3D graphics software: "How do you specify points in a 3D scene when we can only see two dimensions at a time?"

Basic Technique

 * 1) Go into either Object Mode or Edit Mode.
 * 2) Move the mouse pointer to the desired position (in any viewport).
 * 3) Click.

Two Challenges
Challenge #1. Using only tools presented thus far, try positioning the 3D cursor on the virtual camera.

Try it!

When you're done, check your work by orbiting the camera.

Perhaps you thought you were done when you clicked on the camera. But the moment you changed your viewpoint, you probably found that the 3D cursor was actually behind (or in front of) the camera.

Hints:
 * Try positioning the cursor in two different perfect views.
 * Use orthographic, not perspective, view.

Challenge #2. Using only tools presented thus far, try repositioning the 3D cursor at the origin (that is, at the center of the cube).

As before, check your work by orbiting the cube. Don't spend too much time on this.

"I found that I would select the cube when left clicking on it in object mode, if the "Use 3d transform manipulator" button was enabled. To toggle this off, you click on the gray pointing hand in the 3d panel header, or (Ctrl Space)."

"When you want the cursor back into the cube, just select the camera with RMB, put the cursor into the cube following the steps above, and re-select the cube with RMB."

"I've discovered it helps a lot if you are in Object Mode and not in Edit Mode. I wrote the following before discovering this: The problem with this exercise, for me, is that left clicking on the cube selects the cube instead of moving the 3d cursor. If I click on the cube outside of its central white circle I can get the cursor to move there, but only to outside of this white circle, and even then this only works sometimes."

"I failed at this until I had zoomed in close enough to the cube. When I was too far zoomed out I kept selecting the cube rather than creating an edit point."

"I had the same problem and found it was because the cube was selected. I made sure I was in object mode, right clicked on the camera to select the camera instead of the cube, and I could then position the edit point in the cube. However, doing this messed up the next part of the tutorial because you cannot switch into edit mode with the camera selected! Perhaps the suggestion of trying to put the 3D cursor in the cube should be dropped as it raises too many questions at this stage."

"You can deselect all by pressing the AKEY or the select button in the 3D View."

"Use wireframe mode works better to get the cursor in."

"To get it back in the cube: 1) Make sure you're in object mode. 2) Select the cube. 3) Object > Snap > Cursor to selection (cursor refers to the 3D cursor here) so it puts it right in the middle of the cube."

"I think it's an essential point to note that in order to place the cursor inside the cube, the cube must NOT be selected. AKEY was probably the best way to deselect the object."

"If I remember correctly, undo history gets cleared when you switch between object and edit mode."

"I wasted a lot of time here. Thank you to the reader who suggested (on the 3D view header) Object > Snap > Cursor to selection. It was the only thing that worked to get the cursor visible again and placed where clicked."

"I missed the point of the exercise first time around. You can't set a 3D point on a 2D screen without technique. Orthographic views are crucial. I am just learning, but take that, at least, away from it."

"Positioning the 3D cursor in othographic views always made it snap to the cube surface, making it impossible to center precisely. Fix this by disabling "Cursor Depth" on the "interface" tab under "User Preferences".

"The phrase check your work by orbiting the camera needs additional clarification, such as a referenced section or the precise commands to use."

More Ways to Position the Cursor

Here's an easy way to position the cursor at the center of an object:
 * 1) Make sure Blender is in Object Mode, with the object selected.
 * 2) Move the mouse pointer to any 3D View window.
 * 3) Snap the cursor to the selected object using either:
 * 4) * → Cursor to Selected
 * or
 * 1) * Object → Snap → Cursor to Selected

Here's 2 easy ways to relocate the cursor to the scene's origin (0, 0, 0):
 * 1) Move the mouse pointer to any 3D View window.
 * 2) Press  to reset the cursor to the origin.
 * 3) * Note that this also changes the view location, meaning that when you zoom in, you won't zoom in to the scene origin.
 * 4) A better way is to click Object → Snap → Cursor to Center
 * 5) * You can also do this by → Cursor to Center.

Changing Your Viewpoint, Part Two
Now you'll learn some additional techniques for obtaining the view you want:
 * Panning
 * Centering
 * Jumping to the camera's viewpoint
 * Zooming in on a selected area

Panning
When you orbited the cube, the viewpoint's position and direction both changed at the same time. You also can shift the viewpoint up-down or left-right without changing its direction. (This is similar to the side-scrolling effect in the classic Mario and Sonic video games.)

This is called panning, and it's an important skill to master. Try it now:

 * 1) Activate a 3D View window by placing the mouse pointer inside it.
 * 2) Now you can:
 * 3) *Use to pan up and down.
 * 4) *Use and  to pan up and down in small increments.
 * 5) *Use to pan left and right.
 * 6) *Use and  to pan left and right in small increments.
 * 7) *Click and drag with or  to pan freely in the viewplane.

You will likely find this to be a distraction in some cases. To move the viewpoint position back to the center, snap the cursor to the center, then click View → Align View → Center View to Cursor. You could also snap the cursor to the center then press.

In versions ≥2.74 you can also use to center the view to the cursor.

Centering
When you zoom or rotate the view, you always zoom or rotate around the center of the view.

To make sure everything in your scene is visible:
 * 1) Press.

To center the view on an arbitrary point:
 * 1) Move the 3D cursor to the point of interest.
 * 2) Verify the cursor position from a second viewpoint.
 * 3) Press + to center the view.

To center the view on an object in the scene:
 * 1) Make sure Blender is in Object Mode.
 * 2) Zoom out until the object is in the viewport.
 * 3) If any objects are selected, use  (or Select → Select/Deselect All) to deselect them.
 * 4) Select the object of interest by clicking  on it.
 * 5) Press  to center the view.

Jumping to the Camera's Viewpoint
To see the scene as the virtual camera sees it, press. Afterwards, you can rotate, pan, and zoom normally, but the virtual camera will not follow. To go back to your previous view, press again. (In the latest versions of Blender, the virtual camera can be made to follow all the changes made in viewpoint while in camera view by checking the option "Lock Camera to View" on the Transform panel. Hit on your keyboard to bring up the transform panel. To disable this option uncheck "Lock Camera to View.")

Zooming into a Selected Area
Suppose you want to get an extreme closeup of a particular area. Because there's no center mark on the viewport, you might have to pan and zoom several times to get the desired view.

The shortcut for zooming to an area is:
 * 1) Activate a 3D view window that contains the area of interest.
 * 2) Press .  A crosshair appears in the viewport.
 * 3) Click and drag with  to draw a rectangle around the area of interest.
 * 4) When you release, the viewport will zoom in on the area you selected.

View Navigation
You can also change your viewpoint in the 3D view by “walking” or “flying” through it. To activate this, press. By default in Blender 2.70, this puts you in “walk” mode. Earlier versions only offered “fly” mode. (In Blender 2.70 and later, you can choose which one you prefer in User Preferences, under the Input tab.)

In both modes, helpful prompts appear in the header of the 3D view window to remind you of the key functions while the mode is in effect. When you have reached the position and orientation you want, press or  or  to end the navigation mode and stay there, or  or  to abandon the navigation mode and be teleported immediately back to your original position and orientation. (In 2.77+, pressing will teleport you to where the cross hairs point towards.)

Walk Mode
In this mode, you move the mouse to turn your view up/down/left/right, and, , and  or the corresponding arrow keys to move forward, left, back or right, and  and  to move up or down respectively. Hold a movement key down to keep moving. Movement stops as soon as you release it. Pressing will “teleport” you close to whatever objects lie within the crosshairs at the centre of the view.

You can also use to turn on gravity. Make sure there is a floor or other object under you to land on! With gravity on, you can no longer use the vertical movement keys, but you can use to make jumps. Press again to turn gravity off.

Fly Mode
In this older mode, moving the mouse to change the view works the same as in Walk mode, but the above direction keys (,, , , , and the arrows) apply “thrust” in the respective directions, so you keep moving after releasing the key. Press the key repeatedly to increase your speed in that direction, or press the key for the opposite thrust direction to reduce your speed. You can roll the mouse wheel up to apply forward thrust, or roll it down to apply backward thrust.

Your current velocity vector automatically changes direction with you when you turn. Thus, you can apply a single burst of sideways thrust while facing an object, then, without applying any additional thrust, keep turning to face the object, and you will go right around it.

Visibility Layers
Every object in the scene is assigned to one or more of 20.

Visibility layers have many uses:
 * You can put scenery, characters, particles, and lamps in different layers, to help organize your scene.
 * By changing which layers are visible, you can simplify your view of the scene and work with only one or two layers at a time.
 * When rendering, only visible layers are included. You can use this to render your scene layer by layer, checking each layer separately.
 * You can configure lamps to illuminate only objects in the same layer.

In Object Mode, you can tell which layers are visible by looking at the twenty small boxes located in the 3D View header between the Transform Orientation menu and the "Lock" button. The top row of boxes represents layers 1 through 10, with 1 being the leftmost and 10 being the rightmost. Similarly, the bottom row of boxes represents layers 11 through 20.

Hotkeys

 * To view just one of layers 1 - 9, press ...
 * To view just layer 10, press.
 * To view just one of layers 11 - 19, press ..
 * To view just layer 20, press.
 * To toggle the visibility of one of layers 1 - 9 without affecting the visibility of the other layers, press ...
 * To toggle the visibility of layer 10 without affecting the visibility of the other layers, press.
 * To toggle the visibility of one of layers 11 .. 19 without affecting the visibility of the other layers, press ...
 * To toggle the visibility of layer 20 without affecting the visibility of the other layers, press.
 * To make all layers visible at once, press . Press again to return to your previous layer visibility setting.

On the AZERTY keyboard layout, the standard number keys are the &é"'(-è_çà keys. Do not use  unless you want to toggle visibility as explained below.

Holding down while selecting a layer (by keyboard or mouse) will, instead of making only that layer visible, toggle the visibility. In this way, you can select combinations or to hide particular layers.

The key to press to select all layers at once differs by keyboard layout. It is:
 * (the key under Esc) on UK keyboards,
 * US,
 * German, Swedish, Finnish and Hungarian,
 * Swiss German,
 * Danish,
 * AZERTY,
 * Norwegian,
 * Spanish,
 * Portuguese,
 * Brazilian Portuguese,
 * Italian, and
 * Russian.

After pressing the aforementioned key, holding down while pressing it again will restore the visibility settings you had before you made all layers visible.

When only one layer is selected, new objects are automatically assigned to that layer. When two or more layers are visible, new objects are assigned to the most recently visible layer.

Count Your Polys
If you want to count the polygons in your scene, the data is available in the Info Header.

As you can see in the above image, this scene has 507 vertices and 500 faces (polygons).

title: Blender 3D: Noob to Pro/3D View Windows


text:
User:Dr Necius

I'm currently a highschool student living in Toowoomba. I am an Australian of Czech descent. I enjoy maths and sciences. No I am not a doctor and I am in no way related to any Necius' if indeed any exist. Dr Necius

source: wikimedia

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

title: User:Dr Necius


text:
Kansan

Adjective

 * Of, or pertaining to, Kansas or its culture.

Noun

 * 1) A native or resident of the state of Kansas in the United States of America.

title: Kansan


text:
félin

Etymology
.

Adjective

 * 1) feline
 * 2) catlike

Noun

 * 1) a cat, or a member of the cat family (family )

title: félin


text:
aateli

Etymology
From.

Noun

 * 1) nobility
 * 2)  elite, choice best or most preferable part

Usage notes

 * Commonly used in partitive singular in this sense.

title: aateli


text:
Monsignor Doyle Catholic Secondary School

Monsignor Doyle Catholic Secondary School is a public, Catholic High School in Cambridge, Ontario, Canada which opened in 1976 as a junior high school, and is the second smallest Catholic secondary school of the Waterloo Catholic District School Board. In the mid-1980s, Catholic education received full funding and all Catholic junior high schools in Waterloo Region converted to high schools teaching grades 9 - 12 and OAC.

In 2006, the school received an addition to the back of the school, adding fourteen classrooms and a second story, which removed the 12 portables previously littering the area. The school's student council has worked towards pushing for a uniform-free week in the past, as well as a second semi-formal, believing it to improve school spirit. In mid-2007 the school saw a lockdown which lasted 2 hours. It is home to a generally large European (Portuguese) and Newfoundlander population, and is one of the two Catholic High Schools in Cambridge, drawing students from most of South Galt. Monsignor Doyle is a member of the eight team District 8 Athletic Association.

Monsignor Doyle administration, staff, and students have worked together to create what they describe as a "safe and respectful education culture that is inclusive of all people". After the Waterloo Catholic District School Board approved the flying of the Pride flag in 2021, Monsignor Doyle raised its Pride flag for the first time on June 1, 2021. They have continued to do so each June since to mark the celebration of pride month.


text:
User:Heis truth90

Truth JBL (singer)

Omamogho Aroesirioghene know as Truth JBL is a Nigeria Artist born in Delta State, Nigeria. nd''

title: User:Heis truth90


text:
PHP Programming/Functions

Introduction
Functions (or methods in the context of a class/object) are a way to group common tasks or calculations to be re-used simply.

Functions in computer programming are much like mathematical functions: You can give the function values to work with and get a result without having to do any calculations yourself.

You can also find a huge list of predefined functions built into PHP in the PHP Manual's function reference.

How to call a function
Note that echo is not a function. "Calling a function" means causing a particular function to run at a particular point in the script. The basic ways to call a function include:
 * calling the function to write on a new line (such as after a ";" or "}")
 * calling the function to write on a new line inside a control
 * assigning the returned value of a function to a variable "$var = function"
 * calling a function inside the argument parentheses (expression) of a control

In our earlier examples we have called several functions. Most commonly we have called the function print to print text to the output. The parameter for echo has been the string we wanted printed (for example print("Hello World!") prints "Hello World!" to the output).

If the function returns some information, we assign it to a variable with a simple assignment operator "=":

Parameters
Parameters are variables that exist only within that function. They are provided by the programmer when the function is called and the function can read and change them locally (except for reference type variables that are changed globally, which is a more advanced topic).

When declaring or calling a function that has more than one parameter, you need to separate between different parameters with a comma ','.

A function declaration can look like this:

To call this function, you must give the parameters a value. It doesn't matter what the value is, as long as there is one:

Output:

Hello World

When declaring a function, you sometimes want to have the freedom not to use all the parameters. Therefore, PHP allows you to give them default values when declaring the function:

These values will only be used, if the function call does not include enough parameters. If there is only one parameter provided, then $var2 = "I'm Learning PHP":

Output:

Hello I'm Learning PHP

Another way to have a dynamic number of parameters is to use PHP's built-in func_num_args, <tt>func_get_args</tt>, and <tt>func_get_arg</tt> functions.

or

The above functions would calculate the arithmetic mean of all of the values passed to them and output it. The difference is that the first function uses <tt>func_num_args</tt> and <tt>func_get_arg</tt>, while the second uses <tt>func_get_args</tt> to load the parameters into an array. The output for both of them would be the same. For example:

Output:

Mean: 27

Returning a value
This function is all well and good, but usually you will want your function to return some information. Generally there are two reasons why a programmer would want information from a function:
 * 1) The function does tasks such as calculations, and we need the result.
 * 2) A function can return a value to indicate, if the function encountered any errors.

To return a value from a function use the <tt>return</tt> statement in the function.

Example PHP script:

Result:

The result of 1 + 6 + 9 is 16

Notice that a <tt>return</tt> statement ends the function's course. If anything appears in a function declaration after the <tt>return</tt> statement is executed, it is parsed but not executed. This can come in handy in some cases. For example: Notice that there is no <tt>else</tt> after the <tt>if</tt>. This is due to the fact that, if <tt>$divider</tt> does equal <tt>0</tt>, the <tt>return</tt> statement is executed and the function stops.

If you want to return multiple variables, you need to return an array rather than a single variable. For example:

When calling this from your script, you need to call it into an array. For example:

In this case <tt>$return['tot']</tt> will be the total (e.g. 15), while <tt>$return['diff']</tt> will be the difference (5).

Runtime function usage
A developer can create functions inside a PHP script without having to use the <tt>function name($param...) {}</tt> syntax. This can be done by way of programming that can let you run functions dynamically.

Executing a function that is based on a variable's name
There are two ways to do it: either using the direct call, or the <tt>call_user_func</tt> or the <tt>call_user_func_array</tt>:

Using <tt>call_user_func*</tt> functions to call functions
<tt>call_user_func</tt> and <tt>call_user_func_array</tt> only differ in that the <tt>call_user_func_array</tt> allows you to use the second parameter as array to pass the data very easily, and <tt>call_user_func</tt> has an infinite number of parameters that is not very useful in a professional way. In these examples, a class will be used for a wider range of using the example:

Using <tt>call_user_func</tt>:

Using <tt>call_user_func_array</tt>:

Note how <tt>call_user_func</tt> and <tt>call_user_func_array</tt> are used in both of the examples. <tt>call_user_func_array</tt> allows the script to execute the function more dynamically.

As there was no example of using both of these functions for a non-class function, here they are:

Using <tt>call_user_func</tt>:

Using <tt>call_user_func_array</tt>:

Creating runtime functions
Creating runtime functions is a very good way of making the script more dynamic:

<tt>create_function</tt> creates a function with parameters <tt>$one</tt> and <tt>$two</tt>, with a code to evaluate return… When <tt>create_function</tt> is executed, it stores the function's info in the memory and returns the function's name. This means that you cannot customise the name of the function although that would be preferred by most developers.

title: PHP Programming/Functions


text:
aliás

Etymology 1
.

Adverb

 * 1) I mean; actually introduces the correction of a mistake in one’s own remark
 * 2) by the way introduces a remark of lesser relevance
 * 3) furthermore; what's more introduces a further remark
 * 4) however
 * 1) furthermore; what's more introduces a further remark
 * 2) however
 * 1) furthermore; what's more introduces a further remark
 * 2) however
 * 1) however
 * 1) however

title: aliás


text:
2012–13 Edinburgh Rugby season

The 2012–13 season was Edinburgh Rugby's twelfth season competing in the Pro12.

Players in

 * 🏴 John Yapp from 🏴 Cardiff Blues
 * W. P. Nel from Cheetahs
 * Izak van der Westhuizen from Cheetahs
 * 🏴 Perry-John Parker from 🏴 Esher
 * Dimitri Basilaia from 🇫🇷 Valence d’Agen
 * 🏴 Richie Rees from 🏴 Cardiff Blues
 * Greig Tonks from 🏴 Northampton
 * 🇳🇿 Ben Atiga from 🇳🇿 Otago
 * 🏴 Mike Penn from 🏴 Nottingham

Players out

 * Kyle Traynor
 * Andrew Kelly
 * 🏴 Jack Gilding
 * 🇦🇷 Esteban Lozada to 🇫🇷 Agen
 * Alan MacDonald
 * Mike Blair to 🇫🇷 Brive
 * Phil Godman to 🏴 London Scottish
 * Jim Thompson to 🏴 London Scottish
 * Chris Paterson Retired

title: 2012–13 Edinburgh Rugby season


text:
Computer-aided design/Practical lessons

Part of:
 * Engineering and Technology
 * Mechanical Engineering; Production and Design Engineering
 * Computer Aided Design Course

Practical Lessons Introduction
Practical lessons are based on commented examples.

In the end you should be able to create 3D models efficiently.

Idea is to provide instructions for the same tasks and examples for variety of available CAD programs, so that you can follow "AutoCAD trail", or PowerSHAPE, Inventor, Sketchup ... trails.

Each trail has:
 * Introduction to CAD program principles (GUI, coordinate system ...)
 * 2D drawing part
 * 3D modeling part

You will need
You will need CAD. You may have one, but more probably you need one. CAD software is expensive and open source CAD are not widely used, yet (hopefully it will change in the future). However there are free or educational versions that are usually limited either in functionality, or are available for limited time period.

As in 2007 there are available free or educational versions for:
 * AutoDesk AutoCAD - students.autodesk.com
 * Delcam PowerSHAPE - delcam.com
 * Google Sketchup - sketchup.google.com

 * Computer Aided Design Course

title: Computer-aided design/Practical lessons


text:
Talk:Camille Bloom

Sources to improve article

 * "Bloom wants her act to speak for itself" from the Spokesman-Review
 * "Camille Bloom may be the next great Seattle singer-songwriter" from The Seattle Times
 * "Indie Autumn" from The Independent-Record
 * "Life on the Edge" from The Independent-Record
 * "Music review: Camille Bloom puts pieces into package" from the Knox News
 * "Camille Bloom" from The Missoulian
 * "Enjoy a bouquet with Bloom" from the ''Albuquerque Journal
 * "Songwriter's career starting to bloom" from the ''Albuquerque Journal
 * "Bloom in ugly shirts" from The Spokesman-Review
 * "Home studio provides space to bloom" from The Spokesman-Review
 * "A life in pieces" from No Depression
 * "ALBUM REVIEW: Camille Bloom “Pieces of Me”" from Audio Femme
 * "Camille Bloom Is Ready to School You" from The Advocate
 * "Get A Piece Of Camille Bloom" from Curve
 * "Camille Bloom & The Recovery" from M Music & Musicians
 * "Teacher-turned-singer Camille Bloom will play Ventura Oct. 3" from Ventura County Star
 * "Camille Bloom brings her 'feisty' to Prescott" from The Daily Courier
 * "CAMILLE BLOOM WANTS TO GET INTIMATE WITH YOU (BUT NOT AT A WOMEN'S FESTIVAL)" from OC Weekly
 * "Stuff From the Shelf: ‘Never Out of Time’ by Camille Bloom and the Recovery" from the Daily Bruin
 * "Camille Bloom" from Paste
 * And the following sources help establish WP:BASIC:
 * "Bloom brings bite" from the Fort Collins Coloradoan
 * "Album Review: Camille Bloom, “Pieces of Me”" from Pop Dose
 * "Camille Bloom and the Recovery: Never Out of Time (self-released)" from Spike Magazine
 * "Full rock experience" from The Spokesman-Review
 * "Camille Bloom: Pieces of Me" from OutSmart
 * "Growing Songs" from the Albuquerque Journal
 * Camille Bloom from The Independent-Record
 * Camile Bloom concert from The Independent-Record
 * "Camille Bloom and The Recovery" from the Missoula Independent

Missvain (talk) 19:33, 27 January 2020 (UTC)

title: Talk:Camille Bloom


text:
hypoxic

Adjective

 * 1)  Of, pertaining to, or suffering from hypoxia.
 * 2)  Describing a breathing gas mixture that contains less than 21% oxygen.
 * 3)  Exhibiting hypoxia.
 * 1)  Exhibiting hypoxia.
 * 1)  Exhibiting hypoxia.

Translations

 * Dutch: hypoxisch
 * German:
 * Spanish: hipóxico

title: hypoxic


text:
Principles of electricity

Electrical Circuit Theory

 * Lecture 1: /Electrons and Electric Fields/
 * Lecture 2: /Voltage/
 * Lecture 3: Electrical current
 * Lecture 4: Ohm's Law: Resistance
 * Lecture 5: Henry's Law: Inductance
 * Lecture 6: Faraday's Law: Capacitance

title: Principles of electricity


text:
Reaktor/Modules/Multi Picture

Comments

 * MultiPicture module works in incremental mode. MX and MY ports do not fire anything on ensemble start up, or on switch pressing, as that usually conflicts with a Snap Value. They only fire as you move the mouse.

title: Reaktor/Modules/Multi Picture


text:
User:JazzDeLaCuevas

Jazz de la Cuevas(born Ashley Venus Vaello, June 16, 1989)is an American actress. Born in New York City to parents of Puerto Rican decent, she was raised in Sunnyside, Queens by her Mother. Though her Father lived with her periodically through out her childhood, she claims he was never apart of her upbringing, and they still do no talk to this day.

At the age of 5 Cuevas' Mother enrolled her in dance classes at a local dance studio. There she excelled at Ballet and developed a love for the arts. Cuevas' life as a dancer was short lived, and was forced to drop out, due to family money problems. From there Cuevas was enrolled in after school Drama classes, where she was cast in school productions of, Snow White, The Wizard of Oz, Guys and Dolls, and musical numbers of classic Broadway showtunes. Her talent and love for performing was very apparent and was almost always the youngest member of any school production.

Cuevas never being satisfied enough, she tried out for the school Choir though she knew she was too young, and surprisingly was accepted.

title: User:JazzDeLaCuevas


text:
Bobby Moffett

Bobby Moffett (born June 1, 1990) is an American mixed martial artist (MMA) who competes in the Featherweight division. A professional since 2013, he has also competed for the UFC, PFL, RFA, and LFA.

Background
Moffett started training in karate when he was young and competed in wrestling since third grade and throughout high school. Moffett learned jiu-jitsu not long after to fulfill his dream to be a fighter after watching The Ultimate Fighter.

Early career
After compiling an amateur record of 6–0, Moffett started his professional MMA career in 2013. He fought under various promoters in the southern region of United States, notably Resurrection Fighting Alliance (RFA) and Legacy Fighting Alliance (LFA). He amassed a record of 12–3 prior participated in Dana White's Tuesday Night Contender Series.

Dana White's Tuesday Night Contender Series
Moffett appeared in Dana White's Contender Series 16 web-series program, facing Jacob Kilburn on July 10, 2018. He won the fight via unanimous decision and earned a UFC contract.

Ultimate Fighting Championship
Moffett made his UFC debut on November 10, 2018 at UFC Fight Night: Korean Zombie vs. Rodríguez, against Chas Skelly. He won the fight via a controversial technical submission. Subsequently, Skelly appealed to the Colorado Office of Combative Sports on grounds of referee error regarding the stoppage. Eventually on June 24, 2020, Skelly announced on his social media account that the results was overturned to no contest.

His next fight came on March 23, 2019 at UFC Fight Night: Thompson vs. Pettis against Bryce Mitchell. He lost the fight via unanimous decision. This fight earned both the Fight of the Night award.

Moffett faced Enrique Barzola on August 10, 2019 at UFC Fight Night: Shevchenko vs. Carmouche 2. He lost the fight via split decision. With this loss, he was subsequently released by UFC.

Professional Fighters League
Moffett, as a replacement for Anthony Dizy, faced Bubba Jenkins at PFL 4 on June 10, 2021. He lost the bout via unanimous decision.

Moffett faced Jason Knight on August 27, 2021 at PFL 9. At weigh-ins, Moffett weighed in at 148.2 pounds, missing weight by 2.2 pounds. The bout proceeded at catchweight and Moffett was fined a percentage of his purse, which went to Jason Knight. He won the bout via unanimous decision.

Return to regional circuit
Moffett faced Charles Cheeks III at Fury FC 57 on February 11, 2022. He won the bout via unanimous decision.

Moffett faced Austin Wourms on November 4, 2022 at Freedom Fight Night 3, winning the bout via brabo choke in the first round.

Moffett then faced Daniel Soto in the main event of Ringside Union Fighting 4 on April 22, 2024. He won the fight via rear-naked choke in just 22 seconds.

Personal life
Bobby and his wife Yulissa have a daughter.

Championships and accomplishments

 * Ultimate Fighting Championship
 * Fight of the Night (one time) vs. Bryce Mitchell
 * Warrior Xtreme Cagefighting
 * WXC Featherweight Championship (one time; former)

title: Bobby Moffett


text:
Fitzroy Crossing Airport

Fitzroy Crossing Airport is located 2 NM northwest of Fitzroy Crossing, Western Australia.

The Airport has basic amenities including an undercover waiting area, water fountain and toilet facility for passengers. The airport has a number of private hangars and helipads for light aircraft and small regional airlines. There is a regular passenger service operated by Skippers Aviation between Halls Creek and Broome that picks passengers up in Fitzroy Crossing.

Fitzroy Crossing Airport is often the only form of transportation between the township of Fitzroy Crossing and the outside world through the wet season.

title: Fitzroy Crossing Airport


text:
Mahender Singh Khadakvanshi

Mahender Singh Khadakvanshi is an Indian politician and a member of the 17th Legislative Assembly of Uttar Pradesh in India. He represents the Hasanpur (Assembly constituency), which is in Amroha district, Uttar Pradesh.

title: Mahender Singh Khadakvanshi


text:
Wikipedia:WikiProject Spam/LinkReports/pelletsolutions.eu

Links

 * pelletsolutions.eu resolves to [//<IP_ADDRESS> <IP_ADDRESS>]
 * Link is not on the blacklist.
 * Link is not on the domainredlist.
 * Link is not on the Monitorlist.
 * None of the mentioned users is on the blacklist.
 * Link is not on the whitelist.
 * Link is not on the monitor list.
 * Link is not on the whitelist.
 * Link is not on the monitor list.

Users
No users found.

Additions
No additions recorded.


text:
Talk:The Crazy Clinic

Astra Films
Astra Films is not the same as Astra-Film is it?--INDIAN REVERTER (talk) 00:23, 21 September 2017 (UTC)

title: Talk:The Crazy Clinic


text:
Wikipedia:WikiProject Spam/LinkReports/csw.com.my

Links

 * csw.com.my resolves to [//<IP_ADDRESS> <IP_ADDRESS>]
 * Link is not on the blacklist.
 * Link is not on the domainredlist.
 * Link is not on the Monitorlist.
 * None of the mentioned users is on the blacklist.
 * Link is not on the whitelist.
 * Link is not on the monitor list.
 * Link is not on the whitelist.
 * Link is not on the monitor list.

Additions

 * Displayed all 1 additions.


text:
Pink, Kentucky

Pink is an unincorporated community located in Jessamine County, Kentucky, United States. Their Post Office is no longer in service. It was also known as Deans and Pluckemine.

title: Pink, Kentucky


text:
Wireless intrusion prevention system

In computing, a wireless intrusion prevention system (WIPS) is a network device that monitors the radio spectrum for the presence of unauthorized access points (intrusion detection), and can automatically take countermeasures (intrusion prevention).

Purpose
The primary purpose of a WIPS is to prevent unauthorized network access to local area networks and other information assets by wireless devices. These systems are typically implemented as an overlay to an existing Wireless LAN infrastructure, although they may be deployed standalone to enforce no-wireless policies within an organization. Some advanced wireless infrastructure has integrated WIPS capabilities.

Large organizations with many employees are particularly vulnerable to security breaches caused by rogue access points. If an employee (trusted entity) in a location brings in an easily available wireless router, the entire network can be exposed to anyone within range of the signals.

In July 2009, the PCI Security Standards Council published wireless guidelines for PCI DSS recommending the use of WIPS to automate wireless scanning for large organizations.

Intrusion detection
A wireless intrusion detection system (WIDS) monitors the radio spectrum for the presence of unauthorized, rogue access points and the use of wireless attack tools. The system monitors the radio spectrum used by wireless LANs, and immediately alerts a systems administrator whenever a rogue access point is detected. Conventionally it is achieved by comparing the MAC address of the participating wireless devices.

Rogue devices can spoof MAC address of an authorized network device as their own. New research uses fingerprinting approach to weed out devices with spoofed MAC addresses. The idea is to compare the unique signatures exhibited by the signals emitted by each wireless device against the known signatures of pre-authorized, known wireless devices.

Intrusion prevention
In addition to intrusion detection, a WIPS also includes features that prevent against the threat automatically. For automatic prevention, it is required that the WIPS is able to accurately detect and automatically classify a threat.

The following types of threats can be prevented by a good WIPS:
 * Rogue access points – WIPS should understand the difference between rogue APs and external (neighbor's) APs
 * Mis-configured AP
 * Client mis-association
 * Unauthorized association
 * Man-in-the-middle attack
 * Ad hoc networks
 * MAC spoofing
 * Honeypot / evil twin attack
 * Denial-of-service attack

Implementation
WIPS configurations consist of three components:

 * Sensors — These devices contain antennas and radios that scan the wireless spectrum for packets and are installed throughout areas to be protected
 * Server — The WIPS server centrally analyzes packets captured by sensors
 * Console — The console provides the primary user interface into the system for administration and reporting

A simple intrusion detection system can be a single computer, connected to a wireless signal processing device, and antennas placed throughout the facility. For huge organizations, a Multi Network Controller provides central control of multiple WIPS servers, while for SOHO or SMB customers, all the functionality of WIPS is available in single box.

In a WIPS implementation, users first define the operating wireless policies in the WIPS. The WIPS sensors then analyze the traffic in the air and send this information to WIPS server. The WIPS server correlates the information, validates it against the defined policies, and classifies if it is a threat. The administrator of the WIPS is then notified of the threat, or, if a policy has been set accordingly, the WIPS takes automatic protection measures.

WIPS is configured as either a network implementation or a hosted implementation.

Network implementation
In a network WIPS implementation, server, sensors and the console are all placed inside a private network and are not accessible from the Internet.

Sensors communicate with the server over a private network using a private port. Since the server resides on the private network, users can access the console only from within the private network.

A network implementation is suitable for organizations where all locations are within the private network.

Hosted implementation
In a hosted WIPS implementation, sensors are installed inside a private network. However, the server is hosted in secure data center and is accessible on the Internet. Users can access the WIPS console from anywhere on the Internet. A hosted WIPS implementation is as secure as a network implementation because the data flow is encrypted between sensors and server, as well as between server and console. A hosted WIPS implementation requires very little configuration because the sensors are programmed to automatically look for the server on the Internet over a secure TLS connection.

For a large organization with locations that are not a part of a private network, a hosted WIPS implementation simplifies deployment significantly because sensors connect to the Server over the Internet without requiring any special configuration. Additionally, the Console can be accessed securely from anywhere on the Internet.

Hosted WIPS implementations are available in an on-demand, subscription-based software as a service model. Hosted implementations may be appropriate for organizations looking to fulfill the minimum scanning requirements of PCI DSS.

title: Wireless intrusion prevention system


text:
Talk:Dmitri Dugin

External links modified
Hello fellow Wikipedians,

I have just modified one external link on Dmitri Dugin. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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Cheers.— InternetArchiveBot  (Report bug) 18:28, 11 September 2017 (UTC)

title: Talk:Dmitri Dugin


text:
Pro Engineer

Pro/Engineer or Pro E is the software product of PTC (Parametric Technology corporation) its initial versions were Pro/E 1, 2... up to 19. Later Pro/E launched sequentially versions as Pro/Engineer 2000; 2000i, 2000i2;2001, Wildfire 1.0; Wildfire 2.0, Wildfire 3.0; Wildfire 4.0; and Wildfire 5.0. In 2011, PTC rebranded Pro/Engineer as Creo Parametric. The current version of the software is 5.0. This book will explore the various philosophies and methodologies employed by professionals who use the Computer Aided Design (CAD) package Pro/Engineer. Additional topics include how to acquire the software and optimal support.

Notes to Contributors:

Please write Pro/Engineer and Pro/Intralink fully not pro/e, pro/engineer or any other variation. Conventions:

 * RMB - Right Mouse Button
 * LMB - Left Mouse Button
 * MMB - Middle Mouse Button
 * BMB - Both Mouse Buttons
 * ICON - Link to image

All items assumed to be from top menu unless left menu is mentioned

Section One: How to...

 * 1) Understand the Pro/Engineer operating environment
 * 2) Spin, pan, and zoom the model view
 * 3) Select and query select for features
 * 4) Use memory, save parts, and copy parts
 * 5) Use Sketcher
 * 6) Create Features
 * 7) Modify and edit features
 * 8) Resolve regeneration failures
 * 9) Measure and analyze
 * 10) Create assemblies
 * 11) Create drawings
 * 12) Control model color and appearance
 * 13) Use Find

Section Two: Data Management

 * 1) Pro/Intralink
 * 2) Windchill
 * 3) Non-PTC
 * 4) *Metaphase, Teamcentre
 * 5) *Matrix One
 * 6) *SAP

Section Three: Hardware and OS

 * 1) Configuring plotters
 * 2) Graphics Cards
 * 3) *Issues
 * 4) Windows / Unix

Section Four: Customization

 * 1) Start parts, start assemblies, and drawing templates
 * 2) User Interface, including config.win
 * 3) Mapkeys
 * 4) Configuration file, including config.pro and config.sup
 * 5) Drawing setup files, including .dtl settings.
 * 6) Web/Link
 * 7) J/Link

Section Five: Philosophy

 * 1) Design Intent
 * 2) Top Down Design Methodology
 * 3) Shown vs Created Dimensions

Section Six: Dealing with PTC

 * 1) Getting the best deal
 * 2) Getting the best from support
 * 3) Getting the best from consultancy

Section Seven: Reference

 * 1) Definitions
 * 2) Detail FAQ
 * 3) Surface FAQ
 * 4) Surface Tips
 * 5) Family Table Tips
 * 6) Pro/Intralink Tips

title: Pro Engineer


text:
bloembinder

Etymology
Compound of.

Noun

 * 1) a flower arranger who binds vegetal and sometimes other ingredients to ornamental pieces

title: bloembinder


text:
Talk:Don Friedman

External links modified
Hello fellow Wikipedians,

I have just modified 2 external links on Don Friedman. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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 * Added archive https://web.archive.org/web/20160702080332/http://www.jazzwax.com/2016/07/don-friedman-1935-2016.html to http://www.jazzwax.com/2016/07/don-friedman-1935-2016.html

Cheers.— InternetArchiveBot  (Report bug) 12:54, 12 September 2017 (UTC)

title: Talk:Don Friedman


text:
User:Jokulhlaup/Mew

Tory Island Lighthouse is an active aid to navigation located on Tory Island off the coast of County Donegal, Ireland. It acts as a one of the major landfall lighthouse for the northern coast of Ireland, and was completed in 1832. The lighting system underwent substantial modifications in 1887, with the installation of a rotating hyperradiant Fresnel lens the largest type made for a lighthouse. The original 1887 optic was removed and re-engineered in the 1920s by dividing it into two, creating a smaller bi-form optic that is still in situ and in use. The second optic created was installed at Mew Island Lighthouse. A number of different fuels have been used as a light source, it now uses an LED system within the hyperradiant optic. Operated by the Commissioners of Irish Lights it was automated in 1990.

History
The need for a new lighthouse on Tory Island was raised by the ship owners and Harbour Commissioners of Sligo, a port to the south. The request was endorsed by the Dublin Ballast Board, the predecessor of the Commissioners of Irish Lights, and approved by Trinity House at the end of 1828.

Work on the light station was undertaken by men from the Ballast Board, to a design by George Halpin who was the Inspector of lighthouses. Completed in 1832, the cost of the works was £16,563 (equivalent to £0 as of ) and included a tower, keeper's houses and ancillary buildings.

The substantial 27 m tower was built using locally sourced granite, with "walls [that] are 7 feet thick at the first floor, gradually tapering upwards to a thickness of about 3 feet 6 inches under the gallery". It was first lit in August 1832, and had a fixed light using oil burning lamps, with reflectors and was visible for 17 miles. (Reids 1843) In 1862 this was changed to a "six-wick first-class dioptric fixed oil-light ... The dioptric apparatus consisted of a bee-hive shaped lens".

1887 modifications
In 1887 William Douglass designed and supervised works at the lighthouse,  so that a much larger rotating hyperradiant lens system could be installed within a new lantern room, using gas burners as an illuminant. The hyperradiant optic was the largest type ever used for lighthouses having a focal length or radius of 1330 mm. It consisted of three tiers of lenses stacked above each other, with each tier having six panels, spanning 60 degrees.

This tri-form optic, had three tiers of lenses each with its own set of 108 gas burners. The output from the light could be varied according to the number of jets used. On a clear night just 32 were lit in the lower tier, but in poor conditions such as fog, all three tiers could be lit using 324 burners.

The gas used in the light and the fog siren engines was generated by burning cannel coal in a gas plant alongside the tower, and was stored in gasometers prior to being used.

1920s

In the 1920s, it was removed from Tory Island, and re-engineered by Chance Brothers in Smethwick, where it was reduced in size to a bi-form system with only two tiers. Two of the six bullseye panels were replaced by metal blanks, producing a light characteristic of four flashes of white light every thirty seconds. To enable the optic to turn freely it was mounted upon a circular bath of mercury known as a mercury float, providing an almost frictionless bearing. The redesigned light was then installed at Mew Island in 1928. It was lit using paraffin, making the coal plant redundant,. In 1972 generators were installed at the lighthouse, allowing the use of electric light to replace the paraffin burners, and an electric motor to replace the weight driven rotation system.

Operations
The lighthouse has an automatic identification system transmitter, and a radar beacon emitting the letter M as a Morse character(— — ). It is registered under the international Admiralty number A6200 and it has the NGA identifier of 114–7280.

title: User:Jokulhlaup/Mew


text:
User:Big iron/Cain

Claudette Cain was the mayor in the city of Gloucester, Ontario from 1991 until 2001 when Gloucester became part of the city of Ottawa.

She graduated from Algonquin College and went on to work as an administrator with insurance companies and Canada Post. Before being elected to Gloucester council, Cain was an assistant to the council and a press secretary for the Carleton Separate School board. In 1991, Cain defeated incumbent mayor Harry Allen, in part due to an unpopular tax increase during Allen's tenure as mayor. She was able to reduce municipal taxes during her time as mayor. Cain also was part of a delegation of Ontario mayors in 1997 who secured a guarantee from then-premier Mike Harris that he would not drive up municipal property taxes by offloading costs to municipal governments.

Cain was originally a supporter of three cities as opposed to one in the Ottawa region. However, in the 2000 Ottawa municipal election, Cain ran for the position of mayor of the combined city but came second to Bob Chiarelli. During the campaign, Cain was criticized by Chiarelli for using city resources to seek support from voters. She also proposed discontinuing the practice of hiring female firefighters first in the new city, a policy in place at the time in the city of Ottawa, and introduce hiring purely based on qualifications for first responders, as well as establishing new community-based policing centres and investing in specialized crime investigation units. She also proposed that the National Capital Commission become more inclusive: including the Ottawa mayor on the board and opening board meetings to the public, measures that were later adopted by the NCC.

In 2001, she was appointed justice of the peace in the eastern region of Ontario.

title: User:Big iron/Cain


text:
Talk:Malignant (2021 film)

Mixed
In the into the reference to Looper.com says "currently getting mixed reviews from critics". Metacritic says reviews were mixed. The score stands at 50% based on 22 reviews. The 22 reviews break down as 6 positive, 11 mixed and 5 negative, mostly in the middle. Rotten Tomatoes gives the film a score of 76%. Some critics had different opinions, they usually do.

None of those say "" it should not have been added to the intro as it is not sourced and it is not an accurate summary. Please do not add it to the intro. -- <IP_ADDRESS> (talk) 01:16, 14 September 2021 (UTC)
 * I don't think "positive but polarized" is applicable either but that change was soon reverted. -- <IP_ADDRESS> (talk) 01:17, 17 September 2021 (UTC)

Some editors have a weird love for the word "polarized" even if the sources do not support any such claims. Based on the sources available it was reasonable to say that reviews were mixed, which is why that was the wording being used. Some other editors want to have it both ways and try to say the reviews are "mixed to positive". There have been many past discussion and there is a clear consensus against this sort of wording: https://en.wikipedia.org/wiki/Wikipedia_talk:WikiProject_Film/Archive_48#Mixed_to_positive_/_Mixed_to_negative

If editors want to argue that "mixed" is not the best summary of reviews, and maybe they want to argue that based on the score from Rotten Tomatoes that it would be more accurate to say the reviews were "generally positive" then go ahead and make that argument. As more and more reviews come in it might be appropriate give more weight to Rotten Tomatoes score over the Metacritic score. But please don't try and claim that the reviews are both mixed and also positive at the same time. Please pick one or the other and show sources to support your point. -- <IP_ADDRESS> (talk) 01:09, 19 September 2021 (UTC)

Change the Page's Protection to Indefinite
There is actually a page called "What's Coming to HBO Max in January 2022", and somehow the re-adding to HBO Max date has been removed for a terrible reason. It has a right to be there, since it says so. Same goes for the untitled Mario movie, please change the protection's settings to both this and the untitled Mario film to indefinite due to vandalism. Thank you. AVeganKid (talk) 23:37, 24 December 2021 (UTC)
 * Wherever this information is coming from needs to be cited on the article. KaitoNkmra23   (talk!)  23:51, 24 December 2021 (UTC)

Streaming Platform
In the beginning of this entry it says that the movie streamed on HBO Max for one month after it's release, yet it's still streaming on HBO Max currently. I just thought that could be adjusted. <IP_ADDRESS> (talk) 19:28, 2 March 2022 (UTC)

"Malignant (upcoming film)" listed at Redirects for discussion
An editor has identified a potential problem with the redirect Malignant (upcoming film) and has thus listed it for discussion. This discussion will occur at Redirects for discussion/Log/2022 September 12 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Steel1943 (talk) 03:32, 12 September 2022 (UTC)

title: Talk:Malignant (2021 film)


text:
Talk:Joker venom

Redirected
After re-creation and deletion per WP:CSD, I have redirected this to the character article, where there is a mention. JohnCD (talk) 21:33, 8 February 2015 (UTC)

Why recreated?
Why is this article recreated? The consensus in 2012 was to delete. Just as before, the article has no sources and is entirely WP:OR. If there is no satisfactory answer to this question, this article shall revert back to being a redirect. Best, Prhartcom (talk) 21:16, 14 April 2016 (UTC)

 * Agreed, I've nominated it for speedy deletion as a G4. Admin should probably just revert back to the redirect, and then fully protect it IMO. Joseph2302 (talk) 21:21, 14 April 2016 (UTC)

 * All that's needed is to simply revert back to this version, which I was planning to do after a day or so of due diligence of hearing from the editors who answer my question. Prhartcom (talk) 21:45, 14 April 2016 (UTC)

title: Talk:Joker venom


text:
Nanaka 6/17

Nanaka 6/17 (ななか6/17) is a Japanese manga series written and illustrated by Ken Yagami. The manga was published by Akita Shoten between 2000 and 2003 and the chapters collected into 12 tankōbon volumes. An anime television series adaptation animated by J.C.Staff aired on TV Tokyo from January to March 2003. In 2004, the anime series was licensed for distribution in North America by ADV Films and released on DVD in 2006.

Story
The story focuses on the cold and distant seventeen-year-old Nanaka Kirisato, a girl who only cares about studying and getting accepted into a good college. Her childhood friend Nenji Nagihara does not really care about school and often gets into fights. At the start of the story, Nanaka berates Nenji for fighting and tells him that he needs to grow up. After Nenji tells her that he never wants to see her face again, Nanaka is devastated but then falls down a flight of stairs. She loses her memories and suffers from regression, acting like she is six years old. She also thinks that Nenji made a wish to become an adult just like her. Nenji ends up having to watch over her as she goes through high school, which causes trouble and comedic situations.

Main

 * (霧里七華)
 * The female protagonist and title character, Nanaka is a senior high school student. For her, studying is the most important thing in the world so she has few friends. One day, after a fight with Nenji, she falls down a flight of stairs. This is what causes her memory to be lost back to the time when she was 6 years old. This 6-year-old Nanaka is a very spirited troublemaker and is obsessed with a children's anime television-show called Magical Domiko. The 6-year-old Nanaka is fond of saying the nonsensical words "hayaya" and "hawawa", and is recognizable by her side pigtail and wider eyes.
 * The female protagonist and title character, Nanaka is a senior high school student. For her, studying is the most important thing in the world so she has few friends. One day, after a fight with Nenji, she falls down a flight of stairs. This is what causes her memory to be lost back to the time when she was 6 years old. This 6-year-old Nanaka is a very spirited troublemaker and is obsessed with a children's anime television-show called Magical Domiko. The 6-year-old Nanaka is fond of saying the nonsensical words "hayaya" and "hawawa", and is recognizable by her side pigtail and wider eyes.

 * (凪原稔二)
 * The male protagonist, Nenji is Nanaka's classmate and childhood friend. He is a delinquent, but after Nanaka's accident, he seems to settle down quite a bit. Nanaka's father asks him to keep Nanaka's accident secret from other people and take care of her at school. Nenji is occasionally referred to as 'Wild Hair Nenji' by some of the other characters because he has long, spiky hair reminiscent of certain stylized Shōnen anime characters.
 * The male protagonist, Nenji is Nanaka's classmate and childhood friend. He is a delinquent, but after Nanaka's accident, he seems to settle down quite a bit. Nanaka's father asks him to keep Nanaka's accident secret from other people and take care of her at school. Nenji is occasionally referred to as 'Wild Hair Nenji' by some of the other characters because he has long, spiky hair reminiscent of certain stylized Shōnen anime characters.

 * (雨宮ゆり子)
 * Yuriko is Nanaka's classmate. Usually called by her last name by other students, she is an honor student, and the role model of a group of girls who dislike Nanaka. She is strict with Nanaka, but discovers Nanaka's secret by accident. Nenji entrusts her to help to keep Nanaka's secret. As she gets to know them both better, she falls in love with Nenji and also becomes kinder to Nanaka.
 * Yuriko is Nanaka's classmate. Usually called by her last name by other students, she is an honor student, and the role model of a group of girls who dislike Nanaka. She is strict with Nanaka, but discovers Nanaka's secret by accident. Nenji entrusts her to help to keep Nanaka's secret. As she gets to know them both better, she falls in love with Nenji and also becomes kinder to Nanaka.

Supporting characters

 * (嵐山甚八)
 * Jinpachi is a delinquent and Nenji's rival. He fights Nenji but always loses. When Nenji acts more mature, he gets irritated, however, when he encounters Nanaka acting as a six-year-old, he is charmed by her attitude and falls in love with her. He is the heir to the Arashiyama Dojo but is perceived by his younger sister Satsuki as not being serious about it and is often punished by her surprise attacks.
 * Jinpachi is a delinquent and Nenji's rival. He fights Nenji but always loses. When Nenji acts more mature, he gets irritated, however, when he encounters Nanaka acting as a six-year-old, he is charmed by her attitude and falls in love with her. He is the heir to the Arashiyama Dojo but is perceived by his younger sister Satsuki as not being serious about it and is often punished by her surprise attacks.

 * (嵐山五月)
 * Satsuki is Jinpachi's younger sister who is often seen with a wooden sword. She initially perceives Nanaka as a hussy for making Jinpachi act all weird around her, so she tries to attack Nanaka, but Nanaka unintentionally dodges her attacks easily. After Nanaka "saves" her from a falling wooden piece, she begs for her forgiveness and wants to be her disciple and she can address Nanaka as "onee-sama" (big sister). She then "trains" Jinpachi harder so he can be a worthy suitor for Nanaka. Her attack catchphrase is "You're wide open!"
 * Satsuki is Jinpachi's younger sister who is often seen with a wooden sword. She initially perceives Nanaka as a hussy for making Jinpachi act all weird around her, so she tries to attack Nanaka, but Nanaka unintentionally dodges her attacks easily. After Nanaka "saves" her from a falling wooden piece, she begs for her forgiveness and wants to be her disciple and she can address Nanaka as "onee-sama" (big sister). She then "trains" Jinpachi harder so he can be a worthy suitor for Nanaka. Her attack catchphrase is "You're wide open!"

 * (霰玉九里子)
 * Kuriko is a kindergartner with blonde twin-tailed hair. She has a major crush on Nenji because he rescued her from some bullies and because he resembles her older brother who is away for school. She often fights with her rival Nanaka.
 * Kuriko is a kindergartner with blonde twin-tailed hair. She has a major crush on Nenji because he rescued her from some bullies and because he resembles her older brother who is away for school. She often fights with her rival Nanaka.

 * (霧里耐三)
 * Taizo is Nanaka's father. Although he is sad that Nanaka is hurt, he is glad to have a chance to be close with his youthful daughter again.
 * Taizo is Nanaka's father. Although he is sad that Nanaka is hurt, he is glad to have a chance to be close with his youthful daughter again.

 * (吉田)
 * Yoshida is Nanaka's classmate and an avid collector of anime merchandise. He befriends Nanaka after noticing the Magical Domiko toy that she brings to school. Nobody knows who he is until he helps take care of Nenji when he is sick.
 * Yoshida is Nanaka's classmate and an avid collector of anime merchandise. He befriends Nanaka after noticing the Magical Domiko toy that she brings to school. Nobody knows who he is until he helps take care of Nenji when he is sick.

 * (千絵風祭)
 * Chie is Nanaka's classmate and one of the mean girls who make up rumors about Nanaka. She has brown hair that she wears in twin tails and regularly converses with classmate Mari Tsuyuki who has a ponytail. Towards the end of the series, she has a change of heart at the events leading to the class play where Nanaka replies that she values her feedback and then chooses her to play its starring character.
 * Chie is Nanaka's classmate and one of the mean girls who make up rumors about Nanaka. She has brown hair that she wears in twin tails and regularly converses with classmate Mari Tsuyuki who has a ponytail. Towards the end of the series, she has a change of heart at the events leading to the class play where Nanaka replies that she values her feedback and then chooses her to play its starring character.

Magical Domiko characters

 * (まじかるドミ子)
 * Magical Domiko is the magical girl heroine and title character of a very popular children's anime. She uses magic to transform herself into a grown-up and assumes different professions to save the day. Nanaka is a big fan of this anime. Each Nanaka 6/17 episode features a vignette about how she finds the true way to use magic, but Pikota never takes her seriously. Her real name is revealed to be Miko Shishido (宍戸美子).
 * Magical Domiko is the magical girl heroine and title character of a very popular children's anime. She uses magic to transform herself into a grown-up and assumes different professions to save the day. Nanaka is a big fan of this anime. Each Nanaka 6/17 episode features a vignette about how she finds the true way to use magic, but Pikota never takes her seriously. Her real name is revealed to be Miko Shishido (宍戸美子).

 * (ピコ太)
 * Pikota is a bunny-like fairy mascot from the magical world who assists Magical Domiko. Its real name is "Pikoto" and it resents the misnomer by Magical Domiko.
 * Pikota is a bunny-like fairy mascot from the magical world who assists Magical Domiko. Its real name is "Pikoto" and it resents the misnomer by Magical Domiko.

 * (ケミカルケミコ)
 * Chemical Kemiko is a green-haired magical girl and Magical Domiko's main rival. She is older and bigger than Magical Domiko and rides on an upright vacuum cleaner. In one of Magical Domiko's short scenes at the end of the episode, she says she has a new anime where she is a future queen of a magical land, and that the evil spirit of Magical Domiko is hurting her kind spirit, but Magical Domiko and Pikota do not believe her.
 * Chemical Kemiko is a green-haired magical girl and Magical Domiko's main rival. She is older and bigger than Magical Domiko and rides on an upright vacuum cleaner. In one of Magical Domiko's short scenes at the end of the episode, she says she has a new anime where she is a future queen of a magical land, and that the evil spirit of Magical Domiko is hurting her kind spirit, but Magical Domiko and Pikota do not believe her.

Manga
Nanaka 6/17 (ななか6/17) is a 12-tankōbon manga series created by Ken Yagami. The manga was published by Akita Shoten in 2001. The manga was initially licensed by Studio Ironcat for publication in North America but all plans on release were dropped with the company's bankruptcy.

Anime
The manga series was adapted into 12-episode anime television series that was broadcast in Japan on TV Tokyo in 2003. An additional OVA "episode 13" was also produced but not broadcast with the original TV series.

North American releases
In 2004 the anime series was licensed for distribution in North America by ADV Films. ADV Films produced an English language version and released the 12-episode TV series and the OVA episode in three DVD volumes in 2006 and as a complete DVD collection of all episodes in 2008. The North American license is now held by Section23 Films. All 13 episodes of the ADV Films English version (only) are posted on the Anime Network website for online streaming.
 * Nanaka 6/17 - Not So Magical Mishap, DVD volume 1, episodes 1-4, release date:2006-05-23
 * Nanaka 6/17 - Reality! Rivalry! Ridicule!, DVD volume 2, episodes 5-8, release date:2006-07-18
 * Nanaka 6/17 - Nanaka vs Nanaka!, DVD volume 3, episodes 9-12 and OVA episode 13, release date:2006-09-12
 * Nanaka 6/17 - Complete Collection, episodes 1-12 and OVA episode 13, release date:2008-12-23

Theme songs
Opening

Sunao na Mama (素直なまま) by Funta

Ending

Taisetsu na Negai (大切な願い) by CooRie

title: Nanaka 6/17


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User:DOGSECURE BOTno62

Wikipedia Bot Fixes Pages Including sandbox

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title: User:DOGSECURE BOTno62


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User:KTucker

=Welcome!=

 * E-mail me

 * Leave a message on my talk page

=About=

 * See my user page on WikiEducator.
 * Profile

=Past activities=

Some initiatives I helped to catalyse:

 * Social Entrepreneurship
 * FLOSS for Science
 * Libre Knowledge and Learning
 * more on WikiEducator

I have also started a few wiki book ideas which I hope will inspire co-authorship:

 * Lore of Learning
 * Knowledge patterns

On Wikipedia I have contributed to pages concerned with:

 * Libre Knowledge and the word libre. Disappointingly for me, both were speedily deleted after standing for many years.

Wikimania:

 * Open educational resources and globalization

=A Thought for Wikiversity Day (2008)=

How about an interoperability initiative with WikiEducator?

e.g. share templates, search both sites, detect clashes or existing pages with the same name in the other project during creation, ...

I am not sure how this would be done exactly - via wv: and we: name spaces, via de-coupled services indexing both sites, etc.

Why? - for one thing it would be useful to be able to use WikiEducator pedagogical templates on Wikiversity and Wikiversity portal templates on WikiEducator.

=Interests=

 * /Research Interests/
 * /Sporting Interests/
 * /Other Interests/

Pages I intend to read some time:

 * Learning to learn a wiki way

 * Schools and FLOSS/Australian schools and FLOSS
 * Historical_introduction_to_philosophy

 * Community Review/Proposed process
 * Colloquium
 * Think tank

Lessons Learned

 * SSE Project (and others)

=Sandbox=

My Sandbox

title: User:KTucker


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User:Transliterati/sandbox

Infrarealism
Infrarealism is a poetic movement founded in Mexico City in 1975 by a group of twenty young poets, including Roberto Bolaño, Mario Santiago Papasquiaro, José Vicente Anaya, Rubén Medina and José Rosas Ribeyro.

The Infrarealists, also known as “infras”, took for their motto a phrase from the Chilean painter Roberto Matta: “Blow the brains out of the cultural establishment”. Rather than a defined style, the movement was characterised by the pursuit of a free and personal poetry, representative of its members’ attitude towards life on the fringes of conventional society, in a similar manner to the Beat Generation of the 1950s.

The origin of the phrase is French. The intellectual Emmanuel Berl attributes it to one of the founders of Surrealism, the writer and political activist Philippe Soupault (1897-1990), who was also one of the driving forces behind Dadaism. According to Bolaño, however, the name was originally coined in the 1940s by Roberto Matta, after André Breton expelled him from the Surrealists. Cast out, Matta became an “Infrarealist”, and the only one up until the term's rebirth as a literary movement. A third account for the name’s origin can be traced back to Russian writer Georgy Gurevich's sci-fi novella Infra Dragonis, originally published in 1959, and mentioned by Bolaño in the first Infrarealist manifesto.

The initial phase of Infrarealism, its most important, lasted until the departure of Papasquiaro and Bolaño to Europe in 1977, who were the initiators and primary leaders of the movement. However, on Papasquiario's return to Mexico City in 1979, the movement continued once more under his leadership until his death in 1998. At present, the movement is maintained by a mix of new and original members.

History of the movement
In 1968, at a time when the future Infrarealist poets were still children and adolescents, the so-called Dirty War began to take shape in Mexico during the presidency of Gustavo Díaz Ordaz (Institutional Revolutionary Party, 1964-1970). Amongst its principle consequences was the Tlatelolco Massacre in the Ciudad Universitaria (University City) of the National Autonomous University of Mexico (UNAM), where an estimated 300 to 400 students and civilians were murdered by military and police. Roberto Bolaño, 15-years-old, arrived in Mexico City from Chile with his family this same year.

In 1970, Luis Echeverría Álvarez (Institutional Revolutionary Party, 1970-1976) took up presidency in Mexico. He was the ex-Secretariat of the Interior in the government of Díaz Ordaz, who was considered by the majority of the Mexican population as one of the principle culprits of the Dirty War. To recapture Mexico’s youth, the new government set up a series of cultural scholarships, in addition to the creation of artistic and cultural workshops in universities and public institutions. Some of these were run by renowned writers such as Augusto Monterroso and Alejandro Aura. The Faculty of Philosophy and Letters at the UNAM organised prose and poetry workshops and published the Punto de Partida magazine through the Department of Cultural Diffusion, which also ran prose, poetry, drama and essay workshops. Further workshops were held at the Metropolitan Autonomous University (UAM), courses run at the Casa del Lago cultural centre, and scholarships granted to study literature at the Instituto Nacional de Bellas Artes (National Institute of Fine Arts).

Infrarealism emerged at the end of Luis Echeverría’s government in the midst of this effervescence of literary workshops in Mexico City, which were allowing many young people to begin to develop as poets and novelists. Determined to create a new literary movement based on expressive freedom, the liveliness of language and the breaking of conventions, Roberto Bolaño and Mario Santiago Papasquiaro began to meet with other friends and poets they considered fit for the project.

Sabotages

According to the Chilean writer Carlos Chimal, president Luis Echeverría’s measures to promote cultural activity in the country polarised Mexico’s artistic society into “two worlds: high culture and popular culture, and there was no way that the two would touch”. The first of these worlds referred to artists who were granted scholarships or received benefits in some way from the Institutional Revolutionary Party's government – among them, for example, José Luis Cuevas and Fernando Benítz. For the Infrarealists, this group also included writers and intellectuals of world renown, such as Octavio Paz or Carlos Monsiváis, who, despite not needing Echeverría's direct support, cultivated a dedicated readership, ran important literary magazines, and also benefited from tax revenues. At the other extreme was the world of popular culture, which the Infrarealists associated with the left-wing revolution and was made up of artists that opposed the buying and selling of talent. While members of the first group sought to identify themselves with Octavio Paz, members of the second were closer to the poet Efraín Huerta. The Mexican writer Carmen Boullosa, a contemporary of the Infrarealists, agrees that both group were exclusive, and recalls that the only poets who traversed between the two groups were Juan Pascoe and Verónica Volkow, a friend of Bolaño and granddaughter of Trotsky. Despite this, Boullosa maintains that the two groups were not entirely dissimilar.

Rather than for their own readings, the Infrarealists were known for their sabotaging of the readings, book launches, awards ceremonies and general literary activities of poets belonging to this world of “high culture”. The first of these sabotages took place prior to the movement’s foundation. Towards the end of 1973, Mario Santiago Papasquiaro and his friend Ramón Méndez attempted to throw Juan Bañuelos out of his own poetry workshop in the Department of Cultural Diffusion at UNAM by acquiring the signatures of participants; though in the end it was them who were thrown out.

The Infrarealists planned these acts in meetings. They sabotaged the events of different writers, including Octavio Paz himself. At the beginning of 1976, they sabotaged a reading by David Huerta, son of Efraín Huerta. While they got along well with his father, they considered David a privileged author who was destined to succeed under the sheltered protection of his surname. Only Bolaño participated in Huerta’s sabotaging. He later distanced himself from these acts, though still asked friends for details after the acts were carried out. Years later, Carmen Boullosa confessed to having been afraid the Infrarealists would sabotage the prize ceremony where she was to receive the Salvador Novo scholarship, awarded to those under 21, which Darío Galicia had also obtained the year before.

Other poets began to both fear and hate them for these attitudes. They treated them as arrogant and disrespectful, and managed to isolate them from the established publications of the time. In 1975, in the La cultura en México supplement of Siempre! magazine, edited by Carlos Monsiváis, a number of columns appeared in which a young Héctor Aguilar Camín, José Joaquin Blanco and Enrique Krauze spoke of a drop in standard in contemporary Mexican literature, which they viewed as resulting from socialist fashion, excessive sexuality and the appearance of so many new, novice writers. Blanco began to explicitly criticise the Infrarealists in these columns, and they confronted him directly, though this time with Bolaño in tow.

Publications and separation
In mid-1976, after Octavio Paz left Plural magazine due to political problems in what became known as the "Excélsior coup”, Robert Rodríguez Baños was named as the magazine’s director and the Infrarealists once again had the opportunity to publish in established magazines. In October of the same year, in Plural number 61, Mario Santiago Papasquiaro published a review and translation of poems by the beat poet and novelist Richard Brautigan. Then, in December, in number 63, the magazine published Seis jóvenes infrarrealistas mexicanos (Six Young Mexican Infrarealists), with editing and introduction from Papasquairo and featuring Darío Galicia, Mara Larrosa, Rubén Medina, Cuauthémoc Méndez, José Peguero and Papasquairo himself. In January of 1977, Roberto Bolaño was published in number 64.

The Infrarealists also published their own anthology in 1976, Pájaro de calor, ocho poetas infrarrealistas (Bird of Heat, Eight Infrarealist Poets), which contained a prologue by the Spanish poet and journalist Juan Cervera Sanchís. Based in Mexico, he was a regular of Café La Habana, where Bolaño and Papasquiaro held their Infrarealist meetings, and sympathised with the youthful energy of the infras.

Shortly before the publication of Pájaro de calor, and made clear in a poem of said publication, Bolaño’s girlfriend Lisa Johnson broke up with him. This was one of the main reasons for Bolaño’s departure to Barcelona, where his mother had been living since leaving Mexico in the mid-1970s. Before leaving, however, he reached an agreement with Editorial Extemporáneos to publish ''Muchachos desnudos bajo el arcoiris de fuego. Once jóvenes poetas latinoamericanos (Naked Boys Under the Rainbow of Fire. Eleven Young Latin American Poets''), an anthology of poems featuring Luis Suardíaz, Hernán Lavín Cerda, Jorge Pimentel, Orlando Guillén, Beltrán Morales, Fernando Nieto Cadena, Julián Gómez, Enrique Verástegui, Mario Santiago Papasquairo, Bruno Montané and Bolaño himself. Published in July of 1979, the book is prefaced by Miguel Donoso Pareja, contains a piece by Efraín Huerta, and was the first from that era of Infrarealists to be paid for entirely by the publisher, rather than themselves.

Roberto Bolaño left Mexico in 1977, shortly followed by Bruno Montané, who he would meet up with again in Barcelona. Mario Santiago Papasquiaro, on the other hand, went to Paris and Israel for a while. Rubén Medina and José Peguero, trying to regroup the infras who had remained in Mexico City and at the same time as a symbolic act of farewell, managed the publication of a single issue of the magazine Correspondencia Infra in October/November of that year. The magazine had a circulation of five thousand copies, of which very few original copies remain, and includes the Manifiesto Infrarrealista (Infrarealist Manifesto), written by Bolaño, and a poem by Papasquiaro titled Consejos de un discípulo de Marx a un fanático de Heidegger (Advice from a disciple of Marx to a Heidegger fanatic). Written in the days when Papasquiaro frequented the Alejandro Aura’s workshop in Casa del Lago, the poem served as inspiration for the title of the first novel by his friend Bolaño, now living in Spain: Consejos de un discípulo de Morrison a un fanático de Joyce (Advice from a disciple of Morrison to a Joyce fanatic), written in collaboration with A. G. Porta. The magazine’s poems were characterised by their stylistic variety.

The following years

Various other Infrarealists decided to leave Mexico City in the years following the departure of Bolaño, Papasquiaro and Montané. Only some continued with literary careers, although the majority dedicated themselves to artistic activities. Rubén Medina went to study literature in the United States; Harrington returned to Chile to study film; Gelles Lebrija went to live in Tijuana; Piel Divina to Paris; the Méndez brothers returned to their hometown Morelia, where they worked in journalism, and for a time as bakers; José Vicente Anaya dedicated himself to travelling around Mexico for four years; Lorena de la Rocha chose classical music composition and theatre; and the Larrosa sisters stayed in Mexico City, with Vera devoting herself to dance and theatre, and Mara to painting.

Though the first phase of the movement ended with Bolaño and Papasquario’s departure to Europe in 1977, when Papasquario returned to Mexico City in 1979 he began to meet up with both old friends and new Infrarealists. Between April 1980 and February 1981, poems from this new group of Infraealists appeared in three issues of Le Prosa magazine, edited by Orlando Guillén. The sabotages also continued through the 80s, with Octavio Paz the victim of one in January 1980 at an event called the “Meeting of Generations” in the UNAM bookshop.

Between November 1984 and July 1990, the Infrarealists published a poetry pamphlet titled Calandria de tolvaneras, which also included poems from older members like Roberto Bolaño and Bruno Montané. Between March 1992 and January 1993, various Infrarealists were published in several issues of Zonaeropuerto magazine, which was also edited by Orlando Guillén. In March 1992 they published the magazine La zorra vuelve al gallinero, with two further issues in 2000 and 2002. The later issues, however, were without Papasquairo, who died in 1998. A decade after his death, Mario Raúl Guzman and Rebeca López, Papasquario’s widow, published ''Jeta de santo. Antología poética 1974-1977'', which compiled 161 of Papasquario’s poems.

Bolaño undoubtedly achieved the greatest international prestige out of the older Infrarealists, establishing himself as a novelist in Barcelona and publishing numerous works for Editorial Anagrama. The standout successes of these publications were The Savage Detectives, a novel which won Spain’s Premio Herralde and was directly inspired by his life with the Infrarealists in Mexico City; and 2666, which won awards in Spain, Chile and the United States and was also set in Mexico.

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Talk:Miguel Santos Ruiz

Contested deletion
This article should not be speedily deleted for lack of asserted importance because Ruiz is a grandmaster, per WP:NCHESS. Magnolia677 (talk) 11:20, 25 May 2020 (UTC)

title: Talk:Miguel Santos Ruiz


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Gotham Chopra

Gotham Chopra (born Gautam Chopra on February 23, 1975) is an American sports documentarian, media entrepreneur, producer, podcast host, director, journalist, and author. He is a co-founder of Religion of Sports, Liquid Comics, Chopra Media, and the Chopra Well. He is known for his sports-centric films, having worked with athletes such as Tom Brady, LeBron James, Kobe Bryant, Simone Biles and Michael Strahan.

Early life
Chopra was born Gautam Chopra in what is now part of the Brigham and Women's Hospital in Boston, Massachusetts in 1975, the son of spiritualist and author Deepak Chopra and his wife, Rita. He is a first-generation American and the first in his family to be born outside of India. He and his sister Mallika were raised in the Boston suburb of Lincoln. As a child, Chopra was extremely interested in sports, enough that his mother worried that he would never have a career. He is a lifelong Red Sox, Patriots, Celtics, and Bruins fan. His favorite athlete while growing up was Larry Bird. At age 13, he went on tour "as a roadie" with Michael Jackson, a friend of his father's, on his Dangerous World Tour. Chopra's father was busy and rarely home during the first years of Chopra's childhood. He recalls that his father drank and smoked a lot until he joined the Transcendental Meditation (TM) movement when Chopra was five. The family as a whole started practicing TM.

Chopra graduated from Belmont Hill School in 1993, then Columbia University with a bachelor's degree in English and Literature. In 1993, while Chopra was in college, the family relocated to California. While at Columbia, he wrote his first book, Child of the Dawn, and helped Michael Jackson write lyrics to his songs.

Career
After graduating from Columbia, Chopra was a news anchor for the Los Angeles-based Channel One News, which broadcast to teenagers in social studies classes across the United States. He found out later that he was hired because one of the Channel One executives was a fan of his fathers'. He became a war correspondent and was stationed internationally. It was during this time that a producer recommended Chopra change the spelling of his name, Gautam, to match how he pronounced it to prevent mispronunciation. In August 2001, he was arrested at Islamabad International Airport when empty bullet shells were found in his bag. These were a gift from the Taliban, who he had been in Pakistan to interview. His father, at this point popular within celebrity circles, called Colin Powell and arranged his release. Within a few weeks, 9/11 occurred and Chopra's interview tapes were confiscated. Other interviews he conducted during this time were with George W. Bush, John Glenn, and the Dalai Lama. He left Channel One in 2005. Between 2006 and 2008, he worked as a consultant for Current TV.

In 2000, he co-founded Chopra Media with his sister Mallika. This company primarily develops media initiatives for their father but also oversees television shows and films. In 2012, Chopra launched the YouTube channel The Chopra Well along with his father and sister. This channel features a number of healthy and spiritual living tips, guided meditations, and guest interviews. At its debut, Vicente Fox, Paulo Coelho, Lisa Ling, and Fran Drescher were featured. Chopra helped create a virtual reality meditation video game, called Finding Your True Self, with his father in 2016.

In 2006, he, Sharad Devarajan, and Suresh Seetharaman co-founded Virgin Comics and convinced Sir Richard Branson to invest. In 2008, the company changed its name to Liquid Comics following management changes. Chopra co-created the Bulletproof Monk comics with Brett Lewis and R. A. Jones. Chopra also produced the 2003 film based on the series. Devarajan, Chopra, and Seetharaman established Graphic India in 2011 under the Liquid Comics name. This company focuses on the Indian youth market and the creation of characters inspired by Indian myth and legend. Peter Chernin joined the team as an investor in 2013 and is a joint owner of Graphic India.

In 2012, Chopra created, produced, and directed Decoding Deepak about his father. In 2014, Chopra hosted the talk show Help Desk on the Oprah Winfrey Network. In 2015, he was the executive producer on Kobe Bryant's Muse on Showtime. He also directed The Little Master, a documentary about Indian cricketer Sachin Tendulkar as part of ESPN's 30 for 30 series, and directed and produced I Am Giant about New York Giants wide receiver Victor Cruz.

Religion of Sports
Religion of Sports, a sports-focused media company, was founded in 2016 by Chopra, Michael Strahan, and Tom Brady. Chopra created, directed, produced, and narrated the docuseries Religion of Sports, which examines the profound influence sports can have on societies and cultures beyond entertainment value. The show's third series aired in 2018.

Religion of Sports' Why We Fight, an eight-part docuseries about opioid addiction in sports starring Zachary Wohlman, received a Sports Emmy nomination in 2018 in Outstanding Serialized Sports Documentary. This was Chopra's first Sports Emmy nomination. Also in 2018, Tom vs Time, a docuseries about Tom Brady's off-season training. The series aired on Facebook Watch. It won a Sports Emmy for Outstanding Serialized Sports Documentary in 2019. The same year, Shut Up and Dribble was nominated for Outstanding Open/Tease and Outstanding Sports Promotional Announcement at the Sports Emmys. The three-part docuseries, which aired on Showtime, was inspired by Fox News host Laura Ingraham's February 2017 comment that LeBron James and Kevin Durant should stay out of politics and "shut up and dribble". The series, produced by LeBron James and directed by Chopra, shows "attempts by NBA players to bring about social change and speak up politically" throughout the years. The first season of Greatness Code, which highlights defining moments in athletes' careers, aired in July 2020; the second season aired in May 2022. The ESPN+ series Man in the Arena: Tom Brady, which focuses on Tom Brady's career, was nominated for two Sports Emmys.

Chopra is also involved with several podcasts for Religion of Sports, including as the host for Man in the Arena: Tom Brady and Why Sports Matter (with Tom Brady and Michael Strahan). He produces Crushed, a podcast about steroids in baseball, in collaboration with PRX.

Personal life
Chopra married doctor Candice Chen c. 1993; the couple have a son. As of 2022, Chopra is based in Los Angeles.

title: Gotham Chopra


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Sultan Kudarat Provincial Board

The Sultan Kudarat Provincial Board is the Sangguniang Panlalawigan (provincial legislature) of the Philippine province of Sultan Kudarat.

The members are elected via plurality-at-large voting: the province is divided into two districts, each having five seats. A voter votes up to five names, with the top five candidates per district being elected. The vice governor is the ex officio presiding officer, and only votes to break ties. The vice governor is elected via the plurality voting system province-wide.

The districts used in appropriation of members is coextensive with the legislative districts of Sultan Kudarat.

Aside from the regular members, the board also includes the provincial federation presidents of the Liga ng mga Barangay (ABC, from its old name "Association of Barangay Captains"), the Sangguniang Kabataan (SK, youth councils) and the Philippine Councilors League (PCL).

Current members
These are the members after the 2019 local elections and 2018 barangay and SK elections:

 * Vice Governor: Jose Segura (PDP–Laban)

 * 1) Replaced Vice Governor Ramon Abalos (PDP–Laban) who died on November 30, 2019.
 * 2) Replaced Jose Segura who became vice governor on Ramon Abalos's death.

title: Sultan Kudarat Provincial Board


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User:Brent~enwikiversity

21st Century Renaissance Man. Webpage Design instructor for local county, web developer, writer, programmer, and artist. Lots and lots of interests.

Website: http://brentnewhall.com/

title: User:Brent~enwikiversity