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Norman Zammitt

Norman Charles Zammitt (February 3, 1931 – November 16, 2007) was an American artist in Southern California who was at the leading edge of the Light and Space Movement, pioneering with his transparent sculptures in the early 1960s, followed in the 1970s by his large scale luminous color paintings.

Early life and education
Norman Charles Zammitt was born on February 3, 1931, in Toronto, Canada. His mother was Mohawk of the Iroquois Nation and his father, Italian from Palermo, Sicily. When he was 7 years old, the family moved to the Caughnawaga Reservation across the St. Lawrence River from Montreal for four years then to Montreal, then to Buffalo New York, and on to settle in Southern California at age 14 in the San Gabriel Valley.

Drawing was a consistent pursuit throughout Zammitt's childhood, ignited further, at age 12, by his first sight of an oil painting by a Dutch artist in a gallery window. He was also taken by animation, Disney films, drawing the characters and making up his own. His skill at cartooning carried on through high school, at both El Monte and Rosemead where he developed comic strip characters for the schools’ newspapers. His talent in both classic and cartoon art won him national, regional and scholastic awards during his high school years. He moved on to Pasadena City College where his talent again was recognized and he was advised to pursue the commercial art field.

The Korean war interrupted his education with his enlistment into the Air Force in 1952 and assigned as a photographer. In his one-year tour of duty in Korea, he did aerial reconnaissance photography. In his off duty hours he continued painting including a mural at an orphanage there, of Christ with Korean children. On his return to the U.S. to finish his service, on a base in Colorado, his work was as a draftsman. In 1955, he met and married his wife, Marilyn Jean and had a daughter and a son, Dawn Zammitt Crandall and Eric Zammitt, both artists today.

On his discharge in 1956, Zammitt returned to finish at Pasadena City College and continued pursuing commercial art at Art Center School of Design where he had received a scholarship. However, a closer look at that art changed his mind and he applied to the Otis Art Institute (now called Otis College of Art and Design) to study fine art and received a four-year scholarship. He spent two years on curriculum and two years on his thesis. "He was the best student. He could do anything." —John Baldessari Otis gave him a private studio where he was free to paint and create his work, unsupervised. He received his MFA in 1961.

Abstract landscapes 1957–1961
In 1960, his last year at Otis Art Institute in Los Angeles, Zammitt was invited by Felix Landau to join his gallery on the prestigious La Cienega gallery row. Landau also advanced him funds for his first studio in Pasadena. These small abstract works were done in oil, pencil, crayon, liquitex, collage and etching, and were enthusiastically received by collectors, launching his professional career.

"...small collages which combined with an active calligraphy with placement of bright colored chips against a mahogany lacquer ground." — Artforum Vol. No. 6, Henry Hopkins, November 1962

Exhibits

“Exceptionally Gifted: Recent Donations to the Norton Simon Museum”, NSM, Pasadena, Ca. May 2009.

“Collage-American Artists (Directions in Collage)" Pasadena Art Museum, 1962

“Pasadena Third Biennial Print Show" Pasadena Art Museum, 1962.

References

The Dream Colony, Water Hopps, 2017

Boxed figured black paintings 1962–1963
Responding to the assemblage art movement and school of the found or common object, and an interest in the work of Magritte and Bacon, Zammitt embarked on a series of paintings that dealt with the human body and its parts, arms, legs, feet etc. as common objects. Encased in boxes, set against a black or clear background, the human figure was defined as a whole, but composed of fragments. Shown at the gallery, these paintings evoked a civil complaint for censorship which was denied in a judicial ruling. Censorship occurred at the University of New Mexico where he taught and was to exhibit. He then exhibited at a private gallery in Santa Fe.

"The anatomical fragments change their character at the point of contacting the invisible planes of the geometric box walls. At such point a hip shape will turn a different color…There is a sensation-seeking aspect to this work which may be related to the researches of so called neo-Dada. There is also a serious commentary in relation to isolation, interior emptiness." — Arts Magazine, Gerald Nordland, October 1962

Exhibits

Landau Gallery, Los Angeles, 1962

Landau-Alan Gallery, New York, 1963

Contemporaries Gallery, Santa Fe, New Mexico, 1964

Cardwell Jimmerson Gallery, Culver City, California, 2011

Reviews

Los Angeles, California Times, September 23, 1962, Henry Seldis

Beverly Hills Times, September 21, 1962, Arthur Secunda

Arts Magazine October 1962

Art International, November 1962

Arts Magazine February 1963

Articles

Santa Fe News, February 5, 1964

Santa Fe News, Art News, February 6, 1964

Albuquerque Tribune, "The Art Controversy" February 12, 1964

Albuquerque Tribune, "Contemporary Gallery Has Zammitt, Hamill Art", My 14, 1964

Plastic sculptures 1964–1972
While continuing the black figurative paintings with intent to shock with more controversial images, Zammitt noticed the mixing of colors on his glass palette. Feeling the influence of New Mexico's light, color, and space, he became more interested in what was happening on his palette than on the canvases. He began painting on sheets of glass, then acrylic plastic, leading to the start of the transparent sculptures—the first of that genre shown in Los Angeles, California and New York.

Painted constructions 1964–1966: 19 works
Plastic boxes encasing clear spaced acrylic plastic sheets upon which he painted in opaque and transparent pigments, abstract images morphing through the layers, transitioning from one image to another in suspension, third dimension.

"Several years have gone by and Norman Zammitt has turned from highly erotic paintings to the creation of plastic boxes in which he intricately creates the most amazing and subtle color spectacles imaginable." Los Angeles Times, Henry J Seldis, January 10, 1966.

"What is surprising about these is not their "newness" but their embellishment upon the best traditions of plasticism in 20th century painting – the lessons of Picasso, Mondrian, Pollock and Hofman, among others. ... he synthesizes a category independent of painting (which may happen to be three dimensional) and sculpture (which may happen to be colored). A sensuous showing." Artforum, Peter Plagens, March 1966.

Solid state constructions 1967–1969: 26 works
Eventually he laminated thicker sheets to create a solid piece, overlapping patterned images of transparent pigment embedding the image in a common space, color three dimensionally mixing in space. He pioneered methods of cutting, polishing and bubble free lamination innovating a solution to the then crude process of plastic cutting, not only enabling him to make these sculptures but "educated" some in the plastics industry. He was also generous in sharing his inventive findings with his fellow plastics artists.

"…fascinating op-art effect." — Time, April 1969

"Zammitt juggles perspectives and sends rays of illuminated color-light into darting motion." — Arts Magazine, M.B. December 1968

Poles 1970–1972: 30 works
These sculptures, 8’-10’ in length, 1 ¼" square, round, octagonal, hexagonal or spindled, were constructed with solid color acrylics in an order of color frequencies, then laminated and polished. The final pole combined the transparent, translucent and opaque in a combination varying from matte to high gloss.

Solo exhibits

Felix Landau Gallery, Los Angeles 1969

Landau-Alan Gallery, New York 1968

Museum of Art, Santa Barbara California 1968

Beverly Hills Writers Building, 1972

Group exhibits

“Abstraction: 1960s to Today” Heather James Gallery, Palm Desert, California. November 2013

“Translucence”, Southern California Art from the 1960s & 1970s", 2006

"A Plastic Presence", San Francisco Museum of Art, 1970

“Permutations, Light and Color” Museum of Contemporary Art, Chicago, Illinois 1970

“Studio Marconi”, Milan, Italy 1970

“American Report – The 1960s”, Denver Art Museum, Colorado 1969

“20th Anniversary Exhibit” Felix Landau Gallery 1968

“Made of Plastic” Flint Institute of Arts, Michigan 1968

“Plastics as Plastics” Museum of Contemporary Crafts, New York 1968

“West Coast Now”, Portland Art Museum, Oregon 1968

"Plastics West Coast", Hansen Gallery, San Francisco, 1967 "American Sculpture of the Sixties", Los Angeles County Museum of Art, California 1967

"American Sculpture of the Sixties", Philadelphia Museum of Art, 1967

"Show of New Acquisitions, Museum of Modern Art, New York, 1967

"Young West Coast Artists” Museum of Modern Art, New York, 1965

"The 1960s: Painting and Sculpture from the Museum Collection" Museum of Modern Art, New York 1967

Articles

Los Angeles, California Times West, June 4, 1967, "Sculpture of the Sixties", ill.

Davis, Douglas, "Art and Technology-The New Combine", Art in America, Jan./Feb.,1968, ill.

Davis, Douglas "From New Materials, a Dynamic Sculpture", National Observer, Feb 20, 1967, ill.

Los Angeles, California Times Home, Harry Lewis home/collection, January 1970.

Books

Art in Boxes, Van Nostrand-Reinhold

Plastics as Sculpture, Thelma Newman

Movements in Art since 1945, Edward Lucie-Smith, The World of Art Library, History of Art, Thames and Hudson, London, 1969

Art Today, Faulkner Zeigfield, Holt, Rinehart, Winston, 1969

Sculpture in Plastics, Nicolas Roukes, Watson Guptill, New York, 1968

Catalogues

American Sculpture of the Sixties,1967, pp. 225, 232, 233, L. A. County Museum of Art, ill

Contemporary American Painting and Sculpture, 1967, University of Illinois, Urbana, 13th Exhibition, p. 143, ill.

Reviews (select)

Los Angeles Times, "Art Walk", April 4, 1969

Arts, magazine, mid-monthly supplement, December 1968

Art News, December 1968

New York Times, November 2, 1968

Los Angeles Times, William Wilson, March 22, 1968

Los Angeles Times, January 21, 28, 1968

Women's Wear Daily, January 6, 1967

World Journal Tribune, January 6, 1967

New York Times, John Canaday, January 6, 1967

Los Angeles Times, January 10, 1966 (Landau-Alan Gallery – solo)

Artforum, "L.A Art News", March 1966, p. 20

Artforum, March 1966, "Norman Zammitt", Peter Plagens, March,1966, pp. 14–15, ill

Purchase Award

“50th Anniversary Sculpture Show" Otis Art Institute, Los Angeles Ca. 1968

Lithography, 1967
Exhibits

“Proof, The Rise of Printmaking in Southern California", 2012

“From Paris to Pasadena: An Overview of Color Lithography, 1890–1975,” 2000

“Art From Stone: Prints from the Tamarind Lithography Workshop, 1960–1970,” Norton Simon Museum, Pasadena, California 1999

“Tamarind Collection", Palm Springs Desert Museum, 1999

Landau Alan, New York, 1968

“Pasadena Third Biennial Print Show", Pasadena Art Museum, 1962

Reviews

Los Angeles Times Fri. May 22, 1968 William Wilson

Arts Magazine Mid Monthly Supplement Dec. 1968

Art News, December 1968

Books

Proof, The Rise of Printmaking in Southern California; 2012

Printmaking Today, Heller, Jules, Holt, Rinehart & Winston, New York, 1972

Catalogues

Tamarind, a Renaissance of Lithography, 1967, p. 92, ill.

Los Angeles Prints 1883–1980, Los Angeles County Museum of Art, 1981, p. 76, ill.

Band paintings, 1974–1988, 60 works
The sculptures, suspending color in space, led Zammitt back to painting on canvas entirely in the abstract in pursuit of understanding and expressing color itself. "For most of my life I had thought a lot about the nature of color, specifically, its sequential nature. I was drawn to it, not by a decorative or superficial attraction to design and its aesthetic application but by something deep within the colors themselves, akin to life itself, spirituality."

Though the sky was his "model" it was not his intention to create landscapes or sunsets, nor to imitate nature, but to parallel the abstraction of light in paint, to correlate palette and sky. He found that none of the different theories of color were quite related to nature, so he began putting color into what he felt was their natural sequence. He began by mixing his own basic, primary or "parent" colors and from that eventually mixing colors according to his experience and ideas about how one color can become another color can become another color, etc. until it rounded the whole spectrum.

Eventually it became impossible to continue by "eyeballing" colors into place so he began using logarithms and mathematical curves to graph progressions, giving the colors numerical values. This provided a means of measuring, by weight on a gram scale, extremely complex mixtures of colors in variable amounts to bend from one color to another in a smooth unbroken sequence.

To verify his approach, Zammitt inquired of mathematicians at California Institute of Technology in Pasadena to shed light on his process. They were personally and professionally interested, as the study of progressions is considered to be the highest form of mathematics and therefore, highly complex. They validated in mathematical and scientific language what he was doing abstractly, and were helpful with their computers in assisting him in his calculations. Most important was their discovery that his color progression was related to the progressive growth rates of living organisms, more to this phenomenon than to anything else in mathematics, implying, perhaps, that life has something to do with color.

"Despite their hard-edge appearance and quasi-logical structure, Norman Zammitt's paintings are magic. ... it takes only a few minutes in their presence to realize something extraordinary is going on. Zammitt has taken the idea of mixing color and light beyond the zones of opticality and abstraction and pushed it into the realm of the spirit." — The Washington Star

In an email, Michael Govan, the director of the Los Angeles County Museum, went so far as to nominate some artists for eventual White House display. A “Norman Zammitt sunset would be beautiful."

Fractal/chaos paintings, 1988–1992, 9 works
In this series of paintings, Zammitt began exploring the effects of the chaos theory while maintaining the concepts and techniques of color relativity he developed in earlier work. Differing orders of color mixtures were painted in a spontaneous and chaotic way to bring about relationships that intertwined, intermixed and interpenetrated with each other. The color relationships were kept in their logarithmic order but their application on the canvas was brought together through the spontaneous drawing and painting of shapes resembling the fracturing, cracking and the breaking up of space.

Solo exhibits

Andrew Rafacz Gallery, Chicago Il., July 19 – September 6, 2014

Carter Citizen Gallery, Culver City, California, October -November 2012

Michael Lord Gallery, Palm Springs, California, 2011 Pasadena City College Art Gallery, Pasadena, Los Angeles, California, 1988

Gallery, Loma Linda University, Riverside, Los Angeles, California, 1988

Ace Gallery, Los Angeles, California, 1984

Brandstater Gallery Of Art, Washington, D.C., 1978

Corcoran Los Angeles County Museum Of Art, California, 1977

Los Angeles County Museum Of Art, California, 1977

Group exhibits

San Francisco Museum of Modern Art, 2017

“Light and Space" Seattle Art Museum, 2016

“Made in the USA" Palm Springs Art Museum, 2013

"Abstraction: 1960s to Today" Heather James Gallery, Palm Desert, California. 2013

"Pure Light and Space" painting and sculpture from the 1970s, Newspace Gallery, Los Angeles, California 2011

"So Cal: Southern California Painting: 1970s Painting Per Se", David Richard  Contemporary Santa Fe, New Mexico, 2011

"Crosscurrents in Los Angeles, California Paintings and Sculpture 1950–1970" J. Paul Getty Museum, Los Angeles, California   (Pacific Standard Time venue  October 2, 2011 – April 2012)

“So Cal: Southern California Art of the 1960s and 70s from LACMA’s collection” Los Angeles County Museum of Art, 2007

“Translucence, Southern California Art from the 1960s & 70s” Norton Simon Museum, 2006 “Otis: Nine Decades of Los Angeles Art”, Los Angeles, 2006

Palm Springs Desert Museum, Palm Springs, California, 1998

Contemporary Collection, Los Angeles County Museum of Art, 1988–89

"Art in Los Angeles, 1988: Profound Visions", Ace Gallery,  Los Angeles, California, 1987

"The Spiritual in Art: Abstract Painting, 1890–1985", LACMA

Robert O Anderson building, inaugural exhibit, 1986 and Gemeentemuseum, the Hague Holland, 1987

"A California Collection", Cirrus Gallery, Los Angeles, 1986

"Contrasts", Los Angeles County Museum of Art, 1986

"New Acquisitions", Los Angeles County Museum of Art, 1985

"Focus on California", Los Angeles County Museum of Art, California, 1984

"Decade: Los Angeles Painting in the Seventies", Art Center, Pasadena, California 1981

“Second Emerging Expression Biennial: The Artist and the Computer”, Bronx Museum of the Arts, N.Y., 1981

"California Artists", Corcoran Gallery of Art, Washington DC, 1979

Articles/media features

“A Painting for my Los Angeles”, Unframed LACMA blog, Scott Tenant, January 31, 2013 Amerika (America Illustrated) United States Information Agency, publication to Moscow, November 1984, "Around the World in Total Silence", Joseph Allen, p. 13, ill.

Longson, Tony "Computer Art", Arts and Architecture, Vol.3 #1, Sum.1984, p. 52, ill.

Gilbert, Anne, "Under the Rainbow: Artists and their Spaces", New West, February 27, 1978, ill.

Books

Creating the Future; Art and Los Angeles, California in the 1970s"  Michael Fallon, Counterpoint, Berkeley, California 2014  p. 244

50 West Coast Artists, Henry Hopkins, Chronicle Books, San Francisco, 1981

Art and the Future: A History/Prophecy of the Collaboration Between Scientific Technology and Art, Douglas Davis, Praeger, New York & Washington,DC, 1973

Exhibitions

“Portraits and Palettes”, photographs by Ramos and Jacobs, Oakland Museum, July 1979 and LACMA, July 1980

“American Palettes, 1977–1979, Photographs by Leta Ramos, San Francisco Museum, July 1979

Catalogues

The Spiritual in Art: Abstract Painting 1890–1985, Los Angeles County Museum of Art, 1986, pp. 419, 353, ill.

Emerging Expression Biennial, (cover, Bronx Museum of the Arts, ill.), September 1987

Reviews (select)

Press Enterprise, The Arts, Hazel Simon, January 18, 1987

Los Angeles Times, "A Spiritual Abstract Exhibition", William.Wilson, November 23, 1986

Washington Post, Paul Richard, February 20, 1978

Elysium, 1996
Zammitt referred to Elysium as a walk-in painting, a separate reality or virtual spirituality. It was to be a site specific installation consisting of a room with four large walls seamlessly painted in ultra-violet light sensitive pigments and shown in ultra-violet light; an entirely black-lit, luminous, enclosed environment. The Elysium was partially realized with one 13’ by 35’ wall painted in Zammitt's studio model. Proposals for space and sponsorship to create a full scale Elysium were submitted to three institutions without success.

“Paradise is showing up in the strangest places these days. In the shadows of the fourth street bridge within the warehouse sector of Boyle Heights, an avant garde artist has created a model for what he hopes one day will be an environment of tranquility, inspiration and contemplation. Artist Norman Zammitt recently finished his prototype vision of "Elysium", the mythical Greek resting place of virtuous people after death." — Michael Krikorian, Los Angeles Times, Metro, December 3, 1996.

Self portraits 1998–2007
Although the City of Los Angeles declared his studio a historical site where his mural existed, Norman was unable to remain there due to expenses and decreased health and was forced to give up the large scale of his work, drastically altering the scale of his interest in color.

He had begun drawing self portraits casually at a friend's request for one as a birthday gift. After leaving his studio, he continued to develop these portraits, working in his home studio over the next seven years into a body of work approximating 200 in depictions that could be seen in series or groups. His media were pen, ink, brush, and pencil.

The portraits' intent was, in his words, "a very intimate exploration of the human condition, using myself as the subject matter and focal point. Every emotional aspect of the human psyche would be revealed, its relationship to an ever-increasing hostile environment and the struggle to resolve the inner and outer conflicts of the human spirit ... while expressing the promise of whatever is pure, sublime, hopeful and enduring in the human soul."

Later self portraits included both light hearted spin offs from known characters and more subjective, personal portraits.

Exhibitions

“Jeremy Gilbert-Rolfe and L.A. Abstraction," Louis Stern Fine Arts, Los Angeles 2016

“All in the Family", George Billis Gallery, Los Angeles 2006 “Heroes and Heroines; Working Artists Over 70", Santa Ana, February 2004

Awards

 * Tamarind Lithography Workshop, Fellowship, 1967.
 * John Simon Guggenheim Memorial Foundation, Fellowship 1968
 * Pollock-Krasner Foundation, Grant, 1991
 * Los Angeles City Council Resolution, Commendation, September 15, 2000
 * Los Angeles City Council Declaration,"Norman Zammitt Day" September 16, 2000

Institutional collections
Museum of Modern Art, New York City

Joseph Hirshhorn Gallery of Art, Washington, D.C.

National Gallery of Art, Washington, D.C.

Norton Simon Museum, Pasadena, California

Library of Congress, Washington, D.C.

San Francisco Museum of Modern Art, San Francisco, California

Los Angeles County Museum of Art, Los Angeles, California

Santa Barbara Museum of Art, Santa Barbara, California

Stanford University, Stanford, California

Palm Springs Art Museum, Palm Springs, California

La Jolla Museum of Contemporary Art, La Jolla, California

Rowland Institute for Science, Cambridge, Massachusetts

Victoria and Albert Museum, London, England

Long Beach Museum of Art, Long Beach, California

Seattle Art Museum, Seattle, Washington

Amon Carter Museum of American Art, Fort Worth, Texas

Otis Art Institute, Los Angeles, Ca.

Nora Eccles Harrison Museum, Logan, Utah

Private collections
Richard Feynman Estate

Judge and Mrs. William Lasarow

Helen and Peter Bing Norman Lear John Kluge Estate Maurice Tuchman

Truman Capote Estate Mrs. Richard Rogers

Mrs. Edwin H. Land Estate

Elizabeth Forsythe Hailey

Cindy and Tony Canzoneri

title: Norman Zammitt


text:
Syver Skaar Eriksen

Syver Skaar Eriksen (born 29 April 2001) is a Norwegian football midfielder who plays for Mjøndalen.

Hailing from Kongsberg and the club Kongsberg IF, he went to Mjøndalen as a junior and made his senior debut in August 2020 against Start. He scored his first goal in July 2021 against Haugesund.

source: wikimedia

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

title: Syver Skaar Eriksen


text:
Mexican Joker

"Mexican Joker" is the first episode of the twenty-third season of the American animated television series South Park. The 298th episode overall of the series, it premiered on Comedy Central in the United States on September 25, 2019. The episode parodies ICE detention centers and the moral panic surrounding the 2019 film Joker.

Plot
Randy Marsh leads a tourist group around his Tegridy Farms marijuana farm, showing how it has grown and expanded. As Eric Cartman complains to Stan Marsh about the changes in the farm, Randy notes that his orders have decreased. When he visits Stephen Stotch to personally deliver some marijuana, he discovers that Stephen and others in South Park have started to grow their own marijuana, and Randy promises to take action. Randy forces Stan to plead to the South Park city council to ban private marijuana farms, but the council rejects the suggestion, and Randy is angered to the point where he completely denounces all of South Park. Later, Randy is visited by representatives from MedMen and they agree to work together. Randy's partner Towelie is upset that Randy has decided to sell out to corporations and leaves in disgust.

Cartman witnesses a group of ICE agents arresting Stephen's Hispanic worker and separating him from his family, and he is intrigued by the idea that ICE has the ability to separate families seemingly at will via an anonymous tip. Cartman makes a threatening call to Kyle Broflovski just as ICE agents raid the Broflovski home and split the family while Cartman happily watches. When Kyle arrives at an ICE detention center and the staff discover that he is Jewish, they realize that they must get Kyle out as soon as possible or risk being viewed as racist. As the ICE agents apologize to Kyle, he asks about the status of the other children in the camp and warns them that the stress and anxiety on the children could lead to the possibility of one of them becoming a Mexican Joker. The agents begin to overreact to this and wonder which child in their camp is the Mexican Joker. Later, a new bus of children arrives at the camp, with Cartman among them; he explains that Stan got him sent to a detention center after overhearing him threatening to do so to Jimmy (bragging that he already did so to Kyle in the process). Cartman realizes that the detention center may remind Kyle of Nazi concentration camps and claims to feel sorry for his actions, as Kyle devises a plan to have everyone escape.

A series of explosions throughout South Park destroys all of the private marijuana fields, an act for which the police immediately suspect Mexican Joker. Kyle has all of the detention center children fashion their aluminum foil blankets into yarmulkes to make them appear Jewish, in an attempt to get the agents to release them all, but the lead ICE agent, thinking he is experiencing a flashback to the origin of Mexican Joker, shoots and kills the other ICE agents. He then releases all the children, believing this will stop Mexican Joker from ever existing. Randy celebrates the restored sales of Tegridy Farms products.

Reception
Chris Longo with Den of Geek rated the episode 2 out of 5 stars, summarizing his review by saying, "I feel like the wholesomeness of Tegridy has been ripped away from me. With all the bad in the world right now, why couldn't we just keep our Tegridy? Sigh. I don't have much hope for where this arc is going, but I'm a masochist and I'll be back next week."

John Hugar with The A.V. Club gave the episode a grade of "C+", and stated in his review, "the episode ultimately tries to do too much at once, and feels awkward and disjointed. In previous serialized seasons, the show eased its way into each thread, often introducing them one episode at a time before resolving them all during the final stretch."

Laura Bradley of Vanity Fair concluded on a more positive critique, stating, "There is a rare spark of life in this premiere—of quiet, at-times-snarky conviction. This is South Park, so don't expect a feel-good moment or an earnest lecture anytime soon—but it does seem that at last, South Park has found a way to do righteous anger its own way."

Alyse Wax of Collider gave both some positive and negative comments in her review, and stated, "Not a lot has changed with the show, other than it seems less outrageous nowadays. The social commentary has lost some of its bite as current events become closer to comedy. But this season, the social commentary is off to a better start than the last few seasons (such as the trolling or the election storylines)."

title: Mexican Joker


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Stadion Varteks

Stadion Varteks is a football stadium in Varaždin, Croatia. It is the home ground of the Croatian Football League club NK Varaždin and the lower division club NK Varteks.

The stadium was built in 1931 as the home ground for a different NK Varaždin team, which overlapped with the current tenant with a similar name until its disbandment in 2015.

Stadion Varteks has undergone several renovations since 1931, and currently has an all-seating capacity of 8,818. It consists of three stands, with the main stand being the only one with a roof.

Since 1993, the Croatia national football team and the Croatia national under-21 football team have occasionally played their home games at the venue. For some of these games, and for some club-level UEFA competitions, rules against advertising of stadium sponsors has seen the generic name Gradski Stadion ("City Stadium") used.

The stadium is located near the Varteks clothing factory, and also features a Varteks fan shop and a café. From 1958 to 2010, the clothing factory was the main sponsor of the original NK Varaždin team, which changed its name to NK Varteks (no relation to the club founded in 2011) during those 52 seasons. Varteks clothing factory general manager Anđelko Herjavec also served as the president of the original NK Varteks, and was a member of the executive board of the Croatian Football Federation. After his death in a traffic accident in 2001, Stadion Varteks was unofficially renamed Stadion Anđelko Herjavec by fans of NK Varteks; this name still occasionally appears in media coverage.

On 31 May 2017, the stadium hosted the 2017 Croatian Football Cup final between Rijeka and Dinamo Zagreb.

International matches
The stadium hosted several international matches of the Croatia national football team.

title: Stadion Varteks


text:
Computer Programming/Component based software development

BEng Software Engineering

= Component Oriented Programming =

Software components is at the moment one of the most popular buzz words in the software engineering community. This chapter surveys component technology, its reuse concepts and characteristics. Then, we will give a short overview of software architecture and its relation to component based development. Finally, we will examine JavaBeans as an example of a component model.

The Software Crisis
In the year 1968 on a NATO conference in Garmisch Partenkirchen for the first time the "software crisis" was mentioned. It was admitted that software development is difficult, even so difficult that it has to be considered as an own engineering discipline. Also, the hope aroused that a way out from the misery could be the formation of a new software component industry and component market.

The state of software development was compared to that of many industries in the early 19th century: the products were hand-crafted, expensive, and error prone. A characteristic of maturing industries is that it fabricates products that are assembled of many small standardized and exchangeable parts.

An example is electronic engineering, where small electronic components like diodes, resistors and transistors are not designed for a single application but for numerous and different ones. They can be composed on circuit boards to larger integrated circuits (IC). A single part can simply be replaced by others, provided that it offers the same functionality. Standards like the ISO, ANSI, or DIN guarantee that components are compatible and interchangeable.

Characterization of Components
Software development tries to imitate these reuse mechanisms. The idea is to develop software systems by assembling a set of independently developed components off-the-shelf (COTS) in a 'plug and play' manner.

The notion of a "software component" is already quite old, but in recent time it has changed considerably. While in the early days of programming, software components were mostly seen as source code modules like FORTRAN libraries, one has nowadays more requirements to components. There is no common definition of what a software component actually is. The problems are that the point of view depends much on the background of the author, and that there was in the last years so much discussion about components, that the notion of a component became somewhat fuzzy and ambiguous.

Yet, there are a couple of generic properties, one usually associates with software components. A good starting point is a definition made at the ECOOP 96 conference:

'"A software component is a unit of composition with contractually specified interfaces and explicit context dependencies only. A software component can be deployed independently and is subject to composition by third parties."'' Clemens Szyperski, Component Software, ACM Press/Addison-Wesley, England, (1998).

Next, we will describe the unfamiliar terms occurring in the definition in more detail.

Information Hiding
Probably the most important characteristic is that components completely hide their implementation. The importance was stressed already very early by Parnas' information hiding principle:

"Every module hides an important design decision as well as its implementation behind a well-defined interface which does not change when the design decision or the implementation changes"

Components are like black boxes: The programmer knows, how the outside looks like, and what the component can provide, but he does not know how it works internally. At a first glance, this total encapsulation might seem like a limitation, but we will see that it actually is a help. The application builder profits insofar as he can replace the component by another one, if it supports the same interface and functionality. In addition, he needs not understand the inner working, but only the interface of the component.

The component provider, on the other hand, can change the implementation of the component as long as the interface is still satisfied. The interface is a quite important term in CBSD. It is defined by "a named collection of methods representing one functionality". An interface serves as a kind of contract between component provider and component user. It should not only mention the services of a component but also its dependencies to its environment.

The absence of source code imposes some difficulties that need to be solved. First, it must still be possible to adjust a component to the individual requirements of a user. Adaptation without knowledge about the components implementation is called customization. Further, components must offer a mechanism to get information about the their specification. This self-descriptiveness is achieved by introspection.

Context Independence
Components are easily transferable into different application contexts. As a consequence, components need to be self-contained software elements, independent from any other components. The independence is so strict that even implementation inheritance is forbidden, because it makes a component dependent from its superclass, and changing the superclass can break the component. Interface inheritance, which is a mere subsumption of feature specifications, is allowed.

Implicit Invocation.
So that components are exchangeable, components may ideally not address one another directly, but through an indirection mechanism. A central registry stores all information about the components and interfaces. Each time, a client wants to invoke a method, it queries the registry for the required interface, which, in turn returns a reference to the implementing component.

Component Models
The next demand one makes to components is that they are interoperable, that means they must have the capacity to communicate with components programmed in another programming language or located on a different host. In addition, they must be themselves transferable to other operating systems and hardware platforms. These requirements are ensured by virtual machines, cross-compilers and middleware like Avaki EII from Sybase, CORBA from OMG and DCOM from Microsoft.

Components are not used in isolation, but according to a software architecture that determines the interfaces that components may have and how components can be composed. A component model provides a common framework in which components interact. Component models are programming guidelines that have to be followed so that the component can be used. Outside of the framework, the component is not usable. Two important component models are JavaBeans from Sun Microsystems and ActiveX from Microsoft, which is based on the Component Object Model (COM). CSBD owes its attention and success mainly to these two component models. However, no existing component model realizes all features that are expected of components.

Impacts of CBSD
If one day CBSD really gets established in a large scale, it will bring fundamental changes in the way software is developed. Through Component Based Development, the process of programming components gets separated from that of composing components to applications. The hope is that components can be plugged together as easily as Lego bricks without the need for writing source code. Thus, even domain experts with rather few technical skills can assemble applications.

Furthermore, CBD is expected to have a strong impact on the quality of software development:

 * Due to the simplicity, the software development speeds up. There is no need to develop everything from scratch because one can buy third-party components. The shorter development time results in reduced costs.
 * Components enhance the reliability of the software, as they are improved, tested and debugged over years. Aside from this, the composer can choose and combine the best components of different vendors.
 * The extensibility and evolvability of software systems is improved, because components can flexibly be substituted by another component that satisfies the requirements

A few years ago, this prospect led to a kind of euphoria in the software development community, as components were expected to solve a lot of problems. Now, some disillusion prevails. CBSD turned out to be very difficult, because software consists of many strongly coupled interacting entities, which cannot be wired together in a straightforward way.

Differences to Object Oriented Programming
Often, components and objects are confused or mixed up. Component Based Development indeed owes many concepts to object-oriented methods. Component Based Development as it is understood today, builds on OOP, but gives a more abstract view of software systems than object-oriented methods.

The principal difference is that components are totally encapsulated, as we have just seen. Components strictly prevent access to their internals, while in OOP knowledge about the objects' inner working is necessary, for example when inheriting from a class. This reuse mechanism in OOP is also known as white box reuse, because the source code is open for insight and modification.

Also, the building blocks' granularity is different: Components exist at different sizes varying from single objects inside a library to whole applications. In most cases, however, components are larger entities and contain several objects.

Composition Patterns and Software Architecture
A difficulty of OOP is the representation of interaction protocols. In object oriented programming, the global control flow is distributed over several objects. Therefore, modifications to the interaction protocols result in the change of several objects, which hinders the straightforward evolution of the system. Another problem is that the objects are only reusable in systems with similar interaction patterns.

Component technologies allow the representation of the architecture of software systems as reusable entities. Architecture Description Languages (ADL) describe a software system in terms of collaborations between abstract roles. A role is a kind of placeholder for a real existing component. At composition time, the roles are filled in with components by means of separate connectors. The benefits are:

 * Components contain fewer contextual dependancies and are therefore easier to transfer to other software systems.
 * The interaction protocols can be reused.
 * Software Architectures promote the creation of a well designed structure for the system instead of hacking the components together. A good structuring increases the maintainability of the software system, so that later changes can be undertaken more easily.

The JavaBeans Component Model
JavaBeans, the mainstream Java component Model, was introduced in 1996 by Sun Microsystems. It takes into account most important characteristics which constitute a component. JavaBeans are defined as follows:

"A Java Bean is a reusable software component that can be manipulated visually in a builder tool."

Together with the component model, Sun released a simple visual composition tool, the BeanBox. It is rather intended for experimenting with Beans than offering a professional IDE. For real world applications, one should better fall back on one of the Java IDEs like Visual Age or JBuilder that support the visual composition of JavaBeans, too.

As we can see, JavaBeans do not necessarily differ much from standard Java classes. That makes the beans component model quite easy to use. But JavaBeans can have some features most normal Java classes do not have:

 * Persistence
 * Properties
 * Introspection
 * Event Communication
 * Customization

Persistence
The requirements for an object to be a bean is to define a public parameterless constructor, so that beans can be instantiated by builder tools in an uncomplicated way (In the Point bean, the parameterless constructor is given implicitly). Secondly, one of the interfaces  java.io.Serializable or  java.io.Externalizable need to be implemented. The interfaces do not prescribe the implementation of any methods, but are an approval, that the bean may be saved in persistent storage as in a file or database. In doing so, the bean can be restored after an application was shut down or transferred across networks. The ability to store state of a component in persistent storage is called persistence. Java offers a standard serialization mechanism, what makes it very easy to serialize objects. Alternatively, component can be stored in a customized manner (e.g. in xml format) by implementing the  Externalizable interface.

Properties
The properties of a bean are all fields that are accessible and modifiable by public methods. These getter and setter methods should be marked as such by following a certain naming scheme:

(PropertyType).

The accessor methods, on the other hand, are programmed by the pattern public PropertyType get

Introspection
The intention behind this naming convention is that it helps builder tools to find out how a bean works and what capabilities it has. As we have seen, a component has to provide information about its services, which is called introspection. Java Beans provides two mechanisms for introspection: reflection and the BeanInfo class. BeanInfos gives complex information about a Bean component, but have to be implemented explicitly.

Events
JavaBeans interact with each other by means of events. Events are notifications, a component can give to other components, that something interesting has happened. An example for an event might be a mouse click on a button or the closing of a window. Beans can be source and target of events. To be informed about an event, a bean has to register at another Bean as a listener.

The Java event model realizes the observer design pattern with the effect that the inter-component coupling is reduced. Method calls require tight coupling, as caller and receiver need to know each other at compile time, while with events all communication happens solely via interfaces.

A special kind of event are  PropertyChangeEvents. They are used to restrict some properties to take only specific values, for example for a month integer values between 1 and 31. Every time, such a bound property is modified, notifications to all registered PropertyChangeListeners will be send.

Customization
Customization is done via Property Editors. A property editor is a tool for customizing at design time a particular property type. Property editors are activated from so-called property sheets, which display all properties of a bean. If a property is selected for customization, the property sheet finds out the type of the property, displays the appropriate property editor with the property's current value.

Final Remarks
A big strength of the JavaBeans component model is that it is designed for simplicity. Developing JavaBeans is very simple, because a lot of behaviour (like the platform independence or packaging mechanism) is supported in the Java Programming Language by default. However, one can optionally equip beans with additional objects like BeanInfos or custom PropertyEditors to use the component model in a more flexible way. A second facility is that Sun designed the whole swing GUI library according to the JavaBeans component model. Thereby Swing components can easily be composed in visual builder tools. However, JavaBeans do not realize all features of a component model. A drawback is that JavaBeans are restricted to the Java programming language, while an important goal of components the independence of an implementation language is.


text:
A Home Too Far

A Home Too Far is a 1990 Taiwanese war drama film directed by Kevin Chu, starring Andy Lau, Tou Chung-hua and Ko Chun-hsiung. The film is based on Bo Yang's novel, The Alien Realm, which is the story of the Republic of China Army's 93rd Division taking refuge in Santikhiri (Mae Salong) on the border between Myanmar and Thailand.

Plot
In the early 1950s, the Chinese Civil War has ended with the defeat of Republic of China and the establishment of the People's Republic of China by the communists. Soldiers from the 93rd Division of the Republic of China Army take their families with them and leave southwestern China by entering northern Burma (Myanmar). The hike through the jungle is full of disasters and shortages of supplies, but the survivors reach and settle within the China–Burma border. They build a village and form an alliance with a local armed gang to resist attacks from the Burmese government. Later, the relocated government of the Republic of China offers to take the soldiers and their families to Taiwan, but some are disappointed with the government and decide to stay.

Cast

 * Andy Lau as Little Tu/Hua Chung-hsing
 * Tou Chung-hua as Deng Ke-pao
 * Ko Chun-hsiung as General Li Kuo-hui
 * Ku Feng as General Li Mi
 * Siqin Gaowa as Li Kuo-hui's wife

title: A Home Too Far


text:
Richard Bohslavsky

Richard Bohslavsky (19 July 1904 – 22 May 1984) was an Austrian sports shooter. He competed in the 50 m rifle event at the 1948 Summer Olympics.

title: Richard Bohslavsky


text:
User:Ppearson/Books/Stats

Stats

 * Regression analysis
 * Least squares
 * Bayesian statistics
 * Carl Friedrich Gauss
 * Bias (statistics)
 * Covariate
 * Dependent and independent variables
 * Statistical hypothesis testing
 * Bayesian inference
 * Statistical inference
 * Variance
 * Confidence interval
 * Propensity score matching
 * Central limit theorem
 * Errors and residuals in statistics
 * Design of experiments
 * Quasi-experiment

title: User:Ppearson/Books/Stats


text:
sandboy

Etymology
From.

Noun

 * 1) A boy who sells sand.
 * 2)  A proverbially happy or jolly person.
 * 1)  A proverbially happy or jolly person.

title: sandboy


text:
User:JWSchmidt/Blog/29 January 2007

Portals  I updated Portal:Learning Projects to the "editable box" format.....that's portal number 13 modified for the new format! Only one portal is still remaining (master list) to be cleaned: Learning Materials.

It is not clear that there has ever been or ever will be an organized effort to get all of the learning projects into a single category. It is not clear that there is a coherent definition of "learning project". Anything that goes beyond expecting people to just read a webpage probably meets my definition. Are "learning materials" then those pages that are nothing but static text to be read or downloaded?

title: User:JWSchmidt/Blog/29 January 2007


text:
VH1: All Access

VH1: All Access is VH1's series of original specials that offer an insider's look into the world of rock & roll, from money to fashion to feuds and more.

History
All Access is a lifestyle magazine show that embraces celebrity and current pop culture, or as they like to say: "It's not rocket science, it's only Rock 'n' roll".

title: VH1: All Access


text:
User:Shabirahmadkhan506

Shabir Ahmad Khan (Urdu: شبير احمد خان; born 18 August 1992) is a Pakistani politician who is currently a member of the National Assembly of Pakistan, belonging to the Pakistan Tehreek-e-Insaf.

title: User:Shabirahmadkhan506


text:
Xie Yuchen

Xie Yuchen (born 12 May 1996) is a Chinese female discus thrower, who won an individual gold medal at the Youth World Championships.

title: Xie Yuchen


text:
Kaori Kusuda

Kaori Kusuda (née Kawakami, 楠田香穂里、旧姓川上、born 29 May 1974) is a Japanese former basketball player who competed in the 2004 Summer Olympics.

title: Kaori Kusuda


text:
Wikipedia:Articles for deletion/James Edward Campbell

The result was delete. – filelakeshoe (t / c) 🐱 11:40, 2 October 2019 (UTC)

James Edward Campbell

 * – ( View AfD View log  Stats )

Does not appear to meet any of the WP:NACADEMIC criteria or WP:GNG due to a lack of coverage in independent sources.  Willsome 4 29  (say hey or see my edits!) 17:44, 23 September 2019 (UTC)
 * Note: This discussion has been included in the list of Academics and educators-related deletion discussions.  Willsome 4 29  (say hey or see my edits!) 17:44, 23 September 2019 (UTC)
 * Note: This discussion has been included in the list of New Mexico-related deletion discussions.  Willsome 4 29  (say hey or see my edits!) 17:44, 23 September 2019 (UTC)

 * Weak delete. Citations on Google scholar for author:James-E-Campbell (omitting unrelated hits from the more notable political scientist with the same name) are 560 (An approach to sensitivity analysis I), 202 (An approach to sensitivity analysis II), 34+30+15+14 (Risk methodology for geologic disposal, four hits), 11 (Distributed velocity method of solving the convective-dispersion equation), etc. The first two numbers are good but the very rapid tail-off makes it hard to justify a pass of WP:PROF. And I'm having difficulty finding anything in-depth about him even from his employer, even to justify the claim of being a Distinguished Member of the Technical Staff. As for the claim to having developed Latin hypercube sampling, our article on that topic lists two other publications as having first proposed the technique, with Campbell being one of three authors who "further elaborated" it. I don't think that's enough by itself. —David Eppstein (talk) 19:06, 23 September 2019 (UTC)
 * Weak delete per David Eppstein. XOR'easter (talk) 00:25, 1 October 2019 (UTC)


text:
Talk:Dolphin Nature Conservation Society

Dear sirs/Wikipedia article reviewers, My I know the status/progress of the article 'Dolphin Nature Conservation Society' regards Dr. M. Rama Murty Bmantha (talk) 15:19, 17 August 2020 (UTC)

Commons files used on this page or its Wikidata item have been nominated for deletion
The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 11:11, 18 March 2021 (UTC)
 * Butterfly survey at Chintapalli forests Dolphin Nature Conservation Society, Visakhapatnam.png
 * Clustering of Crow and Tiger butterflies around Senecio plants in Biodiversity Park DNCS.jpg
 * Education awareness fern zone Biodiversity Park, Visakhapatnam.jpg
 * Intertidal rocky shore survey Dolphin Nature Conservation Society Visakhapatnam.jpg
 * Intertidal rocky shore survey by Dolphin Nature Conservation Society, Visakhapatnam.jpg
 * Olive ridley mortality survey Dolphin Nature Conservation Society Visakhapatnam.jpg
 * Pitcher plant demonstration Biodiversity park visakhapatnam.jpg
 * Plastic awareness campaign Krishna college Dolphin Nature Conservation Society Visakhapatnam.jpg
 * Snakes awareness campaign Joseph Penguin Dolphin Nature Conservation Society, Visakhapatnam.jpg
 * Turtle awareness campaign on inauguration day 5-3-2001 Dolphin nature conservation society visakhapatnam.jpg
 * Wildlife rally zoo Dolphin Nature Conservation Society, Visakhapatnam.jpg


text:
Talk:Roy Finch (American football)

Roy Finch's birthplace and Corey is his uncle not his father
In the "Personal Information" section Roy Finch's birthplace is cited as Niceville, FL.

Roy's real birthplace is Clinton,Prince Georges County, MD.

Also Corey Finch is Roy Finch's uncle and not his father. That is an error in Roy Finch's biography from the University of Oklahoma. I edited the spelling of Cory to Corey Finch to reflect the correct spelling of his name and changed him from being Roy's father to his uncle.

<IP_ADDRESS> (talk) 17:00, 6 January 2018 (UTC)Angel Finch - January 6, 2018

title: Talk:Roy Finch (American football)


text:
User:Benhillel

The H-boys ( Hendon Boys 2015) are a group of 12 boys living predominantly in Hendon although some members of this nonce brigade live in Finchley and Hampstead Garden Suburbs.

title: User:Benhillel


text:
Talk:Dilys Laye

Assessment
The article was recently greatly improved. It is at least C-class now. If the Lead section were filled out to give a bit more of an overview, it could probably be rated B class. -- Ssilvers (talk) 23:00, 20 December 2023 (UTC)

 * I have expanded the Lead and increased the assessment to B-class, but the article contains quite a lot of name-dropping. Can someone please remove some of the names listed as co-stars who really are not necessary to name in this article? -- Ssilvers (talk) 20:36, 21 December 2023 (UTC)
 * I don't mind if you want to prune some co-stars' names but I put them in simply to leaven the article a bit. It was perilously close to being a dogged list of productions and not much else. Thanks for your other contributions.  Tim riley  talk   20:43, 21 December 2023 (UTC)

title: Talk:Dilys Laye


text:
User:Seanmcl7

My name is Sean, like the vegetable, I'm 21 years old and I'm cute as shiz

I'm a second year film & media student at the University of Stirling.

Eh... yea that's about it,

Mama always said, "Wikipedia, was like a box of chocolates... you never know what you gonna get."

title: User:Seanmcl7


text:
Talk:Green Bay East–Green Bay West football rivalry/GA1

GA Review
The edit link for this section can be used to add comments to the review.''

Reviewer: The Rambling Man (talk · contribs) 17:14, 23 September 2019 (UTC)

Comments
 * I'm not sure you should be using an em-dash here, rather it ought to be an en-dash. Indeed, later in the lead you have " the East-West rivalry" hyphenated...
 * Page renamed.

 * " 62–49–3," this could use some "hover over" text or similar for those who aren't aware this means W-L-T.
 * Added. Now signifies East wins/West wins/ties.

 * "played in the East-West rivalry" is this an ENGVAR thing when you say a coach "played" in the rivalry?
 * ''I have updated this so it is more clear that Lambeau was in the rivalry as a player but later inducted to the HOF as a coach.

 * "Milwaukee Journal Sentinel " should be in italics.
 * Done.

 * "on November 30, 1905 at" comma after 1905.
 * Done.

 * The lead says it was played annually since 1905 but there's no sign of a 1906 edition.
 * ''The article notes that the district cancelled the 1906 game only to reverse the decision. Added to lead.

 * Should the table of results have a footnote relating to the uncertainty over the score of the 1905 match?
 * Sure, if you feel it should, but I'm not sure how to add it via source editor.

 * " to win 7 straight" seven.
 * Fixed.

 * " Despite fears of the series.... " too many run-on clauses here.
 * Fixed.

 * Where is the Spanish flu fears/cancellations referenced?
 * Ref added.

 * " Green Bay Press-Gazette" italics.
 * Fixed.

 * " seven of the next 16" seven/sixteen or 7/16.
 * Fixed.

 * " citing near-zero " which temperature scale?
 * Added.

 * It's a shame attendance isn't included in the overall table of results.
 * I agree. It's not in the source, however.

 * "—East against Preble and West against Southwest--" looks like an em-dash and two hyphens. Suggest you replace both with en-dashes.
 * Fixed.

 * "The report of the first game from the December 1st, 1905 issue of the Press-Gazette." (1) fragment so no period, (2) date-> December 1, 1905 (3) comma after 1905 (4) italics for newspaper.
 * Altered the caption. I really do not think there needs to be a comma after the year (as it was or is now).

 * "1905—2005" should be an en-dash, not an em-dash.
 * Fixed.

 * Does the table meet the minimum requirements of MOS:ACCESS e.g. row and col scopes?
 * ''I honestly don't know, because I'm using a template? Guidance accepted here.

 * "NFL Alumni" alumni.
 * Fixed.

 * Tables aren't sortable so don't overlink terms e.g. Green Bay Packers is linked every time and no need for that.
 * Delinked.

That's it on a first run through. The Rambling Man (Staying alive since 2005!) 11:49, 30 September 2019 (UTC)
 * OK,, I've gone through and made most of the changes. I'm a little confused about how to implement the table fixes you talked about, so I would appreciate some extra explanation or help. Replies to your comments in italics. Etzedek24 (I'll talk at ya) (Check my track record) 17:09, 30 September 2019 (UTC)
 * Edit: OK, I think I did the MOS:ACCESS headings for the table of alumni? Still would appreciate feedback, as no one has ever raised this point on a GAN before. Etzedek24 (I'll talk at ya) (Check my track record) 17:13, 30 September 2019 (UTC)
 * I know, I'm sorry, I'm applying more stringent comments (which are actually optional, but beneficial to our readers). Thanks for taking them on board and working with them.  I've made a couple of tweaks but I'm generally happy now that the article passes GA.  The Rambling Man (Staying alive since 2005!) 17:18, 30 September 2019 (UTC)


text:
User:Mystictim/Sandbox/Originalpage

This is a test page for a forking experiment that i'm trying out

This is a second edit to test out forking pages

This is the third edit to test out forking pages

title: User:Mystictim/Sandbox/Originalpage


text:
Embedded Systems/8051 Microcontroller

The Intel 8051 microcontroller is one of the most popular general purpose microcontrollers in use today. The success of the Intel 8051 spawned a number of clones, which are collectively referred to as the MCS-51 family of microcontrollers, which includes chips from vendors such as Atmel, Philips, Infineon, and Texas Instruments.

About 8051
The Intel 8051 is an 8-bit microcontroller which means that most available operations are limited to 8 bits. There are 3 basic "sizes" of the 8051: Short, Standard, and Extended. The Short and Standard chips are often available in DIP (dual in-line package) form, but the Extended 8051 models often have a different form factor, and are not "drop-in compatible". All these things are called 8051 because they can all be programmed using 8051 assembly language, and they all share certain features (although the different models all have their own special features).

Some of the features that have made the 8051 popular are:
 * 4 KB on chip program memory.
 * 128 bytes on chip data memory(RAM)
 * 32 bytes devoted to register banks
 * 16 bytes of bit-addressable memory
 * 80 bytes of general-purpose memory
 * 4 reg banks.
 * 128 user defined software flags.
 * 8-bit data bus
 * 16-bit address bus
 * 16 bit timers (usually 2, but may have more, or less).
 * 3 internal and 2 external interrupts.
 * Bit as well as byte addressable RAM area of 16 bytes.
 * Four 8-bit ports, (short models have two 8-bit ports).
 * 16-bit program counter and data pointer.
 * 1 Microsecond instruction cycle with 12 MHz Crystal.

Variants of the 8051 may also have a number of special, model-specific features, such as UART, ADC, Op_Amps, etc., making it an even more powerful microcontroller.

Typical applications
8051 chips are used in a wide variety of control systems, telecom applications, robotics as well as in the automotive industry. By some estimations, 8051 family chips make up over 50% of the embedded chip market.

Basic Pins
PIN 9: PIN 9 is the reset pin which is used to reset the microcontroller’s internal registers and ports upon starting up. (Pin should be held high for 2 machine cycles.)

PINS 18 & 19: The 8051 has a built-in oscillator amplifier hence we need to only connect a crystal at these pins to provide clock pulses to the circuit.

PIN 40 and 20: Pins 40 and 20 are VCC and ground respectively. The 8051 chip needs +5V 500mA to function properly, although there are lower powered versions like the Atmel 2051 which is a scaled down version of the 8051 which runs on +3V.

PINS 29, 30 & 31: As described in the features of the 8051, this chip contains a built-in flash memory. In order to program this we need to supply a voltage of +12V at pin 31. If external memory is connected then PIN 31, also called EA/VPP, should be connected to ground to indicate the presence of external memory. PIN 30 is called ALE (address latch enable), which is used when multiple memory chips are connected to the controller and only one of them needs to be selected.We will deal with this in depth in the later chapters. PIN 29 is called PSEN. This is "program store enable". In order to use the external memory it is required to provide the low voltage (0) on both PSEN and EA pins.

Pin 29: If we use an external ROM then it should have a logic 0 which indicates Micro controller to read data from memory.

Pin 30: This Pin is used for ALE that is Address Latch Enable. If we use multiple memory chips then this pin is used to distinguish between them.It is activated periodically with a constant rate of 1/6th of oscillator frequency. This Pin also gives program pulse input during programming of EPROM.

Pin 31: If we have to use multiple memories then by applying logic 1 to this pin instructs Micro controller to read data from both memories first internal and afterwards external.

Ports
There are 4 8-bit ports: P0, P1, P2 and P3.

PORT P1 (Pins 1 to 8): The port P1 is a general purpose input/output port which can be used for a variety of interfacing tasks. The other ports P0, P2 and P3 have dual roles or additional functions associated with them based upon the context of their usage.The port 1 output buffers can sink/source four TTL inputs. When 1s are written to portn1 pins are pulled high by the internal pull-ups and can be used as inputs.

PORT P3 (Pins 10 to 17): PORT P3 acts as a normal IO port, but Port P3 has additional functions such as, serial transmit and receive pins, 2 external interrupt pins, 2 external counter inputs, read and write pins for memory access.

PORT P2 (pins 21 to 28): PORT P2 can also be used as a general purpose 8 bit port when no external memory is present, but if external memory access is required then PORT P2 will act as an address bus in conjunction with PORT P0 to access external memory. PORT P2 acts as A8-A15, as can be seen from fig 1.1

PORT P0 (pins 32 to 39) PORT P0 can be used as a general purpose 8 bit port when no external memory is present, but if external memory access is required then PORT P0 acts as a multiplexed address and data bus that can be used to access external memory in conjunction with PORT P2. P0 acts as AD0-AD7, as can be seen from fig 1.1

PORT P10: asynchronous communication input or Serial synchronous communication output.

PIN 11: Serial Asynchronous Communication Output or Serial Synchronous Communication clock Output.

Oscillator Circuits
The 8051 requires an external oscillator circuit. The oscillator circuit usually runs around 12 MHz, although the 8051 (depending on which specific model) is capable of running at a maximum of 40 MHz. Each machine cycle in the 8051 is 12 clock cycles, giving an effective cycle rate at 1 MHz (for a 12 MHz clock) to 3.33 MHz (for the maximum 40 MHz clock). The oscillator circuit generates the clock pulses so that all internal operations are synchronized.

One machine cycle has 6 states. One state is 2 T-states. Therefore one machine cycle is 12 T-states. Time to execute an instruction is found by multiplying C by 12 and dividing product by Crystal frequency.
 * T=(C*12d)/crystal frequency

Data and Program Memory
The 8051 Microcontroller can be programmed in PL/M, 8051 Assembly, C and a number of other high-level languages. Some compilers even have support for compiling C++ for an 8051.

Program memory in the 8051 is read-only, while the data memory is considered to be read/write accessible. When stored on EEPROM or Flash, the program memory can be rewritten when the microcontroller is in the special programmer circuit or, if not using a 8031, through a preinstalled bootloader.

Program Start Address
The 8051 starts executing program instructions from address 0000 in the program memory.

Special Function Register
The Special Function Register (SFR) is the upper area of addressable memory, from address 0x80 to 0xFF. A, B, PSW, DPTR are called SFR.This area of memory cannot be used for data or program storage, but is instead a series of memory-mapped ports and registers. All port input and output can therefore be performed by memory mov operations on specified addresses in the SFR. Also, different status registers are mapped into the SFR, for use in checking the status of the 8051, and changing some operational parameters of the 8051.

General Purpose Registers
The 8051 has 4 selectable banks of 8 addressable 8-bit registers, R0 to R7. This means that there are essentially 32 available general purpose registers, although only 8 (one bank) can be directly accessed at a time. To access the other banks, we need to change the current bank number in the flag register.

A and B Registers
The A register is located in the SFR memory location 0xE0. The A register works in a similar fashion to the AX register of x86 processors. The A register is called the accumulator, and by default it receives the result of all arithmetic operations. The B register is used in a similar manner, except that it can receive the extended answers from the multiply and divide operations. When not being used for multiplication and Division, the B register is available as an extra general-purpose register. The A and B registers can store up to 8-bits of data each.

title: Embedded Systems/8051 Microcontroller


text:
User:Beckyb16

About Me:

Public Library Director for 6 years, Children's Programmer for 10 years before that. A few of my personal hobbies are BOOKS, digital photography, beekeeping, and coffee!

Conflict of Interest Statement:

I, Beckyb16, am an employee of the Sioux Center Public Library, a non profit library dedicated to serving the community of Sioux Center. I will not make any edits that would not be beneficial to the goals of Wikipedia. While my editing is sort of all over the map, I do like to improve access to important, free, scholarly sources held in libraries and archives.

I do, from time to time, insert links or create articles based on library resources.

I will modify my editing behavior based on problems cited by other editors or if my editing conflicts with other Wikipedia guidelines. I ask that other editors do not hesitate to contact me, via my user talk page, if I appear to be going against this declaration.

title: User:Beckyb16


text:
File:Stuckists-Punk.jpg

Summary
Scan of the front cover of The Stuckists Punk Victorian catalogue to accompany the show of the same name at the Walker Art Gallery, Liverpool, 2004.

Fair use rationale:

This image is being used in an article specifically about this show The Stuckists Punk Victorian, in relevant articles about the Stuckists, Stuckism and about the artist Paul Harvey who created the image, also to show his work relating to other artists in Alfons Mucha. It is important to provide an understanding about the show, the Stuckists group, who present themselves as visual artists, and the artist. It is believed that this use of a low resolution image, illustrating a significant show for the art group does not in any way damage the commercial interests of either the artist(s) or the publisher, National Museums Liverpool, and therefore does not infringe copyright.

title: File:Stuckists-Punk.jpg


text:
User:JPatrickBedell~enwikiversity/notes-2007

2007-01-18:
 * DNA integrated circuit/proposal import 2007 - content to be imported into DNA integrated circuit.
 * capillary electrode array/proposal import 2007 - content to be imported into capillary electrode array.
 * single page with diagram illustrating dIC mechanical effects.

2007 wikiversity goals:
 * fabrication of DNA integrated circuit and capillary electrode array.
 * for wikiversity as a whole: design of MOSIS-compatible IC IP.
 * three actuarial courses completed.


text:
Talk:World War II/Archive 14

GA Collab nom
WW2 has been nominated for the Good Article collaboration. See top. <IP_ADDRESS> 16:44, 18 June 2006 (UTC)

Info box
How about alphabetizing the countries in the two columns in the info box? Would do away with some bickering about listing by importance. — President Lethe 21:38, 23 June 2006 (UTC)

 * This infobox is getting out of hand. Infoboxes are not meant to list every single fact and then prioritize them.  Really it should just include a few salient points.  The infobox is supposed to be useful to someone who doesn't know a lot about the topic.

 * Are we supposed to list every single ally? Why list New Zealand and not Belgium or The Netherlands?  Or Greece but not Yugoslavia?  Should we include Czechoslovakia?  It's endless.  In my opinion we should just list the participants at Yalta and call it a day.

I don't agree. Infobox looks alright. -- tasc wordsdeeds 12:38, 30 June 2006 (UTC)

Beijing v Beiping
I've reverted the recent change of Beijing to Beiping. Beijing seems to be the current standard English usage (see e.g. BBC and Guardian newspaper). Beiping redirects to the Beijing article, and we try to avoid linking to re-directs in articles. If and when Beiping becomes the standard transliteration it would be appropriate to change the name here, until then it's likely to cause confusion. (I initially wondered if it was another place altogether). David Underdown 10:07, 26 June 2006 (UTC)
 * This isn't a transliteration problem, the city actually changed its name several times in the first half of the century as its' status changed: "Beijing" = "northern capital", "Beiping" = "northern peace". During the occupation period of course, it wasn't the Chinese capital, that was Nanjing ("southern capital"). -- Arwel (talk) 10:52, 22 July 2006 (UTC)

Singpore
I'm writing this in response to the editor who remove the statement of Singpore being the "greatest defeat in British history". Mainly in response to your edit summary.

First to say you were probably right to remove the phrase, since 'the greatest' is very subjective and hard to back up. However Singpore is a good contender. Your other suggestions have real problems. Hastings was not a British defeat. Harold was English, and there's a good case for saying the William (the winner) and his people were the ancestors of the British. The Somme, for all its bloodiness, is considered a victory. Churchill himself considered Singapore to be one of the worst defeats in British history, and he was at least a decent amateur historian. At the time the loss of Singapore looked very like it might be the final loss of Britain's Far East colonies. Singapore was a centre for naval operations in the Indian Ocean, and it's loss hugely restricted what Britain could do there. It could very well have been the prelude to the loss of India, a catastrophe probably as serious to Britain in 1942 as the loss of the American colonies was in 1776. More to the point, Singapore was in theory a well-defended fortress and was expected to resist a seige for months if not years. So that's what the phrase was trying to convey. DJ Clayworth 20:34, 28 June 2006 (UTC)

Well, Churchill might have been trying to distract attention away from something else... john k 12:34, 27 July 2006 (UTC)

clean-up this discussion page?
i've just added an (i admit) rather too long section to the dialogue on this page & then found several redundant sections covering the same subject from diverse angles... i dont think that anyone's comments should be either deleted or edited (by other ppl), but as we've already got some HUGE archives going of talk on this page, maybe we should consider having some poor b*****d go through & try to group things logically & simplify the topics listing & just generaly sort this thing out, because it rly is a bloody mess atm... i'm not volunteering i'm just saying... ;) lol, does anybody want to draw straws? —Preceding unsigned comment added by <IP_ADDRESS> (talk • contribs)

World War 2 PORTAL or WIKI? and general clean-up & improvements for this article and section/category
What about a portal for world war 2? ww1? the world wars? war/human conflict/conflict in general? lol the possibilities are unlimited, but i do think that with the profusion of material & the importance of the subject we should get a portal going.... if there is one already i cant find a link to it on the article page & if it's there it should be MUCH more visible (or i should go have my vision tested... ) Wikipedia seems to have an overlapping structure of information groupings: portals, categories, indexes, & god knows what other diverse odd stuff on the one hand, & still some shortcomings in indexing/cross referencing & particularly searching on the other. i know this isn't really the place to enter into a full discussion on the subject, the problems & how to fix it all; but the subject & the article do offer a vry good working example, both of the problems & (hopefully) of ways to fix them... i noticed that the article was nominated for "best of wiki" & that it didnt make the cut & i can understand both...

What i'd suggest is:

1. put all the ww2 info together into categories, portals, & whatever else wiki has got for sorting info into categories

2. tidy it all up & make sure everything is cross-referenced & linked @ as many useful points as possible

3. check through related articles for accuracy & consistancy of info, following both wikipedia principles & as much inclusiveness as possible

4. just generally go through the articles & fix up errors & tidy grammar & organization & sort out what parts belong in which articles rather better than it is right now

also the links @ the bottom, both internal to wiki & external need to be better sorted; maybe there should be specific sub-pages for both? ie: a page of pages of wikipedia ww2 links & a page of pages of off-site ww2 links

for that matter, what about a world war 2 wiki? or ww1 & 2? or see above re: portals (lol)

...thats not too much to ask for i hope? i'll just go & find my magic lamp ;)

this article does have the potential to be "best of wiki" & the subject in general is important enough to deserve some serious attention & improvements on wikipedia; but i ageee that the ww2 subject page is just getting too damn looooooong...

it needs to be cut down with the excess info moved to the relevant subject articles, and what is kept here needs to be improved in many places...

i hope this discussion topic comtributes something useful

...and hope ppl can find it stuck down here on (what is for now) the bottom of this looooong talk page. o, its just me, i know & i'll get an account eventually, i didnt rly plan on getting in this deep just now, i got started on one little thing & you know how it is.... lol —Preceding unsigned comment added by <IP_ADDRESS> (talk • contribs)

 * Thanks for your comments. There is a Portal:War, and there also is a Category:World War II with several sub-categories. Yes, this article is rather long. Since the topic is so huge it's hard to keep it from growing when people add what they think is so important that it should be included here. What to include and what not is a subjective thing where people from all over the world have different oppinions on what is important enough to be in this main article and what should be left out and instead included in the many sub-articles we have on the war. But overall this article isn't that bad, in my oppinion. Shanes 23:08, 9 July 2006 (UTC)

Enigma machine
This part is heavily biased in my view. The text mentions that the Poles were somehow central in breaking the code. NO mention is made of the main country involved with the Enigma machine, i.e. the Germans. There is no mention of how the machine was invented, how it was used, whose idea it was. All it mentions is how some Pole cracked part of the code. I always think it is easier to break a system than come up with one... Wallie 20:12, 18 July 2006 (UTC)

 * It's not the machine itself that is significant here, it's the breaking of it. And for that it's the Poles and the British that were signficant. The Enigma machine article itself should go into more details about its construction.

 * However having said that while two major incidents in the Enigma saga are mentioned there is no description at all of the the Ultra project, one of the most significant parts of WWII. I think it should get its own (short) section under Technology. DJ Clayworth 15:23, 20 July 2006 (UTC)

Categorization at the bottom of this talk page
Why are Germany, the Soviet Union, China, Japan, Italy and India not mentioned here? Did you all know that they took part in World War 2? Or so you have to be 1) A victor, 2) have mainly "white" people in your country and 3) be a current "western" power to be included on this list? Another lot of bias, I fear. Wallie 20:48, 18 July 2006 (UTC)

 * The categories are actively added by military history task forces for the country in question. I would imagine that there is no Chinese or Russian or Japanese military history task force, and thus that these kind of fall through the cracks.  This is the bias of user interests happening to be concentrated in certain areas, not some kind of active bias. john k 02:51, 19 July 2006 (UTC)

 * What do you mean, the countries above are not mentioned? I agree that the existence of Germany and U.S.S.R in the war (escpecially U.S.S.R) is a bit small. But the contributions of the rest of the countries you've named and not named are too small to be said of anything (no offense). China was in total chaos-a civil war engulfed by the Japanese invasion. Techincally China was fighting Japan, but not much was done to help stop the Japanese. Italy's contribution as an ally to Germany was also very small-the brainwashing effect of Italy's people by Hitler had no effect, and Italy never was interested in war. After Mussolini's death, his military crumbled, doing no good for Germany. India didn't do the actual fighting. India provided mostly artillery support for British troops and medical care, which a lot of smaller nations have done. So, technically, there should be more information on other countries, but I don't agree that its a bias. Oyo321 04:03, 23 July 2006 (UTC)

Complete Re-Design of this Page
One of the most annoying things about this World War II article is that it is split up into many sub-sections which cover all the events but don't flow together.

I suggest we do a better job in grouping the articles. Like instead of going year by year and theatre by theatre, we cover one theatre and move onto the next.

For example, we can cover the whole course of events of North African theatre in one area instead of splitting it up in per year basis.

World_war_I

Also take a look at the world war I article, which is a Featured Article. I think thats how this article needs to be build around.

Here is how I think this article should be split up. All the Information is here, so it will take very little time to get this article re-organized.

German Invasion of Poland and Western Europe (1939 - 1940)

Atlantic Campaign (1939 - 1943)

North African and Mediterranean Campaign (1940 - 1944)

German Invasion of Soviet Union (June 1941 - December 1941)

Sino-Japanese War (1937-1941)

USA and Japan enter the War (December 1941 - June 1942)

Eastern Front (December 1941 - February 1943)

Air Campaign over Germany (1942 - 1945)

South Pacific Campaign (1942 - 1944)

Central Pacific Campaign (1942 - 1944)

South East Asia (1942 - 1945)

Sino-Japanese War (1941 - 1945)

Eastern Front (February 1943 - June 1944)

Italian Campaign (1943 - 1945)

Occupied Europe (1940 - 1944)

Atlantic Campaign (1943 - 1945)

Western Europe (1944 - 1945)

Eastern Front (June 1944 - January 1945)

Occupied Asia (1942 - 1944)

Air Campaign over Japan (1942 - 1945)

Defeat of Japan (1944 - 1945)

Defeat of Germany (1944 - 1945)

Let Me Know.....

Mercenary2k 08:39, 20 July 2006 (UTC)

 * During my time at Wikipedia this page has already been completely redesigned twice. I guarantee that if we redesign it now, someone will suggest another redesign in a year or so. DJ Clayworth 15:16, 20 July 2006 (UTC)

 * I think a rewrite like the one you suggest deserves consideration. And such a rewrite was actually well underway a year ago here (that page was prod-deleted a while back, but I restored it now since I find it useful to point people to it, not to say that someone might even want to continue that rewrite). Shanes 15:12, 21 July 2006 (UTC)

 * I think this is the best way to present this article. Going year by year, and front by front is just too cumbersome. Covering one section in great detail and moving on to the next is the best way to do this. I need feedback as what is the best way to cover the events, I mean how would u categorize World War II.  Feel free to tinker with the list. I want to arrive at an agreed upon list from which we can re-organize the information on this article.  All the info is here, all we need is to re-organize it. Mercenary2k 10:36, 22 July 2006 (UTC)

 * This seems like a good idea to me. Year by year is awkward. john k 10:54, 22 July 2006 (UTC)

 * I do not think this is a good idea. In my opinion, a historical account should give the highest priority to the chronological order - almost all history books I've read does this. Remember, this article is (and will always be) a general introduction to the reader, not a complete account. As it is now, I believe it is easy to follow the general flow of the entire war from 1939 to 1945. If we divide it into theater by theater, I sincerely believe the average (non-WW2-knowledgeable) reader will be confused, and will have a hard time to get a grip of how the war evolved. I say, let the subarticles handle the different theatres, and let this article handle the general chronology, year by year. My regards, --Dna-Dennistalk - contribs 12:06, 22 July 2006 (UTC)

No history I've ever read is strictly chronological. Most are loosely chronological, but one pretty much always has to go back and forth a bit across time, or else you're a chronicle rather than a history. john k 12:46, 22 July 2006 (UTC)

I think chronology is better, but with some exceptions. Each of the major theatres has its own article, and so do most of the minor ones, which is where the reader can go if they want a description theatre by theater. The exceptions are things like Ultra which dont' relate clearly to the rest of the conflict. DJ Clayworth 21:26, 24 July 2006 (UTC)

Pictures appearing now on the left
What do people think of this? I am trying to get used to some pictures on the left, and some on the right. What do you others think of this new layout? Wallie 20:06, 21 July 2006 (UTC)
 * As I understand things, it's recommended that articles have pictures that aren't all on one side because it looks kind of boring, so I tried to change a couple to the left side. However, it took very long to get it to not break all the text, so I stopped midway through :/. Homestarmy 01:40, 22 July 2006 (UTC)
 * I was just asking an honest question. I am quite open. I thought initially that everything should go on the right. But I had a look at the layout of varous books, including on WW2, with lots of pictures, and they do usually have pictures left right and center. There is never any harm in experimenting. Wallie 12:58, 22 July 2006 (UTC)
 * I'm just saying, it was really hard to switch them around, almost every time I tried moving one to the left all the text got all squished looking :). Homestarmy 03:38, 23 July 2006 (UTC)
 * My only preference is to keep left-aligned pictures well separated (vertically) from right-aligned pictures. Otherwise (on certain browser widths) the images can collide and the layout becomes rather ugly. (For example the current Invasion of Soviet Union section.) — RJH (talk) 17:16, 24 July 2006 (UTC)

Rudolph Hess is Captured
This section seems to me to be totally out of scope of the remainder of the article. I thought this was a minor event that played no significant part in the outcome of the war, other than as a propaganda coup. Should it be removed? — RJH (talk) 21:40, 21 July 2006 (UTC)

 * Ya it should be removed. Mercenary2k 10:51, 22 July 2006 (UTC)

 * Concur. It was not significant in comparison to the other sections here. --Habap 15:19, 22 July 2006 (UTC)

 * Sheesh! Like your section, I suppose. Wallie 20:07, 22 July 2006 (UTC)

Image:WW2 Iwo Jima flag raising.jpg
I think this image needs to go for copyright reasons: please consult the image information page and the talk page Image talk:WW2 Iwo Jima flag raising.jpg for more detailed information. No fair use rationale has been specified for the image's use on this article and AP specifically denies that fair use is available for this image. Hence, we need to be very, very careful when making fair use claims for it. As per Wikipedia copyright policy, "by permission" usage of an unfree image (even one only unfree for commercial purposes) is unacceptable unless it is merely in addition to a good fair use claim. TheGrappler 06:23, 23 July 2006 (UTC)

GA review
Corrections are needed only for images :
 * Images such as Image:Hitlermusso.jpg, Image:Neville Chamberlain2.jpg, Image:Polish infantry.jpg, Image:Fallschirmjaeger Kreta 1941.jpg, Image:V-1.jpg, Image:McArthur.JPG & Image:Massdeportations.png don't give their fair use rationale.
 * This image has a deletion request : Image:Adolf Hitler in Paris.jpg.
 * These image have an obsolete tag : Image:Panzer(Afrika).jpg, Image:Dieppe pebble beach.jpg, Image:Stalingrad.jpg & Image:Warsaw siege3.jpg.
 * The fair use of this image is disputed : Image:Gustav line.jpg. Lincher 17:16, 24 July 2006 (UTC)

Atomic bombings ended the war
This is not true. By Soviet version for example, it was the Soviet offensive in the Far East that ended the war, and the defeat of the Quantun army.--Nixer 17:01, 26 July 2006 (UTC)

 * The issue is somewhat controversial, I believe, and subject to revisionist history by those who claim the use of nukes was unjustified. Perhaps it can be safely worded to say that it was a combination of the two that brought the war to an end. Thanks. — RJH (talk) 20:53, 26 July 2006 (UTC)
 * I would be acceptable for me but in fact it is also contraversal. Factually Japan agreed with capitulation of Japanese army and government before the bombings and the offensive. But they rejected the capitulation of the Emperor. The USA insisted the Emperor should also capitulate and Japan declared republic. After the bombings and the offensive the Japanese position did not change. But the USA agreed with Japanese terms. The Japanese government and the army capitulated, but not the Emperor. It is a fact. By the way, the position that the bombings wwere unjustified is not a revisionist position. Because it was the position of the USSR all the way. Can we call Soviet position "revisionist"?--Nixer 05:33, 27 July 2006 (UTC)

 * If this was the Soviet position, might it have been politically motivated? Since the Soviets rapidly developed their own nuclear weapons, I don't think they were anti-nuclear. They may simply have expressed outrage as the beginnings of the Cold War. I would agree that it is at least not revisionist history to claim the bombings were unjustified as that position has been well-known for decades and subject to debate.

 * If the Japanese had already agreed to surrender, then the Soviet position that they influenced the decision is also wrong. --Habap 11:44, 27 July 2006 (UTC)

 * Tha atomic bombings ended the war in the sense (at least) that they were the final act. It's a reasonable thing to put. DJ Clayworth 13:09, 27 July 2006 (UTC)

 * Nixer, I've just read over the Potsdam Declaration, which was the set of conditions for Japanese surrender and the abdication of the Emperor is not mentioned at all. (see Wikisource of Postdam Declaration) As such, the Allies (not just the USA, as the war involved more than just the two parties) did not deviate from those terms. The Japanese accepted them unconditionally (see Wikisource of the Japanese Instrument of Surrender). So, based on the documents, the argument about the Emperor is simply not true. --Habap 14:09, 27 July 2006 (UTC)

British winter of 1946-1947
Unless someone can make a compelling case for keeping this link, I'm going to delete it from this article. I have two reasons: First, its current context leads the reader to believe that British winter of 1946-1947 is going to have something to do with "British Malaise." Instead, it's a meteorological history of the winter months of 1946 and 1947 in the UK. Second, Wikipedia is not an indiscriminate collection of information, and the linked-to article seems a decent candidate for deletion. Tcatts 13:32, 29 July 2006 (UTC)

"A V1 Rocket in flight"
This picture seems to be the wrong way up. Perhaps someone turned it that way, early on, to make it more dramatic.

As I have read it, the control mechanism caused it to descend by shutting off the engine. So, in normal operation, it would never be pointed downward when it had an exhaust plume. It would be flying level or slightly upward. David R. Ingham 17:13, 4 August 2006 (UTC)

 * Just to nit pick the V-1 wasn't a rocket at all. It used a ram jet. They did use a rocket booster for launch but they were discarded yards after take off. The picture has been retitled by myself. --LiamE 10:25, 5 August 2006 (UTC)

title: Talk:World War II/Archive 14


text:
Talk:Mediahuis Ireland

Ownership
I take it Tony O'Reilly still owns most of the company? Omicron18 15:38, 11 August 2006 (UTC)

Enron of the media?
This link is interesting. —Preceding unsigned comment added by Omicron18 (talk • contribs) 15:42, 11 August 2006

Fair use rationale for Image:INMplc.png
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title: Talk:Mediahuis Ireland


text:
Hajjiabad, Sarvelayat

Hajjiabad (, also Romanized as Ḩājjīābād) is a village in Sarvelayat Rural District, Sarvelayat District, Nishapur County, Razavi Khorasan Province, Iran. At the 2006 census, its population was 139, in 49 families.

title: Hajjiabad, Sarvelayat


text:
Central Saint Petersburg

Central Saint Petersburg is the central and the leading part of Saint Petersburg, Russia. It looks nothing like the downtown district of a typical major city, and has no skyscrapers. The Central Business District's main borders are Neva River to the north and west, and the Fontanka River to the south and east, but the downtown includes areas outside.

History
The Central Saint Petersburg is the oldest part of the city after the Peter and Paul Fortress. When people were starting to populate Saint Petersburg they built their houses around the almost only building outside the fortress; the Admiralty building. The largest industry was ship building. The first residence of Peter the Great was a little hut (the hut hasn't been destroyed and is a museum), but he soon started to build the Summer Palace, which was located just opposite the hut, on the other side of the Neva River, and later he built a Winter Palace for himself. The central part of the city was supposed to be between the Peter and Paul Fortress and his first house.

Overview
The CBS is an area with many old buildings and has beautiful parks like the Summer Garden, Field of Mars and Mikhailovsky Garden. It is also the wealthiest area in Saint Petersburg, home to luxury hotels like Hotel Astoria and Grand Hotel Europe. It has always been a wealthy district since the rich noble Russians built their mansions here.

Administratively, the Saint Petersburg central business district falls under the authority of Tsentralny and the Admiralteysky Districts.

The CBS is also a main traffic hub, with tramways, trolleybuses, buses, marshrutkas, and the Moscow Rail Terminal.

Streets and squares
Significant streets are Nevsky Prospekt, the heart of the city, and is one of the largest shopping streets in Europe, with department stores like Gostiny Dvor and The Passage. It's also home to the Kazan Cathedral and Anichkov Palace.

Sadovaya Street is a main street in downtown with high traffic, home to Yusupov Palace, Apraksin Dvor department store, and crossing the Sennaya Square; a main square, with entertainment, commercial and many shops.

St Isaac's Square is home to the St Isaac's Cathedral and Mariinsky Palace, and has a monument dedicated to tsar Nicholas I of Russia. On the other side of the cathedral is the Decembrists Square, next to the Admiralty building, and the location of the Bronze Horseman.

Palace Square is home to the Winter Palace and the Hermitage.

Arts Square is home to the Russian Museum, the Mikhaylovsky Theatre, the Large Concert Hall (Bolshoi Zal) of the St. Petersburg Philharmonic, the Pushkin monument and is not far from the Church of the Savior on Blood.

The Theatre Square is home to the world famous Mariinsky Theatre.

title: Central Saint Petersburg


text:
User:Abdallah albeltagy/Books/Integrated Pest Management ( IPM )

The Complete Solution

 * Chapter (1) : Difinitions
 * Food and Agriculture Organization
 * Biology
 * Organism
 * Ecology
 * Ecosystem
 * Weather
 * Forecasting
 * Prediction
 * Community (ecology)
 * Biological interaction
 * Introduced species
 * Invasive species
 * Competition (biology)
 * Consumer-resource systems
 * List of life forms
 * Agriculture
 * Farmer
 * Horticulture
 * Crop
 * Harvest
 * Food
 * Food chain
 * Livestock
 * Clothing
 * Generation time
 * Introduction to viruses

 * Chapter (2) Pests
 * Herbivore
 * Carnivore
 * Generalist and specialist species
 * Pest (organism)
 * Biological life cycle
 * Metamorphosis
 * Weed
 * Insect
 * Caterpillar
 * Larva
 * Worm
 * Mosquito
 * Mollusca
 * Slug
 * Snail
 * Mite
 * Microorganism
 * Disease
 * Pathogen
 * Plant pathology
 * Fungus
 * Bacteria
 * Nematode
 * Virus
 * Vector (epidemiology)

 * Chapter (3) : Pesticides
 * Pesticide
 * Herbicide
 * Biopesticide
 * Insecticide
 * Acaricide
 * Insect repellent
 * Animal repellent
 * Rodenticide
 * Molluscicide
 * Insect growth regulator
 * Plant hormone
 * Phytotoxin
 * Nematicide
 * Bactericide
 * Bacillus thuringiensis
 * Antimicrobial
 * Fungicide

 * Chapter (4) : Pestcide applications and problems
 * Pesticide application
 * Fumigation
 * Persistent organic pollutant
 * Pesticide resistance
 * Pesticide drift
 * Health effects of pesticides
 * Toxicity
 * Toxicity Class
 * Carcinogen
 * Pesticide poisoning
 * Pesticide residue
 * Maximum Residue Limit
 * Pesticide toxicity to bees
 * Restricted use pesticide
 * Pesticide regulation in the United States

 * Chapter (5) : IPM Pratices
 * Paradox of the pesticides
 * Silent Spring
 * Rachel Carson
 * Non-pesticide management
 * Sustainable agriculture
 * Integrated pest management
 * Host (biology)
 * Growing degree-day
 * Bioeffector
 * Crop rotation
 * Cover crop
 * Crop residue
 * Pest control
 * Biological pest control
 * Predation
 * Parasitism
 * Parasitoid
 * Semiochemical
 * Pheromone
 * Sex pheromone
 * Pheromone trap
 * Moth trap
 * Vector control
 * Mosquito control
 * Collections care
 * Quarantine
 * Border control
 * Tillage
 * Plough
 * Biocide
 * Bioherbicide
 * Organic farming
 * Organic horticulture