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National Museum of India

The National Museum in New Delhi, also known as the National Museum of India, is one of the largest museums in India. Established in 1949, it holds a variety of articles ranging from the pre-historic era to modern works of art. It functions under the Ministry of Culture, Government of India. The museum is situated on Janpath. The blueprint of the National Museum had been prepared by the Gwyer Committee set up by the Government of India in 1946. The museum has around 200,000 works of art, mostly Indian, but some of foreign origin, covering over 5,000 years.

It also houses the National Museum Institute of History of Art, Conservation and Museology on the first floor which was established in 1983 and has been a university since 1989, running master's and doctoral level courses in art history, conservation and museology.

History
In 1946, the idea of building a National Museum for India was proposed by the Gwyer Committee. Sir Maurice Gwyer, the former chief justice of India and vice chancellor of Delhi University, headed the committee. One of the members of the committee was Sir Mortimer Wheeler, then heading the Archaeological Survey of India (ASI), who is often cited as chief initiators of the National Museum as he advocated for the museum's development although reports indicate that he was concerned with unifying ASI site museums under the umbrella of a museum's branch rather than setting up a new museum.

The roots of the National Museum begin with an exhibition of Indian art and artefacts organized by the Royal Academy of Arts, London. The exhibition went on display in the galleries of Burlington House during the winter months of 1947–48. This Exhibition of The Art of India and Pakistan in London was arguably the first exhibition sponsored by the British government which gave Indian artefacts the status of high art. Before its return to India, with Jawaharlal Nehru's support, it was decided that these important collections should be showcased here upon their return so that they could be enjoyed and appreciated by the people of India. At the close of the exhibit, requests were released to the loaning museums and collectors, urging them to surrender object ownership to what was to become the National Museum. When the decision was taken to make a permanent National Museum, the exhibits were first displayed in the state rooms of the Rashtrapati Bhavan (then called Government House) on August 15, 1949, and the rooms were formally inaugurated by C. Rajgopalachari, Governor General of India. Until the mid-1950s, it essentially remained a permanent version of the temporary exhibit – consisting of the same pieces, and remaining in the state rooms. In 1955 building began on the new current location of the National Museum at Janpath. However, when the National Museum was ready in 1960, the statue of Buddha and the Rampurva Bull were retained at the Rashtrapati Bhavan on the request of Jawaharlal Nehru.

Since its inception, the National Museum owed much of its original structure and organization to the example of the Indian Museum, Kolkata, as some of its first curators were former employees of the Indian Museum, such as C. Sivaramamurti, even though the National Museum aspired to displace the historic position the Indian Museum had come to acquire as the largest and grandest museum in India. The National Museum encouraged scholars and the public to think differently about the objects on display by placing the objects within a broad historical context and allowing the objects to speak for a larger representation outside of itself.

Grace Morley was the first director of the National Museum, New Delhi, who earlier played an instrumental role as the founding director (1935–58) of the San Francisco Museum of Art (now San Francisco Museum of Modern Art). She joined the National Museum on 8 August 1960 and continued to hold its charge for six more years. She was one of the advocates of cultural democracy who believed that art should be available to everyone—and held firm convictions about the crucial role that museums could play in this endeavour. In her installations for the National Museum, this desire for secularisation and democratisation was effected through the presentation of sculptures in classic white-cube spaces with minimal contextual information. It was her 'visual storage' display system, minimalist teak pedestals, air-conditioning vents, track-lighting, and large glass cases with staggered risers for visual variety which led to the museum acquiring international recognition and the museum in its working still reflects her image. She instructed carpenters to build display cases and Eamesian-type couches, cabinets and cases that reflected modernist, uncluttered lines. Such elements produced the perfect streamlined stage for a performance of the modern by viewing audiences. Harmonious colour schemes, dramatic, dim lighting, cushions of space around eye-level objects, and the occasional leafy plant for a visual pause, all contributed to the creation of a modern museum.

Departments and collections

Presently, there are several departments in the National Museum.
 * Pre-History Archaeology
 * Archaeology
 * Manuscripts
 * Numismatics & Epigraphy
 * Paintings
 * Arms & Armour
 * Decorative Arts
 * Central Asian Antiquities
 * Pre-Columbian Art
 * Jewellery
 * Anthropology
 * Anubhav
 * Education
 * Public Relations
 * Publication
 * Conservation
 * Display

The collections of the National Museum represent almost all disciplines of art: archaeology (sculptures in stone, bronze and terracotta), arms, armour, decorative arts, jewellery, manuscripts, miniatures and Tanjore paintings, textiles, numismatics, epigraphy, Central Asian antiquities, anthropology, Pre-Columbian American and Western Art Collections.

The museum has in its possession over 200,000 works of art, of both Indian and foreign origin. While the National Museum has over 200,000 exhibits, it currently displays six to seven percent of its collection. The remaining is exhibited on a rotational basis or in temporary exhibitions. The final phase of expansion will allow it to display another three to four percent of the treasures.

Building
The current building of the National Museum was designed by the architect Ganesh Bikaji Deolalikar, and the foundation stone was laid by Prime Minister Jawaharlal Nehru on May 12, 1955. Once the building was ready, the new museum was inaugurated by Dr. Sarvepalli Radhakrishnan, Vice-President of India, on December 18, 1960. It stands today on the plot of land earmarked in Edwin L. Lutyens' plan for the Imperial Museum and was occupied by a small Museum of Central Asian Antiquities that housed the important collection of the explorer Sir Aurel Stein.

The National Museum building was planned to be built in phases to finally give it an octagonal shape. Its first phase was inaugurated in 1960, and the second was completed in 1989. For the third and final phase, a foundation stone was laid on December 18, 2017, and involves the razing down of the Archaeological Survey of India (ASI) building which has been moved to Dharohar Bhawan. As maps of the original plan suggest, roughly a quarter portion remains to be added for the completion of the building. The National Museum building has three floors with galleries radiating from a central garden court. The National Museum Institute, which is on the first floor of the museum and has a "deemed to be university" status, will be shifting to a new campus in Noida.

Harappan Gallery
The museum has various artefacts from the Harappan civilization, also known as the Indus Valley civilization. It has the world's most representative collection of antiquities of the Harappan civilization – over 3500 objects that are on permanent loan from the Archaeological Survey of India to the museum. Most famous among the objects is the Dancing Girl made in Bronze, which belongs to the early Harappan period, Skeleton excavated from Rakhigarhi in Haryana, Terracotta images of Mother Goddess and Clay Pottery. Apart from these the gallery has Sculptures in Bronzes & Terracotta, Bone Objects, Ivory, Steatite, Semi-Precious Stones, Painted Pottery and Jewellery items. Many seals are also on display which has been discovered during numerous excavations and were probably used for trading purposes. These seals depict bulls, elephants, unicorns, tigers, crocodiles, and unknown symbols. On one of the seals, there is the depiction of Pasupati that has been interpreted as proto-Shiva. The gallery attempts to present the vibrancy of human civilization in India at par with the contemporary civilizations of Mesopotamia, Egypt and China.

When one of the major sites of the Harappan civilization, Mohenjo Daro, was excavated in the 1920s, archaeologists deposited its important finds first in the Lahore Museum, and then these were moved to Delhi by Mortimer Wheeler in anticipation of the construction of a Central Imperial Museum there. At the time of the Partition, the issue of ownership of these objects arose and eventually the two countries agreed to share all the collections equally, although this was sometimes interpreted in literal sense, with several necklaces and girdles taken apart with half the beads sent to Pakistan and half retained in India. In the words of Nayanjot Lahiri, ‘the integrity of these objects were compromised in the name of equitable division’. Of the two most celebrated sculpted figures found in Mohenjo Daro, Pakistan asked for and received the steatite figure of a bearded male, dubbed the 'Priest King', while the National Museum of India retained the bronze statuette of the 'Dancing Girl', a nude bejeweled female. Considering that the major sites like Mohenjo Daro and Harappa belonged to Pakistan post-Partition, the collections in this gallery also grew out of the discoveries of the excavations made after the Indian independence in 1947 such as Daimabad, Rakhigarhi, and Dholavira.

Key highlights of the collection include:

 * Mother Goddess (2700–2100 BC)
 * Toy Cart (2700–2100 BC)
 * Bull (2700–2100 BC)
 * Pasupati Seal (2700–2100 BC)
 * Climbing Monkey (2700–2100 BC)
 * Dancing Girl (2700–2100 BC)

Maurya, Shunga and Satvahana Arts Gallery

The gallery has objects from the 4th century BCE to the 1st century BCE. It has objects spanning three major dynasties: the Mauryas, the Shungas and the Satvahanas. Objects in the gallery have Greek influence characterized by mirror-like finishing. The gallery also houses fragments of railings from various ancient Stupas that are carved on with episodes from Buddha's life. A major object is the one showing Sage Asita's visit to baby Siddharta and the Bharhut railings that depicts the story related to the relics associated with Buddha by the sage Drona. A typical feature of the period to which objects in the gallery belongs to is that the sculptures do not depict Buddha in the physical form. He is always shown using symbols like the Dharmachakra, the Bodhi tree, empty throne, and footprints.

Kushana Gallery
This gallery has art objects from the Kushan period (1st – 3rd century CE). The major school of arts were the Gandhara School of Art and the Mathura School of Art. The Gandhara school had huge influence of Greek Iconography and the themes were mainly Buddhist. Most prominent among the objects is the Standing Buddha, made in Grey schist stone in Gandhara School of Arts and it belongs to the 2nd century CE. This period was the first time when Buddha was shown in physical form. The Mathura school of arts had primary themes of Buddhism, Jainism and Brahmanism while the Gandhara Arts were primarily of Buddhist themes. Other sculptures include the Kuber (Hindu god of Fortune) from Ahichchhatra, the Chattramukhi Shivlinga, the Bodhisattva, and the Jain votive plaques.

Gupta Gallery

As the name suggests, this gallery exhibits artefacts from the Gupta dynasty (4th–6th centuries CE). The art of the Gupta period presents a high watermark in Indian art. Mathura and Sarnath were the main centres of artistic activity. Under the patronage of Gupta rulers, sculptures attained a perfection of form that set the standard for artistic beauty for the coming centuries. Major developments in iconography took place during this period as the Kushan sculptures seem to be further perfected and some of the sculptures of this period are considered unsurpassed for the proportioned figures with clear features.

 * Sculptures depicting scenes from the epics of Ramayana and Mahabharata

Medieval Arts Gallery
The sculptures from the medieval period are divided into two categories: Early and Late. The artefacts from the respective periods are divided into two galleries.

Early Medieval Artefacts

This gallery has sculptures ranging from the 7th to 10th centuries. After the fall of the Gupta empire, the Indian subcontinent was divided and it was controlled by different dynasties in different parts of India like There was a general decline in the artistic quality because of the limited number of master craftsmen and the large number of temples being built.
 * Palas in the East
 * Maitrakas in the West
 * Vardhanas and Pratiharas in the North
 * Pallavas, Cholas and Chalukyas in the South

Late Medieval Artefacts

This gallery has sculptures ranging from the 10th to 13th centuries. The country was further sub divided into a number of separate principalities during this period.
 * Hoysalas and Nayakas in the South
 * Paramars and Chandelas in the North
 * Gajapatis and Senas in the East
 * Chahamanas (Chauhans) in the West

The main artefacts in this gallery are:
 * Sun God
 * Saraswati, the goddess of music, learning and intelligence. Carved in marble, the statue from Pallu, Rajasthan, is a highly sophisticated and delicate work.

Decorative Arts Gallery
The Decorative Arts collection at the National Museum is a reflection of lifestyles of the Indian people from the 16th to the 20th century. Decorative Arts refer to Arts concerned with the design and decoration of objects that are prized for their utility, rather than for their purely aesthetic qualities These include both utilitarian and decorative objects hand crafted by master-craftsmen. They help in understanding the social, religious, economical, commercial and technological development of Indian society. Ceramics, Pottery, Furniture, Textiles, Glassware, Metalware and Jewellery are a few included under Decorative Arts. The Decorative Arts section is divided into two galleries.

Decorative Arts Gallery 1
This gallery gives a glimpses of three collections of the museum – Ivory, Jade and Ceramics. The Ivory group has several Hindu and Christian religious figures. The Jade section showcases the utilitarian objects, while the glazed tiles and blue-white pottery are in the Ceramic group. The gallery also has two interesting themes – Thrones of India, and Games and Leisure in the Past. The theme of thrones shows the evolution of the seat of power. From the low flat seats of antiquity to the modern armed chair, the journey of the throne is a fascinating story. An intricately carved Home Shrine and some metal Hindu and Jain pitikas (small seats for keeping idols for home shrines) are also present. The Jewel studded throne of the King of Varanasi is one of the best examples to show Power. The Games section has Rattles, Yo-Yo, Gamesman of Chess and Chaupar. Tops made of different materials with different designs are also exhibited. These artifacts combine the aesthetic and artistic elements to everyday objects used for games. The Jade Collection of the museum has interesting objects from the Mughal period.

Decorative Arts Gallery 2

This gallery has artifacts from the proto-historic period to the present day. The variety, quality and media did increase with the taste and status of different generations and the process is on even today. This gallery exhibits Metalware, Jewellery and Wooden objects. Most notable among the wooden objects are the Vahana on display.

Miniature Paintings Gallery
Miniature paintings, on paper, cloth, bark, wood and ivory, forms one of the National Museum's most prestigious collections, and the world's largest. There are over 17,000 paintings in the Department of Painting in the National Museum, spanning 900 years and most stylistic formats to be found in India: Pala, early Jain style, Sultanate, the indigenous styles of Malwa, Mewar, Bundelkhand, Raghogarh, Mughal, Deccani, later Rajasthani, Pahari, Sikh, Jammu, Tanjore and Mysore, and the Company School paintings.

Mughal Miniature Paintings
Miniature painting flourished during Mughal rule. Emperor Jahangir and Shahjahan were great patrons of art. In their courts, the painters adopted themes ranging from portraitures to landses, durbar scenes and processions for their works. The Deccani style was a fusion of Islamic idiom with indigenous art styles and of local classical traditions with elements of Persian and European Renaissance.

Central India Miniature Paintings
Paintings from Central India include miniatures from Malwa and Bundelkhand.

Rajasthan Miniature Paintings
Rajasthani Miniatures flourished mainly in Mewar, Bundi, Kota, Kishangarh, Jaipur, Jodhpur and Bikaner.

Mewar Miniatures are illustrating Hindu mythological themes. Bundi and Kota Miniatures excel in composition compactness. Hunting scenes are Kota's speciality. Bikaner excels in Portraiture. Kishangarh is known for its Bani Thani, which portrays the model of an idealised and elegant woman.

Pahari Miniature Paintings
Pahari schools flourished mainly at Basohli, Chamba, Guler and Kangra. Under the patronage of Maharaja Sansar Chand in the late 18th and early 19th centuries, Kangra became the most prominent centre for the Pahari style.

Buddhist Artifacts Gallery
The Buddhist Art Section is mostly known for the sacred relics of Buddha (5th–4th century BC) unearthed from Piprahwa, Siddharthnagar district, in Uttar Pradesh, which yielded caskets with fragments of bone, along with ornaments, figures and precious stones. The inscription on a casket speaks of the relics of Buddha. The Archaeological Survey of India conducted further excavations at the site from 1971 to 1977, resulting in the discovery of two more caskets in soapstone, containing more sacred bone relics. The site has been identified with ancient Kapilavastu, the home town of Buddha Sakyamuni. Outstanding specimens of Buddhist Art is illustrated through exhibits in Stone, Bronze, Terracota, Stucco, Wooden Sculptures & Painted Scrolls or Thangkas from Nepal, Tibet, Central Asia, Myanmar, Java and Cambodia which represents the three principal Buddhist forms – Hinayana, Mahayana and Vajrayana. These objects stimulate a sense of Devotion, Dedication and Love for Humanity.

Key highlights of the collection include:

 * Adoration of Stupa, Nagarjunkonda, Pale Green Limestone, 3rd century AD
 * Standing Buddha, Kushana, Dark grey schist stone, 2nd–3rd century AD
 * Laughing Boy Head, Kushana, Stucco, 3rd–4th century AD
 * Scenes from Buddha’s Life, Gupta, Sarnath, Chunar sandstone, 5th century AD
 * Buddha Head, Gupta, Sarnath, Buff Chunar sandstone, 5th century AD
 * Standing Buddha, Pala, Nalanda, Bronze, 10th century AD
 * Elephants carrying Buddha’s Relics, Sunga, Bharhut, Red sandstone, 2nd century BC
 * Sacred Relics from Kapilavastu, Piprahwa, Spotted red sandstone, 5th–4th century BC

Evolution of Indian Scripts and Coins Gallery
In this gallery, there are many large sized well-lit transparencies on show which are narrating the development of various Indian Scripts and Coins.

Bronze Gallery
The Bronze Gallery, showcases pioneer works of bronze in Indian art and sculpture. Renovated to present information in a unique and accessible way, the gallery features a striking layout that juxtaposes the sculptures with detailed descriptions providing context, significance and production processes of the objects. The gallery has been curated by Shri Tejpal Singh, Deputy Curator, Archaeology and designed by Ms.Matrika, Mumbai and executed by CPWD.

Four Buddha images from Phophnar, Madhya Pradesh known for their excellence are on display. The Pala bronzes from 8th to 10th century, mainly Buddhist in theme are from Nalanda in Bihar. The bronzes from the Himalayan region, especially those belonging to Kashmir and Himachal Pradesh, represents bronzes of Northern India. Svachchhanda Bhairavi showcases the skill of the metal smith of Chamba and Vishnu Vaikuntha testifies to the high level of craftsmanship of Kashmiri artists. Selected Nepalese and Tibetan bronzes are also on view. The image of Vasudeva-Kamalja (half Vishnu and half Lakshmi) displayed here is a superb example of Nepalese bronze art and iconography.

Key highlights of the collections include:

 * Vishnu Vaikuntha, Kashmir, Bronze, 9th century AD
 * Nataraja, Chola, Tamil Nadu, 12th century AD
 * Kaliya-Mardan Krishna, Early Chola, 10th century AD
 * Siva- Tripurantaka, Early Chola, 9th century AD
 * Svachchhanda Bhairavi, Utpala Chamba, Himachal Pradesh, 10th century AD

Manuscripts Gallery

The museum comprises over 14,000 manuscripts and texts, of which about 1000 are illustrated. The collection of manuscripts are in various languages and scripts covering a large number of subjects. They are written on different types of materials such as parchment, birch bark, palm leaf, cloth, paper and metals. All the manuscripts represent various religions and sects of the Indian Subcontinent covering the period from the 7th to the 19th centuries. Dated manuscripts elaborate the Indian history with authoritative authenticity.

Key highlights of the collections include:

 * Asthasahasrika Prajnaparamita, Sanskrit, Palm Leaf, 12th century AD
 * Baburnama, Persian, Paper, AD 1598
 * Balabodhini, Sanskrit, Birch-bark manuscript, 12th century AD
 * Gita Govinda of Jayadeva, Sanskrit, Palm leaf; 14 folios in accordion format, 18th century AD
 * Jain Kalpa sutras, Prakrit, Paper, 15th century AD

Coins Gallery
The Coins Gallery of the National Museum, New Delhi has over 130,000 coins in its reserve with some of the rarest coins, ranging from sixth century BC, when coins are believed to have first appeared in the country. The gallery displays 1669 coins along with five replicas of coins, five measuring vessels and some couries and ratties that were used in ancient times as weights and measures. It has almost all Indian coins from the earliest bent bar, punch-marked coins to those of Indian Pot with Seated Monkey States, British India and post-independence coins. The entire history of Indian coinage from about 6th century BCE to the beginning of the 21st century is exhibited. There are various dioramas depicting various techniques of coin production. These coins can be considered rich and authentic source of information on various aspects of Ancient, Medieval and Modern Indian History.

Central Asian Gallery
The vast and varied collection of this gallery was excavated, explored and collected by Sir Aurel Stein, one of the major archaeological explorers of early 20th century. He collected these cultural materials from more than 100 Ancient Cities along the Silk Route during three major expeditions carried out by him in 1900–1901, 1906–1908 and 1913–1916. The collection consists of wall paintings, painted silk banners, sculptures in wood, stucco and terracotta, coins, porcelain and pottery objects, leather, grass and fiber, precious items of gold and silver, religious and secular documents.

Maritime Heritage Gallery
A Maritime Heritage Gallery is located on the first floor of the National Museum which showcases the rich maritime heritage of India through various artefacts, photographs and dioramas. The gallery was setup in 1991.

Tanjore and Mysore Paintings Gallery
This gallery exhibits the paintings from the two famous schools of South India – Tanjore and Mysore. The important themes of Tanjore and Mysore schools include paintings of Vaishnavism portraying images of Hindu Gods Krishna, Rama, Vishnu and his other incarnations and Shaivism portraying various forms of Shiva, Parvati, Kartikeya, Ganesha and other Shaiva deities; and portraits of various kings, saints and royal patrons.

Tanjore paintings, named after the ancient town of Tanjavur in Tamil Nadu employ real gold and silver foil, precious and semiprecious stones, beads, mirrors, and powdered metals besides the use of primary colours- red, green, blue, black and white to depict key figures. The Mysore school of painting sprang in south Karnataka in the reign of Maharaja Mummudi Krishnaraja Wadiyar present a wide variety, from murals to stylistic Mysore paintings on cloth, paper and wood. 88 paintings have been put on show at the gallery and some of the masterpieces include Navaneeta Krishna with Tanjore King Shivaji II (1830 CE), Nataraja Shiva early 19th century, Rama Pattabhisheikha early 19th century, Durbar of Serfoji II (1798–1833) and the Marriage ceremony of Shiva -Parvati and Sita-Rama end of18th century.

Textiles Gallery
The Textiles Gallery exhibits the collection of Indian traditional textiles of the Later Mughal period. Cotton, Silk and Woolen textiles which are woven, printed, dyed and embroidered are exhibited in the gallery.

Pre-Columbian and Western Arts Gallery
The collection of Pre Columbian art donated by Mr & Mrs Heeramaneek represents the principal cultures of the Pre- Columbian world. The Olmec culture from Mexico is characterized by huge stone sculptures representing human heads, as well as small sculptures in jade and other stones 0. The objects are primarily from before Christopher Columbus's discovery of North and South America, including objects from Mexico, Peru, Maya, Inca, North-West coast of America, Panama, Costa Rica and El Salvador.

Anthropology Department
The Anthropology Department of National Museum has a collection of objects of ethnographic interest that has been acquired over the years through exploratory expeditions as well as valuable gifts from private collections. The Ethnic Art gallery exhibits examples of tribal and folk art as part of a larger heritage.

Tribal Lifestyle of North East India Gallery
This gallery is dedicated to the states of North-East India. The eight states of the North East are called Seven Sisters and One Brother (Sikkim) States. The eight states have a wealth of cultural handicraft, performing arts and unique traditions. This gallery exhibits traditional artefacts such as dresses, apparels, headgears, ornaments, paintings, basketry, wood carvings, smoking pipes and articles of personal adornments of various tribal groups.

Sharan Rani Bakliwal Musical Instruments Gallery
The collection on display in the Musical Instrument Gallery was donated to the museum by Padamshree (Late) Mrs. Sharan Rani Backliwal, India's Sarod Maestro. This gallery has a collection of musical instruments in tribal, folk and classical groups. There are also a few 19th-century Western instruments. The collection is divided into three parts such as Wind Instruments, String Instruments and Percussion Instruments. This gallery also has a sculpture made in bamboo of Goddess Saraswati playing the Veena.

Wood Carving Gallery
The Wood Carving Gallery of the museum not only exhibits artefacts from India, but also from Nepal and Tibet. This gallery gives glimpses of India's wood carving tradition mainly belonging from 17th to 19th centuries illustrating the different styles of wood carvings from Rajasthan, Gujarat, Odisha and South India. Collections on display include decorative and utilitarian objects, architectural elements and sculptures. A square pillar with a capital of five feet height dated 9th century is the earliest wood carving specimen in National Museum. The gallery has been curated by Anamika Pathak.

Arms and Armour Gallery
This gallery exhibits arms from the Stone Age up to the Modern Age. The collection comprises edged weapons, projectiles, smashing weapons, sacrificial and ritual weapons, firearms, armour for men and animals, ornamental and war accessories. The collection is predominantly Mughal in addition to Maratha, Sikh, Rajput arms which are also well represented. In the permanent collection of this Gallery the international symbol of peace is also exhibited. The piece called Metamorfosis from the series “Cultivemos la Paz” was created by Colombian artist Alex Sastoque, who cast an AK-47 - the rifle most used by the FARC armed group - with a shovel, as a symbol of the transformation of weapons. in cultivation tools, according to the newspaper El Espectador.” Alex Sastoque is the author of the sculpture that became one of the symbols of the disarmament of the FARC. In this way he supported artistically and conceptually the peace agreements in Colombia.

Tradition, art and continuity
A Gallery with over 200 objects ranging from a wide geographical and social spectrum, acquired from private collectors was added to the museum on 6 February 2014. Various objects on display are a palanquin from the Santhal community, scroll paintings from West Bengal, textiles such as Phulkaris from Punjab and bronze sculptures from Bastar, besides terracotta works and basketry. The gallery is a rich representation of art from various parts of India.

Anubhav
The National Museum, in collaboration with UNESCO, National Platform for the Rights of the Disabled (NPRD) and Saksham, launched a new permanent gallery for Persons with Disabilities in the year 2015 which features tactile replicas of 22 objects from the collections of the museum as well as an audio guide, ramps and descriptive labels in Braille; the gallery encourages visitors to 'touch' and feel the objects on display. 'Anubhav: A Tactile Experience' ensures a conducive space and exposure to the objects for the differently abled. The gallery was conceived and developed by Rige Shiba, Assistant Curator under the overall guidance of Vijay Kumar Mathir, Curator with assistance from Vasundhra Sangwan. The Replicas exhibited in the space have been made by the National Museum Modeling department headed by Hemant Tomar and his colleagues and the gallery has been designed by Amardeep Labana, with a special emphasis on dimensions. For instance, one can have a sensory experience of a mid-19th century coin from the Awadh region which has been recreated in 23-inch diameter and 2-inch thickness.

Governance
On the basis of nature of grants and exercise of control, the National Museum comes within the purview of Central Government of India. It was initially looked after by the Director General of Archaeology until 1957, when the Ministry of Education, Government of India, declared it a separate institution and placed it under its own direct control, following this shift the museum began to significantly increase both its staff and its collections using funds from the Art Purchase Committee. At present, the National Museum is under the administrative control of the Ministry of Culture, Government of India.

Donors
The first wave of collecting for the National Museum started in 1948 and which lasted around 1952, drawing heavily on scholars like V. S. Agarwala, Moti Chandra, Rai Krishnadas, Karl Khandalavala and their personal relationships with private collectors. Funding for mass collecting was granted by Parliament from 1947 but this first acquisition period is marked by lack of descriptive detail, quantifiable data, parameters surrounding the criteria of selection. O. C. Gangoly (1881–1974) sold a group from his collection of paintings to the National Museum in whose foundation he states he played a role. He further avers that he encouraged other fellow collectors to bequeath their collections to the National Museum but was not always successful. Collections of Burjor N. Treasurywalla (d. 1947) also resides in the National Museum, about which Gangoly says almost nothing except that it was large and important. He does emphasize how he was involved in the purchasing of the collection itself except that it was likely that Khandalavala, a relative of Treasurywallla, played a greater role. V. S. Agarwala was instrumental in securing extensive private collection of Ajit Ghose of Calcutta, Dickinson collection, Gulab Chand collection, Modi's collection and Medd's collection.

In recent years, according to a Standing Committee on Transport, Culture and Tourism query, the number of collections added to the National Museum was a total of 2269 objects during the period of 1994–2010. Out of this 1360 objects were purchased and remaining 906 objects were acquired through gifts etc. This small number was attributed to the Art Acquisition Committee of the National Museum being defunct since 1997.

Auditorium
Beside the galleries, the museum also has an auditorium with a seating capacity of 250 people. A brief film introducing the museum and its collections is screened in the auditorium regularly. Film shows on art, history and heritage are also screened.

Digitization of museum collections
The National Museum has started a special project to digitize its collection of objects in order to make it available for visitors to see online. This process involves digitization and storage of museum collections in a collection management system named ‘JATAN’. JATAN is a virtual museum builder software, that enables creation of digital collection management system for Indian museums and is deployed in several national museums across India. Its objective is to make a digital imprint of all the objects preserved in museums and help researchers, curators and other people interested in the field which has been designed and developed by Centre for Development of Smart Computing (C-DAC) Pune.

The digital imprints (of preserved objects and monuments) created using the JATAN software are integrated in the national digital repository and portal for making them accessible to the public. The National portal and digital repository for museums of India provides an integrated access to theme-based collections and artefacts (in terms of sculptures, paintings, manuscripts, weapons, coins and numerous other categories of artefacts) irrespective of the physical and geographical locations of museums. Centre for Development of Smart Computing has also developed "Darshak", a mobile-based application aimed at improving the museum visit experience among the differently abled. It allows real-time museum visitors gather all details about objects or artefacts simply by scanning a QR code placed near the object.

National Museum collections on the Google Art Project
National Museum has volunteered objects from its collection on the Google Art Project which is a non-commercial initiative of Google through the Google Cultural Institute. More than hundred objects have been photographed and their descriptions are available on the Google Art Project website under the name of National Museum, New Delhi, which has given a high reach to online visitors for the collection. The Google page of National Museum will be populated further by adding other pertinent collections from National Museum on it.

Controversy
In 2010, in the first study of its kind, UNESCO presented a report which rated the National Museum along with other seven museums, as badly maintained, poorly lit and having incorrect signs. In a response by the then Minister of Social Justice and Empowerment and Tourism, Selja Kumari in a written reply to Parliament said that the ratings and findings of the report were invalid since the no. of surveyors was inadequate.

Future
Although in its early stages, another project for which the site proposed for redevelopment constitutes the most iconic part of India's capital city, Central Vista Redevelopment Project, the National Museum is one of the buildings listed in the tender as some of these buildings approaching the end of their "structural lives" while those that are around a 100 years old, like North and South Blocks, are not "earthquake safe".

Exhibition: The Indo-Siam Connect
An exhibition titled "Indo-Siam Connect: Tracing The Indian Heritage in Thai Art and Living Traditions", was organised by the Museum, in association with the Royal Thai Embassy, at the erstwhile Buddhist Gallery of the Museum, from 28th February to 31st May. It was organised to celebrate the 75th Anniversary of Diplomatic Relations between India and Thailand. The exhibition, presented transcultural notions reflected by the Indo-Siam connections as seen in the multifaceted aspects of religion, texts, visual art, architecture, textiles and performances, highlighted how both the countries share a glorious longstanding historical, cultural, and religious milieu since ancient times, which continue to flourish till the present day.

This exhibition presented thematic variations by showcasing the chronological progression, and the diverse visual elements, which show the continuing and dynamic cultural and artistic relationships shared by the two countries. The connection between the two nations was traced through the idea of navigation, orientation and mobility of people, goods, and belief patterns, which facilitated in the processes of cultural transmission and localization of icons, texts and artistic activities. Consequently, it led to the formation of sanctified cities as a representation of powerful statecraft and kingship. These were based on the concepts of the unified cosmological symbolism, divine patronage and spiritualism, marked by the creation of prominent architectural edifices, including temples and stupas. This proliferation of cultural exchanges, evident in the quest for spiritual awakening and learning, led to the dissemination of symbols, rituals, yogic practices oral traditions and belief systems. This visual journey highlighted all these various strands through the wealth of the different varieties of exhibits on display.

A special focus was on the Tai ethnic groups residing in Northeast India, who are also are scattered through much of mainland Southeast Asia and parts of China, as their lifestyles and traditions help in tracing the contemporary dynamic paths of cultural exchanges in the modern times. Among the various ethnic groups inhabiting the expansive region of Assam, and Arunachal Pradesh, particularly, the Tai Ahom, Tai Phai, Tai Aiton, and the Tai Khampti tribes played a seminal role in the spread of Buddhism in Thailand via Burma and they show similarities in cultural and material life with the indigenous communities of Thailand. The exhibition also had a section devoted to the concept of celebration of life as seen in the oral and visual performances of these indigenous groups.

The theme was primarily visualized through the artifacts from the National Museum collection. There were pottery stone sculptures, bronzes, wood carvings, terracotta, paintings, textiles and ethnic objects. These masterpieces range from collections of Anthropology, Archaeology, Decorative Art, and Pre-Columbian to Western Art. Additionally, to enhance the comparative artistic tradition of Thailand, select replicas of the masterpieces of ancient Thai art masks, musical instruments, photographs of Thai archaeological sites and objects, etc., contributed by the Royal Thai Embassy, were also on display. A wide range of silk-textiles from Assam and Thailand, from the collection of Dr, Pawan Jain, Art Historian and Smt, Gunjan Jain, Textile Designer, were also exhibited. The Swargadeo Chaolung Siukapha Samanway Kshetra, Mohbandha, Jorhat, Assam, also contributed a rare collection of Tal-Ahom manuscripts. Photographs from the field documentation conducted by the curatorial team of the Museum in Arunachal Pradesh and Assam, which were on display, highlighted the similarities in Buddhist architectural edifices.

There were almost a hundred and fifty objects on display that emphasized on aspects of the shared heritage and artistic linkages of Indo-Thai spheres from ancient to modern times. The exhibition located the fundamental and prominent role India has played throughout the waves of cultural dissemination, and the displayed objects collectively brought forth a historical narrative that has been part of an India consciousness for centuries.

title: National Museum of India


text:
User:Maxl

Hello,

I'd like to introduce myself. My name is Max, I'm from Munich, Germany. Maxl is a form of the name Max which is largely used in my part of the country as a kind of a pet name for Max. I'm interested in a lot of things, from weather to actors to movies to politics to history and much more. I consider myself a liberal which is not a negative attribute in Germany. Weather is my hobby and I have taken many weather pictures with my digital camera. If someone is interested in these I am ready to forward them to you! I am Roman Catholic but I make my own decisions on religion. I don't agree with all things coming from Rome. I like to eat meat, especially which is, by far, the most-eaten meat in Bavaria. I like to indulge in Bavarian-style wheat beer. I am also fond of trams. I think there is no article on Munich Tram in the English wiki so far. I could start it.

Greetings

Maxl

source: wikimedia

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

title: User:Maxl


text:
User:LockeShocke~enwikibooks

I am a carry-over from WikiPedia, where my account started. You may view my user page there. LockeShocke 01:33, 28 April 2006 (UTC)

title: User:LockeShocke~enwikibooks


text:
Template:Researchnew/Quotes

"It seems to me what is called for is an exquisite balance between two conflicting needs: the most skeptical scrutiny of all hypotheses that are served up to us and at the same time a great openness to new ideas … If you are only skeptical, then no new ideas make it through to you … On the other hand, if you are open to the point of gullibility and have not an ounce of skeptical sense in you, then you cannot distinguish the useful ideas from the worthless ones." - Carl Sagan

"Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution." - Albert Einstein

title: Template:Researchnew/Quotes


text:
QBasic/Files

In this lesson, we will learn how to create and modify files. In doing so, we will create a portion of a text editor to handle reading and writing files to and from disk - the program won't be complete by the end of this chapter, but will be finished within Advanced Text Output.

Let's start by setting up out main procedure:

As you can see, we are using CASE rather than IF. IF statements can sometimes work better than case statements, but for now, we want to avoid spaghetti code (where there are too many GOTO's).

So far, we don't really have much, but it's a start. We've asked the user what they want to do, and finished 1/3 options. Not so shabby when you put it that way!

The OPEN statement
The open statement allows either reading or writing information from the disk. In general, the open statement follows this pattern:

The file$ determines the filename to use. The FOR portion indicates how the file will be accessed or operated - it may be APPEND, BINARY, INPUT, OUTPUT, and RANDOM. The AS # is the identifier used for the file handle in question - this may be a variable if desired.

Input and output
When you need to access or write content to a file handle, the PRINT and INPUT statements expect a file handle to appear as the first parameter:

In some cases, you need to detect if you are going to reach the end of file - this is performed by the EOF function, which accepts a filehandle that takes input.

Reading the file from disk
We will now add a subroutine to read the complete file from disk, as lines of text, into an string array called text. It is also possible to read a data file full of numerical values (and input these into a number array), however that is a different topic.

Note the code that finds the file 'size', by reading lines one at a time until the End Of File is reached, and the use of 'SEEK' to 'rewind' to the beginning again.

The example above treats the file as type=text. If the file contains numbers (for example, a data array of N integers per line x M lines) these can be read (input #) one at a time, directly into a numeric array. Input will read the numbers one at a time, 'stopping' after each is input. Numbers can be separated by 'anything' (so lines of text will be skipped).

Writing a file to the disk
The function for writing a file to disk is easier:

Part 2: New file
In order to create a new file, you have to open it for OUTPUT, then close it. Example: NOTE: If you accidently open an existing file, all of its contents will be overwritten!

title: QBasic/Files


text:
IB Cultural Anthropology/The Nature of Anthropology/Fieldwork

So what is the goal of cultural anthropology? We are attempting to perform a holistic study of culture. How is this accomplished? Fieldwork.

Prior to modern anthropology, anthropologists did not come in contact with the cultures they studied. Instead, they relied on reports from explorers and missionaries. One of the first modern anthropologists, Edward Tylor, instead said to “go look.” But fieldwork is more than just observation of a culture. Mere observation is not science- there is no hypothesis, no test of any theories, and no practical use for the information. One must formulate a hypothesis about human behavior. One then tests this hypothesis in the field.

This is not to say that observation is unimportant. On the contrary, if there is no data to support one’s hypothesis, then one’s hypothesis is not scientific either.

One first must collect data about the culture. One must go into the field and live with the group for at least 18 months in order to gain an adequate understanding of the culture. This is called fieldwork.

There are many practical issues in fieldwork:
 * Choosing a site - What sort of culture do you want to study? (European, African, Asian etc).
 * What sort of climate do you want to work in? (The Netsilik might not be good if you don’t like the cold.)
 * Is this group representative of the culture? Food, shelter, clothing, cleanliness, etc. Where and how does one go to the bathroom?
 * Medical issues- You won’t be immune to the local diseases, get your vaccines in good time and remember some need boosting when you get back home.
 * Pragmatic- Do men need a beard? (For the Tiwi, men do.) Respect of others way of life in most cases guarantees you the information you're after.

Back to The Nature of Anthropology


text:
Talk:The Underland Chronicles

Ripredism?
Is there seriously something called Ripredism? It's under Ripred in the character section, but I don't remember one bit about that anywhere! —Preceding unsigned comment added by Scarheart11 (talk • contribs) 22:37, 25 April 2009 (UTC)

It's a religion of a few followers, though I do not believe we are legally recognized by the government. It's not technically in the book, but Ripredism is the belief in our Lord Ripred as the One True God. It has holy texts and everything. Sometimes Shift (talk) 02:16, 4 November 2009 (UTC)

Name of the Series
Wait the series is called the Underland series, I think we should redirect the page. But lisen, alot of people don't know that! But I know the true Gregor fans should know!

No, they're called the Underland Chronicles. Sapphira Lily 18:25, 28 October 2007 (UTC)Sapphira Lily

Sapphira Lily is correct. My (paperback) copy of Gregor and the Marks of Secret says, right at the top of the front cover: "BOOK FOUR IN THE UNDERLAND CHRONICLES". Saugart (talk) 14:17, 25 November 2007 (UTC)

This article needs to be better....
Seriously. we really need to add the locations of the underland,family trees,and postede artwork of book covers. what about fanart? and we should say a litttttttttle more about the diffrent species and their alignment. how about the phiosophy of gregor and related books? unforuntately,there are ABSOLUTELY NO

And everyone, make the articles more professional, meaning better word choice, grammar, spelling, etc. Sapphira Lily 18:26, 28 October 2007 (UTC)Sapphira Lily

Hey If you want to spend your time and energy fixing it, by all means go right ahead and do it but I dont think that you should ask other people to do work that your to lazy to do yourself —Preceding unsigned comment added by <IP_ADDRESS> (talk) 01:03, 25 December 2008 (UTC)

I would, but others keep changing it. Maybe like you, who missed, what, a few commas, a letter that should be lowercase, and a period at the end. 05:26, 9 March 2009 (UTC)Sapphira Lily

I'm going to try to update this as much as possible within the next week or so. If you can, don't work on it. If there's someone working on this already, just write your name two lines under my post. Thanks. Scarheart11 22:10, 25 April 2009 (UTC) Saturday, April 25th 2009, 6:09 PM —Preceding unsigned comment added by Scarheart11 (talk • contribs)

Prophecies new sub-section...
I think that I'm going to add a sub-section where it translates each prophecy and tells what it means. Also, Hermes appeared in the Marks of Secret, so I'm adding him in. SMBTUC 00:41, 8 June 2006 (UTC)
 * I will try the prophecy-translation. I think it used to exist either here or on each of the book pages, so I can just pull it out of the past. Ian01 17:49, 10 July 2007 (UTC)
 * Found them. I will put them in shortly. Ian01 18:01, 10 July 2007 (UTC)
 * I have added the translations for Prophecies 1-4 from an old revision. They were deleted along with the prophecies as copyvio, then the prophecies were put back without the translations. Unfortunately, the Prophecy of Time wasn't in the article as of the revision I got the translations from, and I haven't read book 5 yet, so I can't write a translation. Each prophecy still needs a summary at the top of its section, I might write them for 1-4. Ian01 18:54, 10 July 2007 (UTC)

I'll put in the Prophecy of Time, since I'm going to look over and add/edit stuff.
 * By the way, Gregor and the Code of the Claw is awesome! You should definitely read it. Scarheart11 22:14, 25 April 2009 (UTC) Saturday, April 25th 2009, 6:14 PM  —Preceding unsigned comment added by Scarheart11 (talk • contribs)

Moths =Eaters?
Where in the world did somebody find imformation that says moths are supposed to be eaters in the Underland?
 * Probably from Gregor and the Curse of the Warmbloods or Gregor and the Marks of Secret, but I don't know for sure. Ian01 19:02, 10 July 2007 (UTC)

I have read the books about ten times and there's nothing about that. If anything were eaters, it would be the fireflies. <IP_ADDRESS> 05:51, 29 July 2007 (UTC)gregortheoverlanderfan

The Moths=Eaters issue is moot now, since that data is no longer on the Wikipedia page. (In the first four books, I only find the moths briefly mentioned once: in Chapter 37 of Gregor and the Prophecy of Bane.) Saugart (talk) 19:33, 25 November 2007 (UTC)

Good & Bad?
I don't think the rats should be grouped under "good" and "bad". It's not clear that "good" means "siding with the humans". --Laogooli 12:34, 5 July 2006 (UTC)

maybe they should be listed as allies and enemies and unclear... or undecided... or even listed by who they follow.. its clear there are followers of Ripred.. but that doesnt make them allies to the humans... TwitchtipsNest 00:17, 19 July 2006 (UTC)

I added Suzanne's page but not the forum TwitchtipsNest 00:16, 19 July 2006 (UTC)

I think we should add tuc.video-gamer91.com. It's very good. Gregortheoverlanderfan 00:22, 16 May 2007 (UTC)

I added the forum. Gregortheoverlanderfan 06:20, 30 June 2007 (UTC)gregortheoverlanderfan

It is not only clear the rats follow Ripred, they also chose him as the leader in the last book. They might need a whole other section for "Good and Bad" since they ally with the humans in the last book. As a side note, the spinners should also be in this new section (they helped the Bane recover when Gregor cut off his tail). Scarheart11 22:19, 25 April 2009 (UTC) Saturday, April 25th 2009, 6:18 PM —Preceding unsigned comment added by Scarheart11 (talk • contribs)

Got rid of the stuff about Israel and Palestine. Without a citation, it's just glaringly and obviously flawed. — Preceding unsigned comment added by <IP_ADDRESS> (talk) 05:55, 30 December 2012 (UTC)

the vow of war
".. she kneeled on the ground and placed her crown in front of her. Crossing her wrists, she held her hands, palms down, over the gold circle and said in a loud voice:

'Upon this crown my pledge I give. To my last breath, I hold this choice. I will your unjust deaths avenge, All here who died without a voice.'"

any thoughts?

I also wonder if the information about bonds could be placed in a better place....

TwitchtipsNest 23:13, 18 July 2006 (UTC)
 * I think it should be in the Gregor and the Marks of Secret article Ian01 17:10, 10 July 2007 (UTC)

I think, that we could put the bats next to the human that they bonded with.

Ragerrat 16:09, 5 Sept 2006 (UTC)

people
Do we have to put all the imformation about the humans? Ragerrat 15:33 8 Sept 2006

Holocaust
Whoever put that is there any proof directly from the author on that? because I seriously think that may just be conincidence, in which case it should not be there. MMcGee 00:24, 19 February 2007 (UTC)

In 'Gregor and the Marks of Secret', chapter 23, page 295 of the Scholastic paperback, the party has just witnessed the nibblers be killed with poison gas: But this ... this has no precedent,"said Nike.

"This has too much precedent," said Ripred, grimly.

We know that Ripred has read a number of Overland books. So, it seems obvious to me what the precedent is to which he is referring. Does anyone have any other reasonable suggestions?

However, MMcGee has raised a point that it would be nice to see this in an interview as well. It would give us something to cite. I'll look around for interviews with Suzanne Collins. Saugart (talk) 06:30, 26 November 2007 (UTC)

I changed the Rat groups from good and bad to Human-Siding and Human-Hating. I think we should be as accurate as possible.

Is Gregor and the Code of Claw already out?
I thought it would come out March 31st (like Marks of Secret). Borders said they didn't have it. But Code of Claw is apparently already out (as seen in the article). Anyone clarify if it is out? Gregortheoverlanderfan 21:55, 5 April 2007 (UTC)gregortheoverlanderfan

It's available at Barnes and Noble. Puffy Treat 00:29, 8 April 2007 (UTC)

It's now online at amazon.com in hardcover (which is how I bought it). One can pre-order the paperback from Amazon. Saugart (talk) 06:35, 26 November 2007 (UTC)

i dont think this is the end of the series but if it is im dissapointed....but thats just me

 * I agree. Scarheart11 22:21, 25 April 2009 (UTC) —Preceding unsigned comment added by Scarheart11 (talk • contribs)

Note to the commenter above: please sign your comments. Saugart (talk) 06:35, 26 November 2007 (UTC)

new page
Who's going to make the new page for the last book? —The preceding unsigned comment was added by Ragerrat (talk • contribs) 02:32, 9 April 2007 (UTC).

Prophecy of Light?!?
Is that Prophecy of Light thing real or not?! Shrewpelt 19:26, 9 July 2007 (UTC)
 * It's fan fiction. Ian01 17:42, 10 July 2007 (UTC)

Check tuc.videogamer91.com. <IP_ADDRESS> 14:05, 28 July 2007 (UTC)gregortheoverlanderfan

Article cleanup
Since it appears that most of the article's edits are by fans with little Wikipedia experience (no offense meant), I want to help clean up the article, especially the Prophecies section. Unless anyone has any objections, I will start immediately on the prophecies, putting them under proper sub-headings and removing the irrelevant links. If I have time, I will go over the rest of the article with a fine tooth-comb* and fix anything else that needs it. Ian01 17:17, 10 July 2007 (UTC)
 * *It's "fine tooth-comb" not "fine-tooth comb." Apparently you used to be able to buy "tooth-combs" in varying degrees of fineness.

Prophecy of Blood Mistranslation
The following line in the Prophecy of Blood is translated as so: If yet his heart is swayed by love - Gregor falls in love with Luxa. Although Gregor does fall in love with Luxa, he doesn't until the fourth book. The actual translation for this line should be: If yet his heart is swayed by love - Gregor decides he must go back to the Underland because his bond, Ares, has the plague. In the tunnel, Ripred mentions to Gregor that Ares is one of the three cases of the plague in Regalia. So the love he's feeling is for his bond. --TUCSMB 01:00, 11 September 2007 (UTC)

Since apparently no one appears to care, I will change it myself. --TUCSMB 01:00, 11 September 2007 (UTC)

Name Move
Should it be "Underland Chronicles" or "The Underland Chronicles"? Cruise meerkat 22:40, 5 September 2007 (UTC)

I'd like to keep it as "The Underland Chronicles". My (paperback) copy of Gregor and the Marks of Secret says, right at the top of the front cover: "BOOK FOUR IN THE UNDERLAND CHRONICLES". Saugart (talk) 14:29, 25 November 2007 (UTC)

Relationships
It was never said that Dulcet loved Horatio. Sapphira Lily (talk) 06:11, 3 January 2008 (UTC)Sapphira Lily

Edited. :] Cruise meerkat (talk) 20:26, 3 January 2008 (UTC)

True, it wasn't actually said. But Gregor guessed it. We should note that it was a guess from Gregor. Scarheart11 22:23, 25 April 2009 (UTC) —Preceding unsigned comment added by Scarheart11 (talk • contribs)

Actually, Gregor guessed that Horatio loved Dulcet, not that Dulcet loved Horatio.<IP_ADDRESS> (talk) 10:41, 4 November 2009 (UTC)Prophe

Proposed merge
I propose that the material from Gregor and the Code of Claw be moved here, and that page be made into a redirect. I don't think something in a fiction story is likely to be notable enough for a page of its own. (It would require third-party sources written about it.)

I deleted some material from that page because presumably it's copyrighted (i.e. a copy of the prophecy). I think probably some material should also be deleted from this page for the same reason. (poems etc.) --Coppertwig (talk) 03:28, 9 January 2008 (UTC)

I have put back the prophecy, but if you think it should be removed, then remove it if you wish. The prophecy will be removed on the other page if poems, prophecy etc. is removed from this page. ∂☺1♂K∫ ₪&+(_)+5 (talk) 03:25, 11 January 2008 (UTC) Look for my talk post.

I think the Code of Claw article is completely pointless. The other books don't have articles, so why is Code of Claw so special? Plus, it's very pointless to have an article about a book in a series when you can just go to the article with the series it's in. Cruise meerkat (talk) 01:25, 3 June 2008 (UTC)

The other books do have pages so the proposed merge would also have to merge the other books. That would put too much information on one page.

Copyright concerns
I deleted all but a few lines of each prophecy because presumably they're copyrighted. See Requesting copyright permission. I think it's OK to quote a few lines as "fair use". I presume the "translation"/explanation of the prophecies is probably the work of Wikipedians and therefore OK as far as copyright goes, but I deleted it anyway because it might look odd without the accompanying prophecy. I wouldn't object if someone wants to restore just the "translation" part without the copy of each line of the prophecy. I apologize for the disturbance to this page, but following Wikipedia's copyright policies is quite important. --Coppertwig (talk) 13:52, 12 January 2008 (UTC) Maybe you should put it back. The other books do have a page and I want to know what happens. —Preceding unsigned comment added by <IP_ADDRESS> (talk) 16:58, 1 October 2009 (UTC)
 * While some quoting is certainly valid as fair use, some of these poem quotations were probably longer than they needed to be to illustrate the points being made. Also, since this article is quite long, I think it's best to leave some of these out. Also, translations and interpretations should be backed by a source; for us as Wikipedia editors to analyze the material directly on our own is original research. Please, if you add back the translations/etc, provide some sources. Thanks, ErikHaugen (talk | contribs) 08:14, 3 February 2011 (UTC)

Removed Image
Someone put up a very long image that took up a lot of room, so I took it down. —Preceding unsigned comment added by Ares is Awesome (talk • contribs) 02:35, 19 May 2008 (UTC)

"Translation"
I would like to make two suggestions to make the prophecy translations better. I think that the word "translation" would do better as "interpretation", as translation usually means to switch from one language to the next. I would also propose to make these translations standard as some of these have the line in bold and then the meaning, while others have a different format. Hope this is of some help. --15lsoucy (talk) 21:04, 30 July 2009 (UTC)

New character article
I have removed the lengthy list of characters and placed it in its own new article. --EpicSitcom (talk) 18:03, 18 February 2010 (UTC)EpicSitcom

Assessment comment
Substituted at 08:28, 30 April 2016 (UTC)

The texts of the prophecies
I believe the aticles on the five books should have the same level of coverage for their respective prophecies. This is not currently the case - books 1, 2 and 4 have the full prophecy written out and explained; book 3 has only the refrain, as the rest was removed by in this edit; and book 5 doesn't have it, since it was removed by  in this edit. עוד מישהו Od Mishehu 04:57, 27 March 2017 (UTC)
 * - I agree. However, the prophecy texts were removed by request of a GA and AfC reviewer, respectively, both on the grounds that these prophecies constitute plot cruft (too much plot info, supported only by primary sources). If you'd like them added back in, I would suggest you speak to these reviewers - their names can be found on the talk pages of the relevant articles. Perhaps our two voices may be enough to inspire a revist of the issue. Hope this helps. -- 2ReinreB2 (talk) 02:37, 28 March 2017 (UTC)

 * I remember removing these. The problems were twofold - first, the section taken from the book was pretty lengthy, which causes issues via WP:COPYVIO. We can have some content from the book, but it shouldn't be longer than 1-2 lines unless there's a lot of independent, secondary coverage that would justify us posting that much content. The key is that we are supposed to use as little of the copyrighted text as possible and even then only use the content if there's a huge, huge justification to add it (ie, it's been covered so thoroughly that it would need to be put in the page). I didn't see where there was any need to list what looks to be at least 1-2 pages worth of copyrighted text. The other concern for me was that the meaning section was entirely WP:OR, as it can be seen as one person's interpretation of the text. There is use of OR wording such as "perhaps" and ultimately there's just a lot of fan theory about what the prophecies mean. It's not something that really belongs on a Wikipedia article. It's the type of thing that would end up getting removed at some point in time if they were added and not instantly removed.
 * I'm going to tag another editor,, who edits a lot of book related topics as well and is pretty well versed in copyvio to give a second opinion. Tokyogirl79 (｡◕‿◕｡)  03:17, 28 March 2017 (UTC)
 * And was involved with the GA process for book 3, should probably also be notified here. עוד מישהו Od Mishehu 03:24, 28 March 2017 (UTC)
 * As I was tagged: Yes, I recommended that the "prophecy" text be removed from the article on book 3 for copyvio reasons. If we have some decent secondary coverage identifying the wording of the prophecies as worthy of note, a few lines might be appropriate. But including the whole thing in each book article strikes me as pretty clearly excessive. is well-versed in these issues, and may be able to offer some insight. (I'm not watching this page; feel free to ping me if you are looking for my input/attention specifically!) Josh Milburn (talk) 22:37, 31 March 2017 (UTC)

“Film adaptation”
Why is this here?

It has been added and removed multiple times by different people and there has never been a source regarding this 2600:1700:FF10:3FA0:4C71:E3C3:2B84:187C (talk) 18:08, 28 January 2022 (UTC)

title: Talk:The Underland Chronicles


text:
User:Mtong14/sandbox

This is my sandbox.

Contributions to Plague Article
Article = Kongsi; Working draft = User:Mtong14/plague kongsi draft

The lead section of this article seems inappropriate. I think the article can be better organized by putting some of the information from the lead section into a separate section titled "History". Also, there is little mention of kongsi and its role in San Francisco, where it appeared to be an important part of society for Chinese immigrants during the late 1800s. Therefore, I intend to re-organize the article and create and expand on a "History" section, which will include information about the impact of kongsi in the development of the San Francisco Chinatown community. My preliminary sources are below:

There are also some viewpoints underrepresented as a result of the missing information concerning kongsi in San Francisco during the Plague years and some information without proper references. I will attempt to address these issues as I make edits to the article.

New Direction for edits
Instead of adding information, Rony and I will be removing info from the Kongsi article. Based on my research, kongsi does not appear to have much to do with San Francisco or America. It seems that information on Kongsi concerns mainly Southeast Asia. Therefore, we will be reorganizing and cleaning up the article to reflect this.

The draft can still be found at User:Mtong14/plague kongsi draft

Peer Review (AIDS Article)
Peer review article: Slava Mogutin for Ronyaguilar

Some guidelines:
 * Is everything in the article relevant to the article topic? Is there anything that distracted you?
 * The information seems relevant and adds to the history of Slava Mogutin.
 * Is the article neutral? Are there any claims, or frames, that appear heavily biased toward a particular position?
 * The edits appear to be neutral. No heavy biases evident.
 * Are there viewpoints that are overrepresented, or underrepresented?
 * The edits are pretty neutral, so no over- or underrepresented viewpoints.
 * Check the citations. Do the links work? Does the source support the claims in the article?
 * The added citation for "Red Scare" doesn't appear to work. The one under "Interviews" does work, but is titled incorrect as "1".
 * Also the "Red Scare" reference looks to be duplicated (1 and 4 are the same).
 * Is each fact supported by an appropriate, reliable reference? Where does the information come from? Are these neutral sources? If biased, is that bias noted?
 * Possibly missing some references in the "Life in Russia" section regarding his partner Robert Filippini.
 * Reference in "Exile in New York" explaining that his "asylum to the US became the first to be granted based on homophobic prosecution" is missing.
 * Reference missing regarding his name change
 * Is any information out of date? Is anything missing that should be added?
 * Could add more under "Contemporary Exhibitions" if there were new exhibits since 2014.

For Rpatungan
 * Is everything in the article relevant to the article topic? Is there anything that distracted you?
 * The added information seems relevant, but the wording is a bit confusing - specifically "Lost Boys is credited to his return". I'm not exactly sure what the sentence means, but you might be able to reword it to make it easier to read.
 * Is the article neutral? Are there any claims, or frames, that appear heavily biased toward a particular position?
 * The edits appear to be neutral, though it could possibly be seen as one-sided with the verbiage "Lost Boys is credited...". However, no heavy biases evident.
 * Are there viewpoints that are overrepresented, or underrepresented?
 * The edits are pretty neutral, so no over- or underrepresented viewpoints.
 * Check the citations. Do the links work? Does the source support the claims in the article?
 * The "Red Scare" reference looks to be duplicated (1 and 4 are the same).
 * Is each fact supported by an appropriate, reliable reference? Where does the information come from? Are these neutral sources? If biased, is that bias noted?
 * Additions are properly cited from "Red Scare".
 * Is any information out of date? Is anything missing that should be added?
 * Could add more under "Contemporary Exhibitions" if there were new exhibits since 2014, but otherwise, information seems to be up to date.

Contributions to AIDS Article
Article = Félix González-Torres

I plan to add to the influences of the artist's work. Specifically, I want to add more information on the influence of his partner, Ross Laycock. There is relatively little mention on Laycock's influence on Gonzalez-Torres's other works and I think this is an important addition to the artist's inspirations/motivations. This will go under the introductory text of the "Work" section. The following will be my references, also to be added to the article's talk page:

More references:

Wurst Master Thesis

Diamond Master Thesis

Article Evaluation
Ikiru wikipedia page eval notes:

Guiding Questions:
 * Is everything in the article relevant to the article topic? Is there anything that distracted you?
 * All sections are relevant and are of appropriate length. The main sections (Plot, Themes, and Reception) are informative, but still succinct.
 * Is the article neutral? Are there any claims, or frames, that appear heavily biased toward a particular position?
 * The article appears to be neutral, describing the film objectively. The "Reception" section only contains mostly positive viewpoints of the film, but may still depict an accurate picture of its reception.
 * Are there viewpoints that are overrepresented, or underrepresented?
 * Possibly in the "Reception" section, but its portrayal seems appropriate.
 * Check a few citations. Do the links work? Does the source support the claims in the article?
 * Yes, the citations that were checked appeared to support statements in the article.
 * Is each fact referenced with an appropriate, reliable reference? Where does the information come from? Are these neutral sources? If biased, is that bias noted?
 * Most sources are from books or the film itself. Some of the "Reception" section references websites that are of personal opinion. This is somewhat expected though; these statements state the ranking/reviews of individuals or groups. Author has included an array of these rankings, which makes its inclusion more appropriate
 * Is any information out of date? Is anything missing that could be added?
 * The film is relatively old, so no new information. Only to add to "Legacy" section if anything recent was relevant to the film
 * Check out the Talk page of the article. What kinds of conversations, if any, are going on behind the scenes about how to represent this topic?
 * Conversations mostly about references and public domain of the film
 * How is the article rated? Is it a part of any WikiProjects?
 * Rated as C-Class. Part of WikiProject Japan and Film
 * How does the way Wikipedia discusses this topic differ from the way we've talked about it in class?
 * The article talks about the "living" aspect in the film, but no exactly in the manner that we talked about it in class

title: User:Mtong14/sandbox


text:
Talk:Dorinda Hafner

friend
Hello Kwame overflow (talk) 04:32, 27 November 2016 (UTC)

External links modified
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title: Talk:Dorinda Hafner


text:
Object Oriented Programming

Object-Oriented Programming (OOP) is a model of programming that uses Objects as representation of data and the data's properties. Objects can be defined as fields of data with unique properties, or attributes and methods (functions). At its heart, object-oriented programming is a mindset which respects programming as a problem-solving dilemma on a grand scale that requires careful application of abstractions and subdividing problems into manageable pieces. Compared to procedural programming, a superficial examination of code written in both styles would reveal that object-oriented code tends to be broken down into vast numbers of small pieces, with the hope that each piece will be trivially verifiable. OOP was one step towards the holy grail of software re-usability, although no new term has gained widespread acceptance, which is why "OOP" is used to mean almost any modern programming distinct from systems programming, assembly programming, functional programming, or database programming. Modern programming would be better categorized as "multi-paradigm" programming, and that term is sometimes used. This book is primarily aimed at modern, multi-paradigm programming, which has classic object oriented programming as its immediate predecessor and strongest influence.

Historically, "OOP" has been one of the most influential developments in computer programming, gaining widespread use in the mid 1980s. Originally heralded for its facility for managing complexity in ever-growing software systems, OOP quickly developed its own set of difficulties. Fortunately, the ever evolving programming landscape gave us "interface" programming, design patterns, generic programming, and other improvements paving the way for more contemporary Multi-Paradigm programming. While some people will debate endlessly about whether or not a certain language implements "Pure" OOP—and bless or denounce a language accordingly—this book is not intended as an academic treatise on object oriented programming or its theory.

Instead, we aim for something more pragmatic: we start with basic OO theory and then delve into a handful of real-world languages to examine how they support OO programming. Since we obviously cannot teach each language, the point is to illustrate the trade-offs inherent in different approaches to OOP.

Although OOP is quite complex to beginners it becomes easy when you first fully understand what pillars the concept of OOP is built on.

Table Of Contents

 * /Introduction To OOP/
 * /Classes/
 * /Properties/
 * /Methods/
 * /Constructors/
 * /Lifetime Management/
 * /Getters and Setters/
 * /Static vs Dynamic/
 * /Private vs Public/
 * /Encapsulation/
 * /Inheritance/
 * /Subclasses/
 * /Superclasses/
 * /Polymorphism/
 * /Abstraction/
 * /Advanced Concepts/
 * State
 * /Interfaces/
 * /See also/

title: Object Oriented Programming


text:
Mr. Bojangles (song)

"Mr. Bojangles" is a song written and originally recorded by American country music artist Jerry Jeff Walker for his 1968 album of the same title. It has since been recorded by other artists, including the Nitty Gritty Dirt Band in 1969 (released September 1970).

Composition
Walker said he was inspired to write the song after an encounter with a street performer in a New Orleans jail. While in jail for public intoxication in 1965, he met a homeless man who called himself "Mr. Bojangles" to conceal his true identity from the police. Mr. Bojangles had been arrested as part of a police sweep of indigent people that was carried out following a high-profile murder. The two men and others in the cell chatted about all manner of things, but when Mr. Bojangles told a story about his performing dog who was killed by a car, the mood in the room turned heavy. Someone else in the cell asked for something to lighten the mood, and Mr. Bojangles obliged with a tap dance. The homeless "Mr. Bojangles", who was white, had taken his pseudonym from Bill "Bojangles" Robinson (1878–1949), a black entertainer.

Notable recordings
The song was first recorded by popular Austin performer Allen Wayne Damron during a live performance at the Chequered Flag folk club in Austin in 1967. Jerry Jeff Walker recorded his single version (with Bobby Woods, Charlie Freeman, Sandy Rhodes, Tommy McClure, Sammy Creason, and a string orchestra) at Phillips Recording in Memphis, Tennessee on June 7, 1968, and it was released by Atco Records on June 20. He also recorded a non-string version in New York City for his album Mr. Bojangles with David Bromberg, Gary Illingworth, Danny Milhon, Bobby Cranshaw, Jody Stecher, Donny Brooks, Ron Carter, Bill LaVorgna, and Jerry Jemmott. It was released by Atco on September 25, 1968.

Other versions including those by Frankie Laine and Harry Belafonte were also recorded. Bob Dylan recorded the song in 1970 while working on his New Morning album, but his version was not released until it was included on the album Dylan in 1973. Other artists who covered "Mr. Bojangles" include Harry Nilsson on his album Harry, and Neil Diamond on his album Touching You, Touching Me both released in 1969. John Denver recorded the song and released it on his 1970 album Whose Garden Was This?, and Robbie Williams covered it in 2001 for Swing When You're Winning.

Nitty Gritty Dirt Band
Since then, it has been recorded by many other artists, including US country rock band Nitty Gritty Dirt Band, whose version (recorded for the 1970 album Uncle Charlie & His Dog Teddy) was issued as a single and rose to No. 9 on the Billboard Hot 100 in 1971.

The band's single version begins with the Uncle Charlie interview (subtitled "Prologue: Uncle Charlie and his Dog Teddy") that also precedes the song on the Uncle Charlie album. It was originally backed with another interview with Uncle Charlie, also taken from the album. When "Mr. Bojangles" started climbing the charts, the B-side was re-pressed with the same song without the interview. NGDB guitarist Jeff Hanna performed most of the lead vocals on the track, with bandmate Jimmy Ibbotson performing harmony vocals; the two switched these roles on the last verse.

Nina Simone
Nina Simone recorded the song in 1971 and included it in her album of the same year “Here comes the Sun”, which consists of cover versions of songs by pop and rock musicians. The style of her interpretation of the song is much closer to the original Jerry Jeff Walker version than other covers of the song.

Sammy Davis Jr.
The song became one of Sammy Davis Jr.'s signature performances, which he recorded for his 1972 album Portrait of Sammy Davis Jr. and sang at President Richard Nixon's invitation at a concert at the White House the following year.

Al Cherny
Canadian fiddler Al Cherney (recording as Al Cherny) reached number 45 on the Canadian RPM Top Country Singles charts, in December 1972, with his recording of the song.

title: Mr. Bojangles (song)


text:
Portal talk:Nuclear engineering

Its pretty good. I took out "Welcome to the department of nuclear engineering" because I feel as if it really is not needed. Peace:) --Sir James Paul 00:33, 19 March 2007 (UTC)

 * I think somewhere very early in the listed topics or coursework should be radiation basics, nuclear medicine, hazards, precautions, etc.  This might be by links to other areas or site.   A few years back a kid in the SouthEast, USA built himself an isotope pile by buying up old watchs with faces and hands painted with thorium isotopes.  Using these he created other unstable isotopes.  When confronted by newpaper reporters after the authorities arrived and confiscated the pile and started decontaminating the neighborhood the child's parents seemed to have no idea that radioactivity was unhealthy and to be avoided.  Only proud their child had attracted national attention.  When such juveniles are using Wikiversity it would be nice to point them at appropriate precautions when studying nuclear aspects of nature.  Most Jimmy Neutron's or surrounding enablers would like to live long enough to enjoy their inventions. Mirwin 20:38, 19 December 2007 (UTC)

title: Portal talk:Nuclear engineering


text:
Talk:Music Theory/Music Notation Systems

Oh, if only I had the resources available to talk at length about various notational systems, putting across the encouraging idea that they are constantly evolving and not set in stone and interpretation can be just as creative as creation. I like putting fermatas over measures. I'm not sure how useful this comment is, but I've never made an edit so I'm sort of nervous to just go ahead and do it.

Expanding notation
One might want to add the 8va and 8ba, as well as examples of changing clefs in the middle of a piece, in order to avoid the ledger lines.

What is the intended scope of this book?
This has got off to a rather shaky start. It is addressed as a "how-to" kind of text, but it is getting so chatty and full of sidelines that it threatens to become unusably long.

I have tried (a while back) to simplify some of the material in an article on solmization: http://www.bbc.co.uk/dna/h2g2/A1339337

Accessibility is a major problem, because a certain familiarity with some music theory is required, to make any sense of the terms used. What level of knowledge is to be expected?

I would be against introducing the word "confusingly" so early, or indeed at all. It is our job not to be confusing.

chant
Gregorian chant uses a 4-line staff.

why was this *after* the rhythm section?
???


text:
Zabibe

Zabibe (also transliterated Zabibi, Zabiba, Zabibah; 𒍝𒁉𒁉𒂊 Zabibê) was a queen of Qedar who reigned for five years between 738 and 733 BC. She was a vassal of Tiglath-Pileser III, king of Assyria, and is mentioned in the Annals of Tiglath-Pileser III among a list of monarchs who paid tribute to the king in 738 BC. The title accorded her is queen of the Aribi (Arabs). Israel Eph'al argues that, until the time of Assurbanipal, the title "king or queen of the Arabs" in Assyrian manuscripts was a general one accorded to leaders of the nomadic Bedouin tribes of the Syrian desert. So, he infers that Zabibe would have been properly titled "queen of the Qidri" (Qedarites). Zabībah is an ancient Arabic name, likely derived from zabīb (arabic: زبيب), meaning "raisin". She was succeeded by another queen, Samsi, who also reigned for five years.

title: Zabibe


text:
Hajdu–Cheney syndrome

Hajdu–Cheney syndrome, also called acroosteolysis with osteoporosis and changes in skull and mandible, arthrodentoosteodysplasia and Cheney syndrome, is an extremely rare autosomal dominant congenital disorder of the connective tissue characterized by severe and excessive bone resorption leading to osteoporosis and a wide range of other possible symptoms. Mutations in the NOTCH2 gene, identified in 2011, cause HCS. HCS is so rare that only about 50 cases have been reported worldwide since the discovery of the syndrome in 1948

Signs and symptoms
Hajdu–Cheney syndrome causes many issues with an individual's connective tissues. Some general characteristics of an individual with Hajdu–Cheney syndrome include bone flexibility and deformities, short stature, delayed acquisition of speech and motor skills, dolichocephalic skull, Wormian bone, small maxilla, hypoplastic frontal sinuses, basilar impression, joint laxity, bulbous finger tips and severe osteoporosis. Wormian bone occurs when extra bones appear between cranial sutures. Fetuses with Hajdu–Cheney syndrome often will not be seen to unclench their hands on obstetrical ultrasound. They may also have low-set ears and their eyes may be farther apart than on a usual child, called hypertelorism. Children's heads can have some deformities in their shape and size (plagiocephaly). Early tooth loss and bone deformities, such as serpentine tibiae and fibulae, are also common in those affected.

Genetics
Hajdu–Cheney syndrome is a monogenic disorder. The disorder is inherited and controlled by a single pair of genes. A single copy of the mutant gene on an autosome causes HCS. HCS is an autosomal dominant disorder, only one parent with the defective gene is needed to pass the disorder to the offspring.

Mutations within the last coding exon of NOTCH2 that remove the PEST domain and escape the nonsense-mediated mRNA decay have been shown to be the main cause of Hajdu–Cheney syndrome. The NOTCH2 gene plays a very important role in skeletogenesis. Mutations of NOTCH2 that seem to cause HCS occur in the last coding exon of the gene (exon 34). These mutations remove PEST domains, which mediate proteosomal destruction of the protein. These PEST domains are removed due to the premature stop codon in the amino acid sequence. All HCS alleles are observed to have premature protein destruction before the PEST sequence is fully translated. The result is a mature NOTCH2 gene with a partially completed PEST sequence. In some cases, no PEST sequence at all is seen. This leads to the no proteosomal destruction of the protein.

The NOTCH2 gene is ubiquitously expressed in all embryonic tissue. When researching HCS in mice, the homozygous deletion of NOTCH2 leads to death. This observation is important because it explains how the HCS phenotype is not isolated to only one system of the body. NOTCH2 is also shown to regulate RANK-L osteoclastogenesis, which is the production of functional osteoclasts. Osteoclasts are the component that breaks bone down. This is why bone loss is observed in HCS patients, due to the overactivation of RANK-L.

Pathogenesis
The mechanism thought to cause HCS is an abnormality in osteoblast and osteoid function. These are major components of bone development, and the low function of each leads to the weak bones that characterize HCS.

Diagnosis
One of the main methods of pinpointing a NOTCH2 mutation that leads to HCS is through whole genome sequencing. This is then followed by exome capture by means of in-solution hybridization. The exome part of the genome consists of exons. Parallel sequencing follows the hybridization, which results in about 3.5 Gb of sequence data. These sequence data are then analyzed. Through sequence analysis and symptom presentation in HCS patients, this proves to be the most definitive method of diagnosis.

Types
Laboratory testing reveals multiple mutations of HCS. Two genetic variants result in sporadic HCS symptoms, which are HCS-02 and HCS-03. These mutations produce symptoms that come and go, but have been present de novo. HCS-03 was identified as the variant that is passed through affected family members and presents symptoms throughout the lifetime of the individual. All variants of HCS lead to the same premature termination of PEST sequences which compromise normal function of NOTCH2. NOTCH has four different receptors, which have an affinity for similar ligands. They are classified as single-pass transmembrane receptors.

Treatment
Since about 2002, some patients with this disorder have been offered drug therapy with bisphosphonates (a class of osteoporosis drugs) to treat problems with bone resorption associated with the bone breakdown and skeletal malformations that characterize this disorder. Brand names include Actonel (risedronate/alendronate), made by Merck Pharmaceuticals. Other drugs include Pamidronate, made by Novartis and Strontium Ranelate, made by Eli Lilly. However, for more progressive cases, surgery and bone grafting are necessary.

Eponym
It is named after Nicholas Hajdu (1908–1987), a Hungarian-English radiologist working in the UK and William D. Cheney, MD (1899–1985), a US radiologist.

title: Hajdu–Cheney syndrome


text:
Wikipedia:WikiProject Spam/LinkReports/lookoff.co

Links

 * lookoff.co resolves to [//<IP_ADDRESS> <IP_ADDRESS>]
 * Link is not on the blacklist.
 * Link is not on the domainredlist.
 * Link is not on the Monitorlist.
 * None of the mentioned users is on the blacklist.
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Additions

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text:
Talk:Clifford Peeples

Untitled
For some reason Billy Wright was described in this article as an evangelical Christian. There is absolutely no basis for describing him as such so I removed the reference. You may as well have described Billy Wright as a pillar of the community (irony intended).

Good day. — Preceding unsigned comment added by <IP_ADDRESS> (talk) 15:30, 18 October 2013 (UTC)
 * He was described as an evangelical Christian because Wikipedia is based on verifiability above all and the reliable source used for that sentence described him as an evangelical Christian. Your opinion (or indeed mine or anybody else's) of what makes somebody an evangelical Christian or not is irrelevant in this case as if it's in the reliable source then it's in the article. That's how it works round here and that's why I've had to restore the phrase. Cheers. Keresaspa (talk) 19:20, 18 October 2013 (UTC)

title: Talk:Clifford Peeples


text:
Edyta Koryzna

Edyta Koryzna (born 19 March 1973 in Białystok) is a Polish former basketball player who competed in the 2000 Summer Olympics.

title: Edyta Koryzna


text:
Wikipedia:WikiProject Spam/Local/clippingsolutions.com

Links

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

Selected additions

 * Displayed 4 additions out of 5 total.	 For more info see WikiProject_Spam/LinkReports/clippingsolutions.com

Entry
Log entry for the MediaWiki:Spam-blacklist:

\bclippingsolutions\.com\b  # ADMINNAME # see  [[Wikipedia:WikiProject_Spam/Local/clippingsolutions.com ]]

Discussion
See COIBot report for more details.

New data reported. --COIBot (talk) 04:25, 11 February 2015 (UTC) Autostale: very old local report (>7 days). No links left in here mentioned edits. Marked stale. . --COIBot (talk) 22:06, 28 April 2015 (UTC)


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Talk:κόμμα

Does anyone know what Pythogorean comma is? nl:Overleg gebruiker:Jcwf (pff..hard time getting that link) Mallerd 20:51, 29 October 2007 (UTC)

title: Talk:κόμμα