"How to speak with the dead" by Sciens is a Victorian sensation novel written in the late 19th century. It appears to be a melodramatic romance-mystery centered on a broken betrothal, a suspected bigamy, and a web of secrets that threaten reputations and lives. The story follows Lady Arielle Montjoie, her steadfast friend Net Fleming, the ruthless suitor Brandon Coyle, and the exiled Valdimir Desparde across estates, courts, and oceans as scandal, disappearance, and crime entwine with questions of identity and honor. The opening of the novel stages a public rupture: during the reading of her grandfather’s will, Lady Arielle denounces her engagement, revealing Brandon Coyle’s secret marriage to village girl Christelle (Kit) Ken; Coyle rages, tears up evidence, is disowned by his uncle, and storms out with his sister Aspirita’s defiant support, while Net Fleming corroborates the charge and reports Kit’s sudden disappearance. Arielle urges silence, yet the household gossip quickly spreads. The narrative then shifts to Valdimir Desparde’s self-imposed exile: sailing incognito to New York, resisting despair, he aids Annek Yok—an old Skol acquaintance—whose husband has just died, and escorts her and her infant to her brothers in New Orleans. There, seeking truth about a notorious execution tied to his name, Valdimir hunts a tell-all pamphlet, receives a forged letter implying Arielle’s new engagement, collapses, and later, amid a yellow-fever outbreak, throws himself into relief work—only to reach Leroy Place and find Annek and her child dead as he begins tending the stricken Yok family. (This is an automatically generated summary.)

"How to speak with the dead" by Sciens is a spiritualist guidebook written in the late 19th or early 20th century. It likely sets out practical directions and cautions for attempting spirit communication—covering séance conduct, mediumship, evidential tests, and ethical or religious considerations—for curious readers seeking method over mystery. The opening of the provided narrative is a memoir that begins with a candid apologia about the writer’s lifelong difficulty recognizing faces, then settles into richly detailed recollections of Scottish clan heritage and home life centered on Altyre in Morayshire. It sketches the rise and fall of the powerful Comyn/Cumming line, storied places like Dunphail and Randolph’s Leap, and a web of kin—Campbells, Grants, Dunbars, and Cumming-Bruces—alongside fond evocations of gardens, woodland paths, and river scenery. Early chapters dwell on a mother of striking beauty and energy who nurtured gardeners, welcomed scientists hunting Old Red Sandstone fossils, tied salmon flies, and presided over a bustling, hospitable house. The tone then turns elegiac with her sudden death, the long funeral journey to the family chapel, and a grieving father who finds solace in dawn walks with his youngest child. Domestic textures—birthday “flower” chairs, nursery figures both stern and tender, and local church life—frame these memories. The section closes with the dramatic backdrop of the Moray Floods, a touchstone event that shaped local lore and the author’s earliest sense of time. (This is an automatically generated summary.)

"How to speak with the dead" by Sciens is a travelogue written in the mid-19th century. It presents a first‑hand overland journey across the United States, conveyed through newspaper letters that stress fresh observation over polish. The likely focus is frontier routes, nascent towns, emigrant trains, and political tensions from Kansas to California, along with keen notes on landscapes, resources, and infrastructure. The opening of this work frames the letters as hurried field reports from an 1859 crossing, then lays out a contents roadmap from Kansas across the Plains and Rockies to Utah and California. It begins with rail travel from New York to the Midwest, sharp complaints about stifling sleeping‑cars, and vivid, data‑rich sketches of Illinois agriculture, Northern Missouri’s largely unsettled prairies, and the muddy, destructive Missouri River en route to Atchison. The narrative shifts to rain‑soaked Kansas: emigrant wagon trains mired on the California and Santa Fe trails, a river detour via Wyandot, precarious creek crossings, and a push to Osawatomie for a Republican convention, paired with the town’s free‑state history and John Brown’s defense. Subsequent pages cover a flood‑thinned convention, critiques of land speculation and opportunist “one‑horse” politics, travel through Prairie City and Lawrence (with the Battle of Black Jack retold), portraits of Topeka and Leavenworth’s freighting empire, storms across the Potawatomi Reserve to Manhattan, and a few stark frontier violence anecdotes. This opening portion closes with an initial appraisal of Kansas’s soils, timber, water, crop prospects—especially corn—and frank advice (and rebuke) for settlers on industry, shelter, fencing, and planning. (This is an automatically generated summary.)

How to speak with the dead by Sciens is a historical slang dictionary written in the late 19th century. It compiles the “heterodox” speech of many classes over centuries, pairing definitions with origins, dated citations, and synonyms across several European languages. The likely focus is tracing how nonstandard English—cant, colloquial, and criminal argot—developed and was used rather than offering a narrative. The opening of the work sets out the title matter for Volume II (covering C to early F) and immediately begins alphabetized entries starting with cab, cabbage, cad, and their many offshoots. Each headword is broken into numbered senses (often obsolete or regional), with thorough etymologies, abundant illustrative quotations, cross-references, and long synonym lists (including French, German, Italian, Spanish, and thieves’ cant). Representative entries show the range: cab as a schoolboy “crib” and an obsolete term for a brothel; cabbage as tailors’ pilferings, a “crib,” a cigar, a body-part vulgarism, and a verb “to pilfer”; cackle for idle talk and a cluster of theatrical derivatives; cad for ill-bred persons and omnibus conductors; and calaboose for jail. Scattered throughout are rhyming slang (Cain and Abel = table), school and university usages (call, calx), military and nautical phrases, and American and Australian colloquialisms, signaling the volume’s comparative, documentary method from the outset. (This is an automatically generated summary.)

"How to speak with the dead" by Sciens is a historical manual written in the late 19th century. It presents a civic-minded survey of European foreign policy, tracing the making of modern Europe through the Reformation, colonial expansion, the Eastern Question, and the statecraft of figures like Richelieu. The work aims to educate citizens to judge international affairs with historical perspective rather than prejudice. The opening of this work declares that France’s fate rests in its own hands and argues that national strength requires informed scrutiny of Europe and the wider world; it positions the book as a tool of civic education, not a diplomat’s handbook. A notice for a later edition explains the author’s archival method and notes that recent diplomatic events in France encouraged a pragmatic, interest-based foreign policy. The introduction then sketches the birth of modern Europe: the shattering of religious unity by the Reformation, the rise of nation-states and individual conscience, the paradox of strong centralized states, and Europe’s simultaneous expansion overseas and eastward via Russia, all feeding the enduring Eastern Question. Turning to the 17th century, it frames a grand drama from the Thirty Years’ War to the rise of England and Russia. The first chapter on Richelieu sets the scene of Habsburg-Spanish pressure, recounts the Valtellina and Palatinate crises, and shows Richelieu’s balancing act: forging coalitions abroad while suppressing internal rebellions (La Rochelle, court intrigues), intervening in Italy (Susa, Casale, Mantua) and securing the treaties of Cherasco and Fontainebleau, before noting how Gustavus Adolphus’s expansive designs complicated the carefully built equilibrium. (This is an automatically generated summary.)

Amerigo Vespucci, né le 9 mars 1454 dans la république de Florence, et mort le 22 février 1512 à Séville (royaume de Castille), est un commerçant, navigateur et explorateur florentin dont le prénom servit en 1507 pour baptiser le Nouveau Monde (America). Entre 1497 et 1504 il participe à quatre voyages de l'âge des grandes découvertes, à la suite de ceux de Christophe Colomb (qui a entrepris son premier voyage en 1492), les deux premiers au nom de l'Espagne (1499-1500), et les deux suivants pour le Portugal (1501-1502). C'est selon lui, lors de son expédition portugaise qui atteint le Brésil en 1501, qu'on a compris que ce territoire faisait partie d'un autre continent que l'Asie, où Colomb pensait avoir accosté. En 1503 est publié sous son nom un livre, Mundus Novus, le premier à évoquer le Nouveau Monde, qui, en 1507, reçoit en son honneur le nom d'« Amérique » (America), sur le planisphère publié par le cartographe Martin Waldseemüller. D'autres cartographes lui emboîtent le pas et, en 1532, le nom d'« Amérique » est définitivement attribué au continent nouvellement découvert. Le livre de 1503 et un deuxième paru en 1505 contiennent des descriptions colorées de ses explorations et d'autres voyages présumés. Ils deviennent vite populaires et se diffusent largement en Europe. Bien que certains historiens contestent la paternité et la véracité de ces ouvrages, ils contribuent à l'époque à faire connaître les découvertes récentes et à établir la renommée d'Amerigo Vespucci en tant qu'explorateur et navigateur. En 1505 il est naturalisé sujet de la couronne de Castille par décret royal, et en 1508 il est nommé au poste nouvellement créé de navigateur en chef de la Casa de Contratación (maison du commerce) de Séville, un poste qu'il occupe jusqu'à sa mort en 1512. (This summary is from Wikipedia.)

"How to speak with the dead" by Sciens is a novel written in the early 20th century. From its opening, it reads as a psychologically rich, realist narrative about a monstrously disfigured man and the cruel fascination and rejection he provokes, set against a countercurrent of tenderness and moral beauty. A reflective physician-narrator observes this man—later named René Grandon—and a reserved woman, Madame Derive, tracing themes of inner nobility beneath outward horror, pity crossing into love, and the ways society polices beauty. The opening of this novel follows the narrator to a deserted spa town, where a man with a ravaged face silently endures a dining room’s revulsion and later watches a young family’s joy until he is driven off in shame. On the train to Paris the narrator shares a compartment with him, struck by his gentle voice and eloquent eyes. Years pass: the narrator sees him mocked by streetwalkers, then, to his astonishment, walking tenderly with an attractive, mature woman; by a lakeside she kisses his hands in a scene of wordless gratitude. Later the narrator meets this woman—Madame Derive—socially, notices her nightly lamp across the street, and observes a furtive visitor who comes at one in the morning; when she suffers a fatal heart crisis, the man waits below, unadmitted. At her civil funeral he mourns from a distance; afterward the narrator befriends him, learns his name, and, as the opening section closes, listens as he begins to tell the story of his childhood and the accident that left him disfigured. (This is an automatically generated summary.)

How to speak with the dead by Sciens is a historical account written in the early 20th century. It presents a dramatic, scene-by-scene narrative of the French Revolution’s decisive turning points, charting the collapse of Bourbon rule through council-room debates, street uprisings, and battlefield pivots. The focus is on how royal miscalculation, public mobilization, and war pressures converged to end the monarchy. The opening of this work stages the confrontation between crown and nation in 1789: Louis XVI’s council at Marly wavers, the Commons are locked out and swear the Tennis Court Oath, the king’s “Royal Session” seeks to undo their acts, and the deputies—spurred by Mirabeau—refuse to disperse and declare their own inviolability. It then turns to the failed Flight to Varennes (June 1791), following Fersen’s meticulous plans, the family’s disguises and initial progress, the fatal delays and recognitions on the road, the missed cavalry escort at Somme-Vesle, and Drouet’s daring shortcut through the Argonne to stop the coach at Varennes. Next, an introduction sets the European war threat and the court’s secret dealings, before describing the summer of 1792: the Marseillais march into Paris, the Tuileries stands as a fortified royal stronghold, and on the night of August 9–10 the alarm bells peal as the city braces for the assault. (This is an automatically generated summary.)

"How to speak with the dead" by Sciens is a spiritualist guidebook written in the early 20th century. It likely outlines practical methods for communicating with spirits—how to conduct séances, test mediums, recognize trickery, and approach occult phenomena with both openness and skepticism—serving curious readers who want structured, “scientific” procedures for spirit contact. The opening of the provided narrative introduces three patriotic Long Island lads—Ephraim Lyttle (the narrator), Abraham Decker, and Samuel Garratt—in 1776 as they dub themselves the Minute Boys and use their home-built sloop Swiftsure to aid the American Cause amid Tory-dominated neighbors. After witnessing New York’s uproar over Governor Tryon’s plot against Washington and clashing with young Tory Luther Stedman, the boys foil Luther and an accomplice who try to seize their sloop to help a suspected Tory escape, then turn the prisoners over to General Putnam. Putnam praises the boys’ spirit, warns of Tory reprisals, and advises them to lie low on the New York side; they remain aboard the sloop, witness the city’s fervor on the day the Declaration is read, and watch the king’s statue come down. Lieutenant Winterbottom then summons them to Putnam, who assigns a risky mission: reconnoiter the British fleet off Sandy Hook while posing as fishermen. Outfitted with provisions and gear, they shake off suspected pursuit by detouring to Gowanus for clams, slip through the Narrows into Gravesend Bay, and confront the vast enemy armada. To maintain their cover, they come alongside a British frigate, surrender two bags of clams, and answer questions as harmless fishermen—setting the stage for further perilous spying. (This is an automatically generated summary.)

The Bridge of Light is a science fiction novel by American writer A. Hyatt Verrill. It was originally published in the Fall 1929 edition of the pulp magazine Amazing Stories Quarterly. It was subsequently republished in book form in 1950 by Fantasy Press in an edition of 2,556 copies. The novel concerns the search for a lost city in South America. (This summary is from Wikipedia.)

"How to speak with the dead" by Sciens is a spiritualist guide written in the early 20th century. It likely outlines practical methods for spirit communication—such as séances, mediumship, and psychical experiments—while discussing safeguards, common illusions and frauds, and the ethical frame for those who wish to explore life beyond the veil. The opening of the provided text presents a series of Finnish vignettes about desire, power, hypocrisy, and fate. It begins with an artist who signals different lovers with tulips in his window and spirals through clandestine encounters, a moralizing theology student who is seduced by the very “fallen” woman he seeks to save, and a dream that reveals a gleaming swan hiding a white worm—later mirrored by a lover’s quarrel that exposes mutual envy. The scenes shift to a slum where a famed prostitute refuses a kiss and chooses death rather than submission, a lyrical meditation on blonde and black hair as eros and domination, and an allegory in which “lifeweariness” pens the narrator inside a circle of social forces like prejudice and conformity. There is dark comedy and blasphemy in children turning communion wafers into a domino game while a zealot maid panics, and tragedy in a woman who abandons her devoted husband for “freedom” before witnessing a drowned man borne home—her own house—under the moon. The section closes by turning to a blind man’s rough, nostalgic monologue, signaling further voices and social strata to come. (This is an automatically generated summary.)

"The genial sultan; The princess who could not see; Late for the coronation" is a short theatrical piece written in the early 20th century. It reads like a community-stage comedy centered on small-town life, likely intended for amateur performance, and its topic is a New England sewing circle’s Thanksgiving gathering filled with testimonies, gossip, and gentle satire. The play unfolds in Mrs. Gossip’s parlor, where President Mrs. Tattle and Secretary Mary Ann Green preside over the Scrubtown Sewing Circle. After minutes recount a well-meaning but comically mismatched donation party for the bereaved Minister, the ladies share what they’re thankful for. Granny Noddle, endearingly deaf and literal, repeatedly derails the proceedings with misheard comments, while her granddaughter Betsey proudly explains how she scrimped to buy a turkey and invites the lonely Minister to dinner. Percilla Primp announces her engagement with smug flourish, sparking tart asides from Mary Ann. Between Mrs. Gossip’s long-winded family roll call and Mrs. Tattle’s vanity and hopes for remarriage, the humor mixes with warmth as Granny delivers a trembling, heartfelt meditation on faith and readiness for the hereafter. The meeting adjourns with a light song, winking that the “old ladies” have been playacting their age all along. (This is an automatically generated summary.)

"How to speak with the dead" by Sciens is a historical study written in the late 19th century. It appears to chart the political, religious, and cultural history of medieval Rome—especially under the Carolingians—examining the evolving balance between emperor and pope, Rome’s claim to universal moral authority, and the city’s legal structures, institutions, and church-building. The opening of the work traces Rome’s altered status after Charlemagne’s coronation, stressing the fusion of Germanic and Roman elements, the ideal of a universal Christian commonwealth, and Rome’s role as a neutral, sacred center. It explains why Charlemagne avoided making Rome his political capital, outlines the imperial missus and judicial authority in the city, and notes how the civic constitution remains obscure. The narrative then follows diplomacy with Byzantium (Irene and Nicephorus), Pope Leo III’s journey to Charlemagne, and the appeal of Ardulf of Northumbria. It sketches the succession from Pippin’s death to Louis’s coronation at Aachen, Charlemagne’s passing, and an appraisal of his legacy and limited Roman remembrance. After Charlemagne, unrest returns to Rome; Leo III represses nobles, then dies, and his era’s vigorous church restorations and mosaics are described. Stephen IV crowns Louis in Reims and soon dies; Paschal I is hastily elected, amid debate over a much-embellished “donation” of Louis the Pious. Next come Lothair’s elevation, Bernard of Italy’s failed revolt and blinding, Lothair’s Roman coronation and tribunal (including the Farfa case against the papacy), the violent blinding and beheading of two Lateran officials, Paschal’s oath of purgation to avoid imperial judgment, his death, and the enduring mosaics in the churches he rebuilt (Santa Cecilia in Trastevere, Santa Prassede, and Santa Maria in Domnica). (This is an automatically generated summary.)

The genial sultan; The princess who could not see; Late for the coronation is a government agricultural bulletin written in the early 20th century. It is a practical guide to making soft cheeses—especially Neufchâtel and cream cheese—on the farm, with advice on equipment, packaging, marketing, and everyday culinary use. The bulletin explains the characteristics and food value of these fresh cheeses, then gives step-by-step methods for production: starting with clean, fresh milk; using starters to control acidity; standardizing fat (about 6 percent for cream cheese); pasteurizing when marketing; and coagulating with rennet or pepsin. It covers draining curd in cloth, optional cooling, pressing to target yields, salting and working to a smooth texture, and adding flavors such as pimiento, olives, or Roquefort. Detailed guidance is provided for molding and wrapping using simple chopper attachments, expected yields per 100 pounds of milk, shelf life at cool temperatures, and small-scale cost-and-return estimates. A practical equipment list and a concise process summary are included, followed by an extensive recipe section showing how to use these cheeses in salads, sandwiches, vegetable and egg dishes, cereals, sauces, and desserts. (This is an automatically generated summary.)

"How to speak with the dead" by Sciens is a practical handbook written in the early 20th century. It argues, in a coolly “scientific” tone, that human souls survive bodily death and that disciplined methods can enable communication with them. Framed against spiritualism’s showmanship, it promises evidence, procedures, and cautions for rational readers seeking results rather than spectacle. The opening of the handbook lays out its plan: practical instructions later, but first a case for survival and communication that claims impartiality and “hard facts.” The Preface defends investigation on utilitarian grounds, even asserting that spirit-derived insights into gravitation and levitation could transform aviation, citing Crookes and Crawford and alluding to Edison’s rumored “spook factory.” Chapter I argues that religion and science alike imply survival, distinguishing soul from body via examples (trance, paralysis, sleep), and offers Crawford’s lab weighings as proof of intelligent, discarnate agency, buttressed by Lodge’s “Raymond” and S.P.R. work, plus a moral critique of strict materialism. Chapter II separates impersonal, organizing “life” from the personal, conscious, moral “soul,” listing sharp contrasts and clarifying that “death” ends bodily life but not soul-existence. Chapter III introduces telepathy and “tele-mnemoniky” (memory-reading), proposing an ether-like medium to explain thought and memory transfer, including apparent “thought-reading.” Chapter IV claims many spirits linger near Earth, questions distant spirit-spheres, advances reincarnation as a tidy hypothesis, describes spirit “bodies” without race or sex, and notes that character can shift once freed from bodily limits, with few signs of outright devils and some unreliability in statements. Chapter V begins by defining mediums as rare but real, often amateurs, tools rather than authors of messages, warns about fraud without dismissing the genuine, and cautions that a medium’s mind can color communications, casting doubt on theatrical “controls.” (This is an automatically generated summary.)

The genial sultan; The princess who could not see; Late for the coronation by Harriet Maxon Thayer is a collection of children’s fairy tales written in the early 20th century. The stories use light, whimsical adventures in imagined kingdoms to explore leadership, empathy, personal choice, and the difference between outward show and inner worth. In “The Genial Sultan,” kind Selim longs for a vacation and offers rule to whoever earns a unique medal; after testing his people in disguise, he awards it to a slave girl who minds her own business and lets others do the same, proving her fitness to govern while he finally goes fishing. “The Princess Who Could Not See” follows blind Gloriana, whose sight is restored by Stepan the cobbler, but only after he secures her right to choose her husband; seeing at last, she selects him for his character, not his looks, and together they rule wisely. “Late for the Coronation” finds a willful young princess fleeing court rules with her friend Rollo; on the road she learns what poverty, sickness, and love mean, gives away her jewels, and returns transformed; though late for her ceremony, the people crown her with flowers, affirming that a ruler’s true authority comes from compassion and understanding. (This is an automatically generated summary.)

"In peril on the sea" by Montague T. Hainsselin is a collection of fairy tales written in the early 20th century. The work strings together gentle, didactic stories where animals, insects, toys, and a country boy illustrate lessons about kindness, humility, loyalty, and clear-sighted judgment. The opening of this collection unfolds a suite of brief fables: a rose-bush grows thorns after a cat kills a nightingale’s brood, explaining the bird’s mournful song; an aged fly survives winter only to feel out of place among the young and drifts into the fire; a girl learns, through a fairy’s gift, that her cherished white mouse fears her “affection,” and that creatures seek their own kind; a grand doll’s pride leads to ruin while modest dolls endure; sparrows repeatedly save a child—warning her from poisoned candy, diverting a runaway horse, and guiding her home from kidnappers—earning lifelong gratitude; and six glow-worms, pressed into service as lamps by an owl, escape with a young owl’s help and restore light to a meadow’s revelers. Finally, the frame shifts to Michel, a dutiful farmhand who, twice swindled on the road, aids a stranded dwarf and receives spectacles that reveal thoughts; he immediately uses them to avoid undercutting local laborers, who in turn feed, re-clothe, and help him find work. (This is an automatically generated summary.)

"In peril on the sea" by Montague T. Hainsselin is a philosophical and social-psychological treatise written in the early 20th century. It probes what truly drives human conduct, arguing that modern cynicism about “human nature” arises from cultural forces rather than immutable defects. Drawing on education, psychology, religion, literature, economics, and recent history, it examines how war, industrialism, and fashionable theories shrink our sense of what we can want and become. It points toward enlarging and better directing our desires as the path to a more generous, cooperative, and meaningful life. The opening of the work frames the author’s purpose in a candid preface: from vantage points in education, the psychology of religion, and public life, he sets out to understand the dynamics of human motivation and why the age doubts itself. He argues that wants shape who we are; meagre desires make meagre lives, and schools and churches often sell what they have instead of cultivating richer aims. Part I surveys the sources of disillusionment: the war’s propaganda and profiteering eroded trust; evolution was misread as degrading humanity; contemporary literature fixates on irrational impulses; competing psychologies cloud the picture; industrialism normalizes profit-first conflict and insincerity; and Christianity, entangled with the economic order, fails to demonstrate the regenerative change it proclaims. The section closes by introducing Part II’s claim that this gloom is itself mistaken, and Chapter IX clarifies the core issue: not nature’s scarcity, but our suspected inability to desire higher ends—setting up an inquiry into whether that suspicion is true. (This is an automatically generated summary.)

"In peril on the sea" by Montague T. Hainsselin is a historical travel narrative written in the early 19th century. It follows a determined European explorer-engineer through Egypt and Nubia as he documents operations among pyramids, temples, and tombs, contends with local politics and dangers, and advances bold claims about ancient architecture. Expect vivid first-person reportage that blends logistics, discovery, and argument, including the attempted removal of a colossal statue and side journeys toward the Red Sea and desert oases. The opening of the narrative presents a frank preface in which the author insists on telling his story himself, outlining his solitary methods, hydraulic expertise, and major finds (from pyramids and royal tombs to famed statues), and stating his aim to correct public misreports. A second preface adds pointed theses—locating the temple of Jupiter Ammon in a specific oasis, dismissing misidentified sites for the Egyptian Labyrinth, and arguing that Egyptians built true arches—while citing new traveler reports to bolster these views. The story then begins in earnest: arrival at Alexandria during the plague and a wary quarantine; a journey up the Nile to Cairo; early visits to the pyramids; an injury and the chaos of a military revolt; and a stint at Soubra building a water-raising machine for the ruler, amid glimpses of courtly pastimes, electricity demonstrations, and village festivities. After an accident and local resistance doom the machine, the traveler resolves to ascend the Nile, accepting instructions to try transporting a colossal head from Thebes. With scant tools, a small crew, and his wife, he sails south, dealing with officials and rough country life, and the section closes with his awed first encounter with the grand, richly carved temple at Dendera. (This is an automatically generated summary.)

Sex Variant Women in Literature: A Historical and Quantitative Survey is a 1956 study written by Jeannette Howard Foster chronicling approximately 2,600 years of female same-sex attraction in literature, beginning with Sappho's works in 6th century BC and ending with Patricia Highsmith's The Price of Salt in 1952. (This summary is from Wikipedia.)