title: Saxophone

text: After an early period of interest and support from classical music communities in Europe, their interest in the instrument waned in the late nineteenth century. Saxophone teaching at the Paris Conservatory was suspended from 1870 to 1900 and classical saxophone repertoire stagnated during that period. But it was during this same period that the saxophone began to be promoted in the United States, largely through the efforts of Patrick Gilmore, leader of the "22nd Regiment band", and Edward A. Lefebre, a Dutch emigre and saxophonist with family business associations with Sax. Lefebre settled in New York in early 1872 after he arrived as a clarinetist with a British opera company. Gilmore organized the World Peace Jubilee and International Music Festival taking place in Boston that summer. The Garde Republicaine band performed and Lefebre was a clarinetist with the Great Festival Orchestra for that event. In the fall of 1873 Gilmore was reorganizing the 22nd Regiment band under the influence of the Garde Republicaine band and recruited Lefebre, who had established a reputation in New York as a saxophonist over the previous year. Gilmore's band soon featured a soprano-alto-tenor-baritone saxophone section, which also performed as a quartet. The Gilmore-Lefebre association lasted until Gilmore's death in 1892, during which time Lefebre also performed in smaller ensembles of various sizes and instrumentation, and worked with composers to increase light classical and popular repertoire for saxophone.


title: Saxophone

text: Lefebre's later promotional efforts were extremely significant in broadening adoption of the saxophone. Starting towards the end of the 1880s he consulted with the brass instrument manufacturer C.G. Conn to develop and start production of improved saxophones to replace the costly, scantly available, and mechanically unreliable European instruments in the American market. The early 1890s saw regular production of saxophones commence at Conn and its offshoot Buescher Manufacturing Company, which dramatically increased availability of saxophones in the US. Lefebre worked with the music publisher Carl Fischer to distribute his transcriptions, arrangements, and original works for saxophone, and worked with the Conn Conservatory to further saxophone pedagogy in the US. Lefebre's associations with Conn and Fischer lasted into the first decade of the twentieth century and Fischer continued to publish new arrangements of Lefebre's works posthumously.


title: Saxophone

text: While the saxophone remained marginal and regarded mainly as a novelty instrument in the classical music world, many new musical niches were established for it during the early decades of the twentieth century. Its early use in vaudeville and ragtime bands around the turn of the century laid the groundwork for its use in dance orchestras and eventually jazz. As the market for saxophones grew in the US, the manufacturing industry grew. The Martin Band Instrument Company started producing saxophones between 1905 and 1912, and the Cleveland Band Instrument Company started producing saxophones under contract to the H. N. White Company in 1916. The saxophone was promoted for the casual market with introduction of the C-soprano and C-melody (between alto and tenor) saxophones to play in key with pianos from the same sheet music. Production of such instruments stopped during the Great Depression. During the 1920s the saxophone came into use as a jazz instrument, fostered by the influences of the Fletcher Henderson Orchestra and the Duke Ellington Orchestra. Starting in the late 1920s and early 1930s, the modern era of classical saxophone was launched largely through the efforts of Marcel Mule and Sigurd Raschèr, and the classical repertoire for the instrument expanded rapidly.


title: Saxophone

text: The use of the saxophone for more dynamic and more technically demanding styles of playing added incentive for improvements in keywork and acoustic design. Early saxophones had two separate octave keys operated by the left thumb to control the two octave vents required on alto or larger saxophones. A substantial advance in keywork around the turn of the century was development of mechanisms, by which the left thumb operates the two octave vents with a single octave key. Ergonomic design of keywork evolved rapidly during the 1920s and 1930s. The front F mechanism supporting alternate fingerings for high E and F, and stack-linked G key action became standard during the 1920s, followed by improvements to the left hand table key mechanisms controlling G and bell keys. New bore designs during the 1920s and 1930s resulted from the quest for improved intonation, dynamic response and tonal qualities. The 1920s were also the era of design experiments like the Buescher straight altos and tenors, the King "Saxello" soprano, the C.G. Conn "mezzo-soprano" saxophone keyed in F, and the "Conn-O-Sax" saxophone – English horn hybrid.


title: Saxophone

text: French saxophonist and educator Jean-Marie Londeix greatly expanded the saxophone repertoire and available techniques in the second half of the 20th century, commissioning a great deal of new saxophone works with extended techniques, including those by Denisov, Lauba, Rossé, and Rolin.


title: Saxophone

text: The modern layout of the saxophone emerged during the 1930s and 1940s, first with right-side bell keys introduced by C. G. Conn on baritones, then by King on altos and tenors. The mechanics of the left hand table were revolutionized by Selmer with their Balanced Action instruments in 1936, capitalizing on the right-side bell key layout. In 1948 Selmer introduced their Super Action saxophones with offset left and right hand stack keys. Thirty to forty years later this final Selmer layout was nearly universal on all saxophone models.


title: Saxophone

text: The high F key was also first introduced as an option on the Balanced Action model, although it took several decades for it to gain acceptance because of perceived deleterious effects on intonation in its early implementations.


title: Saxophone

text: Marcel Mule established study of the saxophone as a classical instrument at the Conservatoire de Paris from the 1940s. Larry Teal did the same in the United States at the University of Michigan a decade later. A number of other American institutions have since become recognized homes for the study of classical saxophone. They include Northwestern University, Indiana University, and the Eastman School of Music.


title: Saxophone

text: The saxophone first gained popularity in military bands. Although the instrument was initially ignored in Germany, French and Belgian military bands were quick to include it in their ensembles. Most French and Belgian military bands incorporate at least a quartet of saxophones, comprising an E baritone, B tenor, E alto and B soprano. These four instruments have proven the most popular of all Sax's creations with the E contrabass and B bass usually considered impractically large and E sopranino insufficiently powerful. British military bands tend to include at minimum two saxophonists on alto and tenor.


title: Saxophone

text: The saxophone was introduced into the concert band, which usually calls for an E alto saxophone, a B tenor saxophone, and an E baritone saxophone. A concert band may include two altos, one tenor, and one baritone. A B soprano saxophone is also sometimes used, and is played by the first alto saxophonist. A bass saxophone in B is used in some concert band music (especially music by Percy Grainger).


title: Saxophone

text: Saxophones are used in chamber music, such as saxophone quartets and other chamber combinations of instruments. The classical saxophone quartet consists of a B soprano saxophone, E alto saxophone, B tenor saxophone, and E baritone saxophone (SATB). On occasion, the soprano is replaced with a second alto sax (AATB); a few professional saxophone quartets have featured non-standard instrumentation, such as James Fei's Alto Quartet (four altos).


title: Saxophone

text: There is a repertoire of classical compositions and arrangements for the SATB instrumentation dating back to the nineteenth century, particularly by French composers who knew Sax. However, the largest body of chamber works for saxophone are from the modern era of classical saxophone initiated by Marcel Mule in 1928. Sigurd Raschèr followed as a soloist in orchestral works, starting in 1931, and also figured prominently in development of modern classical saxophone repertoire. The Mule quartet is often considered the prototype for quartets due to the level of virtuosity demonstrated by its members and its central role in the development of modern quartet repertoire. However, organized quartets existed before Mule's ensemble, the prime example being the quartet headed by Edward A. Lefebre (1834–1911), which was a subset of Patrick Gilmore's 22nd Regiment band between 1873 and 1893.


title: Saxophone

text: In the 20th and 21st centuries, the saxophone found increased popularity in symphony orchestras. The instrument has also been used in opera and choral music. Musical theatre scores also can include parts for saxophone, sometimes doubling another woodwind or brass instrument.


title: Saxophone

text: Coincident with the more widespread availability of saxophones in the US around the turn of the century was the rise of ragtime music. The bands featuring the syncopated Latin- and African-American rhythmic influences of ragtime were an exciting new feature of the American cultural landscape and provided the groundwork for new styles of dancing. Two of the best known ragtime-playing brass bands with saxophones were those led by W. C. Handy and James R. Europe. Europe's 369th Infantry Regiment Band popularized ragtime in France during its 1918 tour. The rise of dance bands into the 1920s followed from the popularity of ragtime. The saxophone was also used in Vaudeville entertainment during the same period. Ragtime, Vaudeville, and dance bands introduced much of the American public to the saxophone. Rudy Wiedoeft became the best known individual saxophone stylist and virtuoso during this period leading into the "saxophone craze" of the 1920s. Following it, the saxophone became featured in music as diverse as the "sweet" music of Paul Whiteman and Guy Lombardo, jazz, swing, and large stage show bands.


title: Saxophone

text: The rise of the saxophone as a jazz instrument followed its widespread adoption in dance bands during the early 1920s. The Fletcher Henderson Orchestra, formed in 1923, featured arrangements to back up improvisation, bringing the first elements of jazz to the large dance band format. Following the innovations of the Fletcher Henderson Orchestra, the Duke Ellington Orchestra and Jean Goldkette's Victor Recording Orchestra featured jazz solos with saxophones and other instruments. The association of dance bands with jazz would reach its peak with the swing music of the 1930s. The large show band format, influenced by the 1930s swing bands, would be used as backing for popular vocalists and stage shows in the post World War II era, and provided a foundation for big band jazz. Show bands with saxophone sections became a staple of television talk shows (such as the Tonight Show that featured bands led by Doc Severinsen and Branford Marsalis) and Las Vegas stage shows. The swing era fostered the later saxophone styles that permeated bebop and rhythm and blues in the early postwar era.


title: Saxophone

text: Coleman Hawkins established the tenor saxophone as a jazz solo instrument during his stint with Fletcher Henderson from 1923 to 1934. Hawkins' arpeggiated, rich-toned, vibrato-laden style was the main influence on swing era tenor players before Lester Young, and his influence continued with other big-toned tenor players into the era of modern jazz. Among the tenor players directly influenced by him were Chu Berry, Charlie Barnet, Tex Beneke, Ben Webster, Vido Musso, Herschel Evans, Buddy Tate, and Don Byas. Hawkins' bandmate Benny Carter and Duke Ellington's alto saxophonist Johnny Hodges became influential on swing era alto styles, while Harry Carney brought the baritone saxophone to prominence with the Duke Ellington Orchestra. The New Orleans player Sidney Bechet gained recognition for playing the soprano saxophone during the 1920s, but the instrument did not come into wide use until the modern era of jazz.


title: Saxophone

text: As Chicago style jazz evolved from New Orleans jazz in the 1920s, one of its defining features was the addition of saxophones to the ensemble. The small Chicago ensembles offered more improvisational freedom than did the New Orleans or large band formats, fostering the innovations of saxophonists Jimmy Dorsey (alto), Frankie Trumbauer (c-melody), Bud Freeman (tenor) and Stump Evans (baritone). Dorsey and Trumbauer became important influences on tenor saxophonist Lester Young.


title: Saxophone

text: Lester Young's approach on tenor saxophone differed from Hawkins', emphasizing more melodic "linear" playing that wove in and out of the chordal structure and longer phrases that differed from those suggested by the tune. He used vibrato less, fitting it to the passage he was playing. His tone was smoother and darker than that of his 1930s contemporaries. Young's playing was a major influence on the modern jazz saxophonists Al Cohn, Stan Getz, Zoot Sims, Dexter Gordon, Wardell Gray, Lee Konitz, Warne Marsh, Charlie Parker, and Art Pepper.


title: Saxophone

text: The influence of Lester Young with the Count Basie Orchestra in the late 1930s and the popularity of Hawkins' 1939 recording of "Body and Soul" marked the saxophone as an influence on jazz equal to the trumpet, which had been the defining instrument of jazz since its beginnings in New Orleans. But the greatest influence of the saxophone on jazz was to occur a few years later when alto saxophonist Charlie Parker became an icon of the bebop revolution that influenced generations of jazz musicians. The small-group format of bebop and post-bebop jazz ensembles gained ascendancy in the 1940s as musicians used the harmonic and melodic freedom pioneered by Parker, Dizzy Gillespie, Thelonious Monk, and Bud Powell in extended jazz solos.


title: Saxophone

text: During the 1950s, prominent alto players included Sonny Stitt, Cannonball Adderley, Jackie McLean, Lou Donaldson, Sonny Criss and Paul Desmond, while prominent tenor players included Lester Young, Coleman Hawkins, Dexter Gordon, John Coltrane, Sonny Rollins, Stan Getz, Zoot Sims, Lucky Thompson, Eddie "Lockjaw" Davis, and Paul Gonsalves. Serge Chaloff, Gerry Mulligan, Pepper Adams and Leo Parker brought the baritone saxophone to prominence as a solo instrument. Steve Lacy renewed attention to the soprano saxophone in the context of modern jazz and John Coltrane boosted the instrument's popularity during the 1960s. Smooth jazz musician Kenny G also uses the soprano sax as his principal instrument.


title: Saxophone

text: Saxophonists such as John Coltrane, Ornette Coleman, Sam Rivers, and Pharoah Sanders defined the forefront of creative exploration with the avant-garde movement of the 1960s. The new realms offered with Modal, harmolodic, and free jazz were explored with every device that saxophonists could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered. One lasting influence of the avant-garde movement is the exploration of non-Western ethnic sounds on the saxophone, for example, the African-influenced sounds used by Sanders and the Indian-influenced sounds used by Coltrane. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto saxophonists Steve Coleman and Greg Osby.


title: Saxophone

text: Some ensembles such as the World Saxophone Quartet use the soprano-alto-tenor-baritone (SATB) format of the classical saxophone quartet for jazz. In the 1990s, World Saxophone Quartet founder Hamiet Bluiett formed the quartet Baritone Nation (four baritones).


title: Saxophone

text: The "jump swing" bands of the 1940s gave rise to rhythm and blues, featuring horn sections and exuberant, strong-toned, heavily rhythmic styles of saxophone playing with a melodic sense based on blues tonalities. Illinois Jacquet, Sam Butera, Arnett Cobb, and Jimmy Forrest were major influences on R&B tenor styles and Louis Jordan, Eddie "Cleanhead" Vinson, Earl Bostic, and Bull Moose Jackson were major influences on alto. The R&B saxophone players influenced later genres including rock and roll, ska, soul, and funk. Horn section work continued with Johnny Otis and Ray Charles featuring horn sections and the Memphis Horns, the Phenix Horns, and Tower of Power achieving distinction for their section playing. Horn sections were added to the Chicago and West Coast blues bands of Lowell Fulson, T-Bone Walker, B.B. King, and Guitar Slim. Rock and soul fusion bands such as Chicago, The Electric Flag, and Blood, Sweat, and Tears featured horn sections. Bobby Keys and Clarence Clemons became influential rock and roll saxophone stylists. Junior Walker, King Curtis and Maceo Parker became influential soul and funk saxophone stylists, influencing the more technical jazz-fusion sounds of Michael Brecker and Bob Mintzer and pop-jazz players such as Candy Dulfer.


title: Saxophone

text: A number of experimental saxophones and saxophone-related instruments have appeared since Sax's original work, most with no lasting impact. During the early 1920s Reiffel & Husted of Chicago produced a slide soprano saxophone.


title: Saxophone

text: During the 1920s some straight alto and tenor saxophones were produced by Buescher, which proved cumbersome to handle and difficult to transport. Buescher custom produced one straight baritone saxophone as novelty instrument for a vaudeville performer. C.G. Conn introduced two new variants in 1928–1929, the "Conn-O-Sax" and the mezzo-soprano saxophone keyed in F. The Conn-O-Sax is a straight-conical bore instrument in F (one step above the E alto) with a slightly curved neck and spherical bell. This instrument, which combines a saxophone bore and keys with a bell shaped similar to that of a heckelphone, was intended to imitate the timbre of the English horn and was produced only in 1929 and 1930. The instrument has a key range from low A to high G. Fewer than 100 Conn-O-Saxes are in existence and they are highly sought by collectors. The Conn mezzo-soprano experienced a similarly short production run as the economics of the Great Depression curtailed the market for what were regarded as novelty instruments. Most were expended by Conn as objects of repair training exercises.


title: Saxophone

text: The most successful of the unusual 1920s designs was the King "Saxello", essentially a straight B soprano, but with a slightly curved neck and tipped bell, made by the H. N. White Company. Such instruments now command prices up to US$4,000. Its lasting influence is shown in the number of companies, including Keilwerth, Rampone & Cazzani ("altello" model), L.A. Sax and Sax Dakota USA, marketing straight-bore, tipped-bell soprano saxophones as saxellos (or "saxello sopranos").


title: Saxophone

text: Interest in two 1920s variants was revived by jazz musician Rahsaan Roland Kirk, who called his straight Buescher alto a "stritch" and his Saxello a "manzello.". The Buescher straight alto was a production instrument while the manzello was in fact a Saxello with a custom-made large bell and modified keywork. More recently, the mezzo-soprano, or a modern variant of it, came into use by jazz musicians Anthony Braxton, James Carter, Vinny Golia, and Joe Lovano.


title: Saxophone

text: Some of the 1920s experimental designs, in addition to the Saxello, provide the basis for similar instruments produced during the modern era. Straight altos and tenors have been revived by Keilwerth, L.A. Sax and Sax Dakota USA. A mezzo-soprano in the key of G has been produced by Danish woodwind technician Peter Jessen, most notably played by Joe Lovano. This instrument is more in the timbral quality of Bb soprano saxophone.


title: Saxophone

text: The "contralto" saxophone, similar in size to the orchestral c-melody, was developed in the late 20th century by California instrument maker Jim Schmidt. This instrument has a larger bore and a new fingering system, and does not resemble the orchestral instrument except for its key and register.


title: Saxophone

text: Benedikt Eppelsheim, of Munich, Germany has introduced recent innovations at the upper and lower ends of the saxophone range. The soprillo sax is a piccolo-sized straight instrument with the upper speaker hole built into the mouthpiece. The instrument, which extends Sax's original family, is pitched a full octave higher than the B soprano sax—a sopranissimo sax.


title: Saxophone

text: The tubax, developed in 1999 by Eppelsheim, plays the same range and with the same fingering as the E contrabass saxophone; its bore, however, is narrower than that of a contrabass saxophone, resulting in a more compact instrument with a "reedier" tone (akin to the double-reed contrabass sarrusophone). It can be played with the smaller (and more commonly available) baritone saxophone mouthpiece and reeds. Eppelsheim has also produced subcontrabass tubaxes in C and B, the latter being the lowest saxophone ever made.


title: Saxophone

text: Among the 2000s developments is the aulochrome, a double soprano saxophone invented by Belgian instrument maker François Louis in 2001.


title: Saxophone

text: Since the 1950s, saxophones with non-metallic bodies have occasionally been in production. Such instruments have failed to gain acceptance over a number of issues including durability, repairability, and deficiencies in key action and tone. The best known of these efforts is the 1950s Grafton acrylic alto saxophone used briefly by Charlie Parker and Ornette Coleman. It had a production run of over 10 years as a budget model saxophone. The polycarbonate Vibratosax is in production as a low cost alternative to metal saxophones. Wooden Sawat saxophones are made in Thailand on a small scale. Opinions vary on the significance of body materials to sound.


title: Saxophone

text: The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. There is also a lack of tactile consistency between key centers, requiring extra effort from the player to adjust modes of muscle memory when moving between key centers. Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.


title: Saxophone

text: The Leblanc Rationale and System saxophones have key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enable players to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away. Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. Despite the advantages of that system, acceptance was impaired by the expense and mechanical reliability issues related to the complexity of certain key mechanisms.


title: Saxophone

text: The chromatic, or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval regardless of the key, and avoiding the acoustic problems associated with closed keys below the first open tone hole. Several working prototypes have been built and presented at trade shows. Production of this original and expensive saxophone is on an individual order basis.


title: Saxophone

text: Inexpensive keyless folk versions of the saxophone made of bamboo (recalling a chalumeau) were developed in the 20th century by instrument makers in Hawaii, Jamaica, Thailand, Indonesia, Ethiopia, and Argentina. The Hawaiian instrument, called a xaphoon, was invented during the 1970s and is also marketed as a "bamboo sax", although its cylindrical bore more closely resembles that of a clarinet, and its lack of any keywork makes it more akin to a recorder. Jamaica's best known exponent of a similar type of homemade bamboo "saxophone" was the mento musician and instrument maker 'Sugar Belly' (William Walker). In the Minahasa region of the Indonesian island of Sulawesi, there exist entire bands made up of bamboo "saxophones" and "brass" instruments of various sizes. These instruments are imitations of European instruments, made using local materials. Similar instruments are produced in Thailand.


title: Saxophone

text: In Argentina, Ángel Sampedro del Río and Mariana García have produced bamboo saxophones of various sizes since 1985, the larger of which have bamboo keys to allow for the playing of lower notes.


title: Saxophone

text: Many synthesizer wind controllers are played and fingered like a saxophone, such as the Electronic Wind Instrument (EWI).


title: Beauty

text: Beauty is commonly described as a feature of objects that makes these objects pleasurable to perceive. Such objects include landscapes, sunsets, humans and works of art. Beauty, together with art and taste, is the main subject of aesthetics, one of the major branches of philosophy. As a positive aesthetic value, it is contrasted with ugliness as its negative counterpart. Along with truth and goodness it is one of the transcendentals, which are often considered the three fundamental concepts of human understanding.


title: Beauty

text: One difficulty in understanding beauty is because it has both objective and subjective aspects: it is seen as a property of things but also as depending on the emotional response of observers. Because of its subjective side, beauty is said to be "in the eye of the beholder". It has been argued that the ability on the side of the subject needed to perceive and judge beauty, sometimes referred to as the "sense of taste", can be trained and that the verdicts of experts coincide in the long run. This would suggest that the standards of validity of judgments of beauty are "intersubjective", i.e. dependent on a group of judges, rather than fully "subjective" or fully "objective".


title: Beauty

text: Conceptions of beauty aim to capture what is essential to all beautiful things. "Classical conceptions" define beauty in terms of the relation between the beautiful object as a whole and its parts: the parts should stand in the right proportion to each other and thus compose an integrated harmonious whole. "Hedonist conceptions" see a necessary connection between pleasure and beauty, e.g. that for an object to be beautiful is for it to cause disinterested pleasure. Other conceptions include defining beautiful objects in terms of their value, of a loving attitude towards them or of their function.


title: Beauty

text: Beauty, together with art and taste, is the main subject of aesthetics, one of the major branches of philosophy. Beauty is usually categorized as an aesthetic property besides other properties, like grace, elegance or the sublime. As a positive aesthetic value, beauty is contrasted with ugliness as its negative counterpart. Beauty is often listed as one of the three fundamental concepts of human understanding besides truth and goodness.


title: Beauty

text: Objectivists or realists see beauty as an objective or mind-independent feature of beautiful things, which is denied by "subjectivists". The source of this debate is that judgments of beauty seem to be based on subjective grounds, namely our feelings, while claiming universal correctness at the same time. This tension is sometimes referred to as the "antinomy of taste". Adherents of both sides have suggested that a certain faculty, commonly called a "sense of taste", is necessary for making reliable judgments about beauty. David Hume, for example, suggests that this faculty can be trained and that the verdicts of experts coincide in the long run.


title: Beauty

text: Beauty is mainly discussed in relation to "concrete objects" accessible to sensory perception. It has been suggested that the beauty of a thing supervenes on the sensory features of this thing. It has also been proposed that abstract objects like stories or mathematical proofs can be beautiful. Beauty plays a central role in works of art and nature.


title: Beauty

text: An influential distinction among beautiful things, according to Immanuel Kant, is that between "dependent" and "free beauty". A thing has dependent beauty if its beauty depends on the conception or function of this thing, unlike free or absolute beauty. Examples of dependent beauty include an ox which is beautiful as an ox but not beautiful as a horse or a photograph which is beautiful, because it depicts a beautiful building but that lacks beauty generally speaking because of its low quality.


title: Beauty

text: Judgments of beauty seem to occupy an intermediary position between objective judgments, e.g. concerning the mass and shape of a grapefruit, and subjective likes, e.g. concerning whether the grapefruit tastes good. Judgments of beauty differ from the former because they are based on subjective feelings rather than objective perception. But they also differ from the latter because they lay claim on universal correctness. This tension is also reflected in common language. On the one hand, we talk about beauty as an objective feature of the world that is ascribed, for example, to landscapes, paintings or humans. The subjective side, on the other hand, is expressed in sayings like "beauty is in the eye of the beholder".


title: Beauty

text: These two positions are often referred to as "objectivism" (or realism) and "subjectivism". "Objectivism" is the traditional view, while subjectivism developed more recently in western philosophy. Objectivists hold that beauty is a mind-independent feature of things. On this account, the beauty of a landscape is independent of who perceives it or whether it is perceived at all. Disagreements may be explained by an inability to perceive this feature, sometimes referred to as a "lack of taste". Subjectivism, on the other hand, denies the mind-independent existence of beauty. Influential for the development of this position was John Locke's distinction between primary qualities, which the object has independent of the observer, and secondary qualities, which constitute powers in the object to produce certain ideas in the observer. When applied to beauty, there is still a sense in which it depends on the object and its powers. But this account makes the possibility of genuine disagreements about claims of beauty implausible, since the same object may produce very different ideas in distinct observers. The notion of "taste" can still be used to explain why different people disagree about what is beautiful, but there is no objectively right or wrong taste, there are just different tastes.


title: Beauty

text: The problem with both the objectivist and the subjectivist position in their extreme form is that each has to deny some intuitions about beauty. This issue is sometimes discussed under the label "antinomy of taste". It has prompted various philosophers to seek a unified theory that can take all these intuitions into account. One promising route to solve this problem is to move from subjective to "intersubjective theories", which hold that the standards of validity of judgments of taste are intersubjective or dependent on a group of judges rather than objective. This approach tries to explain how genuine disagreement about beauty is possible despite the fact that beauty is a mind-dependent property, dependent not on an individual but a group. A closely related theory sees beauty as a "secondary" or "response-dependent property". On one such account, an object is beautiful "if it causes pleasure by virtue of its aesthetic properties". The problem that different people respond differently can be addressed by combining response-dependence theories with so-called "ideal-observer theories": it only matters how an ideal observer would respond. There is no general agreement on how "ideal observers" are to be defined, but it is usually assumed that they are experienced judges of beauty with a fully developed sense of taste. This suggests an indirect way of solving the "antinomy of taste": instead of looking for necessary and sufficient conditions of beauty itself, one can learn to identify the qualities of good critics and rely on their judgments. This approach only works if unanimity among experts was ensured. But even experienced judges may disagree in their judgments, which threatens to undermine ideal-observer theories.


title: Beauty

text: Various conceptions of the essential features of beautiful things have been proposed but there is no consensus as to which is the right one.


title: Beauty

text: The "classical conception" defines beauty in terms of the relation between the beautiful object "as a whole" and its "parts": the parts should stand in the right proportion to each other and thus compose an integrated harmonious whole. On this account, which found its most explicit articulation in the Italian Renaissance, the beauty of a human body, for example, depends, among other things, on the right proportion of the different parts of the body and on the overall symmetry. One problem with this conception is that it is difficult to give a general and detailed description of what is meant by "harmony between parts" and raises the suspicion that defining beauty through harmony results in exchanging one unclear term for another one. Some attempts have been made to dissolve this suspicion by searching for "laws of beauty", like the golden ratio.


title: Beauty

text: 18th century philosopher Alexander Baumgarten, for example, saw laws of beauty in analogy with laws of nature and believed that they could be discovered through empirical research. As of 2003, these attempts have failed to find a general definition of beauty and several authors take the opposite claim that such laws cannot be formulated, as part of their definition of beauty.


title: Beauty

text: A very common element in many conceptions of beauty is its relation to pleasure. Hedonism makes this relation part of the definition of beauty by holding that there is a necessary connection between pleasure and beauty, e.g. that for an object to be beautiful is for it to cause pleasure or that the experience of beauty is always accompanied by pleasure. This account is sometimes labeled as "aesthetic hedonism" in order to distinguish it from other forms of hedonism. An influential articulation of this position comes from Thomas Aquinas, who treats beauty as "that which pleases in the very apprehension of it". Immanuel Kant explains this pleasure through a harmonious interplay between the faculties of understanding and imagination. A further question for hedonists is how to explain the relation between beauty and pleasure. This problem is akin to the Euthyphro dilemma: is something beautiful because we enjoy it or do we enjoy it because it is beautiful? Identity theorists solve this problem by denying that there is a difference between beauty and pleasure: they identify beauty, or the appearance of it, with the experience of aesthetic pleasure.


title: Beauty

text: Hedonists usually restrict and specify the notion of pleasure in various ways in order to avoid obvious counterexamples. One important distinction in this context is the difference between "pure" and "mixed pleasure". Pure pleasure excludes any form of pain or unpleasant feeling while the experience of mixed pleasure can include unpleasant elements. But beauty can involve mixed pleasure, for example, in the case of a beautifully tragic story, which is why mixed pleasure is usually allowed in hedonist conceptions of beauty.


title: Beauty

text: Another problem faced by hedonist theories is that we take pleasure from many things that are not beautiful. One way to address this issue is to associate beauty with a special type of pleasure: "aesthetic" or "disinterested pleasure". A pleasure is disinterested if it is indifferent to the existence of the beautiful object or if it did not arise owing to an antecedent desire through means-end reasoning. For example, the joy of looking at a beautiful landscape would still be valuable if it turned out that this experience was an illusion, which would not be true if this joy was due to seeing the landscape as a valuable real estate opportunity. Opponents of hedonism usually concede that many experiences of beauty are pleasurable but deny that this is true for all cases. For example, a cold jaded critic may still be a good judge of beauty because of her years of experience but lack the joy that initially accompanied her work. One way to avoid this objection is to allow responses to beautiful things to lack pleasure while insisting that all beautiful things merit pleasure, that aesthetic pleasure is the only appropriate response to them.


title: Beauty

text: G. E. Moore explained beauty in regard to intrinsic value as "that of which the admiring contemplation is good in itself". This definition connects beauty to experience while managing to avoid some of the problems usually associated with subjectivist positions since it allows that things may be beautiful even if they are never experienced.


title: Beauty

text: Another subjectivist theory of beauty comes from George Santayana, who suggested that we project pleasure onto the things we call "beautiful". So in a process akin to a category mistake, one treats one´s subjective pleasure as an objective property of the beautiful thing. Other conceptions include defining beauty in terms of a loving or longing attitude towards the beautiful object or in terms of its usefulness or function. In 1871, functionalist Charles Darwin explained beauty as result of accumulative sexual selection in "The Descent of Man and Selection in Relation to Sex".


title: Beauty

text: The classical Greek noun that best translates to the English-language words "beauty" or "beautiful" was κάλλος, "kallos", and the adjective was καλός, "kalos". However, "kalos" may and is also translated as ″good″ or ″of fine quality″ and thus has a broader meaning than mere physical or material beauty. Similarly, "kallos" was used differently from the English word beauty in that it first and foremost applied to humans and bears an erotic connotation. The Koine Greek word for beautiful was ὡραῖος, "hōraios", an adjective etymologically coming from the word ὥρα, "hōra", meaning "hour". In Koine Greek, beauty was thus associated with "being of one's hour". Thus, a ripe fruit (of its time) was considered beautiful, whereas a young woman trying to appear older or an older woman trying to appear younger would not be considered beautiful. In Attic Greek, "hōraios" had many meanings, including "youthful" and "ripe old age". Another classical term in use to describe beauty was "" (Latin).


title: Beauty

text: Beauty for ancient thinkers existed both in , which is the material world as it is, and as embodied in the spirit, which is the world of mental formations. Greek mythology mentions Helen of Troy as the most beautiful woman. Ancient Greek architecture is based on this view of symmetry and proportion.


title: Beauty

text: In one fragment of Heraclitus's writings ("Fragment 106") he mentions beauty, this reads: "To God all things are beautiful, good, right..." The earliest Western theory of beauty can be found in the works of early Greek philosophers from the pre-Socratic period, such as Pythagoras, who conceived of beauty as useful for a moral education of the soul. He wrote of how people experience pleasure when aware of a certain type of formal situation present in reality, perceivable by sight or through the ear and discovered the underlying mathematical ratios in the harmonic scales in music. The Pythagoreans conceived of the presence of beauty in universal terms, which is, as existing in a cosmological state, they observed beauty in "the heavens". They saw a strong connection between mathematics and beauty. In particular, they noted that objects proportioned according to the golden ratio seemed more attractive.


title: Beauty

text: The classical concept of beauty is one that exhibits perfect proportion (Wolfflin). In this context, the concept belonged often within the discipline of mathematics. An idea of spiritual beauty emerged during the classical period, beauty was something embodying divine goodness, while the demonstration of behaviour which might be classified as beautiful, from an inner state of morality which is aligned to the good.


title: Beauty

text: The writing of Xenophon shows a conversation between Socrates and Aristippus. Socrates discerned differences in the conception of the beautiful, for example, in inanimate objects, the effectiveness of execution of design was a deciding factor on the perception of beauty in something. By the account of Xenophon, Socrates found beauty congruent with that to which was defined as the morally good, in short, he thought beauty coincident with the good.


title: Beauty

text: Beauty is a subject of Plato in his work Symposium. In the work, the high priestess Diotima describes how beauty moves out from a core singular appreciation of the body to outer appreciations via loved ones, to the world in its state of culture and society (Wright). In other words, Diotoma gives to Socrates an explanation of how love should begin with erotic attachment, and end with the transcending of the physical to an appreciation of beauty as a thing in itself. The ascent of love begins with one's own body, then secondarily, in appreciating beauty in another's body, thirdly beauty in the soul, which cognates to beauty in the mind in the modern sense, fourthly beauty in institutions, laws and activities, fifthly beauty in knowledge, the sciences, and finally to lastly love beauty itself, which translates to the original Greek language term as " to ". In the final state, "auto to kalon" and truth are united as one. There is the sense in the text, concerning love and beauty they both co-exist but are still independent or, in other words, mutually exclusive, since love does not have beauty since it seeks beauty. The work toward the end provides a description of beauty in a negative sense.


title: Beauty

text: Plato also discusses beauty in his work "Phaedrus", and identifies Alcibiades as beautiful in "Parmenides". He considered beauty to be the Idea (Form) above all other Ideas. Platonic thought synthesized beauty with the divine. Scruton (cited: Konstan) states Plato states of the idea of beauty, of it (the idea), being something inviting desirousness (c.f ), and, promotes an intellectual (c.f. ) of desire. For Alexander Nehamas, it is only the locating of desire to which the sense of beauty exists, in the considerations of Plato.


title: Beauty

text: Aristotle defines beauty in Metaphysics as having order, symmetry and definiteness "which the mathematical sciences exhibit to a special degree". He saw a relationship between the beautiful ("to kalon") and virtue, arguing that "Virtue aims at the beautiful."


title: Beauty

text: In "De Natura Deorum" Cicero wrote: "the splendour and beauty of creation", in respect to this, and all the facets of reality resulting from creation, he postulated these to be a reason to see the existence of a God as creator.


title: Beauty

text: In the Middle Ages, Catholic philosophers like Thomas Aquinas included beauty among the transcendental attributes of being. In his Summa Theologica, Aquinas described the three conditions of beauty as: integritas (wholeness), consonantia (harmony and proportion), and claritas (a radiance and clarity that makes the form of a thing apparent to the mind).


title: Beauty

text: In the Gothic Architecture of the High and Late Middle Ages, light was considered the most beautiful revelation of God, which was heralded in design. Examples are the stained glass of Gothic Cathedrals including Notre-Dame de Paris and Chartres Cathedral.


title: Beauty

text: St. Augustine said of beauty "Beauty is indeed a good gift of God; but that the good may not think it a great good, God dispenses it even to the wicked."


title: Beauty

text: Classical philosophy and sculptures of men and women produced according to the Greek philosophers' tenets of ideal human beauty were rediscovered in Renaissance Europe, leading to a re-adoption of what became known as a "classical ideal". In terms of female human beauty, a woman whose appearance conforms to these tenets is still called a "classical beauty" or said to possess a "classical beauty", whilst the foundations laid by Greek and Roman artists have also supplied the standard for male beauty and female beauty in western civilization as seen, for example, in the "Winged Victory of Samothrace". During the Gothic era, the classical aesthetical canon of beauty was rejected as sinful. Later, Renaissance and Humanist thinkers rejected this view, and considered beauty to be the product of rational order and harmonious proportions. Renaissance artists and architects (such as Giorgio Vasari in his "Lives of Artists") criticised the Gothic period as irrational and barbarian. This point of view of Gothic art lasted until Romanticism, in the 19th century. Vasari aligned himself to the classical notion and thought of beauty as defined as arising from proportion and order.


title: Beauty

text: The Age of Reason saw a rise in an interest in beauty as a philosophical subject. For example, Scottish philosopher Francis Hutcheson argued that beauty is "unity in variety and variety in unity". He wrote that beauty was neither purely subjective nor purely objective—it could be understood not as "any Quality suppos'd to be in the Object, which should of itself be beautiful, without relation to any Mind which perceives it: For Beauty, like other Names of sensible Ideas, properly denotes the "Perception" of some mind; ... however we generally imagine that there is something in the Object just like our Perception."


title: Beauty

text: Immanuel Kant believed that there could be no "universal criterion of the beautiful" and that the experience of beauty is subjective, but that an object is judged to be beautiful when it seems to display "purposiveness"; that is, when its form is perceived to have the character of a thing designed according to some principle and fitted for a purpose. He distinguished "free beauty" from "merely dependent beauty", explaining that "the first presupposes no concept of what the object ought to be; the second does presuppose such a concept and the perfection of the object in accordance therewith." By this definition, free beauty is found in seashells and wordless music; dependent beauty in buildings and the human body.


title: Beauty

text: The Romantic poets, too, became highly concerned with the nature of beauty, with John Keats arguing in "Ode on a Grecian Urn" that:


title: Beauty

text: In the Romantic period, Edmund Burke postulated a difference between beauty in its classical meaning and the sublime. The concept of the sublime, as explicated by Burke and Kant, suggested viewing Gothic art and architecture, though not in accordance with the classical standard of beauty, as sublime.


title: Beauty

text: The 20th century saw an increasing rejection of beauty by artists and philosophers alike, culminating in postmodernism's anti-aesthetics. This is despite beauty being a central concern of one of postmodernism's main influences, Friedrich Nietzsche, who argued that the Will to Power was the Will to Beauty.


title: Beauty

text: In the aftermath of postmodernism's rejection of beauty, thinkers have returned to beauty as an important value. American analytic philosopher Guy Sircello proposed his New Theory of Beauty as an effort to reaffirm the status of beauty as an important philosophical concept. He rejected the subjectivism of Kant and sought to identify the properties inherent in an object that make it beautiful. He called qualities such as vividness, boldness, and subtlety "properties of qualitative degree" (PQDs) and stated that a PQD makes an object beautiful if it is not—and does not create the appearance of—"a property of deficiency, lack, or defect"; and if the PQD is strongly present in the object.


title: Beauty

text: Beauty is also studied by psychologists and neuroscientists in the field of experimental aesthetics and neuroesthetics respectively. Psychological theories see beauty as a form of pleasure. Correlational findings support the view that more beautiful objects are also more pleasing. Some studies suggest that higher experienced beauty is associated with activity in the medial orbitofrontal cortex. This approach of localizing the processing of beauty in one brain region has received criticism within the field.


title: Beauty

text: Philosopher and novelist Umberto Eco wrote "" (2004) and "On Ugliness" (2007). The narrator of his novel "The Name of the Rose" follows Aquinas in declaring: "three things concur in creating beauty: first of all integrity or perfection, and for this reason, we consider ugly all incomplete things; then proper proportion or consonance; and finally clarity and light", before going on to say "the sight of the beautiful implies peace".


title: Beauty

text: Chinese philosophy has traditionally not made a separate discipline of the philosophy of beauty. Confucius identified beauty with goodness, and considered a virtuous personality to be the greatest of beauties: In his philosophy, "a neighborhood with a "ren" man in it is a beautiful neighborhood." Confucius's student Zeng Shen expressed a similar idea: "few men could see the beauty in some one whom they dislike." Mencius considered "complete truthfulness" to be beauty. Zhu Xi said: "When one has strenuously implemented goodness until it is filled to completion and has accumulated truth, then the beauty will reside within it and will not depend on externals."


title: Beauty

text: The characterization of a person as “beautiful”, whether on an individual basis or by community consensus, is often based on some combination of "inner beauty", which includes psychological factors such as personality, intelligence, grace, politeness, charisma, integrity, congruence and elegance, and "outer beauty" (i.e. physical attractiveness) which includes physical attributes which are valued on an aesthetic basis.


title: Beauty

text: Standards of beauty have changed over time, based on changing cultural values. Historically, paintings show a wide range of different standards for beauty. However, humans who are relatively young, with smooth skin, well-proportioned bodies, and regular features, have traditionally been considered the most beautiful throughout history.


title: Beauty

text: A strong indicator of physical beauty is "averageness". When images of human faces are averaged together to form a composite image, they become progressively closer to the "ideal" image and are perceived as more attractive. This was first noticed in 1883, when Francis Galton overlaid photographic composite images of the faces of vegetarians and criminals to see if there was a typical facial appearance for each. When doing this, he noticed that the composite images were more attractive compared to any of the individual images. Researchers have replicated the result under more controlled conditions and found that the computer-generated, mathematical average of a series of faces is rated more favorably than individual faces. It is argued that it is evolutionarily advantageous that sexual creatures are attracted to mates who possess predominantly common or average features, because it suggests the absence of genetic or acquired defects.


title: Beauty

text: Since the 1970´s there has been increasing evidence that a preference for beautiful faces emerges early in infancy, and is probably innate,


title: Beauty

text: and that the rules by which attractiveness is established are similar across different genders and cultures.


title: Beauty

text: A feature of beautiful women which has been explored by researchers is a waist–hip ratio of approximately 0.70. As of 2004, physiologists had shown that women with hourglass figures were more fertile than other women because of higher levels of certain female hormones, a fact that may subconsciously condition males choosing mates. However, in 2008 other commentators have suggested that this preference may not be universal. For instance, in some non-Western cultures in which women have to do work such as finding food, men tend to have preferences for higher waist-hip ratios.


title: Beauty

text: Exposure to the thin ideal in mass media, such as fashion magazines, directly correlates with body dissatisfaction, low self-esteem, and the development of eating disorders among female viewers. Further, the widening gap between individual body sizes and societal ideals continues to breed anxiety among young girls as they grow, highlighting the dangerous nature of beauty standards in society.


title: Beauty

text: Beauty standards are rooted in cultural norms crafted by societies and media over centuries. As of 2018, it has been argued that the predominance of white women featured in movies and advertising leads to a Eurocentric concept of beauty, which assigns inferiority to women of color. Thus, societies and cultures across the globe struggle to diminish the longstanding internalized racism.


title: Beauty

text: Eurocentric standards for men include tallness, leanness, and muscularity, which have been idolized through American media, such as in Hollywood films and magazine covers.


title: Beauty

text: The prevailing Eurocentric concept of beauty has varying effects on different cultures. Primarily, adherence to this standard among African American women has bred a lack of positive reification of African beauty, and philosopher Cornel West elaborates that, "much of black self-hatred and self-contempt has to do with the refusal of many black Americans to love their own black bodies-especially their black noses, hips, lips, and hair." These insecurities can be traced back to global idealization of women with light skin, green or blue eyes, and long straight or wavy hair in magazines and media that starkly contrast with the natural features of African women.


title: Beauty

text: Much criticism has been directed at models of beauty which depend solely upon Western ideals of beauty as seen for example in the Barbie model franchise. Criticisms of Barbie are often centered around concerns that children consider Barbie a role model of beauty and will attempt to emulate her. One of the most common criticisms of Barbie is that she promotes an unrealistic idea of body image for a young woman, leading to a risk that girls who attempt to emulate her will become anorexic.


title: Beauty

text: As of 1998, these criticisms, the lack of diversity in such franchises as the Barbie model of beauty in Western culture, had led to a dialogue to create non-exclusive models of Western ideals in body type and beauty. Mattel responded to these criticisms. Starting in 1980, it produced Hispanic dolls, and later came models from across the globe. For example, in 2007, it introduced "Cinco de Mayo Barbie" wearing a ruffled red, white, and green dress (echoing the Mexican flag). "Hispanic" magazine reports that:


title: Beauty

text: In the 1960s the black is beautiful cultural movement sought to dispel the notion of a Eurocentric concept of beauty.


title: Beauty

text: In East Asian cultures, familial pressures and cultural norms shape beauty ideals; a 2017 experimental study concluded that expecting that men in Asian culture did not like women who look “fragile” was impacting Asian American women´s lifestyle, eating, and appearance choices. In addition to the "male gaze", media portrayals of Asian women as petite and the portrayal of beautiful women in American media as fair complexioned and slim-figured have induced anxiety and depressive symptoms among Asian American women who don't fit either of these beauty ideals. Further, the high status associated with fairer skin can be attributed to Asian societal history, as upper-class people hired workers to perform outdoor, manual labor, cultivating a visual divide over time between lighter complexioned, wealthier families and sun tanned, darker laborers. This along with the Eurocentric beauty ideals embedded in Asian culture has made skin lightening creams, rhinoplasty, and blepharoplasty (an eyelid surgery meant to give Asians a more European, "double-eyelid" appearance) commonplace among Asian women, illuminating the insecurity that results from cultural beauty standards.


title: Beauty

text: In Japan, the concept of beauty in men is known as 'bishōnen'. Bishōnen refers to males with distinctly feminine features, physical characteristics establishing the standard of beauty in Japan and typically exhibited in their pop culture idols. A multibillion-dollar industry of Japanese Aesthetic Salons exists for this reason.


title: Beauty

text: Researchers have found that good-looking students get higher grades from their teachers than students with an ordinary appearance. Some studies using mock criminal trials have shown that physically attractive "defendants" are less likely to be convicted—and if convicted are likely to receive lighter sentences—than less attractive ones (although the opposite effect was observed when the alleged crime was swindling, perhaps because jurors perceived the defendant's attractiveness as facilitating the crime). Studies among teens and young adults, such as those of psychiatrist and self-help author Eva Ritvo show that skin conditions have a profound effect on social behavior and opportunity.


title: Beauty

text: How much money a person earns may also be influenced by physical beauty. One study found that people low in physical attractiveness earn 5 to 10 percent less than ordinary-looking people, who in turn earn 3 to 8 percent less than those who are considered good-looking. In the market for loans, the least attractive people are less likely to get approvals, although they are less likely to default. In the marriage market, women's looks are at a premium, but men's looks do not matter much. The impact of physical attractiveness on earnings varies across races, with the largest beauty wage gap among black women and black men.


title: Beauty

text: Conversely, being very unattractive increases the individual's propensity for criminal activity for a number of crimes ranging from burglary to theft to selling illicit drugs.


title: Microprocessor

text: A microprocessor is a computer processor where the data processing logic and control is included on a single integrated circuit, or a small number of integrated circuits. The microprocessor contains the arithmetic, logic, and control circuitry required to perform the functions of a computer's central processing unit. The integrated circuit is capable of interpreting and executing program instructions and performing arithmetic operations. The microprocessor is a multipurpose, clock-driven, register-based, digital integrated circuit that accepts binary data as input, processes it according to instructions stored in its memory, and provides results (also in binary form) as output. Microprocessors contain both combinational logic and sequential digital logic, and operate on numbers and symbols represented in the binary number system.


title: Microprocessor

text: The integration of a whole CPU onto a single or a few integrated circuits using Very-Large-Scale Integration (VLSI) greatly reduced the cost of processing power. Integrated circuit processors are produced in large numbers by highly automated metal-oxide-semiconductor (MOS) fabrication processes, resulting in a relatively low unit price. Single-chip processors increase reliability because there are much fewer electrical connections that could fail. As microprocessor designs improve, the cost of manufacturing a chip (with smaller components built on a semiconductor chip the same size) generally stays the same according to Rock's law.


title: Microprocessor

text: Before microprocessors, small computers had been built using racks of circuit boards with many medium- and small-scale integrated circuits, typically of TTL type. Microprocessors combined this into one or a few large-scale ICs. While there is disagreement over who deserves credit for the invention of the microprocessor, the first commercially available microprocessor was the Intel 4004, designed by Federico Faggin and introduced in 1971.


title: Microprocessor

text: Continued increases in microprocessor capacity have since rendered other forms of computers almost completely obsolete (see history of computing hardware), with one or more microprocessors used in everything from the smallest embedded systems and handheld devices to the largest mainframes and supercomputers.


title: Microprocessor

text: The complexity of an integrated circuit is bounded by physical limitations on the number of transistors that can be put onto one chip, the number of package terminations that can connect the processor to other parts of the system, the number of interconnections it is possible to make on the chip, and the heat that the chip can dissipate. Advancing technology makes more complex and powerful chips feasible to manufacture.


title: Microprocessor

text: A minimal hypothetical microprocessor might include only an arithmetic logic unit (ALU), and a control logic section. The ALU performs addition, subtraction, and operations such as AND or OR. Each operation of the ALU sets one or more flags in a status register, which indicate the results of the last operation (zero value, negative number, overflow, or others). The control logic retrieves instruction codes from memory and initiates the sequence of operations required for the ALU to carry out the instruction. A single operation code might affect many individual data paths, registers, and other elements of the processor.


title: Microprocessor

text: As integrated circuit technology advanced, it was feasible to manufacture more and more complex processors on a single chip. The size of data objects became larger; allowing more transistors on a chip allowed word sizes to increase from 4- and 8-bit words up to today's 64-bit words. Additional features were added to the processor architecture; more on-chip registers sped up programs, and complex instructions could be used to make more compact programs. Floating-point arithmetic, for example, was often not available on 8-bit microprocessors, but had to be carried out in software. Integration of the floating-point unit, first as a separate integrated circuit and then as part of the same microprocessor chip, sped up floating-point calculations.


title: Microprocessor

text: Occasionally, physical limitations of integrated circuits made such practices as a bit slice approach necessary. Instead of processing all of a long word on one integrated circuit, multiple circuits in parallel processed subsets of each word. While this required extra logic to handle, for example, carry and overflow within each slice, the result was a system that could handle, for example, 32-bit words using integrated circuits with a capacity for only four bits each.


title: Microprocessor

text: The ability to put large numbers of transistors on one chip makes it feasible to integrate memory on the same die as the processor. This CPU cache has the advantage of faster access than off-chip memory and increases the processing speed of the system for many applications. Processor clock frequency has increased more rapidly than external memory speed, so cache memory is necessary if the processor is not to be delayed by slower external memory.


title: Microprocessor

text: A microprocessor is a general - purpose entity. Several specialized processing devices have followed:


title: Microprocessor

text: Microprocessors can be selected for differing applications based on their word size, which is a measure of their complexity. Longer word sizes allow each clock cycle of a processor to carry out more computation, but correspond to physically larger integrated circuit dies with higher standby and operating power consumption. 4-, 8- or 12-bit processors are widely integrated into microcontrollers operating embedded systems. Where a system is expected to handle larger volumes of data or require a more flexible user interface, 16-, 32- or 64-bit processors are used. An 8- or 16-bit processor may be selected over a 32-bit processor for system on a chip or microcontroller applications that require extremely low-power electronics, or are part of a mixed-signal integrated circuit with noise-sensitive on-chip analog electronics such as high-resolution analog to digital converters, or both.


title: Microprocessor

text: Some people say that running 32-bit arithmetic on an 8-bit chip could end up using more power, as the chip must execute software with multiple instructions.


title: Microprocessor

text: However, others say that modern 8-bit chips are always more power-efficient than 32-bit chips when running equivalent software routines.


title: Microprocessor

text: Thousands of items that were traditionally not computer-related include microprocessors. These include household appliances, vehicles (and their accessories), tools and test instruments, toys, light switches/dimmers and electrical circuit breakers, smoke alarms, battery packs, and hi-fi audio/visual components (from DVD players to phonograph turntables). Such products as cellular telephones, DVD video system and HDTV broadcast systems fundamentally require consumer devices with powerful, low-cost, microprocessors. Increasingly stringent pollution control standards effectively require automobile manufacturers to use microprocessor engine management systems to allow optimal control of emissions over the widely varying operating conditions of an automobile. Non-programmable controls would require bulky, or costly implementation to achieve the results possible with a microprocessor.


title: Microprocessor

text: A microprocessor control program (embedded software) can be tailored to fit the needs of a product line, allowing upgrades in performance with minimal redesign of the product. Unique features can be implemented in product line's various models at negligible production cost.


title: Microprocessor

text: Microprocessor control of a system can provide control strategies that would be impractical to implement using electromechanical controls or purpose-built electronic controls. For example, an internal combustion engine's control system can adjust ignition timing based on engine speed, load, temperature, and any observed tendency for knocking—allowing the engine to operate on a range of fuel grades.


title: Microprocessor

text: The advent of low-cost computers on integrated circuits has transformed modern society. General-purpose microprocessors in personal computers are used for computation, text editing, multimedia display, and communication over the Internet. Many more microprocessors are part of embedded systems, providing digital control over myriad objects from appliances to automobiles to cellular phones and industrial process control. Microprocessors perform binary operations based on boolean logic, named after George Boole. The ability to operate computer systems using Boolean Logic was first proven in a 1938 thesis by master's student Claude Shannon, who later went on to become a professor. Shannon is considered "The Father of Information Theory".


title: Microprocessor

text: Following the development of MOS integrated circuit chips in the early 1960s, MOS chips reached higher transistor density and lower manufacturing costs than bipolar integrated circuits by 1964. MOS chips further increased in complexity at a rate predicted by Moore's law, leading to large-scale integration (LSI) with hundreds of transistors on a single MOS chip by the late 1960s. The application of MOS LSI chips to computing was the basis for the first microprocessors, as engineers began recognizing that a complete computer processor could be contained on several MOS LSI chips. Designers in the late 1960s were striving to integrate the central processing unit (CPU) functions of a computer onto a handful of MOS LSI chips, called microprocessor unit (MPU) chipsets.


title: Microprocessor

text: While there is disagreement over who invented the microprocessor, the first commercially produced microprocessor was the Intel 4004, released as a single MOS LSI chip in 1971. The single-chip microprocessor was made possible with the development of MOS silicon-gate technology (SGT). The earliest MOS transistors had aluminium metal gates, which Italian physicist Federico Faggin replaced with silicon self-aligned gates to develop the first silicon-gate MOS chip at Fairchild Semiconductor in 1968. Faggin later joined Intel and used his silicon-gate MOS technology to develop the 4004, along with Marcian Hoff, Stanley Mazor and Masatoshi Shima in 1971. The 4004 was designed for Busicom, which had earlier proposed a multi-chip design in 1969, before Faggin's team at Intel changed it into a new single-chip design. Intel introduced the first commercial microprocessor, the 4-bit Intel 4004, in 1971. It was soon followed by the 8-bit microprocessor Intel 8008 in 1972.


title: Microprocessor

text: Other embedded uses of 4-bit and 8-bit microprocessors, such as terminals, printers, various kinds of automation etc., followed soon after. Affordable 8-bit microprocessors with 16-bit addressing also led to the first general-purpose microcomputers from the mid-1970s on.


title: Microprocessor

text: The first use of the term "microprocessor" is attributed to Viatron Computer Systems describing the custom integrated circuit used in their System 21 small computer system announced in 1968.


title: Microprocessor

text: Since the early 1970s, the increase in capacity of microprocessors has followed Moore's law; this originally suggested that the number of components that can be fitted onto a chip doubles every year. With present technology, it is actually every two years, and as a result Moore later changed the period to two years.


title: Microprocessor

text: These projects delivered a microprocessor at about the same time: Garrett AiResearch's Central Air Data Computer (CADC) (1970), Texas Instruments' TMS 1802NC (September 1971) and Intel's 4004 (November 1971, based on an earlier 1969 Busicom design). Arguably, Four-Phase Systems AL1 microprocessor was also delivered in 1969.


title: Microprocessor

text: The Four-Phase Systems AL1 was an 8-bit bit slice chip containing eight registers and an ALU. It was designed by Lee Boysel in 1969. At the time, it formed part of a nine-chip, 24-bit CPU with three AL1s. It was later called a microprocessor when, in response to 1990s litigation by Texas Instruments, Boysel constructed a demonstration system where a single AL1 formed part of a courtroom demonstration computer system, together with RAM, ROM, and an input-output device.


title: Microprocessor

text: In 1968, Garrett AiResearch (who employed designers Ray Holt and Steve Geller) was invited to produce a digital computer to compete with electromechanical systems then under development for the main flight control computer in the US Navy's new F-14 Tomcat fighter. The design was complete by 1970, and used a MOS-based chipset as the core CPU. The design was significantly (approximately 20 times) smaller and much more reliable than the mechanical systems it competed against and was used in all of the early Tomcat models. This system contained "a 20-bit, pipelined, parallel multi-microprocessor". The Navy refused to allow publication of the design until 1997. Released in 1998, the documentation on the CADC, and the MP944 chipset, are well known. Ray Holt's autobiographical story of this design and development is presented in the book: The Accidental Engineer.


title: Microprocessor

text: Ray Holt graduated from California Polytechnic University in 1968, and began his computer design career with the CADC. From its inception, it was shrouded in secrecy until 1998 when at Holt's request, the US Navy allowed the documents into the public domain. Holt has claimed that no one has compared this microprocessor with those that came later. According to Parab et al. (2007), This convergence of DSP and microcontroller architectures is known as a digital signal controller.


title: Microprocessor

text: In 1990, American engineer Gilbert Hyatt was awarded U.S. Patent No. 4,942,516, which was based on a 16-bit serial computer he built at his Northridge, California home in 1969 from boards of bipolar chips after quitting his job at Teledyne in 1968; though the patent had been submitted in December 1970 and prior to Texas Instruments' filings for the TMX 1795 and TMS 0100, Hyatt's invention was never manufactured. This nonetheless led to claims that Hyatt was the inventor of the microprocessor and the payment of substantial royalties through a Philips N.V. subsidiary, until Texas Instruments prevailed in a complex legal battle in 1996, when the U.S. Patent Office overturned key parts of the patent, while allowing Hyatt to keep it. Hyatt said in a 1990 "Los Angeles Times" article that his invention would have been created had his prospective investors backed him, and that the venture investors leaked details of his chip to the industry, though he did not elaborate with evidence to support this claim. In the same article, "The Chip" author T.R. Reid was quoted as saying that historians may ultimately place Hyatt as a co-inventor of the microprocessor, in the way that Intel's Noyce and TI's Kilby share credit for the invention of the chip in 1958: "Kilby got the idea first, but Noyce made it practical. The legal ruling finally favored Noyce, but they are considered co-inventors. The same could happen here." Hyatt would go on to fight a decades-long legal battle with the state of California over alleged unpaid taxes on his patent's windfall after 1990, which would culminate in a landmark Supreme Court case addressing states' sovereign immunity in "Franchise Tax Board of California v. Hyatt (2019)".


title: Microprocessor

text: Along with Intel (who developed the 8008), Texas Instruments developed in 1970–1971 a one-chip CPU replacement for the Datapoint 2200 terminal, the TMX 1795 (later TMC 1795.) Like the 8008, it was rejected by customer Datapoint. According to Gary Boone, the TMX 1795 never reached production. Since it was built to the same specification, its instruction set was very similar to the Intel 8008.


title: Microprocessor

text: The TMS1802NC was announced September 17, 1971, and implemented a four-function calculator. The TMS1802NC, despite its designation, was not part of the TMS 1000 series; it was later redesignated as part of the TMS 0100 series, which was used in the TI Datamath calculator. Although marketed as a calculator-on-a-chip, the TMS1802NC was fully programmable, including on the chip a CPU with an 11-bit instruction word, 3520 bits (320 instructions) of ROM and 182 bits of RAM.


title: Microprocessor

text: In 1971, Pico Electronics and General Instrument (GI) introduced their first collaboration in ICs, a complete single-chip calculator IC for the Monroe/Litton Royal Digital III calculator. This chip could also arguably lay claim to be one of the first microprocessors or microcontrollers having ROM, RAM and a RISC instruction set on-chip. The layout for the four layers of the PMOS process was hand drawn at x500 scale on mylar film, a significant task at the time given the complexity of the chip.


title: Microprocessor

text: Pico was a spinout by five GI design engineers whose vision was to create single-chip calculator ICs. They had significant previous design experience on multiple calculator chipsets with both GI and Marconi-Elliott. The key team members had originally been tasked by Elliott Automation to create an 8-bit computer in MOS and had helped establish a MOS Research Laboratory in Glenrothes, Scotland in 1967.


title: Microprocessor

text: Calculators were becoming the largest single market for semiconductors so Pico and GI went on to have significant success in this burgeoning market. GI continued to innovate in microprocessors and microcontrollers with products including the CP1600, IOB1680 and PIC1650. In 1987, the GI Microelectronics business was spun out into the Microchip PIC microcontroller business.


title: Microprocessor

text: The Intel 4004 is often (falsely) regarded as the first true microprocessor built on a single chip, priced at . The claim of being the first is definetely false, as the earlier TMS1802NC was also a true microprocessor built on a single chip. The first known advertisement for the 4004 is dated November 15, 1971 and appeared in "Electronic News". The microprocessor was designed by a team consisting of Italian engineer Federico Faggin, American engineers Marcian Hoff and Stanley Mazor, and Japanese engineer Masatoshi Shima.


title: Microprocessor

text: The project that produced the 4004 originated in 1969, when Busicom, a Japanese calculator manufacturer, asked Intel to build a chipset for high-performance desktop calculators. Busicom's original design called for a programmable chip set consisting of seven different chips. Three of the chips were to make a special-purpose CPU with its program stored in ROM and its data stored in shift register read-write memory. Ted Hoff, the Intel engineer assigned to evaluate the project, believed the Busicom design could be simplified by using dynamic RAM storage for data, rather than shift register memory, and a more traditional general-purpose CPU architecture. Hoff came up with a four-chip architectural proposal: a ROM chip for storing the programs, a dynamic RAM chip for storing data, a simple I/O device, and a 4-bit central processing unit (CPU). Although not a chip designer, he felt the CPU could be integrated into a single chip, but as he lacked the technical know-how the idea remained just a wish for the time being.


title: Microprocessor

text: While the architecture and specifications of the MCS-4 came from the interaction of Hoff with Stanley Mazor, a software engineer reporting to him, and with Busicom engineer Masatoshi Shima, during 1969, Mazor and Hoff moved on to other projects. In April 1970, Intel hired Italian engineer Federico Faggin as project leader, a move that ultimately made the single-chip CPU final design a reality (Shima meanwhile designed the Busicom calculator firmware and assisted Faggin during the first six months of the implementation). Faggin, who originally developed the silicon gate technology (SGT) in 1968 at Fairchild Semiconductor and designed the world's first commercial integrated circuit using SGT, the Fairchild 3708, had the correct background to lead the project into what would become the first commercial general purpose microprocessor. Since SGT was his very own invention, Faggin also used it to create his new methodology for random logic design that made it possible to implement a single-chip CPU with the proper speed, power dissipation and cost. The manager of Intel's MOS Design Department was Leslie L. Vadász at the time of the MCS-4 development but Vadász's attention was completely focused on the mainstream business of semiconductor memories so he left the leadership and the management of the MCS-4 project to Faggin, who was ultimately responsible for leading the 4004 project to its realization. Production units of the 4004 were first delivered to Busicom in March 1971 and shipped to other customers in late 1971.


title: Microprocessor

text: The Intel 4004 was followed in 1972 by the Intel 8008, the world's first 8-bit microprocessor. The 8008 was not, however, an extension of the 4004 design, but instead the culmination of a separate design project at Intel, arising from a contract with Computer Terminals Corporation, of San Antonio TX, for a chip for a terminal they were designing, the Datapoint 2200—fundamental aspects of the design came not from Intel but from CTC. In 1968, CTC's Vic Poor and Harry Pyle developed the original design for the instruction set and operation of the processor. In 1969, CTC contracted two companies, Intel and Texas Instruments, to make a single-chip implementation, known as the CTC 1201. In late 1970 or early 1971, TI dropped out being unable to make a reliable part. In 1970, with Intel yet to deliver the part, CTC opted to use their own implementation in the Datapoint 2200, using traditional TTL logic instead (thus the first machine to run "8008 code" was not in fact a microprocessor at all and was delivered a year earlier). Intel's version of the 1201 microprocessor arrived in late 1971, but was too late, slow, and required a number of additional support chips. CTC had no interest in using it. CTC had originally contracted Intel for the chip, and would have owed them for their design work. To avoid paying for a chip they did not want (and could not use), CTC released Intel from their contract and allowed them free use of the design. Intel marketed it as the 8008 in April, 1972, as the world's first 8-bit microprocessor. It was the basis for the famous "Mark-8" computer kit advertised in the magazine "Radio-Electronics" in 1974. This processor had an 8-bit data bus and a 14-bit address bus.


title: Microprocessor

text: The 8008 was the precursor to the successful Intel 8080 (1974), which offered improved performance over the 8008 and required fewer support chips. Federico Faggin conceived and designed it using high voltage N channel MOS. The Zilog Z80 (1976) was also a Faggin design, using low voltage N channel with depletion load and derivative Intel 8-bit processors: all designed with the methodology Faggin created for the 4004. Motorola released the competing 6800 in August 1974, and the similar MOS Technology 6502 was released in 1975 (both designed largely by the same people). The 6502 family rivaled the Z80 in popularity during the 1980s.


title: Microprocessor

text: A low overall cost, little packaging, simple computer bus requirements, and sometimes the integration of extra circuitry (e.g. the Z80's built-in memory refresh circuitry) allowed the home computer "revolution" to accelerate sharply in the early 1980s. This delivered such inexpensive machines as the Sinclair ZX81, which sold for . A variation of the 6502, the MOS Technology 6510 was used in the Commodore 64 and yet another variant, the 8502, powered the Commodore 128.


title: Microprocessor

text: The Western Design Center, Inc (WDC) introduced the CMOS WDC 65C02 in 1982 and licensed the design to several firms. It was used as the CPU in the Apple IIe and IIc personal computers as well as in medical implantable grade pacemakers and defibrillators, automotive, industrial and consumer devices. WDC pioneered the licensing of microprocessor designs, later followed by ARM (32-bit) and other microprocessor intellectual property (IP) providers in the 1990s.


title: Microprocessor

text: Motorola introduced the MC6809 in 1978. It was an ambitious and well thought-through 8-bit design that was source compatible with the 6800, and implemented using purely hard-wired logic (subsequent 16-bit microprocessors typically used microcode to some extent, as CISC design requirements were becoming too complex for pure hard-wired logic).


title: Microprocessor

text: Another early 8-bit microprocessor was the Signetics 2650, which enjoyed a brief surge of interest due to its innovative and powerful instruction set architecture.


title: Microprocessor

text: A seminal microprocessor in the world of spaceflight was RCA's RCA 1802 (aka CDP1802, RCA COSMAC) (introduced in 1976), which was used on board the "Galileo" probe to Jupiter (launched 1989, arrived 1995). RCA COSMAC was the first to implement CMOS technology. The CDP1802 was used because it could be run at very low power, and because a variant was available fabricated using a special production process, silicon on sapphire (SOS), which provided much better protection against cosmic radiation and electrostatic discharge than that of any other processor of the era. Thus, the SOS version of the 1802 was said to be the first radiation-hardened microprocessor.


title: Microprocessor

text: The RCA 1802 had a static design, meaning that the clock frequency could be made arbitrarily low, or even stopped. This let the "Galileo" spacecraft use minimum electric power for long uneventful stretches of a voyage. Timers or sensors would awaken the processor in time for important tasks, such as navigation updates, attitude control, data acquisition, and radio communication. Current versions of the Western Design Center 65C02 and 65C816 also have static cores, and thus retain data even when the clock is completely halted.


title: Microprocessor

text: The Intersil 6100 family consisted of a 12-bit microprocessor (the 6100) and a range of peripheral support and memory ICs. The microprocessor recognised the DEC PDP-8 minicomputer instruction set. As such it was sometimes referred to as the CMOS-PDP8. Since it was also produced by Harris Corporation, it was also known as the Harris HM-6100. By virtue of its CMOS technology and associated benefits, the 6100 was being incorporated into some military designs until the early 1980s.


title: Microprocessor

text: The first multi-chip 16-bit microprocessor was the National Semiconductor IMP-16, introduced in early 1973. An 8-bit version of the chipset was introduced in 1974 as the IMP-8.


title: Microprocessor

text: Other early multi-chip 16-bit microprocessors include the MCP-1600 that Digital Equipment Corporation (DEC) used in the LSI-11 OEM board set and the packaged PDP-11/03 minicomputer—and the Fairchild Semiconductor MicroFlame 9440, both introduced in 1975–76. In late 1974, National introduced the first 16-bit single-chip microprocessor, the National Semiconductor PACE, which was later followed by an NMOS version, the INS8900.


title: Microprocessor

text: Next in list is the General Instrument CP1600, released in February 1975, which was used mainly in the Intellivision console.


title: Microprocessor

text: Another early single-chip 16-bit microprocessor was TI's TMS 9900, which was also compatible with their TI-990 line of minicomputers. The 9900 was used in the TI 990/4 minicomputer, the TI-99/4A home computer, and the TM990 line of OEM microcomputer boards. The chip was packaged in a large ceramic 64-pin DIP package, while most 8-bit microprocessors such as the Intel 8080 used the more common, smaller, and less expensive plastic 40-pin DIP. A follow-on chip, the TMS 9980, was designed to compete with the Intel 8080, had the full TI 990 16-bit instruction set, used a plastic 40-pin package, moved data 8 bits at a time, but could only address 16 KB. A third chip, the TMS 9995, was a new design. The family later expanded to include the 99105 and 99110.


title: Microprocessor

text: The Western Design Center (WDC) introduced the CMOS 65816 16-bit upgrade of the WDC CMOS 65C02 in 1984. The 65816 16-bit microprocessor was the core of the Apple IIGS and later the Super Nintendo Entertainment System, making it one of the most popular 16-bit designs of all time.


title: Microprocessor

text: Intel "upsized" their 8080 design into the 16-bit Intel 8086, the first member of the x86 family, which powers most modern PC type computers. Intel introduced the 8086 as a cost-effective way of porting software from the 8080 lines, and succeeded in winning much business on that premise. The 8088, a version of the 8086 that used an 8-bit external data bus, was the microprocessor in the first IBM PC. Intel then released the 80186 and 80188, the 80286 and, in 1985, the 32-bit 80386, cementing their PC market dominance with the processor family's backwards compatibility. The 80186 and 80188 were essentially versions of the 8086 and 8088, enhanced with some onboard peripherals and a few new instructions. Although Intel's 80186 and 80188 were not used in IBM PC type designs, second source versions from NEC, the V20 and V30 frequently were. The 8086 and successors had an innovative but limited method of memory segmentation, while the 80286 introduced a full-featured segmented memory management unit (MMU). The 80386 introduced a flat 32-bit memory model with paged memory management.


title: Microprocessor

text: The 16-bit Intel x86 processors up to and including the 80386 do not include floating-point units (FPUs). Intel introduced the 8087, 80187, 80287 and 80387 math coprocessors to add hardware floating-point and transcendental function capabilities to the 8086 through 80386 CPUs. The 8087 works with the 8086/8088 and 80186/80188, the 80187 works with the 80186 but not the 80188, the 80287 works with the 80286 and the 80387 works with the 80386. The combination of an x86 CPU and an x87 coprocessor forms a single multi-chip microprocessor; the two chips are programmed as a unit using a single integrated instruction set. The 8087 and 80187 coprocessors are connected in parallel with the data and address buses of their parent processor and directly execute instructions intended for them. The 80287 and 80387 coprocessors are interfaced to the CPU through I/O ports in the CPU's address space, this is transparent to the program, which does not need to know about or access these I/O ports directly; the program accesses the coprocessor and its registers through normal instruction opcodes.


title: Microprocessor

text: The most significant of the 32-bit designs is the Motorola MC68000, introduced in 1979. The 68k, as it was widely known, had 32-bit registers in its programming model but used 16-bit internal data paths, three 16-bit Arithmetic Logic Units, and a 16-bit external data bus (to reduce pin count), and externally supported only 24-bit addresses (internally it worked with full 32 bit addresses). In PC-based IBM-compatible mainframes the MC68000 internal microcode was modified to emulate the 32-bit System/370 IBM mainframe. Motorola generally described it as a 16-bit processor. The combination of high performance, large (16 megabytes or 2 bytes) memory space and fairly low cost made it the most popular CPU design of its class. The Apple Lisa and Macintosh designs made use of the 68000, as did a host of other designs in the mid-1980s, including the Atari ST and Commodore Amiga.


title: Microprocessor

text: The world's first single-chip fully 32-bit microprocessor, with 32-bit data paths, 32-bit buses, and 32-bit addresses, was the AT&T Bell Labs BELLMAC-32A, with first samples in 1980, and general production in 1982. After the divestiture of AT&T in 1984, it was renamed the WE 32000 (WE for Western Electric), and had two follow-on generations, the WE 32100 and WE 32200. These microprocessors were used in the AT&T 3B5 and 3B15 minicomputers; in the 3B2, the world's first desktop super microcomputer; in the "Companion", the world's first 32-bit laptop computer; and in "Alexander", the world's first book-sized super microcomputer, featuring ROM-pack memory cartridges similar to today's gaming consoles. All these systems ran the UNIX System V operating system.


title: Microprocessor

text: The first commercial, single chip, fully 32-bit microprocessor available on the market was the HP FOCUS.


title: Microprocessor

text: Intel's first 32-bit microprocessor was the iAPX 432, which was introduced in 1981, but was not a commercial success. It had an advanced capability-based object-oriented architecture, but poor performance compared to contemporary architectures such as Intel's own 80286 (introduced 1982), which was almost four times as fast on typical benchmark tests. However, the results for the iAPX432 was partly due to a rushed and therefore suboptimal Ada compiler.


title: Microprocessor

text: Motorola's success with the 68000 led to the MC68010, which added virtual memory support. The MC68020, introduced in 1984 added full 32-bit data and address buses. The 68020 became hugely popular in the Unix supermicrocomputer market, and many small companies (e.g., Altos, Charles River Data Systems, Cromemco) produced desktop-size systems. The MC68030 was introduced next, improving upon the previous design by integrating the MMU into the chip. The continued success led to the MC68040, which included an FPU for better math performance. The 68050 failed to achieve its performance goals and was not released, and the follow-up MC68060 was released into a market saturated by much faster RISC designs. The 68k family faded from use in the early 1990s.


title: Microprocessor

text: Other large companies designed the 68020 and follow-ons into embedded equipment. At one point, there were more 68020s in embedded equipment than there were Intel Pentiums in PCs. The ColdFire processor cores are derivatives of the 68020.


title: Microprocessor

text: During this time (early to mid-1980s), National Semiconductor introduced a very similar 16-bit pinout, 32-bit internal microprocessor called the NS 16032 (later renamed 32016), the full 32-bit version named the NS 32032. Later, National Semiconductor produced the NS 32132, which allowed two CPUs to reside on the same memory bus with built in arbitration. The NS32016/32 outperformed the MC68000/10, but the NS32332—which arrived at approximately the same time as the MC68020—did not have enough performance. The third generation chip, the NS32532, was different. It had about double the performance of the MC68030, which was released around the same time. The appearance of RISC processors like the AM29000 and MC88000 (now both dead) influenced the architecture of the final core, the NS32764. Technically advanced—with a superscalar RISC core, 64-bit bus, and internally overclocked—it could still execute Series 32000 instructions through real-time translation.


title: Microprocessor

text: When National Semiconductor decided to leave the Unix market, the chip was redesigned into the Swordfish Embedded processor with a set of on-chip peripherals. The chip turned out to be too expensive for the laser printer market and was killed. The design team went to Intel and there designed the Pentium processor, which is very similar to the NS32764 core internally. The big success of the Series 32000 was in the laser printer market, where the NS32CG16 with microcoded BitBlt instructions had very good price/performance and was adopted by large companies like Canon. By the mid-1980s, Sequent introduced the first SMP server-class computer using the NS 32032. This was one of the design's few wins, and it disappeared in the late 1980s. The MIPS R2000 (1984) and R3000 (1989) were highly successful 32-bit RISC microprocessors. They were used in high-end workstations and servers by SGI, among others. Other designs included the Zilog Z80000, which arrived too late to market to stand a chance and disappeared quickly.


title: Microprocessor

text: The ARM first appeared in 1985. This is a RISC processor design, which has since come to dominate the 32-bit embedded systems processor space due in large part to its power efficiency, its licensing model, and its wide selection of system development tools. Semiconductor manufacturers generally license cores and integrate them into their own system on a chip products; only a few such vendors such as Apple are licensed to modify the ARM cores or create their own. Most cell phones include an ARM processor, as do a wide variety of other products. There are microcontroller-oriented ARM cores without virtual memory support, as well as symmetric multiprocessor (SMP) applications processors with virtual memory.


title: Microprocessor

text: From 1993 to 2003, the 32-bit x86 architectures became increasingly dominant in desktop, laptop, and server markets, and these microprocessors became faster and more capable. Intel had licensed early versions of the architecture to other companies, but declined to license the Pentium, so AMD and Cyrix built later versions of the architecture based on their own designs. During this span, these processors increased in complexity (transistor count) and capability (instructions/second) by at least three orders of magnitude. Intel's Pentium line is probably the most famous and recognizable 32-bit processor model, at least with the public at broad.


title: Microprocessor

text: While 64-bit microprocessor designs have been in use in several markets since the early 1990s (including the Nintendo 64 gaming console in 1996), the early 2000s saw the introduction of 64-bit microprocessors targeted at the PC market.


title: Microprocessor

text: With AMD's introduction of a 64-bit architecture backwards-compatible with x86, x86-64 (also called AMD64), in September 2003, followed by Intel's near fully compatible 64-bit extensions (first called IA-32e or EM64T, later renamed Intel 64), the 64-bit desktop era began. Both versions can run 32-bit legacy applications without any performance penalty as well as new 64-bit software. With operating systems Windows XP x64, Windows Vista x64, Windows 7 x64, Linux, BSD, and macOS that run 64-bit natively, the software is also geared to fully utilize the capabilities of such processors. The move to 64 bits is more than just an increase in register size from the IA-32 as it also doubles the number of general-purpose registers.


title: Microprocessor

text: The move to 64 bits by PowerPC had been intended since the architecture's design in the early 90s and was not a major cause of incompatibility. Existing integer registers are extended as are all related data pathways, but, as was the case with IA-32, both floating-point and vector units had been operating at or above 64 bits for several years. Unlike what happened when IA-32 was extended to x86-64, no new general purpose registers were added in 64-bit PowerPC, so any performance gained when using the 64-bit mode for applications making no use of the larger address space is minimal.


title: Microprocessor

text: In the mid-1980s to early 1990s, a crop of new high-performance reduced instruction set computer (RISC) microprocessors appeared, influenced by discrete RISC-like CPU designs such as the IBM 801 and others. RISC microprocessors were initially used in special-purpose machines and Unix workstations, but then gained wide acceptance in other roles.