title: Ageing

text: One way to help younger people experience what it feels like to be older is through an ageing suit. There are several different kinds of suits including the GERT (named as a reference to gerontology), the R70i exoskeleton, and the AGNES (Age Gain Now Empathy Suit) suits. These suits create the feelings of the effects of ageing by adding extra weight and increased pressure in certain points like the wrists, ankles and other joints. In addition, the various suits have different ways to impair vision and hearing to simulate the loss of these senses. To create the loss of feeling in hands that the elderly experience, special gloves are a part of the uniforms.


title: Ageing

text: Use of these suits may help to increase the amount of empathy felt for the elderly and could be considered particularly useful for those who are either learning about ageing, or those who work with the elderly, such as nurses or care center staff.


title: Ageing

text: Empathy is another field that could benefit from the empathy these suits may cause. When designers understand what it feels like to have the impairments of old age, they can better design buildings, packaging, or even tools to help with the simple day-to-day tasks that are more difficult with less dexterity. Designing with the elderly in mind may help to reduce the negative feelings that are associated with the loss of abilities that the elderly face.


title: Ageing

text: The concept of "successful ageing" can be traced back to the 1950s and was popularized in the 1980s. Traditional definitions of successful ageing have emphasized absence of physical and cognitive disabilities. In their 1987 article, Rowe and Kahn characterized successful ageing as involving three components: a) freedom from disease and disability, b) high cognitive and physical functioning, and c) social and productive engagement. The study cited previous was also done back in 1987 and therefore, these factors associated with successful aging have probably been changed. With the current knowledge, scientists started to focus on learning about the effect spirituality in successful aging. There are some differences in cultures which of these components are the most important. Most often across cultures social engagement was the most highly rated but depending on the culture the definition of successful ageing changes.


title: Ageing

text: The ancient Greek dramatist Euripides (5th century BC) describes the multiple-headed mythological monster Hydra as having a regenerative capacity which makes it immortal, which is the historical background to the name of the biological genus Hydra. The Book of Job (c. 6th century BC) describes human lifespan as inherently limited and makes a comparison with the innate immortality that a felled tree may have when undergoing vegetative regeneration.


title: Elvira: Mistress of the Dark (film)

text: Elvira: Mistress of the Dark is a 1988 American comedy horror film directed by James Signorelli. It stars Cassandra Peterson as eccentric horror hostess Elvira, a character previously established in the television program "Elvira's Movie Macabre". The character's feature film debut, the film's plot centers on Elvira inheriting a house that is nestled in the heart of an overtly prudish community. The film's screenplay was written by Peterson, John Paragon, and Sam Egan.


title: Elvira: Mistress of the Dark (film)

text: "Elvira: Mistress of the Dark" received mixed reviews from critics. Peterson was nominated for both a Saturn Award for Best Actress and a Razzie Award for Worst Actress in 1989 for her performance in the film. She went on to reprise her role as Elvira in the 2001 film "Elvira's Haunted Hills".


title: Elvira: Mistress of the Dark (film)

text: Buxom Los Angeles TV horror hostess Elvira, Mistress of the Dark, quits her job after the station's new owner sexually harasses her. She plans to open an act in Las Vegas, but needs $50,000 for the project. Upon learning she is a beneficiary of her deceased great-aunt Morgana, she travels to Fallwell, Massachusetts, to claim the inheritance, which includes a mansion, a recipe book and Morgana's pet poodle, Algonquin.


title: Elvira: Mistress of the Dark (film)

text: In Fallwell, Elvira's worldly attitude and revealing clothes set the conservative town council against her, but theater operator Bob Redding befriends her. The town's teenagers quickly accept her, to the chagrin of their parents, who consider her a bad influence. Bowling alley owner Patty is interested in Bob, and at Elvira's late-night horror film festival at Bob's theater she succeeds in humiliating Elvira. Elvira struggles to sell the house so she can depart for Las Vegas. Meanwhile, she is unaware that her harsh but seemingly-harmless uncle, Vincent Talbot, is actually a warlock who is obsessed with obtaining Morgana's spellbook. He offers Elvira $50.00 for the book. When he visits Morgana's house to buy it from Elvira, Algonquin hides it much to Vincent's dismay. He plans to kill Elvira and conquer the world, and has been fueling the townspeople's hostility.


title: Elvira: Mistress of the Dark (film)

text: Elvira tries to impress Bob with a home-cooked dinner, but mistakenly uses the spellbook as a cookbook and summons a creature that attacks them. Elvira learns that the cookbook was actually her mother Divana's spellbook, and that Morgana hid her as an infant to protect her from Vincent. When Elvira tries to unleash the creature against the Morality Club at their picnic for revenge, she prepares the brew incorrectly and it instead has an aphrodisiac effect; the adults begin behaving sexually, dancing and removing their clothing while Elvira observes nearby. She is accosted by Vincent, who again offers to buy the book for a much higher price of $500 which is this time refused by Elvira. When Patty confronts Elvira, the resulting fistfight ends up humiliating Patty by revealing that her bra is stuffed.


title: Elvira: Mistress of the Dark (film)

text: Vincent leads the townspeople in arresting Elvira for witchcraft, which is still illegal in the state. They decide to burn her at the stake. The teenagers try to free her from jail but fail and accidentally lock themselves into a different cell. Bob tries to recover the spellbook from the mansion, but is tied up by Vincent and his goons, who take the book. Algonquin transforms into a rat and frees Bob by gnawing through his bonds. Elvira is tied to a stake and the fire is lit, but she uses Morgana's ring to summon a rainstorm which quenches the flames; she then escapes with Bob. At the mansion, Elvira and Vincent engage in a magical battle that sets fire to the house. Elvira banishes Vincent to the underworld, while the house and all of the magical artifacts are destroyed.


title: Elvira: Mistress of the Dark (film)

text: The next day, Elvira prepares to leave town. The townspeople apologize for their behavior, and they ask Elvira to stay. She kisses Bob but, as she is homeless, she insists that she must leave. As his sole living relative, Elvira has inherited Vincent's estate, which allows her to open her show in Las Vegas, where she performs a lavishly-produced musical number.


title: Elvira: Mistress of the Dark (film)

text: As her Elvira character skyrocketed to fame, Cassandra Peterson announced plans to spin her off into a feature film. NBC casting director Joel Thurm pitched the idea of a sitcom to network president Brandon Tartikoff, who became enthusiastic about the notion. However, Peterson had her heart set on bringing the character to the big screen, and there were concerns that she would never get the opportunity if she made the leap to prime time. Tartikoff later finalized a deal for NBC to produce a film, which would possibly be followed up with sequels, and eventually a TV series but he ended up leaving the network before a show materialized.


title: Elvira: Mistress of the Dark (film)

text: Peterson and frequent writing collaborator John Paragon met in the comedy troupe The Groundlings, and he worked his way up from recurring guest-star to writer on her "Movie Macabre" series. Sam Egan was brought into the fold because he was an experienced TV writer and had impressed Peterson with his script for "The Fall Guy" episode "October the 31st," which he had written explicitly for her. Tartikoff pushed for a storyline similar to "Harper Valley PTA", and after the first draft was turned in, the writers were forced to add a group of teenagers, which resulted in reducing screen time for all of the other characters.


title: Elvira: Mistress of the Dark (film)

text: After appearing in a small part in "Pee-Wee's Big Adventure", Peterson thought Tim Burton was the perfect choice to direct her film, but he got tied up with the production of "Beetlejuice". Tartikoff tapped James Signorelli to direct. Although Signorelli only had one feature film to his credit, he had been prolifically churning out commercial parodies on "Saturday Night Live" since 1977.


title: Elvira: Mistress of the Dark (film)

text: Peterson was dealt a crushing blow with the 1986 AIDS-related death of Robert Redding, to whom she dedicated the film and named the character of Bob after. She and Redding had collaborated to create Elvira's look, and he painted the portrait which is used for Morgana Talbot. Accustomed to Redding styling her wigs, Peterson became perpetually unhappy with their appearance and later admitted that she was too harsh with the film's wig stylist.


title: Elvira: Mistress of the Dark (film)

text: The name of the fictional town of Fallwell, Massachusetts, where Elvira moves to in the film, has been noted for its resemblance to the surname of Jerry Fallwell, an American televangelist, conservative activist, and co-founder of the Moral Majority.


title: Elvira: Mistress of the Dark (film)

text: Many roles were played by Cassandra Peterson's associates from The Groundlings, including Edie McClurg (Chastity Pariah), Tress MacNeille (Anchorwoman), Joey Arias (Hitchhiker), Lynne Marie Stewart (Bartender), Deryl Carroll (Charlie), and co-writer John Paragon (Gas Station Attendant). Paul Reubens was also supposed to appear in a bit part, but this became unfeasible when "Big Top Pee-wee" went into concurrent production, so his cameo came in the form of a Pee-Wee Herman doll that is visible in Elvira's dressing room. Additionally, Eve Smith was a regular on "Movie Macabre" (playing Elvira's Auntie Virus), Peterson's parents were prominently featured as extras during her character's arrival in Fallwell, her assistant was the game show girl, and the motorcycle cop was played by ex-boyfriend Bill Cable, whom she had posed with for a 1974 "Playgirl" magazine spread. The following year, she was featured in another nude photo spread depicting intergalactic lovers floating through outer space, in the March 1975 issue of Playgirl with adult film star icon turned Hollywood Fixer, Paul Barresi.


title: Elvira: Mistress of the Dark (film)

text: The role of Elvira's "Uncle Vinnie" was written specifically for Vincent Price, and although they had become friends, he passed due to the racy material. Producer Joel Thurm zeroed in on William Morgan Sheppard for the part, but he became frustrated as Sheppard changed his readings from one audition to the next. On the day that Sheppard had to audition for network executives, Thurm told him to be "more evil," and Sheppard took this note to heart, which won him the role.


title: Elvira: Mistress of the Dark (film)

text: Bob Redding was written as the male "equivalent of a blonde bimbo," but they had difficulty finding anyone who had both the looks and the acting skills to pull it off. All eyes were on Daniel Greene when he came in to audition, and he was convinced that he got the part due to a genuinely stunned, naive reaction that he had to one of Peterson's off-color remarks.


title: Elvira: Mistress of the Dark (film)

text: Kurt Fuller, who was cast as Fallwell's realtor, Mr. Glotter, was actually supporting himself working in real estate. He was so convinced that he had bombed his audition that he told his agent that he quit showbiz. Later that day, his agent called to say that he had been offered the role.


title: Elvira: Mistress of the Dark (film)

text: The role of Randy was narrowed down to two actors: Kris Kamm and Brad Pitt. Kamm won the part because Peterson felt Pitt was so handsome that Elvira would ignore Bob and fawn over him.


title: Elvira: Mistress of the Dark (film)

text: The film was shot over a span of eight weeks, between January and March 1988. The first scenes were shot at a bowling alley in Montrose, California, and Peterson worried about beginning the production with her character's big monologue, but much bigger stresses were soon to follow.


title: Elvira: Mistress of the Dark (film)

text: One of the most problematic issues was Peterson's costar, Binnie, a temperamental poodle that did not seem to like anyone except his trainer. Peterson would not allow them to use a permanent dye on the dog's fur, instead, they used a vegetable dye mixture that had to be touched up and reapplied daily. The dog had trouble hitting its mark, it did not perform properly and actually attacked Kurt Fuller's ankle, leaving the actor with long-lasting scars, plus entire scenes had to be dubbed to mute the trainer's commands.


title: Elvira: Mistress of the Dark (film)

text: The original musical score was composed by James B. Campbell. Although there were several well-known songs in the film, licensing the original recordings was cost-prohibitive, so they were covered by stock singers. The goofy ditty "Chicken Fried Steak", which is faintly heard at the gas station, was an original composition written and performed by the founder of The Groundlings.


title: Elvira: Mistress of the Dark (film)

text: There was no soundtrack album and the majority of songs have never been issued, but "Here I Am" and two different versions of Lori Chako's "Once Bitten, Twice Shy" eventually surfaced on the digital compilation "Elvira's Gravest Hits".


title: Elvira: Mistress of the Dark (film)

text: On the review aggregator website Rotten Tomatoes, which categorizes reviews only as positive or negative, 56% of 25 reviews are positive. Caryn James in "The New York Times" rated the film 2/5 in 1988 saying that "there are only a couple of fresh and funny moments."


title: Elvira: Mistress of the Dark (film)

text: Writing for "The Washington Post" in 1999, Richard Harrington said the film "is stupid fun, a distaff, gothic version of "Pee-wee's Playhouse". (...) [Elvira is] fun, a Transylvania Valley Girl grown up into the Queen of the Bs, but after 96 minutes you may start thinking more fondly about those '50s and '60s camp classics she's usually interspersed with."


title: Elvira: Mistress of the Dark (film)

text: Anthony Arrigo said in "Dread Central" in 2020 that "Elvira managed to make a seemingly oxymoronic character into a household name, built off her bountiful looks, quick wit, and indefatigable charisma." Daniel Barnes said in 2020 that "this one-note vehicle throws ambiguity and subtlety out the window in favor of a barrage of unfunny boob jokes." In "Nashville Scene" in 2021, Jason Shawhan said it's "campy, witty and always eager to push the bawdy limits of a PG-13 rating."


title: Elvira: Mistress of the Dark (film)

text: Peterson has stated that the distribution company for the film went out of business literally the day before release, causing the number of theaters showing the film to drop from over 2,500 to roughly 500, which resulted in the low box office.


title: Elvira: Mistress of the Dark (film)

text: The film received a Razzie Award nomination for Cassandra Peterson as Worst Actress in 1989, losing to Liza Minnelli for both "" and "Rent-a-Cop". "I even lost the worst actress, now that's sad!" Peterson quipped.


title: Elvira: Mistress of the Dark (film)

text: Peterson quickly sold a script for a sequel, but it got tied up in red tape when Carolco Pictures went bankrupt. She followed through with plans to star in a sitcom, but 1993's "The Elvira Show" did not secure a spot on the TV schedule. Soon after, she announced the forthcoming "Elvira Vs. the Vampire Women", but a contract dispute with Roger Corman prevented the film from being produced.


title: Elvira: Mistress of the Dark (film)

text: The script for "Elvira's Haunted Hills" was written in the late 1990s, but after spending three years trying to get Hollywood to produce the project, she and then-husband Mark Pierson decided to finance it themselves. The shoot in Romania was grueling, and they had difficulty securing distribution. In the same vein as "Young Frankenstein", "Haunted Hills" spoofs the 1960s Roger Corman/Edgar Allan Poe films. Other than the Elvira character, there's no direct connection between the films, although it is sometimes referred to as a prequel since it is set more than a century earlier.


title: Elvira: Mistress of the Dark (film)

text: Prior to "Mistress of the Dark", there were already plans to feature Elvira in an animated series, but this has yet to materialize. In 2019, Peterson pitched the idea to Netflix and Shudder, which both passed. Around the same time, the character made her inaugural Scooby-Doo appearance in "Return to Zombie Island". Elvira returned the following year with an increased role in "Happy Halloween, Scooby-Doo!", in which she spends the bulk of in a flat-top variation of the Macabremobile and dispatches another monster with a stiletto to the forehead.


title: Elvira: Mistress of the Dark (film)

text: Peterson's "Scooby" experience was so positive that, after years of trying to get a third film produced, she announced in 2020 that the next Elvira film will likely be an animated feature. Although no specifics have been released, a detailed story treatment has been completed.


title: Elvira: Mistress of the Dark (film)

text: In October 2021, Elvira's 40th birthday special was announced on the YouTube channel for Shudder streaming, with the video "Burn Witch Burn". Throughout October, for Halloween, Elvira featured horror movies catalog on Netflix's YouTube channel, titled "Netflix & Chills Meet Dr. Elvira".


title: Diane Arbus

text: Diane Arbus (; née Nemerov; March 14, 1923 – July 26, 1971) was an American photographer. She photographed a wide range of subjects including strippers, carnival performers, nudists, people with dwarfism, children, mothers, couples, elderly people, and middle-class families. She photographed her subjects in familiar settings: their homes, on the street, in the workplace, in the park. "She is noted for expanding notions of acceptable subject matter and violates canons of the appropriate distance between photographer and subject. By befriending, not objectifying her subjects, she was able to capture in her work a rare psychological intensity." In his 2003 "New York Times Magazine" article, "Arbus Reconsidered," Arthur Lubow states, "She was fascinated by people who were visibly creating their own identities—cross-dressers, nudists, sideshow performers, tattooed men, the nouveaux riches, the movie-star fans—and by those who were trapped in a uniform that no longer provided any security or comfort." Michael Kimmelman writes in his review of the exhibition "Diane Arbus Revelations," that her work "transformed the art of photography (Arbus is everywhere, for better and worse, in the work of artists today who make photographs)". Arbus's imagery helped to normalize marginalized groups and highlight the importance of proper representation of all people. In her lifetime she achieved some recognition and renown with the publication, beginning in 1960, of photographs in such magazines as "Esquire", "Harper's Bazaar", London's "Sunday Times Magazine", and "Artforum". In 1963 the Guggenheim Foundation awarded Arbus a fellowship for her proposal entitled, "American Rites, Manners and Customs". She was awarded a renewal of her fellowship in 1966. John Szarkowski, the director of photography at the Museum of Modern Art (MoMA) in New York City from 1962 to 1991, championed her work and included it in his 1967 exhibit "New Documents" along with the work of Lee Friedlander and Garry Winogrand. Her photographs were also included in a number of other major group shows.


title: Diane Arbus

text: In 1972, a year after her suicide, Arbus became the first photographer to be included in the Venice Biennale where her photographs were "the overwhelming sensation of the American Pavilion" and "extremely powerful and very strange".


title: Diane Arbus

text: The first major retrospective of Arbus' work was held in 1972 at MoMA, organized by Szarkowski. The retrospective garnered the highest attendance of any exhibition in MoMA's history to date. Millions viewed traveling exhibitions of her work from 1972 to 1979. The book accompanying the exhibition, "Diane Arbus: An Aperture Monograph", edited by Doon Arbus and Marvin Israel and first published in 1972 has never been out of print.


title: Diane Arbus

text: Arbus was born Diane Nemerov to David Nemerov and Gertrude Russek Nemerov, a Jewish couple – immigrants from Soviet Russia – who lived in New York City and owned Russeks, a Fifth Avenue department store, co-founded by Arbus' grandfather Frank Russek. Because of her family's wealth, Arbus was insulated from the effects of the Great Depression while growing up in the 1930s. Her father became a painter after retiring from Russeks. Her younger sister became a sculptor and designer, and her older brother, the poet Howard Nemerov, taught English at Washington University in St. Louis and was appointed United States Poet Laureate. Howard's son is the Americanist art historian Alexander Nemerov.


title: Diane Arbus

text: Arbus's parents were not deeply involved in raising their children, who were overseen by maids and governesses. Her mother had a busy social life and underwent a period of clinical depression for approximately a year, then recovered, and her father was busy with work. Diane separated herself from her family and her lavish childhood.


title: Diane Arbus

text: Arbus attended the Ethical Culture Fieldston School, a prep school. In 1941, at the age of 18, she married her childhood sweetheart, Allan Arbus, whom she had dated since age 14. Their daughter Doon, who would become a writer, was born in 1945; their daughter Amy, who would become a photographer, was born in 1954. Arbus and her husband worked together in commercial photography from 1946 to 1956, but Allan remained very supportive of her work even after she left the business and began an independent relationship to photography.


title: Diane Arbus

text: Arbus and her husband separated in 1959, although they maintained a close friendship. The couple also continued to share a darkroom, where Allan's studio assistants processed her negatives, and she printed her work. The couple divorced in 1969 when he moved to California to pursue acting. He was popularly known for his role as Dr. Sidney Freedman on the television show "M*A*S*H". Before his move to California, Allan set up her darkroom, and they thereafter maintained a long correspondence.


title: Diane Arbus

text: In late 1959, Arbus began a relationship with the art director and painter Marvin Israel that would last until her death. All the while, he remained married to Margaret Ponce Israel, an accomplished mixed-media artist. Marvin Israel both spurred Arbus creatively and championed her work, encouraging her to create her first portfolio. Among other photographers and artists she befriended, Arbus was close to photographer Richard Avedon; he was approximately the same age, his family had also run a Fifth Avenue department store, and many of his photographs were also characterized by detailed frontal poses.


title: Diane Arbus

text: Arbus received her first camera, a Graflex, from Allan shortly after they married. Shortly thereafter, she enrolled in classes with photographer Berenice Abbott. The Arbuses' interests in photography led them, in 1941, to visit the gallery of Alfred Stieglitz, and learn about the photographers Mathew Brady, Timothy O'Sullivan, Paul Strand, Bill Brandt, and Eugène Atget. In the early 1940s, Diane's father employed them to take photographs for the department store's advertisements. Allan was a photographer for the U.S. Army Signal Corps in World War II.


title: Diane Arbus

text: In 1946, after the war, the Arbuses began a commercial photography business called "Diane & Allan Arbus", with Diane as art director and Allan as the photographer. She would come up with the concepts for their shoots and then take care of the models. She grew dissatisfied with this role, a role even her husband thought was "demeaning". They contributed to "Glamour", "Seventeen", "Vogue", and other magazines even though "they both hated the fashion world". Despite over 200 pages of their fashion editorial in "Glamour", and over 80 pages in "Vogue", the Arbuses' fashion photography has been described as of "middling quality". Edward Steichen's noted 1955 photography exhibition, "The Family of Man", did include a photograph by the Arbuses of a father and son reading a newspaper.


title: Diane Arbus

text: She studied briefly with Alexey Brodovich in 1954. However, it was her studies with Lisette Model, which began in 1956, that encouraged Arbus to focus exclusively on her own work. That year Arbus quit the commercial photography business and began numbering her negatives. (Her last known negative was labeled #7459.) Based on Model's advice, Arbus avoided loading film in the camera as an exercise in truly seeing. Arbus also credits Model with making it clear to her that "the more specific you are, the more general it'll be."


title: Diane Arbus

text: By 1956 she worked with a 35mm Nikon, wandering the streets of New York City and meeting her subjects largely, though not always, by chance. The idea of personal identity as socially constructed is one that Arbus came back to, whether it be performers, women and men wearing makeup, or a literal mask obstructing one's face. Critics have speculated that the choices in her subjects reflected her own identity issues, for she said that the only thing she suffered from as a child was never having felt adversity. This evolved into a longing for things that money couldn't buy such as experiences in the underground social world. She is often praised for her sympathy for these subjects, a quality which is not immediately understood through the images themselves, but through her writing and the testimonies of the men and women she portrayed. A few years later, in 1958 she began making lists of who and what she was interested in photographing. She began photographing on assignment for magazines such as "Esquire", "Harper's Bazaar", and "The Sunday Times Magazine" in 1959.


title: Diane Arbus

text: Around 1962, Arbus switched from a 35mm Nikon camera which produced the grainy rectangular images characteristic of her post-studio work to a twin-lens reflex Rolleiflex camera which produced more detailed square images. She explained this transition saying "In the beginning of photographing I used to make very grainy things. I'd be fascinated by what the grain did because it would make a kind of tapestry of all these little dots...But when I'd been working for a while with all these dots, I suddenly wanted terribly to get through there. I wanted to see the real differences between things...I began to get terribly hyped on clarity." In 1964, Arbus began using a 2-1/4 Mamiyaflex camera with flash in addition to the Rolleiflex.


title: Diane Arbus

text: Arbus's style is said to be "direct and unadorned, a frontal portrait centered in a square format. Her pioneering use of flash in daylight isolated the subjects from the background, which contributed to the photos' surreal quality." Her methods included establishing a strong personal relationship with her subjects and re-photographing some of them over many years.


title: Diane Arbus

text: In spite of being widely published and achieving some artistic recognition, Arbus struggled to support herself through her work. "During her lifetime, there was no market for collecting photographs as works of art, and her prints usually sold for $100 or less." It is evident from her correspondence that lack of money was a persistent concern.


title: Diane Arbus

text: In 1963, Arbus was awarded a Guggenheim Fellowship for a project on "American rites, manners, and customs"; the fellowship was renewed in 1966.


title: Diane Arbus

text: Throughout the 1960s, Arbus supported herself largely by taking magazine assignments and commissions. For example, in 1968 she shot documentary photographs of poor sharecroppers in rural South Carolina (for "Esquire" magazine). In 1969 a rich and prominent actor and theater owner, Konrad Matthaei, and his wife, Gay, commissioned Arbus to photograph a family Christmas gathering. During her career, Arbus photographed Mae West, Ozzie Nelson and Harriet Nelson, Bennet Cerf, atheist Madalyn Murray O'Hair, Norman Mailer, Jayne Mansfield, Eugene McCarthy, billionaire H. L. Hunt, Gloria Vanderbilt's baby, Anderson Cooper, Coretta Scott King, and Marguerite Oswald (Lee Harvey Oswald's mother). In general, her magazine assignments decreased as her fame as an artist increased. Szarkowski hired Arbus in 1970 to research an exhibition on photojournalism called "From the Picture Press"; it included many photographs by Weegee whose work Arbus admired. She also taught photography at the Parsons School of Design and the Cooper Union in New York City, and the Rhode Island School of Design in Providence, Rhode Island.


title: Diane Arbus

text: Late in her career, The Metropolitan Museum of Art indicated to her that they would buy three of her photographs for $75 each, but citing a lack of funds, purchased only two. As she wrote to Allan Arbus, "So I guess being poor is no disgrace."


title: Diane Arbus

text: Beginning in 1969 Arbus undertook a series of photographs of people at New Jersey residences for developmentally and intellectually disabled people, posthumously named "Untitled". Arbus returned to several facilities repeatedly for Halloween parties, picnics, and dances. In a letter to Allan Arbus dated November 28, 1969, she described these photographs as "lyric and tender and pretty".


title: Diane Arbus

text: "Artforum" published six photographs, including a cover image, from Arbus's portfolio, "A box of ten photographs," in May 1971. After his encounter with Arbus and the portfolio, Philip Leider, then editor in chief of "Artforum" and a photography skeptic, admitted, "With Diane Arbus, one could find oneself interested in photography or not, but one could no longer . . . deny its status as art." She was the first photographer to be featured in "Artforum" and "Leider's admission of Arbus into this critical bastion of late modernism was instrumental in shifting the perception of photography and ushering its acceptance into the realm of 'serious' art."


title: Diane Arbus

text: The first major exhibition of her photographs occurred at the Museum of Modern Art in the influential "New Documents" (1967) alongside the work of Garry Winogrand and Lee Friedlander, curated by John Szarkowski. New Documents, which drew almost 250,000 visitors demonstrated Arbus's interest in what Szarkowski referred to as society's "frailties" and presented what he described as "a new generation of documentary photographers...whose aim has been not to reform life but to know it," described elsewhere as "photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical, observant eye". The show was polarizing, receiving both praise and criticism, with some identifying Arbus as a disinterested voyeur and others praising her for her evident empathy with her subjects.


title: Diane Arbus

text: In 2018, "The New York Times" published a belated obituary of Arbus as part of the Overlooked history project. The Smithsonian American Art Museum housed an exclusive exhibit from April 6, 2018, to January 27, 2019, that featured one of Arbus' portfolios, "A box of ten photographs". The SAAM is the only museum currently displaying the work. The collection is "one of just four complete editions that Arbus printed and annotated. The three other editions—the artist never executed her plan to make 50—are held privately". The Smithsonian edition was made for Bea Feitler, an art director who both employed and befriended Arbus. After Feitler's death, Baltimore collector G.H. Dalsheimer bought her portfolio from Sotheby's in 1982 for $42,900. The SAAM then bought it from Dalsheimer in 1986. The portfolio was put away in the museum's collection, until 2018.


title: Diane Arbus

text: Arbus experienced "depressive episodes" during her life, similar to those experienced by her mother; the episodes may have been made worse by symptoms of hepatitis. In 1968, Arbus wrote a letter to a personal friend, Carlotta Marshall, that says: "I go up and down a lot. Maybe I've always been like that. Partly what happens though is I get filled with energy and joy and I begin lots of things or think about what I want to do and get all breathless with excitement and then quite suddenly either through tiredness or a disappointment or something more mysterious the energy vanishes, leaving me harassed, swamped, distraught, frightened by the very things I thought I was so eager for! I'm sure this is quite classic." Her ex-husband once noted that she had "violent changes of mood". On July 26, 1971, while living at Westbeth Artists Community in New York City, Arbus died by suicide by ingesting barbiturates and cutting her wrists with a razor. She wrote the words "Last Supper" in her diary and placed her appointment book on the stairs leading up to the bathroom. Marvin Israel found her body in the bathtub two days later; she was 48 years old. Photographer Joel Meyerowitz told journalist Arthur Lubow, "If she was doing the kind of work she was doing and photography wasn't enough to keep her alive, what hope did we have?"


title: Diane Arbus

text: "[Arbus's] work has had such an influence on other photographers that it is already hard to remember how original it was", wrote the art critic Robert Hughes in a November 1972 issue of "Time" magazine. She has been called "a seminal figure in modern-day photography and an influence on three generations of photographers" and is widely considered to be among the most influential artists of the last century.


title: Diane Arbus

text: When the film "The Shining", directed by Stanley Kubrick, was released to cinemas worldwide in 1980 and became hugely successful, millions of moviegoers experienced Diane Arbus' legacy without realizing it. The movie's recurring characters of identical twin girls who are wearing identical dresses appear on-screen as a result of a suggestion Kubrick received from crew member Leon Vitali. He is described by film historian Nick Chen as "Kubrick's right-hand man from the mid-70s onwards". Chen goes on to reveal, "Not only did Vitali videotape and interview 5,000 kids to find [the right child actor to portray] Jack Nicholson's [character's] son, Danny, he was also responsible for discovering the creepy twin sisters on the final day of auditions. The pair, in fact, weren't twins in Kubrick's script, and it was Vitali who immediately suggested Diane Arbus' infamous photo of two identical twin sisters as a point of reference."


title: Diane Arbus

text: Since Arbus died without a will, the responsibility for overseeing her work fell to her daughter, Doon. She forbade examination of Arbus' correspondence and often denied permission for exhibition or reproduction of Arbus' photographs without prior vetting, to the ire of many critics and scholars. The editors of an academic journal published a two-page complaint in 1993 about the estate's control over Arbus' images and its attempt to censor characterizations of subjects and the photographer's motives in article about Arbus. A 2005 article called the estate's allowing the British press to reproduce only fifteen photographs an attempt to "control criticism and debate". On the other hand, it is common institutional practice in the U.S. to include only a handful of images for media use in an exhibition press kit. The estate was also criticized in 2008 for minimizing Arbus' early commercial work, although those photographs were taken by Allan Arbus and credited to the Diane and Allan Arbus Studio.


title: Diane Arbus

text: In 2011, a review in "The Guardian" of "An Emergency in Slow Motion: The Inner Life of Diane Arbus" by William Todd Schultz references "...the famously controlling Arbus estate who, as Schultz put it recently, 'seem to have this idea, which I disagree with, that any attempt to interpret the art diminishes the art.'"


title: Diane Arbus

text: In 1972, Arbus was the first photographer to be included in the Venice Biennale; her photographs were described as "the overwhelming sensation of the American Pavilion" and "an extraordinary achievement".


title: Diane Arbus

text: The Museum of Modern Art held a retrospective curated by John Szarkowski of Arbus's work in late 1972 that subsequently traveled around the United States and Canada through 1975; it was estimated that over seven million people saw the exhibition. A different retrospective curated by Marvin Israel and Doon Arbus traveled around the world between 1973 and 1979.


title: Diane Arbus

text: Doon Arbus and Marvin Israel edited and designed a 1972 book, "Diane Arbus: an Aperture Monograph", published by Aperture and accompanying the Museum of Modern Art's exhibition. It contained eighty of Arbus' photographs, as well as texts from classes that she gave in 1971, some of her writings, and interviews,


title: Diane Arbus

text: In 2001–04, "Diane Arbus: an Aperture Monograph" was selected as one of the most important photobooks in history.


title: Diane Arbus

text: Neil Selkirk, a former student, began printing for the 1972 MOMA retrospective and Aperture Monograph. He remains the only person who is authorized to make posthumous prints of Arbus' work.


title: Diane Arbus

text: A half-hour documentary film about Arbus' life and work known as "Masters of Photography: Diane Arbus" or "Going Where I've Never Been: The Photography of Diane Arbus" was produced in 1972 and released on video in 1989. The voiceover was drawn from recordings made of Arbus' photography class by Ikkō Narahara and voiced by Mariclare Costello, who was Arbus' friend and the wife of her ex-husband Allan.


title: Diane Arbus

text: Patricia Bosworth wrote an unauthorized biography of Arbus published in 1984. Bosworth reportedly "received no help from Arbus's daughters, or from their father, or from two of her closest and most prescient friends, Avedon and ... Marvin Israel". The book was also criticized for insufficiently considering Arbus's own words, for speculating about missing information, and for focusing on "sex, depression and famous people", instead of Arbus' art.


title: Diane Arbus

text: Between 2003 and 2006, Arbus and her work were the subject of another major traveling exhibition, "Diane Arbus Revelations", which was organized by the San Francisco Museum of Modern Art. Accompanied by a book of the same name, the exhibition included artifacts such as correspondence, books, and cameras as well as 180 photographs by Arbus. By "making substantial public excerpts from Arbus's letters, diaries and notebooks" the exhibition and book "undertook to claim the center-ground on the basic facts relating to the artist's life and death". Because Arbus's estate approved the exhibition and book, the chronology in the book is "effectively the first authorized biography of the photographer".


title: Diane Arbus

text: In 2006, the fictional film "Fur: an Imaginary Portrait of Diane Arbus" was released, starring Nicole Kidman as Arbus; it used Patricia Bosworth's unauthorized biography "Diane Arbus: A Biography" as a source of inspiration. Critics generally took issue with the film's "fairytale" portrayal of Arbus.


title: Diane Arbus

text: The Metropolitan Museum of Art purchased twenty of Arbus' photographs (valued at millions of dollars) and received Arbus' archives, which included hundreds of early and unique photographs, and negatives and contact prints of 7,500 rolls of film, as a gift from her estate in 2007.


title: Diane Arbus

text: In 2018, "The New York Times" published a belated obituary of Arbus as part of the Overlooked history project.


title: Diane Arbus

text: Some of Arbus's subjects and their relatives have commented on their experience being photographed by Diane Arbus:


title: Diane Arbus

text: In addition, Arbus's "A box of ten photographs" was a portfolio of selected 1963–1970 photographs in a clear Plexiglas box/frame that was designed by Marvin Israel and was to have been issued in a limited edition of 50. However, Arbus completed only eight boxes and sold only four (two to Richard Avedon, one to Jasper Johns, and one to Bea Feitler). After Arbus's death, under the auspices of the Estate of Diane Arbus, Neil Selkirk began printing to complete Arbus's intended edition of 50. In 2017, one of these posthumous editions sold for $792,500 in 2017.


title: Abduction (2011 film)

text: Abduction is a 2011 American action thriller film directed by John Singleton, produced by Roy Lee and Ellen Goldsmith-Vein, and written by Shawn Christensen. The film stars Taylor Lautner in the lead role alongside Lily Collins, Alfred Molina, Jason Isaacs, Maria Bello, and Sigourney Weaver in supporting roles.


title: Abduction (2011 film)

text: The film, Singleton's last before his death in 2019, was released by Lionsgate on September 23, 2011. Upon release, the film was panned by the critics, with many criticizing the film's screenplay, cast performances (especially Lautner's) and pace. The film grossed $82 million worldwide against its $35 million production budget. It was nominated for a Golden Reel Award for Dialogue and ADR in a Feature Film.


title: Abduction (2011 film)

text: Nathan Harper is an 18-year-old high school senior living in the suburbs of Pittsburgh, Pennsylvania with his parents Kevin and Mara. He has troubles from recurring nightmares and has been seeing psychiatrist Dr. Geraldine "Geri" Bennett to treat him.


title: Abduction (2011 film)

text: Nathan is teamed with Karen Murphy for a school research project on missing children. He discovers he looks very much like an age-progression photo of a missing child, Steven Price. His investigations show that he and his parents are probably biologically unrelated. He approaches his mother and she confirms the truth.


title: Abduction (2011 film)

text: Two men claiming to be from the Bridgewater Juvenile Justice Department arrive at Nathan's home while Mara has finished confirming to Nathan that his suspicions are true. Mara is suspicious and attacks the two, but is shot and killed by the intruders. Kevin is also killed, but not before shouting for Nathan to run. Nathan runs but returns for Karen, who is captured. Nathan rescues her and attempts to find out who the man is, but is forced out of the house because of a bomb.


title: Abduction (2011 film)

text: The blast injures Karen, so Nathan takes her to the hospital and attempts to contact the police. His call is intercepted by CIA operative Frank Burton, who tells Nathan he is in danger and he will send two men to collect him. Dr. Bennett helps him and Karen escape. Burton explains that Nathan's biological father, Martin Price, stole an encrypted list of 25 corrupt CIA operatives from the Serbian terrorist and freelance intelligence broker Nikola Kozlow when Nathan was 3. Kozlow then planned on abducting Nathan to coerce Martin to hand over the list. Nathan had been given to his adoptive parents to protect him. Kozlow used the website to claim Nathan as the missing child Steven Price in order to find him. Dr. Bennett gives Nathan the address of a safe house in Arlington, Virginia and tells him to trust only Martin and a man named Paul Rasmus. Burton is warned by his superior to end the situation as soon as possible once he learns of Bennett, who is revealed to be a former CIA operative.


title: Abduction (2011 film)

text: Arriving at the safehouse: the two obtain money, a gun, a photo of Nathan's biological mother Lorna Price, and a cell phone. Karen tries to call her family, but her call is intercepted by Burton and the CIA, as well as Kozlow, forcing them to flee. Finding the address for his mother, the pair discover the address is a cemetery and Lorna has died. Nathan and Karen find fresh flowers at her grave: the sender is Paul Rasmus, who lives in Nebraska. The two take an Amtrak passenger train to get there, using fake IDs provided by their friend Gilly. En route, they confess their feelings and share a kiss. They are unaware that they are being followed by Kozlow's right-hand man, who abducts Karen. He leaves her bound and gagged, but she frees herself. Nathan fights the assailant and throws him out the window. Burton's team finds Kozlow's henchman and tracks them down.


title: Abduction (2011 film)

text: Burton explains the data that Martin had stolen to Nathan, who considers that it may contain Burton's name on the list. The agents are attacked by Kozlow's snipers. Nathan and Karen flee in a car but Kozlow calls and threatens to kill Karen's parents if Nathan does not hand over the data. Nathan gets Kozlow to agree to make the transaction at a Pittsburgh Pirates baseball game at their home stadium, PNC Park.


title: Abduction (2011 film)

text: Nathan works with Gilly to obtain tickets and secures a gun with the intent to kill Kozlow. When Kozlow arrives, he tells Nathan how he killed his mother when Nathan was 3 after she refused to give up Martin's location. Kozlow grabs the gun from Nathan and demands the list, Nathan bolts and Kozlow gives chase, followed by CIA operatives. Nathan is called by Martin, who tells him to trust him and run to the south parking lot. Nathan does so and Kozlow is shot and killed by Martin. Burton and his agents arrive, and Burton asks for the cell phone. However, Martin had warned his superior about Burton's corruption and takes the phone himself while Burton is taken into custody. Martin calls Nathan again, apologizing for not being the father he should have been. Nathan asks him to show himself but Martin refuses. However, he assures Nathan no one will harm him or Karen and then he disappears. Bennett arrives with Karen and says she has arranged for Nathan to live with her until he decides what to pursue in his life. Nathan and Karen go on a date.


title: Abduction (2011 film)

text: Lionsgate Films bought screenwriter Shawn Christensen's spec script for "Abduction" in February 2010, with actor Taylor Lautner attached to the film. The studio won a bidding war for the screenplay, acquiring it for $1 million. Gotham Group and Vertigo Entertainment had developed the script, based on a story idea by Gotham's Jeremy Bell.


title: Abduction (2011 film)

text: Lionsgate rushed to start principal photography in July, due to Lautner's schedule to begin work on the last two "Twilight" films for Summit Entertainment. Writer Jeffrey Nachmanoff was hired to work on the screenplay, and John Singleton signed on to direct in March. Ellen Goldsmith-Vein, Lee Stollman, Roy Lee, and Doug Davison produced the film, and Jeremy Bell and Gabriel Mason executive produced. Lautner's father, Dan Lautner, also produced, the first film from their Tailor Made Entertainment label.


title: Abduction (2011 film)

text: On a budget of $35 million, principal photography began on July 12, 2010, in the Pittsburgh, Pennsylvania area. Lionsgate returned to the region due to tax benefits from Pennsylvania's tax credit program, after filming "My Bloody Valentine 3D", "Warrior", and "The Next Three Days" there in 2008 and 2009. An open casting call for extras held at Carnegie Mellon University drew over 900 people in June, many of whom were teenage fans of the "Twilight" film series.


title: Abduction (2011 film)

text: Many of the film's scenes were shot in suburban Mount Lebanon, some others in Forward Township, and Brownsville in Fayette County. Scenes were shot at Hampton High School in Hampton Township, a suburb north of Pittsburgh. The school's name and mascot, the Talbot, appeared in the film, as did biology students, cheerleaders, and the marching band. Production continued in Pittsburgh, Mount Lebanon, Greensburg and Hampton Township, and lasted into September 2010.


title: Abduction (2011 film)

text: The review aggregator Rotten Tomatoes gave "Abduction" an approval rating of 5% based on 108 reviews, with an average rating of 3.4/10. The site's critical consensus read, "A soulless and incompetent action/thriller that not even a veteran lead actor could save, let alone Taylor Lautner." On Metacritic, the film has a weighted average score of 25 out of 100, based on 20 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale.


title: Abduction (2011 film)

text: Kyle Smith of the "New York Post" said that "actual abduction may be preferable to the movie of the same name, but only if your kidnappers don't torture you by forcing you to watch it", adding that Lautner "has the acting chops of Bert from "Sesame Street"". R. Kurt Oselund of "Slate Magazine" was also critical of Lautner, saying that he "can't carry a movie any more than Abigail Breslin can carry a refrigerator." James Berardinelli gave it one out of four stars, saying, "For those who are indifferent to Lautner or who don't like him, the only way to survive "Abduction" is under the influence of a controlled substance, and even that may not be enough." Catherine Brown of "Filmink" also gave it a scathing review, saying that "Singleton is poorly equipped to handle teenage angst, a fact made far worse by cringe-worthy dialogue and a wooden leading man who proves that he has not yet developed the skills required to carry a film."


title: Abduction (2011 film)

text: A less critical review came from Owen Gleiberman of "Entertainment Weekly", who gave the film a C, commenting that Lautner is "not a terrible actor, but if he wants a career after the "Twilight" fades, he'll pick better films." Likewise, Roger Moore of the "Chicago Tribune" gave the film two out of four stars, saying it "falls in the same corner of the youth market as the "Twilight" movies. Some moments and many lines feel cribbed from that series." Andrew Barker of "Variety" called the film "a haggardly slapdash "Bourne Identity" knockoff, never rising above the level of basic competence."


title: Abduction (2011 film)

text: "Abduction" opened in 3,118 theaters in the United States and grossed $10,925,253, with an average of $3,504 per theater and ranking #4 at the box office. The film ultimately earned $28,087,155 domestically and $54,000,000 internationally for a total of $82,087,155 against a budget of $35 million.


title: Abduction (2011 film)

text: Taylor Lautner was nominated for a Golden Raspberry Award for Worst Actor for his role in the film (also for ""), but lost to Adam Sandler for both "Jack and Jill" and "Just Go with It". The film received two nominations for the Teen Choice Awards for Choice Action Movie and Choice Action Actor for Lautner and subsequently won both.


title: Dhruva (2016 film)

text: Dhruva is a 2016 Indian Telugu-language action thriller film directed by Surender Reddy and produced by Allu Aravind under his banner Geetha Arts. It features Ram Charan in the titular role, along with Aravind Swamy, Rakul Preet Singh, and Navdeep in important roles. An official remake of the Tamil film "Thani Oruvan" (2015), directed by Mohan Raja, it follows Dhruva, an IPS officer who wants to arrest Siddharth Abhimanyu, a wealthy scientist, who uses secret medical and illegal practices for profit.


title: Dhruva (2016 film)

text: The launch and principal photography of the film took place in February 2016; filming took place in Hyderabad and Kashmir. The film features music composed by Hiphop Tamizha, the cinematography was handled by P. S. Vinod and editing is done by Navin Nooli respectively. The film was released worldwide on 9 December 2016, after multiple postponements; it received positive reviews praising the cast performances (particularly Ram Charan and Arvind Swamy), writing, direction, action sequences and cinematography.


title: Dhruva (2016 film)

text: 1980: A low-level party member Chengalarayudu was dedicated to his regional leader and party, to the extent that he is working for a party meeting when his wife goes into labour. Accidentally, the leader comes to the area of Chengalarayudu's house, and he lends his car to take Chengalarayudu's wife to the labour ward. The delivery happens safely inside the car.


title: Dhruva (2016 film)

text: 1996: Chengalarayudu's son Venkanna secures the first rank in his 10th standard state exam, and visits the leader, who is now the chairman of the party and a member of the ruling coalition for his blessings with his father. While they are waiting in the party office for the leader to come in, they witness an accidental murder of a rebel in the party, by their own revered leader due to caste-related comments by the rebel on him. When the leader asks Chengalarayudu to take the blame by saying that he killed the man due to rage about the rebel's comments, Venkanna volunteers to take the blame and is willing to go to prison, citing the leniency of juvenile laws in exchange for an MLA seat for his father in the upcoming by-elections. The deal is accepted and Venkanna goes to prison and Chengalarayudu later becomes an MLA.


title: Dhruva (2016 film)

text: 2015: Trainee IPS officers Dhruva, Gautham, Ranveer and Karan discreetly assist the police in catching a gang which kidnapped four girls. One day, Dhruva receives a cryptic text message on his phone from an anonymous number stating that he/she is aware of their discreet activities. In the evening, they go out to meet that person who is revealed to be forensic pathologist and Dhruva's girlfriend Ishika. Later that same night, they happen to witness the murder of a social activist named Ramarao with the pretense of snatch theft. Dhruva and his friend catch the gang and their leader and hand them over to the police. 4 days later, the leader of the gang arrives at the IPS headquarters with the Home minister. This political and organised crime comes as a shock to Dhruva and his friends.


title: Dhruva (2016 film)

text: Dhruva takes them to his house and shows his research on connecting all small unrelated incidents into the global view of a hidden crime network, who bend the law for their own financial benefits. He singles out three prominent business persons namely pharmaceutical mogul Dheeraj Chandra, mining mogul Jayanth Suri and businessman named Irfan Ali. When he tries following one, he realizes that all three of them work as a group, and they all work for a wealthy and influential scientist Siddharth Abhimanyu. After the completion of his training, Dhruva is awarded medals for specializing in dealing with organized crime during training and also for being the best probationer of the batch, and is posted as the ASP of the Organized Crime Unit.


title: Dhruva (2016 film)

text: Dhruva discovers that Siddharth is Venkanna. After his release from prison, Venkanna had his name changed and left India to complete his education abroad. After his graduation, he returned to India and is now a well-established scientist. Siddharth uses the medical field for the wrong reasons and for his own profit. Chengalarayudu is now the incumbent Health Minister in the minority government headed by the party leader, who is now the CM of Andhra Pradesh. At that time, Angelina, a Swiss pharmaceutical company owner and activist, tries to make generic medicines for life-threatening diseases available in India at low cost affordable by poor people. Siddharth's assassin Abbas kills Angelina before she can sign the agreement document with the government and shoots Dhruva at the same time. While he is recovering from the gunshot wound in the hospital, an electronic bug (GPS + audio transmitter) is implanted during surgery. Through the bug, Siddharth listens to Dhruva's plans and continuously monitors his whereabouts and conversations via audio transmission. Dhruva receives evidence against Siddharth in the form of Akshara.


title: Dhruva (2016 film)

text: Akshara was a scientist at Siddharth's research lab, where a seaweed that can cure diabetes is found abundantly in the oceans. Siddharth tries to sell the technology and rights to extract medicine from the seaweed to multinational pharmaceutical companies but is opposed by Akshara. Siddharth hires goons and kill her. But before being killed, she records a video and stores it in an SD card so that someone will find it. But before Dhruva can find the card, Siddharth finds out and assigns Abbas to recover the card, but Dhruva tells Gautham to get the card. He successfully gets the card after a fight with Abbas, but through the bug, Siddharth knows this and kills Gautham.


title: Dhruva (2016 film)

text: Dhruva arrives back to his special house where he finds a pin that has been changed in a picture which turns out to be the picture of Naina, who was Miss World 2011 and a close acquaintance of Siddharth whose girlfriend Preethi was also part of that event. Dhruva doubts whether Siddharth himself would have come to his house. Ishika checks the fingerprints on the pin keeping the gun case Dhruva received from Siddharth in his posting ceremony, and the fingerprints match. A flashback reveals that Siddharth killed Preethi's father so that she would not participate in the competition, and as she will not have a ticket to go to her father's funeral, he offers to take her in his chartered flight and wins her over. Dhruva frantically searches for the bug, which he eventually finds and removes.


title: Dhruva (2016 film)

text: Dhruva captures Abbas and records all the information from him. He drugs Abbas and manipulates Siddharth into killing him. At the same time, Chengalarayudu reads the changed medical report, which contains very good medical contracts for public welfare and multiple accusations against the CM. When Siddharth learns about this, he asks Chengalarayudu to pretend to have a stroke and move outside to the hospital. The ruling party forces Chengalarayudu either to resign within 24 hours or he will be dismissed. Dhruva appeals to the CM that he has evidence and wants to arrest Siddharth, and he is granted permission to do so. Hence Siddarth kills his father using his goons in an accident and forces the CM to stop actions against him, or he will lie that the CM killed his father for personal vengeance. But the next day, at his father's state funeral, Dhruva arrests him on the CM's orders.


title: Dhruva (2016 film)

text: When Siddharth is arrested, Dhruva tells him that the medicine was patented in Akshara's name (despite Siddarth being the inventor) and will be made as generic medicine instead of a patent-protected one. It is also revealed that Chengalarayudu is still alive, saved by Dhruva and his gang and the public funeral held was for Gautham. Dhruva makes a deal that he would save Siddharth's life for information and evidence on all of his criminal associates and activities and gives him a bulletproof vest to fake his death during his transport to the court. They also plan to take down the setup planned by various VIPs to kill Siddharth when one of them gets close to Siddharth, Dhruva attacks him and notices that Siddharth did not wore the vest and is fatally shot by Preethi. Before dying, he tells Dhruva that he hid all the evidence in an SD card in the bulletproof vest, adding that he had not done it for the nation but because Dhruva had asked for it. Siddharth's accomplices are arrested and the film ends with Dhruva and Ishika's marriage.


title: Dhruva (2016 film)

text: In September 2015, producer D. V. V. Danayya had bought the remake rights of "Thani Oruvan" (2015), for a sum of , and announced that either Mahesh Babu or Ram Charan will play the lead role, with the latter being finalized, as Charan was impressed about the script. While, Surender Reddy, Vamshi Paidipally, Mohan Raja, the director of the original film, were supposed to helm the remake, Surender was chosen as the film's director. In an interview with, "The Times of India", Surender revealed that, it took him three months to complete the script, with two months for adapting the script in Telugu, and another month for the final draft being prepared. Following the poor performance of Charan's "", Danayya stepped out of producing the venture, and subsequently Allu Aravind, bankrolled the project under the home studio Geetha Arts, collaborating with charan for the second time after "Magadheera" (2009). The film was tentatively titled as "Rakshak", before the title "Dhruva" was announced. For his role in the film Ram Charan, had undergone rigorous training with an array of fitness experts. Singer Vedala Hemachandra provided voiceover for Arvind Swamy.


title: Dhruva (2016 film)

text: Initially, Madhavan was chosen to play the role of Siddharth Abhimanyu from "Thani Oruvan", however he did not accept the project. Rajasekhar was apparently chosen to do the role as well, but he missed the offer. And Arvind Swamy, was chosen to reprise his role from the original film. Sources claimed that, Arvind Swamy had charged as remuneration. Shruti Haasan, was chosen as the female lead, reprising Nayanthara's role, collaborating with Ram Charan for the second time after "Yevadu" (2014), however due to schedule conflicts, she could not commit the project and was replaced by Rakul Preet Singh, as the female lead. Navdeep is apparently cast as one of Charan's cop friends which is an important role in the story. Posani Krishna Murali, was apparently cast which is considered to be an important role in the film.


title: Dhruva (2016 film)

text: The makers roped in Hiphop Tamizha, who composed for the original film, as the music composer, thus making his debut in Telugu. Aseem Mishra, who worked in "Bajrangi Bhaijaan" (2015), was initially chosen as the film's cinematographer, but due to his non-availability, he was replaced by P. S. Vinod. Navin Nooli, Rajeevan and Nagendra were chosen as the editor, production designer and art director respectively. The stunt sequences are choreographed by Ravi Varma. Bosco-Caesar were roped in to choreograph the song sequences, who previously worked for Charan in "Orange" (2010).


title: Dhruva (2016 film)

text: The film was scheduled to be launched on 16 January 2016, however, the launch was tentatively delayed to 10 February 2016. The film was launched at the office of the production house Geetha Arts on 18 February 2016, and it was announced that the regular shooting of the film would commence on 22 February 2016. However, the principal photography was commenced without Ram Charan, and it was announced that he would join the shooting from 1 March 2016. As the second schedule of the film was scheduled to be held on 10 March, Ram Charan undergone image makeover and look tests for the film, and was reported to join the sets from 14 March 2016.


title: Dhruva (2016 film)

text: On 11 May 2016, the makers planned for a shooting schedule in Kashmir, to film an important sequence and a song, and it also reported that Ram Charan may join the schedule. Later Ram Charan and Rakul Preet moved to Kashmir, for its second schedule, which was completed on 29 June, Following the second schedule, the team moved to Hyderabad, in July 2016 to shoot important sequences, and later planned to shoot the songs in August. An exclusive making video of the film was released, in which Ram Charan was performing risky stunts, all by himself, without using any body doubles.


title: Dhruva (2016 film)

text: In August 2016, the makers revealed that, the talkie portion of the film has been completed, and later planned to shoot two songs, along with the completion of post-production works. A special set for the introduction song of the film was erected on a huge scale. For the song shoot, Ram Charan reportedly got training himself under "Sultan" and "Dangal" fame bodybuilder Rakesh Udiyar. The song shoot was completed on late October. Later, Aravind Swamy completed his portions for Dhruva. The song "Pareshanura" was shot at the Krabi Islands in Thailand, which featured Ram Charan and Rakul Preet Singh. The song "Neethoney Dance" was filmed at a huge set erected at Annapurna Studios, which was choreographed by Bosco-Caesar duo. Following the song shoot, the principal photography was wrapped up on 11 November 2016.


title: Dhruva (2016 film)

text: The soundtrack album and background score was composed by Hiphop Tamizha marking their debut in Telugu. The album features five tracks written by Chandrabose and Varikkuppala Yadagiri. Bollywood singer Amit Mishra, recorded the title track of the film "Dhruva Dhruva" in his Telugu debut, which the composer stated it as a challenging one. The song was inspired from the number "Travelling Soldier" from the Pawan Kalyan-starrer "Thammudu" (1999), which was stated by Ram Charan, in his US tour for the promotion of the film. The makers revealed a 10-second song promo along with the track list on 1 November 2016.


title: Dhruva (2016 film)

text: Initially, the makers planned for a grand audio launch event at Hyderabad on 9 November 2016, with Pawan Kalyan as the chief guest. However, due to the announcement of the demonetisation, the said audio launch was cancelled, and the album was directly released to stores and online by Aditya Music, which acquired the audio rights, on the said before date. While the songs are newly composed, the song "Theemai Dhan Vellum" from the original film, was reused in Telugu, titled "Manushi Musugulo Mrugam Neney Ra" which was used for promotional purposes. The song was released as a bonus track on 7 December 2016 on Sony Music India.


title: Dhruva (2016 film)

text: The soundtrack album received positive reviews from critics. Behindwoods rated the album 2.75 out of 5 stating "Dhruva is an impressive album from Hip-Hop Thamizha with enjoyable and experimental compositions!" Indaglitz gave 2.75 out of 5 and stated "An album that doesn't boast of formulaic songs, this one has two actress-driven songs out of the four.  While the party-time song is a rip-off, the title track stands out for its meaningful lyrics and rendition." 123Telugu commented "Usually, star hero films bring a festive atmosphere to the fans, from the first look release to the movie audience. Needless to say, audio plays a key role in the success of the film. Predictions are too high. The mega power star Ram Charan's hero Dhruva has also had unmatched expectations on audio. Released amidst those expectations, the album differs from regular Telugu cinema-style audio. Only four songs in this audio are 'Pareshnura', 'Neethoane Dancing' and 'Dhruva'. 'Chusa Chusa' is not remarkable. Finally, in a sense .. the 'Dhruva' album is more classy, slightly different from the routine, and is an album of situations. All these songs are more impressive than the audio." Milliblog commented "Hip-hop Tamizha’s Telugu debut is largely the same of what they are usually known for in Tamil." Bollywoodlife gave 2.5 out of 5 stars and commented "This album will catch everyone's interest as it marks Hip Hop Tamizha's debut in Telugu industry but it won't hold their attention for long. What didn't work was the almost repetitive composition for each of the songs. But if you are a party person and you are looking for a new part number, then Neethoney Dance is your song! For this cool, catchy song, you could give the Dhruva album a try."


title: Dhruva (2016 film)

text: Ram Charan planned to release the film on 7 October 2016, coinciding with the Dusshera festival, but the makers postponed its release to avoid clash with Naga Chaitanya-starrer "Premam" (2016); later pushed its release to 25 November 2016, which clashes with the Telugu version of Sivakarthikeyan-starrer "Remo" (2016), however, the release was postponed. The producers claimed that the 2016 Indian banknote demonetisation, has postponed the film's release. The makers finally announced that the film will be released worldwide on 9 December 2016. The film completed, the censor formalities on 21 November 2016, and was released in more than 200 screens in United States, on 8 December 2016, which is a biggest release for a Telugu film ever. In July 2017, a Hindi dubbed version was released by M/S Mantra India Digital Creations LLP, with Ajay Devgn and Arbaaz Khan providing voiceovers for Ram Charan and Arvind Swamy respectively.


title: Dhruva (2016 film)

text: The film's US distribution rights were sold to JollyHits for , The Vizag and Ceded rights were sold to and . Nizam rights were sold to , Guntur and Nellore rights were sold to and . Karnataka rights were sold to . The film earned a revenue of , from its theatrical rights and from satellite rights, thus earning a total revenue of .


title: Dhruva (2016 film)

text: Ram Charan released the pre-look of the film on 12 August 2016, The first look of the film was released on the occasion of Independence Day, 15 August 2016. The teaser was initially supposed to be released on 5 September 2016, coinciding with Vinayaka Chathurthi. However, the teaser was released on 11 October 2016, coinciding with Dusshera. The teaser crossed 1 million views within 24 hours of its release. The making video of the film was released in October 2016. The theatrical trailer of the film was released on 25 November 2016, and crossed 5 million views within release. The pre-release event of the film was held on 4 December 2016, at Yousufguda Police Lines in Hyderabad, where the promo videos of two songs "Pareshanura" and "Neethoney Dance" was released. The promo of "Neethoney dance" featured appearances of Chiranjeevi, Allu Arjun, Allu Sirish, Akhil Akkineni, Shruti Hassan, producer Allu Arvind, directors Koratala Siva and V. V. Vinayak respectively.


title: Dhruva (2016 film)

text: The film earned from its premier shows in US. Within first week, the film earned worldwide, and collected at end of its three weeks run.


title: Dhruva (2016 film)

text: "The Times of India", gave 4.5 out of 5 stars and stated "Dhruva promises to be an edge-of-the-seat entertainer and it delivers impeccably. You won’t find yourself looking away from the screen through the two-hour-forty-minute runtime. A remake done right." "Firstpost" gave 3 out of 5 stating "Dhruva is an edgy action thriller tale about a smart cop (Ram Charan) pitched against an evil mastermind scientist (Arvind Swamy) and is a very well adapted remake of Thani Oruvan." "Behindwoods" gave 4 out of 5 and stated "With added commercial features, "Dhruva" turns out to be an intelligent and a way more superior than the original film." "The Indian Express" gave 3.5 out of 5 stating "This film has three stars -- its hero Ram Charan Teja, its powerful villain Arvind Swamy and its script."


title: Dhruva (2016 film)

text: "123telugu" gave 3.5 out of 5 and stated "Dhruva is a perfect comeback film for Charan. He should be credited for choosing a unique film like this and giving his best through a standout performance. The engaging narration, interesting twists, and some superb mind games are huge assets of this film. The film will impress every section of the audience and is bound to do exceptionally well. If you ignore the small glitches here and there, this film is a perfect action entertainer to watch out this weekend." "Indiaglitz" commented "'Dhruva' is a self-contained remake with excellent characterizations, arresting episodes, impressive dialogues and fine performances." "Greatandhra" gave the film a 3 out of 5 stating "Apart from few minor issues, the movie is right on track. Director Surender Reddy’s slick direction, Aravind Swamy’s terrific and menacing acting, and Ram Charan’s makeover added with good cinematography make the film worth a watch." "The Hindu" rated "‘Dhruva’ leaves you with the feeling of having read a fast-paced, unputdownable thriller."


title: Dhruva (2016 film)

text: In contrast, "Hindustan Times" rated 4 out of 5 stars and commented "Ram Charan’s performance is so physically and mentally fit that it scream for attention while Arvind Swamy balances his viciousness and cunning intellect equally, which is enough to destroy any protaganist. Perfect combination for the film." "Deccan Chronicle" gave 3.5 out of 5 stars and stated: "Dhruva's makers had a ready, proven, super-hit script in front of them which is pretty fruitful."


title: Length

text: Length is a measure of distance. In the International System of Quantities, length is a quantity with dimension distance. In most systems of measurement a base unit for length is chosen, from which all other units are derived. In the International System of Units (SI) system the base unit for length is the metre.


title: Length

text: Length is commonly understood to mean the most extended dimension of a fixed object. However, this is not always the case and may depend on the position the object is in.


title: Length

text: Various terms for the length of a fixed object are used, and these include height, which is vertical length or vertical extent, and width, breadth or depth. Height is used when there is a base from which vertical measurements can be taken. Width or breadth usually refer to a shorter dimension when length is the longest one. Depth is used for the third dimension of a three dimensional object.


title: Length

text: Length is the measure of one spatial dimension, whereas area is a measure of two dimensions (length squared) and volume is a measure of three dimensions (length cubed).


title: Length

text: Measurement has been important ever since humans settled from nomadic lifestyles and started using building materials, occupying land and trading with neighbours. As trade between different places increased, the need for standard units of length increased. And later, as society has become more technologically oriented, much higher accuracy of measurement is required in an increasingly diverse set of fields, from micro-electronics to interplanetary ranging.


title: Length

text: Under Einstein's special relativity, length can no longer be thought of as being constant in all reference frames. Thus a ruler that is one metre long in one frame of reference will not be one metre long in a reference frame that is moving relative to the first frame. This means the length of an object varies depending on the speed of the observer.


title: Length

text: In Euclidean geometry, length is measured along straight lines unless otherwise specified and refers to segments on them. Pythagoras's theorem relating the length of the sides of a right triangle is one of many applications in Euclidean geometry. Length may also be measured along other types of curves and is referred to as arclength.


title: Length

text: In a triangle, the length of an altitude, a line segment drawn from a vertex perpendicular to the side not passing through the vertex (referred to as a base of the triangle), is called the height of the triangle.


title: Length

text: The area of a rectangle is defined to be length × width of the rectangle. If a long thin rectangle is stood up on its short side then its area could also be described as its height × width.


title: Length

text: The volume of a solid rectangular box (such as a plank of wood) is often described as length × height × depth.


title: Length

text: In other geometries, length may be measured along possibly curved paths, called geodesics. The Riemannian geometry used in general relativity is an example of such a geometry. In spherical geometry, length is measured along the great circles on the sphere and the distance between two points on the sphere is the shorter of the two lengths on the great circle, which is determined by the plane through the two points and the center of the sphere.


title: Length

text: In an unweighted graph, the length of a cycle, path, or walk is the number of edges it uses. In a weighted graph, it may instead be the sum of the weights of the edges that it uses.


title: Length

text: Length is used to define the shortest path, girth (shortest cycle length), and longest path between two vertices in a graph.


title: Length

text: In measure theory, length is most often generalized to general sets of formula_1 via the Lebesgue measure. In the one-dimensional case, the Lebesgue outer measure of a set is defined in terms of the lengths of open intervals. Concretely, the length of an open interval is first defined as


title: Length

text: In the physical sciences and engineering, when one speaks of , the word is synonymous with distance. There are several units that are used to measure length. Historically, units of length may have been derived from the lengths of human body parts, the distance traveled in a number of paces, the distance between landmarks or places on the Earth, or arbitrarily on the length of some common object.


title: Length

text: In the International System of Units (SI), the base unit of length is the metre (symbol, m) and is now defined in terms of the speed of light (about 300 million metres per second). The millimetre (mm), centimetre (cm) and the kilometre (km), derived from the metre, are also commonly used units. In U.S. customary units, English or Imperial system of units, commonly used units of length are the inch (in), the foot (ft), the yard (yd), and the mile (mi). A unit of length used in navigation is the nautical mile (nmi).


title: Length

text: Units used to denote distances in the vastness of space, as in astronomy, are much longer than those typically used on Earth (metre or centimetre) and include the astronomical unit (au), the light-year, and the parsec (pc).


title: Length

text: Units used to denote sub-atomic distances, as in nuclear physics, are much smaller than the centimetre. Examples include the fermi.


title: Wu wei

text: Wu wei () is an ancient Chinese concept literally meaning "inexertion", "inaction", or "effortless action". "Wu wei" emerged in the Spring and Autumn period, and from Confucianism, to become an important concept in Chinese statecraft and Taoism. It was most commonly used to refer to an ideal form of government, including the behavior of the emperor. Describing a state of unconflicting personal harmony, free-flowing spontaneity and savoir-faire, it generally also more properly denotes a state of spirit or mind, and in Confucianism accords with conventional morality.


title: Wu wei

text: Sinologist Jean François Billeter describes wu-wei as a "state of perfect knowledge of the reality of the situation, perfect efficaciousness and the realization of a perfect economy of energy", which in practice Edward Slingerland qualifies as a "set of ('transformed') dispositions (including physical bearing)... conforming with the normative order".


title: Wu wei

text: Sinologist Herrlee Creel considers wu wei, as found in the "Tao Te Ching" and "Zhuangzi", to denote two different things.


title: Wu wei

text: The first is quite in line with the contemplative Taoism of the "Zhuangzi". Described as a source of serenity in Taoist thought, only rarely do Taoist texts suggest that ordinary people could gain political power through "wu wei". The "Zhuangzi" does not seem to indicate a definitive philosophical idea, simply that the sage "does not occupy himself with the affairs of the world".


title: Wu wei

text: The second sense appears to have been imported from the earlier governmental thought of "legalist" Shen Buhai (400 BC – c. 337 BC) as Taoists became more interested in the exercise of power by the ruler. Called "rule by non-activity" and strongly advocated by Han Fei, during the Han dynasty, up until the reign of Han Wudi rulers confined their activity "chiefly to the appointment and dismissal of his high officials", a plainly "Legalist" practice inherited from the Qin dynasty. This "conception of the ruler's role as a supreme arbiter, who keeps the essential power firmly in his grasp" while leaving details to ministers, has a "deep influence on the theory and practice of Chinese monarchy", and played a "crucial role in the promotion of the autocratic tradition of the Chinese polity", ensuring the ruler's power and the stability of the polity.


title: Wu wei

text: Only appearing three times in the first (more contemplative) half of the Zhuangzi, early Taoists may have avoided the term for its association with "Legalism" before ultimately co-opting its governmental sense as well, as attempted in the Zhuangzi's latter half. Thought by modern scholarship to have been written after the Zhuangzi, wu wei becomes a major "guiding principle for social and political pursuit" in the more "purposive" Taoism of the Tao Te Ching, in which the Taoist "seeks to use his power to control and govern the world".


title: Wu wei

text: Sinologist Herrlee G. Creel believed that an important clue to the development of "wu wei" existed in the "Analects", in a saying attributed to Confucius, which reads: "The Master said, 'Was it not Shun who did nothing and yet ruled well? What did he do? He merely corrected his person ("made himself reverent" – Edward Slingerland) and took his proper position (facing south) as ruler'". The concept of a divine king whose "magic power" (virtue) "regulates everything in the land" (Creel) pervades early Chinese philosophy, particularly "in the early branches of Quietism that developed in the fourth century B.C."


title: Wu wei

text: Edward Slingerland argues wu wei in this sense has to be attained. But in the Confucian conception of virtue, virtue can only be attained by not consciously trying to attain it. The manifestation of Virtue is regarded as a reward by Heaven for following its will – as a power that enables them to establish this will on earth. In this, probably more original sense, wu wei may be regarded as the "skill" of "becoming a fully realized human being", a sense which it shares with Taoism. This "skill" avoids relativity through being linked to a "normative" metaphysical order, making its spontaneity "objective". By achieving a state of wu wei (and taking his proper ritual place) Shun "unifies and orders" the entire world, and finds his place in the "cosmos". Taken as a historical fact demonstrating the viable superiority of Confucianism (or Taoism, for Taoist depictions), wu wei may be understood as a strongly "realist" spiritual-religious ideal, differing from Kantian or Cartesian realism in its Chinese emphasis on practice.


title: Wu wei

text: The "object" of wu wei "skill-knowledge" is the Way, which is – to an extent regardless of school – "embodying" the mind to a "normative order existing independently of the minds of the practitioners". The primary example of Confucianism – Confucius at age 70 – displays "mastery of morality" spontaneously, his inclinations being in harmony with his virtue. Confucius considers training unnecessary if one is born loving the Way, as with the disciple Yan Hui. Mencius believed that men are already good, and need only realize it not by trying, but by allowing virtue to realize itself, and coming to love the Way. Training is done to learn to spontaneously love the Way. Virtue is compared with the grain seed (being domesticated) and the flow of water. On the other hand, Xun Kuang considered it possible to attain wu wei only through a long and intensive traditional training.


title: Wu wei

text: Following the development of wu wei by Shen Buhai and then Mencius, Zhuangzhi and Laozi turn towards an unadorned "no effort". Laozi, as opposed to carved Confucian jade, advocates a return to the primordial Mother and to become like uncarved wood. He condemns doing and grasping, urging the reader to cognitively grasp oneness (still the mind), reduce desires and the size of the state, leaving human nature untouched. In practice, wu wei is aimed at through behaviour modification; cryptically referenced meditation and more purely physical breathing techniques as in the Guanzi, which includes just taking the right posture.


title: Wu wei

text: Though, by still needing to make a cognitive effort, perhaps not resolving the paradox of not doing, the concentration on accomplishing wu wei through the physiological would influence later thinkers. The Dao De Jing became influential in intellectual circles about 250 BCE (1999: 26–27), but,


title: Wu wei

text: included in the 2nd century Guanzi, the likely older Neiye or Inward Training may be the oldest Chinese received text describing what would become Daoist breath meditation techniques and qi circulation, Harold D. Roth considering it a genuine 4th-century BCE text.


title: Wu wei

text: Unable to find his philosopher-king, Confucius placed his hope in virtuous ministers. Apart from the Confucian ruler's "divine essence" ("ling") "ensuring the fecundity of his people" and fertility of the soil, Creel notes that he was also assisted by "five servants", who "performed the active functions of government". Xun Kuang's "Xunzi", a Confucian adaptation to Qin "Legalism", defines the ruler in much the same sense, saying that the ruler "need only correct his person" because the "abilities of the ruler appear in his appointment of men to office": namely, appraising virtue and causing others to perform.


title: Wu wei

text: More important information lay in the recovery of the fragments of administrator (aka "Legalist") Shen Buhai. Shen references Yao as using Fa (administrative method) in the selection and evaluation of men. Though not a conclusive argument against proto-Taoist influence, Shen's Taoist terms do not show evidence of Taoist usage (Confucianism also uses terms like "Tao", meaning the "Tao", or "Way" of government), lacking any metaphysical connotation. The later "Legalist" book, the Han Feizi has a commentary on the Tao Te Ching, but references Shen Buhai rather than Laozi for this usage.


title: Wu wei

text: Shen is attributed the dictum "The Sage ruler relies on method and does not rely on wisdom; he relies on technique, not on persuasions", and used the term wu wei to mean that the ruler, though vigilant, should not interfere with the duties of his ministers, saying "One who has the right way of government does not perform the functions of the five (aka various) officials, and yet is the master of the government".


title: Wu wei

text: Since the bulk of both the "Tao Te Ching" and the "Zhuangzi" appear to have been composed later, Creel argued that it may therefore be assumed that Shen influenced them, much of both appearing to be counter-arguments against "Legalist" controls. The thirteenth chapter of the Zhuangzi, "T'ien Tao", seems to follow Shen Buhai down to the detail, saying "Superiors must be without action in-order to control the world; inferiors must be active in-order to be employed in the world's business..." and to paraphrase, that foundation and principle are the responsibility of the superior, superstructure and details that of the minister, but then goes on to attack Shen's administrative details as non-essential.


title: Wu wei

text: Elsewhere the Zhuangzi references another "Legalist", Shen Dao, as impartial and lacking selfishness, his "great way embracing all things".


title: Wu wei

text: Shen Buhai argued that if the government were organized and supervised relying on proper method (Fa), the ruler need do little – and must do little. Apparently paraphrasing the Analects, Shen did not consider the relationship between ruler and minister antagonistic necessarily, but still believed that the ruler's most able ministers his greatest danger, and is convinced that it is impossible to make them loyal without techniques. Sinologist Herrlee G. Creel explains: "The ruler's subjects are so numerous, and so on alert to discover his weaknesses and get the better of him, that it is hopeless for him alone as one man to try to learn their characteristics and control them by his knowledge... the ruler must refrain from taking the initiative, and from making himself conspicuous – and therefore vulnerable – by taking any overt action."


title: Wu wei

text: Emphasizing the use of administrative methods (Fa) in secrecy, Shen Buhai portrays the ruler as putting up a front to hide his weaknesses and dependence on his advisers. Shen therefore advises the ruler to keep his own counsel, hide his motivations, and conceal his tracks in inaction, availing himself of an appearance of stupidity and insufficiency. Shen says:


title: Wu wei

text: Acting through administrative method (Fa), the ruler conceals his intentions, likes and dislikes, skills and opinions. Not acting himself, he can avoid being manipulated. The ruler plays no active role in governmental functions. He should not use his talent even if he has it. Not using his own skills, he is better able to secure the services of capable functionaries. Creel argues that not getting involved in details allowed Shen's ruler to "truly rule", because it leaves him free to supervise the government without interfering, maintaining his perspective. Seeing and hearing independently, the ruler is able to make decisions independently, and is, Shen says, able to rule the world thereby.


title: Wu wei

text: This wu wei (or nonaction) might be said to end up the political theory of the "Legalists" , if not becoming their general term for political strategy, playing a "crucial role in the promotion of the autocratic tradition of the Chinese polity". The (qualified) non-action of the ruler ensures his power and the stability of the polity.


title: Wu wei

text: Shen Buhai insisted that the ruler must be fully informed of the state of his realm, but couldn't afford to get caught up in details and in an ideal situation need listen to no one. Listening to his courtiers might interfere with promotions, and he does not, as Sinologist Herrlee G. Creel says, have the time to do so. The way to see and hear independently is the grouping together of particulars into categories using mechanical or operational method (Fa). On the contrary the ruler's eyes and ears will make him "deaf and blind" (unable to obtain accurate information). Seeing and hearing independently, the ruler is able to make decisions independently, and is, Shen says, able to rule the world thereby.


title: Wu wei

text: Despite this, Shen's method of appointment, "Ming-shih", advises a particular method for listening to petitioners in the final analyses, which would be articulated as Xing-Ming by Han Fei. In the Han Dynasty secretaries of government who had charge of the records of decisions in criminal matters were called Xing-Ming, which Sima Qian (145 or 135 – 86 BC) and Liu Xiang (77–6 BC) attributed to the doctrine of Shen Buhai (400 – c. 337 BC). Liu Xiang goes as far as to define Shen Buhai's doctrine as Xing-Ming. Rather than having to look for "good" men, ming-shih or xing-ming can seek the right man for a particular post by comparing his reputation with real conduct (xing "form" or shih "reality"), though doing so implies a total organizational knowledge of the regime.


title: Wu wei

text: More simply though, one can allow ministers to "name" themselves through accounts of specific cost and time frame, leaving their definition to competing ministers. Claims or utterances "bind the speaker to the realization a job (Makeham)". This was the doctrine, with subtle differences, favoured by Han Fei. Favoring exactness, it combats the tendency to promise too much. The correct articulation of Ming ("name", "speech", "title") is considered crucial to the realization of projects.


title: Wu wei

text: Shen resolved hair-splitting litigation through wu wei, or not getting involved, making an official's words his own responsibility. Shen Buhai says, "The ruler controls the policy, the ministers manage affairs. To speak ten times and ten times be right, to act a hundred times and a hundred times succeed – this is the business of one who serves another as minister; it is the not the way to rule." The correlation between wu wei and ming-shih likely informed the Taoist conception of the formless Tao that "gives rise to the ten thousand things."


title: Wu wei

text: Adherence to the use of technique in governing requires the ruler not engage in any interference or subjective consideration. Sinologist John Makeham explains: "assessing words and deeds requires the ruler's dispassionate attention; (yin is) the skill or technique of making one's mind a tabula rasa, non-committaly taking note of all the details of a man's claims and then objectively comparing his achievements of the original claims."


title: Wu wei

text: A commentary to the Shiji cites a now-lost book as quoting Shen Buhai saying: "By employing (yin), 'passive mindfulness', in overseeing and keeping account of his vassals, accountability is deeply engraved." The Guanzi similarly says: "Yin is the way of non-action. Yin is neither to add to nor to detract from anything. To give something a name strictly on the basis of its form – this is the Method of yin." Yin also aimed at concealing the ruler's intentions, likes and opinions.


title: Wu wei

text: Shen Dao espouses an impersonal administration in much the same sense as Shen Buhai, and argued for wu wei, or the non action of the ruler, along the same lines, saying


title: Wu wei

text: Shen Dao eschews appointment by interview in favour of a mechanical distribution apportioning every person according to their achievement. Linking administrative methods or standards to the notion of impartial objectivity associated with universal interest, and reframing the language of the old ritual order to fit a universal, imperial and highly bureaucratized state, Shen cautions the ruler against relying on his own personal judgment, contrasting personal opinions with the merit of the objective standard as preventing personal judgements or opinions from being exercised. Personal opinions destroy standards, and Shen Dao's ruler therefore "does not show favoritism toward a single person".


title: Wu wei

text: Devoting the entirety of Chapter 14, "How to Love the Ministers", to "persuading the ruler to be ruthless to his ministers", Han Fei's enlightened ruler strikes terror into his ministers by doing nothing (wu wei). The qualities of a ruler, his "mental power, moral excellence and physical prowess" are irrelevant. He discards his private reason and morality, and shows no personal feelings. What is important is his method of government. Fa (administrative standards) require no perfection on the part of the ruler.


title: Wu wei

text: Han Fei's use of wu wei may have been derivative of Taoism, but its Tao emphasizes autocracy ("Tao does not identify with anything but itself, the ruler does not identify with the ministers"). Sinologists like Randall P. Peerenboom argue that Han Fei's Shu (technique) is arguably more of a "practical principle of political control" than any state of mind. Han Fei nonetheless begins by advising the ruler to remain "empty and still":


title: Wu wei

text: Han Fei's commentary on the Tao Te Ching asserts that perspectiveless knowledge – an absolute point of view – is possible, though the chapter may have been one of his earlier writings.


title: Wu wei

text: "Legalism" dominated the intellectual life of the Qin and early Han together with Taoism. Early Han dynasty Emperors like Emperor Jing (r. 157–141 BCE) would be steeped in a Taoistic laissez-faire. But Shen Buhai's book would be widely studied even from the beginning of the Han era. Jia Yi's (200–168 AD) Hsin-shu, undoubtedly influenced by the "Legalists", describes Shen Buhai's techniques as methods of applying the Tao, or virtue, bringing together Confucian and Taoist discourses under the imagery of the Zhuangzi. Many later texts, for instance in Huang-Lao, use similar images to describe the quiescent attitude of the ruler.


title: Wu wei

text: The Huang-Lao text "Huainanzi" (Western Han Dynasty 206 B.C. – 9 A.D.), arguing against Legalist centralization, would go on to include naturalist arguments in favour of rule by worthies on the basis that one needs their competence for such things as diplomacy, and defines wu wei as follows: "What is meant ... by wu-wei is that no personal prejudice [private or public will,] interferes with the universal Tao [the laws of things], and that no desires and obsessions lead the true course ... astray. Reason must guide action in order that power may be exercised according to the intrinsic properties and natural trends of things."


title: Wu wei

text: Philosopher Alan Watts believed that Wu Wei can best be described as "not-forcing." Watts also understood Wu Wei as “the art of getting out of one’s own way” and offered the following illustration: “The river is not pushed from behind, nor is it pulled from ahead. It falls with gravity.”


title: Wu wei

text: Leo Tolstoy was deeply influenced by Taoist philosophy, and wrote his own interpretation of Wu Wei in his piece "Non-Activity".


title: Wu wei

text: Psychoanalyst Robin S. Brown has examined Wu Wei in the context of Western psychotherapy. Brown links Wu Wei with the psychoanalytic notion of enactment.


title: The Boogeyman (wrestler)

text: Martin Wright (born July 15, 1964), better known by the ring name The Boogeyman, is an American semi-retired professional wrestler. He is currently signed to WWE under a legends contract, and is an aerobics instructor.


title: The Boogeyman (wrestler)

text: Wright first entered the world of professional wrestling to take part in the fourth season of the World Wrestling Entertainment (WWE) produced reality television competition "Tough Enough". On October 15, 2004, he attended the two-day event in Venice Beach, California, where he was among eight finalists chosen. After surviving the first day of eliminations he admitted that he was actually 40 years old—five years over the competition's cut off point—and not 30 as he'd claimed. As a result, he was cut from the competition.


title: The Boogeyman (wrestler)

text: Though he had been cut from "Tough Enough", WWE officials invited him to come to their developmental territory Ohio Valley Wrestling (OVW) for possible training. He trained between January and June 2005, making his OVW debut on June 25, 2005. During a dark match pitting the team of Seth Skyfire and Robert Fury against Robbie Dawber and his partner, Wright entered the ring and squashed all three men, no-selling the offense of Skyfire in the process. He then announced that he was "The Boogeyman" before leaving the building. The Boogeyman gimmick further evolved into a "monster" face who would appear when another wrestler said his name and attack him, while not selling any offense he received.