title: Talking Heads: 77

text: Around August 1976, Chris Frantz was given the number of Jerry Harrison by former Modern Lovers bass player Ernie Brooks. Brooks assured Frantz that Harrison was not only a great keyboard player, but was a great guitarist too, two things the band were seeking out. When Frantz called Harrison, he was still feeling burnt out from the demise of the original Modern Lovers and had just enrolled at a Harvard Graduate School, and was unsure about joining a new band. But after discovering that several labels were interested in signing the group, he agreed to hear them play live. Frantz booked a concert local to Harrison in Cambridge, Massachusetts. When the group began to perform, they found Harrison nowhere in sight, but eventually saw him mid-set, seriously observing the band, and appearing displeased. After the show, Frantz asked Harrison what he had thought. Harrison did not answer until the next day, saying he was not impressed by the show, but was intrigued. He said he would like to jam in New York but stipulated that he would not officially join until they had secured a recording deal.


title: Talking Heads: 77

text: During late September the group began to consider Sire Records again, and asked advice from Danny Fields, the Ramones' manager. Fields praised Sire despite them having the normal flaws of a record label. On November 1 the trio met with Seymour Stein again at Shulman's office, and signed a recording deal with Sire, with an advance allowing the trio to make music their full-time career.


title: Talking Heads: 77

text: Sessions started at Sundragon Recording Studios in late 1976, where the group recorded the track "New Feeling" and the single, "Love → Building on Fire". Jerry Harrison was not present at these sessions, as he had not yet been informed that the group had received a record deal. These sessions were produced by Tony Bongiovi and Tom Erdelyi. After hearing of the recording session, Harrison was eager to join, and in January 1977, the trio went to his apartment in Ipswich to teach him their songs and play a few shows in the area.


title: Talking Heads: 77

text: In April, sessions for the album proper began in earnest at Sundragon Studios, with the group finally a foursome. Tony Bongiovi and Lance Quinn acted as co-producers on these sessions, with Ed Stasium as engineer. Frantz claims that Stasium did most of the work on the album, while Bongiovi took phone calls, read magazines, or talked about airplanes. Bongiovi was dissatisfied with the group's performances, often asking for seven or eight takes of a song, even after the best take had already been recorded. The group felt that Bongiovi was condescending, and that he was trying to make them sound like a different band. He was also repeatedly rude to bassist Tina Weymouth. Stasium and Quinn were full of encouragement for the group.


title: Talking Heads: 77

text: The first song to have vocals recorded was "Psycho Killer". Allegedly, during recording of this track, Bongiovi went into the studio kitchen and gave Byrne a knife, telling him to get into character when singing. Byrne simply responded with "No, that's not going to work" and the band took a break. During the break Byrne confessed that he felt uncomfortable singing with Bongiovi watching, and asked Stasium to remove him. Stasium suggested evasion, recording when Bongiovi was not around, before he arrived, or after he left. Bongiovi allegedly never noticed they were doing this, being more concerned with the building of Power Station Studios.


title: Talking Heads: 77

text: The group wanted the album to "Convey a modern message about the importance of taking charge of your own life", whilst still being fun to listen to.


title: Talking Heads: 77

text: Within two weeks the basic tracks were down, but still needed overdubs. Sessions were halted when Ken Kushnick, Sire's European representative, offered them a chance to tour Europe with the Ramones in order to promote their "Love → Building on Fire" single.


title: Talking Heads: 77

text: While on tour the group continued to develop their sound, and on May 14, performed at The Rock Garden in Covent Garden, London, where John Cale, Brian Eno and Chris Thomas saw them. Linda Stein, the Ramones' co-manager brought Cale, Eno and Thomas backstage after the concert where they all shook hands. Thomas allegedly heard Cale say to Eno "They're mine, you bugger!" All members of Talking Heads already knew Cale fairly well, as he had produced Jerry Harrison in 1972 for "The Modern Lovers" (1976), and was a regular at CBGBs throughout the original trio's growth.


title: Talking Heads: 77

text: After the meeting they all went to The Speak Club to drink and discuss. Thomas declined the opportunity to replace Bongiovi as producer for the remaining album sessions. When the group returned to the US on June 7, they booked a four-day recording session at ODO Studios in New York to record vocals and overdubs, as well as to mix the album. The album was finished.


title: Talking Heads: 77

text: The album was released by Sire Records in the UK and US and Philips Records throughout continental Europe.


title: Talking Heads: 77

text: In 2005, it was remastered and re-released by Warner Music Group on their Warner Bros./Sire Records/Rhino Records labels in DualDisc format with five bonus tracks on the CD side (see track listing below). The DVD-Audio side includes both stereo and 5.1 surround high resolution (96 kHz/24bit) mixes, as well as a Dolby Digital version and videos of the band performing "Pulled Up" and "I Feel It in My Heart". In Europe, it was released as a CD+DVDA two-disc set, rather than a single DualDisc. The reissue was produced by Andy Zax with Talking Heads.


title: Talking Heads: 77

text: Reviewing for "The Village Voice" in 1977, Robert Christgau said that while "a debut LP will often seem overrefined to habitues of a band's scene", the more he listened to the album the more he believed "the Heads set themselves the task of hurdling such limitations", and succeeded with "77":


title: Talking Heads: 77

text: "Talking Heads: 77" was voted the year's seventh best album in "The Village Voice"s Pazz & Jop critics' poll.


title: Talking Heads: 77

text: In 2003, the album was ranked No. 290 on "Rolling Stone"s list of "The 500 Greatest Albums of All Time", and 291 in a 2012 revised list.


title: Hans-Hermann Hoppe

text: Hans-Hermann Hoppe (; ; born 2 September 1949) is a German-American economist of the Austrian School, philosopher and political theorist. He is Professor Emeritus of Economics at the University of Nevada, Las Vegas (UNLV), Senior Fellow of the Ludwig von Mises Institute, and the founder and president of the Property and Freedom Society.


title: Hans-Hermann Hoppe

text: Hoppe identifies as an austro-libertarian and anarcho-capitalist, and has written extensively in opposition to democracy in his book "".


title: Hans-Hermann Hoppe

text: Hoppe was born in Peine, West Germany, did undergraduate studies at Universität des Saarlandes and received his MA and PhD degrees from Goethe University Frankfurt. He studied under Jürgen Habermas, a leading German intellectual of the post-WWII era, but gradually came to reject Habermas's ideas, and European leftism generally, regarding them as "intellectually barren and morally bankrupt."


title: Hans-Hermann Hoppe

text: He was a post-doctoral fellow at the University of Michigan, in Ann Arbor, from 1976 to 1978 and earned his habilitation in Foundations of Sociology and Economics from the University of Frankfurt in 1981. From 1986 until his retirement in 2008, Hoppe was a professor in the School of Business at University of Nevada, Las Vegas. He is a Distinguished Fellow of the Mises Institute, the publisher of much of his work, and was editor of various Mises Institute periodicals.


title: Hans-Hermann Hoppe

text: Hoppe has stated that Murray Rothbard was his "principal teacher, mentor and master". After reading Rothbard's books and being converted to a Rothbardian political position, Hoppe moved from Germany to New York City to be with Rothbard, and then followed Rothbard to the University of Nevada, Las Vegas, "working and living side-by-side with him, in constant and immediate personal contact." According to Hoppe, from 1985 until Rothbard's 1995 death, Hoppe considered Rothbard his "dearest fatherly friend". Hoppe was also intimate friends with Ludwig von Mises.


title: Hans-Hermann Hoppe

text: In 2006, Hoppe founded The Property and Freedom Society ("PFS") as a reaction against the Milton Friedman-influenced Mont Pelerin Society, which he has derided as "socialist". On the fifth anniversary of PFS, Hoppe reflected on its goals:


title: Hans-Hermann Hoppe

text: Hoppe was criticized for inviting white nationalist speakers such as Jared Taylor, and neo-Nazi Richard B. Spencer, to speak at the PFS.


title: Hans-Hermann Hoppe

text: As a result of the economic works of Hans-Hermann Hoppe, Murray Rothbard, Ludwig von Mises, and other Austrian economists, the Mises Institute was founded in 1982 by Lew Rockwell, Burton Blumert, and Murray Rothbard, following a split between the Cato Institute and Rothbard, who had been one of the founders of the Cato Institute.


title: Hans-Hermann Hoppe

text: The Mises Institute has offered thousands of free books written by Hans Hermann Hoppe, Ludwig Von Mises, Murray Rothbard, and other prominent economists in e-book and audiobook format. It has designed a section for beginners that summarizes the main concepts in thirty minutes for those unfamiliar with the concepts of Austrian Economics. The Mises Institute also offers a graduate school program.


title: Hans-Hermann Hoppe

text: In the September 1988 issue of "Liberty", Hoppe attempted to establish an "a priori" and value-neutral justification for libertarian ethics by devising a new theory which he named "argumentation ethics". Hoppe asserted that any argument which in any respect purports to contradict libertarian principles is logically incoherent.


title: Hans-Hermann Hoppe

text: Hoppe argued that, in the course of having an argument about politics (or indeed any subject), people assume certain norms of argumentation, including a prohibition on initiating violence. Hoppe then extrapolated this argument to political life in general, arguing that the norms governing argumentation should apply in all political contexts. Hoppe claimed that, of all political philosophies, only anarcho-capitalist libertarianism prohibits the initiation of aggressive violence (the non-aggression principle); therefore, any argument for any political philosophy other than anarcho-capitalist libertarianism is logically incoherent.


title: Hans-Hermann Hoppe

text: In the following issue, "Liberty" published comments by ten libertarians, followed by a rejoinder from Hoppe. In his comment for "Liberty", Hoppe's friend and Mises Institute supervisor Murray Rothbard wrote that Hoppe's theory was "a dazzling breakthrough for political philosophy in general and for libertarianism in particular" and that Hoppe "has managed to transcend the famous is/ought, fact/value dichotomy that has plagued philosophy since the days of the Scholastics, and that had brought modern libertarianism into a tiresome deadlock". However, the majority of Hoppe's colleagues surveyed by "Liberty" rejected his theory. In his response, Hoppe derided his critics as "utilitarians".


title: Hans-Hermann Hoppe

text: Later, attorney and Mises Institute adjunct scholar Stephan Kinsella also defended Hoppe's argument, while Mises Institute economists Bob Murphy and Gene Callahan rejected Hoppe's argument. David Osterfeld, an adjunct scholar at the Mises Institute, agreed with most of Hoppe's argument in an essay, while raising a number of objections, to which Hoppe subsequently responded.


title: Hans-Hermann Hoppe

text: Mises Institute Senior Fellow Roderick T. Long stated that Hoppe's "a priori" formulation of libertarianism denied the fundamental principle of Misesean praxeology. On the issue of utilitarianism, Long wrote, "Hoppe's argument, if it worked, would commit us to recognizing and respecting libertarian rights regardless of what our goals are – but as a praxeologist, I have trouble seeing how any practical requirement can be justified apart from a means-end structure." Long reconstructed Hoppe's argument in deductively valid form, specifying four premises on whose truth the argument's soundness depends, and tried to show that each premise is either uncertain, doubtful, or clearly false. Long summarized his views by stating:


title: Hans-Hermann Hoppe

text: Another critic argued that Hoppe had not provided any non-circular reasons why we "have to regard moral values as something that "must" be regarded as being established through (consensual) argument instead of 'mere' subjective preferences for situations turning out in certain ways". In other words, the theory relies "on the existence [of] certain intuitions, the acceptance of which cannot itself be the result of 'value-free' reasoning."


title: Hans-Hermann Hoppe

text: In 2001, Hoppe published "" which examines various social and economic phenomena which, Hoppe argues, are problems caused by democratic forms of government. He attributes democracy's failures to pressure groups which seek to increase government expenditures and regulations. Hoppe proposes alternatives and remedies, including secession, decentralization of government, and "complete freedom of contract, occupation, trade and migration". Hoppe argues that monarchy would preserve individual liberty more effectively than democracy.


title: Hans-Hermann Hoppe

text: In 2013, Hoppe reflected on the relationship between democracy and the arts and concluded that "democracy leads to the subversion and ultimately disappearance of the notion of beauty and universal standards of beauty. Beauty is swamped and submerged by so-called 'modern art'."


title: Hans-Hermann Hoppe

text: Walter Block, a colleague of Hoppe's at the Mises Institute, asserts that Hoppe's arguments shed light "on historical occurrences, from wars to poverty to inflation to interest rates to crime". Block notes that while Hoppe concedes that 21st-century democracies are more prosperous than the monarchies of old, Hoppe argues that if nobles and kings replaced today's political leaders, their ability to take a long-term view of a country's well-being would "improve matters". Block also shared what he called minor criticisms of Hoppe's theses regarding time preferences, immigration and the gap between libertarianism and conservatism.


title: Hans-Hermann Hoppe

text: A Professor of Economics at the University of Buenos Aires, Benegas-Lynch provided empirical evidence demonstrating that modern monarchies tend to be far poorer than modern democracies. In response, Hoppe argued that those monarchies were poorer than democracies not because of intrinsic features of these political systems, but because the monarchies used on the study, mostly African countries, compared to the democracies, mostly European countries, led to a distortion in the study. The degree of time preference of a democracy in the present will be lower than a democracy of the past, and even lower in a democracy in the future. In order for a study to be consistent comparing both types of government, one needs to eliminate as much variables as possible, like cultural differences, sex differences, time differences, so on. Hoppe argues that this lack of proper elimination of variables led to distortions in B-L’s study when comparing democracies in Europe and monarchies in Africa.


title: Hans-Hermann Hoppe

text: His belief in the right of property owners to establish libertarian communities that engage in racial discrimination, and his assertion that communities could establish exclusive criteria for admission and acceptance, have proven particularly divisive.


title: Hans-Hermann Hoppe

text: In "Democracy" Hoppe describes a fully libertarian society of "covenant communities" made up of residents who have signed an agreement defining the nature of that community. He writes that "There would be little or no 'tolerance' and 'openmindedness' so dear to left-libertarians. Instead, one would be on the right path toward restoring the freedom of association and exclusion implied in the institution of private property". He argues that towns and villages could have warning signs saying "no beggars, bums, or homeless, but also no homosexuals, drug users, Jews, Muslims, Germans, or Zulus".


title: Hans-Hermann Hoppe

text: Hoppe also makes plain that he believes that practicing certain forms of discrimination, including the physical removal of people whose lifestyle is deemed incompatible with the purpose of establishing certain communities, is completely compatible with his system.


title: Hans-Hermann Hoppe

text: Commenting on this passage, Martin Snyder of the American Association of University Professors said Hoppe's words will disturb "[t]hose with a better memory than Hoppe for segregation, apartheid, internment facilities and concentration camps, for yellow stars and pink triangles". Hoppe also provoked controversy by calling homosexuality a "perversity or abnormality" analogous to pedophilia, drug use, pornography, polygamy and obscenity.


title: Hans-Hermann Hoppe

text: Walter Block wrote that Hoppe's statement calling for the physical removal of homosexuals from a libertarian political community was "exceedingly difficult to reconcile with libertarianism." Block argues that "it is entirely possible that some areas of the country, parts of Gotham and San Francisco for example, will require this practice, and ban, entirely, heterosexuality. If this is done through contract, private property rights, restrictive covenants, it will be entirely compatible with the libertarian legal code."


title: Hans-Hermann Hoppe

text: Although a self-described anarcho-capitalist who favors abolishing the nation-state, Hoppe also garners controversy due to his support for governmental enforcement of immigration laws, which critics argue is at odds with libertarianism and anarcho-capitalism. Hoppe argues that as long as states exist, they should impose some restrictions on immigration. He has equated free immigration to "forced integration" which violates the rights of native peoples, since if land were privately owned, immigration would not be unhindered but would only occur with the consent of private property owners.


title: Hans-Hermann Hoppe

text: Hoppe's Mises Institute colleague Walter Block has characterized Hoppe as an "anti-open immigration activist" who argues that, though all public property is "stolen" by the state from taxpayers, "the state compounds the injustice when it allows immigrants to use [public] property, thus further "invading" the private property rights of the original owners". However, Block rejects Hoppe's views as incompatible with libertarianism. He argues that Hoppe's logic implies that flagrantly unlibertarian laws such as regulations on prostitution and drug use "could be defended on the basis that many tax-paying property owners would not want such behavior on their own private property". Another libertarian author, Simon Guenzl, writing for "Libertarian Papers" argues that: "supporting a legitimate role for the state as an immigration gatekeeper is inconsistent with Rothbardian and Hoppean libertarian anarchism, as well as with the associated strategy of advocating always and in every instance reductions in the state's role in society."


title: Hans-Hermann Hoppe

text: In terms of specific immigration restrictions, Hoppe argued that an appropriate policy will require immigrants to the United States to display proficiency in English in addition to "superior (above-average) intellectual performance and character structure as well as a compatible system of values". He suggested that these criteria would lead to a "systematic pro-European immigration bias". Jacob Hornberger of the "Future of Freedom Foundation" argued that the immigration test Hoppe advocated would probably be prejudiced against Latin American immigrants to the United States.


title: Hans-Hermann Hoppe

text: Hoppe's statements and ideas concerning race and homosexuality have repeatedly provoked controversy among his libertarian peers and his colleagues at UNLV. Following a 4 March 2004, lecture on time preference at the University of Nevada, Las Vegas (UNLV), a student complained that Hoppe created a hostile classroom environment by stating that homosexuals tend to be more shortsighted than heterosexuals in their ability to save money and plan (economically) for the future, in part because they tend not to have children. Hoppe also suggested that John Maynard Keynes's homosexuality might explain his economic views, with which Hoppe disagreed. Hoppe also stated that very young and very old people, and couples without children, were less likely to plan for the future. Hoppe told a reporter that the comments lasted only 90 seconds of a 75-minute class, no students questioned the comments in that class, and that in 18 years of giving the same lecture all over the world, he had never previously received a complaint about it. At the request of university officials, Hoppe apologized to the class. He said, "Italians tend to eat more spaghetti than Germans, and Germans tend to eat more sauerkraut than Italians" and explained that he was speaking in generalities. Thereafter, Hoppe told the reporter, the student alleged that Hoppe did not take the complaint seriously and filed a formal complaint. Hoppe told the reporter that he felt as if it were he who was the victim in the incident and that the student should have been told to "grow up".


title: Hans-Hermann Hoppe

text: An investigation was conducted and the university's provost, Raymond W. Alden III, issued Hoppe a non-disciplinary letter of instruction on 9 February 2005, with a finding that he had "created a hostile or intimidating educational environment in violation of the University's policies regarding discrimination as to sexual orientation". Alden also instructed Hoppe to "... cease mischaracterizing opinion as objective fact", asserted that Hoppe's opinion was not supported by peer-reviewed academic literature, and remarked that Hoppe had "refus[ed] to substantiate [his] in-class statements of fact ..."


title: Hans-Hermann Hoppe

text: Hoppe appealed the decision, saying the university had "blatantly violated its contractual obligations" toward him and described the action as "frivolous interference with my right to academic freedom". He was represented by the American Civil Liberties Union. The ACLU threatened legal action. ACLU attorney Allen Lichtenstein said "The charge against professor Hoppe is totally specious and without merit". The Nevada ACLU executive director said "We don't subscribe to Hans' theories and certainly understand why some students find them offensive ... But academic freedom means nothing if it doesn't protect the right of professors to present scholarly ideas that are relevant to their curricula, even if they are controversial and rub people the wrong way". Alden's decision was picked up by Fox News and several blogs and libertarians organized a campaign to contact the university. The university received two weeks of bad publicity and the Interim Chancellor (Nevada System of Higher Education) Jim Rogers expressed concerns about "any attempts to thwart free speech".


title: Hans-Hermann Hoppe

text: Jim Rogers intervened in the matter. He rejected Hoppe's request for a one-year paid sabbatical, and UNLV President Carol Harter acted upon Hoppe's appeal on 18 February 2005. She decided that Hoppe's views, even if non-mainstream or controversial, should not be cause for reprimanding him. She dismissed the discrimination complaint against Hoppe and the non-disciplinary letter was withdrawn from Hoppe's personnel file. She wrote:


title: Hans-Hermann Hoppe

text: Hoppe later wrote about the incident and the UNLV investigation in an article entitled "My Battle With the Thought Police". Martin Snyder of the American Association of University Professors wrote that he should not be "punished for freely expressing his opinions".


title: Hans-Hermann Hoppe

text: Various controversies about academic freedom, including the Hoppe matter and remarks made by Harvard University President Lawrence Summers, prompted the University of Nevada, Las Vegas, to hold a conference on academic freedom in October 2005. In 2009 UNLV proposed a new policy that included the encouragement of reporting by people who felt that they had encountered bias. The proposed policy was criticized by the Nevada ACLU and some faculty members who remembered the Hoppe incident as adverse to academic freedom.


title: Roald Dahl bibliography

text: Roald Dahl (1916–1990) was a British author and scriptwriter, and "the most popular writer of children's books since Enid Blyton", according to Philip Howard, the literary editor of "The Times". He was raised by his Norwegian mother, who took him on annual trips to Norway, where she told him the stories of trolls and witches present in the dark Scandinavian fables. Dahl was influenced by the stories, and returned to many of the themes in his children's books. His mother also nurtured a passion in the young Dahl for reading and literature.


title: Roald Dahl bibliography

text: Dahl left the Repton School in Derby England in 1934, and he did not go to college. Instead, he took a job in East Africa to sell oil. During this time World War II started and Dahl became a pilot in the Royal Air Force (RAF). Before engaging in active service he crashed in the Libyan desert and was seriously injured. After recovering, he joined his company and was responsible for shooting down several enemy aircraft, however ultimately effects of his injuries made him unfit to fly. He was posted to Washington as an assistant air attaché, ostensibly a diplomatic post, but which also included espionage and propaganda work. In 1942 the writer C. S. Forester asked him to provide details of his experiences in North Africa which Forester hoped to use in an article in "The Saturday Evening Post". Instead of the notes which Forester expected, Dahl sent a finished story for which he was paid $900. In 1943 Dahl wrote his first story for children titled: “The Gremlins.” This story was also intended for Walt Disney, who was interested in turning it into a film. This was Dahl's first children's book published, though it was originally not written as such. Dahl continued to write short stories, although these were all aimed at the adult market. Dahl worked for periodicals as a short story contributor. Other stories were sold to magazines and newspapers, and were later compiled into collections, the first of which was published in 1946. Dahl began to make up bedtime stories for the children, and these formed the basis of several of his stories. His first novel intentionally written for children, "James and the Giant Peach", was published in 1961, which was followed, along with others, by "Charlie and the Chocolate Factory" (1964), "Fantastic Mr Fox" (1970), "Danny, the Champion of the World" (1975), "The BFG" (1982) and "Matilda" in 1988.


title: Roald Dahl bibliography

text: Dahl's first script was for a stage work, "The Honeys", which appeared on Broadway in 1955. He followed this with a television script, "Lamb to the Slaughter", for the "Alfred Hitchcock Presents" series. He also co-wrote screenplays for film, including for "You Only Live Twice" (1967) and "Chitty Chitty Bang Bang" (1968). In 1982 Dahl published the first of three editions of poems—all aimed at children. The following year he edited a book of ghost stories. He also wrote several works of non-fiction, including three autobiographies, a cookery book, a safety leaflet for the British railways and a book on measles, which was about the death of his daughter Olivia from measles encephalitis.


title: Roald Dahl bibliography

text: As at 2019, Dahl's works have been translated into 63 languages and have sold more than 200 million books worldwide. Dahl was known as “The World’s No. 1 Story-teller” due to how his books celebrate nonsense, imagination, and creativity. It is because of this that it proves how popular his books still are with children. His awards for contribution to literature include the 1983 World Fantasy Award for Life Achievement, and the British Book Awards' Children's Author of the Year in 1990. In 2008 "The Times" placed Dahl 16th on its list of "The 50 greatest British writers since 1945". He has been referred to by "The Independent" as "one of the greatest storytellers for children of the 20th century". On his death in 1990, Howard considered him "one of the most widely read and influential writers of our generation". Dahl, even today, is still popular with readers. He has been able to draw everyone in with his exaggeration, effective description, unique ideas, and extraordinary words.


title: Roald Dahl bibliography

text: Many of Dahl's works were used as the basis for films or television programmes. The following are where he is credited as the writer of the performed script.


title: Dither

text: Dither is an intentionally applied form of noise used to randomize quantization error, preventing large-scale patterns such as color banding in images. Dither is routinely used in processing of both digital audio and video data, and is often one of the last stages of mastering audio to a CD.


title: Dither

text: A common use of dither is converting a grayscale image to black and white, such that the density of black dots in the new image approximates the average gray level in the original.


title: Dither

text: The term "dither" was published in books on analog computation and hydraulically controlled guns shortly after World War II. Though he did not use the term "dither", the concept of dithering to reduce quantization patterns was first applied by Lawrence G. Roberts in his 1961 MIT master's thesis and 1962 article. By 1964 dither was being used in the modern sense described in this article. The technique was in use at least as early as 1915, though not under the name "dither".


title: Dither

text: Dither is utilized in many different fields where digital processing and analysis are used. These uses include systems using digital signal processing, such as digital audio, digital video, digital photography, seismology, radar and weather forecasting systems.


title: Dither

text: Quantization yields error. If that error is "correlated" to the signal, the result is potentially cyclical or predictable. In some fields, especially where the receptor is sensitive to such artifacts, cyclical errors yield undesirable artifacts. In these fields introducing dither converts the error to random noise. The field of audio is a primary example of this. The human ear functions much like a Fourier transform, wherein it hears individual frequencies. The ear is therefore very sensitive to distortion, or additional frequency content, but far less sensitive to additional random noise at all frequencies such as found in a dithered signal.


title: Dither

text: In an analog system, the signal is "continuous", but in a PCM digital system, the amplitude of the signal out of the digital system is limited to one of a set of fixed values or numbers. This process is called quantization. Each coded value is a discrete step... if a signal is quantized without using dither, there will be quantization distortion related to the original input signal... In order to prevent this, the signal is "dithered", a process that mathematically removes the harmonics or other highly undesirable distortions entirely, and that replaces it with a constant, fixed noise level.


title: Dither

text: The final version of audio that goes onto a compact disc contains only 16 bits per sample, but throughout the production process, a greater number of bits are typically used to represent the sample, this must be reduced to 16 bits to make the CD.


title: Dither

text: There are multiple ways to do this. One can, for example, simply discard the excess bits – called "truncation." One can also "round" the excess bits to the nearest value. Each of these methods, however, results in predictable and determinable errors in the result. Using dither replaces these errors with a constant, fixed noise level.


title: Dither

text: For any original waveform, the process of reducing the waveform amplitude by 20% results in regular errors. Take for example a sine wave that, for some portion, matches the values above. Every time the sine wave's value hit 3.2, the truncated result would be off by 0.2, as in the sample data above. Every time the sine wave's value hit 4.0, there would be no error since the truncated result would be off by 0.0, also shown above. The magnitude of this error changes regularly and repeatedly throughout the sine wave's cycle. It is precisely this error that manifests itself as distortion. What the ear hears as distortion is the additional content at discrete frequencies created by the regular and repeated quantization error.


title: Dither

text: A plausible solution would be to take the 2 digit number (say, 4.8) and round it one direction or the other. For example, it could be rounded to 5 one time and then 4 the next time. This would make the long-term average 4.5 instead of 4, so that over the long-term the value is closer to its actual value. This, on the other hand, still results in determinable (though more complicated) error. Every other time the value 4.8 comes up the result is an error of 0.2, and the other times it is −0.8. This still results in a repeating, quantifiable error.


title: Dither

text: Another plausible solution would be to take 4.8 and round it so that the first four times out of five it is rounded up to 5, and the fifth time it is rounded to 4. This would average out to exactly 4.8 over the long term. Unfortunately, however, it still results in repeatable and determinable errors, and those errors still manifest themselves as distortion to the ear.


title: Dither

text: This leads to the "dither" solution. Rather than predictably rounding up or down in a repeating pattern, it is possible to round up or down in a random pattern. If a series of random numbers between 0.0 and 0.9 (ex: 0.6, 0.1, 0.3, 0.6, 0.9, etc.) are generated and added to the 4.8, two times out of ten the result will truncate back to 4 (if 0.0 or 0.1 are added to 4.8) and eight times out of ten it will truncate to 5. Each given situation has a random 20% chance of rounding to 4 or 80% chance of rounding to 5. Over the long haul, these results will average to 4.8 and their quantization error will be random noise. This noise is less offensive to the ear than the determinable distortion that other solutions would produce.


title: Dither

text: Dither is added before any quantization or re-quantization process, in order to de-correlate the quantization noise from the input signal and to prevent non-linear behavior (distortion). Quantization with lesser bit depth requires higher amounts of dither. The result of the process still yields distortion, but the distortion is of a random nature so the resulting noise is, effectively, de-correlated from the intended signal.


title: Dither

text: In a seminal paper published in the AES Journal, Lipshitz and Vanderkooy pointed out that different noise types, with different probability density functions (PDFs) behave differently when used as dither signals, and suggested optimal levels of dither signal for audio. Gaussian noise requires a higher level of added noise for full elimination of distortion than noise with rectangular or triangular distribution. Triangular distributed noise also minimizes "noise modulation"audible changes in the volume level of residual noise behind quiet music that draw attention to the noise.


title: Dither

text: Dither can be useful to break up periodic limit cycles, which are a common problem in digital filters. Random noise is typically less objectionable than the harmonic tones produced by limit cycles.


title: Dither

text: Rectangular probability density function (RPDF) dither noise has a uniform distribution; any value in the specified range has the same probability of occurring.


title: Dither

text: Triangular probability density function (TPDF) dither noise has a triangular distribution; values in the center of the range have a higher probability of occurring. Triangular distribution can be achieved by adding two independent RPDF sources.


title: Dither

text: Gaussian PDF has a normal distribution. The relationship of probabilities of results follows a bell-shaped, or Gaussian curve, typical of dither generated by analog sources such as microphone preamplifiers. If the bit depth of a recording is sufficiently great, that preamplifier noise will be sufficient to dither the recording.


title: Dither

text: Noise shaping is a filtering process that shapes the spectral energy of quantization error, typically to either de-emphasize frequencies to which the ear is most sensitive or separate the signal and noise bands completely. If dither is used, its final spectrum depends on whether it is added inside or outside the feedback loop of the noise shaper. If inside, the dither is treated as part of the error signal and shaped along with actual quantization error. If outside, the dither is treated as part of the original signal and linearises quantization without being shaped itself. In this case, the final noise floor is the sum of the flat dither spectrum and the shaped quantization noise. While real-world noise shaping usually includes in-loop dithering, it is also possible to use it without adding dither at all, in which case quantization error is evident at low signal levels.


title: Dither

text: Colored dither is sometimes mentioned as dither that has been filtered to be different from white noise. Noise shaping is one such application.


title: Dither

text: If the signal being dithered is to undergo further processing, then it should be processed with a triangular-type dither that has an amplitude of two quantization steps so that the dither values computed range from, for example, −1 to +1, or 0 to 2. This is the lowest power ideal dither, in that it does not introduce noise modulation (which would manifest as a constant noise floor), and eliminates the harmonic distortion from quantization. If a "colored" dither is used instead at these intermediate processing stages, then frequency content may bleed into other frequency ranges that are more noticeable and become distractingly audible.


title: Dither

text: If the signal being dithered is to undergo no further processing – if it is being dithered to its final result for distribution – then a "colored" dither or noise shaping is appropriate. This can effectively lower the audible noise level, by putting most of that noise in a frequency range where it is less critical.


title: Dither

text: Dithering is used in computer graphics to create the illusion of color depth in images on systems with a limited color palette. In a dithered image, colors that are not available in the palette are approximated by a diffusion of colored pixels from within the available palette. The human eye perceives the diffusion as a mixture of the colors within it (see color vision). Dithered images, particularly those using palettes with relatively few colors, can often be distinguished by a characteristic graininess or speckled appearance.


title: Dither

text: Dithering introduces noise or a pattern into an image, and often the patterning is visible. In these circumstances, it has been shown that dither generated from blue noise is the least unsightly and distracting. The error diffusion techniques were some of the first methods to generate blue-noise dithering patterns. However, other techniques such as ordered dithering can also generate blue-noise dithering without the tendency to degenerate into areas with artifacts.


title: Dither

text: Reducing the color depth of an image can have significant visual side effects. If the original image is a photograph, it is likely to have thousands or even millions of distinct colors. The process of constraining the available colors to a specific color palette effectively throws away a certain amount of color information.


title: Dither

text: A number of factors can affect the resulting quality of a color-reduced image. Perhaps most significant is the color palette that will be used in the reduced image. For example, an original image ("Figure 1") may be reduced to the 216-color web-safe palette. If the original pixel colors are simply translated into the closest available color from the palette, no dithering will occur ("Figure 2"). However, typically this approach will result in flat areas (contours) and a loss of detail and may produce patches of color that are significantly different from the original. Shaded or gradient areas may produce color banding which may be distracting. The application of dithering can help to minimize such visual artifacts and usually results in a better representation of the original ("Figure 3"). Dithering helps to reduce color banding and flatness.


title: Dither

text: One of the problems associated with using a fixed color palette is that many of the needed colors may not be available in the palette, and many of the available colors may not be needed; a fixed palette containing mostly shades of green would not be well-suited for an image of a desert, for instance. The use of an optimized color palette can be of benefit in such cases. An optimized color palette is one in which the available colors are chosen based on how frequently they are used in the original source image. If the image is reduced based on an optimized palette the result is often much closer to the original ("Figure 4").


title: Dither

text: The number of colors available in the palette is also a contributing factor. If, for example, the palette is limited to only 16 colors then the resulting image could suffer from additional loss of detail, resulting in even more pronounced problems with flatness and color banding ("Figure 5"). Once again, dithering can help to minimize such artifacts ("Figure 6").


title: Dither

text: One common application of dithering is to more accurately display graphics containing a greater range of colors than the display hardware is capable of showing. For example, dithering might be used in order to display a photographic image containing millions of colors on video hardware that is only capable of showing 256 colors at a time. The 256 available colors would be used to generate a dithered approximation of the original image. Without dithering, the colors in the original image would be quantized to the closest available color, resulting in a displayed image that is a poor representation of the original.


title: Dither

text: The very earliest uses were to reduce images to 1-bit black and white. This may have been done for printing even earlier than for bit-mapped video graphics. It was common for making images to display on 1-bit video displays for X and Apollo and similar Unix workstations. The dithering was usually pre-computed and only the dithered image was stored, computation and memory were far too limited to compute it "live".


title: Dither

text: An example home computer users may have seen was emulation of lower resolution CGA 4 color graphics on higher resolution monochrome Hercules graphics cards, with the colors being translated to ordered dither patterns.


title: Dither

text: Some liquid-crystal displays use temporal dithering to achieve a similar effect. By alternating each pixel's color value rapidly between two approximate colors in the panel's color space, a display panel that natively supports only 18-bit color (6 bits per channel) can represent a 24-bit color image (8 bits per channel).


title: Dither

text: Dithering such as this, in which the computer's display hardware is the primary limitation on color depth, is commonly employed in software such as web browsers. Since a web browser may be retrieving graphical elements from an external source, it may be necessary for the browser to perform dithering on images with too many colors for the available display. It was due to problems with dithering that a color palette known as the web-safe color palette was identified, for use in choosing colors that would not be dithered on systems capable of displaying only 256 colors simultaneously.


title: Dither

text: But even when the total number of available colors in the display hardware is high enough to properly render full-color digital photographs, banding may still be evident to the eye, especially in large areas of smooth shade transitions. Modest dithering can resolve this without making the image appear grainy. High-end still image processing software commonly uses these techniques for improved display.


title: Dither

text: Another useful application of dithering is for situations in which the graphics file format is the limiting factor. In particular, the commonly used GIF format is restricted to the use of 256 or fewer colors. Images such as these have a defined color palette containing a limited number of colors that the image may use. For such situations, graphical editing software may be responsible for dithering images prior to saving them in such restrictive formats.


title: Dither

text: Dithering is analogous to the halftone technique used in printing. For this reason, the term "dithering" is sometimes used interchangeably with the term "halftoning", particularly in association with digital printing.


title: Dither

text: The ability of inkjet printers to print isolated dots has increased the use of dithering in printing. A typical desktop inkjet printer can print, at most, just 16 colors as this is the combination of dot or no dot from cyan, magenta, yellow and black print heads. To reproduce a large range of colors, dithering is used. In densely printed areas, where the color is dark the dithering is not always visible because the dots of ink merge producing a more uniform print. However, a close inspection of the light areas of a print where dots are further apart reveals dithering patterns.


title: Dither

text: There are several algorithms designed to perform dithering. One of the earliest, and still one of the most popular, is the Floyd–Steinberg dithering algorithm, which was developed in 1975. One of the strengths of this algorithm is that it minimizes visual artifacts through an error-diffusion process; error-diffusion algorithms typically produce images that more closely represent the original than simpler dithering algorithms.


title: Dither

text: Stimulated Brillouin scattering (SBS) is a nonlinear optical effect that limits the launched optical power in fiber optic systems. This power limit can be increased by dithering the transmit optical center frequency, typically implemented by modulating the laser's bias input. See also polarization scrambling.


title: Dither

text: Phase dithering can be used to improve the quality of the output in direct digital synthesis. Another common application is to get through EMC tests by using spread spectrum clock dithering of frequency to smear out single frequency peaks.


title: Dither

text: Another type of temporal dithering has recently been introduced in financial markets, in order to reduce the incentive to engage in high-frequency trading. ParFX, a London foreign exchange market that began trading in 2013, imposes brief random delays on all incoming orders; other currency exchanges are reportedly experimenting with the technique. The use of such temporal buffering or dithering has been advocated more broadly in financial trading of equities, commodities, and derivatives.


title: Arleen Sorkin

text: Arleen Sorkin (born October 14, 1955) is a retired American actress, screenwriter, presenter and comedian. Sorkin is known for portraying Calliope Jones on the NBC daytime serial "Days of Our Lives" and for inspiring and voicing the DC Comics villain Harley Quinn, created by her college friend Paul Dini, in "" and the many animated series and video games that followed it.


title: Arleen Sorkin

text: Born in Washington, D.C., Sorkin began her career in cabaret in the late 1970s and early 1980s as a member of the comedy group The High-Heeled Women, alongside Mary Fulham, Tracey Berg, and Cassandra Danz. Sorkin is Jewish.


title: Arleen Sorkin

text: One of her more prominent roles was the wacky but lovable Calliope Jones, as seen on "Days of Our Lives". She played this part from 1984 to 1990 and made return visits in 1992 and 2001. She reprised her role on the soap for the fourth time on February 24, 2006. She returned to "Days" for a limited run beginning on May 5, 2010.


title: Arleen Sorkin

text: From 1987 to 1989, Sorkin played Geneva, a sexy maid to yuppie couple Richard and Linda Phillips, on the Fox dramedy series "Duet". She would reprise this role on one episode of "Open House", the sequel series to "Duet". In 1990, she went on to be the original female co-host on "America's Funniest People". In 1992, Sorkin was dismissed from "America's Funniest People" by producer Vin Di Bona. In response, Sorkin filed a lawsuit against Di Bona, claiming she was dismissed from the show due to her race, after ABC Chairman Dan Burke had suggested to Di Bona that Sorkin be replaced by an African-American or a person of another ethnic minority. Sorkin sought $450,000 for lost earnings, and an additional unspecified amount for harm to her professional reputation and emotional injury. She additionally claimed that after she denounced the move as being racially motivated, Di Bona changed plans and hired new cohost Tawny Kitaen, who was also white.


title: Arleen Sorkin

text: Sorkin's writing included for the "Tiny Toon Adventures" 1990-1992 television series, and co-writer of the story and screenplay of the 1997 Jennifer Aniston film, "Picture Perfect"


title: Arleen Sorkin

text: She provided inspiration for and voiced the animated character Harley Quinn, a sidekick and lover to the Joker, first appearing in a 1992 episode of "". Quinn was created by Paul Dini, a college friend of Sorkin's, who partly modeled the character after her personality and mannerisms. Though Harley Quinn was originally intended to appear in a single episode, reaction to the character and Sorkin's voice performance was positive and Quinn was written into the show regularly. Quinn went on to appear in DC comic books and in further animated TV series including "The New Batman Adventures", "Static Shock", and "Justice League", as well as "Gotham Girls", an internet cartoon series. Sorkin also voiced Harley in the animated film "" and multiple video games. Following "DC Universe Online", Sorkin retired from voicing Harley Quinn and therefore did not reprise her role in any subsequent DC projects. Sorkin was succeeded by several voice actresses, usually Tara Strong or Hynden Walch, in various media.


title: Arleen Sorkin

text: For the series "Frasier" (1993-2004), produced by her husband Christopher Lloyd, Sorkin would perform as a caller to Frasier Crane's radio show; the lines would later be dubbed over by a celebrity caller. In the final episode of "Frasier", Sorkin had an onscreen part as the owner of a monkey.


title: Arleen Sorkin

text: Since 1995, Sorkin has been married to television writer-producer Christopher Lloyd, with whom she has two sons, Eli and Owen.


title: Midbrain

text: The midbrain or mesencephalon is the forward-most portion of the brainstem and is associated with vision, hearing, motor control, sleep and wakefulness, arousal (alertness), and temperature regulation. The name comes from the Greek "mesos", "middle", and "enkephalos", "brain".


title: Midbrain

text: The principal regions of the midbrain are the tectum, the cerebral aqueduct, tegmentum, and the cerebral peduncles. Rostrally the midbrain adjoins the diencephalon (thalamus, hypothalamus, etc.), while caudally it adjoins the hindbrain (pons, medulla and cerebellum). In the rostral direction, the midbrain noticeably splays laterally.


title: Midbrain

text: Sectioning of the midbrain is usually performed axially, at one of two levels – that of the superior colliculi, or that of the inferior colliculi. One common technique for remembering the structures of the midbrain involves visualizing these cross-sections (especially at the level of the superior colliculi) as the upside-down face of a bear, with the cerebral peduncles forming the ears, the cerebral aqueduct the mouth, and the tectum the chin; prominent features of the tegmentum form the eyes and certain sculptural shadows of the face.


title: Midbrain

text: The tectum (Latin for "roof") is the dorsal side of the midbrain. The position of the tectum is contrasted with the tegmentum, which refers to the region in front of the ventricular system, or floor of the midbrain.


title: Midbrain

text: It is involved in certain reflexes in response to visual or auditory stimuli. The reticulospinal tract, which exerts some control over alertness, takes input from the tectum, and travels both rostrally and caudally from it.


title: Midbrain

text: The corpora quadrigemina are four mounds, called colliculi, in two pairs – a superior and an inferior pair, on the surface of the tectum. The superior colliculi process some visual information, aid the decussation of several fibres of the optic nerve (some fibres remain ipsilateral), and are involved with saccadic eye movements. The tectospinal tract connects the superior colliculi to the cervical nerves of the neck, and co-ordinates head and eye movements. Each superior colliculus also sends information to the corresponding lateral geniculate nucleus, with which it is directly connected. The homologous structure to the superior colliculus in non mammalian vertebrates including fish and amphibians, is called the optic tectum; in those animals, the optic tectum integrates sensory information from the eyes and certain auditory reflexes.


title: Midbrain

text: The inferior colliculi – located just above the trochlear nerve – process certain auditory information. Each inferior colliculus sends information to the corresponding medial geniculate nucleus, with which it is directly connected.


title: Midbrain

text: The cerebral aqueduct is the part of the ventricular system which links the third ventricle (rostrally) with the fourth ventricle (caudally); as such it is responsible for continuing the circulation of cerebrospinal fluid. The cerebral aqueduct is a narrow channel located between the tectum and the tegmentum, and is surrounded by the periaqueductal grey, which has a role in analgesia, quiescence, and bonding. The dorsal raphe nucleus (which releases serotonin in response to certain neural activity) is located at the ventral side of the periaqueductal grey, at the level of the inferior colliculus.


title: Midbrain

text: The nuclei of two pairs of cranial nerves are similarly located at the ventral side of the periaqueductal grey – the pair of oculomotor nuclei (which control the eyelid, and most eye movements) is located at the level of the superior colliculus, while the pair of trochlear nuclei (which helps focus vision on more proximal objects) is located caudally to that, at the level of the inferior colliculus, immediately lateral to the dorsal raphe nucleus. The oculomotor nerve emerges from the nucleus by traversing the ventral width of the tegmentum, while the trochlear nerve emerges via the tectum, just below the inferior colliculus itself; the trochlear is the only cranial nerve to exit the brainstem dorsally. The Edinger-Westphal nucleus (which controls the shape of the lens and size of the pupil) is located between the oculomotor nucleus and the cerebral aqueduct.


title: Midbrain

text: The midbrain tegmentum is the portion of the midbrain ventral to the cerebral aqueduct, and is much larger in size than the tectum. It communicates with the cerebellum by the superior cerebellar peduncles, which enter at the caudal end, medially, on the ventral side; the cerebellar peduncles are distinctive at the level of the inferior colliculus, where they decussate, but they dissipate more rostrally. Between these peduncles, on the ventral side, is the median raphe nucleus, which is involved in memory consolidation.


title: Midbrain

text: The main bulk of the tegmentum contains a complex synaptic network of neurons, primarily involved in homeostasis and reflex actions. It includes portions of the reticular formation. A number of distinct nerve tracts between other parts of the brain pass through it. The medial lemniscus – a narrow ribbon of fibres – passes through in a relatively constant axial position; at the level of the inferior colliculus it is near the lateral edge, on the ventral side, and retains a similar position rostrally (due to widening of the tegmentum towards the rostral end, the position can appears more medial). The spinothalamic tract – another ribbon-like region of fibres – are located at the lateral edge of the tegmentum; at the level of the inferior colliculus it is immediately dorsal to the medial lemiscus, but due to the rostral widening of the tegmentum, is lateral of the medial lemiscus at the level of the superior colliculus.


title: Midbrain

text: A prominent pair of round, reddish, regions – the red nuclei (which have a role in motor co-ordination) – are located in the rostral portion of the midbrain, somewhat medially, at the level of the superior colliculus. The rubrospinal tract emerges from the red nucleus and descends caudally, primarily heading to the cervical portion of the spine, to implement the red nuclei's decisions. The area between the red nuclei, on the ventral side – known as the ventral tegmental area – is the largest dopamine-producing area in the brain, and is heavily involved in the neural reward system. The ventral tegmental area is in contact with parts of the forebrain – the mammillary bodies (from the Diencephalon) and hypothalamus (of the diencephalon).


title: Midbrain

text: The cerebral peduncles each form a lobe ventrally of the tegmentum, on either side of the midline. Beyond the midbrain, between the lobes, is the interpeduncular fossa, which is a cistern filled with cerebrospinal fluid .


title: Midbrain

text: The majority of each lobe constitutes the cerebral crus. The cerebral crus are the main tracts descending from the thalamus to caudal parts of the central nervous system; the central and medial ventral portions contain the corticobulbar and corticospinal tracts, while the remainder of each crus primarily contains tracts connecting the cortex to the pons. Older texts refer to the crus cerebri as the "cerebral peduncle"; however, the latter term actually covers all fibres communicating with the cerebrum (usually via the diencephalon), and therefore would include much of the tegmentum as well. The remainder of the crus pedunculi – small regions around the main cortical tracts – contain tracts from the internal capsule.


title: Midbrain

text: The portion of the lobes in connection with the tegmentum, except the most lateral portion, is dominated by a blackened band – the substantia nigra (literally "black substance") – which is the only part of the basal ganglia system outside the forebrain. It is ventrally wider at the rostral end. By means of the basal ganglia, the substantia nigra is involved in motor-planning, learning, addiction, and other functions. There are two regions within the substantia nigra – one where neurons are densely packed (the pars compacta) and one where they aren't (the pars reticulata), which serve a different role from one another within the basal ganglia system. The substantia nigra has extremely high production of melanin (hence the colour), dopamine, and noradrenalin; the loss of dopamine-producing neurons in this region contributes to the progression of Parkinson's disease.


title: Midbrain

text: During embryonic development, the midbrain (also known as the mesencephalon) arises from the second vesicle of the neural tube, while the interior of this portion of the tube becomes the cerebral aqueduct. Unlike the other two vesicles – the forebrain and hindbrain – the midbrain does not develop further subdivision for the remainder of neural development. It does not split into other brain areas. while the forebrain, for example, divides into the telencephalon and the diencephalon.


title: Midbrain

text: Throughout embryonic development, the cells within the midbrain continually multiply; this happens to a much greater extent ventrally than it does dorsally. The outward expansion compresses the still-forming cerebral aqueduct, which can result in partial or total obstruction, leading to congenital hydrocephalus. The tectum is derived in embryonic development from the alar plate of the neural tube.


title: Midbrain

text: The mesencephalon is considered part of the brainstem. Its substantia nigra is closely associated with motor system pathways of the basal ganglia. The human mesencephalon is archipallian in origin, meaning that its general architecture is shared with the most ancient of vertebrates. Dopamine produced in the substantia nigra and ventral tegmental area plays a role in movement, movement planning, excitation, motivation and habituation of species from humans to the most elementary animals such as insects. Laboratory house mice from lines that have been selectively bred for high voluntary wheel running have enlarged midbrains. The midbrain helps to relay information for vision and hearing.


title: Midbrain

text: The term "tectal plate" or "quadrigeminal plate" is used to describe the junction of the gray and white matter in the embryo. ()


title: Living (2022 film)

text: Living is a 2022 British drama film directed by Oliver Hermanus from a screenplay by Kazuo Ishiguro, adapted from the 1952 Japanese film "Ikiru" directed by Akira Kurosawa, which in turn was inspired by the 1886 Russian novella "The Death of Ivan Ilyich" by Leo Tolstoy. Set in London in 1953, it depicts a bureaucrat in the county Public Works department (played by Bill Nighy) facing a fatal illness.


title: Living (2022 film)

text: "Living" had its world premiere at the 2022 Sundance Film Festival on 21 January 2022, and was released in the United Kingdom on 4 November 2022, by Lionsgate. The film received positive reviews, with Nighy's performance receiving particular acclaim.


title: Living (2022 film)

text: In October 2020, the project was announced with Nobel Prize-winning novelist Ishiguro as screenwriter, and Nighy and Wood attached to star. In December 2020, Lionsgate acquired the UK distribution rights. In June 2021, principal photography began in the UK, Sharp and Burke were announced to have joined the film, and the first image from the film was released. It was also announced that Toho, the distributor of the original film, had acquired the rights for Japan. London's County Hall provided the backdrop for the film; in addition the film was co-financed through the County Hall Arts charity.


title: Living (2022 film)

text: In January 2022, the film premiered at the 2022 Sundance Film Festival, where it was announced that Sony Pictures Classics had acquired the distribution rights in North America, Latin America, India, Scandinavia, Eastern Europe, Germany, South Africa, Southeast Asia and airlines worldwide. "Living" screened at the BFI London Film Festival in October 2022 and at the TCL Chinese Theatre as part of the 2022 AFI Fest on 6 November 2022. The film was released theatrically in the United Kingdom on 4 November 2022, with a limited theatrical release in the United States set for 23 December 2022.


title: Living (2022 film)

text: On Rotten Tomatoes the film has an approval rating of 96% based on 79 reviews, with an average rating of 8.2/10. The site's critics consensus reads: ""Living" sets a high bar for itself in setting out to remake a Kurosawa classic—and director Oliver Hermanus and star Bill Nighy clear it in triumphant fashion." On Metacritic, it holds a weighted average score of 80 of out 100, based on 20 reviews.


title: Ford Mustang (second generation)

text: The second-generation Ford Mustang, marketed as the Ford Mustang II, is a two- or three-door, four passenger, front-engine/rear-drive pony car manufactured and marketed by Ford from 1973 until 1978. Introduced in September 1973 for model year 1974, the Mustang II arrived roughly coincident with the oil embargo of 1973 and subsequent fuel shortages.


title: Ford Mustang (second generation)

text: 490 pounds lighter and almost 19 inches shorter than the 1973 Mustang, the second generation was derived from the subcompact Pinto platform using a unique unibody with an isolated front suspension and engine mount subframe which the Pinto did not use while sharing a limited number of chassis and driveline components. The steering was improved from the previous generation by using a rack-and-pinion design.


title: Ford Mustang (second generation)

text: Named Motor Trend's 1974 Car of the Year and reaching over 1.1 million sales over four years of production, the Mustang II is noted simultaneously for both its marketing prescience and strong sales – while regarded by certain enthusiasts as having abandoned essential aspects of the Mustang heritage and in a retrospective after 40 years since its introduction described as embodying the "Malaise era."


title: Ford Mustang (second generation)

text: The first-generation Mustangs grew in size; the 1973 model had become markedly larger than the original model. The pony car market segment saw decreasing sales in the early-1970s "with many buyers turning to lower-priced, fuel-efficient compacts like Ford's own Ford Maverick – a huge first-year success itself." The Mustang was growing to become an intermediate-sized sedan, which "[was] too big and alienated many in its customer base." The allure of the original Mustang was its trim size and concept. The automakers in Detroit had "begun to receive vibrations from the only source it really listens to – new-car buyers… The message: Build smaller cars" as customers stopped buying and the inventory of unsold new cars climbed during the summer of 1973, and there were already positive market expectations for the new downsized Mustang. Automakers were "scrambling" by December 1973 as "the trend toward smaller, less extravagant cars to surge ahead faster than anyone had expected."


title: Ford Mustang (second generation)

text: After becoming president of Ford Motor Company on December 10, 1970, Lee Iacocca ordered the development of a smaller Mustang for 1974 introduction. Initial plans called for a downsized Mustang based on the compact Ford Maverick, similar in size and power to the Falcon, the basis for the original Mustang. Those plans were later scrapped in favor of an even smaller Mustang based on the subcompact Ford Pinto. The original pony car was based on the compact Falcon and for its second-generation, the Mustang evolved from an even smaller platform, the Pinto that was rolled out in 1971.


title: Ford Mustang (second generation)

text: Rather than replicating the unchanged designs of the GM pony cars, Chevrolet Camaro and Pontiac Firebird, the Mustang II now competed against sporty subcompact models that included GM's Buick Skyhawk, Oldsmobile Starfire, Pontiac Sunbird, and Chevrolet Monza. The new model would also better compete with 2+2 import coupes such as the Toyota Celica, Datsun 240Z, Mazda RX-3, and the European Ford Capri – which itself was inspired by the original Mustang but built by Ford of Europe, and marketed since April 1970 in the U.S. by Mercury as a captive import. It saw a new competitor from Germany in 1974 with the Volkswagen Scirocco, and the BMW 2002 introduced earlier in the late 1960s. The new design featured rack and pinion steering and a separate engine sub-frame that decreased noise, vibration, and harshness.


title: Ford Mustang (second generation)

text: According to Ford's Chief Engineer Stuart M. Frey (younger brother of Donald N. Frey) Iacocca expected a high level of fit and finish, wanting the car to be "a little jewel". The Mustang II production was 385,993 units the first year. The big 1973 Mustang total reached 134,867, but the 1974 version was within "10 percent of the original Mustang's 12-month production record of 418,812." Over five years the Mustang II recorded four of the ten top model year Mustang sales. A 2009 report confirmed Iacocca's vision for the 1974–1978 Mustang II, saying it "was the right car at the right time, selling more than 1 million units in four years."


title: Ford Mustang (second generation)

text: The introduction of the Mustang II on September 21, 1973, coincided with the Arab oil embargo. The marketplace was adjusting to the fuel crisis, increasing insurance rates, United States emission standards, safety regulations, and downturns in the economy, as well as the waning consumer demand in the pony car segment. GM had considered discontinuing the Camaro and Firebird after 1972, and in 1974 Chrysler discontinued the Barracuda and Dodge Challenger, American Motors discontinued the Javelin, and lighter, more economical imported cars became increasingly popular – "in effect, filling the segment the Mustang had created, then abandoned." Ultimately, the Mustang II would be an early example of downsizing that would take place among Detroit's Big Three later in the decade.


title: Ford Mustang (second generation)

text: Conversely, the Mustang's former corporate twin the Mercury Cougar was upsized to the intermediate Ford Torino platform to better compete in the growing mid-size personal luxury car segment.


title: Ford Mustang (second generation)

text: A Mercury version of the Mustang II badged as a Capri (as evidenced by a proposal using the Mustang II's 2+2 body with a rounded rear quarter window style and characteristic bodyside sculpting) was briefly considered, but the strong sales of the Ford Capri (Mk1) as a captive import through Lincoln-Mercury dealerships shelved plans for a corporate twin. Lincoln-Mercury continued to import the Capri in the updated MkII version until 1978. The Mercury Capri for 1979 became Mustang's American-built corporate twin, sharing the new Fox platform.


title: Ford Mustang (second generation)

text: Based on the Ford Pinto, the final Mustang II production design was set in 1971 by Dick Nesbitt. The new model, however, was "less of a Pinto than the '64½ had been a Falcon." Two body styles were available; a two-door notchback coupe and a sportier three-door "2+2" hatchback (also referred to as a "liftback"). A folding rear seat was optional on the notchback coupe and was standard on all hatchback models. "2+2" also accurately described the rear seat capacity according to period commentators. Weight distribution was front-heavy, with a 1974 V6-equipped car having 58 percent of its weight over the front wheels. The Mustang II was also the first American car to have power-assisted rack and pinion steering.


title: Ford Mustang (second generation)

text: Designers and engineers worked feverishly on a "reinvented" Mustang, mimicking the first version, by the traditional new model year introduction during the fall of 1973. The new Mustang II returned to a size closer to the 1965 model, ultimately winning the Motor Trend Car of the Year. The economical Mustang II became popular for consumers almost concurrently with their experience with gasoline rationing that was part of the 1973 oil crisis.


title: Ford Mustang (second generation)

text: "Just as the original Mustang had been based on mundane Falcon components, Iacocca and company decided to use some of the parts from the new-for-1971 subcompact Ford Pinto as the basis for the Mustang." The new Mustang was viewed as a "fun-to-drive economy" car, but "in reality it shared its underpinnings with the ... Pinto." The Mustang II carried handling and engineering improvements; its performance was comparable to contemporary Detroit products, yet "Consumer Guide" ranked it very low in handling, "near the bottom of the low-price sporty compact class".


title: Ford Mustang (second generation)

text: Competitors also included the Toyota Celica and the Datsun 240Z. Sales of such imports attracted fewer than 100,000 customers in 1965, but by 1972 demand had increased; therefore, the "Mustang II's mission was to capture a big slice of this sizable new pie."


title: Ford Mustang (second generation)

text: Available as a coupe or three-door hatchback, the new car's base engine was a SOHC I4, the first fully metric-dimensioned engine built in the U.S. A V6 was the sole optional engine. Mustang II packages ranged from the base "Hardtop," 2+2 hatchback, a "Ghia" luxury group with vinyl roof, and a top of the line V6-powered Mach 1. A V8 engine option would not be available in a Mustang for the only time for the 1974 model year (except in Mexico).


title: Ford Mustang (second generation)

text: "The Mustang II's attractive all-new styling was influenced by coachbuilder Ghia of Italy, which had recently been acquired by Ford. It carried through the long-hood, short-deck theme of the original, and as Iacocca requested it came as a notchback and hatch-equipped fastback." Mustangs lost their pillarless body style; all models now had fixed rear windows and a chrome-covered "B" pillar that resembled a hardtop, but was a coupe. In Mustang advertisements, however, Ford promoted the notchback coupe as a "Hardtop". Unsure about whether or not to group the Mustang II with sporty cars, "Consumer Guide" initially referred to the car as a "luxury subcompact", while Ford brochures suggested that the luxury-trim Ghia model, with its formal roofline, stylish exterior, and plush interior, be thought of as resembling the popular personal luxury category of the time.


title: Ford Mustang (second generation)

text: Almost replicating the initial 1965 Mustang's sales rush, "even without any real performance appeal, the '74 Mustang II brought buyers running into Ford dealerships." Sales for the Mustang II increased in 1974, making it the 6th best selling Mustang of all time with 296,041 units produced.


title: Ford Mustang (second generation)

text: "With oil crisis memories starting to fade" Ford needed a V8 in the Mustang II to return "performance to respectable levels." The engine bay was re-engineered to accept the V8 option for the 1975 model year, with revised hood and header panel. The engine was limited to a two-barrel carburetor and "net" .


title: Ford Mustang (second generation)

text: Testing by "Road & Track" "recorded zero to in 10.5 seconds, and a top speed of ." "Consumer Guide" staff, though, found the new V8 to be sluggish and ill-suited to the car, with its added weight negatively affecting handling, a consideration that, along with poor visibility, uncomfortable seating, and very low fuel economy, contributed to them ranking it last that year in their Low-Priced Sport Car category. it was called the "5.0 L" even though its capacity was .


title: Ford Mustang (second generation)

text: Other than the optional V8 engine, the car underwent minor changes in 1975. The Ghia received opera windows and a padded vinyl half-top, as well as a plush Silver Luxury Group option. Ford sales literature continued to emphasize the car's potential similarity to the era's personal luxury models, with the cover of its main dealership brochure calling the Mustang II Ford's "small, sporty personal car." In mid-year, a 2.3 L "MPG" model was added, featuring a catalytic converter and a 3.18:1 rear-axle ratio (standard was 3.40:1) to claim EPA-version economy estimates of in the city and on the highway. To underscore fuel efficiency, all base 2.3 L Mustang IIs were called MPG after 1975.


title: Ford Mustang (second generation)

text: In 1976 only, Ford offered the "Stallion" appearance group, including styled wheels, blacked-out grille, bumpers, and body moldings, as well as black two-toned accent paint offered with silver, red, white, and yellow body colors. The foray into increased performance emphasis also included a new All-Black Sport Group option for the Mach I and an optional Rallye Package, both adding minor performance enhancements along with the sportier trim.


title: Ford Mustang (second generation)

text: New also was the "Cobra II" appearance package, with a black grille, simulated hood scoop, front and rear spoilers, quarter window louvers, and dual over-the-top racing stripes with matching lower rocker stripes and cobra emblems on the front fenders, echoing the appearance of the original 1965-68 Shelby Mustangs – available with all engine choices. The Cobra II was popular with the public, with "Consumer Guide" calling it an "instant success" that likely increased Mustang II's sales across the board. Automotive historian Gary Witzenburg observed that "properly equipped, the thing actually performed pretty well by 1976 standards"." Full instrumentation was standard.


title: Ford Mustang (second generation)

text: For the luxurious Ghia, 1975's Silver Luxury Group was replaced by a broader Ghia Luxury Group option, with more colors available in its plush velour interiors, exterior accents, and landau roofs. A manual moon roof was optional. Sales literature continued to refer to the Mustang II as Ford's "small, sporty personal car."


title: Ford Mustang (second generation)

text: Following continuing public concern about fuel efficiency, "Consumer Guide" that year tested a 4-cylinder Ghia with a 4-speed manual transmission, an increasingly popular configuration. Staff found that performance was quite poor for a supposed sporty car and ranked it at the bottom of their Low-Priced Sports Car category.


title: Ford Mustang (second generation)

text: Capitalizing on the sales success of the previous year's racy-looking Cobra II, Mustang II sales literature for 1977 emphasized the more sporty aspects of the car, with the words "Sweet Handling" the featured catchphrase on the cover of that year's Mustang II dealership brochure (though a luxury Ghia model still got pride of place there). Along these lines, the 1977 model year introduced a "Sports Appearance Group" for the Ghia model that was color-matched to either black or tan paint, as well as several minor styling changes and expanded color options for the Cobra II. Also new was a T-top option for the fastback, featuring twin removable tinted glass panels.


title: Ford Mustang (second generation)

text: Midway through the 1977 model year, changes for the 1978 model year were pulled ahead to sell early. It is most notable on the Cobra II models, where the hood scoop was turned around to seem more aerodynamic and the graphics were revised. For the decals, the over-the-top dual stripes running the length of the car were replaced with a single stripe, and on the sides of the car, the snake and "COBRA II" decals were replaced with large stripes raised to the middle of the body sides with large "COBRA" lettering in the middle. Louvers were added to the hatch and the side panel louvers only came in black. All of the glass moldings were painted black. With these mid-year changes, for the first time, Mustang II sales brochures featured a sporty 2+2 hatchback model, with its fastback lines, on the cover instead of one of the more formal-looking notchback or Ghia models, likely spurred by the favorable public response to the Cobra II. This new cover model featured the available T-top roof with wrap over band.


title: Ford Mustang (second generation)

text: In 1978, the "King Cobra" became available. This was a limited edition version with 4,313 units produced. It featured a deep air-dam, stripes, and a "Pontiac Trans Am style" cobra snake decal on the hood. The King Cobra was available only with the V8 to help bolster the car's performance image.


title: Ford Mustang (second generation)

text: Following a marketing change initiated the previous model year, Mustang II sales literature continued to emphasize sportiness over the luxury that had been emphasized for most of the Mustang II's existence, again placing a racy-looking 2+2 hatchback model, equipped with T-top roof and roof wrap over band, on the cover of the car's dealership brochure.


title: Ford Mustang (second generation)

text: A "chic" Fashion Accessory Package was also offered this year, featuring Southwest-looking, striped "Fresno cloth" seating, enhanced interior lighting, vanity pockets, and special pinstriping.


title: Ford Mustang (second generation)

text: "Consumer Guide" tested a Mustang II Cobra II that year and found that its power just exceeded that of its closest competitors in the Sporty class, the Chevrolet Monza and its General Motors siblings, but that it ranked very low in handling and ride, with a marked tendency to lean despite its performance suspension.


title: Ford Mustang (second generation)

text: On the momentum of the Mustang II's successful sales, a totally new Mustang would be introduced for the 1979 model year.


title: Ford Mustang (second generation)

text: The Mustang II was named Motor Trend's Car of the Year, in 1974, the last Mustang to achieve that honor until 1994. Nevertheless, there were also mixed contemporary reviews including "Consumer Reports" reporting that "there are better subcompacts on the market than the Mustang II" and recommended the AMC Gremlin as a car that was at least as good, and in some respects superior, in terms of seating, noise level, normal and emergency handling, and acceleration; and "Road & Track" was of the opinion that the Ford was neither fast nor particularly good handling.


title: Ford Mustang (second generation)

text: Consumer reaction to the Mustang II was enthusiastic with a combined total production of the 1974–1978 models exceeding 1.1 million. "As the smallest, lightest Mustang since the original, it was a fresh start for Ford's pony car and a refreshing return to rationality. And it couldn't have been better timed, introduced just two months before the first "Energy Crisis" upended America. People came in droves to see the Mustang IIand to buy." "Not only did gasoline prices spike up, but its very supply looked to be in jeopardy. Economy immediately became a hot item, and this helped boost the smaller Mustang's first calendar year sales to 385,993."


title: Ford Mustang (second generation)

text: According to automotive historian Patrick Foster, "Ford executives decided to call the car 'Mustang II', since it was a new type of pony car designed for an era of high gas prices and fuel shortages". "Many people have never warmed up to the Mustang II, some even complaining it reminds them of the Pinto. But in its day, the public and the press sang praises for the little Mustang II. After all, a car with excellent fuel efficiency, sporty looks and a low price tag will always find acceptance. Mustang II was a success, simply because it was the right car at the right time."


title: Ford Mustang (second generation)

text: Automotive journalist, Michael Lamm, described Ford's Mustang II as "the best idea of the year" with the new model arriving to the market just in time "in the real world of shrinking space, limited energy, and precious little clean air, dreamboat cars are out" ... this car "proves that the new breed of small cars can still be exciting!"


title: Ford Mustang (second generation)

text: Writers of the past few years tend to ignore the sales success of the Mustang II, pointing out flaws in the design compared to cars that came before and after, symbolizing the very start of the "Malaise era" in American auto design.


title: Ford Mustang (second generation)

text: Opinions include noting in 2003 that "[if] there were any steps forward in technology with the Pinto chassis, it was that it had a rack-and-pinion steering gear rather than the Falcon's recirculating ball, and front disc brakes were standard," "Edmunds Inside Line" wrote of the Mustang II: "It was too small, underpowered, handled poorly, terribly put together, ill-proportioned, chintzy in its details and altogether subpar.


title: Ford Mustang (second generation)

text: According to "Edmunds", the 1974 base engine's was "truly pathetic" and the optional V6's was "underwhelming." (With the addition of mandatory catalytic converters in 1975 these outputs fell to 83 and respectively.) In 1976 the "standard four [-cylinder] swelled to a heady , the V6 increased to , and [sales were] a surprisingly stable 187,567 unitsa mere 1,019 less than in '75." In 1977 the engines’ power outputs dropped again, to 89 and respectively, and production dropped "about 18 percent to 153,117 cars."


title: Ford Mustang (second generation)

text: Writers of today ignore the rave reviews of 1974–1978 models, and one even describes the Mustang II as "lamentable." "The New York Times" said in 2006 that defective steering, together with a fuel tank of the same design as in the Pinto, a car "forever infamous for exploding when struck in the rear," caused owners anxiety that was "heightened by the fact that some Mustang IIs had Firestone 500 tires, notorious in the 70's for widespread failures." It continued: "Ford, not content to drag the revered Mustang name through the mud...added badges from Ghia, the venerable Italian studio that it had bought, to versions of the Mustang II with partial vinyl roofs and tacky opera windows."


title: Ford Mustang (second generation)

text: A 1995 book on the history of the Mustang refers to the introduction of "a lukewarm optional 302 V8 in 1975" and says that "the token revival of the Cobra nameappearing as the taped-and-striped Cobra IIthe following year did little to stem the tide as customers grew less enchanted with the Mustang II's cramped quarters and weak performance." There was "a steady slide in 1976 and '77." Despite the 25-percent rise in sales for 1978, "not even the high-profile Cobra with its flashy decals and snazzy spats and spoilers could save the day for the second-generation Mustang."


title: Ford Mustang (second generation)

text: According to a 2003 retrospective by "Edmunds Inside Line", the 1978 King Cobra "wasn't much more than a Cobra II with revised graphics and the hood scoop turned around backward..." This model was "visually about as nutty a Mustang as has ever been built" but "[mysteriously], production climbed to 192,410 units."


title: Ford Mustang (second generation)

text: The automotive editor of "Mustang Monthly" magazine describes "The Mustang II was the right car at the right time to keep the legend going into the future." The automaker noted that Mustang II has been "maligned by hardcore pony-car fans as the black sheep of the family almost since it went on sale," but "without the new direction forged by Mustang II, Ford almost certainly wouldn't be celebrating 50 years of Mustang today."


title: Ford Mustang (second generation)

text: Ford hosted the first "National Mustang II Reunion" in 2016 at the company's offices where the pony car re-invented "for an all-new era when build quality and fuel efficiency were more important to buyers than no-frill options and high-horsepower."


title: Jewel Changi Airport

text: Jewel Changi Airport (also known as Jewel or Jewel Changi) is a nature-themed entertainment and retail complex surrounded by and linked to Changi Airport, Singapore, linked to one of its passenger terminals. Its centrepiece is the world's tallest indoor waterfall, the Rain Vortex, that is surrounded by a terraced forest setting.


title: Jewel Changi Airport

text: Jewel includes gardens, attractions, a hotel, about 300 retail and dining outlets, as well as early baggage check-in aviation facilities. It covers a total gross floor area of , spanning 10 storeys – five above-ground and five basement levels. Its attractions include the Shiseido Forest Valley, an indoor garden spanning five storeys, and the Canopy Park at the topmost level, featuring gardens and leisure facilities.


title: Jewel Changi Airport

text: Jewel receives about 300,000 visitors per day. In October 2019, six months after its soft opening, it had welcomed 50 million visitors, exceeding its initial target for the whole year. The complex and airport is located in Changi, at the eastern end of Singapore, approximately northeast from Singapore's Downtown Core.


title: Jewel Changi Airport

text: Jewel was conceived to maintain Changi Airport's status as a major aviation hub in the Asia-Pacific. It was first mentioned by Prime Minister Lee Hsien Loong in his National Day Rally speech in 2013 as part of Changi Airport's long-term plans to double its capacity by the mid-2020s and "create more opportunities for Singapore and Singaporeans".


title: Jewel Changi Airport

text: Built over the former open-air car park in front of Changi Airport Terminal 1, Jewel expanded Terminal 1's arrival hall and baggage reclaim areas by 70%, and its handling capacity is also expected to increase from 21 to 24 million passengers a year. Jewel was officially opened on 18 October 2019 by Lee Hsien Loong, six months after its soft opening. During this time, it had received 50 million visitors – about 300,000 visitors a day – exceeding its initial target of 40–50 million visitors for the first year.


title: Jewel Changi Airport

text: Jewel was developed by Jewel Changi Airport Trustee Pte Ltd, a joint venture between Changi Airport Group (CAG) and CapitaLand, through its wholly owned shopping mall business, CapitaLand Mall Asia. The project cost S$1.7 billion, and did not involve any government funds or taxpayers’ money, despite both entities being either wholly or partially owned by Temasek Holdings, the state-owned investment company.


title: Jewel Changi Airport

text: Jewel's toroidal glass-and-steel façade was designed by a consortium of architects, led by Moshe Safdie, who also designed Singapore's Marina Bay Sands. Renowned local firm RSP Architects Planners & Engineers were the executive architect and structural engineers. The landscape architect was Peter Walker and Partners, who co-designed the National 9/11 Memorial and worked with Safdie on the landscaping of Marina Bay Sands. Benoy were the interior designers; BuroHappold Engineering were responsible for the façade and Lighting Planners Associates handled the lighting. The Rain Vortex was engineered by water design firm WET Design. It has a 360-degree light and sound show projected onto it.


title: Jewel Changi Airport

text: Jewel was envisioned to combine a marketplace and an urban park. "The component of the traditional mall is combined with the experience of nature, culture, education and recreation, aiming to provide an uplifting experience. By drawing both visitors and local residents alike, we aim to create a place where the people of Singapore interact with the people of the world," said Safdie.


title: Jewel Changi Airport

text: The glass panels of the dome are framed in steel which rests on a complex latticework. At night, the glowing dome is visible from all surrounding areas.


title: Jewel Changi Airport

text: A collaboration of Shiseido and art collective teamLab, the is one of Asia's largest indoor gardens, spanning five stories and approximately located in the heart of Jewel Changi Airport. It houses around 3,000 trees and 60,000 shrubs of 120 species that live in high-altitude tropical forests from around the world.


title: Jewel Changi Airport

text: The Rain Vortex, sponsored as the HSBC Rain Vortex, is the world's largest and tallest indoor waterfall, standing at high. Recirculating rain water is pumped to the roof to free fall through a round hole at up to per minute to a basement-level pool. An acrylic funnel at the bottom prevents splashing and insulates the sound of the cascade. The toroid-shaped roof has more than 9,000 pieces of glass spanning with a sloped oculus as the mouth of the waterfall acting as "a continuation of the building...completed in a liquid form." At night, the circular walls of the waterfall becomes a 360-degree stage for a light-and-sound show.


title: Jewel Changi Airport

text: To prevent excess humidity in the Jewel, the waterfall's flow alternates between cascades and trickles that reduce air turbulence. The design process by WET Design engineers included testing a one-fifth-scale model and a full-size partial prototype.


title: Jewel Changi Airport

text: The Changi Airport Skytrain connecting the terminals passes above ground near the waterfall, allowing passengers remaining airside to see the Vortex and Jewel itself.


title: Jewel Changi Airport

text: At the topmost level of Jewel, the Canopy Park houses recreation and leisure attractions. About half of the total landscaping is hosted at Canopy Park, including two gardens: Topiary Walk and Petal Garden. The Topiary Walk features animal-shaped topiaries at every corner, while the Petal Garden has seasonal floral displays. The park includes a suspension bridge called the Canopy Bridge that is located above the ground which offers a panoramic view of the Rain Vortex. At long, the Canopy Bridge also has a glass panel flooring at the centre section that offers a view through to level 1 of Jewel.


title: Jewel Changi Airport

text: The park also consists of two mazes, situated at the eastern end of the Jewel called the Hedge Maze and Mirror Maze. The Hedge Maze is Singapore's largest with hedge walls standing at high. The maze features gates that can be pushed within that will change the path of the maze. It ends at an elevated watchtower that offers a bird's-eye view of the entire maze. The Mirror Maze is located under the dome with plants branching across the top of the maze. The maze makes use of mirrors and various reflections.


title: Jewel Changi Airport

text: The Sky Nets, also called the Manulife Sky Nets for sponsorship reasons, provide children's play facilities, including a Bouncing Net and a Walking Net. The Bouncing Net is long, suspended 8 metres above ground at its highest point. A separate long Walking Net enables visitors to look down s to Jewel's Level 1.


title: Jewel Changi Airport

text: The Discovery Slides feature four integrated slides: two tube slides and two sliding surfaces. The entire structure sits at an incline, high on one end, and close to on the other, and enables visitors to view the Forest Valley and the Rain Vortex. The Discovery Slides were designed by Carve and built by Playpoint in Singapore.


title: Jewel Changi Airport

text: The Foggy Bowls are four concave bowls with depths of between and for people to jump in while mist is released to create an illusion of playing among clouds.


title: Jewel Changi Airport

text: The Changi Experience Studio is a space with interactive games and displays relating to Changi Airport's history and allows visitors a behind-the-scenes look of how the airport is run.


title: Jewel Changi Airport

text: A hotel within Jewel, with approximately 130 rooms, operated by the international hotel brand, YOTEL, opened on 12 April 2019. It is YOTEL's second hotel in Singapore after the 2017 opening of the YOTEL on Orchard Road.


title: Jewel Changi Airport

text: An ‘integrated multi-modal transport lounge’ provides ticketing, boarding pass collection and baggage transfer service in a single location. Early check-in facilities enable passengers to check-in and drop off luggage up to 24 hours ahead of regular check-in times. There are dedicated facilities for fly-cruise and fly-ferry passengers.


title: Jewel Changi Airport

text: Jewel houses both local and international brands. Anchor tenants include the largest Nike store in Southeast Asia, the first and only Apple Store located inside an airport complex, Marks & Spencer, Muji, Zara, Uniqlo, Singapore's second basement cinema operated by Shaw Theatres with 11 screens including an IMAX theatre with a seating capacity of 828 and Five Spice, a food court by Food Junction with 19 unique stalls and supermarket chain FairPrice Finest. As of 2022, the Five Spice food court has been revamped into a Food Republic food court, as Food Junction was previously acquired by Food Republic.


title: Jewel Changi Airport

text: Jewel also includes American burger chains A&W Restaurants and Shake Shack, Norwegian fast-casual restaurant Pink Fish, Swiss artisanal chocolatier Läderach, Sichuan restaurants Xiao Bin Lou and Yu's Kitchen, Boston-based ice cream parlour chain Emack & Bolio's, British casual eatery Burger & Lobster, Peruvian restaurant TONITO, Japan's Tokyo Milk Cheese Factory and the first permanent Pokémon Centre in East Asia outside of Japan. Most restaurants at the Basement 1 level, which included Pink Fish and Hoshino Coffee, closed down while the new tenant of half of the units in the Basement 1 level, Don Don Donki, started renovations. As of October 2022, Pink Fish has permanently closed down, while Hoshino Coffee has planned for a reopening after the revamp. McDonald's is also opening another outlet at that area, adding on to the Changi Airport T3 outlet.


title: Jewel Changi Airport

text: Jewel Changi Airport was accorded the 2016 International Architecture Award by The Chicago Athenaeum, an international museum of architecture and design.


title: Jewel Changi Airport

text: In November 2019, Jewel Changi Airport was awarded the Special Jury Award at the year's Mapic Awards.


title: Jewel Changi Airport

text: The song "The Right Time" by Singaporean singer JJ Lin was inspired by Jewel, which was featured in its music video.


title: University of Sussex

text: The University of Sussex is a public research university located in Falmer, East Sussex, England, it is mostly within the city boundaries of Brighton and Hove but extends into the Lewes District in its eastern fringe. Its large campus site is surrounded by the South Downs National Park and is around from central Brighton. The university received its Royal Charter in August 1961, the first of the plate glass university generation, and was a founding member of the 1994 Group of research-intensive universities.


title: University of Sussex

text: More than a third of its students are enrolled in postgraduate programmes and approximately a third of staff are from outside the United Kingdom. Sussex has a diverse community of nearly 20,000 students, with around one in three being foreign students, and over 1,000 academics, representing over 140 different nationalities. The annual income of the institution for 2019–20 was £319.6 million with an expenditure of £282 million.<ref name="Sussex Financial Statement 19/20"></ref>


title: University of Sussex

text: Sussex counts 5 Nobel Prize winners, 15 Fellows of the Royal Society, 10 Fellows of the British Academy, 24 fellows of the Academy of Social Sciences and a winner of the Crafoord Prize among its faculty. By 2011, many of its faculty members had also received the Royal Society of Literature Prize, the Order of the British Empire and the Bancroft Prize. Alumni include heads of states, diplomats, politicians, eminent scientists and activists.