title: Ford Trimotor

text: A Ford Trimotor was used in a search for the lost flyers of the Sigizmund Levanevsky trans-polar flight in 1937. Movie stunt flyer Jimmie Mattern flew a specially modified Lockheed Electra along with fellow movie flyer, Garland Lincoln, flying a stripped-down Trimotor donated by the president of Superior Oil Company. With 1,800 gallons of avgas and 450 gallons of oil in the modified cabin, the Trimotor was intended to act as a "tanker" for the expedition. The Electra was able to transfer fuel in the air from the Trimotor, through a hose cast out the 4-AT's door. With the first aerial refueling test successful, the pair of pilots set out for Fairbanks, landing first at Burwash Landing, Yukon Territory, Canada, on August 15, 1937, but the Trimotor ran out of fuel and crashed in inclement weather the following day. The Trimotor was abandoned on the tundra.


title: Ford Trimotor

text: One of the major uses of the Trimotor after it was superseded as a passenger aircraft by more modern aircraft like the Boeing 247 (1933) or the Douglas DC-2 (1934), then DC-3, was the carrying of heavy freight to mining operations in jungles and mountains. The Trimotor was employed for decades in this role.


title: Ford Trimotor

text: In 1942, during the Battle of Bataan, a Trimotor was used in evacuations. The aircraft would haul 24 people nearly 500 miles a trip, twice daily. The aircraft was eventually strafed and destroyed by Japanese aircraft.


title: Ford Trimotor

text: In postwar years, the Ford Trimotors continued in limited service with small, regional air carriers. Scenic Airways Ford Trimotor N414H was used for 65 years as a sightseeing aircraft flying over the Grand Canyon.


title: Ford Trimotor

text: As of 2011, there are 18 Ford Trimotors in existence, eight of which have current FAA airworthiness certificates.


title: Ford Trimotor

text: From 1954 onwards, efforts were made to modernize the Trimotor as the Stout Bushmaster 2000. Saddled with financial, management and marketing problems, only two examples were completed with a third fuselage started but never completed.


title: Arcade video game

text: An arcade video game takes player input from its controls, processes it through electrical or computerized components, and displays output to an electronic monitor or similar display. Most arcade video games are coin-operated, housed in an arcade cabinet, and located in amusement arcades alongside other kinds of arcade games. Until the late 1990s, arcade video games were the largest and most technologically advanced segment of the video game industry.


title: Arcade video game

text: Early prototypical entries "Galaxy Game" and "Computer Space" in 1971 established the principle operations for arcade games, and Atari's "Pong" in 1972 is recognized as the first successful commercial arcade video game. Improvements in computer technology and gameplay design led to a golden age of arcade video games, the exact dates of which are debated but range from the late 1970s to mid-1980s. This golden age includes "Space Invaders", "Pac-Man", and "Donkey Kong". The arcade industry had a resurgence from the early 1990s to mid-2000s, including "Street Fighter II", "Mortal Kombat", and "Dance Dance Revolution", but ultimately declined in the Western world as competing home video game consoles such as the Sony PlayStation and Microsoft Xbox increased in their graphics and gameplay capability and decreased in cost. Nevertheless, Japan, China, and Korea retain a strong arcade industry in the present day.


title: Arcade video game

text: Games of skill were popular amusement-park midway attractions from the 19th century on. With the introduction of electricity and coin-operated machines, they facilitated a viable business. When pinball machines with electric lights and displays were introduced in 1933 (but without the user-controller flippers which would not be invented until 1947) these machines were seen as games of luck. Numerous states and cities treated them as amoral playthings for rebellious young people, and banned them into the 1960s and 1970s.


title: Arcade video game

text: Electro-mechanical games (EM games) appeared in arcades in the mid-20th century. Following Sega's EM game "Periscope" (1966), the arcade industry experienced a "technological renaissance" driven by "audio-visual" EM novelty games, establishing the arcades as a suitable environment for the introduction of commercial video games in the early 1970s. In the late 1960s, college student Nolan Bushnell had a part-time job at an arcade where he became familiar with EM games such as Chicago Coin's racing game "Speedway" (1969), watching customers play and helping to maintain the machinery, while learning the game business.


title: Arcade video game

text: The early mainframe game "Spacewar!" (1962) inspired the first commercial arcade video game, "Computer Space" (1971), created by Nolan Bushnell and Ted Dabney and released by Nutting Associates. It was demonstrated at the Amusement & Music Operators Association (AMOA) show in October 1971. Another "Spacewar"-inspired coin-operated video game, "Galaxy Game", was demonstrated at Stanford University in November 1971. Bushnell and Dabney followed their "Computer Space" success to create - with the help of Allan Alcorn - a table-tennis game, "Pong", released in 1972. "Pong" became a commercial success, leading numerous other coin-op manufacturers to enter the market.


title: Arcade video game

text: The video game industry transitioned from discrete integrated circuitry to programmable microprocessors in the mid-1970s, starting with "Gun Fight" in 1975. The arcade industry entered a "Golden Age" in 1978 with the release of Taito's "Space Invaders", which introduced many novel gameplay features - including a scoreboard. From 1978 to 1982, several other major arcade-games from Namco, Atari, Williams Electronics, Stern Electronics, and Nintendo were all considered blockbusters, particularly Namco's "Pac-Man" (1980), which became a fixture in popular culture. Across North America and Japan, dedicated video-game arcades appeared and arcade-game cabinets appeared in many smaller storefronts. By 1981, the arcade video-game industry was worth in the US.


title: Arcade video game

text: The novelty of arcade games waned sharply after 1982 due to several factors, including market saturation of arcades and arcade games, a moral panic over video games (similar to fears raised over pinball machines in the decades prior), and the 1983 video game crash as the home-console market impacted arcades. The arcade market had recovered by 1986, with the help of software-conversion kits, the arrival of popular beat 'em up games (such as "Kung-Fu Master" (1984) and "Renegade" (1986-1987)), and advanced motion simulator games (such as Sega's "taikan" games including "Hang-On" (1985), "Space Harrier" (1985), and "Out Run" (1986)). However, the growth of home video-game systems such as the Nintendo Entertainment System led to another brief arcade decline toward the end of the 1980s.


title: Arcade video game

text: Arcade games continued to improve with the development of technology and of gameplay. In the early 1990s, the release of Capcom's "Street Fighter II" established the modern style of fighting games and led to a number of similar games such as "Mortal Kombat", "Fatal Fury", "Killer Instinct", "Virtua Fighter", and "Tekken", creating a new renaissance in the arcades. Another factor was realism, including the "3D Revolution" from 2D and pseudo-3D graphics to "true" real-time 3D polygon graphics. This was largely driven by a technological arms-race between Sega and Namco. During the early 1990s games such as Sega's "Virtua Racing" and "Virtua Fighter" popularized 3D-polygon technology in arcades. 3D graphics later became popular in console and computer games by the mid-1990s, though arcade systems such as the Sega Model 3 remained considerably more advanced than home systems in the late 1990s. Until about 1996, arcade video-games had remained the largest segment of the global video-game industry. Arcades declined in the late 1990s, surpassed by the console market for the first time around 1997–1998.


title: Arcade video game

text: Since the 2000s, arcade games have taken different routes globally. In the United States, arcades have become niche markets as they compete with the home-console market, and they have adapted other business models, such as providing other entertainment options or adding prize redemptions. In Japan and China, where arcades continue to flourish, games like "Dance Dance Revolution" and "The House of the Dead" aim to deliver tailored experiences that players cannot easily have at home.


title: Arcade video game

text: Virtually all modern arcade games (other than the very traditional fair midway) make extensive use of solid state electronics, integrated circuits, and monitor screens, all installed inside an arcade cabinet.


title: Arcade video game

text: With the exception of "Galaxy Game" and "Computer Space", which were built around small form-factor mainframe computers, the first arcade games are based on combinations of multiple discrete logic chips, such as transistor–transistor logic (TTL) chips. Designing an arcade game was more about the combination of these TTL chips and other electronic components to achieve the desired effect on screen. More complex gameplay required significantly more TTL components to achieve this result. By the mid-1970s, the first inexpensive programmable microprocessors had arrived on the market. The first microprocessor-based video game is Midway's "Gun Fight" in 1975 (a conversion of Taito's "Western Gun"), and with the advent of "Space Invaders" and the golden era, microprocessor-based games became typical. Early arcade games were also designed around raster graphics displayed on a cathode-ray tube (CRT) display. Many games of the late 1970s and early 1980s use special displays that rendered vector graphics, though these waned by the mid-1980s as display technology on CRTs improved. Prior to the availability of color CRT or vector displays, some arcade cabinets have a combination of angled monitor positioning, one-way mirrors, and clear overlays to simulate colors and other graphics onto the gameplay field.


title: Arcade video game

text: Coin-operated arcade video games from the 1990s to the 2000s generally use custom hardware often with multiple CPUs, highly specialized sound and graphics chips, and the latest in expensive computer graphics display technology. This allows more complex graphics and sound than contemporary video game consoles or personal computers. Many arcade games since the 2000s run on modified video game console hardware (such as the Sega NAOMI or Triforce) or gaming PC components (such as the Taito Type X). Many arcade games have more immersive and realistic game controls than PC or console games. This includes specialized ambiance or control accessories such as fully enclosed dynamic cabinets with force feedback controls, dedicated lightguns, rear-projection displays, reproductions of automobile or airplane cockpits, motorcycle or horse-shaped controllers, or highly dedicated controllers such as dancing mats and fishing rods. These accessories are usually too bulky, expensive, and specialized to be used with typical home PCs and consoles. Arcade makers experiment with virtual reality technology. Arcades have progressed from using coins as credits to smart cards that hold the virtual currency of credits.


title: Arcade video game

text: Modern arcade cabinets use flat panel displays instead of cathode-ray tubes. Internet services such as ALL.Net, NESiCAxLive, e-Amusement and NESYS, allow the cabinets to download updates or new games, do online multiplayer gameplay, save progress, unlock content, or earn credits.


title: Arcade video game

text: Many arcade games have short levels, simple and intuitive control schemes, and rapidly increasing difficulty. The classic formula for a successful arcade video game is "easy to learn, difficult to master" along with a "multiple life, progressively difficult level" paradigm. This is due to the environment of the arcade, where the player is essentially renting the game for as long as their in-game avatar can stay alive or until they run out of tokens. Games on consoles or PCs can be referred to as "arcade games" if they share these qualities, or are direct ports of arcade games.


title: Arcade video game

text: Arcade racing games often have sophisticated motion simulator arcade cabinets, a simplified physics engine, and short learning time when compared with more realistic racing simulations. Cars can turn sharply without braking or understeer, and the AI rivals are sometimes programmed so they are always near the player with a rubberband effect. Other types of arcade-style games include music games (particularly rhythm games), and mobile and casual games with intuitive controls and short sessions.


title: Arcade video game

text: The term "arcade game" can refer to an action video game designed to play similarly to an arcade game with frantic, addictive gameplay. The focus of arcade action games is on the user's reflexes, and many feature very little puzzle-solving, complex thinking, or strategy skills. These include fighting games often played with an arcade controller, beat 'em up games including fast-paced hack and slash games, and light gun rail shooters and "bullet hell" shooters with intuitive controls and rapidly increasing difficulty.


title: Arcade video game

text: Many arcade combat flight simulators have sophisticated hydraulic motion simulator cabinets, and simplified physics and handling. Arcade flight games are meant to have an easy learning curve, in order to preserve their action component. Increasing numbers of console flight video games, such as "", "Ace Combat", and "Secret Weapons Over Normandy" indicate the falling of manual-heavy flight sim popularity in favor of instant arcade flight action.


title: Arcade video game

text: A modern subgenre of action games called "hack and slash" or "character action games" represent an evolution of traditional arcade action games, and are sometimes considered a subgenre of beat 'em up brawlers. This subgenre of games was largely defined by Hideki Kamiya, creator of the "Devil May Cry" and "Bayonetta" franchises.


title: Arcade video game

text: Arcade games are found in restaurants, bowling alleys, college campuses, video rental shops, dormitories, laundromats, movie theaters, supermarkets, shopping malls, airports, and other retail environments. They are popular in public places where people are likely to have free time.


title: Arcade video game

text: Their profitability is expanded by the popularity of conversions of arcade games for home-based platforms. In 1997, WMS Industries (parent company of Midway Games) reported that if more than 5,000 arcade units are sold, at least 100,000 home version units will be sold.


title: Arcade video game

text: The American Amusement Machine Association (AAMA) is a trade association established in 1981 that represents the American coin-operated amusement machine industry, including 120 arcade game distributors and manufacturers. The Japan Amusement Machine and Marketing Association (JAMMA) represents the Japanese arcade industry.


title: Arcade video game

text: Prior to the 2000s, successful video games were often converted to a home video game console or home computer. Many of the initial Atari VCS games, for example, were conversions of Atari's success arcade games. Arcade game manufacturers that were not in the home console or computer business found licensing of their games to console manufacturers to be a successful business model, as console manufacturer competitors would vie for rights to more popular games. Coleco famously bested Atari to secure the rights to convert Nintendo's "Donkey Kong", which it subsequently included as a pack-in game for the ColecoVision to challenge the VCS.


title: Arcade video game

text: Arcade conversions typically had to make concessions for the lower computational power and capabilities of the home console, such as limited graphics or alterations in gameplay. Such conversions had mixed results. The Atari VCS conversion of "Space Invaders" was considered the VCS's killer application, helping to quadruple the VCS sales in 1980. In contrast, the VCS conversion of "Pac-Man" in 1982 was highly criticized for technical flaws due to VCS limitations such as flickering ghosts and simplified gameplay. Though "Pac-Man" was the best-selling game on the VCS, it eroded consumer confidence in Atari's games and partially contributed to the 1983 crash.


title: Arcade video game

text: The need for arcade conversions began to wane as arcade game manufacturers like Nintendo, Sega, and SNK entered the home console market and used similar technology within their home consoles as found at the arcade, negating the need to simplify the game. Concessions still may be made for a home release; notably, the Super Nintendo Entertainment System conversion of "Mortal Kombat" removed much of the gore from the arcade version to meet Nintendo's quality control standards.


title: Arcade video game

text: Exact copies of arcade video games can be run through emulators such as MAME on modern devices. An emulator is an application that translates foreign software onto a modern system, in real-time. Emulated games appeared legally and commercially on the Macintosh in 1994 with Williams floppy disks, Sony PlayStation in 1996, and Sega Saturn in 1997 with CD-ROM compilations such as "Williams Arcade's Greatest Hits" and "", and on the PlayStation 2 and GameCube with DVD-ROM compilations such as "Midway Arcade Treasures". Arcade games are downloaded and emulated through the Nintendo Wii Virtual Console service starting in 2009.


title: Arcade video game

text: Using emulation, companies like Arcade1Up have produced at-scale or reduced-scale recreations of arcade cabinets using modern technology, such as LCD monitors and lightweight construction. These cabinets are typically designed to resemble the original arcade game cabinets, but may also support multiple related games. These cabinets can be offered in diverse and miniaturized styles, such as table-mounted and wall-mounted versions.


title: Arcade video game

text: For arcade games, success is usually judged by either the number of arcade hardware units sold to operators, or the amount of revenue generated. The revenue can include the coin drop earnings from coins (such as quarters, dollars, or 100 yen coins) inserted into machines, and/or the earnings from hardware sales with each unit costing thousands of dollars. Most of the revenue figures listed below are incomplete as they only include hardware sales revenue, due to a lack of available data for coin drop earnings which typically account for the majority of a hit arcade game's gross revenue. This list only includes arcade games that either sold more than 10,000 hardware units or generated a revenue of more than . Most of the games listed were released between the golden age of arcade video games (1978–1984) and the 1990s.


title: Arcade video game

text: These are the combined hardware sales of at least two or more arcade games that are part of the same franchise. This list only includes franchises that have sold at least 5,000 hardware units or grossed at least $10 million revenues.


title: R. D. Laing

text: Ronald David Laing (7 October 1927 – 23 August 1989), usually cited as R. D. Laing, was a Scottish psychiatrist who wrote extensively on mental illnessin particular, the experience of psychosis. Laing's views on the causes and treatment of psychopathological phenomena were influenced by his study of existential philosophy and ran counter to the chemical and electroshock methods that had become psychiatric orthodoxy. Taking the expressed feelings of the individual patient or client as valid descriptions of personal experience rather than simply as symptoms of mental illness, Laing regarded schizophrenia as a theory not a fact. Though associated in the public mind with the anti-psychiatry movement, he rejected the label. Politically, he was regarded as a thinker of the New Left. Laing was portrayed by David Tennant in the 2017 film "Mad to Be Normal".


title: R. D. Laing

text: Laing was born in the Govanhill district of Glasgow on 7 October 1927, the only child of civil engineer David Park MacNair Laing and Amelia Glen Laing (née Kirkwood). Laing described his parents – his mother especially – as being somewhat anti-social, and demanding the maximum achievement from him. Although his biographer son largely discounted Laing's account of his childhood, an obituary by an acquaintance of Laing asserted that about his parents – "the full truth he told only to a few close friends".


title: R. D. Laing

text: He was educated initially at Sir John Neilson Cuthbertson Public School and after four years transferred to Hutchesons' Grammar School. Described variously as clever, competitive or precocious, he studied Classics, particularly philosophy, including through reading books from the local library. Small and slightly built, Laing participated in distance running; he was also a musician, being made an Associate of the Royal College of Music. He studied medicine at the University of Glasgow. During his medical degree he set up a "Socratic Club", of which the philosopher Bertrand Russell agreed to be president. Laing failed his final exams. In a partial autobiography, "Wisdom, Madness and Folly," Laing said he felt remarks he made under the influence of alcohol at a university function had offended the staff and led to him being failed on every subject including some he was sure he had passed. After spending six months working on a psychiatric unit, Laing passed the re-sits in 1951 to qualify as a medical doctor.


title: R. D. Laing

text: Laing spent a couple of years as a psychiatrist in the British Army Psychiatric Unit at Netley, where, as he later recalled, those trying to fake schizophrenia to get a lifelong disability pension were likely to get more than they had bargained for as Insulin shock therapy was being used. In 1953 Laing returned to Glasgow, participated in an existentialism-oriented discussion group, and worked at the Glasgow Royal Mental Hospital The hospital was influenced by David Henderson's school of thought, which may have exerted an unacknowledged influence on Laing; he became the youngest consultant in the country. Laing's colleagues characterised him as "conservative" for his opposition to Electroconvulsive therapy and the new drugs that were being introduced.


title: R. D. Laing

text: In 1956 Laing went to train on a grant at the Tavistock Clinic in London, widely known as a centre for the study and practice of psychotherapy (particularly psychoanalysis). At this time, he was associated with John Bowlby, D. W. Winnicott and Charles Rycroft. He remained at the Tavistock Clinic until 1964.


title: R. D. Laing

text: In 1965 Laing and a group of colleagues created the Philadelphia Association and started a psychiatric community project at Kingsley Hall, where patients and therapists lived together. The Norwegian author Axel Jensen contacted Laing at Kingsley Hall after reading his book "The Divided Self", which had been given to him by Noel Cobb. Jensen was treated by Laing and subsequently they became close friends. Laing often visited Jensen on board his ship "Shanti Devi", which was his home in Stockholm.


title: R. D. Laing

text: In 1967 Laing appeared on the BBC programme "Your Witness", chaired by Ludovic Kennedy on which, alongside Jonathan Aitken and G.P. Ian Dunbar, he argued for the legalisation of cannabis, in the first live television debate on the subject. In the same years, his views were explored in the television play "In Two Minds", written by David Mercer.


title: R. D. Laing

text: In October 1972, Laing met Arthur Janov, author of the popular book "The Primal Scream". Though Laing found Janov modest and unassuming, he thought of him as a "jig man" (someone who knows a lot about a little). Laing sympathized with Janov, but regarded his primal therapy as a lucrative business, one which required no more than obtaining a suitable space and letting people "hang it all out".


title: R. D. Laing

text: Inspired by the work of American psychotherapist Elizabeth Fehr, Laing began to develop a team offering "rebirthing workshops" in which one designated person chooses to re-experience the struggle of trying to break out of the birth canal represented by the remaining members of the group who surround him or her. Many former colleagues regarded him as a brilliant mind gone wrong but there were some who thought Laing was somewhat psychotic.


title: R. D. Laing

text: Laing was seen as an important figure in the anti-psychiatry movement, along with David Cooper, although he never denied the value of treating mental distress.


title: R. D. Laing

text: He also challenged psychiatric diagnosis itself, arguing that diagnosis of a mental disorder contradicted accepted medical procedure: diagnosis was made on the basis of behaviour or conduct, and examination and ancillary tests that traditionally precede the diagnosis of viable pathologies (like broken bones or pneumonia) occurred after the diagnosis of mental disorder (if at all). Hence, according to Laing, psychiatry was founded on a false epistemology: illness diagnosed by conduct, but treated biologically.


title: R. D. Laing

text: Laing maintained that schizophrenia was "a theory not a fact"; he believed the models of genetically inherited schizophrenia being promoted by biologically based psychiatry were not accepted by leading medical geneticists. He rejected the "medical model of mental illness”; according to Laing diagnosis of mental illness did not follow a traditional medical model; and this led him to question the use of medication such as antipsychotics by psychiatry. His attitude to recreational drugs was quite different; privately, he advocated an anarchy of experience.


title: R. D. Laing

text: In his early life, Laing's father, David, an electrical engineer who had served in the Royal Air Force, seems often to have come to blows with his own brother, and himself had a breakdown for three months when Laing was a teenager. His mother Amelia, according to some speculation and rumour about her behaviour, has been described as "psychologically peculiar".


title: R. D. Laing

text: Laing was troubled by his own personal problems, suffering from both episodic alcoholism and clinical depression, according to his self-diagnosis in a BBC Radio interview with Anthony Clare in 1983, although he reportedly was free of both in the years before his death. These admissions were to have serious consequences for Laing as they formed part of the case against him by the General Medical Council which led to him ceasing to practise medicine.


title: R. D. Laing

text: Laing fathered six sons and four daughters by four women. After his rise as a celebrity, Laing left his first wife Anne Hearne, a former nursing student (m. 1952–1966), and their five children. Subsequently, he married German graphic designer Jutta Werner (m. 1974–1986) with whom he fathered three children. His ninth child, with German therapist Sue Sünkel, was born in 1984. In 1988 Laing's partner until his death, Marguerite, gave birth to his tenth child, Charles. Laing died 19 months later of a heart attack at the age of 61 while playing tennis.


title: R. D. Laing

text: His son Adrian, speaking in 2008, said, "It was ironic that my father became well known as a family psychiatrist, when, in the meantime, he had nothing to do with his own family". His oldest child Fiona, born in 1952, spent years in mental institutions and was treated for schizophrenia. His daughter Susan died in 1976, aged 21, of leukaemia. Adam, his oldest son by his second marriage, who had been in an increasingly melancholic and fragile state of mind, was found dead in May 2008 in a tent on the island of Formentera. He had died of a heart attack, aged 41.


title: R. D. Laing

text: In 1913, psychiatrist and philosopher Karl Jaspers had pronounced, in his work, "General Psychopathology", that many of the symptoms of mental illness (and particularly of delusions) were "un-understandable", and therefore were worthy of little consideration except as a sign of some other underlying primary disorder. Then, in 1956, Gregory Bateson and his colleagues, Donald Jackson, and Jay Haley articulated a theory of schizophrenia as stemming from double bind situations where a person receives different or contradictory messages. The perceived symptoms of schizophrenia were therefore an expression of this distress, and should be valued as a cathartic and trans-formative experience. Laing argued a similar account for psychoses: that the strange behavior and seemingly confused speech of people undergoing a psychotic episode were ultimately understandable as an attempt to communicate worries and concerns, often in situations where this was not possible or not permitted. Laing stressed the role of society, and particularly the family, in the development of "madness" (his term).


title: R. D. Laing

text: Laing saw psychopathology as being seated not in biological or psychic organs – whereby environment is relegated to playing at most only an accidental role as immediate trigger of disease (the "stress diathesis model" of the nature and causes of psychopathology) – but rather in the social cradle, the urban home, which cultivates it, the very crucible in which selves are forged. This re-evaluation of the locus of the disease process – and consequent shift in forms of treatment – was in stark contrast to psychiatric orthodoxy (in the broadest sense we have of ourselves as psychological subjects and pathological selves). Laing was revolutionary in valuing the content of psychotic behaviour and speech as a valid expression of distress, albeit wrapped in an enigmatic language of personal symbolism which is meaningful only from within their situation.


title: R. D. Laing

text: Laing expanded the view of the “double bind” hypothesis put forth by Bateson and his team, and came up with a new concept to describe the highly complex situation that unfolds in the process of "going mad" – an "incompatible knot".


title: R. D. Laing

text: Laing never denied the existence of mental illness, but viewed it in a radically different light from his contemporaries. For Laing, mental illness could be a transformative episode whereby the process of undergoing mental distress was compared to a shamanic journey. The traveler could return from the journey with important insights, and may have become (in the views of Laing and his followers) a wiser and more grounded person as a result (Louis, B., 2006, Moving Beyond Prozac, DSM, and the New Psychiatry).


title: R. D. Laing

text: In "The Divided Self" (1960), Laing contrasts the experience of the “ontologically secure” person with that of a person who "cannot take the realness, aliveness, autonomy and identity of himself and others for granted" and who consequently contrives strategies to avoid "losing his self". This concept is used to develop a psychodynamic model of the mind to explain psychosis and schizophrenia.


title: R. D. Laing

text: Laing also wrote poetry and his poetry publications include "Knots" (1970, published by Penguin) and "Sonnets" (1979, published by Michael Joseph).


title: R. D. Laing

text: Laing appears, alongside his son Adam, on the 1980 album "Miniatures - a sequence of fifty-one tiny masterpieces" edited by Morgan Fisher, performing the song “Tipperary”.


title: R. D. Laing

text: In 1965 Laing co-founded the UK charity the Philadelphia Association, concerned with the understanding and relief of mental suffering, which he also chaired. His work influenced the wider movement of therapeutic communities, operating in less "confrontational" (in a Laingian perspective) psychiatric settings. Other organizations created in a Laingian tradition are the Arbours Association, the New School of Psychotherapy and Counselling in London, and the R.D. Laing in the 21st Century Symposium held annually at Esalen Institute, where Laing frequently taught.


title: Wigwam

text: A wigwam, wickiup, wetu (Wampanoag), or wiigiwaam (Ojibwe, in syllabics: ) is a semi-permanent domed dwelling formerly used by certain Native American tribes and First Nations people and still used for ceremonial events. The term "wickiup" is generally used to refer to these kinds of dwellings in the Southwestern United States and Western United States and Northwest Alberta, Canada, while "wigwam" is usually applied to these structures in the Northeastern United States as well as Ontario and Quebec in central Canada. The names can refer to many distinct types of Indigenous structures regardless of location or cultural group. The wigwam is not to be confused with the Native Plains tipi, which has a different construction, structure, and use.


title: Wigwam

text: The domed, round shelter was used by numerous northeastern Indigenous tribes. The curved surfaces make it an ideal shelter for all kinds of conditions. Indigenous peoples in the Great Lakes–St. Lawrence Lowlands resided in either wigwams or longhouses.


title: Wigwam

text: These structures are made with a frame of arched poles, most often wooden, which are covered with some sort of bark roofing material. Details of construction vary with the culture and local availability of materials. Some of the roofing materials used include grass, brush, bark, rushes, mats, reeds, hides or cloth.


title: Wigwam

text: Wigwams are most often seasonal structures, although the term is applied to rounded and conical structures that are more permanent. Wigwams usually take longer to put up than tipis. Their frames are usually not portable like a tipi.


title: Wigwam

text: A typical wigwam in the Northeast has a curved surface which can hold up against the worst weather. Young green tree saplings of just about any type of wood, long, were cut down and bent. While the saplings were being bent, a circle was drawn on the ground. The diameter of the circle varied from . The bent saplings were then placed over the drawn circle, using the tallest saplings in the middle and the shorter ones on the outside. The saplings formed arches all in one direction on the circle. The next set of saplings were used to wrap around the wigwam to give the shelter support. When the two sets of saplings were finally tied together, the sides and roof were placed on it. The sides of the wigwam were usually bark stripped from trees. The male of the family was responsible for the framing of the wigwam.


title: Wigwam

text: Mary Rowlandson uses the term "wigwam" in reference to the dwelling places of Indigenous people that she stayed with while in their captivity during King Philip's War in 1675. The term "wigwam" has remained in common English usage as a synonym for any "Indian house"; however, this usage is dispreferred, as there are important differences between the wigwam and other shelters.


title: Wigwam

text: During the American revolution the term "wigwam" was used by British soldiers to describe a wide variety of makeshift structures.


title: Wigwam

text: Wickiups were used by different indigenous peoples of the Great Basin, Southwest, and Pacific Coast. They were single room, dome-shaped dwellings, with a great deal of variation in size, shape, and materials.


title: Wigwam

text: The Acjachemen, an indigenous people of California, built cone-shaped huts made of willow branches covered with brush or mats made of tule leaves. Known as "kiichas", the temporary shelters were utilized for sleeping or as refuge in cases of inclement weather. When a dwelling reached the end of its practical life it was simply burned, and a replacement erected in its place in about a day's time.


title: Wigwam

text: The home in which the family lives is made by the men and is ordinarily a circular, dome-shaped brush dwelling, with the floor at ground level. It is high at the center and approximately in diameter. To build it, long fresh poles of oak or willow are driven into the ground or placed in holes made with a digging stick. These poles, which form the framework, are arranged at intervals and are bound together at the top with yucca-leaf strands. Over them a thatching of bundles of big bluestem grass or bear grass is tied, shingle style, with yucca strings. A smoke hole opens above a central fireplace. A hide, suspended at the entrance, is fixed on a cross-beam so that it may be swung forward or backward. The doorway may face in any direction. For waterproofing, pieces of hide are thrown over the outer hatching, and in rainy weather, if a fire is not needed, even the smoke hole is covered. In warm, dry weather much of the outer roofing is stripped off. It takes approximately three days to erect a sturdy dwelling of this type. These houses are "warm and comfortable even though there is a big snow". The interior is lined with brush and grass beds over which robes are spread...


title: Wigwam

text: The English word "wigwam" derives from Eastern Abenaki , from Proto-Algonquian "*wi·kiwa·ʔmi". Others have similar names for the structure:


title: Wigwam

text: Near identical constructions, called "aqal", are used by today's nomadic Somali people as well as the Afar people on the Horn of Africa. Pieces of old clothing or plastic sheet, woven mats (traditionally made of grass), or whatever material is available will be used to cover the "aqal"s roof. Similar domed tents are also used by the Bushmen and Nama people and other indigenous peoples in Southern Africa.


title: Wigwam

text: The traditional semi-permanent dwelling of the Sámi people of Northern Europe was the goahti (also known as a "gamme" or "kota"). In terms of construction, purpose and longevity, it represents a close equivalent to a North American native "wigwam". Most goahti dwellings consisted of portable wooden poles, covered on the outside with either timber or peat moss, in lieu of walls. This differentiated them from the other type of Sámi dwelling, the more temporary and tent-like lavvu, covered with skins or fabrics and somewhat similar to tipis. Some goahti houses were occasionally covered with skins or fabric as well, but were generally larger than "lavvu", and goahti were always used as more permanent housing.


title: Wigwam

text: Many native peoples of Northern Asia also built or build traditional semi-permanent dwellings known as chum. Though some of these Siberian native dwellings are more tent-like, reminiscent of Plains Indians' tipis or of the Sámi "lavvu", other forms of chum are more permanent in nature. The more permanent forms of chum are very similar in construction to the timber or peat moss covered goahti dwellings of the Sámi, or the wigwams of the Native American cultures of the Eastern Woodlands and northern parts of North America.


title: Wigwam

text: In Britain, similar structures known as bender tents are built quickly and cheaply by New Age travellers, using poles from the woods (often hazel) and plastic tarpaulins.


title: Eurovision Song Contest 2011

text: The Eurovision Song Contest 2011 was the 56th edition of the Eurovision Song Contest. It took place in Düsseldorf, Germany, following the country's victory at the with the song "Satellite" by Lena. Organised by the European Broadcasting Union (EBU) and host broadcasters Arbeitsgemeinschaft Rundfunkanstalten Deutschland (ARD) and Norddeutscher Rundfunk (NDR), the contest was held at the Düsseldorf Arena and consisted of two semi-finals on 10 and 12 May, and a final on 14 May 2011. The three live shows were presented by German comedians Anke Engelke and Stefan Raab, and television presenter Judith Rakers.


title: Eurovision Song Contest 2011

text: Forty-three countries participated in the contest, equalling the record of the 2008 edition. Four countries returned to the contest this year; Austria returned after their last participation in , Hungary returned after their last participation in , San Marino returned after their very first participation in . Italy also returned to the contest after their last participation fourteen years earlier, in .


title: Eurovision Song Contest 2011

text: The winner was Azerbaijan with the song "Running Scared", performed by Ell and Nikki and written by Stefan Örn, Sandra Bjurman and Iain James Farquharson. This was Azerbaijan's first victory in the contest, after only 4 years of participation. It was also the first male-female duo to win the contest since . Italy, Sweden, Ukraine and Denmark rounded out the top five. Apart from Italy, the only other "Big Five" country to make the top 10 was host nation Germany, finishing tenth. The United Kingdom followed closely behind, finishing eleventh. This was the first time since the juries were reintroduced alongside the televoting in 2009 that the winner did not place first in the jury voting; Italy was the jury winner, while Azerbaijan was the televote winner. Georgia, finishing ninth, equalled their best result from .


title: Eurovision Song Contest 2011

text: The contest took place in Düsseldorf, the seventh-largest city in Germany. This was the first contest to take place outside the host nation's capital city since the 2004 contest in Istanbul. It was also the first Eurovision Song Contest held in Germany since German reunification, with West Germany having previously hosted the contest in 1957 and 1983. Germany was also the first member of the "Big Five" to host the contest since the implementation of the rule in 2000 that permits the five largest contributors to the EBU – Germany, France, the United Kingdom, Spain and Italy – to qualify automatically for the grand final alongside the previous year's winner.


title: Eurovision Song Contest 2011

text: The Düsseldorf Arena, a multi-functional football stadium, hosted the contest. The stadium acquired a rental period of six weeks, in order to allow construction and dismantling work in relation to the contest to be carried out. The stadium is the largest venue to host the event (as of 2021). It accommodated a capacity of 38,000 for spectators during the contest, breaking the record of 35,000 set by Denmark ten years earlier.


title: Eurovision Song Contest 2011

text: Twenty-three cities submit official bids to the German broadcaster Norddeutscher Rundfunk (NDR), in order to be the host city for the 2011 contest. Eight of these cities continued to show interest in hosting the event including Berlin, Hamburg, Hanover, Gelsenkirchen, Düsseldorf, Cologne, Frankfurt and Munich. NDR announced on 21 August 2010 that four of those cities had officially applied to host the 2011 contest: Berlin, Hamburg, Hanover, and Düsseldorf.


title: Eurovision Song Contest 2011

text: Concerns were raised about Berlin's bid concept which consisted of an inflatable tent to be built on Tempelhof's hangar area. Decision makers at NDR reportedly doubted the venue's ability to provide advantageous acoustic conditions. Berlin's speaker neither confirmed nor denied that because, he stated, "secrecy about the bid concepts was promised to the NDR".


title: Eurovision Song Contest 2011

text: On 24 September 2010, it was announced that Fortuna Düsseldorf football club had applied to the Deutsche Fußball Liga for permission to move its home matches to the Paul-Janes-Stadion if the Düsseldorf Arena was awarded the 2011 Song Contest. This message indicated that talks with Düsseldorf to host the song contest in the Esprit Arena were already at an advanced stage. The club later announced on 6 October 2010 that it had obtained permission to move its games if necessary.


title: Eurovision Song Contest 2011

text: The newspaper reported on 12 December 2010 that Fortuna Düsseldorf were to be moved to the Paul-Janes-Stadion due to the contest. Fortuna Düsseldorf's training venue next to the Düsseldorf Arena would be equipped with mobile stands from a Swiss event construction specialist, Nussli Group, creating 20,000 extra seats. This decision was made because the holds better logistic qualifications.


title: Eurovision Song Contest 2011

text: On 2 October 2010 the Hamburger Abendblatt newspaper announced that Hamburg would be unable to host the 2011 Song Contest, because the city could no longer fulfil the required financial conditions.


title: Eurovision Song Contest 2011

text: On 12 October 2010, the German broadcaster NDR announced that the Düsseldorf Arena had been chosen as the host venue for the 2011 Eurovision Song Contest.


title: Eurovision Song Contest 2011

text: The four countries that were part of the "Big Four", along with the host of the contest, automatically qualify for a place in the grand final. Since Germany was both a "Big Four" country and the host for the 2011 contest, there was a vacant spot in the grand final. At a Reference Group meeting in Belgrade it was decided that the existing rules would remain in place, and that the number of participants in the grand final would simply be lowered from twenty-five to twenty-four. On 31 December 2010, the official participation list was published by the EBU, which stipulated that with the return of Italy to the contest, the nation would become a member of the newly expanded "Big Five". This change permitted Italy automatic qualification into the grand final, alongside France, Spain, the United Kingdom and host nation Germany, restoring the number of participants for the grand final to twenty-five nations.


title: Eurovision Song Contest 2011

text: On 30 August 2010, it was announced that Svante Stockselius, Executive Supervisor of the Eurovision Song Contest, would be leaving his position on 31 December 2010. On 26 November 2010, the EBU announced that Jon Ola Sand would succeed Stockselius as Executive Supervisor.


title: Eurovision Song Contest 2011

text: The draw to determine the semi-final running orders was held on 17 January 2011. All of the participating countries excluding the automatic finalists were split into six pots, based on the voting history of those countries in previous years. From these pots, half (or as close to half as was possible) competed in the first semi-final on 10 May 2011. The other half in that particular pot competed in the second semi-final on 12 May 2011. This draw doubled as an approximate running order, in order for the delegations from the countries to know when their rehearsals commenced. The draw also determined in which of the semi-finals the automatic finalists would be able to cast their votes.


title: Eurovision Song Contest 2011

text: Israeli broadcaster IBA requested to compete in the second semi-final, rather than the first semi-final that was pulled in the draw, due to Israel's Memorial Day coinciding with the first semi-final. German broadcaster NDR also requested that it be allowed to vote in the second semi-final for scheduling reasons.


title: Eurovision Song Contest 2011

text: The design of the contest was built around the motto "Feel your heart beat", with the logo and on-screen graphics designed by Turquoise Branding. The postcard introducing each performance included the logo in the colours of the performing country (e.g. the United Kingdom in red, white and blue); then a German place was shown in a toy-like view using tilt-shift photography and a story happened there, whose main characters were people either living in Germany or tourists from that country. The contest's motto, 'Feel your heart beat', was then shown or said in the country's national or native language. For example, in the first postcard shown (Poland's), the boyfriend drops a piece of paper. The camera then pans down to the paper, to show the Polish phrase "Poczuj bicie serca" handwritten on it. In the second postcard shown (Norway's), a mountain climber from Norway climbs to the top of a mountain and yells the Norwegian phrase "Kjenn ditt hjerte slå.". Then, the heart appeared once again, and the stage and the crowd could be seen, with heartbeat sounds and pink lights pulsating in rhythm with the heartbeat, before the performance started.


title: Eurovision Song Contest 2011

text: The main colours of the letterboxes were black and pink. The scoreboard showed a spokesperson from the country giving their votes on the right, while showing a table of results on the left. The large points (8, 10 and 12) were highlighted in pink, whilst the lower points, (1–7) were in purple. This scoreboard design was used again the following year, with minor changes such as the large points appearing progressively larger in size compared to the lower points and the highlighted colours changed to match the 2012 theme, "Light your fire!"


title: Eurovision Song Contest 2011

text: ARD, the European Broadcasting Union member to broadcast the Eurovision Song Contest in Germany, is a joint organisation of Germany's regional public-service broadcasters. The ARD has 10 members. The venues that were in consideration are located in the areas of three different members: Berlin is located within the Rundfunk Berlin-Brandenburg (RBB) member area, Hamburg and Hanover within the Norddeutscher Rundfunk (NDR) area and Düsseldorf within the Westdeutscher Rundfunk (WDR) broadcasting area. While NDR has been responsible for the transmission of the Eurovision Song Contest in recent years when the final took place in other countries, the financial scope of the three broadcasters seemed to have become a decisive factor in the application procedure for the 2011 Eurovision Song Contest. The "Tagesspiegel" reported on 7 October 2010 that the costs for hosting this event resulted in a tense discussion about necessary savings on other programme contents made by the three broadcasters.


title: Eurovision Song Contest 2011

text: On 16 December 2010, NDR announced that Anke Engelke, Judith Rakers, and Stefan Raab were to be the presenters for the contest. It was the third time three people would host the contest, the previous such contests being 1999 and 2010. Raab is known as the German representative in 2000 with "Wadde hadde dudde da?", whereas Engelke is an actress and comedian, and Rakers journalist and television presenter.


title: Eurovision Song Contest 2011

text: On 13 October 2010 Thomas Schreiber, coordinator at ARD, outlined details of Düsseldorf's event concept. The Esprit Arena was to be split in two parts separated from each other. On one side of the stadium the stage would be installed while the other side would function as background dressing rooms for the artist delegations. An athletics arena next to the Esprit Arena would serve as the press centre for the event. The Esprit Arena offered comfortable seats relatively near to the stage that created an indoor event arena atmosphere rather than a football-stadium ambiance. There were plans to allow the public the chance to attend the dress rehearsals. Altogether, tickets were sold for seven shows (the grand final, two semi-finals and four dress rehearsals).


title: Eurovision Song Contest 2011

text: He also said in that interview that tickets for the event were likely to go on sale "within the next four weeks" (by mid-November 2010). NDR had already opened a preregistration e-mail-newsletter on its website for all people interested in tickets for the event.


title: Eurovision Song Contest 2011

text: Ticket sales started on 12 December 2010 at 12:12 CET on the website www.dticket.de, the only authorised seller. However, the ticket page opened for sales approximately two hours earlier than originally advertised; this announcement was made by an email newsletter sent to preregistered buyers minutes before opening, giving them a slight benefit in acquiring tickets. The grand final 32,000 tickets that were put on sale on 12 December sold out in less than six hours. Once camera positions had been determined, a few thousand extra tickets were put on sale.


title: Eurovision Song Contest 2011

text: Tickets for the semi-finals were put on sale in mid-January, when it was known which countries would take part in each semi-final.


title: Eurovision Song Contest 2011

text: On 31 December 2010, it was confirmed that 43 countries would compete in the 2011 contest. The 2011 edition saw the returns of Austria, which had last participated in 2007; Italy, which had last participated in 1997; San Marino, which had only taken part in 2008; and Hungary, which had last participated in 2009. Montenegro had applied to take part in the contest on 4 December, but decided against participation and withdrew on 23 December, two days before 25 December no-strings-attached deadline.


title: Eurovision Song Contest 2011

text: Slovakia announced its withdrawal from the 2011 contest due to financial reasons, despite holding a public poll on the Slovenská televízia (STV) website on its Eurovision participation which received an 87.5% positive vote. STV announced that it planned to return in the 2012 contest. However, Slovakia's application remained on the provisional list, leading to Slovakia's continued participation in the 2011 contest. STV announced in January 2011 that Slovakia would yet withdraw from the contest, citing to financial reasons and organisational changes. However the country was listed by the EBU as one of the semi-finalist countries in the semi-final allocation draw on 17 January, and STV later confirmed they would continue their participation to avoid a fine for a late withdrawal.


title: Eurovision Song Contest 2011

text: At a meeting in Belgrade on 28 August 2010, the EBU decided that each country had to choose its artist and song before 14 March 2011. On 15 March 2011, the draw for the running order took place in the host city. The semi-final allocation draw took place on 17 January in Düsseldorf.


title: Eurovision Song Contest 2011

text: Several artists made their return to the Eurovision Song Contest, including Dino Merlin, who had represented Bosnia and Herzegovina in 1999. Gunnar Ólason (part of Sjonni's Friends) for Iceland had last appeared in 2001 as part of Two Tricky. Moldova's 2005 entrant Zdob și Zdub also returned. TWiiNS from Slovakia also return, they were backing vocalists for the Czech Republic in 2008. Sophio Toroshelidze, the lead singer of Eldrine from Georgia, was a backing singer for Sofia Nizharadze, Georgia's entry in 2010.


title: Eurovision Song Contest 2011

text: Along with those artists, two previous Eurovision winners also returned to the contest: Dana International who won for Israel in 1998, and Lena who won for Germany in 2010 and brought the contest to Düsseldorf. Stefan Raab, who represented Germany in 2000 and appeared as a conductor and backing artist for other German entries, hosted the contest. This was the first time since 1958 and only the second time in the history of the contest that two former winners returned on the same year.


title: Eurovision Song Contest 2011

text: The first semi-final took place in Esprit Arena in Düsseldorf on 10 May 2011. The ten countries in this semi-final with the highest scoring points, according to a combination of televotes and jury votes from each voting country, qualified for the grand final. Spain and the United Kingdom voted in this semi-final.


title: Eurovision Song Contest 2011

text: The second semi-final took place in Esprit Arena in Düsseldorf on 12 May 2011. The ten countries in this semi-final with the highest scoring points, according to a combination of televotes and jury votes from each voting country, qualified for the grand final. France, Germany and Italy voted in this semi-final.


title: Eurovision Song Contest 2011

text: The final took place on 14 May 2011. Only the "Big Five" countries automatically qualified for the grand final. From the two semi-finals on 10 and 12 May 2011, twenty countries qualified for the grand final. A total of twenty-five countries competed in the grand final. The voting system used was the same as in the 2010 contest, with a combination of televotes and jury votes selecting the winner. Viewers were able to vote during the performances; the voting window ended 15 minutes after the conclusion of the songs.


title: Eurovision Song Contest 2011

text: The split jury/televoting results were announced by the EBU after the final. As in 2010, only the split totals received by each country were given, not the full breakdown.


title: Eurovision Song Contest 2011

text: Below is a summary of the maximum 12 points each country awarded to another in the second semi-final:


title: Eurovision Song Contest 2011

text: A record number of 20 countries received at least one set of 12 points during the grand final. The only countries not to receive full marks were Estonia, Russia, Switzerland, Germany and Serbia.


title: Eurovision Song Contest 2011

text: Unlike previous years, the voting order was not drawn with the order of presentation of songs. Rather, the voting order was calculated just before the event, to reduce the likelihood of there being an outright winner from the start. Countries revealed their votes in the following order:


title: Eurovision Song Contest 2011

text: Most countries sent commentators to Düsseldorf or commentated from their own country, in order to add insight to the participants and, if necessary, the provision of voting information.


title: Eurovision Song Contest 2011

text: During the first semi-final, many broadcasters lost contact with their commentators due to a technical glitch. Dropouts in the multi-channel sound connections were the cause of this fault, which was corrected, with a second backup system put into place, and tested extensively before the second semi-final.


title: Eurovision Song Contest 2011

text: In addition to the main winner's trophy, the Marcel Bezençon Awards and the Barbara Dex Award were contested during the 2011 Eurovision Song Contest. The OGAE, "General Organisation of Eurovision Fans" voting poll also took place before the contest.


title: Eurovision Song Contest 2011

text: The Marcel Bezençon Awards, organised since 2002 by Sweden's then-Head of Delegation and 1992 representative Christer Björkman, and 1984 winner Richard Herrey, honours songs in the contest's final. The awards are divided into three categories: Artistic Award, Composers Award, and Press Award.


title: Eurovision Song Contest 2011

text: OGAE, an organisation of over forty Eurovision Song Contest fan clubs across Europe and beyond, conducts an annual voting poll first held in 2002 as the Marcel Bezençon Fan Award. After all votes were cast, the top-ranked entry in the 2011 poll was Hungary's "What About My Dreams?" performed by Kati Wolf; the top five results are shown below.


title: Eurovision Song Contest 2011

text: The Barbara Dex Award is a humorous fan award given to the worst dressed artist each year. Named after Belgium's representative who came last in the 1993 contest, wearing her self-designed dress, the award was handed by the fansite House of Eurovision from 1997 to 2016 and is being carried out by the fansite songfestival.be since 2017.


title: Eurovision Song Contest 2011

text: Eurovision Song Contest: Düsseldorf 2011 was the official compilation album of the 2011 contest, put together by the European Broadcasting Union and released by EMI Records and CMC International on 15 April 2011. The album featured all 43 songs that entered in the 2011 contest, including the semi-finalists that failed to qualify into the grand final.


title: Callinectes sapidus

text: Callinectes sapidus (from the Ancient Greek ,"beautiful" + , "swimmer", and Latin , "savory"), the blue crab, Atlantic blue crab, or regionally as the Chesapeake blue crab, is a species of crab native to the waters of the western Atlantic Ocean and the Gulf of Mexico, and introduced internationally.


title: Callinectes sapidus

text: "C. sapidus" is of considerable culinary and economic importance in the United States, particularly in Louisiana, the Carolinas, the Chesapeake Bay, Delaware, and New Jersey. It is the Maryland state crustacean and the state's largest commercial fishery. Due to overfishing and environmental pressures some of the fisheries have seen declining yields, especially in the Chesapeake Bay fishery.


title: Callinectes sapidus

text: Unlike other fisheries affected by climate change, blue crab is expected to do well; warming causes better breeding conditions, more survivable winters, and a greater range of habitable areas in the Atlantic coast. Whether this will have negative effects on the surrounding ecosystems from an increased crab population is still unclear.


title: Callinectes sapidus

text: "C. sapidus" is a decapod crab of the swimming crab family Portunidae. The genus "Callinectes" is distinguished from other portunid crabs by the lack of an internal cartilaginous spine on the carpus (the middle segment of the claw), as well as by the T-shape of the male abdomen. Blue crabs may grow to a carapace width of . "C. sapidus" individuals exhibit sexual dimorphism. Males and females are easily distinguished by the shape of the abdomen (known as the "apron") and by color differences in the chelipeds, or claws. The abdomen is long and slender in males, but wide and rounded in mature females. A popular mnemonic is that the male's apron is shaped like the Washington Monument, while the mature female's resembles the dome of the United States Capitol. Claw color differences are more subtle than apron shape. The immovable, fixed finger of the claws in males is blue with red tips, while females have orange coloration with purple tips. A female's abdomen changes as it matures: an immature female has a triangular-shaped abdomen, whereas a mature female's is rounded.


title: Callinectes sapidus

text: Other species of "Callinectes" may be easily confused with "C. sapidus" because of overlapping ranges and similar morphology. One species is the lesser blue crab ("C. similis"). It is found further offshore than the common blue crab, and has a smoother granulated carapace. Males of the lesser blue crab also have mottled white coloration on the swimming legs, and females have areas of violet coloration on the internal surfaces of the claws. "C. sapidus" can be distinguished from another related species found within its range, "C. ornatus", by number of frontal teeth on the carapace. "C. sapidus" has four, while "C. ornatus" has six.


title: Callinectes sapidus

text: The crab's blue hue stems from a number of pigments in the shell, including alpha-crustacyanin, which interacts with a red pigment, astaxanthin, to form a greenish-blue coloration. When the crab is cooked, the alpha-crustacyanin breaks down, leaving only the astaxanthin, which turns the crab to a bright orange-red color.


title: Callinectes sapidus

text: Organochlorides are found by Sheridan et al 1975 to be transferred to the "C. sapidus" hepatopancreas. They find that among organochlorides, DDT specifically is converted both to DDE and DDD in this crab.


title: Callinectes sapidus

text: "C. sapidus" is native to the western edge of the Atlantic Ocean from Cape Cod to Argentina and around the entire coast of the Gulf of Mexico. It has recently been reported north of Cape Cod in the Gulf of Maine, potentially representing a range expansion due to climate change. It has been introduced (via ballast water) to Japanese and European waters, and has been observed in the Baltic, North, Mediterranean, and Black Seas. The first record from European waters was made in 1901 at Rochefort, France. In some parts of its introduced range, "C. sapidus" has become the subject of crab fishery, including in Greece, where the local population may be decreasing as a result of overfishing.


title: Callinectes sapidus

text: The natural predators of "C. sapidus" include eels, drum, striped bass, spot, trout, some sharks, humans, cownose rays, and whiptail stingrays. "C. sapidus" is an omnivore, eating both plants and animals. It typically consumes thin-shelled bivalves, annelids, small fish, plants, and nearly any other item it can find, including carrion, other "C. sapidus" individuals, and animal waste. In salt marshes, "C. sapidus" will eat marsh periwinkles, "Littoraria irrorata" during high tides. Although an aquatic predator, "C. sapidus" will remain in shallow pits in salt marshes at low tide and ambush intertidal prey such as fiddler crabs (e.g., "Minuca pugnax") and purple marsh crabs ("Sesarma reticulatum") "C. sapidus" may be able to control populations of the invasive green crab, "Carcinus maenas"; numbers of the two species are negatively correlated, and "C. maenas" is not found in the Chesapeake Bay, where "C. sapidus" is most abundant.


title: Callinectes sapidus

text: "C. sapidus" is subject to a number of diseases and parasites. These include a number of viruses, bacteria, microsporidians, ciliates, and others. The nemertean worm "Carcinonemertes carcinophila" commonly parasitizes "C. sapidus", especially females and older crabs, although it has little adverse effect on the crab. A trematode that parasitizes "C. sapidus" is itself targeted by the hyperparasite "Urosporidium crescens". The most harmful parasites may be the microsporidian "Ameson michaelis", the amoeba "Paramoeba perniciosa" and the dinoflagellate "Hematodinium perezi", which causes "bitter crab disease".


title: Callinectes sapidus

text: In 2021, scientists from the University of Maryland completed DNA sequencing on "C. sapidus's" genome in Baltimore after six years of research to help better understand the species. This genetic map is expected to help scientists understand how the blue crabs will be affected by climate change and warmer water temperatures, along with which mutations cause disease, traits that influence meat production, and which females have the best reproductive ability.


title: Callinectes sapidus

text: Eggs of "C. sapidus" hatch in high-salinity waters of inlets, coastal waters, and mouths of rivers, and are carried to the ocean by ebb tides. During seven planktonic (zoeal) stages, blue crab larvae float near the surface and feed on microorganisms they encounter. After the eighth zoeal stage, larvae molt into megalopae. This larval form has small claws called chelipeds for grasping prey items. Megalopae selectively migrate upward in the water column as tides travel landward toward estuaries. Eventually, blue crabs arrive in brackish water, where they spend the majority of their lives. Chemical cues in estuarine water prompt metamorphosis to the juvenile phase, after which blue crabs appear similar to the adult form.


title: Callinectes sapidus

text: A blue crab grows by shedding its exoskeleton, or molting, to expose a new, larger exoskeleton. After it hardens, the new shell fills with body tissue. Shell hardening occurs most quickly in low-salinity water where high osmotic pressure allows the shell to become rigid soon after molting. Molting reflects only incremental growth, making age estimation difficult. For blue crabs, the number of molts in a lifetime is fixed at about 25. Females typically exhibit 18 molts after the larval stages, while postlarval males molt about 20 times. Male blue crabs tend to grow broader and have more accentuated lateral spines than females. Growth and molting are profoundly influenced by temperature and food availability. Higher temperatures and greater food resources decrease the period of time between molts, as well as the change in size during molts (molt increment). Salinity and disease also have subtle impacts on molting and growth rate. Molting occurs more rapidly in low-salinity environments. The high osmotic pressure gradient causes water to quickly diffuse into a soft, recently molted blue crab's shell, allowing it to harden more quickly. The effects of diseases and parasites on growth and molting are less well understood, but in many cases have been observed to reduce growth between molts. For example, mature female blue crabs infected with the parasitic rhizocephalan barnacle "Loxothylacus texanus" appear extremely stunted in growth when compared to uninfected mature females. Blue crabs may reach maturity within one year of hatching in the Gulf of Mexico, while Chesapeake Bay crabs may take up to 18 months to mature. As a result of different growth rates, commercial and recreational crabbing occur year-round in the Gulf of Mexico, while crabbing seasons are closed for colder parts of the year in northern states.


title: Callinectes sapidus

text: Mating and spawning are distinct events in blue crab reproduction. Males may mate several times and undergo no major changes in morphology during the process. Female blue crabs mate only once in their lifetimes during their pubertal, or terminal, molt. During this transition, the abdomen changes from a triangular to a semicircular shape. Mating in blue crab is a complex process that requires precise timing of mating at the time of the female's terminal molt. It generally occurs during the warmest months of the year. Prepubertal females migrate to the upper reaches of estuaries, where males typically reside as adults. To ensure that a male can mate, he actively seeks a receptive female and guards her for up to seven days until she molts, when insemination occurs. Crabs compete with other individuals before, during, and after insemination, so mate guarding is very important for reproductive success. After mating, a male must continue to guard the female until her shell has hardened. Inseminated females retain spermatophores for up to one year, which they use for multiple spawnings in high salinity water. During spawning, a female extrudes fertilized eggs onto her swimmerets and carries them in a large egg mass, or sponge, while they develop. Females migrate to the mouth of the estuary to release the larvae, the timing of which is believed to be influenced by light, tide, and lunar cycles. Blue crabs have high fecundity; females may produce up to 2 million eggs per brood.


title: Callinectes sapidus

text: Migration and reproduction patterns differ between crab populations along the East Coast and the Gulf of Mexico. A distinct and large-scale migration occurs in Chesapeake Bay, where "C. sapidus" undergoes a seasonal migration of up to several hundred miles. In the middle and upper parts of the bay, mating peaks in mid- to late summer, while in the lower bay , peaks in mating activity occur during spring and late summer through early fall. Changes in salinity and temperature may impact time of mating because both factors are important during the molting process. After mating, the female crab travels to the southern portion of the Chesapeake, using ebb tides to migrate from areas of low salinity to areas of high salinity, fertilizing her eggs with sperm stored during her single mating months or almost a year before.


title: Callinectes sapidus

text: Spawning events in the Gulf of Mexico are less pronounced than in estuaries along the East Coast, like the Chesapeake. In northern waters of the Gulf of Mexico, spawning occurs in the spring, summer, and fall, and females generally spawn twice. During spawning, females migrate to high -salinity waters to develop a sponge, and return inland after hatching their larvae. They develop their second sponge inland, and again migrate to the high-salinity waters to hatch the second sponge. After this, they typically do not re-enter the estuary. Blue crabs along the southernmost coast of Texas may spawn year-round.


title: Callinectes sapidus

text: Commercial fisheries for "C. sapidus" exist along much of the Atlantic coast of the United States, and in the Gulf of Mexico. Although the fishery has been historically centered on the Chesapeake Bay, contributions from other localities are increasing in importance. In the past two decades, most commercial crabs have been landed in four states: Maryland, Virginia, North Carolina, and Louisiana. Weight and value of harvests since 2000 are listed below.


title: Callinectes sapidus

text: As early as the 1600s, the blue crab was an important food item for Native Americans and European settlers in the Chesapeake Bay area. Soft and hard blue crabs were not as valuable as fish, but gained regional popularity by the 1700s. Throughout their range, crabs were also an effective bait type for hook-and-line fisheries. Rapid perishing limited the distribution and hindered the growth of the fishery. Advances in refrigeration techniques in the late 1800s and early 1900s increased demand for blue crab nationwide.


title: Callinectes sapidus

text: The early blue crab fishery along the Atlantic Coast was casual and productive because blue crabs were extremely abundant. In the lower Chesapeake Bay, crabs were even considered a nuisance species because they frequently clogged the nets of seine fishermen. Early on, the blue crab fishery of the Atlantic states was well documented. Atlantic states were the first to regulate the fishery, particularly the Chesapeake states. For example, after observing a slight decline in harvest, the fishing commissions of Virginia and Maryland put size limits into place by 1912 and 1917, respectively. Catch-per-unit-effort at the time was determined by packing houses, or crab processing plants.


title: Callinectes sapidus

text: The early history of the recreational blue crab fishery in the Gulf of Mexico is not well known. Commercial crabbing was first reported in the Gulf of Mexico in the 1880s. Early crab fishermen used long-handled dip nets and drop nets among other simple fishing gear types to trap crabs at night. Blue crab spoiled quickly, which limited distribution and hindered the growth of the fishery for several decades. The first commercial processing plant in Louisiana opened in Morgan City in 1924. Other plants opened soon after, although commercial processing of hard blue crabs was not widespread until World War II.


title: Callinectes sapidus

text: Louisiana now has the world's largest blue-crab fishery. Commercial harvests in the state account for over half of all landings in the Gulf of Mexico. The industry was not commercialized for interstate commerce until the 1990s, when supply markedly decreased in Maryland due to problems (see above) in Chesapeake Bay. Since then, Louisiana has steadily increased its harvest. In 2002, Louisiana harvested 22% of the nation's blue crab. That number rose to 26% by 2009 and 28% by 2012. The vast majority of Louisiana crabs are shipped to Maryland, where they are sold as "Chesapeake" or "Maryland" crab. Louisiana's harvest remained high in 2013, with 17,597 metric tons of blue crab valued at $51 million. In addition to commercial harvesting, recreational crabbing is very popular along Louisiana's coast.


title: Callinectes sapidus

text: The Chesapeake Bay has had the largest blue crab harvest for more than a century. Maryland and Virginia are usually the top two Atlantic coast states in annual landings, followed by North Carolina. In 2013, crab landings were valued at $18.7 million from Maryland waters and $16.1 million from Virginia waters. Although crab populations are currently declining, blue crab fishing in Maryland and Virginia remains a livelihood for thousands of coastal residents. As of 2001, Maryland and Virginia collectively had 4,816 commercial crab license holders. Three separate licenses are required for each of the three major jurisdictional areas: Maryland, the Potomac River, and Virginia waters. While the Bay’s commercial sector lands the majority of hard crab landings and nearly all peeler or soft crab landings, the recreational fishery is also significant. In 2013, an estimated of blue crab were harvested recreationally.


title: Callinectes sapidus

text: Blue crab populations naturally fluctuate with annual changes in environmental conditions. They have been described as having a long-term dynamic equilibrium, which was first noted after irregular landings data in the Chesapeake in 1950. This tendency may have made it difficult for managers to predict the severe decline of the Chesapeake’s blue crab populations. Once considered an overwhelmingly abundant annoyance, the declining blue crab population is now the subject of anxiety among fishermen and managers. Over the decade between the mid-1990s to 2004, the population fell from 900 million to around 300 million, and harvest weight fell from . Revenue fell further, from $72 million to $61 million. Long-term estimates say that the overall Chesapeake population decreased around 70% in the last few decades. Even more alarming, the number of females capable of reproducing, known as spawning age females, has plummeted 84% in just a few decades. Survival and addition of juveniles to the harvestable crab population is also low. Many factors are to blame for low blue crab numbers, including high fishing pressure, environmental degradation, and disease prevalence. The 2018 reduction in H-2B visas available for seasonal workers is affecting Maryland's 20 crab processors, which typically employ about 500 foreign workers, but the effect this will have on the crab fishery is not yet clear.


title: Callinectes sapidus

text: Many types of gear have been used to catch blue crabs along the Atlantic and Gulf Coasts. Initially, people used very simple techniques and gear, which included hand lines, dip nets, and push nets among a variety of other gear types. The trotline, a long baited twine set in waters 5–15 feet deep, was the first major gear type used commercially to target hard crabs. Use of commercial trotlines is now mostly limited to the tributaries of the Chesapeake Bay. In the Gulf of Mexico, trotline use drastically declined after invention of the crab pot in 1938. Crab pots are rigid, box-like traps made of hexagonal or square wire mesh. They possess between two and four funnels that extend into the trap, with the smaller end of the funnel inside of the trap. A central compartment made of smaller wire mesh holds bait. Crabs attracted by odorant plumes from the bait, often an oily fish, enter the trap through the funnels and cannot escape.


title: Callinectes sapidus

text: Species other than blue crab are often caught incidentally in crab pots, including fish, turtles, conch, and other crab species. In Georgia, hermit crabs ("Pagurus" spp.), channeled whelk ("Busycon canaliculatum"), spider crabs ("Libinia" spp.), and stone crabs ("Menippe mercenaria") were the most common species observed as bycatch in commercial crab pots. Of important concern is the diamondback terrapin, "Malaclemys terrapin". The blue crab and diamondback terrapin have overlapping ranges along the East and Gulf Coasts of the United States. Because the funnels in a crab pot are flexible, small terrapins may easily enter and become entrapped. Traps are checked every 24 hours or less, frequently resulting in drowning and death of terrapins. Crab pot bycatch may reduce local terrapin populations to less than half. To reduce terrapin entrapment, bycatch reduction devices (BRDs) may be installed on each of the funnels in a crab pot. BRDs effectively reduce bycatch (and subsequently mortality) of small terrapins without affecting blue crab catch.


title: Callinectes sapidus

text: Because of its commercial and environmental value, "C. sapidus" is the subject of management plans over much of its range. In 2012, the "C. sapidus" population in Louisiana was recognized as a certified sustainable fishery by the Marine Stewardship Council. It was the first and remains the only certified sustainable blue crab fishery worldwide. For the state to maintain its certification, it must undergo annual monitoring and conduct a full re-evaluation five years after the certification date.


title: Shōsetsuka ni Narō

text: Over one hundred novel series uploaded to the site have been acquired by various publishers, such as "Log Horizon", serialized from 2010 before being acquired by Enterbrain in 2011, and "The Irregular at Magic High School", which was serialized between 2008 and 2011 before being acquired by ASCII Media Works.


title: Shōsetsuka ni Narō

text: Futabasha's light novel imprint Monster Bunko was established on July 30, 2014, which exclusively publishes series that originated on Shōsetsuka ni Narō.


title: Lucky (2017 American film)

text: Lucky is a 2017 American drama film, starring Harry Dean Stanton and directed by John Carroll Lynch from a screenplay by Logan Sparks and Drago Sumonja. It was one of Stanton's final onscreen roles before his death. The film tells the story of 90-year-old Lucky as he comes to terms with his own mortality and searches for enlightenment. It received positive reviews from critics.


title: Lucky (2017 American film)

text: As the film begins, a tortoise trudges into view in the desert. We meet Lucky, who lives alone in an isolated house in the small desert town of Piru, California. He drinks a glass of cold milk after his morning yoga and cigarette before getting dressed and heading out on his daily routine.


title: Lucky (2017 American film)

text: He gets coffee at a diner where he is on friendly terms with the owner, Joe. He works on a crossword puzzle from his daily newspaper. Lucky then walks to a convenience store where he buys another pack of cigarettes and a carton of milk. The owner, Bibi, tells Lucky that her son Juan is having his tenth birthday in a week. That evening, Lucky stops at a bar called Elaine's and has a few Bloody Marias with the locals. One of the regulars, Howard, is depressed that his pet tortoise, named President Roosevelt, has escaped.


title: Lucky (2017 American film)

text: The next morning, Lucky becomes entranced by the blinking numbers on his coffeepot. He gets light-headed and falls over, smashing his ceramic mug. At a clinic, Dr. Christian Kneedler gives Lucky a clean bill of health and tells him that Lucky has out-smoked and outlived the majority of people his age. At the diner, Lucky mentions how he fell and everyone becomes concerned for his safety. That night, Lucky calls a friend while he watches TV. He tells his friend that when he was a boy in Kentucky, he shot a mockingbird with his BB gun. He describes how devastating the silence was, and that it was the saddest thing he had ever experienced. Lucky thanks his friend for listening and hangs up.


title: Lucky (2017 American film)

text: Back at the bar, Lucky listens to a story from one of the regulars, Paulie, about how he met and married his wife. Lucky reflects on how he never married or had any lasting relationships. Lucky sees Howard talking with a lawyer named Bobby Lawrence about making a will for himself and wanting to leave all of his possessions to his pet tortoise. Lucky is hostile to Bobby and challenges him to a fight outside, but Paulie tells him that Bobby won't fight him and that he should go home. A day or two later, Joe's employee Loretta visits Lucky to check on him. While smoking marijuana, Lucky shows Loretta old photos of his time in the US Navy and they watch old VHS tapes of Liberace in concert. While having coffee at the diner, Lucky runs into Bobby Lawrence and tells him about his accident. Bobby tells Lucky about a time when he nearly got hit by a garbage truck and tells Lucky to always be prepared for the unexpected. Lucky visits a pet store and buys a box of live crickets.


title: Lucky (2017 American film)

text: Lucky meets a World War II Marine veteran named Fred and tells him about his time in the US Navy during the war in the Pacific. Lucky explains that he got his nickname from having the relatively safe job of cook on an LST. Fred tells Lucky a story about how after the Marines secured a beach, the locals began to commit suicide by jumping off cliffs. After a battle, he encountered a child, smiling amidst the carnage. Fred remarked to his fellow Marine that at least someone was glad to see them, only to be told that the girl was a Buddhist and was smiling at the prospect of dying. The story leaves Lucky speechless. Upon returning home, he sets the clock on his coffee machine to the correct time, stopping it from blinking. He attends Bibi's son Juan's birthday party and enjoys himself. He spontaneously sings "Volver Volver" in Spanish for the party goers.


title: Lucky (2017 American film)

text: That evening, Lucky goes back to the bar for more Bloody Marias. Howard has not found his tortoise and has concluded that all things must eventually come to an end. Lucky then attempts to light a cigarette at the bar despite being ordered not to do so by the owner, Elaine. He delivers a speech to the bar patrons that everything goes away eventually and that we are left with nothing. Elaine asks what is one supposed to do with nothing. Lucky simply replies "you smile". The remark transforms the mood of the bar; Lucky lights up his cigarette and steps outside.


title: Lucky (2017 American film)

text: The next morning, Lucky goes for a walk through town, as he always does, and passes by the outdoor botanic garden and the bar where he was previously banned for smoking. In the desert, Lucky looks up at a tall saguaro cactus and lights a cigarette. He breaks the fourth wall and smiles at the camera before heading back into town. As Lucky walks down the road alone, a tortoise again trudges into view.


title: Lucky (2017 American film)

text: On April 7, 2017, it was announced that Magnolia Pictures acquired U.S. and international rights to distribute the film.


title: Lucky (2017 American film)

text: On Rotten Tomatoes, "Lucky" has a rating of 97%, based on 139 reviews, with an average score of 7.82/10. The website's critical consensus reads, ""Lucky" is a bittersweet meditation on mortality, punctuating the career of beloved character actor Harry Dean Stanton." On Metacritic, the film has a score of 80 out of 100, based on 34 critics, indicating "generally favorable reviews".


title: Lucky (2017 American film)

text: Matt Zoller Seitz of RogerEbert.com gave the film four out of four stars, writing that the film is: "The humblest deep movie of recent years, a work in the same vein as American marginalia like "Stranger Than Paradise" and "Trees Lounge",' but with its own rhythm and color, its own emotional temperature, its own reasons for revealing and concealing things." Seitz later named "Lucky" as the best film of 2017, stating that "I didn't expect much more than indie-film quirk when I read the description of this film, but emotionally it destroyed me."


title: Session 9

text: Session 9 is a 2001 American psychological horror film directed by Brad Anderson and written by Anderson and Stephen Gevedon. The film stars David Caruso, Peter Mullan, Brendan Sexton III, Josh Lucas, and Gevedon as an asbestos abatement crew who take a clean-up job at an abandoned mental asylum amid an intense work schedule, growing tensions, and mysterious events occurring around them. Its title refers to a series of audio-taped sessions with an asylum patient that run parallel to the crew's experiences.


title: Session 9

text: The film marked a tonal departure for Anderson, who previously only directed romantic comedies. Production took place on location at the Danvers State Mental Hospital in Danvers, Massachusetts. While not a financial success, "Session 9" developed a reputation as a cult film.


title: Session 9

text: Gordon Fleming, the owner of an asbestos abatement company in Massachusetts, makes a bid to remove asbestos from an abandoned psychiatric hospital. Desperate for money, he promises to complete the job in only one week, despite requiring two to three weeks. His crew includes Mike, a law school dropout who is knowledgeable about the asylum's history; Phil, who is dealing with his grief over a recent breakup; Hank, a gambling addict; and Gordon's nephew Jeff, who has a pathological fear of the dark.


title: Session 9

text: While surveying the job site, Gordon hears a disembodied voice that greets him by name. The men begin their job, and Mike discovers a box containing nine audio-taped sessions that were recorded with Mary Hobbes, a patient who suffered from dissociative identity disorder. Mike begins listening to the tapes in the ensuing days. In the sessions, Mary's psychologist attempts to unveil details surrounding a crime she committed at her home two decades prior and Mary exhibits numerous personalities who have unique voices and demeanors. Meanwhile, Hank discovers a cache of antique silver dollar coins and other valuables from the crematory. Late that night, Hank returns to the hospital to retrieve the items, and discovers a lobotomy pick among them. He becomes frightened by noises and a shadowy figure, and is confronted by an unknown assailant.


title: Session 9

text: Hank fails to show up to work the next day. An additional worker, Craig McManus, is hired to take his place. Gordon confides in Phil that he slapped his wife Wendy after she inadvertently splashed him with boiling water, and that she refuses to answer his calls or let him see their infant daughter. In a stairwell in the hospital, Jeff witnesses Hank staring out a window wearing sunglasses, talking to himself.


title: Session 9

text: Hank goes missing and the men split up to search for Hank, but Mike is compelled to continue listening to the tapes. Jeff and Phil descend into the tunnels underneath the hospital where Phil finds Hank, half-nude, muttering to himself. The generator runs out of fuel, leaving a terrified Jeff trapped in darkness. Mike restores the electricity and continues listening to the ninth session tape, which reveals that one of Mary's malignant personalities, "Simon," was responsible for Mary stabbing her little brother and parents to death. Phil finds Gordon in Mary's former hospital room, staring at photos from his daughter's baptism which he has pasted to the wall. Jeff emerges from the tunnels and is attacked by an unseen assailant at the company van.


title: Session 9

text: The following day, Gordon arrives at the hospital and finds Hank wrapped in plastic sheeting in one of the rooms, the lobotomy pick protruding from his eye. Gordon is then confronted by Phil, who repeatedly tells him to "wake up" before vanishing in front of him. Craig witnesses Gordon standing over Hank, who is barely alive. Gordon attacks Craig before pulling the lobotomy pick from Hank's eye and stabbing it into Craig′s. Gordon, in a dissociated state, finds the bodies of each of his crew members in various rooms in the hospital, and recounts his murdering each of them. He also recalls killing Wendy, his daughter, and the dog after Wendy spilled the boiling water on him.


title: Session 9

text: Distraught, Gordon confusedly attempts to call his home to apologize to Wendy. An excerpt from the ninth session tape plays: Mary's doctor asks her "And where do you live, Simon?" to which "Simon" responds: "I live in the weak and the wounded, Doc."


title: Session 9

text: In reviewing the film for the 2003 edition of "The Year's Best Fantasy and Horror", Edward Bryant contends that Simon is not necessarily an alternate personality of the former patient Mary, but rather a malevolent genius loci. He also points out that the deleted scenes included on the DVD help fill out the narrative. Critics have also pointed out similarities and references to Stanley Kubrick's "The Shining" (1980).


title: Session 9

text: Scholar Heike Schwarz states that "Session 9" "refers to DID [ Dissociative identity disorder ] and a possible possession with a demonic personality."


title: Session 9

text: "Session 9" was director Brad Anderson's first horror film, after directing two romantic comedy films, "Next Stop Wonderland" (1998) and "Happy Accidents" (2000). Anderson describes "Session 9" as an "American tragedy", and states that he and screenwriter Stephen Gevedon aimed "to subvert the conventions of the so-called horror genre that exists now", which he describes as "less horror than it is teen thriller."


title: Session 9

text: The film's plot was inspired by the Richard Rosenthal case, a murder that took place in Boston, where Anderson grew up, in the mid-1990s, in which a man supposedly killed his wife after she accidentally burnt his dinner, then cut out her heart and lungs and put them in his backyard on a stake. Anderson states that it was also "as you imagine, very much inspired by the location", Danvers State Asylum.


title: Session 9

text: "Don't Look Now", directed by Nicolas Roeg, was one inspiration for the film, for its sense of place and because the lead character realizes in the climax that he is at the heart of the mystery. Anderson has stated that he aimed to use sound to convey the plot as well as to generate "a creepy tone"; the sound design incorporated the subliminal use of animal and mechanical noises.


title: Session 9

text: Most of the film was shot in a small section of the Danvers Asylum; according to actor David Caruso, the rest of the building was "unsafe" for shooting. Caruso also claims the sets did not need to be dressed as all the props featured in the film were already there inside the building. Elaborating Caruso said:


title: Session 9

text: It was one of the first motion pictures to be shot in 24p HD digital video, which shoots at 24 frames-per-second like film, as opposed to regular digital video which shoots at 30 frames-per-second.


title: Session 9

text: "Session 9" premiered at the Fantasia Festival in July 2001. It was released to theaters on August 10, playing on 30 screens. It ended its American theatrical run on October 18, grossing a total of $378,176. The film was a greater financial success abroad, earning $1.2 million internationally.


title: Session 9

text: On Rotten Tomatoes the film has an approval rating of 64% based on 70 reviews, with an average rating 6.30/10. The site's consensus states, "Relying more on atmosphere than gore, "Session 9" is effectively creepy". On Metacritic it has a score of 58% based on reviews from 16 critics, indicating "mixed or average reviews."


title: Session 9

text: Some critics praised the film's dark, eerie atmosphere and lack of gore. "Entertainment Weekly" called the film "a marvel of vérité nightmare atmosphere." "Rolling Stone" called it "a spine-tingler", and praised Brad Anderson's direction. "Los Angeles Times" said of the film: ""Session 9" is so effective that its sense of uncertainty lingers long after the theater lights have gone up." Bloody Disgusting ranked the film fifth in its list of the twenty best horror films of the 2000s, writing, ""Session 9" isn't just a cheap, hack 'n' slash, instantly-forgettable type horror film, but a psychologically probing, deeply unsettling journey off the edge and into the abyss of the human mind." "Slant Magazine" favorably compared it to the 1973 film "Don't Look Now", writing, "Anderson's creeper is nowhere near as profound, but the film's old-fashioned pacing and revelatory camerawork bring to mind [Nicolas] Roeg's uniquely terrifying dreamworlds."


title: Session 9

text: Some reviewers criticized the film's ending. A negative review came from "Variety", which wrote, "while pic works up a nervously eerie paranoia, it finally doesn't know what to do with what it sets up." "San Francisco Chronicle" said, "the story doesn't quite pay off, characters are underwritten and the surprise ending is contrived and unconvincing." "The Village Voice" wrote, "the script for "Session 9" is so underwritten that even such lively character actors as David Caruso, Peter Mullan and Brendan Sexton III are left stranded." Dave Kehr, in a mixed review for "The New York Times", praises the "impeccable" performances and the dialogue's "authentic working-class snap", but criticizes the pacing which "often feels long and aimless", and concludes that the film "loses any sense of urgency or structure" because of Anderson's choice to leave the connections between events unstated.


title: Session 9

text: USA Films and Universal Home Entertainment released a DVD of "Session 9" on February 26, 2002. A Blu-ray edition was released in August 2016 by Scream Factory.


title: Session 9

text: The score to "Session 9" was composed by Seattle, Washington-based experimental band Climax Golden Twins. The score is in an ambient and dark ambient vein. The soundtrack was released on August 21, 2001, through Milan Records. "Choke Chain" by Sentridoh is played over the closing credits of the film, but is not featured on the album.


title: Polyvinyl acetate

text: Polyvinyl acetate (PVA, PVAc, poly(ethenyl ethanoate)), commonly known as wood glue, PVA glue, white glue, carpenter's glue, school glue, or Elmer's glue in the US, is a widely available adhesive used for porous materials like wood, paper, and cloth. An aliphatic rubbery synthetic polymer with the formula (CHO), it belongs to the polyvinyl ester family, with the general formula −[RCOOCHCH]−. It is a type of thermoplastic.


title: Polyvinyl acetate

text: The degree of polymerization of polyvinyl acetate is typically 100 to 5000, while its ester groups are sensitive to base hydrolysis and slowly convert PVAc into polyvinyl alcohol and acetic acid.


title: Polyvinyl acetate

text: The glass transition temperature of polyvinyl acetate is between 30 and 45 °C depending on the molecular weight.


title: Polyvinyl acetate

text: PVAc dispersions such as Elmer's Glue-All contain polyvinyl alcohol as a protective colloid. In alkaline conditions, boron compounds such as boric acid or borax cause the polyvinyl alcohol to cross-link, forming tackifying precipitates or toys, such as Slime and Flubber.


title: Polyvinyl acetate

text: A number of microorganisms can degrade polyvinyl acetate. Most commonly, damage is caused by filamentous fungi; however, algae, yeasts, lichens, and bacteria can also degrade polyvinyl acetate.


title: Polyvinyl acetate

text: The monomer, vinyl acetate, was first produced on an industrial scale by the addition of acetic acid to acetylene with a mercury(I) salt, but it is now primarily made by palladium-catalyzed oxidative addition of acetic acid to ethylene.


title: Polyvinyl acetate

text: PVA is a vinyl polymer. Polyvinyl acetate is prepared by the polymerization of vinyl acetate monomer (free-radical vinyl polymerization of the monomer vinyl acetate).


title: Polyvinyl acetate

text: As a dispersion in water (usually an emulsion), PVAc preparations are used as adhesives for porous materials, particularly for wood, paper, and cloth, and as a consolidant for porous building stone, in particular sandstone.


title: Polyvinyl acetate

text: The stiff homopolymer PVAc, but mostly the softer copolymer, a combination of vinyl acetate and ethylene, vinyl acetate ethylene (VAE), is also used in paper coatings, paint and other industrial coatings, as a binder in nonwovens in glass fibers, sanitary napkins, filter paper and in textile finishing.