title: Dislocation

text: The surface of a crystal can produce dislocations in the crystal. Due to the small steps on the surface of most crystals, stress in some regions on the surface is much larger than the average stress in the lattice. This stress leads to dislocations. The dislocations are then propagated into the lattice in the same manner as in grain boundary initiation. In single crystals, the majority of dislocations are formed at the surface. The dislocation density 200 micrometres into the surface of a material has been shown to be six times higher than the density in the bulk. However, in polycrystalline materials the surface sources do not have a major effect because most grains are not in contact with the surface.


title: Dislocation

text: The interface between a metal and an oxide can greatly increase the number of dislocations created. The oxide layer puts the surface of the metal in tension because the oxygen atoms squeeze into the lattice, and the oxygen atoms are under compression. This greatly increases the stress on the surface of the metal and consequently the amount of dislocations formed at the surface. The increased amount of stress on the surface steps results in an increase in dislocations formed and emitted from the interface.


title: Dislocation

text: Dislocations may also form and remain in the interface plane between two crystals. This occurs when the lattice spacing of the two crystals do not match, resulting in a misfit of the lattices at the interface. The stress caused by the lattice misfit is released by forming regularly spaced misfit dislocations. Misfit dislocations are edge dislocations with the dislocation line in the interface plane and the Burgers vector in the direction of the interface normal. Interfaces with misfit dislocations may form e.g. as a result of epitaxial crystal growth on a substrate.


title: Dislocation

text: Dislocation loops may form in the damage created by energetic irradiation. A prismatic dislocation loop can be understood as an extra (or missing) collapsed disk of atoms, and can form when interstitial atoms or vacancies cluster together. This may happen directly as a result of single or multiple collision cascades, which results in locally high densities of interstitial atoms and vacancies. In most metals, prismatic dislocation loops are the energetically most preferred clusters of self-interstitial atoms.


title: Dislocation

text: Geometrically necessary dislocations are arrangements of dislocations that can accommodate a limited degree of plastic bending in a crystalline material.


title: Dislocation

text: Tangles of dislocations are found at the early stage of deformation and appear as non well-defined boundaries; the process of dynamic recovery leads eventually to the formation of a cellular structure containing boundaries with misorientation lower than 15° (low angle grain boundaries).


title: Dislocation

text: Adding pinning points that inhibit the motion of dislocations, such as alloying elements, can introduce stress fields that ultimately strengthen the material by requiring a higher applied stress to overcome the pinning stress and continue dislocation motion.


title: Dislocation

text: The effects of strain hardening by accumulation of dislocations and the grain structure formed at high strain can be removed by appropriate heat treatment (annealing) which promotes the recovery and subsequent recrystallization of the material.


title: Dislocation

text: The combined processing techniques of work hardening and annealing allow for control over dislocation density, the degree of dislocation entanglement, and ultimately the yield strength of the material.


title: Dislocation

text: Repeated cycling of a material can lead to the generation and bunching of dislocations surrounded by regions that are relatively dislocation free. This pattern forms a ladder like structure known as a "persistent slip bands" (PSB). PSB's are so-called, because they leave marks on the surface of metals that even when removed by polishing, return at the same place with continued cycling.


title: Dislocation

text: PSB walls are predominately made up of edge dislocations. In between the walls, plasticity is transmitted by screw dislocations.


title: Dislocation

text: Where PSB's meet the surface, extrusions and intrusions form, which under repeated cyclic loading, can lead to the initiation of a fatigue crack.


title: Dislocation

text: Dislocations can slip in planes containing both the dislocation line and the Burgers vector, the so called glide plane. For a screw dislocation, the dislocation line and the Burgers vector are parallel, so the dislocation may slip in any plane containing the dislocation. For an edge dislocation, the dislocation and the Burgers vector are perpendicular, so there is one plane in which the dislocation can slip.


title: Dislocation

text: "Dislocation climb" is an alternative mechanism of dislocation motion that allows an edge dislocation to move out of its slip plane. The driving force for dislocation climb is the movement of vacancies through a crystal lattice. If a vacancy moves next to the boundary of the extra half plane of atoms that forms an edge dislocation, the atom in the half plane closest to the vacancy can "jump" and fill the vacancy. This atom shift "moves" the vacancy in line with the half plane of atoms, causing a shift, or positive climb, of the dislocation. The process of a vacancy being absorbed at the boundary of a half plane of atoms, rather than created, is known as negative climb. Since dislocation climb results from individual atoms "jumping" into vacancies, climb occurs in single atom diameter increments.


title: Dislocation

text: During positive climb, the crystal shrinks in the direction perpendicular to the extra half plane of atoms because atoms are being removed from the half plane. Since negative climb involves an addition of atoms to the half plane, the crystal grows in the direction perpendicular to the half plane. Therefore, compressive stress in the direction perpendicular to the half plane promotes positive climb, while tensile stress promotes negative climb. This is one main difference between slip and climb, since slip is caused by only shear stress.


title: Dislocation

text: One additional difference between dislocation slip and climb is the temperature dependence. Climb occurs much more rapidly at high temperatures than low temperatures due to an increase in vacancy motion. Slip, on the other hand, has only a small dependence on temperature.


title: Dislocation

text: Dislocation velocity is largely dependent upon shear stress and temperature, and can often be fit using a power law function:


title: Dislocation

text: where formula_12 is a material constant, formula_13 is the applied shear stress, formula_14 is a constant that decreases with increasing temperature. Increased shear stress will increase the dislocation velocity, while increased temperature will typically decrease the dislocation velocity. Greater phonon scattering at higher temperatures is hypothesized to be responsible for increased damping forces which slow the dislocation movement.


title: Dislocation

text: Two main types of mobile dislocations exist: edge and screw. Dislocations found in real materials are typically "mixed", meaning that they have characteristics of both.


title: Dislocation

text: A crystalline material consists of a regular array of atoms, arranged into lattice planes. An edge dislocation is a defect where an extra half-plane of atoms is introduced midway through the crystal, distorting nearby planes of atoms. When enough force is applied from one side of the crystal structure, this extra plane passes through planes of atoms breaking and joining bonds with them until it reaches the grain boundary. The dislocation has two properties, a line direction, which is the direction running along the bottom of the extra half plane, and the Burgers vector which describes the magnitude and direction of distortion to the lattice. In an edge dislocation, the Burgers vector is perpendicular to the line direction.


title: Dislocation

text: The stresses caused by an edge dislocation are complex due to its inherent asymmetry. These stresses are described by three equations:


title: Dislocation

text: where formula_18 is the shear modulus of the material, formula_19 is the Burgers vector, formula_20 is Poisson's ratio and formula_21 and formula_22 are coordinates.


title: Dislocation

text: These equations suggest a vertically oriented dumbbell of stresses surrounding the dislocation, with compression experienced by the atoms near the "extra" plane, and tension experienced by those atoms near the "missing" plane.


title: Dislocation

text: A "screw dislocation" can be visualized by cutting a crystal along a plane and slipping one half across the other by a lattice vector, the halves fitting back together without leaving a defect. If the cut only goes part way through the crystal, and then slipped, the boundary of the cut is a screw dislocation. It comprises a structure in which a helical path is traced around the linear defect (dislocation line) by the atomic planes in the crystal lattice. In pure screw dislocations, the Burgers vector is parallel to the line direction.


title: Dislocation

text: The stresses caused by a screw dislocation are less complex than those of an edge dislocation and need only one equation, as symmetry allows one radial coordinate to be used:


title: Dislocation

text: where formula_18 is the shear modulus of the material, formula_19 is the Burgers vector, and formula_26 is a radial coordinate.


title: Dislocation

text: This equation suggests a long cylinder of stress radiating outward from the cylinder and decreasing with distance. This simple model results in an infinite value for the core of the dislocation at formula_27 and so it is only valid for stresses outside of the core of the dislocation. If the Burgers vector is very large, the core may actually be empty resulting in a micropipe, as commonly observed in silicon carbide.


title: Dislocation

text: In many materials, dislocations are found where the line direction and Burgers vector are neither perpendicular nor parallel and these dislocations are called "mixed dislocations", consisting of both screw and edge character. They are characterized by formula_28, the angle between the line direction and Burgers vector, where formula_29 for pure edge dislocations and formula_30 for screw dislocations.


title: Dislocation

text: Partial dislocations leave behind a stacking fault. Two types of partial dislocation are the "Frank partial dislocation" which is sessile and the "Shockley partial dislocation" which is glissile.


title: Dislocation

text: A Frank partial dislocation is formed by inserting or removing a layer of atoms on the {111} plane which is then bounded by the Frank partial. Removal of a close packed layer is known as an "intrinsic" stacking fault and inserting a layer is known as an "extrinsic" stacking fault. The Burgers vector is normal to the {111} glide plane so the dislocation cannot glide and can only move through "climb".


title: Dislocation

text: In order to lower the overall energy of the lattice, edge and screw dislocations typically disassociate into a stacking fault bounded by two Shockley partial dislocations. The width of this stacking-fault region is proportional to the stacking-fault energy of the material. The combined effect is known as an "extended dislocation" and is able to glide as a unit. However, dissociated screw dislocations must recombine before they can cross slip, making it difficult for these dislocations to move around barriers. Materials with low stacking-fault energies have the greatest dislocation dissociation and are therefore more readily cold worked.


title: Dislocation

text: If two glide dislocations that lie on different {111} planes split into Shockley partials and intersect, they will produce a stair-rod dislocation with a Lomer-Cottrell dislocation at its apex. It is called a "stair-rod" because it is analogous to the rod that keeps carpet in-place on a stair.


title: Dislocation

text: A Jog describes the steps of a dislocation line that are not in the glide plane of a crystal structure. A dislocation line is rarely uniformly straight, often containing many curves and steps that can impede or facilitate dislocation movement by acting as pinpoints or nucleation points respectively. Because jogs are out of the glide plane, under shear they cannot move by glide (movement along the glide plane). They instead must rely on vacancy diffusion facilitated climb to move through the lattice. Away from the melting point of a material, vacancy diffusion is a slow process, so jogs act as immobile barriers at room temperature for most metals.


title: Dislocation

text: Jogs typically form when two non-parallel dislocations cross during slip. The presence of jogs in a material increases its yield strength by preventing easy glide of dislocations. A pair of immobile jogs in a dislocation will act as a Frank–Read source under shear, increasing the overall dislocation density of a material. When a material's yield strength is increased via dislocation density increase, particularly when done by mechanical work, it is called work hardening. At high temperatures, vacancy facilitated movement of jogs becomes a much faster process, diminishing their overall effectiveness in impeding dislocation movement.


title: Dislocation

text: Kinks are steps in a dislocation line parallel to glide planes. Unlike jogs, they facilitate glide by acting as a nucleation point for dislocation movement. The lateral spreading of a kink from the nucleation point allows for forward propagation of the dislocation while only moving a few atoms at a time, reducing the overall energy barrier to slip.


title: Dislocation

text: In two dimensions (2D) only the edge dislocations exist, which play a central role in melting of 2D crystals, but not the screw dislocation.


title: Dislocation

text: Those dislocations are topological point defects which implies that they cannot be created isolated by an affine transformation without cutting the hexagonal crystal up to infinity (or at least up to its border). They can only be created in pairs with antiparallel Burgers vector. If a lot of dislocations are e. g. thermally excited, the discrete translational order of the crystal is destroyed. Simultaneously, the shear modulus and the Young's modulus disappear, which implies that the crystal is molten to a fluid phase. The orientational order is not yet destroyed (as indicated by lattice lines in one direction) and one finds - very similar to liquid crystals - a fluid phase with typically a six-folded director field. This so-called hexatic phase still has an orientational stiffness. The isotropic fluid phase appears, if the dislocations dissociate into isolated five-folded and seven-folded disclinations. This two step melting is described within the so-called Kosterlitz-Thouless-Halperin-Nelson-Young-theory (KTHNY theory), based on two transitions of Kosterlitz-Thouless-type.


title: Dislocation

text: Transmission electron microscopy can be used to observe dislocations within the microstructure of the material. Thin foils of material are prepared to render them transparent to the electron beam of the microscope. The electron beam undergoes diffraction by the regular crystal lattice planes into a diffraction pattern and contrast is generated in the image by this diffraction (as well as by thickness variations, varying strain, and other mechanisms). Dislocations have different local atomic structure and produce a strain field, and therefore will cause the electrons in the microscope to scatter in different ways. Note the characteristic 'wiggly' contrast of the dislocation lines as they pass through the thickness of the material in the figure (also note that dislocations cannot end in a crystal, and these dislocations are terminating at the surfaces since the image is a 2D projection).


title: Dislocation

text: Dislocations do not have random structures, the local atomic structure of a dislocation is determined by the Burgers vector. One very useful application of the TEM in dislocation imaging is the ability to experimentally determine the Burgers vector. Determination of the Burgers vector is achieved by what is known as formula_31 ("g dot b") analysis. When performing dark field microscopy with the TEM, a diffracted spot is selected to form the image (as mentioned before, lattice planes diffract the beam into spots), and the image is formed using only electrons that were diffracted by the plane responsible for that diffraction spot. The vector in the diffraction pattern from the transmitted spot to the diffracted spot is the formula_32 vector. The contrast of a dislocation is scaled by a factor of the dot product of this vector and the Burgers vector (formula_31). As a result, if the Burgers vector and formula_32 vector are perpendicular, there will be no signal from the dislocation and the dislocation will not appear at all in the image. Therefore, by examining different dark field images formed from spots with different g vectors, the Burgers vector can be determined.


title: Dislocation

text: Field ion microscopy and atom probe techniques offer methods of producing much higher magnifications (typically 3 million times and above) and permit the observation of dislocations at an atomic level. Where surface relief can be resolved to the level of an atomic step, screw dislocations appear as distinctive spiral features – thus revealing an important mechanism of crystal growth: where there is a surface step, atoms can more easily add to the crystal, and the surface step associated with a screw dislocation is never destroyed no matter how many atoms are added to it.


title: Dislocation

text: When a dislocation line intersects the surface of a metallic material, the associated strain field locally increases the relative susceptibility of the material to acid etching and an etch pit of regular geometrical format results. In this way, dislocations in silicon, for example, can be observed "indirectly" using an interference microscope. Crystal orientation can be determined by the shape of the etch pits associated with the dislocations.


title: Dislocation

text: If the material is deformed and repeatedly re-etched, a series of etch pits can be produced which effectively trace the movement of the dislocation in question.


title: Dislocation

text: Dislocation motion as a result of external stress on a crystal lattice can be described using virtual internal forces which act perpendicular to the dislocation line. The Peach-Koehler equation can be used to calculate the force per unit length on a dislocation as a function of the Burgers vector, formula_19, stress, formula_36, and the sense vector, formula_37.


title: Dislocation

text: The force per unit length of dislocation is a function of the general state of stress, formula_39, and the sense vector, formula_37.


title: Dislocation

text: The components of the stress field can be obtained from the Burgers vector, normal stresses, formula_36, and shear stresses, formula_13.


title: Dislocation

text: The force between dislocations can be derived from the energy of interactions of the dislocations, formula_45. The work done by displacing cut faces parallel to a chosen axis that creates one dislocation in the stress field of another displacement. For the formula_21 and formula_22 directions:


title: Dislocation

text: Dislocations will also tend to move towards free surfaces due to the lower strain energy. This fictitious force can be expressed for a screw dislocation with the formula_22 component equal to zero as:


title: Dislocation

text: where formula_52 is the distance from free surface in the formula_21 direction. The force for an edge dislocation with formula_54 can be expressed as:


title: Traitorous eight

text: The traitorous eight was a group of eight employees who left Shockley Semiconductor Laboratory in 1957 to found Fairchild Semiconductor. William Shockley had in 1956 recruited a group of young Ph.D. graduates with the goal to develop and produce new semiconductor devices. While Shockley had received a Nobel Prize in Physics and was an experienced researcher and teacher, his management of the group was authoritarian and unpopular. This was accentuated by Shockley's research focus not proving fruitful. After the demand for Shockley to be replaced was rebuffed, the eight left to form their own company.


title: Traitorous eight

text: Shockley described their leaving as a "betrayal". The eight who left Shockley Semiconductor were Julius Blank, Victor Grinich, Jean Hoerni, Eugene Kleiner, Jay Last, Gordon Moore, Robert Noyce, and Sheldon Roberts. In August 1957, they reached an agreement with Sherman Fairchild, and on September 18, 1957, they formed Fairchild Semiconductor. The newly founded Fairchild Semiconductor soon grew into a leader in the semiconductor industry. In 1960, it became an incubator of Silicon Valley and was directly or indirectly involved in the creation of dozens of corporations, including Intel and AMD. These many spin-off companies came to be known as "Fairchildren".


title: Traitorous eight

text: In the winter of 1954–1955, William Shockley, an inventor of the transistor and a visiting professor at Stanford University, decided to establish his own mass production of advanced transistors and Shockley diodes. He found a sponsor in Raytheon, but Raytheon discontinued the project after a month. In August 1955, Shockley turned for advice to the financier Arnold Beckman, the owner of Beckman Instruments. Shockley needed one million dollars. Beckman knew that Shockley had no chance in the business, but believed that Shockley's new inventions would be beneficial for his own company and did not want to give them to his competitors. Accordingly, Beckman agreed to create and fund a laboratory under the condition that its discoveries should be brought to mass production within two years.


title: Traitorous eight

text: The new department of Beckman Instruments took the name Shockley Semi-Conductor Laboratories (the hyphen was conventional in those years). During 1955, Beckman and Shockley signed the deal, bought licenses on all necessary patents for $25,000, and selected the location in Mountain View, near Palo Alto, California. Though Shockley did recruit four PhD physicists, William W. Happ (from Raytheon Corporation) George Smoot Horsley and Leopoldo B. Valdes (both from Bell Labs), and Richard Victor Jones (a fresh Berkeley graduate), the location provided limited enticement for new employees. The vast majority of semiconductor-related companies and professionals were based on the East Coast, so Shockley posted ads in "The New York Times" and the "New York Herald Tribune". Early respondents included Sheldon Roberts of Dow Chemical, Robert Noyce of Philco, and Jay Last, a former intern of Beckman Instruments. The newspaper campaign brought some three hundred responses, and fifteen people, including Gordon Moore and David Allison, Shockley himself recruited at a meeting of the American Physical Society.


title: Traitorous eight

text: Selection continued throughout 1956. Shockley was a proponent of social technologies (which later led him to eugenics) and asked each candidate to pass a psychological test, followed by an interview.


title: Traitorous eight

text: Blank, Last, Moore, Noyce, and Roberts started working in April–May, and Kleiner, Grinich, and Hoerni came during the summer. By September 1956, the lab had 32 employees, including Shockley. Each successful candidate had to negotiate his salary with Shockley. Kleiner, Noyce, and Roberts settled for $1,000 per month; the less-experienced Last got $675. Hoerni did not bother about his payment. Shockley set his own salary at $2,500 and made all salaries accessible to all employees.


title: Traitorous eight

text: The members of the future traitorous eight were aged between 26 (Last) and 33 (Kleiner), and six of them held PhDs. Hoerni was an experienced scientist and gifted manager, and, according to Bo Lojek, matched Shockley in intellect. Only Noyce was involved in semiconductor research, and only Grinich had experience in electronics.


title: Traitorous eight

text: Throughout 1956, most members of the lab were assembling and tuning the equipment, and "pure scientists" Hoerni and Noyce carried out individual applied research. Shockley refused to hire technical staff, believing that his scientists should be able to handle all technological processes. After resettlement, he focused on fine-tuning Shockley diodes for mass production, and five employees, led by Noyce, continued the work on a field effect transistor for Beckman Instruments. Shockley refused to work on bipolar transistors, which later was proven a strategic mistake. Because the work on Shockley diodes took so much effort the produced devices were commercial failures.


title: Traitorous eight

text: According to Noyce and Moore, as well as David Brock and Joel Shurkin, the shift from bipolar transistors to Shockley diodes was unexpected. Shockley initially planned to work on the mass production of diffusion bipolar transistors, but then set up a "secret project" on Shockley diodes, and in 1957 stopped all works on bipolar transistors. The reasons for this turn are unknown. According to Beckman's biographer, Shockley regarded his diode as an interesting scientific problem, and chose it, neglecting Beckman's commercial interests.


title: Traitorous eight

text: Bo Lojek, based on the archives of Shockley, believes that Shockley Labs never worked on bipolar transistors; that Shockley diodes were Shockley and Beckman's original target, for which Beckman Instruments received military R&D contracts; and that Shockley diodes could have found widespread use in telephony if Shockley had improved their reliability.


title: Traitorous eight

text: Historians and colleagues generally agree that Shockley was a poor manager and businessman. From early childhood he was prone to outbursts of unprovoked aggression, which were suppressed only due to the internal discipline of his past working environment. He also tended to see rivals, even in his own subordinates.


title: Traitorous eight

text: On November 1, 1956, it was announced that the 1956 Nobel Prize in Physics would be awarded to Shockley, Bardeen, and Brattain. The related public events of November–December overtired Shockley and took him away from the lab at a time when it had several management problems. Despite the festivities, the atmosphere in the lab was unhealthy.


title: Traitorous eight

text: Although Shockley was never diagnosed by psychiatrists, historians characterized Shockley's state of mind in 1956–1957 as paranoia or autism. All phone calls were recorded, and the staff was not allowed to share their results with each other, which was not feasible since they all worked in a small building. Shockley, not trusting his employees, was sending their reports to Bell Labs for double-checking. At some point, he sent the entire lab for a lie detector test, though everyone refused.


title: Traitorous eight

text: The team started losing its members, starting with Jones, a technologist, who left in January 1957 due to a conflict with Grinich and Hoerni. Noyce and Moore then stood on different sides: Moore led the dissidents, whereas Noyce stood behind Shockley and tried to resolve conflicts. Shockley appreciated that and considered Noyce as his sole support in the group.


title: Traitorous eight

text: In March 1957, Kleiner, who was beyond Shockley's suspicions, asked permission ostensibly to visit an exhibition in Los Angeles. Instead, he flew to New York to seek investors for a new company, and his parents, New York residents, assisted him. Kleiner was supported by Blank, Grinich, Last, Roberts, Hoerni and Moore. Arthur Rock and Alfred Coyle from Hayden, Stone & Co. became interested in the offer, believing that trainees of a Nobel laureate were destined to succeed.


title: Traitorous eight

text: As a last resort, on May 29, 1957, a group led by Moore presented Arnold Beckman with an ultimatum: solve the "Shockley problem" or they would leave. Moore suggested finding a professor position for Shockley and replacing him in the lab with a professional manager. Beckman refused, believing that Shockley could still improve the situation, later regretting this decision.


title: Traitorous eight

text: In June 1957, Beckman finally put a manager between Shockley and the team, but by then seven key employees had already made their decision. At the last minute they were joined by Noyce. Roberts persuaded him to attend the meeting of the "California group", as they called themselves in the agreement with Fairchild. The meeting was held at the Clift Hotel in California and was attended by Rock and Coyle. These ten people became the core of a new company.


title: Traitorous eight

text: Finding investors proved to be difficult. The US electronics industry was concentrated in the east, and the California group preferred to stay near Palo Alto. In August 1957, Rock and Coyle met with the inventor and businessman Sherman Fairchild, founder of Fairchild Aircraft and Fairchild Camera. Fairchild sent Rock to his deputy, Richard Hodgson. Hodgson, risking his reputation, accepted the offer and within a few weeks completed all paperwork. The capital of the new company, Fairchild Semiconductor, was divided into 1,325 shares. Each member of the traitorous eight received 100 shares, 225 shares went to Hayden, Stone & Co and 300 shares remained in reserve. Fairchild provided a loan of $1.38 million. To secure the loan, the traitorous eight gave Fairchild the voting rights on their shares, with the right to buy their shares at a fixed total price of $3 million.


title: Traitorous eight

text: On September 18, 1957, Blank, Grinich, Kleiner, Last, Moore, Noyce, Roberts, and Hoerni resigned from Shockley Labs. They became known as the "traitorous eight", though it is not known who coined the term. Shockley could never understand the reasons for this defection. After that time, he never talked to Noyce again, but continued to follow the work of "The Eight". He also combed through all records left by The Eight, basing patents, held as Shockley Labs' intellectual property, on any important ideas. (Technically, in accordance with U.S. law, those patents were issued to the respective inventing employees.)


title: Traitorous eight

text: In 1960, with the help of a new team, Shockley brought his own diode to serial production, but time had been lost, and competitors had already come close to the development of integrated circuits. Beckman sold the unprofitable Shockley Labs to investors from Cleveland. On July 23, 1961, Shockley was seriously injured in a car crash, and after recovery left the company and returned to teaching at Stanford. In 1969, IT&T, the new owners of Shockley Labs moved the company to Florida. When the staff refused to move, the lab ceased to exist.


title: Traitorous eight

text: In November 1957, The Eight moved out of Grinich's garage into a new, empty building on the border of Palo Alto and Mountain View. Their starting salaries ranged from $13,800 to $15,600 per year. Hodgson, who headed the board of directors, suggested Noyce as the operational manager of the company, but Noyce refused. Fairchild, knowing Noyce's personality, also opposed his leadership. Regardless of the will of Fairchild, Noyce, and Moore, who were responsible for the research and production, respectively, became the "leaders among equals".


title: Traitorous eight

text: The group immediately set a clear goal to produce an array of silicon diffusion mesa transistors for digital devices, utilizing the research results of Bell Labs and Shockley Labs. Moore, Hoerni and Last led three teams working on three alternative technologies. The technology of Moore resulted in a higher yield of operational n-p-n transistors, and in July–September 1958, they went into mass production. The release of p-n-p transistors of Hoerni was delayed until early 1959. This created the Moore-Hoerni conflict at Fairchild: Moore ignored the contribution of Hoerni, and Hoerni believed that his work was unfairly treated. However, the Moore transistors formed the prestige of Fairchild Semiconductor – for several years, they beat all the competitors.


title: Traitorous eight

text: In 1958, Fairchild mesa transistors were considered for the D-17B Minuteman I guidance computer, but they did not meet military standards of reliability. Fairchild already had a solution in the planar technology of Hoerni proposed on December 1, 1957. In the spring of 1958, Hoerni and Last were spending nights on experiments with the first planar transistors. The planar technology later became the second most important event in the history of microelectronics, after the invention of the transistor, but in 1959 it went unnoticed. Fairchild announced the transition from mesa to planar technology in October 1960. However, Moore refused to credit this achievement to Hoerni, and in 1996 even attributing it to unnamed Fairchild engineers.


title: Traitorous eight

text: In 1959, Sherman Fairchild exercised his right to purchase shares of the members of the traitorous eight. Jay Last recalled (in 2007) that this event happened too early and turned former partners into ordinary employees, destroying the team spirit. In November 1960, Tom Bay, the Vice President of Marketing at Fairchild, accused Last of squandering money and demanded termination of Last's project of developing integrated circuits. Moore refused to help Last, and Noyce declined to discuss the matter. This conflict was the last straw: on January 31, 1961, Last and Hoerni left Fairchild and to head Amelco, the microelectronics branch of Teledyne. Kleiner and Roberts joined them after a few weeks. Blank, Grinich, Moore, and Noyce stayed with Fairchild. The traitorous eight split into two groups of four.


title: Traitorous eight

text: From 1960–1965, Fairchild was the undisputed leader of the semiconductor market, both technologically and in terms of sales. Early 1965 brought the first signs of management problems. In November 1965, the creators of integrated operational amplifiers Bob Widlar and David Talbert left for National Semiconductor. In February 1967, they were followed by five top managers who disagreed with Noyce. Noyce started litigation with shareholders and effectively removed himself from the operational management. In July 1967, the company became unprofitable and lost their leading position in the market to Texas Instruments.


title: Traitorous eight

text: In March 1968, Moore and Noyce decided to leave Fairchild and again, as nine years prior, turned to Arthur Rock. In the summer of 1968, they founded NM Electronics. Blank, Grinich, Kleiner, Last, Hoerni, and Roberts set aside the past disagreements and financially supported the company of Moore and Noyce. A year later, NM Electronics bought the trade name rights from the hotel chain Intelco and took the name of Intel. Moore held senior positions at Intel until 1997 when he was named Chairman Emeritus of Intel Corporation. Noyce left Intel in 1987 to lead the non-profit consortium Sematech. He died suddenly in 1990, the first of The Eight.


title: Traitorous eight

text: Grinich left Fairchild in 1968 for a short sabbatical and then taught at UC Berkeley and Stanford, where he published the first comprehensive textbook on integrated circuits. He later co-founded and ran several companies developing industrial radio-frequency identification (RFID) tags.


title: Traitorous eight

text: Blank was the last of The Eight to leave Fairchild in 1969. He founded the financial firm Xicor specializing in innovative start-ups, and in 2004 sold it for $529 million.


title: Traitorous eight

text: Hoerni headed Amelco until the summer of 1963 and, after the conflict with the Teledyne owners, for three years headed Union Carbide Electronics. In July 1967, supported by the watch company Société Suisse pour l'Industrie Horlogère (the predecessor of Swatch Group) founded Intersil, the company that created the market for custom CMOS circuits. The circuits developed by Intersil for Seiko in 1969–1970 contributed to the rise of Japanese electronic watches. Intersil and Intel weren't competitors as Intel released a limited set of templated circuits for computers and sold them initially only in the U.S. market, whereas Intersil focused on custom CMOS circuits with low power consumption and sold them worldwide.


title: Traitorous eight

text: Last remained with Amelco and for twelve years served as Vice President of Technology at Teledyne. In 1982, he founded Hillcrest Press specializing in art books. After leaving Amelco, Roberts led his own business, and in 1973–1987 served as a trustee of the Rensselaer Polytechnic Institute. Amelco, after numerous mergers, acquisitions, and renaming, became a subsidiary of Microchip Technology.


title: Traitorous eight

text: In 1972, Kleiner and Tom Perkins from Hewlett-Packard founded the venture capital fund Kleiner Perkins Caufield & Byers, which has been involved in the creation and/or funding of Amazon.com, Compaq, Genentech, Intuit, Lotus, Macromedia, Netscape, Sun Microsystems, Symantec and dozens of other companies. Kleiner later wrote that his goal was to geographically spread the venture financing.


title: Traitorous eight

text: In May 2011, the California Historical Society gave the "Legends of California Award" to The Eight. Blank, Last, Moore, and Roberts' son Dave attended the event in San Francisco.


title: Traitorous eight

text: In research, reporting, and popular lore related to Silicon Valley, the term "Fairchildren" has been used to refer to:


title: Traitorous eight

text: One of the first articles to identify Fairchild as the parent of so many spin-offs appeared in "Innovation Magazine" in 1969. The spin-off companies, such as AMD, Intel, Intersil and restructured National Semiconductor, were different from those of the east coast and California's electronic companies established in the 1940s and 1950s. "Old Californians" like Beckman and Varian Associates did not trust Wall Street and kept control of their companies for decades, whereas the new companies of the 1960s were created for a quick (within 3–5 years) public sale of shares. Their founders built a business strategy based on the expectations of the investment banks. Another characteristic of Silicon Valley was the mobility of managers and professionals among companies. Partly because of Noyce, Silicon Valley developed a culture of openly denying the hierarchical culture of traditional corporations. People remained faithful to each other, but not to the employer or the industry. Fairchild "alumni" can be found not only in electronics-related but also financial and public relations companies.


title: The Man with Two Brains

text: The Man with Two Brains is a 1983 American science fiction black comedy film directed by Carl Reiner and starring Steve Martin and Kathleen Turner.


title: The Man with Two Brains

text: Written by Martin, Reiner and George Gipe and shot in summer 1982 at Laird International Studios in Culver City, California, the film is a broad comedy, with Martin starring as Dr. Michael Hfuhruhurr, a pioneering neurosurgeon with a cruel and unfaithful new wife, Dolores Benedict (Turner).


title: The Man with Two Brains

text: Dr. Michael Hfuhruhurr, a widowed brain surgeon, is renowned for inventing a method of "cranial screw-top" brain surgery. He saves the life of Dolores Benedict, a gold-digging femme fatale who is accidentally run over by Michael when fleeing the scene of her latest husband's fatal coronary, caused by her malicious mind-games and scheming. As she recovers, Michael falls in love and they marry. Dolores torments Michael by pretending to be too ill to consummate the marriage, citing a continuing headache. On a honeymoon and business trip to a medical conference in Vienna, a city living in fear of the serial "Elevator Killer", Hfuhruhurr meets mad scientist Dr. Alfred Necessiter, who has created a technique enabling him to store living brains in liquid-filled jars using the Elevator Killer's victims.


title: The Man with Two Brains

text: Michael discovers he can communicate telepathically with one of Necessiter's brains, that of Anne Uumellmahaye. Michael and Anne fall in love, with Michael taking her brain away to spend more time with her. Dolores — having learned that Michael has received a large inheritance from his step-grandmother — attempts to reignite their relationship, but catches on to his relationship with Anne when she spots him in a rowboat with the jar. She attempts to kill Anne by putting her brain in an oven, causing Michael to literally toss Dolores out of his house.


title: The Man with Two Brains

text: Michael consults with Necessiter, who informs him that brains in tanks do not survive long, with Anne being his longest-living one to date. Necessiter recommends transplanting Anne's brain into a body of a recently-deceased woman, revealing that he has perfected a process that could allow him to do so. Filling a syringe with window cleaner, the substance used by the Elevator Killer, Michael sees a crowd gathering around an attractive woman hit by a car, and is seen as odd for hoping she will expire, only to see her regain consciousness. Michael next selects Fran - a prostitute with an annoying voice - but his conscience prevents him from killing her. Stepping into an elevator, he finds that Dolores has just been murdered by the Elevator Killer, who turns out to be Merv Griffin. Michael takes Dolores' corpse, and Griffin promises to turn himself in to the police.


title: The Man with Two Brains

text: Michael hurriedly takes Dolores's body to Necessiter's lab. He is stopped by the Austrian police, who suspect him of drunk driving. After a series of unusual sobriety tests, the police permit him to leave. However, as Dolores' body flails, the police realize that she was not drunk, but dead, and pursue his car. Michael makes it to the lab, where Necessiter transfers Anne's consciousness to Dolores's body, which is viewed by the stunned policemen. In the process, Michael is electrically shocked by the equipment and falls into a coma.


title: The Man with Two Brains

text: Waking up six weeks later, Michael meets Anne in Dolores's body. Anne is a compulsive eater, and has gained considerable weight in her new body. Michael loves Anne for who she is, and they get married. A note in the credits requests that the audience report the whereabouts of Merv Griffin if they see him.


title: The Man with Two Brains

text: On Rotten Tomatoes the film has an approval rating of 77% based on reviews from 22 critics. The site's consensus states "As spastically uneven as its zany title suggests, "The Man with Two Brains" isn't peak Steve Martin -- but it's still often close enough to enjoy." On Metacritic the film has a score of 61 out of 100 based on 9 critic reviews, indicating "generally favorable reviews".


title: The Man with Two Brains

text: Roger Ebert gave the film 2 out of 4 stars, and wrote that despite the fact that he "never found Steve Martin irresistibly funny" ... "it's a tribute to "The Man With Two Brains" that I found myself laughing a fair amount of the time, despite my feelings about Martin."


title: Danny Antonucci

text: Daniel Edward Antonucci (, ; born February 27, 1957) is a Canadian animator, director, producer, and writer. Antonucci is known for creating the Cartoon Network animated comedy series "Ed, Edd n Eddy". He also created "Lupo the Butcher", "Cartoon Sushi", and "The Brothers Grunt".


title: Danny Antonucci

text: Danny Antonucci dropped out of the Sheridan College of Visual Arts to take a job as an animator at Hanna-Barbera, where he worked on a number of series, including "Fables of the Green Forest", "The Flintstone Comedy Show", "Scooby-Doo and Scrappy-Doo", "The Smurfs", and "Richie Rich". He continued his career in Vancouver, where he worked on animated shorts and television commercials for International Rocketship Limited, and created his first solo work, the animated short "Lupo the Butcher". At MTV, he worked on a number of commercials, his series "The Brothers Grunt", and the animation showcase program "Cartoon Sushi", which he co-created with Keith Alcorn. He went on to create "Ed, Edd n Eddy" for Cartoon Network. In 2008, Antonucci signed to WildBrain.


title: Danny Antonucci

text: Throughout his career, Antonucci won a number of awards. Many of his commercials for Converse, ESPN and Levi's won a number of awards. "Lupo the Butcher" was a successful short and is considered to be a cult classic.


title: Danny Antonucci

text: Antonucci's parents were Italian immigrants to Canada. His experiences as a child in an immigrant family deeply influenced his later work, such as "Lupo the Butcher".


title: Danny Antonucci

text: Antonucci attended the Sheridan College of Visual Arts but quit to take a job as an animator at Canimage Production, a division of Hanna-Barbera.


title: Danny Antonucci

text: Starting his career as an animator, Antonucci worked on numerous shows, including "The Flintstone Comedy Show", "Scooby-Doo and Scrappy-Doo", "The Smurfs", and "Richie Rich".


title: Danny Antonucci

text: Intending to move to Los Angeles in 1984 to find more work, Antonucci landed in Vancouver, British Columbia. He landed a job at International Rocketship Limited, animating short films and television commercials. His first effort was on the short film "Hooray for Sandbox Land".


title: Danny Antonucci

text: Antonucci's first solo work was "Lupo the Butcher", produced by International Rocketship Limited, about a short-tempered butcher who swears at the meat he is cutting and gets extremely mad at the smallest mistakes. Antonucci explains the short arose out of his own frustration at having to work in children's film for so long, and to try his hand at creating a full-fledged character on film. The short animated film screened at several film festivals, including Spike and Mike's Sick and Twisted Festival of Animation in the United States.


title: Danny Antonucci

text: The 'Lupo' character was eventually licensed by the Converse athletic shoe company. This led to additional work, including animated commercials for Levi Strauss & Co. and MTV. He also originally created a mascot for Cartoon Network, known as the jester, as well as the mascot's bumpers.


title: Danny Antonucci

text: On April 1, 1994, Antonucci started an animation company named a.k.a. Cartoon, which produced the short-lived MTV series "The Brothers Grunt", which began airing in 1994 and ended its run in 1995. Antonucci went on to work on MTV's "Cartoon Sushi" show in 1997, directing, writing and providing voices, in addition to being responsible for the title sequence of the show.


title: Danny Antonucci

text: Feeling confined to "gross" and "edgy" work, such as his series "The Brothers Grunt", Antonucci decided to produce an animated children's television show again with his company a.k.a. Cartoon. He resolved, however, to ensure that the series was produced in a way similar to the cartoon styles from the 1940s to the 1970s. Antonucci spent months designing the show, before trying to sell it to Nickelodeon. Nickelodeon told him that they would take the show, if they also obtained creative control. Antonucci refused to give it, and instead took the show to Cartoon Network. A deal was ultimately made for Cartoon Network to commission the show, after they agreed to let Antonucci go in his own direction.


title: Danny Antonucci

text: Antonucci is a strong advocate of hand-drawn animation. The wobbling animation in "Ed, Edd n Eddy" is an homage to the hand-drawn cartoons with a style that harkens back to cartoons of the 1940s to the 1970s. To give the impression of movement, "Ed, Edd n Eddy" uses shimmering character outlines similar to "Squigglevision". The crawling lines are not nearly as active as those in "Dr. Katz, Professional Therapist", but are still visible, and Antonucci likens it to cartoons of the 1930s.


title: Danny Antonucci

text: According to Antonucci, the characters were based on real people in his life. The personalities of Ed, Edd, and Eddy are based on personal traits of himself, and the activities of his two sons. The Eds also possess personality traits similar to The Three Stooges, whose money-making schemes and antics also invariably backfire. The cul-de-sac children and the Kanker Sisters were all based on children he grew up with. Antonucci also stated that he believed it was important to add Plank, a board of wood, to the show, stating that he "thought it would be really cool to do the show with Plank taking on a character of his own" and to cause Jonny to do things he would usually never do. He also stated that Rolf is strongly based on himself and his cousins, since he was part of an immigrant family, and grew up in a first-generation foreign household with different customs and ways of living.


title: Danny Antonucci

text: "Ed, Edd n Eddy" is the only a.k.a. Cartoon show to have a movie based on the animated television series. The series' finale movie, "Ed, Edd n Eddy's Big Picture Show", aired on November 8, 2009, officially ending the series.


title: Danny Antonucci

text: While Antonucci was working on "Ed, Edd n Eddy's Big Picture Show", it was announced on September 4, 2008 that he signed to WildBrain; Antonucci stated that he was "already kicking around three different ideas for his first WildBrain project". On June 11, 2013, US animator Joe Murray posted a short interview with Antonucci for his class on his website, and on the end wrote: "He's currently working on a new series, so rock on." In November 2020, Antonucci confirmed a series based on "Lupo the Butcher" was in development for release on Netflix which got canceled due to creative differences between Antonucci and Netflix.


title: Danny Antonucci

text: Antonucci's first solo work "Lupo the Butcher" was a successful short and is considered to be a cult classic. Eric Fogel, creator of "Celebrity Deathmatch", stated that "Lupo the Butcher" "opened [his] eyes to a world of animation that was strictly for grownups and inspired [him] to pursue a career path that was a bit more... twisted". Throughout his career, Antonucci received a number of awards. He worked on a number of award-winning commercials for Converse, ESPN and Levi's. In 1998, for his work on "Cartoon Sushi", Antonucci received a National Cartoonists Society Division Award for Television Animation. "Ed, Edd n Eddy" received various awards and nominations; for his work on the series, he won a Reuben Award for Best Television Animation in 1999 and a Leo Award for Best Director in an Animated Production or Series in 2000. With an almost 11-year run, it remains the longest running original Cartoon Network series and Canadian-made animated series to date. It was also Cartoon Network's most popular series among boys ages 2–11. Bob Higgins, head of WildBrain, considered "Ed, Edd n Eddy" to be a "landmark in animation". Joe Murray, famous for creating the animated series "Rocko's Modern Life" and "Camp Lazlo", called Antonucci "one of the founders and mainstays of modern animation".


title: Erik (wrestler)

text: Raymond Rowe Sr. (born August 21, 1984) is an American professional wrestler currently signed to WWE, where he performs on the SmackDown brand under the ring name Erik. He is also known for his work in Ring of Honor (ROH), where he and his tag team partner Hanson (collectively known as War Machine in ROH) are former ROH World Tag Team Champions and IWGP Tag Team Champions.


title: Erik (wrestler)

text: Rowe was trained by Josh Prohibition and Lou Marconi. He debuted on the independent circuit in May 2003.


title: Erik (wrestler)

text: Rowe made his Ring of Honor debut on June 1, 2013 in a losing effort against Bobby Fish. Following this, he returned to ROH on January 4, 2014, as part of that year's Top Prospect Tournament and defeated Kongo in a first round match. After managing to advance to the finals, Rowe ultimately lost the Tournament to Hanson. Despite this, Rowe began regularly performing for ROH following the tournament in addition to forming the tag team War Machine with Hanson on April 4, 2014.


title: Erik (wrestler)

text: In August, Rowe was seriously injured in a motorcycle accident and was out of action for several months. On March 1, 2015, Rowe made his return to ROH at the promotion's 13th Anniversary Show by assisting his partner Hanson after the World Championship main event. On August 22, War Machine defeated Killer Elite Squad (Davey Boy Smith Jr. and Lance Archer) in a non-title match and afterwards challenged them to a match for their GHC Tag Team Championship, a title owned by the Japanese Pro Wrestling Noah promotion. War Machine received their title shot in Japan on September 19, but were defeated by the Killer Elite Squad. On December 18 at Final Battle, War Machine defeated The Kingdom (Matt Taven and Michael Bennett) to win the ROH World Tag Team Championship. They lost the title to The Addiction (Christopher Daniels and Frankie Kazarian) on May 9, 2016, at War of the Worlds. War Machine finished with ROH on December 16, 2017.


title: Erik (wrestler)

text: On September 14, 2015, Rowe and Hanson made their Japanese debuts for Pro Wrestling Noah, teaming with Takashi Sugiura in a six-man tag team main event, where they defeated Suzuki-gun (Davey Boy Smith Jr., Lance Archer and Minoru Suzuki). This led to a match five days later, where War Machine unsuccessfully challenged Smith and Archer for the GHC Tag Team Championship.


title: Erik (wrestler)

text: In November 2016, War Machine made their debut for New Japan Pro-Wrestling (NJPW) by entering the 2016 World Tag League. They finished the tournament on December 7 with a record of four wins and three losses, failing to advance to the finals.


title: Erik (wrestler)

text: On April 9, 2017, at Sakura Genesis 2017, War Machine defeated Tencozy (Hiroyoshi Tenzan and Satoshi Kojima) to win the IWGP Tag Team Championship. They lost the title to Guerrillas of Destiny (Tama Tonga and Tanga Loa) on June 11 at Dominion 6.11 in Osaka-jo Hall, regaining it in a no disqualification match on July 1 at G1 Special in USA. They lost the title to Killer Elite Squad in a three-way match, also involving Guerrillas of Destiny, on September 24 at Destruction in Kobe.


title: Erik (wrestler)

text: On January 16, 2018, WWE announced that Rowe had signed a contract with the company and would be reporting to the WWE Performance Center. On the April 11 episode of "NXT", he and Hanson, now called the War Raiders, made their television debuts, attacking Heavy Machinery (Otis Dozovic and Tucker Knight) and the team of Riddick Moss and Tino Sabbatelli. On the October 17 episode of "NXT", they challenged The Undisputed Era (Kyle O'Reilly and Roderick Strong) for the NXT Tag Team Championship, but won by disqualification after Bobby Fish attacked them with a steel chair; thus, they did not win the titles. The War Raiders would go on to main event , teaming with Ricochet and Pete Dunne against The Undisputed Era in the WarGames match with The Viking Raiders, Dunne and Ricochet winning the match. At , Rowe and Hanson defeated The Undisputed Era to win the NXT Tag Team Championship. They successfully defended their tag team championships at against the team of Ricochet and Aleister Black. After having successful defenses with the NXT Tag Titles, both Rowe and Hanson would relinquish the titles after both men believed no team in "NXT" could beat them for the titles.


title: Erik (wrestler)

text: During the Superstar Shakeup event, Rowe and his partner Hanson would debut on Raw and be renamed Ivar and Erik. They also would be repackaged with the new name "The Viking Experience". The following week the team was renamed to The Viking Raiders. On the October 14, 2019, episode of "Monday Night Raw" Erik would capture the Raw Tag Team championships alongside his partner Ivar as "The Viking Raiders" by defeating the team of Dolph Ziggler and Robert Roode. At , The Viking Raiders would host an open challenge for the Raw Tag Titles and The O.C would answer the challenge, but the match would end in a double countout. Erik and Ivar would lose the titles to the team of Seth Rollins and Buddy Murphy on the January 20, 2020, episode of "Monday Night Raw" after their reign lasted for 98 days. During the summer, The Viking Raiders would feud with The Street Profits which would lead to a match between the two teams at Backlash At the event, the match had never started because both teams would begin fighting in the parking lot and eventually team up as "the Viking Profits" to take out Akira Towzawa and his Ninja's.


title: Erik (wrestler)

text: On September 7 episode "Raw", The Viking Raiders teamed up with Apollo Crews and Ricochet in an eight-man tag team match against The Hurt Business in a losing effort, where Cedric Alexander scored the pinfall over Ricochet. The match was forced to an abrupt ending due to Ivar suffering a legitimate cervical injury during the match. On October 7, Erik would announce that he would be out of action after having surgery on his bicep.


title: Erik (wrestler)

text: On the April 13 episode of "Raw", Erik along with Ivar, would return and defeat the team of Cedric Alexander and Shelton Benjamin. On the June 7 episode of "Raw", The Viking Raiders would win a battle royal to determine to #1 contenders for the Raw Tag Titles. It would be announced that The Viking Raiders would face the Raw Tag Team champions, AJ Styles and Omos at Money In The Bank. At the event, The Viking Raiders would be unsuccessful, as Styles and Omos would retain their titles. On the July 19 episode of "Raw", The Viking Raiders, alongside Riddle, would defeat the team of John Morrison, AJ Styles and Omos. Later that night, it would be announced that The Viking Raiders would face AJ Styles and Omos for the Raw Tag Titles in a rematch on next weeks episode of "Raw". On the July 27 episode of "Raw", The Viking Raiders would fail to win the Raw Tag Titles, as Styles and Omos retained.


title: Erik (wrestler)

text: During his time with WWE, Rowe began dating fellow wrestler Sarah Bridges (then known as Sarah Logan). The pair were married on December 21, 2018, in a Viking themed wedding. On February 9, 2021, Bridges and Rowe welcomed a son named Raymond Cash Rowe.


title: Melencolia I

text: Melencolia I is a large 1514 engraving by the German Renaissance artist Albrecht Dürer. The print's central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia – melancholy. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane, a claw hammer, and a saw. Other objects relate to alchemy, geometry or numerology. Behind the figure is a structure with an embedded magic square, and a ladder leading beyond the frame. The sky contains a rainbow, a comet or planet, and a bat-like creature bearing the text that has become the print's title.


title: Melencolia I

text: Dürer's engraving is one of the most well-known extant old master prints, but, despite a vast art-historical literature, it has resisted any definitive interpretation. Dürer may have associated melancholia with creative activity; the woman may be a representation of a Muse, awaiting inspiration but fearful that it will not return. As such, Dürer may have intended the print as a veiled self-portrait. Other art historians see the figure as pondering the nature of beauty or the value of artistic creativity in light of rationalism, or as a purposely obscure work that highlights the limitations of allegorical or symbolic art.


title: Melencolia I

text: The art historian Erwin Panofsky, whose writing on the print has received the most attention, detailed its possible relation to Renaissance humanists' conception of melancholia. Summarizing its art-historical legacy, he wrote that "the influence of Dürer's "Melencolia I"—the first representation in which the concept of melancholy was transplanted from the plane of scientific and pseudo-scientific folklore to the level of art—extended all over the European continent and lasted for more than three centuries."


title: Melencolia I

text: "Melencolia I" has been the subject of more scholarship than probably any other print. As the art historian Campbell Dodgson wrote in 1926, "The literature on "Melancholia" is more extensive than that on any other engraving by Dürer: that statement would probably remain true if the last two words were omitted." Panofsky's studies in German and English, between 1923 and 1964 and sometimes with coauthors, have been especially influential. "Melencolia I" is one of Dürer's three "Meisterstiche" ("master prints"), along with "Knight, Death and the Devil" (1513) and "St. Jerome in His Study" (1514). The prints are considered thematically related by some art historians, depicting labours that are intellectual ("Melencolia I"), moral ("Knight"), or spiritual ("St. Jerome") in nature. While Dürer sometimes distributed "Melencolia I" with "St. Jerome in His Study", there is no evidence that he conceived of them as a thematic group. The print has two states; in the first, the number nine in the magic square appears backward, but in the second, more common impressions it is a somewhat odd-looking regular nine.


title: Melencolia I

text: There is little documentation to provide insight into Dürer's intent. He made a few pencil studies for the engraving and some of his notes relate to it. A commonly quoted note refers to the keys and the purse—"Schlüssel—gewalt/pewtell—reichtum beteut" ("keys mean power, purse means wealth")—although this can be read as a simple record of their traditional symbolism. Another note reflects on the nature of beauty. In 1513 and 1514, Dürer experienced the death of a number of friends, followed by his mother (whose portrait he drew in this period), engendering a grief that may be expressed in this engraving. Dürer mentions melancholy only once in his surviving writings. In an unfinished book for young artists, he cautions that too much exertion may lead one to "fall under the hand of melancholy".


title: Melencolia I

text: Panofsky considered but rejected the suggestion that the "I" in the title might indicate that Dürer had planned three other engravings on the four temperaments. He suggested instead that the "I" referred to the first of three types of melancholy defined by Cornelius Agrippa (see "Interpretation"). Others see the "I" as a reference to "nigredo", the first stage of the alchemical process.


title: Melencolia I

text: The winged, central figure is thought to be a personification of melancholia or geometry. She sits on a slab with a closed book on her lap, holds a compass loosely, and gazes intensely into the distance. Seemingly immobilized by gloom, she pays no attention to the many objects around her. Reflecting the medieval iconographical depiction of melancholy, she rests her head on a closed fist. Her face is relatively dark, indicating the accumulation of black bile, and she wears a wreath of watery plants (water parsley and watercress or lovage). A set of keys and a purse hang from the belt of her long dress. Behind her, a windowless building with no clear architectural function rises beyond the top of the frame. A ladder with seven rungs leans against the structure, but neither its beginning nor end is visible. A putto sits atop a millstone (or grindstone) with a chip in it. He scribbles on a tablet, or perhaps a burin used for engraving; he is generally the only active element of the picture. Attached to the structure is a balance scale above the putto, and above Melancholy is a bell and an hourglass with a sundial at the top. Numerous unused tools and mathematical instruments are scattered around, including a hammer and nails, a saw, a plane, pincers, a straightedge, a molder's form, and either the nozzle of a bellows or an enema syringe (clyster). On the low wall behind the large polyhedron is a brazier with a goldsmith's crucible and a pair of tongs. To the left of the emaciated, sleeping dog is a censer, or an inkwell with a strap connecting a pen holder.


title: Melencolia I

text: A bat-like creature spreads its wings across the sky, revealing a banner printed with the words "Melencolia I". Beyond it is a rainbow and an object which is either Saturn or a comet. In the far distance is a landscape with small treed islands, suggesting flooding, and a sea. The rightmost portion of the background may show a large wave crashing over land. Panofsky believes that it is night, citing the "cast-shadow" of the hourglass on the building, with the moon lighting the scene and creating a lunar rainbow.


title: Melencolia I

text: The print contains numerous references to mathematics and geometry. In front of the dog lies a perfect sphere, which has a radius equal to the apparent distance marked by the figure's compass. On the face of the building is a 4×4 magic square—the first printed in Europe—with the two middle cells of the bottom row giving the date of the engraving, 1514, which is also seen above Dürer's monogram at bottom right. The square follows the traditional rules of magic squares: each of its rows, columns, and diagonals adds to the same number, 34. It is also associative, meaning that any number added to its symmetric opposite equals 17 (e.g., 15+2, 9+8). Additionally, the corners and each quadrant sum to 34, as do still more combinations. Dürer's mother died on May 17, 1514; some interpreters connect the digits of this date with the sets of two squares that sum to 5 and 17. The unusual solid that dominates the left half of the image is a truncated rhombohedron with what may be a faint skull or face, possibly even of Dürer. This shape is now known as Dürer's solid, and over the years, there have been numerous analyses of its mathematical properties.


title: Melencolia I

text: In contrast with "Saint Jerome in His Study", which has a strong sense of linear perspective and an obvious source of light, "Melencolia I" is disorderly and lacks a "visual center". It has few perspective lines leading to the vanishing point (below the bat-like creature at the horizon), which in the golden ratio. The work otherwise scarcely has any strong lines. The unusual polyhedron destabilizes the image by blocking some of the view into the distance and sending the eye in different directions. There is little tonal contrast and, despite its stillness, a sense of chaos, a "negation of order", is noted by many art historians. The mysterious light source at right, which illuminates the image, is unusually placed for Dürer and contributes to the "airless, dreamlike space".


title: Melencolia I

text: Dürer's friend and first biographer Joachim Camerarius wrote the earliest account of the engraving in 1541. Addressing its apparent symbolism, he said, "to show that such [afflicted] minds commonly grasp everything and how they are frequently carried away into absurdities, [Dürer] reared up in front of her a ladder into the clouds, while the ascent by means of rungs is ... impeded by a square block of stone." Later, the 16th-century art historian Giorgio Vasari described "Melencolia I" as a technical achievement that "puts the whole world in awe".


title: Melencolia I

text: Most art historians view the print as an allegory, assuming that a unified theme can be found in the image if its constituent symbols are "unlocked" and brought into conceptual order. This sort of interpretation assumes that the print is a "Vexierbild" (a "puzzle image") or rebus whose ambiguities are resolvable. Others see the ambiguity as intentional and unresolvable. Merback notes that ambiguities remain even after the interpretation of numerous individual symbols: the viewer does not know if it is daytime or twilight, where the figures are located, or the source of illumination. The ladder leaning against the structure has no obvious beginning or end, and the structure overall has no obvious function. The bat may be flying from the scene, or is perhaps some sort of daemon related to the traditional conception of melancholia.


title: Melencolia I

text: Certain relationships in humorism, astrology, and alchemy are important for understanding the interpretive history of the print. Since the ancient Greeks, the health and temperament of an individual were thought to be determined by the four humors: black bile (melancholic humor), yellow bile (choleric), phlegm (phlegmatic), and blood (sanguine). In astrology, each temperament was under the influence of a planet, Saturn in the case of melancholia. Each temperament was also associated with one of the four elements; melancholia was paired with Earth, and was considered "dry and cold" in alchemy. Melancholia was traditionally the least desirable of the four temperaments, making for a constitution that was, according to Panofsky, "awkward, miserly, spiteful, greedy, malicious, cowardly, faithless, irreverent and drowsy".


title: Melencolia I

text: In 1905, Heinrich Wölfflin called the print an "allegory of deep, speculative thought". A few years earlier, the Viennese art historian Karl Giehlow had published two articles that laid the groundwork for Panofsky's extensive study of the print. Giehlow specialized in the German humanist interest in hieroglyphics and interpreted "Melencolia I" in terms of astrology, which had been an interest of intellectuals connected to the court of Maximilian in Vienna. Giehlow found the print an "erudite summa of these interests, a comprehensive portrayal of the melancholic temperament, its positive and negative values held in perfect balance, its potential for 'genius' suspended between divine inspiration and dark madness".


title: Melencolia I

text: According to Panofsky, who wrote about the print three times between 1923 and 1964, "Melencolia I" combines the traditional iconographies of melancholy and geometry, both governed by Saturn. Geometry was one of the Seven Liberal Arts and its mastery was considered vital to the creation of high art, which had been revolutionised by new understandings of perspective. In the engraving, symbols of geometry, measurement, and trades are numerous: the compass, the scale, the hammer and nails, the plane and saw, the sphere and the unusual polyhedron. Panofsky examined earlier personifications of geometry and found much similarity between Dürer's engraving and an allegory of geometry from Gregor Reisch's "Margarita philosophica" (1503), a popular encyclopedia.


title: Melencolia I

text: Other aspects of the print reflect the traditional symbolism of melancholy, such as the bat, emaciated dog, purse and keys. The figure wears a wreath of "wet" plants to counteract the dryness of melancholy, and she has the dark face and dishevelled appearance associated with the melancholic. The intensity of her gaze, however, suggests an intent to depart from traditional depictions of this temperament. The magic square is a talisman of Jupiter, an auspicious planet that fends off melancholy—different square sizes were associated with different planets, with the 4×4 square representing Jupiter. Even the distant seascape, with small islands of flooded trees, relates to Saturn, the "lord of the sea", and his control of floods and tides.


title: Melencolia I

text: Panofsky believed that Dürer's understanding of melancholy was influenced by the writings of the German humanist Cornelius Agrippa, and before him Marsilio Ficino. Ficino thought that most intellectuals were influenced by Saturn and were thus melancholic. He equated melancholia with elevation of the intellect, since black bile "raises thought to the comprehension of the highest, because it corresponds to the highest of the planets". Before the Renaissance, melancholics were portrayed as embodying the vice of acedia, meaning spiritual sloth. Ficino and Agrippa's writing gave melancholia positive connotations, associating it with flights of genius. As art historian Philip Sohm summarizes, Ficino and Agrippa gave Renaissance intellectuals a "Neoplatonic conception of melancholy as divine inspiration ... Under the influence of Saturn, ... the melancholic imagination could be led to remarkable achievements in the arts".


title: Melencolia I

text: Agrippa defined three types of melancholic genius in his "De occulta philosophia". The first, "melancholia imaginativa", affected artists, whose imaginative faculty was considered stronger than their reason (compared with, e.g., scientists) or intuitive mind (e.g., theologians). Dürer might have been referring to this first type of melancholia, the artist's, by the "I" in the title. Melancholia was thought to attract daemons that produced bouts of frenzy and ecstasy in the afflicted, lifting the mind toward genius. In Panofsky's summary, the imaginative melancholic, the subject of Dürer's print, "typifies the first, or least exalted, form of human ingenuity. She can invent and build, and she can think ... but she has no access to the metaphysical world ... [She] belongs in fact to those who 'cannot extend their thought beyond the limits of space.' Hers is the inertia of a being which renounces what it could reach because it cannot reach for what it longs." Dürer's personification of melancholia is of "a being to whom her allotted realm seems intolerably restricted—of a being whose thoughts 'have reached the limit'". "Melencolia I" portrays a state of lost inspiration: the figure is "surrounded by the instruments of creative work, but sadly brooding with a feeling that she is achieving nothing."


title: Melencolia I

text: Autobiography runs through many of the interpretations of "Melencolia I", including Panofsky's. Iván Fenyő considered the print a representation of an artist beset by a loss of confidence, saying: "shortly before [Dürer] drew "Melancholy", he wrote: 'what is beautiful I do not know' ... "Melancholy" is a lyric confession, the self-conscious introspection of the Renaissance artist, unprecedented in northern art. Erwin Panofsky is right in considering this admirable plate the spiritual self-portrait of Dürer."


title: Melencolia I

text: Within the magic square of "Melencolia § I", the combinations to be recognized are varied and surprising: «each corner group, formed by four squares (16, 3, 5, 10 - 2, 13, 11, 8 - 9, 6, 4, 15 – 7, 12, 14, 1), has the sum of 34. The same number is obtained by adding the digits of the central group (10, 11, 6, 7), but also those of the corner squares (16, 13, 4, 1). The same result is obtained by adding the digits on the horizontal, vertical, diagonal lines. We always get 34. In total, the number occurs sixteen times. Sixteen is the total number of enclosed squares. This is a property that also appears in Henricus Cornelius Agrippa von Nettesheim's "Tabula Jovis", but which has gone unnoticed by many, perhaps because it does not appear in the list of its characteristics, drawn up by the author himself. The characteristic of the sums of each zone is also shared in the analogous schemes of Mescupolo and Paracelsus. Despite the similarity with these, the magic square of "Melencolia § I" does not seem chosen to follow a hermetic tradition. The unspoken exclusivity of this type of square may be the reason for the dedication to Jupiter (privileged among the gods and the greatest of the planets) and for Dürer's choice. In truth, its most reliable source is found in the description that Luca Pacioli proposes as a pleasant curiosity [«ligiadro solazo» (f. 122"r")], attributing its origin to the greatest astronomers, "Ptolomeo al humasar ali, al fragano, Geber and to all the others ". These "have dedicated to Jupiter [planet «Giove»] the figure made up of 4 squares on each side, with the numbers arranged in such a way as to obtain 34 for each direction, that is 16, 3, 2, 13 and in the following line 5, 10, 11, 8, therefore in the third line 9 [etc.] as seen in the margin.”» Since this indicated scheme does not appear in the manuscript, it has been completed with blue digits ("see image"). The magic square of "Melencolia § I" represents a jovial exercise (lat. "iovialis", from Iovis) to counter the influences of melancholy. In the lower center, the union of the numbers 15 and 14 indicates a very sad year.


title: Melencolia I

text: In 1991, Peter-Klaus Schuster published "Melencolia I: Dürers Denkbild", an exhaustive history of the print's interpretation in two volumes. His analysis, that "Melencolia I" is an "elaborately wrought allegory of virtue ... structured through an almost diagrammatic opposition of virtue and fortune", arrived as allegorical readings were coming into question. In the 1980s, scholars began to focus on the inherent contradictions of the print, finding a mismatch between "intention and result" in the interpretive effort it seemingly required. Martin Büchsel, in contrast to Panofsky, found the print a "negation" of Ficino's humanistic conception of melancholia. The chaos of the print lends itself to modern interpretations that find it a comment on the limitations of reason, the mind and senses, and philosophical optimism. For example, Dürer perhaps made the image impenetrable in order to simulate the experience of melancholia in the viewer.


title: Melencolia I

text: Joseph Leo Koerner abandoned allegorical readings in his 1993 commentary, describing the engraving as purposely obscure, such that the viewer reflects on their own interpretive labour. He wrote, "The vast effort of subsequent interpreters, in all their industry and error, testifies to the efficacy of the print as an occasion for thought. Instead of mediating "a" meaning, "Melencolia" seems designed to generate multiple and contradictory readings, to clue its viewers to an endless exegetical labor until, exhausted in the end, they discover their own portrait in Dürer's sleepless, inactive personification of melancholy. Interpreting the engraving itself becomes a detour to self-reflection."


title: Melencolia I

text: In 2004, Patrick Doorly argued that Dürer was more concerned with beauty than melancholy. Doorly found textual support for elements of "Melencolia I" in Plato's "Hippias Major", a dialog about what constitutes the beautiful, and other works that Dürer would have read in conjunction with his belief that beauty and geometry, or measurement, were related. (Dürer wrote a treatise on human proportions, one of his last major accomplishments.) Dürer was exposed to a variety of literature that may have influenced the engraving by his friend and collaborator, the humanist Willibald Pirckheimer, who also translated from Greek. In Plato's dialog, Socrates and Hippias consider numerous definitions of the beautiful. They ask if that which is pleasant to sight and hearing is the beautiful, which Dürer symbolizes by the intense gaze of the figure, and the bell, respectively. The dialog then examines the notion that the "useful" is the beautiful, and Dürer wrote in his notes, "Usefulness is a part of beauty. Therefore what is useless in a man, is not beautiful." Doorly interprets the many useful tools in the engraving as symbolizing this idea; even the dog is a "useful" hunting hound. At one point the dialog refers to a millstone, an unusually specific object to appear in both sources by coincidence. Further, Dürer may have seen the perfect dodecahedron as representative of the beautiful (the "quintessence"), based on his understanding of Platonic solids. The "botched" polyhedron in the engraving therefore symbolises a failure to understand beauty, and the figure, standing in for the artist, is in a gloom as a result.


title: Melencolia I

text: In "Perfection's Therapy" (2017), Merback argues that Dürer intended "Melencolia I" as a therapeutic image. He reviews the history of images of spiritual consolation in the Middle Ages and the Renaissance, and highlights how Dürer expressed his ethical and spiritual commitment to friends and community through his art. He writes, the "thematic of a virtue-building inner reflection, understood as an ethical-therapeutic imperative for the new type of pious intellectual envisioned by humanism, certainly underlies the conception of "Melencolia"". Dürer's friendships with humanists enlivened and advanced his artistic projects, building in him the "self-conception of an artist with the power to heal". Treatments for melancholia in ancient times and in the Renaissance occasionally recognized the value of "reasoned reflection and exhortation" and emphasized the regulation of melancholia rather than its elimination "so that it can better fulfill its God-given role as a material aid for the enhancement of human genius". The ambiguity of "Melencolia I" in this view "offers a moderate mental workout that calms rather than excites the passions, a stimulation of the soul's higher powers, an evacuative that dispels the vapors beclouding the mind... This, in a word, is a form of "katharsis"—not in the medical or religious sense of a 'purgation' of negative emotions, but a 'clarification' of the passions with both ethical and spiritual consequences".


title: Melencolia I

text: Artists from the sixteenth century used "Melencolia I" as a source, either in single images personifying melancholia or in the older type in which all four temperaments appear. Lucas Cranach the Elder used its motifs in numerous paintings between 1528 and 1533. They share elements with "Melencolia I" such as a winged, seated woman, a sleeping or sitting dog, a sphere, and varying numbers of children playing, likely based on Durer's Putto. Cranach's paintings, however, contrast melancholy with childish gaiety, and in the 1528 painting, occult elements appear. Prints by Hans Sebald Beham (1539) and Jost Amman (1589) are clearly related. In the Baroque period, representations of Melancholy and Vanity were combined. Domenico Fetti's "Melancholy"/"Meditation" (c. 1620) is an important example; Panofsky et al. wrote that "the meaning of this picture is obvious at first glance; all human activity, practical no less than theoretical, theoretical no less than artistic, is vain, in view of the vanity of all earthly things."


title: Melencolia I

text: The print attracted nineteenth-century Romantic artists; self-portrait drawings by Henry Fuseli and Caspar David Friedrich show their interest in capturing the mood of the Melencolia figure, as does Friedrich's "The Woman with the Spider's Web".


title: Melencolia I

text: The Renaissance historian Frances Yates believed George Chapman's 1594 poem "The Shadow of Night" to be influenced by Dürer's print, and Robert Burton described it in his "The Anatomy of Melancholy" (1621). Dürer's "Melencolia" is the patroness of the City of Dreadful Night in the final canto of James Thomson's poem of that name. The print was taken up in Romantic poetry of the nineteenth century in English and French.


title: Melencolia I

text: The Passion façade of the Sagrada Família contains a magic square based on the magic square in Melencolia I. The square is rotated and one number in each row and column is reduced by one so the rows and columns add up to 33 instead of the standard 34 for a 4x4 magic square.


title: CrystalDiskMark

text: CrystalDiskMark is an open source disk drive benchmark tool for Microsoft Windows from Crystal Dew World. Based on Microsoft's MIT-licensed Diskspd tool, this graphical benchmark is commonly used for testing the performance of solid-state storage. It works by reading and writing through the filesystem in a volume-dependent way. It generates read/write speeds in sequential and random positions with varying numbers of queues and threads. Solid-state drives tend to excel at random IO, as unlike hard drives, they do not need to seek for the specific position to read from or write to.


title: CrystalDiskMark

text: There is a macOS clone version of it called AmorphousDiskMark developed by Katsura Shareware, named after the non-crystalline amorphous state of solids.


title: CrystalDiskMark

text: CrystalDiskInfo is an MIT-licensed S.M.A.R.T. utility for reading and monitoring disk drive status. Like CrystalDiskMark, this tool is designed with an emphasis around solid state devices, supporting NVMe connections in addition to the usual PATA and SATA. Other features include Intel RAID support, e-mail and sound warnings, and AAM/APM adjustment.


title: CrystalDiskMark

text: It is a port of CrystalDiskMark for Mac OS X, published by Katsura Shareware, developed by Twitter user polydron.


title: CrystalDiskMark

text: Suisho Shizuku (), illustrated by Kirino Kasumu () of Hermit Penguin, produced by Bellche Tachibana (), and voiced by Hiromi Igarashi of Mausu Promotion., is "Crystal Dew World"'s first mascot, introduced in CrystalDiskMark 3.0.2 in 2012-10-26 as separate release. The character's own web site was announced in 2014-01-10. The character's Twitter account was opened in December 2013 Japan time, but was only announced in 2014-08-28. As of CrystalDiskInfo 7, she is voiced in Japanese in the special version.


title: CrystalDiskMark

text: Shikuku editions of other Crystal Dew World software include CrystalDiskInfo since 5.0.0 (2012-06-16).


title: CrystalDiskMark

text: Suisho Shizuku also has a crossover with Foxkonkochan (ふぉっくす紺子ちゃん), a Foxconn mascot originally for authorized Foxconn Japanese dealer unistar, Inc. (later Mediabank Corp (メディアバンク株式会社)) announced by the company in 2014-02-25) designed by Nakano Tsukasa (永野つかさ) of e.l.fields, where both characters appear in a postcard that were included with purchases at selected stores in 2015-12-12.


title: CrystalDiskMark

text: Kurei Kei ()/Pronama-chan (), a Pronama LLC mascot designed by Ixy（いくしー） ("Nareru! Systems Engineer" illustrator), and voiced by Sumire Uesaka of KING RECORD CO., LTD., was the second mascot used in Crystal Dew World's software, introduced in CrystalDiskInfo 7.1.0 (2017-08-04).


title: CrystalDiskMark

text: As part of CrystalDiskInfo Kurei Kei Edition premiere launch, CrystalDiskInfo Kurei Kei Edition x OLIOSPEC B2-sized posters were given away with purchases at OLIOSPEC in 2017-08-04, with a CrystalDiskInfo Kurei Kei Edition theme images contest taking place between 2017-08-04 and 2017-10-01. The contest's Ultimate prize was won by Kohaku Muro ().


title: CrystalDiskMark

text: Virtual salesperson android Tsukumo Tokka (), a Virtual Cast Shopping () (Project White Co., Ltd.'s online channel) mascot designed by ?, was the third mascot used in Crystal Dew World's software, introduced in CrystalDiskMark 8.0.2 (2020-06-01).


title: Boykin Spaniel

text: The Boykin Spaniel is a medium-sized breed of dog, a Spaniel bred for hunting wild turkeys and ducks in the Wateree River Swamp of South Carolina, in the United States. It is the state dog of South Carolina, where it was discovered and further developed by hunters in the 1900s. 1 September, 1984 is Boykin Spaniel Day in South Carolina.


title: Boykin Spaniel

text: The Boykin Spaniel is only slightly larger than the English Cocker Spaniel but much heavier through the body width. Height at the withers for males ranges from and weight . Females are smaller, and . Buyers should be aware of the size and weight in the puppy's pedigree before choosing a breeder if size is a factor in their choice of dog. Traditionally, its tail is docked at the age of three days, leaving 1/3 length. Eyes are engaging and bright. The color ranges from brilliant gold to a dark amber. Puppies will have milky bluish-gold to amber eyes until a few months old. The coat color comes in liver or chocolate (shades of brown).


title: Boykin Spaniel

text: Coat length and density vary widely due to the variety of breeds that make up the recent background of this breed. The coat is flat to moderately curly with medium length, fine hair with light feathering acceptable on the legs, feet, ears, chest, and belly. Length is normally 1-2 inches throughout the body. A few bloodlines throw shorter, straight coats much like a Labrador Retriever. Feathering on the ears, chest, through the tuck-up and along the legs can be very little to moderate in density and length. Feathering may take on a sun-bleached golden to tawny color especially on the ears and should not be penalized. Groomed dogs should have a minimal of stripping or clipping, with slight shaping around the head and topline. Some individuals have a topknot like a Llewellin Setter. Field types are often shaved down and should not be penalized as long as it is of appropriate length to protect the skin. Improper shaving will result in some coats growing back in with excessive discoloration, fading or graying. White markings other than a mark on the chest, or a white mark on the chest that is more than 60% of the width of the chest, disqualify puppies from being registered with the Boykin Spaniel Society, although the American Kennel Club and United Kennel Club do not allow denial of registration for conformation reasons. White on the toes or chest is purely a cosmetic trait and will not affect the ability or health of the dog.


title: Boykin Spaniel

text: The Boykin Spaniel is a versatile hunter, working as a retriever and upland hunter, flushing birds into flight. Pointing is not in character with the Boykin's hunting style, but many confuse the inherent characteristic of a "hesitant flush" with pointing. Of the six or eight different breeds used to create the current breed, three are pointing breeds for this reason. The field Boykin spaniel wants to be 100% precise when she flushes her bird, and as a dutiful partner she knows to wait until her hunter is positioned for the shot. Their stamina in hot weather and eagerness make them good for dove hunts, but also for pheasant and other upland game. They can be used in driving deer or in tracking wounded game. Their small size makes them easy to carry in a canoe or other small boat, and they are described as "the dog that doesn't rock the boat." However, an unacceptably high percentage of Boykin spaniels are not able to internally produce the proteins necessary to keep their muscles working during sustained work in warm temperatures, and can be fatal. As of 2017, Exercise Induced Collapse syndrome appears in about 10% of all Boykin spaniels due to inattentive breeding practices. Screening for the presence of the gene which causes EIC is done by simple DNA sample collection and analysis. Prospective buyers of Boykin spaniel puppies are advised to obtain verified proof of DNA testing from all breeders before buying.


title: Boykin Spaniel

text: The Boykin Spaniel is a friendly, social dog that is considered a good family pet. It is easily trained and eager to work. It is good with, and extremely stable around children and other dogs. They can sometimes be described as energetic with great endurance. They are extremely adaptable to different environments as long as they are given ample opportunity for social interaction and plenty of time to burn off excess energy reserves. They are not easily angered and tend to be eager to please and friendly, but they love attention.


title: Boykin Spaniel

text: As with all dogs, the Boykin Spaniels require daily exercise and regular grooming. Clipping the coat regularly is recommended especially if the dog is in the field, as the soft coat collects foxtails and briars. Spraying the dog with cooking spray is also recommended to help defend against tangles in the long fur.


title: Boykin Spaniel

text: The first Boykin Spaniel, or the precursor of today's breed, was reportedly a small, stray spaniel type dog that befriended a banker walking from his home to the First Presbyterian Church in Spartanburg, South Carolina around 1900. Alexander L. White (1860–1942) liked the little dog and took it home. After the dog showed some aptitude for retrieving, White sent the dog called "Dumpy" to his longtime friend and hunting partner Lemuel Whitaker Boykin near Camden, South Carolina. "Whit" Boykin (1861–1932) experimented with crossbreeding different breeds, and the resulting dog is named after him. This breed is only one of two US-made breeds named for the family responsible for their creation. In Boykin's hands the little stray developed into a superb turkey dog and waterfowl retriever. This dog became the foundation stock for the Boykin spaniel. The dogs had to be small enough to ride in the small boats used by hunters in the swamps. The Chesapeake Bay Retriever, Springer Spaniel, Cocker Spaniel, American Water Spaniel, and various pointing breeds were used in the development of the breed, according to Whit Boykin's grandson Dr. Baynard Boykin. The area in which the breed developed, around Camden, South Carolina, was a resort and hunting area, and the breed was noticed by visitors and so spread around the United States. In 1977 the "Boykin Spaniel Society®" was formed by the Boykin family and began maintaining a studbook in 1979. The BSS studbook has been "closed" since 1980, meaning that only dogs from BSS registered parents may be registered with the BSS.


title: Boykin Spaniel

text: The Boykin Spaniel was recognized by the United Kennel Club in 1985. UKC does not close its studbooks so dogs from the BSS or the AKC may be registered into the UKC studbook at any time. In the 1990s a group of fanciers formed the Boykin Spaniel Club And Breeders Association of America in order to achieve AKC recognition of the breed and to gain access to the AKC Spaniel Hunt Tests held throughout the nation. In 2007 the Boykin Spaniel Club and Breeders Association of America (BSCBAA) was recognized by the AKC as the parent club for the breed.


title: Boykin Spaniel

text: In January 2006 the breed became eligible to compete in AKC Spaniel Hunt tests for official AKC titles. In July 2006 the Boykin Spaniel was eligible to earn AKC titles in AKC agility, tracking, rally obedience, and regular obedience. In December, 2021, Boykin Spaniel Outfitters became the official partner with BSS for Boykin Spaniel merchandise.


title: Boykin Spaniel

text: According to statistics developed and maintained by the Orthopedic Foundation for Animals (OFA) since 1985, adult Boykin Spaniels have an alarmingly high incidence rate (> 30%) of hip dysplasia, although the rate is declining in the past 7 years due to the emphasis placed by the Boykin Spaniel Foundation. Canine hip dysplasia is considered by scientists to be both hereditary and acquired (due to diet, too strenuous exercise, and spay/neuter status.)


title: Boykin Spaniel

text: The breed also has a susceptibility toward inherited heart disease, eye disease and patellar luxation. Skin and coat problems do exist and may be linked to allergic, thyroid or endocrine disorders. Elbow dysplasia, Cushing's disease and hypothyroidism are known in the breed.


title: Boykin Spaniel

text: In early 2010, exercise-induced collapse was positively identified in the breed by the University of Minnesota's Veterinary Diagnostics Laboratory. In 2013, the Boykin Spaniel Foundation in conjunction with Cornell University's Optigen laboratory did a random sampling of 180+ adult Boykin spaniels for Collie Eye Anomaly, an inherited disease of the eye which causes malformation of eye components and impaired vision, including partial-to-full blindness. A year later, the Boykin Spaniel Foundation did another 180-dog random sample for degenerative myelopathy, another inheritable disease which causes adult dogs to develop gradual, fatal deterioration of the spinal cord and results in death when the afflicted dogs are middle aged. DNA testing of these three autosomal recessive diseases can absolutely identify genetic carriers (one copy of the gene) and at-risk (two copies of the gene) individuals.


title: Boykin Spaniel

text: Before being used for breeding, dogs should be tested for hip dysplasia, hereditary eye disease, heart/cardiac abnormalities (specifically pulmonary stenosis), hereditary patellar luxation, hereditary exercise-induced collapse, degenerative myelopathy, and Collie Eye Anomaly. Eye examinations should be done annually.


title: Dronacharya Award

text: The Dronacharya Award, officially known as Dronacharya Award for Outstanding Coaches in Sports and Games, is sports coaching honour of the Republic of India. The award is named after Drona, often referred as "Dronacharya" or "Guru Drona", a character from the Sanskrit epic "Mahabharata" of ancient India. He was master of advanced military warfare and was appointed as the royal preceptor to the Kaurava and the Pandava princes for their training in military arts and astras (Divine weapons). It is awarded annually by the Ministry of Youth Affairs and Sports. Recipients are selected by a committee constituted by the Ministry and are honoured to have done "outstanding and meritorious work on a consistent basis and enabled sportspersons to excel in international events" over a period of four years. Two awards are designated for the lifetime contribution in coaching where the achievements in producing "outstanding sportspersons" over a period of 20 years or more are considered. , the award comprises a bronze statuette of Dronacharya, a certificate, ceremonial dress, and a cash prize of .


title: Dronacharya Award

text: Instituted in 1985, the award is given only to the disciplines included in the events like Olympic Games, Paralympic Games, Asian Games, Commonwealth Games, World Championship and World Cup along with Cricket, Indigenous Games, and Parasports. The nominations for a given year are accepted till 30 April or last working day of April. A ten-member committee evaluates the nominations and later submits their recommendations to the Union Minister of Youth Affairs and Sports for further approval.


title: Dronacharya Award

text: The first recipients of the award were Bhalchandra Bhaskar Bhagwat (Wrestling), Om Prakash Bhardwaj (Boxing), and O. M. Nambiar (Athletics), who were honoured in 1985. Usually conferred upon not more than five coaches in a year, a few exceptions have been made (2012 and 2016–2020) when more recipients were awarded in a year.