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https://en.wikipedia.org/wiki/Albedo

Albedo

Albedo (; ) is the measure of the diffuse reflection of solar radiation out of the total solar radiation and measured on a scale from 0, corresponding to a black body that absorbs all incident radiation, to 1, corresponding to a body that reflects all incident radiation. Surface albedo is defined as the ratio of radiosity Je to the irradiance Ee (flux per unit area) received by a surface. The proportion reflected is not only determined by properties of the surface itself, but also by the spectral and angular distribution of solar radiation reaching the Earth's surface. These factors vary with atmospheric composition, geographic location, and time (see position of the Sun). While bi-hemispherical reflectance is calculated for a single angle of incidence (i.e., for a given position of the Sun), albedo is the directional integration of reflectance over all solar angles in a given period. The temporal resolution may range from seconds (as obtained from flux measurements) to daily, monthly, or annual averages. Unless given for a specific wavelength (spectral albedo), albedo refers to the entire spectrum of solar radiation. Due to measurement constraints, it is often given for the spectrum in which most solar energy reaches the surface (between 0.3 and 3 μm). This spectrum includes visible light (0.4–0.7 μm), which explains why surfaces with a low albedo appear dark (e.g., trees absorb most radiation), whereas surfaces with a high albedo appear bright (e.g., snow reflects most radiation). Albedo is an important concept in climatology, astronomy, and environmental management (e.g., as part of the Leadership in Energy and Environmental Design (LEED) program for sustainable rating of buildings). The average albedo of the Earth from the upper atmosphere, its planetary albedo, is 30–35% because of cloud cover, but widely varies locally across the surface because of different geological and environmental features. The term albedo was introduced into optics by Johann Heinrich Lambert in his 1760 work Photometria. Terrestrial albedo Any albedo in visible light falls within a range of about 0.9 for fresh snow to about 0.04 for charcoal, one of the darkest substances. Deeply shadowed cavities can achieve an effective albedo approaching the zero of a black body. When seen from a distance, the ocean surface has a low albedo, as do most forests, whereas desert areas have some of the highest albedos among landforms. Most land areas are in an albedo range of 0.1 to 0.4. The average albedo of Earth is about 0.3. This is far higher than for the ocean primarily because of the contribution of clouds. Earth's surface albedo is regularly estimated via Earth observation satellite sensors such as NASA's MODIS instruments on board the Terra and Aqua satellites, and the CERES instrument on the Suomi NPP and JPSS. As the amount of reflected radiation is only measured for a single direction by satellite, not all directions, a mathematical model is used to translate a sample set of satellite reflectance measurements into estimates of directional-hemispherical reflectance and bi-hemispherical reflectance (e.g.,). These calculations are based on the bidirectional reflectance distribution function (BRDF), which describes how the reflectance of a given surface depends on the view angle of the observer and the solar angle. BDRF can facilitate translations of observations of reflectance into albedo. Earth's average surface temperature due to its albedo and the greenhouse effect is currently about . If Earth were frozen entirely (and hence be more reflective), the average temperature of the planet would drop below . If only the continental land masses became covered by glaciers, the mean temperature of the planet would drop to about . In contrast, if the entire Earth was covered by water – a so-called ocean planet – the average temperature on the planet would rise to almost . In 2021, scientists reported that Earth dimmed by ~0.5% over two decades (1998–2017) as measured by earthshine using modern photometric techniques. This may have both been co-caused by climate change as well as a substantial increase in global warming. However, the link to climate change has not been explored to date and it is unclear whether or not this represents an ongoing trend. White-sky, black-sky, and blue-sky albedo For land surfaces, it has been shown that the albedo at a particular solar zenith angle θi can be approximated by the proportionate sum of two terms: the directional-hemispherical reflectance at that solar zenith angle, , sometimes referred to as black-sky albedo, and the bi-hemispherical reflectance, , sometimes referred to as white-sky albedo. with being the proportion of direct radiation from a given solar angle, and being the proportion of diffuse illumination, the actual albedo (also called blue-sky albedo) can then be given as: This formula is important because it allows the albedo to be calculated for any given illumination conditions from a knowledge of the intrinsic properties of the surface. Examples of terrestrial albedo effects Illumination Albedo is not directly dependent on illumination because changing the amount of incoming light proportionally changes the amount of reflected light, except in circumstances where a change in illumination induces a change in the Earth's surface at that location (e.g. through melting of reflective ice). That said, albedo and illumination both vary by latitude. Albedo is highest near the poles and lowest in the subtropics, with a local maximum in the tropics. Insolation effects The intensity of albedo temperature effects depends on the amount of albedo and the level of local insolation (solar irradiance); high albedo areas in the Arctic and Antarctic regions are cold due to low insolation, whereas areas such as the Sahara Desert, which also have a relatively high albedo, will be hotter due to high insolation. Tropical and sub-tropical rainforest areas have low albedo, and are much hotter than their temperate forest counterparts, which have lower insolation. Because insolation plays such a big role in the heating and cooling effects of albedo, high insolation areas like the tropics will tend to show a more pronounced fluctuation in local temperature when local albedo changes. Arctic regions notably release more heat back into space than what they absorb, effectively cooling the Earth. This has been a concern since arctic ice and snow has been melting at higher rates due to higher temperatures, creating regions in the arctic that are notably darker (being water or ground which is darker color) and reflects less heat back into space. This feedback loop results in a reduced albedo effect. Climate and weather Albedo affects climate by determining how much radiation a planet absorbs. The uneven heating of Earth from albedo variations between land, ice, or ocean surfaces can drive weather. Albedo–temperature feedback When an area's albedo changes due to snowfall, a snow–temperature feedback results. A layer of snowfall increases local albedo, reflecting away sunlight, leading to local cooling. In principle, if no outside temperature change affects this area (e.g., a warm air mass), the raised albedo and lower temperature would maintain the current snow and invite further snowfall, deepening the snow–temperature feedback. However, because local weather is dynamic due to the change of seasons, eventually warm air masses and a more direct angle of sunlight (higher insolation) cause melting. When the melted area reveals surfaces with lower albedo, such as grass, soil, or ocean, the effect is reversed: the darkening surface lowers albedo, increasing local temperatures, which induces more melting and thus reducing the albedo further, resulting in still more heating. Snow Snow albedo is highly variable, ranging from as high as 0.9 for freshly fallen snow, to about 0.4 for melting snow, and as low as 0.2 for dirty snow. Over Antarctica snow albedo averages a little more than 0.8. If a marginally snow-covered area warms, snow tends to melt, lowering the albedo, and hence leading to more snowmelt because more radiation is being absorbed by the snowpack (the ice–albedo positive feedback). Just as fresh snow has a higher albedo than does dirty snow, the albedo of snow-covered sea ice is far higher than that of sea water. Sea water absorbs more solar radiation than would the same surface covered with reflective snow. When sea ice melts, either due to a rise in sea temperature or in response to increased solar radiation from above, the snow-covered surface is reduced, and more surface of sea water is exposed, so the rate of energy absorption increases. The extra absorbed energy heats the sea water, which in turn increases the rate at which sea ice melts. As with the preceding example of snowmelt, the process of melting of sea ice is thus another example of a positive feedback. Both positive feedback loops have long been recognized as important for global warming. Cryoconite, powdery windblown dust containing soot, sometimes reduces albedo on glaciers and ice sheets. The dynamical nature of albedo in response to positive feedback, together with the effects of small errors in the measurement of albedo, can lead to large errors in energy estimates. Because of this, in order to reduce the error of energy estimates, it is important to measure the albedo of snow-covered areas through remote sensing techniques rather than applying a single value for albedo over broad regions. Small-scale effects Albedo works on a smaller scale, too. In sunlight, dark clothes absorb more heat and light-coloured clothes reflect it better, thus allowing some control over body temperature by exploiting the albedo effect of the colour of external clothing. Solar photovoltaic effects Albedo can affect the electrical energy output of solar photovoltaic devices. For example, the effects of a spectrally responsive albedo are illustrated by the differences between the spectrally weighted albedo of solar photovoltaic technology based on hydrogenated amorphous silicon (a-Si:H) and crystalline silicon (c-Si)-based compared to traditional spectral-integrated albedo predictions. Research showed impacts of over 10% for vertically (90°) mounted systems, but such effects were substantially lower for systems with lower surface tilts. Spectral albedo strongly affects the performance of bifacial solar cells where rear surface performance gains of over 20% have been observed for c-Si cells installed above healthy vegetation. An analysis on the bias due to the specular reflectivity of 22 commonly occurring surface materials (both human-made and natural) provided effective albedo values for simulating the performance of seven photovoltaic materials mounted on three common photovoltaic system topologies: industrial (solar farms), commercial flat rooftops and residential pitched-roof applications. Trees Because forests generally have a low albedo, (the majority of the ultraviolet and visible spectrum is absorbed through photosynthesis), some scientists have suggested that greater heat absorption by trees could offset some of the carbon benefits of afforestation (or offset the negative climate impacts of deforestation). In the case of evergreen forests with seasonal snow cover albedo reduction may be great enough for deforestation to cause a net cooling effect. Trees also impact climate in extremely complicated ways through evapotranspiration. The water vapor causes cooling on the land surface, causes heating where it condenses, acts a strong greenhouse gas, and can increase albedo when it condenses into clouds. Scientists generally treat evapotranspiration as a net cooling impact, and the net climate impact of albedo and evapotranspiration changes from deforestation depends greatly on local climate. In seasonally snow-covered zones, winter albedos of treeless areas are 10% to 50% higher than nearby forested areas because snow does not cover the trees as readily. Deciduous trees have an albedo value of about 0.15 to 0.18 whereas coniferous trees have a value of about 0.09 to 0.15. Variation in summer albedo across both forest types is associated with maximum rates of photosynthesis because plants with high growth capacity display a greater fraction of their foliage for direct interception of incoming radiation in the upper canopy. The result is that wavelengths of light not used in photosynthesis are more likely to be reflected back to space rather than being absorbed by other surfaces lower in the canopy. Studies by the Hadley Centre have investigated the relative (generally warming) effect of albedo change and (cooling) effect of carbon sequestration on planting forests. They found that new forests in tropical and midlatitude areas tended to cool; new forests in high latitudes (e.g., Siberia) were neutral or perhaps warming. Water Water reflects light very differently from typical terrestrial materials. The reflectivity of a water surface is calculated using the Fresnel equations. At the scale of the wavelength of light even wavy water is always smooth so the light is reflected in a locally specular manner (not diffusely). The glint of light off water is a commonplace effect of this. At small angles of incident light, waviness results in reduced reflectivity because of the steepness of the reflectivity-vs.-incident-angle curve and a locally increased average incident angle. Although the reflectivity of water is very low at low and medium angles of incident light, it becomes very high at high angles of incident light such as those that occur on the illuminated side of Earth near the terminator (early morning, late afternoon, and near the poles). However, as mentioned above, waviness causes an appreciable reduction. Because light specularly reflected from water does not usually reach the viewer, water is usually considered to have a very low albedo in spite of its high reflectivity at high angles of incident light. Note that white caps on waves look white (and have high albedo) because the water is foamed up, so there are many superimposed bubble surfaces which reflect, adding up their reflectivities. Fresh 'black' ice exhibits Fresnel reflection. Snow on top of this sea ice increases the albedo to 0.9. Clouds Cloud albedo has substantial influence over atmospheric temperatures. Different types of clouds exhibit different reflectivity, theoretically ranging in albedo from a minimum of near 0 to a maximum approaching 0.8. "On any given day, about half of Earth is covered by clouds, which reflect more sunlight than land and water. Clouds keep Earth cool by reflecting sunlight, but they can also serve as blankets to trap warmth." Albedo and climate in some areas are affected by artificial clouds, such as those created by the contrails of heavy commercial airliner traffic. A study following the burning of the Kuwaiti oil fields during Iraqi occupation showed that temperatures under the burning oil fires were as much as colder than temperatures several miles away under clear skies. Aerosol effects Aerosols (very fine particles/droplets in the atmosphere) have both direct and indirect effects on Earth's radiative balance. The direct (albedo) effect is generally to cool the planet; the indirect effect (the particles act as cloud condensation nuclei and thereby change cloud properties) is less certain. As per Spracklen et al. the effects are: Aerosol direct effect. Aerosols directly scatter and absorb radiation. The scattering of radiation causes atmospheric cooling, whereas absorption can cause atmospheric warming. Aerosol indirect effect. Aerosols modify the properties of clouds through a subset of the aerosol population called cloud condensation nuclei. Increased nuclei concentrations lead to increased cloud droplet number concentrations, which in turn leads to increased cloud albedo, increased light scattering and radiative cooling (first indirect effect), but also leads to reduced precipitation efficiency and increased lifetime of the cloud (second indirect effect). In extremely polluted cities like Delhi, aerosol pollutants influence local weather and induce an urban cool island effect during the day. Black carbon Another albedo-related effect on the climate is from black carbon particles. The size of this effect is difficult to quantify: the Intergovernmental Panel on Climate Change estimates that the global mean radiative forcing for black carbon aerosols from fossil fuels is +0.2 W m−2, with a range +0.1 to +0.4 W m−2. Black carbon is a bigger cause of the melting of the polar ice cap in the Arctic than carbon dioxide due to its effect on the albedo. Human activities Human activities (e.g., deforestation, farming, and urbanization) change the albedo of various areas around the globe. As per Campra et al., human impacts to "the physical properties of the land surface can perturb the climate by altering the Earth’s radiative energy balance" even on a small scale or when undetected by satellites. The tens of thousands of hectares of greenhouses in Almería, Spain form a large expanse of whitened plastic roofs. A 2008 study found that this anthropogenic change lowered the local surface area temperature of the high-albedo area, although changes were localized. A follow-up study found that "CO2-eq. emissions associated to changes in surface albedo are a consequence of land transformation" and can reduce surface temperature increases associated with climate change. It has been found that urbanization generally decreases albedo (commonly being 0.01–0.02 lower than adjacent croplands), which contributes to global warming. Deliberately increasing albedo in urban areas can mitigate urban heat island. Ouyang et al. estimated that, on a global scale, "an albedo increase of 0.1 in worldwide urban areas would result in a cooling effect that is equivalent to absorbing ~44 Gt of CO2 emissions." Intentionally enhancing the albedo of the Earth's surface, along with its daytime thermal emittance, has been proposed as a solar radiation management strategy to mitigate energy crises and global warming known as passive daytime radiative cooling (PDRC). Efforts toward widespread implementation of PDRCs may focus on maximizing the albedo of surfaces from very low to high values, so long as a thermal emittance of at least 90% can be achieved. Astronomical albedo In astronomy, the term albedo can be defined in several different ways, depending upon the application and the wavelength of electromagnetic radiation involved. Optical or visual albedo The albedos of planets, satellites and minor planets such as asteroids can be used to infer much about their properties. The study of albedos, their dependence on wavelength, lighting angle ("phase angle"), and variation in time composes a major part of the astronomical field of photometry. For small and far objects that cannot be resolved by telescopes, much of what we know comes from the study of their albedos. For example, the absolute albedo can indicate the surface ice content of outer Solar System objects, the variation of albedo with phase angle gives information about regolith properties, whereas unusually high radar albedo is indicative of high metal content in asteroids. Enceladus, a moon of Saturn, has one of the highest known optical albedos of any body in the Solar System, with an albedo of 0.99. Another notable high-albedo body is Eris, with an albedo of 0.96. Many small objects in the outer Solar System and asteroid belt have low albedos down to about 0.05. A typical comet nucleus has an albedo of 0.04. Such a dark surface is thought to be indicative of a primitive and heavily space weathered surface containing some organic compounds. The overall albedo of the Moon is measured to be around 0.14, but it is strongly directional and non-Lambertian, displaying also a strong opposition effect. Although such reflectance properties are different from those of any terrestrial terrains, they are typical of the regolith surfaces of airless Solar System bodies. Two common optical albedos that are used in astronomy are the (V-band) geometric albedo (measuring brightness when illumination comes from directly behind the observer) and the Bond albedo (measuring total proportion of electromagnetic energy reflected). Their values can differ significantly, which is a common source of confusion. In detailed studies, the directional reflectance properties of astronomical bodies are often expressed in terms of the five Hapke parameters which semi-empirically describe the variation of albedo with phase angle, including a characterization of the opposition effect of regolith surfaces. One of these five parameters is yet another type of albedo called the single-scattering albedo. It is used to define scattering of electromagnetic waves on small particles. It depends on properties of the material (refractive index), the size of the particle, and the wavelength of the incoming radiation. An important relationship between an object's astronomical (geometric) albedo, absolute magnitude and diameter is given by: where is the astronomical albedo, is the diameter in kilometers, and is the absolute magnitude. Radar albedo In planetary radar astronomy, a microwave (or radar) pulse is transmitted toward a planetary target (e.g. Moon, asteroid, etc.) and the echo from the target is measured. In most instances, the transmitted pulse is circularly polarized and the received pulse is measured in the same sense of polarization as the transmitted pulse (SC) and the opposite sense (OC). The echo power is measured in terms of radar cross-section, , , or (total power, SC + OC) and is equal to the cross-sectional area of a metallic sphere (perfect reflector) at the same distance as the target that would return the same echo power. Those components of the received echo that return from first-surface reflections (as from a smooth or mirror-like surface) are dominated by the OC component as there is a reversal in polarization upon reflection. If the surface is rough at the wavelength scale or there is significant penetration into the regolith, there will be a significant SC component in the echo caused by multiple scattering. For most objects in the solar system, the OC echo dominates and the most commonly reported radar albedo parameter is the (normalized) OC radar albedo (often shortened to radar albedo): where the denominator is the effective cross-sectional area of the target object with mean radius, . A smooth metallic sphere would have . Radar albedos of Solar System objects The values reported for the Moon, Mercury, Mars, Venus, and Comet P/2005 JQ5 are derived from the total (OC+SC) radar albedo reported in those references. Relationship to surface bulk density In the event that most of the echo is from first surface reflections ( or so), the OC radar albedo is a first-order approximation of the Fresnel reflection coefficient (aka reflectivity) and can be used to estimate the bulk density of a planetary surface to a depth of a meter or so (a few wavelengths of the radar wavelength which is typically at the decimeter scale) using the following empirical relationships: . See also Cool roof Daisyworld Emissivity Exitance Global dimming Irradiance Kirchhoff's law of thermal radiation Opposition surge Polar see-saw Radar astronomy Solar radiation management References External links Albedo Project Albedo – Encyclopedia of Earth NASA MODIS BRDF/albedo product site Ocean surface albedo look-up-table Surface albedo derived from Meteosat observations A discussion of Lunar albedos reflectivity of metals (chart) Land surface effects on climate Climate change feedbacks Climate forcing Climatology Electromagnetic radiation Radiometry Scattering, absorption and radiative transfer (optics) Radiation 1760s neologisms

https://en.wikipedia.org/wiki/Alphabet

Alphabet

An alphabet is a standardized set of basic written graphemes (called letters) representing phonemes, units of sounds that distinguish words, of certain spoken languages. Not all writing systems represent language in this way; in a syllabary, each character represents a syllable, and logographic systems use characters to represent words, morphemes, or other semantic units. The Egyptians are believed to have created the first alphabet in a technical sense. The short uniliteral signs are used to write pronunciation guides for logograms, or a character that represents a word, or morpheme, and later on, being used to write foreign words. This was used up to the 5th century AD. The first fully phonemic script, the Proto-Sinaitic script, which developed into the Phoenician alphabet, is considered to be the first alphabet and is the ancestor of most modern alphabets, abjads, and abugidas, including Arabic, Cyrillic, Greek, Hebrew, Latin, and possibly Brahmic. It was created by Semitic-speaking workers and slaves in the Sinai Peninsula in modern-day Egypt, by selecting a small number of hieroglyphs commonly seen in their Egyptian surroundings to describe the sounds, as opposed to the semantic values of the Canaanite languages. Peter T. Daniels distinguishes an abugida, a set of graphemes that represent consonantal base letters that diacritics modify to represent vowels, like in Devanagari and other South Asian scripts, an abjad, in which letters predominantly or exclusively represent consonants such as the original Phoenician, Hebrew or Arabic, and an alphabet, a set of graphemes that represent both consonants and vowels. In this narrow sense of the word, the first true alphabet was the Greek alphabet, which was based on the earlier Phoenician abjad. Alphabets are usually associated with a standard ordering of letters. This makes them useful for purposes of collation, which allows words to be sorted in a specific order, commonly known as the alphabetical order. It also means that their letters can be used as an alternative method of "numbering" ordered items, in such contexts as numbered lists and number placements. There are also names for letters in some languages. This is known as acrophony; It is present in some modern scripts, such as Greek, and many Semitic scripts, such as Arabic, Hebrew, and Syriac. It was used in some ancient alphabets, such as in Phoenician. However, this system is not present in all languages, such as the Latin alphabet, which adds a vowel after a character for each letter. Some systems also used to have this system but later on abandoned it for a system similar to Latin, such as Cyrillic. Etymology The English word alphabet came into Middle English from the Late Latin word alphabetum, which in turn originated in the Greek, ἀλφάβητος (alphabētos); it was made from the first two letters of the Greek alphabet, alpha (α) and beta (β). The names for the Greek letters, in turn, came from the first two letters of the Phoenician alphabet: aleph, the word for ox, and bet, the word for house. History Ancient Northeast African and Middle Eastern scripts The history of the alphabet started in the Middle East. Egyptian writing had a set of some 24 hieroglyphs that are called uniliterals, which are glyphs that provide one sound. These glyphs were used as pronunciation guides for logograms, to write grammatical inflections, and, later, to transcribe loan words and foreign names. The script was used a fair amount in the 4th century CE. However, after pagan temples were closed down, it was forgotten in the 5th century until the discovery of the Rosetta Stone. There was also the Cuneiform script. The script was used to write several ancient languages. However, it was primarily used to write Sumerian. The last known use of the Cuneiform script was in 75 CE, after which the script fell out of use. In the Middle Bronze Age, an apparently "alphabetic" system known as the Proto-Sinaitic script appeared in Egyptian turquoise mines in the Sinai peninsula dated circa 15th century BCE, apparently left by Canaanite workers. In 1999, John and Deborah Darnell, American Egyptologists, discovered an earlier version of this first alphabet at the Wadi el-Hol valley in Egypt. The script dated to circa 1800 BCE and shows evidence of having been adapted from specific forms of Egyptian hieroglyphs that could be dated to circa 2000 BCE, strongly suggesting that the first alphabet had developed about that time. The script was based on letter appearances and names, believed to be based on Egyptian hieroglyphs. This script had no characters representing vowels. Originally, it probably was a syllabary—a script where syllables are represented with characters—with symbols that were not needed being removed. It was an alphabetic cuneiform script with 30 signs, including three that indicate the following vowel invented in Ugarit before the 15th century BCE. This script was not used after the destruction of Ugarit in 1178 BCE.The Proto-Sinaitic script eventually developed into the Phoenician alphabet, conventionally called "Proto-Canaanite" before circa 1050 BCE. The oldest text in Phoenician script is an inscription on the sarcophagus of King Ahiram circa 1000 BCE. This script is the parent script of all western alphabets. By the tenth century BCE, two other forms distinguish themselves, Canaanite and Aramaic. The Aramaic gave rise to the Hebrew script. The South Arabian alphabet, a sister script to the Phoenician alphabet, is the script from which the Ge'ez alphabet, an abugida, a writing system where consonant-vowel sequences are written as units, which was used around the horn of Africa, descended. Vowel-less alphabets are called abjads, currently exemplified in others such as Arabic, Hebrew, and Syriac. The omission of vowels was not always a satisfactory solution due to the need of preserving sacred texts. "Weak" consonants are used to indicate vowels. These letters have a dual function since they can also be used as pure consonants. The Proto-Sinaitic script and the Ugaritic script were the first scripts with a limited number of signs instead of using many different signs for words, in contrast to the other widely used writing systems at the time, Cuneiform, Egyptian hieroglyphs, and Linear B. The Phoenician script was probably the first phonemic script, and it contained only about two dozen distinct letters, making it a script simple enough for traders to learn. Another advantage of the Phoenician alphabet was that it could write different languages since it recorded words phonemically. The Phoenician script was spread across the Mediterranean by the Phoenicians. The Late Mycenaeans added vowels to the alphabet. This new script, Linear B, gave rise to the ancestor of all alphabets in the West. The Greek Alphabet was the first alphabet in which vowels have independent letter forms separate from those of consonants. The Greeks chose letters representing sounds that did not exist in Phoenician to represent vowels. The syllabical Linear B, a script that was used by the Mycenaean Greeks from the 16th century BCE, had 87 symbols, including five vowels. In its early years, there were many variants of the Greek alphabet, causing many different alphabets to evolve from it. European alphabets The Greek alphabet, in Euboean form, was carried over by Greek colonists to the Italian peninsula circa 800-600 BCE giving rise to many different alphabets used to write the Italic languages. Like the Etruscan alphabet. One of these became the Latin alphabet, which spread across Europe as the Romans expanded their republic. After the fall of the Western Roman state and later the Eastern Roman state, the alphabet survived in intellectual and religious works. It came to be used for the descendant languages of Latin (the Romance languages) and most of the other languages of western and central Europe. Being the most widely used script in the world. The Etruscan alphabet remained nearly unchanged for several hundred years. Only evolving once the Etruscan language changed itself. The letters used for non-existent phonemes were dropped. Afterwards, however, the alphabet went through many different changes. The final classical form of Etruscan contained 20 letters. Four of them are vowels (a, e, i, and u). Six fewer letters than the earlier forms. The script in its classical form was used until the 1st century CE. The Etruscan language itself was not used in imperial Rome, but the script was used for religious texts. Some adaptations of the Latin alphabet have ligatures, a combination of two letters make one, such as æ in Danish and Icelandic and Ȣ in Algonquian; borrowings from other alphabets, such as the thorn þ in Old English and Icelandic, which came from the Futhark runes; and modified existing letters, such as the eth ð of Old English and Icelandic, which is a modified d. Other alphabets only use a subset of the Latin alphabet, such as Hawaiian and Italian, which uses the letters j, k, x, y, and w only in foreign words. Another notable script is Elder Futhark, believed to have evolved out of one of the Old Italic alphabets. Elder Futhark gave rise to other alphabets known collectively as the Runic alphabets. The Runic alphabets were used for Germanic languages from 100 CE to the late Middle Ages, being engraved on stone and jewelry, although inscriptions found on bone and wood occasionally appear. These alphabets have since been replaced with the Latin alphabet. The exception was for decorative use, where the runes remained in use until the 20th century. The Old Hungarian script was the writing system of the Hungarians. It was in use during the entire history of Hungary, albeit not as an official writing system. From the 19th century, it once again became more and more popular. The Glagolitic alphabet was the initial script of the liturgical language Old Church Slavonic and became, together with the Greek uncial script, the basis of the Cyrillic script. Cyrillic is one of the most widely used modern alphabetic scripts and is notable for its use in Slavic languages and also for other languages within the former Soviet Union. Cyrillic alphabets include Serbian, Macedonian, Bulgarian, Russian, Belarusian, and Ukrainian. The Glagolitic alphabet is believed to have been created by Saints Cyril and Methodius, while the Cyrillic alphabet was created by Clement of Ohrid, their disciple. They feature many letters that appear to have been borrowed from or influenced by Greek and Hebrew. Asian alphabets Beyond the logographic Chinese writing, many phonetic scripts exist in Asia. The Arabic alphabet, Hebrew alphabet, Syriac alphabet, and other abjads of the Middle East are developments of the Aramaic alphabet. Most alphabetic scripts of India and Eastern Asia descend from the Brahmi script, believed to be a descendant of Aramaic. Hangul In Korea, Sejong the Great created the Hangul alphabet in 1443 CE. Hangul is a unique alphabet: it is a featural alphabet, where the design of many of the letters comes from a sound's place of articulation, like P looking like the widened mouth and L looking like the tongue pulled in. The creation of Hangul was planned by the government of the day, and it places individual letters in syllable clusters with equal dimensions, in the same way as Chinese characters. This change allows for mixed-script writing, where one syllable always takes up one type space no matter how many letters get stacked into building that one sound-block. Zhuyin Zhuyin, sometimes referred to as Bopomofo, is a semi-syllabary. It transcribes Mandarin phonetically in the Republic of China. After the later establishment of the People's Republic of China and its adoption of Hanyu Pinyin, the use of Zhuyin today is limited. However, it is still widely used in Taiwan, where the Republic of China governs. Zhuyin developed from a form of Chinese shorthand based on Chinese characters in the early 1900s and has elements of both an alphabet and a syllabary. Like an alphabet, the phonemes of syllable initials are represented by individual symbols, but like a syllabary, the phonemes of the syllable finals are not; each possible final (excluding the medial glide) has its own character, an example being luan written as ㄌㄨㄢ (l-u-an). The last symbol ㄢ takes place as the entire final -an. While Zhuyin is not a mainstream writing system, it is still often used in ways similar to a romanization system, for aiding pronunciation and as an input method for Chinese characters on computers and cellphones. Romanization European alphabets, especially Latin and Cyrillic, have been adapted for many languages of Asia. Arabic is also widely used, sometimes as an abjad, as with Urdu and Persian, and sometimes as a complete alphabet, as with Kurdish and Uyghur. Types The term "alphabet" is used by linguists and paleographers in both a wide and a narrow sense. In a broader sense, an alphabet is a segmental script at the phoneme level—that is, it has separate glyphs for individual sounds and not for larger units such as syllables or words. In the narrower sense, some scholars distinguish "true" alphabets from two other types of segmental script, abjads, and abugidas. These three differ in how they treat vowels. Abjads have letters for consonants and leave most vowels unexpressed. Abugidas are also consonant-based but indicate vowels with diacritics, a systematic graphic modification of the consonants. The earliest known alphabet using this sense is the Wadi el-Hol script, believed to be an abjad. Its successor, Phoenician, is the ancestor of modern alphabets, including Arabic, Greek, Latin (via the Old Italic alphabet), Cyrillic (via the Greek alphabet), and Hebrew (via Aramaic). Examples of present-day abjads are the Arabic and Hebrew scripts; true alphabets include Latin, Cyrillic, and Korean Hangul; and abugidas, used to write Tigrinya, Amharic, Hindi, and Thai. The Canadian Aboriginal syllabics are also an abugida, rather than a syllabary, as their name would imply, because each glyph stands for a consonant and is modified by rotation to represent the following vowel. In a true syllabary, each consonant-vowel combination gets represented by a separate glyph. All three types may be augmented with syllabic glyphs. Ugaritic, for example, is essentially an abjad but has syllabic letters for These are the only times that vowels are indicated. Coptic has a letter for . Devanagari is typically an abugida augmented with dedicated letters for initial vowels, though some traditions use अ as a zero consonant as the graphic base for such vowels. The boundaries between the three types of segmental scripts are not always clear-cut. For example, Sorani Kurdish is written in the Arabic script, which, when used for other languages, is an abjad. In Kurdish, writing the vowels is mandatory, and whole letters are used, so the script is a true alphabet. Other languages may use a Semitic abjad with forced vowel diacritics, effectively making them abugidas. On the other hand, the Phagspa script of the Mongol Empire was based closely on the Tibetan abugida, but vowel marks are written after the preceding consonant rather than as diacritic marks. Although short a is not written, as in the Indic abugidas, The source of the term "abugida," namely the Ge'ez abugida now used for Amharic and Tigrinya, has assimilated into their consonant modifications. It is no longer systematic and must be learned as a syllabary rather than as a segmental script. Even more extreme, the Pahlavi abjad eventually became logographic. Thus the primary categorisation of alphabets reflects how they treat vowels. For tonal languages, further classification can be based on their treatment of tone. Though names do not yet exist to distinguish the various types. Some alphabets disregard tone entirely, especially when it does not carry a heavy functional load, as in Somali and many other languages of Africa and the Americas. Most commonly, tones are indicated by diacritics, which is how vowels are treated in abugidas, which is the case for Vietnamese (a true alphabet) and Thai (an abugida). In Thai, the tone is determined primarily by a consonant, with diacritics for disambiguation. In the Pollard script, an abugida, vowels are indicated by diacritics. The placing of the diacritic relative to the consonant is modified to indicate the tone. More rarely, a script may have separate letters for tones, as is the case for Hmong and Zhuang. For many, regardless of whether letters or diacritics get used, the most common tone is not marked, just as the most common vowel is not marked in Indic abugidas. In Zhuyin, not only is one of the tones unmarked; but there is a diacritic to indicate a lack of tone, like the virama of Indic. Alphabetical order Alphabets often come to be associated with a standard ordering of their letters; this is for collation—namely, for listing words and other items in alphabetical order. Latin Alphabets The basic ordering of the Latin alphabet (A B C D E F G H I J K L M N O P Q R S T U V W X Y Z), which derives from the Northwest Semitic "Abgad" order, is already well established. Although, languages using this alphabet have different conventions for their treatment of modified letters (such as the French é, à, and ô) and certain combinations of letters (multigraphs). In French, these are not considered to be additional letters for collation. However, in Icelandic, the accented letters such as á, í, and ö are considered distinct letters representing different vowel sounds from sounds represented by their unaccented counterparts. In Spanish, ñ is considered a separate letter, but accented vowels such as á and é are not. The ll and ch were also formerly considered single letters and sorted separately after l and c, but in 1994, the tenth congress of the Association of Spanish Language Academies changed the collating order so that ll came to be sorted between lk and lm in the dictionary and ch came to be sorted between cg and ci; those digraphs were still formally designated as letters, but in 2010 the Real Academia Española changed it, so they are no longer considered letters at all. In German, words starting with sch- (which spells the German phoneme ) are inserted between words with initial sca- and sci- (all incidentally loanwords) instead of appearing after the initial sz, as though it were a single letter, which contrasts several languages such as Albanian, in which dh-, ë-, gj-, ll-, rr-, th-, xh-, and zh-, which all represent phonemes and considered separate single letters, would follow the letters d, e, g, l, n, r, t, x, and z, respectively, as well as Hungarian and Welsh. Further, German words with an umlaut get collated ignoring the umlaut as—contrary to Turkish, which adopted the graphemes ö and ü, and where a word like tüfek would come after tuz, in the dictionary. An exception is the German telephone directory, where umlauts are sorted like ä=ae since names such as Jäger also appear with the spelling Jaeger and are not distinguished in the spoken language. The Danish and Norwegian alphabets end with æ—ø—å, whereas the Swedish conventionally put å—ä—ö at the end. However, æ phonetically corresponds with ä, as does ø and ö. Early Alphabets It is unknown whether the earliest alphabets had a defined sequence. Some alphabets today, such as the Hanuno'o script, are learned one letter at a time, in no particular order, and are not used for collation where a definite order is required. However, a dozen Ugaritic tablets from the fourteenth century BCE preserve the alphabet in two sequences. One, the ABCDE order later used in Phoenician, has continued with minor changes in Hebrew, Greek, Armenian, Gothic, Cyrillic, and Latin; the other, HMĦLQ, was used in southern Arabia and is preserved today in Ethiopic. Both orders have therefore been stable for at least 3000 years. Runic used an unrelated Futhark sequence, which got simplified later on. Arabic uses usually uses its sequence, although Arabic retains the traditional abjadi order, which is used for numbers. The Brahmic family of alphabets used in India uses a unique order based on phonology: The letters are arranged according to how and where the sounds get produced in the mouth. This organization is present in Southeast Asia, Tibet, Korean hangul, and even Japanese kana, which is not an alphabet. Acrophony In Phoenician, each letter got associated with a word that begins with that sound. This is called acrophony and is continuously used to varying degrees in Samaritan, Aramaic, Syriac, Hebrew, Greek, and Arabic. Acrophony got abandoned in Latin. It referred to the letters by adding a vowel (usually "e," sometimes "a," or "u") before or after the consonant. Two exceptions were Y and Z, which were borrowed from the Greek alphabet rather than Etruscan. They were known as Y Graeca "Greek Y" and zeta (from Greek)—this discrepancy was inherited by many European languages, as in the term zed for Z in all forms of English, other than American English. Over time names sometimes shifted or were added, as in double U for W, or "double V" in French, the English name for Y, and the American zee for Z. Comparing them in English and French gives a clear reflection of the Great Vowel Shift: A, B, C, and D are pronounced in today's English, but in contemporary French they are . The French names (from which the English names got derived) preserve the qualities of the English vowels before the Great Vowel Shift. By contrast, the names of F, L, M, N, and S () remain the same in both languages because "short" vowels were largely unaffected by the Shift. In Cyrillic, originally, acrophony was present using Slavic words. The first three words going, azŭ, buky, vědě, with the Cyrillic collation order being, А, Б, В. However, this was later abandoned in favor of a system similar to Latin. Orthography and pronunciation When an alphabet is adopted or developed to represent a given language, an orthography generally comes into being, providing rules for spelling words, following the principle on which alphabets get based. These rules will map letters of the alphabet to the phonemes of the spoken language. In a perfectly phonemic orthography, there would be a consistent one-to-one correspondence between the letters and the phonemes so that a writer could predict the spelling of a word given its pronunciation, and a speaker would always know the pronunciation of a word given its spelling, and vice versa. However, this ideal is usually never achieved in practice. Languages can come close to it, such as Spanish and Finnish. others, such as English, deviate from it to a much larger degree. The pronunciation of a language often evolves independently of its writing system. Writing systems have been borrowed for languages the orthography was not initially made to use. The degree to which letters of an alphabet correspond to phonemes of a language varies. Languages may fail to achieve a one-to-one correspondence between letters and sounds in any of several ways: A language may represent a given phoneme by combinations of letters rather than just a single letter. Two-letter combinations are called digraphs, and three-letter groups are called trigraphs. German uses the tetragraphs (four letters) "tsch" for the phoneme and (in a few borrowed words) "dsch" for . Kabardian also uses a tetragraph for one of its phonemes, namely "кхъу." Two letters representing one sound occur in several instances in Hungarian as well (where, for instance, cs stands for [tʃ], sz for [s], zs for [ʒ], dzs for [dʒ]). A language may represent the same phoneme with two or more different letters or combinations of letters. An example is modern Greek which may write the phoneme in six different ways: , , , , , and . A language may spell some words with unpronounced letters that exist for historical or other reasons. For example, the spelling of the Thai word for "beer" [เบียร์] retains a letter for the final consonant "r" present in the English word it borrows, but silences it. Pronunciation of individual words may change according to the presence of surrounding words in a sentence, for example, in Sandhi. Different dialects of a language may use different phonemes for the same word. A language may use different sets of symbols or rules for distinct vocabulary items, typically for foreign words, such as in the Japanese katakana syllabary is used for foreign words, and there are rules in English for using loanwords from other languages. National languages sometimes elect to address the problem of dialects by associating the alphabet with the national standard. Some national languages like Finnish, Armenian, Turkish, Russian, Serbo-Croatian (Serbian, Croatian, and Bosnian), and Bulgarian have a very regular spelling system with nearly one-to-one correspondence between letters and phonemes. Similarly, the Italian verb corresponding to 'spell (out),' compitare, is unknown to many Italians because spelling is usually trivial, as Italian spelling is highly phonemic. In standard Spanish, one can tell the pronunciation of a word from its spelling, but not vice versa, as phonemes sometimes can be represented in more than one way, but a given letter is consistently pronounced. French using silent letters, nasal vowels, and elision, may seem to lack much correspondence between the spelling and pronunciation. However, its rules on pronunciation, though complex, are consistent and predictable with a fair degree of accuracy. At the other extreme are languages such as English, where pronunciations mostly have to be memorized as they do not correspond to the spelling consistently. For English, this is because the Great Vowel Shift occurred after the orthography got established and because English has acquired a large number of loanwords at different times, retaining their original spelling at varying levels. However, even English has general, albeit complex, rules that predict pronunciation from spelling. Rules like this are usually successful. However, rules to predict spelling from pronunciation have a higher failure rate. Sometimes, countries have the written language undergo a spelling reform to realign the writing with the contemporary spoken language. These can range from simple spelling changes and word forms to switching the entire writing system. For example, Turkey switched from the Arabic alphabet to a Latin-based Turkish alphabet, and when Kazakh changed from an Arabic script to a Cyrillic script due to the Soviet Union's influence, and in 2021, it made a transition to the Latin alphabet, similar to Turkish. The Cyrillic script used to be official in Uzbekistan and Turkmenistan before they all switched to the Latin alphabet, including Uzbekistan that is having a reform of the alphabet to use diacritics on the letters that are marked by apostrophes and the letters that are digraphs. The standard system of symbols used by linguists to represent sounds in any language, independently of orthography, is called the International Phonetic Alphabet. See also Abecedarium Acrophony Akshara Alphabet book Alphabet effect Alphabet song Alphabetical order Butterfly Alphabet Character encoding Constructed script Fingerspelling NATO phonetic alphabet Lipogram List of writing systems Pangram Thoth Transliteration Unicode References Bibliography Overview of modern and some ancient writing systems. Chapter 3 traces and summarizes the invention of alphabetic writing. Chapter 4 traces the invention of writing Further reading Josephine Quinn, "Alphabet Politics" (review of Silvia Ferrara, The Greatest Invention: A History of the World in Nine Mysterious Scripts, translated from the Italian by Todd Portnowitz, Farrar, Straus and Giroux, 2022, 289 pp.; and Johanna Drucker, Inventing the Alphabet: The Origins of Letters from Antiquity to the Present, University of Chicago Press, 2022, 380 pp.), The New York Review of Books, vol. LXX, no. 1 (19 January 2023), pp. 6, 8, 10. External links The Origins of abc "Language, Writing and Alphabet: An Interview with Christophe Rico", Damqātum 3 (2007) Michael Everson's Alphabets of Europe Evolution of alphabets, animation by Prof. Robert Fradkin at the University of Maryland How the Alphabet Was Born from Hieroglyphs—Biblical Archaeology Review An Early Hellenic Alphabet Museum of the Alphabet The Alphabet, BBC Radio 4 discussion with Eleanor Robson, Alan Millard and Rosalind Thomas (In Our Time, 18 December 2003) Orthography

https://en.wikipedia.org/wiki/Atomic%20number

Atomic number

The atomic number or nuclear charge number (symbol Z) of a chemical element is the charge number of an atomic nucleus. For ordinary nuclei, this is equal to the proton number (np) or the number of protons found in the nucleus of every atom of that element. The atomic number can be used to uniquely identify ordinary chemical elements. In an ordinary uncharged atom, the atomic number is also equal to the number of electrons. For an ordinary atom, the sum of the atomic number Z and the neutron number N gives the atom's atomic mass number A. Since protons and neutrons have approximately the same mass (and the mass of the electrons is negligible for many purposes) and the mass defect of the nucleon binding is always small compared to the nucleon mass, the atomic mass of any atom, when expressed in unified atomic mass units (making a quantity called the "relative isotopic mass"), is within 1% of the whole number A. Atoms with the same atomic number but different neutron numbers, and hence different mass numbers, are known as isotopes. A little more than three-quarters of naturally occurring elements exist as a mixture of isotopes (see monoisotopic elements), and the average isotopic mass of an isotopic mixture for an element (called the relative atomic mass) in a defined environment on Earth, determines the element's standard atomic weight. Historically, it was these atomic weights of elements (in comparison to hydrogen) that were the quantities measurable by chemists in the 19th century. The conventional symbol Z comes from the German word 'number', which, before the modern synthesis of ideas from chemistry and physics, merely denoted an element's numerical place in the periodic table, whose order was then approximately, but not completely, consistent with the order of the elements by atomic weights. Only after 1915, with the suggestion and evidence that this Z number was also the nuclear charge and a physical characteristic of atoms, did the word (and its English equivalent atomic number) come into common use in this context. History The periodic table and a natural number for each element Loosely speaking, the existence or construction of a periodic table of elements creates an ordering of the elements, and so they can be numbered in order. Dmitri Mendeleev claimed that he arranged his first periodic tables (first published on March 6, 1869) in order of atomic weight ("Atomgewicht"). However, in consideration of the elements' observed chemical properties, he changed the order slightly and placed tellurium (atomic weight 127.6) ahead of iodine (atomic weight 126.9). This placement is consistent with the modern practice of ordering the elements by proton number, Z, but that number was not known or suspected at the time. A simple numbering based on periodic table position was never entirely satisfactory, however. Besides the case of iodine and tellurium, later several other pairs of elements (such as argon and potassium, cobalt and nickel) were known to have nearly identical or reversed atomic weights, thus requiring their placement in the periodic table to be determined by their chemical properties. However the gradual identification of more and more chemically similar lanthanide elements, whose atomic number was not obvious, led to inconsistency and uncertainty in the periodic numbering of elements at least from lutetium (element 71) onward (hafnium was not known at this time). The Rutherford-Bohr model and van den Broek In 1911, Ernest Rutherford gave a model of the atom in which a central nucleus held most of the atom's mass and a positive charge which, in units of the electron's charge, was to be approximately equal to half of the atom's atomic weight, expressed in numbers of hydrogen atoms. This central charge would thus be approximately half the atomic weight (though it was almost 25% different from the atomic number of gold , ), the single element from which Rutherford made his guess). Nevertheless, in spite of Rutherford's estimation that gold had a central charge of about 100 (but was element on the periodic table), a month after Rutherford's paper appeared, Antonius van den Broek first formally suggested that the central charge and number of electrons in an atom was exactly equal to its place in the periodic table (also known as element number, atomic number, and symbolized Z). This proved eventually to be the case. Moseley's 1913 experiment The experimental position improved dramatically after research by Henry Moseley in 1913. Moseley, after discussions with Bohr who was at the same lab (and who had used Van den Broek's hypothesis in his Bohr model of the atom), decided to test Van den Broek's and Bohr's hypothesis directly, by seeing if spectral lines emitted from excited atoms fitted the Bohr theory's postulation that the frequency of the spectral lines be proportional to the square of Z. To do this, Moseley measured the wavelengths of the innermost photon transitions (K and L lines) produced by the elements from aluminum (Z = 13) to gold (Z = 79) used as a series of movable anodic targets inside an x-ray tube. The square root of the frequency of these photons increased from one target to the next in an arithmetic progression. This led to the conclusion (Moseley's law) that the atomic number does closely correspond (with an offset of one unit for K-lines, in Moseley's work) to the calculated electric charge of the nucleus, i.e. the element number Z. Among other things, Moseley demonstrated that the lanthanide series (from lanthanum to lutetium inclusive) must have 15 members—no fewer and no more—which was far from obvious from known chemistry at that time. Missing elements After Moseley's death in 1915, the atomic numbers of all known elements from hydrogen to uranium (Z = 92) were examined by his method. There were seven elements (with Z < 92) which were not found and therefore identified as still undiscovered, corresponding to atomic numbers 43, 61, 72, 75, 85, 87 and 91. From 1918 to 1947, all seven of these missing elements were discovered. By this time, the first four transuranium elements had also been discovered, so that the periodic table was complete with no gaps as far as curium (Z = 96). The proton and the idea of nuclear electrons In 1915, the reason for nuclear charge being quantized in units of Z, which were now recognized to be the same as the element number, was not understood. An old idea called Prout's hypothesis had postulated that the elements were all made of residues (or "protyles") of the lightest element hydrogen, which in the Bohr-Rutherford model had a single electron and a nuclear charge of one. However, as early as 1907, Rutherford and Thomas Royds had shown that alpha particles, which had a charge of +2, were the nuclei of helium atoms, which had a mass four times that of hydrogen, not two times. If Prout's hypothesis were true, something had to be neutralizing some of the charge of the hydrogen nuclei present in the nuclei of heavier atoms. In 1917, Rutherford succeeded in generating hydrogen nuclei from a nuclear reaction between alpha particles and nitrogen gas, and believed he had proven Prout's law. He called the new heavy nuclear particles protons in 1920 (alternate names being proutons and protyles). It had been immediately apparent from the work of Moseley that the nuclei of heavy atoms have more than twice as much mass as would be expected from their being made of hydrogen nuclei, and thus there was required a hypothesis for the neutralization of the extra protons presumed present in all heavy nuclei. A helium nucleus was presumed to be composed of four protons plus two "nuclear electrons" (electrons bound inside the nucleus) to cancel two of the charges. At the other end of the periodic table, a nucleus of gold with a mass 197 times that of hydrogen was thought to contain 118 nuclear electrons in the nucleus to give it a residual charge of +79, consistent with its atomic number. The discovery of the neutron makes Z the proton number All consideration of nuclear electrons ended with James Chadwick's discovery of the neutron in 1932. An atom of gold now was seen as containing 118 neutrons rather than 118 nuclear electrons, and its positive nuclear charge now was realized to come entirely from a content of 79 protons. Since Moseley had previously shown that the atomic number Z of an element equals this positive charge, it was now clear that Z is identical to the number of protons of its nuclei. Chemical properties Each element has a specific set of chemical properties as a consequence of the number of electrons present in the neutral atom, which is Z (the atomic number). The configuration of these electrons follows from the principles of quantum mechanics. The number of electrons in each element's electron shells, particularly the outermost valence shell, is the primary factor in determining its chemical bonding behavior. Hence, it is the atomic number alone that determines the chemical properties of an element; and it is for this reason that an element can be defined as consisting of any mixture of atoms with a given atomic number. New elements The quest for new elements is usually described using atomic numbers. As of , all elements with atomic numbers 1 to 118 have been observed. Synthesis of new elements is accomplished by bombarding target atoms of heavy elements with ions, such that the sum of the atomic numbers of the target and ion elements equals the atomic number of the element being created. In general, the half-life of a nuclide becomes shorter as atomic number increases, though undiscovered nuclides with certain "magic" numbers of protons and neutrons may have relatively longer half-lives and comprise an island of stability. A hypothetical element composed only of neutrons has also been proposed and would have atomic number 0. See also Atomic theory Chemical element Effective atomic number (disambiguation) Even and odd atomic nuclei Exotic atom History of the periodic table List of elements by atomic number Mass number Neutron number Neutron–proton ratio Prout's hypothesis References Chemical properties Nuclear physics Atoms Dimensionless numbers of chemistry Numbers

https://en.wikipedia.org/wiki/Anatomy

Anatomy

Anatomy () is the branch of biology concerned with the study of the structure of organisms and their parts. Anatomy is a branch of natural science that deals with the structural organization of living things. It is an old science, having its beginnings in prehistoric times. Anatomy is inherently tied to developmental biology, embryology, comparative anatomy, evolutionary biology, and phylogeny, as these are the processes by which anatomy is generated, both over immediate and long-term timescales. Anatomy and physiology, which study the structure and function of organisms and their parts respectively, make a natural pair of related disciplines, and are often studied together. Human anatomy is one of the essential basic sciences that are applied in medicine. The discipline of anatomy is divided into macroscopic and microscopic. Macroscopic anatomy, or gross anatomy, is the examination of an animal's body parts using unaided eyesight. Gross anatomy also includes the branch of superficial anatomy. Microscopic anatomy involves the use of optical instruments in the study of the tissues of various structures, known as histology, and also in the study of cells. The history of anatomy is characterized by a progressive understanding of the functions of the organs and structures of the human body. Methods have also improved dramatically, advancing from the examination of animals by dissection of carcasses and cadavers (corpses) to 20th century medical imaging techniques, including X-ray, ultrasound, and magnetic resonance imaging. Etymology and definition Derived from the Greek anatomē "dissection" (from anatémnō "I cut up, cut open" from ἀνά aná "up," and τέμνω témnō "I cut"), anatomy is the scientific study of the structure of organisms including their systems, organs and tissues. It includes the appearance and position of the various parts, the materials from which they are composed, and their relationships with other parts. Anatomy is quite distinct from physiology and biochemistry, which deal respectively with the functions of those parts and the chemical processes involved. For example, an anatomist is concerned with the shape, size, position, structure, blood supply and innervation of an organ such as the liver; while a physiologist is interested in the production of bile, the role of the liver in nutrition and the regulation of bodily functions. The discipline of anatomy can be subdivided into a number of branches, including gross or macroscopic anatomy and microscopic anatomy. Gross anatomy is the study of structures large enough to be seen with the naked eye, and also includes superficial anatomy or surface anatomy, the study by sight of the external body features. Microscopic anatomy is the study of structures on a microscopic scale, along with histology (the study of tissues), and embryology (the study of an organism in its immature condition). Anatomy can be studied using both invasive and non-invasive methods with the goal of obtaining information about the structure and organization of organs and systems. Methods used include dissection, in which a body is opened and its organs studied, and endoscopy, in which a video camera-equipped instrument is inserted through a small incision in the body wall and used to explore the internal organs and other structures. Angiography using X-rays or magnetic resonance angiography are methods to visualize blood vessels. The term "anatomy" is commonly taken to refer to human anatomy. However, substantially similar structures and tissues are found throughout the rest of the animal kingdom, and the term also includes the anatomy of other animals. The term zootomy is also sometimes used to specifically refer to non-human animals. The structure and tissues of plants are of a dissimilar nature and they are studied in plant anatomy. Animal tissues The kingdom Animalia contains multicellular organisms that are heterotrophic and motile (although some have secondarily adopted a sessile lifestyle). Most animals have bodies differentiated into separate tissues and these animals are also known as eumetazoans. They have an internal digestive chamber, with one or two openings; the gametes are produced in multicellular sex organs, and the zygotes include a blastula stage in their embryonic development. Metazoans do not include the sponges, which have undifferentiated cells. Unlike plant cells, animal cells have neither a cell wall nor chloroplasts. Vacuoles, when present, are more in number and much smaller than those in the plant cell. The body tissues are composed of numerous types of cell, including those found in muscles, nerves and skin. Each typically has a cell membrane formed of phospholipids, cytoplasm and a nucleus. All of the different cells of an animal are derived from the embryonic germ layers. Those simpler invertebrates which are formed from two germ layers of ectoderm and endoderm are called diploblastic and the more developed animals whose structures and organs are formed from three germ layers are called triploblastic. All of a triploblastic animal's tissues and organs are derived from the three germ layers of the embryo, the ectoderm, mesoderm and endoderm. Animal tissues can be grouped into four basic types: connective, epithelial, muscle and nervous tissue. Connective tissue Connective tissues are fibrous and made up of cells scattered among inorganic material called the extracellular matrix. Connective tissue gives shape to organs and holds them in place. The main types are loose connective tissue, adipose tissue, fibrous connective tissue, cartilage and bone. The extracellular matrix contains proteins, the chief and most abundant of which is collagen. Collagen plays a major part in organizing and maintaining tissues. The matrix can be modified to form a skeleton to support or protect the body. An exoskeleton is a thickened, rigid cuticle which is stiffened by mineralization, as in crustaceans or by the cross-linking of its proteins as in insects. An endoskeleton is internal and present in all developed animals, as well as in many of those less developed. Epithelium Epithelial tissue is composed of closely packed cells, bound to each other by cell adhesion molecules, with little intercellular space. Epithelial cells can be squamous (flat), cuboidal or columnar and rest on a basal lamina, the upper layer of the basement membrane, the lower layer is the reticular lamina lying next to the connective tissue in the extracellular matrix secreted by the epithelial cells. There are many different types of epithelium, modified to suit a particular function. In the respiratory tract there is a type of ciliated epithelial lining; in the small intestine there are microvilli on the epithelial lining and in the large intestine there are intestinal villi. Skin consists of an outer layer of keratinized stratified squamous epithelium that covers the exterior of the vertebrate body. Keratinocytes make up to 95% of the cells in the skin. The epithelial cells on the external surface of the body typically secrete an extracellular matrix in the form of a cuticle. In simple animals this may just be a coat of glycoproteins. In more advanced animals, many glands are formed of epithelial cells. Muscle tissue Muscle cells (myocytes) form the active contractile tissue of the body. Muscle tissue functions to produce force and cause motion, either locomotion or movement within internal organs. Muscle is formed of contractile filaments and is separated into three main types; smooth muscle, skeletal muscle and cardiac muscle. Smooth muscle has no striations when examined microscopically. It contracts slowly but maintains contractibility over a wide range of stretch lengths. It is found in such organs as sea anemone tentacles and the body wall of sea cucumbers. Skeletal muscle contracts rapidly but has a limited range of extension. It is found in the movement of appendages and jaws. Obliquely striated muscle is intermediate between the other two. The filaments are staggered and this is the type of muscle found in earthworms that can extend slowly or make rapid contractions. In higher animals striated muscles occur in bundles attached to bone to provide movement and are often arranged in antagonistic sets. Smooth muscle is found in the walls of the uterus, bladder, intestines, stomach, oesophagus, respiratory airways, and blood vessels. Cardiac muscle is found only in the heart, allowing it to contract and pump blood round the body. Nervous tissue Nervous tissue is composed of many nerve cells known as neurons which transmit information. In some slow-moving radially symmetrical marine animals such as ctenophores and cnidarians (including sea anemones and jellyfish), the nerves form a nerve net, but in most animals they are organized longitudinally into bundles. In simple animals, receptor neurons in the body wall cause a local reaction to a stimulus. In more complex animals, specialized receptor cells such as chemoreceptors and photoreceptors are found in groups and send messages along neural networks to other parts of the organism. Neurons can be connected together in ganglia. In higher animals, specialized receptors are the basis of sense organs and there is a central nervous system (brain and spinal cord) and a peripheral nervous system. The latter consists of sensory nerves that transmit information from sense organs and motor nerves that influence target organs. The peripheral nervous system is divided into the somatic nervous system which conveys sensation and controls voluntary muscle, and the autonomic nervous system which involuntarily controls smooth muscle, certain glands and internal organs, including the stomach. Vertebrate anatomy All vertebrates have a similar basic body plan and at some point in their lives, mostly in the embryonic stage, share the major chordate characteristics: a stiffening rod, the notochord; a dorsal hollow tube of nervous material, the neural tube; pharyngeal arches; and a tail posterior to the anus. The spinal cord is protected by the vertebral column and is above the notochord, and the gastrointestinal tract is below it. Nervous tissue is derived from the ectoderm, connective tissues are derived from mesoderm, and gut is derived from the endoderm. At the posterior end is a tail which continues the spinal cord and vertebrae but not the gut. The mouth is found at the anterior end of the animal, and the anus at the base of the tail. The defining characteristic of a vertebrate is the vertebral column, formed in the development of the segmented series of vertebrae. In most vertebrates the notochord becomes the nucleus pulposus of the intervertebral discs. However, a few vertebrates, such as the sturgeon and the coelacanth, retain the notochord into adulthood. Jawed vertebrates are typified by paired appendages, fins or legs, which may be secondarily lost. The limbs of vertebrates are considered to be homologous because the same underlying skeletal structure was inherited from their last common ancestor. This is one of the arguments put forward by Charles Darwin to support his theory of evolution. Fish anatomy The body of a fish is divided into a head, trunk and tail, although the divisions between the three are not always externally visible. The skeleton, which forms the support structure inside the fish, is either made of cartilage, in cartilaginous fish, or bone in bony fish. The main skeletal element is the vertebral column, composed of articulating vertebrae which are lightweight yet strong. The ribs attach to the spine and there are no limbs or limb girdles. The main external features of the fish, the fins, are composed of either bony or soft spines called rays, which with the exception of the caudal fins, have no direct connection with the spine. They are supported by the muscles which compose the main part of the trunk. The heart has two chambers and pumps the blood through the respiratory surfaces of the gills and on round the body in a single circulatory loop. The eyes are adapted for seeing underwater and have only local vision. There is an inner ear but no external or middle ear. Low frequency vibrations are detected by the lateral line system of sense organs that run along the length of the sides of fish, and these respond to nearby movements and to changes in water pressure. Sharks and rays are basal fish with numerous primitive anatomical features similar to those of ancient fish, including skeletons composed of cartilage. Their bodies tend to be dorso-ventrally flattened, they usually have five pairs of gill slits and a large mouth set on the underside of the head. The dermis is covered with separate dermal placoid scales. They have a cloaca into which the urinary and genital passages open, but not a swim bladder. Cartilaginous fish produce a small number of large, yolky eggs. Some species are ovoviviparous and the young develop internally but others are oviparous and the larvae develop externally in egg cases. The bony fish lineage shows more derived anatomical traits, often with major evolutionary changes from the features of ancient fish. They have a bony skeleton, are generally laterally flattened, have five pairs of gills protected by an operculum, and a mouth at or near the tip of the snout. The dermis is covered with overlapping scales. Bony fish have a swim bladder which helps them maintain a constant depth in the water column, but not a cloaca. They mostly spawn a large number of small eggs with little yolk which they broadcast into the water column. Amphibian anatomy Amphibians are a class of animals comprising frogs, salamanders and caecilians. They are tetrapods, but the caecilians and a few species of salamander have either no limbs or their limbs are much reduced in size. Their main bones are hollow and lightweight and are fully ossified and the vertebrae interlock with each other and have articular processes. Their ribs are usually short and may be fused to the vertebrae. Their skulls are mostly broad and short, and are often incompletely ossified. Their skin contains little keratin and lacks scales, but contains many mucous glands and in some species, poison glands. The hearts of amphibians have three chambers, two atria and one ventricle. They have a urinary bladder and nitrogenous waste products are excreted primarily as urea. Amphibians breathe by means of buccal pumping, a pump action in which air is first drawn into the buccopharyngeal region through the nostrils. These are then closed and the air is forced into the lungs by contraction of the throat. They supplement this with gas exchange through the skin which needs to be kept moist. In frogs the pelvic girdle is robust and the hind legs are much longer and stronger than the forelimbs. The feet have four or five digits and the toes are often webbed for swimming or have suction pads for climbing. Frogs have large eyes and no tail. Salamanders resemble lizards in appearance; their short legs project sideways, the belly is close to or in contact with the ground and they have a long tail. Caecilians superficially resemble earthworms and are limbless. They burrow by means of zones of muscle contractions which move along the body and they swim by undulating their body from side to side. Reptile anatomy Reptiles are a class of animals comprising turtles, tuataras, lizards, snakes and crocodiles. They are tetrapods, but the snakes and a few species of lizard either have no limbs or their limbs are much reduced in size. Their bones are better ossified and their skeletons stronger than those of amphibians. The teeth are conical and mostly uniform in size. The surface cells of the epidermis are modified into horny scales which create a waterproof layer. Reptiles are unable to use their skin for respiration as do amphibians and have a more efficient respiratory system drawing air into their lungs by expanding their chest walls. The heart resembles that of the amphibian but there is a septum which more completely separates the oxygenated and deoxygenated bloodstreams. The reproductive system has evolved for internal fertilization, with a copulatory organ present in most species. The eggs are surrounded by amniotic membranes which prevents them from drying out and are laid on land, or develop internally in some species. The bladder is small as nitrogenous waste is excreted as uric acid. Turtles are notable for their protective shells. They have an inflexible trunk encased in a horny carapace above and a plastron below. These are formed from bony plates embedded in the dermis which are overlain by horny ones and are partially fused with the ribs and spine. The neck is long and flexible and the head and the legs can be drawn back inside the shell. Turtles are vegetarians and the typical reptile teeth have been replaced by sharp, horny plates. In aquatic species, the front legs are modified into flippers. Tuataras superficially resemble lizards but the lineages diverged in the Triassic period. There is one living species, Sphenodon punctatus. The skull has two openings (fenestrae) on either side and the jaw is rigidly attached to the skull. There is one row of teeth in the lower jaw and this fits between the two rows in the upper jaw when the animal chews. The teeth are merely projections of bony material from the jaw and eventually wear down. The brain and heart are more primitive than those of other reptiles, and the lungs have a single chamber and lack bronchi. The tuatara has a well-developed parietal eye on its forehead. Lizards have skulls with only one fenestra on each side, the lower bar of bone below the second fenestra having been lost. This results in the jaws being less rigidly attached which allows the mouth to open wider. Lizards are mostly quadrupeds, with the trunk held off the ground by short, sideways-facing legs, but a few species have no limbs and resemble snakes. Lizards have moveable eyelids, eardrums are present and some species have a central parietal eye. Snakes are closely related to lizards, having branched off from a common ancestral lineage during the Cretaceous period, and they share many of the same features. The skeleton consists of a skull, a hyoid bone, spine and ribs though a few species retain a vestige of the pelvis and rear limbs in the form of pelvic spurs. The bar under the second fenestra has also been lost and the jaws have extreme flexibility allowing the snake to swallow its prey whole. Snakes lack moveable eyelids, the eyes being covered by transparent "spectacle" scales. They do not have eardrums but can detect ground vibrations through the bones of their skull. Their forked tongues are used as organs of taste and smell and some species have sensory pits on their heads enabling them to locate warm-blooded prey. Crocodilians are large, low-slung aquatic reptiles with long snouts and large numbers of teeth. The head and trunk are dorso-ventrally flattened and the tail is laterally compressed. It undulates from side to side to force the animal through the water when swimming. The tough keratinized scales provide body armour and some are fused to the skull. The nostrils, eyes and ears are elevated above the top of the flat head enabling them to remain above the surface of the water when the animal is floating. Valves seal the nostrils and ears when it is submerged. Unlike other reptiles, crocodilians have hearts with four chambers allowing complete separation of oxygenated and deoxygenated blood. Bird anatomy Birds are tetrapods but though their hind limbs are used for walking or hopping, their front limbs are wings covered with feathers and adapted for flight. Birds are endothermic, have a high metabolic rate, a light skeletal system and powerful muscles. The long bones are thin, hollow and very light. Air sac extensions from the lungs occupy the centre of some bones. The sternum is wide and usually has a keel and the caudal vertebrae are fused. There are no teeth and the narrow jaws are adapted into a horn-covered beak. The eyes are relatively large, particularly in nocturnal species such as owls. They face forwards in predators and sideways in ducks. The feathers are outgrowths of the epidermis and are found in localized bands from where they fan out over the skin. Large flight feathers are found on the wings and tail, contour feathers cover the bird's surface and fine down occurs on young birds and under the contour feathers of water birds. The only cutaneous gland is the single uropygial gland near the base of the tail. This produces an oily secretion that waterproofs the feathers when the bird preens. There are scales on the legs, feet and claws on the tips of the toes. Mammal anatomy Mammals are a diverse class of animals, mostly terrestrial but some are aquatic and others have evolved flapping or gliding flight. They mostly have four limbs, but some aquatic mammals have no limbs or limbs modified into fins, and the forelimbs of bats are modified into wings. The legs of most mammals are situated below the trunk, which is held well clear of the ground. The bones of mammals are well ossified and their teeth, which are usually differentiated, are coated in a layer of prismatic enamel. The teeth are shed once (milk teeth) during the animal's lifetime or not at all, as is the case in cetaceans. Mammals have three bones in the middle ear and a cochlea in the inner ear. They are clothed in hair and their skin contains glands which secrete sweat. Some of these glands are specialized as mammary glands, producing milk to feed the young. Mammals breathe with lungs and have a muscular diaphragm separating the thorax from the abdomen which helps them draw air into the lungs. The mammalian heart has four chambers, and oxygenated and deoxygenated blood are kept entirely separate. Nitrogenous waste is excreted primarily as urea. Mammals are amniotes, and most are viviparous, giving birth to live young. Exceptions to this are the egg-laying monotremes, the platypus and the echidnas of Australia. Most other mammals have a placenta through which the developing foetus obtains nourishment, but in marsupials, the foetal stage is very short and the immature young is born and finds its way to its mother's pouch where it latches on to a nipple and completes its development. Human anatomy Humans have the overall body plan of a mammal. Humans have a head, neck, trunk (which includes the thorax and abdomen), two arms and hands, and two legs and feet. Generally, students of certain biological sciences, paramedics, prosthetists and orthotists, physiotherapists, occupational therapists, nurses, podiatrists, and medical students learn gross anatomy and microscopic anatomy from anatomical models, skeletons, textbooks, diagrams, photographs, lectures and tutorials and in addition, medical students generally also learn gross anatomy through practical experience of dissection and inspection of cadavers. The study of microscopic anatomy (or histology) can be aided by practical experience examining histological preparations (or slides) under a microscope. Human anatomy, physiology and biochemistry are complementary basic medical sciences, which are generally taught to medical students in their first year at medical school. Human anatomy can be taught regionally or systemically; that is, respectively, studying anatomy by bodily regions such as the head and chest, or studying by specific systems, such as the nervous or respiratory systems. The major anatomy textbook, Gray's Anatomy, has been reorganized from a systems format to a regional format, in line with modern teaching methods. A thorough working knowledge of anatomy is required by physicians, especially surgeons and doctors working in some diagnostic specialties, such as histopathology and radiology. Academic anatomists are usually employed by universities, medical schools or teaching hospitals. They are often involved in teaching anatomy, and research into certain systems, organs, tissues or cells. Invertebrate anatomy Invertebrates constitute a vast array of living organisms ranging from the simplest unicellular eukaryotes such as Paramecium to such complex multicellular animals as the octopus, lobster and dragonfly. They constitute about 95% of the animal species. By definition, none of these creatures has a backbone. The cells of single-cell protozoans have the same basic structure as those of multicellular animals but some parts are specialized into the equivalent of tissues and organs. Locomotion is often provided by cilia or flagella or may proceed via the advance of pseudopodia, food may be gathered by phagocytosis, energy needs may be supplied by photosynthesis and the cell may be supported by an endoskeleton or an exoskeleton. Some protozoans can form multicellular colonies. Metazoans are a multicellular organism, with different groups of cells serving different functions. The most basic types of metazoan tissues are epithelium and connective tissue, both of which are present in nearly all invertebrates. The outer surface of the epidermis is normally formed of epithelial cells and secretes an extracellular matrix which provides support to the organism. An endoskeleton derived from the mesoderm is present in echinoderms, sponges and some cephalopods. Exoskeletons are derived from the epidermis and is composed of chitin in arthropods (insects, spiders, ticks, shrimps, crabs, lobsters). Calcium carbonate constitutes the shells of molluscs, brachiopods and some tube-building polychaete worms and silica forms the exoskeleton of the microscopic diatoms and radiolaria. Other invertebrates may have no rigid structures but the epidermis may secrete a variety of surface coatings such as the pinacoderm of sponges, the gelatinous cuticle of cnidarians (polyps, sea anemones, jellyfish) and the collagenous cuticle of annelids. The outer epithelial layer may include cells of several types including sensory cells, gland cells and stinging cells. There may also be protrusions such as microvilli, cilia, bristles, spines and tubercles. Marcello Malpighi, the father of microscopical anatomy, discovered that plants had tubules similar to those he saw in insects like the silk worm. He observed that when a ring-like portion of bark was removed on a trunk a swelling occurred in the tissues above the ring, and he unmistakably interpreted this as growth stimulated by food coming down from the leaves, and being captured above the ring. Arthropod anatomy Arthropods comprise the largest phylum in the animal kingdom with over a million known invertebrate species. Insects possess segmented bodies supported by a hard-jointed outer covering, the exoskeleton, made mostly of chitin. The segments of the body are organized into three distinct parts, a head, a thorax and an abdomen. The head typically bears a pair of sensory antennae, a pair of compound eyes, one to three simple eyes (ocelli) and three sets of modified appendages that form the mouthparts. The thorax has three pairs of segmented legs, one pair each for the three segments that compose the thorax and one or two pairs of wings. The abdomen is composed of eleven segments, some of which may be fused and houses the digestive, respiratory, excretory and reproductive systems. There is considerable variation between species and many adaptations to the body parts, especially wings, legs, antennae and mouthparts. Spiders a class of arachnids have four pairs of legs; a body of two segments—a cephalothorax and an abdomen. Spiders have no wings and no antennae. They have mouthparts called chelicerae which are often connected to venom glands as most spiders are venomous. They have a second pair of appendages called pedipalps attached to the cephalothorax. These have similar segmentation to the legs and function as taste and smell organs. At the end of each male pedipalp is a spoon-shaped cymbium that acts to support the copulatory organ. Other branches of anatomy Superficial or surface anatomy is important as the study of anatomical landmarks that can be readily seen from the exterior contours of the body. It enables physicians or veterinary surgeons to gauge the position and anatomy of the associated deeper structures. Superficial is a directional term that indicates that structures are located relatively close to the surface of the body. Comparative anatomy relates to the comparison of anatomical structures (both gross and microscopic) in different animals. Artistic anatomy relates to anatomic studies for artistic reasons. History Ancient In 1600 BCE, the Edwin Smith Papyrus, an Ancient Egyptian medical text, described the heart, its vessels, liver, spleen, kidneys, hypothalamus, uterus and bladder, and showed the blood vessels diverging from the heart. The Ebers Papyrus () features a "treatise on the heart", with vessels carrying all the body's fluids to or from every member of the body. Ancient Greek anatomy and physiology underwent great changes and advances throughout the early medieval world. Over time, this medical practice expanded by a continually developing understanding of the functions of organs and structures in the body. Phenomenal anatomical observations of the human body were made, which have contributed towards the understanding of the brain, eye, liver, reproductive organs and the nervous system. The Hellenistic Egyptian city of Alexandria was the stepping-stone for Greek anatomy and physiology. Alexandria not only housed the biggest library for medical records and books of the liberal arts in the world during the time of the Greeks, but was also home to many medical practitioners and philosophers. Great patronage of the arts and sciences from the Ptolemy rulers helped raise Alexandria up, further rivalling the cultural and scientific achievements of other Greek states. Some of the most striking advances in early anatomy and physiology took place in Hellenistic Alexandria. Two of the most famous anatomists and physiologists of the third century were Herophilus and Erasistratus. These two physicians helped pioneer human dissection for medical research, using the cadavers of condemned criminals, which was considered taboo until the Renaissance—Herophilus was recognized as the first person to perform systematic dissections. Herophilus became known for his anatomical works making impressing contributions to many branches of anatomy and many other aspects of medicine. Some of the works included classifying the system of the pulse, the discovery that human arteries had thicker walls than veins, and that the atria were parts of the heart. Herophilus's knowledge of the human body has provided vital input towards understanding the brain, eye, liver, reproductive organs and nervous system, and characterizing the course of disease. Erasistratus accurately described the structure of the brain, including the cavities and membranes, and made a distinction between its cerebrum and cerebellum During his study in Alexandria, Erasistratus was particularly concerned with studies of the circulatory and nervous systems. He was able to distinguish the sensory and the motor nerves in the human body and believed that air entered the lungs and heart, which was then carried throughout the body. His distinction between the arteries and veins—the arteries carrying the air through the body, while the veins carried the blood from the heart was a great anatomical discovery. Erasistratus was also responsible for naming and describing the function of the epiglottis and the valves of the heart, including the tricuspid. During the third century, Greek physicians were able to differentiate nerves from blood vessels and tendons and to realize that the nerves convey neural impulses. It was Herophilus who made the point that damage to motor nerves induced paralysis. Herophilus named the meninges and ventricles in the brain, appreciated the division between cerebellum and cerebrum and recognized that the brain was the "seat of intellect" and not a "cooling chamber" as propounded by Aristotle Herophilus is also credited with describing the optic, oculomotor, motor division of the trigeminal, facial, vestibulocochlear and hypoglossal nerves. Great feats were made during the third century BCE in both the digestive and reproductive systems. Herophilus was able to discover and describe not only the salivary glands, but the small intestine and liver. He showed that the uterus is a hollow organ and described the ovaries and uterine tubes. He recognized that spermatozoa were produced by the testes and was the first to identify the prostate gland. The anatomy of the muscles and skeleton is described in the Hippocratic Corpus, an Ancient Greek medical work written by unknown authors. Aristotle described vertebrate anatomy based on animal dissection. Praxagoras identified the difference between arteries and veins. Also in the 4th century BCE, Herophilos and Erasistratus produced more accurate anatomical descriptions based on vivisection of criminals in Alexandria during the Ptolemaic dynasty. In the 2nd century, Galen of Pergamum, an anatomist, clinician, writer and philosopher, wrote the final and highly influential anatomy treatise of ancient times. He compiled existing knowledge and studied anatomy through dissection of animals. He was one of the first experimental physiologists through his vivisection experiments on animals. Galen's drawings, based mostly on dog anatomy, became effectively the only anatomical textbook for the next thousand years. His work was known to Renaissance doctors only through Islamic Golden Age medicine until it was translated from the Greek some time in the 15th century. Medieval to early modern Anatomy developed little from classical times until the sixteenth century; as the historian Marie Boas writes, "Progress in anatomy before the sixteenth century is as mysteriously slow as its development after 1500 is startlingly rapid". Between 1275 and 1326, the anatomists Mondino de Luzzi, Alessandro Achillini and Antonio Benivieni at Bologna carried out the first systematic human dissections since ancient times. Mondino's Anatomy of 1316 was the first textbook in the medieval rediscovery of human anatomy. It describes the body in the order followed in Mondino's dissections, starting with the abdomen, then the thorax, then the head and limbs. It was the standard anatomy textbook for the next century. Leonardo da Vinci (1452–1519) was trained in anatomy by Andrea del Verrocchio. He made use of his anatomical knowledge in his artwork, making many sketches of skeletal structures, muscles and organs of humans and other vertebrates that he dissected. Andreas Vesalius (1514–1564), professor of anatomy at the University of Padua, is considered the founder of modern human anatomy. Originally from Brabant, Vesalius published the influential book De humani corporis fabrica ("the structure of the human body"), a large format book in seven volumes, in 1543. The accurate and intricately detailed illustrations, often in allegorical poses against Italianate landscapes, are thought to have been made by the artist Jan van Calcar, a pupil of Titian. In England, anatomy was the subject of the first public lectures given in any science; these were given by the Company of Barbers and Surgeons in the 16th century, joined in 1583 by the Lumleian lectures in surgery at the Royal College of Physicians. Late modern In the United States, medical schools began to be set up towards the end of the 18th century. Classes in anatomy needed a continual stream of cadavers for dissection and these were difficult to obtain. Philadelphia, Baltimore and New York were all renowned for body snatching activity as criminals raided graveyards at night, removing newly buried corpses from their coffins. A similar problem existed in Britain where demand for bodies became so great that grave-raiding and even anatomy murder were practised to obtain cadavers. Some graveyards were in consequence protected with watchtowers. The practice was halted in Britain by the Anatomy Act of 1832, while in the United States, similar legislation was enacted after the physician William S. Forbes of Jefferson Medical College was found guilty in 1882 of "complicity with resurrectionists in the despoliation of graves in Lebanon Cemetery". The teaching of anatomy in Britain was transformed by Sir John Struthers, Regius Professor of Anatomy at the University of Aberdeen from 1863 to 1889. He was responsible for setting up the system of three years of "pre-clinical" academic teaching in the sciences underlying medicine, including especially anatomy. This system lasted until the reform of medical training in 1993 and 2003. As well as teaching, he collected many vertebrate skeletons for his museum of comparative anatomy, published over 70 research papers, and became famous for his public dissection of the Tay Whale. From 1822 the Royal College of Surgeons regulated the teaching of anatomy in medical schools. Medical museums provided examples in comparative anatomy, and were often used in teaching. Ignaz Semmelweis investigated puerperal fever and he discovered how it was caused. He noticed that the frequently fatal fever occurred more often in mothers examined by medical students than by midwives. The students went from the dissecting room to the hospital ward and examined women in childbirth. Semmelweis showed that when the trainees washed their hands in chlorinated lime before each clinical examination, the incidence of puerperal fever among the mothers could be reduced dramatically. Before the modern medical era, the main means for studying the internal structures of the body were dissection of the dead and inspection, palpation and auscultation of the living. It was the advent of microscopy that opened up an understanding of the building blocks that constituted living tissues. Technical advances in the development of achromatic lenses increased the resolving power of the microscope and around 1839, Matthias Jakob Schleiden and Theodor Schwann identified that cells were the fundamental unit of organization of all living things. Study of small structures involved passing light through them and the microtome was invented to provide sufficiently thin slices of tissue to examine. Staining techniques using artificial dyes were established to help distinguish between different types of tissue. Advances in the fields of histology and cytology began in the late 19th century along with advances in surgical techniques allowing for the painless and safe removal of biopsy specimens. The invention of the electron microscope brought a great advance in resolution power and allowed research into the ultrastructure of cells and the organelles and other structures within them. About the same time, in the 1950s, the use of X-ray diffraction for studying the crystal structures of proteins, nucleic acids and other biological molecules gave rise to a new field of molecular anatomy. Equally important advances have occurred in non-invasive techniques for examining the interior structures of the body. X-rays can be passed through the body and used in medical radiography and fluoroscopy to differentiate interior structures that have varying degrees of opaqueness. Magnetic resonance imaging, computed tomography, and ultrasound imaging have all enabled examination of internal structures in unprecedented detail to a degree far beyond the imagination of earlier generations. See also Anatomical model Outline of human anatomy Plastination Notes Bibliography "Anatomy of the Human Body". 20th edition. 1918. Henry Gray External links Anatomy, In Our Time. BBC Radio 4. Melvyn Bragg with guests Ruth Richardson, Andrew Cunningham and Harold Ellis. Anatomia Collection: anatomical plates 1522 to 1867 (digitized books and images) Lyman, Henry Munson. The Book of Health (1898). Science History Institute Digital Collections . Gunther von Hagens True Anatomy for New Ways of Teaching. Branches of biology Morphology (biology)

https://en.wikipedia.org/wiki/Affirming%20the%20consequent

Affirming the consequent

Affirming the consequent, sometimes called converse error, fallacy of the converse, or confusion of necessity and sufficiency, is a formal fallacy of taking a true conditional statement (e.g., "If the lamp were broken, then the room would be dark"), and invalidly inferring its converse ("The room is dark, so the lamp is broken"), even though that statement may not be true. This arises when a consequent ("the room would be dark") has other possible antecedents (for example, "the lamp is in working order, but is switched off" or "there is no lamp in the room"). Converse errors are common in everyday thinking and communication and can result from, among other causes, communication issues, misconceptions about logic, and failure to consider other causes. The opposite statement, denying the consequent, is a valid form of argument (modus tollens). Formal description Affirming the consequent is the action of taking a true statement and invalidly concluding its converse . The name affirming the consequent derives from using the consequent, Q, of , to conclude the antecedent P. This fallacy can be summarized formally as or, alternatively, . The root cause of such a logical error is sometimes failure to realize that just because P is a possible condition for Q, P may not be the only condition for Q, i.e. Q may follow from another condition as well. Affirming the consequent can also result from overgeneralizing the experience of many statements having true converses. If P and Q are "equivalent" statements, i.e. , it is possible to infer P under the condition Q. For example, the statements "It is August 13, so it is my birthday" and "It is my birthday, so it is August 13" are equivalent and both true consequences of the statement "August 13 is my birthday" (an abbreviated form of ). Of the possible forms of "mixed hypothetical syllogisms," two are valid and two are invalid. Affirming the antecedent (modus ponens) and denying the consequent (modus tollens) are valid. Affirming the consequent and denying the antecedent are invalid(see table). Additional examples Example 1 One way to demonstrate the invalidity of this argument form is with a counterexample with true premises but an obviously false conclusion. For example: If someone lives in San Diego, then they live in California. Joe lives in California. Therefore, Joe lives in San Diego. There are many ways to live in California without living in San Diego, as long as they live in a Californian place other than San Diego. However, one can affirm with certainty that "if someone does not live in California" (non-Q), then "this person does not live in San Diego" (non-P). This is the contrapositive of the first statement, and it must be true if and only if the original statement is true. Example 2 Here is another useful, obviously fallacious example. If an animal is a dog, then it has four legs. My cat has four legs. Therefore, my cat is a dog. Here, it is immediately intuitive that any number of other antecedents ("If an animal is a deer...", "If an animal is an elephant...", "If an animal is a moose...", etc.) can give rise to the consequent ("then it has four legs"), and that it is preposterous to suppose that having four legs must imply that the animal is a dog and nothing else. This is useful as a teaching example since most people can immediately recognize that the conclusion reached must be wrong (intuitively, a cat cannot be a dog), and that the method by which it was reached must therefore be fallacious. Example 3 Arguments of the same form can sometimes seem superficially convincing, as in the following example: If Brian had been thrown off the top of the Eiffel Tower, then he would be dead. Brian is dead. Therefore, Brian was thrown off the top of the Eiffel Tower. Being thrown off the top of the Eiffel Tower is not the only cause of death, since there exist numerous different causes of death. Example 4 In Catch-22, the chaplain is interrogated for supposedly being "Washington Irving"/"Irving Washington", who has been blocking out large portions of soldiers' letters home. The colonel has found such a letter, but with the Chaplain's name signed. "You can read, though, can't you?" the colonel persevered sarcastically. "The author signed his name." "That's my name there." "Then you wrote it. Q.E.D." P in this case is 'The chaplain signs his own name', and Q 'The chaplain's name is written'. The chaplain's name may be written, but he did not necessarily write it, as the colonel falsely concludes.Example 5 When teaching the scientific method, the following example is used to illustrate why, via the fallacy of affirming the consequent, no scientific theory is ever proven true but rather simply failed to be falsified. If this theory is correct, we will observe X. We observe X. Therefore, this theory is correct. Concluding or assuming that a theory is true because of a prediction it makes being observed is invalid. This is one of the challenges of applying the scientific method though rarely is it brought up in academic contexts as it is unlikely to be of consequence to the results of the study. Much more common is questioning the validity of the theory, the validity of expected the theory to have predicted the observation, and/or the validity of the observation itself. See also Abductive reasoning Appeal to consequences Confusion of the inverse Denying the antecedent Fallacy of the single cause Fallacy of the undistributed middle Modus ponens'' Necessity and sufficiency References Propositional fallacies Fallacies Logic articles needing expert attention

https://en.wikipedia.org/wiki/Andrei%20Tarkovsky

Andrei Tarkovsky

Andrei Arsenyevich Tarkovsky (; 4 April 1932 – 29 December 1986) was a Russian filmmaker. Widely considered one of the greatest and most influential directors in cinema history, his films explore spiritual and metaphysical themes, and are noted for their slow pacing and long takes, dreamlike visual imagery, and preoccupation with nature and memory. Tarkovsky studied film at Moscow's VGIK under filmmaker Mikhail Romm, and subsequently directed his first five features in the Soviet Union: Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). A number of his films from this period are ranked among the best films ever made. After years of creative conflict with state film authorities, Tarkovsky left the country in 1979 and made his final two films abroad; Nostalghia (1983) and The Sacrifice (1986) were produced in Italy and Sweden respectively. In 1986, he also published a book about cinema and art entitled Sculpting in Time. He died later that year of cancer, a condition possibly caused by the toxic locations used in the filming of Stalker. Tarkovsky was the recipient of several awards at the Cannes Film Festival throughout his career (including the FIPRESCI prize, the Prize of the Ecumenical Jury, and the Grand Prix Spécial du Jury and winner of the Golden Lion award at the Venice Film Festival for his debut film Ivan's Childhood. In 1990, he was posthumously awarded the Soviet Union's prestigious Lenin Prize. Three of his films—Andrei Rublev, Mirror, and Stalker—featured in Sight & Sound 2012 poll of the 100 greatest films of all time. Life and career Childhood and early life Andrei Tarkovsky was born in the village of Zavrazhye in the Yuryevetsky District of the Ivanovo Industrial Oblast (modern-day Kadyysky District of the Kostroma Oblast, Russia) to the poet and translator Arseny Aleksandrovich Tarkovsky, a native of Yelysavethrad (now Kropyvnytskyi, Ukraine), and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute who later worked as a proofreader; she was born in Moscow in the Dubasov family estate. Andrei's paternal grandfather Aleksandr Karlovich Tarkovsky (in ) was a Polish nobleman who worked as a bank clerk. His wife Maria Danilovna Rachkovskaya was a Romanian language teacher who arrived from Iași. Andrei's maternal grandmother Vera Nikolayevna Vishnyakova (née Dubasova) belonged to an old Dubasov family of Russian nobility that traces its history back to the 17th century; among her relatives was Admiral Fyodor Dubasov, a fact she had to conceal during the Soviet days. She was married to Ivan Ivanovich Vishnyakov, a native of the Kaluga Governorate who studied law at the Moscow State University and served as a judge in Kozelsk. According to the family legend, Tarkovsky's ancestors on his father's side were princes from the Shamkhalate of Tarki, Dagestan, although his sister Marina Tarkovskaya who did a detailed research on their genealogy called it "a myth, even a prank of sorts," stressing that none of the documents confirms this version. Tarkovsky spent his childhood in Yuryevets. He was described by childhood friends as active and popular, having many friends and being typically in the center of action. His father left the family in 1937, subsequently volunteering for the army in 1941. He returned home in 1943, having been awarded a Red Star after being shot in one of his legs (which he would eventually need to amputate due to gangrene). Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press. In 1939, Tarkovsky enrolled at the Moscow School No. 554. During the war, the three evacuated to Yuryevets, living with his maternal grandmother. In 1943, the family returned to Moscow. Tarkovsky continued his studies at his old school, where the poet Andrei Voznesensky was one of his classmates. He studied piano at a music school and attended classes at an art school. The family lived on Shchipok Street in the Zamoskvorechye District in Moscow. From November 1947 to spring 1948 he was in the hospital with tuberculosis. Many themes of his childhood—the evacuation, his mother and her two children, the withdrawn father, the time in the hospital—feature prominently in his film Mirror. In his school years, Tarkovsky was a troublemaker and a poor student. He still managed to graduate, and from 1951 to 1952 studied Arabic at the Oriental Institute in Moscow, a branch of the Academy of Sciences of the Soviet Union. Although he already spoke some Arabic and was a successful student in his first semesters, he did not finish his studies and dropped out to work as a prospector for the Academy of Science Institute for Non-Ferrous Metals and Gold. He participated in a year-long research expedition to the river Kureyka near Turukhansk in the Krasnoyarsk Province. During this time in the taiga, Tarkovsky decided to study film. Film school student Upon returning from the research expedition in 1954, Tarkovsky applied at the State Institute of Cinematography (VGIK) and was admitted to the film-directing program. He was in the same class as Irma Raush (Irina) whom he married in April 1957. The early Khrushchev era offered good opportunities for young film directors. Before 1953, annual film production was low and most films were directed by veteran directors. After 1953, more films were produced, many of them by young directors. The Khrushchev Thaw relaxed Soviet social restrictions a bit and permitted a limited influx of European and North American literature, films and music. This allowed Tarkovsky to see films of the Italian neorealists, French New Wave, and of directors such as Kurosawa, Buñuel, Bergman, Bresson, Wajda (whose film Ashes and Diamonds influenced Tarkovsky) and Mizoguchi. Tarkovsky's teacher and mentor was Mikhail Romm, who taught many film students who would later become influential film directors. In 1956, Tarkovsky directed his first student short film, The Killers, from a short story of Ernest Hemingway. The longer television film There Will Be No Leave Today followed in 1959. Both films were a collaboration between the VGIK students. Classmate Aleksandr Gordon, who married Tarkovsky's sister, in particular directed, wrote, edited, and acted in the two films with Tarkovsky. An important influence on Tarkovsky was the film director Grigory Chukhray, who was teaching at the VGIK. Impressed by the talent of his student, Chukhray offered Tarkovsky a position as assistant director for his film Clear Skies. Tarkovsky initially showed interest but then decided to concentrate on his studies and his own projects. During his third year at the VGIK, Tarkovsky met Andrei Konchalovsky. They found much in common as they liked the same film directors and shared ideas on cinema and films. In 1959, they wrote the script Antarctica – Distant Country, which was later published in the Moskovsky Komsomolets. Tarkovsky submitted the script to Lenfilm, but it was rejected. They were more successful with the script The Steamroller and the Violin, which they sold to Mosfilm. This became Tarkovsky's graduation project, earning him his diploma in 1960 and winning First Prize at the New York Student Film Festival in 1961. Film career in the Soviet Union Tarkovsky's first feature film was Ivan's Childhood in 1962. He had inherited the film from director Eduard Abalov, who had to abort the project. The film earned Tarkovsky international acclaim and won the Golden Lion award at the Venice Film Festival in the year 1962. In the same year, on 30 September, his first son Arseny (called Senka in Tarkovsky's diaries) Tarkovsky was born. In 1965, he directed the film Andrei Rublev about the life of Andrei Rublev, the fifteenth-century Russian icon painter. Andrei Rublev was not, except for a single screening in Moscow in 1966, immediately released after completion due to problems with Soviet authorities. Tarkovsky had to cut the film several times, resulting in several different versions of varying lengths. The film was widely released in the Soviet Union in a cut version in 1971. Nevertheless, the film had a budget of more than 1 million rubles – a significant sum for that period. A version of the film was presented at the Cannes Film Festival in 1969 and won the FIPRESCI prize. He divorced his wife, Irina, in June 1970. In the same year, he married Larisa Kizilova (née Egorkina), who had been a production assistant for the film Andrei Rublev (they had been living together since 1965). Their son, Andrei Andreyevich Tarkovsky, (nicknamed Andriosha, meaning "little Andre" or "Andre Junior") was born in the same year on 7 August. In 1972, he completed Solaris, an adaptation of the novel Solaris by Stanisław Lem. He had worked on this together with screenwriter Friedrich Gorenstein as early as 1968. The film was presented at the Cannes Film Festival, won the Grand Prix Spécial du Jury, and was nominated for the Palme d'Or. From 1973 to 1974, he shot the film Mirror, a highly autobiographical and unconventionally structured film drawing on his childhood and incorporating some of his father's poems. In this film Tarkovsky portrayed the plight of childhood affected by war. Tarkovsky had worked on the screenplay for this film since 1967, under the consecutive titles Confession, White day and A white, white day. From the beginning the film was not well received by Soviet authorities due to its content and its perceived elitist nature. Soviet authorities placed the film in the "third category", a severely limited distribution, and only allowed it to be shown in third-class cinemas and workers' clubs. Few prints were made and the film-makers received no returns. Third category films also placed the film-makers in danger of being accused of wasting public funds, which could have serious effects on their future productivity. These difficulties are presumed to have made Tarkovsky play with the idea of going abroad and producing a film outside the Soviet film industry. During 1975, Tarkovsky also worked on the screenplay Hoffmanniana, about the German writer and poet E. T. A. Hoffmann. In December 1976, he directed Hamlet, his only stage play, at the Lenkom Theatre in Moscow. The main role was played by Anatoly Solonitsyn, who also acted in several of Tarkovsky's films. At the end of 1978, he also wrote the screenplay Sardor together with the writer Aleksandr Misharin. The last film Tarkovsky completed in the Soviet Union was Stalker, inspired by the novel Roadside Picnic by the brothers Arkady and Boris Strugatsky. Tarkovsky had met the brothers first in 1971 and was in contact with them until his death in 1986. Initially he wanted to shoot a film based on their novel Dead Mountaineer's Hotel and he developed a raw script. Influenced by a discussion with Arkady Strugatsky he changed his plan and began to work on the script based on Roadside Picnic. Work on this film began in 1976. The production was mired in troubles; improper development of the negatives had ruined all the exterior shots. Tarkovsky's relationship with cinematographer Georgy Rerberg deteriorated to the point where he hired Alexander Knyazhinsky as a new first cinematographer. Furthermore, Tarkovsky had a heart attack in April 1978, resulting in further delay. The film was completed in 1979 and won the Prize of the Ecumenical Jury at the Cannes Film Festival. In a question and answer session at the Edinburgh Filmhouse on 11 February 1981, Tarkovsky trenchantly rejected suggestions that the film was either impenetrably mysterious or a political allegory. In 1979, Tarkovsky began production of the film The First Day (Russian: Первый День Pervyj Dyen), based on a script by his friend and long-term collaborator Andrei Konchalovsky. The film was set in 18th-century Russia during the reign of Peter the Great and starred Natalya Bondarchuk and Anatoli Papanov. To get the project approved by Goskino, Tarkovsky submitted a script that was different from the original script, omitting several scenes that were critical of the official atheism in the Soviet Union. After shooting roughly half of the film the project was stopped by Goskino after it became apparent that the film differed from the script submitted to the censors. Tarkovsky was reportedly infuriated by this interruption and destroyed most of the film. Film career outside the Soviet Union During the summer of 1979, Tarkovsky traveled to Italy, where he shot the documentary Voyage in Time together with his long-time friend Tonino Guerra. Tarkovsky returned to Italy in 1980 for an extended trip, during which he and Guerra completed the script for the film Nostalghia. During this period, he took Polaroid photographs depicting his personal life. Tarkovsky returned to Italy in 1982 to start shooting Nostalghia, but Mosfilm then withdrew from the project, so he sought and received financial backing from the Italian RAI. Tarkovsky completed the film in 1983, and it was presented at the Cannes Film Festival where it won the FIPRESCI prize and the Prize of the Ecumenical Jury. Tarkovsky also shared a special prize called Grand Prix du cinéma de creation with Robert Bresson. Soviet authorities lobbied to prevent the film from winning the Palme d'Or, a fact that hardened Tarkovsky's resolve to never work in the Soviet Union again. After Cannes he went to London to stage and choreograph the opera Boris Godunov at the Royal Opera House under the musical direction of Claudio Abbado. At a press conference in Milan on 10 July 1984, he announced that he would never return to the Soviet Union and would remain in Western Europe. He stated, "I am not a Soviet dissident, I have no conflict with the Soviet Government," but if he returned home, he added, "I would be unemployed." At that time, his son Andriosha was still in the Soviet Union and not allowed to leave the country. On 28 August 1985, Tarkovsky was processed as a Soviet Defector at a refugee camp in Latina, Italy, registered with the serial number 13225/379, and officially welcomed to the West. Tarkovsky spent most of 1984 preparing the film The Sacrifice. It was finally shot in 1985 in Sweden, with many of the crew being alumni from Ingmar Bergman's films, including cinematographer Sven Nykvist. Tarkovsky's vision of his film was greatly influenced by Bergman's style. While The Sacrifice is about an apocalypse and impending death, faith, and possible redemption, in the making-of documentary Directed by Andrei Tarkovsky, in a particularly poignant scene, writer/director Michal Leszczylowski follows Tarkovsky on a walk as he expresses his sentiments on death—he claims himself to be immortal and has no fear of dying. Ironically, at the end of the year Tarkovsky was diagnosed with terminal lung cancer. In January 1986, he began treatment in Paris and was joined there by his son, Andre Jr, who was finally allowed to leave the Soviet Union. What would be Tarkovsky's final film was dedicated to him. The Sacrifice was presented at the Cannes Film Festival and received the Grand Prix Spécial du Jury, the FIPRESCI prize and the Prize of the Ecumenical Jury. As Tarkovsky was unable to attend due to his illness, the prizes were collected by his son. Death In Tarkovsky's last diary entry (15 December 1986), he wrote: "But now I have no strength left—that is the problem". The diaries are sometimes also known as Martyrology and were published posthumously in 1989 and in English in 1991. Tarkovsky died in Paris on 29 December 1986. His funeral ceremony was held at the Alexander Nevsky Cathedral. He was buried on 3 January 1987 in the Russian Cemetery in Sainte-Geneviève-des-Bois in France. The inscription on his gravestone, which was erected in 1994, was conceived by Tarkovsky's wife, Larisa, reads: To the man who saw the Angel. Larisa died in 1998 and is buried beside her husband. A conspiracy theory emerged in Russia in the early 1990s when it was alleged that Tarkovsky did not die of natural causes, but was assassinated by the KGB. Evidence for this hypothesis includes testimonies by former KGB agents who claim that Viktor Chebrikov gave the order to eradicate Tarkovsky to curtail what the Soviet government and the KGB saw as anti-Soviet propaganda by Tarkovsky. Other evidence includes several memoranda that surfaced after the 1991 coup and the claim by one of Tarkovsky's doctors that his cancer could not have developed from a natural cause. As with Tarkovsky, his wife Larisa and actor Anatoly Solonitsyn all died from the very same type of lung cancer. Vladimir Sharun, sound designer in Stalker, is convinced that they were all poisoned by the chemical plant where they were shooting the film. Influences Tarkovsky became a film director during the mid and late 1950s, a period referred to as the Khrushchev Thaw, during which Soviet society opened to foreign films, literature and music, among other things. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience that influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director. Tarkovsky was, according to fellow student Shavkat Abdusalmov, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight. Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves". Tarkovsky was also a deeply religious Orthodox Christian, who believed great art should have a higher spiritual purpose. He was a perfectionist not given to humor or humility: his signature style was ponderous and literary, having many characters that pondered over religious themes and issues regarding faith. Tarkovsky perceived that the art of cinema has only been truly mastered by very few filmmakers, stating in a 1970 interview with Naum Abramov that "they can be counted on the fingers of one hand". In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list includes: Diary of a Country Priest and Mouchette by Robert Bresson; Winter Light, Wild Strawberries, and Persona by Ingmar Bergman; Nazarín by Luis Buñuel; City Lights by Charlie Chaplin; Ugetsu by Kenji Mizoguchi; Seven Samurai by Akira Kurosawa, and Woman in the Dunes by Hiroshi Teshigahara. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer. With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Russia, although he rated Soviet directors such as Boris Barnet, Sergei Parajanov and Alexander Dovzhenko highly. He said of Dovzhenko's Earth: "I have lived a lot among very simple farmers and met extraordinary people. They spread calmness, had such tact, they conveyed a feeling of dignity and displayed wisdom that I have seldom come across on such a scale. Dovzhenko had obviously understood wherein the sense of life resides. [...] This trespassing of the border between nature and mankind is an ideal place for the existence of man. Dovzhenko understood this." Andrei Tarkovsky was not a fan of science fiction, largely dismissing it for its "comic book" trappings and vulgar commercialism. However, in a famous exception Tarkovsky praised the blockbuster film The Terminator, saying that its "vision of the future and the relation between man and its destiny is pushing the frontier of cinema as an art". He was critical of the "brutality and low acting skills", but was nevertheless impressed by the film. Cinematic style In a 1962 interview, Tarkovsky argued: "All art, of course, is intellectual, but for me, all the arts, and cinema even more so, must above all be emotional and act upon the heart." His films are characterized by metaphysical themes, extremely long takes, and images often considered by critics to be of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera. He once said: "Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema." Tarkovsky incorporated levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for their photogenic value and magical inexplicability. Water, clouds, and reflections were used by him for their surreal beauty and photogenic value, as well as their symbolism, such as waves or the forms of brooks or running water. Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self-reflection. Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another. Up to, and including, his film Mirror, Tarkovsky focused his cinematic works on exploring this theory. After Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day. Several of Tarkovsky's films have color or black-and-white sequences. This first occurs in the otherwise monochrome Andrei Rublev, which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in Stalker's case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life. Director Ingmar Bergman commented on Tarkovsky: Contrarily, however, Bergman conceded the truth in the claim made by a critic who wrote that "with Autumn Sonata Bergman does Bergman", adding: "Tarkovsky began to make Tarkovsky films, and that Fellini began to make Fellini films [...] Buñuel nearly always made Buñuel films." This pastiche of one's own work has been derogatorily termed as "self-karaoke". Vadim Yusov Tarkovsky worked in close collaboration with cinematographer Vadim Yusov from 1958 to 1972, and much of the visual style of Tarkovsky's films can be attributed to this collaboration. Tarkovsky would spend two days preparing for Yusov to film a single long take, and due to the preparation, usually only a single take was needed. Sven Nykvist In his last film, The Sacrifice, Tarkovsky worked with cinematographer Sven Nykvist, who had worked on many films with director Ingmar Bergman. (Nykvist was not alone: several people involved in the production had previously collaborated with Bergman, notably lead actor Erland Josephson, who had also acted for Tarkovsky in Nostalghia.) Nykvist complained that Tarkovsky would frequently look through the camera and even direct actors through it, but ultimately stated that choosing to work with Tarkovsky was one of the best choices he had ever made. Filmography Tarkovsky is mainly known as a film director. During his career he directed seven feature films, as well as three shorts from his time at VGIK. His features are: Ivan's Childhood (1962) Andrei Rublev (1966) Solaris (1972) Mirror (1975) Stalker (1979) Nostalghia (1983) The Sacrifice (1986) He also wrote several screenplays. Furthermore, he directed the play Hamlet for the stage in Moscow, directed the opera Boris Godunov in London, and he directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting in Time, a book on film theory. Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed Andrei Rublev in 1966, Solaris in 1972, Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a cowriter. Tarkovsky once said that a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous films. Published books Sculpting in Time, published in 1986 Time Within Time: The Diaries 1970–1986, published in 1989 A book of 60 photos, Instant Light, Tarkovsky Polaroids, taken by Tarkovsky in Russia and Italy between 1979 and 1984 was published in 2006. The collection was selected by Italian photographer Giovanni Chiaramonte and Tarkovsky's son Andrey A. Tarkovsky. Unproduced screenplays Concentrate Concentrate (, Kontsentrat) is a never-filmed 1958 screenplay by Tarkovsky. The screenplay is based on Tarkovsky's year in the taiga as a member of a research expedition, prior to his enrollment in film school. It's about the leader of a geological expedition, who waits for the boat that brings back the concentrates collected by the expedition. The expedition is surrounded by mystery, and its purpose is a state secret. Although some authors claim that the screenplay was filmed, according to Marina Tarkovskaya, Tarkovsky's sister (and wife of Aleksandr Gordon, a fellow student of Tarkovsky during his film school years) the screenplay was never filmed. Tarkovsky wrote the screenplay during his entrance examination at the State Institute of Cinematography (VGIK) in a single sitting. He earned the highest possible grade, "excellent" () for this work. In 1994, fragments of Concentrate were filmed and used in the documentary Andrei Tarkovsky's Taiga Summer by Marina Tarkovskaya and Aleksandr Gordon. Hoffmanniana Hoffmanniana () is a never-filmed 1974 screenplay by Tarkovsky. The screenplay is based on the life and work of German author E. T. A. Hoffmann. In 1974, an acquaintance from Tallinnfilm approached Tarkovsky to write a screenplay on a German theme. Tarkovsky considered Thomas Mann and E. T. A. Hoffmann, and also thought about Ibsen's Peer Gynt. In the end Tarkovsky signed a contract for a script based on the life and work of Hoffmann. He planned to write the script during the summer of 1974 at his dacha. Writing was not without difficulty, less than a month before the deadline he had not written a single page. He finally finished the project in late 1974 and submitted the final script to Tallinnfilm in October. Although the script was well received by the officials at Tallinnfilm, it was the consensus that no one but Tarkovsky would be able to direct it. The script was sent to Goskino in February 1976, and although approval was granted for proceeding with making the film, the screenplay was never realized. In 1984, during the time of his exile in the West, Tarkovsky revisited the screenplay and made a few changes. He also considered to finally direct a film based on the screenplay but ultimately dropped this idea. Films about Tarkovsky Voyage in Time (1983): documents the travels in Italy of Andrei Tarkovsky in preparation for the making of his film Nostalghia, Tonino Guerra. Tarkovsky: A Poet in the Cinema (1984): directed by Donatella Baglivo. Moscow Elegy (1987), a documentary/homage to Tarkovsky by Aleksandr Sokurov. Auf der Suche nach der verlorenen Zeit (1988): Andrej Tarkowskijs Exil und Tod. Documentary directed by Ebbo Demant. Germany. One Day in the Life of Andrei Arsenevich (1999): French documentary film directed by Chris Marker. "Andrey" (color/b&w, short-fiction, 35 mm, 15 min, 2006) A film by Nariné Mktchyan and Arsen Azatyan. Festivals: Yerevan IFF 2006, Rotterdam IFF 2007, Busan IFF 2007, Sydney Film Festival 2007, Zerkalo FF, Ivanovo (Special Prize) 2008, Kinoshock FF 2014. Tarkovsky: Time Within Time (2015): documentary by P. J. Letofsky. Andrei Tarkovsky: A Cinema Prayer (2019): a poetic documentary by Tarkovsky's son Andrei A. Tarkovsky Awards and commemoration Numerous awards were bestowed on Tarkovsky throughout his lifetime. At the Venice Film Festival, the Golden Lion of the for Ivan's Childhood At the Cannes Film Festival, the FIPRESCI prize three times, the Prize of the Ecumenical Jury three times (more than any other director), the Grand Prix Spécial du Jury twice, and the Best Director award once. He was also nominated for the Palme d'Or three times. In 1987, the BAFTA Award for Best Foreign Language Film of the British Academy of Film and Television Arts for The Sacrifice. Under the influence of Glasnost and Perestroika, Tarkovsky was finally recognized in the Soviet Union in the Autumn of 1986, shortly before his death, by a retrospective of his films in Moscow. After his death, an entire issue of the film magazine Iskusstvo Kino was devoted to Tarkovsky. In their obituaries, the film committee of the Council of Ministers of the Soviet Union and the Union of Soviet Film Makers expressed their sorrow that Tarkovsky had to spend the last years of his life in exile. Posthumously, he was awarded the Lenin Prize in 1990, one of the highest state honors in the Soviet Union. In 1989, the Andrei Tarkovsky Memorial Prize was established, with its first recipient being the Russian animator Yuri Norstein. In three consecutive events, the Moscow International Film Festival awarded the Andrei Tarkovsky Award in 1993, 1995, and 1997. In 1996, the Andrei Tarkovsky Museum opened in Yuryevets, his childhood town. A minor planet, 3345 Tarkovskij, discovered by Soviet astronomer Lyudmila Karachkina in 1982, has been named after him. Tarkovsky has been the subject of several documentaries. Most notable is the 1988 documentary Moscow Elegy, by Russian film director Alexander Sokurov. Sokurov's own work has been heavily influenced by Tarkovsky. The film consists mostly of narration over stock footage from Tarkovsky's films. Directed by Andrei Tarkovsky is a 1988 documentary film by Michal Leszczylowski, an editor of the film The Sacrifice. Film director Chris Marker produced the television documentary One Day in the Life of Andrei Arsenevich as an homage to Andrei Tarkovsky in 2000. At the entrance to the Gerasimov Institute of Cinematography in Moscow, there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin. Reception and legacy Andrei Tarkovsky and his works have received praise from many filmmakers, critics and thinkers. The Swedish filmmaker Ingmar Bergman was quoted as saying: "Tarkovsky for me is the greatest [of us all], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream". The Japanese filmmaker Akira Kurosawa remarked on Tarkovsky's films as saying: "His unusual sensitivity is both overwhelming and astounding. It almost reaches a pathological intensity. Probably there is no equal among film directors alive now." Kurosawa also commented: "I love all of Tarkovsky's films. I love his personality and all his works. Every cut from his films is a marvelous image in itself. But the finished image is nothing more than the imperfect accomplishment of his idea. His ideas are only realized in part. And he had to make do with it." The Iranian filmmaker Abbas Kiarostami remarked that: "Tarkovsky's works separate me completely from physical life, and are the most spiritual films I have seen". The Polish filmmaker Krzysztof Kieślowski commented that: "Andrei Tarkovsky was one of the greatest directors of recent years," and regarded Tarkovsky's film, Ivan's Childhood as an influence on his own work. The Turkish filmmaker Nuri Bilge Ceylan when he first discovered the films of Andrei Tarkovsky as a college student unsure of what he wanted to do with his life, he was utterly baffled by the lauded Russian master. He walked out of a screening of Solaris at the halfway point, and stopped a VHS tape of Mirror at a similar juncture. Today, he considers the latter to be the greatest film ever made. "I've seen it maybe 20 times," he says. The Armenian filmmaker Sergei Parajanov remarked that watching Tarkovsky's film, Ivan's Childhood was his main inspiration to become a filmmaker by saying: "I did not know how to do anything and I would not have done anything if there had not been Ivan's Childhood". The Austrian filmmaker Michael Haneke voted for Mirror on his top 10 films in the 2002 Sight & Sound directors' poll and later said that he has seen the picture at least 25 times. The German filmmaker Wim Wenders dedicated his film Wings of Desire to Tarkovsky (along with François Truffaut and Yasujirō Ozu). The French filmmaker Chris Marker directed a documentary film as a homage to Tarkovsky called One Day in the Life of Andrei Arsenevich and used Tarkovsky's concept of "The Zone" (from the film, Stalker) for his 1983 film essay, Sans Soleil. The Greek filmmaker Theo Angelopoulos regarded Tarkovsky's film Stalker as one of the films that influenced him. The Polish filmmaker Andrzej Żuławski remarked that: "If anybody influenced anybody, it’s me being influenced by Tarkovsky, not the reverse." and called Tarkovsky's film Andrei Rublev a "masterpiece". The Greek-Australian filmmaker Alex Proyas was "extremely influenced" by Tarkovsky's work and cited Stalker as one his favorite films. The French philosopher Jean-Paul Sartre highly praised Tarkovsky's film Ivan's Childhood, saying that it was one of the most beautiful films he had ever seen. The Japanese anime filmmaker Mamoru Oshii, known for his works such as Ghost in the Shell was influenced by Tarkovsky. The Indian-born British American novelist Salman Rushdie praised Tarkovsky and his work Solaris by calling it a "a sci-fi masterpiece". Film historian Steven Dillon says that much of subsequent film was deeply influenced by the films of Tarkovsky. Mexican filmmaker Alejandro González Iñarritu is a huge fan of Tarkovsky. He once said in an interview: "Andrei Rublev is maybe my favorite film ever", and in another interview, he added: "I remember, the first time I saw a Tarkovsky film, I was shocked by it. I did not know what to do. I was shocked by it. I was fascinated, because suddenly I realized that film could have so many more layers to it than what I had imagined before". There are many direct references and hidden tributes to Tarkovsky's movies in Iñarritu's 2015 Oscar-winning drama The Revenant. Danish film director Lars von Trier is a fervent admirer of Tarkovsky. He dedicated his 2009 film Antichrist to him, and, while discussing it with critic David Jenkins, asked: "Have you seen Mirror? I was hypnotised! I've seen it 20 times. It's the closest thing I've got to a religion – to me he is a god". Film festival Two film festivals have been named in his honor: International Human Rights Film Festival "Stalker", named after the film held annually in Moscow and regional centres since 1995 International Film Festival "Zerkalo" named after Andrei Tarkovsky (meaning "mirror"), "for fans of intellectual cinema"; also known as Tarkovsky Film festival – Zerkalo, Zerkalo International Film Festival, Andrei Tarkovsky Zerkalo International Film Festival, or simply Zerkalo, The festival is organized by a committee headed by Mikhail Men, governor of Ivanovo Oblast. Sister of Andrei Tarkovsky, Marina Tarkovsky was one of the co-founders and organizers. From 2010 the festival was directed by Pavel Lungin. In 2020, the president of the festival was Russian director Sergei Bodrov. Owing to the COVID-19 pandemic in Russia, the 14th edition was held online in 2020, and appears to be the last one held, .The festival awards a number of prizes, including the Special Award for Contribution to Andrei Tarkovsky's Cinema. Held in Ivanovo since 2007, the festival is held in July each year, with the 16th edition scheduled for 22-27 July, to be held in various cities in the Ivanovo region, with special screenings in Moscow. Films from France, India, Greece, Serbia, Colombia, Kazakhstan and other countries were entered into the competition, and a gala night was dedicated to Tarkovsky's 90th birthday, on the main square of his hometown of Yuryevets on 22 July. See also European art cinema Slow cinema Moscow International Film Festival References Notes Bibliography Schmidt, Stefan W. (2016). "Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia." Journal of Aesthetics and Phenomenology, 3 (1): 27–41. Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia Further reading External links Andrei Tarkovsky at Senses of Cinema Website about Andrei Tarkovsky, Films, Articles, Interviews Andrei Tarkovsky: Biography wrestles with the filmmaker's remarkable life Nostalghia.com - An Andrei Tarkovsky Information Site, at Film Studies Program in the Department of Communication and Culture, University of Calgary 1932 births 1986 deaths 20th-century Russian diarists 20th-century Russian male actors 20th-century Russian male writers 20th-century Russian non-fiction writers 20th-century Russian screenwriters Writers from Kostroma Oblast People from Kostroma Oblast Gerasimov Institute of Cinematography alumni Academic staff of High Courses for Scriptwriters and Film Directors People's Artists of the RSFSR Lenin Prize winners Cannes Film Festival Award for Best Director winners Directors of Golden Lion winners Filmmakers who won the Best Foreign Language Film BAFTA Award Male screenwriters Science fiction film directors Russian people of Polish descent Russian people of Romanian descent Russian diarists Russian documentary filmmakers Russian experimental filmmakers Russian film directors Russian male film actors Russian non-fiction writers Russian opera directors Russian Orthodox Christians from Russia Russian screenwriters Soviet diarists Soviet documentary film directors Soviet emigrants to France Soviet emigrants to Italy Soviet film directors Soviet male film actors Soviet non-fiction writers Soviet opera directors Soviet screenwriters Deaths from lung cancer in France Burials at Sainte-Geneviève-des-Bois Russian Cemetery

https://en.wikipedia.org/wiki/Ambiguity

Ambiguity

Ambiguity is the type of meaning in which a phrase, statement or resolution is not explicitly defined, making several interpretations plausible. A common aspect of ambiguity is uncertainty. It is thus an attribute of any idea or statement whose intended meaning cannot be definitively resolved, according to a rule or process with a finite number of steps. (The ambi- part of the term reflects an idea of "two," as in "two meanings.") The concept of ambiguity is generally contrasted with vagueness. In ambiguity, specific and distinct interpretations are permitted (although some may not be immediately obvious), whereas with information that is vague, it is difficult to form any interpretation at the desired level of specificity. Linguistic forms Lexical ambiguity is contrasted with semantic ambiguity. The former represents a choice between a finite number of known and meaningful context-dependent interpretations. The latter represents a choice between any number of possible interpretations, none of which may have a standard agreed-upon meaning. This form of ambiguity is closely related to vagueness. Ambiguity in human language is argued to reflect principles of efficient communication. Languages that communicate efficiently will avoid sending information that is redundant with information provided in the context. This can be shown mathematically to result in a system which is ambiguous when context is neglected. In this way, ambiguity is viewed as a generally useful feature of a linguistic system. Linguistic ambiguity can be a problem in law, because the interpretation of written documents and oral agreements is often of paramount importance. Lexical ambiguity The lexical ambiguity of a word or phrase pertains to its having more than one meaning in the language to which the word belongs. "Meaning" here refers to whatever should be captured by a good dictionary. For instance, the word "bank" has several distinct lexical definitions, including "financial institution" and "edge of a river". Or consider "apothecary". One could say "I bought herbs from the apothecary". This could mean one actually spoke to the apothecary (pharmacist) or went to the apothecary (pharmacy). The context in which an ambiguous word is used often makes it evident which of the meanings is intended. If, for instance, someone says "I buried $100 in the bank", most people would not think someone used a shovel to dig in the mud. However, some linguistic contexts do not provide sufficient information to disambiguate a used word. Lexical ambiguity can be addressed by algorithmic methods that automatically associate the appropriate meaning with a word in context, a task referred to as word-sense disambiguation. The use of multi-defined words requires the author or speaker to clarify their context, and sometimes elaborate on their specific intended meaning (in which case, a less ambiguous term should have been used). The goal of clear concise communication is that the receiver(s) have no misunderstanding about what was meant to be conveyed. An exception to this could include a politician whose "weasel words" and obfuscation are necessary to gain support from multiple constituents with mutually exclusive conflicting desires from their candidate of choice. Ambiguity is a powerful tool of political science. More problematic are words whose senses express closely related concepts. "Good", for example, can mean "useful" or "functional" (That's a good hammer), "exemplary" (She's a good student), "pleasing" (This is good soup), "moral" (a good person versus the lesson to be learned from a story), "righteous", etc. "I have a good daughter" is not clear about which sense is intended. The various ways to apply prefixes and suffixes can also create ambiguity ("unlockable" can mean "capable of being unlocked" or "impossible to lock"). Semantic and syntactic ambiguity Semantic ambiguity occurs when a word, phrase or sentence, taken out of context, has more than one interpretation. In "We saw her duck" (example due to Richard Nordquist), the words "her duck" can refer either to the person's bird (the noun "duck", modified by the possessive pronoun "her"), or to a motion she made (the verb "duck", the subject of which is the objective pronoun "her", object of the verb "saw"). Syntactic ambiguity arises when a sentence can have two (or more) different meanings because of the structure of the sentence—its syntax. This is often due to a modifying expression, such as a prepositional phrase, the application of which is unclear. "He ate the cookies on the couch", for example, could mean that he ate those cookies that were on the couch (as opposed to those that were on the table), or it could mean that he was sitting on the couch when he ate the cookies. "To get in, you will need an entrance fee of $10 or your voucher and your drivers' license." This could mean that you need EITHER ten dollars OR BOTH your voucher and your license. Or it could mean that you need your license AND you need EITHER ten dollars OR a voucher. Only rewriting the sentence, or placing appropriate punctuation can resolve a syntactic ambiguity. For the notion of, and theoretic results about, syntactic ambiguity in artificial, formal languages (such as computer programming languages), see Ambiguous grammar. Usually, semantic and syntactic ambiguity go hand in hand. The sentence "We saw her duck" is also syntactically ambiguous. Conversely, a sentence like "He ate the cookies on the couch" is also semantically ambiguous. Rarely, but occasionally, the different parsings of a syntactically ambiguous phrase result in the same meaning. For example, the command "Cook, cook!" can be parsed as "Cook (noun used as vocative), cook (imperative verb form)!", but also as "Cook (imperative verb form), cook (noun used as vocative)!". It is more common that a syntactically unambiguous phrase has a semantic ambiguity; for example, the lexical ambiguity in "Your boss is a funny man" is purely semantic, leading to the response "Funny ha-ha or funny peculiar?" Spoken language can contain many more types of ambiguities which are called phonological ambiguities, where there is more than one way to compose a set of sounds into words. For example, "ice cream" and "I scream". Such ambiguity is generally resolved according to the context. A mishearing of such, based on incorrectly resolved ambiguity, is called a mondegreen. Philosophy Philosophers (and other users of logic) spend a lot of time and effort searching for and removing (or intentionally adding) ambiguity in arguments because it can lead to incorrect conclusions and can be used to deliberately conceal bad arguments. For example, a politician might say, "I oppose taxes which hinder economic growth", an example of a glittering generality. Some will think they oppose taxes in general because they hinder economic growth. Others may think they oppose only those taxes that they believe will hinder economic growth. In writing, the sentence can be rewritten to reduce possible misinterpretation, either by adding a comma after "taxes" (to convey the first sense) or by changing "which" to "that" (to convey the second sense) or by rewriting it in other ways. The devious politician hopes that each constituent will interpret the statement in the most desirable way, and think the politician supports everyone's opinion. However, the opposite can also be true—an opponent can turn a positive statement into a bad one if the speaker uses ambiguity (intentionally or not). The logical fallacies of amphiboly and equivocation rely heavily on the use of ambiguous words and phrases. In continental philosophy (particularly phenomenology and existentialism), there is much greater tolerance of ambiguity, as it is generally seen as an integral part of the human condition. Martin Heidegger argued that the relation between the subject and object is ambiguous, as is the relation of mind and body, and part and whole. In Heidegger's phenomenology, Dasein is always in a meaningful world, but there is always an underlying background for every instance of signification. Thus, although some things may be certain, they have little to do with Dasein's sense of care and existential anxiety, e.g., in the face of death. In calling his work Being and Nothingness an "essay in phenomenological ontology" Jean-Paul Sartre follows Heidegger in defining the human essence as ambiguous, or relating fundamentally to such ambiguity. Simone de Beauvoir tries to base an ethics on Heidegger's and Sartre's writings (The Ethics of Ambiguity), where she highlights the need to grapple with ambiguity: "as long as there have been philosophers and they have thought, most of them have tried to mask it ... And the ethics which they have proposed to their disciples has always pursued the same goal. It has been a matter of eliminating the ambiguity by making oneself pure inwardness or pure externality, by escaping from the sensible world or being engulfed by it, by yielding to eternity or enclosing oneself in the pure moment." Ethics cannot be based on the authoritative certainty given by mathematics and logic, or prescribed directly from the empirical findings of science. She states: "Since we do not succeed in fleeing it, let us, therefore, try to look the truth in the face. Let us try to assume our fundamental ambiguity. It is in the knowledge of the genuine conditions of our life that we must draw our strength to live and our reason for acting". Other continental philosophers suggest that concepts such as life, nature, and sex are ambiguous. Corey Anton has argued that we cannot be certain what is separate from or unified with something else: language, he asserts, divides what is not, in fact, separate. Following Ernest Becker, he argues that the desire to 'authoritatively disambiguate' the world and existence has led to numerous ideologies and historical events such as genocide. On this basis, he argues that ethics must focus on 'dialectically integrating opposites' and balancing tension, rather than seeking a priori validation or certainty. Like the existentialists and phenomenologists, he sees the ambiguity of life as the basis of creativity. Literature and rhetoric In literature and rhetoric, ambiguity can be a useful tool. Groucho Marx's classic joke depends on a grammatical ambiguity for its humor, for example: "Last night I shot an elephant in my pajamas. How he got in my pajamas, I'll never know". Songs and poetry often rely on ambiguous words for artistic effect, as in the song title "Don't It Make My Brown Eyes Blue" (where "blue" can refer to the color, or to sadness). In the narrative, ambiguity can be introduced in several ways: motive, plot, character. F. Scott Fitzgerald uses the latter type of ambiguity with notable effect in his novel The Great Gatsby. Mathematical notation Mathematical notation, widely used in physics and other sciences, avoids many ambiguities compared to expression in natural language. However, for various reasons, several lexical, syntactic and semantic ambiguities remain. Names of functions The ambiguity in the style of writing a function should not be confused with a multivalued function, which can (and should) be defined in a deterministic and unambiguous way. Several special functions still do not have established notations. Usually, the conversion to another notation requires to scale the argument or the resulting value; sometimes, the same name of the function is used, causing confusions. Examples of such underestablished functions: Sinc function Elliptic integral of the third kind; translating elliptic integral form MAPLE to Mathematica, one should replace the second argument to its square, see Talk:Elliptic integral#List of notations; dealing with complex values, this may cause problems. Exponential integral Hermite polynomial Expressions Ambiguous expressions often appear in physical and mathematical texts. It is common practice to omit multiplication signs in mathematical expressions. Also, it is common to give the same name to a variable and a function, for example, . Then, if one sees , there is no way to distinguish whether it means multiplied by , or function evaluated at argument equal to . In each case of use of such notations, the reader is supposed to be able to perform the deduction and reveal the true meaning. Creators of algorithmic languages try to avoid ambiguities. Many algorithmic languages (C++ and Fortran) require the character * as symbol of multiplication. The Wolfram Language used in Mathematica allows the user to omit the multiplication symbol, but requires square brackets to indicate the argument of a function; square brackets are not allowed for grouping of expressions. Fortran, in addition, does not allow use of the same name (identifier) for different objects, for example, function and variable; in particular, the expression f=f(x) is qualified as an error. The order of operations may depend on the context. In most programming languages, the operations of division and multiplication have equal priority and are executed from left to right. Until the last century, many editorials assumed that multiplication is performed first, for example, is interpreted as ; in this case, the insertion of parentheses is required when translating the formulas to an algorithmic language. In addition, it is common to write an argument of a function without parenthesis, which also may lead to ambiguity. In the scientific journal style, one uses roman letters to denote elementary functions, whereas variables are written using italics. For example, in mathematical journals the expression does not denote the sine function, but the product of the three variables , , , although in the informal notation of a slide presentation it may stand for . Commas in multi-component subscripts and superscripts are sometimes omitted; this is also potentially ambiguous notation. For example, in the notation , the reader can only infer from the context whether it means a single-index object, taken with the subscript equal to product of variables , and , or it is an indication to a trivalent tensor. Examples of potentially confusing ambiguous mathematical expressions An expression such as can be understood to mean either or . Often the author's intention can be understood from the context, in cases where only one of the two makes sense, but an ambiguity like this should be avoided, for example by writing or . The expression means in several texts, though it might be thought to mean , since commonly means . Conversely, might seem to mean , as this exponentiation notation usually denotes function iteration: in general, means . However, for trigonometric and hyperbolic functions, this notation conventionally means exponentiation of the result of function application. The expression can be interpreted as meaning ; however, it is more commonly understood to mean . Notations in quantum optics and quantum mechanics It is common to define the coherent states in quantum optics with and states with fixed number of photons with . Then, there is an "unwritten rule": the state is coherent if there are more Greek characters than Latin characters in the argument, and photon state if the Latin characters dominate. The ambiguity becomes even worse, if is used for the states with certain value of the coordinate, and means the state with certain value of the momentum, which may be used in books on quantum mechanics. Such ambiguities easily lead to confusions, especially if some normalized adimensional, dimensionless variables are used. Expression may mean a state with single photon, or the coherent state with mean amplitude equal to 1, or state with momentum equal to unity, and so on. The reader is supposed to guess from the context. Ambiguous terms in physics and mathematics Some physical quantities do not yet have established notations; their value (and sometimes even dimension, as in the case of the Einstein coefficients), depends on the system of notations. Many terms are ambiguous. Each use of an ambiguous term should be preceded by the definition, suitable for a specific case. Just like Ludwig Wittgenstein states in Tractatus Logico-Philosophicus: "... Only in the context of a proposition has a name meaning." A highly confusing term is gain. For example, the sentence "the gain of a system should be doubled", without context, means close to nothing. It may mean that the ratio of the output voltage of an electric circuit to the input voltage should be doubled. It may mean that the ratio of the output power of an electric or optical circuit to the input power should be doubled. It may mean that the gain of the laser medium should be doubled, for example, doubling the population of the upper laser level in a quasi-two level system (assuming negligible absorption of the ground-state). The term intensity is ambiguous when applied to light. The term can refer to any of irradiance, luminous intensity, radiant intensity, or radiance, depending on the background of the person using the term. Also, confusions may be related with the use of atomic percent as measure of concentration of a dopant, or resolution of an imaging system, as measure of the size of the smallest detail which still can be resolved at the background of statistical noise. See also Accuracy and precision and its talk. The Berry paradox arises as a result of systematic ambiguity in the meaning of terms such as "definable" or "nameable". Terms of this kind give rise to vicious circle fallacies. Other terms with this type of ambiguity are: satisfiable, true, false, function, property, class, relation, cardinal, and ordinal. Mathematical interpretation of ambiguity In mathematics and logic, ambiguity can be considered to be an instance of the logical concept of underdetermination—for example, leaves open what the value of X is—while its opposite is a self-contradiction, also called inconsistency, paradoxicalness, or oxymoron, or in mathematics an inconsistent system—such as , which has no solution. Logical ambiguity and self-contradiction is analogous to visual ambiguity and impossible objects, such as the Necker cube and impossible cube, or many of the drawings of M. C. Escher. Constructed language Some languages have been created with the intention of avoiding ambiguity, especially lexical ambiguity. Lojban and Loglan are two related languages which have been created for this, focusing chiefly on syntactic ambiguity as well. The languages can be both spoken and written. These languages are intended to provide a greater technical precision over big natural languages, although historically, such attempts at language improvement have been criticized. Languages composed from many diverse sources contain much ambiguity and inconsistency. The many exceptions to syntax and semantic rules are time-consuming and difficult to learn. Biology In structural biology, ambiguity has been recognized as a problem for studying protein conformations. The analysis of a protein three-dimensional structure consists in dividing the macromolecule into subunits called domains. The difficulty of this task arises from the fact that different definitions of what a domain is can be used (e.g. folding autonomy, function, thermodynamic stability, or domain motions), which sometimes results in a single protein having different—yet equally valid—domain assignments. Christianity and Judaism Christianity and Judaism employ the concept of paradox synonymously with "ambiguity". Many Christians and Jews endorse Rudolf Otto's description of the sacred as 'mysterium tremendum et fascinans', the awe-inspiring mystery which fascinates humans. The apocryphal Book of Judith is noted for the "ingenious ambiguity" expressed by its heroine e.g. she says to the villain of the story, Holofernes, "my lord will not fail to achieve his purposes". The orthodox Catholic writer G. K. Chesterton regularly employed paradox to tease out the meanings in common concepts which he found ambiguous or to reveal meaning often overlooked or forgotten in common phrases: the title of one of his most famous books, Orthodoxy (1908), itself employed such a paradox. Music In music, pieces or sections which confound expectations and may be or are interpreted simultaneously in different ways are ambiguous, such as some polytonality, polymeter, other ambiguous meters or rhythms, and ambiguous phrasing, or (Stein 2005, p. 79) any aspect of music. The music of Africa is often purposely ambiguous. To quote Sir Donald Francis Tovey (1935, p. 195), "Theorists are apt to vex themselves with vain efforts to remove uncertainty just where it has a high aesthetic value." Visual art In visual art, certain images are visually ambiguous, such as the Necker cube, which can be interpreted in two ways. Perceptions of such objects remain stable for a time, then may flip, a phenomenon called multistable perception. The opposite of such ambiguous images are impossible objects. Pictures or photographs may also be ambiguous at the semantic level: the visual image is unambiguous, but the meaning and narrative may be ambiguous: is a certain facial expression one of excitement or fear, for instance? Social psychology and the bystander effect In social psychology, ambiguity is a factor used in determining peoples' responses to various situations. High levels of ambiguity in an emergency (e.g. an unconscious man lying on a park bench) make witnesses less likely to offer any sort of assistance, due to the fear that they may have misinterpreted the situation and acted unnecessarily. Alternately, non-ambiguous emergencies (e.g. an injured person verbally asking for help) elicit more consistent intervention and assistance. With regard to the bystander effect, studies have shown that emergencies deemed ambiguous trigger the appearance of the classic bystander effect (wherein more witnesses decrease the likelihood of any of them helping) far more than non-ambiguous emergencies. Computer science In computer science, the SI prefixes kilo-, mega- and giga- were historically used in certain contexts to mean either the first three powers of 1024 (1024, 10242 and 10243) contrary to the metric system in which these units unambiguously mean one thousand, one million, and one billion. This usage is particularly prevalent with electronic memory devices (e.g. DRAM) addressed directly by a binary machine register where a decimal interpretation makes no practical sense. Subsequently, the Ki, Mi, and Gi prefixes were introduced so that binary prefixes could be written explicitly, also rendering k, M, and G unambiguous in texts conforming to the new standard—this led to a new ambiguity in engineering documents lacking outward trace of the binary prefixes (necessarily indicating the new style) as to whether the usage of k, M, and G remains ambiguous (old style) or not (new style). 1 M (where M is ambiguously 1,000,000 or 1,048,576) is less uncertain than the engineering value 1.0e6 (defined to designate the interval 950,000 to 1,050,000). As non-volatile storage devices begin to exceed 1 GB in capacity (where the ambiguity begins to routinely impact the second significant digit), GB and TB almost always mean 109 and 1012 bytes. See also References External links Collection of Ambiguous or Inconsistent/Incomplete Statements Leaving out ambiguities when writing Semantics Mathematical notation Concepts in epistemology Barriers to critical thinking Formal semantics (natural language)

https://en.wikipedia.org/wiki/Abel

Abel

Abel is a Biblical figure in the Book of Genesis within Abrahamic religions. He was the younger brother of Cain, and the younger son of Adam and Eve, the first couple in Biblical history. He was a shepherd who offered his firstborn flock up to God as an offering. God accepted his offering but not his brother's. Cain then killed Abel out of jealousy. According to Genesis, this was the first murder in the history of mankind. Interpretations Jewish and Christian interpretations According to the narrative in Genesis, Abel ( Hébel, in pausa Hā́ḇel; Hábel; , Hābēl) is Eve's second son. His name in Hebrew is composed of the same three consonants as a root meaning "breath". Julius Wellhausen has proposed that the name is independent of the root. Eberhard Schrader had previously put forward the Akkadian (Old Assyrian dialect) ablu ("son") as a more likely etymology. In Christianity, comparisons are sometimes made between the death of Abel and that of Jesus, the former thus seen as being the first martyr. In Jesus speaks of Abel as "righteous", and the Epistle to the Hebrews states that "The blood of sprinkling ... [speaks] better things than that of Abel" (). The blood of Jesus is interpreted as bringing mercy; but that of Abel as demanding vengeance (hence the curse and mark). Abel is invoked in the litany for the dying in the Roman Catholic Church, and his sacrifice is mentioned in the Canon of the Mass along with those of Abraham and Melchizedek. The Alexandrian Rite commemorates him with a feast day on December 28. According to the Coptic Book of Adam and Eve (at 2:1–15), and the Syriac Cave of Treasures, Abel's body, after many days of mourning, was placed in the Cave of Treasures, before which Adam and Eve, and descendants, offered their prayers. In addition, the Sethite line of the Generations of Adam swear by Abel's blood to segregate themselves from the unrighteous. In the Book of Enoch (22:7), regarded by most Christian and Jewish traditions as extra-biblical, the soul of Abel is described as having been appointed as the chief of martyrs, crying for vengeance, for the destruction of the seed of Cain. A similar view is later shown in the Testament of Abraham (A:13 / B:11), where Abel has been raised to the position as the judge of the souls. In Bereshit Rabbah (22:2), a discussion of Gen. 4:1 ff. has Rabbi Yehoshua ben Korcha mentioning that Cain was born with a twin sister, and Abel with two twin sisters. This is based on the principle that the otherwise superfluous accusative article "et" always conveys some additional teaching (Pesachim 22b). The "et"'s are parsed slightly differently in Yebamot 62a where the two "et"'s in Gen. 4:2 indicate Cain and his sister, and Abel and his (one) sister. Sethian Gnostic interpretation In the Apocryphon of John, a work belonging to Sethian Gnosticism, Abel is the offspring of Yaldaboath and Eve, who is placed over the elements of water and earth as Elohim, but was only given his name as a form of deception. Mandaean interpretation According to Mandaean beliefs and scriptures including the Qolastā, the Book of John and Genzā Rabbā, Abel is cognate with the angelic soteriological figure Hibil Ziwa, (, sometimes translated "Splendid Hibel"), who is spoken of as a son of Hayyi or of Manda d-Hayyi, and as a brother to Anush (Enosh) and to Sheetil (Seth), who is the son of Adam. Elsewhere, Anush is spoken of as the son of Sheetil, and Sheetil as the son of Hibil, where Hibil came to Adam and Eve as a young boy when they were still virgins, but was called their son. Hibil is an important lightworld being (uthra) who conquered the World of Darkness. As Yawar Hibil, he is one of multiple figures known as Yawar (), being so named by and after his father. Islamic interpretation According to Shi'a Muslim belief, Abel ("Habeel") is buried in the Nabi Habeel Mosque, located on the west mountains of Damascus, near the Zabadani Valley, overlooking the villages of the Barada river (Wadi Barada), in Syria. Shi'a are frequent visitors of this mosque for ziyarat. The mosque was built by Ottoman Wali Ahmad Pasha in 1599. In modern media Abel is portrayed by Franco Nero in the film The Bible: In the Beginning... (1966). Paul Rudd played the role of Abel in the 2009 film Year One. Notes References Bereshit (parashah) Biblical murder victims Book of Genesis people Children of Adam and Eve Male murder victims Shepherds Uthras Hebrew Bible people in Mandaeism

https://en.wikipedia.org/wiki/Animal%20%28disambiguation%29

Animal (disambiguation)

An animal is a multicellular, eukaryotic organism of the kingdom Animalia or Metazoa. Animal, Animals, or The Animal may also refer to: People The Animal (nickname), a list of people nicknamed "The Animal" or "Animal" Animal Hamaguchi, a ring name of Japanese retired professional wrestler Heigo Hamaguchi (born 1947) Road Warrior Animal or Animal, ring names of American professional wrestler Joseph Michael Laurinaitis (1960–2020) Books and publications Animal (book), full title Animal: The Definitive Visual Guide to The World's WildLife Animal, 2012 novel by K'wan Foye Animal (journal), full title: Animal: An International Journal of Animal Bioscience Animals (novel), a 2014 novel by Emma Jane Unsworth Film and television Films Animal (1977 film), a French film (L'Animal) starring Jean-Paul Belmondo and Raquel Welch Animals (1998 film), an American film starring Tim Roth and Rod Steiger Animal (2001 film), an Argentine comedy film by Sergio Bizzio with Carlos Roffé Animal (2005 film), an American direct-to-video action drama film starring Ving Rhames and Terrance Howard Animal (2014 film), an American horror film starring Keke Palmer Animal (2018 film), an Argentine film Animals (2003 film), a stand-up show written and performed by Ricky Gervais Animals (2012 film), a Spanish film Animals (2014 film), a British drama film written by and starring David Dastmalchian Animals (2017 film), a German film Animals (2019 film), an Australian film Animals (2021 film), a psychological thriller film The Animal, a 2001 American comedy film featuring Rob Schneider The Animals (film), a 2012 Filipino coming-of-age film by Gino M. Santos Television Animal (TV series), an American nature documentary series Animals (American TV series), a 2016–2018 animated series Animals (South Korean TV series), a 2015 reality-variety show "Animals" (The Goodies), a 1980 episode "Animals" (Men Behaving Badly), a 1992 episode "Animals" (Off the Air), a 2011 episode "Animals" (The Vicar of Dibley), a 1994 episode "The Animals" (Orange Is the New Black), a 2016 episode Animal (audio drama), a 2011 audio drama based on Doctor Who Characters Animal (Muppet), a character from the television series The Muppet Show Animal, a character in the television series Takeshi's Castle Animal, played by Ken Hudson Campbell, a character on the TV sitcom Herman's Head Dennis "Animal" Price, a character on the TV series Lou Grant Music The Animals, a British rock band A.N.I.M.A.L., an Argentine heavy metal band Animal (Nick Culmer) lead singer of the Anti-Nowhere League Albums Animal (Animosity album), 2007 Animal (Bar-Kays album), 1989 Animal (Big Scary album), 2016 Animal (Kesha album), 2010 Animal (Lump album), 2021 Animal (María Becerra album), 2021 Animal (Motor Ace album), 2005 Animals (Pink Floyd album), 1977 Animals (This Town Needs Guns album), 2008 The Animals (American album), by the Animals, 1964 The Animals (British album), by the Animals, 1964 Animal, a 2009 album by AutoKratz Animal, a 2013 album by Berlin Animal, a 2008 album by Far East Movement Animal!, a 2008 album by Margot & the Nuclear So and So's EPs Animals (EP) by Ryan Starx, 2013 Animal, a 2015 EP by Hidden in Plain View A.N.I.M.A.L, a 2019 EP by John Newman Songs "Animal" "Animal" (Álvaro Soler song), 2017 "Animal" (Conor Maynard song), 2013 "Animal" (Def Leppard song), 1987 "Animal" (Jebediah song), 1999 "Animal" (Juvenile song), 2006 "Animal" (María Becerra and Cazzu song), 2022 "Animal" (Miike Snow song), 2009 "Animal" (Neon Trees song), 2010 "Animal" (Pearl Jam song), 1994 "Animal" (R.E.M. song), 2004 "Animal" (R.I.O. song), 2011 "Animal" (Trey Songz song), 2017 "Animal" (Troye Sivan song), 2018 "Animal", by Against Me! from New Wave "Animal", by Ani DiFranco from Educated Guess "Animal", by Anti-Nowhere League from We Are...The League, 1982 "Animal", by Aurora from A Different Kind of Human (Step 2) "Animal", by Black Light Burns from Cruel Melody "Animal", by Ellie Goulding from Lights "Animal", by Karen O and the Kids from Where the Wild Things Are "Animal", by Kat DeLuna from 9 Lives "Animal", by Kesha from Animal "Animal", by the Men from Open Your Heart, 2012 "Animal", by Mindless Self Indulgence from If "Animal", by Mudmen from Overrated "Animal", by Nada Surf from You Know Who You Are, 2016 "Animal", by Subhumans from Demolition War "Animal", by Sunhouse from Crazy On The Weekend "Animal", by The Kinks from To the Bone "Animal", by Toto from Past to Present 1977–1990 "Animal (F**k Like a Beast)", by W.A.S.P., 1984 "Animals" "Animals" (Architects song), 2020 "Animals" (Kevin Ayers song), 1980 "Animals" (Maroon 5 song), 2014 "Animals" (Martin Garrix song), 2013 "Animals" (Muse song), 2012 "Animals" (Nickelback song), 2005 "Animals", by CocoRosie from The Adventures of Ghosthorse and Stillborn "Animals", by Coldplay as one of the B-sides for "Clocks" "Animals", by Dead Poetic from Vices "Animals", by Talking Heads from Fear of Music "Animals", by The End from Elementary "Animals", by Todrick Hall featuring Matt Bloyd from Forbidden "The Animal" "The Animal" (Disturbed song), 2010 "The Animal", by Steve Vai from Passion and Warfare Other uses ANIMAL (computer worm), an early self-replicating computer program ANIMAL (image processing), an interactive software environment for image processing Operation Animals, a World War II Allied deception operation in Greece Animals (Israeli organization), an animal rights group based in Israel See also Animals, Animals, Animals, an American educational television series (1976–1981)

https://en.wikipedia.org/wiki/Aardvark

Aardvark

"The aardvark ( ; Orycteropus afer) is a medium-sized, burrowing, nocturnal mammal native to Africa.(...TRUNCATED)