the-french-artist/wikipedia_20220301.simple_sentence_embeddings huggingface dataset:
Typesetting 
 Typesetting is the taking of the stored letters (called "sorts" in mechanical systems and "glyphs" in digital systems) and the ordering of them in the manner of a language's orthography for showing them on a page.
Typesetting 
 Cast metal sorts were grouped into words and lines of text and tightly bound together to make up a page image called a forme.
Typesetting 
 The diagram at right shows a cast metal sort: a face, b body or shank, c point size, 1 shoulder, 2 nick, 3 groove, 4 foot.
Typesetting 
 Copies of formes were cast when expecting later printings of a text, freeing the costly type for other work.
Typesetting 
 In this process, called stereotyping, the entire forme is pressed into a fine matrix such as plaster of Paris or papier mâché called Flong to create a positive, from which the stereotype forme was cast of type metal.
Typesetting 
 Hand composing was rendered commercially obsolete by continuous casting or hot-metal typesetting machines, such as the Linotype machine and Monotype at the end of the 19th century.
Typesetting 
 The Linotype, invented by Ottmar Mergenthaler, enabled one machine operator to do the work of ten hand compositors by automating the selection, use and replacement of sorts, with a keyboard as input.
Typesetting 
 Phototypesetting or "cold type" systems first appeared in the early 1960s and rapidly displaced continuous casting machines.
Typesetting 
 These devices consisted of glass disks (one per font) that spun in front of a light source which selectively exposed characters onto light-sensitive paper.
Typesetting 
 If the two lines were identical a bell rang and the machine produced a punched paper tape corresponding to the text.
Typesetting 
 With the completion of a block of lines the typesetter fed the corresponding paper tapes into a phototypesetting device which mechanically set type outlines printed on glass sheets into place for exposure onto a negative film.
Typesetting 
 Photosensitive paper was exposed to light through the negative film, resulting in a column of black type on white paper, or a galley.
Typesetting 
 Before the 1980s, almost all typesetting for publishers and advertisers was done by specialist typesetting companies.
Typesetting 
 These companies performed keyboarding, editing and production of paper or film output, and formed a large component of the graphic arts industry.
Typesetting 
 In the United States, these companies were in rural Pennsylvania, New England or the Midwest where labor was cheap, and paper produced nearby, but still within a few hours' travel time of the major publishing centers.
Typesetting 
 In 1985, desktop publishing became available, starting with the Apple Macintosh, Aldus PageMaker (and later QuarkXPress) and PostScript.
Typesetting 
 Improvements in software and hardware, and rapidly-lowering costs, popularized desktop publishing and enabled very fine control of typeset results at much lower cost than the minicomputer-based systems.
Typesetting 
 At the same time, word processing systems such as Wang and WordPerfect revolutionized office documents.
Typesetting 
 They did not, however, have the typographic ability or flexibility required for complex book layout, graphics, mathematics, or advanced hyphenation and justification rules (H and J).
Typesetting 
 By the year 2000, this industry segment had shrunk because publishers were now capable of integrating typesetting and graphic design on their own in-house computers.
Typesetting 
 Many found that the cost of maintaining high standards of typographic design and technical skill made it more economical to out-source to freelancers and graphic design specialists.
Typesetting 
 The availability of cheap, or free, fonts made the conversion to do-it-yourself easier but also opened up a gap between skilled designers and amateurs.
Typesetting 
 The advent of PostScript, supplemented by the PDF file format, provided a universal method of proofing designs and layouts, readable on major computer and operating systems.
Typesetting 
 IBM created and inspired a family of typesetting languages with names that were derivatives of the word "SCRIPT".
Typesetting 
 Latter versions of SCRIPT included advanced features such as automatic generation of a table of contents and index, multi-column page layout, footnotes, boxes, automatic hyphenation and spelling verification.
Typesetting 
 Such engines include Datalogics Pager, Penta, Miles 33's OASYS, Xyvision's XML Professional Publisher (XPP), FrameMaker, Arbortext, YesLogic's Prince, QuarkXPress and Adobe InDesign.
Typesetting 
 These products allow users to program their typesetting process around the SGML/XML with the help of scripting languages.
Typesetting 
 Some of them, such as Arbortext Editor and XMetaL Author, provide attractive WYSIWYG-ish interfaces with support for XML standards and Unicode to attract a wider spectrum of users.
Typesetting 
 During the mid-1970s Joseph Ossanna, working at Bell Laboratories, wrote the troff (said as "tee-roff") typesetting program to drive a Wang C/A/T phototypesetter owned by the Labs; it was later enhanced by Brian Kernighan to support output to different equipment such as laser printers and the like.
Typesetting 
 While its use has fallen off, it is still included with a number of Unix and Unix-like systems and has been used to typeset a number of high-profile technical and computer books.
Typesetting 
 The TeX system, developed by Donald E. Knuth at the end of the 1970s, is another widespread and powerful automated typesetting system which has set high standards, especially for typesetting mathematics.
Swinging London 
 Swinging London is a catch-all term applied to the fashion and cultural scene which flourished in London, in the 1960s.
Swinging London 
 One catalyst was the recovery of the British economy after post-World War II hard times had lasted through much of the 1950s.
Swinging London 
 Journalist Christopher Booker, a founder of the satirical magazine Private Eye, recalled the "bewitching" character of the swinging sixties: "There seemed to be no one standing outside the bubble, and observing just how odd and shallow and egocentric and even rather horrible it was".
Swinging London 
 "Swinging London" was defined by Time magazine in its issue of 15 April 1966,<ref name="Gilbert-3">'Most famous (if not the first) identification of Swinging London Gilbert, David (2006) "'The youngest legend in history': cultures of consumption and the mythologies of Swinging London" The London Journal 31(1): 1–14 doi:10.1179/174963206X113089</ref> and celebrated in the name of the pirate radio station, Swinging Radio England, that began shortly afterward.
Swinging London 
 In 1965, Diana Vreeland, editor of  Vogue magazine, said "London is the most swinging city in the world at the moment".
Swinging London 
 Although The Beatles came from Liverpool, The Rolling Stones,  and the rest of the new culture was London-based.
Swinging London 
 Most of the new fashion designers, models and photographers were young, and packed into a small area in Soho around Carnaby Street, W1.,
Swinging London 
 During the time of Swinging London, fashion and photography were featured in Queen magazine, which drew attention to fashion designer Mary Quant.
Swinging London 
 Shrimpton was called "The face of the '60s", in which she has been considered by many as "the symbol of Swinging London", and the "embodiment of the 1960s".
Swinging London 
 Twiggy was called "the Queen of Mod", a label she shared with others, such as Cathy McGowan, who hosted the television rock show, Ready Steady Go!''
Swinging London 
 Mod-related fashions such as the miniskirt stimulated fashionable shopping areas such as Carnaby Street and the Kings Road, Chelsea.
Swinging London 
 The British flag, the Union Flag, became a symbol, assisted by events such as England's home victory in the 1966 World Cup.
Swinging London 
 The Mini car (launched in 1959) was used by a fleet of mini-cab taxis highlighted by advertising which covered their paintwork.
Tosca 
 But Napoleon had problems with Austria and the French had to leave, so Rome was conquered by people from Naples.
Tosca 
 In 1800 Napoleon decided to return to Rome because he had just defeated the Austrian army in the north.
Tosca 
 One of the republicans, Angelotti, flees prison and gets inside the church of Sant' Andrea della Valle.
Tosca 
 When Scarpia’s soldiers try to arrest Tosca for Scarpia's murder, she kills herself by jumping from the castle.
Tosca 
 1919: Valentina Bartolomasi (Tosca), Attilio Salvaneschi (Cavaradossi), Adolfo Pacini (Scarpia), Guido Fernandez (Angelotti), Ubaldo Ceccarelli (Sagristano), Gaetano Mazzanti (Spoletta); Coro e Grande Orchestra Sinfonica di Milano, Carlo Sabajno - (La Voce del Padrone)
Tosca 
 1929: Bianca Scacciati (Tosca), Alessandro Granda (Cavaradossi), Enrico Molinari (Scarpia), Salvatore Baccaloni (Angelotti), Aristide Baracchi (Sagristano), Emilio Venturini (Spoletta); Coro e Orchestra del Teatro alla Scala di Milano, Lorenzo Molajoli - (EMI Classics)
Tosca 
 1930: Carmen Melis (Tosca), Piero Pauli (Cavaradossi), Apollo Granforte (Scarpia), Giovanni Azzimonti (Angelotti), Antonio Gelli (Sagristano), Nello Palai (Spoletta); Coro e Orchestra del Teatro alla Scala di Milano, Carlo Sabajno - (Arkadia)
Tosca 
 1938: Maria Caniglia (Tosca), Beniamino Gigli (Cavaradossi), Armando Borgioli (Scarpia), Ernesto Dominici (Angelotti), Giulio Tomei (Sagristano), Nino Mazziotti (Spoletta); Coro e Orchestra del Teatro Reale dell'Opera di Roma, Oliviero De Fabritiis - (EMI Classics)
Tosca 
 1952: Renata Tebaldi (Tosca), Giuseppe Campora (Cavaradossi), Enzo Mascherini (Scarpia), Dario Caselli (Angelotti), Fernando Corena (Sagristano), Piero De Palma (Spoletta); Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia, Alberto Erede - (Decca)
Tosca 
 1953: Maria Callas (Tosca), Giuseppe di Stefano (Cavaradossi), Tito Gobbi (Scarpia), Franco Calabrese (Angelotti), Melchiorre Luise (Sagristano), Angelo Mercuriali (Spoletta); Coro e Orchestra del Teatro alla Scala di Milano, Victor de Sabata - (EMI Classics)
Tosca 
 1957: Zinka Milanov (Tosca), Jussi Björling (Cavaradossi), Leonard Warren (Scarpia), Leonardo Monreale (Angelotti), Fernando Corena (Sagristano), Mario Carlin (Spoletta); Coro e Orchestra del Teatro dell'Opera di Roma, Erich Leinsdorf - (RCA Victor)
Tosca 
 1957: Antonietta Stella (Tosca), Gianni Poggi (Cavaradossi), Giuseppe Taddei (Scarpia), Ferruccio Mazzoli (Angelotti), Leo Padis (Sagristano), Piero De Palma (Spoletta); Coro e Orchestra del Teatro di San Carlo di Napoli, Tullio Serafin - (Philips)
Tosca 
 1959: Renata Tebaldi (Tosca), Mario Del Monaco (Cavaradossi), George London (Scarpia), Silvio Maionica (Angelotti), Fernando Corena (Sagristano), Piero De Palma (Spoletta); Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia, Francesco Molinari-Pradelli - (Decca)
Tosca 
 1962: Leontyne Price (Tosca), Giuseppe di Stefano (Cavaradossi), Giuseppe Taddei (Scarpia), Carlo Cava (Angelotti), Fernando Corena (Sagristano), Piero De Palma (Spoletta); Wiener Staatsopernchor, Wiener Philharmoniker, Herbert von Karajan - (Decca)
Tosca 
 1966: Birgit Nilsson (Tosca), Franco Corelli (Cavaradossi), Dietrich Fischer-Dieskau (Scarpia), Silvio Maionica (Angelotti), Alfredo Mariotti (Sagristano), Piero De Palma (Spoletta); Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia, Lorin Maazel - (Decca)
Tosca 
 1967: Gwyneth Jones (Tosca), James McCracken (Cavaradossi), Robert Merrill (Scarpia), Ezio Flagello (Angelotti), Giovanni Foiani (Sagristano), Ugo Benelli (Spoletta); Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia, Lamberto Gardelli - (Decca)
Tosca 
 1973: Leontyne Price (Tosca), Plácido Domingo (Cavaradossi), Sherrill Milnes (Scarpia), Clifford Grant (Angelotti), Paul Plishka (Sagristano), Francis Egerton (Spoletta); John Alldis Choir, New Philharmonia Orchestra, Zubin Mehta - (RCA Records)
Tosca 
 1976: Montserrat Caballé (Tosca), José Carreras (Cavaradossi), Ingvar Wixell (Scarpia), Samuel Ramey (Angelotti), Domenico Trimarchi (Sagristano), Piero De Palma (Spoletta); Chorus and Orchestra of the Royal Opera House, Covent Garden, Colin Davis - (Philips)
Tosca 
 1976: Galina Vishnevskaya (Tosca), Franco Bonisolli (Cavaradossi), Matteo Manuguerra (Scarpia), Antonio Zerbini (Angelotti), Guido Mazzini (Sagristano), Mario Guggia (Spoletta); Chœurs de Radio France, Orchestre National de France, Mstislav Rostropovich - (Deutsche Grammophon)
Tosca 
 1977: Virginia Zeani (Tosca), Corneliu Fanateanu (Cavaradossi), Nicolae Herlea (Scarpia), Gheorghe Grasnaru (Angelotti), Constantin Gabor (Sagristano), Nicolae Andreescu (Spoletta); Chorus and Orchestra of the National Opera of Bucharest, Cornel Trailescu - (Carlton Classics)
Tosca 
 1978: Mirella Freni (Tosca), Luciano Pavarotti (Cavaradossi), Sherrill Milnes (Scarpia), Richard Van Allan (Angelotti), Italo Tajo (Sagristano), Michel Sénéchal (Spoletta); London Opera Chorus, National Philharmonic Orchestra, Nicola Rescigno - (Decca)
Tosca 
 1979: Katia Ricciarelli (Tosca), José Carreras (Cavaradossi), Ruggero Raimondi (Scarpia), Gottfried Hornik (Angelotti), Fernando Corena (Sagristano), Heinz Zednik (Spoletta); Chor der Deutschen Oper Berlin, Berliner Philharmoniker, Herbert von Karajan - (Deutsche Grammophon)
Tosca 
 1980: Renata Scotto (Tosca), Plácido Domingo (Cavaradossi), Renato Bruson (Scarpia), John Cheek (Angelotti), Renato Capecchi (Sagristano), Andrea Velis (Spoletta); Ambrosian Opera Chorus, Philharmonia Orchestra, James Levine - (EMI Classics)
Tosca 
 1984: Kiri Te Kanawa (Tosca), Giacomo Aragall (Cavaradossi), Leo Nucci (Scarpia), Malcolm King (Angelotti), Spiro Malas (Sagristano), Piero De Palma (Spoletta); Welsh National Opera Chorus, National Philharmonic Orchestra, Georg Solti - (Decca)
Tosca 
 1988: Éva Marton (Tosca), José Carreras (Cavaradossi), Juan Pons (Scarpia), István Gáti (Angelotti), Italo Tajo (Sagristano), Ferenc Gerdesits (Spoletta); Hungarian Radio TV Chorus, Hungarian State Orchestra, Michael Tilson Thomas - (Sony Classical)
Tosca 
 1990: Mirella Freni (Tosca), Plácido Domingo (Cavaradossi), Samuel Ramey (Scarpia), Bryn Terfel (Angelotti), Angelo Veccia (Sagristano), Anthony Laciura (Spoletta); Chorus of the Royal Opera House, Covent Garden, Philharmonia Orchestra, Giuseppe Sinopoli - (Deutsche Grammophon)
Tosca 
 1992: Carol Vaness (Tosca), Giuseppe Giacomini (Cavaradossi), Giorgio Zancanaro (Scarpia), Danilo Serraiocco (Angelotti), Alfredo Mariotti (Sagristano), Piero De Palma (Spoletta); Westminster Symphonic Choir, Philadelphia Orchestra, Riccardo Muti - (Philips)
Tosca 
 2000: Maria Guleghina (Tosca), Salvatore Licitra (Cavaradossi), Leo Nucci (Scarpia), Giovanni Battista Parodi (Angelotti), Alfredo Mariotti (Sagristano), Ernesto Gavazzi (Spoletta); Coro e Orchestra del Teatro alla Scala di Milano, Riccardo Muti - (Sony Classical)
Tosca 
 2000: Angela Gheorghiu (Tosca), Roberto Alagna (Cavaradossi), Ruggero Raimondi (Scarpia), Maurizio Muraro (Angelotti), Enrico Fissore (Sagristano), David Cangelosi (Spoletta); Chorus and Orchestra of the Royal Opera House, Covent Garden, Antonio Pappano - (EMI Classics)
Tosca 
 2003: Fiorenza Cedolins (Tosca), Andrea Bocelli (Cavaradossi), Carlo Guelfi (Scarpia), Ildebrando D'Arcangelo (Angelotti), Matteo Peirone (Sagristano), Sergio Bertocchi (Spoletta); Orchestra e Coro del Maggio Musicale Fiorentino, Zubin Mehta - (Decca)
Manon Lescaut 
 Manon Lescaut is an Italian opera in four acts by Giacomo Puccini, first performed in Turin, on February 1, 1893, libretto by Luigi Illica, Giuseppe Giacosa, Giulio Ricordi, Marco Praga and  Domenico Oliva.
Caesars Palace Grand Prix 
 It was wide enough for passing, provided ample run-off areas filled with sand, and had a surface that was as smooth as glass.
Kakadu National Park 
 It is the size of Slovenia, about one-third the size of Tasmania, or nearly half the size of Switzerland.
Kakadu National Park 
 The name Kakadu comes from Gagadju, the name of an Aboriginal language spoken in the northern part of the Park.
Kakadu National Park 
 Kakadu National Park has many different ecological areas, and many different plant and animal species.
Kakadu National Park 
 The archaeological sites show that Aboriginals have lived here for at least 20 000 and possibly up to 40 000 years.
Kakadu National Park 
 The cultural and natural values of Kakadu National Park were recognised internationally when the Park was made a UNESCO World Heritage Site.
Kakadu National Park 
 This is an international list of places that are have outstanding cultural or natural values of international significance.
Kakadu National Park 
 About half of the land in Kakadu is aboriginal land under the Aboriginal Land Rights (Northern Territory) Act 1976.
Kakadu National Park 
 The areas of the Park that are owned by Aboriginal people are leased by the traditional owners to the Director of National Parks to be managed as a national park.
Kakadu National Park 
 All of Kakadu is declared a national park under the Environment Protection and Biodiversity Conservation Act 1999.
Kakadu National Park 
 The Aboriginal traditional owners of the Park are descendants of various clan groups from the Kakadu area.
Kakadu National Park 
 Their lifestyle has changed in recent years, but their traditional customs and beliefs remain very important.
Kakadu National Park 
 All of Kakadu is jointly managed by Aboriginal traditional owners and the Australian Government’s Department of the Environment and Water Resources through a division known as Parks Australia.
Kakadu National Park 
 Kakadu was set up at a time when Australians were becoming more interested in national parks for conservation and in recognising the land rights of Aboriginal people.
Kakadu National Park 
 In 1978 the Australian Government took over the titles of various pieces of land that now makes up Kakadu National Park.
Kakadu National Park 
 Each stage of the Park includes Aboriginal land under the Land Rights Act that is leased to the Director of National Parks or land that is subject to a claim to traditional ownership under the Land Rights Act.
Kakadu National Park 
 Most of the land that was to become part of Stage One of Kakadu was given to the Kakadu Aboriginal Land Trust under the Land Rights Act in August 1978.
Kakadu National Park 
 In November 1978, the Land Trust and the Director signed a lease for the land to be managed as a national park.
Kakadu National Park 
 In March 1978, a claim was lodged under the Land Rights Act for the land included in Stage Two of Kakadu.
Kakadu National Park 
 In 1986, three areas in the eastern part of Stage Two were given to the Jabiluka Aboriginal Land Trust.
Kakadu National Park 
 In 1987, a land claim was made for the land in the Goodparla and Gimbat pastoral leases that were to be included in Stage Three of Kakadu.
Kakadu National Park 
 The other area to be included in Stage Three, the Gimbat Resumption and the Waterfall Creek Reserve, were later added to this land claim.
Kakadu National Park 
 The need to create the park in stages was due to the debate over whether mining should be allowed at Guratba (Coronation Hill) which is located in the middle of the area referred to as Sickness Country.
Kakadu National Park 
 The traditional owners’ wishes were ultimately respected and the Australian National Government decided that there would be no mining at Guratba.
Kakadu National Park 
 In 1996, the land in Stage Three, apart from the former Goodparla pastoral leases, was given to the Gunlom Aboriginal Land Trust and leased to the Director of National Parks to continue being managed as part of Kakadu.
Kakadu National Park 
 The Chinese, Malays and Portuguese all claim to have been the first non-Aboriginal explorers of Australia’s north coast.
Kakadu National Park 
 In 1623 Jan Carstenz made his way west across the Gulf of Carpentaria to what is believed to be Groote Eylandt.
Kakadu National Park 
 During this time he named the three Alligator Rivers after the large numbers of crocodiles, which he thought were alligators.
Kakadu National Park 
 Ludwig Leichhardt was the first land-based European explorer to visit the Kakadu region, in 1845 on his way from Moreton Bay in Queensland to Port Essington in the Northern Territory.
Kakadu National Park 
 He followed Jim Jim Creek down from the Arnhem Land escarpment, then went down the South Alligator before crossing to the East Alligator and going north.
Kakadu National Park 
 In 1862 John McDouall Stuart travelled along the south-western boundary of Kakadu but did not see any people.
Kakadu National Park 
 The first non-Aboriginal people to visit and have long term contact with Aboriginal people in northern Australia were the Macassans from Sulawesi and other parts of Indonesia.
Kakadu National Park 
 They travelled to northern Australia every wet season, probably from the last quarter of the 17th century, in sailing boats called praus.
Kakadu National Park 
 They came to harvest trepang (sea cucumber), turtle shell, pearls and other prized items to trade in their homeland.
Kakadu National Park 
 Aboriginal people helped in harvesting and processing the trepang, and in collecting and exchanging the other goods.
Kakadu National Park 
 There is evidence of some contact between Macassan culture and Aboriginal people of the Kakadu area.
Kakadu National Park 
 Among the finds from archaeological digs in the Park are glass and metal pieces that probably came from the Macassans, either directly or through trade with the Coburg Peninsula people.
Kakadu National Park 
 early part of the 19th century: Fort Dundas on Melville Island in 1824; Fort Wellington at Raffles Bay in 1829; and Victoria Settlement (Port Essington) on the Coburg Peninsula in 1838.
Kakadu National Park 
 They wanted to secure the north of Australia before the French or Dutch, who had colonised islands further north.
Kakadu National Park 
 The British settlements all failed for a variety of reasons, such as lack of water and fresh food, sickness and isolation.
Kakadu National Park 
 It is difficult to assess the impact of these settlements on the local Aboriginal people and the type of relationship that developed between them and the British.
Kakadu National Park 
 As in other parts of Australia, disease and the disruption it caused to society devastated the local Aboriginal population.
Kakadu National Park 
 By the 1880s the number of buffaloes escaped from early settlements had grown so much that hunting them for skins and horns was economically successful.
Kakadu National Park 
 The industry began on the Adelaide River, close to Darwin, and moved east to the Mary River and Alligator Rivers regions.
Kakadu National Park 
 Most of the buffalo hunting and skin curing was done in the dry season, between June and September, when buffaloes gathered around the remaining billabongs.
Kakadu National Park 
 During the wet season hunting stopped because the ground was too muddy to follow the buffalo and the harvested hides would rot.
Kakadu National Park 
 The buffalo hunting industry became an important employer of Aboriginal people during the dry-season months.
Kakadu National Park 
 Kapalga Native Industrial Mission was started near the South Alligator River in 1899, but lasted only four years.
Kakadu National Park 
 The Oenpelli Mission began in 1925, when the Church of England Missionary Society accepted an offer from the Northern Territory Administration to take over the area, which had been used as a dairy farm.
Kakadu National Park 
 Some writers and anthropologists say that missionaries, in trying to ‘civilise and institutionalise’ Aboriginal people, forced them to give up their lifestyle, language, religion, ceremonies and change the whole way they lived.
Kakadu National Park 
 Others say that, although they might not have used the best methods to achieve their goal, the missionaries did care about the Aboriginal people at a time when wider Australian society did not.
Kakadu National Park 
 Pastoral leases in the Kakadu area were progressively given up from 1889, because the Victoria River and the Barkly Tablelands were better pastoral regions.