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[SOURCE: https://en.wikipedia.org/wiki/Far_East] | [TOKENS: 969] |
Contents Far East The Far East is the geographical region that encompasses the easternmost portion of the Asian continent, including North, East and Southeast Asia. South Asia is sometimes also included in the definition of the term. In modern times, the term Far East has widely fallen out of use and been substituted by Asia–Pacific, while the terms Middle East and Near East, although now pertaining to different territories, are still commonly used today. The term first came into use in European geopolitical discourse in the 15th century, particularly the British, denoting the Far East as the "farthest" of the three "Easts", beyond the Near East and the Middle East. Likewise, during the Qing dynasty of the 19th and early 20th centuries, the term "Tàixī (泰西)" – i.e., anything further west than the Arab world – was used to refer to the Western countries. Since the mid-20th century, the term has mostly gone out of use for the region in international mass media outlets due to its perceived Eurocentric connotations. North Asia is sometimes excluded due to cultural and ethnic differences. The term is still used in Russia to refer to its sparsely populated easternmost regions (being "far" in this case from the political, economic and cultural centres, Moscow and Saint Petersburg). Popularization Among Western Europeans, prior to the colonial era, Far East referred to anything further east than the Middle East. In the 16th century, King John III of Portugal called India a "rich and interesting country in the Far East (Extremo Oriente)." The term was popularized during the period of the British Empire as a blanket term for lands to the east of the British Indian Empire. In pre-World War I European geopolitics, Near East referred to the relatively nearby lands of the Ottoman Empire, Middle East denoted north-western Southern Asian region and Central Asia, and the Far East meant countries along the western Pacific Ocean and eastern Indian Ocean. Many European languages have analogous terms, such as the French (Extrême-Orient), Spanish (Extremo Oriente), Portuguese (Extremo Oriente), Italian (Estremo Oriente), German (Ferner Osten), Polish (Daleki Wschód), Norwegian (Det fjerne Østen) and Dutch (Verre Oosten). Cultural and geographic meaning Significantly, the term evokes cultural as well as geographic separation; the Far East is not just geographically distant, but also culturally exotic. It never refers, for instance, to the culturally Western nations of Australia and New Zealand, which lie even farther to the east of Europe than East Asia itself. This combination of cultural and geographic subjectivity was well illustrated in 1939 by Robert Menzies, a Prime Minister of Australia. Reflecting on his country's geopolitical situation with the onset of war, Menzies commented that: "The problems of the Pacific are different. What Great Britain calls the Far East is to us the near north." Far East, in its usual sense, is comparable to terms such as the Orient (Latin for "East"), Eastern world, or simply the East, all of which may refer, broadly, to East and South-East Asia in general. Occasionally, albeit more in the past, the Russian Far East and South Asia have been deemed to be part of the Far East. Commenting on such terms, John K. Fairbank and Edwin O. Reischauer (both professors of East Asian Studies at Harvard University) wrote, in East Asia: The Great Tradition: When Europeans traveled far to the east to reach Cathay, Japan and the Indies, they naturally gave those distant regions the general name 'Far East.' Americans who reached China, Japan and Southeast Asia by sail and steam across the Pacific could, with equal logic, have called that area the 'Far West.' For the people who live in that part of the world, however, it is neither 'East' nor 'West' and certainly not 'Far.' A more generally acceptable term for the area is 'East Asia,' which is geographically more precise and does not imply the outdated notion that Europe is the center of the civilized world. Today, the term remains in the names of some longstanding institutions, including the Far Eastern Federal University in Vladivostok, Far Eastern University in Manila, the Far East University in South Korea, and Far East, the periodical magazine of the Missionary Society of St. Columban. Furthermore, the United States and United Kingdom have historically incorporated Far East in the names of several military units and commands in the region, such as the British Royal Navy's Far East Fleet, for instance. Territories and regions conventionally included in the Far East Cities See also Organizations References Further reading |
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[SOURCE: https://en.wikipedia.org/wiki/Coordinated_Universal_Time] | [TOKENS: 5000] |
Contents Coordinated Universal Time Coordinated Universal Time (UTC)[a] is the primary time standard globally used to regulate clocks and time. It establishes a reference for the current time, forming the basis for civil time and time zones. UTC facilitates international communication, navigation, scientific research, and commerce. UTC has been widely embraced by most countries and is the effective successor to Greenwich Mean Time (GMT) in everyday usage and common applications.[b] In specialised domains such as scientific research, navigation, and timekeeping, other standards, such as UT1 and International Atomic Time (TAI), are also used alongside UTC. UTC is based on TAI (International Atomic Time, abbreviated from its French name, temps atomique international), which is a weighted average of hundreds of atomic clocks worldwide. UTC is within about one second of mean solar time at 0° longitude, the currently used prime meridian, and is not adjusted for daylight saving time. The coordination of time and frequency transmissions around the world began on 1 January 1960. UTC was first officially adopted as a standard in 1963 and "UTC" became the official abbreviation of Coordinated Universal Time in 1967. The current version of UTC is defined by the International Telecommunication Union. Since adoption, UTC has been adjusted several times, notably adding leap seconds starting in 1972. Recent years have seen significant developments in the realm of UTC, particularly in discussions about eliminating leap seconds from the timekeeping system because leap seconds occasionally disrupt timekeeping systems worldwide. The General Conference on Weights and Measures adopted a resolution to alter UTC with a new system that would eliminate leap seconds by 2035. Etymology The official abbreviation for Coordinated Universal Time is UTC. This abbreviation comes as a result of the International Telecommunication Union and the International Astronomical Union wanting to use the same abbreviation in all languages. The compromise that emerged was UTC, which conforms to the pattern for the abbreviations of the variants of Universal Time (UT0, UT1, UT2, UT1R, etc.). McCarthy described the origin of the abbreviation: In 1967 the CCIR adopted the names Coordinated Universal Time and Temps Universel Coordonné for the English and French names with the acronym UTC to be used in both languages. The name "Coordinated Universal Time (UTC)" was approved by a resolution of IAU Commissions 4 and 31 at the 13th General Assembly in 1967 (Trans. IAU, 1968). Uses Time zones around the world are expressed using positive, zero, or negative offsets from UTC, as in the list of time zones by UTC offset. The westernmost time zone uses UTC−12, being twelve hours behind UTC; the easternmost time zone uses UTC+14, being fourteen hours ahead of UTC. In 1995, the island nation of Kiribati moved those of its atolls in the Line Islands from UTC−10 to UTC+14 so that the islands and atolls of Kiribati would all be on the same day. UTC is used in many Internet and World Wide Web standards. The Network Time Protocol (NTP), designed to synchronise the clocks of computers over the Internet, transmits time information from the UTC system. If only milliseconds precision is needed, clients can obtain the current UTC from a number of official internet UTC servers. For sub-microsecond precision, clients can obtain the time from satellite signals. UTC is also the time standard used in aviation, e.g. for flight plans and air traffic control. In this context it is frequently referred to as Zulu time, as described below. Weather forecasts and maps all use UTC to avoid confusion about time zones and daylight saving time. The International Space Station also uses UTC as a time standard. Amateur radio operators often schedule their radio contacts in UTC, because transmissions on some frequencies can be picked up in many time zones. Mechanism UTC divides time into days, hours, minutes, and seconds. Days are conventionally identified using the Gregorian calendar, but Julian day numbers can also be used. Each day contains 24 hours and each hour contains 60 minutes. The number of seconds in a minute is usually 60, but with an occasional leap second, it may be 61 or 59 instead. Thus, in the UTC time scale, the second and all smaller time units (millisecond, microsecond, etc.) are of constant duration, but the minute and all larger time units (hour, day, week, etc.) are of variable duration. Decisions to introduce a leap second are announced at least six months in advance in "Bulletin C" produced by the International Earth Rotation and Reference Systems Service. The leap seconds cannot be predicted far in advance due to the unpredictable rate of the rotation of Earth. Nearly all UTC days contain exactly 86,400 SI seconds with exactly 60 seconds in each minute. UTC is within about one second of mean solar time (such as UT1) at 0° longitude, (at the IERS Reference Meridian). The mean solar day is slightly longer than 86,400 SI seconds so occasionally the last minute of a UTC day is adjusted to have 61 seconds. The extra second is called a leap second. It accounts for the grand total of the extra length (about 2 milliseconds each) of all the mean solar days since the previous leap second. The last minute of a UTC day is permitted to contain 59 seconds to cover the remote possibility of the Earth rotating faster, but that has not yet been necessary. The irregular day lengths mean fractional Julian days do not work properly with UTC. Since 1972, UTC may be calculated by subtracting the accumulated leap seconds from International Atomic Time (TAI), which is a coordinate time scale tracking notional proper time on the rotating surface of the Earth (the geoid). In order to maintain a close approximation to UT1, UTC occasionally has discontinuities where it changes from one linear function of TAI to another. These discontinuities take the form of leap seconds implemented by a UTC day of irregular length. Discontinuities in UTC occurred only at the end of June or December. However, there is provision for them to happen at the end of March and September as a second preference as well. The International Earth Rotation and Reference Systems Service (IERS) tracks and publishes the difference between UTC and Universal Time, DUT1 = UT1 − UTC, and introduces discontinuities into UTC to keep DUT1 in the interval (−0.9 s, +0.9 s). As with TAI, UTC is only known with the highest precision in retrospect. Users who require an approximation in real time must obtain it from a time laboratory, which disseminates an approximation using techniques such as GPS or radio time signals. Such approximations are designated UTC(k), where k is an abbreviation for the time laboratory. The time of events may be provisionally recorded against one of these approximations; later corrections may be applied using the International Bureau of Weights and Measures (BIPM) monthly publication of tables of differences between canonical TAI/UTC and TAI(k)/UTC(k) as estimated in real-time by participating laboratories. (See the article on International Atomic Time for details.) Because of time dilation, a standard clock not on the geoid, or in rapid motion, will not maintain synchronicity with UTC. Therefore, telemetry from clocks with a known relation to the geoid is used to provide UTC when required, on locations such as those of spacecraft. It is impossible to compute the exact time interval elapsed between two UTC timestamps without consulting a table showing how many leap seconds occurred during that interval. By extension, it is not possible to compute the precise duration of a time interval that ends in the future and may encompass an unknown number of leap seconds (for example, the number of TAI seconds between "now" and 2099-12-31 23:59:59). Therefore, many scientific applications that require precise measurement of long (multi-year) intervals use TAI instead. TAI is also commonly used by systems that cannot handle leap seconds. GPS time always remains exactly 19 seconds behind TAI (neither system is affected by the leap seconds introduced in UTC). Time zones are usually defined as differing from UTC by an integer number of hours, although the laws of each jurisdiction would have to be consulted if sub-second accuracy were required. Several jurisdictions have established time zones that differ by an odd integer number of half-hours or quarter-hours from UT1 or UTC. Current civil time in a particular time zone can be determined by adding or subtracting the number of hours and minutes specified by the UTC offset, which ranges from UTC−12:00 in the west to UTC+14:00 in the east (see List of UTC offsets). The time zone using UTC is sometimes denoted UTC+00:00 or by the letter Z—a reference to the equivalent nautical time zone (GMT), which has been denoted by a Z since about 1950.[by whom?] Time zones were identified by successive letters of the alphabet and the Greenwich time zone was marked by a Z as it was the point of origin. The letter also refers to the "zone description" of zero hours, which has been used since 1920 (see time zone history). Since the NATO phonetic alphabet word for Z is "Zulu", UTC is sometimes known as "Zulu time". This is especially true in aviation, where "Zulu" is the universal standard. This ensures that all pilots, regardless of location, are using the same 24-hour clock, thus avoiding confusion when flying between time zones. See the list of military time zones for letters used in addition to Z in qualifying time zones other than Greenwich. On electronic devices which only allow the time zone to be configured using maps or city names, UTC can be selected indirectly by selecting cities such as Accra in Ghana or Reykjavík in Iceland as they are always on UTC and do not currently use daylight saving time (which Greenwich and London do, and so could be a source of error). UTC does not change with a change of seasons, but local time or civil time may change if a time zone jurisdiction observes daylight saving time (summer time). For example, local time on the east coast of the United States is five hours behind UTC during winter, but four hours behind while daylight saving is observed there. History In 1928, the term Universal Time (UT) was introduced by the International Astronomical Union to refer to GMT, with the day starting at midnight. Until the 1950s, broadcast time signals were based on UT, and hence on the rotation of the Earth. In 1955, the caesium atomic clock was invented. This provided a form of timekeeping that was both more stable and more convenient than astronomical observations. In 1956, the U.S. National Bureau of Standards and U.S. Naval Observatory started to develop atomic frequency time scales; by 1959, these time scales were used in generating the WWV time signals, named for the shortwave radio station that broadcasts them. In 1960, the U.S. Naval Observatory, the Royal Greenwich Observatory, and the UK National Physical Laboratory coordinated their radio broadcasts so that time steps and frequency changes were coordinated, and the resulting time scale was informally referred to as "Coordinated Universal Time". In a controversial decision, the frequency of the signals was initially set to match the rate of UT, but then kept at the same frequency by the use of atomic clocks and deliberately allowed to drift away from UT. When the divergence grew significantly, the signal was phase shifted (stepped) by 20 ms to bring it back into agreement with UT. Twenty-nine such steps were used before 1960. In 1958, data was published linking the frequency for the caesium transition, newly established, with the ephemeris second. The ephemeris second is a unit in the system of time that, when used as the independent variable in the laws of motion that govern the movement of the planets and moons in the Solar System, enables the laws of motion to accurately predict the observed positions of Solar System bodies. Within the limits of observable accuracy, ephemeris seconds are of constant length, as are atomic seconds. This publication allowed a value to be chosen for the length of the atomic second that would accord with the celestial laws of motion. The coordination of time and frequency transmissions around the world began on 1 January 1960. UTC was first officially adopted in 1963 as CCIR Recommendation 374, Standard-Frequency and Time-Signal Emissions, and "UTC" became the official abbreviation of Coordinated Universal Time in 1967. In 1961, the Bureau International de l'Heure began coordinating the UTC process internationally (but the name Coordinated Universal Time was not formally adopted by the International Astronomical Union until 1967). From then on, there were time steps every few months, and frequency changes at the end of each year. The jumps increased in size to 0.1 seconds. This UTC was intended to permit a very close approximation to UT2. In 1967, the SI second was redefined in terms of the frequency supplied by a caesium atomic clock. The length of second so defined was practically equal to the second of ephemeris time. This was the frequency that had been provisionally used in TAI since 1958. It was soon decided that having two types of second with different lengths, namely the UTC second and the SI second used in TAI, was a bad idea. It was thought better for time signals to maintain a consistent frequency, and that this frequency should match the SI second. Thus it would be necessary to rely on time steps alone to maintain the approximation of UT. This was tried experimentally in a service known as "Stepped Atomic Time" (SAT), which ticked at the same rate as TAI and used jumps of 0.2 seconds to stay synchronised with UT2. There was also dissatisfaction with the frequent jumps in UTC (and SAT). In 1968, Louis Essen, the inventor of the caesium atomic clock, and G. M. R. Winkler both independently proposed that steps should be of 1 second only. to simplify future adjustments. This system was eventually approved as leap seconds in a new UTC in 1970 and implemented in 1972, along with the idea of maintaining the UTC second equal to the TAI second. This CCIR Recommendation 460 "stated that (a) carrier frequencies and time intervals should be maintained constant and should correspond to the definition of the SI second; (b) step adjustments, when necessary, should be exactly 1 s to maintain approximate agreement with Universal Time (UT); and (c) standard signals should contain information on the difference between UTC and UT." As an intermediate step at the end of 1971, there was a final irregular jump of exactly 0.107758 TAI seconds, making the total of all the small time steps and frequency shifts in UTC or TAI during 1958–1971 exactly ten seconds, so that 1 January 1972 00:00:00 UTC was 1 January 1972 00:00:10 TAI exactly, and a whole number of seconds thereafter. At the same time, the tick rate of UTC was changed to exactly match TAI. UTC also started to track UT1 rather than UT2. Some time signals started to broadcast the DUT1 correction (UT1 − UTC) for applications requiring a closer approximation of UT1 than UTC provided. The current version of UTC is defined by International Telecommunication Union Recommendation (ITU-R TF.460-6), Standard-frequency and time-signal emissions, and is based on International Atomic Time (TAI) with leap seconds added at irregular intervals to compensate for the accumulated difference between TAI and time measured by Earth's rotation. Leap seconds are inserted as necessary to keep UTC within 0.9 seconds of the UT1 variant of universal time. See § Current number of leap seconds for the number of leap seconds inserted to date. The first leap second occurred on 30 June 1972. Since then, leap seconds have occurred on average about once every 19 months, always on 30 June or 31 December. As of July 2022[update], there have been 27 leap seconds in total, all positive, putting UTC 37 seconds behind TAI. A study published in March 2024 in Nature found that accelerated melting of ice in Greenland and Antarctica due to climate change has slowed Earth's rotation enough to delay the next negative leap-second adjustment to UTC, postponing problems for computer systems. Rationale Earth's rotational speed is very slowly decreasing because of tidal deceleration; this increases the length of the mean solar day. The length of the SI second was calibrated on the basis of the second of ephemeris time and can now be seen to have a relationship with the mean solar day observed between 1750 and 1892, analysed by Simon Newcomb. As a result, the SI second is close to 1/86400 of a mean solar day in the mid‑19th century. In earlier centuries, the mean solar day was shorter than 86,400 SI seconds, and in more recent centuries it is longer than 86,400 seconds. Near the end of the 20th century, the length of the mean solar day (also known simply as "length of day" or "LOD") was approximately 86,400.0013 s. For this reason, UT is now "slower" than TAI by the difference (or "excess" LOD) of 1.3 ms/day. The excess of the LOD over the nominal 86,400 s accumulates over time, causing the UTC day, initially synchronised with the mean sun, to become desynchronised and run ahead of it. Near the end of the 20th century, with the LOD at 1.3 ms above the nominal value, UTC ran faster than UT by 1.3 ms per day, getting a second ahead roughly every 800 days. Thus, leap seconds were inserted at approximately this interval, retarding UTC to keep it synchronised in the long term. The actual rotational period varies on unpredictable factors such as tectonic motion and has to be observed, rather than computed. Just as adding a leap day every four years does not mean the year is getting longer by one day every four years, the insertion of a leap second every 800 days does not indicate that the mean solar day is getting longer by a second every 800 days. It will take about 50,000 years for a mean solar day to lengthen by one second (at a rate of 2 ms per century). This rate fluctuates within the range of 1.7–2.3 ms/cy. While the rate due to tidal friction alone is about 2.3 ms/cy, the uplift of Canada and Scandinavia by several metres since the last ice age has temporarily reduced this to 1.7 ms/cy over the last 2,700 years. The correct reason for leap seconds, then, is not the current difference between actual and nominal LOD, but rather the accumulation of this difference over a period of time: Near the end of the 20th century, this difference was about 1/800 of a second per day; therefore, after about 800 days, it accumulated to 1 second (and a leap second was then added). In the graph of DUT1 above, the excess of LOD above the nominal 86,400 s corresponds to the downward slope of the graph between vertical segments. (The slope became shallower in the 1980s, 2000s and late 2010s to 2020s because of slight accelerations of Earth's rotation temporarily shortening the day.) Vertical position on the graph corresponds to the accumulation of this difference over time, and the vertical segments correspond to leap seconds introduced to match this accumulated difference. Leap seconds are timed to keep DUT1 within the vertical range depicted by the adjacent graph. The frequency of leap seconds therefore corresponds to the slope of the diagonal graph segments, and thus to the excess LOD. Time periods when the slope reverses direction (slopes upwards, not the vertical segments) are times when the excess LOD is negative, that is, when the LOD is below 86,400 s. Future As the Earth's rotation continues to slow, positive leap seconds will be required more frequently. The long-term rate of change of LOD is approximately +1.7 ms per century. At the end of the 21st century, LOD will be roughly 86,400.004 s, requiring a leap second about every 250 days. Over several centuries, the frequency of leap seconds will become problematic. A change in the trend of the UT1 − UTC values was seen beginning around June 2019 in which instead of slowing down (with leap seconds to keep the difference between UT1 and UTC less than 0.9 seconds) the Earth's rotation has sped up, causing this difference to increase. If the trend continues, a negative leap second may be required, which has not been used before. Some time in the 22nd century, two leap seconds will be required every year. The current practice of only allowing leap seconds in June and December will be insufficient to maintain a difference of less than 1 second, and it might be decided to introduce leap seconds in March and September. In the 25th century, four leap seconds are projected to be required every year, so the current quarterly options would be insufficient. In April 2001, Rob Seaman of the National Optical Astronomy Observatory proposed that leap seconds be allowed to be added monthly rather than twice yearly. In 2022 a resolution was adopted by the General Conference on Weights and Measures to redefine UTC and abolish leap seconds, but keep the civil second constant and equal to the SI second, so that sundials would slowly get further and further out of sync with civil time. The leap seconds will be eliminated by 2035. The resolution does not break the connection between UTC and UT1, but increases the maximum allowable difference. The details of what the maximum difference will be and how corrections will be implemented is left for future discussions. This will result in a shift of the sun's movements relative to civil time, with the difference increasing quadratically with time (i.e., proportional to elapsed centuries squared). This is analogous to the shift of seasons relative to the yearly calendar that results from the calendar year not precisely matching the tropical year length. This would be a change in civil timekeeping, and would have a slow effect at first but become drastic over several centuries. UTC (and TAI) would be more and more ahead of UT; it would coincide with local mean time along a meridian drifting eastward faster and faster. Thus, the time system will lose its fixed connection to the geographic coordinates based on the IERS meridian. The difference between UTC and UT would reach 0.5 hours after the year 2600 and 6.5 hours around 4600. ITU-R Study Group 7 and Working Party 7A were unable to reach consensus on whether to advance the proposal to the 2012 Radiocommunications Assembly; the chairman of Study Group 7 elected to advance the question to the 2012 Radiocommunications Assembly (20 January 2012), but consideration of the proposal was postponed by the ITU until the World Radio Conference in 2015. This conference, in turn, considered the question, but no permanent decision was reached; it only chose to engage in further study with the goal of reconsideration in 2023.[needs update] A proposed alternative to the leap second is the leap hour or leap minute, which requires changes only once every few centuries. The ITU World Radiocommunication Conference 2023 (WRC-23), which was held in Dubai (United Arab Emirates) from 20 November to 15 December 2023, formally recognised Resolution 4 of the 27th CGPM (2022), which decides that the maximum value for the difference (UT1 − UTC) will be increased in or before 2035. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Eurocentric] | [TOKENS: 4932] |
Contents Eurocentrism Eurocentrism (also Eurocentricity or Western-centrism) refers to viewing the West as the center of world events or superior to other cultures. The exact scope of Eurocentrism varies from the entire Western world to just the continent of Europe or even more narrowly, to Western Europe (especially during the Cold War). When the term is applied historically, it may be used in reference to the presentation of the European perspective on history as objective or absolute, or to an apologetic stance toward European colonialism and other forms of imperialism. The term "Eurocentrism" dates back to the late 1970s but it did not become prevalent until the 1990s, when it was frequently applied in the context of decolonization and development and humanitarian aid that industrialised countries offered to developing countries. The term has since been used to critique Western narratives of progress, Western scholars who have downplayed and ignored non-Western contributions, and to contrast Western epistemologies with indigenous epistemologies. Terminology The adjective Eurocentric, or Europe-centric, has been in use in various contexts since at least the 1920s. The term was popularised (in French as européocentrique) in the context of decolonization and internationalism in the mid-20th century. English usage of Eurocentric as an ideological term in identity politics was current by the mid-1980s. The abstract noun Eurocentrism (French eurocentrisme, earlier europocentrisme) as the term for an ideology was coined in the 1970s by the Egyptian Marxian economist Samir Amin, then director of the African Institute for Economic Development and Planning of the United Nations Economic Commission for Africa. Amin used the term in the context of a global, core–periphery or dependency model of capitalist development. English usage of Eurocentrism is recorded by 1979. According to Amin, Eurocentrism dates back to the Renaissance, and did not flourish until the 19th century. The coinage of Western-centrism is younger, attested in the late 1990s, and specific to English. History According to historian Enrique Dussel, Eurocentrism has its roots in Hellenocentrism. Art historian and critic Christopher Allen points out that since antiquity, the outward-looking spirit of Western civilization has been more curious about other peoples and more open about learning about them than any other: Herodotus and Strabo travelled through Ancient Egypt and wrote about it in detail; Western explorers mapped the whole surface of the globe; Western scholars carried out fundamental research into all the languages of the world and established the sciences of archaeology and anthropology.[relevant?] During the European colonial era, encyclopedias often sought to give a rationale for the predominance of European rule during the colonial period by referring to a special position taken by Europe compared to the other continents. Thus Johann Heinrich Zedler, in 1741, wrote that "even though Europe is the smallest of the world's four continents, it has for various reasons a position that places it before all others.... Its inhabitants have excellent customs, they are courteous and erudite in both sciences and crafts". The Brockhaus Enzyklopädie (Conversations-Lexicon) of 1847 still expressed an ostensibly Eurocentric approach and claimed about Europe that "its geographical situation and its cultural and political significance is clearly the most important of the five continents, over which it has gained a most influential government both in material and even more so in cultural aspects". European exceptionalism thus grew out of the Great Divergence of the Early Modern period, due to the combined effects of the Scientific Revolution, the Commercial Revolution, and the rise of colonial empires, the Industrial Revolution and a Second European colonization wave. The assumption of European exceptionalism is widely reflected in popular genres of literature, especially in literature for young adults (for example, Rudyard Kipling's 1901 novel Kim) and in adventure-literature in general. Portrayal of European colonialism in such literature has been analysed in terms of Eurocentrism in retrospect, such as presenting idealised and often exaggeratedly masculine Western heroes, who conquered "savage" peoples in the remaining "dark spaces" of the globe. The European miracle, a term coined by Eric Jones in 1981, refers to the surprising rise of Europe during the Early Modern period. During the 15th to 18th centuries, a great divergence took place, comprising the European Renaissance, the European Age of Discovery, the formation of European colonial empires, the Age of Reason, and the associated leap forward in technology and the development of capitalism and early industrialization. As a result, by the 19th century European powers dominated world trade and world politics. In Lectures on the Philosophy of History, published in 1837, Georg Wilhelm Friedrich Hegel describes world history as starting in Asia but shifting to Greece and Italy, and then north of the Alps to France, Germany and England. Hegel interpreted India and China as stationary countries, lacking inner momentum. Hegel's China replaced the real historical development with a fixed, stable scenario, which made it the outsider of world history. Both India and China were waiting and anticipating a combination of certain factors from outside until they could acquire real progress in human civilization. Hegel's ideas had a profound impact on western historiography and attitudes. Some scholars disagree with his ideas that the Oriental countries were outside of world history. Max Weber (1864-1920) suggested that capitalism is the speciality of Europe, because Oriental countries such as India and China do not contain the factors which would enable them to develop capitalism in a sufficient manner.[need quotation to verify] Weber wrote and published many treatises in which he emphasized the distinctiveness of Europe. In The Protestant Ethic and the Spirit of Capitalism (1905), he wrote that the "rational" capitalism, manifested by its enterprises and mechanisms, only appeared in the Protestant western countries, and a series of generalised and universal cultural phenomena only appear in the west. Even the state, with a written constitution and a government organised by trained administrators and constrained by rational law, only appears in the West, even though other regimes can also comprise states. ("Rationality" is a multi-layered term whose connotations are developed and escalated as with the social progress. Weber regarded rationality as a proprietary article for western capitalist society.) Even in the 19th century, anticolonial movements had developed claims about national traditions and values that were set against those of Europe in Africa and India. In some cases, as China, where local ideology was even more exclusionist than the Eurocentric one, Westernization did not overwhelm longstanding Chinese attitudes to its own cultural centrality. Orientalism developed in the late 18th century as a disproportionate Western interest in and idealization of Eastern (i.e. Asian) cultures. By the early 20th century, some historians, such as Arnold J. Toynbee, were attempting to construct multifocal models of world civilizations. Toynbee also drew attention in Europe to non-European historians, such as the medieval Tunisian scholar Ibn Khaldun. He also established links with Asian thinkers, such as through his dialogues with Daisaku Ikeda of Soka Gakkai International. Arab journalists detected Eurocentrism in western media coverage of the Russian invasion of Ukraine in February 2022, when the depth and scope of coverage and concern contrasted with that devoted to longer-running contemporary wars outside Europe such as those in Syria and in Yemen. In football, the term Eurocentrism is used to critique the economic dominance UEFA has over club football teams from the rest of the world and how it negatively impacts the sport. Debate and academic discourse Eurocentrism has been a particularly important concept in development studies. Brohman (1995) argued that Eurocentrism "perpetuated intellectual dependence on a restricted group of prestigious Western academic institutions that determine the subject matter and methods of research". In treatises on historical or contemporary Eurocentrism that appeared since the 1990s, Eurocentrism is mostly cast in terms of dualisms such as civilised/barbaric or advanced/backward, developed/undeveloped, core/periphery, implying "evolutionary schemas through which societies inevitably progress", with a remnant of an "underlying presumption of a superior white Western self as referent of analysis." Eurocentrism and the dualistic properties that it labels on non-European countries, cultures and persons have often been criticised in the political discourse of the 1990s and 2000s, particularly in the greater context of political correctness, race in the United States and affirmative action. In the 1990s, there was a trend of criticising various geographic terms current in the English language as Eurocentric, such as the traditional division of Eurasia into Europe and Asia or the term Middle East. Eric Sheppard, in 2005, argued that contemporary Marxism itself has Eurocentric traits (in spite of "Eurocentrism" originating in the vocabulary of Marxian economics), because it supposes that the third world must go through a stage of capitalism before "progressive social formations can be envisioned". Andre Gunder Frank harshly criticised Eurocentrism. He believed that most scholars were the disciples of the social sciences and history guided by Eurocentrism. He criticised some Western scholars for their ideas that non-Western areas lack outstanding contributions in history, economy, ideology, politics and culture compared with the West. These scholars believed that the same contribution made by the West gives Westerners an advantage of endo-genetic momentum which is pushed towards the rest of the world, but Frank believed that the Oriental countries also contributed to the human civilization in their own perspectives. Arnold Toynbee in his A Study of History, gave a critical remark on Eurocentrism. He believed that although western capitalism shrouded the world and achieved a political unity based on its economy, the Western countries cannot "westernize" other countries. Toynbee concluded that Eurocentrism is characteristic of three misconceptions manifested by self-centerment, the fixed development of Oriental countries and linear progress. There has been some debate on whether historical Eurocentrism qualifies as "just another ethnocentrism", as it is found in most of the world's cultures, especially in cultures with imperial aspirations, as in the Sinocentrism in China; in the Empire of Japan (c. 1868–1945), or during the American Century. James M. Blaut (2000) argued that Eurocentrism indeed went beyond other ethnocentrisms, as the scale of European colonial expansion was historically unprecedented and resulted in the formation of a "colonizer's model of the world". Indigenous philosophies have been noted to greatly contrast with Eurocentric thought. Indigenous scholar James (Sákéj) Youngblood Henderson states that Eurocentricism contrasts greatly with Indigenous worldviews: "the discord between Aboriginal and Eurocentric worldviews is dramatic. It is a conflict between natural and artificial contexts." Indigenous scholars Norman K. Denzin and Yvonna S. Linco state that "in some ways, the epistemological critique initiated by Indigenous knowledge is more radical than other sociopolitical critiques of the West, for the Indigenous critique questions the very foundations of Western ways of knowing and being." The terms Afrocentrism vs. Eurocentrism have come to play a role in the 2000s to 2010s in the context of the academic discourse on race in the United States and critical whiteness studies, aiming to expose white supremacism and white privilege. Molefi Kete Asante, the foremost theorist of Afrocentricity, have argued that there is a prevalence of Eurocentric thought in the processing of much of academia on African affairs. He questions "Why Africans would want to see their own culture through the prism of Europe" and asserts that "African languages and cultures must be mined for valuable, positive, and creative ways of knowing, ritualizing, and developing human capacity." Similarly, Yoshitaka Miike, the founding theorist of Asiacentricity, has critiqued theoretical, methodological, and comparative Eurocentrism in knowledge production about Asian societies and cultures. He claims that "looking at Asia only with a Eurocentric critical eye and looking at the West only with a Eurocentric uncritical eye poses a serious problem in understanding and appreciating the fullest potentials of humanity and communication." In an article, 'Eurocentrism and Academic Imperialism,' Professor Seyed Mohammad Marandi at the University of Tehran states that Eurocentric thought exists in almost all aspects of academia in many parts of the world, especially in the humanities. Edgar Alfred Bowring states that in the West, self-regard, self-congratulation and denigration of the 'Other' run more deeply and those tendencies have infected more aspects of their thinking, laws and policy than anywhere else. Luke Clossey and Nicholas Guyatt have measured the degree of Eurocentrism in the research programs of top history departments. Some authors have focused on how scholars who denounce Eurocentrism often inadvertently reproduce Eurocentrism through culturally biased norms. Africa [Africa] is no historical part of the World, it has no movement or development to exhibit. Historical movements in it- that is in the northern part- belong to the Atlantic or European World. Carthage displayed there an important transitionary phase of civilization; but, as a Phoenician colony, it belongs to Asia. Egypt will be considered in reference to the passage of the human mind from its Eastern to its Western phase, but it does not belong to the African Spirit. What we properly understand by Africa, is the Unhistorical, Underdeveloped spirit, still involved in the conditions of mere nature, and which have to be presented here only as on the threshold of the World’s History. — Georg Wilhelm Friedrich Hegel, Lectures in the Philosophy of World History (1837) Since most African societies used oral tradition to record their history, there was little written history of the continent prior to the colonial period. Colonial histories focussed on the exploits of soldiers, colonial administrators, and "colonial figures", using limited sources and written from an entirely European perspective, ignoring the viewpoint of the colonised under the pretence of white supremacism. Colonial historians considered Africans racially inferior, uncivilised, exotic, and historically static, viewing their colonial conquest as proof of Europe's claims to superiority.: 36 The most widespread genre of colonial narrative involved the Hamitic hypothesis, which claimed the inherent superiority of light-skinned people over dark-skinned people. Colonisers considered only "Hamitic Africans" to be "civilisation", and by extension all major advances and innovations in Africa were thought to derive from them. Oral sources were deprecated and dismissed by most historians, who claimed that Africa had no history other than that of Europeans in Africa.: 627 Some colonisers took interest in the other viewpoint and attempted to produce a more detailed history of Africa using oral sources and archaeology, however they received little recognition at the time. African historiography became organised at the academic level in the mid 20th century. Despite a movement towards utilising oral sources in a multidisciplinary approach and their growing legitimacy in historiography, contemporary historians are still tasked with decolonising African historiography, building the institutional frameworks incorporating African epistemologies, and representing an African perspective. Latin America Eurocentrism affected Latin America through colonial domination and expansion. This occurred through the application of new criteria meant to "impose a new social classification of the world population on a global scale". Based on this occurrence, a new social-historic identities were newly produced, although already produced in America. Some of these names include; 'Whites', 'Negroes', 'Blacks', 'Yellows', 'Olives', 'Indians', and 'Mestizos'. With the advantage of being located in the Atlantic basin, 'Whites' were in a privileged to control gold and silver production. The work which created the product was by 'Indians' and 'Negroes'. With the control of commercial capital from 'White' workers. And therefore, Europe or Western Europe emerged as the central place of new patterns and capitalist power. Islamic world In the history of Islamic–Persian civilization, scholars such as Muhammad Zakariyya Razi, Avicenna and Al-Biruni played a key role in the expansion of rationalism. All three were Persians, but wrote in Arabic; therefore, in later European tradition they were mistakenly identified as “Arabs”. Their works had a profound impact on Europe: Avicenna's Canon of Medicine remained a medical textbook for centuries, Razi became authoritative in medicine and pharmacology, and Biruni, through measurement and observation, came close to a scientific method. Other thinkers were also part of this tradition: Ibn al-Haytham (Alhazen), who with his research on optics laid the foundation of the experimental method, al-Khwarizmi, whose name gave us algebra and the “algorithm”, Nasir al-Din al-Tusi with his innovations in astronomy that later influenced Copernicus, and Omar Khayyam, who reformed the Jalali calendar and solved cubic equations. Nevertheless, the European Church treated these works selectively. The Paris synod of 1210 prohibited teaching Aristotle's works on natural philosophy and their Arabic commentaries (including Avicenna). In 1215 this ban was confirmed in the statutes of the University of Paris, allowing only logic and ethics. In 1270 and 1277, Bishop Étienne Tempier in Paris condemned 219 theses, some of which targeted Averroes and his followers. In Toledo in the 12th and 13th centuries, hundreds of Arabic texts were translated into Latin. Translators (such as Gerard of Cremona) often obscured or altered the identity of the authors, and in Europe they were generally referred to simply as “Arab philosophers”. After the Fall of Granada, many Arabic libraries were destroyed. In 1499–1501, Archbishop Cisneros ordered the burning of thousands of Arabic books in the Bib-Rambla square in Granada; only a small portion of medical texts was preserved. The result of such policies—bans, selective translations, anonymization of authors and the burning of books—was that in Renaissance European historiography a Eurocentric narrative took shape: “Ancient Greece to Dark Ages to Renaissance to Modern Europe”. In this way, the role of Muslim and Iranian thinkers was reduced to that of “transmitters”, not innovators. This narrative was partially corrected in academic scholarship of the 20th and 21st centuries, but in school curricula in Europe and the United States the old model still dominates: Avicenna may be briefly mentioned, but names such as Biruni, Razi, Al-Khwarizmi or Al-Tusi are often absent. As a result, a one-sided view persists that modernity is purely a European product, while the real history of science was multilayered and international. Eurocentrism's effect on the Islamic world has predominantly come from a fundamental statement of preventing the account of lower-level explanation and account of Islamic cultures and their social evolution, mainly through eurocentrism's idealist construct. This construct has gained power from the historians revolving their conclusions around the idea of a central point that favours the notion that the evolution of societies and their progress are dictated by general tendencies, leading to the Islamic world's evolution becoming more of a philosophical topic of history instead of historical fact. Along with this, eurocentrism extends to trivialise and marginalise the philosophies, scientific contributions, cultures, and other additional facets of the Islamic world. Stemming from Eurocentrism's innate bias towards Western civilization came the creation of the concept of the "European Society," which favoured the components (mainly Christianity) of European civilization and allowed eurocentrists to brand diverging societies and cultures as "uncivilized". Prevalent during the nineteenth century, the labelling of uncivilised in the eyes of eurocentrists enabled Western countries to classify non-European and non-white countries as inferior, and limit their inclusion and contribution in actions like international law. This exclusion was seen as acceptable by individuals like John Westlake, a professor of international law at the University of Cambridge at the time, who commented that countries with European civilizations should be those which comprise the international society, and that countries like Turkey and Persia should only be allowed a part of international law. Eurocentrism's reach has not only affected the perception of the cultures and civilizations of the Islamic world, but also the aspects and ideas of Orientalism, a cultural idea that distinguished the "Orient" of the East from the "Occidental" Western societies of Europe and North America, and which was originally created so that the social and cultural milestones of the Islamic and Oriental world would be recognised. This effect began to take place during the nineteenth century when the Orientalist ideals were distilled and shifted from topics of sensuality and deviating mentalities to what is described by Edward Said as "unchallenged coherence". Along with this shift came the creation of two types of orientalism: latent, which covered the Orient's constant durability through history, and manifest, a more dynamic orientalism that changes with the new discovery of information. The eurocentric influence is shown in the latter, as the nature of manifest Orientalism is to be altered with new findings, which leaves it vulnerable to the warping of its refiner's ideals and principles. In this state, eurocentrism has used orientalism to portray the Orient as "backwards" and bolster the superiority of the Western world and continue the undermining of their cultures to further the agenda of racial inequality. With those wanting to represent the eurocentric ideals better by way of orientalism, there came a barrier of languages, being Arabic, Persian, and other similar languages. With more researchers wanting to study more of Orientalism, there was an assumption made about the languages of the Islamic world: that having the ability to transcribe the texts of the past Islamic world would give great knowledge and insight on oriental studies. In order to do this, many researchers underwent training in philology, believing that an understanding of the languages would be the only necessary training. This reasoning came as the belief at the time was that other studies like anthropology and sociology were deemed irrelevant as they did not believe it misleading to this portion of mankind. Distortions of world maps and Eurocentrism Modern world maps are most commonly based on the Mercator projection, developed in 1569 by the Flemish cartographer Gerardus Mercator. While the projection preserves angles and directions, making it useful for navigation, it significantly distorts relative sizes of landmasses. Regions near the poles, such as Europe and North America, appear far larger than they actually are, while equatorial regions, including the Middle East and Africa, are visually minimized. For example, Greenland is shown as roughly comparable in size to Africa, when in reality Africa is about fourteen times larger. This visual imbalance has been criticized as reinforcing a Eurocentric worldview, granting Europe and North America disproportionate symbolic weight on the map, while diminishing the apparent importance of Africa, the Middle East, and Latin America. Scholars of critical cartography argue that such projections exert a subtle psychological effect, encouraging what has been described as an implicit “self-aggrandizement” of the West. As a result, calls have been made to employ alternative projections—such as the Gall–Peters projection—which more accurately represent land area, in order to counteract the Eurocentric bias embedded in traditional world maps. See also References Further reading External links |
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Contents Views of Elon Musk Elon Musk is a businessman and entrepreneur known for his leadership of Tesla, SpaceX, Twitter, and xAI. He is the wealthiest individual in the world, and a former U.S. government employee. Despite rejecting the conservative label and describing himself as a political moderate, Musk's views have become increasingly right-wing over time, leading them to be characterized as far-right and libertarian authoritarian.[a] As the owner of Twitter, he has been accused of suppressing critics and allowing the spread of misinformation. Following his involvement in European politics, Musk’s public statements have received criticism from several world leaders. He frequently comments on topics ranging from science and technology to religion and philosophy. Within the context of American politics, Musk voted for Democratic candidates from 2008 before switching to Republican candidates in 2022 and supporting Donald Trump in 2024, with whom he had previously feuded. He identifies as a "free speech absolutist" and has expressed support for universal basic income, gun rights, a carbon tax, and H-1B visas. Conversely, he has criticized the wealth tax, short-selling, government subsidies, and Wikipedia. Musk has voiced concern about the perceived dangers of artificial intelligence and climate change, while also opposing public transportation systems, rejecting labor unions, and promoting pronatalism. During the COVID-19 pandemic in 2020, Musk defied lockdown orders, calling them "fascist", supported the Canada convoy protest against vaccine mandates, and made several contentious epidemiological claims. He has promoted conspiracy theories and made controversial statements that have led to accusations of racism, sexism, antisemitism, Islamophobia, transphobia, and spreading misinformation and disinformation. While describing himself as a "pro-Semite", his remarks about George Soros and Jewish communities have drawn condemnation from the Anti-Defamation League and the White House under Joe Biden. An immigrant himself, Musk has blamed immigration policy for illegal immigration, been described as anti-immigration, and has promoted misleading narratives about voter fraud in the United States. Politics and elections Musk has been described as being closely associated with techno-libertarians, ideologically a libertarian authoritarian, and has more recently been described as far-right in regards to European politics. Having criticized and feuded with Donald Trump, Musk supported Trump for the 2024 United States presidential election as the largest financial contributor to his campaign. Soon after, by appointment of Trump, Musk was given "special government employee" status as the de facto head of the Department of Government Efficiency (DOGE). Describing himself as "a free speech absolutist," Musk has regularly criticized American and European immigration policies, and his views on transgender issues, women, and race, have been controversial. Musk advocates for the U.S. to withdraw from both NATO and the United Nations. July 14, 2018 Before embracing Donald Trump in 2024 election cycle, Musk was known to have supported Barack Obama, Hillary Clinton, and even Joe Biden in 2020. In 2014, Musk described himself politically as "half Democrat, half Republican" and "somewhere in the middle, socially liberal and fiscally conservative". By 2018, he stated that he was "not a conservative" and saw himself as a "politically moderate"; he added, "Doesn't mean I'm moderate about all issues." He stated that he had "voted overwhelmingly for Democrats, historically" but in 2022 began supporting Republicans, with his views becoming more right-wing. In 2016, prompted by the emergence of artificial intelligence, Musk has voiced support for a universal basic income; he additionally backs direct democracy and has stated he thinks the government on Mars will be a direct democracy. He supported targeting an inclusive tax rate of 40%; prefers consumption taxes to income taxes; and supports the estate tax, as the "probability of progeny being equally excellent at capital allocation is not high." In an interview with The Washington Post, Musk stated he was a significant donor to Democrats and also gives heavily to Republicans. Musk further stated that political contributions are a requirement in order to have a voice in the United States federal government. In 2019, Musk tweeted in support of the Democratic presidential candidate Andrew Yang, agreeing that universal basic income was required. The following year, Musk voiced support for Kanye West's independent run for president. Musk at the time described the United States as "[inarguably] the greatest country that has ever existed on Earth", describing it as "the greatest force for good of any country that's ever been." Musk believes democracy would not exist any longer if not for the United States, saying that it prevented this disappearance on three occasions through its participation in World War I, World War II, and the Cold War, while believing the country is not perfect and has made many mistakes. September 2, 2021 In 2021, in response to Texas governor Greg Abbott saying that Musk supported Texas' "social policies", Musk said he believed government "should rarely impose its will upon the people". The following year, Musk said that he could "no longer support" the Democrats, saying that "they have become the party of division & hate" and would be voting Republican due to Biden's support for unions and his inability to "get a lot done". In June 2022, Musk voted for Mayra Flores in a special election, stating it was the first time he ever voted Republican, while also considering Ron DeSantis in the 2024 U.S. presidential election. In November, Musk clarified he would support DeSantis if he chose to run. In January 2024, Musk participated in a forum with Bill Ackman and Democratic presidential primary challenger, Representative Dean Phillips regarding his presidential bid. During the forum, after hearing about the various challenges the Democratic Party presented to Phillips's campaign, Musk denounced the process of removing candidates from ballots as being "fundamentally anti-democratic". In July 2024, Musk called Kamala Harris an "extinctionist" due to comments about young people being anxious about having kids due to climate change. February 7, 2025 Musk criticized Donald Trump prior to his first presidency in 2016 and the two feuded in 2022, as well as subsequent years. In 2024 there flourished what was described by The Independent as a "rapid and intense bromance between two of the world's most powerful men." In February 2025, Musk publicly stated he loved Trump as "a straight man", before feuding again with President Trump in June. Before the election of Donald Trump as president of the United States in November 2016, Musk criticized Trump by saying he was "not the right guy" and did not have the "character that reflects well on the United States". Following Trump's inauguration in January 2017, Musk accepted an invitation to participate in two councils advising the president, and also criticized Trump's travel ban, regarding "citizens from certain primarily Muslim countries". In June, a few months later, he resigned from both business advisory councils in protest of Trump's decision to withdraw the United States from the Paris Agreement on climate change, stating: "Climate change is real. Leaving Paris is not good for America or the world". In May 2020, amidst Musk's restarting of Tesla assembly plant production during the COVID-19 pandemic, Trump tweeted in support of Musk, which Musk publicly thanked him for. According to Walter Isaacson's biography of Musk, he reportedly did not vote in the 2020 presidential election since he believed that it was a waste of time to vote due to California being an uncontested state. July 12, 2022 When Elon Musk came to the White House asking me for help on all of his many subsidized projects, whether it's electric cars that don't drive long enough, driverless cars that crash, or rocketships to nowhere, without which subsidies he'd be worthless, and telling me how he was a big Trump fan and Republican, I could have said, 'drop to your knees and beg,' and he would have done it. In July 2022, Trump referred to Musk as a "bullshit artist" and called Musk's contract with Twitter "rotten". Musk responded by describing Trump as being too old for the presidency, instead favoring Ron DeSantis for the 2024 presidential election. Afterwards, Trump stated on Truth Social that Musk had come to the White House requesting help with subsidized projects and that had he been asked to beg, "he would have done it"; Trump also said on Truth Social that "Now Elon should focus on getting himself out of the Twitter mess because he could owe $44 billion for something that's perhaps worthless. Also, lots of competition for electric cars!". In 2022, after Trump's Twitter suspension was reversed, Musk told Isaacson about Trump that "he's disruptive. He's the world's champion of bullshit." In 2024, New York Magazine described the feud over the past few years as "on-again, off-again". @realDonaldTrump is in the Epstein files. That is the real reason they have not been made public. June 5, 2025 A feud between Musk and Trump occurred in June 2025 following Musk's exit from the second Trump administration with his criticisms of the One Big Beautiful Bill Act. Musk described the bill as a "disgusting abomination" and alleged Trump had ties to sex offender Jeffrey Epstein. In July 2024, Musk endorsed Donald Trump shortly after the attempted assassination in Pennsylvania, and it was reported that he pledged the commitment to a pro-Trump super PAC on a monthly basis, making Musk the single largest individual donor to Trump's campaign. In September 2024, following another attempted assassination of Trump, Musk received backlash after posting the now-deleted tweet: "And no one is even trying to assassinate Biden/Kamala". The following month, at a rally in Butler, Pennsylvania, Musk declared the presidential election crucial for preserving democracy, stating that Donald Trump was the only candidate capable of achieving this. Wearing a black "Make America Great Again" cap, he warned that if Trump lost, it might be the last election, marking his first appearance at a Trump event. Musk positioned Trump as a champion of free speech, and accused Democrats of threatening various rights, including the right to vote. In December 2024, The Washington Post reported that Musk had donated $277 million to Trump and allied Republicans, making him the single largest individual political donor in the 2024 election and the largest donor since at least 2010, not counting candidates who funded their own campaigns, according to data from OpenSecrets. The Post described Musk as being referred to by some Republicans as "the Soros of the right". The concept of the Department of Government Efficiency (DOGE), a department for streamlining government efficiency, emerged in a discussion between Musk and Trump, and in August 2024, Trump committed to giving Musk an advisory role, with Musk accepting the offer. Musk was described as having more of a "technology approach", according to Vivek Ramaswamy, who was originally intended co-chair the department alongside Musk. In November 2024, he suggested that the organization could help to cut the U.S. federal budget, consolidate the number of federal agencies, and eliminate the Consumer Financial Protection Bureau. The following month, he described the final stage of DOGE as "deleting itself". While his official role is not clear, he was given "special government employee" status, with the organization created by executive order in January 2025. Soon after, Musk was criticised for his treatment towards employees, prioritized secrecy within the organization, and accused others of violating privacy laws, stating "Don't mess with DOGE" on X. March 5, 2022 Musk calls himself "a free speech absolutist", identifying his definition of free speech as "that which matches the law", while advocating that corporate censorship of speech should not go significantly beyond minimum legal requirements. He has attempted to silence some critics' speech, including journalists and non-profit organisations, and engaged in censorship on behalf of Twitter. I believe in its potential to be the platform for free speech around the globe, and I believe free speech is a societal imperative for a functioning democracy. However, since making my investment I now realize the company will neither thrive nor serve this societal imperative in its current form. Twitter needs to be transformed as a private company. In April 2022, Musk made an offer to buy Twitter, believing that "free speech is a societal imperative for a functioning democracy". Since Musk's acquisition of Twitter, the platform has increased its approval of censorship requests by governments. During the 2023 Turkish presidential election, Twitter limited access to content in Turkey, including critics of incumbent president Recep Tayyip Erdoğan, political opponents, and journalists. Musk defended this move by stating that the alternative would have been to "throttle [Twitter] in its entirety", and said it was normal for Internet companies to do. Twitter has also censored tweets and blocked accounts that are critical of India's prime minister Narendra Modi and his Bharatiya Janata Party, with Musk stating that Twitter is left with no choice but to "obey local government", as a believer in upholding lawful censorship requests. Twitter has filed strategic lawsuits against public participation for some U.S. critics, and it is facing a speech-related case involving a critic in Germany. Musk has also called for several of his critics to be criminally prosecuted. April 22, 2022 According to Musk, the alt-tech platform Truth Social[b] exists because of censorship on Twitter. In May 2022, Musk called Twitter's decision to ban Trump "morally wrong", announcing he would reverse Trump's ban when after purchasing Twitter. In November 2022, Musk tweeted that he was so committed to free speech that he would not ban @ElonJet, a Twitter account that tracked the publicly available real-time flight data of Musk's private plane. Musk reversed his position the following month, banning the account and several journalists who had reported on it, accused them of doxxing, and threatening legal action. He has also refused to block Russian state media on SpaceX's Starlink satellites in response to Russia's invasion of Ukraine. In February 2025, Tesla fired a manager who had been openly critical of Musk, a move seen at odds with Musk's purported free speech views. In March 2025, Musk pressured Reddit CEO Steve Huffman to prevent subreddits from banning links to Twitter and ban subreddits critical of the Trump administration, leading to the r/WhitePeopleofTwitter subreddit being banned for 72 hours. In an interview, Musk said he would be working with the Trump administration to "go after" people "pushing the lies" about Tesla. In the aftermath of the Uvalde school shooting in 2022, Musk supported strict background checks on all gun purchases and limiting the sale of assault rifles to those living in "high risk" locations with issues such as "gang warfare" and to owners of gun ranges. Believing in a special permit and vigorous vetting, Musk has said that he firmly believes "that the right to bear arms is an important safeguard against potential tyranny of government. Historically, maintaining their power over the people is why those in power did not allow public ownership of guns". Having previously been described as a "Silicon Valley libertarian", in late 2022, The Atlantic wrote that Musk was "a right-wing activist" who was aiding the far-right, and "appears deeply committed to the right's culture war against progressivism in most forms", while Musk affirmed he was a centrist. The magazine described his activism as being "personally motivated", as opposed to ideologically motivated. A year later, the New Statesman described his libertarianism as being "infused with authoritarian tendencies". In July 2024, Bloomberg declared Musk was "going all in on right-wing politics" and embracing the conservative movement. In October, a CNN reporter described Musk as finding Trump's authoritarian leanings appealing, and a month later, The Spectator credited Musk with bringing "the techno-libertarian elite, a small but very wealthy group, into Trump's largely blue-collar, industrial and conservative base", thus increasing the support base. In early 2025, The Conversation analysed Musk's path towards far-right politics within the context of "the libertarian to alt-right pipeline"[c] and the shift of the Libertarian Party to the right. The magazine stated that "he remains a limited-government libertarian", and that his online personality is "part of a deliberate alt-right populist strategy to stoke controversy", intended to disturb the left and claim persecution when criticized. Wired opined that Musk had become "the hero of America's far-right movement", and had become paramount within far-right community discussions. Jacobin defined his politics as libertarian authoritarianism,[d] based on his political activities combining "authoritarian nationalism with a distinctive postmodern, libertarian streak". The magazine attributed his transition into a "chief amplifier of global authoritarianism", based on his past criticisms of Black Lives Matter, diversity, equity and inclusion, and "wokeness", describing Musk as "the first truly global oligarch". Al Jazeera reported that although Musk was supported by some for his salute, his public persona remains libertarian; described as passionately protesting against regulation, government waste, and "freeing the potential of the market and of individuals". Political scientist Jean-Yves Camus argued that Musk is not a Nazi, and alongside Trump, is "self-serving rather than ideological" who instead favours an autocracy, and The Guardian hypothesised that his "closeness with rightwing populist parties" may be of benefit to his businesses. The Nation warned that Musk has raised "the specter of massive corruption and authoritarianism to an immediate threat", after U.S. Senator Bernie Sanders described Trump and Musk's attempts to restructure the federal government as "the growth of oligarchy", and part of the shift towards authoritarianism. Musk has regularly criticized American and European immigration policies. An immigrant himself, he is described as being "anti-immigration" and has distributed false information regarding immigration and voter fraud, promoted misleading narratives, and engaged in misinformation. Since the inauguration of the Biden administration in 2021, Musk has expressed various disapprovals of its immigration policies, regularly criticizing illegal immigration and the crimes allegedly committed by them, and has promoted the theory that an increase in illegal immigration is the alleged goal of "importing voters". Musk clarified his opinion that votes are coming from counting unauthorized immigrants during the census, which shifts the proportion of seats in the House of Representatives toward states with large number of undocumented immigrants, with such states predominantly voting for Democrats. Analysis from Bloomberg described his posts on the topic as those that "primarily promote misleading narratives", and helps amplify Trump's policies on immigration. BBC Verify reported that Musk's engagement with misinformation on the subject was a "key theme" since endorsing Trump in July 2024, and The Washington Post likened the imported voters theory as being "adjacent rhetoric" to the "great replacement" conspiracy theory. That year, Musk reached over one thousands tweets and over 10 billion views on the topic of immigration and voter fraud, which became his most tweeted topic. In September 2023, Musk livestreamed a visit to the Texas border with Mexico during an influx in migrant arrivals. Musk called for improving the immigration system to allow more "hard-working and honest" migrants, while also stopping illegal migrants who are breaking the law. That same month, Musk retweeted a video that showed a non-governmental organization working to assist migrants in the Mediterranean with the caption about Germany NGO ships "collecting illegal immigrants to be unloaded in Italy". Musk's retweet bore the caption "Is the German public aware of this?" to which the German Foreign Ministry responded "Yes. And it's called saving lives." Musk responded to the Foreign Ministry declaring that Germany had violated sovereignty with the remark "Has invasion vibes". The main function of the H-1B visa program is not to hire "the best and the brightest", but rather to replace good-paying American jobs with low-wage indentured servants from abroad. January 2, 2025 Musk has defended the use of H-1B visas to attract highly skilled workers to the U.S, having once been on the same visa. In December 2024, during a period of online discussion on whether H-1B visas should be reformed, he said that Silicon Valley firms need foreign workers (via H-1B) because there are not enough "super motivated" and "super talented engineers" in America. This was controversial and drew criticism from opponents of immigration who believe that importing foreign workers would negatively impact American workers, and the debate was dubbed the "MAGA Civil War". U.S. Senator Bernie Sanders criticised Musk's stance, viewing it as the importation of cheap labour that benefits billionaires. After multiple United States federal judges ruled against the Trump administration's actions, Musk in February 2025 proposed "an immediate wave of judicial impeachments". Musk in March 2025 declared: "It's like any federal judge can stop any action by the President of the United States. This is insane, and this has got to stop … at the federal level and at the state level". Following the killing of Iryna Zarutska in Charlotte, North Carolina in August 2025, Musk criticized judges and district attorneys for allowing "criminals to walk free." I disagree with the idea of unions. I just don't like anything which creates a lords and peasants sort of thing. I think the unions naturally try to create negativity in a company. Musk has been critical of trade unions. In December 2023, Musk commented that he disagreed with "the idea of unions", describing a "lords and peasants" scenario. In 2018, Musk tweeted "Nothing stopping Tesla team at our car plant from voting union ... But why pay union dues & give up stock options for nothing?" while the United Auto Workers (UAW) union was campaigning at Tesla, in the Fremont Factory in California. In February 2023, following racist comments from cartoonist Scott Adams in which he described Black people as a hate group and encouraged racial segregation, Musk opined that the media was being racist against Whites and Asians. Musk has amplified false claims of white genocide in South Africa. I'll say what I want, and if the consequence of that is losing money, so be it, [...] In May 2023, Musk attacked George Soros on Twitter after the investor sold a small stake in Tesla, comparing Soros to the Jewish supervillain Magneto. In his defence, Musk stated he believes Soros wanted to "erode the very fabric of civilization". Musk's comment was criticized as being antisemitic by the Anti-Defamation League (ADL), noting that Soros had long been the target of conspiracy theories, and by a member of the Israeli Foreign Ministry. He was also defended by a minister of Israeli's Ministry of Diaspora Affairs, who deemed the post as not being antisemitic. Musk later denied being antisemitic and described himself as a "pro-Semite". In August 2023, Musk criticized the "Kill the Boer" song which was sung by Julius Malema during a rally for the far-left South African political party Economic Freedom Fighters, asserting that the song advocated the genocide of white people, which was rejected by Malema. A month later, Musk assured Benjamin Netanyahu that he was against antisemitism. Musk discussed the issues online with a panel of right-leaning Jewish leaders including former Israeli president Reuven Rivlin, attorney Alan Dershowitz, who represented Donald Trump in his first impeachment trial, as well as several Rabbis including Shmuley Boteach, where Musk denied allegations of antisemitism and cited the suspension of Kanye West as an example of enforcement on his platform. The group also criticized the ADL's criticism of Musk. If somebody is going to try to blackmail me with advertising, blackmail me with money, go fuck yourself. Go fuck yourself. Is that clear? I hope it is. In November 2023, Musk posted a response in which he expressed his agreement with an antisemitic tweet in which Jews were described as promoting "hatred against whites", writing "You have said the actual truth." Following this, Musk said it was "super messed-up" that white people are not "allowed to be proud of their race." He was condemned by the White House for his post, described as a "hideous lie". Musk later acknowledged the tweet as a mistake, saying "I handed a loaded gun to those who hate me and to those who are antisemitic and for that I am quite sorry" and described his tweet as very foolish. Musk stated that he doesn't believe that "all Jewish communities" promote dialectical hatred towards white people and that he was "deeply offended" by the ADL, while denouncing what he described as "anti-white racism or anti-Asian racism or racism". He also tweeted that his criticism of Jews applies to more groups than just the ADL. At the DealBook Summit, journalist Andrew Ross Sorkin questioned Musk about the withdrawal of advertisers from X following his recent posts, and Musk responded denouncing advertisers of blackmail and stated "Go fuck yourself". In August 2024, Musk ignited a controversy after he shared an allegedly Islamophobic meme. He subsequently feuded with First Minister of Scotland Humza Yousaf, who described him as "one of the most dangerous men on the planet" and a "race baiter" who should be held to account. Musk responded that Yousaf is a racist "scumbag" who "loathes white people". In January 2025, at a campaign event which was staged by the German far-right political party Alternative for Germany, Elon stated that "There is too much focus on past guilt, and we need to move beyond that". That same week, Musk was criticized for a controversial gesture that was interpreted by some as a Nazi salute, which he made during Trump's inauguration, his comments about past guilt were condemned by the chairman of Israel's official memorial to Holocaust victims. In January 2026, Musk reshared a tweet about "white solidarity" and on the same day, he claimed states like California are using immigrants to create a “one-party state.” In 2018, Musk shared a post by Tesla, about the company's ranking on the Corporate Equality Index; Tesla stated, "Thanks to everyone at Tesla for making LGBTQ inclusion an important part of our culture." Musk commented, in reply to another user, "Don't buy our car if that's a problem. People should be free to live their lives where their heart takes them". In 2022, Musk reaffirmed those comments, and also posted, "Tesla scores 100/100 for 7th year in a row for LGBTQ equality" on the Corporate Equality Index. Following Musk's takeover of Twitter in October 2022, the platform has seen an increase in hate speech toward the LGBTQ community, for which he has received criticism. Musk said of gay people in March 2024, "My observation is that people are born one way or another – it is not a choice. People should find mutual love and happiness where their heart leads them. I only ask of my gay friends that they have children for the continuance of civilization." In July 2024, Musk said that a California law which bans teachers from being required to report a change in a child's gender identity or sexual orientation was the "final straw" in deciding to move the headquarters of SpaceX and Twitter from California to Texas. Musk's views on transgender issues have provoked controversy, leading to being characterized as transphobic. December 16, 2020 In July 2020, Musk made headlines when he tweeted "Pronouns suck." The tweet was interpreted by The Independent as a slight to preferred gender pronouns, and was criticized by many, including LGBTQ advocacy group Human Rights Campaign and Musk's then partner Grimes. In a later tweet, Musk stated he supported "trans", but that pronouns are "an esthetic nightmare". In December 2022, Musk again mocked preferred gender pronouns in a tweet that read "My Pronouns are Prosecute/Fauci." In a 2023 interview, Grimes said she discussed transgender topics with Musk at length. She recounted that Musk's views appeared to her to stem from "hate [of] woke culture" and his "concerns about the fertility thing"; Grimes said to him that "fertility tech … could be innovated that would help trans people". Musk stated in 2024 that he personally does use people's preferred gender pronouns, from a "standpoint of good manners". In 2020, Musk's daughter, Vivian Wilson, underwent a gender transition. Wilson changed her name, and no longer wished to be associated with her father. Walter Isaacson, who wrote a 2023 authorized biography of Musk, stated that Musk was "generally sanguine" when he initially discovered Wilson was transgender, "but then Jenna[e] became a fervent Marxist and broke off all relations". However, Isaacson's book states that due to disagreements about capitalism, Musk and Wilson were already "estranged" before Musk knew she was transgender. Isaacson wrote that Musk became politically more right-leaning in 2021, "partly triggered by his daughter Jenna's transition, her embrace of radical socialist politics, and her decision to break off relations with him." (Wilson said this was inaccurate for multiple reasons, e.g. that she opposes wealth inequality but is not Marxist.) According to Isaacson's book, Musk said that "she went beyond socialism to being a full communist and thinking that anyone rich is evil. … I've made many overtures but she doesn't want to spend time with me." June 21, 2023 In April 2023, Twitter quietly removed a policy prohibiting targeted deadnaming and misgendering of transgender users. This policy was reintroduced in 2024, however, Musk said it would be sparingly enforced, to reduce visibility of posts considered to be "repeated, targeted harassment of a particular person." In June 2023, Musk deemed the word cisgender a slur, stating that it violated Twitter's conduct policy. That same month, What Is a Woman?, a controversial documentary about transgender issues that was initially flagged by Twitter as hate speech, went viral after Musk personally promoted it and pinned it to his profile. Musk has also expressed opposition to gender-affirming care for minors and has stated he will be "actively lobbying to criminalize" such care. In July 2024, Musk said his daughter's gender dysphoria was related to being "born gay and slightly autistic"; he said he gave parental consent for her transition at the age of 16, but that he was "essentially tricked" into doing so. (Wilson disputes this, saying Musk was "not by any means tricked" but rather gave informed consent; she has also come out as bisexual rather than gay.) January 11, 2024 In January 2024, Musk declared that cisgender is a "heterophobic" word. PinkNews argued that it does not refer to heterosexual people. Science and technology January 21, 2025 Musk considers artificial intelligence to be one of the most significant threats to the human race, has received considerable criticism for his comments and actions related to the COVID-19 pandemic, supports the colonization of Mars, favors individualized transport over public transport, and has opposed banning TikTok. Musk has also been highly critical of Wikipedia; describing the encyclopedia as "woke", controlled by the mainstream media and far-left activists, and has called for its defunding. Musk has frequently spoken about the potential dangers of artificial intelligence (AI), declaring it as "the most serious threat to the survival of the human race". During a 2014 interview at the MIT AeroAstro Centennial Symposium, Musk described AI as humanity's largest existential threat, stating his belief in the need for regulatory oversight. Musk invested in DeepMind, an AI firm, and Vicarious, a company working to improve machine intelligence, and was formerly co-chairman of OpenAI as a co-founder. Musk later criticized OpenAI for becoming closed-sourced and for-profit, and interpreted its chatbot ChatGPT of political bias. In March 2023, he signed an open letter calling for a pause on large-scale AI experiments, citing profound risks for society. The president of the Information Technology and Innovation Foundation (ITIF), Robert D. Atkinson, argued that Musk and others stating that AI is the "largest existential threat to humanity" is "not a very winning message if you want to get AI funding out of Congress to the National Science Foundation." I like to just keep an eye on what's going on with artificial intelligence. I think there is potentially a dangerous outcome there. There have been movies about this, you know, like Terminator, [...] In 2014, Musk expressed his concerns referencing Terminator, stating "we should try to make sure the outcomes are good, not bad". In 2015, as an advisor to the nonprofit Future of Life Institute, an organization focused on advanced technologies, Musk donated $10 million. The following year, when asked whether he thinks humans live in a computer simulation, perhaps controlled by a vast AI, Musk stated that "the odds that we're in 'base reality' is one in billions." Harvard physicist Lisa Randall disputed this arguing there was "no real evidence" of a simulation. At the 2019 World AI Conference, Musk contended that "computers are already smarter than human beings" and that this alone was reason for caution regarding AI.: 39 Musk warned of unintended consequences of AI and stated that immediate steps should be taken to prevent disaster.: 39 Musk's opinions about AI have provoked controversy and have been criticized by experts such as Yann LeCun, who contended that Musk's panic was influenced by reading Nick Bostrom's book Superintelligence, and by Musk's attraction to the idea that he will save humanity. Facebook's head of AI said that Musk was ill-informed about AI and noted that his comments about a future machine takeover distracts people from real, immediate AI concerns, such as algorithms exacerbating inequality. Consequently, according to CNBC, Musk is "not always looked upon favorably" by the AI research community. Mark Zuckerberg has clashed with Musk on the issue and called his AI warnings "pretty irresponsible". In November 2024, while speaking at the AI Safety Summit in London, attended by world leaders and tech figures, Musk applauded the Prime Minister Rishi Sunak for hosting the event. In doing so, he reiterated his concerns that the intelligence is "potentially the most pressing [existential risks] that we face", while anticipating that it would become "far more intelligent" than human beings. March 19, 2020 Musk has received criticism over his views and actions related to the COVID-19 pandemic. In early 2020, Musk referred to COVID-19 as a "specific form of the common cold", stated that "the coronavirus panic is dumb", and that the "danger of panic still far exceeds danger of corona imo [in my opinion]. If we over-allocate medical resources to corona, it will come at expense of treating other illnesses". Musk has additionally been criticized for tweeting contentious comments on the disease, including that "Kids are essentially immune, but elderly with existing conditions are vulnerable", and for speculating that the pandemic would soon be ending according to "current trends". In addition, he promoted articles which suggested that healthcare companies were inflating COVID-19 case numbers for financial reasons. When the Alameda County Sheriff ordered all non-essential businesses to shut down, Musk and Tesla initially refused to comply, arguing that vehicle manufacturing and energy infrastructure are critical sectors, citing the U.S. Department of Homeland Security. Musk called the lockdown "fascist" on a Tesla earnings call, comparing the restrictions to forced imprisonment, and later sent out numerous tweets opposing mandatory lockdowns such as "FREE AMERICA NOW." In March 2020, in response to a request to repurpose the Tesla factory to make urgently needed ventilators, Musk promised that Tesla would make ventilators "if there is a shortage". When Nate Silver responded that there was a current shortage, Musk replied, "Ventilators are not difficult, but cannot be produced instantly." After figures such as New York City mayor Bill de Blasio highlighted their hospitals' ventilator shortage and responded to Musk's offer, Musk said he thought the ventilators which Tesla was working on would probably be unneeded. A week later, Musk received widespread requests from dignitaries around the world, including the Ukrainian Health minister, Bolivia's Ambassador for Science and Technology to Silicon Valley, and Nigeria's Ministry of Finance. When asked about what they received from Musk, California hospital representatives noted that they received CPAP machines made by ResMed instead and not "full ventilators", though expressed gratitude. May 11, 2020 In May 2020, Musk reopened Tesla's Fremont production line in defiance of and in violation of Alameda County's orders, and tweeted that "If anyone is arrested, I ask that it only be me." Musk also announced that Tesla would be moving its headquarters to Texas or Nevada and that Tesla had filed a lawsuit against Alameda County challenging its "shutdown" of the Fremont factory; the suit was subsequently withdrawn. The Alameda County Public Health Department explained it was waiting on a plan that Tesla had promised to provide by May 11 that would walk through how it would protect workers' health during the COVID-19 pandemic. An opening date of Monday, May 18 had been penciled in for Tesla, pending approval — the same date that Fiat Chrysler, Ford Motor Company, and General Motors were also due to restart production. November 14, 2020 In November 2020, the phrase "Space Karen" began to trend on Twitter after a scientist referred to Musk as such, over comments Musk made questioning the effectiveness of COVID-19 testing. Musk was also said to have spread misinformation about the virus by virologist Angela Rasmussen. with Musk referring to the virus as "a type of cold". The following month, Politico named Musk's prediction that there would be "close to zero new cases" as one of "the most audacious, confident and spectacularly incorrect prognostications about the year". Two years later, Musk tweeted "My pronouns are Prosecute/Fauci", drawing attention from US lawmakers. In February 2023, he praised anti-vaccine comments made by Woody Harrelson during Saturday Night Live. In February 2025, Musk claimed during an interview with Fox News' Sean Hannity that International Space Station (ISS) crew Suni Williams and Butch Wilmore "were left up there for political reasons, which is not good." This claim was challenged by former ISS commander Andreas Mogensen which caused Musk to attack Mogensen calling him an "idiot" and "fully retarded". Mogensen responded to the attack saying "Elon, I have long admired you and what you have accomplished, especially at SpaceX and Tesla. You know as well as I do, that Butch and Suni are returning with Crew-9, as has been the plan since last September. Even now, you are not sending up a rescue ship to bring them home. They are returning on the Dragon capsule that has been on ISS since last September." Mogensen received the support of fellow astronauts brothers Mark Kelly and Scott Kelly, Musk responded saying that Mogensen had attacked him "despite having no idea what ACTUALLY happened." and by posting on X at Scott Kelly "Btw, your brother claims to be independent, but is just a Dem donor shill." Musk's innaccurate claim that Williams and Wilmore had been abandoned by the Biden administration was repeated by President Trump. Following the digital dispute, Musk argued that the ISS should be deorbited early and that the funds should be redirected to Mars exploration. Musk clarified that his view was that "The decision is up to the President, but my recommendation is as soon as possible. I recommend 2 years from now," July 27, 2021 Musk has long been an advocate for space colonization, especially the colonization of Mars. As early as 2001, Elon became involved with the nonprofit Mars Society and has repeatedly pushed for humanity colonizing Mars, in order to become an interplanetary species and lower the risks of human extinction. In 2002 he left the society and began focusing on his own initiatives, and later envisioned establishing a direct democracy on Mars, with a system in which more votes would be required to create laws than remove them. Concerned with human population decline, Musk has described becoming "a multiplanet civilization". Musk has also cited the expansion of the sun as a reason for colonizing mars. Musk has been highly critical of the F-35 program. He has also been critical of crewed aircraft in general declaring that "The fighter jet era has passed." at the Air & Space Forces Association's 2020 Air Warfare Symposium and writing "manned fighter jets are obsolete in the age of drones anyway. Will just get pilots killed." in 2024. At a Tesla event on the sidelines of the Conference on Neural Information Processing Systems in December 2017, Musk expressed his disappointment with public transport, citing the timing and locations for reasons why "everyone doesn't like it", suggesting this was why people prefer "individualized transport" instead. Afterwards, he dismissed an audience member's response that public transportation functioned effectively in Japan. His comments sparked widespread criticism from both members of the public and transit experts. Urban planning expert Brent Toderian started the hashtag #GreatThingsThatHappenedonTransit, which was widely adopted by Twitter users to dispel Musk's notion that everyone hated public transport. Yonah Freemark, an urbanist and journalist specializing in planning and transportation, summarized Musk's views on public transport as being terrible. Jarrett Walker, a public transport expert, said that "Musk's hatred of sharing space with strangers is a luxury (or pathology) that only the rich can afford", referring to the theory that planning a city around the preferences of a minority yields an outcome that usually does not work for the majority. Musk responded with "You're an idiot", then specified "sanctimonious idiot". The exchange received a significant amount of media attention and prompted Nobel laureate Paul Krugman to criticise the controversy. In April 2023, Musk said he opposed banning TikTok in the United States, arguing that a ban would increase Twitter's active user base. In 2024, Musk opposed Australian plans to fine social media sites which enabled misinformation on their platforms, and to limit social media access for those under 16, with Musk commenting that it "Seems like a backdoor way to control access to the Internet by all Australians." In 2019, Musk described his Wikipedia article as "insane" and described it as a "war zone". In 2020, he encouraged his Twitter followers to "trash" the page, which led to the article being protected. In 2021, he wrote that he was glad Wikipedia existed. In April 2022, Musk tweeted: "They say history is written by the victors, but not on Wikipedia if the losing party is still alive & has lots of time on their hands!", in a reference to the article of Tesla Inc. co-founder Martin Eberhard. December 17, 2022 Musk responded to the December 2022 Twitter suspensions Wikipedia entry by proclaiming the site was "controlled by the MSM [mainstream media]", and that this makes it untrustworthy. In response, the Wikimedia Foundation changed a message appealing for donations to "Wikipedia is not for sale", stating "there is no danger that someone will buy Wikipedia and turn it into their personal playground". October 26, 2024 In October 2023, Musk criticized Wikipedia as "inherently hierarchical" and being "subject to the biases of higher ranking editors." In response to the Wikipedia funding appeal, Musk offered $1 billion in funding if Wikipedia changed its name to "Dickipedia". In October 2024, Musk stated the website was "controlled by far-left activists", discouraged donations, and characterized the online encyclopedia using the phrase "woke mind virus". In January 2025, Musk called for Wikipedia to be "defunded" and referred to it as "legacy media propaganda", in response to his Wikipedia article being edited to describe the alleged "Nazi salute" he gave during a speech after the second inauguration of Donald Trump. Wikipedia co-founder Jimmy Wales responded by saying: "If Elon wanted to help, he'd be encouraging kind and thoughtful intellectual people he agrees with to engage." Le Monde and the Agence France-Presse described Wikipedia as being a "natural adversary to X": In March 2025, Margaret Talbot wrote an article in The New Yorker dealing with the topic: "Elon Musk Also Has a Problem with Wikipedia". Talbot connected Musk's documented promotion of misinformation and his attacks against "mainstream media" with his admiration for "radical-right populism", citing how a study connected such conservative views with the "propensity to spread misinformation": International relations Musk's comments and actions have received condemnation from some of the governments and leaders for his involvement in European politics, including UK Prime Minister Keir Starmer, President of France Emmanuel Macron, Chancellor of Germany Olaf Scholz, and Prime Minister of Norway Jonas Gahr Store. He has been critical of Israel's actions in the Gaza Strip during the Gaza war, praised China's economic and climate goals, suggested that Taiwan and China should resolve Cross-strait relations in China's favor, and was described as having a close relationship with the Chinese government. In Europe, Musk expressed support for Ukraine in 2022 during the Russian invasion, but later backtracked, recommending Ukraine cede its Russia-occupied territories, often mocking Zelensky, and supported the far-right Alternative for Germany in Germany in 2024. Regarding British politics, Musk blamed the 2024 UK riots on mass migration and open borders, criticized Starmer for what he described as a "two-tier" policing system, suggested British politician Jess Phillips should be imprisoned, and that Starmer was complicit in child sexual exploitation. Musk was subsequently invoked as being responsible for spreading misinformation and amplifying the far-right. He has also voiced his support for far-right activist Tommy Robinson and pledged electoral support for Reform UK. In February 2026, Musk described Spanish Prime Minister Pedro Sánchez as a "tyrant" following Sánchez's proposal to prohibit users under the age of 16 from accessing social media. Conspiracy theories May 9, 2023 In November 2022, Musk shared a right-wing fake news website which promoted a conspiracy theory about the attack on Paul Pelosi. The following year, in the wake of a mass shooting at an outlet mall in Allen, Texas, Musk baselessly tried to cast doubt on evidence collected by journalists regarding the shooter's political beliefs, describing the event as a "psyop". Musk doubled down on his denial of the evidence that the shooter was a white supremacist in a CNBC interview 10 days later. Musk also boosted a tweet promoting an antisemitic blood libel conspiracy theory about adrenochrome, frequently invoked as part of QAnon. In November 2023, Musk endorsed a tweet referencing an antisemitic conspiracy theory that "hordes of minorities" are infiltrating Western countries and that Jews are pushing hatred against white people. The White House condemned Musk's endorsement of the tweet as "unacceptable". He also shared a meme promoting the widely discredited far-right Pizzagate conspiracy theory, and after a few hours, Musk deleted the tweet. In 2025, Musk promoted the Russia investigation origins conspiracy theory about Russian interference in the 2016 elections. Finance and taxes Musk has spoken against a proposed wealth tax and said that in general he supported estate taxes. He is also opposed to Grantor Retained Annuity Trusts. In 2024 Musk called a proposal from the British government to increase estate taxes on farms valued at more than a million pounds "going full Stalin." Musk is an opponent of short-selling, has repeatedly criticized the practice, and argued it should be illegal. He has engaged with short-selling critics via social media and used Tesla merchandise as a means of mocking those who short the Tesla stock. On the topic of subsidizing renewable energy, Musk has stated that he does not believe the U.S. government should provide subsidies to companies but should instead use a carbon tax to price in the negative externality of climate change and discourage poor behavior. Musk believes that the free market would achieve the best solution, and that producing environmentally unfriendly vehicles should come with its own consequences. Musk has advocated against funding for charging stations in the Infrastructure Investment and Jobs Act, maintaining that oil and gas subsidies should also be eliminated. Vermont Senator Bernie Sanders refuted Musk, describing his hypocrisy for receiving "billions in corporate welfare" before opposing a $2 trillion stimulus package that included provisions for specific companies and interest groups. Musk has subsequently doubled down on his stance and called for ending the US $7,500 tax credit for buyers of electric cars. Philosophy and religion August 26, 2022 Musk holds strong pronatalist views; The Guardian has characterized Musk as "The world's most famous pronatalist", and according to The Wall Street Journal, he has had at least 14 children with four women. Musk believes that vaginal delivery result in reduced skull size and as a result supports routine cesarean sections over natural births. Speaking at The Wall Street Journal's CEO Council session in 2021, Musk stated that a declining birth rate, and consequent population decline, is one of the biggest risks to human civilization. The following year, he argued that population collapse, due to low birth rates, is a superior risk to civilization than global warming, and his views on population collapse were challenged by demographers. In 2023, Musk has asserted that declining birth rates pose an existential threat to humanity and has donated ten million dollars to the University of Texas at Austin to further research on the potential risks. Musk has also argued that "smart" people in particular are not having children, a view which has been criticized as too close to eugenics. Speaking about natalism in 2024 Musk said "You've got to walk the talk, so I do have a lot of kids and I encourage others to have lots of kids." July 27, 2024 Musk was raised in the Anglican Church, in which he was baptized. In 2013, when he was asked if he thought that science and religion could co-exist, Musk replied "Probably not", and in 2017 he denounced a plan to create a religion which is based on the worship of an artificially intelligent 'Godhead'. By 2023, Musk had said that he considers himself "aspirationally Jewish", and noted the influence that his attending a Hebrew preschool had on him. The following year, Musk tweeted about Christianity, stating he is a believer in the principles of Christianity, such as love thy neighbor as thyself and turn the other cheek. He also engaged in a viral two-hour conversation with Jordan Peterson that explored various topics, including the role of Christianity in his life. During the interview, he described himself as a "cultural Christian". In 2024, Musk stated that he is a "big believer in the principles of Christianity". Notes References Further reading |
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Contents Minecraft Minecraft is a sandbox game developed and published by Mojang Studios. Following its initial public alpha release in 2009, it was formally released in 2011 for personal computers. The game has since been ported to numerous platforms, including mobile devices and various video game consoles. In Minecraft, players explore a procedurally generated world with virtually infinite terrain made up of voxels (cubes). They can discover and extract raw materials, craft tools and items, build structures, fight hostile mobs, and cooperate with or compete against other players in multiplayer. The game's large community offers a wide variety of user-generated content, such as modifications, servers, player skins, texture packs, and custom maps, which add new game mechanics and possibilities. Originally created by Markus "Notch" Persson using the Java programming language, Jens "Jeb" Bergensten was handed control over the game's development following its full release. In 2014, Mojang and the Minecraft intellectual property were purchased by Microsoft for US$2.5 billion; Xbox Game Studios hold the publishing rights for the Bedrock Edition, the unified cross-platform version which evolved from the Pocket Edition codebase[i] and replaced the legacy console versions. Bedrock is updated concurrently with Mojang's original Java Edition, although with numerous, generally small, differences. Minecraft is the best-selling video game in history with over 350 million copies sold. It has received critical acclaim, winning several awards and being cited as one of the greatest video games of all time. Social media, parodies, adaptations, merchandise, and the annual Minecon conventions have played prominent roles in popularizing it. The wider Minecraft franchise includes several spin-off games, such as Minecraft: Story Mode, Minecraft Dungeons, and Minecraft Legends. A film adaptation, titled A Minecraft Movie, was released in 2025 and became the second highest-grossing video game film of all time. Gameplay Minecraft is a 3D sandbox video game that has no required goals to accomplish, giving players a large amount of freedom in choosing how to play the game. The game features an optional achievement system. Gameplay is in the first-person perspective by default, but players have the option of third-person perspectives. The game world is composed of rough 3D objects—mainly cubes, referred to as blocks—representing various materials, such as dirt, stone, ores, tree trunks, water, and lava. The core gameplay revolves around picking up and placing these objects. These blocks are arranged in a voxel grid, while players can move freely around the world. Players can break, or mine, blocks and then place them elsewhere, enabling them to build things. Very few blocks are affected by gravity, instead maintaining their voxel position in the air. Players can also craft a wide variety of items, such as armor, which mitigates damage from attacks; weapons (such as swords or bows and arrows), which allow monsters and animals to be killed more easily; and tools (such as pickaxes or shovels), which break certain types of blocks more quickly. Some items have multiple tiers depending on the material used to craft them, with higher-tier items being more effective and durable. They may also freely craft helpful blocks—such as furnaces which can cook food and smelt ores, and torches that produce light—or exchange items with villagers (NPC) through trading emeralds for different goods and vice versa. The game has an inventory system, allowing players to carry a limited number of items. The in-game time system follows a day and night cycle, with one full cycle lasting for 20 real-time minutes. The game also contains a material called redstone, which can be used to make primitive mechanical devices, electrical circuits, and logic gates, allowing for the construction of many complex systems. New players are given a randomly selected default character skin out of nine possibilities, including Steve or Alex, but are able to create and upload their own skins. Players encounter various mobs (short for mobile entities) including animals, villagers, and hostile creatures. Passive mobs, such as cows, pigs, and chickens, spawn during the daytime and can be hunted for food and crafting materials, while hostile mobs—including large spiders, witches, skeletons, and zombies—spawn during nighttime or in dark places such as caves. Some hostile mobs, such as zombies and skeletons, burn under the sun if they have no headgear and are not standing in water. Other creatures unique to Minecraft include the creeper (an exploding creature that sneaks up on the player) and the enderman (a creature with the ability to teleport as well as pick up and place blocks). There are also variants of mobs that spawn in different conditions; for example, zombies have husk and drowned variants that spawn in deserts and oceans, respectively. The Minecraft environment is procedurally generated as players explore it using a map seed that is randomly chosen at the time of world creation (or manually specified by the player). Divided into biomes representing different environments with unique resources and structures, worlds are designed to be effectively infinite in traditional gameplay, though technical limits on the player have existed throughout development, both intentionally and not. Implementation of horizontally infinite generation initially resulted in a glitch termed the "Far Lands" at over 12 million blocks away from the world center, where terrain generated as wall-like, fissured patterns. The Far Lands and associated glitches were considered the effective edge of the world until they were resolved, with the current horizontal limit instead being a special impassable barrier called the world border, located 30 million blocks away. Vertical space is comparatively limited, with an unbreakable bedrock layer at the bottom and a building limit several hundred blocks into the sky. Minecraft features three independent dimensions accessible through portals and providing alternate game environments. The Overworld is the starting dimension and represents the real world, with a terrestrial surface setting including plains, mountains, forests, oceans, caves, and small sources of lava. The Nether is a hell-like underworld dimension accessed via an obsidian portal and composed mainly of lava. Mobs that populate the Nether include shrieking, fireball-shooting ghasts, alongside anthropomorphic pigs called piglins and their zombified counterparts. Piglins in particular have a bartering system, where players can give them gold ingots and receive items in return. Structures known as Nether Fortresses generate in the Nether, containing mobs such as wither skeletons and blazes, which can drop blaze rods needed to access the End dimension. The player can also choose to build an optional boss mob known as the Wither, using skulls obtained from wither skeletons and soul sand. The End can be reached through an end portal, consisting of twelve end portal frames. End portals are found in underground structures in the Overworld known as strongholds. To find strongholds, players must craft eyes of ender using an ender pearl and blaze powder. Eyes of ender can then be thrown, traveling in the direction of the stronghold. Once the player reaches the stronghold, they can place eyes of ender into each portal frame to activate the end portal. The dimension consists of islands floating in a dark, bottomless void. A boss enemy called the Ender Dragon guards the largest, central island. Killing the dragon opens access to an exit portal, which, when entered, cues the game's ending credits and the End Poem, a roughly 1,500-word work written by Irish novelist Julian Gough, which takes about nine minutes to scroll past, is the game's only narrative text, and the only text of significant length directed at the player.: 10–12 At the conclusion of the credits, the player is teleported back to their respawn point and may continue the game indefinitely. In Survival mode, players have to gather natural resources such as wood and stone found in the environment in order to craft certain blocks and items. Depending on the difficulty, monsters spawn in darker areas outside a certain radius of the character, requiring players to build a shelter in order to survive at night. The mode also has a health bar which is depleted by attacks from mobs, falls, drowning, falling into lava, suffocation, starvation, and other events. Players also have a hunger bar, which must be periodically refilled by eating food in-game unless the player is playing on peaceful difficulty. If the hunger bar is empty, the player starves. Health replenishes when players have a full hunger bar or continuously on peaceful. Upon losing all health, players die. The items in the players' inventories are dropped unless the game is reconfigured not to do so. Players then re-spawn at their spawn point, which by default is where players first spawn in the game and can be changed by sleeping in a bed or using a respawn anchor. Dropped items can be recovered if players can reach them before they despawn after 5 minutes. Players may acquire experience points (commonly referred to as "xp" or "exp") by killing mobs and other players, mining, smelting ores, animal breeding, and cooking food. Experience can then be spent on enchanting tools, armor and weapons. Enchanted items are generally more powerful, last longer, or have other special effects. The game features two more game modes based on Survival, known as Hardcore mode and Adventure mode. Hardcore mode plays identically to Survival mode, but with the game's difficulty setting locked to "Hard" and with permadeath, forcing them to delete the world or explore it as a spectator after dying. Adventure mode was added to the game in a post-launch update, and prevents the player from directly modifying the game's world. It was designed primarily for use in custom maps, allowing map designers to let players experience it as intended. In Creative mode, players have access to an infinite number of all resources and items in the game through the inventory menu and can place or mine them instantly. Players can toggle the ability to fly freely around the game world at will, and their characters usually do not take any damage nor are affected by hunger. The game mode helps players focus on building and creating projects of any size without disturbance. Multiplayer in Minecraft enables multiple players to interact and communicate with each other on a single world. It is available through direct game-to-game multiplayer, local area network (LAN) play, local split screen (console-only), and servers (player-hosted and business-hosted). Players can run their own server by making a realm, using a host provider, hosting one themselves or connect directly to another player's game via Xbox Live, PlayStation Network or Nintendo Switch Online. Single-player worlds have LAN support, allowing players to join a world on locally interconnected computers without a server setup. Minecraft multiplayer servers are guided by server operators, who have access to server commands such as setting the time of day and teleporting players. Operators can also set up restrictions concerning which usernames or IP addresses are allowed or disallowed to enter the server. Multiplayer servers have a wide range of activities, with some servers having their own unique rules and customs. The largest and most popular server is Hypixel, which has been visited by over 14 million unique players. Player versus player combat (PvP) can be enabled to allow fighting between players. In 2013, Mojang announced Minecraft Realms, a server hosting service intended to enable players to run server multiplayer games easily and safely without having to set up their own. Unlike a standard server, only invited players can join Realms servers, and these servers do not use server addresses. Minecraft: Java Edition Realms server owners can invite up to twenty people to play on their server, with up to ten players online at a time. Minecraft Realms server owners can invite up to 3,000 people to play on their server, with up to ten players online at one time. The Minecraft: Java Edition Realms servers do not support user-made plugins, but players can play custom Minecraft maps. Minecraft Bedrock Realms servers support user-made add-ons, resource packs, behavior packs, and custom Minecraft maps. At Electronic Entertainment Expo 2016, support for cross-platform play between Windows 10, iOS, and Android platforms was added through Realms starting in June 2016, with Xbox One and Nintendo Switch support to come later in 2017, and support for virtual reality devices. On 31 July 2017, Mojang released the beta version of the update allowing cross-platform play. Nintendo Switch support for Realms was released in July 2018. The modding community consists of fans, users and third-party programmers. Using a variety of application program interfaces that have arisen over time, they have produced a wide variety of downloadable content for Minecraft, such as modifications, texture packs and custom maps. Modifications of the Minecraft code, called mods, add a variety of gameplay changes, ranging from new blocks, items, and mobs to entire arrays of mechanisms. The modding community is responsible for a substantial supply of mods from ones that enhance gameplay, such as mini-maps, waypoints, and durability counters, to ones that add to the game elements from other video games and media. While a variety of mod frameworks were independently developed by reverse engineering the code, Mojang has also enhanced vanilla Minecraft with official frameworks for modification, allowing the production of community-created resource packs, which alter certain game elements including textures and sounds. Players can also create their own "maps" (custom world save files) that often contain specific rules, challenges, puzzles and quests, and share them for others to play. Mojang added an adventure mode in August 2012 and "command blocks" in October 2012, which were created specially for custom maps in Java Edition. Data packs, introduced in version 1.13 of the Java Edition, allow further customization, including the ability to add new achievements, dimensions, functions, loot tables, predicates, recipes, structures, tags, and world generation. The Xbox 360 Edition supported downloadable content, which was available to purchase via the Xbox Games Store; these content packs usually contained additional character skins. It later received support for texture packs in its twelfth title update while introducing "mash-up packs", which combined texture packs with skin packs and changes to the game's sounds, music and user interface. The first mash-up pack (and by extension, the first texture pack) for the Xbox 360 Edition was released on 4 September 2013, and was themed after the Mass Effect franchise. Unlike Java Edition, however, the Xbox 360 Edition did not support player-made mods or custom maps. A cross-promotional resource pack based on the Super Mario franchise by Nintendo was released exclusively for the Wii U Edition worldwide on 17 May 2016, and later bundled free with the Nintendo Switch Edition at launch. Another based on Fallout was released on consoles that December, and for Windows and Mobile in April 2017. In April 2018, malware was discovered in several downloadable user-made Minecraft skins for use with the Java Edition of the game. Avast stated that nearly 50,000 accounts were infected, and when activated, the malware would attempt to reformat the user's hard drive. Mojang promptly patched the issue, and released a statement stating that "the code would not be run or read by the game itself", and would run only when the image containing the skin itself was opened. In June 2017, Mojang released the "1.1 Discovery Update" to the Pocket Edition of the game, which later became the Bedrock Edition. The update introduced the "Marketplace", a catalogue of purchasable user-generated content intended to give Minecraft creators "another way to make a living from the game". Various skins, maps, texture packs and add-ons from different creators can be bought with "Minecoins", a digital currency that is purchased with real money. Additionally, users can access specific content with a subscription service titled "Marketplace Pass". Alongside content from independent creators, the Marketplace also houses items published by Mojang and Microsoft themselves, as well as official collaborations between Minecraft and other intellectual properties. By 2022, the Marketplace had over 1.7 billion content downloads, generating over $500 million in revenue. Development Before creating Minecraft, Markus "Notch" Persson was a game developer at King, where he worked until March 2009. At King, he primarily developed browser games and learned several programming languages. During his free time, he prototyped his own games, often drawing inspiration from other titles, and was an active participant on the TIGSource forums for independent developers. One such project was "RubyDung", a base-building game inspired by Dwarf Fortress, but with an isometric, three-dimensional perspective similar to RollerCoaster Tycoon. Among the features in RubyDung that he explored was a first-person view similar to Dungeon Keeper, though he ultimately discarded this idea, feeling the graphics were too pixelated at the time. Around March 2009, Persson left King and joined jAlbum, while continuing to work on his prototypes. Infiniminer, a block-based open-ended mining game first released in April 2009, inspired Persson's vision for RubyDung's future direction. Infiniminer heavily influenced the visual style of gameplay, including bringing back the first-person mode, the "blocky" visual style and the block-building fundamentals. However, unlike Infiniminer, Persson wanted Minecraft to have RPG elements. The first public alpha build of Minecraft was released on 17 May 2009 on TIGSource. Over the years, Persson regularly released test builds that added new features, including tools, mobs, and entire new dimensions. In 2011, partly due to the game's rising popularity, Persson decided to release a full 1.0 version—a second part of the "Adventure Update"—on 18 November 2011. Shortly after, Persson stepped down from development, handing the project's lead to Jens "Jeb" Bergensten. On 15 September 2014, Microsoft, the developer behind the Microsoft Windows operating system and Xbox video game console, announced a $2.5 billion acquisition of Mojang, which included the Minecraft intellectual property. Persson had suggested the deal on Twitter, asking a corporation to buy his stake in the game after receiving criticism for enforcing terms in the game's end-user license agreement (EULA), which had been in place for the past three years. According to Persson, Mojang CEO Carl Manneh received a call from a Microsoft executive shortly after the tweet, asking if Persson was serious about a deal. Mojang was also approached by other companies including Activision Blizzard and Electronic Arts. The deal with Microsoft was arbitrated on 6 November 2014 and led to Persson becoming one of Forbes' "World's Billionaires". After 2014, Minecraft's primary versions received usually annual major updates—free to players who have purchased the game— each primarily centered around a specific theme. For instance, version 1.13, the Update Aquatic, focused on ocean-related features, while version 1.16, the Nether Update, introduced significant changes to the Nether dimension. However, in late 2024, Mojang announced a shift in their update strategy; rather than releasing large updates annually, they opted for a more frequent release schedule with smaller, incremental updates, stating, "We know that you want new Minecraft content more often." The Bedrock Edition has also received regular updates, now matching the themes of the Java Edition updates. Other versions of the game, such as various console editions and the Pocket Edition, were either merged into Bedrock or discontinued and have not received further updates. On 7 May 2019, coinciding with Minecraft's 10th anniversary, a JavaScript recreation of an old 2009 Java Edition build named Minecraft Classic was made available to play online for free. On 16 April 2020, a Bedrock Edition-exclusive beta version of Minecraft, called Minecraft RTX, was released by Nvidia. It introduced physically-based rendering, real-time path tracing, and DLSS for RTX-enabled GPUs. The public release was made available on 8 December 2020. Path tracing can only be enabled in supported worlds, which can be downloaded for free via the in-game Minecraft Marketplace, with a texture pack from Nvidia's website, or with compatible third-party texture packs. It cannot be enabled by default with any texture pack on any world. Initially, Minecraft RTX was affected by many bugs, display errors, and instability issues. On 22 March 2025, a new visual mode called Vibrant Visuals, an optional graphical overhaul similar to Minecraft RTX, was announced. It promises modern rendering features—such as dynamic shadows, screen space reflections, volumetric fog, and bloom—without the need of RTX-capable hardware. Vibrant Visuals was released as a part of the Chase the Skies update on 17 June 2025 for Bedrock Edition and is planned to release on Java Edition at a later date. Development began for the original edition of Minecraft—then known as Cave Game, and now known as the Java Edition—in May 2009,[k] and ended on 13 May, when Persson released a test video on YouTube of an early version of the game, dubbed the "Cave game tech test" or the "Cave game tech demo". The game was named Minecraft: Order of the Stone the next day, after a suggestion made by a player. "Order of the Stone" came from the webcomic The Order of the Stick, and "Minecraft" was chosen "because it's a good name". The title was later shortened to just Minecraft, omitting the subtitle. Persson completed the game's base programming over a weekend in May 2009, and private testing began on TigIRC on 16 May. The first public release followed on 17 May 2009 as a developmental version shared on the TIGSource forums. Based on feedback from forum users, Persson continued updating the game. This initial public build later became known as Classic. Further developmental phases—dubbed Survival Test, Indev, and Infdev—were released throughout 2009 and 2010. The first major update, known as Alpha, was released on 30 June 2010. At the time, Persson was still working a day job at jAlbum but later resigned to focus on Minecraft full-time as sales of the alpha version surged. Updates were distributed automatically, introducing new blocks, items, mobs, and changes to game mechanics such as water flow. With revenue generated from the game, Persson founded Mojang, a video game studio, alongside former colleagues Jakob Porser and Carl Manneh. On 11 December 2010, Persson announced that Minecraft would enter its beta phase on 20 December. He assured players that bug fixes and all pre-release updates would remain free. As development progressed, Mojang expanded, hiring additional employees to work on the project. The game officially exited beta and launched in full on 18 November 2011. On 1 December 2011, Jens "Jeb" Bergensten took full creative control over Minecraft, replacing Persson as lead designer. On 28 February 2012, Mojang announced the hiring of the developers behind Bukkit, a popular developer API for Minecraft servers, to improve Minecraft's support of server modifications. This move included Mojang taking apparent ownership of the CraftBukkit server mod, though this apparent acquisition later became controversial, and its legitimacy was questioned due to CraftBukkit's open-source nature and licensing under the GNU General Public License and Lesser General Public License. In August 2011, Minecraft: Pocket Edition was released as an early alpha for the Xperia Play via the Android Market, later expanding to other Android devices on 8 October 2011. The iOS version followed on 17 November 2011. A port was made available for Windows Phones shortly after Microsoft acquired Mojang. Unlike Java Edition, Pocket Edition initially focused on Minecraft's creative building and basic survival elements but lacked many features of the PC version. Bergensten confirmed on Twitter that the Pocket Edition was written in C++ rather than Java, as iOS does not support Java. On 10 December 2014, a port of Pocket Edition was released for Windows Phone 8.1. In July 2015, a port of the Pocket Edition to Windows 10 was released as the Windows 10 Edition, with full crossplay to other Pocket versions. In January 2017, Microsoft announced that it would no longer maintain the Windows Phone versions of Pocket Edition. On 20 September 2017, with the "Better Together Update", the Pocket Edition was ported to the Xbox One, and was renamed to the Bedrock Edition. The console versions of Minecraft debuted with the Xbox 360 edition, developed by 4J Studios and released on 9 May 2012. Announced as part of the Xbox Live Arcade NEXT promotion, this version introduced a redesigned crafting system, a new control interface, in-game tutorials, split-screen multiplayer, and online play via Xbox Live. Unlike the PC version, its worlds were finite, bordered by invisible walls. Initially, the Xbox 360 version resembled outdated PC versions but received updates to bring it closer to Java Edition before eventually being discontinued. The Xbox One version launched on 5 September 2014, featuring larger worlds and support for more players. Minecraft expanded to PlayStation platforms with PlayStation 3 and PlayStation 4 editions released on 17 December 2013 and 4 September 2014, respectively. Originally planned as a PS4 launch title, it was delayed before its eventual release. A PlayStation Vita version followed in October 2014. Like the Xbox versions, the PlayStation editions were developed by 4J Studios. Nintendo platforms received Minecraft: Wii U Edition on 17 December 2015, with a physical release in North America on 17 June 2016 and in Europe on 30 June. The Nintendo Switch version launched via the eShop on 11 May 2017. During a Nintendo Direct presentation on 13 September 2017, Nintendo announced that Minecraft: New Nintendo 3DS Edition, based on the Pocket Edition, would be available for download immediately after the livestream, and a physical copy available on a later date. The game is compatible only with the New Nintendo 3DS or New Nintendo 2DS XL systems and does not work with the original 3DS or 2DS systems. On 20 September 2017, the Better Together Update introduced Bedrock Edition across Xbox One, Windows 10, VR, and mobile platforms, enabling cross-play between these versions. Bedrock Edition later expanded to Nintendo Switch and PlayStation 4, with the latter receiving the update in December 2019, allowing cross-platform play for users with a free Xbox Live account. The Bedrock Edition released a native version for PlayStation 5 on 22 October 2024, while the Xbox Series X/S version launched on 17 June 2025. On 18 December 2018, the PlayStation 3, PlayStation Vita, Xbox 360, and Wii U versions of Minecraft received their final update and would later become known as "Legacy Console Editions". On 15 January 2019, the New Nintendo 3DS version of Minecraft received its final update, effectively becoming discontinued as well. An educational version of Minecraft, designed for use in schools, launched on 1 November 2016. It is available on Android, ChromeOS, iPadOS, iOS, MacOS, and Windows. On 20 August 2018, Mojang announced that it would bring Education Edition to iPadOS in Autumn 2018. It was released to the App Store on 6 September 2018. On 27 March 2019, it was announced that it would be operated by JD.com in China. On 26 June 2020, a public beta for the Education Edition was made available to Google Play Store compatible Chromebooks. The full game was released to the Google Play Store for Chromebooks on 7 August 2020. On 20 May 2016, China Edition (also known as My World) was announced as a localized edition for China, where it was released under a licensing agreement between NetEase and Mojang. The PC edition was released for public testing on 8 August 2017. The iOS version was released on 15 September 2017, and the Android version was released on 12 October 2017. The PC edition is based on the original Java Edition, while the iOS and Android mobile versions are based on the Bedrock Edition. The edition is free-to-play and had over 700 million registered accounts by September 2023. This version of Bedrock Edition is exclusive to Microsoft's Windows 10 and Windows 11 operating systems. The beta release for Windows 10 launched on the Windows Store on 29 July 2015. After nearly a year and a half in beta, Microsoft fully released the version on 19 December 2016. Called the "Ender Update", this release implemented new features to this version of Minecraft like world templates and add-on packs. On 7 June 2022, the Java and Bedrock Editions of Minecraft were merged into a single bundle for purchase on Windows; those who owned one version would automatically gain access to the other version. Both game versions would otherwise remain separate. Around 2011, prior to Minecraft's full release, Mojang collaborated with The Lego Group to create a Lego brick-based Minecraft game called Brickcraft. This would have modified the base Minecraft game to use Lego bricks, which meant adapting the basic 1×1 block to account for larger pieces typically used in Lego sets. Persson worked on an early version called "Project Rex Kwon Do", named after the character of the same name from the film Napoleon Dynamite. Although Lego approved the project and Mojang assigned two developers for six months, it was canceled due to the Lego Group's demands, according to Mojang's Daniel Kaplan. Lego considered buying Mojang to complete the game, but when Microsoft offered over $2 billion for the company, Lego stepped back, unsure of Minecraft's potential. On 26 June 2025, a build of Brickcraft dated 28 June 2012 was published on a community archive website Omniarchive. Initially, Markus Persson planned to support the Oculus Rift with a Minecraft port. However, after Facebook acquired Oculus in 2013, he abruptly canceled the plans, stating, "Facebook creeps me out." In 2016, a community-made mod, Minecraft VR, added VR support for Java Edition, followed by Vivecraft for HTC Vive. Later that year, Microsoft introduced official Oculus Rift support for Windows 10 Edition, leading to the discontinuation of the Minecraft VR mod due to trademark complaints. Vivecraft was endorsed by Minecraft VR contributors for its Rift support. Also available is a Gear VR version, titled Minecraft: Gear VR Edition. Windows Mixed Reality support was added in 2017. On 7 September 2020, Mojang Studios announced that the PlayStation 4 Bedrock version would receive PlayStation VR support later that month. In September 2024, the Minecraft team announced they would no longer support PlayStation VR, which received its final update in March 2025. Music and sound design Minecraft's music and sound effects were produced by German musician Daniel Rosenfeld, better known as C418. To create the sound effects for the game, Rosenfeld made extensive use of Foley techniques. On learning the processes for the game, he remarked, "Foley's an interesting thing, and I had to learn its subtleties. Early on, I wasn't that knowledgeable about it. It's a whole trial-and-error process. You just make a sound and eventually you go, 'Oh my God, that's it! Get the microphone!' There's no set way of doing anything at all." He reminisced on creating the in-game sound for grass blocks, stating "It turns out that to make grass sounds you don't actually walk on grass and record it, because grass sounds like nothing. What you want to do is get a VHS, break it apart, and just lightly touch the tape." According to Rosenfeld, his favorite sound to design for the game was the hisses of spiders. He elaborates, "I like the spiders. Recording that was a whole day of me researching what a spider sounds like. Turns out, there are spiders that make little screeching sounds, so I think I got this recording of a fire hose, put it in a sampler, and just pitched it around until it sounded like a weird spider was talking to you." Many of the sound design decisions by Rosenfeld were done accidentally or spontaneously. The creeper notably lacks any specific noises apart from a loud fuse-like sound when about to explode; Rosenfeld later recalled "That was just a complete accident by Markus and me [sic]. We just put in a placeholder sound of burning a matchstick. It seemed to work hilariously well, so we kept it." On other sounds, such as those of the zombie, Rosenfeld remarked, "I actually never wanted the zombies so scary. I intentionally made them sound comical. It's nice to hear that they work so well [...]." Rosenfeld remarked that the sound engine was "terrible" to work with, remembering "If you had two song files at once, it [the game engine] would actually crash. There were so many more weird glitches like that the guys never really fixed because they were too busy with the actual game and not the sound engine." The background music in Minecraft consists of instrumental ambient music. To compose the music of Minecraft, Rosenfeld used the package from Ableton Live, along with several additional plug-ins. Speaking on them, Rosenfeld said "They can be pretty much everything from an effect to an entire orchestra. Additionally, I've got some synthesizers that are attached to the computer. Like a Moog Voyager, Dave Smith Prophet 08 and a Virus TI." On 4 March 2011, Rosenfeld released a soundtrack titled Minecraft – Volume Alpha; it includes most of the tracks featured in Minecraft, as well as other music not featured in the game. Kirk Hamilton of Kotaku chose the music in Minecraft as one of the best video game soundtracks of 2011. On 9 November 2013, Rosenfeld released the second official soundtrack, titled Minecraft – Volume Beta, which included the music that was added in a 2013 "Music Update" for the game. A physical release of Volume Alpha, consisting of CDs, black vinyl, and limited-edition transparent green vinyl LPs, was issued by indie electronic label Ghostly International on 21 August 2015. On 14 August 2020, Ghostly released Volume Beta on CD and vinyl, with alternate color LPs and lenticular cover pressings released in limited quantities. The final update Rosenfeld worked on was 2018's 1.13 Update Aquatic. His music remained the only music in the game until 2020's "Nether Update", introducing pieces from Lena Raine. Since then, other composers have made contributions, including Kumi Tanioka, Samuel Åberg, Aaron Cherof, and Amos Roddy, with Raine remaining as the new primary composer. Ownership of all music besides Rosenfeld's independently released albums has been retained by Microsoft, with their label publishing all of the other artists' releases. Gareth Coker also composed some of the music for the game's mini games from the Legacy Console editions. Rosenfeld had stated his intent to create a third album of music for the game in a 2015 interview with Fact, and confirmed its existence in a 2017 tweet, stating that his work on the record as of then had tallied up to be longer than the previous two albums combined, which in total clocks in at over 3 hours and 18 minutes. However, due to licensing issues with Microsoft, the third volume has since not seen release. On 8 January 2021, Rosenfeld was asked in an interview with Anthony Fantano whether or not there was still a third volume of his music intended for release. Rosenfeld responded, saying, "I have something—I consider it finished—but things have become complicated, especially as Minecraft is now a big property, so I don't know." Reception Minecraft has received critical acclaim, with praise for the creative freedom it grants players in-game, as well as the ease of enabling emergent gameplay. Critics have expressed enjoyment in Minecraft's complex crafting system, commenting that it is an important aspect of the game's open-ended gameplay. Most publications were impressed by the game's "blocky" graphics, with IGN describing them as "instantly memorable". Reviewers also liked the game's adventure elements, noting that the game creates a good balance between exploring and building. The game's multiplayer feature has been generally received favorably, with IGN commenting that "adventuring is always better with friends". Jaz McDougall of PC Gamer said Minecraft is "intuitively interesting and contagiously fun, with an unparalleled scope for creativity and memorable experiences". It has been regarded as having introduced millions of children to the digital world, insofar as its basic game mechanics are logically analogous to computer commands. IGN was disappointed about the troublesome steps needed to set up multiplayer servers, calling it a "hassle". Critics also said that visual glitches occur periodically. Despite its release out of beta in 2011, GameSpot said the game had an "unfinished feel", adding that some game elements seem "incomplete or thrown together in haste". A review of the alpha version, by Scott Munro of the Daily Record, called it "already something special" and urged readers to buy it. Jim Rossignol of Rock Paper Shotgun also recommended the alpha of the game, calling it "a kind of generative 8-bit Lego Stalker". On 17 September 2010, gaming webcomic Penny Arcade began a series of comics and news posts about the addictiveness of the game. The Xbox 360 version was generally received positively by critics, but did not receive as much praise as the PC version. Although reviewers were disappointed by the lack of features such as mod support and content from the PC version, they acclaimed the port's addition of a tutorial and in-game tips and crafting recipes, saying that they make the game more user-friendly. The Xbox One Edition was one of the best received ports, being praised for its relatively large worlds. The PlayStation 3 Edition also received generally favorable reviews, being compared to the Xbox 360 Edition and praised for its well-adapted controls. The PlayStation 4 edition was the best received port to date, being praised for having 36 times larger worlds than the PlayStation 3 edition and described as nearly identical to the Xbox One edition. The PlayStation Vita Edition received generally positive reviews from critics but was noted for its technical limitations. The Wii U version received generally positive reviews from critics but was noted for a lack of GamePad integration. The 3DS version received mixed reviews, being criticized for its high price, technical issues, and lack of cross-platform play. The Nintendo Switch Edition received fairly positive reviews from critics, being praised, like other modern ports, for its relatively larger worlds. Minecraft: Pocket Edition initially received mixed reviews from critics. Although reviewers appreciated the game's intuitive controls, they were disappointed by the lack of content. The inability to collect resources and craft items, as well as the limited types of blocks and lack of hostile mobs, were especially criticized. After updates added more content, Pocket Edition started receiving more positive reviews. Reviewers complimented the controls and the graphics, but still noted a lack of content. Minecraft surpassed over a million purchases less than a month after entering its beta phase in early 2011. At the same time, the game had no publisher backing and has never been commercially advertised except through word of mouth, and various unpaid references in popular media such as the Penny Arcade webcomic. By April 2011, Persson estimated that Minecraft had made €23 million (US$33 million) in revenue, with 800,000 sales of the alpha version of the game, and over 1 million sales of the beta version. In November 2011, prior to the game's full release, Minecraft beta surpassed 16 million registered users and 4 million purchases. By March 2012, Minecraft had become the 6th best-selling PC game of all time. As of 10 October 2014[update], the game had sold 17 million copies on PC, becoming the best-selling PC game of all time. On 25 February 2014, the game reached 100 million registered users. By May 2019, 180 million copies had been sold across all platforms, making it the single best-selling video game of all time. The free-to-play Minecraft China version had over 700 million registered accounts by September 2023. By 2023, the game had sold over 300 million copies. As of April 2025, Minecraft has sold over 350 million copies. The Xbox 360 version of Minecraft became profitable within the first day of the game's release in 2012, when the game broke the Xbox Live sales records with 400,000 players online. Within a week of being on the Xbox Live Marketplace, Minecraft sold a million copies. GameSpot announced in December 2012 that Minecraft sold over 4.48 million copies since the game debuted on Xbox Live Arcade in May 2012. In 2012, Minecraft was the most purchased title on Xbox Live Arcade; it was also the fourth most played title on Xbox Live based on average unique users per day. As of 4 April 2014[update], the Xbox 360 version has sold 12 million copies. In addition, Minecraft: Pocket Edition has reached a figure of 21 million in sales. The PlayStation 3 Edition sold one million copies in five weeks. The release of the game's PlayStation Vita version boosted Minecraft sales by 79%, outselling both PS3 and PS4 debut releases and becoming the largest Minecraft launch on a PlayStation console. The PS Vita version sold 100,000 digital copies in Japan within the first two months of release, according to an announcement by SCE Japan Asia. By January 2015, 500,000 digital copies of Minecraft were sold in Japan across all PlayStation platforms, with a surge in primary school children purchasing the PS Vita version. As of 2022, the Vita version has sold over 1.65 million physical copies in Japan, making it the best-selling Vita game in the country. Minecraft helped improve Microsoft's total first-party revenue by $63 million for the 2015 second quarter. The game, including all of its versions, had over 112 million monthly active players by September 2019. On its 11th anniversary in May 2020, the company announced that Minecraft had reached over 200 million copies sold across platforms with over 126 million monthly active players. By April 2021, the number of active monthly users had climbed to 140 million. In July 2010, PC Gamer listed Minecraft as the fourth-best game to play at work. In December of that year, Good Game selected Minecraft as their choice for Best Downloadable Game of 2010, Gamasutra named it the eighth best game of the year as well as the eighth best indie game of the year, and Rock, Paper, Shotgun named it the "game of the year". Indie DB awarded the game the 2010 Indie of the Year award as chosen by voters, in addition to two out of five Editor's Choice awards for Most Innovative and Best Singleplayer Indie. It was also awarded Game of the Year by PC Gamer UK. The game was nominated for the Seumas McNally Grand Prize, Technical Excellence, and Excellence in Design awards at the March 2011 Independent Games Festival and won the Grand Prize and the community-voted Audience Award. At Game Developers Choice Awards 2011, Minecraft won awards in the categories for Best Debut Game, Best Downloadable Game and Innovation Award, winning every award for which it was nominated. It also won GameCity's video game arts award. On 5 May 2011, Minecraft was selected as one of the 80 games that would be displayed at the Smithsonian American Art Museum as part of The Art of Video Games exhibit that opened on 16 March 2012. At the 2011 Spike Video Game Awards, Minecraft won the award for Best Independent Game and was nominated in the Best PC Game category. In 2012, at the British Academy Video Games Awards, Minecraft was nominated in the GAME Award of 2011 category and Persson received The Special Award. In 2012, Minecraft XBLA was awarded a Golden Joystick Award in the Best Downloadable Game category, and a TIGA Games Industry Award in the Best Arcade Game category. In 2013, it was nominated as the family game of the year at the British Academy Video Games Awards. During the 16th Annual D.I.C.E. Awards, the Academy of Interactive Arts & Sciences nominated the Xbox 360 version of Minecraft for "Strategy/Simulation Game of the Year". Minecraft Console Edition won the award for TIGA Game Of The Year in 2014. In 2015, the game placed 6th on USgamer's The 15 Best Games Since 2000 list. In 2016, Minecraft placed 6th on Time's The 50 Best Video Games of All Time list. Minecraft was nominated for the 2013 Kids' Choice Awards for Favorite App, but lost to Temple Run. It was nominated for the 2014 Kids' Choice Awards for Favorite Video Game, but lost to Just Dance 2014. The game later won the award for the Most Addicting Game at the 2015 Kids' Choice Awards. In addition, the Java Edition was nominated for "Favorite Video Game" at the 2018 Kids' Choice Awards, while the game itself won the "Still Playing" award at the 2019 Golden Joystick Awards, as well as the "Favorite Video Game" award at the 2020 Kids' Choice Awards. Minecraft also won "Stream Game of the Year" at inaugural Streamer Awards in 2021. The game later garnered a Nickelodeon Kids' Choice Award nomination for Favorite Video Game in 2021, and won the same category in 2022 and 2023. At the Golden Joystick Awards 2025, it won the Still Playing Award - PC and Console. Minecraft has been subject to several notable controversies. In June 2014, Mojang announced that it would begin enforcing the portion of Minecraft's end-user license agreement (EULA) which prohibits servers from giving in-game advantages to players in exchange for donations or payments. Spokesperson Owen Hill stated that servers could still require players to pay a fee to access the server and could sell in-game cosmetic items. The change was supported by Persson, citing emails he received from parents of children who had spent hundreds of dollars on servers. The Minecraft community and server owners protested, arguing that the EULA's terms were more broad than Mojang was claiming, that the crackdown would force smaller servers to shut down for financial reasons, and that Mojang was suppressing competition for its own Minecraft Realms subscription service. The controversy contributed to Notch's decision to sell Mojang. In 2020, Mojang announced an eventual change to the Java Edition to require a login from a Microsoft account rather than a Mojang account, the latter of which would be sunsetted. This also required Java Edition players to create Xbox network Gamertags. Mojang defended the move to Microsoft accounts by saying that improved security could be offered, including two-factor authentication, blocking cyberbullies in chat, and improved parental controls. The community responded with intense backlash, citing various technical difficulties encountered in the process and how account migration would be mandatory, even for those who do not play on servers. As of 10 March 2022, Microsoft required that all players migrate in order to maintain access the Java Edition of Minecraft. Mojang announced a deadline of 19 September 2023 for account migration, after which all legacy Mojang accounts became inaccessible and unable to be migrated. In June 2022, Mojang added a player-reporting feature in Java Edition. Players could report other players on multiplayer servers for sending messages prohibited by the Xbox Live Code of Conduct; report categories included profane language,[l] substance abuse, hate speech, threats of violence, and nudity. If a player was found to be in violation of Xbox Community Standards, they would be banned from all servers for a specific period of time or permanently. The update containing the report feature (1.19.1) was released on 27 July 2022. Mojang received substantial backlash and protest from community members, one of the most common complaints being that banned players would be forbidden from joining any server, even private ones. Others took issue to what they saw as Microsoft increasing control over its player base and exercising censorship, leading some to start a hashtag #saveminecraft and dub the version "1.19.84", a reference to the dystopian novel Nineteen Eighty-Four. The "Mob Vote" was an online event organized by Mojang in which the Minecraft community voted between three original mob concepts; initially, the winning mob was to be implemented in a future update, while the losing mobs were scrapped, though after the first mob vote this was changed, and losing mobs would now have a chance to come to the game in the future. The first Mob Vote was held during Minecon Earth 2017 and became an annual event starting with Minecraft Live 2020. The Mob Vote was often criticized for forcing players to choose one mob instead of implementing all three, causing divisions and flaming within the community, and potentially allowing internet bots and Minecraft content creators with large fanbases to conduct vote brigading. The Mob Vote was also blamed for a perceived lack of new content added to Minecraft since Microsoft's acquisition of Mojang in 2014. The 2023 Mob Vote featured three passive mobs—the crab, the penguin, and the armadillo—with voting scheduled to start on 13 October. In response, a Change.org petition was created on 6 October, demanding that Mojang eliminate the Mob Vote and instead implement all three mobs going forward. The petition received approximately 445,000 signatures by 13 October and was joined by calls to boycott the Mob Vote, as well as a partially tongue-in-cheek "revolutionary" propaganda campaign in which sympathizers created anti-Mojang and pro-boycott posters in the vein of real 20th century propaganda posters. Mojang did not release an official response to the boycott, and the Mob Vote otherwise proceeded normally, with the armadillo winning the vote. In September 2024, as part of a blog post detailing their future plans for Minecraft's development, Mojang announced the Mob Vote would be retired. Cultural impact In September 2019, The Guardian classified Minecraft as the best video game of the 21st century to date, and in November 2019, Polygon called it the "most important game of the decade" in its 2010s "decade in review". In June 2020, Minecraft was inducted into the World Video Game Hall of Fame. Minecraft is recognized as one of the first successful games to use an early access model to draw in sales prior to its full release version to help fund development. As Minecraft helped to bolster indie game development in the early 2010s, it also helped to popularize the use of the early access model in indie game development. Social media sites such as YouTube, Facebook, and Reddit have played a significant role in popularizing Minecraft. Research conducted by the Annenberg School for Communication at the University of Pennsylvania showed that one-third of Minecraft players learned about the game via Internet videos. In 2010, Minecraft-related videos began to gain influence on YouTube, often made by commentators. The videos usually contain screen-capture footage of the game and voice-overs. Common coverage in the videos includes creations made by players, walkthroughs of various tasks, and parodies of works in popular culture. By May 2012, over four million Minecraft-related YouTube videos had been uploaded. The game would go on to be a prominent fixture within YouTube's gaming scene during the entire 2010s; in 2014, it was the second-most searched term on the entire platform. By 2018, it was still YouTube's biggest game globally. Some popular commentators have received employment at Machinima, a now-defunct gaming video company that owned a highly watched entertainment channel on YouTube. The Yogscast is a British company that regularly produces Minecraft videos; their YouTube channel has attained billions of views, and their panel at Minecon 2011 had the highest attendance. Another well-known YouTube personality is Jordan Maron, known online as CaptainSparklez, who has also created many Minecraft music parodies, including "Revenge", a parody of Usher's "DJ Got Us Fallin' in Love". Minecraft's popularity on YouTube was described by Polygon as quietly dominant, although in 2019, thanks in part to PewDiePie's playthroughs of the game, Minecraft experienced a visible uptick in popularity on the platform. Longer-running series include Far Lands or Bust, dedicated to reaching the obsolete "Far Lands" glitch by foot on an older version of the game. YouTube announced that on 14 December 2021 that the total amount of Minecraft-related views on the website had exceeded one trillion. Minecraft has been referenced by other video games, such as Torchlight II, Team Fortress 2, Borderlands 2, Choplifter HD, Super Meat Boy, The Elder Scrolls V: Skyrim, The Binding of Isaac, The Stanley Parable, and FTL: Faster Than Light. Minecraft is officially represented in downloadable content for the crossover fighter Super Smash Bros. Ultimate, with Steve as a playable character with a moveset including references to building, crafting, and redstone, alongside an Overworld-themed stage. It was also referenced by electronic music artist Deadmau5 in his performances. The game is also referenced heavily in "Informative Murder Porn", the second episode of the seventeenth season of the animated television series South Park. In 2025, A Minecraft Movie was released. It made $313 million in the box office in the first week, a record-breaking opening for a video game adaptation. Minecraft has been noted as a cultural touchstone for Generation Z, as many of the generation's members played the game at a young age. The possible applications of Minecraft have been discussed extensively, especially in the fields of computer-aided design (CAD) and education. In a panel at Minecon 2011, a Swedish developer discussed the possibility of using the game to redesign public buildings and parks, stating that rendering using Minecraft was much more user-friendly for the community, making it easier to envision the functionality of new buildings and parks. In 2012, a member of the Human Dynamics group at the MIT Media Lab, Cody Sumter, said: "Notch hasn't just built a game. He's tricked 40 million people into learning to use a CAD program." Various software has been developed to allow virtual designs to be printed using professional 3D printers or personal printers such as MakerBot and RepRap. In September 2012, Mojang began the Block by Block project in cooperation with UN Habitat to create real-world environments in Minecraft. The project allows young people who live in those environments to participate in designing the changes they would like to see. Using Minecraft, the community has helped reconstruct the areas of concern, and citizens are invited to enter the Minecraft servers and modify their own neighborhood. Carl Manneh, Mojang's managing director, called the game "the perfect tool to facilitate this process", adding "The three-year partnership will support UN-Habitat's Sustainable Urban Development Network to upgrade 300 public spaces by 2016." Mojang signed Minecraft building community, FyreUK, to help render the environments into Minecraft. The first pilot project began in Kibera, one of Nairobi's informal settlements and is in the planning phase. The Block by Block project is based on an earlier initiative started in October 2011, Mina Kvarter (My Block), which gave young people in Swedish communities a tool to visualize how they wanted to change their part of town. According to Manneh, the project was a helpful way to visualize urban planning ideas without necessarily having a training in architecture. The ideas presented by the citizens were a template for political decisions. In April 2014, the Danish Geodata Agency generated all of Denmark in fullscale in Minecraft based on their own geodata. This is possible because Denmark is one of the flattest countries with the highest point at 171 meters (ranking as the country with the 30th smallest elevation span), where the limit in default Minecraft was around 192 meters above in-game sea level when the project was completed. Taking advantage of the game's accessibility where other websites are censored, the non-governmental organization Reporters Without Borders has used an open Minecraft server to create the Uncensored Library, a repository within the game of journalism by authors from countries (including Egypt, Mexico, Russia, Saudi Arabia and Vietnam) who have been censored and arrested, such as Jamal Khashoggi. The neoclassical virtual building was created over about 250 hours by an international team of 24 people. Despite its unpredictable nature, Minecraft speedrunning, where players time themselves from spawning into a new world to reaching The End and defeating the Ender Dragon boss, is popular. Some speedrunners use a combination of mods, external programs, and debug menus, while other runners play the game in a more vanilla or more consistency-oriented way. Minecraft has been used in educational settings through initiatives such as MinecraftEdu, founded in 2011 to make the game affordable and accessible for schools in collaboration with Mojang. MinecraftEdu provided features allowing teachers to monitor student progress, including screenshot submissions as evidence of lesson completion, and by 2012 reported that approximately 250,000 students worldwide had access to the platform. Mojang also developed Minecraft: Education Edition with pre-built lesson plans for up to 30 students in a closed environment. Educators have used Minecraft to teach subjects such as history, language arts, and science through custom-built environments, including reconstructions of historical landmarks and large-scale models of biological structures such as animal cells. The introduction of redstone blocks enabled the construction of functional virtual machines such as a hard drive and an 8-bit computer. Mods have been created to use these mechanics for teaching programming. In 2014, the British Museum announced a project to reproduce its building and exhibits in Minecraft in collaboration with the public. Microsoft and Code.org have offered Minecraft-based tutorials and activities designed to teach programming, reporting by 2018 that more than 85 million children had used their resources. In 2025, the Musée de Minéralogie in Paris held a temporary exhibition titled "Minerals in Minecraft." Following the initial surge in popularity of Minecraft in 2010, other video games were criticised for having various similarities to Minecraft, and some were described as being "clones", often due to a direct inspiration from Minecraft, or a superficial similarity. Examples include Ace of Spades, CastleMiner, CraftWorld, FortressCraft, Terraria, BlockWorld 3D, Total Miner, and Luanti (formerly Minetest). David Frampton, designer of The Blockheads, reported that one failure of his 2D game was the "low resolution pixel art" that too closely resembled the art in Minecraft, which resulted in "some resistance" from fans. A homebrew adaptation of the alpha version of Minecraft for the Nintendo DS, titled DScraft, has been released; it has been noted for its similarity to the original game considering the technical limitations of the system. In response to Microsoft's acquisition of Mojang and their Minecraft IP, various developers announced further clone titles developed specifically for Nintendo's consoles, as they were the only major platforms not to officially receive Minecraft at the time. These clone titles include UCraft (Nexis Games), Cube Life: Island Survival (Cypronia), Discovery (Noowanda), Battleminer (Wobbly Tooth Games), Cube Creator 3D (Big John Games), and Stone Shire (Finger Gun Games). Despite this, the fears of fans were unfounded, with official Minecraft releases on Nintendo consoles eventually resuming. Markus Persson made another similar game, Minicraft, for a Ludum Dare competition in 2011. In 2025, Persson announced through a poll on his X account that he was considering developing a spiritual successor to Minecraft. He later clarified that he was "100% serious", and that he had "basically announced Minecraft 2". Within days, however, Persson cancelled the plans after speaking to his team. In November 2024, artificial intelligence companies Decart and Etched released Oasis, an artificially generated version of Minecraft, as a proof of concept. Every in-game element is completely AI-generated in real time and the model does not store world data, leading to "hallucinations" such as items and blocks appearing that were not there before. In January 2026, indie game developer Unomelon announced that their voxel sandbox game Allumeria would be playable in Steam Next Fest that year. On 10 February, Mojang issued a DMCA takedown of Allumeria on Steam through Valve, alleging the game was infringing on Minecraft's copyright. Some reports suggested that the takedown may have used an automatic AI copyright claiming service. The DMCA was later withdrawn. Minecon was an annual official fan convention dedicated to Minecraft. The first full Minecon was held in November 2011 at the Mandalay Bay Hotel and Casino in Las Vegas. The event included the official launch of Minecraft; keynote speeches, including one by Persson; building and costume contests; Minecraft-themed breakout classes; exhibits by leading gaming and Minecraft-related companies; commemorative merchandise; and autograph and picture times with Mojang employees and well-known contributors from the Minecraft community. In 2016, Minecon was held in-person for the last time, with the following years featuring annual "Minecon Earth" livestreams on minecraft.net and YouTube instead. These livestreams, later rebranded to "Minecraft Live", included the mob/biome votes, and announcements of new game updates. In 2025, "Minecraft Live" became a biannual event as part of Minecraft's changing update schedule.[citation needed] Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Joke#cite_note-FOOTNOTEMason1998-43] | [TOKENS: 8460] |
Contents Joke A joke is a display of humour in which words are used within a specific and well-defined narrative structure to make people laugh and is usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends in a punch line, whereby the humorous element of the story is revealed; this can be done using a pun or other type of word play, irony or sarcasm, logical incompatibility, hyperbole, or other means. Linguist Robert Hetzron offers the definition: A joke is a short humorous piece of oral literature in which the funniness culminates in the final sentence, called the punchline… In fact, the main condition is that the tension should reach its highest level at the very end. No continuation relieving the tension should be added. As for its being "oral," it is true that jokes may appear printed, but when further transferred, there is no obligation to reproduce the text verbatim, as in the case of poetry. It is generally held that jokes benefit from brevity, containing no more detail than is needed to set the scene for the punchline at the end. In the case of riddle jokes or one-liners, the setting is implicitly understood, leaving only the dialogue and punchline to be verbalised. However, subverting these and other common guidelines can also be a source of humour—the shaggy dog story is an example of an anti-joke; although presented as a joke, it contains a long drawn-out narrative of time, place and character, rambles through many pointless inclusions and finally fails to deliver a punchline. Jokes are a form of humour, but not all humour is in the form of a joke. Some humorous forms which are not verbal jokes are: involuntary humour, situational humour, practical jokes, slapstick and anecdotes. Identified as one of the simple forms of oral literature by the Dutch linguist André Jolles, jokes are passed along anonymously. They are told in both private and public settings; a single person tells a joke to his friend in the natural flow of conversation, or a set of jokes is told to a group as part of scripted entertainment. Jokes are also passed along in written form or, more recently, through the internet. Stand-up comics, comedians and slapstick work with comic timing and rhythm in their performance, and may rely on actions as well as on the verbal punchline to evoke laughter. This distinction has been formulated in the popular saying "A comic says funny things; a comedian says things funny".[note 1] History in print Jokes do not belong to refined culture, but rather to the entertainment and leisure of all classes. As such, any printed versions were considered ephemera, i.e., temporary documents created for a specific purpose and intended to be thrown away. Many of these early jokes deal with scatological and sexual topics, entertaining to all social classes but not to be valued and saved.[citation needed] Various kinds of jokes have been identified in ancient pre-classical texts.[note 2] The oldest identified joke is an ancient Sumerian proverb from 1900 BC containing toilet humour: "Something which has never occurred since time immemorial; a young woman did not fart in her husband's lap." Its records were dated to the Old Babylonian period and the joke may go as far back as 2300 BC. The second oldest joke found, discovered on the Westcar Papyrus and believed to be about Sneferu, was from Ancient Egypt c. 1600 BC: "How do you entertain a bored pharaoh? You sail a boatload of young women dressed only in fishing nets down the Nile and urge the pharaoh to go catch a fish." The tale of the three ox drivers from Adab completes the three known oldest jokes in the world. This is a comic triple dating back to 1200 BC Adab. It concerns three men seeking justice from a king on the matter of ownership over a newborn calf, for whose birth they all consider themselves to be partially responsible. The king seeks advice from a priestess on how to rule the case, and she suggests a series of events involving the men's households and wives. The final portion of the story (which included the punch line), has not survived intact, though legible fragments suggest it was bawdy in nature. Jokes can be notoriously difficult to translate from language to language; particularly puns, which depend on specific words and not just on their meanings. For instance, Julius Caesar once sold land at a surprisingly cheap price to his lover Servilia, who was rumoured to be prostituting her daughter Tertia to Caesar in order to keep his favour. Cicero remarked that "conparavit Servilia hunc fundum tertia deducta." The punny phrase, "tertia deducta", can be translated as "with one-third off (in price)", or "with Tertia putting out." The earliest extant joke book is the Philogelos (Greek for The Laughter-Lover), a collection of 265 jokes written in crude ancient Greek dating to the fourth or fifth century AD. The author of the collection is obscure and a number of different authors are attributed to it, including "Hierokles and Philagros the grammatikos", just "Hierokles", or, in the Suda, "Philistion". British classicist Mary Beard states that the Philogelos may have been intended as a jokester's handbook of quips to say on the fly, rather than a book meant to be read straight through. Many of the jokes in this collection are surprisingly familiar, even though the typical protagonists are less recognisable to contemporary readers: the absent-minded professor, the eunuch, and people with hernias or bad breath. The Philogelos even contains a joke similar to Monty Python's "Dead Parrot Sketch". During the 15th century, the printing revolution spread across Europe following the development of the movable type printing press. This was coupled with the growth of literacy in all social classes. Printers turned out Jestbooks along with Bibles to meet both lowbrow and highbrow interests of the populace. One early anthology of jokes was the Facetiae by the Italian Poggio Bracciolini, first published in 1470. The popularity of this jest book can be measured on the twenty editions of the book documented alone for the 15th century. Another popular form was a collection of jests, jokes and funny situations attributed to a single character in a more connected, narrative form of the picaresque novel. Examples of this are the characters of Rabelais in France, Till Eulenspiegel in Germany, Lazarillo de Tormes in Spain and Master Skelton in England. There is also a jest book ascribed to William Shakespeare, the contents of which appear to both inform and borrow from his plays. All of these early jestbooks corroborate both the rise in the literacy of the European populations and the general quest for leisure activities during the Renaissance in Europe. The practice of printers using jokes and cartoons as page fillers was also widely used in the broadsides and chapbooks of the 19th century and earlier. With the increase in literacy in the general population and the growth of the printing industry, these publications were the most common forms of printed material between the 16th and 19th centuries throughout Europe and North America. Along with reports of events, executions, ballads and verse, they also contained jokes. Only one of many broadsides archived in the Harvard library is described as "1706. Grinning made easy; or, Funny Dick's unrivalled collection of curious, comical, odd, droll, humorous, witty, whimsical, laughable, and eccentric jests, jokes, bulls, epigrams, &c. With many other descriptions of wit and humour." These cheap publications, ephemera intended for mass distribution, were read alone, read aloud, posted and discarded. There are many types of joke books in print today; a search on the internet provides a plethora of titles available for purchase. They can be read alone for solitary entertainment, or used to stock up on new jokes to entertain friends. Some people try to find a deeper meaning in jokes, as in "Plato and a Platypus Walk into a Bar... Understanding Philosophy Through Jokes".[note 3] However a deeper meaning is not necessary to appreciate their inherent entertainment value. Magazines frequently use jokes and cartoons as filler for the printed page. Reader's Digest closes out many articles with an (unrelated) joke at the bottom of the article. The New Yorker was first published in 1925 with the stated goal of being a "sophisticated humour magazine" and is still known for its cartoons. Telling jokes Telling a joke is a cooperative effort; it requires that the teller and the audience mutually agree in one form or another to understand the narrative which follows as a joke. In a study of conversation analysis, the sociologist Harvey Sacks describes in detail the sequential organisation in the telling of a single joke. "This telling is composed, as for stories, of three serially ordered and adjacently placed types of sequences … the preface [framing], the telling, and the response sequences." Folklorists expand this to include the context of the joking. Who is telling what jokes to whom? And why is he telling them when? The context of the joke-telling in turn leads into a study of joking relationships, a term coined by anthropologists to refer to social groups within a culture who engage in institutionalised banter and joking. Framing is done with a (frequently formulaic) expression which keys the audience in to expect a joke. "Have you heard the one…", "Reminds me of a joke I heard…", "So, a lawyer and a doctor…"; these conversational markers are just a few examples of linguistic frames used to start a joke. Regardless of the frame used, it creates a social space and clear boundaries around the narrative which follows. Audience response to this initial frame can be acknowledgement and anticipation of the joke to follow. It can also be a dismissal, as in "this is no joking matter" or "this is no time for jokes". The performance frame serves to label joke-telling as a culturally marked form of communication. Both the performer and audience understand it to be set apart from the "real" world. "An elephant walks into a bar…"; a person sufficiently familiar with both the English language and the way jokes are told automatically understands that such a compressed and formulaic story, being told with no substantiating details, and placing an unlikely combination of characters into an unlikely setting and involving them in an unrealistic plot, is the start of a joke, and the story that follows is not meant to be taken at face value (i.e. it is non-bona-fide communication). The framing itself invokes a play mode; if the audience is unable or unwilling to move into play, then nothing will seem funny. Following its linguistic framing the joke, in the form of a story, can be told. It is not required to be verbatim text like other forms of oral literature such as riddles and proverbs. The teller can and does modify the text of the joke, depending both on memory and the present audience. The important characteristic is that the narrative is succinct, containing only those details which lead directly to an understanding and decoding of the punchline. This requires that it support the same (or similar) divergent scripts which are to be embodied in the punchline. The punchline is intended to make the audience laugh. A linguistic interpretation of this punchline/response is elucidated by Victor Raskin in his Script-based Semantic Theory of Humour. Humour is evoked when a trigger contained in the punchline causes the audience to abruptly shift its understanding of the story from the primary (or more obvious) interpretation to a secondary, opposing interpretation. "The punchline is the pivot on which the joke text turns as it signals the shift between the [semantic] scripts necessary to interpret [re-interpret] the joke text." To produce the humour in the verbal joke, the two interpretations (i.e. scripts) need to both be compatible with the joke text and opposite or incompatible with each other. Thomas R. Shultz, a psychologist, independently expands Raskin's linguistic theory to include "two stages of incongruity: perception and resolution." He explains that "… incongruity alone is insufficient to account for the structure of humour. […] Within this framework, humour appreciation is conceptualized as a biphasic sequence involving first the discovery of incongruity followed by a resolution of the incongruity." In the case of a joke, that resolution generates laughter. This is the point at which the field of neurolinguistics offers some insight into the cognitive processing involved in this abrupt laughter at the punchline. Studies by the cognitive science researchers Coulson and Kutas directly address the theory of script switching articulated by Raskin in their work. The article "Getting it: Human event-related brain response to jokes in good and poor comprehenders" measures brain activity in response to reading jokes. Additional studies by others in the field support more generally the theory of two-stage processing of humour, as evidenced in the longer processing time they require. In the related field of neuroscience, it has been shown that the expression of laughter is caused by two partially independent neuronal pathways: an "involuntary" or "emotionally driven" system and a "voluntary" system. This study adds credence to the common experience when exposed to an off-colour joke; a laugh is followed in the next breath by a disclaimer: "Oh, that's bad…" Here the multiple steps in cognition are clearly evident in the stepped response, the perception being processed just a breath faster than the resolution of the moral/ethical content in the joke. Expected response to a joke is laughter. The joke teller hopes the audience "gets it" and is entertained. This leads to the premise that a joke is actually an "understanding test" between individuals and groups. If the listeners do not get the joke, they are not understanding the two scripts which are contained in the narrative as they were intended. Or they do "get it" and do not laugh; it might be too obscene, too gross or too dumb for the current audience. A woman might respond differently to a joke told by a male colleague around the water cooler than she would to the same joke overheard in a women's lavatory. A joke involving toilet humour may be funnier told on the playground at elementary school than on a college campus. The same joke will elicit different responses in different settings. The punchline in the joke remains the same, however, it is more or less appropriate depending on the current context. The context explores the specific social situation in which joking occurs. The narrator automatically modifies the text of the joke to be acceptable to different audiences, while at the same time supporting the same divergent scripts in the punchline. The vocabulary used in telling the same joke at a university fraternity party and to one's grandmother might well vary. In each situation, it is important to identify both the narrator and the audience as well as their relationship with each other. This varies to reflect the complexities of a matrix of different social factors: age, sex, race, ethnicity, kinship, political views, religion, power relationships, etc. When all the potential combinations of such factors between the narrator and the audience are considered, then a single joke can take on infinite shades of meaning for each unique social setting. The context, however, should not be confused with the function of the joking. "Function is essentially an abstraction made on the basis of a number of contexts". In one long-term observation of men coming off the late shift at a local café, joking with the waitresses was used to ascertain sexual availability for the evening. Different types of jokes, going from general to topical into explicitly sexual humour signalled openness on the part of the waitress for a connection. This study describes how jokes and joking are used to communicate much more than just good humour. That is a single example of the function of joking in a social setting, but there are others. Sometimes jokes are used simply to get to know someone better. What makes them laugh, what do they find funny? Jokes concerning politics, religion or sexual topics can be used effectively to gauge the attitude of the audience to any one of these topics. They can also be used as a marker of group identity, signalling either inclusion or exclusion for the group. Among pre-adolescents, "dirty" jokes allow them to share information about their changing bodies. And sometimes joking is just simple entertainment for a group of friends. Relationships The context of joking in turn leads to a study of joking relationships, a term coined by anthropologists to refer to social groups within a culture who take part in institutionalised banter and joking. These relationships can be either one-way or a mutual back and forth between partners. The joking relationship is defined as a peculiar combination of friendliness and antagonism. The behaviour is such that in any other social context it would express and arouse hostility; but it is not meant seriously and must not be taken seriously. There is a pretence of hostility along with a real friendliness. To put it in another way, the relationship is one of permitted disrespect. Joking relationships were first described by anthropologists within kinship groups in Africa. But they have since been identified in cultures around the world, where jokes and joking are used to mark and reinforce appropriate boundaries of a relationship. Electronic The advent of electronic communications at the end of the 20th century introduced new traditions into jokes. A verbal joke or cartoon is emailed to a friend or posted on a bulletin board; reactions include a replied email with a :-) or LOL, or a forward on to further recipients. Interaction is limited to the computer screen and for the most part solitary. While preserving the text of a joke, both context and variants are lost in internet joking; for the most part, emailed jokes are passed along verbatim. The framing of the joke frequently occurs in the subject line: "RE: laugh for the day" or something similar. The forward of an email joke can increase the number of recipients exponentially. Internet joking forces a re-evaluation of social spaces and social groups. They are no longer only defined by physical presence and locality, they also exist in the connectivity in cyberspace. "The computer networks appear to make possible communities that, although physically dispersed, display attributes of the direct, unconstrained, unofficial exchanges folklorists typically concern themselves with". This is particularly evident in the spread of topical jokes, "that genre of lore in which whole crops of jokes spring up seemingly overnight around some sensational event … flourish briefly and then disappear, as the mass media move on to fresh maimings and new collective tragedies". This correlates with the new understanding of the internet as an "active folkloric space" with evolving social and cultural forces and clearly identifiable performers and audiences. A study by the folklorist Bill Ellis documented how an evolving cycle was circulated over the internet. By accessing message boards that specialised in humour immediately following the 9/11 disaster, Ellis was able to observe in real-time both the topical jokes being posted electronically and responses to the jokes. Previous folklore research has been limited to collecting and documenting successful jokes, and only after they had emerged and come to folklorists' attention. Now, an Internet-enhanced collection creates a time machine, as it were, where we can observe what happens in the period before the risible moment, when attempts at humour are unsuccessful Access to archived message boards also enables us to track the development of a single joke thread in the context of a more complicated virtual conversation. Joke cycles A joke cycle is a collection of jokes about a single target or situation which displays consistent narrative structure and type of humour. Some well-known cycles are elephant jokes using nonsense humour, dead baby jokes incorporating black humour, and light bulb jokes, which describe all kinds of operational stupidity. Joke cycles can centre on ethnic groups, professions (viola jokes), catastrophes, settings (…walks into a bar), absurd characters (wind-up dolls), or logical mechanisms which generate the humour (knock-knock jokes). A joke can be reused in different joke cycles; an example of this is the same Head & Shoulders joke refitted to the tragedies of Vic Morrow, Admiral Mountbatten and the crew of the Challenger space shuttle.[note 4] These cycles seem to appear spontaneously, spread rapidly across countries and borders only to dissipate after some time. Folklorists and others have studied individual joke cycles in an attempt to understand their function and significance within the culture. Joke cycles circulated in the recent past include: As with the 9/11 disaster discussed above, cycles attach themselves to celebrities or national catastrophes such as the death of Diana, Princess of Wales, the death of Michael Jackson, and the Space Shuttle Challenger disaster. These cycles arise regularly as a response to terrible unexpected events which command the national news. An in-depth analysis of the Challenger joke cycle documents a change in the type of humour circulated following the disaster, from February to March 1986. "It shows that the jokes appeared in distinct 'waves', the first responding to the disaster with clever wordplay and the second playing with grim and troubling images associated with the event…The primary social function of disaster jokes appears to be to provide closure to an event that provoked communal grieving, by signalling that it was time to move on and pay attention to more immediate concerns". The sociologist Christie Davies has written extensively on ethnic jokes told in countries around the world. In ethnic jokes he finds that the "stupid" ethnic target in the joke is no stranger to the culture, but rather a peripheral social group (geographic, economic, cultural, linguistic) well known to the joke tellers. So Americans tell jokes about Polacks and Italians, Germans tell jokes about Ostfriesens, and the English tell jokes about the Irish. In a review of Davies' theories it is said that "For Davies, [ethnic] jokes are more about how joke tellers imagine themselves than about how they imagine those others who serve as their putative targets…The jokes thus serve to center one in the world – to remind people of their place and to reassure them that they are in it." A third category of joke cycles identifies absurd characters as the butt: for example the grape, the dead baby or the elephant. Beginning in the 1960s, social and cultural interpretations of these joke cycles, spearheaded by the folklorist Alan Dundes, began to appear in academic journals. Dead baby jokes are posited to reflect societal changes and guilt caused by widespread use of contraception and abortion beginning in the 1960s.[note 5] Elephant jokes have been interpreted variously as stand-ins for American blacks during the Civil Rights Era or as an "image of something large and wild abroad in the land captur[ing] the sense of counterculture" of the sixties. These interpretations strive for a cultural understanding of the themes of these jokes which go beyond the simple collection and documentation undertaken previously by folklorists and ethnologists. Classification systems As folktales and other types of oral literature became collectables throughout Europe in the 19th century (Brothers Grimm et al.), folklorists and anthropologists of the time needed a system to organise these items. The Aarne–Thompson classification system was first published in 1910 by Antti Aarne, and later expanded by Stith Thompson to become the most renowned classification system for European folktales and other types of oral literature. Its final section addresses anecdotes and jokes, listing traditional humorous tales ordered by their protagonist; "This section of the Index is essentially a classification of the older European jests, or merry tales – humorous stories characterized by short, fairly simple plots. …" Due to its focus on older tale types and obsolete actors (e.g., numbskull), the Aarne–Thompson Index does not provide much help in identifying and classifying the modern joke. A more granular classification system used widely by folklorists and cultural anthropologists is the Thompson Motif Index, which separates tales into their individual story elements. This system enables jokes to be classified according to individual motifs included in the narrative: actors, items and incidents. It does not provide a system to classify the text by more than one element at a time while at the same time making it theoretically possible to classify the same text under multiple motifs. The Thompson Motif Index has spawned further specialised motif indices, each of which focuses on a single aspect of one subset of jokes. A sampling of just a few of these specialised indices have been listed under other motif indices. Here one can select an index for medieval Spanish folk narratives, another index for linguistic verbal jokes, and a third one for sexual humour. To assist the researcher with this increasingly confusing situation, there are also multiple bibliographies of indices as well as a how-to guide on creating your own index. Several difficulties have been identified with these systems of identifying oral narratives according to either tale types or story elements. A first major problem is their hierarchical organisation; one element of the narrative is selected as the major element, while all other parts are arrayed subordinate to this. A second problem with these systems is that the listed motifs are not qualitatively equal; actors, items and incidents are all considered side-by-side. And because incidents will always have at least one actor and usually have an item, most narratives can be ordered under multiple headings. This leads to confusion about both where to order an item and where to find it. A third significant problem is that the "excessive prudery" common in the middle of the 20th century means that obscene, sexual and scatological elements were regularly ignored in many of the indices. The folklorist Robert Georges has summed up the concerns with these existing classification systems: …Yet what the multiplicity and variety of sets and subsets reveal is that folklore [jokes] not only takes many forms, but that it is also multifaceted, with purpose, use, structure, content, style, and function all being relevant and important. Any one or combination of these multiple and varied aspects of a folklore example [such as jokes] might emerge as dominant in a specific situation or for a particular inquiry. It has proven difficult to organise all different elements of a joke into a multi-dimensional classification system which could be of real value in the study and evaluation of this (primarily oral) complex narrative form. The General Theory of Verbal Humour or GTVH, developed by the linguists Victor Raskin and Salvatore Attardo, attempts to do exactly this. This classification system was developed specifically for jokes and later expanded to include longer types of humorous narratives. Six different aspects of the narrative, labelled Knowledge Resources or KRs, can be evaluated largely independently of each other, and then combined into a concatenated classification label. These six KRs of the joke structure include: As development of the GTVH progressed, a hierarchy of the KRs was established to partially restrict the options for lower-level KRs depending on the KRs defined above them. For example, a lightbulb joke (SI) will always be in the form of a riddle (NS). Outside of these restrictions, the KRs can create a multitude of combinations, enabling a researcher to select jokes for analysis which contain only one or two defined KRs. It also allows for an evaluation of the similarity or dissimilarity of jokes depending on the similarity of their labels. "The GTVH presents itself as a mechanism … of generating [or describing] an infinite number of jokes by combining the various values that each parameter can take. … Descriptively, to analyze a joke in the GTVH consists of listing the values of the 6 KRs (with the caveat that TA and LM may be empty)." This classification system provides a functional multi-dimensional label for any joke, and indeed any verbal humour. Joke and humour research Many academic disciplines lay claim to the study of jokes (and other forms of humour) as within their purview. Fortunately, there are enough jokes, good, bad and worse, to go around. The studies of jokes from each of the interested disciplines bring to mind the tale of the blind men and an elephant where the observations, although accurate reflections of their own competent methodological inquiry, frequently fail to grasp the beast in its entirety. This attests to the joke as a traditional narrative form which is indeed complex, concise and complete in and of itself. It requires a "multidisciplinary, interdisciplinary, and cross-disciplinary field of inquiry" to truly appreciate these nuggets of cultural insight.[note 6] Sigmund Freud was one of the first modern scholars to recognise jokes as an important object of investigation. In his 1905 study Jokes and their Relation to the Unconscious Freud describes the social nature of humour and illustrates his text with many examples of contemporary Viennese jokes. His work is particularly noteworthy in this context because Freud distinguishes in his writings between jokes, humour and the comic. These are distinctions which become easily blurred in many subsequent studies where everything funny tends to be gathered under the umbrella term of "humour", making for a much more diffuse discussion. Since the publication of Freud's study, psychologists have continued to explore humour and jokes in their quest to explain, predict and control an individual's "sense of humour". Why do people laugh? Why do people find something funny? Can jokes predict character, or vice versa, can character predict the jokes an individual laughs at? What is a "sense of humour"? A current review of the popular magazine Psychology Today lists over 200 articles discussing various aspects of humour; in psychological jargon, the subject area has become both an emotion to measure and a tool to use in diagnostics and treatment. A new psychological assessment tool, the Values in Action Inventory developed by the American psychologists Christopher Peterson and Martin Seligman includes humour (and playfulness) as one of the core character strengths of an individual. As such, it could be a good predictor of life satisfaction. For psychologists, it would be useful to measure both how much of this strength an individual has and how it can be measurably increased. A 2007 survey of existing tools to measure humour identified more than 60 psychological measurement instruments. These measurement tools use many different approaches to quantify humour along with its related states and traits. There are tools to measure an individual's physical response by their smile; the Facial Action Coding System (FACS) is one of several tools used to identify any one of multiple types of smiles. Or the laugh can be measured to calculate the funniness response of an individual; multiple types of laughter have been identified. It must be stressed here that both smiles and laughter are not always a response to something funny. In trying to develop a measurement tool, most systems use "jokes and cartoons" as their test materials. However, because no two tools use the same jokes, and across languages this would not be feasible, how does one determine that the assessment objects are comparable? Moving on, whom does one ask to rate the sense of humour of an individual? Does one ask the person themselves, an impartial observer, or their family, friends and colleagues? Furthermore, has the current mood of the test subjects been considered; someone with a recent death in the family might not be much prone to laughter. Given the plethora of variants revealed by even a superficial glance at the problem, it becomes evident that these paths of scientific inquiry are mined with problematic pitfalls and questionable solutions. The psychologist Willibald Ruch [de] has been very active in the research of humour. He has collaborated with the linguists Raskin and Attardo on their General Theory of Verbal Humour (GTVH) classification system. Their goal is to empirically test both the six autonomous classification types (KRs) and the hierarchical ordering of these KRs. Advancement in this direction would be a win-win for both fields of study; linguistics would have empirical verification of this multi-dimensional classification system for jokes, and psychology would have a standardised joke classification with which they could develop verifiably comparable measurement tools. "The linguistics of humor has made gigantic strides forward in the last decade and a half and replaced the psychology of humor as the most advanced theoretical approach to the study of this important and universal human faculty." This recent statement by one noted linguist and humour researcher describes, from his perspective, contemporary linguistic humour research. Linguists study words, how words are strung together to build sentences, how sentences create meaning which can be communicated from one individual to another, and how our interaction with each other using words creates discourse. Jokes have been defined above as oral narratives in which words and sentences are engineered to build toward a punchline. The linguist's question is: what exactly makes the punchline funny? This question focuses on how the words used in the punchline create humour, in contrast to the psychologist's concern (see above) with the audience's response to the punchline. The assessment of humour by psychologists "is made from the individual's perspective; e.g. the phenomenon associated with responding to or creating humor and not a description of humor itself." Linguistics, on the other hand, endeavours to provide a precise description of what makes a text funny. Two major new linguistic theories have been developed and tested within the last decades. The first was advanced by Victor Raskin in "Semantic Mechanisms of Humor", published 1985. While being a variant on the more general concepts of the incongruity theory of humour, it is the first theory to identify its approach as exclusively linguistic. The Script-based Semantic Theory of Humour (SSTH) begins by identifying two linguistic conditions which make a text funny. It then goes on to identify the mechanisms involved in creating the punchline. This theory established the semantic/pragmatic foundation of humour as well as the humour competence of speakers.[note 7] Several years later the SSTH was incorporated into a more expansive theory of jokes put forth by Raskin and his colleague Salvatore Attardo. In the General Theory of Verbal Humour, the SSTH was relabelled as a Logical Mechanism (LM) (referring to the mechanism which connects the different linguistic scripts in the joke) and added to five other independent Knowledge Resources (KR). Together these six KRs could now function as a multi-dimensional descriptive label for any piece of humorous text. Linguistics has developed further methodological tools which can be applied to jokes: discourse analysis and conversation analysis of joking. Both of these subspecialties within the field focus on "naturally occurring" language use, i.e. the analysis of real (usually recorded) conversations. One of these studies has already been discussed above, where Harvey Sacks describes in detail the sequential organisation in telling a single joke. Discourse analysis emphasises the entire context of social joking, the social interaction which cradles the words. Folklore and cultural anthropology have perhaps the strongest claims on jokes as belonging to their bailiwick. Jokes remain one of the few remaining forms of traditional folk literature transmitted orally in western cultures. Identified as one of the "simple forms" of oral literature by André Jolles in 1930, they have been collected and studied since there were folklorists and anthropologists abroad in the lands. As a genre they were important enough at the beginning of the 20th century to be included under their own heading in the Aarne–Thompson index first published in 1910: Anecdotes and jokes. Beginning in the 1960s, cultural researchers began to expand their role from collectors and archivists of "folk ideas" to a more active role of interpreters of cultural artefacts. One of the foremost scholars active during this transitional time was the folklorist Alan Dundes. He started asking questions of tradition and transmission with the key observation that "No piece of folklore continues to be transmitted unless it means something, even if neither the speaker nor the audience can articulate what that meaning might be." In the context of jokes, this then becomes the basis for further research. Why is the joke told right now? Only in this expanded perspective is an understanding of its meaning to the participants possible. This questioning resulted in a blossoming of monographs to explore the significance of many joke cycles. What is so funny about absurd nonsense elephant jokes? Why make light of dead babies? In an article on contemporary German jokes about Auschwitz and the Holocaust, Dundes justifies this research: Whether one finds Auschwitz jokes funny or not is not an issue. This material exists and should be recorded. Jokes are always an important barometer of the attitudes of a group. The jokes exist and they obviously must fill some psychic need for those individuals who tell them and those who listen to them. A stimulating generation of new humour theories flourishes like mushrooms in the undergrowth: Elliott Oring's theoretical discussions on "appropriate ambiguity" and Amy Carrell's hypothesis of an "audience-based theory of verbal humor (1993)" to name just a few. In his book Humor and Laughter: An Anthropological Approach, the anthropologist Mahadev Apte presents a solid case for his own academic perspective. "Two axioms underlie my discussion, namely, that humor is by and large culture based and that humor can be a major conceptual and methodological tool for gaining insights into cultural systems." Apte goes on to call for legitimising the field of humour research as "humorology"; this would be a field of study incorporating an interdisciplinary character of humour studies. While the label "humorology" has yet to become a household word, great strides are being made in the international recognition of this interdisciplinary field of research. The International Society for Humor Studies was founded in 1989 with the stated purpose to "promote, stimulate and encourage the interdisciplinary study of humour; to support and cooperate with local, national, and international organizations having similar purposes; to organize and arrange meetings; and to issue and encourage publications concerning the purpose of the society". It also publishes Humor: International Journal of Humor Research and holds yearly conferences to promote and inform its speciality. In 1872, Charles Darwin published one of the first "comprehensive and in many ways remarkably accurate description of laughter in terms of respiration, vocalization, facial action and gesture and posture" (Laughter) in The Expression of the Emotions in Man and Animals. In this early study Darwin raises further questions about who laughs and why they laugh; the myriad responses since then illustrate the complexities of this behaviour. To understand laughter in humans and other primates, the science of gelotology (from the Greek gelos, meaning laughter) has been established; it is the study of laughter and its effects on the body from both a psychological and physiological perspective. While jokes can provoke laughter, laughter cannot be used as a one-to-one marker of jokes because there are multiple stimuli to laughter, humour being just one of them. The other six causes of laughter listed are social context, ignorance, anxiety, derision, acting apology, and tickling. As such, the study of laughter is a secondary albeit entertaining perspective in an understanding of jokes. Computational humour is a new field of study which uses computers to model humour; it bridges the disciplines of computational linguistics and artificial intelligence. A primary ambition of this field is to develop computer programs which can both generate a joke and recognise a text snippet as a joke. Early programming attempts have dealt almost exclusively with punning because this lends itself to simple straightforward rules. These primitive programs display no intelligence; instead, they work off a template with a finite set of pre-defined punning options upon which to build. More sophisticated computer joke programs have yet to be developed. Based on our understanding of the SSTH / GTVH humour theories, it is easy to see why. The linguistic scripts (a.k.a. frames) referenced in these theories include, for any given word, a "large chunk of semantic information surrounding the word and evoked by it [...] a cognitive structure internalized by the native speaker". These scripts extend much further than the lexical definition of a word; they contain the speaker's complete knowledge of the concept as it exists in his world. As insentient machines, computers lack the encyclopaedic scripts which humans gain through life experience. They also lack the ability to gather the experiences needed to build wide-ranging semantic scripts and understand language in a broader context, a context that any child picks up in daily interaction with his environment. Further development in this field must wait until computational linguists have succeeded in programming a computer with an ontological semantic natural language processing system. It is only "the most complex linguistic structures [which] can serve any formal and/or computational treatment of humor well". Toy systems (i.e. dummy punning programs) are completely inadequate to the task. Despite the fact that the field of computational humour is small and underdeveloped, it is encouraging to note the many interdisciplinary efforts which are currently underway. See also Notes References Further reading |
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[SOURCE: https://he.wikipedia.org/w/index.php?title=Grand_Theft_Auto&action=edit§ion=3] | [TOKENS: 196] |
עריכת הדף "Grand Theft Auto" (פסקה) סימני פיסוק: ־ – — … קוד ויקי: • · [] [[]] () {{}} {{{}}} תווים מתמטיים: ~ | ° ± − × ² ³ + תווים עבריים: בּ וֹ וּ בַ בָ בֶ בֵ בִ בֳ בֲ בֱ בְ בֻ שׁ שׂ תו כיווניות דף זה כלול ב־12 קטגוריות מוסתרות: |
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[SOURCE: https://en.wikipedia.org/wiki/Cubes_(OLAP_server)] | [TOKENS: 592] |
Contents Cubes (OLAP server) Cubes is a light-weight open source multidimensional modelling and OLAP toolkit for development reporting applications and browsing of aggregated data written in Python programming language released under the MIT License. Cubes provides to an analyst or any application end-user "understandable and natural way of reporting using concept of data Cubes – multidimensional data objects". Cubes was first publicly released in March 2011. The project was originally developed for Public Procurements of Slovakia. Cubes 1.0 was released in September 2014 and presented on the PyData Conference in New York Features Cubes is capable of handling large amounts of data and complex queries. According to a review by TechTarget, Cubes can handle "data volumes in the hundreds of millions of rows" and "complex queries and calculations that require multi-level aggregations and dynamic subsetting." Additionally, the review notes that Cubes is well-suited for smaller organizations or teams that don't require the complexity and scalability of enterprise-level OLAP solutions. Model The logical conceptual model in Cubes is described using JSON and can be provided either in a form of a file, directory bundle or from an external model provider (for example a database). The basic model objects are: cubes and their measures and aggregates, dimensions and their attributes, hierarchies. Logical model also contains mapping from logical attributes to their physical location in a database (or other data source). Example model: Operations Cubes provides basic set of operations such as Data drilling and filtering (slicing and dicing). The operations can be accessed either through Python interface or through a light web server called Slicer. Example of the python interface: Server The Cubes provides a non-traditional OLAP server with HTTP queries and JSON response API. Example query to get "total amount of all contracts between January 2012 and June 2016 by month": http://localhost:5000/cube/contracts/aggregate?drilldown=date&drilldown=criteria&cut=date:2012,1-2012,6&order=date.month:desc The response looks like: The simple HTTP/JSON interface makes it very easy to integrate OLAP reports in web applications written in pure HTML and JavaScript. The Slicer server contains endpoints describing the cube metadata which helps to create generic reporting applications that don't have to know the database model structure and conceptual hierarchies up-in-front. The Slicer server is written using the Flask (web framework). ROLAP and SQL The built-in SQL backend of the framework provides ROLAP functionality on top a relational database. Cubes contains a SQL query generator that translates the reporting queries into SQL statements. The query generator takes into account topology of the star or snowflake schema and executes only joins that are necessary to retrieve attributes required by the data analyst. The SQL backend uses SQLAlchemy Python toolkit to construct the queries. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Minecraft#cite_ref-ars-minecriftgone_218-0] | [TOKENS: 12858] |
Contents Minecraft Minecraft is a sandbox game developed and published by Mojang Studios. Following its initial public alpha release in 2009, it was formally released in 2011 for personal computers. The game has since been ported to numerous platforms, including mobile devices and various video game consoles. In Minecraft, players explore a procedurally generated world with virtually infinite terrain made up of voxels (cubes). They can discover and extract raw materials, craft tools and items, build structures, fight hostile mobs, and cooperate with or compete against other players in multiplayer. The game's large community offers a wide variety of user-generated content, such as modifications, servers, player skins, texture packs, and custom maps, which add new game mechanics and possibilities. Originally created by Markus "Notch" Persson using the Java programming language, Jens "Jeb" Bergensten was handed control over the game's development following its full release. In 2014, Mojang and the Minecraft intellectual property were purchased by Microsoft for US$2.5 billion; Xbox Game Studios hold the publishing rights for the Bedrock Edition, the unified cross-platform version which evolved from the Pocket Edition codebase[i] and replaced the legacy console versions. Bedrock is updated concurrently with Mojang's original Java Edition, although with numerous, generally small, differences. Minecraft is the best-selling video game in history with over 350 million copies sold. It has received critical acclaim, winning several awards and being cited as one of the greatest video games of all time. Social media, parodies, adaptations, merchandise, and the annual Minecon conventions have played prominent roles in popularizing it. The wider Minecraft franchise includes several spin-off games, such as Minecraft: Story Mode, Minecraft Dungeons, and Minecraft Legends. A film adaptation, titled A Minecraft Movie, was released in 2025 and became the second highest-grossing video game film of all time. Gameplay Minecraft is a 3D sandbox video game that has no required goals to accomplish, giving players a large amount of freedom in choosing how to play the game. The game features an optional achievement system. Gameplay is in the first-person perspective by default, but players have the option of third-person perspectives. The game world is composed of rough 3D objects—mainly cubes, referred to as blocks—representing various materials, such as dirt, stone, ores, tree trunks, water, and lava. The core gameplay revolves around picking up and placing these objects. These blocks are arranged in a voxel grid, while players can move freely around the world. Players can break, or mine, blocks and then place them elsewhere, enabling them to build things. Very few blocks are affected by gravity, instead maintaining their voxel position in the air. Players can also craft a wide variety of items, such as armor, which mitigates damage from attacks; weapons (such as swords or bows and arrows), which allow monsters and animals to be killed more easily; and tools (such as pickaxes or shovels), which break certain types of blocks more quickly. Some items have multiple tiers depending on the material used to craft them, with higher-tier items being more effective and durable. They may also freely craft helpful blocks—such as furnaces which can cook food and smelt ores, and torches that produce light—or exchange items with villagers (NPC) through trading emeralds for different goods and vice versa. The game has an inventory system, allowing players to carry a limited number of items. The in-game time system follows a day and night cycle, with one full cycle lasting for 20 real-time minutes. The game also contains a material called redstone, which can be used to make primitive mechanical devices, electrical circuits, and logic gates, allowing for the construction of many complex systems. New players are given a randomly selected default character skin out of nine possibilities, including Steve or Alex, but are able to create and upload their own skins. Players encounter various mobs (short for mobile entities) including animals, villagers, and hostile creatures. Passive mobs, such as cows, pigs, and chickens, spawn during the daytime and can be hunted for food and crafting materials, while hostile mobs—including large spiders, witches, skeletons, and zombies—spawn during nighttime or in dark places such as caves. Some hostile mobs, such as zombies and skeletons, burn under the sun if they have no headgear and are not standing in water. Other creatures unique to Minecraft include the creeper (an exploding creature that sneaks up on the player) and the enderman (a creature with the ability to teleport as well as pick up and place blocks). There are also variants of mobs that spawn in different conditions; for example, zombies have husk and drowned variants that spawn in deserts and oceans, respectively. The Minecraft environment is procedurally generated as players explore it using a map seed that is randomly chosen at the time of world creation (or manually specified by the player). Divided into biomes representing different environments with unique resources and structures, worlds are designed to be effectively infinite in traditional gameplay, though technical limits on the player have existed throughout development, both intentionally and not. Implementation of horizontally infinite generation initially resulted in a glitch termed the "Far Lands" at over 12 million blocks away from the world center, where terrain generated as wall-like, fissured patterns. The Far Lands and associated glitches were considered the effective edge of the world until they were resolved, with the current horizontal limit instead being a special impassable barrier called the world border, located 30 million blocks away. Vertical space is comparatively limited, with an unbreakable bedrock layer at the bottom and a building limit several hundred blocks into the sky. Minecraft features three independent dimensions accessible through portals and providing alternate game environments. The Overworld is the starting dimension and represents the real world, with a terrestrial surface setting including plains, mountains, forests, oceans, caves, and small sources of lava. The Nether is a hell-like underworld dimension accessed via an obsidian portal and composed mainly of lava. Mobs that populate the Nether include shrieking, fireball-shooting ghasts, alongside anthropomorphic pigs called piglins and their zombified counterparts. Piglins in particular have a bartering system, where players can give them gold ingots and receive items in return. Structures known as Nether Fortresses generate in the Nether, containing mobs such as wither skeletons and blazes, which can drop blaze rods needed to access the End dimension. The player can also choose to build an optional boss mob known as the Wither, using skulls obtained from wither skeletons and soul sand. The End can be reached through an end portal, consisting of twelve end portal frames. End portals are found in underground structures in the Overworld known as strongholds. To find strongholds, players must craft eyes of ender using an ender pearl and blaze powder. Eyes of ender can then be thrown, traveling in the direction of the stronghold. Once the player reaches the stronghold, they can place eyes of ender into each portal frame to activate the end portal. The dimension consists of islands floating in a dark, bottomless void. A boss enemy called the Ender Dragon guards the largest, central island. Killing the dragon opens access to an exit portal, which, when entered, cues the game's ending credits and the End Poem, a roughly 1,500-word work written by Irish novelist Julian Gough, which takes about nine minutes to scroll past, is the game's only narrative text, and the only text of significant length directed at the player.: 10–12 At the conclusion of the credits, the player is teleported back to their respawn point and may continue the game indefinitely. In Survival mode, players have to gather natural resources such as wood and stone found in the environment in order to craft certain blocks and items. Depending on the difficulty, monsters spawn in darker areas outside a certain radius of the character, requiring players to build a shelter in order to survive at night. The mode also has a health bar which is depleted by attacks from mobs, falls, drowning, falling into lava, suffocation, starvation, and other events. Players also have a hunger bar, which must be periodically refilled by eating food in-game unless the player is playing on peaceful difficulty. If the hunger bar is empty, the player starves. Health replenishes when players have a full hunger bar or continuously on peaceful. Upon losing all health, players die. The items in the players' inventories are dropped unless the game is reconfigured not to do so. Players then re-spawn at their spawn point, which by default is where players first spawn in the game and can be changed by sleeping in a bed or using a respawn anchor. Dropped items can be recovered if players can reach them before they despawn after 5 minutes. Players may acquire experience points (commonly referred to as "xp" or "exp") by killing mobs and other players, mining, smelting ores, animal breeding, and cooking food. Experience can then be spent on enchanting tools, armor and weapons. Enchanted items are generally more powerful, last longer, or have other special effects. The game features two more game modes based on Survival, known as Hardcore mode and Adventure mode. Hardcore mode plays identically to Survival mode, but with the game's difficulty setting locked to "Hard" and with permadeath, forcing them to delete the world or explore it as a spectator after dying. Adventure mode was added to the game in a post-launch update, and prevents the player from directly modifying the game's world. It was designed primarily for use in custom maps, allowing map designers to let players experience it as intended. In Creative mode, players have access to an infinite number of all resources and items in the game through the inventory menu and can place or mine them instantly. Players can toggle the ability to fly freely around the game world at will, and their characters usually do not take any damage nor are affected by hunger. The game mode helps players focus on building and creating projects of any size without disturbance. Multiplayer in Minecraft enables multiple players to interact and communicate with each other on a single world. It is available through direct game-to-game multiplayer, local area network (LAN) play, local split screen (console-only), and servers (player-hosted and business-hosted). Players can run their own server by making a realm, using a host provider, hosting one themselves or connect directly to another player's game via Xbox Live, PlayStation Network or Nintendo Switch Online. Single-player worlds have LAN support, allowing players to join a world on locally interconnected computers without a server setup. Minecraft multiplayer servers are guided by server operators, who have access to server commands such as setting the time of day and teleporting players. Operators can also set up restrictions concerning which usernames or IP addresses are allowed or disallowed to enter the server. Multiplayer servers have a wide range of activities, with some servers having their own unique rules and customs. The largest and most popular server is Hypixel, which has been visited by over 14 million unique players. Player versus player combat (PvP) can be enabled to allow fighting between players. In 2013, Mojang announced Minecraft Realms, a server hosting service intended to enable players to run server multiplayer games easily and safely without having to set up their own. Unlike a standard server, only invited players can join Realms servers, and these servers do not use server addresses. Minecraft: Java Edition Realms server owners can invite up to twenty people to play on their server, with up to ten players online at a time. Minecraft Realms server owners can invite up to 3,000 people to play on their server, with up to ten players online at one time. The Minecraft: Java Edition Realms servers do not support user-made plugins, but players can play custom Minecraft maps. Minecraft Bedrock Realms servers support user-made add-ons, resource packs, behavior packs, and custom Minecraft maps. At Electronic Entertainment Expo 2016, support for cross-platform play between Windows 10, iOS, and Android platforms was added through Realms starting in June 2016, with Xbox One and Nintendo Switch support to come later in 2017, and support for virtual reality devices. On 31 July 2017, Mojang released the beta version of the update allowing cross-platform play. Nintendo Switch support for Realms was released in July 2018. The modding community consists of fans, users and third-party programmers. Using a variety of application program interfaces that have arisen over time, they have produced a wide variety of downloadable content for Minecraft, such as modifications, texture packs and custom maps. Modifications of the Minecraft code, called mods, add a variety of gameplay changes, ranging from new blocks, items, and mobs to entire arrays of mechanisms. The modding community is responsible for a substantial supply of mods from ones that enhance gameplay, such as mini-maps, waypoints, and durability counters, to ones that add to the game elements from other video games and media. While a variety of mod frameworks were independently developed by reverse engineering the code, Mojang has also enhanced vanilla Minecraft with official frameworks for modification, allowing the production of community-created resource packs, which alter certain game elements including textures and sounds. Players can also create their own "maps" (custom world save files) that often contain specific rules, challenges, puzzles and quests, and share them for others to play. Mojang added an adventure mode in August 2012 and "command blocks" in October 2012, which were created specially for custom maps in Java Edition. Data packs, introduced in version 1.13 of the Java Edition, allow further customization, including the ability to add new achievements, dimensions, functions, loot tables, predicates, recipes, structures, tags, and world generation. The Xbox 360 Edition supported downloadable content, which was available to purchase via the Xbox Games Store; these content packs usually contained additional character skins. It later received support for texture packs in its twelfth title update while introducing "mash-up packs", which combined texture packs with skin packs and changes to the game's sounds, music and user interface. The first mash-up pack (and by extension, the first texture pack) for the Xbox 360 Edition was released on 4 September 2013, and was themed after the Mass Effect franchise. Unlike Java Edition, however, the Xbox 360 Edition did not support player-made mods or custom maps. A cross-promotional resource pack based on the Super Mario franchise by Nintendo was released exclusively for the Wii U Edition worldwide on 17 May 2016, and later bundled free with the Nintendo Switch Edition at launch. Another based on Fallout was released on consoles that December, and for Windows and Mobile in April 2017. In April 2018, malware was discovered in several downloadable user-made Minecraft skins for use with the Java Edition of the game. Avast stated that nearly 50,000 accounts were infected, and when activated, the malware would attempt to reformat the user's hard drive. Mojang promptly patched the issue, and released a statement stating that "the code would not be run or read by the game itself", and would run only when the image containing the skin itself was opened. In June 2017, Mojang released the "1.1 Discovery Update" to the Pocket Edition of the game, which later became the Bedrock Edition. The update introduced the "Marketplace", a catalogue of purchasable user-generated content intended to give Minecraft creators "another way to make a living from the game". Various skins, maps, texture packs and add-ons from different creators can be bought with "Minecoins", a digital currency that is purchased with real money. Additionally, users can access specific content with a subscription service titled "Marketplace Pass". Alongside content from independent creators, the Marketplace also houses items published by Mojang and Microsoft themselves, as well as official collaborations between Minecraft and other intellectual properties. By 2022, the Marketplace had over 1.7 billion content downloads, generating over $500 million in revenue. Development Before creating Minecraft, Markus "Notch" Persson was a game developer at King, where he worked until March 2009. At King, he primarily developed browser games and learned several programming languages. During his free time, he prototyped his own games, often drawing inspiration from other titles, and was an active participant on the TIGSource forums for independent developers. One such project was "RubyDung", a base-building game inspired by Dwarf Fortress, but with an isometric, three-dimensional perspective similar to RollerCoaster Tycoon. Among the features in RubyDung that he explored was a first-person view similar to Dungeon Keeper, though he ultimately discarded this idea, feeling the graphics were too pixelated at the time. Around March 2009, Persson left King and joined jAlbum, while continuing to work on his prototypes. Infiniminer, a block-based open-ended mining game first released in April 2009, inspired Persson's vision for RubyDung's future direction. Infiniminer heavily influenced the visual style of gameplay, including bringing back the first-person mode, the "blocky" visual style and the block-building fundamentals. However, unlike Infiniminer, Persson wanted Minecraft to have RPG elements. The first public alpha build of Minecraft was released on 17 May 2009 on TIGSource. Over the years, Persson regularly released test builds that added new features, including tools, mobs, and entire new dimensions. In 2011, partly due to the game's rising popularity, Persson decided to release a full 1.0 version—a second part of the "Adventure Update"—on 18 November 2011. Shortly after, Persson stepped down from development, handing the project's lead to Jens "Jeb" Bergensten. On 15 September 2014, Microsoft, the developer behind the Microsoft Windows operating system and Xbox video game console, announced a $2.5 billion acquisition of Mojang, which included the Minecraft intellectual property. Persson had suggested the deal on Twitter, asking a corporation to buy his stake in the game after receiving criticism for enforcing terms in the game's end-user license agreement (EULA), which had been in place for the past three years. According to Persson, Mojang CEO Carl Manneh received a call from a Microsoft executive shortly after the tweet, asking if Persson was serious about a deal. Mojang was also approached by other companies including Activision Blizzard and Electronic Arts. The deal with Microsoft was arbitrated on 6 November 2014 and led to Persson becoming one of Forbes' "World's Billionaires". After 2014, Minecraft's primary versions received usually annual major updates—free to players who have purchased the game— each primarily centered around a specific theme. For instance, version 1.13, the Update Aquatic, focused on ocean-related features, while version 1.16, the Nether Update, introduced significant changes to the Nether dimension. However, in late 2024, Mojang announced a shift in their update strategy; rather than releasing large updates annually, they opted for a more frequent release schedule with smaller, incremental updates, stating, "We know that you want new Minecraft content more often." The Bedrock Edition has also received regular updates, now matching the themes of the Java Edition updates. Other versions of the game, such as various console editions and the Pocket Edition, were either merged into Bedrock or discontinued and have not received further updates. On 7 May 2019, coinciding with Minecraft's 10th anniversary, a JavaScript recreation of an old 2009 Java Edition build named Minecraft Classic was made available to play online for free. On 16 April 2020, a Bedrock Edition-exclusive beta version of Minecraft, called Minecraft RTX, was released by Nvidia. It introduced physically-based rendering, real-time path tracing, and DLSS for RTX-enabled GPUs. The public release was made available on 8 December 2020. Path tracing can only be enabled in supported worlds, which can be downloaded for free via the in-game Minecraft Marketplace, with a texture pack from Nvidia's website, or with compatible third-party texture packs. It cannot be enabled by default with any texture pack on any world. Initially, Minecraft RTX was affected by many bugs, display errors, and instability issues. On 22 March 2025, a new visual mode called Vibrant Visuals, an optional graphical overhaul similar to Minecraft RTX, was announced. It promises modern rendering features—such as dynamic shadows, screen space reflections, volumetric fog, and bloom—without the need of RTX-capable hardware. Vibrant Visuals was released as a part of the Chase the Skies update on 17 June 2025 for Bedrock Edition and is planned to release on Java Edition at a later date. Development began for the original edition of Minecraft—then known as Cave Game, and now known as the Java Edition—in May 2009,[k] and ended on 13 May, when Persson released a test video on YouTube of an early version of the game, dubbed the "Cave game tech test" or the "Cave game tech demo". The game was named Minecraft: Order of the Stone the next day, after a suggestion made by a player. "Order of the Stone" came from the webcomic The Order of the Stick, and "Minecraft" was chosen "because it's a good name". The title was later shortened to just Minecraft, omitting the subtitle. Persson completed the game's base programming over a weekend in May 2009, and private testing began on TigIRC on 16 May. The first public release followed on 17 May 2009 as a developmental version shared on the TIGSource forums. Based on feedback from forum users, Persson continued updating the game. This initial public build later became known as Classic. Further developmental phases—dubbed Survival Test, Indev, and Infdev—were released throughout 2009 and 2010. The first major update, known as Alpha, was released on 30 June 2010. At the time, Persson was still working a day job at jAlbum but later resigned to focus on Minecraft full-time as sales of the alpha version surged. Updates were distributed automatically, introducing new blocks, items, mobs, and changes to game mechanics such as water flow. With revenue generated from the game, Persson founded Mojang, a video game studio, alongside former colleagues Jakob Porser and Carl Manneh. On 11 December 2010, Persson announced that Minecraft would enter its beta phase on 20 December. He assured players that bug fixes and all pre-release updates would remain free. As development progressed, Mojang expanded, hiring additional employees to work on the project. The game officially exited beta and launched in full on 18 November 2011. On 1 December 2011, Jens "Jeb" Bergensten took full creative control over Minecraft, replacing Persson as lead designer. On 28 February 2012, Mojang announced the hiring of the developers behind Bukkit, a popular developer API for Minecraft servers, to improve Minecraft's support of server modifications. This move included Mojang taking apparent ownership of the CraftBukkit server mod, though this apparent acquisition later became controversial, and its legitimacy was questioned due to CraftBukkit's open-source nature and licensing under the GNU General Public License and Lesser General Public License. In August 2011, Minecraft: Pocket Edition was released as an early alpha for the Xperia Play via the Android Market, later expanding to other Android devices on 8 October 2011. The iOS version followed on 17 November 2011. A port was made available for Windows Phones shortly after Microsoft acquired Mojang. Unlike Java Edition, Pocket Edition initially focused on Minecraft's creative building and basic survival elements but lacked many features of the PC version. Bergensten confirmed on Twitter that the Pocket Edition was written in C++ rather than Java, as iOS does not support Java. On 10 December 2014, a port of Pocket Edition was released for Windows Phone 8.1. In July 2015, a port of the Pocket Edition to Windows 10 was released as the Windows 10 Edition, with full crossplay to other Pocket versions. In January 2017, Microsoft announced that it would no longer maintain the Windows Phone versions of Pocket Edition. On 20 September 2017, with the "Better Together Update", the Pocket Edition was ported to the Xbox One, and was renamed to the Bedrock Edition. The console versions of Minecraft debuted with the Xbox 360 edition, developed by 4J Studios and released on 9 May 2012. Announced as part of the Xbox Live Arcade NEXT promotion, this version introduced a redesigned crafting system, a new control interface, in-game tutorials, split-screen multiplayer, and online play via Xbox Live. Unlike the PC version, its worlds were finite, bordered by invisible walls. Initially, the Xbox 360 version resembled outdated PC versions but received updates to bring it closer to Java Edition before eventually being discontinued. The Xbox One version launched on 5 September 2014, featuring larger worlds and support for more players. Minecraft expanded to PlayStation platforms with PlayStation 3 and PlayStation 4 editions released on 17 December 2013 and 4 September 2014, respectively. Originally planned as a PS4 launch title, it was delayed before its eventual release. A PlayStation Vita version followed in October 2014. Like the Xbox versions, the PlayStation editions were developed by 4J Studios. Nintendo platforms received Minecraft: Wii U Edition on 17 December 2015, with a physical release in North America on 17 June 2016 and in Europe on 30 June. The Nintendo Switch version launched via the eShop on 11 May 2017. During a Nintendo Direct presentation on 13 September 2017, Nintendo announced that Minecraft: New Nintendo 3DS Edition, based on the Pocket Edition, would be available for download immediately after the livestream, and a physical copy available on a later date. The game is compatible only with the New Nintendo 3DS or New Nintendo 2DS XL systems and does not work with the original 3DS or 2DS systems. On 20 September 2017, the Better Together Update introduced Bedrock Edition across Xbox One, Windows 10, VR, and mobile platforms, enabling cross-play between these versions. Bedrock Edition later expanded to Nintendo Switch and PlayStation 4, with the latter receiving the update in December 2019, allowing cross-platform play for users with a free Xbox Live account. The Bedrock Edition released a native version for PlayStation 5 on 22 October 2024, while the Xbox Series X/S version launched on 17 June 2025. On 18 December 2018, the PlayStation 3, PlayStation Vita, Xbox 360, and Wii U versions of Minecraft received their final update and would later become known as "Legacy Console Editions". On 15 January 2019, the New Nintendo 3DS version of Minecraft received its final update, effectively becoming discontinued as well. An educational version of Minecraft, designed for use in schools, launched on 1 November 2016. It is available on Android, ChromeOS, iPadOS, iOS, MacOS, and Windows. On 20 August 2018, Mojang announced that it would bring Education Edition to iPadOS in Autumn 2018. It was released to the App Store on 6 September 2018. On 27 March 2019, it was announced that it would be operated by JD.com in China. On 26 June 2020, a public beta for the Education Edition was made available to Google Play Store compatible Chromebooks. The full game was released to the Google Play Store for Chromebooks on 7 August 2020. On 20 May 2016, China Edition (also known as My World) was announced as a localized edition for China, where it was released under a licensing agreement between NetEase and Mojang. The PC edition was released for public testing on 8 August 2017. The iOS version was released on 15 September 2017, and the Android version was released on 12 October 2017. The PC edition is based on the original Java Edition, while the iOS and Android mobile versions are based on the Bedrock Edition. The edition is free-to-play and had over 700 million registered accounts by September 2023. This version of Bedrock Edition is exclusive to Microsoft's Windows 10 and Windows 11 operating systems. The beta release for Windows 10 launched on the Windows Store on 29 July 2015. After nearly a year and a half in beta, Microsoft fully released the version on 19 December 2016. Called the "Ender Update", this release implemented new features to this version of Minecraft like world templates and add-on packs. On 7 June 2022, the Java and Bedrock Editions of Minecraft were merged into a single bundle for purchase on Windows; those who owned one version would automatically gain access to the other version. Both game versions would otherwise remain separate. Around 2011, prior to Minecraft's full release, Mojang collaborated with The Lego Group to create a Lego brick-based Minecraft game called Brickcraft. This would have modified the base Minecraft game to use Lego bricks, which meant adapting the basic 1×1 block to account for larger pieces typically used in Lego sets. Persson worked on an early version called "Project Rex Kwon Do", named after the character of the same name from the film Napoleon Dynamite. Although Lego approved the project and Mojang assigned two developers for six months, it was canceled due to the Lego Group's demands, according to Mojang's Daniel Kaplan. Lego considered buying Mojang to complete the game, but when Microsoft offered over $2 billion for the company, Lego stepped back, unsure of Minecraft's potential. On 26 June 2025, a build of Brickcraft dated 28 June 2012 was published on a community archive website Omniarchive. Initially, Markus Persson planned to support the Oculus Rift with a Minecraft port. However, after Facebook acquired Oculus in 2013, he abruptly canceled the plans, stating, "Facebook creeps me out." In 2016, a community-made mod, Minecraft VR, added VR support for Java Edition, followed by Vivecraft for HTC Vive. Later that year, Microsoft introduced official Oculus Rift support for Windows 10 Edition, leading to the discontinuation of the Minecraft VR mod due to trademark complaints. Vivecraft was endorsed by Minecraft VR contributors for its Rift support. Also available is a Gear VR version, titled Minecraft: Gear VR Edition. Windows Mixed Reality support was added in 2017. On 7 September 2020, Mojang Studios announced that the PlayStation 4 Bedrock version would receive PlayStation VR support later that month. In September 2024, the Minecraft team announced they would no longer support PlayStation VR, which received its final update in March 2025. Music and sound design Minecraft's music and sound effects were produced by German musician Daniel Rosenfeld, better known as C418. To create the sound effects for the game, Rosenfeld made extensive use of Foley techniques. On learning the processes for the game, he remarked, "Foley's an interesting thing, and I had to learn its subtleties. Early on, I wasn't that knowledgeable about it. It's a whole trial-and-error process. You just make a sound and eventually you go, 'Oh my God, that's it! Get the microphone!' There's no set way of doing anything at all." He reminisced on creating the in-game sound for grass blocks, stating "It turns out that to make grass sounds you don't actually walk on grass and record it, because grass sounds like nothing. What you want to do is get a VHS, break it apart, and just lightly touch the tape." According to Rosenfeld, his favorite sound to design for the game was the hisses of spiders. He elaborates, "I like the spiders. Recording that was a whole day of me researching what a spider sounds like. Turns out, there are spiders that make little screeching sounds, so I think I got this recording of a fire hose, put it in a sampler, and just pitched it around until it sounded like a weird spider was talking to you." Many of the sound design decisions by Rosenfeld were done accidentally or spontaneously. The creeper notably lacks any specific noises apart from a loud fuse-like sound when about to explode; Rosenfeld later recalled "That was just a complete accident by Markus and me [sic]. We just put in a placeholder sound of burning a matchstick. It seemed to work hilariously well, so we kept it." On other sounds, such as those of the zombie, Rosenfeld remarked, "I actually never wanted the zombies so scary. I intentionally made them sound comical. It's nice to hear that they work so well [...]." Rosenfeld remarked that the sound engine was "terrible" to work with, remembering "If you had two song files at once, it [the game engine] would actually crash. There were so many more weird glitches like that the guys never really fixed because they were too busy with the actual game and not the sound engine." The background music in Minecraft consists of instrumental ambient music. To compose the music of Minecraft, Rosenfeld used the package from Ableton Live, along with several additional plug-ins. Speaking on them, Rosenfeld said "They can be pretty much everything from an effect to an entire orchestra. Additionally, I've got some synthesizers that are attached to the computer. Like a Moog Voyager, Dave Smith Prophet 08 and a Virus TI." On 4 March 2011, Rosenfeld released a soundtrack titled Minecraft – Volume Alpha; it includes most of the tracks featured in Minecraft, as well as other music not featured in the game. Kirk Hamilton of Kotaku chose the music in Minecraft as one of the best video game soundtracks of 2011. On 9 November 2013, Rosenfeld released the second official soundtrack, titled Minecraft – Volume Beta, which included the music that was added in a 2013 "Music Update" for the game. A physical release of Volume Alpha, consisting of CDs, black vinyl, and limited-edition transparent green vinyl LPs, was issued by indie electronic label Ghostly International on 21 August 2015. On 14 August 2020, Ghostly released Volume Beta on CD and vinyl, with alternate color LPs and lenticular cover pressings released in limited quantities. The final update Rosenfeld worked on was 2018's 1.13 Update Aquatic. His music remained the only music in the game until 2020's "Nether Update", introducing pieces from Lena Raine. Since then, other composers have made contributions, including Kumi Tanioka, Samuel Åberg, Aaron Cherof, and Amos Roddy, with Raine remaining as the new primary composer. Ownership of all music besides Rosenfeld's independently released albums has been retained by Microsoft, with their label publishing all of the other artists' releases. Gareth Coker also composed some of the music for the game's mini games from the Legacy Console editions. Rosenfeld had stated his intent to create a third album of music for the game in a 2015 interview with Fact, and confirmed its existence in a 2017 tweet, stating that his work on the record as of then had tallied up to be longer than the previous two albums combined, which in total clocks in at over 3 hours and 18 minutes. However, due to licensing issues with Microsoft, the third volume has since not seen release. On 8 January 2021, Rosenfeld was asked in an interview with Anthony Fantano whether or not there was still a third volume of his music intended for release. Rosenfeld responded, saying, "I have something—I consider it finished—but things have become complicated, especially as Minecraft is now a big property, so I don't know." Reception Minecraft has received critical acclaim, with praise for the creative freedom it grants players in-game, as well as the ease of enabling emergent gameplay. Critics have expressed enjoyment in Minecraft's complex crafting system, commenting that it is an important aspect of the game's open-ended gameplay. Most publications were impressed by the game's "blocky" graphics, with IGN describing them as "instantly memorable". Reviewers also liked the game's adventure elements, noting that the game creates a good balance between exploring and building. The game's multiplayer feature has been generally received favorably, with IGN commenting that "adventuring is always better with friends". Jaz McDougall of PC Gamer said Minecraft is "intuitively interesting and contagiously fun, with an unparalleled scope for creativity and memorable experiences". It has been regarded as having introduced millions of children to the digital world, insofar as its basic game mechanics are logically analogous to computer commands. IGN was disappointed about the troublesome steps needed to set up multiplayer servers, calling it a "hassle". Critics also said that visual glitches occur periodically. Despite its release out of beta in 2011, GameSpot said the game had an "unfinished feel", adding that some game elements seem "incomplete or thrown together in haste". A review of the alpha version, by Scott Munro of the Daily Record, called it "already something special" and urged readers to buy it. Jim Rossignol of Rock Paper Shotgun also recommended the alpha of the game, calling it "a kind of generative 8-bit Lego Stalker". On 17 September 2010, gaming webcomic Penny Arcade began a series of comics and news posts about the addictiveness of the game. The Xbox 360 version was generally received positively by critics, but did not receive as much praise as the PC version. Although reviewers were disappointed by the lack of features such as mod support and content from the PC version, they acclaimed the port's addition of a tutorial and in-game tips and crafting recipes, saying that they make the game more user-friendly. The Xbox One Edition was one of the best received ports, being praised for its relatively large worlds. The PlayStation 3 Edition also received generally favorable reviews, being compared to the Xbox 360 Edition and praised for its well-adapted controls. The PlayStation 4 edition was the best received port to date, being praised for having 36 times larger worlds than the PlayStation 3 edition and described as nearly identical to the Xbox One edition. The PlayStation Vita Edition received generally positive reviews from critics but was noted for its technical limitations. The Wii U version received generally positive reviews from critics but was noted for a lack of GamePad integration. The 3DS version received mixed reviews, being criticized for its high price, technical issues, and lack of cross-platform play. The Nintendo Switch Edition received fairly positive reviews from critics, being praised, like other modern ports, for its relatively larger worlds. Minecraft: Pocket Edition initially received mixed reviews from critics. Although reviewers appreciated the game's intuitive controls, they were disappointed by the lack of content. The inability to collect resources and craft items, as well as the limited types of blocks and lack of hostile mobs, were especially criticized. After updates added more content, Pocket Edition started receiving more positive reviews. Reviewers complimented the controls and the graphics, but still noted a lack of content. Minecraft surpassed over a million purchases less than a month after entering its beta phase in early 2011. At the same time, the game had no publisher backing and has never been commercially advertised except through word of mouth, and various unpaid references in popular media such as the Penny Arcade webcomic. By April 2011, Persson estimated that Minecraft had made €23 million (US$33 million) in revenue, with 800,000 sales of the alpha version of the game, and over 1 million sales of the beta version. In November 2011, prior to the game's full release, Minecraft beta surpassed 16 million registered users and 4 million purchases. By March 2012, Minecraft had become the 6th best-selling PC game of all time. As of 10 October 2014[update], the game had sold 17 million copies on PC, becoming the best-selling PC game of all time. On 25 February 2014, the game reached 100 million registered users. By May 2019, 180 million copies had been sold across all platforms, making it the single best-selling video game of all time. The free-to-play Minecraft China version had over 700 million registered accounts by September 2023. By 2023, the game had sold over 300 million copies. As of April 2025, Minecraft has sold over 350 million copies. The Xbox 360 version of Minecraft became profitable within the first day of the game's release in 2012, when the game broke the Xbox Live sales records with 400,000 players online. Within a week of being on the Xbox Live Marketplace, Minecraft sold a million copies. GameSpot announced in December 2012 that Minecraft sold over 4.48 million copies since the game debuted on Xbox Live Arcade in May 2012. In 2012, Minecraft was the most purchased title on Xbox Live Arcade; it was also the fourth most played title on Xbox Live based on average unique users per day. As of 4 April 2014[update], the Xbox 360 version has sold 12 million copies. In addition, Minecraft: Pocket Edition has reached a figure of 21 million in sales. The PlayStation 3 Edition sold one million copies in five weeks. The release of the game's PlayStation Vita version boosted Minecraft sales by 79%, outselling both PS3 and PS4 debut releases and becoming the largest Minecraft launch on a PlayStation console. The PS Vita version sold 100,000 digital copies in Japan within the first two months of release, according to an announcement by SCE Japan Asia. By January 2015, 500,000 digital copies of Minecraft were sold in Japan across all PlayStation platforms, with a surge in primary school children purchasing the PS Vita version. As of 2022, the Vita version has sold over 1.65 million physical copies in Japan, making it the best-selling Vita game in the country. Minecraft helped improve Microsoft's total first-party revenue by $63 million for the 2015 second quarter. The game, including all of its versions, had over 112 million monthly active players by September 2019. On its 11th anniversary in May 2020, the company announced that Minecraft had reached over 200 million copies sold across platforms with over 126 million monthly active players. By April 2021, the number of active monthly users had climbed to 140 million. In July 2010, PC Gamer listed Minecraft as the fourth-best game to play at work. In December of that year, Good Game selected Minecraft as their choice for Best Downloadable Game of 2010, Gamasutra named it the eighth best game of the year as well as the eighth best indie game of the year, and Rock, Paper, Shotgun named it the "game of the year". Indie DB awarded the game the 2010 Indie of the Year award as chosen by voters, in addition to two out of five Editor's Choice awards for Most Innovative and Best Singleplayer Indie. It was also awarded Game of the Year by PC Gamer UK. The game was nominated for the Seumas McNally Grand Prize, Technical Excellence, and Excellence in Design awards at the March 2011 Independent Games Festival and won the Grand Prize and the community-voted Audience Award. At Game Developers Choice Awards 2011, Minecraft won awards in the categories for Best Debut Game, Best Downloadable Game and Innovation Award, winning every award for which it was nominated. It also won GameCity's video game arts award. On 5 May 2011, Minecraft was selected as one of the 80 games that would be displayed at the Smithsonian American Art Museum as part of The Art of Video Games exhibit that opened on 16 March 2012. At the 2011 Spike Video Game Awards, Minecraft won the award for Best Independent Game and was nominated in the Best PC Game category. In 2012, at the British Academy Video Games Awards, Minecraft was nominated in the GAME Award of 2011 category and Persson received The Special Award. In 2012, Minecraft XBLA was awarded a Golden Joystick Award in the Best Downloadable Game category, and a TIGA Games Industry Award in the Best Arcade Game category. In 2013, it was nominated as the family game of the year at the British Academy Video Games Awards. During the 16th Annual D.I.C.E. Awards, the Academy of Interactive Arts & Sciences nominated the Xbox 360 version of Minecraft for "Strategy/Simulation Game of the Year". Minecraft Console Edition won the award for TIGA Game Of The Year in 2014. In 2015, the game placed 6th on USgamer's The 15 Best Games Since 2000 list. In 2016, Minecraft placed 6th on Time's The 50 Best Video Games of All Time list. Minecraft was nominated for the 2013 Kids' Choice Awards for Favorite App, but lost to Temple Run. It was nominated for the 2014 Kids' Choice Awards for Favorite Video Game, but lost to Just Dance 2014. The game later won the award for the Most Addicting Game at the 2015 Kids' Choice Awards. In addition, the Java Edition was nominated for "Favorite Video Game" at the 2018 Kids' Choice Awards, while the game itself won the "Still Playing" award at the 2019 Golden Joystick Awards, as well as the "Favorite Video Game" award at the 2020 Kids' Choice Awards. Minecraft also won "Stream Game of the Year" at inaugural Streamer Awards in 2021. The game later garnered a Nickelodeon Kids' Choice Award nomination for Favorite Video Game in 2021, and won the same category in 2022 and 2023. At the Golden Joystick Awards 2025, it won the Still Playing Award - PC and Console. Minecraft has been subject to several notable controversies. In June 2014, Mojang announced that it would begin enforcing the portion of Minecraft's end-user license agreement (EULA) which prohibits servers from giving in-game advantages to players in exchange for donations or payments. Spokesperson Owen Hill stated that servers could still require players to pay a fee to access the server and could sell in-game cosmetic items. The change was supported by Persson, citing emails he received from parents of children who had spent hundreds of dollars on servers. The Minecraft community and server owners protested, arguing that the EULA's terms were more broad than Mojang was claiming, that the crackdown would force smaller servers to shut down for financial reasons, and that Mojang was suppressing competition for its own Minecraft Realms subscription service. The controversy contributed to Notch's decision to sell Mojang. In 2020, Mojang announced an eventual change to the Java Edition to require a login from a Microsoft account rather than a Mojang account, the latter of which would be sunsetted. This also required Java Edition players to create Xbox network Gamertags. Mojang defended the move to Microsoft accounts by saying that improved security could be offered, including two-factor authentication, blocking cyberbullies in chat, and improved parental controls. The community responded with intense backlash, citing various technical difficulties encountered in the process and how account migration would be mandatory, even for those who do not play on servers. As of 10 March 2022, Microsoft required that all players migrate in order to maintain access the Java Edition of Minecraft. Mojang announced a deadline of 19 September 2023 for account migration, after which all legacy Mojang accounts became inaccessible and unable to be migrated. In June 2022, Mojang added a player-reporting feature in Java Edition. Players could report other players on multiplayer servers for sending messages prohibited by the Xbox Live Code of Conduct; report categories included profane language,[l] substance abuse, hate speech, threats of violence, and nudity. If a player was found to be in violation of Xbox Community Standards, they would be banned from all servers for a specific period of time or permanently. The update containing the report feature (1.19.1) was released on 27 July 2022. Mojang received substantial backlash and protest from community members, one of the most common complaints being that banned players would be forbidden from joining any server, even private ones. Others took issue to what they saw as Microsoft increasing control over its player base and exercising censorship, leading some to start a hashtag #saveminecraft and dub the version "1.19.84", a reference to the dystopian novel Nineteen Eighty-Four. The "Mob Vote" was an online event organized by Mojang in which the Minecraft community voted between three original mob concepts; initially, the winning mob was to be implemented in a future update, while the losing mobs were scrapped, though after the first mob vote this was changed, and losing mobs would now have a chance to come to the game in the future. The first Mob Vote was held during Minecon Earth 2017 and became an annual event starting with Minecraft Live 2020. The Mob Vote was often criticized for forcing players to choose one mob instead of implementing all three, causing divisions and flaming within the community, and potentially allowing internet bots and Minecraft content creators with large fanbases to conduct vote brigading. The Mob Vote was also blamed for a perceived lack of new content added to Minecraft since Microsoft's acquisition of Mojang in 2014. The 2023 Mob Vote featured three passive mobs—the crab, the penguin, and the armadillo—with voting scheduled to start on 13 October. In response, a Change.org petition was created on 6 October, demanding that Mojang eliminate the Mob Vote and instead implement all three mobs going forward. The petition received approximately 445,000 signatures by 13 October and was joined by calls to boycott the Mob Vote, as well as a partially tongue-in-cheek "revolutionary" propaganda campaign in which sympathizers created anti-Mojang and pro-boycott posters in the vein of real 20th century propaganda posters. Mojang did not release an official response to the boycott, and the Mob Vote otherwise proceeded normally, with the armadillo winning the vote. In September 2024, as part of a blog post detailing their future plans for Minecraft's development, Mojang announced the Mob Vote would be retired. Cultural impact In September 2019, The Guardian classified Minecraft as the best video game of the 21st century to date, and in November 2019, Polygon called it the "most important game of the decade" in its 2010s "decade in review". In June 2020, Minecraft was inducted into the World Video Game Hall of Fame. Minecraft is recognized as one of the first successful games to use an early access model to draw in sales prior to its full release version to help fund development. As Minecraft helped to bolster indie game development in the early 2010s, it also helped to popularize the use of the early access model in indie game development. Social media sites such as YouTube, Facebook, and Reddit have played a significant role in popularizing Minecraft. Research conducted by the Annenberg School for Communication at the University of Pennsylvania showed that one-third of Minecraft players learned about the game via Internet videos. In 2010, Minecraft-related videos began to gain influence on YouTube, often made by commentators. The videos usually contain screen-capture footage of the game and voice-overs. Common coverage in the videos includes creations made by players, walkthroughs of various tasks, and parodies of works in popular culture. By May 2012, over four million Minecraft-related YouTube videos had been uploaded. The game would go on to be a prominent fixture within YouTube's gaming scene during the entire 2010s; in 2014, it was the second-most searched term on the entire platform. By 2018, it was still YouTube's biggest game globally. Some popular commentators have received employment at Machinima, a now-defunct gaming video company that owned a highly watched entertainment channel on YouTube. The Yogscast is a British company that regularly produces Minecraft videos; their YouTube channel has attained billions of views, and their panel at Minecon 2011 had the highest attendance. Another well-known YouTube personality is Jordan Maron, known online as CaptainSparklez, who has also created many Minecraft music parodies, including "Revenge", a parody of Usher's "DJ Got Us Fallin' in Love". Minecraft's popularity on YouTube was described by Polygon as quietly dominant, although in 2019, thanks in part to PewDiePie's playthroughs of the game, Minecraft experienced a visible uptick in popularity on the platform. Longer-running series include Far Lands or Bust, dedicated to reaching the obsolete "Far Lands" glitch by foot on an older version of the game. YouTube announced that on 14 December 2021 that the total amount of Minecraft-related views on the website had exceeded one trillion. Minecraft has been referenced by other video games, such as Torchlight II, Team Fortress 2, Borderlands 2, Choplifter HD, Super Meat Boy, The Elder Scrolls V: Skyrim, The Binding of Isaac, The Stanley Parable, and FTL: Faster Than Light. Minecraft is officially represented in downloadable content for the crossover fighter Super Smash Bros. Ultimate, with Steve as a playable character with a moveset including references to building, crafting, and redstone, alongside an Overworld-themed stage. It was also referenced by electronic music artist Deadmau5 in his performances. The game is also referenced heavily in "Informative Murder Porn", the second episode of the seventeenth season of the animated television series South Park. In 2025, A Minecraft Movie was released. It made $313 million in the box office in the first week, a record-breaking opening for a video game adaptation. Minecraft has been noted as a cultural touchstone for Generation Z, as many of the generation's members played the game at a young age. The possible applications of Minecraft have been discussed extensively, especially in the fields of computer-aided design (CAD) and education. In a panel at Minecon 2011, a Swedish developer discussed the possibility of using the game to redesign public buildings and parks, stating that rendering using Minecraft was much more user-friendly for the community, making it easier to envision the functionality of new buildings and parks. In 2012, a member of the Human Dynamics group at the MIT Media Lab, Cody Sumter, said: "Notch hasn't just built a game. He's tricked 40 million people into learning to use a CAD program." Various software has been developed to allow virtual designs to be printed using professional 3D printers or personal printers such as MakerBot and RepRap. In September 2012, Mojang began the Block by Block project in cooperation with UN Habitat to create real-world environments in Minecraft. The project allows young people who live in those environments to participate in designing the changes they would like to see. Using Minecraft, the community has helped reconstruct the areas of concern, and citizens are invited to enter the Minecraft servers and modify their own neighborhood. Carl Manneh, Mojang's managing director, called the game "the perfect tool to facilitate this process", adding "The three-year partnership will support UN-Habitat's Sustainable Urban Development Network to upgrade 300 public spaces by 2016." Mojang signed Minecraft building community, FyreUK, to help render the environments into Minecraft. The first pilot project began in Kibera, one of Nairobi's informal settlements and is in the planning phase. The Block by Block project is based on an earlier initiative started in October 2011, Mina Kvarter (My Block), which gave young people in Swedish communities a tool to visualize how they wanted to change their part of town. According to Manneh, the project was a helpful way to visualize urban planning ideas without necessarily having a training in architecture. The ideas presented by the citizens were a template for political decisions. In April 2014, the Danish Geodata Agency generated all of Denmark in fullscale in Minecraft based on their own geodata. This is possible because Denmark is one of the flattest countries with the highest point at 171 meters (ranking as the country with the 30th smallest elevation span), where the limit in default Minecraft was around 192 meters above in-game sea level when the project was completed. Taking advantage of the game's accessibility where other websites are censored, the non-governmental organization Reporters Without Borders has used an open Minecraft server to create the Uncensored Library, a repository within the game of journalism by authors from countries (including Egypt, Mexico, Russia, Saudi Arabia and Vietnam) who have been censored and arrested, such as Jamal Khashoggi. The neoclassical virtual building was created over about 250 hours by an international team of 24 people. Despite its unpredictable nature, Minecraft speedrunning, where players time themselves from spawning into a new world to reaching The End and defeating the Ender Dragon boss, is popular. Some speedrunners use a combination of mods, external programs, and debug menus, while other runners play the game in a more vanilla or more consistency-oriented way. Minecraft has been used in educational settings through initiatives such as MinecraftEdu, founded in 2011 to make the game affordable and accessible for schools in collaboration with Mojang. MinecraftEdu provided features allowing teachers to monitor student progress, including screenshot submissions as evidence of lesson completion, and by 2012 reported that approximately 250,000 students worldwide had access to the platform. Mojang also developed Minecraft: Education Edition with pre-built lesson plans for up to 30 students in a closed environment. Educators have used Minecraft to teach subjects such as history, language arts, and science through custom-built environments, including reconstructions of historical landmarks and large-scale models of biological structures such as animal cells. The introduction of redstone blocks enabled the construction of functional virtual machines such as a hard drive and an 8-bit computer. Mods have been created to use these mechanics for teaching programming. In 2014, the British Museum announced a project to reproduce its building and exhibits in Minecraft in collaboration with the public. Microsoft and Code.org have offered Minecraft-based tutorials and activities designed to teach programming, reporting by 2018 that more than 85 million children had used their resources. In 2025, the Musée de Minéralogie in Paris held a temporary exhibition titled "Minerals in Minecraft." Following the initial surge in popularity of Minecraft in 2010, other video games were criticised for having various similarities to Minecraft, and some were described as being "clones", often due to a direct inspiration from Minecraft, or a superficial similarity. Examples include Ace of Spades, CastleMiner, CraftWorld, FortressCraft, Terraria, BlockWorld 3D, Total Miner, and Luanti (formerly Minetest). David Frampton, designer of The Blockheads, reported that one failure of his 2D game was the "low resolution pixel art" that too closely resembled the art in Minecraft, which resulted in "some resistance" from fans. A homebrew adaptation of the alpha version of Minecraft for the Nintendo DS, titled DScraft, has been released; it has been noted for its similarity to the original game considering the technical limitations of the system. In response to Microsoft's acquisition of Mojang and their Minecraft IP, various developers announced further clone titles developed specifically for Nintendo's consoles, as they were the only major platforms not to officially receive Minecraft at the time. These clone titles include UCraft (Nexis Games), Cube Life: Island Survival (Cypronia), Discovery (Noowanda), Battleminer (Wobbly Tooth Games), Cube Creator 3D (Big John Games), and Stone Shire (Finger Gun Games). Despite this, the fears of fans were unfounded, with official Minecraft releases on Nintendo consoles eventually resuming. Markus Persson made another similar game, Minicraft, for a Ludum Dare competition in 2011. In 2025, Persson announced through a poll on his X account that he was considering developing a spiritual successor to Minecraft. He later clarified that he was "100% serious", and that he had "basically announced Minecraft 2". Within days, however, Persson cancelled the plans after speaking to his team. In November 2024, artificial intelligence companies Decart and Etched released Oasis, an artificially generated version of Minecraft, as a proof of concept. Every in-game element is completely AI-generated in real time and the model does not store world data, leading to "hallucinations" such as items and blocks appearing that were not there before. In January 2026, indie game developer Unomelon announced that their voxel sandbox game Allumeria would be playable in Steam Next Fest that year. On 10 February, Mojang issued a DMCA takedown of Allumeria on Steam through Valve, alleging the game was infringing on Minecraft's copyright. Some reports suggested that the takedown may have used an automatic AI copyright claiming service. The DMCA was later withdrawn. Minecon was an annual official fan convention dedicated to Minecraft. The first full Minecon was held in November 2011 at the Mandalay Bay Hotel and Casino in Las Vegas. The event included the official launch of Minecraft; keynote speeches, including one by Persson; building and costume contests; Minecraft-themed breakout classes; exhibits by leading gaming and Minecraft-related companies; commemorative merchandise; and autograph and picture times with Mojang employees and well-known contributors from the Minecraft community. In 2016, Minecon was held in-person for the last time, with the following years featuring annual "Minecon Earth" livestreams on minecraft.net and YouTube instead. These livestreams, later rebranded to "Minecraft Live", included the mob/biome votes, and announcements of new game updates. In 2025, "Minecraft Live" became a biannual event as part of Minecraft's changing update schedule.[citation needed] Notes References External links |
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Contents Constellation Four views of the constellation Orion: A constellation is an area on the celestial sphere in which a group of visible stars forms a perceived pattern or outline, typically representing an animal, mythological subject, or inanimate object. The first constellations were likely defined in prehistory. People used them to relate stories of their beliefs, experiences, creation, and mythology. Different cultures and countries invented their own constellations, some of which lasted into the early 20th century before today's constellations were internationally recognized. The recognition of constellations has changed significantly over time. Many changed in size or shape. Some became popular, only to drop into obscurity. Some were limited to a single culture or nation. Naming constellations also helped astronomers and navigators identify stars more easily. Twelve (or thirteen) ancient constellations belong to the zodiac (straddling the ecliptic, which the Sun, Moon, and planets all traverse). The origins of the zodiac remain historically uncertain; its astrological divisions became prominent c. 400 BC in Babylonian or Chaldean astronomy. Constellations appear in Western culture via Greece and are mentioned in the works of Hesiod, Eudoxus and Aratus. The traditional 48 constellations, consisting of the zodiac and 36 more (now 38, following the division of Argo Navis into three constellations) are listed by Ptolemy, a Greco-Roman astronomer from Alexandria, Egypt, in his Almagest. The formation of constellations was the subject of extensive mythology, most notably in the Metamorphoses of the Latin poet Ovid. Constellations in the far southern sky were added from the 15th century until the mid-18th century when European explorers began traveling to the Southern Hemisphere. Due to Roman and European transmission, each constellation has a Latin name. In 1922, the International Astronomical Union (IAU) formally accepted the modern list of 88 constellations, and in 1928 adopted official constellation boundaries that together cover the entire celestial sphere. Any given point in a celestial coordinate system lies in one of the modern constellations. Some astronomical naming systems include the constellation where a given celestial object is found to convey its approximate location in the sky. The Flamsteed designation of a star, for example, consists of a number and the genitive form of the constellation's name. Other star patterns or groups called asterisms are not constellations under the formal definition, but are also used by observers to navigate the night sky. Asterisms may be several stars within a constellation, or they may share stars with more than one constellation. Examples of asterisms include the teapot within the constellation Sagittarius, or the Big Dipper in the constellation of Ursa Major. Terminology The word constellation comes from the Late Latin term cōnstellātiō, which can be translated as "set of stars"; it came into use in Middle English during the 14th century. The Ancient Greek word for constellation is ἄστρον (astron). These terms historically referred to any recognisable pattern of stars whose appearance was associated with mythological characters or creatures, earthbound animals, or objects. Over time, among European astronomers, the constellations became clearly defined and widely recognised. In the 20th century, the International Astronomical Union (IAU) recognized 88 constellations. A constellation or star that never sets below the horizon when viewed from a particular latitude on Earth is termed circumpolar. From the North Pole or South Pole, all constellations south or north of the celestial equator are circumpolar. Depending on the definition, equatorial constellations may include those that lie between declinations 45° north and 45° south, or those that pass through the declination range of the ecliptic (or zodiac) ranging between 23.5° north and 23.5° south. Stars in constellations can appear near each other in the sky, but they usually lie at a variety of distances away from the Earth. Since each star has its own independent motion, all constellations will change slowly over time. After tens to hundreds of thousands of years, familiar outlines will become unrecognizable. Astronomers can predict the past or future constellation outlines by measuring common proper motions of individual stars by accurate astrometry and their radial velocities by astronomical spectroscopy. The 88 constellations recognized by the IAU as well as those by cultures throughout history are imagined figures and shapes derived from the patterns of stars in the observable sky. Many officially recognized constellations are based on the imaginations of ancient Near Eastern and Mediterranean mythologies.[page needed] Some of these stories seem to relate to the appearance of the constellations, e.g. the assassination of Orion by Scorpius, their constellations appearing at opposite times of year. Observation Constellation positions change throughout the year due to night on Earth occurring at gradually different portions of its orbit around the Sun. As Earth rotates toward the east, the celestial sphere appears to rotate west, with stars circling counterclockwise around the northern pole star and clockwise around the southern pole star. Because of Earth's 23.5° axial tilt, the zodiac is distributed equally across hemispheres (along the ecliptic), approximating a great circle. Zodiacal constellations of the northern sky are Pisces, Aries, Taurus, Gemini, Cancer, and Leo. In the southern sky are Virgo, Libra, Scorpius, Sagittarius, Capricornus, and Aquarius.[a] The zodiac appears directly overhead from latitudes of 23.5° north to 23.5° south, depending on the time of year. In summer, the ecliptic appears higher up in the daytime and lower at night, while in winter the reverse is true, for both hemispheres. Due to the Solar System's 60° tilt, the galactic plane of the Milky Way is inclined 60° from the ecliptic, between Taurus and Gemini (north) and Scorpius and Sagittarius (south and near which the Galactic Center can be found). The galaxy appears to pass through Aquila (near the celestial equator) and northern constellations Cygnus, Cassiopeia, Perseus, Auriga, and Orion (near Betelgeuse), as well as Monoceros (near the celestial equator), and southern constellations Puppis, Vela, Carina, Crux, Centaurus, Triangulum Australe, and Ara. Polaris, being the North Star, is the approximate center of the northern celestial hemisphere. It is part of Ursa Minor, constituting the end of the Little Dipper's handle. From latitudes of around 35° north, in January, Ursa Major (containing the Big Dipper) appears to the northeast, while Cassiopeia is the northwest. To the west are Pisces (above the horizon) and Aries. To the southwest Cetus is near the horizon. Up high and to the south are Orion and Taurus. To the southeast above the horizon is Canis Major. Appearing above and to the east of Orion is Gemini: also in the east (and progressively closer to the horizon) are Cancer and Leo. In addition to Taurus, Perseus and Auriga appear overhead. From the same latitude, in July, Cassiopeia (low in the sky) and Cepheus appear to the northeast. Ursa Major is now in the northwest. Boötes is high up in the west. Virgo is to the west, with Libra southwest and Scorpius south. Sagittarius and Capricorn are southeast. Cygnus (containing the Northern Cross) is to the east. Hercules is high in the sky along with Corona Borealis. January constellations include Pictor and Reticulum (near Hydrus and Mensa, respectively). In July, Ara (adjacent to Triangulum Australe) and Scorpius can be seen. Constellations near the pole star include Chamaeleon, Apus and Triangulum Australe (near Centaurus), Pavo, Hydrus, and Mensa. Sigma Octantis is the closest star approximating a southern pole star, but is faint in the night sky. Thus, the pole can be triangulated using the constellation Crux as well as the stars Alpha and Beta Centauri (about 30° counterclockwise from Crux) of the constellation Centaurus (arching over Crux). History of the early constellations It has been suggested that the 17,000-year-old cave paintings in Lascaux, southern France, depict star constellations such as Taurus, Orion's Belt, and the Pleiades. However, this view is not generally accepted among scientists. Inscribed stones and clay writing tablets from Mesopotamia (in modern Iraq) dating to 3000 BC provide the earliest generally accepted evidence for humankind's identification of constellations. It seems that the bulk of the Mesopotamian constellations were created within a relatively short interval from around 1300 to 1000 BC. Mesopotamian constellations appeared later in many of the classical Greek constellations. The oldest Babylonian catalogues of stars and constellations date back to the beginning of the Middle Bronze Age, most notably the Three Stars Each texts and the MUL.APIN, an expanded and revised version based on more accurate observation from around 1000 BC. However, the numerous Sumerian names in these catalogues suggest that they built on older, but otherwise unattested, Sumerian traditions of the Early Bronze Age. The classical Zodiac is a revision of Neo-Babylonian constellations from the 6th century BC. The Greeks adopted the Babylonian constellations in the 4th century BC. Twenty Ptolemaic constellations are from the Ancient Near East. Another ten have the same stars but different names. Biblical scholar E. W. Bullinger interpreted some of the creatures mentioned in the books of Ezekiel and Revelation as the middle signs of the four-quarters of the Zodiac, with the Lion as Leo, the Bull as Taurus, the Man representing Aquarius, and the Eagle standing in for Scorpio. The biblical Book of Job also makes reference to a number of constellations, including עיש ‘Ayish "bier", כסיל chesil "fool" and כימה chimah "heap" (Job 9:9, 38:31–32), rendered as "Arcturus, Orion and Pleiades" by the KJV, but ‘Ayish "the bier" actually corresponding to Ursa Major. The term Mazzaroth מַזָּרוֹת, translated as a garland of crowns, is a hapax legomenon in Job 38:32, and it might refer to the zodiacal constellations. There is only limited information on ancient Greek constellations, with some fragmentary evidence being found in the Works and Days of the Greek poet Hesiod, who mentioned the "heavenly bodies". Greek astronomy essentially adopted the older Babylonian system in the Hellenistic era,[citation needed] first introduced to Greece by Eudoxus of Cnidus in the 4th century BC. The original work of Eudoxus is lost, but it survives as a versification by Aratus, dating to the 3rd century BC. The most complete existing works dealing with the mythical origins of the constellations are by the Hellenistic writer termed pseudo-Eratosthenes and an early Roman writer styled pseudo-Hyginus. The basis of Western astronomy as taught during Late Antiquity and until the Early Modern period is the Almagest by Ptolemy, written in the 2nd century. In the Ptolemaic Kingdom, native Egyptian tradition of anthropomorphic figures represented the planets, stars, and various constellations. Some of these were combined with Greek and Babylonian astronomical systems culminating in the Zodiac of Dendera, the oldest known depiction of the zodiac showing all the now familiar constellations, along with some original Egyptian constellations, decans, and planets. It remains unclear when this occurred, but most were placed during the Roman period between 2nd to 4th centuries AD. Ptolemy's Almagest remained the standard definition of constellations in the medieval period both in Europe and in Islamic astronomy. Ancient China had a long tradition of observing celestial phenomena. Nonspecific Chinese star names, later categorized in the Twenty-Eight Mansions, have been found on oracle bones from Anyang, dating back to the middle Shang dynasty. Chinese constellations are among the most significant observations of the Chinese sky, dating back to the 5th century BCE. The Chinese system developed independently from the Greco-Roman system, although there may have been earlier mutual influence, suggested by parallels to ancient Babylonian astronomy. Three schools of classical Chinese astronomy in the Han period are attributed to astronomers of the earlier Warring States period. The constellations of the three schools were conflated into a single system by Chen Zhuo, an astronomer of the 3rd century, the Three Kingdoms period. Chen Zhuo's work has been lost, but information on his system of constellations survives in Tang dynasty records, notably by Gautama Siddha in his Nine Seizers Canon (Chinese: 九執曆; pinyin: Jiǔzhí-lì), an Indo-Chinese resident of Chang'an. The oldest extant Chinese star chart dates to that period and was preserved as part of the Dunhuang manuscripts. Native Chinese astronomy flourished during the Song dynasty, and during the Yuan dynasty and the subsequent Ming dynasty became increasingly influenced by other eastern and western astronomers of the medieval era: see Treatise on Astrology of the Kaiyuan Era. As maps were prepared during this period on more scientific lines, they were considered as more reliable. A well-known map from the Song period is the Suzhou Astronomical Chart, which was prepared with carvings of stars on the planisphere of the Chinese sky on a stone plate; it is done accurately based on observations, and it shows the 1054 supernova in Taurus. Influenced by European astronomy during the late Ming dynasty, charts depicted more stars but retained the traditional constellations. Newly observed stars were incorporated as supplementary to old constellations in the southern sky, which did not depict the traditional stars recorded by ancient Chinese astronomers. Further improvements were made during the later part of the Ming dynasty by Xu Guangqi and Johann Adam Schall von Bell, the German Jesuit and were recorded in Chongzhen Lishu (Calendrical Treatise of Chongzhen period, 1628).[clarification needed] Traditional Chinese star maps incorporated 23 new constellations with 125 stars of the southern hemisphere of the sky based on the knowledge of Western star charts; with this improvement, the Chinese sky was integrated with world astronomy. Early modern astronomy Historically, the origins of the constellations of the northern and southern skies are distinctly different. Most northern constellations date to antiquity, with names based mostly on Classical Greek legends. Evidence of these constellations has survived in the form of star charts, whose oldest representation appears on the statue known as the Farnese Atlas, based perhaps on the star catalogue of the Greek astronomer Hipparchus. Southern constellations are more modern inventions, sometimes as substitutes for ancient constellations (e.g. Argo Navis). Some southern constellations had long names that were shortened to more usable forms; e.g. Musca Australis became simply Musca. Some of the early constellations were never universally adopted. Stars were often grouped into constellations differently by different observers, and the arbitrary constellation boundaries often led to confusion as to which constellation a celestial object belonged. Before astronomers delineated precise boundaries (starting in the 19th century), constellations generally appeared as ill-defined regions of the sky. Today they now follow officially accepted designated lines of right ascension and declination based on those defined by Benjamin Gould in Equinox B1875.0 in his star catalogue Uranometria Argentina. The 1603 star atlas "Uranometria" of Johann Bayer assigned stars to individual constellations and formalized the division by assigning a series of Greek and Latin letters to the stars within each constellation. These are known today as Bayer designations. Subsequent star atlases led to the development of today's accepted modern constellations. Several modern proposals have not survived. The French astronomers Pierre Lemonnier and Joseph Lalande, for example, proposed constellations that were once popular but have since been dropped. The northern constellation Quadrans Muralis survived into the 19th century (when its name was attached to the Quadrantid meteor shower), but is now divided between Boötes and Draco. The southern sky, below about −65° declination, was only partially catalogued by ancient Babylonians, Egyptians, Greeks, Chinese, and Persian astronomers of the north. The knowledge that northern and southern star patterns differed goes back to Classical writers, who describe, for example, the African circumnavigation expedition commissioned by Egyptian Pharaoh Necho II in c. 600 BC and those of Hanno the Navigator in c. 500 BC. The history of southern constellations is not straightforward. Different groupings and different names were proposed by various observers, some reflecting national traditions or designed to promote various sponsors. Southern constellations were important from the 14th to 16th centuries, when sailors used the stars for celestial navigation. Italian explorers who recorded new southern constellations include Andrea Corsali, Antonio Pigafetta, and Amerigo Vespucci. Many of the 88 IAU-recognized constellations in this region first appeared on celestial globes introduced in the late 16th century by Petrus Plancius, based mainly on observations of the Dutch navigators Pieter Dirkszoon Keyser and Frederick de Houtman. These became widely known through Johann Bayer's star atlas Uranometria of 1603. Fourteen more were created in 1752 by the French astronomer Nicolas Louis de Lacaille, who also split the ancient constellation Argo Navis into three; these new figures appeared in his star catalogue, published in 1756. A list of 88 constellations was produced for the IAU in 1922. It is roughly based on the traditional Greek constellations listed by Ptolemy in his Almagest in the 2nd century and Aratus' work Phenomena, with early modern modifications and additions (most importantly introducing constellations covering the parts of the southern sky unknown to Ptolemy) by Petrus Plancius (1592, 1597/98 and 1613), Johannes Hevelius (1690) and Nicolas Louis de Lacaille (1763), who introduced fourteen new constellations. Lacaille studied the stars of the southern hemisphere from 1751 until 1752 from the Cape of Good Hope, when he was said to have observed more than 10,000 stars using a refracting telescope with an aperture of 0.5 inches (13 mm). In 1922, Henry Norris Russell produced a list of 88 constellations with three-letter abbreviations for them. However, these constellations did not have clear borders between them. In 1928, the IAU formally accepted the 88 modern constellations, with contiguous boundaries along vertical and horizontal lines of right ascension and declination developed by Eugene Delporte that, together, cover the entire celestial sphere; this list was finally published in 1930. Where possible, these modern constellations usually share the names of their Graeco-Roman predecessors, such as Orion, Leo, or Scorpius. The aim of this system is area-mapping, i.e. the division of the celestial sphere into contiguous fields. Out of the 88 modern constellations, 36 lie predominantly in the northern sky, and the other 52 predominantly in the southern. The boundaries developed by Delporte used data that originated back to epoch B1875.0, which was when Benjamin A. Gould first made his proposal to designate boundaries for the celestial sphere, a suggestion on which Delporte based his work. The consequence of this early date is that because of the precession of the equinoxes, the borders on a modern star map, such as epoch J2000, are already somewhat skewed and no longer perfectly vertical or horizontal. This effect will increase over the years and centuries to come. The constellations have no official symbols, though those of the ecliptic may take the signs of the zodiac. Symbols for the other modern constellations, as well as older ones that still occur in modern nomenclature, have occasionally been published. Dark cloud constellations The Great Rift, a series of dark patches in the Milky Way, is most visible in the southern sky. Some cultures have discerned shapes in these patches. Members of the Inca civilization identified various dark areas or dark nebulae in the Milky Way as animals and associated their appearance with the seasonal rains. Australian Aboriginal astronomy also describes dark cloud constellations, the most famous being the "emu in the sky" whose head is formed by the Coalsack, a dark nebula, instead of the stars. See also References Footnotes Citations Further reading External links |
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[SOURCE: https://www.reddit.com/user/One_Refuse_933] | [TOKENS: 994] |
One_Refuse_933 u/One_Refuse_933 r/MinecraftCommands A place for all things about commands, command blocks and data-packs in vanilla Minecraft; to share, to question, to discuss, and more! Please read the pinned post before posting. Weekly visitors Weekly contributions r/MinecraftCommands r/MinecraftCommands A place for all things about commands, command blocks and data-packs in vanilla Minecraft; to share, to question, to discuss, and more! Please read the pinned post before posting. Weekly visitors Weekly contributions • Take Items From A Player's Enderchest (Java) One_Refuse_933 replied to GalSergey Thanks! Do you know how I can install the plugin? I'm on a Mac and new to this kind of stuff. Reply reply A place for all things about commands, command blocks and data-packs in vanilla Minecraft; to share, to question, to discuss, and more! Please read the pinned post before posting. A place for all things about commands, command blocks and data-packs in vanilla Minecraft; to share, to question, to discuss, and more! Please read the pinned post before posting. Take Items From A Player's Enderchest (Java) Thanks! Do you know how I can install the plugin? I'm on a Mac and new to this kind of stuff. Take Items From A Player's Enderchest (Java) r/MinecraftCommands r/MinecraftCommands A place for all things about commands, command blocks and data-packs in vanilla Minecraft; to share, to question, to discuss, and more! Please read the pinned post before posting. Weekly visitors Weekly contributions • Take Items From A Player's Enderchest (Java) Help | Java 1.21.11 I'm on a realm with a few of my friends on Java and one of them has been using x-ray which I don't want happening. They stored all of their x-rayed ores in an enderchest. I'm the server operator/owner. Is there anyway for me to take items out of someone's enderchest? A place for all things about commands, command blocks and data-packs in vanilla Minecraft; to share, to question, to discuss, and more! Please read the pinned post before posting. I'm on a realm with a few of my friends on Java and one of them has been using x-ray which I don't want happening. They stored all of their x-rayed ores in an enderchest. I'm the server operator/owner. Is there anyway for me to take items out of someone's enderchest? Help with Platformer r/scratch r/scratch The unofficial Scratch community on Reddit. Scratch is the world’s largest coding community for children and a coding language with a simple visual interface that allows young people to create digital stories, games, and animations. Scratch is designed, developed, and moderated by the Scratch Foundation, a nonprofit organization. -Scratch Wiki Weekly visitors Weekly contributions • Help with Platformer Question Hello I'm using the Griffpatch Platformer Tutorial (I have minimal Scratch experience) and I want to add a "dash" feature to my game. This is where if you press a certain button ,(currently undecided) you will dash forward. Is there a way I can do this. I've tried it before with the glide feature but I always end up inside the platforms. The unofficial Scratch community on Reddit. Scratch is the world’s largest coding community for children and a coding language with a simple visual interface that allows young people to create digital stories, games, and animations. Scratch is designed, developed, and moderated by the Scratch Foundation, a nonprofit organization. -Scratch Wiki Hello I'm using the Griffpatch Platformer Tutorial (I have minimal Scratch experience) and I want to add a "dash" feature to my game. This is where if you press a certain button ,(currently undecided) you will dash forward. Is there a way I can do this. I've tried it before with the glide feature but I always end up inside the platforms. I Beat Pokemon Sword As Team Sky! r/MandJTV r/MandJTV Pokemon :clap: :clap: Meme reviiieewww! Post MandJTV-related/Pokemon-related memes ...and science memes! Weekly visitors Weekly contributions • I Beat Pokemon Sword As Team Sky! https://i.redd.it/5g2geklwmt6d1.jpeg Sorry, this post has been removed by the moderators of r/MandJTV. Pokemon :clap: :clap: Meme reviiieewww! Post MandJTV-related/Pokemon-related memes ...and science memes! One_Refuse_933 1 1 post karma, 0 comment karma Karma 1 Contributions 1 y Cake day: Jun 15, 2024 Reddit Age 3 Active in > Trophy Case |
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[SOURCE: https://en.wikipedia.org/wiki/Water_vapor] | [TOKENS: 5103] |
Contents Water vapor Water vapor, water vapour, or aqueous vapor is the gaseous phase of water. It is one state of water within the hydrosphere. Water vapor can be produced from the evaporation or boiling of liquid water or from the sublimation of ice. Water vapor is transparent, like most constituents of the atmosphere. Under typical atmospheric conditions, water vapor is continuously generated by evaporation and removed by condensation. It is less dense than most of the other constituents of air and triggers convection currents that can lead to clouds and fog. Being a component of Earth's hydrosphere and hydrologic cycle, it is particularly abundant in Earth's atmosphere, where it acts as a greenhouse gas and warming feedback, contributing more to total greenhouse effect than non-condensable gases such as carbon dioxide and methane. Use of water vapor, as steam, has been important for cooking, and as a major component in energy production and transport systems since the Industrial Revolution. Water vapor is a relatively common atmospheric constituent, present even in the solar atmosphere as well as every planet in the Solar System and many astronomical objects including natural satellites, comets and even large asteroids. Likewise the detection of extrasolar water vapor would indicate a similar distribution in other planetary systems. Water vapor can also be indirect evidence supporting the presence of extraterrestrial liquid water in the case of some planetary mass objects. Water vapor, which reacts to temperature changes, is referred to as a "feedback", because it amplifies the effect of forces that initially cause the warming. Therefore, it is a greenhouse gas. Properties Whenever a water molecule leaves a surface and diffuses into a surrounding gas, it is said to have evaporated. Each individual water molecule which transitions between a more associated (liquid) and a less associated (vapor/gas) state does so through the absorption or release of kinetic energy. The aggregate measurement of this kinetic energy transfer is defined as thermal energy and occurs only when there is differential in the temperature of the water molecules. Liquid water that becomes water vapor takes a parcel of heat with it, in a process called evaporative cooling. The amount of water vapor in the air determines how frequently molecules will return to the surface. When a net evaporation occurs, the body of water will undergo a net cooling directly related to the loss of water. In the US, the National Weather Service measures the actual rate of evaporation from a standardized "pan" open water surface outdoors, at various locations nationwide. Others do likewise around the world. The US data is collected and compiled into an annual evaporation map. The measurements range from under 30 to over 120 inches per year. Formulas can be used for calculating the rate of evaporation from a water surface such as a swimming pool. In some countries, the evaporation rate far exceeds the precipitation rate. Evaporative cooling is restricted by atmospheric conditions. Humidity is the amount of water vapor in the air. The vapor content of air is measured with devices known as hygrometers. The measurements are usually expressed as specific humidity or percent relative humidity. The temperatures of the atmosphere and the water surface determine the equilibrium vapor pressure; 100% relative humidity occurs when the partial pressure of water vapor is equal to the equilibrium vapor pressure. This condition is often referred to as complete saturation. Humidity ranges from 0 grams per cubic metre in dry air to 30 grams per cubic metre (0.03 ounce per cubic foot) when the vapor is saturated at 30 °C. Sublimation is the process by which water molecules directly leave the surface of ice without first becoming liquid water. Sublimation accounts for the slow mid-winter disappearance of ice and snow at temperatures too low to cause melting. Antarctica shows this effect to a unique degree because it is by far the continent with the lowest rate of precipitation on Earth. As a result, there are large areas where millennial layers of snow have sublimed, leaving behind whatever non-volatile materials they had contained. This is extremely valuable to certain scientific disciplines, a dramatic example being the collection of meteorites that are left exposed in unparalleled numbers and excellent states of preservation. Sublimation is important in the preparation of certain classes of biological specimens for scanning electron microscopy. Typically the specimens are prepared by cryofixation and freeze-fracture, after which the broken surface is freeze-etched, being eroded by exposure to vacuum until it shows the required level of detail. This technique can display protein molecules, organelle structures and lipid bilayers with very low degrees of distortion. Water vapor will only condense onto another surface when that surface is cooler than the dew point temperature, or when the water vapor equilibrium in air has been exceeded. When water vapor condenses onto a surface, a net warming occurs on that surface. The water molecule brings heat energy with it. In turn, the temperature of the atmosphere drops slightly. In the atmosphere, condensation produces clouds, fog and precipitation (usually only when facilitated by cloud condensation nuclei). The dew point of an air parcel is the temperature to which it must cool before water vapor in the air begins to condense. Condensation in the atmosphere forms cloud droplets. Also, a net condensation of water vapor occurs on surfaces when the temperature of the surface is at or below the dew point temperature of the atmosphere. Deposition is a phase transition separate from condensation which leads to the direct formation of ice from water vapor. Frost and snow are examples of deposition. There are several mechanisms of cooling by which condensation occurs: 1) Direct loss of heat by conduction or radiation. 2) Cooling from the drop in air pressure which occurs with uplift of air, also known as adiabatic cooling. Air can be lifted by mountains, which deflect the air upward, by convection, and by cold and warm fronts. 3) Advective cooling - cooling due to horizontal movement of air. A number of chemical reactions have water as a product. If the reactions take place at temperatures higher than the dew point of the surrounding air the water will be formed as vapor and increase the local humidity, if below the dew point local condensation will occur. Typical reactions that result in water formation are the burning of hydrogen or hydrocarbons in air or other oxygen containing gas mixtures, or as a result of reactions with oxidizers. In a similar fashion other chemical or physical reactions can take place in the presence of water vapor resulting in new chemicals forming such as rust on iron or steel, polymerization occurring (certain polyurethane foams and cyanoacrylate glues cure with exposure to atmospheric humidity) or forms changing such as where anhydrous chemicals may absorb enough vapor to form a crystalline structure or alter an existing one, sometimes resulting in characteristic color changes that can be used for measurement. Measuring the quantity of water vapor in a medium can be done directly or remotely with varying degrees of accuracy. Remote methods such electromagnetic absorption are possible from satellites above planetary atmospheres. Direct methods may use electronic transducers, moistened thermometers or hygroscopic materials measuring changes in physical properties or dimensions. Water vapor is lighter or less dense than dry air. At equivalent temperatures it is buoyant with respect to dry air, whereby the density of dry air at standard temperature and pressure (273.15 K, 101.325 kPa) is 1.27 g/L and water vapor at standard temperature has a vapor pressure of 0.6 kPa and the much lower density of 0.0048 g/L. Water vapor and dry air density calculations at 0 °C: At the same temperature, a column of dry air will be denser or heavier than a column of air containing any water vapor, the molar mass of diatomic nitrogen and diatomic oxygen both being greater than the molar mass of water. Thus, any volume of dry air will sink if placed in a larger volume of moist air. Also, a volume of moist air will rise or be buoyant if placed in a larger region of dry air. As the temperature rises the proportion of water vapor in the air increases, and its buoyancy will increase. The increase in buoyancy can have a significant atmospheric impact, giving rise to powerful, moisture rich, upward air currents when the air temperature and sea temperature reaches 25 °C or above. This phenomenon provides a significant driving force for cyclonic and anticyclonic weather systems (typhoons and hurricanes). Water vapor is a by-product of respiration in plants and animals. Its contribution to the pressure, increases as its concentration increases. Its partial pressure contribution to air pressure increases, lowering the partial pressure contribution of the other atmospheric gases (Dalton's Law). The total air pressure must remain constant. The presence of water vapor in the air naturally dilutes or displaces the other air components as its concentration increases. This can have an effect on respiration. In very warm air (35 °C) the proportion of water vapor is large enough to give rise to the stuffiness that can be experienced in humid jungle conditions or in poorly ventilated buildings. Water vapor has lower density than that of air and is therefore buoyant in air but has lower vapor pressure than that of air. When water vapor is used as a lifting gas by a thermal airship the water vapor is heated to form steam so that its vapor pressure is greater than the surrounding air pressure in order to maintain the shape of a theoretical "steam balloon", which yields approximately 60% the lift of helium and twice that of hot air. The amount of water vapor in an atmosphere is constrained by the restrictions of partial pressures and temperature. Dew point temperature and relative humidity act as guidelines for the process of water vapor in the water cycle. Energy input, such as sunlight, can trigger more evaporation on an ocean surface or more sublimation on a chunk of ice on top of a mountain. The balance between condensation and evaporation gives the quantity called vapor partial pressure. The maximum partial pressure (saturation pressure) of water vapor in air varies with temperature of the air and water vapor mixture. A variety of empirical formulas exist for this quantity; the most used reference formula is the Goff-Gratch equation for the SVP over liquid water below zero degrees Celsius: where T, temperature of the moist air, is given in units of kelvin, and p is given in units of millibars (hectopascals). The formula is valid from about −50 to 102 °C; however there are a very limited number of measurements of the vapor pressure of water over supercooled liquid water. There are a number of other formulae which can be used. Under certain conditions, such as when the boiling temperature of water is reached, a net evaporation will always occur during standard atmospheric conditions regardless of the percent of relative humidity. This immediate process will dispel massive amounts of water vapor into a cooler atmosphere. Exhaled air is almost fully at equilibrium with water vapor at the body temperature. In the cold air the exhaled vapor quickly condenses, thus showing up as a fog or mist of water droplets and as condensation or frost on surfaces. Forcibly condensing these water droplets from exhaled breath is the basis of exhaled breath condensate, an evolving medical diagnostic test. Controlling water vapor in air is a key concern in the heating, ventilating, and air-conditioning (HVAC) industry. Thermal comfort depends on the moist air conditions. Non-human comfort situations are called refrigeration, and also are affected by water vapor. For example, many food stores, like supermarkets, utilize open chiller cabinets, or food cases, which can significantly lower the water vapor pressure (lowering humidity). This practice delivers several benefits as well as problems. In Earth's atmosphere Gaseous water represents a small but environmentally significant constituent of the atmosphere. The percentage of water vapor in surface air varies from 0.01% at -42 °C (-44 °F) to 4.24% when the dew point is 30 °C (86 °F). Over 99% of atmospheric water is in the form of vapor, rather than liquid water or ice, and approximately 99.13% of the water vapor is contained in the troposphere. The condensation of water vapor to the liquid or ice phase is responsible for clouds, rain, snow, and other precipitation, all of which count among the most significant elements of what we experience as weather. Less obviously, the latent heat of vaporization, which is released to the atmosphere whenever condensation occurs, is one of the most important terms in the atmospheric energy budget on both local and global scales. For example, latent heat release in atmospheric convection is directly responsible for powering destructive storms such as tropical cyclones and severe thunderstorms. Water vapor is an important greenhouse gas owing to the presence of the hydroxyl bond which strongly absorbs in the infra-red. Water vapor is the "working medium" of the atmospheric thermodynamic engine which transforms heat energy from sun irradiation into mechanical energy in the form of winds. Transforming thermal energy into mechanical energy requires an upper and a lower temperature level, as well as a working medium which shuttles forth and back between both. The upper temperature level is given by the soil or water surface of the Earth, which absorbs the incoming sun radiation and warms up, evaporating water. The moist and warm air at the ground is lighter than its surroundings and rises up to the upper limit of the troposphere. There the water molecules radiate their thermal energy into outer space, cooling down the surrounding air. The upper atmosphere constitutes the lower temperature level of the atmospheric thermodynamic engine. The water vapor in the now cold air condenses out and falls down to the ground in the form of rain or snow. The now heavier cold and dry air sinks down to ground as well; the atmospheric thermodynamic engine thus establishes a vertical convection, which transports heat from the ground into the upper atmosphere, where the water molecules can radiate it to outer space. Due to the Earth's rotation and the resulting Coriolis forces, this vertical atmospheric convection is also converted into a horizontal convection, in the form of cyclones and anticyclones, which transport the water evaporated over the oceans into the interior of the continents, enabling vegetation to grow. Water in Earth's atmosphere is not merely below its boiling point (100 °C), but at altitude it goes below its freezing point (0 °C), due to water's highly polar attraction. When combined with its quantity, water vapor then has a relevant dew point and frost point, unlike e. g., carbon dioxide and methane. Water vapor thus has a scale height a fraction of that of the bulk atmosphere, as the water condenses and exits, primarily in the troposphere, the lowest layer of the atmosphere. Carbon dioxide (CO2) and methane, being well-mixed in the atmosphere, tend to rise above water vapor. The absorption and emission of both compounds contribute to Earth's emission to space, and thus the planetary greenhouse effect. This greenhouse forcing is directly observable, via distinct spectral features versus water vapor, and observed to be rising with rising CO2 levels. Conversely, adding water vapor at high altitudes has a disproportionate impact, which is why jet traffic has a disproportionately high warming effect. Oxidation of methane is also a major source of water vapor in the stratosphere, and adds about 15% to methane's global warming effect. In the absence of other greenhouse gases, Earth's water vapor would condense to the surface; this has likely happened, possibly more than once. Scientists thus distinguish between non-condensable (driving) and condensable (driven) greenhouse gases, i.e., the above water vapor feedback. Fog and clouds form through condensation around cloud condensation nuclei. In the absence of nuclei, condensation will only occur at much lower temperatures. Under persistent condensation or deposition, cloud droplets or snowflakes form, which precipitate when they reach a critical mass. Atmospheric concentration of water vapor is highly variable between locations and times, from 10 ppmv in the coldest air to 5% (50 000 ppmv) in humid tropical air, and can be measured with a combination of land observations, weather balloons and satellites. The water content of the atmosphere as a whole is constantly depleted by precipitation. At the same time it is constantly replenished by evaporation, most prominently from oceans, lakes, rivers, and moist earth. Other sources of atmospheric water include combustion, respiration, volcanic eruptions, the transpiration of plants, and various other biological and geological processes. At any given time there is about 1.29 x 1016 litres (3.4 x 1015 gal.) of water in the atmosphere. The atmosphere holds 1 part in 2500 of the fresh water, and 1 part in 100,000 of the total water on Earth. The mean global content of water vapor in the atmosphere is roughly sufficient to cover the surface of the planet with a layer of liquid water about 25 mm deep. The mean annual precipitation for the planet is about 1 metre, a comparison which implies a rapid turnover of water in the air – on average, the residence time of a water molecule in the troposphere is about 9 to 10 days. Global mean water vapor is about 0.25% of the atmosphere by mass and also varies seasonally, in terms of contribution to atmospheric pressure between 2.62 hPa in July and 2.33 hPa in December. IPCC AR6 expresses medium confidence in increase of total water vapor at about 1-2% per decade; it is expected to increase by around 7% per °C of warming. Episodes of surface geothermal activity, such as volcanic eruptions and geysers, release variable amounts of water vapor into the atmosphere. Such eruptions may be large in human terms, and major explosive eruptions may inject exceptionally large masses of water exceptionally high into the atmosphere, but as a percentage of total atmospheric water, the role of such processes is trivial. The relative concentrations of the various gases emitted by volcanoes varies considerably according to the site and according to the particular event at any one site. However, water vapor is consistently the commonest volcanic gas; as a rule, it comprises more than 60% of total emissions during a subaerial eruption. Atmospheric water vapor content is expressed using various measures. These include vapor pressure, specific humidity, mixing ratio, dew point temperature, and relative humidity. Because water molecules absorb microwaves and other radio wave frequencies, water in the atmosphere attenuates radar signals. In addition, atmospheric water will reflect and refract signals to an extent that depends on whether it is vapor, liquid or solid. Generally, radar signals lose strength progressively the farther they travel through the troposphere. Different frequencies attenuate at different rates, such that some components of air are opaque to some frequencies and transparent to others. Radio waves used for broadcasting and other communication experience the same effect. Water vapor reflects radar to a lesser extent than do water's other two phases. In the form of drops and ice crystals, water acts as a prism, which it does not do as an individual molecule; however, the existence of water vapor in the atmosphere causes the atmosphere to act as a giant prism. A comparison of GOES-12 satellite images shows the distribution of atmospheric water vapor relative to the oceans, clouds and continents of the Earth. Vapor surrounds the planet but is unevenly distributed. The image loop on the right shows monthly average of water vapor content with the units are given in centimeters, which is the precipitable water or equivalent amount of water that could be produced if all the water vapor in the column were to condense. The lowest amounts of water vapor (0 centimeters) appear in yellow, and the highest amounts (6 centimeters) appear in dark blue. Areas of missing data appear in shades of gray. The maps are based on data collected by the Moderate Resolution Imaging Spectroradiometer (MODIS) sensor on NASA's Aqua satellite. The most noticeable pattern in the time series is the influence of seasonal temperature changes and incoming sunlight on water vapor. In the tropics, a band of extremely humid air wobbles north and south of the equator as the seasons change. This band of humidity is part of the Intertropical Convergence Zone, where the easterly trade winds from each hemisphere converge and produce near-daily thunderstorms and clouds. Farther from the equator, water vapor concentrations are high in the hemisphere experiencing summer and low in the one experiencing winter. Another pattern that shows up in the time series is that water vapor amounts over land areas decrease more in winter months than adjacent ocean areas do. This is largely because air temperatures over land drop more in the winter than temperatures over the ocean. Water vapor condenses more rapidly in colder air. As water vapor absorbs light in the visible spectral range, its absorption can be used in spectroscopic applications (such as DOAS) to determine the amount of water vapor in the atmosphere. This is done operationally, e.g. from the Global Ozone Monitoring Experiment (GOME) spectrometers on ERS (GOME) and MetOp (GOME-2). The weaker water vapor absorption lines in the blue spectral range and further into the UV up to its dissociation limit around 243 nm are mostly based on quantum mechanical calculations and are only partly confirmed by experiments. Water vapor plays a key role in lightning production in the atmosphere. From cloud physics, usually clouds are the real generators of static charge as found in Earth's atmosphere. The ability of clouds to hold massive amounts of electrical energy is directly related to the amount of water vapor present in the local system. The amount of water vapor directly controls the permittivity of the air. During times of low humidity, static discharge is quick and easy. During times of higher humidity, fewer static discharges occur. Permittivity and capacitance work hand in hand to produce the megawatt outputs of lightning. After a cloud, for instance, has started its way to becoming a lightning generator, atmospheric water vapor acts as a substance (or insulator) that decreases the ability of the cloud to discharge its electrical energy. Over a certain amount of time, if the cloud continues to generate and store more static electricity, the barrier that was created by the atmospheric water vapor will ultimately break down from the stored electrical potential energy. This energy will be released to a local oppositely charged region, in the form of lightning. The strength of each discharge is directly related to the atmospheric permittivity, capacitance, and the source's charge generating ability. Extraterrestrial Water vapor is common in the Solar System and by extension, other planetary systems. Its signature has been detected in the atmospheres of the Sun, occurring in sunspots. The presence of water vapor has been detected in the atmospheres of all seven extraterrestrial planets in the Solar System, the Earth's Moon, and the moons of other planets,[which?] although typically in only trace amounts. Geological formations such as cryogeysers are thought to exist on the surface of several icy moons ejecting water vapor due to tidal heating and may indicate the presence of substantial quantities of subsurface water. Plumes of water vapor have been detected on Jupiter's moon Europa and are similar to plumes of water vapor detected on Saturn's moon Enceladus. Traces of water vapor have also been detected in the stratosphere of Titan. Water vapor has been found to be a major constituent of the atmosphere of dwarf planet, Ceres, largest object in the asteroid belt The detection was made by using the far-infrared abilities of the Herschel Space Observatory. The finding is unexpected because comets, not asteroids, are typically considered to "sprout jets and plumes." According to one of the scientists, "The lines are becoming more and more blurred between comets and asteroids." Scientists studying Mars hypothesize that if water moves about the planet, it does so as vapor. The brilliance of comet tails comes largely from water vapor. On approach to the Sun, the ice many comets carry sublimes to vapor. Knowing a comet's distance from the sun, astronomers may deduce the comet's water content from its brilliance. Water vapor has also been confirmed outside the Solar System. Spectroscopic analysis of HD 209458 b, an extrasolar planet in the constellation Pegasus, provides the first evidence of atmospheric water vapor beyond the Solar System. A star called CW Leonis was found to have a ring of vast quantities of water vapor circling the aging, massive star. A NASA satellite designed to study chemicals in interstellar gas clouds, made the discovery with an onboard spectrometer. Most likely, "the water vapor was vaporized from the surfaces of orbiting comets." Other exoplanets with evidence of water vapor include HAT-P-11b and K2-18b. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Internet_telephony] | [TOKENS: 7857] |
Contents Voice over IP Voice over Internet Protocol (VoIP),[a] also known as IP telephony, is a set of technologies used primarily for voice communication sessions over Internet Protocol (IP) networks, such as the Internet. VoIP enables voice calls to be transmitted as data packets, facilitating various methods of voice communication, including traditional applications like Skype, Microsoft Teams, Google Voice, and VoIP phones. Regular telephones can also be used for VoIP by connecting them to the Internet via analog telephone adapters (ATAs), which convert traditional telephone signals into digital data packets that can be transmitted over IP networks. The broader terms Internet telephony, broadband telephony, and broadband phone service specifically refer to the delivery of voice and other communication services, such as fax, SMS, and voice messaging, over the Internet, in contrast to the traditional public switched telephone network (PSTN), commonly known as plain old telephone service (POTS). VoIP technology has evolved to integrate with mobile telephony, including Voice over LTE (VoLTE) and Voice over NR (Vo5G), enabling seamless voice communication over mobile data networks. These advancements have extended VoIP's role beyond its traditional use in Internet-based applications. It has become a key component of modern mobile infrastructure, as 4G and 5G networks rely entirely on this technology for voice transmission. Overview The steps and principles involved in originating VoIP telephone calls are similar to traditional digital telephony and involve signaling, channel setup, digitization of the analog voice signals, and encoding. Instead of being transmitted over a circuit-switched network, the digital information is packetized and transmission occurs as IP packets over a packet-switched network. They transport media streams using special media delivery protocols that encode audio and video with audio codecs and video codecs. Various codecs exist that optimize the media stream based on application requirements and network bandwidth; some implementations rely on narrowband and compressed speech, while others support high-fidelity stereo codecs. The most widely used speech coding standards in VoIP are based on the linear predictive coding (LPC) and modified discrete cosine transform (MDCT) compression methods. Popular codecs include the MDCT-based AAC-LD (used in FaceTime), the LPC/MDCT-based Opus (used in WhatsApp), the LPC-based SILK (used in Skype), μ-law, A-law versions of G.711, G.722, an open source voice codec known as iLBC, and a codec that uses only 8 kbit/s each way called G.729. Early providers of voice-over-IP services used business models and offered technical solutions that mirrored the architecture of the legacy telephone network. Second-generation providers, such as Skype, built closed networks for private user bases, offering the benefit of free calls and convenience while potentially charging for access to other communication networks, such as the PSTN. This limited the freedom of users to mix-and-match third-party hardware and software. Third-generation providers, such as Google Talk, adopted the concept of federated VoIP. These solutions typically allow dynamic interconnection between users in any two domains of the Internet, when a user wishes to place a call. In addition to VoIP phones, VoIP is also available on many personal computers and other Internet access devices. Calls and SMS text messages may be sent via Wi-Fi or the carrier's mobile data network. VoIP provides a framework for consolidation of all modern communications technologies using a single unified communications system. VoIP technology has been adapted for use in mobile networks, leading to the development of advanced systems designed to support voice communication over modern data infrastructures. Among these are Voice over LTE (VoLTE) and Voice over 5G (Vo5G), which enable voice communication over IP-based mobile infrastructures. In contrast to traditional VoIP services, which often function independently of global telephone numbering systems, VoLTE and Vo5G are directly connected to mobile operators' infrastructures, providing seamless connectivity to the international telephone network. VoLTE, introduced as part of 4G LTE networks, enables voice communication over an IP-based infrastructure initially developed for data transmission. It offers features such as high-definition voice (HD Voice) and faster call setup times compared to circuit-switched networks. Vo5G, the 5G equivalent of VoLTE, utilizes the increased speed, reduced latency, and greater capacity of 5G networks to further enhance these capabilities. Both VoLTE and Vo5G maintain compatibility with traditional public switched telephone networks (PSTNs), allowing users to make and receive calls to and from any telephone number worldwide. These technologies differ from standalone VoIP services by being fully integrated with mobile network operators. This integration ensures additional features such as emergency call support and quality-of-service guarantees, making them a central part of modern mobile telecommunication systems. Protocols Voice over IP has been implemented with proprietary protocols and protocols based on open standards in applications such as VoIP phones, mobile applications, and web-based communications. A variety of functions are needed to implement VoIP communication. Some protocols perform multiple functions, while others perform only a few and must be used in concert. These functions include: VoIP protocols include: Adoption Mass-market VoIP services use existing broadband Internet access, by which subscribers place and receive telephone calls in much the same manner as they would via the PSTN. Full-service VoIP phone companies provide inbound and outbound service with direct inbound dialing. Many offer unlimited domestic calling and sometimes international calls for a flat monthly subscription fee. Phone calls between subscribers of the same provider are usually free when flat-fee service is not available. A VoIP phone is necessary to connect to a VoIP service provider. This can be implemented in several ways: It is increasingly common for telecommunications providers to use VoIP telephony over dedicated and public IP networks as a backhaul to connect switching centers and to interconnect with other telephony network providers; this is often referred to as IP backhaul. Smartphones may have SIP clients built into the firmware or available as an application download. Because of the bandwidth efficiency and low costs that VoIP technology can provide, businesses are migrating from traditional copper-wire telephone systems to VoIP systems to reduce their monthly phone costs. In 2008, 80% of all new Private branch exchange (PBX) lines installed internationally were VoIP. For example, in the United States, the Social Security Administration is converting its field offices of 63,000 workers from traditional phone installations to a VoIP infrastructure carried over its existing data network. VoIP allows both voice and data communications to be run over a single network, which can significantly reduce infrastructure costs. The prices of extensions on VoIP are lower than for PBX and key systems. VoIP switches may run on commodity hardware, such as personal computers. Rather than closed architectures, these devices rely on standard interfaces. VoIP devices have simple, intuitive user interfaces, so users can often make simple system configuration changes. Dual-mode phones enable users to continue their conversations as they move between an outside cellular service and an internal Wi-Fi network, so that it is no longer necessary to carry both a desktop phone and a cell phone. Maintenance becomes simpler as there are fewer devices to oversee. VoIP solutions aimed at businesses have evolved into unified communications services that treat all communications—phone calls, faxes, voice mail, e-mail, web conferences, and more—as discrete units that can all be delivered via any means and to any handset, including cellphones. Two kinds of service providers are operating in this space: one set is focused on VoIP for medium to large enterprises, while another is targeting the small-to-medium business (SMB) market. Skype, which originally marketed itself as a service among friends, began to cater to businesses in 2009, providing free-of-charge connections between any users on the Skype network and connecting to and from ordinary PSTN telephones for a charge. Delivery mechanisms In general, the provision of VoIP telephony systems to organizational or individual users can be divided into two primary delivery methods: private or on-premises solutions, or externally hosted solutions delivered by third-party providers. On-premises delivery methods are more akin to the classic PBX deployment model for connecting an office to local PSTN networks. While many use cases still remain for private or on-premises VoIP systems, the wider market has been gradually shifting toward Cloud or Hosted VoIP solutions. Hosted systems are also generally better suited to smaller or personal use VoIP deployments, where a private system may not be viable for these scenarios. Hosted or Cloud VoIP solutions involve a service provider or telecommunications carrier hosting the telephone system as a software solution within their own infrastructure. Typically, this will be one or more data centers with geographic relevance to the end-user(s) of the system. This infrastructure is external to the user of the system and is deployed and maintained by the service provider. Endpoints, such as VoIP telephones or softphone applications (apps running on a computer or mobile device), will connect to the VoIP service remotely. These connections typically take place over public internet links, such as local fixed WAN breakout or mobile carrier service. In the case of a private VoIP system, the primary telephony system itself is located within the private infrastructure of the end-user organization. Usually, the system will be deployed on-premises at a site within the direct control of the organization. This can provide numerous benefits in terms of QoS control (see below), cost scalability, and ensuring privacy and security of communications traffic. However, the responsibility for ensuring that the VoIP system remains performant and resilient is predominantly vested in the end-user organization. This is not the case with a Hosted VoIP solution. Private VoIP systems can be physical hardware PBX appliances, converged with other infrastructure, or they can be deployed as software applications. Generally, the latter two options will be in the form of a separate virtualized appliance. However, in some scenarios, these systems are deployed on bare metal infrastructure or IoT devices. With some solutions, such as 3CX, companies can attempt to blend the benefits of hosted and private on-premises systems by implementing their own private solution but within an external environment. Examples can include data center collocation services, public cloud, or private cloud locations. For on-premises systems, local endpoints within the same location typically connect directly over the LAN. For remote and external endpoints, available connectivity options mirror those of Hosted or Cloud VoIP solutions. However, VoIP traffic to and from the on-premises systems can often also be sent over secure private links. Examples include personal VPN, site-to-site VPN, private networks such as MPLS and SD-WAN, or via private SBCs (Session Border Controllers). While exceptions and private peering options do exist, it is generally uncommon for those private connectivity methods to be provided by Hosted or Cloud VoIP providers. Quality of service Communication on the IP network is perceived as less reliable in contrast to the circuit-switched public telephone network because it does not provide a network-based mechanism to ensure that data packets are not lost, and are delivered in sequential order. It is a best-effort network without fundamental quality of service (QoS) guarantees. Voice, and all other data, travels in packets over IP networks with fixed maximum capacity. This system may be more prone to data loss in the presence of congestion[b] than traditional circuit switched systems; a circuit switched system of insufficient capacity will refuse new connections while carrying the remainder without impairment, while the quality of real-time data such as telephone conversations on packet-switched networks degrades dramatically. Therefore, VoIP implementations may face problems with latency, packet loss, and jitter. By default, network routers handle traffic on a first-come, first-served basis. Fixed delays cannot be controlled as they are caused by the physical distance the packets travel. They are especially problematic when satellite circuits are involved because of the long distance to a geostationary satellite and back; delays of 400–600 ms are typical. Latency can be minimized by marking voice packets as being delay-sensitive with QoS methods such as DiffServ. Network routers on high-volume traffic links may introduce latency that exceeds permissible thresholds for VoIP. Excessive load on a link can cause congestion and associated queueing delays and packet loss. This signals a transport protocol like TCP to reduce its transmission rate to alleviate the congestion. But VoIP usually uses UDP, not TCP, because recovering from congestion through retransmission usually entails too much latency. So QoS mechanisms can avoid the undesirable loss of VoIP packets by immediately transmitting them ahead of any queued bulk traffic on the same link, even when the link is congested by bulk traffic. VoIP endpoints usually have to wait for the completion of transmission of previous packets before new data may be sent. Although it is possible to preempt (abort) a less important packet in mid-transmission, this is not commonly done, especially on high-speed links where transmission times are short even for maximum-sized packets. An alternative to preemption on slower links, such as dialup and digital subscriber line (DSL), is to reduce the maximum transmission time by reducing the maximum transmission unit. But since every packet must contain protocol headers, this increases relative header overhead on every link traversed. The receiver must resequence IP packets that arrive out of order and recover gracefully when packets arrive too late or not at all. Packet delay variation results from changes in queuing delay along a given network path due to competition from other users for the same transmission links. VoIP receivers accommodate this variation by storing incoming packets briefly in a playout buffer, deliberately increasing latency to improve the chance that each packet will be on hand when it is time for the voice engine to play it. The added delay is thus a compromise between excessive latency and excessive dropout, i.e., momentary audio interruptions. Although jitter is a random variable, it is the sum of several other random variables that are at least somewhat independent: the individual queuing delays of the routers along the Internet path in question. Motivated by the central limit theorem, jitter can be modeled as a Gaussian random variable. This suggests continually estimating the mean delay and its standard deviation and setting the playout delay so that only packets delayed more than several standard deviations above the mean will arrive too late to be useful. In practice, the variance in latency of many Internet paths is dominated by a small number (often one) of relatively slow and congested bottleneck links. Most Internet backbone links are now so fast (e.g., 10 Gbit/s) that their delays are dominated by the transmission medium (e.g., optical fiber) and the routers driving them do not have enough buffering for queuing delays to be significant. A number of protocols have been defined to support the reporting of quality of service (QoS) and quality of experience (QoE) for VoIP calls. These include RTP Control Protocol (RTCP) extended reports, SIP RTCP summary reports, H.460.9 Annex B (for H.323), H.248.30 and MGCP extensions. The RTCP extended report VoIP metrics block specified by RFC 3611 is generated by an VoIP phone or gateway during a live call and contains information on packet loss rate, packet discard rate (because of jitter), packet loss/discard burst metrics (burst length/density, gap length/density), network delay, end system delay, signal/noise/echo level, mean opinion scores (MOS) and R factors and configuration information related to the jitter buffer. VoIP metrics reports are exchanged between IP endpoints on an occasional basis during a call, and an end-of-call message is sent via SIP RTCP summary report or one of the other signaling protocol extensions. VoIP metrics reports are intended to support real-time feedback related to QoS problems, the exchange of information between the endpoints for improved call quality calculation and a variety of other applications. DSL modems typically provide Ethernet connections to local equipment, but inside they may actually be Asynchronous Transfer Mode (ATM) modems.[c] They use ATM Adaptation Layer 5 (AAL5) to segment each Ethernet packet into a series of 53-byte ATM cells for transmission, reassembling them back into Ethernet frames at the receiving end. Using a separate virtual circuit identifier (VCI) for voice over IP has the potential to reduce latency on shared connections. ATM's potential for latency reduction is greatest on slow links because worst-case latency decreases with increasing link speed. A full-size (1500 byte) Ethernet frame takes 94 ms to transmit at 128 kbit/s but only 8 ms at 1.5 Mbit/s. If this is the bottleneck link, this latency is probably small enough to ensure good VoIP performance without MTU reductions or multiple ATM VCs. The latest generations of DSL, VDSL and VDSL2, carry Ethernet without intermediate ATM/AAL5 layers, and they generally support IEEE 802.1p priority tagging so that VoIP can be queued ahead of less time-critical traffic. ATM has substantial header overhead: 5/53 = 9.4%, roughly twice the total header overhead of a 1500-byte Ethernet frame. This ATM tax is incurred by every DSL user, whether or not they take advantage of multiple virtual circuits – and few can. Several protocols are used in the data link layer and physical layer for quality-of-service mechanisms that help VoIP applications work well even in the presence of network congestion. Some examples include: Performance metrics The quality of voice transmission is characterized by several metrics that may be monitored by network elements and by the user agent hardware or software. Such metrics include network packet loss, packet jitter, packet latency (delay), post-dial delay, and echo. The metrics are determined by VoIP performance testing and monitoring. PSTN integration A VoIP media gateway controller (aka Class 5 Softswitch) works in cooperation with a media gateway (aka IP Business Gateway) and connects the digital media stream, so as to complete the path for voice and data. Gateways include interfaces for connecting to standard PSTN networks. Ethernet interfaces are also included in modern systems, which are specially designed to link calls that are passed via VoIP. E.164 is a global numbering standard for both the PSTN and public land mobile network (PLMN). Most VoIP implementations support E.164 to allow calls to be routed to and from VoIP subscribers and the PSTN/PLMN. VoIP implementations can also allow other identification techniques to be used. For example, Skype allows subscribers to choose Skype names (usernames) whereas SIP implementations can use Uniform Resource Identifier (URIs) similar to email addresses. Often VoIP implementations employ methods of translating non-E.164 identifiers to E.164 numbers and vice versa, such as the Skype-In service provided by Skype and the E.164 number to URI mapping (ENUM) service in IMS and SIP. Echo can also be an issue for PSTN integration. Common causes of echo include impedance mismatches in analog circuitry and an acoustic path from the receive to transmit signal at the receiving end. Local number portability (LNP) and mobile number portability (MNP) also impact VoIP business. Number portability is a service that allows a subscriber to select a new telephone carrier without requiring a new number to be issued. Typically, it is the responsibility of the former carrier to "map" the old number to the undisclosed number assigned by the new carrier. This is achieved by maintaining a database of numbers. A dialed number is initially received by the original carrier and quickly rerouted to the new carrier. Multiple porting references must be maintained even if the subscriber returns to the original carrier. The Federal Communications Commission (FCC) mandates carrier compliance with these consumer-protection stipulations. In November 2007, the FCC in the United States released an order extending number portability obligations to interconnected VoIP providers and carriers that support VoIP providers. A voice call originating in the VoIP environment also faces least-cost routing (LCR) challenges to reach its destination if the number is routed to a mobile phone number on a traditional mobile carrier. LCR is based on checking the destination of each telephone call as it is made, and then sending the call via the network that will cost the customer the least. This rating is subject to some debate, given the complexity of call routing created by number portability. With MNP in place, LCR providers can no longer rely on using the network root prefix to determine how to route a call. Instead, they must now determine the actual network of every number before routing the call. Therefore, VoIP solutions also need to handle MNP when routing a voice call. In countries without a central database, like the UK, it may be necessary to query the mobile network about which home network a mobile phone number belongs to. As the popularity of VoIP increases in the enterprise markets because of LCR options, VoIP needs to provide a certain level of reliability when handling calls. A telephone connected to a land line has a direct relationship between a telephone number and a physical location, which is maintained by the telephone company and available to emergency responders via the national emergency response service centers in the form of emergency subscriber lists. When an emergency call is received by a center, the location is automatically determined from its databases and displayed on the operator console. In IP telephony, no such direct link between location and communications end point exists. Even a provider having wired infrastructure, such as a DSL provider, may know only the approximate location of the device, based on the IP address allocated to the network router and the known service address. Some ISPs do not track the automatic assignment of IP addresses to customer equipment. IP communication provides for device mobility. For example, a residential broadband connection may be used as a link to a virtual private network of a corporate entity, in which case the IP address being used for customer communications may belong to the enterprise, not the residential ISP. Such off-premises extensions may appear as part of an upstream IP PBX. On mobile devices, e.g., a 3G handset or USB wireless broadband adapter, the IP address has no relationship with any physical location known to the telephony service provider, since a mobile user could be anywhere in a region with network coverage, even roaming via another cellular company. At the VoIP level, a phone or gateway may identify itself by its account credentials with a Session Initiation Protocol (SIP) registrar. In such cases, the Internet telephony service provider (ITSP) knows only that a particular user's equipment is active. Service providers often provide emergency response services by agreement with the user who registers a physical location and agrees that, if an emergency number is called from the IP device, emergency services are provided to that address only. Such emergency services are provided by VoIP vendors in the United States by a system called Enhanced 911 (E911), based on the Wireless Communications and Public Safety Act. The VoIP E911 emergency-calling system associates a physical address with the calling party's telephone number. All VoIP providers that provide access to the public switched telephone network are required to implement E911, a service for which the subscriber may be charged. "VoIP providers may not allow customers to opt out of 911 service." The VoIP E911 system is based on a static table lookup. Unlike in cellular phones, where the location of an E911 call can be traced using assisted GPS or other methods, the VoIP E911 information is accurate only if subscribers keep their emergency address information current. Fax support Sending faxes over VoIP networks is sometimes referred to as Fax over IP (FoIP). Transmission of fax documents was problematic in early VoIP implementations, as most voice digitization and compression codecs are optimized for the representation of the human voice and the proper timing of the modem signals cannot be guaranteed in a packet-based, connectionless network. A standards-based solution for reliably delivering fax-over-IP is the T.38 protocol. The T.38 protocol is designed to compensate for the differences between traditional packet-less communications over analog lines and packet-based transmissions, which are the basis for IP communications. The fax machine may be a standard device connected to an analog telephone adapter (ATA), or it may be a software application or dedicated network device operating via an Ethernet interface. Originally, T.38 was designed to use UDP or TCP transmission methods across an IP network. Some newer high-end fax machines have built-in T.38 capabilities, which are connected directly to a network switch or router. In T.38 each packet contains a portion of the data stream sent in the previous packet. Two successive packets have to be lost to actually lose data integrity. Power requirements Telephones for traditional residential analog service are usually connected directly to telephone company phone lines, which provide direct current to power most basic analog handsets independently of locally available electrical power. The susceptibility of phone service to power failures is a common problem, even with traditional analog service, where customers purchase telephone units that operate with wireless handsets to a base station, or that have other modern phone features, such as built-in voicemail or phone book features. VoIP phones and VoIP telephone adapters connect to routers or cable modems, which typically depend on the availability of mains electricity or locally generated power. Some VoIP service providers use customer premises equipment (e.g., cable modems) with battery-backed power supplies to assure uninterrupted service for up to several hours in case of local power failures. Such battery-backed devices are typically designed for use with analog handsets. Some VoIP service providers implement services to route calls to other telephone services of the subscriber, such as a cellular phone, in the event that the customer's network device is inaccessible to terminate the call. Security Secure calls are possible using standardized protocols such as Secure Real-time Transport Protocol. Most of the facilities for creating a secure telephone connection over traditional phone lines, such as digitizing and digital transmission, are already in place with VoIP. It is necessary only to encrypt and authenticate the existing data stream. Automated software, such as a virtual PBX, may eliminate the need for personnel to greet and switch incoming calls. The security concerns for VoIP telephone systems are similar to those of other Internet-connected devices. This means that hackers with knowledge of VoIP vulnerabilities can perform denial-of-service attacks, harvest customer data, record conversations, and compromise voicemail messages. Compromised VoIP user account or session credentials may enable an attacker to incur substantial charges from third-party services, such as long-distance or international calling. The technical details of many VoIP protocols create challenges in routing VoIP traffic through firewalls and network address translators, used to interconnect to transit networks or the Internet. Private session border controllers are often employed to enable VoIP calls to and from protected networks. Other methods to traverse NAT devices involve assistive protocols such as STUN and Interactive Connectivity Establishment (ICE). Standards for securing VoIP are available in the Secure Real-time Transport Protocol (SRTP) and the ZRTP protocol for analog telephony adapters, as well as for some softphones. IPsec is available to secure point-to-point VoIP at the transport level by using opportunistic encryption. Though many consumer VoIP solutions do not support encryption of the signaling path or the media, securing a VoIP phone is conceptually easier to implement using VoIP than on traditional telephone circuits. A result of the lack of widespread support for encryption is that it is relatively easy to eavesdrop on VoIP calls when access to the data network is possible. Free open-source solutions, such as Wireshark, facilitate capturing VoIP conversations. Government and military organizations use various security measures to protect VoIP traffic, such as voice over secure IP (VoSIP), secure voice over IP (SVoIP), and secure voice over secure IP (SVoSIP). The distinction lies in whether encryption is applied in the telephone endpoint or in the network. Secure voice over secure IP may be implemented by encrypting the media with protocols such as SRTP and ZRTP. Secure voice over IP uses Type 1 encryption on a classified network, such as SIPRNet. Public Secure VoIP is also available with free GNU software and in many popular commercial VoIP programs via libraries, such as ZRTP. In June 2021, the National Security Agency (NSA) released comprehensive documents describing the four attack planes of a communications system – the network, perimeter, session controllers and endpoints – and explaining security risks and mitigation techniques for each of them. Caller ID Voice over IP protocols and equipment provide caller ID support that is compatible with the PSTN. Many VoIP service providers also allow callers to configure custom caller ID information. Hearing aid compatibility Wireline telephones which are manufactured in, imported to, or intended to be used in the US with Voice over IP service, on or after February 28, 2020, are required to meet the hearing aid compatibility requirements set forth by the Federal Communications Commission. Operational cost VoIP has drastically reduced the cost of communication by sharing network infrastructure between data and voice. A single broadband connection has the ability to transmit multiple telephone calls. Regulatory and legal issues As the popularity of VoIP grows, governments are becoming more interested in regulating VoIP in a manner similar to PSTN services. Throughout the developing world, particularly in countries where regulation is weak or captured by the dominant operator, restrictions on the use of VoIP are often imposed, including in Panama where VoIP is taxed, Guyana, where VoIP is prohibited. In Ethiopia, where the government is nationalizing telecommunication service, it is a criminal offense to offer services using VoIP. The country has installed firewalls to prevent international calls from being made using VoIP. These measures were taken after the popularity of VoIP reduced the income generated by the state-owned telecommunications company.[citation needed] In Canada, the Canadian Radio-television and Telecommunications Commission regulates telephone service, including VoIP telephony service. VoIP services operating in Canada are required to provide 9-1-1 emergency service. In the European Union, the treatment of VoIP service providers is a decision for each national telecommunications regulator, which must use competition law to define relevant national markets and then determine whether any service provider on those national markets has "significant market power" (and so should be subject to certain obligations). A general distinction is usually made between VoIP services that function over managed networks (via broadband connections) and VoIP services that function over unmanaged networks (essentially, the Internet).[citation needed] The relevant EU Directive is not clearly drafted concerning obligations that can exist independently of market power (e.g., the obligation to offer access to emergency calls), and it is impossible to say definitively whether VoIP service providers of either type are bound by them.[citation needed] In Oman, it is illegal to provide or use unauthorized VoIP services, to the extent that websites of unlicensed VoIP providers have been blocked.[citation needed] Violations may be punished with fines of 50,000 Omani Rial (about 130,317 US dollars), a two-year prison sentence or both. In 2009, police raided 121 Internet cafes throughout the country and arrested 212 people for using or providing VoIP services. In September 2017, Saudi Arabia lifted the ban on VoIPs, in an attempt to reduce operational costs and spur digital entrepreneurship. In the United Arab Emirates (UAE), it is illegal to provide or use unauthorized VoIP services. Websites of unlicensed VoIP providers have been blocked. Some VoIP services, such as Skype, were allowed. In January 2018, internet service providers in UAE blocked all VoIP apps, including Skype, but permitting only 2 government-approved VoIP apps (C’ME and BOTIM). In opposition, a petition on Change.org garnered over 5000 signatures, in response to which the website was blocked in UAE. On March 24, 2020, the United Arab Emirates loosened restrictions on VoIP services earlier prohibited in the country, to ease communication during the COVID-19 pandemic. However, popular instant messaging applications such as WhatsApp, Skype, and FaceTime remained blocked from being used for voice and video calls, constricting residents to use paid services from the country's state-owned telecom providers. In India, it is legal to use VoIP, but it is illegal to have VoIP gateways inside India. This effectively means that people who have PCs can use them to make a VoIP call to other computers but not to a normal phone number. Foreign-based VoIP server services are illegal to use in India. Internet telephony is permitted to the ISP with restrictions. The following services are permitted: In South Korea, only providers registered with the government are authorized to offer VoIP services. Unlike many VoIP providers, most of whom offer flat rates, Korean VoIP services are generally metered and charged at rates similar to terrestrial calling. Foreign VoIP providers encounter high barriers to government registration. This issue came to a head in 2006 when Internet service providers providing personal Internet services by contract to United States Forces Korea (USFK) members residing on USFK bases threatened to block off access to VoIP services used by USFK members as an economical way to keep in contact with their families in the United States, on the grounds that the service members' VoIP providers were not registered. A compromise was reached between USFK and Korean telecommunications officials in January 2007, wherein USFK service members arriving in Korea before June 1, 2007, and subscribing to the ISP services provided on base could continue to use their US-based VoIP subscription, but later arrivals are required to use a Korean-based VoIP provider, which by contract will offer pricing similar to the flat rates offered by US VoIP providers. In the United States, the FCC requires all interconnected VoIP service providers to comply with requirements comparable to those for traditional telecommunications service providers. VoIP operators in the US are required to support local number portability; make service accessible to people with disabilities; pay regulatory fees, universal service contributions, and other mandated payments; and enable law enforcement authorities to conduct surveillance pursuant to the Communications Assistance for Law Enforcement Act (CALEA). Operators of Interconnected VoIP (fully connected to the PSTN) are mandated to provide Enhanced 911 service without special request, provide for customer location updates, clearly disclose any limitations on their E-911 functionality to their consumers, obtain affirmative acknowledgements of these disclosures from all consumers, and may not allow their customers to opt-out of 911 service. VoIP operators also receive the benefit of certain US telecommunications regulations, including an entitlement to interconnection and exchange of traffic with incumbent local exchange carriers via wholesale carriers. Providers of nomadic VoIP service—those who are unable to determine the location of their users—are exempt from state telecommunications regulation. Another legal issue that the US Congress is debating concerns changes to the Foreign Intelligence Surveillance Act. The issue in question is calls between Americans and foreigners. The NSA is not authorized to tap Americans' conversations without a warrant—but the Internet, and specifically VoIP does not draw as clear a line to the location of a caller or a call's recipient as the traditional phone system does. As VoIP's low cost and flexibility convince more and more organizations to adopt the technology, surveillance for law enforcement agencies becomes more difficult. VoIP technology has also increased federal security concerns because VoIP and similar technologies have made it more difficult for the government to determine where a target is physically located when communications are being intercepted, and that creates a whole set of new legal challenges. History The early developments of packet network designs by Paul Baran and other researchers were motivated by a desire for a higher degree of circuit redundancy and network availability in the face of infrastructure failures than was possible in the circuit-switched networks in telecommunications of the mid-twentieth century. Danny Cohen first demonstrated a form of packet voice in 1973 which was developed into Network Voice Protocol which operated across the early ARPANET. On the early ARPANET, real-time voice communication was not possible with uncompressed pulse-code modulation (PCM) digital speech packets, which had a bit rate of 64 kbps, much greater than the 2.4 kbps bandwidth of early modems. The solution to this problem was linear predictive coding (LPC), a speech coding data compression algorithm that was first proposed by Fumitada Itakura of Nagoya University and Shuzo Saito of Nippon Telegraph and Telephone (NTT) in 1966. LPC was capable of speech compression down to 2.4 kbps, leading to the first successful real-time conversation over ARPANET in 1974, between Culler-Harrison Incorporated in Goleta, California, and MIT Lincoln Laboratory in Lexington, Massachusetts. LPC has since been the most widely used speech coding method. Code-excited linear prediction (CELP), a type of LPC algorithm, was developed by Manfred R. Schroeder and Bishnu S. Atal in 1985. LPC algorithms remain an audio coding standard in modern VoIP technology. In the two decades following the 1974 demo, various forms of packet telephony were developed and industry interest groups formed to support the new technologies. Following the termination of the ARPANET project, and expansion of the Internet for commercial traffic, IP telephony was tested and deemed infeasible for commercial use until the introduction of VocalChat in the early 1990s and then in Feb 1995 the official release of Internet Phone (or iPhone for short) commercial software by VocalTec, based on a patent by Lior Haramaty and Alon Cohen, and followed by other VoIP infrastructure components such as telephony gateways and switching servers. Soon after it became an established area of interest in commercial labs of the major IT concerns, notably at AT&T, where Marian Croak and her team filed many patents related to the technology.[citation needed] By the late 1990s, the first softswitches became available, and new protocols, such as H.323, MGCP and Session Initiation Protocol (SIP) gained widespread attention. In the early 2000s, the proliferation of high-bandwidth always-on Internet connections to residential dwellings and businesses, spawned an industry of Internet telephony service providers (ITSPs). The development of open-source telephony software, such as Asterisk PBX, fueled widespread interest and entrepreneurship in voice-over-IP services, applying new Internet technology paradigms, such as cloud services to telephony. See also Notes References External links |
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Contents Cellular respiration Cellular respiration is the process of oxidizing biological fuels using an inorganic electron acceptor, such as oxygen, to drive production of adenosine triphosphate (ATP), which stores chemical energy in a biologically accessible form. Cellular respiration may be described as a set of metabolic reactions and processes that take place in the cells to transfer chemical energy from nutrients to ATP, with the flow of electrons to an electron acceptor, and then release waste products. If the electron acceptor is oxygen, the process is more specifically known as aerobic cellular respiration. If the electron acceptor is a molecule other than oxygen, this is anaerobic cellular respiration – not to be confused with fermentation, which is also an anaerobic process, but it is not respiration, as no external electron acceptor is involved. The reactions involved in respiration are catabolic reactions, which break large molecules into smaller ones, producing ATP. Respiration is one of the key ways a cell releases chemical energy to fuel cellular activity. The overall reaction occurs in a series of biochemical steps, some of which are redox reactions. Although cellular respiration is technically a combustion reaction, it is an unusual one because of the slow, controlled release of energy from the series of reactions. Nutrients that are commonly used by animal and plant cells in respiration include sugar, amino acids and fatty acids, and the most common oxidizing agent is molecular oxygen (O2). The chemical energy stored in ATP (the bond of its third phosphate group to the rest of the molecule can be broken, allowing more stable products to form, thereby releasing energy for use by the cell) can then be used to drive processes requiring energy, including biosynthesis, locomotion, or transportation of molecules across cell membranes. Aerobic respiration Aerobic respiration requires oxygen (O2) in order to create ATP. Although carbohydrates, fats, and proteins are consumed as reactants, aerobic respiration is the preferred method of pyruvate production in glycolysis, and requires pyruvate be transported by the mitochondria in order to be oxidized by the citric acid cycle. The products of this process are carbon dioxide and water, and the energy transferred is used to make bonds between ADP and a third phosphate group to form ATP (adenosine triphosphate), by substrate-level phosphorylation, NADH and FADH2.[citation needed] The negative ΔG indicates that the reaction is exothermic (exergonic) and can occur spontaneously. The potential of NADH and FADH2 is converted to more ATP through an electron transport chain with oxygen and protons (hydrogen ions) as the "terminal electron acceptors". Most of the ATP produced by aerobic cellular respiration is made by oxidative phosphorylation. The energy released is used to create a chemiosmotic potential by pumping protons across a membrane. This potential is then used to drive ATP synthase and produce ATP from ADP and a phosphate group. Biology textbooks often state that 38 ATP molecules can be made per oxidized glucose molecule during cellular respiration (2 from glycolysis, 2 from the Krebs cycle, and about 34 from the electron transport system). However, this maximum yield is never quite reached because of losses due to leaky membranes as well as the cost of moving pyruvate and ADP into the mitochondrial matrix, and current estimates range around 29 to 30 ATP per glucose. Aerobic metabolism is up to 15 times more efficient than anaerobic metabolism (which yields 2 molecules of ATP per 1 molecule of glucose). However, some anaerobic organisms, such as methanogens are able to continue with anaerobic respiration, yielding more ATP by using inorganic molecules other than oxygen as final electron acceptors in the electron transport chain. They share the initial pathway of glycolysis but aerobic metabolism continues with the Krebs cycle and oxidative phosphorylation. The post-glycolytic reactions take place in the mitochondria in eukaryotic cells, and in the cytoplasm in prokaryotic cells. Although plants are net consumers of carbon dioxide and producers of oxygen via photosynthesis, plant respiration accounts for about half of the CO2 generated annually by terrestrial ecosystems.: 87 Glycolysis is a metabolic pathway that takes place in the cytosol of cells in all living organisms. Glycolysis can be literally translated as "sugar splitting", and occurs regardless of oxygen's presence or absence. The process converts one molecule of glucose into two molecules of pyruvate (pyruvic acid), generating energy in the form of two net molecules of ATP. Four molecules of ATP per glucose are actually produced, but two are consumed as part of the preparatory phase. The initial phosphorylation of glucose is required to increase the reactivity (decrease its stability) in order for the molecule to be cleaved into two pyruvate molecules by the enzyme aldolase. During the pay-off phase of glycolysis, four phosphate groups are transferred to four ADP by substrate-level phosphorylation to make four ATP, and two NADH are also produced during the pay-off phase. The overall reaction can be expressed this way: Starting with glucose, 1 ATP is used to donate a phosphate to glucose to produce glucose 6-phosphate. Glycogen can be converted into glucose 6-phosphate as well with the help of glycogen phosphorylase. During energy metabolism, glucose 6-phosphate becomes fructose 6-phosphate. An additional ATP is used to phosphorylate fructose 6-phosphate into fructose 1,6-bisphosphate by the help of phosphofructokinase. Fructose 1,6-biphosphate then splits into two phosphorylated molecules with three carbon chains which later degrades into pyruvate.: 88–90 Pyruvate is oxidized to acetyl-CoA and CO2 by the pyruvate dehydrogenase complex (PDC). The PDC contains multiple copies of three enzymes and is located in the mitochondria of eukaryotic cells and in the cytosol of prokaryotes. In the conversion of pyruvate to acetyl-CoA, one molecule of NADH and one molecule of CO2 is formed. The citric acid cycle is also called the Krebs cycle or the tricarboxylic acid cycle. When oxygen is present, acetyl-CoA is produced from the pyruvate molecules created from glycolysis. Once acetyl-CoA is formed, aerobic or anaerobic respiration can occur. When oxygen is present, the mitochondria will undergo aerobic respiration which leads to the Krebs cycle. However, if oxygen is not present, fermentation of the pyruvate molecule will occur. In the presence of oxygen, when acetyl-CoA is produced, the molecule then enters the citric acid cycle (Krebs cycle) inside the mitochondrial matrix, and is oxidized to CO2 while at the same time reducing NAD to NADH. NADH can be used by the electron transport chain to create further ATP as part of oxidative phosphorylation. To fully oxidize the equivalent of one glucose molecule, two acetyl-CoA must be metabolized by the Krebs cycle. Two low-energy waste products, H2O and CO2, are created during this cycle. The citric acid cycle is an 8-step process involving 18 different enzymes and co-enzymes. During the cycle, acetyl-CoA (2 carbons) + oxaloacetate (4 carbons) yields citrate (6 carbons), which is rearranged to a more reactive form called isocitrate (6 carbons). Isocitrate is modified to become α-ketoglutarate (5 carbons), succinyl-CoA, succinate, fumarate, malate and, finally, oxaloacetate. The net gain from one cycle is 3 NADH and 1 FADH2 as hydrogen (proton plus electron) carrying compounds and 1 high-energy GTP, which may subsequently be used to produce ATP. Thus, the total yield from 1 glucose molecule (2 pyruvate molecules) is 6 NADH, 2 FADH2, and 2 ATP.: 90–91 In eukaryotes, oxidative phosphorylation occurs in the mitochondrial cristae. It comprises the electron transport chain that establishes a proton gradient (chemiosmotic potential) across the boundary of the inner membrane by oxidizing the NADH produced from the Krebs cycle. ATP is synthesized by the ATP synthase enzyme when the chemiosmotic gradient is used to drive the phosphorylation of ADP. The electrons are finally transferred to exogenous oxygen and, with the addition of two protons, water is formed. Efficiency of ATP production The table below describes the reactions involved when one glucose molecule is fully oxidized into carbon dioxide. It is assumed that all the reduced coenzymes are oxidized by the electron transport chain and used for oxidative phosphorylation. Although there is a theoretical yield of 38 ATP molecules per glucose during cellular respiration, such conditions are generally not realized because of losses such as the cost of moving pyruvate (from glycolysis), phosphate, and ADP (substrates for ATP synthesis) into the mitochondria. All are actively transported using carriers that utilize the stored energy in the proton electrochemical gradient.[citation needed] The outcome of these transport processes using the proton electrochemical gradient is that more than 3 H+ are needed to make 1 ATP. Obviously, this reduces the theoretical efficiency of the whole process and the likely maximum is closer to 28–30 ATP molecules. In practice the efficiency may be even lower because the inner membrane of the mitochondria is slightly leaky to protons. Other factors may also dissipate the proton gradient creating an apparently leaky mitochondria. An uncoupling protein known as thermogenin is expressed in some cell types and is a channel that can transport protons. When this protein is active in the inner membrane it short circuits the coupling between the electron transport chain and ATP synthesis. The potential energy from the proton gradient is not used to make ATP but generates heat. This is particularly important in brown fat thermogenesis of newborn and hibernating mammals.[citation needed] According to some newer sources, the ATP yield during aerobic respiration is not 36–38, but only about 30–32 ATP molecules / 1 molecule of glucose , because: So finally we have, per molecule of glucose Altogether this gives 4 + 3 (or 5) + 20 + 3 = 30 (or 32) ATP per molecule of glucose These figures may still require further tweaking as new structural details become available. The above value of 3 H+ / ATP for the synthase assumes that the synthase translocates 9 protons, and produces 3 ATP, per rotation. The number of protons depends on the number of c subunits in the Fo c-ring, and it is now known that this is 10 in yeast Fo and 8 for vertebrates. Including one H+ for the transport reactions, this means that synthesis of one ATP requires 1 + 10/3 = 4.33 protons in yeast and 1 + 8/3 = 3.67 in vertebrates. This would imply that in human mitochondria the 10 protons from oxidizing NADH would produce 2.72 ATP (instead of 2.5) and the 6 protons from oxidizing succinate or ubiquinol would produce 1.64 ATP (instead of 1.5). This is consistent with experimental results within the margin of error described in a recent review. The total ATP yield in ethanol or lactic acid fermentation is only 2 molecules coming from glycolysis, because pyruvate is not transferred to the mitochondrion and finally oxidized to the carbon dioxide (CO2), but reduced to ethanol or lactic acid in the cytoplasm. Fermentation Without oxygen, pyruvate (pyruvic acid) is not metabolized by cellular respiration but undergoes a process of fermentation. The pyruvate is not transported into the mitochondrion but remains in the cytoplasm, where it is converted to waste products that may be removed from the cell. This serves the purpose of oxidizing the electron carriers so that they can perform glycolysis again and removing the excess pyruvate. Fermentation oxidizes NADH to NAD+ so it can be re-used in glycolysis. In the absence of oxygen, fermentation prevents the buildup of NADH in the cytoplasm and provides NAD+ for glycolysis. This waste product varies depending on the organism. In skeletal muscles, the waste product is lactic acid. This type of fermentation is called lactic acid fermentation. In strenuous exercise, when energy demands exceed energy supply, the respiratory chain cannot process all of the hydrogen atoms joined by NADH. During anaerobic glycolysis, NAD+ regenerates when pairs of hydrogen combine with pyruvate to form lactate. Lactate formation is catalyzed by lactate dehydrogenase in a reversible reaction. Lactate can also be used as an indirect precursor for liver glycogen. During recovery, when oxygen becomes available, NAD+ attaches to hydrogen from lactate to form ATP. In yeast, the waste products are ethanol and carbon dioxide. This type of fermentation is known as alcoholic or ethanol fermentation. The ATP generated in this process is made by substrate-level phosphorylation, which does not require oxygen.[citation needed] Fermentation is less efficient at using the energy from glucose: only 2 ATP are produced per glucose, compared to the 38 ATP per glucose nominally produced by aerobic respiration. Glycolytic ATP, however, is produced more quickly. For prokaryotes to continue a rapid growth rate when they are shifted from an aerobic environment to an anaerobic environment, they must increase the rate of the glycolytic reactions. For multicellular organisms, during short bursts of strenuous activity, muscle cells use fermentation to supplement the ATP production from the slower aerobic respiration, so fermentation may be used by a cell even before the oxygen levels are depleted, as is the case in sports that do not require athletes to pace themselves, such as sprinting.[citation needed] Anaerobic respiration Anaerobic respiration is used by microorganisms, either bacteria or archaea, in which neither oxygen (aerobic respiration) nor pyruvate derivatives (fermentation) are the final electron acceptor. Rather, an inorganic acceptor such as sulfate (SO2−4), nitrate (NO−3), or sulfur (S) is used. Such organisms could be found in unusual places such as underwater caves or near hydrothermal vents at the bottom of the ocean,: 66–68 in digestive tracts, as well as in anoxic soils or sediment in wetland ecosystems. In July 2019, a scientific study of Kidd Mine in Canada discovered sulfur-breathing organisms which live 7900 feet (2400 meters) below the surface. These organisms are also remarkable because they consume minerals such as pyrite as their food source. See also References External links |
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Contents W. E. B. Du Bois William Edward Burghardt Du Bois (/duːˈbɔɪs/ doo-BOYSS;[a] February 23, 1868 – August 27, 1963) was an American sociologist, writer, historian, and Pan-Africanist civil rights activist. Born in Great Barrington, Massachusetts, Du Bois grew up in a relatively tolerant and integrated community. After completing graduate work at Harvard University, where he was the first African American to earn a doctorate, Du Bois rose to national prominence as a leader of the Niagara Movement, a group of black civil rights activists seeking equal rights. Du Bois and his supporters opposed the Atlanta Compromise. Instead, Du Bois insisted on full civil rights and increased political representation, which he believed would be brought about by the African-American intellectual elite. He referred to this group as the talented tenth, a concept under the umbrella of racial uplift, and believed that African Americans needed the chance for advanced education to develop their leadership. Du Bois was one of the founders of the National Association for the Advancement of Colored People (NAACP) in 1909. Du Bois used his position in the NAACP to respond to racist incidents. After the First World War, he attended the Pan-African Congresses, embraced socialism and became a professor at Atlanta University. Once the Second World War had ended, he engaged in peace activism and was targeted by the Federal Bureau of Investigation. He spent the last years of his life in Ghana and died in Accra on August 27, 1963. Du Bois was a prolific author. He primarily targeted racism with his writing, which protested strongly against lynching, Jim Crow laws, and racial discrimination in important social institutions. His cause included people of color everywhere, particularly Africans and Asians in colonies. He was a proponent of Pan-Africanism and helped organize several meetings of the Pan-African Congress to fight for the independence of African colonies from European powers. Du Bois made several trips to Europe, Africa and Asia. His collection of essays, The Souls of Black Folk, is a seminal work in African-American literature; and his 1935 magnum opus, Black Reconstruction in America, challenged the prevailing orthodoxy that blacks were responsible for the failures of the Reconstruction era. Borrowing a phrase from Frederick Douglass, he popularized the use of the term color line to represent the injustice of the separate but equal doctrine prevalent in American social and political life. His 1940 autobiography Dusk of Dawn is regarded in part as one of the first scientific treatises in the field of American sociology. In his role as editor of the NAACP's journal The Crisis, he published many influential pieces. Du Bois believed that capitalism was a primary cause of racism, and he was sympathetic to socialist causes. Early life Du Bois was born on February 23, 1868, in Great Barrington, Massachusetts, to Alfred and Mary Silvina Burghardt Du Bois. Mary Silvina Burghardt's family was part of the very small free black population of Great Barrington and had long owned land in the state. She was descended from Dutch, African, and English ancestors. William Du Bois's maternal great-great-grandfather was Tom Burghardt, a slave (born in West Africa around 1730) who was held by the Dutch colonist Conraed Burghardt. Tom briefly served in the Continental Army during the American Revolutionary War, which may have been how he gained his freedom during the late 18th century. His son Jack Burghardt was the father of Othello Burghardt, who in turn was the father of Mary Silvina Burghardt. William Du Bois claimed Elizabeth Freeman as his relative; he wrote that she had married his great-grandfather Jack Burghardt. But Freeman was 20 years older than Burghardt, and no record of such a marriage has been found. It may have been Freeman's daughter, Betsy Humphrey, who married Burghardt after her first husband, Jonah Humphrey, left the area "around 1811", and after Burghardt's first wife died (c. 1810). If so, Freeman would have been William Du Bois's step-great-great-grandmother. Anecdotal evidence supports Humphrey's marrying Burghardt; a close relationship of some form is likely. William Du Bois's paternal great-grandfather was James Du Bois of Poughkeepsie, New York, an ethnic French-American of Huguenot origin who fathered several children with enslaved women. One of James's mixed-race sons was Alexander, who was born on Long Cay in the Bahamas in 1803; in 1810, he immigrated to the United States with his father. Alexander Du Bois traveled and worked in Haiti, where he fathered a son, Alfred, with a mistress. Alexander returned to Connecticut, leaving Alfred in Haiti with his mother. Sometime before 1860, Alfred Du Bois immigrated to the United States, settling in Massachusetts. He married Mary Silvina Burghardt on February 5, 1867, in Housatonic, a village in Great Barrington. Alfred left Mary in 1870, two years after their son William was born. Mary Du Bois moved with her son back to her parents' house in Great Barrington, and they lived there until he was five. She worked to support her family (receiving some assistance from her brother and neighbors) until she suffered a stroke in the early 1880s. She died in 1885. Great Barrington had a majority European American community, who generally treated Du Bois well. He attended the local integrated public school and played with white schoolmates. As an adult, he wrote about racism that he felt as a fatherless child and being a minority in the town. But teachers recognized his ability and encouraged his intellectual pursuits, and his rewarding experience with academic studies led him to believe that he could use his knowledge to empower African Americans. In 1884, he graduated from Great Barrington High School with honors. When he decided to attend college, the congregation of his childhood church, the First Congregational Church of Great Barrington, raised the money for his tuition. Relying on this money donated by neighbors, Du Bois attended Fisk University, a historically black college in Nashville, Tennessee, from 1885 to 1888. Like other Fisk students who relied on summer and intermittent teaching to support their university studies, Du Bois taught school during the summer of 1886 after his sophomore year. His travel to and residency in the South was Du Bois's first experience with Southern racism, which at the time encompassed Jim Crow laws, bigotry, suppression of black voting, and lynchings; the lattermost reached a peak in the next decade. After receiving his bachelor's degree from Fisk University, Du Bois attended Harvard College (which did not accept course credits from Fisk) from 1888 to 1890, becoming the sixth admitted African American in its history. He was strongly influenced by professor William James, prominent in American philosophy. Du Bois paid his way through three years at Harvard with money from summer jobs, an inheritance, scholarships, and loans from friends. In 1890, Harvard awarded Du Bois his second bachelor's degree, cum laude. In 1891, Du Bois received a scholarship to attend the sociology graduate school at Harvard. In 1892, Du Bois received a fellowship from the John F. Slater Fund for the Education of Freedmen to attend Friedrich Wilhelm University for graduate work. While a student in Berlin, he traveled extensively throughout Europe. He intellectually came of age in the German capital while studying with some of that nation's most prominent social scientists, including Gustav von Schmoller, Adolph Wagner, and Heinrich von Treitschke. He also met Max Weber who was highly impressed with Du Bois and later cited Du Bois as a counter-example to racists alleging the inferiority of Blacks. Weber met Du Bois again in 1904 on a visit to the US just ahead of the publication of the seminal The Protestant Ethic and the Spirit of Capitalism. He wrote about his time in Germany: "I found myself on the outside of the American world, looking in. With me were white folk – students, acquaintances, teachers – who viewed the scene with me. They did not always pause to regard me as a curiosity, or something sub-human; I was just a man of the somewhat privileged student rank, with whom they were glad to meet and talk over the world; particularly, the part of the world whence I came." After returning from Europe, Du Bois completed his graduate studies; in 1895, he was the first African American to earn a Ph.D. from Harvard University. Between me and the other world there is ever an unasked question: ... How does it feel to be a problem? ... One ever feels his two-ness, – an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder ... He would not Africanize America, for America has too much to teach the world and Africa. He would not bleach his Negro soul in a flood of white Americanism, for he knows that Negro blood has a message for the world. He simply wishes to make it possible for a man to be both a Negro and an American, without being cursed and spit upon by his fellows, without having the doors of Opportunity closed roughly in his face. In the summer of 1894, Du Bois received several job offers, including from Tuskegee Institute; he accepted a teaching job at Wilberforce University in Ohio. At Wilberforce, Du Bois was strongly influenced by Alexander Crummell, who believed that ideas and morals are necessary tools to effect social change. While at Wilberforce, Du Bois married Nina Gomer, one of his students, on May 12, 1896. After two years at Wilberforce, Du Bois accepted a one-year research job from the University of Pennsylvania as an "assistant in sociology" in the summer of 1896. He performed sociological field research in Philadelphia's African-American neighborhoods, which formed the foundation for his landmark study, The Philadelphia Negro, published in 1899 while he was teaching at Atlanta University. It was the first case study of a black community in the United States. Among his Philadelphia consultants on the project was William Henry Dorsey, an artist who collected documents, paintings and artifacts pertaining to Black history. Dorsey compiled hundreds of scrapbooks on the lives of Black people during the 19th century and built a collection that he laid out in his home in Philadelphia. Du Bois used the scrapbooks in his research. By the 1890s, Philadelphia's black neighborhoods had a negative reputation in terms of crime, poverty, and mortality. Du Bois's book undermined the stereotypes with empirical evidence and shaped his approach to segregation and its negative impact on black lives and reputations. The results led him to realize that racial integration was the key to democratic equality in American cities. The methodology employed in The Philadelphia Negro, namely the description and the mapping of social characteristics onto neighborhood areas was a forerunner to the studies under the Chicago School of Sociology. While taking part in the American Negro Academy (ANA) in 1897, Du Bois presented a paper in which he rejected Frederick Douglass's plea for black Americans to integrate into white society. He wrote: "we are Negroes, members of a vast historic race that from the very dawn of creation has slept, but half awakening in the dark forests of its African fatherland". In the August 1897 issue of The Atlantic Monthly, Du Bois published "Strivings of the Negro People", his first work aimed at the general public, in which he enlarged upon his thesis that African Americans should embrace their African heritage while contributing to American society. Atlanta University In July 1897, Du Bois left Philadelphia and took a professorship in history and economics at the historically black Atlanta University in Georgia. His first major academic work was his book The Philadelphia Negro (1899), a detailed and comprehensive sociological study of the African-American people of Philadelphia, based on his fieldwork in 1896–1897. This breakthrough in scholarship was the first scientific study of African Americans and a major contribution to early scientific sociology in the U.S. Du Bois coined the phrase "the submerged tenth" to describe the black underclass in the study. Later in 1903, he popularized the term, the "talented tenth", applied to society's elite class. His terminology reflected his opinion that the elite of a nation, both black and white, were critical to achievements in culture and progress. During this period, he wrote dismissively of the underclass, describing them as "lazy" or "unreliable", but – in contrast to other scholars – he attributed many of their societal problems to the ravages of slavery. Du Bois's output at Atlanta University was prodigious, despite a limited budget: he produced numerous social science papers and annually hosted the Atlanta Conference of Negro Problems. He also received grants from the U.S. government to prepare reports about African-American workforce and culture. His students considered him to be a brilliant teacher, but aloof and strict. Du Bois attended the First Pan-African Conference, held in London on July 23–25, 1900. The Conference had been organized by people from the Caribbean: Haitians Anténor Firmin and Benito Sylvain and Trinidadian barrister Henry Sylvester Williams. Du Bois closed the conference by delivering a speech entitled "To the Nations of the World", in which he asked European leaders to ensure equal opportunity for all races, allow their colonies the right to self-government, and to recognise the political and human rights of African Americans. This came amidst a period in which southern states were passing legislation to effectively prevent African Americans from voting, an exclusion from the political system that lasted until the 1960s. After the conference, delegates unanimously adopted "To the Nations of the World", and sent copies of the speech to heads of state who governed large populations of African descent that suffered oppression. The text appealed for "[acknowledgment] and [protection of] the rights of people of African descent" from the United States and imperial European nations, and the recognition of "the free Negro States of Abyssinia, Liberia, Haiti, etc." It was signed by Bishop Alexander Walters (President of the Pan-African Association), Rev. Henry B. Brown (vice-president), Henry Sylvester Williams (General Secretary) and Du Bois (chairman of the committee on the Address). Du Bois included the statement "the problem of the Twentieth Century is the problem of the colour-line" in the speech, a phrase that he would use again in the introduction of the book The Souls of Black Folk. Du Bois was the primary organizer of The Exhibit of American Negroes at the 1900 Paris Exposition, held between April and November 1900, for which he compiled a series of 363 photographs aiming to commemorate the lives of African Americans at the turn of the century and challenge the racist caricatures and stereotypes of the day. Du Bois aimed to display changes to the living conditions of African Americans during the 18th and 19th centuries, while also demonstrating the advancement of education and literature within the community. Included were charts, graphs, and maps, which displayed economic, demographic, and sociological data relating to the contemporary and historic living conditions of African Americans, as well as their scientific and cultural achievements. He was awarded a gold medal for his role as compiler of the materials, which are housed at the Library of Congress. In the first decade of the new century, Du Bois emerged as a spokesperson for his race, second only to Booker T. Washington. Washington was the director of the Tuskegee Institute in Alabama and wielded tremendous influence within the African-American and white communities. Washington was the architect of the Atlanta Compromise, an unwritten deal that he had struck in 1895 with Southern white leaders who dominated state governments after Reconstruction. Essentially the agreement provided that Southern blacks, who overwhelmingly lived in rural communities, would submit to the current discrimination, segregation, disenfranchisement, and non-unionized employment; that Southern whites would permit blacks to receive a basic education, some economic opportunities, and justice within the legal system; and that Northern whites would invest in Southern enterprises and fund black educational charities. Despite sending congratulations to Washington for his Atlanta Exposition Speech, Du Bois later came to oppose Washington's plan, along with many other African Americans, including Archibald H. Grimke, Kelly Miller, James Weldon Johnson, and Paul Laurence Dunbar – representatives of the class of educated blacks that Du Bois later called the "talented tenth". Du Bois felt that African Americans should fight for equal rights and higher opportunities, rather than passively submit to the segregation and discrimination of Washington's Atlanta Compromise. Du Bois was inspired to greater activism by the lynching of Sam Hose, which occurred near Atlanta in 1899. Hose was tortured, burned, and hanged by a mob of two thousand whites. When walking through Atlanta to discuss the lynching with newspaper editor Joel Chandler Harris, Du Bois encountered Hose's burned knuckles in a storefront display. The episode stunned Du Bois, and he resolved that "one could not be a calm, cool, and detached scientist while Negroes were lynched, murdered, and starved". Du Bois realized that "the cure wasn't simply telling people the truth, it was inducing them to act on the truth". In 1901, Du Bois wrote a review critical of Washington's autobiography Up from Slavery, which he later expanded and published to a wider audience as the essay "Of Mr. Booker T. Washington and Others" in The Souls of Black Folk. Later in life, Du Bois regretted having been critical of Washington in those essays. One of the contrasts between the two leaders was their approach to education: Washington felt that African-American schools should focus primarily on industrial education topics such as agricultural and mechanical skills, to prepare southern blacks for the opportunities in the rural areas where most lived. Du Bois felt that black schools should focus more on liberal arts and academic curriculum (including the classics, arts, and humanities), because liberal arts were required to develop a leadership elite. However, as sociologist E. Franklin Frazier and economists Gunnar Myrdal and Thomas Sowell have argued, such disagreement over education was a minor point of difference between Washington and Du Bois; both men acknowledged the importance of the form of education that the other emphasized. Sowell has also argued that, despite genuine disagreements between the two leaders, the supposed animosity between Washington and Du Bois actually formed among their followers, not between Washington and Du Bois themselves. Du Bois also made this observation in an interview published in The Atlantic Monthly in November 1965. In 1905, Du Bois and several other African-American civil rights activists – including Fredrick McGhee, Max Barber and William Monroe Trotter – met in Canada, near Niagara Falls, where they wrote a declaration of principles opposing the Atlanta Compromise, and which were incorporated as the Niagara Movement in 1906. They wanted to publicize their ideals to other African Americans, but most black periodicals were owned by publishers sympathetic to Washington, so Du Bois bought a printing press and started publishing Moon Illustrated Weekly in December 1905. It was the first African-American illustrated weekly, and Du Bois used it to attack Washington's positions, but the magazine lasted only for about eight months. Du Bois soon founded and edited another vehicle for his polemics, The Horizon: A Journal of the Color Line, which debuted in 1907. Freeman H. M. Murray and Lafayette M. Hershaw served as The Horizon's co-editors. The Niagarites held a second conference in August 1906, in celebration of the 100th anniversary of abolitionist John Brown's birth, at the West Virginia site of Brown's raid on Harper's Ferry. Reverdy C. Ransom spoke, explaining that Washington's primary goal was to prepare blacks for employment in their current society: "Today, two classes of Negroes ...are standing at the parting of the ways. The one counsels patient submission to our present humiliations and degradations ... The other class believe that it should not submit to being humiliated, degraded, and remanded to an inferior place. ...[I]t does not believe in bartering its manhood for the sake of gain." In an effort to portray the genius and humanity of the black race, Du Bois published The Souls of Black Folk (1903), a collection of 14 essays. James Weldon Johnson said the book's effect on African Americans was comparable to that of Uncle Tom's Cabin. The introduction famously proclaimed that "the problem of the Twentieth Century is the problem of the color line". Each chapter begins with two epigraphs – one from a white poet, and one from a black spiritual – to demonstrate intellectual and cultural parity between black and white cultures. A major theme of the work was the double consciousness faced by African Americans: being both American and black. This was a unique identity which, according to Du Bois, had been a handicap in the past, but could be a strength in the future: "Henceforth, the destiny of the race could be conceived as leading neither to assimilation nor separatism but to proud, enduring hyphenation." A major theme in the book is the Negro problem, which Du Bois raised in the first page, asking "How does it feel to be a problem?" Du Bois's response was an early example of racial uplift ideology, where black activists responded to racism with assertive, positive leadership.[b] Two calamities in the autumn of 1906 shocked African Americans, and they contributed to strengthening support for Du Bois's struggle for civil rights to prevail over Booker T. Washington's accommodationist Atlanta Compromise. First, President Theodore Roosevelt dishonorably discharged 167 Buffalo Soldiers because they were accused of crimes as a result of the Brownsville affair. Many of the discharged soldiers had served for 20 years and were near retirement. Second, in September, riots broke out in Atlanta, precipitated by unfounded allegations of black men assaulting white women. This was a catalyst for racial tensions based on a job shortage and employers playing black workers against white workers. Ten thousand whites rampaged through Atlanta, beating every black person they could find, resulting in more than 25 deaths. In the aftermath of the 1906 violence, Du Bois urged blacks to withdraw their support from the Republican Party, because Republicans Roosevelt and William Howard Taft did not sufficiently support blacks. Most African Americans had been loyal to the Republican Party since the time of Abraham Lincoln. Du Bois endorsed Taft's rival William Jennings Bryan in the 1908 presidential election despite Bryan's acceptance of segregation. Du Bois wrote the essay, "A Litany at Atlanta", which asserted that the riot demonstrated that the Atlanta Compromise was a failure. Despite upholding their end of the bargain, blacks had failed to receive legal justice in the South. Historian David Levering Lewis has written that the Compromise no longer held because white patrician planters, who took a paternalistic role, had been replaced by aggressive businessmen who were willing to pit blacks against whites. These two calamities were watershed events for the African-American community, marking the ascendancy of Du Bois's vision of equal rights. Once we were told: Be worthy and fit and the ways are open. Today, the avenues of advancement in the army, navy, civil service, and even business and professional life are continually closed to black applicants of proven fitness, simply on the bald excuse of race and color. In addition to writing editorials, Du Bois continued to produce scholarly work at Atlanta University. In 1909, after five years of effort, he published a biography of abolitionist John Brown. It contained many insights, but also contained some factual errors. The work was strongly criticized by The Nation, which was owned by Oswald Garrison Villard, who was writing his own, competing biography of John Brown. Possibly as a result, Du Bois's work was largely ignored by white scholars. After publishing a piece in Collier's magazine warning of the end of "white supremacy", Du Bois had difficulty getting pieces accepted by major periodicals, although he did continue to publish columns regularly in The Horizon magazine. Du Bois was the first African American invited by the American Historical Association (AHA) to present a paper at their annual conference. He read his paper, Reconstruction and Its Benefits, to an astounded audience at the AHA's December 1909 conference. The paper went against the mainstream historical view, promoted by the Dunning School of scholars at Columbia University, that Reconstruction was a disaster, caused by the ineptitude and sloth of blacks. To the contrary, Du Bois asserted that the brief period of African-American leadership in the South accomplished three important goals: democracy, free public schools, and new social welfare legislation. Du Bois asserted that it was the federal government's failure to manage the Freedmen's Bureau, to distribute land, and to establish an educational system, that doomed African-American prospects in the South. When Du Bois submitted the paper for publication a few months later in The American Historical Review, he asked that the word 'Negro' be capitalized. The editor, J. Franklin Jameson, refused and published the paper without the capitalization. The paper was mostly ignored by white historians. Du Bois later developed his paper as his 1935 book, Black Reconstruction in America, which marshaled extensive references to support his assertions. The AHA did not invite another African-American speaker until 1940. NAACP era In May 1909, Du Bois attended the National Negro Conference in New York. The meeting led to the creation of the National Negro Committee, chaired by Oswald Garrison Villard, and dedicated to campaigning for civil rights, equal voting rights, and equal educational opportunities. The following spring, in 1910, at the second National Negro Conference, the attendees created the National Association for the Advancement of Colored People (NAACP). At Du Bois's suggestion, the word "colored", rather than "black", was used to include "dark skinned people everywhere". Dozens of civil rights supporters, black and white, participated in the founding, but most executive officers were white, including Mary White Ovington, Charles Edward Russell, William English Walling, and its first president, Moorfield Storey. Feeling inspired by this, Indian social reformer and civil rights activist B. R. Ambedkar contacted Du Bois in the 1940s. In a letter to Du Bois in 1946, he introduced himself as a member of the "Untouchables of India" and "a student of the Negro problem" and expressed his interest in the NAACP's petition to the United Nations. He noted that his group was "thinking of following suit"; and requested copies of the proposed statement from Du Bois. In a letter dated July 31, 1946, Du Bois responded by telling Ambedkar he was familiar with his name, and that he had "every sympathy with the Untouchables of India." NAACP leaders offered Du Bois the position of Director of Publicity and Research. He accepted the job in the summer of 1910 and moved to New York after resigning from Atlanta University. His primary duty was editing the NAACP's monthly magazine, which he named The Crisis. The first issue appeared in November 1910, and Du Bois wrote that it aimed to set out "those facts and arguments which show the danger of race prejudice, particularly as manifested today toward colored people". The journal was phenomenally successful, and its circulation reached 100,000 in 1920. Typical articles in the early editions were polemics against the dishonesty and parochialism of black churches, and discussions on the Afrocentric origins of Egyptian civilization. Du Bois's African-centered view of ancient Egypt was in direct opposition to many Egyptologists of his day, including Flinders Petrie, whom Du Bois had met at a conference. A 1911 Du Bois editorial helped initiate a nationwide push to induce the federal government to outlaw lynching. Du Bois, employing the sarcasm he frequently used, commented on a lynching in Pennsylvania: "The point is he was black. Blackness must be punished. Blackness is the crime of crimes ... It is therefore necessary, as every white scoundrel in the nation knows, to let slip no opportunity of punishing this crime of crimes. Of course if possible, the pretext should be great and overwhelming – some awful stunning crime, made even more horrible by the reporters' imagination. Failing this, mere murder, arson, barn burning or impudence may do." The Crisis carried Du Bois editorials supporting the ideals of unionized labor but denouncing its leaders' racism; blacks were barred from membership. Du Bois also supported the principles of the Socialist Party of America (he held party membership from 1910 to 1912), but he denounced the racism demonstrated by some socialist leaders. Frustrated by Republican president Taft's failure to address widespread lynching, Du Bois endorsed Democratic candidate Woodrow Wilson in the 1912 presidential race, in exchange for Wilson's promise to support black causes. Throughout his writings, Du Bois supported women's rights and women's suffrage, but he found it difficult to publicly endorse the American suffragist movement because leaders of the movement refused to support his fight against racial injustice. A 1913 Crisis editorial broached the taboo subject of interracial marriage: although Du Bois generally expected persons to marry within their race, he viewed the problem as a women's rights issue, because laws prohibited white men from marrying black women. Du Bois wrote "[anti-miscegenation] laws leave the colored girls absolutely helpless for the lust of white men. It reduces colored women in the eyes of the law to the position of dogs. As low as the white girl falls, she can compel her seducer to marry her ... We must kill [anti-miscegenation laws] not because we are anxious to marry the white men's sisters, but because we are determined that white men will leave our sisters alone." During 1915−1916, some leaders of the NAACP – disturbed by financial losses at The Crisis, and worried about the inflammatory rhetoric of some of its essays – attempted to oust Du Bois from his editorial position. Du Bois and his supporters prevailed, and he continued in his role as editor. In a 1919 column titled "The True Brownies", he announced the creation of The Brownies' Book, the first magazine published for African-American children and youth, which he founded with Augustus Granville Dill and Jessie Redmon Fauset. The 1910s were a productive time for Du Bois. In 1911, he attended the First Universal Races Congress in London and he published his first novel, The Quest of the Silver Fleece. Two years later, Du Bois wrote, produced, and directed a pageant for the stage, The Star of Ethiopia. In 1915, Du Bois published The Negro, a general history of black Africans, and the first of its kind in English. The book rebutted claims of African inferiority and came to serve as the basis of much Afrocentric historiography in the 20th century. The Negro predicted unity and solidarity for colored people around the world, and it influenced many who supported the Pan-African movement. In 1915, The Atlantic Monthly carried a Du Bois essay, "The African Roots of the War", which consolidated his ideas on capitalism, imperialism, and race. He argued that the Scramble for Africa was at the root of World War I. He also anticipated later communist doctrine, by suggesting that wealthy capitalists had pacified white workers by giving them just enough wealth to prevent them from revolting, and by threatening them with competition by the lower-cost labor of colored workers. Du Bois used his influential NAACP position to oppose a variety of racist incidents. When the silent film The Birth of a Nation premiered in 1915, Du Bois and the NAACP led the fight to ban the movie because of its racist portrayal of blacks as brutish and lustful. The fight was not successful, and possibly contributed to the film's fame, but the publicity drew many new supporters to the NAACP. The private sector was not the only source of racism: under President Wilson, the plight of African Americans in government jobs suffered. Many federal agencies adopted whites-only employment practices, the Army excluded blacks from officer ranks, and the immigration service prohibited the immigration of persons of African ancestry. Du Bois wrote an editorial in 1914 deploring the dismissal of blacks from federal posts, and he supported William Monroe Trotter when Trotter brusquely confronted Wilson about the President's failure to fulfill his campaign promise of justice for blacks. The Crisis continued to wage a campaign against lynching. In 1915, it published an article with a year-by-year tabulation of 2,732 lynchings from 1884 to 1914. The April 1916 edition covered the group lynching of six African Americans in Lee County, Georgia. Later in the June 1916 issue, the "Waco Horror" article covered the lynching of Jesse Washington, a mentally impaired 17-year-old African American. Du Bois included photographs of it in the article. The article broke new ground by utilizing undercover reporting to expose the conduct of local whites in Waco, Texas. The early 20th century was the era of the Great Migration of blacks from the Southern United States to the Northeast, Midwest, and West. Du Bois wrote an editorial supporting the Great Migration, feeling it would help blacks escape Southern racism, find economic opportunities, and assimilate into American society. Also in the 1910s the American eugenics movement was in its infancy, and many leading eugenicists were openly racist, defining Blacks as "a lower race". Du Bois opposed this view as an unscientific aberration, but still maintained the basic principle of eugenics: that different persons have different inborn characteristics that make them more or less suited for specific kinds of employment, and that by encouraging the most talented members of all races to procreate would better the "stocks" of humanity. As the United States prepared to enter World War I in 1917, Du Bois's colleague in the NAACP, Joel Spingarn, established a camp to train African Americans to serve as officers in the United States Armed Forces. The camp was controversial as some whites felt that blacks were not qualified to be officers, and some blacks felt that African Americans should not participate in what they considered a white man's war. Du Bois supported Spingarn's training camp, but was disappointed when the Army forcibly retired one of its few black officers, Charles Young, on a pretense of ill health. The Army agreed to create 1,000 officer positions for blacks, but insisted that 250 come from enlisted men, conditioned to taking orders from whites, rather than from independent-minded blacks who came from the camp. More than 700,000 blacks enlisted on the first day of the draft, but were subject to discriminatory conditions that prompted vocal protests from Du Bois. After the East St. Louis riots occurred in the summer of 1917, Du Bois traveled to St. Louis to report on the riots. Between 40 and 250 African Americans were massacred by whites, primarily due to resentment caused by St. Louis industry hiring blacks to replace striking white workers. Du Bois's reporting resulted in an article "The Massacre of East St. Louis", published in the September issue of The Crisis, which contained photographs and interviews detailing the violence. Historian David Levering Lewis concluded that Du Bois distorted some of the facts in order to increase the propaganda value of the article. To publicly demonstrate the black community's outrage over the riots, Du Bois organized the Silent Parade, a march of around 9,000 African Americans down New York City's Fifth Avenue, the first parade of its kind in New York, and the second instance of blacks publicly demonstrating for civil rights. The Houston riot of 1917 disturbed Du Bois and was a major setback to efforts to permit African Americans to become military officers. The riot began after Houston police arrested and beat two black soldiers; in response, more than 100 black soldiers took to the streets of Houston and killed 16 whites. A military court martial was held, and 19 of the soldiers were hanged, and 67 others were imprisoned. In spite of the Houston riot, Du Bois and others successfully pressed the Army to accept the officers trained at Spingarn's camp, resulting in more than 600 black officers joining the Army in October 1917. Federal officials, concerned about subversive viewpoints expressed by NAACP leaders, attempted to frighten the NAACP by threatening it with investigations. Du Bois was not intimidated, and in 1918 he predicted that World War I would lead to an overthrow of the European colonial system and the "liberation" of colored people worldwide – in China, in India, and especially in the Americas. NAACP chairman Joel Spingarn was enthusiastic about the war, and he persuaded Du Bois to consider an officer's commission in the Army, contingent on Du Bois writing an editorial repudiating his anti-war stance. Du Bois accepted this bargain and wrote the pro-war "Close Ranks" editorial in June 1918 and soon thereafter he received a commission in the Army. Many black leaders, who wanted to leverage the war to gain civil rights for African Americans, criticized Du Bois for his sudden reversal. Southern officers in Du Bois's unit objected to his presence, and his commission was withdrawn. When the war ended, Du Bois traveled to Europe in 1919 to attend the first Pan-African Congress and to interview African-American soldiers for a planned book on their experiences in World War I. He was trailed by U.S. agents who were searching for evidence of treasonous activities. Du Bois discovered that the vast majority of black American soldiers were relegated to menial labor as stevedores and laborers. Some units were armed, and one in particular, the 92nd Division (the Buffalo soldiers), engaged in combat. Du Bois discovered widespread racism in the Army, and concluded that the Army command discouraged African Americans from joining the Army, discredited the accomplishments of black soldiers, and promoted bigotry. Du Bois returned from Europe more determined than ever to gain equal rights for African Americans. Black soldiers returning from overseas felt a new sense of power and worth, and were representative of an emerging attitude referred to as the New Negro. In the editorial "Returning Soldiers" he wrote: "But, by the God of Heaven, we are cowards and jackasses if, now that the war is over, we do not marshal every ounce of our brain and brawn to fight a sterner, longer, more unbending battle against the forces of hell in our own land." Many blacks moved to northern cities in search of work, and some northern white workers resented the competition. This labor strife was one of the causes of the Red Summer, a series of race riots across America in 1919, in which more than 300 African Americans were killed in more than 30 cities. Du Bois documented the atrocities in the pages of The Crisis, culminating in the December publication of a gruesome photograph of a lynching that occurred during a race riot in Omaha, Nebraska. The most violent episode during the Red Summer was a massacre in Elaine, Arkansas in which nearly 200 blacks were murdered. Reports coming out of the South blamed the blacks, alleging that they were conspiring to take over the government. Infuriated with the distortions, Du Bois published a letter in the New York World, claiming that the only crime the black sharecroppers had committed was daring to challenge their white landlords by hiring an attorney to investigate contractual irregularities. More than 60 of the surviving blacks were arrested and tried for conspiracy, in the case known as Moore v. Dempsey. Du Bois rallied blacks across America to raise funds for the legal defense, which, six years later, resulted in a Supreme Court ruling authored by Oliver Wendell Holmes Jr. Although the victory had little immediate impact on justice for blacks in the South, it marked the first time the federal government used the 14th Amendment guarantee of due process to prevent states from shielding mob violence. In 1920, Du Bois published Darkwater: Voices from Within the Veil, the first of his three autobiographies. The "veil" was that which covered colored people around the world. In the book, he hoped to lift the veil and show white readers what life was like behind the veil, and how it distorted the viewpoints of those looking through it – in both directions. The book contained Du Bois's feminist essay, "The Damnation of Women", which was a tribute to the dignity and worth of women, particularly black women. Concerned that textbooks used by African-American children ignored black history and culture, Du Bois created a monthly children's magazine, The Brownies' Book. Initially published in 1920, it was aimed at black children, who Du Bois called "the children of the sun". Du Bois traveled to Europe in 1921 to attend the second Pan-African Congress. The assembled black leaders from around the world issued the London Resolutions and established a Pan-African Association headquarters in Paris. Under Du Bois's guidance, the resolutions insisted on racial equality, and that Africa be ruled by Africans (not, as in the 1919 congress, with the consent of Africans). Du Bois restated the resolutions of the congress in his Manifesto to the League of Nations, which implored the newly formed League of Nations to address labor issues and to appoint Africans to key posts. The League took little action on the requests. Jamaican activist Marcus Garvey, promoter of the Back-to-Africa movement and founder of the Universal Negro Improvement Association (UNIA), denounced Du Bois's efforts to achieve equality through integration, and instead endorsed racial separatism. Du Bois initially supported the concept of Garvey's Black Star Line, a shipping company that was intended to facilitate commerce within the African diaspora. But Du Bois later became concerned that Garvey was threatening the NAACP's efforts, leading Du Bois to describe him as fraudulent and reckless. Responding to Garvey's slogan "Africa for the Africans", Du Bois said that he supported that concept, but denounced Garvey's intention that Africa be ruled by African Americans. Du Bois wrote a series of articles in The Crisis between 1922 and 1924 attacking Garvey's movement, calling him the "most dangerous enemy of the Negro race in America and the world." Du Bois and Garvey never made a serious attempt to collaborate, and their dispute was partly rooted in the desire of their respective organizations (NAACP and UNIA) to capture a larger portion of the available philanthropic funding. Du Bois decried Harvard's decision to ban blacks from its dormitories in 1921 as an instance of a broad effort in the U.S. to renew "the Anglo-Saxon cult; the worship of the Nordic totem, the disfranchisement of Negro, Jew, Irishman, Italian, Hungarian, Asiatic and South Sea Islander – the world rule of Nordic white through brute force." When Du Bois sailed for Europe in 1923 for the third Pan-African Congress, the circulation of The Crisis had declined to 60,000 from its World War I high of 100,000, but it remained the preeminent periodical of the civil rights movement. President Calvin Coolidge designated Du Bois an "Envoy Extraordinary" to Liberia and – after the third congress concluded – Du Bois rode a German freighter from the Canary Islands to Africa, visiting Liberia, Sierra Leone, and Senegal. Du Bois frequently promoted African-American artistic creativity in his writings, and when the Harlem Renaissance emerged in the mid-1920s, his article "A Negro Art Renaissance" celebrated the end of the long hiatus of blacks from creative endeavors. His enthusiasm for the Harlem Renaissance waned as he came to believe that many whites visited Harlem for voyeurism, not for genuine appreciation of black art. Du Bois insisted that artists recognize their moral responsibilities, writing that "a black artist is first of all a black artist." He was also concerned that black artists were not using their art to promote black causes, saying "I do not care a damn for any art that is not used for propaganda." By the end of 1926, he stopped employing The Crisis to support the arts. In 1929, a debate organized by the Chicago Forum Council billed as "One of the greatest debates ever held" was held between Du Bois and Lothrop Stoddard, a member of the Ku Klux Klan, proponent of eugenics and so-called scientific racism. The debate was held in Chicago and Du Bois was arguing the affirmative to the question "Shall the Negro be encouraged to seek cultural equality? Has the Negro the same intellectual possibilities as other races?" Du Bois knew that the racists would be unintentionally funny onstage; as he wrote to Moore, Senator J. Thomas Heflin "would be a scream" in a debate. Du Bois let the overconfident and bombastic Stoddard walk into a comic moment, which Stoddard then made even funnier by not getting the joke. This moment was captured in headlines "DuBois Shatters Stoddard's Cultural Theories in Debate; Thousands Jam Hall ... Cheered as He Proves Race Equality," The Chicago Defender's front-page headline ran "5,000 Cheer W.E.B. DuBois, Laugh at Lothrop Stoddard". Ian Frazier of The New Yorker wrote that the comic potential of Stoddard's bankrupt ideas was left untapped until Stanley Kubrick's Dr. Strangelove. When Du Bois became editor of The Crisis magazine in 1911, he joined the Socialist Party of America on the advice of NAACP founders Mary White Ovington, William English Walling and Charles Edward Russell. However, he supported the Democrat Woodrow Wilson in the 1912 presidential campaign, a breach of the rules, and was forced to resign from the Socialist Party. In 1913, his support for Wilson was shaken when racial segregation in government hiring was reported. Du Bois remained "convinced that socialism was an excellent way of life, but I thought it might be reached by various methods." Nine years after the 1917 Russian Revolution, Du Bois extended a trip to Europe to include a visit to the Soviet Union, where he was struck by the poverty and disorganization he encountered in the Soviet Union, yet was impressed by the intense labors of the officials and by the recognition given to workers. Although Du Bois was not yet familiar with the communist theories of Karl Marx or Vladimir Lenin, he concluded that socialism might be a better path towards racial equality than capitalism. Although Du Bois generally endorsed socialist principles, his politics were strictly pragmatic: in the 1929 New York City mayoral election, he endorsed Democrat Jimmy Walker for mayor of New York, rather than the socialist Norman Thomas, believing that Walker could do more immediate good for blacks, even though Thomas's platform was more consistent with Du Bois's views. Throughout the 1920s, Du Bois and the NAACP shifted support back and forth between the Republican Party and the Democratic Party, induced by promises from the candidates to fight lynchings, improve working conditions, or support voting rights in the South; invariably, the candidates failed to deliver on their promises. And herein lies the tragedy of the age: not that men are poor – all men know something of poverty; not that men are wicked – who is good? Not that men are ignorant – what is Truth? Nay, but that men know so little of men. A rivalry emerged in 1931 between the NAACP and the Communist Party, when the communists responded quickly and effectively to support the Scottsboro Boys, nine African-American youths arrested in 1931 in Alabama for rape. Du Bois and the NAACP felt that the case would not be beneficial to their cause, so they chose to let the Communist Party organize the defense efforts. Du Bois was impressed with the vast amount of publicity and funds which the communists devoted to the partially successful defense effort, and he came to suspect that the communists were attempting to present their party to African Americans as a better solution than the NAACP. Responding to criticisms of the NAACP from the Communist Party, Du Bois wrote articles condemning the party, claiming that it unfairly attacked the NAACP, and that it failed to fully appreciate racism in the United States. In their turn, the communist leaders accused him of being a "class enemy", and claimed that the NAACP leadership was an isolated elite, disconnected from the working-class blacks they ostensibly fought for. Return to Atlanta Du Bois did not have a good working relationship with Walter White, president of the NAACP since 1931. That conflict, combined with the financial stresses of the Great Depression, precipitated a power struggle over The Crisis. Du Bois, concerned that his position as editor would be eliminated, resigned his job at The Crisis and accepted an academic position at Atlanta University in early 1933. The rift with the NAACP grew larger in 1934 when Du Bois reversed his stance on segregation, stating that "separate but equal" was an acceptable goal for African Americans. The NAACP leadership was stunned, and asked Du Bois to retract his statement, but he refused, and the dispute led to Du Bois's resignation from the NAACP. After arriving at his new professorship in Atlanta, Du Bois wrote a series of articles generally supportive of Marxism. He was not a strong proponent of labor unions or the Communist Party, but he felt that Marx's scientific explanation of society and the economy were useful for explaining the situation of African Americans in the United States. Marx's atheism also struck a chord with Du Bois, who routinely criticized black churches for dulling blacks' sensitivity to racism. In his 1933 writings, Du Bois embraced socialism, but asserted that "[c]olored labor has no common ground with white labor", a controversial position that was rooted in Du Bois's dislike of American labor unions, which had systematically excluded blacks for decades. Du Bois did not support the Communist Party in the U.S. and did not vote for their candidate in the 1932 presidential election, in spite of an African American on their ticket. Back in the world of academia, Du Bois was able to resume his study of Reconstruction, the topic of the 1910 paper that he presented to the American Historical Association. In 1935, he published his magnum opus, Black Reconstruction in America. The book presented the thesis, in the words of the historian David Levering Lewis, that "black people, suddenly admitted to citizenship in an environment of feral hostility, displayed admirable volition and intelligence as well as the indolence and ignorance inherent in three centuries of bondage." Du Bois documented how black people were central figures in the American Civil War and Reconstruction era, and also showed how they made alliances with white politicians. He provided evidence that the coalition governments established public education in the South, and many needed social service programs. The book also demonstrated how black emancipation – the crux of Reconstruction – promoted a radical restructuring of United States society, as well as how and why the country failed to continue support for civil rights for blacks in the aftermath of Reconstruction. The book's thesis ran counter to the orthodox interpretation of Reconstruction maintained by white historians, and the book was virtually ignored by mainstream historians until the 1960s. Thereafter, however, it ignited a "revisionist" trend in the historiography of Reconstruction, which emphasized black people's search for freedom and the era's radical policy changes. By the 21st century, Black Reconstruction was widely perceived as "the foundational text of revisionist African American historiography". In the final chapter of the book, "XIV. The Propaganda of History", Du Bois evokes his efforts at writing an article for the Encyclopædia Britannica on the "history of the American Negro". After the editors had cut all reference to Reconstruction, he insisted that the following note appear in the entry: "White historians have ascribed the faults and failures of Reconstruction to Negro ignorance and corruption. But the Negro insists that it was Negro loyalty and the Negro vote alone that restored the South to the Union; established the new democracy, both for white and black, and instituted the public schools." The editors refused and, so, Du Bois withdrew his article. In 1932, Du Bois was selected by several philanthropies, including the Phelps Stokes Fund, the Carnegie Corporation of New York, and the General Education Board, to be the managing editor for a proposed Encyclopedia of the Negro, a work that Du Bois had been contemplating for 30 years. After several years of planning and organizing, the philanthropies canceled the project in 1938 because some board members believed that Du Bois was too biased to produce an objective encyclopedia. Du Bois took a trip around the world in 1936, which included visits to Germany, China, and Japan. While in Germany, Du Bois remarked that he was treated with warmth and respect. After his return to the United States, he expressed his ambivalence about the Nazi regime. He admired how the Nazis had improved the German economy, but he was horrified by their treatment of the Jewish people, which he described as "an attack on civilization, comparable only to such horrors as the Spanish Inquisition and the African slave trade". Following the 1905 Japanese victory in the Russo-Japanese War, Du Bois became impressed by the growing strength of Imperial Japan. He came to view the ascendant Japanese Empire as an antidote to Western imperialism, arguing for more than three decades after the war that its rise represented a chance to break the monopoly that white nations had on international affairs. A representative of Japan's "Negro Propaganda Operations" traveled to the United States during the 1920s and 1930s, meeting with Du Bois and giving him a positive impression of Imperial Japan's racial policies. In 1936, the Japanese ambassador arranged a trip to Japan for Du Bois and a small group of academics, visiting China, Japan, and Manchukuo (Manchuria). Du Bois viewed Japanese colonialism in Manchuria as benevolent; he wrote that "colonial enterprise by a colored nation need not imply the caste, exploitation and subjection which it has always implied in the case of white Europe." He also believed that it was natural for Chinese and Japanese to quarrel with each other as "relatives" and that the segregated schools in Manchuria were established because the natives spoke Chinese only. While disturbed by the eventual Japanese alliance with Nazi Germany, Du Bois also argued Japan was only compelled to enter the pact because of the hostility of the United States and United Kingdom, and he viewed American apprehensions over Japanese expansion in Asia as racially motivated both before and after the attack on Pearl Harbor. He was similarly disturbed by how Chinese culture might be extinguished under Japanese rule but argued that Western imperialism was a greater existential concern. Du Bois opposed the US intervention in World War II, particularly in the Pacific War, because he believed that China and Japan were emerging from the clutches of white imperialists. He felt that the European Allies waging war against Japan was an opportunity for whites to reestablish their influence in Asia. He was deeply disappointed by the US government's plan for African Americans in the armed forces: Blacks were limited to 5.8% of the force, and there were to be no African-American combat units – virtually the same restrictions as in World War I. With blacks threatening to shift their support to President Franklin D. Roosevelt's Republican opponent Wendell Willkie in the 1940 election, Roosevelt appointed a few blacks to leadership posts in the military. Dusk of Dawn, Du Bois's second autobiography, was published in 1940. The title refers to his hope that African Americans were passing out of the darkness of racism into an era of greater equality. The work is part autobiography, part history, and part sociological treatise. Du Bois described the book as "the autobiography of a concept of race ... elucidated and magnified and doubtless distorted in the thoughts and deeds which were mine ... Thus for all time my life is significant for all lives of men." While at Atlanta, he also founded the journal Phylon in 1940. In 1943, at the age of 75, Du Bois was abruptly fired from his position at Atlanta University by college president Rufus Early Clement. Many scholars expressed outrage, prompting Atlanta University to provide Du Bois with a lifelong pension and the title of professor emeritus. Arthur Spingarn remarked that Du Bois spent his time in Atlanta "battering his life out against ignorance, bigotry, intolerance and slothfulness, projecting ideas nobody but he understands, and raising hopes for change which may be comprehended in a hundred years." Turning down job offers from Fisk and Howard, Du Bois re-joined the NAACP as director of the Department of Special Research. Surprising many NAACP leaders, Du Bois jumped into the job with vigor and determination. During his 10−years hiatus, the NAACP's income had increased fourfold, and its membership had soared to 325,000 members. Later life Du Bois was a member of the three-person delegation from the NAACP that attended the 1945 conference in San Francisco at which the United Nations was established. The NAACP delegation wanted the United Nations to endorse racial equality and to bring an end to the colonial era. To push the United Nations in that direction, Du Bois drafted a proposal that pronounced "[t]he colonial system of government ... is undemocratic, socially dangerous and a main cause of wars". The NAACP proposal received support from China, India, and the Soviet Union, but it was virtually ignored by the other major powers, and the NAACP proposals were not included in the final United Nations Charter. After the United Nations conference, Du Bois published Color and Democracy: Colonies and Peace, a book that attacked colonial empires and, in the words of a most sympathetic reviewer, "contains enough dynamite to blow up the whole vicious system whereby we have comforted our white souls and lined the pockets of generations of free-booting capitalists." In late 1945, Du Bois attended the fifth, and final, Pan-African Congress, in Manchester, England. The congress was the most productive of the five congresses, and there Du Bois met Kwame Nkrumah, the future first president of Ghana, who later invited him to Africa. Du Bois helped to submit petitions to the UN concerning discrimination against African Americans, the most noteworthy of which was the NAACP's "An Appeal to the World: A Statement on the Denial of Human Rights to Minorities in the Case of Citizens of Negro Descent in the United States of America and an Appeal to the United Nations for Redress". This advocacy laid the foundation for the later report and petition called "We Charge Genocide", submitted in 1951 by the Civil Rights Congress. "We Charge Genocide" accuses the U.S. of systematically sanctioning murders and inflicting harm against African Americans and therefore committing genocide. When the Cold War commenced in the mid-1940s, the NAACP distanced itself from communists, lest its funding or reputation suffer. The NAACP redoubled its efforts in 1947 after Life magazine published a piece by Arthur M. Schlesinger Jr. claiming that the NAACP was heavily influenced by communists. Ignoring the NAACP's desires, Du Bois continued to fraternize with communist sympathizers such as Paul Robeson, Howard Fast and Shirley Graham (his future second wife). Du Bois wrote: "I am not a communist ... On the other hand, I ... believe ... that Karl Marx ... put his finger squarely upon our difficulties ...". In 1946, Du Bois wrote articles giving his assessment of the Soviet Union; he did not embrace communism and he criticized its dictatorship. However, he felt that capitalism was responsible for poverty and racism, and felt that socialism was an alternative that might ameliorate those problems. The Soviets explicitly rejected racial distinctions and class distinctions, leading Du Bois to conclude that the USSR was the "most hopeful country on earth". Du Bois's association with prominent communists made him a liability for the NAACP, especially since the Federal Bureau of Investigation was starting to aggressively investigate communist sympathizers; so – by mutual agreement – he resigned from the NAACP for the second time in late 1948. After departing the NAACP, Du Bois started writing regularly for the leftist weekly newspaper the National Guardian, a relationship that endured until 1961. Du Bois was an early supporter of Zionism. He viewed Palestinians as uncivilized and viewed Islam as the main factor in what he saw as a lack of progress. However, he did not express support for Israel during the Suez Crisis, instead backing Gamal Abdel Nasser. Nadia Alahmed contends that Du Bois came to view "Nasser as a Pan-African symbol, a power to resist Western" neo-colonialism and that Du Bois's poem "Suez" influenced Malcolm X and the Black Power Movement in forming Black-Palestinian solidarity. Du Bois was a lifelong anti-war activist, but his efforts became more pronounced after World War II. In 1949, Du Bois spoke at the Scientific and Cultural Conference for World Peace in New York: "I tell you, people of America, the dark world is on the move! It wants and will have Freedom, Autonomy and Equality. It will not be diverted in these fundamental rights by dialectical splitting of political hairs ... Whites may, if they will, arm themselves for suicide. But the vast majority of the world's peoples will march on over them to freedom!" In the spring of 1949, he spoke at the World Congress of the Partisans of Peace in Paris, saying to the large crowd: "Leading this new colonial imperialism comes my own native land built by my father's toil and blood, the United States. The United States is a great nation; rich by grace of God and prosperous by the hard work of its humblest citizens ... Drunk with power we are leading the world to hell in a new colonialism with the same old human slavery which once ruined us; and to a third World War which will ruin the world." Du Bois affiliated himself with a leftist organization, the National Council of Arts, Sciences and Professions, and he traveled to Moscow as its representative to speak at the All-Soviet Peace Conference in late 1949. During this period, Du Bois also visited the remains of the Warsaw Ghetto, an experience he spoke about in a speech titled, "The Negro and the Warsaw Ghetto" delivered in 1949 and later published in 1952 in the magazine Jewish Life. In the address, Du Bois reflects on the destruction caused by the Nazi assault against Jewish peoples and considers the way in which the "race problem" could extend past a "color-line" and become "a matter of cultural patterns, perverted teaching and human hate and prejudice, which reached all sorts of people and caused endless evil to all men". Du Bois' speech champions a broader and more transnational approach to humanitarianism. During the 1950s, the U.S. government's anti-communist McCarthyism campaign targeted Du Bois because of his socialist leanings. Socialist historian Manning Marable characterizes the government's treatment of Du Bois as "ruthless repression" and a "political assassination". The FBI began to compile a file on Du Bois in 1942, investigating him for possible subversive activities. The original investigation appears to have ended in 1943 because the FBI was unable to discover sufficient evidence against Du Bois, but the FBI resumed its investigation in 1949, suspecting he was among a group of "Concealed Communists". The most aggressive government attack against Du Bois occurred in the early 1950s, as a consequence of his opposition to nuclear weapons. In 1950 he became chair of the newly created Peace Information Center (PIC), which worked to publicize the Stockholm Appeal in the United States. The primary purpose of the appeal was to gather signatures on a petition, asking governments around the world to ban all nuclear weapons. In United States v. Peace Information Center, 97 F. Supp. 255 (D.D.C. 1951), the U.S. Justice Department alleged that the PIC was acting as an agent of a foreign state, and thus required the PIC to register with the federal government under the Foreign Agents Registration Act. Du Bois and other PIC leaders refused, and they were indicted for failure to register. After the indictment, some of Du Bois's associates distanced themselves from him, and the NAACP refused to issue a statement of support; but many labor figures and leftists – including Langston Hughes – supported Du Bois. He was finally tried in 1951 and was represented by civil rights attorney Vito Marcantonio. The case was dismissed when the defense attorney told the judge that "Dr. Albert Einstein has offered to appear as character witness for Dr. Du Bois". Du Bois's memoir of the trial is In Battle for Peace. Even though Du Bois was not convicted, the government confiscated Du Bois's passport and withheld it for eight years. Du Bois was bitterly disappointed that many of his colleagues – particularly the NAACP – did not support him during his 1951 PIC trial, whereas working-class whites and blacks supported him enthusiastically. After the trial, Du Bois lived in Manhattan, writing and speaking, and continuing to associate primarily with leftist acquaintances. His primary concern was world peace, and he railed against military actions such as the Korean War, which he viewed as efforts by imperialist whites to maintain colored people in a submissive state. In 1950, at the age of 82, Du Bois ran for U.S. Senator from New York on the American Labor Party ticket and received about 200,000 votes, or 4% of the statewide total. He continued to believe that capitalism was the primary culprit responsible for the subjugation of colored people around the world, and although he recognized the faults of the Soviet Union, he continued to uphold communism as a possible solution to racial problems. In the words of biographer David Lewis, Du Bois did not endorse communism for its own sake, but did so because "the enemies of his enemies were his friends". The same ambiguity characterized his opinions of Joseph Stalin: in 1940, he wrote disdainfully of the "Tyrant Stalin", but when Stalin died in 1953, Du Bois wrote a eulogy characterizing Stalin as "simple, calm, and courageous", and lauding him for being the "first [to] set Russia on the road to conquer race prejudice and make one nation out of its 140 groups without destroying their individuality". The U.S. government prevented Du Bois from attending the 1955 Bandung Conference in Indonesia.: 38 The conference was the culmination of 40 years of Du Bois's dreams – a meeting of 29 nations from Africa and Asia, many recently independent, representing most of the world's colored peoples. The conference celebrated those nations' independence as they began to assert their power as non-aligned nations during the Cold War. Du Bois praised the conference as "pan-colored" and believed it would have decisive and long-lasting influence.: 38 After the United States Supreme Court ruled in Kent v. Dulles: 245 that the State Department could not deny passports to citizens who refused to sign affidavits that they were not communists, Du Bois and his wife Shirley Graham Du Bois immediately applied for passports.: 12 The two visited both the Soviet Union and China during a 1958 to 1959 trip which Du Bois described as the most significant journey of his life.: 12 Du Bois later wrote approvingly of the conditions in both countries. In 1959, Du Bois gave a speech at Peking University in which he advocated for increased ties between the black people in the United States and China because "China is colored and knows to what a colored skin in this modern world subjects its owner.": 123 : 11 Du Bois stated that Africa and China should stand together.: 11 The speech was reprinted and widely circulated in China, including through the People's Daily and the Peking Review.: 12 Du Bois and Graham Du Bois were staying at the border between Sichuan and Tibet when the 1959 Tibetan uprising began.: 51–52 Describing the events in his Autobiography, Du Bois concluded, "The landholders and slave drivers and religious fanatics revolted against the Chinese and failed as they deserved to. Tibet has belonged to China for centuries. The Communists linked the two by roads and began reforms in landholding, schools, and trade, which now move quickly.": 52 Du Bois became incensed in 1961 when the U.S. Supreme Court upheld the 1950 McCarran Internal Security Act, a key piece of McCarthyist legislation that required communists to register with the government. To demonstrate his outrage, he joined the Communist Party in October 1961, at the age of 93. Around that time, he wrote: "I believe in communism. I mean by communism, a planned way of life in the production of wealth and work designed for building a state whose object is the highest welfare of its people and not merely the profit of a part." He asked Herbert Aptheker, a communist and historian of African-American history, to be his literary executor. In 1961 he was a sponsor of the Fair Play for Cuba Committee. Nkrumah invited Du Bois to the Dominion of Ghana to participate in their independence celebration in 1957, but he was unable to attend because the U.S. government had confiscated his passport in 1951. By 1960 – the "Year of Africa" – Du Bois had recovered his passport and was able to cross the Atlantic and celebrate the creation of the Republic of Ghana. Du Bois returned to Africa in late 1960 to attend the inauguration of Nnamdi Azikiwe as the first African governor of Nigeria. While visiting Ghana in 1960, Du Bois spoke with its president about the creation of a new encyclopedia of the African diaspora, the Encyclopedia Africana. In early 1961, Ghana notified Du Bois that they had appropriated funds to support the encyclopedia project, and they invited him to travel to Ghana and manage the project there. In October 1961, at the age of 93, Du Bois and his wife traveled to Ghana to take up residence and commence work on the encyclopedia. In early 1963, the United States refused to renew his passport, so he made the symbolic gesture of becoming a citizen of Ghana. The FBI continued to "keep tabs" on Du Bois and Graham Du Bois while they lived in Ghana.: 62 While it is sometimes stated that Du Bois renounced his U.S. citizenship at that time, and he stated his intention to do so, Du Bois never actually did. His health declined during the two years he was in Ghana; he died on August 27, 1963, in the capital, Accra, at the age of 95. The following day, at the March on Washington, speaker Roy Wilkins asked the hundreds of thousands of marchers to honor Du Bois with a moment of silence. The Civil Rights Act of 1964, embodying many of the reforms Du Bois had campaigned for during his entire life, was enacted almost a year after his death. Du Bois was given a state funeral on August 29–30, 1963, at Nkrumah's request, and was buried near the western wall of Christiansborg Castle (now Osu Castle), then the seat of government in Accra. In China, a crowd of 10,000 people stood in silence for three minutes, and major figures including Mao, Zhou Enlai, Soong Ching-Ling, and Guo Moruo sent messages of condolence to Graham Du Bois.: 64 In 1985, another Ghana state ceremony honored Du Bois. With the ashes of Graham Du Bois, who had died in 1977, his body was re-interred at their former home in Accra, which was dedicated the W. E. B. Du Bois Memorial Centre for Pan African Culture in his memory. Du Bois's first wife Nina, their son Burghardt, and their daughter Yolande, who died in 1961, were buried in the cemetery of Great Barrington, Massachusetts, his hometown. Personal life Du Bois was organized and disciplined: his lifelong regimen was to rise at 7:15, work until 5:00, eat dinner, and read a newspaper until 7:00, then read or socialize until he was in bed, invariably before 10:00. He was a meticulous planner, and frequently mapped out his schedules and goals on large pieces of graph paper. Many acquaintances found him to be distant and aloof, and he insisted on being addressed as "Dr. Du Bois". According to biographer David Levering, Du Bois would also "unfailingly insist upon the 'correct' pronunciation of his surname. 'The pronunciation of my name is Due Boyss, with the accent on the last syllable,' he would patiently explain to the uninformed." Although he was not gregarious, he formed several close friendships with associates such as Charles Young, Paul Laurence Dunbar, John Hope, Mary White Ovington, and Albert Einstein. His closest friend was Joel Spingarn – a white man – but Du Bois never accepted Spingarn's offer to be on a first-name basis. Du Bois was something of a dandy – he dressed formally, carried a walking stick, and walked with an air of confidence and dignity. He was relatively short, standing at 5 feet 5.5 inches (166 cm), and always maintained a well-groomed mustache and goatee. He enjoyed singing and playing tennis. Du Bois married Nina Gomer (b. about 1870, m. 1896, d. 1950), with whom he had two children. Their son Burghardt died as an infant before their second child, daughter Yolande, was born. Yolande attended Fisk University and became a high school teacher in Baltimore. Her father encouraged her marriage to Countee Cullen, a nationally known poet of the Harlem Renaissance. They divorced within two years. She married again and had a daughter, Du Bois's only grandchild. That marriage also ended in divorce. As a widower, Du Bois married Shirley Graham (m. 1951,: 36 d. 1977), an author, playwright, composer, and activist. She brought her son David Graham to the marriage. David grew close to Du Bois and took his stepfather's name; he also worked for African-American causes. The historian David Levering Lewis wrote that Du Bois engaged in several extramarital relationships. Although Du Bois attended a New England Congregational church as a child, he abandoned organized religion while at Fisk College. As an adult, Du Bois described himself as agnostic and a freethinker, with one biographer concluding that Du Bois was virtually an atheist. Some analysts place Du Bois' "religious voice" alongside irreligious black thinkers such as Ralph Ellison, Zora Neale Hurston, and James Baldwin. When asked to lead public prayers, Du Bois would refuse. In his 1968 autobiography, Du Bois wrote: When I became head of a department at Atlanta, the engagement was held up because again I balked at leading in prayer ... I flatly refused again to join any church or sign any church creed. ... I think the greatest gift of the Soviet Union to modern civilization was the dethronement of the clergy and the refusal to let religion be taught in the public schools. Du Bois was a critic of religion in general, and American churches in particular, whom he characterised as being the most discriminatory of all institutions on Earth. He also provocatively linked African-American Christianity to indigenous African religions, and characterized the practice of allowing children to learn "so-called religious [truths]", which they will later recognise as false, as a "moral disaster". While he did acknowledge the beneficial role of black Christianity religion as a "basic rock" and "anchor" for African-American communities, he mainly disparaged African-American churches and clergy because he felt they did not adequately support the goals of racial equality and otherwise hindered activists' efforts. Although Du Bois did not have any religious beliefs, he writings were influenced by his reading of religious texts and frequently used religious symbology for its rhetorical effect and persuasive power. Many contemporaries viewed him as a "prophet" of African-American liberation. His 1904 prose poem, "Credo", was written in the style of a religious creed and widely read by the African-American community. Moreover, Du Bois, both in his own fiction and in stories published in The Crisis, often drew analogies between the lynchings of African Americans and the crucifixion of Jesus. Between 1920 and 1940, Du Bois shifted from overt black messiah symbolism to more subtle messianic language. In 1889, Du Bois became eligible to vote at the age of 21. During his life he followed the philosophy of voting for third parties if the Democratic and Republican parties were unsatisfactory; or voting for the lesser of two evils if a third option was not available. Du Bois endorsed the Democratic nominee William Jennings Bryan in the 1908 presidential election. In the 1912 presidential election, Du Bois supported Woodrow Wilson, the Democratic nominee, as he believed Wilson was a "liberal Southerner" although he had wanted to support Theodore Roosevelt and the Progressive Party, but the Progressives ignored issues facing black people. He later regretted his decision, as he came to the conclusion that Wilson was opposed to racial equality. During the 1916 presidential election he supported Charles Evans Hughes, the Republican nominee, as he believed that Wilson was the greater evil. During the 1920 presidential election he supported Warren G. Harding, the Republican nominee, as Harding promised to end the United States occupation of Haiti. During the 1924 presidential election he supported Robert M. La Follette, the Progressive nominee, although he believed that La Follette could not win. During the 1928 presidential election he believed that both Herbert Hoover and Al Smith insulted black voters, and instead Du Bois supported Norman Thomas, the Socialist nominee. In 1932, Du Bois supported Franklin D. Roosevelt, the Democratic nominee, calling his attitude to workers "most realistic". During the 1948 presidential election he supported Henry A. Wallace, the Progressive nominee, and supported the Progressives' nominee, Vincent Hallinan, again in 1952. Du Bois served as the temporary chairman of the 1952 Progressive National Convention and delivered the convention's keynote address. During the 1956 presidential election Du Bois stated that he would not vote. He criticized the foreign, taxation, and crime policies of the Eisenhower administration and Adlai Stevenson II for promising to maintain those policies. However, he could not vote third party due to the lack of ballot access for the Socialist Party. Honors and legacy Selected works Du Bois edited The Crisis from 1910 to 1933, and it contains many of his important polemics. Archival material The W. E. B. Du Bois Library at the University of Massachusetts Amherst contains Du Bois's archive, consisting of 294 boxes and 89 microfilm reels; 99,625 items have been digitized. See also Footnote Citations References Further reading External links |
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Contents Minecraft Minecraft is a sandbox game developed and published by Mojang Studios. Following its initial public alpha release in 2009, it was formally released in 2011 for personal computers. The game has since been ported to numerous platforms, including mobile devices and various video game consoles. In Minecraft, players explore a procedurally generated world with virtually infinite terrain made up of voxels (cubes). They can discover and extract raw materials, craft tools and items, build structures, fight hostile mobs, and cooperate with or compete against other players in multiplayer. The game's large community offers a wide variety of user-generated content, such as modifications, servers, player skins, texture packs, and custom maps, which add new game mechanics and possibilities. Originally created by Markus "Notch" Persson using the Java programming language, Jens "Jeb" Bergensten was handed control over the game's development following its full release. In 2014, Mojang and the Minecraft intellectual property were purchased by Microsoft for US$2.5 billion; Xbox Game Studios hold the publishing rights for the Bedrock Edition, the unified cross-platform version which evolved from the Pocket Edition codebase[i] and replaced the legacy console versions. Bedrock is updated concurrently with Mojang's original Java Edition, although with numerous, generally small, differences. Minecraft is the best-selling video game in history with over 350 million copies sold. It has received critical acclaim, winning several awards and being cited as one of the greatest video games of all time. Social media, parodies, adaptations, merchandise, and the annual Minecon conventions have played prominent roles in popularizing it. The wider Minecraft franchise includes several spin-off games, such as Minecraft: Story Mode, Minecraft Dungeons, and Minecraft Legends. A film adaptation, titled A Minecraft Movie, was released in 2025 and became the second highest-grossing video game film of all time. Gameplay Minecraft is a 3D sandbox video game that has no required goals to accomplish, giving players a large amount of freedom in choosing how to play the game. The game features an optional achievement system. Gameplay is in the first-person perspective by default, but players have the option of third-person perspectives. The game world is composed of rough 3D objects—mainly cubes, referred to as blocks—representing various materials, such as dirt, stone, ores, tree trunks, water, and lava. The core gameplay revolves around picking up and placing these objects. These blocks are arranged in a voxel grid, while players can move freely around the world. Players can break, or mine, blocks and then place them elsewhere, enabling them to build things. Very few blocks are affected by gravity, instead maintaining their voxel position in the air. Players can also craft a wide variety of items, such as armor, which mitigates damage from attacks; weapons (such as swords or bows and arrows), which allow monsters and animals to be killed more easily; and tools (such as pickaxes or shovels), which break certain types of blocks more quickly. Some items have multiple tiers depending on the material used to craft them, with higher-tier items being more effective and durable. They may also freely craft helpful blocks—such as furnaces which can cook food and smelt ores, and torches that produce light—or exchange items with villagers (NPC) through trading emeralds for different goods and vice versa. The game has an inventory system, allowing players to carry a limited number of items. The in-game time system follows a day and night cycle, with one full cycle lasting for 20 real-time minutes. The game also contains a material called redstone, which can be used to make primitive mechanical devices, electrical circuits, and logic gates, allowing for the construction of many complex systems. New players are given a randomly selected default character skin out of nine possibilities, including Steve or Alex, but are able to create and upload their own skins. Players encounter various mobs (short for mobile entities) including animals, villagers, and hostile creatures. Passive mobs, such as cows, pigs, and chickens, spawn during the daytime and can be hunted for food and crafting materials, while hostile mobs—including large spiders, witches, skeletons, and zombies—spawn during nighttime or in dark places such as caves. Some hostile mobs, such as zombies and skeletons, burn under the sun if they have no headgear and are not standing in water. Other creatures unique to Minecraft include the creeper (an exploding creature that sneaks up on the player) and the enderman (a creature with the ability to teleport as well as pick up and place blocks). There are also variants of mobs that spawn in different conditions; for example, zombies have husk and drowned variants that spawn in deserts and oceans, respectively. The Minecraft environment is procedurally generated as players explore it using a map seed that is randomly chosen at the time of world creation (or manually specified by the player). Divided into biomes representing different environments with unique resources and structures, worlds are designed to be effectively infinite in traditional gameplay, though technical limits on the player have existed throughout development, both intentionally and not. Implementation of horizontally infinite generation initially resulted in a glitch termed the "Far Lands" at over 12 million blocks away from the world center, where terrain generated as wall-like, fissured patterns. The Far Lands and associated glitches were considered the effective edge of the world until they were resolved, with the current horizontal limit instead being a special impassable barrier called the world border, located 30 million blocks away. Vertical space is comparatively limited, with an unbreakable bedrock layer at the bottom and a building limit several hundred blocks into the sky. Minecraft features three independent dimensions accessible through portals and providing alternate game environments. The Overworld is the starting dimension and represents the real world, with a terrestrial surface setting including plains, mountains, forests, oceans, caves, and small sources of lava. The Nether is a hell-like underworld dimension accessed via an obsidian portal and composed mainly of lava. Mobs that populate the Nether include shrieking, fireball-shooting ghasts, alongside anthropomorphic pigs called piglins and their zombified counterparts. Piglins in particular have a bartering system, where players can give them gold ingots and receive items in return. Structures known as Nether Fortresses generate in the Nether, containing mobs such as wither skeletons and blazes, which can drop blaze rods needed to access the End dimension. The player can also choose to build an optional boss mob known as the Wither, using skulls obtained from wither skeletons and soul sand. The End can be reached through an end portal, consisting of twelve end portal frames. End portals are found in underground structures in the Overworld known as strongholds. To find strongholds, players must craft eyes of ender using an ender pearl and blaze powder. Eyes of ender can then be thrown, traveling in the direction of the stronghold. Once the player reaches the stronghold, they can place eyes of ender into each portal frame to activate the end portal. The dimension consists of islands floating in a dark, bottomless void. A boss enemy called the Ender Dragon guards the largest, central island. Killing the dragon opens access to an exit portal, which, when entered, cues the game's ending credits and the End Poem, a roughly 1,500-word work written by Irish novelist Julian Gough, which takes about nine minutes to scroll past, is the game's only narrative text, and the only text of significant length directed at the player.: 10–12 At the conclusion of the credits, the player is teleported back to their respawn point and may continue the game indefinitely. In Survival mode, players have to gather natural resources such as wood and stone found in the environment in order to craft certain blocks and items. Depending on the difficulty, monsters spawn in darker areas outside a certain radius of the character, requiring players to build a shelter in order to survive at night. The mode also has a health bar which is depleted by attacks from mobs, falls, drowning, falling into lava, suffocation, starvation, and other events. Players also have a hunger bar, which must be periodically refilled by eating food in-game unless the player is playing on peaceful difficulty. If the hunger bar is empty, the player starves. Health replenishes when players have a full hunger bar or continuously on peaceful. Upon losing all health, players die. The items in the players' inventories are dropped unless the game is reconfigured not to do so. Players then re-spawn at their spawn point, which by default is where players first spawn in the game and can be changed by sleeping in a bed or using a respawn anchor. Dropped items can be recovered if players can reach them before they despawn after 5 minutes. Players may acquire experience points (commonly referred to as "xp" or "exp") by killing mobs and other players, mining, smelting ores, animal breeding, and cooking food. Experience can then be spent on enchanting tools, armor and weapons. Enchanted items are generally more powerful, last longer, or have other special effects. The game features two more game modes based on Survival, known as Hardcore mode and Adventure mode. Hardcore mode plays identically to Survival mode, but with the game's difficulty setting locked to "Hard" and with permadeath, forcing them to delete the world or explore it as a spectator after dying. Adventure mode was added to the game in a post-launch update, and prevents the player from directly modifying the game's world. It was designed primarily for use in custom maps, allowing map designers to let players experience it as intended. In Creative mode, players have access to an infinite number of all resources and items in the game through the inventory menu and can place or mine them instantly. Players can toggle the ability to fly freely around the game world at will, and their characters usually do not take any damage nor are affected by hunger. The game mode helps players focus on building and creating projects of any size without disturbance. Multiplayer in Minecraft enables multiple players to interact and communicate with each other on a single world. It is available through direct game-to-game multiplayer, local area network (LAN) play, local split screen (console-only), and servers (player-hosted and business-hosted). Players can run their own server by making a realm, using a host provider, hosting one themselves or connect directly to another player's game via Xbox Live, PlayStation Network or Nintendo Switch Online. Single-player worlds have LAN support, allowing players to join a world on locally interconnected computers without a server setup. Minecraft multiplayer servers are guided by server operators, who have access to server commands such as setting the time of day and teleporting players. Operators can also set up restrictions concerning which usernames or IP addresses are allowed or disallowed to enter the server. Multiplayer servers have a wide range of activities, with some servers having their own unique rules and customs. The largest and most popular server is Hypixel, which has been visited by over 14 million unique players. Player versus player combat (PvP) can be enabled to allow fighting between players. In 2013, Mojang announced Minecraft Realms, a server hosting service intended to enable players to run server multiplayer games easily and safely without having to set up their own. Unlike a standard server, only invited players can join Realms servers, and these servers do not use server addresses. Minecraft: Java Edition Realms server owners can invite up to twenty people to play on their server, with up to ten players online at a time. Minecraft Realms server owners can invite up to 3,000 people to play on their server, with up to ten players online at one time. The Minecraft: Java Edition Realms servers do not support user-made plugins, but players can play custom Minecraft maps. Minecraft Bedrock Realms servers support user-made add-ons, resource packs, behavior packs, and custom Minecraft maps. At Electronic Entertainment Expo 2016, support for cross-platform play between Windows 10, iOS, and Android platforms was added through Realms starting in June 2016, with Xbox One and Nintendo Switch support to come later in 2017, and support for virtual reality devices. On 31 July 2017, Mojang released the beta version of the update allowing cross-platform play. Nintendo Switch support for Realms was released in July 2018. The modding community consists of fans, users and third-party programmers. Using a variety of application program interfaces that have arisen over time, they have produced a wide variety of downloadable content for Minecraft, such as modifications, texture packs and custom maps. Modifications of the Minecraft code, called mods, add a variety of gameplay changes, ranging from new blocks, items, and mobs to entire arrays of mechanisms. The modding community is responsible for a substantial supply of mods from ones that enhance gameplay, such as mini-maps, waypoints, and durability counters, to ones that add to the game elements from other video games and media. While a variety of mod frameworks were independently developed by reverse engineering the code, Mojang has also enhanced vanilla Minecraft with official frameworks for modification, allowing the production of community-created resource packs, which alter certain game elements including textures and sounds. Players can also create their own "maps" (custom world save files) that often contain specific rules, challenges, puzzles and quests, and share them for others to play. Mojang added an adventure mode in August 2012 and "command blocks" in October 2012, which were created specially for custom maps in Java Edition. Data packs, introduced in version 1.13 of the Java Edition, allow further customization, including the ability to add new achievements, dimensions, functions, loot tables, predicates, recipes, structures, tags, and world generation. The Xbox 360 Edition supported downloadable content, which was available to purchase via the Xbox Games Store; these content packs usually contained additional character skins. It later received support for texture packs in its twelfth title update while introducing "mash-up packs", which combined texture packs with skin packs and changes to the game's sounds, music and user interface. The first mash-up pack (and by extension, the first texture pack) for the Xbox 360 Edition was released on 4 September 2013, and was themed after the Mass Effect franchise. Unlike Java Edition, however, the Xbox 360 Edition did not support player-made mods or custom maps. A cross-promotional resource pack based on the Super Mario franchise by Nintendo was released exclusively for the Wii U Edition worldwide on 17 May 2016, and later bundled free with the Nintendo Switch Edition at launch. Another based on Fallout was released on consoles that December, and for Windows and Mobile in April 2017. In April 2018, malware was discovered in several downloadable user-made Minecraft skins for use with the Java Edition of the game. Avast stated that nearly 50,000 accounts were infected, and when activated, the malware would attempt to reformat the user's hard drive. Mojang promptly patched the issue, and released a statement stating that "the code would not be run or read by the game itself", and would run only when the image containing the skin itself was opened. In June 2017, Mojang released the "1.1 Discovery Update" to the Pocket Edition of the game, which later became the Bedrock Edition. The update introduced the "Marketplace", a catalogue of purchasable user-generated content intended to give Minecraft creators "another way to make a living from the game". Various skins, maps, texture packs and add-ons from different creators can be bought with "Minecoins", a digital currency that is purchased with real money. Additionally, users can access specific content with a subscription service titled "Marketplace Pass". Alongside content from independent creators, the Marketplace also houses items published by Mojang and Microsoft themselves, as well as official collaborations between Minecraft and other intellectual properties. By 2022, the Marketplace had over 1.7 billion content downloads, generating over $500 million in revenue. Development Before creating Minecraft, Markus "Notch" Persson was a game developer at King, where he worked until March 2009. At King, he primarily developed browser games and learned several programming languages. During his free time, he prototyped his own games, often drawing inspiration from other titles, and was an active participant on the TIGSource forums for independent developers. One such project was "RubyDung", a base-building game inspired by Dwarf Fortress, but with an isometric, three-dimensional perspective similar to RollerCoaster Tycoon. Among the features in RubyDung that he explored was a first-person view similar to Dungeon Keeper, though he ultimately discarded this idea, feeling the graphics were too pixelated at the time. Around March 2009, Persson left King and joined jAlbum, while continuing to work on his prototypes. Infiniminer, a block-based open-ended mining game first released in April 2009, inspired Persson's vision for RubyDung's future direction. Infiniminer heavily influenced the visual style of gameplay, including bringing back the first-person mode, the "blocky" visual style and the block-building fundamentals. However, unlike Infiniminer, Persson wanted Minecraft to have RPG elements. The first public alpha build of Minecraft was released on 17 May 2009 on TIGSource. Over the years, Persson regularly released test builds that added new features, including tools, mobs, and entire new dimensions. In 2011, partly due to the game's rising popularity, Persson decided to release a full 1.0 version—a second part of the "Adventure Update"—on 18 November 2011. Shortly after, Persson stepped down from development, handing the project's lead to Jens "Jeb" Bergensten. On 15 September 2014, Microsoft, the developer behind the Microsoft Windows operating system and Xbox video game console, announced a $2.5 billion acquisition of Mojang, which included the Minecraft intellectual property. Persson had suggested the deal on Twitter, asking a corporation to buy his stake in the game after receiving criticism for enforcing terms in the game's end-user license agreement (EULA), which had been in place for the past three years. According to Persson, Mojang CEO Carl Manneh received a call from a Microsoft executive shortly after the tweet, asking if Persson was serious about a deal. Mojang was also approached by other companies including Activision Blizzard and Electronic Arts. The deal with Microsoft was arbitrated on 6 November 2014 and led to Persson becoming one of Forbes' "World's Billionaires". After 2014, Minecraft's primary versions received usually annual major updates—free to players who have purchased the game— each primarily centered around a specific theme. For instance, version 1.13, the Update Aquatic, focused on ocean-related features, while version 1.16, the Nether Update, introduced significant changes to the Nether dimension. However, in late 2024, Mojang announced a shift in their update strategy; rather than releasing large updates annually, they opted for a more frequent release schedule with smaller, incremental updates, stating, "We know that you want new Minecraft content more often." The Bedrock Edition has also received regular updates, now matching the themes of the Java Edition updates. Other versions of the game, such as various console editions and the Pocket Edition, were either merged into Bedrock or discontinued and have not received further updates. On 7 May 2019, coinciding with Minecraft's 10th anniversary, a JavaScript recreation of an old 2009 Java Edition build named Minecraft Classic was made available to play online for free. On 16 April 2020, a Bedrock Edition-exclusive beta version of Minecraft, called Minecraft RTX, was released by Nvidia. It introduced physically-based rendering, real-time path tracing, and DLSS for RTX-enabled GPUs. The public release was made available on 8 December 2020. Path tracing can only be enabled in supported worlds, which can be downloaded for free via the in-game Minecraft Marketplace, with a texture pack from Nvidia's website, or with compatible third-party texture packs. It cannot be enabled by default with any texture pack on any world. Initially, Minecraft RTX was affected by many bugs, display errors, and instability issues. On 22 March 2025, a new visual mode called Vibrant Visuals, an optional graphical overhaul similar to Minecraft RTX, was announced. It promises modern rendering features—such as dynamic shadows, screen space reflections, volumetric fog, and bloom—without the need of RTX-capable hardware. Vibrant Visuals was released as a part of the Chase the Skies update on 17 June 2025 for Bedrock Edition and is planned to release on Java Edition at a later date. Development began for the original edition of Minecraft—then known as Cave Game, and now known as the Java Edition—in May 2009,[k] and ended on 13 May, when Persson released a test video on YouTube of an early version of the game, dubbed the "Cave game tech test" or the "Cave game tech demo". The game was named Minecraft: Order of the Stone the next day, after a suggestion made by a player. "Order of the Stone" came from the webcomic The Order of the Stick, and "Minecraft" was chosen "because it's a good name". The title was later shortened to just Minecraft, omitting the subtitle. Persson completed the game's base programming over a weekend in May 2009, and private testing began on TigIRC on 16 May. The first public release followed on 17 May 2009 as a developmental version shared on the TIGSource forums. Based on feedback from forum users, Persson continued updating the game. This initial public build later became known as Classic. Further developmental phases—dubbed Survival Test, Indev, and Infdev—were released throughout 2009 and 2010. The first major update, known as Alpha, was released on 30 June 2010. At the time, Persson was still working a day job at jAlbum but later resigned to focus on Minecraft full-time as sales of the alpha version surged. Updates were distributed automatically, introducing new blocks, items, mobs, and changes to game mechanics such as water flow. With revenue generated from the game, Persson founded Mojang, a video game studio, alongside former colleagues Jakob Porser and Carl Manneh. On 11 December 2010, Persson announced that Minecraft would enter its beta phase on 20 December. He assured players that bug fixes and all pre-release updates would remain free. As development progressed, Mojang expanded, hiring additional employees to work on the project. The game officially exited beta and launched in full on 18 November 2011. On 1 December 2011, Jens "Jeb" Bergensten took full creative control over Minecraft, replacing Persson as lead designer. On 28 February 2012, Mojang announced the hiring of the developers behind Bukkit, a popular developer API for Minecraft servers, to improve Minecraft's support of server modifications. This move included Mojang taking apparent ownership of the CraftBukkit server mod, though this apparent acquisition later became controversial, and its legitimacy was questioned due to CraftBukkit's open-source nature and licensing under the GNU General Public License and Lesser General Public License. In August 2011, Minecraft: Pocket Edition was released as an early alpha for the Xperia Play via the Android Market, later expanding to other Android devices on 8 October 2011. The iOS version followed on 17 November 2011. A port was made available for Windows Phones shortly after Microsoft acquired Mojang. Unlike Java Edition, Pocket Edition initially focused on Minecraft's creative building and basic survival elements but lacked many features of the PC version. Bergensten confirmed on Twitter that the Pocket Edition was written in C++ rather than Java, as iOS does not support Java. On 10 December 2014, a port of Pocket Edition was released for Windows Phone 8.1. In July 2015, a port of the Pocket Edition to Windows 10 was released as the Windows 10 Edition, with full crossplay to other Pocket versions. In January 2017, Microsoft announced that it would no longer maintain the Windows Phone versions of Pocket Edition. On 20 September 2017, with the "Better Together Update", the Pocket Edition was ported to the Xbox One, and was renamed to the Bedrock Edition. The console versions of Minecraft debuted with the Xbox 360 edition, developed by 4J Studios and released on 9 May 2012. Announced as part of the Xbox Live Arcade NEXT promotion, this version introduced a redesigned crafting system, a new control interface, in-game tutorials, split-screen multiplayer, and online play via Xbox Live. Unlike the PC version, its worlds were finite, bordered by invisible walls. Initially, the Xbox 360 version resembled outdated PC versions but received updates to bring it closer to Java Edition before eventually being discontinued. The Xbox One version launched on 5 September 2014, featuring larger worlds and support for more players. Minecraft expanded to PlayStation platforms with PlayStation 3 and PlayStation 4 editions released on 17 December 2013 and 4 September 2014, respectively. Originally planned as a PS4 launch title, it was delayed before its eventual release. A PlayStation Vita version followed in October 2014. Like the Xbox versions, the PlayStation editions were developed by 4J Studios. Nintendo platforms received Minecraft: Wii U Edition on 17 December 2015, with a physical release in North America on 17 June 2016 and in Europe on 30 June. The Nintendo Switch version launched via the eShop on 11 May 2017. During a Nintendo Direct presentation on 13 September 2017, Nintendo announced that Minecraft: New Nintendo 3DS Edition, based on the Pocket Edition, would be available for download immediately after the livestream, and a physical copy available on a later date. The game is compatible only with the New Nintendo 3DS or New Nintendo 2DS XL systems and does not work with the original 3DS or 2DS systems. On 20 September 2017, the Better Together Update introduced Bedrock Edition across Xbox One, Windows 10, VR, and mobile platforms, enabling cross-play between these versions. Bedrock Edition later expanded to Nintendo Switch and PlayStation 4, with the latter receiving the update in December 2019, allowing cross-platform play for users with a free Xbox Live account. The Bedrock Edition released a native version for PlayStation 5 on 22 October 2024, while the Xbox Series X/S version launched on 17 June 2025. On 18 December 2018, the PlayStation 3, PlayStation Vita, Xbox 360, and Wii U versions of Minecraft received their final update and would later become known as "Legacy Console Editions". On 15 January 2019, the New Nintendo 3DS version of Minecraft received its final update, effectively becoming discontinued as well. An educational version of Minecraft, designed for use in schools, launched on 1 November 2016. It is available on Android, ChromeOS, iPadOS, iOS, MacOS, and Windows. On 20 August 2018, Mojang announced that it would bring Education Edition to iPadOS in Autumn 2018. It was released to the App Store on 6 September 2018. On 27 March 2019, it was announced that it would be operated by JD.com in China. On 26 June 2020, a public beta for the Education Edition was made available to Google Play Store compatible Chromebooks. The full game was released to the Google Play Store for Chromebooks on 7 August 2020. On 20 May 2016, China Edition (also known as My World) was announced as a localized edition for China, where it was released under a licensing agreement between NetEase and Mojang. The PC edition was released for public testing on 8 August 2017. The iOS version was released on 15 September 2017, and the Android version was released on 12 October 2017. The PC edition is based on the original Java Edition, while the iOS and Android mobile versions are based on the Bedrock Edition. The edition is free-to-play and had over 700 million registered accounts by September 2023. This version of Bedrock Edition is exclusive to Microsoft's Windows 10 and Windows 11 operating systems. The beta release for Windows 10 launched on the Windows Store on 29 July 2015. After nearly a year and a half in beta, Microsoft fully released the version on 19 December 2016. Called the "Ender Update", this release implemented new features to this version of Minecraft like world templates and add-on packs. On 7 June 2022, the Java and Bedrock Editions of Minecraft were merged into a single bundle for purchase on Windows; those who owned one version would automatically gain access to the other version. Both game versions would otherwise remain separate. Around 2011, prior to Minecraft's full release, Mojang collaborated with The Lego Group to create a Lego brick-based Minecraft game called Brickcraft. This would have modified the base Minecraft game to use Lego bricks, which meant adapting the basic 1×1 block to account for larger pieces typically used in Lego sets. Persson worked on an early version called "Project Rex Kwon Do", named after the character of the same name from the film Napoleon Dynamite. Although Lego approved the project and Mojang assigned two developers for six months, it was canceled due to the Lego Group's demands, according to Mojang's Daniel Kaplan. Lego considered buying Mojang to complete the game, but when Microsoft offered over $2 billion for the company, Lego stepped back, unsure of Minecraft's potential. On 26 June 2025, a build of Brickcraft dated 28 June 2012 was published on a community archive website Omniarchive. Initially, Markus Persson planned to support the Oculus Rift with a Minecraft port. However, after Facebook acquired Oculus in 2013, he abruptly canceled the plans, stating, "Facebook creeps me out." In 2016, a community-made mod, Minecraft VR, added VR support for Java Edition, followed by Vivecraft for HTC Vive. Later that year, Microsoft introduced official Oculus Rift support for Windows 10 Edition, leading to the discontinuation of the Minecraft VR mod due to trademark complaints. Vivecraft was endorsed by Minecraft VR contributors for its Rift support. Also available is a Gear VR version, titled Minecraft: Gear VR Edition. Windows Mixed Reality support was added in 2017. On 7 September 2020, Mojang Studios announced that the PlayStation 4 Bedrock version would receive PlayStation VR support later that month. In September 2024, the Minecraft team announced they would no longer support PlayStation VR, which received its final update in March 2025. Music and sound design Minecraft's music and sound effects were produced by German musician Daniel Rosenfeld, better known as C418. To create the sound effects for the game, Rosenfeld made extensive use of Foley techniques. On learning the processes for the game, he remarked, "Foley's an interesting thing, and I had to learn its subtleties. Early on, I wasn't that knowledgeable about it. It's a whole trial-and-error process. You just make a sound and eventually you go, 'Oh my God, that's it! Get the microphone!' There's no set way of doing anything at all." He reminisced on creating the in-game sound for grass blocks, stating "It turns out that to make grass sounds you don't actually walk on grass and record it, because grass sounds like nothing. What you want to do is get a VHS, break it apart, and just lightly touch the tape." According to Rosenfeld, his favorite sound to design for the game was the hisses of spiders. He elaborates, "I like the spiders. Recording that was a whole day of me researching what a spider sounds like. Turns out, there are spiders that make little screeching sounds, so I think I got this recording of a fire hose, put it in a sampler, and just pitched it around until it sounded like a weird spider was talking to you." Many of the sound design decisions by Rosenfeld were done accidentally or spontaneously. The creeper notably lacks any specific noises apart from a loud fuse-like sound when about to explode; Rosenfeld later recalled "That was just a complete accident by Markus and me [sic]. We just put in a placeholder sound of burning a matchstick. It seemed to work hilariously well, so we kept it." On other sounds, such as those of the zombie, Rosenfeld remarked, "I actually never wanted the zombies so scary. I intentionally made them sound comical. It's nice to hear that they work so well [...]." Rosenfeld remarked that the sound engine was "terrible" to work with, remembering "If you had two song files at once, it [the game engine] would actually crash. There were so many more weird glitches like that the guys never really fixed because they were too busy with the actual game and not the sound engine." The background music in Minecraft consists of instrumental ambient music. To compose the music of Minecraft, Rosenfeld used the package from Ableton Live, along with several additional plug-ins. Speaking on them, Rosenfeld said "They can be pretty much everything from an effect to an entire orchestra. Additionally, I've got some synthesizers that are attached to the computer. Like a Moog Voyager, Dave Smith Prophet 08 and a Virus TI." On 4 March 2011, Rosenfeld released a soundtrack titled Minecraft – Volume Alpha; it includes most of the tracks featured in Minecraft, as well as other music not featured in the game. Kirk Hamilton of Kotaku chose the music in Minecraft as one of the best video game soundtracks of 2011. On 9 November 2013, Rosenfeld released the second official soundtrack, titled Minecraft – Volume Beta, which included the music that was added in a 2013 "Music Update" for the game. A physical release of Volume Alpha, consisting of CDs, black vinyl, and limited-edition transparent green vinyl LPs, was issued by indie electronic label Ghostly International on 21 August 2015. On 14 August 2020, Ghostly released Volume Beta on CD and vinyl, with alternate color LPs and lenticular cover pressings released in limited quantities. The final update Rosenfeld worked on was 2018's 1.13 Update Aquatic. His music remained the only music in the game until 2020's "Nether Update", introducing pieces from Lena Raine. Since then, other composers have made contributions, including Kumi Tanioka, Samuel Åberg, Aaron Cherof, and Amos Roddy, with Raine remaining as the new primary composer. Ownership of all music besides Rosenfeld's independently released albums has been retained by Microsoft, with their label publishing all of the other artists' releases. Gareth Coker also composed some of the music for the game's mini games from the Legacy Console editions. Rosenfeld had stated his intent to create a third album of music for the game in a 2015 interview with Fact, and confirmed its existence in a 2017 tweet, stating that his work on the record as of then had tallied up to be longer than the previous two albums combined, which in total clocks in at over 3 hours and 18 minutes. However, due to licensing issues with Microsoft, the third volume has since not seen release. On 8 January 2021, Rosenfeld was asked in an interview with Anthony Fantano whether or not there was still a third volume of his music intended for release. Rosenfeld responded, saying, "I have something—I consider it finished—but things have become complicated, especially as Minecraft is now a big property, so I don't know." Reception Minecraft has received critical acclaim, with praise for the creative freedom it grants players in-game, as well as the ease of enabling emergent gameplay. Critics have expressed enjoyment in Minecraft's complex crafting system, commenting that it is an important aspect of the game's open-ended gameplay. Most publications were impressed by the game's "blocky" graphics, with IGN describing them as "instantly memorable". Reviewers also liked the game's adventure elements, noting that the game creates a good balance between exploring and building. The game's multiplayer feature has been generally received favorably, with IGN commenting that "adventuring is always better with friends". Jaz McDougall of PC Gamer said Minecraft is "intuitively interesting and contagiously fun, with an unparalleled scope for creativity and memorable experiences". It has been regarded as having introduced millions of children to the digital world, insofar as its basic game mechanics are logically analogous to computer commands. IGN was disappointed about the troublesome steps needed to set up multiplayer servers, calling it a "hassle". Critics also said that visual glitches occur periodically. Despite its release out of beta in 2011, GameSpot said the game had an "unfinished feel", adding that some game elements seem "incomplete or thrown together in haste". A review of the alpha version, by Scott Munro of the Daily Record, called it "already something special" and urged readers to buy it. Jim Rossignol of Rock Paper Shotgun also recommended the alpha of the game, calling it "a kind of generative 8-bit Lego Stalker". On 17 September 2010, gaming webcomic Penny Arcade began a series of comics and news posts about the addictiveness of the game. The Xbox 360 version was generally received positively by critics, but did not receive as much praise as the PC version. Although reviewers were disappointed by the lack of features such as mod support and content from the PC version, they acclaimed the port's addition of a tutorial and in-game tips and crafting recipes, saying that they make the game more user-friendly. The Xbox One Edition was one of the best received ports, being praised for its relatively large worlds. The PlayStation 3 Edition also received generally favorable reviews, being compared to the Xbox 360 Edition and praised for its well-adapted controls. The PlayStation 4 edition was the best received port to date, being praised for having 36 times larger worlds than the PlayStation 3 edition and described as nearly identical to the Xbox One edition. The PlayStation Vita Edition received generally positive reviews from critics but was noted for its technical limitations. The Wii U version received generally positive reviews from critics but was noted for a lack of GamePad integration. The 3DS version received mixed reviews, being criticized for its high price, technical issues, and lack of cross-platform play. The Nintendo Switch Edition received fairly positive reviews from critics, being praised, like other modern ports, for its relatively larger worlds. Minecraft: Pocket Edition initially received mixed reviews from critics. Although reviewers appreciated the game's intuitive controls, they were disappointed by the lack of content. The inability to collect resources and craft items, as well as the limited types of blocks and lack of hostile mobs, were especially criticized. After updates added more content, Pocket Edition started receiving more positive reviews. Reviewers complimented the controls and the graphics, but still noted a lack of content. Minecraft surpassed over a million purchases less than a month after entering its beta phase in early 2011. At the same time, the game had no publisher backing and has never been commercially advertised except through word of mouth, and various unpaid references in popular media such as the Penny Arcade webcomic. By April 2011, Persson estimated that Minecraft had made €23 million (US$33 million) in revenue, with 800,000 sales of the alpha version of the game, and over 1 million sales of the beta version. In November 2011, prior to the game's full release, Minecraft beta surpassed 16 million registered users and 4 million purchases. By March 2012, Minecraft had become the 6th best-selling PC game of all time. As of 10 October 2014[update], the game had sold 17 million copies on PC, becoming the best-selling PC game of all time. On 25 February 2014, the game reached 100 million registered users. By May 2019, 180 million copies had been sold across all platforms, making it the single best-selling video game of all time. The free-to-play Minecraft China version had over 700 million registered accounts by September 2023. By 2023, the game had sold over 300 million copies. As of April 2025, Minecraft has sold over 350 million copies. The Xbox 360 version of Minecraft became profitable within the first day of the game's release in 2012, when the game broke the Xbox Live sales records with 400,000 players online. Within a week of being on the Xbox Live Marketplace, Minecraft sold a million copies. GameSpot announced in December 2012 that Minecraft sold over 4.48 million copies since the game debuted on Xbox Live Arcade in May 2012. In 2012, Minecraft was the most purchased title on Xbox Live Arcade; it was also the fourth most played title on Xbox Live based on average unique users per day. As of 4 April 2014[update], the Xbox 360 version has sold 12 million copies. In addition, Minecraft: Pocket Edition has reached a figure of 21 million in sales. The PlayStation 3 Edition sold one million copies in five weeks. The release of the game's PlayStation Vita version boosted Minecraft sales by 79%, outselling both PS3 and PS4 debut releases and becoming the largest Minecraft launch on a PlayStation console. The PS Vita version sold 100,000 digital copies in Japan within the first two months of release, according to an announcement by SCE Japan Asia. By January 2015, 500,000 digital copies of Minecraft were sold in Japan across all PlayStation platforms, with a surge in primary school children purchasing the PS Vita version. As of 2022, the Vita version has sold over 1.65 million physical copies in Japan, making it the best-selling Vita game in the country. Minecraft helped improve Microsoft's total first-party revenue by $63 million for the 2015 second quarter. The game, including all of its versions, had over 112 million monthly active players by September 2019. On its 11th anniversary in May 2020, the company announced that Minecraft had reached over 200 million copies sold across platforms with over 126 million monthly active players. By April 2021, the number of active monthly users had climbed to 140 million. In July 2010, PC Gamer listed Minecraft as the fourth-best game to play at work. In December of that year, Good Game selected Minecraft as their choice for Best Downloadable Game of 2010, Gamasutra named it the eighth best game of the year as well as the eighth best indie game of the year, and Rock, Paper, Shotgun named it the "game of the year". Indie DB awarded the game the 2010 Indie of the Year award as chosen by voters, in addition to two out of five Editor's Choice awards for Most Innovative and Best Singleplayer Indie. It was also awarded Game of the Year by PC Gamer UK. The game was nominated for the Seumas McNally Grand Prize, Technical Excellence, and Excellence in Design awards at the March 2011 Independent Games Festival and won the Grand Prize and the community-voted Audience Award. At Game Developers Choice Awards 2011, Minecraft won awards in the categories for Best Debut Game, Best Downloadable Game and Innovation Award, winning every award for which it was nominated. It also won GameCity's video game arts award. On 5 May 2011, Minecraft was selected as one of the 80 games that would be displayed at the Smithsonian American Art Museum as part of The Art of Video Games exhibit that opened on 16 March 2012. At the 2011 Spike Video Game Awards, Minecraft won the award for Best Independent Game and was nominated in the Best PC Game category. In 2012, at the British Academy Video Games Awards, Minecraft was nominated in the GAME Award of 2011 category and Persson received The Special Award. In 2012, Minecraft XBLA was awarded a Golden Joystick Award in the Best Downloadable Game category, and a TIGA Games Industry Award in the Best Arcade Game category. In 2013, it was nominated as the family game of the year at the British Academy Video Games Awards. During the 16th Annual D.I.C.E. Awards, the Academy of Interactive Arts & Sciences nominated the Xbox 360 version of Minecraft for "Strategy/Simulation Game of the Year". Minecraft Console Edition won the award for TIGA Game Of The Year in 2014. In 2015, the game placed 6th on USgamer's The 15 Best Games Since 2000 list. In 2016, Minecraft placed 6th on Time's The 50 Best Video Games of All Time list. Minecraft was nominated for the 2013 Kids' Choice Awards for Favorite App, but lost to Temple Run. It was nominated for the 2014 Kids' Choice Awards for Favorite Video Game, but lost to Just Dance 2014. The game later won the award for the Most Addicting Game at the 2015 Kids' Choice Awards. In addition, the Java Edition was nominated for "Favorite Video Game" at the 2018 Kids' Choice Awards, while the game itself won the "Still Playing" award at the 2019 Golden Joystick Awards, as well as the "Favorite Video Game" award at the 2020 Kids' Choice Awards. Minecraft also won "Stream Game of the Year" at inaugural Streamer Awards in 2021. The game later garnered a Nickelodeon Kids' Choice Award nomination for Favorite Video Game in 2021, and won the same category in 2022 and 2023. At the Golden Joystick Awards 2025, it won the Still Playing Award - PC and Console. Minecraft has been subject to several notable controversies. In June 2014, Mojang announced that it would begin enforcing the portion of Minecraft's end-user license agreement (EULA) which prohibits servers from giving in-game advantages to players in exchange for donations or payments. Spokesperson Owen Hill stated that servers could still require players to pay a fee to access the server and could sell in-game cosmetic items. The change was supported by Persson, citing emails he received from parents of children who had spent hundreds of dollars on servers. The Minecraft community and server owners protested, arguing that the EULA's terms were more broad than Mojang was claiming, that the crackdown would force smaller servers to shut down for financial reasons, and that Mojang was suppressing competition for its own Minecraft Realms subscription service. The controversy contributed to Notch's decision to sell Mojang. In 2020, Mojang announced an eventual change to the Java Edition to require a login from a Microsoft account rather than a Mojang account, the latter of which would be sunsetted. This also required Java Edition players to create Xbox network Gamertags. Mojang defended the move to Microsoft accounts by saying that improved security could be offered, including two-factor authentication, blocking cyberbullies in chat, and improved parental controls. The community responded with intense backlash, citing various technical difficulties encountered in the process and how account migration would be mandatory, even for those who do not play on servers. As of 10 March 2022, Microsoft required that all players migrate in order to maintain access the Java Edition of Minecraft. Mojang announced a deadline of 19 September 2023 for account migration, after which all legacy Mojang accounts became inaccessible and unable to be migrated. In June 2022, Mojang added a player-reporting feature in Java Edition. Players could report other players on multiplayer servers for sending messages prohibited by the Xbox Live Code of Conduct; report categories included profane language,[l] substance abuse, hate speech, threats of violence, and nudity. If a player was found to be in violation of Xbox Community Standards, they would be banned from all servers for a specific period of time or permanently. The update containing the report feature (1.19.1) was released on 27 July 2022. Mojang received substantial backlash and protest from community members, one of the most common complaints being that banned players would be forbidden from joining any server, even private ones. Others took issue to what they saw as Microsoft increasing control over its player base and exercising censorship, leading some to start a hashtag #saveminecraft and dub the version "1.19.84", a reference to the dystopian novel Nineteen Eighty-Four. The "Mob Vote" was an online event organized by Mojang in which the Minecraft community voted between three original mob concepts; initially, the winning mob was to be implemented in a future update, while the losing mobs were scrapped, though after the first mob vote this was changed, and losing mobs would now have a chance to come to the game in the future. The first Mob Vote was held during Minecon Earth 2017 and became an annual event starting with Minecraft Live 2020. The Mob Vote was often criticized for forcing players to choose one mob instead of implementing all three, causing divisions and flaming within the community, and potentially allowing internet bots and Minecraft content creators with large fanbases to conduct vote brigading. The Mob Vote was also blamed for a perceived lack of new content added to Minecraft since Microsoft's acquisition of Mojang in 2014. The 2023 Mob Vote featured three passive mobs—the crab, the penguin, and the armadillo—with voting scheduled to start on 13 October. In response, a Change.org petition was created on 6 October, demanding that Mojang eliminate the Mob Vote and instead implement all three mobs going forward. The petition received approximately 445,000 signatures by 13 October and was joined by calls to boycott the Mob Vote, as well as a partially tongue-in-cheek "revolutionary" propaganda campaign in which sympathizers created anti-Mojang and pro-boycott posters in the vein of real 20th century propaganda posters. Mojang did not release an official response to the boycott, and the Mob Vote otherwise proceeded normally, with the armadillo winning the vote. In September 2024, as part of a blog post detailing their future plans for Minecraft's development, Mojang announced the Mob Vote would be retired. Cultural impact In September 2019, The Guardian classified Minecraft as the best video game of the 21st century to date, and in November 2019, Polygon called it the "most important game of the decade" in its 2010s "decade in review". In June 2020, Minecraft was inducted into the World Video Game Hall of Fame. Minecraft is recognized as one of the first successful games to use an early access model to draw in sales prior to its full release version to help fund development. As Minecraft helped to bolster indie game development in the early 2010s, it also helped to popularize the use of the early access model in indie game development. Social media sites such as YouTube, Facebook, and Reddit have played a significant role in popularizing Minecraft. Research conducted by the Annenberg School for Communication at the University of Pennsylvania showed that one-third of Minecraft players learned about the game via Internet videos. In 2010, Minecraft-related videos began to gain influence on YouTube, often made by commentators. The videos usually contain screen-capture footage of the game and voice-overs. Common coverage in the videos includes creations made by players, walkthroughs of various tasks, and parodies of works in popular culture. By May 2012, over four million Minecraft-related YouTube videos had been uploaded. The game would go on to be a prominent fixture within YouTube's gaming scene during the entire 2010s; in 2014, it was the second-most searched term on the entire platform. By 2018, it was still YouTube's biggest game globally. Some popular commentators have received employment at Machinima, a now-defunct gaming video company that owned a highly watched entertainment channel on YouTube. The Yogscast is a British company that regularly produces Minecraft videos; their YouTube channel has attained billions of views, and their panel at Minecon 2011 had the highest attendance. Another well-known YouTube personality is Jordan Maron, known online as CaptainSparklez, who has also created many Minecraft music parodies, including "Revenge", a parody of Usher's "DJ Got Us Fallin' in Love". Minecraft's popularity on YouTube was described by Polygon as quietly dominant, although in 2019, thanks in part to PewDiePie's playthroughs of the game, Minecraft experienced a visible uptick in popularity on the platform. Longer-running series include Far Lands or Bust, dedicated to reaching the obsolete "Far Lands" glitch by foot on an older version of the game. YouTube announced that on 14 December 2021 that the total amount of Minecraft-related views on the website had exceeded one trillion. Minecraft has been referenced by other video games, such as Torchlight II, Team Fortress 2, Borderlands 2, Choplifter HD, Super Meat Boy, The Elder Scrolls V: Skyrim, The Binding of Isaac, The Stanley Parable, and FTL: Faster Than Light. Minecraft is officially represented in downloadable content for the crossover fighter Super Smash Bros. Ultimate, with Steve as a playable character with a moveset including references to building, crafting, and redstone, alongside an Overworld-themed stage. It was also referenced by electronic music artist Deadmau5 in his performances. The game is also referenced heavily in "Informative Murder Porn", the second episode of the seventeenth season of the animated television series South Park. In 2025, A Minecraft Movie was released. It made $313 million in the box office in the first week, a record-breaking opening for a video game adaptation. Minecraft has been noted as a cultural touchstone for Generation Z, as many of the generation's members played the game at a young age. The possible applications of Minecraft have been discussed extensively, especially in the fields of computer-aided design (CAD) and education. In a panel at Minecon 2011, a Swedish developer discussed the possibility of using the game to redesign public buildings and parks, stating that rendering using Minecraft was much more user-friendly for the community, making it easier to envision the functionality of new buildings and parks. In 2012, a member of the Human Dynamics group at the MIT Media Lab, Cody Sumter, said: "Notch hasn't just built a game. He's tricked 40 million people into learning to use a CAD program." Various software has been developed to allow virtual designs to be printed using professional 3D printers or personal printers such as MakerBot and RepRap. In September 2012, Mojang began the Block by Block project in cooperation with UN Habitat to create real-world environments in Minecraft. The project allows young people who live in those environments to participate in designing the changes they would like to see. Using Minecraft, the community has helped reconstruct the areas of concern, and citizens are invited to enter the Minecraft servers and modify their own neighborhood. Carl Manneh, Mojang's managing director, called the game "the perfect tool to facilitate this process", adding "The three-year partnership will support UN-Habitat's Sustainable Urban Development Network to upgrade 300 public spaces by 2016." Mojang signed Minecraft building community, FyreUK, to help render the environments into Minecraft. The first pilot project began in Kibera, one of Nairobi's informal settlements and is in the planning phase. The Block by Block project is based on an earlier initiative started in October 2011, Mina Kvarter (My Block), which gave young people in Swedish communities a tool to visualize how they wanted to change their part of town. According to Manneh, the project was a helpful way to visualize urban planning ideas without necessarily having a training in architecture. The ideas presented by the citizens were a template for political decisions. In April 2014, the Danish Geodata Agency generated all of Denmark in fullscale in Minecraft based on their own geodata. This is possible because Denmark is one of the flattest countries with the highest point at 171 meters (ranking as the country with the 30th smallest elevation span), where the limit in default Minecraft was around 192 meters above in-game sea level when the project was completed. Taking advantage of the game's accessibility where other websites are censored, the non-governmental organization Reporters Without Borders has used an open Minecraft server to create the Uncensored Library, a repository within the game of journalism by authors from countries (including Egypt, Mexico, Russia, Saudi Arabia and Vietnam) who have been censored and arrested, such as Jamal Khashoggi. The neoclassical virtual building was created over about 250 hours by an international team of 24 people. Despite its unpredictable nature, Minecraft speedrunning, where players time themselves from spawning into a new world to reaching The End and defeating the Ender Dragon boss, is popular. Some speedrunners use a combination of mods, external programs, and debug menus, while other runners play the game in a more vanilla or more consistency-oriented way. Minecraft has been used in educational settings through initiatives such as MinecraftEdu, founded in 2011 to make the game affordable and accessible for schools in collaboration with Mojang. MinecraftEdu provided features allowing teachers to monitor student progress, including screenshot submissions as evidence of lesson completion, and by 2012 reported that approximately 250,000 students worldwide had access to the platform. Mojang also developed Minecraft: Education Edition with pre-built lesson plans for up to 30 students in a closed environment. Educators have used Minecraft to teach subjects such as history, language arts, and science through custom-built environments, including reconstructions of historical landmarks and large-scale models of biological structures such as animal cells. The introduction of redstone blocks enabled the construction of functional virtual machines such as a hard drive and an 8-bit computer. Mods have been created to use these mechanics for teaching programming. In 2014, the British Museum announced a project to reproduce its building and exhibits in Minecraft in collaboration with the public. Microsoft and Code.org have offered Minecraft-based tutorials and activities designed to teach programming, reporting by 2018 that more than 85 million children had used their resources. In 2025, the Musée de Minéralogie in Paris held a temporary exhibition titled "Minerals in Minecraft." Following the initial surge in popularity of Minecraft in 2010, other video games were criticised for having various similarities to Minecraft, and some were described as being "clones", often due to a direct inspiration from Minecraft, or a superficial similarity. Examples include Ace of Spades, CastleMiner, CraftWorld, FortressCraft, Terraria, BlockWorld 3D, Total Miner, and Luanti (formerly Minetest). David Frampton, designer of The Blockheads, reported that one failure of his 2D game was the "low resolution pixel art" that too closely resembled the art in Minecraft, which resulted in "some resistance" from fans. A homebrew adaptation of the alpha version of Minecraft for the Nintendo DS, titled DScraft, has been released; it has been noted for its similarity to the original game considering the technical limitations of the system. In response to Microsoft's acquisition of Mojang and their Minecraft IP, various developers announced further clone titles developed specifically for Nintendo's consoles, as they were the only major platforms not to officially receive Minecraft at the time. These clone titles include UCraft (Nexis Games), Cube Life: Island Survival (Cypronia), Discovery (Noowanda), Battleminer (Wobbly Tooth Games), Cube Creator 3D (Big John Games), and Stone Shire (Finger Gun Games). Despite this, the fears of fans were unfounded, with official Minecraft releases on Nintendo consoles eventually resuming. Markus Persson made another similar game, Minicraft, for a Ludum Dare competition in 2011. In 2025, Persson announced through a poll on his X account that he was considering developing a spiritual successor to Minecraft. He later clarified that he was "100% serious", and that he had "basically announced Minecraft 2". Within days, however, Persson cancelled the plans after speaking to his team. In November 2024, artificial intelligence companies Decart and Etched released Oasis, an artificially generated version of Minecraft, as a proof of concept. Every in-game element is completely AI-generated in real time and the model does not store world data, leading to "hallucinations" such as items and blocks appearing that were not there before. In January 2026, indie game developer Unomelon announced that their voxel sandbox game Allumeria would be playable in Steam Next Fest that year. On 10 February, Mojang issued a DMCA takedown of Allumeria on Steam through Valve, alleging the game was infringing on Minecraft's copyright. Some reports suggested that the takedown may have used an automatic AI copyright claiming service. The DMCA was later withdrawn. Minecon was an annual official fan convention dedicated to Minecraft. The first full Minecon was held in November 2011 at the Mandalay Bay Hotel and Casino in Las Vegas. The event included the official launch of Minecraft; keynote speeches, including one by Persson; building and costume contests; Minecraft-themed breakout classes; exhibits by leading gaming and Minecraft-related companies; commemorative merchandise; and autograph and picture times with Mojang employees and well-known contributors from the Minecraft community. In 2016, Minecon was held in-person for the last time, with the following years featuring annual "Minecon Earth" livestreams on minecraft.net and YouTube instead. These livestreams, later rebranded to "Minecraft Live", included the mob/biome votes, and announcements of new game updates. In 2025, "Minecraft Live" became a biannual event as part of Minecraft's changing update schedule.[citation needed] Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Family_Computer_Disk_System] | [TOKENS: 3013] |
Contents Famicom Disk System The Family Computer Disk System,[a] commonly shortened to the Famicom Disk System,[b] is a peripheral for Nintendo's Family Computer (Famicom) home video game console, released in Japan on February 21, 1986. The system uses proprietary floppy disks called "Disk Cards" for more affordable data storage and adds a high-fidelity sound channel to enhance audio in compatible Disk System games. To support the Disk System, Nintendo installed "Disk Writer" kiosks in stores across Japan that allowed customers to bring their Disk Cards and have new games rewritten onto them for a small fee, making it a cost-effective alternative to purchasing games on traditional RAM cartridges. Nintendo also offered similar disk rewriting services by mail. The Disk System was designed to enhance features already present in the base Famicom, offering better sound and cheaper, rewritable games. However, it came with drawbacks, including a high initial price for the device along with the storage medium's slower load times and reduced reliability. Despite these limitations, the Disk System’s rewritable storage served as an enabling technology, enabling the creation of new types of video games. This era saw the rise of expansive open world adventures like The Legend of Zelda (1986) and Metroid (1986) enabled by progress-saving, games with cost-effective and swift releases such as the best-selling Super Mario Bros. 2, and nationwide leaderboards and contests via in-store Disk Fax kiosks, which are considered to be forerunners of today's online achievement and distribution systems. While sales of the Disk System peripheral ended in 1993, after selling 4.4 million units, making it the most successful console add-on of all time, support for the system continued well beyond that point. The final title for the Disk System was Janken Disk Jo, released in December 1992. Nintendo maintained Disk writing services by mail until 2003, and provided technical support until 2007. History The Family Computer was an instant success for Nintendo. By January 1985, eighteen months after its launch, over three million units had been sold, and Nintendo was in command of the Japanese home video game market. This success came with drawbacks. It was difficult to meet demands for stock from retailers, sometimes because of chip shortages, and retailers had been requesting cheaper games than those on the chip-based cartridges used by the Famicom. Consequently, Nintendo decided to investigate how to lower the cost of games. In July 1983, Nintendo had rejected a proposal by Hudson Soft for a Famicom add-on which used Bee Cards, ROM-based cartridges tested on their MSX computer. Though this allowed for the saving of games, the technology was expensive, and royalties would be paid for each card sold. Nintendo remembered this during the research process for low-cost games, striking on releasing games on a medium similar to floppy disks, quickly becoming the standard medium for storage on personal computers. Not only were they cheap to produce, their increased capacity compared to cartridges enabled longer games, improved music and sound effects, and rewritable saves. Nintendo's proprietary platform was named the Disk Card, and based on Mitsumi's Quick Disk, a cheaper alternative to floppy disks for Japanese home computers. Disk Cards were to be used with an add-on to the Famicom, the Famicom Disk System. This was produced by Masayuki Uemura and Nintendo Research & Development 2, the same team which designed the Famicom. Following several delays, it was released in Japan on February 21, 1986, at a retail price of ¥15000 (US$80). Launch titles included The Legend of Zelda, and re-releases of earlier Famicom games. Aided by marketing material featuring a yellow mascot character named Diskun, or Mr. Disk, the FDS sold over 300,000 units within its first three months on the market, a number which had jumped to over 2 million by the end of the year. Nintendo had great confidence in the FDS, resolving to make future first-party releases exclusive to the system, installing Disk Writers, kiosks from which consumers could download games onto their disks, in toy and electronic stores, and introducing high-score tournaments for specific Disk System games, where players could submit their scores directly to Nintendo via Disk Fax machines found in retail stores. Winners would receive exclusive prizes, including Famicom-branded stationery sets and a gold-colored Punch-Out!! cartridge. Despite the Famicom Disk System's success, and advantages over the Famicom itself, it also imposed many problems of its own. Most common was the quality of the Disk Cards; not only were they fragile, because the shutters on most disks were removed to reduce costs, it was common for them to collect fingerprints and dust, eventually rendering their games unplayable. Piracy was rampant, with disk copying devices and bootleg games becoming commonplace in stores and in magazine advertisements. Third-party developers were angered by Nintendo's requirement that it own half of the copyright of FDS games, with several, including Namco and Hudson Soft, refusing to produce games for the system. Capcom released a port of Ghosts 'n Goblins with a 128KB ROM size, proving that it was possible to publish FDS-size games on the Famicom. Retailers disliked the Disk Writer kiosks for taking up too much space and for generally being unprofitable. The Disk System's vague error messages, long loading times, and the poor quality of the rubber drive belt that spun the disks are also cited as attributing to its downfall. For these reasons, a planned American release, announced in 1986, had been cancelled by November 1988, when it was approved by the Japanese branch. By 1989, game cartridges had become easier and cheaper to produce, obsoleting the FDS. Retailers were critical of Nintendo simply abandoning the Disk Writers and leaving stores with large kiosks that took up vital space, while companies began to release or move their games from the Disk System to a standard cartridge; towards the end of development, Square ported Final Fantasy over to the Famicom as a cartridge game, with its own battery backup save feature. Nintendo officially discontinued the Famicom Disk System in 1990, selling around 4.4 million units total. Disk writing services were still kept in operation until September 30, 2003, while technical services were provided up until October 31, 2007. Sharp released the Twin Famicom, a Famicom model that features a built-in Disk System. Widespread piracy in Japan's predominantly personal-computer-based game rental market inspired corporations to petition the government to ban the rental of all video games in 1984. With games then being available only via full purchase, demand rose for a new and less expensive way to access more games. In 1986, as video gaming had increasingly expanded from computers into the video game console market, Nintendo advertised a promise to install 10,000 Famicom Disk Writer kiosks in toy and hobby stores across Japan within one year.: 75–76 These jukebox style stations allowed users to copy from a rotating stock of the latest games to their disks and keep each one for an unlimited time. To write an existing disk with a new game from the available roster was ¥500 (then about US$3.25 and 1/6 of the price of many new games).: 75–76 Instruction sheets were given by the retailer, or available by mail order for ¥100. Some game releases, such as Kaette Kita Mario Bros., were exclusive to these kiosks.: 75 [further explanation needed] In 1987, Disk Writer kiosks in select locations were also provisioned as Disk Fax systems as Nintendo's first online concept. Players could take advantage of the dynamic rewritability of blue floppy disk versions of Disk System games (such as Famicom Grand Prix: F1 Race and Golf Japan Course) in order to save their high scores at their leisure at home, and then bring the disk to a retailer's Disk Fax kiosk, which collated and transmitted the players' scores via fax to Nintendo. Players participated in a nationwide leaderboard, with unique prizes.[citation needed] The kiosk service was very popular and remained available until 2003. In subsequent console generations, Nintendo relaunched this online national leader board concept with the home satellite-based Satellaview subscription service in Japan from 1995 to 2000 for the Super Famicom. It relaunched the model of games downloadable to rewritable portable media from store kiosks, with the Nintendo Power service in Japan which is based on rewritable flash media cartridges for the Super Famicom and Game Boy from 1997 to 2007.[citation needed] Calling the Disk Writer "one of the coolest things Nintendo ever created", Kotaku said (in 2014) modern "digital distribution could learn from [the Disk Writer]", and that the system's premise of game rental and achievements would still be innovative in today's retail and online stores. Nintendo Life said it "was truly ground-breaking for its time and could be considered a forerunner of more modern distribution methods [such as] Xbox Live Arcade, PlayStation Network, and Steam". Technology The device is connected to the Famicom console by plugging its RAM Adapter cartridge into the system's cartridge port, and attaching that cartridge's cable to the disk drive. The RAM Adapter contains 32 kilobytes (KB) of RAM for temporarily caching program data from disk, 8 KB of RAM for tile and sprite data storage, and an ASIC named the 2C33. The ASIC acts as a disk controller, plus single-cycle wavetable-lookup synthesizer sound hardware. Finally, embedded in the 2C33 is an 8KB BIOS ROM. The Disk Cards used are double-sided, with a total capacity of 112 KB per disk. Many games span both sides of a disk and a few span multiple disks, requiring the user to switch at some point during gameplay. The Disk System is capable of running on six C-cell batteries or the supplied AC adapter. Batteries usually last five months with daily game play. The inclusion of a battery option is due to the likelihood of a standard set of AC plugs already being occupied by a Famicom and a television. The Disk System's Disk Cards are somewhat proprietary 71 mm × 76 mm (2.8 × 3 in) 56K-per-side double-sided floppy. They are a slight modification of Mitsumi's Quick Disk 71 mm 2.8 in square disk format which is used in a handful of Japanese computers and various synthesizer keyboards, along with a few word processors. QuickDisk drives are in a few devices in Europe and North America. Mitsumi already had close relations with Nintendo, as it manufactured the Famicom and NES consoles, and possibly other Nintendo hardware. Modifications to the standard Quick Disk format include the "NINTENDO" moulding along the bottom of each Disk Card. In addition to branding the disk, this acts as a rudimentary form of copy protection - a device inside the drive bay contains raised protrusions which fit into their recessed counterparts, ostensibly ensuring that only official disks are used. If a disk without these recessed areas is inserted, the protrusions cannot raise, and the system will not allow the game to be loaded. This was combined with technical measures in the way data was stored on the disk to prevent users from physically swapping copied disk media into an official shell. However, both of these measures were defeated by pirate game distributors; in particular, special disks with cutouts alongside simple devices to modify standard Quick Disks were produced to defeat the physical hardware check, enabling rampant piracy. An advertisement containing a guide for a simple modification to a Quick Disk to allow its use with a Famicom Disk System was printed in at least one magazine. Games There are about 194 games in the Famicom Disk System's library. Some are FDS exclusives, some are Disk Writer exclusives, and many were re-released years later on the cartridge format such as The Legend of Zelda for NES in 1987, and for Famicom in 1994. The most notable FDS originals include The Legend of Zelda, Zelda II: The Adventure of Link, Kid Icarus, Metroid, and Akumajō Dracula (Castlevania). Square had a branch called Disk Original Group, a software label that published Disk System games from Japanese PC software companies. The venture was largely a failure and almost pushed a pre-Final Fantasy Square into bankruptcy. Final Fantasy was to be released for the FDS, but a disagreement over Nintendo's copyright policies caused Square to change its position and release the game as a cartridge. Nintendo released a disk version of Super Mario Bros. in addition to the cartridge version. The Western-market Super Mario Bros. 2 originated from a disk-only game called Yume Kōjō: Doki Doki Panic. Nintendo utilized the cheaper and more dynamic disk medium for a Disk Writer exclusive, as an early advergame. Kaettekita Mario Bros. (lit. The Return of Mario Bros.) is a remastered version of Mario Bros. with enhanced jump controls and high score saving, plus a new slot machine minigame co-branded for the Nagatanien food company. The final FDS game release was Janken Disk Jō in December 1992, a rock paper scissors-themed sokoban game featuring the Disk System mascot, Disk-kun. Legacy The Famicom Disk System briefly served as an enabling technology for the creation of a new wave of home console video games and a new type of video game experience, mostly due to tripling the size of cheap game storage compared to affordable cartridge ROMs, and by storing gamers' progress within their vast new adventures. These games include the open world design and enduring series launches of The Legend of Zelda and Metroid (both 1986), with its launch game Zelda becoming very popular and leading to sequels which are considered some of the greatest games of all time. Almost one decade ahead of Nintendo's Satellaview service, the FDS's writable and portable storage technology served as an enabling technology for the innovation of online leaderboards and contests via the in-store Disk Fax kiosks, which are now seen as the earliest forerunners of modern online gaming and distribution. Within its library of 194 original games, some are FDS-exclusive and many were re-released one or two years later on cartridges for Famicom and NES, though without the FDS's additional sound channel. See also Notes References |
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[SOURCE: https://en.wikipedia.org/wiki/Streaming_media] | [TOKENS: 8571] |
Contents Streaming media Streaming media is multimedia delivered through a network for playback using a media player. Media is transferred in a stream of packets from a server to a client and is rendered in real-time or near real-time; this contrasts with file downloading, a process in which the end-user obtains an entire media file before consuming the content. Streaming is more commonly used for video on demand, streaming television, and music streaming services over the Internet. While streaming is most commonly associated with multimedia from a remote server over the Internet, it also includes offline multimedia between devices on a local area network. For example, using DLNA and a home server, or in a personal area network between two devices using Bluetooth (which uses radio waves rather than IP). Online streaming was initially popularized by RealNetworks and Microsoft in the 1990s and has since grown to become the globally most popular method for consuming music and videos, with numerous competing subscription services being offered since the 2010s. Audio streaming to wireless speakers, often using Bluetooth, is another use that has become prevalent during that decade. Live streaming is the real-time delivery of content during production, much as live television broadcasts content via television channels. Distinguishing delivery methods from the media applies specifically to, as most of the traditional media delivery systems are either inherently streaming (e.g., radio, television) or inherently non-streaming (e.g., books, videotapes, audio CDs). The term "streaming media" can apply to media other than video and audio, such as live closed captioning and real-time text, which are all considered "streaming text". Etymology The term "streaming" was first used for tape drives manufactured by Data Electronics Inc. that were meant to slowly ramp up and run for the entire track; slower ramp times lowered drive costs. "Streaming" was applied in the early 1990s as a better description for video on demand and later live video on IP networks. It was first done by Starlight Networks for video streaming and Real Networks for audio streaming. Such video had previously been referred to by the misnomer "store and forward video." Precursors Beginning in 1881, Théâtrophone enabled subscribers to listen to opera and theatre performances over telephone lines. This operated until 1932. The Telharmonium was patented in 1897. The concept of media streaming eventually came to America. The Tel-musici service operated in Delaware from 1909-1914. In the early 1920s, George Owen Squier was granted patents for a system for the transmission and distribution of signals over electrical lines, which was the technical basis for what later became Muzak, a technology for streaming continuous music to commercial customers without the use of radio. The Telephone Music Service, a live jukebox service, began in 1929 and continued until 1997. The clientele eventually included 120 bars and restaurants in the Pittsburgh area. A tavern customer would deposit money in the jukebox, use a telephone on top of the jukebox, and ask the operator to play a song. The operator would find the record in the studio library of more than 100,000 records, put it on a turntable, and the music would be piped over the telephone line to play in the tavern. The music media began as 78s, 33s and 45s, played on the six turntables they monitored. CDs and tapes were incorporated in later years. The business had a succession of owners, notably Bill Purse, his daughter Helen Reutzel, and finally Dotti White. The revenue stream for each quarter was split between 60% for the music service and 40% for the tavern owner. This business model eventually became unsustainable due to city permits and the cost of setting up these telephone lines. History Attempts to display media on computers date back to the earliest days of computing in the mid-20th century. However, little progress was made for several decades, primarily due to the high cost and limited capabilities of computer hardware. From the late 1980s through the 1990s, consumer-grade personal computers became powerful enough to display various media. The primary technical issues related to streaming were having enough CPU and bus bandwidth to support the required data rates and achieving the real-time computing performance required to prevent buffer underruns and enable smooth streaming of the content. However, computer networks were still limited in the mid-1990s, and audio and video media were usually delivered over non-streaming channels, such as playback from a local hard disk drive or CD-ROMs on the end user's computer. Terminology in the 1970s was at best confusing for applications such as telemetered aircraft or missile test data. By then PCM [Pulse Code Modulation] was the dominant transmission type. This PCM transmission was bit-serial and not packetized so the 'streaming' terminology was often a confusion factor. In 1969 Grumman acquired one of the first telemetry ground stations [Automated Telemetry Station, 'ATS'] which had the capability for reconstructing serial telemetered data which had been recorded on digital computer peripheral tapes. Computer peripheral tapes were inherently recorded in blocks. Reconstruction was required for continuous display purposes without time-base distortion. The Navy implemented similar capability in DoD for the first time in 1973. These implementations are the only known examples of true 'streaming' in the sense of reconstructing distortion-free serial data from packetized or blocked recordings. 'Real-time' terminology has also been confusing in streaming context. The most accepted definition of 'real-time' requires that all associated processing or formatting of the data must take place prior to availability of the next sample of each measurement. In the 1970s the most powerful mainframe computers were not fast enough for this task at significant overall data rates in the range of 50,000 samples per second. For that reason both the Grumman ATS and the Navy Real-time Telemetry Processing System [RTPS] employed unique special purpose digital computers dedicated to real-time processing of raw data samples. In 1990, the first commercial Ethernet switch was introduced by Kalpana, which enabled the more powerful computer networks that led to the first streaming video solutions used by schools and corporations. Practical streaming media was only made possible with advances in data compression due to the impractically high bandwidth requirements of uncompressed media. Raw digital audio encoded with pulse-code modulation (PCM) requires a bandwidth of 1.4 Mbit/s for uncompressed CD audio, while raw digital video requires a bandwidth of 168 Mbit/s for SD video and over 1000 Mbit/s for FHD video. During the late 1990s and early 2000s, users had increased access to computer networks, especially the Internet. During the early 2000s, users had access to increased network bandwidth, especially in the last mile. These technological improvements facilitated the streaming of audio and video content to computer users in their homes and workplaces. There was also an increasing use of standard protocols and formats, such as TCP/IP, HTTP, and HTML, as the Internet became increasingly commercialized, which led to an infusion of investment into the sector. The band Severe Tire Damage was the first group to perform live on the Internet. On 24 June 1993, the band was playing a gig at Xerox PARC, while elsewhere in the building, scientists were discussing new technology (the Mbone) for broadcasting on the Internet using multicasting. As proof of PARC's technology, the band's performance was broadcast and could be seen live in Australia and elsewhere. In a March 2017 interview, band member Russ Haines stated that the band had used approximately "half of the total bandwidth of the internet" to stream the performance, which was a 152 × 76 pixel video, updated eight to twelve times per second, with audio quality that was, "at best, a bad telephone connection." In October 1994, a school music festival was webcast from the Michael Fowler Centre in Wellington, New Zealand. The technician who arranged the webcast, local council employee Richard Naylor, later commented: "We had 16 viewers in 12 countries." RealNetworks pioneered the broadcast of a baseball game between the New York Yankees and the Seattle Mariners over the Internet in 1995. The first symphonic concert on the Internet—a collaboration between the Seattle Symphony and guest musicians Slash, Matt Cameron, and Barrett Martin—took place at the Paramount Theater in Seattle, Washington, on 10 November 1995. In 1996, Marc Scarpa produced the first large-scale, online, live broadcast, the Adam Yauch–led Tibetan Freedom Concert, an event that would define the format of social change broadcasts. Scarpa continued to pioneer in the streaming media world with projects such as Woodstock '99, Townhall with President Clinton, and more recently Covered CA's campaign "Tell a Friend Get Covered", which was livestreamed on YouTube. Xing Technology was founded in 1989 and developed a JPEG streaming product called "StreamWorks". Another streaming product appeared in late 1992 and was named StarWorks. StarWorks enabled on-demand MPEG-1 full-motion videos to be randomly accessed on corporate Ethernet networks. Starworks was from Starlight Networks, which also pioneered live video streaming on Ethernet and via Internet Protocol over satellites with Hughes Network Systems. Other early companies that created streaming media technology include Progressive Networks and Protocomm prior to widespread World Wide Web usage. After the Netscape IPO in 1995 (and the release of Windows 95 with built-in TCP/IP support), usage of the Internet expanded, and many companies "went public", including Progressive Networks (which was renamed "RealNetworks", and listed on Nasdaq as "RNWK"). As the web became even more popular in the late 90s, streaming video on the internet blossomed from startups such as Vivo Software (later acquired by RealNetworks), VDOnet (acquired by RealNetworks), Precept (acquired by Cisco), and Xing (acquired by RealNetworks). Microsoft developed a media player known as ActiveMovie in 1995 that supported streaming media and included a proprietary streaming format, which was the precursor to the streaming feature later in Windows Media Player 6.4 in 1999. In June 1999, Apple also introduced a streaming media format in its QuickTime 4 application. It was later also widely adopted on websites, along with RealPlayer and Windows Media streaming formats. The competing formats on websites required each user to download the respective applications for streaming, which resulted in many users having to have all three applications on their computer for general compatibility. In 2000, Industryview.com launched its "world's largest streaming video archive" website to help businesses promote themselves. Webcasting became an emerging tool for business marketing and advertising that combined the immersive nature of television with the interactivity of the Web. The ability to collect data and feedback from potential customers caused this technology to gain momentum quickly. Around 2002, the interest in a single, unified, streaming format and the widespread adoption of Adobe Flash prompted the development of a video streaming format through Flash, which was the format used in Flash-based players on video hosting sites. The first popular video streaming site, YouTube, was founded by Steve Chen, Chad Hurley, and Jawed Karim in 2005. It initially used a Flash-based player, which played MPEG-4 AVC video and AAC audio, but now defaults to HTML video. Increasing consumer demand for live streaming prompted YouTube to implement a new live streaming service for users. The company currently also offers a (secure) link that returns the available connection speed of the user. The Recording Industry Association of America (RIAA) revealed through its 2015 earnings report that streaming services were responsible for 34.3 percent of the year's total music industry's revenue, growing 29 percent from the previous year and becoming the largest source of income, pulling in around $2.4 billion. US streaming revenue grew 57 percent to $1.6 billion in the first half of 2016 and accounted for almost half of industry sales. The term streaming wars was coined to describe the new era (starting in the late 2010s) of competition between video streaming services such as Netflix, Amazon Prime Video, Hulu, HBO Max, Disney+, Paramount+, Apple TV, Peacock, and many more. The competition between increasingly popular online platforms, such as Netflix and Amazon, and legacy broadcasters and studios moving online, like Disney and NBC, has driven each service to find ways to differentiate from one another. A key differentiator has been offering exclusive content, often self-produced and created for a specific market segment. When Netflix first launched in 2007, it became one of the more dominant streaming platforms even though it initially offered no original content. It would be nearly six years before Netflix began offering its own shows, such as House of Cards, Orange Is the New Black, and Hemlock Grove. The legacy services also began producing original digital-only content, but they also began restricting their back catalog of shows and movies to their platforms, one of the most notable examples being Disney+. Disney took advantage of owning popular movies and shows like Frozen, Snow White, and the Star Wars and Marvel franchises, which could draw in more subscribers and make it a more serious competitor to Netflix and Amazon. Research suggests that this approach to streaming competition can be disadvantageous for consumers by increasing spending across platforms, and for the industry as a whole by dilution of subscriber base. Once specific content is made available on a streaming service, piracy searches for the same content decrease; competition or legal availability across multiple platforms appears to deter online piracy. Exclusive content produced for subscription services such as Netflix tends to have a higher production budget than content produced exclusively for pay-per-view services, such as Amazon Prime Video. This competition increased during the first two years of the COVID-19 pandemic as more people stayed home and watched TV. "The COVID-19 pandemic has led to a seismic shift in the film & TV industry in terms of how films are made, distributed, and screened. Many industries have been hit by the economic effects of the pandemic" (Totaro Donato). In August 2022, a CNN headline declared that "The streaming wars are over" as pandemic-era restrictions had largely ended and audience growth had stalled. This led services to focus on profit over market share by cutting production budgets, cracking down on password sharing, and introducing ad-supported tiers. A December 2022 article in The Verge echoed this, declaring an end to the "golden age of the streaming wars". In September 2023, several streaming services formed a trade association named the Streaming Innovation Alliance (SIA), spearheaded by Charles Rivkin of the Motion Picture Association (MPA). Former U.S. representative Fred Upton and former Federal Communications Commission (FCC) acting chair Mignon Clyburn serve as senior advisors. Founding members include AfroLandTV, America Nu Network, BET+, The Africa Channel, Discovery+, FedNet, For Us By Us Network, In the Black Network, Max, Motion Picture Association, MotorTrend+, Netflix, Paramount+, Peacock, Pluto TV, Radiant, SkinsPlex, Telemundo, TelevisaUnivision, TVEI, Vault TV, Vix, and The Walt Disney Company. Notably absent were Apple, Amazon, Roku, and Tubi. Use by the general public Advances in computer networking, combined with powerful home computers and operating systems, have made streaming media affordable and easy for the public. Stand-alone Internet radio devices emerged to offer listeners a non-technical option for listening to audio streams. These audio-streaming services became increasingly popular; music streaming reached 4 trillion streams globally in 2023—a significant increase from 2022—jumping 34% over the year. In general, multimedia content is data-intensive, so media storage and transmission costs are still significant. Media is generally compressed for transport and storage. Increasing consumer demand for streaming high-definition (HD) content has led the industry to develop technologies such as WirelessHD and G.hn, which are optimized for streaming HD content. Many developers have introduced HD streaming apps that work on smaller devices, such as tablets and smartphones, for everyday purposes. "Streaming creates the illusion—greatly magnified by headphone use, which is another matter—that music is a utility you can turn on and off; the water metaphor is intrinsic to how it works. It dematerializes music, denies it a crucial measure of autonomy, reality, and power. It makes music seem disposable, impermanent. Hence it intensifies the ebb and flow of pop fashion, the way musical 'memes' rise up for a week or a month and are then forgotten. And it renders our experience of individual artists/groups shallower." A media stream can be streamed either live or on demand. Live streams are generally provided by a method called true streaming. True streaming sends the information straight to the computer or device without saving it to a local file. On-demand streaming is provided by a method called progressive download. Progressive download saves the received information to a local file and then plays it from that location. On-demand streams are often saved to files for extended period of time, while live streams are available at one time only (e.g., during a football game). Streaming media is increasingly being coupled with the use of social media. For example, sites such as YouTube encourage social interaction in webcasts through features such as live chat, online surveys, user posting of comments online, and more. Furthermore, streaming media is increasingly being used for social business and e-learning. The Horowitz Research State of Pay TV, OTT, and SVOD 2017 report said that 70 percent of those viewing content did so through a streaming service and that 40 percent of TV viewing was done this way, twice the number from five years earlier. Millennials, the report said, streamed 60 percent of the content. One of the movie streaming industry's largest impacts was on the DVD industry, which drastically dropped in popularity and profitability with the mass popularization of online content. The rise of media streaming caused the downfall of many DVD rental companies, such as Blockbuster. In July 2015, The New York Times published an article about Netflix's DVD services. It stated that Netflix was continuing their DVD services with 5.3 million subscribers, which was a significant drop from the previous year. On the other hand, their streaming service had 65 million members. The shift to streaming platforms also led to the decline of DVD rental services. In July 2024, NBC News reported that RedBox, a DVD rental service that had operated for 22 years, would shut down due to the rapid incline of streaming platforms. As the rental services has been rapidly declining since 2010, the business had to file for bankruptcy, with 99% of households now subscribing to streaming services. Further reflecting the shift away from physical media, Best Buy has ceased selling DVDs. Music streaming is one of the most popular ways in which consumers interact with streaming media. In the age of digitization, the private consumption of music has transformed into a public good, largely due to one player in the market: Napster. Napster, a peer-to-peer (P2P) file-sharing network where users could upload and download MP3 files freely, broke all music industry conventions when it launched in early 1999 in Hull, Massachusetts. The platform was developed by Shawn and John Fanning as well as Sean Parker. In an interview from 2009, Shawn Fanning explained that Napster "was something that came to me as a result of seeing a sort of unmet need and the passion people had for being able to find all this music, particularly a lot of the obscure stuff, which wouldn't be something you go to a record store and purchase, so it felt like a problem worth solving." Not only did this development disrupt the music industry by making songs that previously required payment to be freely accessible to any Napster user, but it also demonstrated the power of P2P networks in turning any digital file into a public, shareable good. For the brief period of time that Napster existed, mp3 files fundamentally changed as a type of good. Songs were no longer financially excludable, barring access to a computer with internet access, and they were not rivals, meaning if one person downloaded a song, it did not diminish another user from doing the same. Napster, like most other providers of public goods, faced the free-rider problem. Every user benefits when an individual uploads an mp3 file, but there is no requirement or mechanism that forces all users to share their music. Generally, the platform encouraged sharing; users who downloaded files from others often had their own files available for upload as well. However, not everyone chose to share their files. There was no built-in incentive specifically discouraging users from sharing their own files. This structure revolutionized the consumer's perception of ownership over digital goods; it made music freely replicable. Napster quickly garnered millions of users, growing faster than any other business in history. At the peak of its existence, Napster boasted about 80 million users globally. The site gained so much traffic that many college campuses had to block access to Napster because it created network congestion from so many students sharing music files. The advent of Napster sparked the creation of numerous other P2P sites, including LimeWire (2000), BitTorrent (2001), and the Pirate Bay (2003). The reign of P2P networks was short-lived. The first to fall was Napster in 2001. Numerous lawsuits were filed against Napster by various record labels, all of which were subsidiaries of Universal Music Group, Sony Music Entertainment, Warner Music Group, or EMI. In addition to this, the Recording Industry Association of America (RIAA) also filed a lawsuit against Napster on the grounds of unauthorized distribution of copyrighted material, which ultimately led Napster to shut down in 2001. In an interview with the New York Times, Gary Stiffelman, who represents Eminem, Aerosmith, and TLC, explained, "I'm not an opponent of artists' music being included in these services, I'm just an opponent of their revenue not being shared." The lawsuit A&M Records, Inc. v. Napster, Inc. fundamentally changed the way consumers interact with music streaming. It was argued on 2 October 2000, and was decided on 12 February 2001. The Court of Appeals for the Ninth Circuit ruled that a P2P file-sharing service could be held liable for contributory and vicarious infringement of copyright, serving as a landmark decision for Intellectual property law. The first issue that the Court addressed was fair use, which says that otherwise infringing activities are permissible so long as they are for purposes "such as criticism, comment, news reporting, teaching [...] scholarship, or research." Judge Beezer, the judge for this case, noted that Napster claimed that its services fit "three specific alleged fair uses: sampling, where users make temporary copies of a work before purchasing; space-shifting, where users access a sound recording through the Napster system that they already own in audio CD format; and permissive distribution of recordings by both new and established artists." Judge Beezer found that Napster did not fit these criteria, instead enabling their users to repeatedly copy music, which would affect the market value of the copyrighted good. The second claim by the plaintiffs was that Napster was actively contributing to copyright infringement since it had knowledge of widespread file sharing on its platform. Since Napster took no action to reduce infringement and financially benefited from repeated use, the court ruled against the P2P site. The court found that "as much as eighty-seven percent of the files available on Napster may be copyrighted and more than seventy percent may be owned or administered by plaintiffs." The injunction ordered against Napster ended the brief period in which music streaming was a public good – non-rival and non-excludable in nature. Other P2P networks had some success at sharing MP3s, though they all met a similar fate in court. The ruling set the precedent that copyrighted digital content cannot be freely replicated and shared unless given consent by the owner, thereby strengthening the property rights of artists and record labels alike. Although music streaming is no longer a freely replicable public good, streaming platforms such as Spotify, Deezer, Apple Music, SoundCloud, YouTube Music, and Amazon Music have shifted music streaming to a club-type good. While some platforms, most notably Spotify, give customers access to a freemium service that enables the use of limited features for exposure to advertisements, most companies operate under a premium subscription model. Under such circumstances, music streaming is financially excludable, requiring that customers pay a monthly fee for access to a music library, but non-rival, since one customer's use does not impair another's. An article written by the New York Times in 2021 states that "streaming saved music." This is because it provided monthly revenue. Especially Spotify offers its free platform, but you can pay for their premium to get music ad-free. This allows access for people to stream music anywhere from their devices not having to rely on CDs anymore. There is competition between services similar but lesser to the streaming wars for video media. As of 2019[update], Spotify has over 207 million users in 78 countries, As of 2018[update], Apple Music has about 60 million, and SoundCloud has 175 million. All platforms provide varying degrees of accessibility. Apple Music and Prime Music only offer their services for paid subscribers, whereas Spotify and SoundCloud offer freemium and premium services. Napster, owned by Rhapsody since 2011, has resurfaced as a music streaming platform offering subscription-based services to over 4.5 million users as of January 2017[update]. In the evolving music streaming landscape, competition among platforms is shaped by various factors, including royalty rates, exclusive content, and market expansion strategies. A notable development occurred in January 2025, when Universal Music Group (UMG) and Spotify announced a new multi-year agreement. This partnership aims to enhance opportunities for artists and consumers through innovative subscription tiers and an enriched audio-visual catalog. The music industry's response to music streaming was initially negative. Along with music piracy, streaming services disrupted the market and contributed to the fall in US revenue from $14.6 billion in 1999 to $6.3 billion in 2009. CDs and single-track downloads were not selling because content was freely available on the Internet. By 2018, however, music streaming revenue exceeded that of traditional revenue streams (e.g. record sales, album sales, downloads). Streaming revenue is now one of the largest driving forces behind the growth in the music industry. By August 2020, the COVID-19 pandemic had streaming services busier than ever. The pandemic contributed to a surge in subscriptions, in the UK alone, 12 million people joined a new streaming service that they had not previously had. Global subscriptions skyrocketed passing 1 billion. Within the first 3 months, back in 2020, nearly 15.7 million people signed up for Netflix. An impact analysis of 2020 data by the International Confederation of Societies of Authors and Composers (CISAC) indicated that remuneration from digital streaming of music increased with a strong rise in digital royalty collection (up 16.6% to EUR 2.4 billion), but it would not compensate the overall loss of income of authors from concerts, public performance and broadcast. The International Federation of the Phonographic Industry (IFPI) recompiled the music industry initiatives around the world related to the COVID-19. In its State of the Industry report, it recorded that the global recorded music market grew by 7.4% in 2022, the 6th consecutive year of growth. This growth was driven by streaming, mostly from paid subscription streaming revenues which increased by 18.5%, fueled by 443 million users of subscription accounts by the end of 2020. The COVID-19 pandemic has also driven an increase in misinformation and disinformation, particularly on streaming platforms like YouTube and podcasts. Streaming also refers to the offline streaming of multimedia at home. This is made possible by technologies such as DLNA, which allow devices on the same local network to connect to each other and share media. Such capabilities are heightened using network-attached storage (NAS) devices at home, or using specialized software like Plex Media Server, Jellyfin or TwonkyMedia. Technologies A broadband speed of 2 Mbit/s or more is recommended for streaming standard-definition video, for example to a Roku, Apple TV, Google TV or a Sony TV Blu-ray Disc Player. 5 Mbit/s is recommended for high-definition content and 25 Mbit/s for ultra-high-definition content. Streaming media storage size is calculated from the streaming bandwidth and length of the media using the following formula (for a single user and file): storage size in megabytes is equal to length (in seconds) × bit rate (in bit/s) / (8 × 1024 × 1024). For example, one hour of digital video encoded at 300 kbit/s (this was a typical broadband video in 2005 and it was usually encoded in 320 × 240 resolution) will be: (3,600 s × 300,000 bit/s) / (8 × 1024 × 1024) requires around 128 MB of storage. If the file is stored on a server for on-demand streaming and this stream is viewed by 1,000 people at the same time using a Unicast protocol, the requirement is 300 kbit/s × 1,000 = 300,000 kbit/s = 300 Mbit/s of bandwidth. This is equivalent to around 135 GB per hour. Using a multicast protocol the server sends out only a single stream that is common to all users. Therefore, such a stream would only use 300 kbit/s of server bandwidth. In 2018 video was more than 60% of data traffic worldwide and accounted for 80% of growth in data usage. Video and audio streams are compressed to make the file size smaller. Audio coding formats include MP3, Vorbis, AAC and Opus. Video coding formats include H.264, HEVC, VP8, VP9 and AV1. Encoded audio and video streams are assembled in a container bitstream such as MP4, FLV, WebM, ASF or ISMA. The bitstream is delivered from a streaming server to a streaming client (e.g., the computer user with their Internet-connected laptop) using a transport protocol, such as Adobe's RTMP or RTP. In the 2010s, technologies such as Apple's HLS, Microsoft's Smooth Streaming, Adobe's HDS and non-proprietary formats such as MPEG-DASH emerged to enable adaptive bitrate streaming over HTTP as an alternative to using proprietary transport protocols. Often, a streaming transport protocol is used to send video from an event venue to a cloud transcoding service and content delivery network, which then uses HTTP-based transport protocols to distribute the video to individual homes and users. The streaming client (the end user) may interact with the streaming server using a control protocol, such as MMS or RTSP. The quality of the interaction between servers and users is based on the workload of the streaming service; as more users attempt to access a service the quality may be affected by resource constraints in the service. Deploying clusters of streaming servers is one such method where there are regional servers spread across the network, managed by a singular, central server containing copies of all the media files as well as the IP addresses of the regional servers. This central server then uses load balancing and scheduling algorithms to redirect users to nearby regional servers capable of accommodating them. This approach also allows the central server to provide streaming data to both users as well as regional servers using FFmpeg libraries if required, thus demanding the central server to have powerful data processing and immense storage capabilities. In return, workloads on the streaming backbone network are balanced and alleviated, allowing for optimal streaming quality.[needs update] Designing a network protocol to support streaming media raises many problems. Datagram protocols, such as the User Datagram Protocol (UDP), send the media stream as a series of small packets. This is simple and efficient; however, there is no mechanism within the protocol to guarantee delivery. It is up to the receiving application to detect loss or corruption and recover data using error correction techniques. If data is lost, the stream may suffer a dropout. The Real-Time Streaming Protocol (RTSP), Real-time Transport Protocol (RTP) and the Real-time Transport Control Protocol (RTCP) were specifically designed to stream media over networks. RTSP runs over a variety of transport protocols, while the latter two are built on top of UDP. HTTP adaptive bitrate streaming is based on HTTP progressive download, but contrary to the previous approach, here the files are very small, so that they can be compared to the streaming of packets, much like the case of using RTSP and RTP. Reliable protocols, such as the Transmission Control Protocol (TCP), guarantee correct delivery of each bit in the media stream. It means, however, that when there is data loss on the network, the media stream stalls while the protocol handlers detect the loss and retransmit the missing data. Clients can minimize this effect by buffering data for display. While delay due to buffering is acceptable in video-on-demand scenarios, users of interactive applications such as video conferencing will experience a loss of fidelity if the delay caused by buffering exceeds 200 ms. Unicast protocols send a separate copy of the media stream from the server to each recipient. Unicast is the norm for most Internet connections but does not scale well when many users want to view the same television program concurrently. Multicast protocols were developed to reduce server and network loads resulting from duplicate data streams that occur when many recipients receive unicast content streams independently. These protocols send a single stream from the source to a group of recipients. Depending on the network infrastructure and type, multicast transmission may or may not be feasible. One potential disadvantage of multicasting is the loss of video on demand functionality. Continuous streaming of radio or television material usually precludes the recipient's ability to control playback. However, this problem can be mitigated by elements such as caching servers, digital set-top boxes, and buffered media players. IP multicast provides a means to send a single media stream to a group of recipients on a computer network. A connection management protocol, usually Internet Group Management Protocol, is used to manage the delivery of multicast streams to the groups of recipients on a LAN. One of the challenges in deploying IP multicast is that routers and firewalls between LANs must allow the passage of packets destined to multicast groups. If the organization that is serving the content has control over the network between server and recipients (i.e., educational, government, and corporate intranets), then routing protocols such as Protocol Independent Multicast can be used to deliver stream content to multiple local area network segments. Peer-to-peer (P2P) protocols arrange for prerecorded streams to be sent between computers. This prevents the server and its network connections from becoming a bottleneck. However, it raises technical, performance, security, quality, and business issues. Content delivery networks (CDNs) use intermediate servers to distribute the load. Internet-compatible unicast delivery is used between CDN nodes and streaming destinations. Media that is livestreamed can be recorded through certain media players, such as VLC player, or through the use of a screen recorder. Live-streaming platforms such as Twitch may also incorporate a video on demand system that allows automatic recording of live broadcasts so that they can be watched later. YouTube also has recordings of live broadcasts, including television shows aired on major networks. These streams have the potential to be recorded by anyone who has access to them, whether legally or otherwise. Recordings can happen through any device that allows people to watch movies they do not have access to or be at a music festival they could not get tickets to. These live streaming platforms have revolutionized entertainment, creating new ways for people to interact with content. Many celebrities started live streaming during COVID-19 through platforms like Instagram, YouTube, and TikTok offering an alternate form of entertainment when concerts were postponed. Live streaming and recording allow for fans to communicate with these artists through chats and likes. Most streaming services feature a recommender system for viewing based on each user's view history in conjunction with all viewers' aggregated view histories. Rather than focusing on subjective categorization of content by content curators, there is an assumption that, with the immensity of data collected on viewing habits, the choices of those who are first to view content can be algorithmically extrapolated to the totality of the user base, with increasing probabilistic accuracy as to the likelihood of their choosing and enjoying the recommended content as more data is collected. Applications and marketing Useful and typical applications of streaming are, for example, long video lectures performed online. An advantage of this presentation is that these lectures can be very long, although they can always be interrupted or repeated at arbitrary places. Streaming enables new content marketing concepts. For example, the Berlin Philharmonic Orchestra sells Internet live streams of whole concerts instead of several CDs or similar fixed media in their Digital Concert Hall using YouTube for trailers. These online concerts are also spread over a lot of different places, including cinemas at various places on the globe. A similar concept is used by the Metropolitan Opera in New York. There is also a livestream from the International Space Station. In video entertainment, video streaming platforms like Netflix, Hulu, and Disney+ are mainstream elements of the media industry. Marketers have found many opportunities offered by streaming media and the platforms that offer them, especially in light of the significant increase in the use of streaming media during COVID lockdowns from 2020 onwards. While revenue and placement of traditional advertising continued to decrease, digital marketing increased by 15% in 2021, with digital media and search representing 65% of the expenditures. A case study commissioned by the WIPO indicates that streaming services attract advertising budgets with the opportunities provided by interactivity and the use of data from users, resulting in personalization on a mass scale with content marketing. Targeted marketing is expanding with the use of artificial intelligence, in particular programmatic advertisement, a tool that helps advertisers decide their campaign parameters and whether they are interested in buying advertising space online or not. One example of advertising space acquisition is Real-Time Bidding (RTB). Challenges For over-the-top media service (OTT) platforms, the original content captures additional subscribers. This presents copyright issues and the potential for international exploitation through streaming, widespread use of standards, and metadata in digital files. The WIPO has indicated several basic copyright issues arising for those pursuing work in the film and music industries in the era of streaming. Streaming copyrighted content can involve making infringing copies of the works in question. The recording and distribution of streamed content is also an issue for many companies that rely on revenue based on views or attendance. The net greenhouse gas emissions from streaming music were estimated at between 0.2 and 0.35 million metric tons CO2eq (between 200,000 and 340,000 long tons; 220,000 and 390,000 short tons) per year in the United States, by a 2019 study. This was an increase from emissions in the pre-digital music period, which were estimated at "0.14 million metric tons (140,000 long tons; 150,000 short tons) in 1977, 0.136 million (134,000 long tons; 150,000 short tons) in 1988, and 0.157 million (155,000 long tons; 173,000 short tons) in 2000." However, this is far less than other everyday activities such as eating. For example greenhouse gas emissions in the United States from beef cattle (burping of ruminants only - not including their manure) were 129 million metric tons (127 million long tons; 142 million short tons) in 2019. A 2021 study claimed that, based on the amount of data transmitted, one hour of streaming or videoconferencing "emits 150–1,000 grams (5–35 oz) of carbon dioxide ... requires 2–12 liters (0.4–2.6 imp gal; 0.5–3.2 U.S. gal) of water and demands a land area adding up to about the size of an iPad Mini." The study suggests that turning the camera off during video calls can reduce the greenhouse gas and water use footprints by 96%, and that an 86% reduction is possible by using standard definition rather than high definition when streaming content with apps such as Netflix or Hulu. However, another study estimated a relatively low amount of 36 grams per hour (1.3 ounces per hour), and concluded that watching a Netflix video for half an hour emitted only the same amount as driving a gasoline-fuelled car for about 100 meters (330 ft), so not a significant amount. One way to decrease greenhouse gas emissions associated with streaming music is to make data centers carbon neutral by converting to electricity produced from renewable sources. On an individual level, the purchase of a physical CD may be more environmentally friendly if it is to be played more than 27 times.[dubious – discuss] Another option for reducing energy use is downloading the music for offline listening to reduce the need for streaming over distance. The Spotify service has a built-in local cache to reduce the necessity of repeating song streams. See also References Further reading |
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[SOURCE: https://en.wikipedia.org/wiki/Jessica_Livingston] | [TOKENS: 464] |
Contents Jessica Livingston Jessica Livingston (born 1971) is an American investor, writer, and podcaster. She is best known for being a founding partner of the seed stage venture firm Y Combinator. Early life and education Livingston was born in Minneapolis, Minnesota, and later relocated to the Boston area, raised in large part by her father and grandmother. In 1989, she graduated from Phillips Academy. Later, she received a Bachelor of Arts with a major in English from Bucknell University. Career After college, Livingston pursued an array of jobs, including work at Fidelity, the Food & Wine magazine, an automotive consulting firm, and a wedding planning service. Later, she served as vice president of marketing at Adams Harkness Financial Group, an investment bank. Livingston met Paul Graham, Robert Morris and Trevor Blackwell (the co-founders of dot-com company Viaweb) at a party in Cambridge. They discussed creating a startup incubator, and in 2005 the four co-founded Y Combinator (YC). In the early days of YC, Livingston and Graham hosted weekly meals for their founders at their home near Cambridge. Sam Altman (a former YC partner) credits Livingston with being essential to the transformation of Y Combinator into a startup ecosystem. When Graham stepped down from his leading role, handing over to Altman, Livingston increased her day-to-day involvement, including responsibility for the organization's Startup School. In early 2007, Livingston published Founders at Work: Stories of Startups' Early Days, a collection of interviews with famous startup founders, including Steve Wozniak. In 2013, Livingston launched the Female Founders conference with the aim of inspiring more women to found startup companies. In 2016, she took a year-long sabbatical from the incubator to spend time with her family and consider projects and other things she wanted to pursue. Livingston is one of the financial backers of OpenAI, a for-profit company aiming to develop artificial general intelligence. In 2023, she started co-hosting The Social Radars podcast alongside fellow YC partner Carolynn Levy. Personal life Livingston married Paul Graham in 2008. Since late 2016, she and her family have resided in the United Kingdom. References |
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[SOURCE: https://en.wikipedia.org/wiki/Ketuvim] | [TOKENS: 1878] |
Contents Ketuvim The Ketuvim (/kətuːˈviːm, kəˈtuːvɪm/; Biblical Hebrew: כְּתוּבִים, romanized: Kǝṯuḇim, lit. 'Writings') is the third and final section of the Hebrew Bible, after the Torah ("instruction") and the Nevi'im "Prophets". In English translations of the Hebrew Bible, this section is usually titled "Writings" or "Hagiographa". In the Ketuvim, 1–2 Chronicles form one book as do Ezra and Nehemiah which form a single unit entitled Ezra–Nehemiah. (In citations by chapter and verse, however, the Hebrew equivalents of "Nehemiah", "I Chronicles" and "II Chronicles" are used, as the system of chapter division was imported from Christian usage.) Collectively, eleven books are included in the Ketuvim. Groups of books In Masoretic manuscripts (and some printed editions), Psalms, the Book of Proverbs and the Book of Job are presented in a special two-column form emphasizing the parallel stichs in the verses, which are a function of their poetry. Collectively, these three books are known as Sifrei Emet (סִפְרֵי אֶמֶת, sip̄rē ʾemeṯ, 'documents of truth')—an acronym of the titles of the three books in Hebrew: איוב, משלי, תהלים yields אמ״ת emet, 'truth'). These three books are also the only ones in the Hebrew Bible with a special system of cantillation that is designed to emphasize parallel stichs within verses. However, the beginning and end of the Book of Job are in the normal prose system. The five relatively short books of Song of Songs, the Book of Ruth, the Book of Lamentations, Ecclesiastes and the Book of Esther are collectively known as the Five Megillot (Hamesh Megillot) or Five Scrolls. These are the latest books collected and designated as "authoritative" in the Jewish canon. These scrolls are traditionally read over the course of the year in many Jewish communities. The list below presents them in the order they are read in the synagogue on holidays, beginning with the Song of Songs on Passover. The remaining books in the Ketuvim are the Book of Daniel, Ezra–Nehemiah and the Books of Chronicles. These books share a number of distinguishing characteristics:[citation needed] Order of the books The following list presents the books of the Ketuvim in the order they appear in most printed editions. It also divides them into three subgroups based on the distinctiveness of Sifrei Emet and Hamesh Megillot. The Sifrei Emet: The Five Megillot Other books The Jewish textual tradition never finalized the order of the books in the Ketuvim. The Babylonian Talmud (Bava Batra 14b–15a) gives their order as Ruth, Psalms, Job, Proverbs, Ecclesiastes, Song of Songs, Lamentations, Daniel, Esther, Ezra, and Chronicles. In Tiberian Masoretic codices, including the Aleppo Codex and the Leningrad Codex, and often in old Spanish manuscripts as well, the order is Chronicles, Psalms, Job, Proverbs, Ruth, Song of Songs, Ecclesiastes, Lamentations, Esther, Daniel, and Ezra. Canonization The Ketuvim is the last of the three portions of the Tanakh to have been accepted as Biblical canon. There is no scholarly consensus as to when the Hebrew Bible canon was fixed: some scholars argue that it was fixed by the Hasmonean dynasty, while others argue it was not fixed until the second century CE or even later. While the Torah may have been considered canon by Israel as early as the 5th century BCE and the Former and Latter Prophets were canonized by the 2nd century BCE, Michael Coogan says that the Ketuvim was not a fixed canon until the 2nd century CE. According to T. Henshaw, as early as 132 BCE, some references suggest that the Ketuvim were starting to take shape, though they lacked a formal title. Jacob Neusner argues that the notion of a biblical canon was not prominent in 2nd-century Rabbinic Judaism or even later. Against Apion, the writing of Josephus in 95 CE, treated the text of the Hebrew Bible as a closed canon to which "no one has ventured either to add, or to remove, or to alter a syllable"; Michael Barber, however, avers that Josephus' canon is "not identical to that of the modern Hebrew Bible". For a long time, following this date, the divine inspiration of Esther, the Song of Songs, and Kohelet (Ecclesiastes) was often under scrutiny. In the 20th century, many scholars seemed to believe that the limits of the Ketuvim as canonized scripture were determined by the Council of Jamnia (c. 90 CE); the Council of Jamnia hypothesis is largely discredited today. Liturgical use There is no formal system of synagogal reading of Ketuvim equivalent to the Torah portion and haftarah. It is thought that there was once a cycle for reading the Psalms, parallel to the triennial cycle for Torah reading, as the number of psalms (150) is similar to the number of Torah portions in that cycle, and remnants of this tradition exist in Italy. All Jewish liturgies contain copious extracts from the Psalms, but these are normally sung to a regular recitative or rhythmic tune rather than read or chanted. Some communities also have a custom of reading Proverbs in the weeks following Pesach, and Job on the Ninth of Ab. The five megillot are read on the festivals, as mentioned above, though Sephardim have no custom of public reading of Song of Songs on Passover or Ecclesiastes on Sukkot. There are traces of an early custom of reading a haftarah from Ketuvim on Shabbat afternoons, but this does not survive in any community. Some Reform communities that operate a triennial cycle choose haftarot on Shabbat morning from Ketuvim as well as Neviim. In some Near and Middle Eastern Jewish traditions, the whole of Ketuvim (as well as the rest of the Tanakh and the Mishnah) is read each year on a weekly rota, usually on Shabbat afternoons. These reading sessions are not considered to be synagogue services, and often took place in the synagogue courtyard. Medieval sources speak of three cantillation melodies, for Torah, Nevi'im and Ketuvim respectively. Today the position is more complicated. Oriental Sephardic and Yemenite communities preserve cantillation systems for the three poetic books, namely Psalms, Proverbs and the main part of Job (usually a different melody for each of the three books). No such systems exist in the Ashkenazi or Spanish and Portuguese traditions. However, the Ashkenazic yeshiva known as Aderet Eliyahu, in the Old City of Jerusalem, uses an adaptation of the Syrian cantillation-melody for these books, and this is becoming more popular among other Ashkenazim as well. In all communities there are special cantillation melodies for Lamentations and Esther, and in some communities for the Song of Songs. Otherwise, the melody for the book of Ruth is considered the "default" melody for books of the Ketuvim not otherwise provided for. The "prose" passages at the beginning and end of the book of Job, as read on Tisha B'Av, may be read either to the tune of Ruth or to one resembling that for the Song of Songs. Targum to Ketuvim Western targumim exist on Sifrei Emet, on the Five Megillot and on Chronicles, i.e. on all the books of Ketuvim besides Daniel and Ezra (which contain large portions in Aramaic anyway). There are several complementary targumim to Esther. There is, however, no "official" eastern (Babylonian) targum to Ketuvim, equivalent to Targum Onkelos on the Torah and Targum Jonathan on Nevi'im. In fact, the Babylonian Talmud explicitly notes the lack of a Targum to Ketuvim, explaining that Jonathan ben Uzziel was divinely prevented from completing his translation of the Bible. A more prosaic explanation may consist in the lack of regular formal readings of Ketuvim in the synagogue (except the five Megillot), making it unnecessary to have an official system for line-by-line translation. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/South_Caucasus] | [TOKENS: 2322] |
Contents South Caucasus The South Caucasus, also known as Transcaucasia, or the Transcaucasus, is a geographical region on the border of Eastern Europe and West Asia, straddling the southern Caucasus Mountains. The South Caucasus roughly corresponds to modern Armenia, Georgia, and Azerbaijan, which are sometimes collectively known as the Caucasian States. The total area of these countries measures about 186,100 square kilometres (71,850 square miles). The South Caucasus and the North Caucasus together comprise the larger Caucasus geographical region that divides Eurasia. Geography The South Caucasus spans the southern portion of the Caucasus Mountains and their lowlands, straddling the border between the continents of Europe and Asia, and extending southwards from the southern part of the Main Caucasian Range of southwestern Russia to the Turkish and Armenian borders, and from the Black Sea in the west to the Caspian Sea coast of Iran in the east. The area includes the southern part of the Greater Caucasus mountain range, the entire Lesser Caucasus mountain range, the Colchis Lowlands, the Kura-Aras Lowlands, Qaradagh, the Talysh Mountains, the Lankaran Lowland, Javakheti and the eastern portion of the Armenian Highlands. All of present-day Armenia is in the South Caucasus; the majority of present-day Georgia and Azerbaijan, including the exclave of Nakhchivan, also fall within the region.[citation needed] Parts of Iran and Turkey are also included within the region of the South Caucasus.[which?] Goods produced in the region include oil, manganese ore, tea, citrus fruits, and wine. It remains one of the most politically tense regions in the post-Soviet area, and contains two heavily disputed areas: Abkhazia and South Ossetia. Between 1878 and 1917, the Russian-controlled province of Kars Oblast and the county of Surmalu uezd (present-day Iğdır Province) were also incorporated into administrative regions of the South Caucasus.[citation needed] Etymology Nowadays, the region is referred to as the South Caucasus or Southern Caucasia (Armenian: Հարավային Կովկաս, romanized: Haravayin Kovkas; Azerbaijani: Cənubi Qafqaz; Abkhaz: Агырҭ Кавказ, romanized: Agyrt Kavkaz; Georgian: სამხრეთ კავკასია, romanized: samkhret k'avk'asia; Russian: Южный Кавказ, romanized: Yuzhnyy Kavkaz). The former name of the region, Transcaucasia, is a Latin rendering of the Russian-language word Zakavkazye (Закавказье), meaning "[the area] beyond the Caucasus". This implies a Russian vantage point, and is analogous to similar terms such as Transnistria and Transleithania. Other, rarer forms of this word include Trans-Caucasus and Transcaucasus (Russian: Транскавказ, romanized: Transkavkaz). History Herodotus, a Greek historian who is known as 'the Father of History' and Strabo, a Greek geographer, philosopher, and historian, spoke about autochthonous peoples of the Caucasus in their books. In the Middle Ages, various people, including Scythians, Alani, Huns, Khazars, Arabs, Seljuq Turks, and Mongols settled in Caucasia. These invasions influenced on the culture of the peoples of the South Caucasus. In parallel Middle Eastern influence disseminated the Iranian languages and Islamic religion in Caucasus. Located on the peripheries of Iran, Russia and Turkey, the region has been an arena for political, military, religious, and cultural rivalries and expansionism for centuries. Throughout its history, the region has come under control of various empires, including the Achaemenid, Neo-Assyrian Empire, Parthian, Roman, Sassanian, Byzantine, Umayyad, Abbassid, Mongol, Ottoman, successive Iranian (Safavid, Afsharid, Qajar), and Russian Empires, all of which introduced their faiths and cultures. Throughout history, most of the South Caucasus was usually under the direct rule of the various in-Iran based empires and part of the Iranian world. In the course of the 19th century, Qajar Iran had to irrevocably cede the region (alongside its territories in Dagestan, North Caucasus) as a result of the two Russo-Persian Wars of that century to Imperial Russia. Ancient kingdoms of the region included Colchis, Urartu, Iberia, Armenia and Albania, among others. These kingdoms were later incorporated into various Iranian empires, including the Achaemenid Empire, the Parthian Empire, and the Sassanid Empire, during which Zoroastrianism became the dominant religion in the region. However, after the rise of Christianity and conversion of Caucasian kingdoms to the new religion, Zoroastrianism lost its prevalence and only survived because of Persian power and influence still lingering in the region. Thus, the South Caucasus became the area of not only military, but also religious convergence, which often led to bitter conflicts with successive Persian empires (and later Muslim-ruled empires) on the one side and the Roman Empire (and later the Byzantine Empire and Russian Empire) on the other side. The Iranian Parthians established and installed several eponymous branches in the South Caucasus, namely the Arsacid dynasty of Armenia, the Arsacid dynasty of Iberia, and the Arsacid dynasty of Caucasian Albania. In the middle of the 8th century, with the capture of Derbend by the Umayyad armies during the Arab–Khazar wars, most of the South Caucasus became part of the Caliphate and Islam spread throughout[dubious – discuss] the region. Later, the Orthodox Christian Kingdom of Georgia dominated most of the South Caucasus. The region was then conquered by the Seljuk, Mongol, Turkic, Safavid, Ottoman, Afsharid and Qajar dynasties. After two wars in the first half of the 19th century, namely the Russo-Persian War (1804-1813) and the Russo-Persian War (1826-1828), the Russian Empire conquered most of the South Caucasus (and Dagestan in the North Caucasus) from the Iranian Qajar dynasty, severing historic regional ties with Iran. By the Treaty of Gulistan that followed after the 1804-1813 war, Iran was forced to cede modern-day Dagestan, Eastern Georgia, and most of the Azerbaijan Republic to Russia. By the Treaty of Turkmenchay that followed after the 1826-1828 war, Iran lost all of what is modern-day Armenia and the remainder of the contemporary Azerbaijani Republic that remained in Iranian hands. After the 1828-1829 war, the Ottomans ceded Western Georgia (except Adjaria, which was known as Sanjak of Batum), to the Russians, who populated this new southern boundary mostly with undesirable citizens and tolerated heretics (sektanty). In 1844, what comprises present-day Georgia, Armenia, and Azerbaijan were combined into a single czarist government-general, which was termed a vice-royalty in 1844-1881 and 1905–1917. Following the 1877-78 Russo-Turkish War, Russia annexed Kars, Ardahan, Agri and Batumi from the Ottomans, joined to this unit, and established the province of Kars Oblast as its most south-westerly territory in the South Caucasus. After the fall of the Russian Empire in 1918, the South Caucasus region was unified into a single political entity twice, as the Transcaucasian Democratic Federative Republic from 9 April 1918 to 26 May 1918, and as the Transcaucasian Socialist Federative Soviet Republic from 12 March 1922 to 5 December 1936. Both times these Transcaucasian entities dissolved, although the region would remain politically bound together in the Soviet Union in the form of the three separate Soviet Socialist Republics of Armenia, Azerbaijan and Georgia. When the Soviet Union dissolved in 1991, all three emerged as internationally recognized sovereign states. Transit through the South Caucasus has been hampered since 1989 due to the ongoing Turkish–Azeri blockade of Armenia. The Russo-Georgian War took place in 2008 across the South Caucasus, contributing to further instability in the region, which is as intricate as the Middle East, due to the complex mix of religions (mainly Muslim and Orthodox Christian) and ethno-linguistic groups. Since their independence, the three countries have had varying degrees of success in their relations with Russia and other countries. In Georgia, after the Rose Revolution in 2004, the country, like the Baltic states, began integrating into wider European society by opening up relations with NATO and the European Union. Armenia continues to foster relations with Russia, while also developing ties with the EU. Azerbaijan relies less on Russia, strategically partnering with Turkey. All three South Caucasus countries are members of the Council of Europe, the Organization for Security and Co-operation in Europe, the European Political Community, and participate in the EU's Eastern Partnership and Euronest Parliamentary Assembly. All three South Caucasus countries are also members of NATO's Euro-Atlantic Partnership Council and Partnership for Peace. On 8 November 2023, the European Commission issued an official recommendation to grant EU candidate status to Georgia, which was confirmed on 14 December 2023. Georgia, thus becoming, the first country in the South Caucasus to receive EU candidate status. On 12 March 2024, the European Parliament passed a resolution confirming Armenia meets Maastricht Treaty Article 49 requirements and that the country may apply for EU membership. On 12 February 2025, Armenia's parliament approved a bill officially endorsing Armenia's EU accession. Demographics Wine The South Caucasus, in particular where modern-day Turkey, Georgia, Armenia and Iran are located, is one of the native areas of the wine-producing vine Vitis vinifera. Some experts speculate that the South Caucasus may be the birthplace of wine production. Archaeological excavations and carbon dating of grape seeds from the area have dated back to 8000–5000 BC. Wine found in Iran has been dated to c. 7400 BC and c. 5000 BC, while wine found in Georgia has been dated to c. 8000 BC. The earliest winery, dated to c. 4000 BC, was found in Armenia. See also References Further reading External links |
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[SOURCE: https://en.wikipedia.org/wiki/Southern_Environmental_Law_Center] | [TOKENS: 1312] |
Contents Southern Environmental Law Center The Southern Environmental Law Center (SELC) is the largest 501(c)(3) environmental nonprofit organization in the southeastern United States, with more than 100 attorneys and 200 staff members overall working at the local, state, and federal level. Headquartered in Charlottesville, Virginia, SELC has nine offices in six states: Alabama, Georgia, North Carolina, South Carolina, Tennessee and Virginia. The organization also has an office on Capitol Hill (Washington D.C.). The organization was founded in 1986 by Rick Middleton, later President Emeritus. For 30 years Jeff Gleason was executive director and President of the organization. As of October 3, 2022, SELC is currently under the leadership of Executive Director DJ Gerken. It is supported by charitable gifts from individuals, families, and foundations. The purpose of SELC is to protect the physical environment of the southeastern United States through environmental law. Areas such as the Appalachian Mountains, thousands of acres of National forest (United States) in southeast United States, and the Atlantic Coast are just some of the special places the non-profit organization is trying to protect. Energy Weekly News states, granted the publication is from 2011, "The South's energy choices aren't just affecting our own backyard. If our six states region were a country, it would be the seventh largest emitter of carbon dioxide." SELC has been a very effective defender for the region winning multiple court cases and protecting the region of its air, water, land, and people. Advocacy and litigation In a unanimous decision, in April 2007 the Supreme Court of the United States ruled power companies could no longer continue to extend the lives of old, coal-burning power plants without installing modern pollution controls in the Environmental Defense v. Duke Energy Corp. case. This ruling led to the largest power plant cleanup in U.S. history. SELC attorneys then blocked or deferred companies’ plans to construct seven new coal-burning units across six states, helping to retire one-third of the existing coal plant capacity in the region. SELC's years-long campaign to stop utilities from storing coal ash in unlined, leaking pits next to rivers has led to the largest ever cleanup of industrial pollution in the Southeast. The organization has reached agreements to store or recycle all coal ash in South Carolina. SELC's work has prompted Duke Energy to clean up 8 of its 14 sites in North Carolina, with active cases at the rest. Its suit challenging TVA's Gallatin plant resulted in the first time a federal court ordered a utility to excavate its coal ash. After a six-year campaign spearheaded by SELC, Dominion Energy and Duke Energy abandoned the Atlantic Coast Pipeline. SELC successfully challenged six key pipeline permits, halted construction, and secured a precedential ruling in favor of environmental justice in Virginia. The SELC is one of three environmental groups which filed suit against the United States Fish and Wildlife Service which "they say should have blocked the planned extension of the N.C. 540 highway across southern Wake County" because it would "threaten the existence of two endangered species of mussels that live in a creek the road would cross." The Law Center argued the case in the United States Court of Appeals for the Fourth Circuit where the court "vacated a key permit granted to the Atlantic Coast Pipeline," concluding "that the U.S. Fish and Wildlife Service provided no specific limits for the allowable impact on threatened and endangered species." An environmental justice lawsuit brought by SELC compelled a federal court to overturn a permit for a pipeline compressor station in Buckingham County, Virginia's, historic community of Union Hill. The organization's Protect Our Coast campaign helped persuade the Obama Administration to remove the South Atlantic from seismic exploration and the federal offshore leasing plan in 2016. SELC's Solar Power Initiative is boosting solar growth in the South by removing disincentives and regulatory roadblocks. As of 2022, rates of solar are up to 23,000 megawatts, and homes with solar are up to 100,000. The benefits of using solar energy is lower electricity bills, creating new local jobs, and providing advancements towards a cleaner energy economy. When the Trump administration announced its effort to gut clean water protections from wetlands and streams that feed drinking water sources for 200 million Americans (and 32 million people in the South), SELC responded with a federal lawsuit that more than a dozen other groups signed on to. SELC has prevented the construction of roadways and logging for 700,000 acres of land in the six-state region. For example, they prevented the doubling of Interstate 81 in Virginia, and continue to seek new sustainable land use strategies and funding public transit. Has been in partnership with multiple other non-profits supporting the United States Court of Appeals for the District of Columbia Circuit decision to shut down the Southeast Energy Exchange Market (SEEM) and overrule the Federal Energy Regulatory Commission(FERC) decision to unlawfully approve the market. SEEM was a proposal that was meant to facilitate bilateral trading allowing members to buy and sell energy close to the time most energy is consumed, which would utilize the unavailable unreserved transmissions. In reality, it was creating unequal terms between members and encouraged lucrative trading between utilities. Partners and Community SELC works alongside 300 local, state, national, and international partner organizations to help converse in ideas and knowledge of environmental activism. For example, they work with the Lumber River community in North Carolina to maintain clean and safe water, the Pine Grove community working to preserve their endangered historic black school in Cumberland County, Virginia, local rural and predominantly black communities to help fight against the building of the Atlantic Coast Pipeline, and so much more. The organization also has a podcast called Broken Ground telling the stories of environmentally active people in the southeastern region either dealing with or conquering environmental injustices. SELC also has a magazine that tells the stories and experiences of their communities playing their part. The first issue came out during the Summer of 2023. Charity rating SELC has a 100% score and the highest four-star rating from Charity Navigator, an independent charity assessment organization. In order to receive the score the organization was graded on four different categories: impacts and results, accountability and finance, culture and community, and leadership and adaptability. They also were awarded the Platinum level GuideStar Exchange that represents their commitment to transparency, meaning they are very open to their people and represent good leadership skills. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Minecraft#cite_ref-219] | [TOKENS: 12858] |
Contents Minecraft Minecraft is a sandbox game developed and published by Mojang Studios. Following its initial public alpha release in 2009, it was formally released in 2011 for personal computers. The game has since been ported to numerous platforms, including mobile devices and various video game consoles. In Minecraft, players explore a procedurally generated world with virtually infinite terrain made up of voxels (cubes). They can discover and extract raw materials, craft tools and items, build structures, fight hostile mobs, and cooperate with or compete against other players in multiplayer. The game's large community offers a wide variety of user-generated content, such as modifications, servers, player skins, texture packs, and custom maps, which add new game mechanics and possibilities. Originally created by Markus "Notch" Persson using the Java programming language, Jens "Jeb" Bergensten was handed control over the game's development following its full release. In 2014, Mojang and the Minecraft intellectual property were purchased by Microsoft for US$2.5 billion; Xbox Game Studios hold the publishing rights for the Bedrock Edition, the unified cross-platform version which evolved from the Pocket Edition codebase[i] and replaced the legacy console versions. Bedrock is updated concurrently with Mojang's original Java Edition, although with numerous, generally small, differences. Minecraft is the best-selling video game in history with over 350 million copies sold. It has received critical acclaim, winning several awards and being cited as one of the greatest video games of all time. Social media, parodies, adaptations, merchandise, and the annual Minecon conventions have played prominent roles in popularizing it. The wider Minecraft franchise includes several spin-off games, such as Minecraft: Story Mode, Minecraft Dungeons, and Minecraft Legends. A film adaptation, titled A Minecraft Movie, was released in 2025 and became the second highest-grossing video game film of all time. Gameplay Minecraft is a 3D sandbox video game that has no required goals to accomplish, giving players a large amount of freedom in choosing how to play the game. The game features an optional achievement system. Gameplay is in the first-person perspective by default, but players have the option of third-person perspectives. The game world is composed of rough 3D objects—mainly cubes, referred to as blocks—representing various materials, such as dirt, stone, ores, tree trunks, water, and lava. The core gameplay revolves around picking up and placing these objects. These blocks are arranged in a voxel grid, while players can move freely around the world. Players can break, or mine, blocks and then place them elsewhere, enabling them to build things. Very few blocks are affected by gravity, instead maintaining their voxel position in the air. Players can also craft a wide variety of items, such as armor, which mitigates damage from attacks; weapons (such as swords or bows and arrows), which allow monsters and animals to be killed more easily; and tools (such as pickaxes or shovels), which break certain types of blocks more quickly. Some items have multiple tiers depending on the material used to craft them, with higher-tier items being more effective and durable. They may also freely craft helpful blocks—such as furnaces which can cook food and smelt ores, and torches that produce light—or exchange items with villagers (NPC) through trading emeralds for different goods and vice versa. The game has an inventory system, allowing players to carry a limited number of items. The in-game time system follows a day and night cycle, with one full cycle lasting for 20 real-time minutes. The game also contains a material called redstone, which can be used to make primitive mechanical devices, electrical circuits, and logic gates, allowing for the construction of many complex systems. New players are given a randomly selected default character skin out of nine possibilities, including Steve or Alex, but are able to create and upload their own skins. Players encounter various mobs (short for mobile entities) including animals, villagers, and hostile creatures. Passive mobs, such as cows, pigs, and chickens, spawn during the daytime and can be hunted for food and crafting materials, while hostile mobs—including large spiders, witches, skeletons, and zombies—spawn during nighttime or in dark places such as caves. Some hostile mobs, such as zombies and skeletons, burn under the sun if they have no headgear and are not standing in water. Other creatures unique to Minecraft include the creeper (an exploding creature that sneaks up on the player) and the enderman (a creature with the ability to teleport as well as pick up and place blocks). There are also variants of mobs that spawn in different conditions; for example, zombies have husk and drowned variants that spawn in deserts and oceans, respectively. The Minecraft environment is procedurally generated as players explore it using a map seed that is randomly chosen at the time of world creation (or manually specified by the player). Divided into biomes representing different environments with unique resources and structures, worlds are designed to be effectively infinite in traditional gameplay, though technical limits on the player have existed throughout development, both intentionally and not. Implementation of horizontally infinite generation initially resulted in a glitch termed the "Far Lands" at over 12 million blocks away from the world center, where terrain generated as wall-like, fissured patterns. The Far Lands and associated glitches were considered the effective edge of the world until they were resolved, with the current horizontal limit instead being a special impassable barrier called the world border, located 30 million blocks away. Vertical space is comparatively limited, with an unbreakable bedrock layer at the bottom and a building limit several hundred blocks into the sky. Minecraft features three independent dimensions accessible through portals and providing alternate game environments. The Overworld is the starting dimension and represents the real world, with a terrestrial surface setting including plains, mountains, forests, oceans, caves, and small sources of lava. The Nether is a hell-like underworld dimension accessed via an obsidian portal and composed mainly of lava. Mobs that populate the Nether include shrieking, fireball-shooting ghasts, alongside anthropomorphic pigs called piglins and their zombified counterparts. Piglins in particular have a bartering system, where players can give them gold ingots and receive items in return. Structures known as Nether Fortresses generate in the Nether, containing mobs such as wither skeletons and blazes, which can drop blaze rods needed to access the End dimension. The player can also choose to build an optional boss mob known as the Wither, using skulls obtained from wither skeletons and soul sand. The End can be reached through an end portal, consisting of twelve end portal frames. End portals are found in underground structures in the Overworld known as strongholds. To find strongholds, players must craft eyes of ender using an ender pearl and blaze powder. Eyes of ender can then be thrown, traveling in the direction of the stronghold. Once the player reaches the stronghold, they can place eyes of ender into each portal frame to activate the end portal. The dimension consists of islands floating in a dark, bottomless void. A boss enemy called the Ender Dragon guards the largest, central island. Killing the dragon opens access to an exit portal, which, when entered, cues the game's ending credits and the End Poem, a roughly 1,500-word work written by Irish novelist Julian Gough, which takes about nine minutes to scroll past, is the game's only narrative text, and the only text of significant length directed at the player.: 10–12 At the conclusion of the credits, the player is teleported back to their respawn point and may continue the game indefinitely. In Survival mode, players have to gather natural resources such as wood and stone found in the environment in order to craft certain blocks and items. Depending on the difficulty, monsters spawn in darker areas outside a certain radius of the character, requiring players to build a shelter in order to survive at night. The mode also has a health bar which is depleted by attacks from mobs, falls, drowning, falling into lava, suffocation, starvation, and other events. Players also have a hunger bar, which must be periodically refilled by eating food in-game unless the player is playing on peaceful difficulty. If the hunger bar is empty, the player starves. Health replenishes when players have a full hunger bar or continuously on peaceful. Upon losing all health, players die. The items in the players' inventories are dropped unless the game is reconfigured not to do so. Players then re-spawn at their spawn point, which by default is where players first spawn in the game and can be changed by sleeping in a bed or using a respawn anchor. Dropped items can be recovered if players can reach them before they despawn after 5 minutes. Players may acquire experience points (commonly referred to as "xp" or "exp") by killing mobs and other players, mining, smelting ores, animal breeding, and cooking food. Experience can then be spent on enchanting tools, armor and weapons. Enchanted items are generally more powerful, last longer, or have other special effects. The game features two more game modes based on Survival, known as Hardcore mode and Adventure mode. Hardcore mode plays identically to Survival mode, but with the game's difficulty setting locked to "Hard" and with permadeath, forcing them to delete the world or explore it as a spectator after dying. Adventure mode was added to the game in a post-launch update, and prevents the player from directly modifying the game's world. It was designed primarily for use in custom maps, allowing map designers to let players experience it as intended. In Creative mode, players have access to an infinite number of all resources and items in the game through the inventory menu and can place or mine them instantly. Players can toggle the ability to fly freely around the game world at will, and their characters usually do not take any damage nor are affected by hunger. The game mode helps players focus on building and creating projects of any size without disturbance. Multiplayer in Minecraft enables multiple players to interact and communicate with each other on a single world. It is available through direct game-to-game multiplayer, local area network (LAN) play, local split screen (console-only), and servers (player-hosted and business-hosted). Players can run their own server by making a realm, using a host provider, hosting one themselves or connect directly to another player's game via Xbox Live, PlayStation Network or Nintendo Switch Online. Single-player worlds have LAN support, allowing players to join a world on locally interconnected computers without a server setup. Minecraft multiplayer servers are guided by server operators, who have access to server commands such as setting the time of day and teleporting players. Operators can also set up restrictions concerning which usernames or IP addresses are allowed or disallowed to enter the server. Multiplayer servers have a wide range of activities, with some servers having their own unique rules and customs. The largest and most popular server is Hypixel, which has been visited by over 14 million unique players. Player versus player combat (PvP) can be enabled to allow fighting between players. In 2013, Mojang announced Minecraft Realms, a server hosting service intended to enable players to run server multiplayer games easily and safely without having to set up their own. Unlike a standard server, only invited players can join Realms servers, and these servers do not use server addresses. Minecraft: Java Edition Realms server owners can invite up to twenty people to play on their server, with up to ten players online at a time. Minecraft Realms server owners can invite up to 3,000 people to play on their server, with up to ten players online at one time. The Minecraft: Java Edition Realms servers do not support user-made plugins, but players can play custom Minecraft maps. Minecraft Bedrock Realms servers support user-made add-ons, resource packs, behavior packs, and custom Minecraft maps. At Electronic Entertainment Expo 2016, support for cross-platform play between Windows 10, iOS, and Android platforms was added through Realms starting in June 2016, with Xbox One and Nintendo Switch support to come later in 2017, and support for virtual reality devices. On 31 July 2017, Mojang released the beta version of the update allowing cross-platform play. Nintendo Switch support for Realms was released in July 2018. The modding community consists of fans, users and third-party programmers. Using a variety of application program interfaces that have arisen over time, they have produced a wide variety of downloadable content for Minecraft, such as modifications, texture packs and custom maps. Modifications of the Minecraft code, called mods, add a variety of gameplay changes, ranging from new blocks, items, and mobs to entire arrays of mechanisms. The modding community is responsible for a substantial supply of mods from ones that enhance gameplay, such as mini-maps, waypoints, and durability counters, to ones that add to the game elements from other video games and media. While a variety of mod frameworks were independently developed by reverse engineering the code, Mojang has also enhanced vanilla Minecraft with official frameworks for modification, allowing the production of community-created resource packs, which alter certain game elements including textures and sounds. Players can also create their own "maps" (custom world save files) that often contain specific rules, challenges, puzzles and quests, and share them for others to play. Mojang added an adventure mode in August 2012 and "command blocks" in October 2012, which were created specially for custom maps in Java Edition. Data packs, introduced in version 1.13 of the Java Edition, allow further customization, including the ability to add new achievements, dimensions, functions, loot tables, predicates, recipes, structures, tags, and world generation. The Xbox 360 Edition supported downloadable content, which was available to purchase via the Xbox Games Store; these content packs usually contained additional character skins. It later received support for texture packs in its twelfth title update while introducing "mash-up packs", which combined texture packs with skin packs and changes to the game's sounds, music and user interface. The first mash-up pack (and by extension, the first texture pack) for the Xbox 360 Edition was released on 4 September 2013, and was themed after the Mass Effect franchise. Unlike Java Edition, however, the Xbox 360 Edition did not support player-made mods or custom maps. A cross-promotional resource pack based on the Super Mario franchise by Nintendo was released exclusively for the Wii U Edition worldwide on 17 May 2016, and later bundled free with the Nintendo Switch Edition at launch. Another based on Fallout was released on consoles that December, and for Windows and Mobile in April 2017. In April 2018, malware was discovered in several downloadable user-made Minecraft skins for use with the Java Edition of the game. Avast stated that nearly 50,000 accounts were infected, and when activated, the malware would attempt to reformat the user's hard drive. Mojang promptly patched the issue, and released a statement stating that "the code would not be run or read by the game itself", and would run only when the image containing the skin itself was opened. In June 2017, Mojang released the "1.1 Discovery Update" to the Pocket Edition of the game, which later became the Bedrock Edition. The update introduced the "Marketplace", a catalogue of purchasable user-generated content intended to give Minecraft creators "another way to make a living from the game". Various skins, maps, texture packs and add-ons from different creators can be bought with "Minecoins", a digital currency that is purchased with real money. Additionally, users can access specific content with a subscription service titled "Marketplace Pass". Alongside content from independent creators, the Marketplace also houses items published by Mojang and Microsoft themselves, as well as official collaborations between Minecraft and other intellectual properties. By 2022, the Marketplace had over 1.7 billion content downloads, generating over $500 million in revenue. Development Before creating Minecraft, Markus "Notch" Persson was a game developer at King, where he worked until March 2009. At King, he primarily developed browser games and learned several programming languages. During his free time, he prototyped his own games, often drawing inspiration from other titles, and was an active participant on the TIGSource forums for independent developers. One such project was "RubyDung", a base-building game inspired by Dwarf Fortress, but with an isometric, three-dimensional perspective similar to RollerCoaster Tycoon. Among the features in RubyDung that he explored was a first-person view similar to Dungeon Keeper, though he ultimately discarded this idea, feeling the graphics were too pixelated at the time. Around March 2009, Persson left King and joined jAlbum, while continuing to work on his prototypes. Infiniminer, a block-based open-ended mining game first released in April 2009, inspired Persson's vision for RubyDung's future direction. Infiniminer heavily influenced the visual style of gameplay, including bringing back the first-person mode, the "blocky" visual style and the block-building fundamentals. However, unlike Infiniminer, Persson wanted Minecraft to have RPG elements. The first public alpha build of Minecraft was released on 17 May 2009 on TIGSource. Over the years, Persson regularly released test builds that added new features, including tools, mobs, and entire new dimensions. In 2011, partly due to the game's rising popularity, Persson decided to release a full 1.0 version—a second part of the "Adventure Update"—on 18 November 2011. Shortly after, Persson stepped down from development, handing the project's lead to Jens "Jeb" Bergensten. On 15 September 2014, Microsoft, the developer behind the Microsoft Windows operating system and Xbox video game console, announced a $2.5 billion acquisition of Mojang, which included the Minecraft intellectual property. Persson had suggested the deal on Twitter, asking a corporation to buy his stake in the game after receiving criticism for enforcing terms in the game's end-user license agreement (EULA), which had been in place for the past three years. According to Persson, Mojang CEO Carl Manneh received a call from a Microsoft executive shortly after the tweet, asking if Persson was serious about a deal. Mojang was also approached by other companies including Activision Blizzard and Electronic Arts. The deal with Microsoft was arbitrated on 6 November 2014 and led to Persson becoming one of Forbes' "World's Billionaires". After 2014, Minecraft's primary versions received usually annual major updates—free to players who have purchased the game— each primarily centered around a specific theme. For instance, version 1.13, the Update Aquatic, focused on ocean-related features, while version 1.16, the Nether Update, introduced significant changes to the Nether dimension. However, in late 2024, Mojang announced a shift in their update strategy; rather than releasing large updates annually, they opted for a more frequent release schedule with smaller, incremental updates, stating, "We know that you want new Minecraft content more often." The Bedrock Edition has also received regular updates, now matching the themes of the Java Edition updates. Other versions of the game, such as various console editions and the Pocket Edition, were either merged into Bedrock or discontinued and have not received further updates. On 7 May 2019, coinciding with Minecraft's 10th anniversary, a JavaScript recreation of an old 2009 Java Edition build named Minecraft Classic was made available to play online for free. On 16 April 2020, a Bedrock Edition-exclusive beta version of Minecraft, called Minecraft RTX, was released by Nvidia. It introduced physically-based rendering, real-time path tracing, and DLSS for RTX-enabled GPUs. The public release was made available on 8 December 2020. Path tracing can only be enabled in supported worlds, which can be downloaded for free via the in-game Minecraft Marketplace, with a texture pack from Nvidia's website, or with compatible third-party texture packs. It cannot be enabled by default with any texture pack on any world. Initially, Minecraft RTX was affected by many bugs, display errors, and instability issues. On 22 March 2025, a new visual mode called Vibrant Visuals, an optional graphical overhaul similar to Minecraft RTX, was announced. It promises modern rendering features—such as dynamic shadows, screen space reflections, volumetric fog, and bloom—without the need of RTX-capable hardware. Vibrant Visuals was released as a part of the Chase the Skies update on 17 June 2025 for Bedrock Edition and is planned to release on Java Edition at a later date. Development began for the original edition of Minecraft—then known as Cave Game, and now known as the Java Edition—in May 2009,[k] and ended on 13 May, when Persson released a test video on YouTube of an early version of the game, dubbed the "Cave game tech test" or the "Cave game tech demo". The game was named Minecraft: Order of the Stone the next day, after a suggestion made by a player. "Order of the Stone" came from the webcomic The Order of the Stick, and "Minecraft" was chosen "because it's a good name". The title was later shortened to just Minecraft, omitting the subtitle. Persson completed the game's base programming over a weekend in May 2009, and private testing began on TigIRC on 16 May. The first public release followed on 17 May 2009 as a developmental version shared on the TIGSource forums. Based on feedback from forum users, Persson continued updating the game. This initial public build later became known as Classic. Further developmental phases—dubbed Survival Test, Indev, and Infdev—were released throughout 2009 and 2010. The first major update, known as Alpha, was released on 30 June 2010. At the time, Persson was still working a day job at jAlbum but later resigned to focus on Minecraft full-time as sales of the alpha version surged. Updates were distributed automatically, introducing new blocks, items, mobs, and changes to game mechanics such as water flow. With revenue generated from the game, Persson founded Mojang, a video game studio, alongside former colleagues Jakob Porser and Carl Manneh. On 11 December 2010, Persson announced that Minecraft would enter its beta phase on 20 December. He assured players that bug fixes and all pre-release updates would remain free. As development progressed, Mojang expanded, hiring additional employees to work on the project. The game officially exited beta and launched in full on 18 November 2011. On 1 December 2011, Jens "Jeb" Bergensten took full creative control over Minecraft, replacing Persson as lead designer. On 28 February 2012, Mojang announced the hiring of the developers behind Bukkit, a popular developer API for Minecraft servers, to improve Minecraft's support of server modifications. This move included Mojang taking apparent ownership of the CraftBukkit server mod, though this apparent acquisition later became controversial, and its legitimacy was questioned due to CraftBukkit's open-source nature and licensing under the GNU General Public License and Lesser General Public License. In August 2011, Minecraft: Pocket Edition was released as an early alpha for the Xperia Play via the Android Market, later expanding to other Android devices on 8 October 2011. The iOS version followed on 17 November 2011. A port was made available for Windows Phones shortly after Microsoft acquired Mojang. Unlike Java Edition, Pocket Edition initially focused on Minecraft's creative building and basic survival elements but lacked many features of the PC version. Bergensten confirmed on Twitter that the Pocket Edition was written in C++ rather than Java, as iOS does not support Java. On 10 December 2014, a port of Pocket Edition was released for Windows Phone 8.1. In July 2015, a port of the Pocket Edition to Windows 10 was released as the Windows 10 Edition, with full crossplay to other Pocket versions. In January 2017, Microsoft announced that it would no longer maintain the Windows Phone versions of Pocket Edition. On 20 September 2017, with the "Better Together Update", the Pocket Edition was ported to the Xbox One, and was renamed to the Bedrock Edition. The console versions of Minecraft debuted with the Xbox 360 edition, developed by 4J Studios and released on 9 May 2012. Announced as part of the Xbox Live Arcade NEXT promotion, this version introduced a redesigned crafting system, a new control interface, in-game tutorials, split-screen multiplayer, and online play via Xbox Live. Unlike the PC version, its worlds were finite, bordered by invisible walls. Initially, the Xbox 360 version resembled outdated PC versions but received updates to bring it closer to Java Edition before eventually being discontinued. The Xbox One version launched on 5 September 2014, featuring larger worlds and support for more players. Minecraft expanded to PlayStation platforms with PlayStation 3 and PlayStation 4 editions released on 17 December 2013 and 4 September 2014, respectively. Originally planned as a PS4 launch title, it was delayed before its eventual release. A PlayStation Vita version followed in October 2014. Like the Xbox versions, the PlayStation editions were developed by 4J Studios. Nintendo platforms received Minecraft: Wii U Edition on 17 December 2015, with a physical release in North America on 17 June 2016 and in Europe on 30 June. The Nintendo Switch version launched via the eShop on 11 May 2017. During a Nintendo Direct presentation on 13 September 2017, Nintendo announced that Minecraft: New Nintendo 3DS Edition, based on the Pocket Edition, would be available for download immediately after the livestream, and a physical copy available on a later date. The game is compatible only with the New Nintendo 3DS or New Nintendo 2DS XL systems and does not work with the original 3DS or 2DS systems. On 20 September 2017, the Better Together Update introduced Bedrock Edition across Xbox One, Windows 10, VR, and mobile platforms, enabling cross-play between these versions. Bedrock Edition later expanded to Nintendo Switch and PlayStation 4, with the latter receiving the update in December 2019, allowing cross-platform play for users with a free Xbox Live account. The Bedrock Edition released a native version for PlayStation 5 on 22 October 2024, while the Xbox Series X/S version launched on 17 June 2025. On 18 December 2018, the PlayStation 3, PlayStation Vita, Xbox 360, and Wii U versions of Minecraft received their final update and would later become known as "Legacy Console Editions". On 15 January 2019, the New Nintendo 3DS version of Minecraft received its final update, effectively becoming discontinued as well. An educational version of Minecraft, designed for use in schools, launched on 1 November 2016. It is available on Android, ChromeOS, iPadOS, iOS, MacOS, and Windows. On 20 August 2018, Mojang announced that it would bring Education Edition to iPadOS in Autumn 2018. It was released to the App Store on 6 September 2018. On 27 March 2019, it was announced that it would be operated by JD.com in China. On 26 June 2020, a public beta for the Education Edition was made available to Google Play Store compatible Chromebooks. The full game was released to the Google Play Store for Chromebooks on 7 August 2020. On 20 May 2016, China Edition (also known as My World) was announced as a localized edition for China, where it was released under a licensing agreement between NetEase and Mojang. The PC edition was released for public testing on 8 August 2017. The iOS version was released on 15 September 2017, and the Android version was released on 12 October 2017. The PC edition is based on the original Java Edition, while the iOS and Android mobile versions are based on the Bedrock Edition. The edition is free-to-play and had over 700 million registered accounts by September 2023. This version of Bedrock Edition is exclusive to Microsoft's Windows 10 and Windows 11 operating systems. The beta release for Windows 10 launched on the Windows Store on 29 July 2015. After nearly a year and a half in beta, Microsoft fully released the version on 19 December 2016. Called the "Ender Update", this release implemented new features to this version of Minecraft like world templates and add-on packs. On 7 June 2022, the Java and Bedrock Editions of Minecraft were merged into a single bundle for purchase on Windows; those who owned one version would automatically gain access to the other version. Both game versions would otherwise remain separate. Around 2011, prior to Minecraft's full release, Mojang collaborated with The Lego Group to create a Lego brick-based Minecraft game called Brickcraft. This would have modified the base Minecraft game to use Lego bricks, which meant adapting the basic 1×1 block to account for larger pieces typically used in Lego sets. Persson worked on an early version called "Project Rex Kwon Do", named after the character of the same name from the film Napoleon Dynamite. Although Lego approved the project and Mojang assigned two developers for six months, it was canceled due to the Lego Group's demands, according to Mojang's Daniel Kaplan. Lego considered buying Mojang to complete the game, but when Microsoft offered over $2 billion for the company, Lego stepped back, unsure of Minecraft's potential. On 26 June 2025, a build of Brickcraft dated 28 June 2012 was published on a community archive website Omniarchive. Initially, Markus Persson planned to support the Oculus Rift with a Minecraft port. However, after Facebook acquired Oculus in 2013, he abruptly canceled the plans, stating, "Facebook creeps me out." In 2016, a community-made mod, Minecraft VR, added VR support for Java Edition, followed by Vivecraft for HTC Vive. Later that year, Microsoft introduced official Oculus Rift support for Windows 10 Edition, leading to the discontinuation of the Minecraft VR mod due to trademark complaints. Vivecraft was endorsed by Minecraft VR contributors for its Rift support. Also available is a Gear VR version, titled Minecraft: Gear VR Edition. Windows Mixed Reality support was added in 2017. On 7 September 2020, Mojang Studios announced that the PlayStation 4 Bedrock version would receive PlayStation VR support later that month. In September 2024, the Minecraft team announced they would no longer support PlayStation VR, which received its final update in March 2025. Music and sound design Minecraft's music and sound effects were produced by German musician Daniel Rosenfeld, better known as C418. To create the sound effects for the game, Rosenfeld made extensive use of Foley techniques. On learning the processes for the game, he remarked, "Foley's an interesting thing, and I had to learn its subtleties. Early on, I wasn't that knowledgeable about it. It's a whole trial-and-error process. You just make a sound and eventually you go, 'Oh my God, that's it! Get the microphone!' There's no set way of doing anything at all." He reminisced on creating the in-game sound for grass blocks, stating "It turns out that to make grass sounds you don't actually walk on grass and record it, because grass sounds like nothing. What you want to do is get a VHS, break it apart, and just lightly touch the tape." According to Rosenfeld, his favorite sound to design for the game was the hisses of spiders. He elaborates, "I like the spiders. Recording that was a whole day of me researching what a spider sounds like. Turns out, there are spiders that make little screeching sounds, so I think I got this recording of a fire hose, put it in a sampler, and just pitched it around until it sounded like a weird spider was talking to you." Many of the sound design decisions by Rosenfeld were done accidentally or spontaneously. The creeper notably lacks any specific noises apart from a loud fuse-like sound when about to explode; Rosenfeld later recalled "That was just a complete accident by Markus and me [sic]. We just put in a placeholder sound of burning a matchstick. It seemed to work hilariously well, so we kept it." On other sounds, such as those of the zombie, Rosenfeld remarked, "I actually never wanted the zombies so scary. I intentionally made them sound comical. It's nice to hear that they work so well [...]." Rosenfeld remarked that the sound engine was "terrible" to work with, remembering "If you had two song files at once, it [the game engine] would actually crash. There were so many more weird glitches like that the guys never really fixed because they were too busy with the actual game and not the sound engine." The background music in Minecraft consists of instrumental ambient music. To compose the music of Minecraft, Rosenfeld used the package from Ableton Live, along with several additional plug-ins. Speaking on them, Rosenfeld said "They can be pretty much everything from an effect to an entire orchestra. Additionally, I've got some synthesizers that are attached to the computer. Like a Moog Voyager, Dave Smith Prophet 08 and a Virus TI." On 4 March 2011, Rosenfeld released a soundtrack titled Minecraft – Volume Alpha; it includes most of the tracks featured in Minecraft, as well as other music not featured in the game. Kirk Hamilton of Kotaku chose the music in Minecraft as one of the best video game soundtracks of 2011. On 9 November 2013, Rosenfeld released the second official soundtrack, titled Minecraft – Volume Beta, which included the music that was added in a 2013 "Music Update" for the game. A physical release of Volume Alpha, consisting of CDs, black vinyl, and limited-edition transparent green vinyl LPs, was issued by indie electronic label Ghostly International on 21 August 2015. On 14 August 2020, Ghostly released Volume Beta on CD and vinyl, with alternate color LPs and lenticular cover pressings released in limited quantities. The final update Rosenfeld worked on was 2018's 1.13 Update Aquatic. His music remained the only music in the game until 2020's "Nether Update", introducing pieces from Lena Raine. Since then, other composers have made contributions, including Kumi Tanioka, Samuel Åberg, Aaron Cherof, and Amos Roddy, with Raine remaining as the new primary composer. Ownership of all music besides Rosenfeld's independently released albums has been retained by Microsoft, with their label publishing all of the other artists' releases. Gareth Coker also composed some of the music for the game's mini games from the Legacy Console editions. Rosenfeld had stated his intent to create a third album of music for the game in a 2015 interview with Fact, and confirmed its existence in a 2017 tweet, stating that his work on the record as of then had tallied up to be longer than the previous two albums combined, which in total clocks in at over 3 hours and 18 minutes. However, due to licensing issues with Microsoft, the third volume has since not seen release. On 8 January 2021, Rosenfeld was asked in an interview with Anthony Fantano whether or not there was still a third volume of his music intended for release. Rosenfeld responded, saying, "I have something—I consider it finished—but things have become complicated, especially as Minecraft is now a big property, so I don't know." Reception Minecraft has received critical acclaim, with praise for the creative freedom it grants players in-game, as well as the ease of enabling emergent gameplay. Critics have expressed enjoyment in Minecraft's complex crafting system, commenting that it is an important aspect of the game's open-ended gameplay. Most publications were impressed by the game's "blocky" graphics, with IGN describing them as "instantly memorable". Reviewers also liked the game's adventure elements, noting that the game creates a good balance between exploring and building. The game's multiplayer feature has been generally received favorably, with IGN commenting that "adventuring is always better with friends". Jaz McDougall of PC Gamer said Minecraft is "intuitively interesting and contagiously fun, with an unparalleled scope for creativity and memorable experiences". It has been regarded as having introduced millions of children to the digital world, insofar as its basic game mechanics are logically analogous to computer commands. IGN was disappointed about the troublesome steps needed to set up multiplayer servers, calling it a "hassle". Critics also said that visual glitches occur periodically. Despite its release out of beta in 2011, GameSpot said the game had an "unfinished feel", adding that some game elements seem "incomplete or thrown together in haste". A review of the alpha version, by Scott Munro of the Daily Record, called it "already something special" and urged readers to buy it. Jim Rossignol of Rock Paper Shotgun also recommended the alpha of the game, calling it "a kind of generative 8-bit Lego Stalker". On 17 September 2010, gaming webcomic Penny Arcade began a series of comics and news posts about the addictiveness of the game. The Xbox 360 version was generally received positively by critics, but did not receive as much praise as the PC version. Although reviewers were disappointed by the lack of features such as mod support and content from the PC version, they acclaimed the port's addition of a tutorial and in-game tips and crafting recipes, saying that they make the game more user-friendly. The Xbox One Edition was one of the best received ports, being praised for its relatively large worlds. The PlayStation 3 Edition also received generally favorable reviews, being compared to the Xbox 360 Edition and praised for its well-adapted controls. The PlayStation 4 edition was the best received port to date, being praised for having 36 times larger worlds than the PlayStation 3 edition and described as nearly identical to the Xbox One edition. The PlayStation Vita Edition received generally positive reviews from critics but was noted for its technical limitations. The Wii U version received generally positive reviews from critics but was noted for a lack of GamePad integration. The 3DS version received mixed reviews, being criticized for its high price, technical issues, and lack of cross-platform play. The Nintendo Switch Edition received fairly positive reviews from critics, being praised, like other modern ports, for its relatively larger worlds. Minecraft: Pocket Edition initially received mixed reviews from critics. Although reviewers appreciated the game's intuitive controls, they were disappointed by the lack of content. The inability to collect resources and craft items, as well as the limited types of blocks and lack of hostile mobs, were especially criticized. After updates added more content, Pocket Edition started receiving more positive reviews. Reviewers complimented the controls and the graphics, but still noted a lack of content. Minecraft surpassed over a million purchases less than a month after entering its beta phase in early 2011. At the same time, the game had no publisher backing and has never been commercially advertised except through word of mouth, and various unpaid references in popular media such as the Penny Arcade webcomic. By April 2011, Persson estimated that Minecraft had made €23 million (US$33 million) in revenue, with 800,000 sales of the alpha version of the game, and over 1 million sales of the beta version. In November 2011, prior to the game's full release, Minecraft beta surpassed 16 million registered users and 4 million purchases. By March 2012, Minecraft had become the 6th best-selling PC game of all time. As of 10 October 2014[update], the game had sold 17 million copies on PC, becoming the best-selling PC game of all time. On 25 February 2014, the game reached 100 million registered users. By May 2019, 180 million copies had been sold across all platforms, making it the single best-selling video game of all time. The free-to-play Minecraft China version had over 700 million registered accounts by September 2023. By 2023, the game had sold over 300 million copies. As of April 2025, Minecraft has sold over 350 million copies. The Xbox 360 version of Minecraft became profitable within the first day of the game's release in 2012, when the game broke the Xbox Live sales records with 400,000 players online. Within a week of being on the Xbox Live Marketplace, Minecraft sold a million copies. GameSpot announced in December 2012 that Minecraft sold over 4.48 million copies since the game debuted on Xbox Live Arcade in May 2012. In 2012, Minecraft was the most purchased title on Xbox Live Arcade; it was also the fourth most played title on Xbox Live based on average unique users per day. As of 4 April 2014[update], the Xbox 360 version has sold 12 million copies. In addition, Minecraft: Pocket Edition has reached a figure of 21 million in sales. The PlayStation 3 Edition sold one million copies in five weeks. The release of the game's PlayStation Vita version boosted Minecraft sales by 79%, outselling both PS3 and PS4 debut releases and becoming the largest Minecraft launch on a PlayStation console. The PS Vita version sold 100,000 digital copies in Japan within the first two months of release, according to an announcement by SCE Japan Asia. By January 2015, 500,000 digital copies of Minecraft were sold in Japan across all PlayStation platforms, with a surge in primary school children purchasing the PS Vita version. As of 2022, the Vita version has sold over 1.65 million physical copies in Japan, making it the best-selling Vita game in the country. Minecraft helped improve Microsoft's total first-party revenue by $63 million for the 2015 second quarter. The game, including all of its versions, had over 112 million monthly active players by September 2019. On its 11th anniversary in May 2020, the company announced that Minecraft had reached over 200 million copies sold across platforms with over 126 million monthly active players. By April 2021, the number of active monthly users had climbed to 140 million. In July 2010, PC Gamer listed Minecraft as the fourth-best game to play at work. In December of that year, Good Game selected Minecraft as their choice for Best Downloadable Game of 2010, Gamasutra named it the eighth best game of the year as well as the eighth best indie game of the year, and Rock, Paper, Shotgun named it the "game of the year". Indie DB awarded the game the 2010 Indie of the Year award as chosen by voters, in addition to two out of five Editor's Choice awards for Most Innovative and Best Singleplayer Indie. It was also awarded Game of the Year by PC Gamer UK. The game was nominated for the Seumas McNally Grand Prize, Technical Excellence, and Excellence in Design awards at the March 2011 Independent Games Festival and won the Grand Prize and the community-voted Audience Award. At Game Developers Choice Awards 2011, Minecraft won awards in the categories for Best Debut Game, Best Downloadable Game and Innovation Award, winning every award for which it was nominated. It also won GameCity's video game arts award. On 5 May 2011, Minecraft was selected as one of the 80 games that would be displayed at the Smithsonian American Art Museum as part of The Art of Video Games exhibit that opened on 16 March 2012. At the 2011 Spike Video Game Awards, Minecraft won the award for Best Independent Game and was nominated in the Best PC Game category. In 2012, at the British Academy Video Games Awards, Minecraft was nominated in the GAME Award of 2011 category and Persson received The Special Award. In 2012, Minecraft XBLA was awarded a Golden Joystick Award in the Best Downloadable Game category, and a TIGA Games Industry Award in the Best Arcade Game category. In 2013, it was nominated as the family game of the year at the British Academy Video Games Awards. During the 16th Annual D.I.C.E. Awards, the Academy of Interactive Arts & Sciences nominated the Xbox 360 version of Minecraft for "Strategy/Simulation Game of the Year". Minecraft Console Edition won the award for TIGA Game Of The Year in 2014. In 2015, the game placed 6th on USgamer's The 15 Best Games Since 2000 list. In 2016, Minecraft placed 6th on Time's The 50 Best Video Games of All Time list. Minecraft was nominated for the 2013 Kids' Choice Awards for Favorite App, but lost to Temple Run. It was nominated for the 2014 Kids' Choice Awards for Favorite Video Game, but lost to Just Dance 2014. The game later won the award for the Most Addicting Game at the 2015 Kids' Choice Awards. In addition, the Java Edition was nominated for "Favorite Video Game" at the 2018 Kids' Choice Awards, while the game itself won the "Still Playing" award at the 2019 Golden Joystick Awards, as well as the "Favorite Video Game" award at the 2020 Kids' Choice Awards. Minecraft also won "Stream Game of the Year" at inaugural Streamer Awards in 2021. The game later garnered a Nickelodeon Kids' Choice Award nomination for Favorite Video Game in 2021, and won the same category in 2022 and 2023. At the Golden Joystick Awards 2025, it won the Still Playing Award - PC and Console. Minecraft has been subject to several notable controversies. In June 2014, Mojang announced that it would begin enforcing the portion of Minecraft's end-user license agreement (EULA) which prohibits servers from giving in-game advantages to players in exchange for donations or payments. Spokesperson Owen Hill stated that servers could still require players to pay a fee to access the server and could sell in-game cosmetic items. The change was supported by Persson, citing emails he received from parents of children who had spent hundreds of dollars on servers. The Minecraft community and server owners protested, arguing that the EULA's terms were more broad than Mojang was claiming, that the crackdown would force smaller servers to shut down for financial reasons, and that Mojang was suppressing competition for its own Minecraft Realms subscription service. The controversy contributed to Notch's decision to sell Mojang. In 2020, Mojang announced an eventual change to the Java Edition to require a login from a Microsoft account rather than a Mojang account, the latter of which would be sunsetted. This also required Java Edition players to create Xbox network Gamertags. Mojang defended the move to Microsoft accounts by saying that improved security could be offered, including two-factor authentication, blocking cyberbullies in chat, and improved parental controls. The community responded with intense backlash, citing various technical difficulties encountered in the process and how account migration would be mandatory, even for those who do not play on servers. As of 10 March 2022, Microsoft required that all players migrate in order to maintain access the Java Edition of Minecraft. Mojang announced a deadline of 19 September 2023 for account migration, after which all legacy Mojang accounts became inaccessible and unable to be migrated. In June 2022, Mojang added a player-reporting feature in Java Edition. Players could report other players on multiplayer servers for sending messages prohibited by the Xbox Live Code of Conduct; report categories included profane language,[l] substance abuse, hate speech, threats of violence, and nudity. If a player was found to be in violation of Xbox Community Standards, they would be banned from all servers for a specific period of time or permanently. The update containing the report feature (1.19.1) was released on 27 July 2022. Mojang received substantial backlash and protest from community members, one of the most common complaints being that banned players would be forbidden from joining any server, even private ones. Others took issue to what they saw as Microsoft increasing control over its player base and exercising censorship, leading some to start a hashtag #saveminecraft and dub the version "1.19.84", a reference to the dystopian novel Nineteen Eighty-Four. The "Mob Vote" was an online event organized by Mojang in which the Minecraft community voted between three original mob concepts; initially, the winning mob was to be implemented in a future update, while the losing mobs were scrapped, though after the first mob vote this was changed, and losing mobs would now have a chance to come to the game in the future. The first Mob Vote was held during Minecon Earth 2017 and became an annual event starting with Minecraft Live 2020. The Mob Vote was often criticized for forcing players to choose one mob instead of implementing all three, causing divisions and flaming within the community, and potentially allowing internet bots and Minecraft content creators with large fanbases to conduct vote brigading. The Mob Vote was also blamed for a perceived lack of new content added to Minecraft since Microsoft's acquisition of Mojang in 2014. The 2023 Mob Vote featured three passive mobs—the crab, the penguin, and the armadillo—with voting scheduled to start on 13 October. In response, a Change.org petition was created on 6 October, demanding that Mojang eliminate the Mob Vote and instead implement all three mobs going forward. The petition received approximately 445,000 signatures by 13 October and was joined by calls to boycott the Mob Vote, as well as a partially tongue-in-cheek "revolutionary" propaganda campaign in which sympathizers created anti-Mojang and pro-boycott posters in the vein of real 20th century propaganda posters. Mojang did not release an official response to the boycott, and the Mob Vote otherwise proceeded normally, with the armadillo winning the vote. In September 2024, as part of a blog post detailing their future plans for Minecraft's development, Mojang announced the Mob Vote would be retired. Cultural impact In September 2019, The Guardian classified Minecraft as the best video game of the 21st century to date, and in November 2019, Polygon called it the "most important game of the decade" in its 2010s "decade in review". In June 2020, Minecraft was inducted into the World Video Game Hall of Fame. Minecraft is recognized as one of the first successful games to use an early access model to draw in sales prior to its full release version to help fund development. As Minecraft helped to bolster indie game development in the early 2010s, it also helped to popularize the use of the early access model in indie game development. Social media sites such as YouTube, Facebook, and Reddit have played a significant role in popularizing Minecraft. Research conducted by the Annenberg School for Communication at the University of Pennsylvania showed that one-third of Minecraft players learned about the game via Internet videos. In 2010, Minecraft-related videos began to gain influence on YouTube, often made by commentators. The videos usually contain screen-capture footage of the game and voice-overs. Common coverage in the videos includes creations made by players, walkthroughs of various tasks, and parodies of works in popular culture. By May 2012, over four million Minecraft-related YouTube videos had been uploaded. The game would go on to be a prominent fixture within YouTube's gaming scene during the entire 2010s; in 2014, it was the second-most searched term on the entire platform. By 2018, it was still YouTube's biggest game globally. Some popular commentators have received employment at Machinima, a now-defunct gaming video company that owned a highly watched entertainment channel on YouTube. The Yogscast is a British company that regularly produces Minecraft videos; their YouTube channel has attained billions of views, and their panel at Minecon 2011 had the highest attendance. Another well-known YouTube personality is Jordan Maron, known online as CaptainSparklez, who has also created many Minecraft music parodies, including "Revenge", a parody of Usher's "DJ Got Us Fallin' in Love". Minecraft's popularity on YouTube was described by Polygon as quietly dominant, although in 2019, thanks in part to PewDiePie's playthroughs of the game, Minecraft experienced a visible uptick in popularity on the platform. Longer-running series include Far Lands or Bust, dedicated to reaching the obsolete "Far Lands" glitch by foot on an older version of the game. YouTube announced that on 14 December 2021 that the total amount of Minecraft-related views on the website had exceeded one trillion. Minecraft has been referenced by other video games, such as Torchlight II, Team Fortress 2, Borderlands 2, Choplifter HD, Super Meat Boy, The Elder Scrolls V: Skyrim, The Binding of Isaac, The Stanley Parable, and FTL: Faster Than Light. Minecraft is officially represented in downloadable content for the crossover fighter Super Smash Bros. Ultimate, with Steve as a playable character with a moveset including references to building, crafting, and redstone, alongside an Overworld-themed stage. It was also referenced by electronic music artist Deadmau5 in his performances. The game is also referenced heavily in "Informative Murder Porn", the second episode of the seventeenth season of the animated television series South Park. In 2025, A Minecraft Movie was released. It made $313 million in the box office in the first week, a record-breaking opening for a video game adaptation. Minecraft has been noted as a cultural touchstone for Generation Z, as many of the generation's members played the game at a young age. The possible applications of Minecraft have been discussed extensively, especially in the fields of computer-aided design (CAD) and education. In a panel at Minecon 2011, a Swedish developer discussed the possibility of using the game to redesign public buildings and parks, stating that rendering using Minecraft was much more user-friendly for the community, making it easier to envision the functionality of new buildings and parks. In 2012, a member of the Human Dynamics group at the MIT Media Lab, Cody Sumter, said: "Notch hasn't just built a game. He's tricked 40 million people into learning to use a CAD program." Various software has been developed to allow virtual designs to be printed using professional 3D printers or personal printers such as MakerBot and RepRap. In September 2012, Mojang began the Block by Block project in cooperation with UN Habitat to create real-world environments in Minecraft. The project allows young people who live in those environments to participate in designing the changes they would like to see. Using Minecraft, the community has helped reconstruct the areas of concern, and citizens are invited to enter the Minecraft servers and modify their own neighborhood. Carl Manneh, Mojang's managing director, called the game "the perfect tool to facilitate this process", adding "The three-year partnership will support UN-Habitat's Sustainable Urban Development Network to upgrade 300 public spaces by 2016." Mojang signed Minecraft building community, FyreUK, to help render the environments into Minecraft. The first pilot project began in Kibera, one of Nairobi's informal settlements and is in the planning phase. The Block by Block project is based on an earlier initiative started in October 2011, Mina Kvarter (My Block), which gave young people in Swedish communities a tool to visualize how they wanted to change their part of town. According to Manneh, the project was a helpful way to visualize urban planning ideas without necessarily having a training in architecture. The ideas presented by the citizens were a template for political decisions. In April 2014, the Danish Geodata Agency generated all of Denmark in fullscale in Minecraft based on their own geodata. This is possible because Denmark is one of the flattest countries with the highest point at 171 meters (ranking as the country with the 30th smallest elevation span), where the limit in default Minecraft was around 192 meters above in-game sea level when the project was completed. Taking advantage of the game's accessibility where other websites are censored, the non-governmental organization Reporters Without Borders has used an open Minecraft server to create the Uncensored Library, a repository within the game of journalism by authors from countries (including Egypt, Mexico, Russia, Saudi Arabia and Vietnam) who have been censored and arrested, such as Jamal Khashoggi. The neoclassical virtual building was created over about 250 hours by an international team of 24 people. Despite its unpredictable nature, Minecraft speedrunning, where players time themselves from spawning into a new world to reaching The End and defeating the Ender Dragon boss, is popular. Some speedrunners use a combination of mods, external programs, and debug menus, while other runners play the game in a more vanilla or more consistency-oriented way. Minecraft has been used in educational settings through initiatives such as MinecraftEdu, founded in 2011 to make the game affordable and accessible for schools in collaboration with Mojang. MinecraftEdu provided features allowing teachers to monitor student progress, including screenshot submissions as evidence of lesson completion, and by 2012 reported that approximately 250,000 students worldwide had access to the platform. Mojang also developed Minecraft: Education Edition with pre-built lesson plans for up to 30 students in a closed environment. Educators have used Minecraft to teach subjects such as history, language arts, and science through custom-built environments, including reconstructions of historical landmarks and large-scale models of biological structures such as animal cells. The introduction of redstone blocks enabled the construction of functional virtual machines such as a hard drive and an 8-bit computer. Mods have been created to use these mechanics for teaching programming. In 2014, the British Museum announced a project to reproduce its building and exhibits in Minecraft in collaboration with the public. Microsoft and Code.org have offered Minecraft-based tutorials and activities designed to teach programming, reporting by 2018 that more than 85 million children had used their resources. In 2025, the Musée de Minéralogie in Paris held a temporary exhibition titled "Minerals in Minecraft." Following the initial surge in popularity of Minecraft in 2010, other video games were criticised for having various similarities to Minecraft, and some were described as being "clones", often due to a direct inspiration from Minecraft, or a superficial similarity. Examples include Ace of Spades, CastleMiner, CraftWorld, FortressCraft, Terraria, BlockWorld 3D, Total Miner, and Luanti (formerly Minetest). David Frampton, designer of The Blockheads, reported that one failure of his 2D game was the "low resolution pixel art" that too closely resembled the art in Minecraft, which resulted in "some resistance" from fans. A homebrew adaptation of the alpha version of Minecraft for the Nintendo DS, titled DScraft, has been released; it has been noted for its similarity to the original game considering the technical limitations of the system. In response to Microsoft's acquisition of Mojang and their Minecraft IP, various developers announced further clone titles developed specifically for Nintendo's consoles, as they were the only major platforms not to officially receive Minecraft at the time. These clone titles include UCraft (Nexis Games), Cube Life: Island Survival (Cypronia), Discovery (Noowanda), Battleminer (Wobbly Tooth Games), Cube Creator 3D (Big John Games), and Stone Shire (Finger Gun Games). Despite this, the fears of fans were unfounded, with official Minecraft releases on Nintendo consoles eventually resuming. Markus Persson made another similar game, Minicraft, for a Ludum Dare competition in 2011. In 2025, Persson announced through a poll on his X account that he was considering developing a spiritual successor to Minecraft. He later clarified that he was "100% serious", and that he had "basically announced Minecraft 2". Within days, however, Persson cancelled the plans after speaking to his team. In November 2024, artificial intelligence companies Decart and Etched released Oasis, an artificially generated version of Minecraft, as a proof of concept. Every in-game element is completely AI-generated in real time and the model does not store world data, leading to "hallucinations" such as items and blocks appearing that were not there before. In January 2026, indie game developer Unomelon announced that their voxel sandbox game Allumeria would be playable in Steam Next Fest that year. On 10 February, Mojang issued a DMCA takedown of Allumeria on Steam through Valve, alleging the game was infringing on Minecraft's copyright. Some reports suggested that the takedown may have used an automatic AI copyright claiming service. The DMCA was later withdrawn. Minecon was an annual official fan convention dedicated to Minecraft. The first full Minecon was held in November 2011 at the Mandalay Bay Hotel and Casino in Las Vegas. The event included the official launch of Minecraft; keynote speeches, including one by Persson; building and costume contests; Minecraft-themed breakout classes; exhibits by leading gaming and Minecraft-related companies; commemorative merchandise; and autograph and picture times with Mojang employees and well-known contributors from the Minecraft community. In 2016, Minecon was held in-person for the last time, with the following years featuring annual "Minecon Earth" livestreams on minecraft.net and YouTube instead. These livestreams, later rebranded to "Minecraft Live", included the mob/biome votes, and announcements of new game updates. In 2025, "Minecraft Live" became a biannual event as part of Minecraft's changing update schedule.[citation needed] Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Joke#cite_note-FOOTNOTEDorst1990-45] | [TOKENS: 8460] |
Contents Joke A joke is a display of humour in which words are used within a specific and well-defined narrative structure to make people laugh and is usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends in a punch line, whereby the humorous element of the story is revealed; this can be done using a pun or other type of word play, irony or sarcasm, logical incompatibility, hyperbole, or other means. Linguist Robert Hetzron offers the definition: A joke is a short humorous piece of oral literature in which the funniness culminates in the final sentence, called the punchline… In fact, the main condition is that the tension should reach its highest level at the very end. No continuation relieving the tension should be added. As for its being "oral," it is true that jokes may appear printed, but when further transferred, there is no obligation to reproduce the text verbatim, as in the case of poetry. It is generally held that jokes benefit from brevity, containing no more detail than is needed to set the scene for the punchline at the end. In the case of riddle jokes or one-liners, the setting is implicitly understood, leaving only the dialogue and punchline to be verbalised. However, subverting these and other common guidelines can also be a source of humour—the shaggy dog story is an example of an anti-joke; although presented as a joke, it contains a long drawn-out narrative of time, place and character, rambles through many pointless inclusions and finally fails to deliver a punchline. Jokes are a form of humour, but not all humour is in the form of a joke. Some humorous forms which are not verbal jokes are: involuntary humour, situational humour, practical jokes, slapstick and anecdotes. Identified as one of the simple forms of oral literature by the Dutch linguist André Jolles, jokes are passed along anonymously. They are told in both private and public settings; a single person tells a joke to his friend in the natural flow of conversation, or a set of jokes is told to a group as part of scripted entertainment. Jokes are also passed along in written form or, more recently, through the internet. Stand-up comics, comedians and slapstick work with comic timing and rhythm in their performance, and may rely on actions as well as on the verbal punchline to evoke laughter. This distinction has been formulated in the popular saying "A comic says funny things; a comedian says things funny".[note 1] History in print Jokes do not belong to refined culture, but rather to the entertainment and leisure of all classes. As such, any printed versions were considered ephemera, i.e., temporary documents created for a specific purpose and intended to be thrown away. Many of these early jokes deal with scatological and sexual topics, entertaining to all social classes but not to be valued and saved.[citation needed] Various kinds of jokes have been identified in ancient pre-classical texts.[note 2] The oldest identified joke is an ancient Sumerian proverb from 1900 BC containing toilet humour: "Something which has never occurred since time immemorial; a young woman did not fart in her husband's lap." Its records were dated to the Old Babylonian period and the joke may go as far back as 2300 BC. The second oldest joke found, discovered on the Westcar Papyrus and believed to be about Sneferu, was from Ancient Egypt c. 1600 BC: "How do you entertain a bored pharaoh? You sail a boatload of young women dressed only in fishing nets down the Nile and urge the pharaoh to go catch a fish." The tale of the three ox drivers from Adab completes the three known oldest jokes in the world. This is a comic triple dating back to 1200 BC Adab. It concerns three men seeking justice from a king on the matter of ownership over a newborn calf, for whose birth they all consider themselves to be partially responsible. The king seeks advice from a priestess on how to rule the case, and she suggests a series of events involving the men's households and wives. The final portion of the story (which included the punch line), has not survived intact, though legible fragments suggest it was bawdy in nature. Jokes can be notoriously difficult to translate from language to language; particularly puns, which depend on specific words and not just on their meanings. For instance, Julius Caesar once sold land at a surprisingly cheap price to his lover Servilia, who was rumoured to be prostituting her daughter Tertia to Caesar in order to keep his favour. Cicero remarked that "conparavit Servilia hunc fundum tertia deducta." The punny phrase, "tertia deducta", can be translated as "with one-third off (in price)", or "with Tertia putting out." The earliest extant joke book is the Philogelos (Greek for The Laughter-Lover), a collection of 265 jokes written in crude ancient Greek dating to the fourth or fifth century AD. The author of the collection is obscure and a number of different authors are attributed to it, including "Hierokles and Philagros the grammatikos", just "Hierokles", or, in the Suda, "Philistion". British classicist Mary Beard states that the Philogelos may have been intended as a jokester's handbook of quips to say on the fly, rather than a book meant to be read straight through. Many of the jokes in this collection are surprisingly familiar, even though the typical protagonists are less recognisable to contemporary readers: the absent-minded professor, the eunuch, and people with hernias or bad breath. The Philogelos even contains a joke similar to Monty Python's "Dead Parrot Sketch". During the 15th century, the printing revolution spread across Europe following the development of the movable type printing press. This was coupled with the growth of literacy in all social classes. Printers turned out Jestbooks along with Bibles to meet both lowbrow and highbrow interests of the populace. One early anthology of jokes was the Facetiae by the Italian Poggio Bracciolini, first published in 1470. The popularity of this jest book can be measured on the twenty editions of the book documented alone for the 15th century. Another popular form was a collection of jests, jokes and funny situations attributed to a single character in a more connected, narrative form of the picaresque novel. Examples of this are the characters of Rabelais in France, Till Eulenspiegel in Germany, Lazarillo de Tormes in Spain and Master Skelton in England. There is also a jest book ascribed to William Shakespeare, the contents of which appear to both inform and borrow from his plays. All of these early jestbooks corroborate both the rise in the literacy of the European populations and the general quest for leisure activities during the Renaissance in Europe. The practice of printers using jokes and cartoons as page fillers was also widely used in the broadsides and chapbooks of the 19th century and earlier. With the increase in literacy in the general population and the growth of the printing industry, these publications were the most common forms of printed material between the 16th and 19th centuries throughout Europe and North America. Along with reports of events, executions, ballads and verse, they also contained jokes. Only one of many broadsides archived in the Harvard library is described as "1706. Grinning made easy; or, Funny Dick's unrivalled collection of curious, comical, odd, droll, humorous, witty, whimsical, laughable, and eccentric jests, jokes, bulls, epigrams, &c. With many other descriptions of wit and humour." These cheap publications, ephemera intended for mass distribution, were read alone, read aloud, posted and discarded. There are many types of joke books in print today; a search on the internet provides a plethora of titles available for purchase. They can be read alone for solitary entertainment, or used to stock up on new jokes to entertain friends. Some people try to find a deeper meaning in jokes, as in "Plato and a Platypus Walk into a Bar... Understanding Philosophy Through Jokes".[note 3] However a deeper meaning is not necessary to appreciate their inherent entertainment value. Magazines frequently use jokes and cartoons as filler for the printed page. Reader's Digest closes out many articles with an (unrelated) joke at the bottom of the article. The New Yorker was first published in 1925 with the stated goal of being a "sophisticated humour magazine" and is still known for its cartoons. Telling jokes Telling a joke is a cooperative effort; it requires that the teller and the audience mutually agree in one form or another to understand the narrative which follows as a joke. In a study of conversation analysis, the sociologist Harvey Sacks describes in detail the sequential organisation in the telling of a single joke. "This telling is composed, as for stories, of three serially ordered and adjacently placed types of sequences … the preface [framing], the telling, and the response sequences." Folklorists expand this to include the context of the joking. Who is telling what jokes to whom? And why is he telling them when? The context of the joke-telling in turn leads into a study of joking relationships, a term coined by anthropologists to refer to social groups within a culture who engage in institutionalised banter and joking. Framing is done with a (frequently formulaic) expression which keys the audience in to expect a joke. "Have you heard the one…", "Reminds me of a joke I heard…", "So, a lawyer and a doctor…"; these conversational markers are just a few examples of linguistic frames used to start a joke. Regardless of the frame used, it creates a social space and clear boundaries around the narrative which follows. Audience response to this initial frame can be acknowledgement and anticipation of the joke to follow. It can also be a dismissal, as in "this is no joking matter" or "this is no time for jokes". The performance frame serves to label joke-telling as a culturally marked form of communication. Both the performer and audience understand it to be set apart from the "real" world. "An elephant walks into a bar…"; a person sufficiently familiar with both the English language and the way jokes are told automatically understands that such a compressed and formulaic story, being told with no substantiating details, and placing an unlikely combination of characters into an unlikely setting and involving them in an unrealistic plot, is the start of a joke, and the story that follows is not meant to be taken at face value (i.e. it is non-bona-fide communication). The framing itself invokes a play mode; if the audience is unable or unwilling to move into play, then nothing will seem funny. Following its linguistic framing the joke, in the form of a story, can be told. It is not required to be verbatim text like other forms of oral literature such as riddles and proverbs. The teller can and does modify the text of the joke, depending both on memory and the present audience. The important characteristic is that the narrative is succinct, containing only those details which lead directly to an understanding and decoding of the punchline. This requires that it support the same (or similar) divergent scripts which are to be embodied in the punchline. The punchline is intended to make the audience laugh. A linguistic interpretation of this punchline/response is elucidated by Victor Raskin in his Script-based Semantic Theory of Humour. Humour is evoked when a trigger contained in the punchline causes the audience to abruptly shift its understanding of the story from the primary (or more obvious) interpretation to a secondary, opposing interpretation. "The punchline is the pivot on which the joke text turns as it signals the shift between the [semantic] scripts necessary to interpret [re-interpret] the joke text." To produce the humour in the verbal joke, the two interpretations (i.e. scripts) need to both be compatible with the joke text and opposite or incompatible with each other. Thomas R. Shultz, a psychologist, independently expands Raskin's linguistic theory to include "two stages of incongruity: perception and resolution." He explains that "… incongruity alone is insufficient to account for the structure of humour. […] Within this framework, humour appreciation is conceptualized as a biphasic sequence involving first the discovery of incongruity followed by a resolution of the incongruity." In the case of a joke, that resolution generates laughter. This is the point at which the field of neurolinguistics offers some insight into the cognitive processing involved in this abrupt laughter at the punchline. Studies by the cognitive science researchers Coulson and Kutas directly address the theory of script switching articulated by Raskin in their work. The article "Getting it: Human event-related brain response to jokes in good and poor comprehenders" measures brain activity in response to reading jokes. Additional studies by others in the field support more generally the theory of two-stage processing of humour, as evidenced in the longer processing time they require. In the related field of neuroscience, it has been shown that the expression of laughter is caused by two partially independent neuronal pathways: an "involuntary" or "emotionally driven" system and a "voluntary" system. This study adds credence to the common experience when exposed to an off-colour joke; a laugh is followed in the next breath by a disclaimer: "Oh, that's bad…" Here the multiple steps in cognition are clearly evident in the stepped response, the perception being processed just a breath faster than the resolution of the moral/ethical content in the joke. Expected response to a joke is laughter. The joke teller hopes the audience "gets it" and is entertained. This leads to the premise that a joke is actually an "understanding test" between individuals and groups. If the listeners do not get the joke, they are not understanding the two scripts which are contained in the narrative as they were intended. Or they do "get it" and do not laugh; it might be too obscene, too gross or too dumb for the current audience. A woman might respond differently to a joke told by a male colleague around the water cooler than she would to the same joke overheard in a women's lavatory. A joke involving toilet humour may be funnier told on the playground at elementary school than on a college campus. The same joke will elicit different responses in different settings. The punchline in the joke remains the same, however, it is more or less appropriate depending on the current context. The context explores the specific social situation in which joking occurs. The narrator automatically modifies the text of the joke to be acceptable to different audiences, while at the same time supporting the same divergent scripts in the punchline. The vocabulary used in telling the same joke at a university fraternity party and to one's grandmother might well vary. In each situation, it is important to identify both the narrator and the audience as well as their relationship with each other. This varies to reflect the complexities of a matrix of different social factors: age, sex, race, ethnicity, kinship, political views, religion, power relationships, etc. When all the potential combinations of such factors between the narrator and the audience are considered, then a single joke can take on infinite shades of meaning for each unique social setting. The context, however, should not be confused with the function of the joking. "Function is essentially an abstraction made on the basis of a number of contexts". In one long-term observation of men coming off the late shift at a local café, joking with the waitresses was used to ascertain sexual availability for the evening. Different types of jokes, going from general to topical into explicitly sexual humour signalled openness on the part of the waitress for a connection. This study describes how jokes and joking are used to communicate much more than just good humour. That is a single example of the function of joking in a social setting, but there are others. Sometimes jokes are used simply to get to know someone better. What makes them laugh, what do they find funny? Jokes concerning politics, religion or sexual topics can be used effectively to gauge the attitude of the audience to any one of these topics. They can also be used as a marker of group identity, signalling either inclusion or exclusion for the group. Among pre-adolescents, "dirty" jokes allow them to share information about their changing bodies. And sometimes joking is just simple entertainment for a group of friends. Relationships The context of joking in turn leads to a study of joking relationships, a term coined by anthropologists to refer to social groups within a culture who take part in institutionalised banter and joking. These relationships can be either one-way or a mutual back and forth between partners. The joking relationship is defined as a peculiar combination of friendliness and antagonism. The behaviour is such that in any other social context it would express and arouse hostility; but it is not meant seriously and must not be taken seriously. There is a pretence of hostility along with a real friendliness. To put it in another way, the relationship is one of permitted disrespect. Joking relationships were first described by anthropologists within kinship groups in Africa. But they have since been identified in cultures around the world, where jokes and joking are used to mark and reinforce appropriate boundaries of a relationship. Electronic The advent of electronic communications at the end of the 20th century introduced new traditions into jokes. A verbal joke or cartoon is emailed to a friend or posted on a bulletin board; reactions include a replied email with a :-) or LOL, or a forward on to further recipients. Interaction is limited to the computer screen and for the most part solitary. While preserving the text of a joke, both context and variants are lost in internet joking; for the most part, emailed jokes are passed along verbatim. The framing of the joke frequently occurs in the subject line: "RE: laugh for the day" or something similar. The forward of an email joke can increase the number of recipients exponentially. Internet joking forces a re-evaluation of social spaces and social groups. They are no longer only defined by physical presence and locality, they also exist in the connectivity in cyberspace. "The computer networks appear to make possible communities that, although physically dispersed, display attributes of the direct, unconstrained, unofficial exchanges folklorists typically concern themselves with". This is particularly evident in the spread of topical jokes, "that genre of lore in which whole crops of jokes spring up seemingly overnight around some sensational event … flourish briefly and then disappear, as the mass media move on to fresh maimings and new collective tragedies". This correlates with the new understanding of the internet as an "active folkloric space" with evolving social and cultural forces and clearly identifiable performers and audiences. A study by the folklorist Bill Ellis documented how an evolving cycle was circulated over the internet. By accessing message boards that specialised in humour immediately following the 9/11 disaster, Ellis was able to observe in real-time both the topical jokes being posted electronically and responses to the jokes. Previous folklore research has been limited to collecting and documenting successful jokes, and only after they had emerged and come to folklorists' attention. Now, an Internet-enhanced collection creates a time machine, as it were, where we can observe what happens in the period before the risible moment, when attempts at humour are unsuccessful Access to archived message boards also enables us to track the development of a single joke thread in the context of a more complicated virtual conversation. Joke cycles A joke cycle is a collection of jokes about a single target or situation which displays consistent narrative structure and type of humour. Some well-known cycles are elephant jokes using nonsense humour, dead baby jokes incorporating black humour, and light bulb jokes, which describe all kinds of operational stupidity. Joke cycles can centre on ethnic groups, professions (viola jokes), catastrophes, settings (…walks into a bar), absurd characters (wind-up dolls), or logical mechanisms which generate the humour (knock-knock jokes). A joke can be reused in different joke cycles; an example of this is the same Head & Shoulders joke refitted to the tragedies of Vic Morrow, Admiral Mountbatten and the crew of the Challenger space shuttle.[note 4] These cycles seem to appear spontaneously, spread rapidly across countries and borders only to dissipate after some time. Folklorists and others have studied individual joke cycles in an attempt to understand their function and significance within the culture. Joke cycles circulated in the recent past include: As with the 9/11 disaster discussed above, cycles attach themselves to celebrities or national catastrophes such as the death of Diana, Princess of Wales, the death of Michael Jackson, and the Space Shuttle Challenger disaster. These cycles arise regularly as a response to terrible unexpected events which command the national news. An in-depth analysis of the Challenger joke cycle documents a change in the type of humour circulated following the disaster, from February to March 1986. "It shows that the jokes appeared in distinct 'waves', the first responding to the disaster with clever wordplay and the second playing with grim and troubling images associated with the event…The primary social function of disaster jokes appears to be to provide closure to an event that provoked communal grieving, by signalling that it was time to move on and pay attention to more immediate concerns". The sociologist Christie Davies has written extensively on ethnic jokes told in countries around the world. In ethnic jokes he finds that the "stupid" ethnic target in the joke is no stranger to the culture, but rather a peripheral social group (geographic, economic, cultural, linguistic) well known to the joke tellers. So Americans tell jokes about Polacks and Italians, Germans tell jokes about Ostfriesens, and the English tell jokes about the Irish. In a review of Davies' theories it is said that "For Davies, [ethnic] jokes are more about how joke tellers imagine themselves than about how they imagine those others who serve as their putative targets…The jokes thus serve to center one in the world – to remind people of their place and to reassure them that they are in it." A third category of joke cycles identifies absurd characters as the butt: for example the grape, the dead baby or the elephant. Beginning in the 1960s, social and cultural interpretations of these joke cycles, spearheaded by the folklorist Alan Dundes, began to appear in academic journals. Dead baby jokes are posited to reflect societal changes and guilt caused by widespread use of contraception and abortion beginning in the 1960s.[note 5] Elephant jokes have been interpreted variously as stand-ins for American blacks during the Civil Rights Era or as an "image of something large and wild abroad in the land captur[ing] the sense of counterculture" of the sixties. These interpretations strive for a cultural understanding of the themes of these jokes which go beyond the simple collection and documentation undertaken previously by folklorists and ethnologists. Classification systems As folktales and other types of oral literature became collectables throughout Europe in the 19th century (Brothers Grimm et al.), folklorists and anthropologists of the time needed a system to organise these items. The Aarne–Thompson classification system was first published in 1910 by Antti Aarne, and later expanded by Stith Thompson to become the most renowned classification system for European folktales and other types of oral literature. Its final section addresses anecdotes and jokes, listing traditional humorous tales ordered by their protagonist; "This section of the Index is essentially a classification of the older European jests, or merry tales – humorous stories characterized by short, fairly simple plots. …" Due to its focus on older tale types and obsolete actors (e.g., numbskull), the Aarne–Thompson Index does not provide much help in identifying and classifying the modern joke. A more granular classification system used widely by folklorists and cultural anthropologists is the Thompson Motif Index, which separates tales into their individual story elements. This system enables jokes to be classified according to individual motifs included in the narrative: actors, items and incidents. It does not provide a system to classify the text by more than one element at a time while at the same time making it theoretically possible to classify the same text under multiple motifs. The Thompson Motif Index has spawned further specialised motif indices, each of which focuses on a single aspect of one subset of jokes. A sampling of just a few of these specialised indices have been listed under other motif indices. Here one can select an index for medieval Spanish folk narratives, another index for linguistic verbal jokes, and a third one for sexual humour. To assist the researcher with this increasingly confusing situation, there are also multiple bibliographies of indices as well as a how-to guide on creating your own index. Several difficulties have been identified with these systems of identifying oral narratives according to either tale types or story elements. A first major problem is their hierarchical organisation; one element of the narrative is selected as the major element, while all other parts are arrayed subordinate to this. A second problem with these systems is that the listed motifs are not qualitatively equal; actors, items and incidents are all considered side-by-side. And because incidents will always have at least one actor and usually have an item, most narratives can be ordered under multiple headings. This leads to confusion about both where to order an item and where to find it. A third significant problem is that the "excessive prudery" common in the middle of the 20th century means that obscene, sexual and scatological elements were regularly ignored in many of the indices. The folklorist Robert Georges has summed up the concerns with these existing classification systems: …Yet what the multiplicity and variety of sets and subsets reveal is that folklore [jokes] not only takes many forms, but that it is also multifaceted, with purpose, use, structure, content, style, and function all being relevant and important. Any one or combination of these multiple and varied aspects of a folklore example [such as jokes] might emerge as dominant in a specific situation or for a particular inquiry. It has proven difficult to organise all different elements of a joke into a multi-dimensional classification system which could be of real value in the study and evaluation of this (primarily oral) complex narrative form. The General Theory of Verbal Humour or GTVH, developed by the linguists Victor Raskin and Salvatore Attardo, attempts to do exactly this. This classification system was developed specifically for jokes and later expanded to include longer types of humorous narratives. Six different aspects of the narrative, labelled Knowledge Resources or KRs, can be evaluated largely independently of each other, and then combined into a concatenated classification label. These six KRs of the joke structure include: As development of the GTVH progressed, a hierarchy of the KRs was established to partially restrict the options for lower-level KRs depending on the KRs defined above them. For example, a lightbulb joke (SI) will always be in the form of a riddle (NS). Outside of these restrictions, the KRs can create a multitude of combinations, enabling a researcher to select jokes for analysis which contain only one or two defined KRs. It also allows for an evaluation of the similarity or dissimilarity of jokes depending on the similarity of their labels. "The GTVH presents itself as a mechanism … of generating [or describing] an infinite number of jokes by combining the various values that each parameter can take. … Descriptively, to analyze a joke in the GTVH consists of listing the values of the 6 KRs (with the caveat that TA and LM may be empty)." This classification system provides a functional multi-dimensional label for any joke, and indeed any verbal humour. Joke and humour research Many academic disciplines lay claim to the study of jokes (and other forms of humour) as within their purview. Fortunately, there are enough jokes, good, bad and worse, to go around. The studies of jokes from each of the interested disciplines bring to mind the tale of the blind men and an elephant where the observations, although accurate reflections of their own competent methodological inquiry, frequently fail to grasp the beast in its entirety. This attests to the joke as a traditional narrative form which is indeed complex, concise and complete in and of itself. It requires a "multidisciplinary, interdisciplinary, and cross-disciplinary field of inquiry" to truly appreciate these nuggets of cultural insight.[note 6] Sigmund Freud was one of the first modern scholars to recognise jokes as an important object of investigation. In his 1905 study Jokes and their Relation to the Unconscious Freud describes the social nature of humour and illustrates his text with many examples of contemporary Viennese jokes. His work is particularly noteworthy in this context because Freud distinguishes in his writings between jokes, humour and the comic. These are distinctions which become easily blurred in many subsequent studies where everything funny tends to be gathered under the umbrella term of "humour", making for a much more diffuse discussion. Since the publication of Freud's study, psychologists have continued to explore humour and jokes in their quest to explain, predict and control an individual's "sense of humour". Why do people laugh? Why do people find something funny? Can jokes predict character, or vice versa, can character predict the jokes an individual laughs at? What is a "sense of humour"? A current review of the popular magazine Psychology Today lists over 200 articles discussing various aspects of humour; in psychological jargon, the subject area has become both an emotion to measure and a tool to use in diagnostics and treatment. A new psychological assessment tool, the Values in Action Inventory developed by the American psychologists Christopher Peterson and Martin Seligman includes humour (and playfulness) as one of the core character strengths of an individual. As such, it could be a good predictor of life satisfaction. For psychologists, it would be useful to measure both how much of this strength an individual has and how it can be measurably increased. A 2007 survey of existing tools to measure humour identified more than 60 psychological measurement instruments. These measurement tools use many different approaches to quantify humour along with its related states and traits. There are tools to measure an individual's physical response by their smile; the Facial Action Coding System (FACS) is one of several tools used to identify any one of multiple types of smiles. Or the laugh can be measured to calculate the funniness response of an individual; multiple types of laughter have been identified. It must be stressed here that both smiles and laughter are not always a response to something funny. In trying to develop a measurement tool, most systems use "jokes and cartoons" as their test materials. However, because no two tools use the same jokes, and across languages this would not be feasible, how does one determine that the assessment objects are comparable? Moving on, whom does one ask to rate the sense of humour of an individual? Does one ask the person themselves, an impartial observer, or their family, friends and colleagues? Furthermore, has the current mood of the test subjects been considered; someone with a recent death in the family might not be much prone to laughter. Given the plethora of variants revealed by even a superficial glance at the problem, it becomes evident that these paths of scientific inquiry are mined with problematic pitfalls and questionable solutions. The psychologist Willibald Ruch [de] has been very active in the research of humour. He has collaborated with the linguists Raskin and Attardo on their General Theory of Verbal Humour (GTVH) classification system. Their goal is to empirically test both the six autonomous classification types (KRs) and the hierarchical ordering of these KRs. Advancement in this direction would be a win-win for both fields of study; linguistics would have empirical verification of this multi-dimensional classification system for jokes, and psychology would have a standardised joke classification with which they could develop verifiably comparable measurement tools. "The linguistics of humor has made gigantic strides forward in the last decade and a half and replaced the psychology of humor as the most advanced theoretical approach to the study of this important and universal human faculty." This recent statement by one noted linguist and humour researcher describes, from his perspective, contemporary linguistic humour research. Linguists study words, how words are strung together to build sentences, how sentences create meaning which can be communicated from one individual to another, and how our interaction with each other using words creates discourse. Jokes have been defined above as oral narratives in which words and sentences are engineered to build toward a punchline. The linguist's question is: what exactly makes the punchline funny? This question focuses on how the words used in the punchline create humour, in contrast to the psychologist's concern (see above) with the audience's response to the punchline. The assessment of humour by psychologists "is made from the individual's perspective; e.g. the phenomenon associated with responding to or creating humor and not a description of humor itself." Linguistics, on the other hand, endeavours to provide a precise description of what makes a text funny. Two major new linguistic theories have been developed and tested within the last decades. The first was advanced by Victor Raskin in "Semantic Mechanisms of Humor", published 1985. While being a variant on the more general concepts of the incongruity theory of humour, it is the first theory to identify its approach as exclusively linguistic. The Script-based Semantic Theory of Humour (SSTH) begins by identifying two linguistic conditions which make a text funny. It then goes on to identify the mechanisms involved in creating the punchline. This theory established the semantic/pragmatic foundation of humour as well as the humour competence of speakers.[note 7] Several years later the SSTH was incorporated into a more expansive theory of jokes put forth by Raskin and his colleague Salvatore Attardo. In the General Theory of Verbal Humour, the SSTH was relabelled as a Logical Mechanism (LM) (referring to the mechanism which connects the different linguistic scripts in the joke) and added to five other independent Knowledge Resources (KR). Together these six KRs could now function as a multi-dimensional descriptive label for any piece of humorous text. Linguistics has developed further methodological tools which can be applied to jokes: discourse analysis and conversation analysis of joking. Both of these subspecialties within the field focus on "naturally occurring" language use, i.e. the analysis of real (usually recorded) conversations. One of these studies has already been discussed above, where Harvey Sacks describes in detail the sequential organisation in telling a single joke. Discourse analysis emphasises the entire context of social joking, the social interaction which cradles the words. Folklore and cultural anthropology have perhaps the strongest claims on jokes as belonging to their bailiwick. Jokes remain one of the few remaining forms of traditional folk literature transmitted orally in western cultures. Identified as one of the "simple forms" of oral literature by André Jolles in 1930, they have been collected and studied since there were folklorists and anthropologists abroad in the lands. As a genre they were important enough at the beginning of the 20th century to be included under their own heading in the Aarne–Thompson index first published in 1910: Anecdotes and jokes. Beginning in the 1960s, cultural researchers began to expand their role from collectors and archivists of "folk ideas" to a more active role of interpreters of cultural artefacts. One of the foremost scholars active during this transitional time was the folklorist Alan Dundes. He started asking questions of tradition and transmission with the key observation that "No piece of folklore continues to be transmitted unless it means something, even if neither the speaker nor the audience can articulate what that meaning might be." In the context of jokes, this then becomes the basis for further research. Why is the joke told right now? Only in this expanded perspective is an understanding of its meaning to the participants possible. This questioning resulted in a blossoming of monographs to explore the significance of many joke cycles. What is so funny about absurd nonsense elephant jokes? Why make light of dead babies? In an article on contemporary German jokes about Auschwitz and the Holocaust, Dundes justifies this research: Whether one finds Auschwitz jokes funny or not is not an issue. This material exists and should be recorded. Jokes are always an important barometer of the attitudes of a group. The jokes exist and they obviously must fill some psychic need for those individuals who tell them and those who listen to them. A stimulating generation of new humour theories flourishes like mushrooms in the undergrowth: Elliott Oring's theoretical discussions on "appropriate ambiguity" and Amy Carrell's hypothesis of an "audience-based theory of verbal humor (1993)" to name just a few. In his book Humor and Laughter: An Anthropological Approach, the anthropologist Mahadev Apte presents a solid case for his own academic perspective. "Two axioms underlie my discussion, namely, that humor is by and large culture based and that humor can be a major conceptual and methodological tool for gaining insights into cultural systems." Apte goes on to call for legitimising the field of humour research as "humorology"; this would be a field of study incorporating an interdisciplinary character of humour studies. While the label "humorology" has yet to become a household word, great strides are being made in the international recognition of this interdisciplinary field of research. The International Society for Humor Studies was founded in 1989 with the stated purpose to "promote, stimulate and encourage the interdisciplinary study of humour; to support and cooperate with local, national, and international organizations having similar purposes; to organize and arrange meetings; and to issue and encourage publications concerning the purpose of the society". It also publishes Humor: International Journal of Humor Research and holds yearly conferences to promote and inform its speciality. In 1872, Charles Darwin published one of the first "comprehensive and in many ways remarkably accurate description of laughter in terms of respiration, vocalization, facial action and gesture and posture" (Laughter) in The Expression of the Emotions in Man and Animals. In this early study Darwin raises further questions about who laughs and why they laugh; the myriad responses since then illustrate the complexities of this behaviour. To understand laughter in humans and other primates, the science of gelotology (from the Greek gelos, meaning laughter) has been established; it is the study of laughter and its effects on the body from both a psychological and physiological perspective. While jokes can provoke laughter, laughter cannot be used as a one-to-one marker of jokes because there are multiple stimuli to laughter, humour being just one of them. The other six causes of laughter listed are social context, ignorance, anxiety, derision, acting apology, and tickling. As such, the study of laughter is a secondary albeit entertaining perspective in an understanding of jokes. Computational humour is a new field of study which uses computers to model humour; it bridges the disciplines of computational linguistics and artificial intelligence. A primary ambition of this field is to develop computer programs which can both generate a joke and recognise a text snippet as a joke. Early programming attempts have dealt almost exclusively with punning because this lends itself to simple straightforward rules. These primitive programs display no intelligence; instead, they work off a template with a finite set of pre-defined punning options upon which to build. More sophisticated computer joke programs have yet to be developed. Based on our understanding of the SSTH / GTVH humour theories, it is easy to see why. The linguistic scripts (a.k.a. frames) referenced in these theories include, for any given word, a "large chunk of semantic information surrounding the word and evoked by it [...] a cognitive structure internalized by the native speaker". These scripts extend much further than the lexical definition of a word; they contain the speaker's complete knowledge of the concept as it exists in his world. As insentient machines, computers lack the encyclopaedic scripts which humans gain through life experience. They also lack the ability to gather the experiences needed to build wide-ranging semantic scripts and understand language in a broader context, a context that any child picks up in daily interaction with his environment. Further development in this field must wait until computational linguists have succeeded in programming a computer with an ontological semantic natural language processing system. It is only "the most complex linguistic structures [which] can serve any formal and/or computational treatment of humor well". Toy systems (i.e. dummy punning programs) are completely inadequate to the task. Despite the fact that the field of computational humour is small and underdeveloped, it is encouraging to note the many interdisciplinary efforts which are currently underway. See also Notes References Further reading |
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[SOURCE: https://en.wikipedia.org/wiki/Book_of_Genesis] | [TOKENS: 5187] |
Contents Book of Genesis The Book of Genesis (from Greek Γένεσις, Génesis, 'Origin'; Biblical Hebrew: בְּרֵאשִׁית, romanized: Bərēʾšīṯ, lit. 'In [the] Beginning'; Latin: Liber Genesis) is the first book of the Hebrew Bible and the Christian Old Testament. The Hebrew name bereshit ('in the beginning') is taken directly from the first word. The primary narrative of Genesis includes a legendary account of the creation of the world, the early history of the human race, and the origins of the Jewish people. In Judaism, the theological importance of Genesis centers on the covenants linking God to his chosen people and the people to the Promised Land. Genesis is part of the Torah, the first five books of the Bible (or Pentateuch). Tradition credits Moses as the Torah's author. However, there is scholarly consensus that the Book of Genesis was composed several centuries later, after the Babylonian captivity, possibly in the fifth century BCE. Based on the scientific interpretation of archaeological, genetic, and linguistic evidence, mainstream biblical scholars consider Genesis to be primarily mythological rather than historical. It is divisible into two parts: the primeval history (chapters 1–11) and the ancestral history (chapters 12–50). The primeval history sets out the author's concepts of the nature of the deity and of humanity's relationship with its maker: God creates a world which is good and fit for humans, but when humanity corrupts it with sin, God decides to destroy his creation, sparing only the righteous Noah and his family to re-establish the relationship between man and God. The ancestral history (chapters 12–50) tells of the prehistory of Israel, God's chosen people. At God's command, Noah's descendant Abraham journeys from his birthplace (described as Ur of the Chaldeans and whose identification with Sumerian Ur is tentative in modern scholarship) into the God-given land of Canaan, where he dwells as a sojourner, as does his son Isaac and his grandson Jacob. Jacob's name is changed to "Israel", and through the agency of his son Joseph, the children of Israel descend into Egypt, 70 people in all with their households, and God promises them a future of greatness. Genesis ends with Israel in Egypt, ready for the coming of Moses and the Exodus (departure). The narrative is punctuated by a series of covenants with God, successively narrowing in scope from all peoples (the covenant with Noah) to a special relationship with one people alone (Abraham and his descendants through Isaac and Jacob). Title The name Genesis is from the Latin Vulgate, in turn borrowed or transliterated from Greek Γένεσις, meaning 'origin', which is the name of the book in the Septuagint; in Hebrew, consistent with the naming convention for the Pentateuch, the book is titled by its first word, בְּרֵאשִׁית, meaning 'In [the] beginning'. Composition Genesis was written anonymously, but both Jewish and Christian religious tradition attributes the entire Pentateuch—Genesis, Exodus, Leviticus, Numbers and Deuteronomy—to Moses. During the Enlightenment, the philosophers Baruch Spinoza and Thomas Hobbes questioned Mosaic authorship. In the 17th century, Richard Simon proposed that the Pentateuch was written by multiple authors over a long period of time. The involvement of multiple authors is suggested by internal contradictions within the text. For example, Genesis includes two creation narratives. At the end of the 19th century, most scholars adopted the documentary hypothesis. This theory held that the five books of the Pentateuch came from four sources: the Yahwist (abbreviated as J), the Elohist (E), the Deuteronomist (D) and the Priestly source (P). Each source was held to tell the same basic story, with the sources later combined by various editors. Scholars were able to distinguish sources based on the designations for God. For example, the Yahwist source uses Yahweh, while the Elohistic and Priestly sources use Elohim. Scholars also use repeated and duplicate stories to identify separate sources. In Genesis, these include the two creation stories, three different wife–sister narratives, and the two versions of Abraham sending Hagar and Ishmael into the desert.[page needed] According to the documentary hypothesis, J was produced during the 9th century BCE in the southern Kingdom of Judah and was believed to be the earliest source. E was written in the northern Kingdom of Israel during the 8th century BCE. D was written in Judah in the 7th century BCE and associated with the religious reforms of King Josiah c. 625 BCE. The latest source was P, which was written during the 5th century in Babylon. Based on these dates, Genesis and the rest of the Pentateuch did not reach its final, present-day form until after the Babylonian Exile. Julius Wellhausen argued that the Pentateuch was finalized in the time of Ezra. Ezra 7:14 records that Ezra traveled from Babylon to Jerusalem in 458 BCE with God's law in his hand. Wellhausen argued that this was the newly compiled Pentateuch. Nehemiah 8–10, according to Wellhausen, describes the publication and public acceptance of this new law code c. 444 BCE. There was now a large gap between the earliest sources of the Pentateuch and the period they claimed to describe, which ended c. 1200 BCE. Most scholars held to the documentary hypothesis until the 1980s. Since then, a number of variations and revisions of the documentary hypothesis have been proposed. The new supplementary hypothesis posits three main sources for the Pentateuch: J, D, and P. The E source is considered no more than a variation of J, and P is considered a body of revisions and expansions to the J (or "non-Priestly") material. The Deuteronomistic source does not appear in Genesis. G.I. Davies argued that J dates from either just before or during the Babylonian Exile, and the Priestly final edition was made late in the Exilic period or soon after. In the 21st century, there is scholarly consensus that the Book of Genesis was composed after the Babylonian captivity, possibly in the fifth century BCE. In contrast, Ronald Hendel and Aaron Hornkohl have proposed a date prior to the Persian period (before 550 BCE) based on linguistic grounds. Russell Gmirkin has argued that Genesis was composed in the late 270s BCE, drawing on Greek sources like Berossus' Babyloniaca and reflecting the political context of the Seleucid and Ptolemaic realms. As for why the book was created, a theory which has gained considerable interest, although still controversial, is that of Persian imperial authorisation. This proposes that the Persians of the Achaemenid Empire, after their conquest of Babylon in 539 BCE, agreed to grant Jerusalem a large measure of local autonomy within the empire, but required the local authorities to produce a single law code accepted by the entire community. The two powerful groups making up the community—the priestly families who controlled the Second Temple and who traced their origin to Moses and the wilderness wanderings, and the major landowning families who made up the "elders" and who traced their own origins to Abraham, who had "given" them the land—were in conflict over many issues, and each had its own "history of origins". However, the Persian promise of greatly increased local autonomy for all provided a powerful incentive to cooperate in producing a single text. Genre Genesis is an example of a work in the "antiquities" genre, as the ancient Romans knew it, a popular genre telling of the appearance of humans and their ancestors and heroes, with elaborate genealogies and chronologies fleshed out with stories and anecdotes. Notable examples are found in the works of ancient Greek historians (6th century BCE): their intention was to connect notable families of their own day to a distant and heroic past, and in doing so they did not distinguish between myth, legend, and facts. Professor Jean-Louis Ska of the Pontifical Biblical Institute calls the basic rule of the antiquarian historian the "law of conservation": everything old is valuable, nothing is eliminated. This antiquity was needed to prove the worth of Israel's traditions to the nations (the neighbours of the Jews in the early Persian province of Judea), and to reconcile and unite the various factions within Israel itself. Describing the work of the biblical authors, John Van Seters wrote that lacking many historical traditions and none from the distant past, "They had to use myths and legends for earlier periods. In order to make sense out of the variety of different and often conflicting versions of stories, and to relate the stories to each other, they fitted them into a genealogical chronology." Tremper Longman describes Genesis as theological history: "the fact that these events took place is assumed, and not argued. The concern of the text is not to prove the history but rather to impress the reader with the theological significance of these acts". Textual variation The original manuscripts are lost, and the text of surviving copies varies. There are four major groupings of surviving manuscripts: the Masoretic Text, the Samaritan Pentateuch (in Samaritan script), the Septuagint (a Greek translation), and fragments of Genesis found in the Dead Sea Scrolls. The Dead Sea Scrolls are oldest but cover only a small portion of the book. Structure Genesis appears to be structured around the recurring phrase elleh toledot, meaning "these are the generations", with the first use of the phrase referring to the "generations of heaven and earth" and the remainder marking individuals. The toledot formula, occurring eleven times in the book of Genesis, serves as a heading which marks a transition to a new subject. The toledot divide the book into the following sections: It is not clear, however, what this meant to the original authors, and most modern commentators divide it into two parts based on the subject matter, a primeval history (chapters 1–11) and a patriarchal history (chapters 12–50).[b] While the first is far shorter than the second, it sets out the basic themes and provides an interpretive key for understanding the entire book. The primeval history has a symmetrical structure hinging on the flood story (chapters 6–9) with the events before the flood mirrored by the events after. The ancestral history is structured around the three patriarchs Abraham, Jacob and Joseph. The stories of Isaac arguably do not make up a coherent cycle of stories and function as a bridge between the cycles of Abraham and Jacob. Summary The Genesis creation narrative comprises two different stories; the first two chapters roughly correspond to these.[c] In the first, Elohim, the generic Hebrew word for God, creates the heavens and the earth including man, in six days, and rests on the seventh. In the second, God, now referred to as "Yahweh Elohim" (rendered as "the LORD God" in English translations), creates two individuals, Adam and Eve, as the first man and woman, and places them in the Garden of Eden. God commands the man that he is free to eat from any tree, including the tree of life, except from the tree of the knowledge of good and evil. A serpent, portrayed as a deceptive creature or trickster, convinces Eve to eat the fruit. She then convinces Adam to eat it. Both become ashamed of their nudity, and are discovered by God, who exiles them from Eden and punishes them. Adam is forced to gain his sustenance by difficult toil, and Eve to giving birth in pain. This is interpreted by Christians as the "fall of man" into sin. Eve bears two sons, Cain and Abel. Cain works in the garden, and Abel works with meat; they both offer offerings to God one day, and God does not accept Cain's offering but does accept Abel's. This causes Cain to resent Abel; he takes Abel to a field and murders him. God then curses Cain. Eve bears another son, Seth, to take Abel's place. After many generations of Adam have passed from the lines of Cain and Seth, the world has become corrupted by human sin and Nephilim. God intends to wipe out humanity for their wickedness. However, Noah is righteous and blameless. God instructs Noah to construct an ark and store in it all the animals, seven pairs of every clean animal and one pair of every unclean. Then God sends a great flood to destroy all the world. When the waters recede, God establishes a covenant with Noah, promising he will never destroy the world with water again, and making a rainbow as a symbol of his promise. God sees mankind cooperating to build a great tower city, the Tower of Babel. He divides humanity with many languages and sets them apart with confusion. Then, a generation line from Shem to Abram is described. Abram, a man descended from Noah, is instructed by God to travel from his home in Ur of the Chaldees to the land of Canaan. There, God makes a promise to Abram, promising that his descendants shall be as numerous as the stars, but that people will suffer oppression in a foreign land for four hundred years, after which they will inherit the land "from the river of Egypt to the great river, the river Euphrates". Abram's name is changed to Abraham and that of his wife and half-sibling Sarai to Sarah (meaning 'princess'). God institutes that all males should be circumcised as a sign of his promise to Abraham. Due to her old age, Sarah tells Abraham to take her Egyptian handmaiden, Hagar, as a second wife. Through Hagar, Abraham fathers Ishmael. God then plans to destroy the cities of Sodom and Gomorrah for the sins of their people. Abraham pleads for the city, that it may not be destroyed if ten righteous people are found there. Angels remove Abraham's nephew, Lot, and his family from Sodom. The cities are destroyed; his wife turns to view them and is turned into a pillar of salt. Lot's daughters, concerned that they are fugitives who will never find husbands, inebriate Lot so they can become pregnant by him, and give birth to the ancestors of the Moabites and Ammonites. Abraham and Sarah go to the Philistine town of Gerar, claiming to be brother and sister. The King of Gerar takes Sarah for his wife, but God warns him to return her and he obeys. God sends Sarah a son and tells her she should name him Isaac; through him will be the establishment of the covenant. Sarah then drives Ishmael and his mother Hagar out into the wilderness, but God saves them and promises to make Ishmael a great nation. God tests Abraham by demanding that he sacrifice Isaac. As Abraham is about to lay the knife upon his son, "the Angel of the LORD" restrains him, rewarding his obedience by promising him again innumerable descendants. On the death of Sarah, Abraham purchases Machpelah (believed to be modern Hebron) for a family tomb and sends his servant to Mesopotamia to find among his relations a wife for Isaac; after proving herself worthy, Rebekah becomes Isaac's betrothed. Keturah, Abraham's other wife, births more children, among whose descendants are the Midianites. Abraham dies at a prosperous old age and his family lays him to rest in Hebron (Machpelah). Isaac's wife Rebekah gives birth to the twins Esau, father of the Edomites, and Jacob. Esau, being born first, is owed the birthright; however, through carelessness, he sells his birthright to Jacob for a bowl of stew. Rebekah ensures Jacob rightly gains his father's blessing as the firstborn son and inheritor. At 77 years of age, Jacob seeks a wife and meets Rachel at a well. He goes to her father and his uncle, Laban, where he works for fourteen years to acquire Leah, Laban's first-born daughter, and Rachel. Jacob leads his family out of Laban's household; by his wives and their handmaidens he has twelve sons, the ancestors of the Twelve Tribes of Israel, and a daughter, Dinah. Jacob's name is changed to Israel after wrestling with an angel. Shechem, son of Hamor the Hivite, rapes Dinah and asks his father to get Dinah for him as his wife, Jacob agrees to the marriage but requires that all the males of Hamor's tribe be circumcised, including Hamor and Shechem. Jacob's sons Simeon and Levi murder all the males in Hamor's tribe while they are recuperating from their circumcisions. Jacob warns that their act would mean retribution by others, namely the Canaanites and Perizzites. Jacob and his tribe take all Hivite property. Joseph, Jacob's favorite son of the twelve, makes his brothers jealous. They covertly sell Joseph into slavery in Egypt. Joseph endures many trials including being innocently sentenced to jail but remains faithful to God. After several years, he prospers there after the pharaoh of Egypt asks him to interpret a dream he had about an upcoming famine, which Joseph does through God. He is then made second in command of Egypt by the grateful pharaoh, and later on, he is reunited with his father and brothers, who fail to recognize him and plead for food as the famine reaches Canaan. After testing their faith, Joseph reveals himself, forgives them for their actions, and lets them and their households into Egypt, where Pharaoh assigns to them the land of Goshen. Jacob calls his sons to his bedside and reveals their future before he dies. Joseph lives to old age and tells his brothers before his death that if God leads them out of the country, then they should take his bones with them. Themes In 1978, David Clines published The Theme of the Pentateuch. Considered influential as one of the first authors to take up the question of the overarching theme of the Pentateuch, Clines' conclusion was that the overall theme is "the partial fulfilment—which implies also the partial nonfulfillment—of the promise to or blessing of the Patriarchs". (By calling the fulfilment "partial", Clines was drawing attention to the fact that at the end of Deuteronomy the people of Israel are still outside Canaan.) The patriarchs, or ancestors, are Abraham, Isaac and Jacob, with their wives (Joseph is normally excluded). Since the name YHWH had not been revealed to them, they worshipped El in his various manifestations. (It is, however, worth noting that in the Jahwist source, the patriarchs refer to deity by the name YHWH, for example in Genesis 15.) Through the patriarchs, God announces the election of Israel, that is, he chooses Israel to be his special people and commits himself to their future. God tells the patriarchs that he will be faithful to their descendants (i.e. to Israel), and Israel is expected to have faith in God and his promise. ("Faith" in the context of Genesis and the Hebrew Bible means an agreement to the promissory relationship, not a body of a belief.) The promise itself has three parts: offspring, blessings, and land. The fulfilment of the promise to each patriarch depends on having a male heir, and the story is constantly complicated by the fact that each prospective mother—Sarah, Rebekah and Rachel—is barren. The ancestors, however, retain their faith in God and God in each case gives a son—in Jacob's case, twelve sons, the foundation of the chosen Israelites. Each succeeding generation of the three promises attains a more rich fulfilment, until through Joseph "all the world" attains salvation from famine, and by bringing the children of Israel down to Egypt he becomes the means through which the promise can be fulfilled. Scholars generally agree that the theme of divine promise unites the patriarchal cycles, but many would dispute the efficacy of trying to examine Genesis' theology by pursuing a single overarching theme, instead citing as more productive the analysis of the Abraham cycle, the Jacob cycle, and the Joseph cycle, and the Yahwist and Priestly sources. The problem lies in finding a way to unite the patriarchal theme of the divine promise to the stories of Genesis 1–11 (the primeval history) with their theme of God's forgiveness in the face of man's evil nature. One solution is to see the patriarchal stories as resulting from God's decision not to remain alienated from man: God creates the world and humans, humans rebel, and God "elects" (chooses) Abraham. To this basic plot (which comes from the Yahwist), the Priestly source has added a series of covenants dividing history into stages, each with its own distinctive "sign". The first covenant is between God and all living creatures, and is marked by the sign of the rainbow; the second is with the descendants of Abraham (Isaac and Ishmael), and its sign is circumcision; and the last, which does not appear until the Book of Exodus, is with Israel alone, and its sign is Sabbath. A great leader mediates each covenant (Noah, Abraham, Moses), and at each stage God progressively reveals himself by his name (Elohim with Noah, El Shaddai with Abraham, Yahweh with Moses). Throughout Genesis, various figures engage in deception or trickery to survive or prosper. Biblical scholar David M. Carr notes that such stories reflect the vulnerability felt by ancient Israelites and that "such stories can be a major way of gaining hope and resisting domination". Examples include: Cultural impact By totaling the spans of time in the genealogies of Genesis, religious authorities have calculated what they consider to be the age of the world since creation. This Anno Mundi system of counting years is the basis of the Hebrew calendar and Byzantine calendar. Counts differ somewhat, but they generally place the age of the Earth at about six thousand years. During the Protestant Reformation, rivalry between Catholic and Protestant Christians led to a closer study of the Bible and a competition to take its words more seriously. Thus, scholars in Europe from the 16th to the 19th century treated the book of Genesis as factual. As evidence in the fields of paleontology, geology and other sciences was uncovered, scholars tried to fit these discoveries into the Genesis creation account. For example, Johann Jakob Scheuchzer in the 18th century believed that fossils were the remains of creatures killed during the flood. This literal understanding of Genesis fell out of favor with scholars during the Victorian crisis of faith as evidence mounted that the Earth was far older than six thousand years. The Book of Genesis has had a significant cultural impact on later ideas about human dignity and moral worth, particularly through its assertion that humanity (adam, meaning humankind) is created in the image of God. This concept has been widely interpreted as affirming the intrinsic value of every human being, regardless of social rank or political status, and became a foundational theme within Judaism, Christianity, and Islam. Scholars have noted that this biblical anthropology influenced later Western moral and political thought, including Enlightenment-era discussions of natural rights and human equality. In this context, religion professor Elaine Pagels cited elements of Genesis as part of the intellectual background to documents such as the United States Declaration of Independence, which frames rights to life and liberty as universal and grounded in nature and divine authority, even as those ideas were articulated through secular philosophical traditions shaped by early modern Europe. Judaism's weekly Torah portions It is a custom among religious Jewish communities for a weekly Torah portion, popularly referred to as a parashah, to be read during Jewish prayer services on Saturdays, Mondays and Thursdays. The full name, פָּרָשַׁת הַשָּׁבוּעַ, Parashat ha-Shavua, is popularly abbreviated to parashah (also parshah /pɑːrʃə/ or parsha), and is also known as a Sidra (or Sedra /sɛdrə/). The parashah is a section of the Torah (Five Books of Moses) used in Jewish liturgy during a particular week. There are 54 weekly parshas, or parashiyot in Hebrew, and the full cycle is read over the course of one Jewish year. The first 12 of the 54 come from the Book of Genesis, and they are: See also Notes References Bibliography Further reading External links |
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