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[SOURCE: https://en.wikipedia.org/wiki/European_golden_plover] | [TOKENS: 1060] |
Contents European golden plover The European golden plover (Pluvialis apricaria), also known as the Eurasian golden plover, or just the golden plover within Europe, is a relatively large species of plover. This species is similar to two other golden plovers, the American golden plover, Pluvialis dominica, and Pacific golden plover, Pluvialis fulva, which are both slightly smaller, slimmer and longer-legged than European golden plover, and both have grey rather than white axillary (armpit) feathers (visible in flight, and when the bird stretches its wings on the ground). Taxonomy The European golden plover was formally described by the Swedish naturalist Carl Linnaeus in 1758 in the tenth edition of his Systema Naturae. He placed it with the other plovers in the genus Charadrius and coined the binomial name Charadrius apricarius. The species is now placed in the genus Pluvialis that was introduced in 1760 by the French zoologist Mathurin Jacques Brisson. The genus name is Latin and means "relating to rain", from pluvia, "rain". It was believed that golden plovers flocked when rain was imminent. The species name apricaria is Latin and means "to bask in the sun". The European golden plover is monotypic: no subspecies are recognised. Description The European golden plover is quite thickset, with its wings only being slightly longer than its tail. Its most distinct feature is a white "s"-shaped band stretching from its forehead to its flanks. Distribution and habitat The European golden plover tends to breed in the Arctic tundra and other moorland areas, ranging as far west as Iceland, where they are called Heiðlóa, and as far east as central Siberia; the southernmost breed in Wales and Belarus, after a small breeding population on Dartmoor in southwest England became extinct in about 2010. In winter, it migrates southwest to milder regions of Europe, northwest Africa, and southwest Asia, from Ireland east to Denmark, and south to the Mediterranean region as far as Algeria, northern Egypt, and the Caspian Sea coast of Iran. It tends to gather in large flocks in open areas such as agricultural plains, ploughed land, and short meadows, ranging from lowland plains to subarctic plateaus, typically in flat terrain with moderate vegetation near wetlands. Vagrants have been recorded west to the east coast of Canada (Newfoundland, Nova Scotia), south to Gambia, and east to Pakistan and northern India. Behaviour and ecology The European golden plover's call is a monosyllabic, slightly descending, melancholic "tuu". Its flight action is rapid and powerful, with regular wingbeats. In the United Kingdom, golden plover chicks rely on craneflies for feeding, while in Sweden march flies are more important. Status The European golden plover is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies. Overall, the species is secure, being listed by IUCN as Least Concern, but populations on the southern fringe of the breeding range are declining or extinct in several countries, including Britain, Denmark (extinct as a breeding bird), Belgium (extinct as a breeding bird), Poland (extinct as a breeding bird), Germany, and southern Sweden. It is most abundant in Iceland, which holds about a third of the global population. In culture The European golden plover spends summers in Iceland, and in Icelandic folklore, the appearance of the first plover in the country means that spring has arrived. The Icelandic media always covers the first plover sighting, which in 2017, took place on 27 March, and in 2020, on 16 March. The plover is also a symbol of femininity and womanhood in Iceland. On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a Eurasian golden plover, he became involved in an argument over which was the fastest game bird in Europe, the golden plover or the red grouse (the former being correct). That evening at Castlebridge House, he realised that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must be numerous other questions debated nightly in pubs throughout Ireland, but there was no book in the world with which to settle arguments about records. He realised then that a book supplying the answers to this sort of question might prove popular. A Guinness employee told Sir Hugh of two twin brothers, Norris and Ross McWhirter, who had opened a fact checking agency in London. Sir Hugh interviewed the brothers and, impressed by their prodigious knowledge, commissioned the book. Later, he published the first Guinness World Records which became a best seller within months. Gallery References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Red_grouse] | [TOKENS: 2318] |
Contents Red grouse Lagopus lagopus scoticus The red grouse (Lagopus scotica) is a medium-sized bird in the grouse family which is found in heather moorland in Great Britain and Ireland. It was formerly classified as a subspecies of the willow grouse (Lagopus lagopus) but is now considered to be a separate species. It is also known as the moorcock, moorfowl or moorbird. Lagopus is derived from Ancient Greek lagos (λαγος), meaning "hare", + pous (πους), "foot", in reference to the feathered feet and toes typical of this cold-adapted genus, and scotica means "of Scotland". The red grouse is the emblem of the journal British Birds. The red grouse is also the logo of The Famous Grouse whisky and an animated bird is a character in a series of its advertisements. Description The red grouse is distinguished from the willow grouse and rock ptarmigan by its reddish brown plumage being present all year, lacking any white winter plumage or white wing feathers. The tail is black and the legs are white. There are white stripes on the underwings and red crests above the eyes. Females are less reddish than the males and have less prominent crests. Juveniles are duller and lack the red crests. Birds in Ireland are sometimes thought to be a separate subspecies L. l. hibernica, but this is not currently accepted as distinct. They are slightly paler than those in Britain and the females have yellower plumage with more finely barred underparts. This may be an adaptation to camouflage them in moorland with more grass and sedge growth and less heather. It is audially identified by its 'chut!chut!chut!chut!chut!chuttt....' call, or the 'Goback, goback, goback' vocalisation. The wings make a whirring sound when the bird is disturbed from a resting place. Grouse populations exhibit periodic cycles in which the population peaks to very high densities before crashing and recovering a few years later. The main causative agent of this cyclical pattern is thought to be the parasitic nematode worm Trichostrongylus tenuis. However, V. C. Wynne-Edwards suggests that the primary cause of mortality in grouse populations is homeostasis, which is largely dependent on food availability, and that the 'Grouse disease', due to the parasitic worm Trichostrongylus tenuis is a misdiagnosis of the after-effects of social exclusion.[page needed] Distribution and habitat The red grouse is endemic to Britain and Ireland. It evolved in isolation from other subspecies of the willow grouse which are widespread in northern parts of Eurasia and North America. It is found across most parts of Scotland, including Orkney, Shetland and most of the Outer Hebrides; it is only absent from urban areas, such as in the Central Belt, and other coastal lowlands in the south and east. There are sporadic populations in Wales, but their range has retracted. They are now largely absent from the far south, their main strongholds being Snowdonia, the Brecon Beacons and the Cambrian Mountains. In England it is mainly found in the north, in Northumberland, County Durham, the Lake District, much of Yorkshire, the Pennines and the Peak District, as far south as the Staffordshire Moorlands; Welsh spillover birds also visit and breed in the Shropshire Hills such as Long Mynd. In Ireland it can be found locally in most higher altitude parts of the country; it is most common in County Mayo, where the population is increasing, and on the County Antrim plateau, with other healthy populations in the Slieve Bloom Mountains and the Knockmealdown Mountains; There is still a small population in the Wicklow Mountains in southern County Dublin. The small population in the Isle of Man is mostly concentrated in the southern hills but conservation work is ongoing throughout the uplands to ensure the species' continued viability.[citation needed] Its typical habitat is upland heather moorland with the absence of trees. It can also be found in some low-lying bogs, and birds sometimes visit farmland during harsh winter weather, where they will sometimes eat hawthorn berries in hedgerows. The British population is estimated at 250,000 pairs with around 1–5,000 pairs in Ireland. A decline in population numbers has been observed in recent years, with birds now absent from areas where they were previously common. The primary causes for the decline include the loss of heather due to overgrazing, establishment of new conifer plantations and a decline in the number of upland gamekeepers. The species was introduced to Exmoor in the 1820s and Dartmoor in 1915–1916; the Exmoor population now appears to be extinct, with the last birds sighted as recently as 2009, but it is still present on Dartmoor. An introduced population in Suffolk died out in the early 20th century.[citation needed] Red grouse were also introduced to the Hautes Fagnes region of Belgium but the population there died out in the early 1970s.[citation needed] Behaviour The red grouse is a herbivore, feeding mainly on the shoots, seeds and flowers of heather. It will also eat berries, cereal crops and sometimes insects. Pair formation among birds begins in autumn, with males becoming increasingly territorial as winter progresses. The nest is a shallow scrape measuring up to 20 cm (7.9 in) wide which is lined with vegetation. About six to nine eggs are laid, mainly during April and May. They are oval, shiny and pale yellow with dark brown spots. The eggs incubate for 19 to 25 days, the chicks are able to fly within 12 to 13 days. They are fully grown after 30 to 35 days. Conservation The Member States of the European Union are required by Council Directive 2009/147/EC on the conservation of wild birds (popularly called the Birds Directive) to take necessary measures to protect the red grouse; however, as it is a species listed in Annex II of the Directive, Article 7 allows for hunting under national law, provided that it does not threaten population levels. In 2002, Ireland was found by the European Court of Justice to be in breach of its obligations under an earlier Birds Directive to protect the red grouse by allowing an important breeding site to become degraded through overgrazing by sheep. Conservation measures taken as a result of the judgment have doubled the population in the area from c.400 to 800. As a game bird The red grouse is considered a game bird and is shot in large numbers during the shooting season, which traditionally begins on August 12, known as the Glorious Twelfth. There is vigorous competition between some London restaurants to serve freshly shot grouse on August 12, with birds being flown in from the moors and cooked within hours. Shooting can take the form of 'walked up' (where shooters walk across the moor to flush grouse and shoot) or 'driven' (where grouse are driven, often in large numbers, by 'beaters' towards the guns who are hiding behind a line of 'butts'). Many moors are managed to increase densities of grouse. Areas of heather are subjected to controlled burning to allow the regeneration of fresh young shoots, which are considered a preferred food source for grouse. Extensive predator control is another feature of grouse moor management: foxes, stoats and crows are usually heavily controlled on grouse moors. The extent to which this is done on grouse moors is a subject of considerable debate between conservation groups and shooting interests, and attracts much media attention in relation to grouse moors and shooting. In recent decades the practice of using medicated grit and direct dosing of birds against an endoparasite, the strongyle worm or threadworm (Trichostrongylus tenuis), has become part of the management regime on many moors. As food As with most other game birds, the flavour of grouse meat is enhanced if the bird is hung for several days after being shot and before being eaten. Roasting is the most common method of cooking a grouse. The Cookery Book of Lady Clark of Tillypronie (1909) has 11 recipes for using grouse. The recipe "To cook old birds" is as follows: Old grouse are not fit for cooking till the feathers pull very loosely from the "apron". When "high", put a piece of bread inside them while roasting; take out the bread before dishing, and throw it away. A good gravy should be served with them in a boat, none in the dish, but put the birds on a toast when bread is plentiful. — Lady Clark of Tillypronie Scientific study Red grouse have been the subject of extensive scientific study due to their economic and social importance as well as their unusual lifecycle and biological traits. They were the subject of some of the earliest studies of population biology in birds, as detailed in The Grouse in Health and in Disease by Lord Lovat in 1911. Since the mid-20th century they have been the focus of ongoing research by numerous organisations and individuals. Significant contributions have been made by the Institute of Terrestrial Ecology in the eastern Cairngorms, and by the Game & Wildlife Conservation Trust in the Central Highlands. Contemporary research continues to explore diverse aspects of grouse biology, with a substantial corpus of published literature available. Parasites and viruses The red grouse is susceptible to infestation by parasites and viruses that can have a severe impact on population levels. Strongylosis or 'grouse disease' is caused by the strongyle worm, which causes damage and internal bleeding after burrowing into the caecum. This endoparasite is often ingested with the tops of young heather shoots and can lead to mortality and poor health, including a decrease in the bird's ability to control the scent it emits. First diagnosed in the UK in 2010, respiratory cryptosporidiosis, caused by Cryptosporidium baileyi, is present on about half of the grouse moors in northern England, where it reduces natural survival and productivity of red grouse. Louping ill virus is a flavivirus (RNA virus), also known as sheep encephalomyelitis virus. Flaviviruses are transmitted by arthropods, and louping ill virus is transmitted by ticks. In red grouse, this virus can cause mortality as high as 78%. The main tick vector is the sheep tick Ixodes ricinus. Although tick-borne diseases are conventionally thought to be caused when the parasite bites its host, it has been shown that red grouse chicks can be affected when they ingest ticks with which they come into contact. This virus may be a significant factor in red grouse populations. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Matte_painting] | [TOKENS: 1421] |
Contents Matte painting A matte painting is a painted representation of a landscape, set, or distant location that allows filmmakers to create the illusion of an environment that is not present at the filming location. Historically, matte painters and film technicians have used various techniques to combine a matte-painted image with live-action footage (compositing). At its best, depending on the skill levels of the artists and technicians, the effect is seamless and creates environments that would otherwise be impossible or expensive to film. In the scenes, the painting part is static while movements are integrated on it. Background Traditionally, matte paintings were made by artists using paints or pastels on large sheets of glass for integrating with the live-action footage. The first known matte painting shot was made in 1907 by Norman Dawn (ASC), who improvised the crumbling California Missions by painting them on glass for the movie Missions of California. Notable traditional matte-painting shots include Dorothy's approach to the Emerald City in The Wizard of Oz (1939), Charles Foster Kane's Xanadu in Citizen Kane (1941) and the seemingly bottomless tractor-beam set of Star Wars Episode IV: A New Hope (1977). The documentary The Making of Star Wars mentioned the technique used for the tractor beam scene as being a glass painting. By the mid-1980s, advancements in computer graphics programs allowed matte painters to work in the digital realm. The first digital matte shot was created by painter Chris Evans for Young Sherlock Holmes (1985) for a scene featuring a computer-graphics (CG) animation of a knight leaping from a stained-glass window. Evans first painted the window in acrylics, then scanned the painting into LucasFilm's Pixar system for further digital manipulation. The computer animation (another first) blended perfectly with the digital matte, which could not have been accomplished using a traditional matte painting. From traditional to digital Traditional matte painting is older than the movie camera itself and has been already practiced in the early years of photography to create painted elements in photographs. With the advantages of the digital age, matte painters have slowly transitioned to a digital work environment, using pressure-sensitive pens and graphic tablets in conjunction with painting software such as Adobe Photoshop. A digital matte painter is part of a visual effects team being involved in post-production, as opposed to a traditional matte painter, who was a special effects crew, often creating matte paintings on set to be used as backdrops. Throughout the 1990s, traditional matte paintings were still in use, but more often in conjunction with digital compositing. Die Hard 2 (1990) was the first film to use digitally composited live-action footage with a traditional glass matte painting that had been photographed and scanned into a computer. It was for the last scene, which took place on an airport runway. By the end of the decade, the time of hand-painted matte paintings was drawing to a close, although as late as the late 1990s some traditional paintings were still being made, notably Chris Evans’ painting of the RMS Carpathia rescue ship in James Cameron’s Titanic (1997). One particular drawback to the work of the digital matte artist is an occasional tendency of their output to look too realistic, which traditional artists avoided by using impressionistic elements or by suggesting details. What this means is that digital matte art is often characterized by an artificially perfect look. One of the modern approaches adopted to address this is the integration of details from a photograph, say, of real places to depict realistic scenes. It is this reason why some digital matte artists refer to their work as a combination of digital painting, photo manipulation, and 3D, for the purpose of creating virtual sets that are hard or impossible to find in the real world. Paint was superseded in the 21st century by digital images created using photo references, 3-D models, and drawing tablets. Matte painters combine their digitally matte painted textures within computer-generated 3-D environments, allowing for 3-D camera movement. Lighting algorithms used to simulate lighting sources expanded in scope in 1995, when radiosity rendering was applied to film for the first time in Martin Scorsese's Casino (1995). Matte World Digital collaborated with LightScape to simulate the indirect bounce-light effect of millions of neon lights of the 1970s-era Las Vegas strip. Lower computer processing times continue to alter and expand matte painting technologies and techniques. Matte painting techniques are also implemented in concept art and used often in games and even high end production techniques in animation. Digital matte artists A digital matte artist, or digital matte painter (DMP), is today's modern form of a traditional matte painter in the entertainment industry. They digitally paint photo-realistic interior and exterior environments that could not have been otherwise created or visited. The term 'digital' is used to distinguish a DMP from a traditional matte painter. Craig Barron, the co-founder of Matte World Digital, offered an insight regarding the transition of the art from traditional to digital in the following words: It is difficult to categorize what a matte painting shot is today... Most filmmakers still call what we do matte shots, and we like that because we see our work as an extension of the original craft. But it's more accurate to say we are involved in environment creation. The time period and extent of involvement of a digital matte artist in film production varies by the type of film and by the artist's supervisor's (film producer, film director, art director) intentions. However, there are artists such as Mathieu Raynault who stated that they are often brought into the production at a very early stage, providing sketches and concepts to get a dialogue started with the director or art director. Raynault was involved on films like 300 (2006), Star Wars: Episode II – Attack of the Clones (2002) and two Lord of the Rings films (2001-2003), among others. Because of the growing need for 'moving' mattes, camera projection mapping has been implemented into the matte painting timeline. Although ILM CG Supervisor Stefen Fangmeier came up with the idea of projecting Yusei Uesugi's aerial painting of Neverland onto a 3D mesh modeled by Geoff Campbell while working on the motion picture Hook (1991), projection-mapping based 3D environment matte art was until recently, like its predecessor matte painting has been, the industry's best-kept secret. The involvement of 3D in this until then 2D art form was revealed by Craig Barron in 1998 after completing their work on the feature film Great Expectations (2012) when they introduced this technique as a 2.5D matte to the public. In production today this combination of 2D and 3D is part of every matte artist's bread and butter. Because of their high artistic skills, digital matte artists are often also involved with the creation of concept artwork. Notable uses Notable matte painters and technicians See also References Books |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Administrators] | [TOKENS: 4739] |
Contents Wikipedia:Administrators Administrators, commonly known as admins or sysops (system operators), are Wikipedia editors who have been granted the technical ability to perform certain special actions on the English Wikipedia. These include the ability to block and unblock user accounts, IP addresses, and IP ranges from editing, edit fully protected pages, protect and unprotect pages from editing, delete and undelete pages, rename pages without restriction, and use certain other tools. Administrators assume these responsibilities as volunteers after undergoing a community review process or being elected by their fellow editors. They do not act as employees of the Wikimedia Foundation. They are never required to use their tools, and must never use them to gain an advantage in a dispute in which they were involved. Administrators should not be confused with Wikimedia system administrators ("sysadmins"). The English Wikipedia has 822 administrators (see full list of accounts with administrator privileges or lists of administrators by activity level). Administrators' abilities Administrators have the technical ability to perform the following actions: By convention, administrators normally take responsibility for judging the outcomes of certain discussions, such as deletion discussions, move discussions, and move-review discussions, but non-admin editors may also close discussions (see, e.g., WP:Deletion process § Non-administrators closing discussions and WP:Requested moves/Closing instructions § Non-admin closure). Becoming an administrator On the English Wikipedia, there are two processes for becoming an administrator: through consensus established by public discussion, or by secret ballot. The English Wikipedia requires that administrator candidates possess the extended-confirmed user right. (Other Wikipedias have their own policies for granting adminship.) Only one account of a given person may have administrative tools. The only exception is that administrators may operate bots with administrative access. See WP:ADMINSOCK for more information. Administrator permissions are granted indefinitely, and is removed only upon request, under circumstances involving high-level intervention (see administrator abuse below), or due to inactivity. Any extended-confirmed user can request adminship ("RfA") from the community. However, administrators are expected to have the trust and confidence of the community, so requests from users who do not have considerable experience are usually not approved. Any editor can comment on a request, and each editor will assess each candidate in their own way. However, only editors possessing the extended-confirmed user right can "vote" on requests. Before requesting or accepting a nomination, candidates should generally be active, regular, and long-term Wikipedia editors, be familiar with the procedures and practices of Wikipedia, respect and understand its policies, and have gained the general trust of the community. Candidates are also required to disclose whether they have ever edited Wikipedia for pay. Questions regarding this are permitted to be asked of every candidate, by any editor in the community, throughout the RFA process. A discussion takes place for seven days about whether the candidate should become an administrator. Per community consensus, RfAs are advertised on editors' watchlists and Template:Centralized discussion. The community has instituted a question limit: no editor may ask more than two questions of a candidate. Also disallowed are multi-part questions that are framed as one question, but which in effect ask multiple questions and exceed the limit. Bureaucrats may "clerk" RfAs, dealing with comments and/or votes which they deem to be inappropriate. The RfA process allows other editors to get to know the candidate. Editors explore the candidate's involvement and background as an editor, conduct in discussions, and understanding of the role they are requesting. Editors state if they support or oppose the request, along with their reasons and impressions of the candidate. An uninvolved bureaucrat then determines if there is consensus to approve the request. This determination is not based exclusively on the percentage of support, but in practice most RfAs above 75% pass. The community has determined that in general, RfAs between 65 and 75% support should be subject to the discretion of bureaucrats. (Therefore, it logically follows that almost all RfAs below 65% support will fail.) While RfA is an intensive process, the quality of feedback and review on the candidate's readiness and demeanor by experienced editors is often very high. Applicants who are unsuccessful but take steps to address points raised will often succeed on a subsequent request some months later. If you are interested in requesting adminship, you should first read the guide to requests for adminship and the nomination instructions. When you are ready to apply, you may add your nomination to the Wikipedia:Requests for adminship ("RfA") page, according to the instructions on that page. Administrators can also be selected by an administrator election with a secret ballot. Administrator elections, which began in 2024, do not replace RfA, and prospective administrators may freely choose which process to use. A trial election was held in October 2024. Administrator elections were authorized permanently on a 5-month schedule in an RfC held in early 2025. Excluding the pre-election windows for candidate nominations and ballot setup, the process lasts 12 days: a 5-day period for discussion and questions, followed by a 7-day period for a secret ballot vote. Election cycles and the timeframes for each window and period are advertised in advance, including by watchlist notices. After voting has ended, the election will be scrutinised by three English Wikipedia CheckUsers or stewards. They will check for any duplicate, ineligible, or sockpuppeteer votes, and strike them as necessary. Once scrutineering is complete, votes are tallied, results are announced, and new admins are granted administrative privileges. To be successful, a candidate must receive a support percentage of 70% or more and a quorum of at least 20 support votes. The vote tally is calculated by Support / (Support + Oppose) for each candidate. "Neutral" votes are not used in the calculation of a candidate's percentage of support and have no impact in that regard. Places where administrators in particular can assist Administrator rights can be particularly helpful in certain areas of Wikipedia: See also Wikipedia:Admins willing to make difficult blocks and the administrators channel on IRC for IRC users. "Uninvolved administrators" can also help in the management of Arbitration Committee remedies and the dispute resolution concerning disruptive areas and situations. Administrators acting in this role are neutral; they do not have any direct involvement in the issues they are helping people with. Lists of sanctions that are to be enforced by neutral administrators can be found at Wikipedia:General sanctions and Wikipedia:Arbitration/Active sanctions (see also requests for enforcement at Wikipedia:Arbitration/Requests/Enforcement). Administrator noticeboards Three main noticeboards exist on which general administrator discussions take place (any user may post or take part in discussions there): Expectations of adminship If granted access, administrators must exercise care in using these new functions, especially the ability to delete pages and to block users and IP addresses (see the administrators' how-to guide to learn how to do these things). New administrators should also look at the pages linked from the administrators' reading list before using their administrative abilities. Occasional lapses are accepted but serious or repeated lapses, or lapses involving breaches of 'involved' administrator conduct may not always be. Administrator tools are also to be used with careful judgement; it can take some time for a new administrator to learn when it's best to use the tools, and it can take months to gain a good sense of how long a period to set when using tools such as blocking and page protection in difficult disputes. New administrators are strongly encouraged to start slowly and build up experience in areas they are used to, and to ask others if unsure. Administrators should lead by example and, just like all editors, should behave in a respectful, civil manner in their interactions with others at all times. Administrators are not exempt from any of Wikipedia's established policies; they are expected to follow them and perform their duties to the best of their abilities. Occasional mistakes are entirely compatible with the use of the administrator toolset; administrators are not expected to be perfect. However, sustained or serious disruption of Wikipedia through behavior such as incivility or bad faith editing is incompatible and a direct conflict with the expectations and responsibilities of administrators, and consistent or egregious poor judgment may result in the removal of administrator tools. Administrators should strive to model high standards of courtesy and civility, and their edits, discussions, interactions, and conduct should set the example for all other editors and at all times. This is both a requirement and a condition with holding administrator privileges. Administrators should bear in mind that they have hundreds of colleagues. Therefore, if an administrator cannot adhere to site policies and remain civil (even toward users exhibiting problematic behavior) while addressing a given issue, the administrator should bring the issue to a noticeboard or refer it to another administrator to address, rather than potentially compound or escalate the problem with poor conduct. Administrators are accountable for their actions involving administrator tools, as unexplained administrator actions can demoralize other editors who lack such tools. Subject only to the bounds of civility, avoiding personal attacks, and reasonable good faith, editors are free to question or to criticize administrator actions. Administrators are expected to respond promptly and civilly to queries about their Wikipedia-related conduct and administrative actions, especially during community discussions on noticeboards or during Arbitration Committee proceedings. Administrators should justify their actions when requested. Administrators who seriously or repeatedly act in a problematic manner, or who have lost the trust or confidence of the community, may be sanctioned or have their administrator rights removed by the Arbitration Committee or in a recall petition that has gained 25 signatures. This has happened or been suggested for the following actions: Wikipedia's policy on password strength requirements requires administrators to have strong passwords and follow appropriate personal security practices. Because they have the potential to cause site-wide damage with a single edit, a compromised admin account will be blocked and its privileges removed on grounds of site security. In certain circumstances, the revocation of privileges may be permanent. Any administrator who is discovered to have a password less than 8 characters in length or among the 10,000 most common passwords may also be desysopped. Discretion on resysopping temporarily desysopped administrators is left to the Arbitration Committee, who will consider whether the rightful owner has been correctly identified, and their view on the incident and the management and security (including likely future security) of the account. Two-factor authentication is available to further secure accounts from unauthorized use. Administrators must never share their password or account with any other person, for any reason. If they find out their password has been compromised, or their account has been otherwise compromised (even by an editor or individual they know and trust), they should attempt to change it immediately, or otherwise report it to a bureaucrat for temporary desysopping. Users who fail to report unauthorized use of their account will be desysopped. Unauthorized use is considered 'controversial circumstances', and access will not be automatically restored. Involved admins "No man is a fit arbitrator in his own cause" In general, editors should not act as administrators in disputes in which they have been involved. This is because involved administrators may be, or appear to be, incapable of making objective decisions in disputes to which they have been a party or about which they have strong feelings. Involvement is construed broadly by the community to include current or past conflicts with an editor (or editors), and disputes on topics, regardless of the nature or age of the dispute. One important caveat is that an administrator who has interacted with an editor or topic area purely in an administrative role, or whose prior involvements are minor or obvious edits that do not show bias, is not involved and is not prevented from acting in an administrative capacity in relation to that editor or topic area. Warnings, calm and reasonable discussion and explanation of those warnings, advice about community norms, and suggestions on possible wordings and approaches do not make an administrator involved. In straightforward cases (e.g., blatant vandalism), the community has historically endorsed the obvious action of any administrator – even if involved – on the basis that any reasonable administrator would have probably come to the same conclusion. Although there are exceptions to the prohibition on involved editors taking administrative action, it is still the best practice in cases where an administrator may be seen to be involved to pass the matter to another administrator via the relevant noticeboards. Non-administrators closing discussions and assessing consensus are held to the same standards; editors closing such discussions should not have been involved in the discussion itself or related disputes. Grievances by users ("administrator abuse") If a user believes an administrator has acted improperly, they should express their concerns directly to the administrator responsible and try to come to a resolution in an orderly and civil manner. If the matter is not resolved between the two parties, users can proceed with dispute resolution (see this section below for further information). One possible approach is to start a discussion at administrative action review or the administrators' noticeboard to request feedback from the community – however, complainants should be aware that their behavior is equally taken into account as the user that they are discussing. If a user believes they have been blocked improperly, they can go through the block appeal process and explain the situation and why they believe the block is improper or unjustified. 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[SOURCE: https://en.wikipedia.org/wiki/Performance_art] | [TOKENS: 12899] |
Contents Performance art Performance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a fine art context in an interdisciplinary mode. Also known as artistic action, it has been developed through the years as a genre of its own in which art is presented live. It had an important and fundamental role in 20th century avant-garde art. It involves five basic elements: time, space, body, presence of the artist, and the relation between the artist and the public. The actions, generally developed in art galleries and museums, can take place in any kind of setting or space, and during any time period. Its goal is to generate a reaction, sometimes with the support of improvisation and a sense of aesthetics. The themes are commonly linked to life experiences of the artist themselves, the need for denunciation or social criticism and with a spirit of transformation. The term "performance art" and "performance" became widely used in the 1970s, even though the history of performance in visual arts dates back to futurist productions and cabarets from the 1910s. Art critic and performance artist John Perreault credits Marjorie Strider with the invention of the term in 1969. The main pioneers of performance art include Carolee Schneemann, Marina Abramović, Ana Mendieta, Chris Burden, Hermann Nitsch, Joseph Beuys, Nam June Paik, Tehching Hsieh, Yves Klein and Vito Acconci. Some of the main exponents more recently are Tania Bruguera, Abel Azcona, Regina José Galindo, Marta Minujín, Melati Suryodarmo and Petr Pavlensky. The discipline is linked to the happenings and "events" of the Fluxus movement, Viennese Actionism, body art and conceptual art. Definition The definition and historical and pedagogical contextualization of performance art is controversial. One of the handicaps comes from the term itself, which is polysemic, and one of its meanings relates to the scenic arts. This meaning of "performance" in the scenic-arts context differs radically from the concept of "performance art", since performance art emerged with a critical and antagonistic position towards scenic arts. Performance art only adjoins the scenic arts in certain aspects such as the audience and the present body, and still not every performance-art piece contains these elements. The meaning of the term "performance art" in the narrower sense is related to postmodernist traditions in Western culture. From about the mid-1960s into the 1970s, often derived from concepts of visual art, with respect to Antonin Artaud, Dada, the Situationists, Fluxus, installation art, and conceptual art, performance art tended to be defined as an antithesis to theatre, challenging orthodox art-forms and cultural norms. The ideal was an ephemeral and authentic experience for performer and audience in an event that could not be repeated, captured or purchased. The widely discussed distinction between how visual art and performing art concepts are applied can influence the interpretation of a performance art presentation.. "Performance art" is a term usually reserved to refer to a conceptual art that conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes. It largely refers to a performance presented to an audience, but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand. Some types of performance art nevertheless can be close to performing arts. Such performance may use a script or create a fictitious dramatic setting, but still constitute performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real-world dynamics; rather, it would intentionally seek to satirize or to transcend the usual real-world dynamics which are used in conventional theatrical plays. Performance artists often challenge the audience to think in new and unconventional ways, break conventions of traditional arts, and break down conventional ideas about "what art is". As long as the performer does not become a player who repeats a role, performance art can include satirical elements; use robots and machines as performers, as in pieces of the Survival Research Laboratories; involve ritualised elements (e.g. Shaun Caton); or borrow elements of any performing arts such as dance, music, and circus. Performance art can also involve intersection with architecture, and may intertwine with religious practice and with theology. Some artists, e.g. the Viennese Actionists and neo-Dadaists, prefer to use the terms "live art", "action art", "actions", "intervention" (see art intervention) or "manoeuvre" to describe their performing activities. As genres of performance art appear body art, fluxus-performance, happening, action poetry, and intermedia. Origins Performance art is a form of expression that was born as an alternative artistic manifestation. The discipline emerged in 1916 parallel to dadaism, under the umbrella of conceptual art. The movement was led by Tristan Tzara, one of the pioneers of Dada. Western culture theorists have set the origins of performance art in the beginnings of the 20th century, along with constructivism, Futurism and Dadaism. Dada was an important inspiration because of their poetry actions, which drifted apart from conventionalisms, and futurist artists, specially some members of Russian futurism, could also be identified as part of the starting process of performance art. The Cabaret Voltaire was founded in Zürich, Switzerland by the couple Hugo Ball and Emmy Hennings for artistic and political purposes, and was a place where new tendencies were explored. Located on the upper floor of a theater, whose exhibitions they mocked in their shows, the works interpreted in the cabaret were avant garde and experimental. It is thought that the Dada movement was founded in the ten-meter-square locale. Moreover, Surrealists, whose movement descended directly from Dadaism, used to meet in the Cabaret. On its brief existence—barely six months, closing the summer of 1916—the Dadaist Manifesto was read and it held the first Dada actions, performances, and hybrid poetry, plastic art, music and repetitive action presentations. Founders such as Richard Huelsenbeck, Marcel Janco, Tristan Tzara, Sophie Taeuber-Arp and Jean Arp participated in provocative and scandalous events that were fundamental and the basis of the foundation for the anarchist movement called Dada. Dadaism was born with the intention of destroying any system or established norm in the art world. It is an anti-art movement, anti-literary and anti-poetry, that questioned the existence of art, literature and poetry itself. Not only was it a way of creating, but of living; it created a whole new ideology. It was against eternal beauty, the eternity of principles, the laws of logic, the immobility of thought and clearly against anything universal. It promoted change, spontaneity, immediacy, contradiction, randomness and the defense of chaos against the order and imperfection against perfection, ideas similar to those of performance art. They stood for provocation, anti-art protest and scandal, through ways of expression many times satirical and ironic. The absurd or lack of value and the chaos protagonized[clarification needed] their breaking actions with traditional artistic form. Cabaret Voltaire closed in 1916, but was revived in the 21st century. Futurism was an artistic avant garde movement that appeared in 1909. It first started as a literary movement, even though most of the participants were painters. In the beginning it also included sculpture, photography, music and cinema. The First World War put an end to the movement, even though in Italy it went on until the 1930s. One of the countries where it had the most impact was Russia. In 1912 manifestos such as the Futurist Sculpture Manifesto and the Futurist Architecture arose, and in 1913 the Manifesto of Futurist Lust by Valentine de Saint-Point, dancer, writer and French artist. The futurists spread their theories through encounters, meetings and conferences in public spaces, that got close to the idea of a political concentration, with poetry and music-halls, which anticipated performance art. The Bauhaus, an art school founded in Weimar in 1919, included an experimental performing arts workshops with the goal of exploring the relationship between the body, space, sound and light. The Black Mountain College, founded in the United States by instructors of the original Bauhaus who were exiled by the Nazi Party, continued incorporating experimental performing arts in the scenic arts training twenty years before the events related to the history of performance in the 1960s. The name Bauhaus derives from the German words Bau, construction and Haus, house; ironically, despite its name and the fact that his founder was an architect, the Bauhaus did not have an architecture department the first years of its existence. In the 1940s and 1950s, the action painting technique or movement gave artists the possibility of interpreting the canvas as an area to act in, rendering the paintings as traces of the artist's performance in the studio According to art critic Harold Rosenberg, it was one of the initiating processes of performance art, along with abstract expressionism. Jackson Pollock is the action painter par excellence, who carried out many of his actions live. In Europe Yves Klein did his Anthropométries using (female) bodies to paint canvasses as a public action. Names to be highlighted are Willem de Kooning and Franz Kline, whose work include abstract and action painting. Nouveau réalisme is another one of the artistic movements cited in the beginnings of performance art. It was a painting movement founded in 1960 by art critic Pierre Restany and painter Yves Klein, during the first collective exhibition in the Apollinaire Gallery in Milan. Nouveau réalisme was, along with Fluxus and other groups, one of the many avant garde tendencies of the 1960s. Pierre Restany created various performance art assemblies in the Tate Modern, amongst other spaces. Yves Klein is one of the main exponents of the movement. He was a clear pioneer of performance art, with his conceptual pieces like Zone de Sensibilité Picturale Immatérielle (1959–62), Anthropométries (1960), and the photomontage Saut dans le vide. All his works have a connection with performance art, as they are created as a live action, like his best-known artworks of paintings created with the bodies of women. The members of the group saw the world as an image, from which they took parts and incorporated them into their work; they sought to bring life and art closer together. One of the other movements that anticipated performance art was the Japanese movement Gutai, who made action art or happening. It emerged in 1955 in the region of Kansai (Kyōto, Ōsaka, Kōbe). The main participants were Jirō Yoshihara, Sadamasa Motonaga, Shozo Shimamoto, Saburō Murakami, Katsuō Shiraga, Seichi Sato, Akira Ganayama and Atsuko Tanaka. The Gutai group arose after World War II. They rejected capitalist consumerism, carrying out ironic actions with latent aggressiveness (object breaking, actions with smoke). They influenced groups such as Fluxus and artists like Joseph Beuys and Wolf Vostell. In the late 1960s, diverse land art artists such as Robert Smithson or Dennis Oppenheim created environmental pieces that preceded performance art in the 1970s. Works by conceptual artists from the early 1980s, such as Sol LeWitt, who made mural drawing into a performance act, were influenced by Yves Klein and other land art artists. Land art is a contemporary art movement in which the landscape and the artwork are deeply bound. It uses nature as a material (wood, soil, rocks, sand, wind, fire, water, etc.) to intervene on itself. The artwork is generated with the place itself as a starting point. The result is sometimes a junction between sculpture and architecture, and sometimes a junction between sculpture and landscaping that is increasingly taking a more determinant role in contemporary public spaces. When incorporating the artist's body in the creative process, it acquires similarities with the beginnings of performance art. 1960s In the 1960s, with the purpose of evolving the generalized idea of art and with similar principles of those originary from Cabaret Voltaire or Futurism, a variety of new works, concepts and a growing number of artists led to new kinds of performance art. Movements clearly differentiated from Viennese Actionism, avant garde performance art in New York City, process art, the evolution of The Living Theatre or happening, but most of all the consolidation of the pioneers of performance art. The term Viennese Actionism (Wiener Aktionismus) comprehends a brief and controversial art movement of the 20th century, which is remembered for the violence, grotesque and visual of their artworks. It is located in the Austrian vanguard of the 1960s, and it had the goal of bringing art to the ground of performance art, and is linked to Fluxus and Body Art. Amongst their main exponents are Günter Brus, Otto Muehl and Hermann Nitsch, who developed most of their actionist activities between 1960 and 1971. Hermann, pioneer of performance art, presented in 1962 his Theatre of Orgies and Mysteries (Orgien und Mysterien Theater). Marina Abramović participated as a performer in one of his performances in 1975. In the early 1960s, New York City harbored many movements, events and interests regarding performance art. Amongst others, Andy Warhol began creating films and videos, and mid decade he sponsored The Velvet Underground and staged events and performative actions in New York, such as the Exploding Plastic Inevitable (1966), that included live rock music, explosive lights and films. Among New York’s avant-garde performance artists, Joey Skaggs emerged in the 1960s with provocative public interventions that satirized institutional power and media spectacle. His early works include The Crucifixion (1966–1969), a life-size sculpture of a decaying Christ exhibited in public parks to protest religious hypocrisy, and the Hippie Bus Tour to Queens (1968), in which East Village artists parodied voyeuristic tour buses by visiting suburban neighborhoods. Indirectly influential for art-world performance, particularly in the United States, were new forms of theatre, embodied by the San Francisco Mime Troupe and the Living Theatre and showcased in Off-Off Broadway theaters in SoHO and at La MaMa in New York City. The Living Theatre is a theater company created in 1947 in New York. It is the oldest experimental theatre in the United States. Throughout its history it has been led by its founders: actress Judith Malina, who had studied theatre with Erwin Piscator, with whom she studied Bertolt Brecht's and Meyerhold's theory; and painter and poet Julian Beck. After Beck's death in 1985, company member Hanon Reznikov became co-director along with Malina. Because it is one of the oldest random theatre or live theatre groups nowadays, it is looked upon by the rest.[clarification needed] They understood theatre as a way of life, and the actors lived in a community under libertary[clarification needed] principles. It was a theatre campaign dedicated to transformation of the power organization of an authoritarian society and hierarchical structure. The Living Theatre chiefly toured in Europe between 1963 and 1968, and in the U.S. in 1968. A work of this period, Paradise Now, was notorious for its audience participation and a scene in which actors recited a list of social taboos that included nudity, while disrobing. Fluxus, a Latin word that means flow, is a visual arts movement related to music, literature, and dance. Its most active moment was in the 1960s and 1970s. They proclaimed themselves against the traditional artistic object as a commodity and declared themselves a sociological art movement. Fluxus was informally organized in 1962 by George Maciunas (1931–1978). This movement had representation in Europe, the United States and Japan. The Fluxus movement, mostly developed in North America and Europe under the stimulus of John Cage, did not see the avant-garde as a linguistic renovation, but it sought to make a different use of the main art channels that separate themselves from specific language; it tries to be interdisciplinary and to adopt mediums and materials from different fields. Language is not the goal, but the mean for a renovation of art, seen as a global art. As well as Dada, Fluxus escaped any attempt for a definition or categorization. As one of the movement's founders, Dick Higgins, stated: Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed. It was as if it started in the middle of the situation, rather than at the beginning. Robert Filliou places Fluxus opposite to conceptual art for its direct, immediate and urgent reference to everyday life, and turns around Duchamp's proposal, who starting from Ready-made, introduced the daily into art, whereas Fluxus dissolved art into the daily, many times with small actions or performances. John Cage was an American composer, music theorist, artist, and philosopher. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage's friend Sari Dienes can be seen as an important link between the Abstract Expressionists, Neo-Dada artists like Robert Rauschenberg and Ray Johnson, and Fluxus. Dienes inspired all these artists to blur the lines between life, Zen, performative art-making techniques and "events," in both pre-meditated and spontaneous ways. Process art is an artistic movement where the end product of art and craft, the objet d’art (work of art/found object), is not the principal focus; the process of its making is one of the most relevant aspects if not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings. Process artists saw art as pure human expression. Process art defends the idea that the process of creating the work of art can be an art piece itself. Artist Robert Morris predicated "anti-form", process and time over an objectual finished product. Wardrip-Fruin and Montfort in The New Media Reader, "The term 'Happening' has been used to describe many performances and events, organized by Allan Kaprow and others during the 1950s and 1960s, including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction." A happening allows the artist to experiment with the movement of the body, recorded sounds, written and talked texts, and even smells. One of Kaprow's first works was Happenings in the New York Scene, written in 1961. Allan Kaprow's happenings turned the public into interpreters. Often the spectators became an active part of the act without realizing it. Other actors who created happenings were Jim Dine, Al Hansen, Claes Oldenburg, Robert Whitman and Wolf Vostell: Theater is in the Street (Paris, 1958). The works by performance artists after 1968 showed many times influences from the political and cultural situation that year. Barbara T. Smith with Ritual Meal (1969) was at the vanguard of body and scenic feminist art in the seventies, which included, amongst others, Carolee Schneemann and Joan Jonas. These, along with Yoko Ono, Joseph Beuys, Nam June Paik, Wolf Vostell, Allan Kaprow, Vito Acconci, Chris Burden and Dennis Oppenheim were pioneers in the relationship between body art and performance art, as well as the Zaj collective in Spain with Esther Ferrer and Juan Hidalgo. Barbara Smith is an artist and United States activist. She is one of the main African-American exponents of feminism and LGBT activism in the United States. In the beginning of the 1970s she worked as a teacher, writer and defender of the black feminism current. She has taught at numerous colleges and universities in the last five years. Smith's essays, reviews, articles, short stories and literary criticism have appeared in a range of publications, including The New York Times, The Guardian, The Village Voice and The Nation. Carolee Schneemann was an American visual experimental artist, known for her multi-media works on the body, narrative, sexuality and gender. She created pieces such as Meat Joy (1964) and Interior Scroll (1975). Schneemann considered her body a surface for work. She described herself as a "painter who has left the canvas to activate the real space and the lived time."[failed verification] Joan Jonas (born July 13, 1936) is an American visual artist and a pioneer of video and performance art, who is one of the most important female artists to emerge in the late 1960s and early 1970s. Jonas' projects and experiments provided the foundation on which much video performance art would be based. Her influences also extended to conceptual art, theatre, performance art and other visual media. She lives and works in New York and Nova Scotia, Canada. Immersed in New York's downtown art scene of the 1960s, Jonas studied with the choreographer Trisha Brown for two years. Jonas also worked with choreographers Yvonne Rainer and Steve Paxton. Yoko Ono was part of the avant-garde movement of the 1960s. She was part of the Fluxus movement. She is known for her performance art pieces in the late 1960s, works such as Cut Piece, where visitors could intervene in her body until she was left naked. One of her best known pieces is Wall piece for orchestra (1962). Joseph Beuys was a German Fluxus, happening, performance artist, painter, sculptor, medallist and installation artist. In 1962 his actions alongside the Fluxus neodadaist movement started, group in which he ended up becoming the most important member. His most relevant achievement was his socialization of art, making it more accessible for every kind of public. In How to Explain Pictures to a Dead Hare (1965) he covered his face with honey and gold leaf and explained his work to a dead hare that lay in his arms. In this work he linked spacial and sculptural, linguistic and sonorous factors to the artist's figure, to his bodily gesture, to the conscience of a communicator whose receptor is an animal. Beuys acted as a shaman with healing and saving powers toward the society that he considered dead. In 1974 he carried out the performance I Like America and America Likes Me where Beuys, a coyote and materials such as paper, felt and thatch constituted the vehicle for its creation. He lived with the coyote for three days. He piled United States newspapers, a symbol of capitalism. With time, the tolerance between Beuys and the coyote grew and he ended up hugging the animal. Beuys repeats many elements used in other works. Objects that differ form Duchamp's ready-mades, not for their poor[clarification needed] and ephemerality, but because they are part of Beuys's own life, who placed them after living with them and leaving his mark on them. Many have an autobiographical meaning, like the honey or the grease used by the tartars who saved[clarification needed] in World War Two. In 1970 he made his Felt Suit. Also in 1970, Beuys taught sculpture in the Kunstakademie Düsseldorf. In 1979, the Solomon R. Guggenheim Museum of New York City exhibited a retrospective of his work from the 1940s to 1970. Nam June Paik was a South Korean performance artist, composer and video artist from the second half of the 20th century. He studied music and art history in the University of Tokyo. Later, in 1956, he traveled to Germany, where he studied Music Theory in Munich, then continued in Cologne in the Freiburg conservatory. While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Sharon Grace as well as George Maciunas, Joseph Beuys and Wolf Vostell and was from 1962 on, a member of the experimental art movement Fluxus. Nam June Paik then began participating in the Neo-Dada art movement, known as Fluxus, which was inspired by the composer John Cage and his use of everyday sounds and noises in his music. He was mates with Yoko Ono as a member of Fluxus. Wolf Vostell was a German artist, one of the most representative of the second half of the 20th century, who worked with various mediums and techniques such as painting, sculpture, installation, decollage, video art, happening and fluxus. Vito Acconci was an influential American performance, video and installation artist, whose diverse practice eventually included sculpture, architectural design, and landscape design. His foundational performance and video art was characterized by "existential unease," exhibitionism, discomfort, transgression and provocation, as well as wit and audacity, and often involved crossing boundaries such as public–private, consensual–nonconsensual, and real world–art world. His work is considered to have influenced artists including Laurie Anderson, Karen Finley, Bruce Nauman, and Tracey Emin, among others. Acconci was initially interested in radical poetry, but by the late 1960s, he began creating Situationist-influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were Following Piece (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and Seedbed (1972), in which he claimed that he masturbated while under a temporary floor at the Sonnabend Gallery, as visitors walked above and heard him speaking. Chris Burden was an American artist working in performance, sculpture and installation art. Burden became known in the 1970s for his performance art works, including Shoot (1971), in which he arranged for a friend to shoot him in the arm with a small-caliber rifle. A prolific artist, Burden created many well-known installations, public artworks and sculptures before his death in 2015. Burden began to work in performance art in the early 1970s. He made a series of controversial performances in which the idea of personal danger as artistic expression was central. His first significant performance work, Five Day Locker Piece (1971), was created for his master's thesis at the University of California, Irvine, and involved his being locked in a locker for five days. Dennis Oppenheim was an American conceptual artist, performance artist, earth artist, sculptor and photographer. Dennis Oppenheim's early artistic practice is an epistemological questioning about the nature of art, the making of art and the definition of art: a meta-art which arose when strategies of the Minimalists were expanded to focus on site and context. As well as an aesthetic agenda, the work progressed from perceptions of the physical properties of the gallery to the social and political context, largely taking the form of permanent public sculpture in the last two decades of a highly prolific career, whose diversity could exasperate his critics. Yayoi Kusama is a Japanese artist who, throughout her career, has worked with a great variety of media including:sculpture, installation, painting, performance, film, fashion, poetry, fiction, and other arts; the majority of them exhibited her interest in psychedelia, repetition and patterns. Kusama is a pioneer of the pop art, minimalism and feminist art movements and influenced her coetaneous, Andy Warhol and Claes Oldenburg. She has been acknowledged as one of the most important living artists to come out of Japan and a very relevant voice in avant garde art. 1970s In the 1970s, artists that had derived to works related to performance art evolved and consolidated themselves as artists with performance art as their main discipline, deriving into installations created through performance, video performance, or collective actions, or in the context of a socio-historical and political context. In the early 1970s the use of video format by performance artists was consolidated. Some exhibitions by Joan Jonas and Vito Acconci were made entirely of video, activated by previous performative processes. In this decade, various books that talked about the use of the means of communication, video and cinema by performance artists, like Expanded Cinema, by Gene Youngblood, were published. One of the main artists who used video and performance, with notorious audiovisual installations, is the South Korean artist Nam June Paik, who in the early 1960s had already been in the Fluxus movement until becoming a media artist and evolving into the audiovisual installations he is known for. Carolee Schneemann's and Robert Whitman's 1960s work regarding their video-performances must be taken into consideration as well. Both were pioneers of performance art, turning it into an independent art form in the early seventies. Joan Jonas started to include video in her experimental performances in 1972, while Bruce Nauman scenified[clarification needed] his acts to be directly recorded on video. Nauman is an American multimedia artist, whose sculptures, videos, graphic work and performances have helped diversify and develop culture from the 1960s on. His unsettling artworks emphasized the conceptual nature of art and the creation process. His priority is the idea and the creative process over the result. His art uses an incredible array of materials and especially his own body. Gilbert and George are Italian artist Gilbert Proesch and English artist George Passmore, who have developed their work inside conceptual art, performance and body art. They were best known for their live-sculpture acts. One of their first makings was The Singing Sculpture, where the artists sang and danced "Underneath the Arches", a song from the 1930s. Since then they have forged a solid reputation as live-sculptures, making themselves works of art, exhibited in front of spectators through diverse time intervals. They usually appear dressed in suits and ties, adopting diverse postures that they maintain without moving, though sometimes they also move and read a text, and occasionally they appear in assemblies or artistic installations. Apart from their sculptures, Gilbert and George have also made pictorial works, collages and photomontages, where they pictured themselves next to diverse objects from their immediate surroundings, with references to urban culture and a strong content; they addressed topics such as sex, race, death and HIV, religion or politics, critiquing many times the British government and the established power. The group's most prolific and ambitious work was Jack Freak Pictures, where they had a constant presence of the colors red, white and blue in the Union Jack. Gilbert and George have exhibited their work in museums and galleries around the world, like the Stedelijk van Abbemuseum of Eindhoven (1980), the Hayward Gallery in London (1987), and the Tate Modern (2007). They have participated in the Venice Biennale. In 1986 they won the Turner Prize. Endurance performance art explores themes such as trance, pain, solitude, the deprivation of freedom, isolation, and exhaustion. Works that unfold over extended periods of time are often classified as long-durational performances. One of the pioneering figures of this approach was Chris Burden, active in this form of performance art during much of the 1970s. In one of his best known works, Five Day Locker Piece (1971) he stayed for five days inside a school locker, in Shoot (1971) he was shot with a firearm, and in Bed Piece (1972) he stayed in bed in an art gallery for twenty two days straight. Another example of an endurance artist is Tehching Hsieh. During a performance created in 1980–1981 (Time Clock Piece), Hsieh took a photo of himself next to a time clock installed in his studio every hour for an entire year. Hsieh is also known for his performances about deprivation of freedom; he spent an entire year confined. Another practitioner of long-durational performance is Bryan Lewis Saunders, whose project Under the Influence (1995–present) involves creating daily self-portraits during states of altered perception, and who in 30 Days Totally Blind (2018) spent a month in complete self-imposed blindness, during which he continued to produce daily self-portraits. In The House With the Ocean View (2003), Marina Abramović lived silently for twelve days without food. The Nine Confinements or The Deprivation of Liberty, is a series of conceptual endurance performances by artist Abel Azcona, created between 2013 and 2016, each addressing the illegitimate deprivation of freedom. In the mid-1970s, behind the Iron Curtain, in major Eastern Europe cities such as Budapest, Kraków, Belgrade, Zagreb, Novi Sad and others, scenic arts of a more experimental content flourished. Against political and social control, different artists who made performance of political content arose. Orshi Drozdik's performance series, titled Individual Mythology 1975–77 and the NudeModel 1976–77. All her actions were critical of the patriarchal discourse in art and the forced emancipation programme and constructed by the equally patriarchal state. Drozdik showed a pioneer and feminist point of view on both, becoming one of the precursors of this type of critical art in Eastern Europe. In the 1970s, performance art, due to its fugacity,[clarification needed] had a solid presence in the Eastern European avant-garde, specially in Poland and Yugoslavia, where dozens of artists who explored the body conceptually and critically emerged. In the mid-1976s, Ulay and Marina Abramović founded the collective The Other in the city of Amsterdam. When Abramović and Ulay started their collaboration. The main concepts they explored were the ego and artistic identity. This was the start of a decade of collaborative work. Both artists were interested in the tradition of their cultural heritage and the individual's desire for rituals. In consecuense,[clarification needed] they formed a collective named The Other. They dressed and behaved as one, and created a relation of absolute confidence. They created a series of works in which their bodies created additional spaces for the audience's interaction. In Relation in Space they ran around the room, two bodies like two planets, meshing masculine and feminine energies into a third component they called "that self". Relation in Movement (1976) had the couple driving their car inside the museum, doing 365 spins. A black liquid dripped out of the car, forming a sculpture, and each round represented a year. After this, they created Breathing In/Breathing Out, where both of them united their lips and inspired the air expired by the other one until they used up all oxygen. Exactly 17 minutes after the start of the performance, both of them fell unconscious, due to their lungs filling with carbon dioxide. This piece explored the idea of the ability of a person to absorb the life out of another one, changing them and destroying them. In 1988, after some years of a tense relationship, Abramović and Ulay decided to make a spiritual travel that would put an end to the collective. They walked along the Great Wall of China, starting on opposite ends and finding each other halfway. Abramović conceived this walk on a dream, and it gave her what she saw as an appropriate and romantic ending to the relationship full of mysticism, energy and attraction. Ulay started on the Gobi desert and Abramovic in the Yellow sea. Each one of them walked 2500 kilometres, found each other in the middle and said goodbye. In 1973, Laurie Anderson interpreted Duets on Ice in the streets of New York. Marina Abramović, in the performance Rhythm 10, included conceptually the violation of a body. Thirty years later, the topic of rape, shame and sex exploitation would be reimagined in the works of contemporary artists such as Clifford Owens, Gillian Walsh, Pat Oleszko and Rebecca Patek, amongst others. New artists with radical acts consolidated themselves as the main precursors of performance, like Chris Burden, with the 1971 work Shoot, where an assistant shot him in the arm from a five-meter distance, and Vito Acconci the same year with Seedbed. The work Eye Body (1963) by Carolee Schneemann en 1963, had already been considered a prototype of performance art. In 1975, Schneemann recurred to innovative solo acts such as Interior Scroll, that showed the feminine body as an artistic media. One of the main artists was Gina Pane, French artist of Italian origins. She studied at the École nationale supérieure des Beaux-Arts in París from 1960 until 1965 and was a member of the performance art movement in the 1970 in France, called "Art Corporel". Parallel to her art, Pane taught in the Ecole des Beaux-Arts in Mans from 1975 until 1990 and directed an atelier dedicated to performance art in the Pompidou Centre from 1978 to 1979. One of her best known works is The Conditioning (1973), in which she was lied into a metal bed spring over an area of lit candles. The Conditioning was created as an homage to Marina Abramović, part of her Seven Easy Pieces(2005) in the Solomon R. Guggenheim Museum in New York City in 2005. Great part of her works are protagonized by self-inflicted pain, separating her from most of other woman artists in the 1970s. Through the violence of cutting her skin with razors or extinguishing fires with her bare hands and feet, Pane has the intention of inciting a real experience in the visitor, who would feel moved for its discomfort. The impactful nature of these first performance art pieces or actions, as she preferred to call them, many times eclipsed her prolific photographic and sculptural work. Nonetheless, the body was the main concern in Panes's work, either literally or conceptually. 1980s Until the 1980s, performance art has demystified virtuosism,[clarification needed] this being one of its key characteristics. Nonetheless, from the 1980s on it started to adopt some technical brilliancy. In reference to the work Presence and Resistance by Philip Auslander, the dance critic Sally Banes writes, "... by the end of the 1980s, performance art had become so widely known that it no longer needed to be defined; mass culture, especially television, had come to supply both structure and subject matter for much performance art; and several performance artists, including Laurie Anderson, Spalding Gray, Eric Bogosian, Willem Dafoe, and Ann Magnuson, had indeed become crossover artists in mainstream entertainment." In this decade the parameters and technicalities built to purify and perfect performance art were defined. Despite the fact that many performances are held within the circle of a small art-world group, Roselee Goldberg notes in Performance Art: From Futurism to the Present that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise." In this decade, publications and compilations about performance art and its best known artists emerged. In the 1980s, the political context played an important role in the artistic development and especially in performance, as almost every one of the works created with a critical and political discourse were in this discipline. Until the decline of the European Eastern bloc during the late 1980s, performance art had actively been rejected by most communist governments. With the exception of Poland and Yugoslavia, performance art was more or less banned in countries where any independent public event was feared. In the GDR, Czechoslovakia, Hungary and Latvia it happened in apartments, at seemingly spontaneous gatherings in artist studios, in church-controlled settings, or was covered as another activity, like a photo-shoot. Isolated from the western conceptual context, in different settings it could be like a playful protest or a bitter comment, using subversive metaphors to express dissent with the political situation. Amongst the most remarkable performance art works of political content in this time were those of Tehching Hsieh between July 1983 and July 1984, Art/Life: One Year Performance (Rope Piece). In 1982 the terms "poetry" and "performance" were first used together. Performance poetry appeared to distinguish text-based vocal performances from performance art, especially the work of escenic[clarification needed] and musical performance artists, such as Laurie Anderson, who worked with music at that time. Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists, who arose from the visual art genres of painting and sculpture. Many artists since John Cage fuse performance with a poetical base. Since 1973 the Feminist Studio Workshop in the Woman's Building of Los Ángeles had an impact in the wave of feminist acts, but until 1980 they did not completely fuse. The conjunction between feminism and performance art progressed through the last decade. In the first two decades of performance art development, works that had not been conceived as feminist are seen as such now.[clarification needed] Still, not until 1980 did artists self-define themselves as feminists. Artist groups in which women influenced by the 1968 student movement as well as the feminist movement stood out. This connection has been treated in contemporary art history research. Some of the women whose innovative input in representations and shows was the most relevant were Pina Bausch and the Guerrilla Girls who emerged in 1985 in New York City, anonymous feminist and anti-racist art collective. They chose that name because they used guerrilla tactics in their activism to denounce discrimination against women in art through political and performance art. Their first performance was placing posters and making public appearances in museums and galleries in New York, to critique the fact that some groups of people were discriminated against for their gender or race. All of this was done anonymously; in all of these appearances they covered their faces with gorilla masks (this was due to the similar pronunciation of the words "gorilla" and "guerrilla"). They used as nicknames the names of female artists who had died. From the 1970s until the 1980s, amongst the works that challenged the system and their usual strategies of representation, the main ones feature women's bodies, such as Ana Mendieta's works in New York City where her body is outraged and abused, or the artistic representations by Louise Bourgeois with a rather minimalist discourse that emerge in the late seventies and eighties. Special mention to the works created with feminine and feminist corporeity[clarification needed] such as Lynda Benglis and her phallic performative actions, who reconstructed the feminine image to turn it into more than a fetish. Through feminist performance art the body becomes a space for developing these new discourses and meanings. Artist Eleanor Antin, creator in the 1970s and 1980s, worked on the topics of gender, race and class. Cindy Sherman, in her first works in the seventies and already in her artistic maturity in the eighties, continues her critical line of overturning the imposed self, through her use of the body as an object of privilege. Cindy Sherman is an American photographer and artist. She is one of the most representative post-war artists and exhibited more than the work of three decades of her work in the MoMA. Even though she appears in most of her performative photographies, she does not consider them self-portraits. Sherman uses herself as a vehicle to represent a great array of topics of the contemporary world, such as the part women play in our society and the way they are represented in the media as well as the nature of art creation. In 2020 she was awarded with the Wolf prize in arts. Judy Chicago is an artist and pioneer of feminist art and performance art in the United States. Chicago is known for her big collaborative art installation pieces on images of birth and creation, that examine women's part in history and culture. In the 1970s, Chicago has founded the first feminist art programme in the United States. Chicago's work incorporates a variety of artistic skills such as sewing, in contrast with skills that required a lot of workforce, like welding and pyrotechnics. Chicago's best known work is The Dinner Party, that was permanently installed in the Elizabeth A. Sackler Center for Feminist Art in the Brooklyn Museum. The Dinner Party celebrated the achievements of women throughout history and is widely considered as the first epic feminist artwork. Other remarkable projects include International Honor Quilt, The Birth Project, Powerplay, and The Holocaust Project. The Canadian lesbian art collective Kiss & Tell, consisting of Persimmon Blackbridge (b.1951), Lizard Jones (b.1961), and Susan Stewart (b.1952), embodies queer feminism throughout their creative practice, which included an array of performance work. Their performances included monologues, confessionals, and humorous anecdotes, presented through a mix of storytelling, photography, video, and music to provoke and connect with audiences. Kiss & Tell were inspired by performance artists including Emmy Hennings, Carolee Schneemann, Martha Rosler, and the Guerilla Girls. In this decade performance art spread until reaching Latin America through the workshops and programmes that universities and academic institutions offered. It mainly developed in Mexico, Colombia -with artists such as Maria Teresa Hincapié—, in Brasil and in Argentina. Ana Mendieta was a conceptual and performance artist born in Cuba and raised in the United States. She's mostly known for her artworks and performance art pieces in land art. Mendieta's work was known mostly in the feminist art critic environment. Years after her death, specially since the Whitney Museum of American Art retrospective in 2004 and the retrospective in the Haywart Gallery in London in 2013 she is considered a pioneer of performance art and other practices related to body art and land art, sculpture and photography. She described her own work as earth-body art. Tania Bruguera is a Cuban artist specialized in performance art and political art. Her work mainly consists of her interpretation of political and social topics. She has developed concepts such as "conduct art" to define her artistic practices with a focus on the limits of language and the body confronted to the reaction and behavior of the spectators. She also came up with "useful art", that it ought to transform certain political and legal aspects of society. Brugera's work revolves around power and control topics, and a great portion of her work questions the current state of her home country, Cuba. In 2002 she created the Cátedra Arte de Conducta in La Habana. Regina José Galindo is a Guatemalan artist specialized in performance art. Her work is characterized by its explicit political and critical content, using her own body as a tool of confrontation and social transformation. Her artistic career has been marked by the Guatemalan Civil War that took place from 1960 to 1996, which triggered a genocide of more than 200 thousand people, many of them indigenous, farmers, women and children. With her work, Galindo denounces violence, sexism (one of her the main topics is femicide), the western beauty standards, the repression of the estates and the abuse of power, especially in the context of her country, even though her language transgresses borders. Since her beginnings she only used her body as media, which she occasionally takes to extreme situations (like in Himenoplasty (2004) where she goes through a hymen reconstruction, a work that won the Golden Lyon in the Venice Biennale), to later have volunteers or hired people to interact with her, so that she loses control over the action. 1990s The 1990s was a period of absence for classic European performance, so performance artists kept a low profile. Nevertheless, Eastern Europe experienced a peak. On the other hand, Latin American performance continued to boom, as well as feminist performance art. There also was a peak of this discipline in Asian countries, whose motivation emerged from the Butō dance in the 1950s, but in this period they professionalized and new Chinese artists arose, earning great recognition. There was also a general professionalization in the increase of exhibitions dedicated to performance art, at the opening of the Venice Art Biennial to performance art, where various artists of this discipline have won the Leone d'Oro, including Anne Imhof, Regina José Galindo or Santiago Sierra. While the Soviet Bloc dissolved, some forbidden performance art pieces began to spread. Young artists from the former Eastern Bloc, including Russia, devoted themselves to performance art. Scenic arts emerged around the same time in Cuba, the Caribbean and China. "In these contexts, performance art became a new critical voice with a social strength similar to that of Western Europe, the United States and South America in the sixties and early seventies. It must be emphasized that the rise of performance art in the 1990s in Eastern Europe, China, South Africa, Cuba and other places must not be considered secondary or an imitation of the West". In the Western World, in the 1990s, performance art joined the mainstream culture. Diverse performance artworks, live, photographed or through documentation started to become part of galleries and museums that began to understand performance art as an art discipline. Nevertheless, it was not until the next decade that a major institutionalization happened, when every museum started to incorporate performance art pieces into their collections and dedicating great exhibitions and retrospectives, museums such as the Tate Modern in London, the MoMA in New York City or the Pompidou Centre in Paris. From the 1990s on, many more performance artists were invited to important biennials like the Venice Biennale, the Sao Paulo Biennial and the Lyon Biennial. In the late 1990s, Chinese contemporary art and performance art received great recognition internationally, as 19 Chinese artists were invited to the Venice Biennial. Performance art in China and its history had been growing since the 1970s due to the interest between art, process and tradition in Chinese culture, but it gained recognition from the 1990s on. In China, performance art is part of the fine arts education programme, and is becoming more and more popular. In the early 1990s, Chinese performance art was already acclaimed in the international art scene. Since the 2000s In the late 1990s and into the 2000s, a number of artists incorporated technologies such as the World Wide Web, digital video, webcams, and streaming media, into performance artworks. Artists such as Coco Fusco, Shu Lea Cheang, and Prema Murthy produced performance art that drew attention to the role of gender, race, colonialism, and the body in relation to the Internet. Other artists, such as Critical Art Ensemble, Electronic Disturbance Theater, and Yes Men, used digital technologies associated with hacktivism and interventionism to raise political issues concerning new forms of capitalism and consumerism. In the second half of the decade, computer-aided forms of performance art began to take place. Many of these works led to the development of algorithmic art, generative art, and robotic art, in which the computer itself, or a computer-controlled robot, becomes the performer. Coco Fusco is an interdisciplinary Cuban-American artist, writer and curator who lives and works in the United States. Her artistic career began in 1988. In her work, she explores topics such as identity, race, power and gender through performance. She also makes videos, interactive installations and critical writing. During the 2000s and 2010s, performance artists such as Pussy Riot, Tania Bruguera, and Petr Pavlensky were prosecuted for a variety of artistic actions. On February 21, 2012, as a part of their protest against the re-election of Vladímir Putin, various women of the artistic collective Pussy Riot entered the Cathedral of Christ the Saviour of Moscow of the Russian Orthodox Church. They made the sign of the cross, bowed before the shrine, and started to interpret a performance compound by a song and a dance under the motto "Virgin Mary, put Putin Away". On March 3, they were detained. On March 3, 2012, Maria Alyokhina and Nadezhda Tolokonnikova, Pussy Riot members, were arrested by the Russian authorities and accused of vandalism. At first, they both denied being members of the group and started a hunger strike for being incarcerated and taken apart from their children until the trials began in April. On March 16 another woman, Yekaterina Samutsévitch, who had been previously interrogated as a witness, was arrested and accused as well.[citation needed] On July 5, formal charges were filed against the group, along with a 2,800-page indictment. That same day they were notified that they had until July 9 to prepare their defense. In reply, they announced a hunger strike, pleading that two days was an inappropriate time frame to prepare their defense. On July 21, the court extended their preventive prison to last six more months. The three detained members were recognized as political prisoners by the Union of Solidarity with Political Prisoners. Amnesty International considers them to be prisoners of conscience for "the severity of the response of the Russian authorities". Since 2012, artist Abel Azcona has been prosecuted for some of his works. The demand that gained the most repercussion[clarification needed] was the one carried out by the Archbishopric of Pamplona and Tudela, in representation of the Catholic Church. The Church demanded Azcona for desecration and blasphemy crimes, hate crime and attack against the religious freedom and feelings for his work Amen or The Pederasty. In 2016, Azcona was denounced for extolling terrorism for his exhibition Natura Morta, in which the artist recreated situations of violence, historical memory, terrorism or war conflicts through performance and hyperrealistic sculptures and installations. In December 2014 Tania Bruguera was detained in La Habana to prevent her from carrying out new reivindicative[clarification needed] works. Her performance art pieces have earned her harsh critiques, and she has been accused of promoting resistance and public disturbances. In December 2015 and January 2016, Bruguera was detained for organizing a public performance in the plaza de la Revolución of La Habana. She was detained along with other Cuban artists, activists and reporters who took part in the campaign Yo También Exijo, which was created after the declarations of Raúl Castro and Barack Obama in favor of restoring their diplomatic relationship. During the performance El Susurro de Tatlin #6 she set microphones and talkers[clarification needed] in the Plaza de la Revolución so the Cubans could express their feelings regarding the new political climate. The event had great repercussion in international media, including a presentation of El Susurro de Tatlin #6 in Times Square, and an action in which various artists and intellectuals expressed themselves in favour of the liberation of Bruguera by sending an open letter to Raúl Castro signed by thousands of people around the world asking for the return of her passport and claiming criminal injustice, as she only gave a microphone to the people so they could give their opinion. In November 2015 and October 2017 Petr Pavlensky was arrested for carrying out a radical performance art piece in which he set on fire the entry of the Lubyanka Building, headquarters of the Federal Security Service of Russia, and a branch office of the Bank of France. On both occasions he sprayed the main entrance with gasoline; in the second performance he sprayed the inside as well, and ignited it with a lighter. The doors of the building were partially burnt. Both times Pavlenski was arrested without resistance and accused of debauchery. A few hours after the actions, several political and artistic reivindicative videos appeared on the internet. Lia Garcia, a transfeminist performance artist from Mexico, who works under the stage name la Novia Sirena, uses themes of touch and vulnerability to highlight issues of gendered violence and transgender belonging. Frequently engaged in site specific spaces, In her piece, Proyecto 10bis (2016-2017) Garcia performed in El Reclusorio Norte, a prison located in Mexico City, dressed as a quinceañera, and danced with the inmates, using touch as a way to contest the spaces that are intended to separate the incarcerated from the rest of the population. Since the 2000s, big museums, institutions and collections have supported performance art. Since January 2003, Tate Modern in London has had a curated programme of live art and performance. With exhibitions by artists such as Tania Bruguera or Anne Imhof. In 2012 The Tanks at Tate Modern were opened: the first dedicated spaces for performance, film and installation in a major modern and contemporary art museum. The Museum of Modern Art held a major retrospective and performance recreation of Marina Abramović's work, the biggest exhibition of performance art in MoMA's history, from March 14 to 31, 2010. The exhibition consisted of more than twenty pieces by the artist, most of them from the years 1960–1980. Many of them were re-activated by other young artists of multiple nationalities selected for the show. In parallel to the exhibition, Abramovic performed The Artist is Present, a 726-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her. The work is an updated reproduction of one of the pieces from 1970, shown in the exhibition, where Abramovic stayed for full days next to Ulay, who was her sentimental companion. The performance attracted celebrities such as Björk, Orlando Bloom and James Franco who participated and received media coverage. Against the background of the institutionalisation of performance, the Bruxelles-based initiative A Performance Affair co founded by Liv Vaisberg and Will Kerr and the London-based format Performance Exchange inquire about the collectability of performance works. With The Non-fungible Body?, the Austrian museum and culture centre OÖLKG/OK reflects upon recent developments in institutionalizing performance through a discursive festival format that was presented for the first time in June 2022. In 2014 the performance art piece Carry That Weight is created, also known as "the mattress performance". The artist behind this piece is Emma Sulkowicz who, during her end of degree thesis in visual arts in the Columbia University in the city of New York City. In September 2014, Sulkowicz's piece began, as she started carrying her own mattress around the Columbia University campus. This work was created by the artist with the goal of denouncing her rape in that same mattress years before, in her own dormitory, which she reported and was not heard by the university or the justice, so she decided to carry the mattress with her for the entire semester, without leaving it at any moment, until her graduation ceremony in May 2015. The piece generated great controversy, but was supported by a bunch of her companions and activists who joined Sulkowicz multiple times when carrying the mattress, making the work an international revindication. Art critic Jerry Saltz considered the artwork to be one of the most important of the year 2014. In 2019 the collective performance art piece A Rapist in Your Path was created by a feminist group from Valparaíso, Chile named Lastesis, which consisted of a demonstration against the women's rights violations in the context of the 2019–2020 Chilean protests. It was first performed in front of the Second Police Station of the Carabineros de Chile in Valparaíso on November 18, 2019. A second performance done by 2000 Chilean women on November 25, 2019, as a part of the International Day for the Elimination of Violence against Women, was filmed and became viral on social media. Its reach became global after feminist movements in dozens of countries adopted and translated the performance for their own protests and demands for the cessation and punishment of femicide and sexual violence, amongst others. See also References Bibliography External links |
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Contents Visual effects Visual effects (sometimes abbreviated as VFX) is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production. The integration of live-action footage and other live-action footage or computer-generated imagery (CGI) elements to create realistic imagery is called VFX. VFX involves the integration of live-action footage (which may include in-camera special effects) and generated-imagery (digital or optics, animals or creatures) which look realistic, but would be dangerous, expensive, impractical, time-consuming or impossible to capture on film. Visual effects using CGI have more recently become accessible to the independent filmmaker with the introduction of affordable and relatively easy-to-use animation and compositing software. History In 1857, Oscar Rejlander created the world's first "special effects" image by combining different sections of 32 negatives into a single image, making a montaged combination print. In 1895, Alfred Clark created what is commonly accepted as the first-ever motion picture special effect. While filming a reenactment of the beheading of Mary, Queen of Scots, Clark instructed an actor to step up to the block in Mary's costume. As the executioner brought the axe above his head, Clark stopped the camera, had all the actors freeze, and had the person playing Mary step off the set. He placed a Mary dummy in the actor's place, restarted filming, and allowed the executioner to bring the axe down, severing the dummy's head. Techniques like these would dominate the production of special effects for a century. It was not only the first use of trickery in cinema, it was also the first type of photographic trickery that was only possible in a motion picture, and referred to as the "stop trick". Georges Méliès, an early motion picture pioneer, accidentally discovered the same "stop trick". According to Méliès, his camera jammed while filming a street scene in Paris. When he screened the film, he found that the "stop trick" had caused a truck to turn into a hearse, pedestrians to change direction, and men to turn into women. Méliès, the director of the Théâtre Robert-Houdin, was inspired to develop a series of more than 500 short films, between 1896 and 1913, in the process developing or inventing such techniques as multiple exposures, time-lapse photography, dissolves, and hand-painted color. Because of his ability to seemingly manipulate and transform reality with the cinematograph, the prolific Méliès is sometimes referred to as the "Cinemagician". His most famous film, Le Voyage dans la lune (1902), a whimsical parody of Jules Verne's From the Earth to the Moon, featured a combination of live action and animation, and also incorporated extensive miniature and matte painting work. VFX today is heavily used in almost all movies produced. Other than films, television series and web series are also known to utilize VFX. Techniques Production pipeline Visual effects are often integral to a movie's story and appeal. Although most visual effects work is completed during post-production, it usually must be carefully planned and choreographed in pre-production and production. While special effects such as explosions and car chases are made on set, visual effects are primarily executed in post-production with the use of multiple tools and technologies such as graphic design, modeling, animation and similar software. A visual effects supervisor is usually involved with the production from an early stage to work closely with production and the film's director to design, guide and lead the teams required to achieve the desired effects. Many studios specialize in visual effects; among them are Digital Domain, DreamWorks, DNEG, Framestore, Weta Digital, Industrial Light & Magic, Pixomondo, Moving Picture Company, Animal Logic, Reel FX Animation, Sony Pictures Imageworks and Jellyfish Pictures. See also References Sources |
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[SOURCE: https://en.wikipedia.org/wiki/Facebook_(identifier)] | [TOKENS: 16014] |
Contents Facebook Facebook is an American made social networking service owned by the American technology conglomerate Meta. Created in 2004 by Mark Zuckerberg with four other Harvard College students and roommates, Eduardo Saverin, Andrew McCollum, Dustin Moskovitz, and Chris Hughes, its name derives from the face book directories often given to American university students. Membership was initially limited to Harvard students, gradually expanding to other North American universities. Since 2006, Facebook allows everyone to register from 13 years old, except in South Korea, Spain and Quebec, where the age requirement is 14 years. As of December 2023[update], Facebook claimed almost 3.07 billion monthly active users worldwide. As of July 2025[update], Facebook ranked as the third-most-visited website in the world, with 23% of its traffic coming from the United States. It was the most downloaded mobile app of the 2010s. Facebook can be accessed from devices with Internet connectivity, such as personal computers, tablets and smartphones. After registering, users can create a profile revealing personal information about themselves. They can post text, photos and multimedia which are shared with any other users who have agreed to be their friend or, with different privacy settings, publicly. Users can also communicate directly with each other with Messenger, edit messages (within 15 minutes after sending), join common-interest groups, and receive notifications on the activities of their Facebook friends and the pages they follow. Facebook has often been criticized over issues such as user privacy (as with the Facebook–Cambridge Analytica data scandal), political manipulation (as with the 2016 U.S. elections) and mass surveillance. The company has also been subject to criticism over its psychological effects such as addiction and low self-esteem, and over content such as fake news, conspiracy theories, copyright infringement, and hate speech. Commentators have accused Facebook of willingly facilitating the spread of such content, as well as exaggerating its number of users to appeal to advertisers. History The history of Facebook traces its growth from a college networking site to a global social networking service. While attending Phillips Exeter in the early 2000s, Zuckerberg met Kris Tillery. Tillery, a one-time project collaborator with Zuckerberg, would create a school-based social networking project called Photo Address Book. Photo Address Book was a digital face book, created through a linked database composed of student information derived from the official records of the Exeter Student Council. The database contained linkages such as name, dorm-specific landline numbers, and student headshots. Mark Zuckerberg built a website called "Facemash" in 2003 while attending Harvard University. The site was comparable to Hot or Not and used photos from online face books, asking users to choose the 'hotter' person". Zuckerberg was reported and faced expulsion, but the charges were dropped. A "face book" is a student directory featuring photos and personal information. In January 2004, Zuckerberg coded a new site known as "TheFacebook", stating, "It is clear that the technology needed to create a centralized Website is readily available ... the benefits are many." Zuckerberg met with Harvard student Eduardo Saverin, and each agreed to invest $1,000. On February 4, 2004, Zuckerberg launched "TheFacebook". Membership was initially restricted to students of Harvard College. Dustin Moskovitz, Andrew McCollum, and Chris Hughes joined Zuckerberg to help manage the growth of the site. It became available successively to most universities in the US and Canada. In 2004, Napster co-founder Sean Parker became company president and the company moved to Palo Alto, California. PayPal co-founder Peter Thiel gave Facebook its first investment. In 2005, the company dropped "the" from its name after purchasing the domain name Facebook.com. In 2006, Facebook opened to everyone at least or only 13 years old with a valid email address. Facebook introduced key features like the News Feed, which became central to user engagement. By late 2007, Facebook had 100,000 pages on which companies promoted themselves. Facebook had surpassed MySpace in global traffic and became the world's most popular social media platform. Microsoft announced that it had purchased a 1.6% share of Facebook for $240 million ($373 million in 2025 dollars), giving Facebook an implied value of around $15 billion ($23.3 billion in 2025 dollars). Facebook focused on generating revenue through targeted advertising based on user data, a model that drove its rapid financial growth. In 2012, Facebook went public with one of the largest IPOs in tech history. Acquisitions played a significant role in Facebook's dominance. In 2012, it purchased Instagram, followed by WhatsApp and Oculus VR in 2014, extending its influence beyond social networking into messaging and virtual reality. The Facebook–Cambridge Analytica data scandal in 2018 revealed misuse of user data to influence elections, sparking global outcry and leading to regulatory fines and hearings. Facebook's role in global events, including its use in organizing movements like the Arab Spring and its impact on events like the Rohingya genocide in Myanmar, highlighted its dual nature as a tool for both empowerment and harm. In 2021, Facebook rebranded as Meta, reflecting its shift toward building the "metaverse" and focusing on virtual reality and augmented reality technologies. Features Facebook does not officially publish a maximum character limit for posts; however, User posts can be lengthy, with unofficial sources suggesting a high character limit. Posts may also include images and videos. According to Facebook's official business documentation, videos can be up to 240 minutes long and 10 GB in file size, with supported resolutions up to 1080p. Users can "friend" users, both sides must agree to being friends. Posts can be changed to be seen by everyone (public), friends, people in a certain group (group) or by selected friends (private). Users can join groups. Groups are composed of persons with shared interests. For example, they might go to the same sporting club, live in the same suburb, have the same breed of pet or share a hobby. Posts posted in a group can be seen only by those in a group, unless set to public. Users are able to buy, sell, and swap things on Facebook Marketplace or in a Buy, Swap and Sell group. Facebook users may advertise events, which can be offline, on a website other than Facebook, or on Facebook. Website The site's primary color is blue as Zuckerberg is red–green colorblind, a realization that occurred after a test taken around 2007. Facebook was initially built using PHP, a popular scripting language designed for web development. PHP was used to create dynamic content and manage data on the server side of the Facebook application. Zuckerberg and co-founders chose PHP for its simplicity and ease of use, which allowed them to quickly develop and deploy the initial version of Facebook. As Facebook grew in user base and functionality, the company encountered scalability and performance challenges with PHP. In response, Facebook engineers developed tools and technologies to optimize PHP performance. One of the most significant was the creation of the HipHop Virtual Machine (HHVM). This significantly improved the performance and efficiency of PHP code execution on Facebook's servers. The site upgraded from HTTP to the more secure HTTPS in January 2011. Facebook is developed as one monolithic application. According to an interview in 2012 with Facebook build engineer Chuck Rossi, Facebook compiles into a 1.5 GB binary blob which is then distributed to the servers using a custom BitTorrent-based release system. Rossi stated that it takes about 15 minutes to build and 15 minutes to release to the servers. The build and release process has zero downtime. Changes to Facebook are rolled out daily. Facebook used a combination platform based on HBase to store data across distributed machines. Using a tailing architecture, events are stored in log files, and the logs are tailed. The system rolls these events up and writes them to storage. The user interface then pulls the data out and displays it to users. Facebook handles requests as AJAX behavior. These requests are written to a log file using Scribe (developed by Facebook). Data is read from these log files using Ptail, an internally built tool to aggregate data from multiple Scribe stores. It tails the log files and pulls data out. Ptail data are separated into three streams and sent to clusters in different data centers (Plugin impression, News feed impressions, Actions (plugin + news feed)). Puma is used to manage periods of high data flow (Input/Output or IO). Data is processed in batches to lessen the number of times needed to read and write under high demand periods. (A hot article generates many impressions and news feed impressions that cause huge data skews.) Batches are taken every 1.5 seconds, limited by memory used when creating a hash table. Data is then output in PHP format. The backend is written in Java. Thrift is used as the messaging format so PHP programs can query Java services. Caching solutions display pages more quickly. The data is then sent to MapReduce servers where it is queried via Hive. This serves as a backup as the data can be recovered from Hive. Facebook uses its own content delivery network or "edge network" under the domain fbcdn.net for serving static data. Until the mid-2010s, Facebook also relied on Akamai for CDN services. On March 20, 2014, Facebook announced a new open-source programming language called Hack. Before public release, a large portion of Facebook was already running and "battle tested" using the new language. Each registered user on Facebook has a personal profile that shows their posts and content. The format of individual user pages was revamped in September 2011 and became known as "Timeline", a chronological feed of a user's stories, including status updates, photos, interactions with apps and events. The layout let users add a "cover photo". Users were given more privacy settings. In 2007, Facebook launched Facebook Pages for brands and celebrities to interact with their fanbases. In June 2009, Facebook introduced a "Usernames" feature, allowing users to choose a unique nickname used in the URL for their personal profile, for easier sharing. In February 2014, Facebook expanded the gender setting, adding a custom input field that allows users to choose from a wide range of gender identities. Users can also set which set of gender-specific pronoun should be used in reference to them throughout the site. In May 2014, Facebook introduced a feature to allow users to ask for information not disclosed by other users on their profiles. If a user does not provide key information, such as location, hometown, or relationship status, other users can use a new "ask" button to send a message asking about that item to the user in a single click. News Feed appears on every user's homepage and highlights information including profile changes, upcoming events and friends' birthdays. This enabled spammers and other users to manipulate these features by creating illegitimate events or posting fake birthdays to attract attention to their profile or cause. Another issue is that the birthday of Leap-Day babies (those born on February 29 in leap years) is neglected three years out of four, along with memories of that day. Initially, the News Feed caused dissatisfaction among Facebook users; some complained it was too cluttered and full of undesired information, others were concerned that it made it too easy for others to track individual activities (such as relationship status changes, events, and conversations with other users). Zuckerberg apologized for the site's failure to include appropriate privacy features. Users then gained control over what types of information are shared automatically with friends. Users are now able to prevent user-set categories of friends from seeing updates about certain types of activities, including profile changes, Wall posts and newly added friends. On February 23, 2010, Facebook was granted a patent on certain aspects of its News Feed. The patent covers News Feeds in which links are provided so that one user can participate in the activity of another user. The sorting and display of stories in a user's News Feed is governed by the EdgeRank algorithm. The Photos application allows users to upload albums and photos. Each album can contain 200 photos. Privacy settings apply to individual albums. Users can "tag", or label, friends in a photo. The friend receives a notification about the tag with a link to the photo. This photo tagging feature was developed by Aaron Sittig, now a Design Strategy Lead at Facebook, and former Facebook engineer Scott Marlette back in 2006 and was only granted a patent in 2011. On June 7, 2012, Facebook launched its App Center to help users find games and other applications. On May 13, 2015, Facebook in association with major news portals launched "Instant Articles" to provide news on the Facebook news feed without leaving the site. In January 2017, Facebook launched Facebook Stories for iOS and Android in Ireland. The feature, following the format of Snapchat and Instagram stories, allows users to upload photos and videos that appear above friends' and followers' News Feeds and disappear after 24 hours. On October 11, 2017, Facebook introduced the 3D Posts feature to allow for uploading interactive 3D assets. On January 11, 2018, Facebook announced that it would change News Feed to prioritize friends/family content and de-emphasize content from media companies. In February 2020, Facebook announced it would spend $1 billion ($1.24 billion in 2025 dollars) to license news material from publishers for the next three years; a pledge coming as the company falls under scrutiny from governments across the globe over not paying for news content appearing on the platform. The pledge would be in addition to the $600 million ($746 million in 2025 dollars) paid since 2018 through deals with news companies such as The Guardian and Financial Times. In March and April 2021, in response to Apple announcing changes to its iOS device's Identifier for Advertisers policy, which included requiring app developers to directly request to users the ability to track on an opt-in basis, Facebook purchased full-page newspaper advertisements attempting to convince users to allow tracking, highlighting the effects targeted ads have on small businesses. Facebook's efforts were ultimately unsuccessful, as Apple released iOS 14.5 in late April 2021, containing the feature for users in what has been deemed "App Tracking Transparency". Moreover, statistics from Verizon Communications subsidiary Flurry Analytics show 96% of all iOS users in the United States are not permitting tracking at all, and only 12% of worldwide iOS users are allowing tracking, which some news outlets deem "Facebook's nightmare", among similar terms. Despite the news, Facebook stated that the new policy and software update would be "manageable". The "like" button, stylized as a "thumbs up" icon, was first enabled on February 9, 2009, and enables users to easily interact with status updates, comments, photos and videos, links shared by friends, and advertisements. Once clicked by a user, the designated content is more likely to appear in friends' News Feeds. The button displays the number of other users who have liked the content. The like button was extended to comments in June 2010. In February 2016, Facebook expanded Like into "Reactions", allowing users to choose from five pre-defined emotions: "Love", "Haha", "Wow", "Sad", or "Angry". In late April 2020, during the COVID-19 pandemic, a new "Care" reaction was added. Facebook Messenger is an instant messaging service and software application. It began as Facebook Chat in 2008, was revamped in 2010 and eventually became a standalone mobile app in August 2011, while remaining part of the user page on browsers. Complementing regular conversations, Messenger lets users make one-to-one and group voice and video calls. Its Android app has integrated support for SMS and "Chat Heads", which are round profile photo icons appearing on-screen regardless of what app is open, while both apps support multiple accounts, conversations with optional end-to-end encryption and "Instant Games". Some features, including sending money and requesting transportation, are limited to the United States. In 2017, Facebook added "Messenger Day", a feature that lets users share photos and videos in a story-format with all their friends with the content disappearing after 24 hours; Reactions, which lets users tap and hold a message to add a reaction through an emoji; and Mentions, which lets users in group conversations type @ to give a particular user a notification. In April 2020, Facebook began rolling out a new feature called Messenger Rooms, a video chat feature that allows users to chat with up to 50 people at a time. In July 2020, Facebook added a new feature in Messenger that lets iOS users to use Face ID or Touch ID to lock their chats. The feature is called App Lock and is a part of several changes in Messenger regarding privacy and security. On October 13, 2020, the Messenger application introduced cross-app messaging with Instagram, which was launched in September 2021. In addition to the integrated messaging, the application announced the introduction of a new logo, which will be an amalgamation of the Messenger and Instagram logo. Businesses and users can interact through Messenger with features such as tracking purchases and receiving notifications, and interacting with customer service representatives. Third-party developers can integrate apps into Messenger, letting users enter an app while inside Messenger and optionally share details from the app into a chat. Developers can build chatbots into Messenger, for uses such as news publishers building bots to distribute news. Businesses like respond.io, Twilio, and Manychat also used the APIs to develop chatbots and automation platforms for commercial use. The M virtual assistant (U.S.) scans chats for keywords and suggests relevant actions, such as its payments system for users mentioning money. Group chatbots appear in Messenger as "Chat Extensions". A "Discovery" tab allows finding bots, and enabling special, branded QR codes that, when scanned, take the user to a specific bot. Facebook's data policy outlines its policies for collecting, storing, and sharing user's data. Facebook enables users to control access to individual posts and their profile through privacy settings. The user's name and profile picture (if applicable) are public. Facebook's revenue depends on targeted advertising, which involves analyzing user data to decide which ads to show each user. Facebook buys data from third parties, gathered from both online and offline sources, to supplement its own data on users. Facebook maintains that it does not share data used for targeted advertising with the advertisers themselves. The company states: "We provide advertisers with reports about the kinds of people seeing their ads and how their ads are performing, but we don't share information that personally identifies you (information such as your name or email address that by itself can be used to contact you or identifies who you are) unless you give us permission. For example, we provide general demographic and interest information to advertisers (for example, that an ad was seen by a woman between the ages of 25 and 34 who lives in Madrid and likes software engineering) to help them better understand their audience. We also confirm which Facebook ads led you to make a purchase or take an action with an advertiser." As of October 2021[update], Facebook claims it uses the following policy for sharing user data with third parties: Apps, websites, and third-party integrations on or using our Products. When you choose to use third-party apps, websites, or other services that use, or are integrated with, our Products, they can receive information about what you post or share. For example, when you play a game with your Facebook friends or use a Facebook Comment or Share button on a website, the game developer or website can receive information about your activities in the game or receive a comment or link that you share from the website on Facebook. Also, when you download or use such third-party services, they can access your public profile on Facebook, and any information that you share with them. Apps and websites you use may receive your list of Facebook friends if you choose to share it with them. But apps and websites you use will not be able to receive any other information about your Facebook friends from you, or information about any of your Instagram followers (although your friends and followers may, of course, choose to share this information themselves). Information collected by these third-party services is subject to their own terms and policies, not this one. Devices and operating systems providing native versions of Facebook and Instagram (i.e. where we have not developed our own first-party apps) will have access to all information you choose to share with them, including information your friends share with you, so they can provide our core functionality to you. Note: We are in the process of restricting developers' data access even further to help prevent abuse. For example, we will remove developers' access to your Facebook and Instagram data if you haven't used their app in 3 months, and we are changing Login, so that in the next version, we will reduce the data that an app can request without app review to include only name, Instagram username and bio, profile photo and email address. Requesting any other data will require our approval. Facebook will also share data with law enforcement if needed to. Facebook's policies have changed repeatedly since the service's debut, amid a series of controversies covering everything from how well it secures user data, to what extent it allows users to control access, to the kinds of access given to third parties, including businesses, political campaigns and governments. These facilities vary according to country, as some nations require the company to make data available (and limit access to services), while the European Union's GDPR regulation mandates additional privacy protections. On July 29, 2011, Facebook announced its Bug Bounty Program that paid security researchers a minimum of $500 ($716.00 in 2025 dollars) for reporting security holes. The company promised not to pursue "white hat" hackers who identified such problems. This led researchers in many countries to participate, particularly in India and Russia. Reception Facebook's rapid growth began as soon as it became available and continued through 2018, before beginning to decline. Facebook passed 100 million registered users in 2008, and 500 million in July 2010. According to the company's data at the July 2010 announcement, half of the site's membership used Facebook daily, for an average of 34 minutes, while 150 million users accessed the site by mobile. In October 2012, Facebook's monthly active users passed one billion, with 600 million mobile users, 219 billion photo uploads, and 140 billion friend connections. The 2 billion user mark was crossed in June 2017. In November 2015, after skepticism about the accuracy of its "monthly active users" measurement, Facebook changed its definition to a logged-in member who visits the Facebook site through the web browser or mobile app, or uses the Facebook Messenger app, in the 30-day period prior to the measurement. This excluded the use of third-party services with Facebook integration, which was previously counted. From 2017 to 2019, the percentage of the U.S. population over the age of 12 who use Facebook has declined, from 67% to 61% (a decline of some 15 million U.S. users), with a higher drop-off among younger Americans (a decrease in the percentage of U.S. 12- to 34-year-olds who are users from 58% in 2015 to 29% in 2019). The decline coincided with an increase in the popularity of Instagram, which is also owned by Meta. The number of daily active users experienced a quarterly decline for the first time in the last quarter of 2021, down to 1.929 billion from 1.930 billion, but increased again the next quarter despite being banned in Russia. Historically, commentators have offered predictions of Facebook's decline or end, based on causes such as a declining user base; the legal difficulties of being a closed platform, inability to generate revenue, inability to offer user privacy, inability to adapt to mobile platforms, or Facebook ending itself to present a next generation replacement; or Facebook's role in Russian interference in the 2016 United States elections. The highest number of Facebook users as of April 2023 are from India and the United States, followed by Indonesia, Brazil, Mexico and the Philippines. Region-wise, the highest number of users in 2018 are from Asia-Pacific (947 million) followed by Europe (381 million) and US-Canada (242 million). The rest of the world has 750 million users. Over the 2008–2018 period, the percentage of users under 34 declined to less than half of the total. In many countries the social networking sites and mobile apps have been blocked temporarily, intermittently, or permanently, including: Brazil, China, Iran, Vietnam, Pakistan, Syria, and North Korea. In May 2018, the government of Papua New Guinea announced that it would ban Facebook for a month while it considered the impact of the website on the country, though no ban has since occurred. In 2019, Facebook announced it would start enforcing its ban on users, including influencers, promoting any vape, tobacco products, or weapons on its platforms. Criticisms and controversies "I'm here today because I believe Facebook's products harm children, stoke division, and weaken our democracy. The company's leadership knows how to make Facebook and Instagram safer, but won't make the necessary changes because they have put their astronomical profits before people." "I don't believe private companies should make all of the decisions on their own. That's why we have advocated for updated internet regulations for several years now. I have testified in Congress multiple times and asked them to update these regulations. I've written op-eds outlining the areas of regulation we think are most important related to elections, harmful content, privacy, and competition." Facebook's importance and scale has led to criticisms in many domains. Issues include Internet privacy, excessive retention of user information, its facial recognition software, DeepFace its addictive quality and its role in the workplace, including employer access to employee accounts. Facebook has been criticized for electricity usage, tax avoidance, real-name user requirement policies, censorship and its involvement in the United States PRISM surveillance program. According to The Express Tribune, Facebook "avoided billions of dollars in tax using offshore companies". Facebook is alleged to have harmful psychological effects on its users, including feelings of jealousy and stress, a lack of attention and social media addiction. According to Kaufmann et al., mothers' motivations for using social media are often related to their social and mental health. European antitrust regulator Margrethe Vestager stated that Facebook's terms of service relating to private data were "unbalanced". Facebook has been criticized for allowing users to publish illegal or offensive material. Specifics include copyright and intellectual property infringement, hate speech, incitement of rape and terrorism, fake news, and crimes, murders, and livestreaming violent incidents. Commentators have accused Facebook of willingly facilitating the spread of such content. Sri Lanka blocked both Facebook and WhatsApp in May 2019 after anti-Muslim riots, the worst in the country since the Easter Sunday bombing in the same year as a temporary measure to maintain peace in Sri Lanka. Facebook removed 3 billion fake accounts only during the last quarter of 2018 and the first quarter of 2019; in comparison, the social network reports 2.39 billion monthly active users. In late July 2019, the company announced it was under antitrust investigation by the Federal Trade Commission. The consumer advocacy group Which? claimed individuals were still utilizing Facebook to set up fraudulent five-star ratings for products. The group identified 14 communities that exchange reviews for either money or complimentary items such as watches, earbuds, and sprinklers. Facebook and its parent Meta have been subject to regulatory actions and fines over past privacy failures, including a substantial fine by the Irish Data Protection Commission for a severe 2018 breach affecting millions of accounts. Earlier, Facebook's role in the Facebook–Cambridge Analytica data scandal exposed the personal data of tens of millions of users without proper consent, leading to global criticism and legal actions. Moreover, investigative reports have highlighted ongoing issues with fraudulent and scam advertisements on Facebook platforms, revealing that the company earned significant revenue from such content even as enforcement efforts have lagged, drawing regulatory pressure worldwide. Facebook has experienced a steady stream of controversies over how it handles user privacy, repeatedly adjusting its privacy settings and policies. Since 2009, Facebook has been participating in the PRISM secret program, sharing with the US National Security Agency audio, video, photographs, e-mails, documents and connection logs from user profiles, among other social media services. On November 29, 2011, Facebook settled Federal Trade Commission charges that it deceived consumers by failing to keep privacy promises. In August 2013 High-Tech Bridge published a study showing that links included in Facebook messaging service messages were being accessed by Facebook. In January 2014 two users filed a lawsuit against Facebook alleging that their privacy had been violated by this practice. On June 7, 2018, Facebook announced that a bug had resulted in about 14 million Facebook users having their default sharing setting for all new posts set to "public". Its data-sharing agreement with Chinese companies such as Huawei came under the scrutiny of US lawmakers, although the information accessed was not stored on Huawei servers and remained on users' phones. On April 4, 2019, half a billion records of Facebook users were found exposed on Amazon cloud servers, containing information about users' friends, likes, groups, and checked-in locations, as well as names, passwords and email addresses. The phone numbers of at least 200 million Facebook users were found to be exposed on an open online database in September 2019. They included 133 million US users, 18 million from the UK, and 50 million from users in Vietnam. After removing duplicates, the 419 million records have been reduced to 219 million. The database went offline after TechCrunch contacted the web host. It is thought the records were amassed using a tool that Facebook disabled in April 2018 after the Cambridge Analytica controversy. A Facebook spokeswoman said in a statement: "The dataset is old and appears to have information obtained before we made changes last year...There is no evidence that Facebook accounts were compromised." Facebook's privacy problems resulted in companies like Viber Media and Mozilla discontinuing advertising on Facebook's platforms. A January 2024 study by Consumer Reports found that among a self-selected group of volunteer participants, each user is monitored or tracked by over two thousand companies on average. LiveRamp, a San Francisco-based data broker, is responsible for 96 per cent of the data. Other companies such as Home Depot, Macy's, and Walmart are involved as well. In March 2024, a court in California released documents detailing Facebook's 2016 "Project Ghostbusters". The project was aimed at helping Facebook compete with Snapchat and involved Facebook trying to develop decryption tools to collect, decrypt, and analyze traffic that users generated when visiting Snapchat and, eventually, YouTube and Amazon. The company eventually used its tool Onavo to initiate man-in-the-middle attacks and read users' traffic before it was encrypted. Facebook was accused of committing "systemic" racial bias by the Equal Employment Opportunity Commission based on the complaints of three rejected candidates and a current employee of the company. The three rejected employees along with the Operational Manager at Facebook as of March 2021 accused the firm of discriminating against Black people. The EEOC initiated an investigation into the case in March 2021. A "shadow profile" refers to the data Facebook collects about individuals without their explicit permission. For example, the "like" button that appears on third-party websites allows the company to collect information about an individual's internet browsing habits, even if the individual is not a Facebook user. Data can also be collected by other users. For example, a Facebook user can link their email account to their Facebook to find friends on the site, allowing the company to collect the email addresses of users and non-users alike. Over time, countless data points about an individual are collected; any single data point perhaps cannot identify an individual, but together allows the company to form a unique "profile". This practice has been criticized by those who believe people should be able to opt-out of involuntary data collection. Additionally, while Facebook users have the ability to download and inspect the data they provide to the site, data from the user's "shadow profile" is not included, and non-users of Facebook do not have access to this tool regardless. The company has also been unclear whether or not it is possible for a person to revoke Facebook's access to their "shadow profile". Facebook customer Global Science Research sold information on over 87 million Facebook users to Cambridge Analytica, a political data analysis firm led by Alexander Nix. While approximately 270,000 people used the app, Facebook's API permitted data collection from their friends without their knowledge. At first Facebook downplayed the significance of the breach, and suggested that Cambridge Analytica no longer had access. Facebook then issued a statement expressing alarm and suspended Cambridge Analytica. Review of documents and interviews with former Facebook employees suggested that Cambridge Analytica still possessed the data. This was a violation of Facebook's consent decree with the Federal Trade Commission. This violation potentially carried a penalty of $40,000 ($51,285 in 2025 dollars) per occurrence, totalling trillions of dollars. According to The Guardian, both Facebook and Cambridge Analytica threatened to sue the newspaper if it published the story. After publication, Facebook claimed that it had been "lied to". On March 23, 2018, the English High Court granted an application by the Information Commissioner's Office for a warrant to search Cambridge Analytica's London offices, ending a standoff between Facebook and the Information Commissioner over responsibility. On March 25, Facebook published a statement by Zuckerberg in major UK and US newspapers apologizing over a "breach of trust". You may have heard about a quiz app built by a university researcher that leaked Facebook data of millions of people in 2014. This was a breach of trust, and I'm sorry we didn't do more at the time. We're now taking steps to make sure this doesn't happen again. We've already stopped apps like this from getting so much information. Now we're limiting the data apps get when you sign in using Facebook. We're also investigating every single app that had access to large amounts of data before we fixed this. We expect there are others. And when we find them, we will ban them and tell everyone affected. Finally, we'll remind you which apps you've given access to your information – so you can shut off the ones you don't want anymore. Thank you for believing in this community. I promise to do better for you. On March 26, the Federal Trade Commission opened an investigation into the matter. The controversy led Facebook to end its partnerships with data brokers who aid advertisers in targeting users. On April 24, 2019, Facebook said it could face a fine between $3 billion ($3.78 billion in 2025 dollars) to $5 billion ($6.3 billion in 2025 dollars) as the result of an investigation by the Federal Trade Commission. On July 24, 2019, the FTC fined Facebook $5 billion, the largest penalty ever imposed on a company for violating consumer privacy. Additionally, Facebook had to implement a new privacy structure, follow a 20-year settlement order, and allow the FTC to monitor Facebook. Cambridge Analytica's CEO and a developer faced restrictions on future business dealings and were ordered to destroy any personal information they collected. Cambridge Analytica filed for bankruptcy. Facebook also implemented additional privacy controls and settings in part to comply with the European Union's General Data Protection Regulation (GDPR), which took effect in May. Facebook also ended its active opposition to the California Consumer Privacy Act. Some, such as Meghan McCain, have drawn an equivalence between the use of data by Cambridge Analytica and the Barack Obama's 2012 campaign, which, according to Investor's Business Daily, "encouraged supporters to download an Obama 2012 Facebook app that, when activated, let the campaign collect Facebook data both on users and their friends." Carol Davidsen, the Obama for America (OFA) former director of integration and media analytics, wrote that "Facebook was surprised we were able to suck out the whole social graph, but they didn't stop us once they realised that was what we were doing". PolitiFact has rated McCain's statements "Half-True", on the basis that "in Obama's case, direct users knew they were handing over their data to a political campaign" whereas with Cambridge Analytica, users thought they were only taking a personality quiz for academic purposes, and while the Obama campaign only used the data "to have their supporters contact their most persuadable friends", Cambridge Analytica "targeted users, friends and lookalikes directly with digital ads." In July 2019, cybersecurity researcher Sam Jadali exposed a catastrophic data leak known as DataSpii involving data provider DDMR and marketing intelligence company Nacho Analytics (NA). Branding itself as the "God mode for the internet", NA through DDMR, provided its members access to private Facebook photos and Facebook Messenger attachments including tax returns. DataSpii harvested data from millions of Chrome and Firefox users through compromised browser extensions. The NA website stated it collected data from millions of opt-in users. Jadali, along with journalists from Ars Technica and The Washington Post, interviewed impacted users, including a Washington Post staff member. According to the interviews, the impacted users did not consent to such collection. DataSpii demonstrated how a compromised user exposed the data of others, including the private photos and Messenger attachments belonging to a Facebook user's network of friends. DataSpii exploited Facebook's practice of making private photos and Messenger attachments publicly accessible via unique URLs. To bolster security in this regard, Facebook appends query strings in the URLs so as to limit the period of accessibility. Nevertheless, NA provided real-time access to these unique URLs, which were intended to be secure. This allowed NA members to access the private content within the restricted time frame designated by Facebook. The Washington Post's Geoffrey Fowler, in collaboration with Jadali, opened Fowler's private Facebook photo in a browser with a compromised browser extension. Within minutes, they anonymously retrieved the "private" photo. To validate this proof-of-concept, they searched for Fowler's name using NA, which yielded his photo as a search result. In addition, Jadali discovered Fowler's Washington Post colleague, Nick Mourtoupalas, was directly impacted by DataSpii. Jadali's investigation elucidated how DataSpii disseminated private data to additional third-parties, including foreign entities, within minutes of the data being acquired. In doing so, he identified the third-parties who were scraping, storing, and potentially enabling the facial-recognition of individuals in photos being furnished by DataSpii. On September 28, 2018, Facebook experienced a major breach in its security, exposing the data of 50 million users. The data breach started in July 2017 and was discovered on September 16. Facebook notified users affected by the exploit and logged them out of their accounts. In March 2019, Facebook confirmed a password compromise of millions of Facebook lite application users also affected millions of Instagram users. The reason cited was the storage of password as plain text instead of encryption which could be read by its employees. On December 19, 2019, security researcher Bob Diachenko discovered a database containing more than 267 million Facebook user IDs, phone numbers, and names that were left exposed on the web for anyone to access without a password or any other authentication. In February 2020, Facebook encountered a major security breach in which its official Twitter account was hacked by a Saudi Arabia-based group called "OurMine". The group has a history of actively exposing high-profile social media profiles' vulnerabilities. In April 2021, The Guardian reported approximately half a billion users' data had been stolen including birthdates and phone numbers. Facebook alleged it was "old data" from a problem fixed in August 2019 despite the data's having been released a year and a half later only in 2021; it declined to speak with journalists, had apparently not notified regulators, called the problem "unfixable", and said it would not be advising users. In September 2024, Meta paid a $101 million fine for storing up to 600 million passwords of Facebook and Instagram users in plain text. The practice was initially discovered in 2019, though reports indicate passwords were stored in plain text since 2012. After acquiring Onavo in 2013, Facebook used its Onavo Protect virtual private network (VPN) app to collect information on users' web traffic and app usage. This allowed Facebook to monitor its competitors' performance, and motivated Facebook to acquire WhatsApp in 2014. Media outlets classified Onavo Protect as spyware. In August 2018, Facebook removed the app in response to pressure from Apple, who asserted that it violated their guidelines. The Australian Competition and Consumer Commission sued Facebook on December 16, 2020, for "false, misleading or deceptive conduct" in response to the company's unauthorized use of personal data obtained from Onavo for business purposes in contrast to Onavo's privacy-oriented marketing. In 2016, Facebook Research launched Project Atlas, offering some users between the ages of 13 and 35 up to $20 per month ($27.00 in 2025 dollars) in exchange for their personal data, including their app usage, web browsing history, web search history, location history, personal messages, photos, videos, emails and Amazon order history. In January 2019, TechCrunch reported on the project. This led Apple to temporarily revoke Facebook's Enterprise Developer Program certificates for one day, preventing Facebook Research from operating on iOS devices and disabling Facebook's internal iOS apps. Ars Technica reported in April 2018 that the Facebook Android app had been harvesting user data, including phone calls and text messages, since 2015. In May 2018, several Android users filed a class action lawsuit against Facebook for invading their privacy. In January 2020, Facebook launched the Off-Facebook Activity page, which allows users to see information collected by Facebook about their non-Facebook activities. The Washington Post columnist Geoffrey A. Fowler found that this included what other apps he used on his phone, even while the Facebook app was closed, what other web sites he visited on his phone, and what in-store purchases he made from affiliated businesses, even while his phone was completely off. In November 2021, a report was published by Fairplay, Global Action Plan and Reset Australia detailing accusations that Facebook was continuing to manage their ad targeting system with data collected from teen users. The accusations follow announcements by Facebook in July 2021 that they would cease ad targeting children. The company first apologized for its privacy abuses in 2009. Facebook apologies have appeared in newspapers, television, blog posts and on Facebook. On March 25, 2018, leading US and UK newspapers published full-page ads with a personal apology from Zuckerberg. Zuckerberg issued a verbal apology on CNN. In May 2010, he apologized for discrepancies in privacy settings. Previously, Facebook had its privacy settings spread out over 20 pages, and has now put all of its privacy settings on one page, which makes it more difficult for third-party apps to access the user's personal information. In addition to publicly apologizing, Facebook has said that it will be reviewing and auditing thousands of apps that display "suspicious activities" in an effort to ensure that this breach of privacy does not happen again. In a 2010 report regarding privacy, a research project stated that not a lot of information is available regarding the consequences of what people disclose online so often what is available are just reports made available through popular media. In 2017, a former Facebook executive went on the record to discuss how social media platforms have contributed to the unraveling of the "fabric of society". Facebook relies on its users to generate the content that bonds its users to the service. The company has come under criticism both for allowing objectionable content, including conspiracy theories and fringe discourse, and for prohibiting other content that it deems inappropriate. Facebook has been criticized as a vector for fake news, and has been accused of bearing responsibility for the conspiracy theory that the United States created ISIS, false anti-Rohingya posts being used by Myanmar's military to fuel genocide and ethnic cleansing, enabling climate change denial and Sandy Hook Elementary School shooting conspiracy theorists, and anti-refugee attacks in Germany. The government of the Philippines has also used Facebook as a tool to attack its critics. In 2017, Facebook partnered with fact checkers from the Poynter Institute's international fact-checking network to identify and mark false content, though most ads from political candidates are exempt from this program. As of 2018, Facebook had over 40 fact-checking partners across the world, including The Weekly Standard. Critics of the program have accused Facebook of not doing enough to remove false information from its website. Facebook has repeatedly amended its content policies. In July 2018, it stated that it would "downrank" articles that its fact-checkers determined to be false, and remove misinformation that incited violence. Facebook stated that content that receives "false" ratings from its fact-checkers can be demonetized and suffer dramatically reduced distribution. Specific posts and videos that violate community standards can be removed on Facebook. In May 2019, Facebook banned a number of "dangerous" commentators from its platform, including Alex Jones, Louis Farrakhan, Milo Yiannopoulos, Paul Joseph Watson, Paul Nehlen, David Duke, and Laura Loomer, for allegedly engaging in "violence and hate". In May 2020, Facebook agreed to a preliminary settlement of $52 million ($64.7 million in 2025 dollars) to compensate U.S.-based Facebook content moderators for their psychological trauma suffered on the job. Other legal actions around the world, including in Ireland, await settlement. In September 2020, the Government of Thailand utilized the Computer Crime Act for the first time to take action against Facebook and Twitter for ignoring requests to take down content and not complying with court orders. According to a report by Reuters, beginning in 2020, the United States military ran a propaganda campaign to spread disinformation about the Sinovac Chinese COVID-19 vaccine, including using fake social media accounts to spread the disinformation that the Sinovac vaccine contained pork-derived ingredients and was therefore haram under Islamic law. The campaign was described as "payback" for COVID-19 disinformation by China directed against the U.S. In summer 2020, Facebook asked the military to remove the accounts, stating that they violated Facebook's policies on fake accounts and on COVID-19 information. The campaign continued until mid-2021. In 2025, Meta announced the replacement of fact-checking on Facebook and Instagram with a "community notes" feature. Steven Brill, co-founder of news reliability rating company NewsGuard, criticized this decision, and described Facebook's prior fact-checking efforts as having failed to prevent misinformation. Professor Ilya Somin reported that he had been the subject of death threats on Facebook in April 2018 from Cesar Sayoc, who threatened to kill Somin and his family and "feed the bodies to Florida alligators". Somin's Facebook friends reported the comments to Facebook, which did nothing except dispatch automated messages. Sayoc was later arrested for the October 2018 United States mail bombing attempts directed at Democratic politicians. Force v. Facebook, Inc., 934 F.3d 53 (2nd Cir. 2019) was a case that alleged Facebook was profiting off recommendations for Hamas. In 2019, the US Second Circuit Appeals Court held that Section 230 bars civil terrorism claims against social media companies and internet service providers, the first federal appellate court to do so. In October 2020, Pakistani Prime Minister Imran Khan urged Mark Zuckerberg, through a letter posted on government's Twitter account, to ban Islamophobic content on Facebook, warning that it encouraged extremism and violence. In October 2020, the company announced that it would ban Holocaust denial. In October 2022, Media Matters for America published a report that Facebook and Instagram were still profiting off advertisements using the slur "groomer" for LGBT people. The article reported that Meta had previously confirmed that the use of this word for the LGBT community violates its hate speech policies. The story was subsequently picked up by other news outlets such as the New York Daily News, PinkNews, and LGBTQ Nation. There are ads on Facebook and Instagram containing sexually explicit content, descriptions of graphic violence and content promoting acts of self harm. Many of the ads are for webnovel apps backed by tech giants Bytedance and Tencent. Facebook was criticized for allowing InfoWars to publish falsehoods and conspiracy theories. Facebook defended its actions in regard to InfoWars, saying "we just don't think banning Pages for sharing conspiracy theories or false news is the right way to go." Facebook provided only six cases in which it fact-checked content on the InfoWars page over the period September 2017 to July 2018. In 2018, InfoWars falsely claimed that the survivors of the Parkland shooting were "actors". Facebook pledged to remove InfoWars content making the claim, although InfoWars videos pushing the false claims were left up, even though Facebook had been contacted about the videos. Facebook stated that the videos never explicitly called them actors. Facebook also allowed InfoWars videos that shared the Pizzagate conspiracy theory to survive, despite specific assertions that it would purge Pizzagate content. In late July 2018, Facebook suspended the personal profile of InfoWars head Alex Jones for 30 days. In early August 2018, Facebook banned the four most active InfoWars-related pages for hate speech. As a dominant social-web service with massive outreach, Facebook has been used by identified or unidentified political operatives to affect public opinion. Some of these activities have been done in violation of the platform policies, creating "coordinated inauthentic behavior", support or attacks. These activities can be scripted or paid. Various such abusive campaign have been revealed in recent years, best known being the Russian interference in the 2016 United States elections. In 2021, former Facebook analyst within the Spam and Fake Engagement teams, Sophie Zhang, reported more than 25 political subversion operations and criticized the general slow reaction time, oversightless, laissez-faire attitude by Facebook. In 2018, Facebook said that during 2018 they had identified "coordinated inauthentic behavior" in "many Pages, Groups and accounts created to stir up political debate, including in the US, the Middle East, Russia and the UK." Campaigns operated by the British intelligence agency unit, called Joint Threat Research Intelligence Group, have broadly fallen into two categories; cyber attacks and propaganda efforts. The propaganda efforts utilize "mass messaging" and the "pushing [of] stories" via social media sites like Facebook. Israel's Jewish Internet Defense Force, the Chinese Communist Party's 50 Cent Party and Turkey's AK Trolls also focus their attention on social media platforms like Facebook. In July 2018, Samantha Bradshaw, co-author of the report from the Oxford Internet Institute (OII) at Oxford University, said that "The number of countries where formally organised social media manipulation occurs has greatly increased, from 28 to 48 countries globally. The majority of growth comes from political parties who spread disinformation and junk news around election periods." In October 2018, The Daily Telegraph reported that Facebook "banned hundreds of pages and accounts that it says were fraudulently flooding its site with partisan political content – although they came from the United States instead of being associated with Russia." In December 2018, The Washington Post reported that "Facebook has suspended the account of Jonathon Morgan, the chief executive of a top social media research firm" New Knowledge, "after reports that he and others engaged in an operation to spread disinformation" on Facebook and Twitter during the 2017 United States Senate special election in Alabama. In January 2019, Facebook said it has removed 783 Iran-linked accounts, pages and groups for engaging in what it called "coordinated inauthentic behaviour". In March 2019, Facebook sued four Chinese firms for selling "fake accounts, likes and followers" to amplify Chinese state media outlets. In May 2019, Tel Aviv-based private intelligence agency Archimedes Group was banned from Facebook for "coordinated inauthentic behavior" after Facebook found fake users in countries in sub-Saharan Africa, Latin America and Southeast Asia. Facebook investigations revealed that Archimedes had spent some $1.1 million ($1.39 million in 2025 dollars) on fake ads, paid for in Brazilian reais, Israeli shekels and US dollars. Facebook gave examples of Archimedes Group political interference in Nigeria, Senegal, Togo, Angola, Niger and Tunisia. The Atlantic Council's Digital Forensic Research Lab said in a report that "The tactics employed by Archimedes Group, a private company, closely resemble the types of information warfare tactics often used by governments, and the Kremlin in particular." On May 23, 2019, Facebook released its Community Standards Enforcement Report highlighting that it has identified several fake accounts through artificial intelligence and human monitoring. In a period of six months, October 2018 – March 2019, the social media website removed a total of 3.39 billion fake accounts. The number of fake accounts was reported to be more than 2.4 billion real people on the platform. In July 2019, Facebook advanced its measures to counter deceptive political propaganda and other abuse of its services. The company removed more than 1,800 accounts and pages that were being operated from Russia, Thailand, Ukraine and Honduras. After Russia's invasion of Ukraine in February 2022, it was announced that the internet regulatory committee would block access to Facebook. On October 30, 2019, Facebook deleted several accounts of the employees working at the Israeli NSO Group, stating that the accounts were "deleted for not following our terms". The deletions came after WhatsApp sued the Israeli surveillance firm for targeting 1,400 devices with spyware. In 2020, Facebook helped found American Edge, an anti-regulation lobbying firm to fight anti-trust probes. The group runs ads that "fail to mention what legislation concerns them, how those concerns could be fixed, or how the horrors they warn of could actually happen", and do not clearly disclose that they are funded by Facebook. In 2020, the government of Thailand forced Facebook to take down a Facebook group called Royalist Marketplace with one million members following potentially illegal posts shared. The authorities have also threatened Facebook with legal action. In response, Facebook is planning to take legal action against the Thai government for suppression of freedom of expression and violation of human rights. In 2020, during the COVID-19 pandemic, Facebook found that troll farms from North Macedonia and the Philippines pushed coronavirus disinformation. The publisher, which used content from these farms, was banned. In the run-up to the 2020 United States elections, Eastern European troll farms operated popular Facebook pages showing content related to Christians and Blacks in America. They included more than 15,000 pages combined and were viewed by 140 million US users per month. This was in part due to how Facebook's algorithm and policies allow unoriginal viral content to be copied and spread in ways that still drive up user engagement. As of September 2021, some of the most popular pages were still active on Facebook despite the company's efforts to take down such content. In February 2021, Facebook removed the main page of the Myanmar military, after two protesters were shot and killed during the anti-coup protests. Facebook said that the page breached its guidelines that prohibit the incitement of violence. On February 25, Facebook announced to ban all accounts of the Myanmar military, along with the "Tatmadaw-linked commercial entities". Citing the "exceptionally severe human rights abuses and the clear risk of future military-initiated violence in Myanmar", the tech giant also implemented the move on its subsidiary, Instagram. In March 2021, The Wall Street Journal's editorial board criticized Facebook's decision to fact-check its op-ed titled "We'll Have Herd immunity by April" written by surgeon Marty Makary, calling it "counter-opinion masquerading as fact checking." Facebook guidelines allow users to call for the death of public figures, they also allow praise of mass killers and 'violent non-state actors' in some situations. In 2021, former Facebook analyst within the Spam and Fake Engagement teams, Sophie Zhang, reported on more than 25 political subversion operations she uncovered while in Facebook, and the general laissez-faire by the private enterprise. In 2021, Facebook was cited as playing a role in the fomenting of the 2021 United States Capitol attack. In 2018, Special Counsel Robert Mueller indicted 13 Russian nationals and three Russian organizations for "engaging in operations to interfere with U.S. political and electoral processes, including the 2016 presidential election." Mueller contacted Facebook subsequently to the company's disclosure that it had sold more than $100,000 ($134,151 in 2025 dollars) worth of ads to a company (Internet Research Agency, owned by Russian billionaire and businessman Yevgeniy Prigozhin) with links to the Russian intelligence community before the 2016 United States presidential election. In September 2017, Facebook's chief security officer Alex Stamos wrote the company "found approximately $100,000 in ad spending from June 2015 to May 2017 – associated with roughly 3,000 ads – that was connected to about 470 inauthentic accounts and Pages in violation of our policies. Our analysis suggests these accounts and Pages were affiliated with one another and likely operated out of Russia." Clinton and Trump campaigns spent $81 million ($109 million in 2025 dollars) on Facebook ads. The company pledged full cooperation in Mueller's investigation, and provided all information about the Russian advertisements. Members of the House and Senate Intelligence Committees have claimed that Facebook had withheld information that could illuminate the Russian propaganda campaign. Russian operatives have used Facebook polarize the American public discourses, organizing both Black Lives Matter rallies and anti-immigrant rallies on U.S. soil, as well as anti-Clinton rallies and rallies both for and against Donald Trump. Facebook ads have also been used to exploit divisions over black political activism and Muslims by simultaneously sending contrary messages to different users based on their political and demographic characteristics in order to sow discord. Zuckerberg has stated that he regrets having dismissed concerns over Russian interference in the 2016 U.S. presidential election. Russian-American billionaire Yuri Milner, who befriended Zuckerberg between 2009 and 2011, had Kremlin backing for his investments in Facebook and Twitter. In January 2019, Facebook removed 289 pages and 75 coordinated accounts linked to the Russian state-owned news agency Sputnik which had misrepresented themselves as independent news or general interest pages. Facebook later identified and removed an additional 1,907 accounts linked to Russia found to be engaging in "coordinated inauthentic behaviour". In 2018, a UK Department for Digital, Culture, Media and Sport (DCMS) select committee report had criticized Facebook for its reluctance to investigate abuse of its platform by the Russian government, and for downplaying the extent of the problem, referring to the company as 'digital gangsters'. "Democracy is at risk from the malicious and relentless targeting of citizens with disinformation and personalised 'dark adverts' from unidentifiable sources, delivered through the major social media platforms we use every day," Damian Collins, DCMS Committee Chair In February 2019, Glenn Greenwald wrote that a cybersecurity company New Knowledge, which is behind one of the Senate reports on Russian social media election interference, "was caught just six weeks ago engaging in a massive scam to create fictitious Russian troll accounts on Facebook and Twitter in order to claim that the Kremlin was working to defeat Democratic Senate nominee Doug Jones in Alabama. The New York Times, when exposing the scam, quoted a New Knowledge report that boasted of its fabrications..." In 2018, Facebook took down 536 Facebook pages, 17 Facebook groups, 175 Facebook accounts, and 16 Instagram accounts linked to the Myanmar military. Collectively these were followed by over 10 million people. The New York Times reported that: after months of reports about anti-Rohingya propaganda on Facebook, the company acknowledged that it had been too slow to act in Myanmar. By then, more than 700,000 Rohingya had fled the country in a year, in what United Nations officials called "a textbook example of ethnic cleansing". A 2019 book titled The Real Face of Facebook in India, co-authored by the journalists Paranjoy Guha Thakurta and Cyril Sam, alleged that Facebook helped enable and benefited from the rise of Narendra Modi's Hindu nationalist Bharatiya Janata Party (BJP) in India. Ankhi Das, Facebook's policy director for India and South and Central Asia, apologized publicly in August 2020 for sharing a Facebook post which called Muslims in India a "degenerate community". She said she shared the post "to reflect my deep belief in celebrating feminism and civic participation". She is reported to have prevented action by Facebook against anti-Muslim content and supported the BJP in internal Facebook messages. In 2020, Facebook executives overrode their employees' recommendations that the BJP politician T. Raja Singh should be banned from the site for hate speech and rhetoric that could lead to violence. Singh had said on Facebook that Rohingya Muslim immigrants should be shot and had threatened to destroy mosques. Current and former Facebook employees told The Wall Street Journal that the decision was part of a pattern of favoritism by Facebook toward the BJP as it seeks more business in India. Facebook also took no action after BJP politicians made posts accusing Muslims of intentionally spreading COVID-19, an employee said. In 2020, the Delhi Assembly began investigating whether Facebook bore blame for the 2020 religious riots in the city, claiming it had found Facebook "prima facie guilty of a role in the violence". Following a summons by a Delhi Assembly Committee, Facebook India vice-president and managing director Ajit Mohan moved the Supreme Court, which granted him relief and ordered a stay to the summons. The Central government later backed the decision, and submitted in the court that Facebook could not be made accountable before any state assembly and the committee formed was unconstitutional. Following a fresh notice by the Delhi Assembly panel in 2021 for failing to appear before it as a witness, Mohan challenged it saying that the 'right to silence' is a virtue in present 'noisy times' and the legislature had no authority to examine him in a law and order case. In July 2021, the Supreme Court refused to quash the summons and asked Facebook to appear before the Delhi assembly panel. On September 23, 2023, it was reported that Facebook had delayed for about a year when in 2021, it removed a network of accounts ran by India's Chinar Corps which spread disinformation that would put Kashmiri journalists in danger. The delay and the previously not publicized takedown action were due a fear that its local employees would be targeted by authorities, and that it would hurt business prospects in the country. Early Facebook investor and former Zuckerberg mentor Roger McNamee described Facebook as having "the most centralized decision-making structure I have ever encountered in a large company." Nathan Schneider, a professor of media studies at the University of Colorado Boulder argued in 2018 for transforming Facebook into a platform cooperative owned and governed by the users. Facebook co-founder Chris Hughes stated in 2019 that CEO Mark Zuckerberg has too much power, that the company is now a monopoly, and that, as a result, it should be split into multiple smaller companies. He called for the breakup of Facebook in an op-ed in The New York Times. Hughes says he is concerned that Zuckerberg has surrounded himself with a team that does not challenge him and that as a result, it is the U.S. government's job to hold him accountable and curb his "unchecked power". Hughes also said that "Mark's power is unprecedented and un-American." Several U.S. politicians agree with Hughes. EU Commissioner for Competition Margrethe Vestager has stated that splitting Facebook should only be done as "a remedy of the very last resort", and that splitting Facebook would not solve Facebook's underlying problems. Facebook has been criticized for its lack of human customer support. When users personal and business accounts are breached, many are forced to go through small claims court to regain access and restitution. The company has been subject to repeated litigation. Its most prominent case addressed allegations that Zuckerberg broke an oral contract with Cameron Winklevoss, Tyler Winklevoss, and Divya Narendra to build the then-named "HarvardConnection" social network in 2004. On March 6, 2018, BlackBerry sued Facebook and its Instagram and WhatsApp subdivision for ripping off key features of its messaging app. In October 2018, a Texan woman sued Facebook, claiming she had been recruited into the sex trade at the age of 15 by a man who "friended" her on the social media network. Facebook responded that it works both internally and externally to ban sex traffickers. In 2019, British solicitors representing a bullied Syrian schoolboy, sued Facebook over false claims. They claimed that Facebook protected prominent figures from scrutiny instead of removing content that violates its rules and that the special treatment was financially driven. The Federal Trade Commission and a coalition of New York state and 47 other state and regional governments filed separate suits against Facebook on December 9, 2020, seeking antitrust action based on its acquisitions of Instagram and WhatsUp among other companies, calling these practices as anticompetitive. The suits also assert that in acquiring these products, they weakened their privacy measures for their users. The suits, besides other fines, seek to unwind the acquisitions from Facebook. On January 6, 2022, France's data privacy regulatory body CNIL fined Facebook a 60 million euros for not allowing its internet users an easy refusal of cookies along with Google. On December 22, 2022, the Quebec Court of Appeal approved a class-action lawsuit on behalf of Facebook users who claim they were discriminated against because the platform allows advertisers to target both job and housing advertisements based on various factors, including age, gender, and even race. The lawsuit centers on the platform's practice of "micro targeting ads", claiming ads are ensured to appear only in the feeds of people who belong to certain targeted groups. Women, for example, would not see ads targeting men, while older generation men would not see an ad aimed at people between 18 and 45. The class action could include thousands of Quebec residents who have been using the platform as early as April 2016, who were seeking jobs or housing during that period. Facebook has 60 days after the court's December 22 ruling to decide to appeal the case to the Supreme Court of Canada. If it does not appeal, the case returns to the Quebec Superior Court. On September 21, 2023, the California Courts of Appeal ruled that Facebook could be sued for discriminatory advertising under the Unruh Civil Rights Act. Impact A commentator in The Washington Post noted in 2019 that Facebook constitutes a "massive depository of information that documents both our reactions to events and our evolving customs with a scope and immediacy of which earlier historians could only dream". Especially for anthropologists, social researchers, and social historians—and subject to proper preservation and curation—the website "will preserve images of our lives that are vastly crisper and more nuanced than any ancestry record in existence". Economists have noted that Facebook offers many non-rivalrous services that benefit as many users as are interested without forcing users to compete with each other. By contrast, most goods are available to a limited number of users. E.g., if one user buys a phone, no other user can buy that phone. Three areas add the most economic impact: platform competition, the market place and user behavior data. Facebook began to reduce its carbon impact after Greenpeace attacked it for its long-term reliance on coal and resulting carbon footprint. In 2021 Facebook announced that their global operations are supported by 100 percent renewable energy and they have reached net zero emissions, a goal set in 2018. Facebook provides a development platform for many social gaming, communication, feedback, review, and other applications related to online activities. This platform spawned many businesses and added thousands of jobs to the global economy. Zynga Inc., a leader in social gaming, is an example of such a business. An econometric analysis found that Facebook's app development platform added more than 182,000 jobs in the U.S. economy in 2011. The total economic value of the added employment was about $12 billion ($17.2 billion in 2025 dollars). Facebook was one of the first large-scale social networks. In The Facebook Effect, David Kirkpatrick said that Facebook's structure makes it difficult to replace, because of its "network effects". As of 2016[update], it was estimated 44% of Americans get news through Facebook. A study published at Frontiers Media in 2023 found that there was more polarization of the user-base on Facebook than even far-right social networks like Gab. Studies have associated social networks with positive and negative impacts on emotional health. Studies have associated Facebook with feelings of envy, often triggered by vacation and holiday photos. Other triggers include posts by friends about family happiness and images of physical beauty—such feelings leave people dissatisfied with their own lives. A joint study by two German universities discovered that one out of three people were more dissatisfied with their lives after visiting Facebook, and another study by Utah Valley University found that college students felt worse about themselves following an increase in time on Facebook. Positive effects include signs of "virtual empathy" with online friends and helping introverted persons learn social skills. A 2020 experimental study in the American Economic Review found that deactivating Facebook led to increased subjective well-being. In a blog post in December 2017, the company highlighted research that has shown "passively consuming" the News Feed, as in reading but not interacting, left users with negative feelings, whereas interacting with messages pointed to improvements in well-being. In February 2008, a Facebook group called "One Million Voices Against FARC" organized an event in which hundreds of thousands of Colombians marched in protest against the Revolutionary Armed Forces of Colombia (FARC). In August 2010, one of North Korea's official government websites and the country's official news agency, Uriminzokkiri, joined Facebook. During the Arab Spring many journalists claimed Facebook played a major role in the 2011 Egyptian revolution. On January 14, the Facebook page of "We are all Khaled Said" was started by Wael Ghoniem to invite the Egyptian people to "peaceful demonstrations" on January 25. In Tunisia and Egypt, Facebook became the primary tool for connecting protesters and led the Egyptian government to ban it, Twitter and other sites. After 18 days, the uprising forced President Hosni Mubarak to resign. In a Bahraini uprising that started on February 14, 2011, Facebook was utilized by the Bahraini regime and regime loyalists to identify, capture and prosecute citizens involved in the protests. A 20-year-old woman named Ayat Al Qurmezi was identified as a protester using Facebook and imprisoned. In 2011, Facebook filed paperwork with the Federal Election Commission to form a political action committee under the name FB PAC. In an email to The Hill, a spokesman for Facebook said "Facebook Political Action Committee will give our employees a way to make their voice heard in the political process by supporting candidates who share our goals of promoting the value of innovation to our economy while giving people the power to share and make the world more open and connected." During the Syrian civil war, the YPG, a libertarian army for Rojava recruited westerners through Facebook in its fight against ISIL. Dozens joined its ranks. The Facebook page's name "The Lions of Rojava" comes from a Kurdish saying which translates as "A lion is a lion, whether it's a female or a male", reflecting the organization's feminist ideology. In recent years, Facebook's News Feed algorithms have been identified as a cause of political polarization, for which it has been criticized. It has likewise been accused of amplifying the reach of 'fake news' and extreme viewpoints, as when it may have enabled conditions which led to the 2015 Rohingya refugee crisis. Facebook first played a role in the American political process in January 2008, shortly before the New Hampshire primary. Facebook teamed up with ABC and Saint Anselm College to allow users to give live feedback about the "back to back" January 5 Republican and Democratic debates. Facebook users took part in debate groups on specific topics, voter registration and message questions. Over a million people installed the Facebook application "US Politics on Facebook" in order to take part which measured responses to specific comments made by the debating candidates. A poll by CBS News, UWIRE and The Chronicle of Higher Education claimed to illustrate how the "Facebook effect" had affected youthful voters, increasing voting rates, support of political candidates, and general involvement. The new social media, such as Facebook and Twitter, connected hundreds of millions of people. By 2008, politicians and interest groups were experimenting with systematic use of social media to spread their message. By the 2016 election, political advertising to specific groups had become normalized. Facebook offered the most sophisticated targeting and analytics platform. ProPublica noted that their system enabled advertisers to direct their pitches to almost 2,300 people who expressed interest in the topics of "Jew hater", "How to burn Jews", or, "History of 'why Jews ruin the world". Facebook has used several initiatives to encourage its users to register to vote and vote. An experiment in 2012 involved showing Facebook users pictures of their friends who reported that they had voted; users who were shown the pictures were about 2% more likely to report that they had also voted compared to the control group, which was not encouraged to vote. In 2020, Facebook announced the goal of helping four million voters register in the US, saying that it had registered 2.5 million by September. The Cambridge Analytica data scandal offered another example of the perceived attempt to influence elections. The Guardian claimed that Facebook knew about the security breach for two years, but did nothing to stop it until it became public. Facebook banned political ads to prevent the manipulation of voters in the US's November's election. Propaganda experts said there are other ways for misinformation to reach voters on social media platforms and blocking political ads will not serve as a proven solution. In March 2024, former US President Donald Trump said that getting rid of TikTok would allow Facebook, which he called the "enemy of the people", to double its business. He spoke after President Biden said he was ready to sign legislation that would require TikTok owner ByteDance to sell the video platform or face a ban in the US. Ahead of the 2019 general elections in India, Facebook has removed 103 pages, groups and accounts on Facebook and Instagram platforms originating from Pakistan. Facebook said its investigation found a Pakistani military link, along with a mix of real accounts of ISPR employees, and a network of fake accounts created by them that have been operating military fan pages, general interest pages but were posting content about Indian politics while trying to conceal their identity. Owing to the same reasons, Facebook also removed 687 pages and accounts of Congress because of coordinated inauthentic behavior on the platform. Facebook and Zuckerberg have been the subject of music, books, film and television. The 2010 film The Social Network, directed by David Fincher and written by Aaron Sorkin, stars Jesse Eisenberg as Zuckerberg and went on to win three Academy Awards and four Golden Globes. In 2008, Collins English Dictionary declared "Facebook" as its new Word of the Year. In December 2009, the New Oxford American Dictionary declared its word of the year to be the verb "unfriend", defined as "To remove someone as a 'friend' on a social networking site such as Facebook". In August 2013, Facebook founded Internet.org in collaboration with six other technology companies to plan and help build affordable Internet access for underdeveloped and developing countries. The service, called Free Basics, includes various low-bandwidth applications such as AccuWeather, BabyCenter, BBC News, ESPN, and Bing. There was severe opposition to Internet.org in India, where the service started in partnership with Reliance Communications in 2015 was banned a year later by the Telecom Regulatory Authority of India (TRAI). In 2018, Zuckerberg claimed that "Internet.org efforts have helped almost 100 million people get access to the internet who may not have had it otherwise." Facebook announced in 2021 that it will make an effort to stop disinformation about climate change. The company will use George Mason University, Yale Program on Climate Change Communication and the University of Cambridge as sources of information. The company will expand its information hub on climate to 16 countries. Users in other countries will be directed to the site of the United Nations Environment Programme for information. See also References Further reading External links |
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Editing Visual effects (section) Copy and paste: – — ° ′ ″ ≈ ≠ ≤ ≥ ± − × ÷ ← → · § Cite your sources: <ref></ref> {{}} {{{}}} | [] [[]] [[Category:]] #REDIRECT [[]] <s></s> <sup></sup> <sub></sub> <code></code> <pre></pre> <blockquote></blockquote> <ref></ref> <ref name="" /> {{Reflist}} <references /> <includeonly></includeonly> <noinclude></noinclude> {{DEFAULTSORT:}} <nowiki></nowiki> <!-- --> <span class="plainlinks"></span> Symbols: ~ | ¡ ¿ † ‡ ↔ ↑ ↓ • ¶ # ∞ ‹› «» ¤ ₳ ฿ ₵ ¢ ₡ ₢ $ ₫ ₯ € ₠ ₣ ƒ ₴ ₭ ₤ ℳ ₥ ₦ ₧ ₰ £ ៛ ₨ ₪ ৳ ₮ ₩ ¥ ♠ ♣ ♥ ♦ 𝄫 ♭ ♮ ♯ 𝄪 © ¼ ½ ¾ Latin: A a Á á À à  â Ä ä Ǎ ǎ Ă ă Ā ā à ã Å å Ą ą Æ æ Ǣ ǣ B b C c Ć ć Ċ ċ Ĉ ĉ Č č Ç ç D d Ď ď Đ đ Ḍ ḍ Ð ð E e É é È è Ė ė Ê ê Ë ë Ě ě Ĕ ĕ Ē ē Ẽ ẽ Ę ę Ẹ ẹ Ɛ ɛ Ǝ ǝ Ə ə F f G g Ġ ġ Ĝ ĝ Ğ ğ Ģ ģ H h Ĥ ĥ Ħ ħ Ḥ ḥ I i İ ı Í í Ì ì Î î Ï ï Ǐ ǐ Ĭ ĭ Ī ī Ĩ ĩ Į į Ị ị J j Ĵ ĵ K k Ķ ķ L l Ĺ ĺ Ŀ ŀ Ľ ľ Ļ ļ Ł ł Ḷ ḷ Ḹ ḹ M m Ṃ ṃ N n Ń ń Ň ň Ñ ñ Ņ ņ Ṇ ṇ Ŋ ŋ O o Ó ó Ò ò Ô ô Ö ö Ǒ ǒ Ŏ ŏ Ō ō Õ õ Ǫ ǫ Ọ ọ Ő ő Ø ø Œ œ Ɔ ɔ P p Q q R r Ŕ ŕ Ř ř Ŗ ŗ Ṛ ṛ Ṝ ṝ S s Ś ś Ŝ ŝ Š š Ş ş Ș ș Ṣ ṣ ß T t Ť ť Ţ ţ Ț ț Ṭ ṭ Þ þ U u Ú ú Ù ù Û û Ü ü Ǔ ǔ Ŭ ŭ Ū ū Ũ ũ Ů ů Ų ų Ụ ụ Ű ű Ǘ ǘ Ǜ ǜ Ǚ ǚ Ǖ ǖ V v W w Ŵ ŵ X x Y y Ý ý Ŷ ŷ Ÿ ÿ Ỹ ỹ Ȳ ȳ Z z Ź ź Ż ż Ž ž ß Ð ð Þ þ Ŋ ŋ Ə ə Greek: Ά ά Έ έ Ή ή Ί ί Ό ό Ύ ύ Ώ ώ Α α Β β Γ γ Δ δ Ε ε Ζ ζ Η η Θ θ Ι ι Κ κ Λ λ Μ μ Ν ν Ξ ξ Ο ο Π π Ρ ρ Σ σ ς Τ τ Υ υ Φ φ Χ χ Ψ ψ Ω ω {{Polytonic|}} Cyrillic: А а Б б В в Г г Ґ ґ Ѓ ѓ Д д Ђ ђ Е е Ё ё Є є Ж ж З з Ѕ ѕ И и І і Ї ї Й й Ј ј К к Ќ ќ Л л Љ љ М м Н н Њ њ О о П п Р р С с Т т Ћ ћ У у Ў ў Ф ф Х х Ц ц Ч ч Џ џ Ш ш Щ щ Ъ ъ Ы ы Ь ь Э э Ю ю Я я ́ IPA: t̪ d̪ ʈ ɖ ɟ ɡ ɢ ʡ ʔ ɸ β θ ð ʃ ʒ ɕ ʑ ʂ ʐ ç ʝ ɣ χ ʁ ħ ʕ ʜ ʢ ɦ ɱ ɳ ɲ ŋ ɴ ʋ ɹ ɻ ɰ ʙ ⱱ ʀ ɾ ɽ ɫ ɬ ɮ ɺ ɭ ʎ ʟ ɥ ʍ ɧ ʼ ɓ ɗ ʄ ɠ ʛ ʘ ǀ ǃ ǂ ǁ ɨ ʉ ɯ ɪ ʏ ʊ ø ɘ ɵ ɤ ə ɚ ɛ œ ɜ ɝ ɞ ʌ ɔ æ ɐ ɶ ɑ ɒ ʰ ʱ ʷ ʲ ˠ ˤ ⁿ ˡ ˈ ˌ ː ˑ ̪ {{IPA|}} This page is a member of 6 hidden categories (help): |
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Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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Contents Historical drama A historical drama (also period drama, period piece or just period) is a dramatic work set in the past, usually used in the context of film and television, which presents historical events and characters with varying degrees of fiction such as creative dialogue or scenes which compress separate events. The biographical film is a type of historical drama which generally focuses on a single individual or well-defined group. Historical dramas can include romances, adventure films, and swashbucklers. Historical drama differs from historical fiction, which generally presents fictional characters and events during historical events. A period piece may be set during a vast era such as the Middle Ages, or a specific period such as the Roaring Twenties, or the recent past. Scholarship In different eras different subgenres have risen to popularity, such as the westerns and sword and sandal films that dominated North American cinema in the 1950s. The costume drama is often separated as a genre of historical dramas. Early critics defined them as films focusing on romance and relationships in sumptuous surroundings, contrasting them with other historical dramas believed to have more serious themes. Other critics have defended costume dramas, and argued that they are disparaged because they are a genre directed towards women. Historical dramas have also been described as a conservative genre, glorifying an imagined past that never existed. Historical accuracy Historical drama may include mostly fictionalized narratives based on actual people or historical events, such as the history plays of Shakespeare, Apollo 13, The Tudors, Braveheart, Pocahontas, Vinland Saga, Chernobyl, Enemy at the Gates, Les Misérables, and Titanic. Works may include references to real-life people or events from the relevant time period or contain factually accurate representations of the time period. Works that focus on accurately portraying specific historical events or persons are instead known as docudrama, such as The Report. Where a person's life is central to the story, such a work is known as biographical drama, with notable examples being films such as Alexander, Frida, House of Saddam, Lincoln, Lust for Life, Raging Bull, Stalin, and Oppenheimer. See also References |
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View source for Template:Enforcement policy list You do not have permission to edit this page, for the following reason: Why is the page protected? What can I do? Pages transcluded onto the current version of this page (help): Return to Template:Enforcement policy list. |
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Editing Template:Grupo Globo Copy and paste: – — ° ′ ″ ≈ ≠ ≤ ≥ ± − × ÷ ← → · § Sign your posts on talk pages: ~~~~ Cite your sources: <ref></ref> {{}} {{{}}} | [] [[]] [[Category:]] #REDIRECT [[]] <s></s> <sup></sup> <sub></sub> <code></code> <pre></pre> <blockquote></blockquote> <ref></ref> <ref name="" /> {{Reflist}} <references /> <includeonly></includeonly> <noinclude></noinclude> {{DEFAULTSORT:}} <nowiki></nowiki> <!-- --> <span class="plainlinks"></span> Symbols: ~ | ¡ ¿ † ‡ ↔ ↑ ↓ • ¶ # ∞ ‹› «» ¤ ₳ ฿ ₵ ¢ ₡ ₢ $ ₫ ₯ € ₠ ₣ ƒ ₴ ₭ ₤ ℳ ₥ ₦ ₧ ₰ £ ៛ ₨ ₪ ৳ ₮ ₩ ¥ ♠ ♣ ♥ ♦ 𝄫 ♭ ♮ ♯ 𝄪 © ¼ ½ ¾ Latin: A a Á á À à  â Ä ä Ǎ ǎ Ă ă Ā ā à ã Å å Ą ą Æ æ Ǣ ǣ B b C c Ć ć Ċ ċ Ĉ ĉ Č č Ç ç D d Ď ď Đ đ Ḍ ḍ Ð ð E e É é È è Ė ė Ê ê Ë ë Ě ě Ĕ ĕ Ē ē Ẽ ẽ Ę ę Ẹ ẹ Ɛ ɛ Ǝ ǝ Ə ə F f G g Ġ ġ Ĝ ĝ Ğ ğ Ģ ģ H h Ĥ ĥ Ħ ħ Ḥ ḥ I i İ ı Í í Ì ì Î î Ï ï Ǐ ǐ Ĭ ĭ Ī ī Ĩ ĩ Į į Ị ị J j Ĵ ĵ K k Ķ ķ L l Ĺ ĺ Ŀ ŀ Ľ ľ Ļ ļ Ł ł Ḷ ḷ Ḹ ḹ M m Ṃ ṃ N n Ń ń Ň ň Ñ ñ Ņ ņ Ṇ ṇ Ŋ ŋ O o Ó ó Ò ò Ô ô Ö ö Ǒ ǒ Ŏ ŏ Ō ō Õ õ Ǫ ǫ Ọ ọ Ő ő Ø ø Œ œ Ɔ ɔ P p Q q R r Ŕ ŕ Ř ř Ŗ ŗ Ṛ ṛ Ṝ ṝ S s Ś ś Ŝ ŝ Š š Ş ş Ș ș Ṣ ṣ ß T t Ť ť Ţ ţ Ț ț Ṭ ṭ Þ þ U u Ú ú Ù ù Û û Ü ü Ǔ ǔ Ŭ ŭ Ū ū Ũ ũ Ů ů Ų ų Ụ ụ Ű ű Ǘ ǘ Ǜ ǜ Ǚ ǚ Ǖ ǖ V v W w Ŵ ŵ X x Y y Ý ý Ŷ ŷ Ÿ ÿ Ỹ ỹ Ȳ ȳ Z z Ź ź Ż ż Ž ž ß Ð ð Þ þ Ŋ ŋ Ə ə Greek: Ά ά Έ έ Ή ή Ί ί Ό ό Ύ ύ Ώ ώ Α α Β β Γ γ Δ δ Ε ε Ζ ζ Η η Θ θ Ι ι Κ κ Λ λ Μ μ Ν ν Ξ ξ Ο ο Π π Ρ ρ Σ σ ς Τ τ Υ υ Φ φ Χ χ Ψ ψ Ω ω {{Polytonic|}} Cyrillic: А а Б б В в Г г Ґ ґ Ѓ ѓ Д д Ђ ђ Е е Ё ё Є є Ж ж З з Ѕ ѕ И и І і Ї ї Й й Ј ј К к Ќ ќ Л л Љ љ М м Н н Њ њ О о П п Р р С с Т т Ћ ћ У у Ў ў Ф ф Х х Ц ц Ч ч Џ џ Ш ш Щ щ Ъ ъ Ы ы Ь ь Э э Ю ю Я я ́ IPA: t̪ d̪ ʈ ɖ ɟ ɡ ɢ ʡ ʔ ɸ β θ ð ʃ ʒ ɕ ʑ ʂ ʐ ç ʝ ɣ χ ʁ ħ ʕ ʜ ʢ ɦ ɱ ɳ ɲ ŋ ɴ ʋ ɹ ɻ ɰ ʙ ⱱ ʀ ɾ ɽ ɫ ɬ ɮ ɺ ɭ ʎ ʟ ɥ ʍ ɧ ʼ ɓ ɗ ʄ ɠ ʛ ʘ ǀ ǃ ǂ ǁ ɨ ʉ ɯ ɪ ʏ ʊ ø ɘ ɵ ɤ ə ɚ ɛ œ ɜ ɝ ɞ ʌ ɔ æ ɐ ɶ ɑ ɒ ʰ ʱ ʷ ʲ ˠ ˤ ⁿ ˡ ˈ ˌ ː ˑ ̪ {{IPA|}} Wikidata entities used in this page Pages transcluded onto the current version of this page (help): |
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[SOURCE: https://en.wikipedia.org/wiki/Guinness_World_Records#cite_note-first-8] | [TOKENS: 3908] |
Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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[SOURCE: https://en.wikipedia.org/wiki/Chroma_key] | [TOKENS: 4128] |
Contents Chroma key Chroma key compositing, or chroma keying, is a visual-effects and post-production technique for compositing (layering) two or more images or video streams together based on colour hues (chroma range). The technique has been used in many fields to remove a background from the subject of a photo or video — particularly the newscasting, motion picture, and video game industries. A colour range in the foreground footage is made transparent, allowing separately filmed background footage or a static image to be inserted into the scene. The chroma keying technique is commonly used in video production and post-production. This technique is also referred to as colour keying, colour separation overlay (CSO; primarily by the BBC), or by various terms for specific colour-related variants such as green screen or blue screen; chroma keying can be done with backgrounds of any colour that are uniform and distinct, but green and blue backgrounds are more commonly used because they differ most distinctly in hue from any human skin colour. No part of the subject being filmed or photographed may duplicate the colour used as the backing, or the part may be erroneously identified as part of the backing. It is commonly used for live weather forecast broadcasts in which a news presenter is seen standing in front of a CGI map instead of a large blue or green background. Chroma keying is also common in the entertainment industry for visual effects in filmmaking and video games. Rotoscopy may instead be carried out on subjects that are not in front of a green (or blue) screen. Motion tracking can also be used in conjunction with chroma keying, such as to move the background as the subject moves. History Prior to the introduction of travelling mattes and optical printing, double exposure was used to introduce elements into a scene which were not present in the initial exposure. This was done using black draping where a green screen would be used today. George Albert Smith first used this approach in 1898. In 1903, The Great Train Robbery by Edwin S. Porter used double exposure to add background scenes to windows which were black when filmed on set, using a garbage matte to expose only the window areas. In order to have figures in one exposure actually move in front of a substituted background in the other, a travelling matte was needed, to occlude the correct portion of the background in each frame. In 1918, Frank Williams patented a travelling matte technique, again based on using a black background. This was used in many films, such as The Invisible Man.: 4 In the 1920s, Walt Disney used a white backdrop to include human actors with cartoon characters and backgrounds in his Alice Comedies.: 5 The blue screen method was developed in the 1930s at RKO Radio Pictures. At RKO, Linwood Dunn used an early version of the travelling matte to create "wipes" — where there were transitions like a windshield wiper in films such as Flying Down to Rio (1933). Credited to Larry Butler, a scene featuring a genie escaping from a bottle was the first use of a proper bluescreen process to create a travelling matte for The Thief of Bagdad (1940), which won the Academy Award for Best Special Effects that year. In 1950, Warner Brothers employee and ex-Kodak researcher Arthur Widmer began working on an ultraviolet travelling matte process. He also began developing bluescreen techniques: one of the first films to use them was the 1958 adaptation of the Ernest Hemingway novella, The Old Man and the Sea, starring Spencer Tracy. The name "Chroma-Key" was RCA's trade name for the process, as used on its NBC television broadcasts, incorporating patents granted to RCA's Albert N. Goldsmith. A very early broadcast use was NBC's George Gobel Show in fall 1957. Petro Vlahos was awarded an Academy Award for his refinement of these techniques in 1964. His technique exploits the fact that most objects in real-world scenes have a colour whose blue-colour component is similar in intensity to their green-colour component. Zbigniew Rybczyński also contributed to bluescreen technology. An optical printer with two projectors, a film camera and a "beam splitter", was used to combine the actor in front of a blue screen together with the background footage, one frame at a time. In the early 1970s, American and British television networks began using green backdrops instead of blue for their newscasts. During the 1980s, minicomputers were used to control the optical printer. For the film The Empire Strikes Back, Richard Edlund created a "quad optical printer" that accelerated the process considerably and saved money. He received a special Academy Award for his innovation. For decades, travelling matte shots had to be done "locked-down", so that neither the matted subject nor the background could shift their camera perspective at all. Later, computer-timed, motion-control cameras alleviated this problem, as both the foreground and background could be filmed with the same camera moves. Meteorologists on television often use a field monitor, to the side of the screen, to see where they are putting their hands against the background images. A newer technique is to project a faint image onto the screen. Some films make heavy use of chroma key to add backgrounds that are constructed entirely using computer-generated imagery (CGI). Performances from different takes can be composited together, which allows actors to be filmed separately and then placed together in the same scene. Chroma key allows performers to appear to be in any location without leaving the studio. Advances in computer technology have simplified the incorporation of motion into composited shots, even when using handheld cameras. Reference points such as a painted grid, X's marked with tape, or equally spaced tennis balls attached to the wall, can be placed onto the coloured background to serve as markers. In post-production, a computer can use these markers to compute the camera's position and thus render an image that matches the perspective and movement of the foreground perfectly. Modern advances in software and computational power have eliminated the need to accurately place the markers — the software figures out their position in space; a potential disadvantage of this is that it requires camera movement, possibly contributing to modern cinematographic techniques whereby the camera is always in motion. Process The principal subject is filmed or photographed against a background consisting of a single colour or a relatively narrow range of colours, usually blue or green because these colours are considered to be the furthest away from skin tone. The portions of the video which match the pre-selected colour are replaced by the alternate background video. This process is commonly known as "keying", "keying out" or simply a "key". Green is used as a backdrop for TV and electronic cinematography more than any other colour because television weather presenters tended to wear blue suits. When chroma keying first came into use in television production, the blue screen that was then the norm in the movie industry was used out of habit, until other practical considerations caused the television industry to move from blue to green screens. Broadcast-quality colour television cameras use separate red, green, and blue image sensors, and early analog TV chroma keyers required RGB component video to work reliably. From a technological perspective it was equally possible to use the blue or green channel, but because blue clothing was an ongoing challenge, the green screen came into common use. Newscasters sometimes forget the chroma key dress code, and when the key is applied to clothing of the same colour as the background, the person would seem to disappear into the key. Because green clothing is less common than blue, it soon became apparent that it was easier to use a green matte screen than it was to constantly police the clothing choices of on-air talent. Also, because the human eye is more sensitive to green wavelengths, which lie in the middle of the visible light spectrum, the green analog video channel typically carried more signal strength, giving a better signal to noise ratio compared to the other component video channels, so green screen keys could produce the cleanest key. In the digital television and cinema age, much of the tweaking that was required to make a good quality key has been automated. However, the one constant that remains is some level of colour coordination to keep foreground subjects from being keyed out. Before electronic chroma keying, compositing was done on (chemical) film. The camera colour negative was printed onto high-contrast black and white negative, using either a filter or the high contrast film's colour sensitivity to expose only blue (and higher) frequencies. Blue light only shines through the colour negative where there is not blue in the scene, so this left the film clear where the blue screen was, and opaque elsewhere, except it also produced clear for any white objects (since they also contained blue). Removing these spots could be done by a suitable double-exposure with the colour positive (thus turning any area containing red or green opaque), and many other techniques. The result was film that was clear where the blue screen was, and opaque everywhere else. This is called a female matte, similar to an alpha matte in digital keying. Copying this film onto another high-contrast negative produced the opposite male matte. The background negative was then packed with the female matte and exposed onto a final strip of film, then the camera negative was packed with the male matte and was double-printed onto this same film. These two images combined creates the final effect. The most important factor for a key is the colour separation of the foreground (the subject) and background (the screen) – a blue screen will be used if the subject is predominantly green (for example plants), despite the camera being more sensitive to green light. In analog television, colour is represented by the phase of the chroma subcarrier relative to a reference oscillator. Chroma key is achieved by comparing the phase of the video to the phase corresponding to the pre-selected colour. In-phase portions of the video are replaced by the alternate background video.[citation needed] In digital colour TV, colour is represented by three numbers (red, green, blue intensity levels). Chroma key is achieved by a simple numerical comparison between the video and the pre-selected colour. If the colour at a particular point on the screen matches (either exactly, or in a range), then the video at that point is replaced by the alternate background. In order to create an illusion that characters and objects filmed are present in the intended background scene, the lighting in the two scenes must be a reasonable match. For outdoor scenes, overcast days create a diffuse, evenly coloured light which can be easier to match in the studio, whereas direct sunlight needs to be matched in both direction and overall colour based on time of day. A studio shot taken in front of a green screen will naturally have ambient light the same colour as the screen, due to its light scattering. This effect is known as spill.: p20 This can look unnatural or cause portions of the characters to disappear, so must be compensated for, or avoided by using a larger screen placed far from the actors. The depth of field used to record the scene in front of the coloured screen should match that of the background. This can mean recording the actors with a larger depth of field than normal. Clothing A chroma key subject must avoid wearing clothes which are similar in colour to the chroma key colour(s) (unless intentional e.g., wearing a green top to make it appear that the subject has no body), because the clothing may be replaced with the background image/video. An example of intentional use of this is when an actor wears a blue covering over a part of his body to make it invisible in the final shot. This technique can be used to achieve an effect similar to that used in the Harry Potter films to create the effect of an invisibility cloak. The actor can also be filmed against a chroma-key background and inserted into the background shot with a distortion effect, in order to create a cloak that is marginally detectable. Difficulties emerge with blue screen when a costume in an effects shot must be blue, such as Superman's traditional blue outfit. In the 2002 film Spider-Man, in scenes where both Spider-Man and the Green Goblin are in the air, Spider-Man had to be shot in front of a green screen and the Green Goblin had to be shot in front of a blue screen. The colour difference is because Spider-Man wears a costume which is red and blue in colour and the Green Goblin wears a costume which is entirely green in colour. If both were shot in front of the same screen, parts of one character would be erased from the shot. For a clean division of foreground from background, it is also important that clothing and hair in the foreground shot have a fairly simple silhouette, as fine details such as frizzy hair may not resolve properly. Similarly, partially transparent elements of the costume cause problems. Background colour Blue was originally used for the film industry as making the separations required a film that would only respond to the screen colour, and film that responded only to blue and higher frequencies (ultraviolet, etc.) was far easier to manufacture and make reliable than film that somehow excluded both frequencies higher and lower than the screen colour. In television and digital film making, however, it is equally easy to extract any colour, and green quickly became the favoured colour. Bright green is less likely to be in the foreground objects, colour film emulsions usually had much finer grain in the green, and lossy compression used for analog video signals and digital images and movies retain more detail in the green channel. Green can also be used outdoors where the light colour temperature is significantly blue. Red is avoided as it is in human skin, and any other colour is a mix of primaries and thus produces a less clean extraction. A so-called "yellow screen" is accomplished with a white backdrop. Ordinary stage lighting is used in combination with a bright yellow sodium lamp. The sodium light falls almost entirely in a narrow frequency band, which can then be separated from the other light using a prism, and projected onto a separate but synchronized film carrier within the camera. This second film is high-contrast black and white, and is processed to produce the matte.: 16 A newer technique is to use a retroreflective curtain in the background, along with a ring of bright LEDs around the camera lens. This requires no light to shine on the background other than the LEDs, which use an extremely small amount of power and space unlike big stage lights, and require no rigging. This advance was made possible by the invention in the 1990s of practical blue LEDs, which also allow for emerald green LEDs. There is also a form of colour keying that uses light spectrum invisible to human eye. Called Thermo-Key, it uses infrared as the key colour, which would not be replaced by background image during postprocessing. For Star Trek: The Next Generation, an ultraviolet light matting process was proposed by Don Lee of CIS Hollywood and developed by Gary Hutzel and the staff of Image G. This involved a fluorescent orange backdrop which made it easier to generate a holdout matte, thus allowing the effects team to produce effects in a quarter of the time needed for other methods. In principle, any type of still background can be used as a chroma key instead of a solid colour. First the background is captured without actors or other foreground elements; then the scene is recorded. The image of the background is used to cancel the background in the actual footage; for example in a digital image, each pixel will have a different chroma key. This is sometimes referred to as a difference matte. However, this makes it easy for objects to be accidentally removed if they happen to be similar to the background, or for the background to remain due to camera noise or if it happens to change slightly from the reference footage. A background with a repeating pattern alleviates many of these issues, and can be less sensitive to wardrobe colour than solid-colour backdrops. There is some use of the specific full-intensity magenta colour #FF00FF in digital colour images to encode (1-bit) transparency; this is sometimes referred to as "magic pink". This is not a photographic technique, and the extraction of the foreground from the background is trivial. Tolerances The biggest challenge when setting up a blue screen or green screen is even lighting and the avoidance of shadow because it is best to have as narrow a colour range as possible being replaced. A shadow would present itself as a darker colour to the camera and might not register for replacement. This can sometimes be seen in low-budget or live broadcasts where the errors cannot be manually repaired or scenes reshot. The material being used affects the quality and ease of having it evenly lit. Materials which are shiny will be far less successful than those that are not. A shiny surface will have areas that reflect the lights making them appear pale, while other areas may be darkened. A matte surface will diffuse the reflected light and have a more even colour range. In order to get the cleanest key from shooting green screen, it is necessary to create a value difference between the subject and the green screen. In order to differentiate the subject from the screen, a two-stop difference can be used, either by making the green screen two stops higher than the subject, or vice versa. Sometimes a shadow can be used to create a visual effect. Areas of the blue screen or green screen with a shadow on them can be replaced with a darker version of the desired background video image, making it look like the person is casting a shadow on them. Any spill of the chroma key colour will make the result look unnatural. A difference in the focal length of the lenses used can affect the success of chroma key. Another challenge for blue screen or green screen is proper camera exposure. Underexposing or overexposing a coloured backdrop can lead to poor saturation levels. In the case of video cameras, underexposed images can contain high amounts of noise, as well. The background must be bright enough to allow the camera to create a bright and saturated image. Programming There are several different quality- and speed-optimised techniques for implementing colour keying in software. In most versions, a function f(r, g, b) → α is applied to every pixel in the image. α (alpha) has a meaning similar to that in alpha compositing techniques. α ≤ 0 means the pixel is fully in the green screen, α ≥ 1 means the pixel is fully in the foreground object, and intermediate values indicate the pixel is partially covered by the foreground object (or it is transparent). A further function g(r, g, b) → (r, g, b) is needed to remove green spill on the foreground objects. A very simple f() function for green screen is A(r+b) − Bg where A and B are user adjustable constants with a default value of 1.0. A very simple g() is (r, min(g,b), b). This is fairly close to the capabilities of analog and film-based screen pulling. Modern examples of these functions are best described by two closed nested surfaces in 3D RGB space, often quite complex. Colours inside the inner surface are considered green screen. Colours outside the outer surface are opaque foreground. Colours between the surfaces are partially covered, they are more opaque the closer they are to the outer surface. Sometimes more closed surfaces are used to determine how to remove green spill. It is also very common for f() to depend on more than just the current pixel's colour, it may also use the (x, y) position, the values of nearby pixels, the value from reference images or a statistical colour model of the scene, and values from user-drawn masks. These produce closed surfaces in space with more than three dimensions. A different class of algorithm tries to figure out a 2D path that separates the foreground from the background. This path can be the output, or the image can be drawn by filling the path with α = 1 as a final step. An example of such an algorithm is the use of active contour. Most research in recent years[when?] has been into these algorithms. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:5P3] | [TOKENS: 562] |
Wikipedia:Five pillars The fundamental principles of Wikipedia may be summarized in five "pillars": Wikipedia is an encyclopedia Wikipedia combines many features of general and specialized encyclopedias, almanacs, and gazetteers. Wikipedia is not a soapbox, an advertising platform, a social network, a vanity press, an experiment in anarchy or democracy, an indiscriminate collection of information, nor a web directory. It is not a dictionary, a newspaper, an instruction manual, nor a collection of source documents or media files, although some of its fellow Wikimedia projects are. Wikipedia is written from a neutral point of view We strive for articles with an impartial tone that document and explain major points of view, giving due weight for their prominence. We avoid advocacy, and we characterize information and issues rather than debate them. In some areas, there may be just one well-recognized point of view; in others, we describe multiple points of view, presenting each accurately and in context rather than as "the truth" or "the best view". All articles must strive for verifiable accuracy with citations based on reliable sources, especially when the topic is controversial or is about a living person. Editors' personal experiences, interpretations, or opinions do not belong on Wikipedia. Wikipedia is free content that anyone can use, edit, and distribute All editors freely license their work to the public, and no editor owns an article – any contributions can and may be mercilessly edited and redistributed. Respect copyright laws and never plagiarize from any sources. Borrowing non-free media is sometimes allowed as fair use, but editors should strive to find free alternatives first. Wikipedia's editors should treat each other with respect and civility Respect your fellow Wikipedians, even when you disagree. Apply Wikipedia etiquette, and do not engage in personal attacks or edit wars. Seek consensus, and never disrupt Wikipedia to illustrate a point. Act in good faith, and assume good faith on the part of others. Be open and welcoming to newcomers. Should conflicts arise, discuss them calmly on the appropriate talk pages, follow dispute resolution procedures, and consider that there are 7,140,549 other articles on the English Wikipedia to improve and discuss. Wikipedia has no firm rules Wikipedia has policies and guidelines, but they are not carved in stone; their content and interpretation can evolve over time. The principles and spirit matter more than literal wording, and sometimes improving Wikipedia requires making exceptions. Be bold, but not reckless, in updating articles. And do not agonize over making mistakes: they can be corrected easily because every past version of each article is saved. Five pillarsStatement of our principles Jimbo's statementHistoric principles Simplified rulesetSynopsis of our conventions Wikimedia principlesCommon to all projects(in Meta-Wiki) PrinciplesOther essays on Wikipedia's principles |
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[SOURCE: https://en.wikipedia.org/wiki/Roberto_Irineu_Marinho] | [TOKENS: 155] |
Contents Roberto Irineu Marinho Roberto Irineu Marinho (born October 13, 1947) is a Brazilian billionaire businessman. He is the co-owner, chairman and CEO of Grupo Globo. Early life Roberto Irineu Marinho was born in Rio de Janeiro, RJ, the eldest son of three of the late tycoon Roberto Marinho. Career Following the death of Roberto Marinho in August 2003 aged 98, his three sons inherited the control of Grupo Globo, Latin America's largest media group. According to Forbes, Marinho has an estimated net worth of $3.8 billion as of March 2017. Personal life Marinho is a Roman Catholic, married with four children, and lives in Rio de Janeiro. References |
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[SOURCE: https://en.wikipedia.org/wiki/Theatre] | [TOKENS: 9150] |
Contents Theatre Theatre or theater[a] is a collaborative form of performing art that uses live performers, usually actors, to present experiences of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. It is the oldest form of drama, though live theatre has now been joined by modern recorded forms. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. Places, normally buildings, where performances regularly take place are also called "theatres" (or "theaters"), as derived from the Ancient Greek θέατρον (théatron, "a place for viewing"), itself from θεάομαι (theáomai, "to see", "to watch", "to observe"). Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements. Theatre artist Patrice Pavis defines theatricality, theatrical language, stage writing and the specificity of theatre as synonymous expressions that differentiate theatre from the other performing arts, literature and the arts in general.[b] A theatre company is an organisation that produces theatrical performances, as distinct from a theatre troupe (or acting company), which is a group of theatrical performers working together. Modern theatre includes performances of plays and musical theatre. The art forms of ballet and opera are also theatre and use many conventions such as acting, costumes and staging. They were influential in the development of musical theatre. History of theatre The city-state of Athens is where Western theatre originated.[c] It was part of a broader culture of theatricality and performance in classical Greece that included festivals, religious rituals, politics, law, athletics and gymnastics, music, poetry, weddings, funerals, and symposia.[d] Participation in the city-state's many festivals—and mandatory attendance at the City Dionysia as an audience member (or even as a participant in the theatrical productions) in particular—was an important part of citizenship. Civic participation also involved the evaluation of the rhetoric of orators evidenced in performances in the law-court or political assembly, both of which were understood as analogous to the theatre and increasingly came to absorb its dramatic vocabulary. The Greeks also developed the concepts of dramatic criticism and theatre architecture.[failed verification] Actors were either amateur or at best semi-professional. The theatre of ancient Greece consisted of three types of drama: tragedy, comedy, and the satyr play. The origins of theatre in ancient Greece, according to Aristotle (384–322 BCE), the first theoretician of theatre, are to be found in the festivals that honoured Dionysus. The performances were given in semi-circular auditoria cut into hillsides, capable of seating 10,000–20,000 people. The stage consisted of a dancing floor (orchestra), dressing room and scene-building area (skene). Since the words were the most important part, good acoustics and clear delivery were paramount. The actors (always men) wore masks appropriate to the characters they represented, and each might play several parts. Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an important part of the theatrical culture of the city-state.[e] Having emerged sometime during the 6th century BCE, it flowered during the 5th century BCE (from the end of which it began to spread throughout the Greek world), and continued to be popular until the beginning of the Hellenistic period.[f] No tragedies from the 6th century BCE and only 32 of the more than a thousand that were performed in during the 5th century BCE have survived.[g] We have complete texts extant by Aeschylus, Sophocles, and Euripides.[h] The origins of tragedy remain obscure, though by the 5th century BCE it was institutionalized in competitions (agon) held as part of festivities celebrating Dionysus (the god of wine and fertility). As contestants in the City Dionysia competition (the most prestigious of the festivals to stage drama), playwrights were required to present a tetralogy of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three tragedies and one satyr play.[i] The performance of tragedies at the City Dionysia may have begun as early as 534 BCE; official records (didaskaliai) begin from 501 BCE, when the satyr play was introduced.[j] Most Athenian tragedies dramatize events from Greek mythology, though The Persians—which stages the Persian response to news of their military defeat at the Battle of Salamis in 480 BCE—is the notable exception in the surviving drama.[k] When Aeschylus won first prize for it at the City Dionysia in 472 BCE, he had been writing tragedies for more than 25 years, yet its tragic treatment of recent history is the earliest example of drama to survive. More than 130 years later, the philosopher Aristotle analysed 5th-century Athenian tragedy in the oldest surviving work of dramatic theory—his Poetics (c. 335 BCE). Athenian comedy is conventionally divided into three periods, "Old Comedy", "Middle Comedy", and "New Comedy". Old Comedy survives today largely in the form of the eleven surviving plays of Aristophanes, while Middle Comedy is largely lost (preserved only in relatively short fragments in authors such as Athenaeus of Naucratis). New Comedy is known primarily from the substantial papyrus fragments of Menander. Aristotle defined comedy as a representation of laughable people that involves some kind of blunder or ugliness that does not cause pain or disaster.[l] In addition to the categories of comedy and tragedy at the City Dionysia, the festival also included the Satyr Play. Finding its origins in rural, agricultural rituals dedicated to Dionysus, the satyr play eventually found its way to Athens in its most well-known form. Satyr's themselves were tied to the god Dionysus as his loyal woodland companions, often engaging in drunken revelry and mischief at his side. The satyr play itself was classified as tragicomedy, erring on the side of the more modern burlesque traditions of the early twentieth century. The plotlines of the plays were typically concerned with the dealings of the pantheon of Gods and their involvement in human affairs, backed by the chorus of Satyrs. However, according to Webster, satyr actors did not always perform typical satyr actions and would break from the acting traditions assigned to the character type of a mythical forest creature. The Greek colonists in Southern Italy, the so-called Magna Graecia, brought theatrical art from their motherland. The Greek Theatre of Syracuse, the Greek Theatre of Segesta [it], the Greek Theatre of Tindari [it], the Greek Theatre of Hippana [it], the Greek Theatre of Akrai [it], the Greek Theatre of Monte Jato [it], the Greek Theatre of Morgantina [it] and the most famous Greek Theater of Taormina, amply demonstrate this. Only fragments of original dramaturgical works are left, but the tragedies of the three great giants Aeschylus, Sophocles and Euripides and the comedies of Aristophanes are known. Some famous playwrights in the Greek language came directly from Magna Graecia. Others, such as Aeschylus and Epicharmus, worked for a long time in Sicily. Epicharmus can be considered Syracusan in all respects, having worked all his life with the tyrants of Syracuse. His comedy preceded that of the more famous Aristophanes by staging the gods for the first time in comedy. While Aeschylus, after a long stay in the Sicilian colonies, died in Sicily in the colony of Gela in 456 BC. Epicarmus and Phormis, both of 6th century BC, are the basis, for Aristotle, of the invention of the Greek comedy, as he says in his book on Poetics: As for the composition of the stories (Epicharmus and Phormis) it came in the beginning from Sicily — Aristotle, Poetics Other native dramatic authors of Magna Graecia, in addition to the Syracusan Formides mentioned, are Achaeus of Syracuse, Apollodorus of Gela, Philemon of Syracuse and his son Philemon the younger. From Calabria, precisely from the colony of Thurii, came the playwright Alexis. While Rhinthon, although Sicilian from Syracuse, worked almost exclusively for the colony of Taranto in Apulia. Western theatre developed and expanded considerably under the Romans. The Roman historian Livy wrote that the Romans first experienced theatre in the 4th century BC, with a performance by Etruscan actors. Beacham argues that Romans had been familiar with "pre-theatrical practices" for some time before that recorded contact. The theatre of ancient Rome was a thriving and diverse art form, ranging from festival performances of street theatre, nude dancing, and acrobatics, to the staging of Plautus's broadly appealing situation comedies, to the high-style, verbally elaborate tragedies of Seneca. Although Rome had a native tradition of performance, the Hellenization of Roman culture in the 3rd century BC had a profound and energizing effect on Roman theatre and encouraged the development of Latin literature of the highest quality for the stage. Following the expansion of the Roman Republic (509–27 BC) into several Greek territories between 270 and 240 BC, Rome encountered Greek drama. From the later years of the republic and by means of the Roman Empire (27 BC-476 AD), theatre spread west across Europe, around the Mediterranean and reached England; Roman theatre was more varied, extensive and sophisticated than that of any culture before it. While Greek drama continued to be performed throughout the Roman period, the year 240 BC marks the beginning of regular Roman drama.[m] From the beginning of the empire, however, interest in full-length drama declined in favour of a broader variety of theatrical entertainments. The first important works of Roman literature were the tragedies and comedies that Livius Andronicus wrote from 240 BC. Five years later, Gnaeus Naevius also began to write drama. No plays from either writer have survived. While both dramatists composed in both genres, Andronicus was most appreciated for his tragedies and Naevius for his comedies; their successors tended to specialise in one or the other, which led to a separation of the subsequent development of each type of drama. By the beginning of the 2nd century BC, drama was firmly established in Rome and a guild of writers (collegium poetarum) had been formed. The Roman comedies that have survived are all fabula palliata (comedies based on Greek subjects) and come from two dramatists: Titus Maccius Plautus (Plautus) and Publius Terentius Afer (Terence). In re-working the Greek originals, the Roman comic dramatists abolished the role of the chorus in dividing the drama into episodes and introduced musical accompaniment to its dialogue (between one-third of the dialogue in the comedies of Plautus and two-thirds in those of Terence). The action of all scenes is set in the exterior location of a street and its complications often follow from eavesdropping. Plautus, the more popular of the two, wrote between 205 and 184 BC and twenty of his comedies survive, of which his farces are best known; he was admired for the wit of his dialogue and his use of a variety of poetic meters. All of the six comedies that Terence wrote between 166 and 160 BC have survived; the complexity of his plots, in which he often combined several Greek originals, was sometimes denounced, but his double-plots enabled a sophisticated presentation of contrasting human behaviour. No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Quintus Ennius, Marcus Pacuvius and Lucius Accius. From the time of the empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosopher Seneca. Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his Phaedra, for example, was based on Euripides' Hippolytus. Historians do not know who wrote the only extant example of the fabula praetexta (tragedies based on Roman subjects), Octavia, but in former times it was mistakenly attributed to Seneca due to his appearance as a character in the tragedy. In contrast to Ancient Greek theatre, the theatre in Ancient Rome did allow female performers. While the majority were employed for dancing and singing, a minority of actresses are known to have performed speaking roles, and there were actresses who achieved wealth, fame and recognition for their art, such as Eucharis, Dionysia, Galeria Copiola and Fabia Arete: they also formed their own acting guild, the Sociae Mimae, which was evidently quite wealthy. The first form of Indian theatre was the Sanskrit theatre, earliest-surviving fragments of which date from the 1st century CE. It began after the development of Greek and Roman theatre and before the development of theatre in other parts of Asia. It emerged sometime between the 2nd century BCE and the 1st century CE and flourished between the 1st century CE and the 10th, which was a period of relative peace in the history of India during which hundreds of plays were written. The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre. The ancient Vedas (hymns from between 1500 and 1000 BCE that are among the earliest examples of literature in the world) contain no hint of it (although a small number are composed in a form of dialogue) and the rituals of the Vedic period do not appear to have developed into theatre. The Mahābhāṣya by Patañjali contains the earliest reference to what may have been the seeds of Sanskrit drama. This treatise on grammar from 140 BCE provides a feasible date for the beginnings of theatre in India. The major source of evidence for Sanskrit theatre is A Treatise on Theatre (Nātyaśāstra), a compendium whose date of composition is uncertain (estimates range from 200 BCE to 200 CE) and whose authorship is attributed to Bharata Muni. The Treatise is the most complete work of dramaturgy in the ancient world. It addresses acting, dance, music, dramatic construction, architecture, costuming, make-up, props, the organisation of companies, the audience, competitions, and offers a mythological account of the origin of theatre. In doing so, it provides indications about the nature of actual theatrical practices. Sanskrit theatre was performed on sacred ground by priests who had been trained in the necessary skills (dance, music, and recitation) in a [hereditary process]. Its aim was both to educate and to entertain. Under the patronage of royal courts, performers belonged to professional companies that were directed by a stage manager (sutradhara), who may also have acted. This task was thought of as being analogous to that of a puppeteer—the literal meaning of "sutradhara" is "holder of the strings or threads". The performers were trained rigorously in vocal and physical technique. There were no prohibitions against female performers; companies were all-male, all-female, and of mixed gender. Certain sentiments were considered inappropriate for men to enact, however, and were thought better suited to women. Some performers played characters their own age, while others played ages different from their own (whether younger or older). Of all the elements of theatre, the Treatise gives most attention to acting (abhinaya), which consists of two styles: realistic (lokadharmi) and conventional (natyadharmi), though the major focus is on the latter.[n] Its drama is regarded as the highest achievement of Sanskrit literature. It utilised stock characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka). Actors may have specialized in a particular type. Kālidāsa in the 1st century BCE, is arguably considered to be ancient India's greatest Sanskrit dramatist. Three famous romantic plays written by Kālidāsa are the Mālavikāgnimitram (Mālavikā and Agnimitra), Vikramuurvashiiya (Pertaining to Vikrama and Urvashi), and Abhijñānaśākuntala (The Recognition of Shakuntala). The last was inspired by a story in the Mahabharata and is the most famous. It was the first to be translated into English and German. Śakuntalā (in English translation) influenced Goethe's Faust (1808–1832). The next great Indian dramatist was Bhavabhuti (c. 7th century CE). He is said to have written the following three plays: Malati-Madhava, Mahaviracharita and Uttar Ramacharita. Among these three, the last two cover between them the entire epic of Ramayana. The powerful Indian emperor Harsha (606–648) is credited with having written three plays: the comedy Ratnavali, Priyadarsika, and the Buddhist drama Nagananda. The Tang dynasty is sometimes known as "The Age of 1000 Entertainments". During this era, Ming Huang formed an acting school known as The Pear Garden to produce a form of drama that was primarily musical. That is why actors are commonly called "Children of the Pear Garden". During the dynasty of Empress Ling, shadow puppetry first emerged as a recognized form of theatre in China. There were two distinct forms of shadow puppetry, Pekingese (northern) and Cantonese (southern). The two styles were differentiated by the method of making the puppets and the positioning of the rods on the puppets, as opposed to the type of play performed by the puppets. Both styles generally performed plays depicting great adventure and fantasy, rarely was this very stylized form of theatre used for political propaganda. Japanese forms of Kabuki, Nō, and Kyōgen developed in the 17th century CE. Cantonese shadow puppets were the larger of the two. They were built using thick leather which created more substantial shadows. Symbolic colour was also very prevalent; a black face represented honesty, a red one bravery. The rods used to control Cantonese puppets were attached perpendicular to the puppets' heads. Thus, they were not seen by the audience when the shadow was created. Pekingese puppets were more delicate and smaller. They were created out of thin, translucent leather (usually taken from the belly of a donkey). They were painted with vibrant paints, thus they cast a very colourful shadow. The thin rods which controlled their movements were attached to a leather collar at the neck of the puppet. The rods ran parallel to the bodies of the puppet and then turned at a ninety degree angle to connect to the neck. While these rods were visible when the shadow was cast, they laid outside the shadow of the puppet; thus they did not interfere with the appearance of the figure. The rods are attached at the necks to facilitate the use of multiple heads with one body. When the heads were not being used, they were stored in a muslin book or fabric-lined box. The heads were always removed at night. This was in keeping with the old superstition that if left intact, the puppets would come to life at night. Some puppeteers went so far as to store the heads in one book and the bodies in another, to further reduce the possibility of reanimating puppets. Shadow puppetry is said to have reached its highest point of artistic development in the eleventh century before becoming a tool of the government. In the Song dynasty, there were many popular plays involving acrobatics and music. These developed in the Yuan dynasty into a more sophisticated form known as zaju, with a four- or five-act structure. Yuan drama spread across China and diversified into numerous regional forms, one of the best known of which is Peking Opera which is still popular today. Xiangsheng is a certain traditional Chinese comedic performance in the forms of monologue or dialogue. In Indonesia, theatre performances have become an important part of local culture, theatre performances in Indonesia have been developed for thousands of years. Most of Indonesia's oldest theatre forms are linked directly to local literary traditions (oral and written). The prominent puppet theatres—wayang golek (wooden rod-puppet play) of the Sundanese and wayang kulit (leather shadow-puppet play) of the Javanese and Balinese—draw much of their repertoire from indigenized versions of the Ramayana and Mahabharata. These tales also provide source material for the wayang wong (human theatre) of Java and Bali, which uses actors. Some wayang golek performances, however, also present Muslim stories, called menak. Wayang is an ancient form of storytelling that renowned for its elaborate puppet/human and complex musical styles. The earliest evidence is from the late 1st millennium CE, in medieval-era texts and archeological sites. The oldest known record that concerns wayang is from the 9th century. Around 840 AD an Old Javanese (Kawi) inscriptions called Jaha Inscriptions issued by Maharaja Sri Lokapala from Mataram kingdom in Central Java mentions three sorts of performers: atapukan, aringgit, and abanol. Aringgit means Wayang puppet show, Atapukan means Mask dance show, and abanwal means joke art. Ringgit is described in an 11th-century Javanese poem as a leather shadow figure. Theatre in the medieval Islamic world included puppet theatre (which included hand puppets, shadow plays and marionette productions) and live passion plays known as ta'ziyeh, where actors re-enact episodes from Muslim history. In particular, Shia Islamic plays revolved around the istishhād (martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Secular plays were known as akhraja, recorded in medieval adab literature, though they were less common than puppetry and ta'ziya theatre. Theatre took on many alternative forms in the West between the 15th and 19th centuries, including commedia dell'arte from Italian theatre, and melodrama. The general trend was away from the poetic drama of the Greeks and the Renaissance and toward a more naturalistic prose style of dialogue, especially following the Industrial Revolution. Theatre took a big pause from 1642 to 1660 in England because of the Puritan Interregnum. The rising anti-theatrical sentiment among Puritans saw William Prynne write Histriomastix (1633), the most notorious attack on theatre prior to the ban. Viewing theatre as sinful, the Puritans ordered the closure of London theatres in 1642. On 24 January 1643, the actors protested against the ban by writing a pamphlet titled The Actors remonstrance or complaint for the silencing of their profession, and banishment from their severall play-houses. This stagnant period ended once Charles II came back to the throne in 1660 in the Restoration. Theatre (among other arts) exploded, with influence from French culture, since Charles had been exiled in France in the years previous to his reign. In 1660, two companies were licensed to perform, the Duke's Company and the King's Company. Performances were held in converted buildings, such as Lisle's Tennis Court. The first West End theatre, known as Theatre Royal in Covent Garden, London, was designed by Thomas Killigrew and built on the site of the present Theatre Royal, Drury Lane. One of the big changes was the new theatre house. Instead of the type of the Elizabethan era, such as the Globe Theatre, round with no place for the actors to prepare for the next act and with no "theatre manners", the theatre house became transformed into a place of refinement, with a stage in front and stadium seating facing it. Since seating was no longer all the way around the stage, it became prioritized—some seats were obviously better than others. The king would have the best seat in the house: the very middle of the theatre, which got the widest view of the stage as well as the best way to see the point of view and vanishing point that the stage was constructed around. Philippe Jacques de Loutherbourg was one of the most influential set designers of the time because of his use of floor space and scenery. Because of the turmoil before this time, there was still some controversy about what should and should not be put on the stage. Jeremy Collier, a preacher, was one of the heads in this movement through his piece A Short View of the Immorality and Profaneness of the English Stage. The beliefs in this paper were mainly held by non-theatre goers and the remainder of the Puritans and very religious of the time. The main question was if seeing something immoral on stage affects behaviour in the lives of those who watch it, a controversy that is still playing out today. The seventeenth century had also introduced women to the stage, which was considered inappropriate earlier. These women were regarded as celebrities (also a newer concept, thanks to ideas on individualism that arose in the wake of Renaissance Humanism), but on the other hand, it was still very new and revolutionary that they were on the stage, and some said they were unladylike, and looked down on them. Charles II did not like young men playing the parts of young women, so he asked that women play their own parts. Because women were allowed on the stage, playwrights had more leeway with plot twists, like women dressing as men, and having narrow escapes from morally sticky situations as forms of comedy. Comedies were full of the young and very much in vogue, with the storyline following their love lives: commonly a young roguish hero professing his love to the chaste and free minded heroine near the end of the play, much like Sheridan's The School for Scandal. Many of the comedies were fashioned after the French tradition, mainly Molière, again hailing back to the French influence brought back by the King and the Royals after their exile. Molière was one of the top comedic playwrights of the time, revolutionizing the way comedy was written and performed by combining Italian commedia dell'arte and neoclassical French comedy to create some of the longest lasting and most influential satiric comedies. Tragedies were similarly victorious in their sense of righting political power, especially poignant because of the recent Restoration of the Crown. They were also imitations of French tragedy, although the French had a larger distinction between comedy and tragedy, whereas the English fudged the lines occasionally and put some comedic parts in their tragedies. Common forms of non-comedic plays were sentimental comedies as well as something that would later be called tragédie bourgeoise, or domestic tragedy—that is, the tragedy of common life—were more popular in England because they appealed more to English sensibilities. While theatre troupes were formerly often travelling, the idea of the national theatre gained support in the 18th century, inspired by Ludvig Holberg. The major promoter of the idea of the national theatre in Germany, and also of the Sturm und Drang poets, was Abel Seyler, the owner of the Hamburgische Entreprise and the Seyler Theatre Company. Through the 19th century, the popular theatrical forms of Romanticism, melodrama, Victorian burlesque and the well-made plays of Scribe and Sardou gave way to the problem plays of Naturalism and Realism; the farces of Feydeau; Wagner's operatic Gesamtkunstwerk; musical theatre (including Gilbert and Sullivan's operas); F. C. Burnand's, W. S. Gilbert's and Oscar Wilde's drawing-room comedies; Symbolism; proto-Expressionism in the late works of August Strindberg and Henrik Ibsen; and Edwardian musical comedy. These trends continued through the 20th century in the realism of Stanislavski and Lee Strasberg, the political theatre of Erwin Piscator and Bertolt Brecht, the so-called Theatre of the Absurd of Samuel Beckett and Eugène Ionesco, American and British musicals, the collective creations of companies of actors and directors such as Joan Littlewood's Theatre Workshop, experimental and postmodern theatre of Robert Wilson and Robert Lepage, the postcolonial theatre of August Wilson or Tomson Highway, and Augusto Boal's Theatre of the Oppressed. Types Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning "action", which is derived from the verb δράω, dráō, "to do" or "to act". The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus Rex (c. 429 BCE) by Sophocles are among the masterpieces of the art of drama. A modern example is Long Day's Journey into Night by Eugene O'Neill (1956). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BCE); the earliest work of dramatic theory.[o] The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). In Ancient Greece however, the word drama encompassed all theatrical plays, tragic, comic, or anything in between. Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example).[p] In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed.[q] In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.[r] Music and theatre have had a close relationship since ancient times—Athenian tragedy, for example, was a form of dance-drama that employed a chorus whose parts were sung (to the accompaniment of an aulos—an instrument comparable to the modern oboe), as were some of the actors' responses and their 'solo songs' (monodies). Modern musical theatre is a form of theatre that also combines music, spoken dialogue, and dance. It emerged from comic opera (especially Gilbert and Sullivan), variety, vaudeville, and music hall genres of the late 19th and early 20th century. After the Edwardian musical comedy that began in the 1890s, the Princess Theatre musicals of the early 20th century, and comedies in the 1920s and 1930s (such as the works of Rodgers and Hammerstein), with Oklahoma! (1943), musicals moved in a more dramatic direction.[s] Famous musicals over the subsequent decades included My Fair Lady (1956), West Side Story (1957), The Fantasticks (1960), Hair (1967), A Chorus Line (1975), Les Misérables (1980), Cats (1981), Into the Woods (1986), and The Phantom of the Opera (1986), as well as more contemporary hits including Rent (1994), The Lion King (1997), Wicked (2003), Hamilton (2015) and Frozen (2018). Musical theatre may be produced on an intimate scale Off-Broadway, in regional theatres, and elsewhere, but it often includes spectacle. For instance, Broadway and West End musicals often include lavish costumes and sets supported by multimillion-dollar budgets. Theatre productions that use humour as a vehicle to tell a story qualify as comedies. This may include a modern farce such as Boeing Boeing or a classical play such as As You Like It. Theatre expressing bleak, controversial or taboo subject matter in a deliberately humorous way is referred to as black comedy. Black Comedy can have several genres like slapstick humour, dark and sarcastic comedy. Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude: in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions. — Aristotle, Poetics Aristotle's phrase "several kinds being found in separate parts of the play" is a reference to the structural origins of drama. In it the spoken parts were written in the Attic dialect whereas the choral (recited or sung) ones in the Doric dialect, these discrepancies reflecting the differing religious origins and poetic metres of the parts that were fused into a new entity, the theatrical drama. Tragedy refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilisation. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity", as Raymond Williams puts it. From its obscure origins in the theatres of Athens 2,500 years ago, from which there survives only a fraction of the work of Aeschylus, Sophocles and Euripides, through its singular articulations in the works of Shakespeare, Lope de Vega, Racine, and Schiller, to the more recent naturalistic tragedy of Strindberg, Beckett's modernist meditations on death, loss and suffering, and Müller's postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. In the wake of Aristotle's Poetics (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general (where the tragic divides against epic and lyric) or at the scale of the drama (where tragedy is opposed to comedy). In the modern era, tragedy has also been defined against drama, melodrama, the tragicomic, and epic theatre.[t] Improvisation has been a consistent feature of theatre, with the Commedia dell'arte in the sixteenth century being recognized as the first improvisation form. Popularized by 1997 Nobel Prize in Literature winner Dario Fo and troupes such as the Upright Citizens Brigade improvisational theatre continues to evolve with many different streams and philosophies. Keith Johnstone and Viola Spolin are recognized as the first teachers of improvisation in modern times, with Johnstone exploring improvisation as an alternative to scripted theatre and Spolin and her successors exploring improvisation principally as a tool for developing dramatic work or skills or as a form for situational comedy. Spolin also became interested in how the process of learning improvisation was applicable to the development of human potential. Spolin's son, Paul Sills popularized improvisational theatre as a theatrical art form when he founded, as its first director, The Second City in Chicago. Theories Having been an important part of human culture for more than 2,500 years, theatre has evolved a wide range of different theories and practices. Some are related to political or spiritual ideologies, while others are based purely on "artistic" concerns. Some processes focus on a story, some on theatre as event, and some on theatre as catalyst for social change. The classical Greek philosopher Aristotle, in his seminal treatise, Poetics (c. 335 BCE) is the earliest-surviving example and its arguments have influenced theories of theatre ever since. In it, he offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry, epic poetry, and the dithyramb). He examines its "first principles" and identifies its genres and basic elements; his analysis of tragedy constitutes the core of the discussion. Aristotle argues that tragedy consists of six qualitative parts, which are (in order of importance) mythos or "plot", ethos or "character", dianoia or "thought", lexis or "diction", melos or "song", and opsis or "spectacle". "Although Aristotle's Poetics is universally acknowledged in the Western critical tradition", Marvin Carlson explains, "almost every detail about his seminal work has aroused divergent opinions." Important theatre practitioners of the 20th century include Konstantin Stanislavski, Vsevolod Meyerhold, Jacques Copeau, Edward Gordon Craig, Bertolt Brecht, Antonin Artaud, Joan Littlewood, Peter Brook, Jerzy Grotowski, Augusto Boal, Eugenio Barba, Dario Fo, Viola Spolin, Keith Johnstone and Robert Wilson (director). Stanislavski treated the theatre as an art-form that is autonomous from literature and one in which the playwright's contribution should be respected as that of only one of an ensemble of creative artists.[u] His innovative contribution to modern acting theory has remained at the core of mainstream western performance training for much of the last century. That many of the precepts of his system of actor training seem to be common sense and self-evident testifies to its hegemonic success. Actors frequently employ his basic concepts without knowing they do so. Thanks to its promotion and elaboration by acting teachers who were former students and the many translations of his theoretical writings, Stanislavski's 'system' acquired an unprecedented ability to cross cultural boundaries and developed an international reach, dominating debates about acting in Europe and the United States. Many actors routinely equate his 'system' with the North American Method, although the latter's exclusively psychological techniques contrast sharply with Stanislavski's multivariant, holistic and psychophysical approach, which explores character and action both from the 'inside out' and the 'outside in' and treats the actor's mind and body as parts of a continuum. Technical aspects Theatre presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The production of plays usually involves contributions from a playwright, director, a cast of actors, and a technical production team that includes a scenic or set designer, lighting designer, costume designer, sound designer, stage manager, production manager and technical director. Depending on the production, this team may also include a composer, dramaturg, video designer or fight director. Stagecraft is a generic term referring to the technical aspects of theatrical, film, and video production. It includes, but is not limited to, constructing and rigging scenery, hanging and focusing of lighting, design and procurement of costumes, makeup, procurement of props, stage management, and recording and mixing of sound. Stagecraft is distinct from the wider umbrella term of scenography. Considered a technical rather than an artistic field, it relates primarily to the practical implementation of a designer's artistic vision. In its most basic form, stagecraft is managed by a single person (often the stage manager of a smaller production) who arranges all scenery, costumes, lighting, and sound, and organizes the cast. At a more professional level, for example in modern Broadway houses, stagecraft is managed by hundreds of skilled carpenters, painters, electricians, stagehands, stitchers, wigmakers, and the like. This modern form of stagecraft is highly technical and specialized: it comprises many subdisciplines and a vast trove of history and tradition. The majority of stagecraft lies between these two extremes. Regional theatres and larger community theatres will generally have a technical director and a complement of designers, each of whom has a direct hand in their respective designs. Subcategories and organisation There are many modern theatre movements which produce theatre in a variety of ways. Theatrical enterprises vary enormously in sophistication and purpose. People who are involved vary from novices and hobbyists (in community theatre) to professionals (in Broadway and similar productions). Theatre can be performed with a shoestring budget or on a grand scale with multimillion-dollar budgets. This diversity manifests in the abundance of theatre subcategories, which include: While most modern theatre companies rehearse one piece of theatre at a time, perform that piece for a set "run", retire the piece, and begin rehearsing a new show, repertory companies rehearse multiple shows at one time. These companies are able to perform these various pieces upon request and often perform works for years before retiring them. Most dance companies operate on this repertory system. The Royal National Theatre in London performs on a repertory system. Repertory theatre generally involves a group of similarly accomplished actors, and relies more on the reputation of the group than on an individual star actor. It also typically relies less on strict control by a director and less on adherence to theatrical conventions, since actors who have worked together in multiple productions can respond to each other without relying as much on convention or external direction. A theatre company is an organisation that produces theatrical performances, as distinct from a theatre troupe (or acting company), which is a group of theatrical performers working together. A touring company is an independent theatre or dance company that travels, often internationally, being presented at a different theatre venue in each city.[citation needed] In order to put on a piece of theatre, both a theatre company and a theatre venue are needed. When a theatre company is the sole company in residence at a theatre venue, this theatre (and its corresponding theatre company) are called a resident theatre or a producing theatre, because the venue produces its own work. Other theatre companies, as well as dance companies, who do not have their own theatre venue, perform at rental theatres or at presenting theatres. Both rental and presenting theatres have no full-time resident companies. They do, however, sometimes have one or more part-time resident companies, in addition to other independent partner companies who arrange to use the space when available. A rental theatre allows the independent companies to seek out the space, while a presenting theatre seeks out the independent companies to support their work by presenting them on their stage.[citation needed] Some performance groups perform in non-theatrical spaces. Such performances can take place outside or inside, in a non-traditional performance space, and include street theatre, and site-specific theatre. Non-traditional venues can be used to create more immersive or meaningful environments for audiences. They can sometimes be modified more heavily than traditional theatre venues, or can accommodate different kinds of equipment, lighting and sets. Unions There are many theatre unions, including: See also Explanatory notes Citations General sources Further reading External links |
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Contents Wikipedia:Protection policy In some circumstances, pages may need to be protected from modification by certain groups of editors. Pages are protected when there is disruption that cannot be prevented through other means, such as blocks. Wikipedia is built on the principle that anyone can edit, and therefore aims to have as many pages open for public editing as possible so that anyone can add material and correct issues. This policy states in detail the protection types and procedures for page protection and unprotection, and when each protection should and should not be applied. Protection is a technical restriction applied only by administrators, although any user may request protection. Protection can be indefinite or expire after a specified time. The various levels of protection can be applied to the page edit, page move, page create, and file upload actions. Even when a page is protected from editing, the source wikitext of the page can still be viewed and copied by anyone. A protected page is marked at its top right by a padlock icon, usually added by the {{pp-protected}} template. The {{pp-protected}} template is automatically added by the {{documentation}} template used in template space. Overview of page protection Any protection applied to a page involves setting a type, level, and duration as follows: Preemptive protection Applying page protection solely as a preemptive measure is contrary to the open nature of Wikipedia and is generally not allowed. Instead, protection is used when vandalism, disruption, or abuse by multiple users is occurring at a frequency that warrants protection. The duration of protection should be as short as possible and at the lowest protection level sufficient to stop the disruption, allowing edits from as many productive users as possible. Exceptions include the Main Page, along with its templates and images, which are indefinitely fully protected. Additionally, Today's Featured Article is typically semi-protected from the day before its scheduled appearance on the Main Page until the day after it leaves. Finally, pages subject to Arbitration Committee remedies that permit or require preemptive protection may be protected accordingly. Requesting protection Page protection can be requested at Wikipedia:Requests for page protection. Changes to a protected page should be proposed on the corresponding talk page, and then (if necessary) requested by adding an edit request. From there, if the requested changes are uncontroversial or if there is consensus for them, the changes can be carried out by a user who can edit the page. Except in the case of office actions (see below), Arbitration Committee remedies, or pages in the MediaWiki namespace (see below), administrators may unprotect a page if the reason for its protection no longer applies, a reasonable period has elapsed, and there is no consensus that continued protection is necessary. Users can request unprotection or a reduction in protection level by asking the administrator who applied the protection on the administrator's user talk page. If the administrator is inactive, no longer an administrator, or does not respond, then a request for reduction in protection level may be filed. Note that such requests will normally be declined if the protecting administrator is active and was not consulted first. A log of protections and unprotections is available at Special:Log/protect. Summary table Protection types Edit protection restricts editing of a page, often due to vandalism or disputes, ensuring only experienced users can make changes (see above for more information). Administrators can prevent the creation of pages. This type of protection is useful for pages that have been deleted but repeatedly recreated. Such protection is case-sensitive. There are several levels of creation protection that can be applied to pages, identical to the levels for edit protection. A list of protected titles can be found at Special:ProtectedTitles (see also historical lists). Preemptive restrictions on new article titles are instituted through the title blacklist system, which allows for more flexible protection with support for substrings and regular expressions. Pages that have been creation-protected are sometimes referred to as "salted". Editors wishing to re-create a salted title with appropriate content should either contact an administrator (preferably the protecting administrator), file a request for reduction in protection level, or use the deletion review process. To make a convincing case for re-creation, it is helpful to show a draft version of the intended article when filing a request. Create protection of any duration may be applied to pages being repeatedly recreated in violation of policy using the lowest protection level sufficient to stop the disruption (autoconfirmed, extended-confirmed, or full). Due to the implementation of ACPERM, non-confirmed editors cannot create pages in mainspace; thus, semi-creation protection should be used only for protection of pages outside of mainspace. While creation-protection is usually permanent, temporary creation protection can be applied if a page is repeatedly recreated by a single user (or sockpuppets of that user, if applicable). Move-protected pages, or more technically, fully move-protected pages, cannot be moved to a new title except by an administrator. Move protection is commonly applied to: Move protection of any duration may be applied to pages being repeatedly moved in violation of policy using the lowest protection level sufficient to stop the disruption (extended-confirmed or full). Non-confirmed editors cannot move pages so semi-move protection has no effect. Fully edit-protected pages are also implicitly move-protected. As with full edit protection, protection because of edit warring should not be considered an endorsement of the current name. When move protection is applied during a requested move discussion, the page should be protected at the location it was at when the move request was started. All files and categories are implicitly move-protected, requiring file movers or administrators to rename files, and page movers or administrators to rename categories. Upload-protected files, or more technically, fully upload-protected files, cannot be replaced with new versions except by an administrator. Upload protection does not protect file pages from editing. It can be applied by an administrator to: Protection levels Pending changes protection allows unregistered and new users to edit pages, while keeping their edits hidden from unregistered users (who make up the vast majority of visitors to Wikipedia articles) until those changes are accepted by a pending changes reviewer or an administrator. An alternative to semi-protection, it is used to suppress vandalism and certain other persistent problems, while allowing all users to continue to submit edits. Pending changes is technically implemented as a separate option, with its own duration, and it yields to other edit protection levels in cases of overlap. When a page under pending changes protection is edited by an unregistered editor or a new user, the edit is not directly visible to the majority of Wikipedia readers, until it is reviewed and accepted by an editor with the pending changes reviewer right. When a page under pending changes protection is edited by an autoconfirmed user, the edit will be immediately visible to Wikipedia readers, unless there are pending edits waiting to be reviewed. Pending changes are visible in the page history, where they are marked as "pending review". Readers who are not logged in (the vast majority of readers) are shown the latest accepted version of the page; logged-in users see the latest version of the page, with all changes (reviewed or not) applied. When editors who are not reviewers make changes to an article with unreviewed pending changes, their edits are also marked as pending and are not visible to most readers. A user who clicks "edit this page" is always, at that point, shown the latest version of the page for editing regardless of whether the user is logged in or not. Pending changes are typically reviewed within several hours. Pending changes can be used to protect articles against: Pending changes protection should not be used as a preemptive measure against violations that have not yet occurred. Like semi-protection, pending changes protection should never be used in genuine content disputes, where there is a risk of placing a particular group of editors (unregistered users) at a disadvantage. Semi-protection is generally a better option for articles with a high edit rate as well as articles affected by issues difficult for pending changes reviewers to detect, such as non-obvious vandalism, plausible-sounding misinformation, and hard-to-detect copyright violations. In addition, administrators may apply temporary pending changes protection on pages that are subject to significant but temporary vandalism or disruption (for example, due to media attention) when blocking individual users is not a feasible option. As with other forms of protection, the time frame of the protection should be proportional to the problem. Indefinite PC protection should be used only in cases of severe long-term disruption. Removal of pending changes protection can be requested to any administrator, or at requests for unprotection. The reviewing process is described in detail at Wikipedia:Reviewing pending changes. Semi-protected pages may be edited only by registered users who are confirmed or autoconfirmed (accounts that are at least 4 days old and with at least 10 edits on English Wikipedia). Semi-protection is useful when there is a significant amount of disruption or vandalism from new or unregistered users, or to prevent sockpuppets of blocked or banned users from editing, especially when it occurs on biographies of living persons who have had a recent high level of media interest. An alternative to semi-protection is pending changes, which is sometimes favored when an article is being vandalized regularly, but otherwise receives a low amount of editing. Such users can request edits to a semi-protected page by proposing them on its talk page, using the {{Edit semi-protected}} template if necessary to gain attention. If the page in question and its talk page are both protected, the edit request should be made at Wikipedia:Requests for page protection instead. New users may also request the confirmed user right at Wikipedia:Requests for permissions/Confirmed. Semi-protection should not be used as a preemptive measure against vandalism that has not yet occurred or to privilege registered users over unregistered users in (valid) content disputes. Administrators may apply temporary semi-protection on pages that are: In addition, administrators may apply indefinite semi-protection to pages that are subject to heavy and persistent vandalism or violations of content policy (such as Wikipedia's biographies of living persons or neutral point of view policies). A page and its talk page should not normally be protected at the same time. In exceptional cases, if a page and its talk page are both protected, the talk page should direct affected editors to Wikipedia:Request for edit through the use of a non-iconified page protection template, to ensure that no editor is entirely prevented from contributing. Today's featured article is, since 2023, always semi-protected. However, this was historically not the case. Extended confirmed protection, previously known as 30/500 protection, restricts editing to users with the extended confirmed user access level, administrators, and bots. Extended confirmed is automatically granted to users one edit after their account has existed for at least 30 days and has made at least 500 edits. Where semi-protection has proven to be ineffective, administrators may use extended confirmed protection to combat disruption (vandalism, abusive sockpuppetry, edit wars, etc.) on any topic. Extended confirmed protection should not be used as a preemptive measure against disruption that has not yet occurred, nor should it be used to privilege extended confirmed users over unregistered/new users in valid content disputes (except as general sanction enforcement; see below). When necessary to prevent disruption in designated contentious topic areas, administrators are authorized to make protections at any level. (This is distinct from the extended confirmed restriction below.) Community-designated contentious topics grant similar authorizations. Some topic areas are under Arbitration Committee extended confirmed restriction as a general sanction. When such a restriction is in effect in a topic area, only extended-confirmed users may make edits related to the topic area. Enforcement of the restriction on articles primarily in the topic area is preferably done with extended confirmed protection, but it is not required (other enforcement methods are outlined in the policy). As always, review the policy before enforcing it. Community general sanctions, applying a similar extended confirmed restriction, have also been authorized by the community. General sanctions has a list of the active general sanctions that incorporate the extended confirmed restriction. High-risk templates can be extended confirmed–protected at administrator discretion when template protection would be too restrictive and semi-protection would be ineffective to stop widespread disruption. Extended confirmed protection can be applied at the discretion of an administrator when creation-protecting a page. A bot maintains a report of pages recently put under extended confirmed protection. Any protection made as arbitration enforcement will be automatically logged at Wikipedia:Arbitration enforcement log/Protections. Community-authorized discretionary sanctions must be logged on a page specific to the topic area. A full list of the 14975 pages under extended confirmed protection can be found here. Users can request edits to an extended confirmed–protected page by proposing them on its talk page, using the {{Edit extended-protected}} template if necessary to gain attention. A template-protected page can be edited only by administrators or users in the Template editors group. This protection level should be used almost exclusively on high-risk templates and modules. In cases where pages in other namespaces become transcluded to a very high degree, this protection level is also valid. This is a protection level that replaces full protection on pages that are merely protected due to high transclusion rates, rather than content disputes. It should be used on templates whose risk factor would have otherwise warranted full protection. It should not be used on less risky templates on the grounds that the template editor user right exists—the existence of the right should not result in more templates becoming uneditable for the general editing community. In borderline cases, extended confirmed protection or lower can be applied to high risk templates that the general editing community still needs to edit regularly. A full list of the pages under template protection can be found here. Editors may request edits to a template-protected page by proposing them on its talk page, using the {{Edit template-protected}} template if necessary to gain attention. A fully protected page cannot be edited or moved by anyone except administrators. Modifications to a fully protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit fully-protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. While content disputes and edit warring can be addressed with user blocks issued by uninvolved administrators, allowing normal page editing by other editors at the same time, the protection policy provides an alternative approach as administrators have the discretion to temporarily fully protect an article to end an ongoing edit war. This approach may better suit multi-party disputes and contentious content, as it makes talk page consensus a requirement for implementation of requested edits. When protecting a page because of a content dispute, administrators have a duty to avoid protecting a version that contains policy-violating content, such as vandalism, copyright violations, defamation, or poor-quality coverage of living people. Administrators are deemed to remain uninvolved when exercising discretion on whether to apply protection to the current version of an article, or to an older, stable, or pre-edit-war version. Fully protected pages may not be edited except to make changes that are uncontroversial or for which there is clear consensus. Editors convinced that the protected version of an article contains policy-violating content, or that protection has rewarded edit warring or disruption by establishing a contentious revision, may identify a stable version prior to the edit war and request reversion to that version. Before making such a request, editors should consider how independent editors might view the suggestion and recognize that continuing an edit war is grounds for being blocked. Administrators who have made substantive content changes to an article are considered involved and must not use their advanced permissions to further their own positions. When involved in a dispute, it is almost always wisest to respect the editing policies that bind all editors and call for input from an uninvolved administrator, rather than to invite controversy by acting unilaterally. If a deleted page is going through deletion review, only administrators are normally capable of viewing the former content of the page. If they feel it would benefit the discussion to allow other users to view the page content, administrators may restore the page, replace the contents with the {{Temporarily undeleted}} template or a similar notice, and fully protect the page to prevent further editing. The previous contents of the page are then accessible to everyone via the page history. Generic file names such as File:Photo.jpg, File:Example.jpg, File:Map.jpg, and File:Sound.wav are fully protected to prevent new versions from being uploaded. Furthermore, File:Map.jpg and File:Sound.wav are salted. The following pages and templates are usually fully protected for an indefinite period of time: As with full edit protection, administrators should avoid favoring one version over another, and protection should not be considered an endorsement of the current version. 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Since that change, "pending changes level 1" is generally referred to as just "pending changes". See also Notes |
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[SOURCE: https://en.wikipedia.org/wiki/1st_World_Science_Fiction_Convention] | [TOKENS: 605] |
Contents 1st World Science Fiction Convention The 1st World Science Fiction Convention (Worldcon) was held on 2–4 July 1939 in the Caravan Hall in New York City, New York, in conjunction with the New York World's Fair, which was themed as "The World of Tomorrow". It was later retroactively named "NyCon I" by Forrest J Ackerman. The convention was chaired by Sam Moskowitz. Along with Moskowitz, other organizers were James V. Taurasi, Sr. and Will Sykora. Participants Attendance was approximately 200. The Guest of Honor at the first Worldcon was Frank R. Paul. Also attending were John W. Campbell, Isaac Asimov, L. Sprague de Camp, Ray Bradbury, Hannes Bok, Milton A. Rothman, John D. Clark, Jack Williamson, and Harry Harrison. In addition to its groundbreaking role as the first of its kind, the convention was noteworthy for the exclusion of a number of politicized Futurians by convention chair Sam Moskowitz; those excluded were Donald A. Wollheim, Frederik Pohl, John Michel, Robert A. W. Lowndes, Cyril M. Kornbluth, and Jack Gillespie, an event known to fannish historians as "The Great Exclusion Act." According to Pohl, in his autobiography The Way the Future Was, the Futurians held their own counter-convention which was attended by several who went to the regular convention. He also downplayed the aspect that politics played, himself believing that it was a personality conflict between the convention organizers and the Futurians and said "We pretty nearly had it coming," continuing with "What we Futurians made very clear to the rest of New York fandom was that we thought we were better than they were. For some reason that annoyed them." Programming and events Ackerman and his girlfriend and fellow fanzine editor Myrtle R Douglas (Morojo) attended the convention in "futuristicostumes" designed and sewn by Douglas: this is considered a forerunner to modern fan costuming (which is known as "cosplay"). In 1994, the International Costumers' Guild (ICG) presented a special award to Ackerman recognizing him as the "Father of Convention Costuming" at Conadian, the 52nd Worldcon. In 2016, the ICG recognized Morojo as the “Mother of Convention Costuming” with a video award presentation at MidAmeriCon II, the 74th Worldcon. Awards Hugo Awards were not presented, as the first ones were awarded in 1953. However, in 2014 at the 72nd World Science Fiction Convention held in London, a set of Retro Hugo Awards were presented to honor work that would have been Hugo-eligible had the award existed in 1939: See also References Further reading External links |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_note-2] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Physical_effects] | [TOKENS: 223] |
Contents Practical effect In filmmaking, a practical effect is a special effect produced physically, without computer-generated imagery or other post-production techniques. In some contexts, "special effect" is used as a synonym of "practical effect", in contrast to "visual effects" which are created in post-production through photographic manipulation or computer generation. Practical effects often use principles from magic tricks, exploiting the camera's single viewpoint to create convincing illusions that may work only from certain angles, or using specially created props designed to achieve the desired effect. These effects require an interdisciplinary skill set, combining artistic craftsmanship with technical expertise in mechanics and engineering to achieve the desired result. Many of the staples of action movies are practical effects. Gunfire, bullet wounds, rain, wind, fire, and explosions can all be produced on a movie set by someone skilled in practical effects. Non-human characters and creatures produced with make-up, prosthetics, masks, and puppets—in contrast to computer-generated images—are also examples of practical effects. Practical effect techniques See also References This filmmaking article is a stub. You can help Wikipedia by adding missing information. |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Protection_policy#template] | [TOKENS: 5211] |
Contents Wikipedia:Protection policy In some circumstances, pages may need to be protected from modification by certain groups of editors. Pages are protected when there is disruption that cannot be prevented through other means, such as blocks. Wikipedia is built on the principle that anyone can edit, and therefore aims to have as many pages open for public editing as possible so that anyone can add material and correct issues. This policy states in detail the protection types and procedures for page protection and unprotection, and when each protection should and should not be applied. Protection is a technical restriction applied only by administrators, although any user may request protection. Protection can be indefinite or expire after a specified time. The various levels of protection can be applied to the page edit, page move, page create, and file upload actions. Even when a page is protected from editing, the source wikitext of the page can still be viewed and copied by anyone. A protected page is marked at its top right by a padlock icon, usually added by the {{pp-protected}} template. The {{pp-protected}} template is automatically added by the {{documentation}} template used in template space. Overview of page protection Any protection applied to a page involves setting a type, level, and duration as follows: Preemptive protection Applying page protection solely as a preemptive measure is contrary to the open nature of Wikipedia and is generally not allowed. Instead, protection is used when vandalism, disruption, or abuse by multiple users is occurring at a frequency that warrants protection. The duration of protection should be as short as possible and at the lowest protection level sufficient to stop the disruption, allowing edits from as many productive users as possible. Exceptions include the Main Page, along with its templates and images, which are indefinitely fully protected. Additionally, Today's Featured Article is typically semi-protected from the day before its scheduled appearance on the Main Page until the day after it leaves. Finally, pages subject to Arbitration Committee remedies that permit or require preemptive protection may be protected accordingly. Requesting protection Page protection can be requested at Wikipedia:Requests for page protection. Changes to a protected page should be proposed on the corresponding talk page, and then (if necessary) requested by adding an edit request. From there, if the requested changes are uncontroversial or if there is consensus for them, the changes can be carried out by a user who can edit the page. Except in the case of office actions (see below), Arbitration Committee remedies, or pages in the MediaWiki namespace (see below), administrators may unprotect a page if the reason for its protection no longer applies, a reasonable period has elapsed, and there is no consensus that continued protection is necessary. Users can request unprotection or a reduction in protection level by asking the administrator who applied the protection on the administrator's user talk page. If the administrator is inactive, no longer an administrator, or does not respond, then a request for reduction in protection level may be filed. Note that such requests will normally be declined if the protecting administrator is active and was not consulted first. A log of protections and unprotections is available at Special:Log/protect. Summary table Protection types Edit protection restricts editing of a page, often due to vandalism or disputes, ensuring only experienced users can make changes (see above for more information). Administrators can prevent the creation of pages. This type of protection is useful for pages that have been deleted but repeatedly recreated. Such protection is case-sensitive. There are several levels of creation protection that can be applied to pages, identical to the levels for edit protection. A list of protected titles can be found at Special:ProtectedTitles (see also historical lists). Preemptive restrictions on new article titles are instituted through the title blacklist system, which allows for more flexible protection with support for substrings and regular expressions. Pages that have been creation-protected are sometimes referred to as "salted". Editors wishing to re-create a salted title with appropriate content should either contact an administrator (preferably the protecting administrator), file a request for reduction in protection level, or use the deletion review process. To make a convincing case for re-creation, it is helpful to show a draft version of the intended article when filing a request. Create protection of any duration may be applied to pages being repeatedly recreated in violation of policy using the lowest protection level sufficient to stop the disruption (autoconfirmed, extended-confirmed, or full). Due to the implementation of ACPERM, non-confirmed editors cannot create pages in mainspace; thus, semi-creation protection should be used only for protection of pages outside of mainspace. While creation-protection is usually permanent, temporary creation protection can be applied if a page is repeatedly recreated by a single user (or sockpuppets of that user, if applicable). Move-protected pages, or more technically, fully move-protected pages, cannot be moved to a new title except by an administrator. Move protection is commonly applied to: Move protection of any duration may be applied to pages being repeatedly moved in violation of policy using the lowest protection level sufficient to stop the disruption (extended-confirmed or full). Non-confirmed editors cannot move pages so semi-move protection has no effect. Fully edit-protected pages are also implicitly move-protected. As with full edit protection, protection because of edit warring should not be considered an endorsement of the current name. When move protection is applied during a requested move discussion, the page should be protected at the location it was at when the move request was started. All files and categories are implicitly move-protected, requiring file movers or administrators to rename files, and page movers or administrators to rename categories. Upload-protected files, or more technically, fully upload-protected files, cannot be replaced with new versions except by an administrator. Upload protection does not protect file pages from editing. It can be applied by an administrator to: Protection levels Pending changes protection allows unregistered and new users to edit pages, while keeping their edits hidden from unregistered users (who make up the vast majority of visitors to Wikipedia articles) until those changes are accepted by a pending changes reviewer or an administrator. An alternative to semi-protection, it is used to suppress vandalism and certain other persistent problems, while allowing all users to continue to submit edits. Pending changes is technically implemented as a separate option, with its own duration, and it yields to other edit protection levels in cases of overlap. When a page under pending changes protection is edited by an unregistered editor or a new user, the edit is not directly visible to the majority of Wikipedia readers, until it is reviewed and accepted by an editor with the pending changes reviewer right. When a page under pending changes protection is edited by an autoconfirmed user, the edit will be immediately visible to Wikipedia readers, unless there are pending edits waiting to be reviewed. Pending changes are visible in the page history, where they are marked as "pending review". Readers who are not logged in (the vast majority of readers) are shown the latest accepted version of the page; logged-in users see the latest version of the page, with all changes (reviewed or not) applied. When editors who are not reviewers make changes to an article with unreviewed pending changes, their edits are also marked as pending and are not visible to most readers. A user who clicks "edit this page" is always, at that point, shown the latest version of the page for editing regardless of whether the user is logged in or not. Pending changes are typically reviewed within several hours. Pending changes can be used to protect articles against: Pending changes protection should not be used as a preemptive measure against violations that have not yet occurred. Like semi-protection, pending changes protection should never be used in genuine content disputes, where there is a risk of placing a particular group of editors (unregistered users) at a disadvantage. Semi-protection is generally a better option for articles with a high edit rate as well as articles affected by issues difficult for pending changes reviewers to detect, such as non-obvious vandalism, plausible-sounding misinformation, and hard-to-detect copyright violations. In addition, administrators may apply temporary pending changes protection on pages that are subject to significant but temporary vandalism or disruption (for example, due to media attention) when blocking individual users is not a feasible option. As with other forms of protection, the time frame of the protection should be proportional to the problem. Indefinite PC protection should be used only in cases of severe long-term disruption. Removal of pending changes protection can be requested to any administrator, or at requests for unprotection. The reviewing process is described in detail at Wikipedia:Reviewing pending changes. Semi-protected pages may be edited only by registered users who are confirmed or autoconfirmed (accounts that are at least 4 days old and with at least 10 edits on English Wikipedia). Semi-protection is useful when there is a significant amount of disruption or vandalism from new or unregistered users, or to prevent sockpuppets of blocked or banned users from editing, especially when it occurs on biographies of living persons who have had a recent high level of media interest. An alternative to semi-protection is pending changes, which is sometimes favored when an article is being vandalized regularly, but otherwise receives a low amount of editing. Such users can request edits to a semi-protected page by proposing them on its talk page, using the {{Edit semi-protected}} template if necessary to gain attention. If the page in question and its talk page are both protected, the edit request should be made at Wikipedia:Requests for page protection instead. New users may also request the confirmed user right at Wikipedia:Requests for permissions/Confirmed. Semi-protection should not be used as a preemptive measure against vandalism that has not yet occurred or to privilege registered users over unregistered users in (valid) content disputes. Administrators may apply temporary semi-protection on pages that are: In addition, administrators may apply indefinite semi-protection to pages that are subject to heavy and persistent vandalism or violations of content policy (such as Wikipedia's biographies of living persons or neutral point of view policies). A page and its talk page should not normally be protected at the same time. In exceptional cases, if a page and its talk page are both protected, the talk page should direct affected editors to Wikipedia:Request for edit through the use of a non-iconified page protection template, to ensure that no editor is entirely prevented from contributing. Today's featured article is, since 2023, always semi-protected. However, this was historically not the case. Extended confirmed protection, previously known as 30/500 protection, restricts editing to users with the extended confirmed user access level, administrators, and bots. Extended confirmed is automatically granted to users one edit after their account has existed for at least 30 days and has made at least 500 edits. Where semi-protection has proven to be ineffective, administrators may use extended confirmed protection to combat disruption (vandalism, abusive sockpuppetry, edit wars, etc.) on any topic. Extended confirmed protection should not be used as a preemptive measure against disruption that has not yet occurred, nor should it be used to privilege extended confirmed users over unregistered/new users in valid content disputes (except as general sanction enforcement; see below). When necessary to prevent disruption in designated contentious topic areas, administrators are authorized to make protections at any level. (This is distinct from the extended confirmed restriction below.) Community-designated contentious topics grant similar authorizations. Some topic areas are under Arbitration Committee extended confirmed restriction as a general sanction. When such a restriction is in effect in a topic area, only extended-confirmed users may make edits related to the topic area. Enforcement of the restriction on articles primarily in the topic area is preferably done with extended confirmed protection, but it is not required (other enforcement methods are outlined in the policy). As always, review the policy before enforcing it. Community general sanctions, applying a similar extended confirmed restriction, have also been authorized by the community. General sanctions has a list of the active general sanctions that incorporate the extended confirmed restriction. High-risk templates can be extended confirmed–protected at administrator discretion when template protection would be too restrictive and semi-protection would be ineffective to stop widespread disruption. Extended confirmed protection can be applied at the discretion of an administrator when creation-protecting a page. A bot maintains a report of pages recently put under extended confirmed protection. Any protection made as arbitration enforcement will be automatically logged at Wikipedia:Arbitration enforcement log/Protections. Community-authorized discretionary sanctions must be logged on a page specific to the topic area. A full list of the 14975 pages under extended confirmed protection can be found here. Users can request edits to an extended confirmed–protected page by proposing them on its talk page, using the {{Edit extended-protected}} template if necessary to gain attention. A template-protected page can be edited only by administrators or users in the Template editors group. This protection level should be used almost exclusively on high-risk templates and modules. In cases where pages in other namespaces become transcluded to a very high degree, this protection level is also valid. This is a protection level that replaces full protection on pages that are merely protected due to high transclusion rates, rather than content disputes. It should be used on templates whose risk factor would have otherwise warranted full protection. It should not be used on less risky templates on the grounds that the template editor user right exists—the existence of the right should not result in more templates becoming uneditable for the general editing community. In borderline cases, extended confirmed protection or lower can be applied to high risk templates that the general editing community still needs to edit regularly. A full list of the pages under template protection can be found here. Editors may request edits to a template-protected page by proposing them on its talk page, using the {{Edit template-protected}} template if necessary to gain attention. A fully protected page cannot be edited or moved by anyone except administrators. Modifications to a fully protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit fully-protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. While content disputes and edit warring can be addressed with user blocks issued by uninvolved administrators, allowing normal page editing by other editors at the same time, the protection policy provides an alternative approach as administrators have the discretion to temporarily fully protect an article to end an ongoing edit war. This approach may better suit multi-party disputes and contentious content, as it makes talk page consensus a requirement for implementation of requested edits. When protecting a page because of a content dispute, administrators have a duty to avoid protecting a version that contains policy-violating content, such as vandalism, copyright violations, defamation, or poor-quality coverage of living people. Administrators are deemed to remain uninvolved when exercising discretion on whether to apply protection to the current version of an article, or to an older, stable, or pre-edit-war version. Fully protected pages may not be edited except to make changes that are uncontroversial or for which there is clear consensus. Editors convinced that the protected version of an article contains policy-violating content, or that protection has rewarded edit warring or disruption by establishing a contentious revision, may identify a stable version prior to the edit war and request reversion to that version. Before making such a request, editors should consider how independent editors might view the suggestion and recognize that continuing an edit war is grounds for being blocked. Administrators who have made substantive content changes to an article are considered involved and must not use their advanced permissions to further their own positions. When involved in a dispute, it is almost always wisest to respect the editing policies that bind all editors and call for input from an uninvolved administrator, rather than to invite controversy by acting unilaterally. If a deleted page is going through deletion review, only administrators are normally capable of viewing the former content of the page. If they feel it would benefit the discussion to allow other users to view the page content, administrators may restore the page, replace the contents with the {{Temporarily undeleted}} template or a similar notice, and fully protect the page to prevent further editing. The previous contents of the page are then accessible to everyone via the page history. Generic file names such as File:Photo.jpg, File:Example.jpg, File:Map.jpg, and File:Sound.wav are fully protected to prevent new versions from being uploaded. Furthermore, File:Map.jpg and File:Sound.wav are salted. The following pages and templates are usually fully protected for an indefinite period of time: As with full edit protection, administrators should avoid favoring one version over another, and protection should not be considered an endorsement of the current version. An exception to this rule is when they are protected due to upload vandalism. Pages can be protected by Wikimedia Foundation staff in response to issues such as copyright infringement or libel as outlined in Foundation:Policy:Office actions § Use of advanced rights by Foundation staff. Such actions override community consensus. Administrators should not edit or unprotect such pages without permission from Wikimedia Foundation staff. Cascading protection fully protects a page, and extends that full protection automatically to any page that is transcluded onto the protected page, whether directly or indirectly. This includes templates, images and other media that are hosted on the English Wikipedia. Files stored on Commons are not protected by any other wiki's cascading protection and, if they are to be protected, must be either temporarily uploaded to the English Wikipedia or explicitly protected at Commons (whether manually or through cascading protection there). When operational, KrinkleBot cascade-protects Commons files transcluded at Wikipedia:Main Page/Tomorrow, Wikipedia:Main Page/Commons media protection and Main Page. As the bot's response time varies, media should not be transcluded on the main page (or its constituent templates) until after it has been protected. (This is particularly relevant to Template:In the news, for which upcoming images are not queued at Wikipedia:Main Page/Tomorrow.) Cascading protection: The list of cascading-protected pages can be found at Wikipedia:Cascade-protected items. Requests to add or remove cascading protection on a page should be made at Wikipedia talk:Cascade-protected items as an edit request. Operational pages principally used by software, including bots and user scripts, may be protected based on the type of use, content, and other considerations. This includes configuration pages, data pages, log pages, status pages, and other pages specific to the operation of software. However, personal CSS, personal JavaScript, and personal JSON are automatically protected and should not be protected for this reason. Some pages on Wikipedia are subject to software-enforced protection that administrators cannot change or remove. This is called permanent or indefinite protection, and interface protection in the case of CSS and JavaScript pages. Specifically, this applies to: Protection by namespace Modifications to a protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. Talk pages are not usually protected, and are semi-protected only for a limited duration in the most severe cases of disruption. User talk pages are rarely protected. However, protection can be applied if there is severe vandalism or abuse. Users whose talk pages are protected may wish to have an unprotected user talk subpage linked conspicuously from their main talk page to allow good-faith comments from users that the protection restricts editing from. A user's request to have their own talk page protected is not a sufficient rationale by itself to protect the page, although requests can be considered if a reason is provided. Blocked users' user talk pages should not ordinarily be protected, as this interferes with the user's ability to contest their block through the normal process. It also prevents others from being able to use the talk page to communicate with the blocked editor. In extreme cases of abuse by the blocked user, such as abuse of the {{unblock}} template, re-blocking the user with talk page access removed should be preferred over applying protection to the page. If the user has been blocked and with the ability to edit their user talk page disabled, they should be informed of this in a block notice, subsequent notice, or message, and it should include information and instructions for appealing their block off-wiki, such as through the UTRS tool interface or, as a last recourse, the Arbitration Committee. When required, protection should be implemented for only a brief period, not exceeding the duration of the block. Confirmed socks of registered users should be dealt with in accordance with Wikipedia:Sockpuppetry; their pages are not normally protected. Base user pages (for example, the page User:Example, and not User:Example/Lipsum or User talk:Example) are automatically protected from creation or editing by unconfirmed accounts and anonymous temporary account users. An exception is that unconfirmed registered users are allowed to create or edit their own user page. Temporary account editors and unconfirmed accounts are also unable to create or edit user pages that do not belong to a currently registered account. This protection is enforced by an edit filter. Users may opt-out of this protection by placing {{unlocked userpage}} anywhere on their own user page. User pages and subpages within their own user space can be protected upon a request from the user, as long as a need exists. Pages within the user space should not be automatically or preemptively protected without good reason or cause. Requests for protection specifically at uncommon levels (such as template protection) can be granted if the user has expressed a genuine and realistic need. When a filter is insufficient to stop user page vandalism, a user may choose to create a ".css" subpage (e.g., User:Example/monobook.css), copy all the contents of their user page onto the subpage, transclude the subpage by putting {{User:Example/monobook.css}} on their user page, and then ask an administrator to fully protect their user page. Because user space pages that end in ".css" and ".js" are editable only by the user to which that user space belongs and interface administrators, this will protect one's user page from further vandalism. In the event of the confirmed death of an editor, their user page (but not the user talk page) should be fully protected. Highly visible templates – those used on a large number of pages or frequently substituted – are often protected based on the degree of visibility, type of use, content, and other considerations. Protected templates should normally have the {{documentation}} template. It loads the unprotected /doc page, so that non-admins and IP-users can edit the documentation, categories and interwiki links. It also automatically adds {{pp-template}} to protected templates, which displays a small padlock in the top right corner and categorizes the template as protected. Only manually add {{pp-template}} to protected templates that do not use {{documentation}} (mostly the flag templates). Cascading protection should generally not be applied directly to templates, as it will not protect transclusions inside <includeonly> tags or transclusions that depend on template parameters, but will protect the template's documentation subpage. Instead, consider either of the following: Note: All editnotice templates (except those in userspace) are already protected via MediaWiki:Titleblacklist. They can be edited by admins, template editors and page movers only. Sandboxes should not ordinarily be protected since their purpose is to let new users test and experiment with wiki syntax. Most sandboxes are automatically cleaned every 12 hours, although they are frequently overwritten by other testing users. The Wikipedia:Sandbox is cleaned every hour. Those who use sandboxes for malicious purposes, or to violate policies such as no personal attacks, civility, or copyrights, should instead be warned and/or blocked. Available templates The following templates can be added at the very top of a page to indicate that it is protected: On redirect pages, use the {{Redirect category shell}} template, which automatically categorizes by protection level, below the redirect line. A protection template may also be added below the redirect line, but it will serve only to categorize the page, as it will not be visible on the page, and it will have to be manually removed when protection is removed. Retired protections Superprotect was a level of protection, allowing editing only by Wikimedia Foundation employees who were in the Staff global group. It was implemented on August 10, 2014 and removed on November 5, 2015. It was never used on the English Wikipedia. For several years, the Gadget namespace (which no longer exists) could only be edited by WMF staff, which has sometimes been referred to as superprotection even though it is unrelated to the above use. Cascading semi-protection was formerly possible, but it was disabled in 2007 after users noticed that non-administrators could fully protect any page by transcluding it onto the page to which cascading semi-protection had been applied by an administrator. Originally, two levels of pending changes protection existed, where level 2 required edits by all users who were not pending changes reviewers to be reviewed. Following a community discussion, level 2 was retired from the English Wikipedia in January 2017. Since that change, "pending changes level 1" is generally referred to as just "pending changes". See also Notes |
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[SOURCE: https://en.wikipedia.org/wiki/Crossplay_(cosplay)] | [TOKENS: 335] |
Contents Crossplay (cosplay) Crossplay (a portmanteau of "cross-dressing" and "cosplay") is a type of cosplay in which the person dresses up as a character of a different gender. Crossplay's origins lie in the anime convention circuit, though, like cosplay, it has not remained exclusive to the genre. While it is similar to Rule 63 (gender-bending) cosplay, it can be differentiated by the performer becoming completely immersed in the codes of another gender, rather than picking and choosing what behavior enhances the performance. In most countries that play host to hobbyists who would call themselves cosplayers, female-to-male crossplayers (females costumed as male characters, sometimes abbreviated "FtM") are far more common, due to a variety of social and cultural factors. As bishōnen are portrayed in manga and anime as liminal beings, it is considered "easier" for women to cross-play as bishōnen than it would be for them to crossplay as a male character from a Western series. Male-to-female crossplayers (males costumed as female characters) are somewhat more common outside Japan. Originally, in the United States, a popular anime series for MtF crossplayers was Sailor Moon, creating "humorous effect and social levity". Crossplay has seen some controversy from anti-LGBTQ activists and has been compared by critics to drag. In 2023, following the passing of an anti-drag law in Florida, crossplay was banned from that year's TFcon. Refunds were made available for individuals who felt unsafe attending. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Animatronics] | [TOKENS: 2011] |
Contents Animatronics An animatronic is a puppet controlled electronically to move in a fluent way. Animatronics are the modern adaptation of the automaton and are often used for the portrayal of characters in films, video games, and theme park attractions. Animatronics are a multidisciplinary field integrating puppetry, anatomy and mechatronics. Animatronic figures can be implemented with both computer and human control, including teleoperation. Motion actuators are often used to imitate muscle movements and create realistic motions. Figures are usually encased in body shells and flexible skins made of hard or soft plastic materials and finished with colors, hair, feathers and other components to make them more lifelike. Animatronics stem from a long tradition of mechanical automata powered by hydraulics, pneumatics and clockwork. Before the term "animatronics" became common, they were usually referred to as "robots". Since then, robots have become known as more practical programmable machines that do not necessarily resemble living creatures. Robots (or other artificial beings) designed to convincingly resemble humans are known as "androids". The term animatronics is a portmanteau of animate and electronics. The term Audio-Animatronics was coined by Walt Disney in 1961 when he started developing professional animatronics for entertainment and film. History Before electronics, animatronics were simply puppets made to work with clockwork. These are known today as automata. For most of human history, it has not been possible to create a moving figure resembling a person that was not directly puppeted by another person. In the renaissance era, the first clockwork automated humanoid figures were created. These were complex with many movements, however the figures were extremely large as they contained large cam shaft mechanisms in the base with the introduction of electricity. The mechanisms to create a humanoid figure got smaller and smaller, however very few of the created figures looked human. The first audio animatronic to convincingly imitate a human was Walt Disney's Abraham Lincoln attraction at the Illinois State Pavilion of the 1964 New York World's Fair. This marked a change in the industry, as computers were a pivotal part in creating the figure. Design There are quite a few ways to build an animatronic, however most follow this basic structure: An animatronics character is typically designed to be as realistic as possible and thus, is built similarly to how it would be in real life. The framework of the figure is like the "skeleton". Joints, motors, and actuators act as the "muscles". Connecting all the electrical components together are wires, such as the "nervous system" of a real animal or person. Steel, aluminum, plastic, and wood are all commonly used in building animatronics but each has its best purpose. The relative strength, as well as the weight of the material itself, should be considered when determining the most appropriate material to use. The cost of the material may also be a concern. Several materials are commonly used in the fabrication of an animatronics figure's exterior. Dependent on the particular circumstances, the best material will be used to produce the most lifelike form. For example, "eyes" and "teeth" are commonly made completely out of acrylic. One method of constructing animatronics can be found in the Chuck E. Cheese's Studio C animatronic by Garner Holt Productions, made of latex rubber, metal, and plastic, supported by an internal skeleton. On the other end of the spectrum, an all-metal bunyip animatronic in Australia uses water to actuate the creature's mouth. Pneumatic actuators can be used for small animatronics but are not powerful enough for large designs and must be supplemented with hydraulics. To create more realistic movement in large figures, an analog system is generally used to give the figures a full range of fluid motion rather than simple two position movements. Mimicking the often-subtle displays of humans and other living creatures, and the associated movement is a challenging task when developing animatronics. One of the most common emotional models is the Facial Action Coding System (FACS) developed by Ekman and Friesen. FACS defines that through facial expression, humans can recognize six basic emotions: anger, disgust, fear, joy, sadness, and surprise. Another theory is that of Ortony, Clore, and Collins, or the OCC model which defines 22 different emotional categories. In 2020 Disney revealed its new animatronics robot that can breathe, move its eyes very much like humans, and identify people around it in order to select "an appropriate" response, as opposed to previous Disney animatronics that were used in purely scripted, non-interactive situations, like theme park rides. Training and education Animatronics has been developed as a career which combines the disciplines of mechanical engineering, casting/sculpting, control technologies, electrical/electronic systems, radio control and airbrushing.[citation needed] Some colleges and universities do offer degree programs in animatronics. Individuals interested in animatronics typically earn a degree in robotics which closely relate to the specializations needed in animatronics engineering. Students achieving a bachelor's degree in robotics commonly complete courses in: In popular culture Animatronic characters appear in both films and video games, most notably in horror genre and survival horror video games that generally features possessed animatronics as antagonists. The film industry has been a driving force revolutionizing the technology used to develop animatronics. Animatronics are used in situations where a creature does not exist, the action is too risky or costly to use real actors or animals, or the action could never be obtained with a living person or animal. Its main advantage over CGI and stop-motion is that the simulated creature has a physical presence moving in front of the camera in real time. The technology behind animatronics has become more advanced and sophisticated over the years, making the puppets even more lifelike. Animatronics were first introduced by Disney in the 1964 film Mary Poppins which featured an animatronic bird. Since then, animatronics have been used extensively in such movies as Jaws and E.T. the Extra-Terrestrial. Directors such as Steven Spielberg and Jim Henson have been pioneers in using animatronics in the film industry. Two films directed by Henson, The Dark Crystal and Labyrinth, showcased groundbreaking puppets designed by Brian Froud and created by the then-recently established Jim Henson's Creature Shop in London, England. The 1993 film Jurassic Park, directed by Spielberg, used a combination of computer-generated imagery in conjunction with life-sized animatronic dinosaurs built by Stan Winston and his team. Winston's animatronic "T. rex" stood almost 20 feet (6.1 m), 40 feet (12 m) in length and even the largest animatronics weighing 9,000 pounds (4,100 kg) were able to perfectly recreate the appearance and natural movement on screen of a full-sized Tyrannosaurus rex. Jack Horner called it "the closest I've ever been to a live dinosaur". Critics referred to Spielberg's dinosaurs as breathtakingly and terrifyingly realistic. The 1999 BBC miniseries Walking with Dinosaurs was produced using a combination of about 80% CGI and 20% animatronic models. The quality of computer imagery of the day was good, but animatronics were still better at distance shots, as well as closeups of the dinosaurs. Animatronics for the series were designed by British animatronics firm Crawley Creatures. The show was followed up in 2007 with a live adaptation of the series, Walking with Dinosaurs: The Arena Spectacular, which also featured animatronics. Geoff Peterson is an animatronic human skeleton that serves as the sidekick on the late-night talk show The Late Late Show with Craig Ferguson. Often referred to as a "robot skeleton", Peterson is a radio-controlled animatronic robot puppet designed and built by Grant Imahara of MythBusters. The British advertisement campaign for Cadbury Schweppes titled Gorilla featured an actor inside a gorilla suit with an animatronically animated face. The Slowskys was an advertising campaign for Comcast Cable's Xfinity broadband Internet service. The ad features two animatronic turtles, and it won the gold Effie Award in 2007. Five Nights at Freddy's (commonly known as FNaF), a horror video game series, features various animatronic entertainers as antagonists who try to kill the player character. In the first game of the series, the animatronics' violent attitude towards humans is hinted at through in-game newspapers to be linked to the murders of children by an unnamed character, later in the series known to be William Afton, one of the founders of the in-game restaurant and the series' overarching villain. Afton would go on to possess an animatronic of his own after his death. Since the original game, Five Nights at Freddy's has evolved into a large media franchise comprising various sequels, spin-offs, a novel trilogy, an anthology series of short stories. A film adaptation, produced by Blumhouse Productions, was premiered in 2023, follows by a sequencel in 2025. Some examples of animatronic toys include TJ Bearytails, Big Mouth Billy Bass, FurReal, Kota the triceratops, Pleo, WowWee Alive Chimpanzee, Microsoft Actimates, and Furby. Well-known brands include Cuddle Barn, PBC International, Telco, Sound N Light, Iwaya Corporation, Nika International, Gemmy Industries, Tickle Me Elmo, Chantilly Lane and Dan Dee.[citation needed] See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Western_world] | [TOKENS: 9159] |
Contents Western world The Western world, also known as the West, primarily refers to various nations and states in Western Europe,[a] Northern America, and Australasia;[b] with some debate as to whether those in Eastern Europe and Latin America also constitute the West. The Western world likewise is called the Occident (from Latin occidens 'setting down, sunset, west') in contrast to the Eastern world known as the Orient (from Latin oriens 'origin, sunrise, east'). Definitions of the "Western world" vary according to context and perspectives; the West is an evolving concept made up of cultural, political, and economic synergy among diverse groups of people, and not a rigid region with fixed borders and members. Some historians contend that a linear development of the West can be traced from Ancient Greece and Rome, while others argue that such a projection constructs a false genealogy. A geographical concept of the West started to take shape in the 4th century CE when Constantine, the first Christian Roman emperor, divided the Roman Empire between the Greek East and Latin West. The East Roman Empire, later called the Byzantine Empire, continued for a millennium, while the West Roman Empire lasted for only about a century and a half. Significant theological and ecclesiastical differences led Western Europeans to consider the Christians in the Byzantine Empire as heretics. In 1054 CE, when the church in Rome excommunicated the patriarch of Byzantium, the politico-religious division between the Western church and Eastern church culminated in the Great Schism or the East–West Schism. Even though friendly relations continued between the two parts of Christendom for some time, the crusades made the schism definitive with hostility. The West during these crusades tried to capture trade routes to the East and failed, it instead discovered the Americas. In the aftermath of the European colonization of the Americas, primarily involving Western European powers, an idea of the "Western" world, as an inheritor of Latin Christendom emerged. According to the Oxford English Dictionary, the earliest reference to the term "Western world" was from 1586, found in the writings of William Warner. The countries that are considered constituents of the West vary according to perspective rather than their geographical location. Countries like Australia and New Zealand, located in the Eastern Hemisphere are included in modern definitions of the Western world, as these regions and others like them have been significantly influenced by the British—derived from colonization, and immigration of Europeans—factors that grounded such countries to the West. Depending on the context and the historical period in question, Russia was sometimes seen as a part of the West, and at other times juxtaposed with it, as well as endorsing anti-Western sentiment. The United States became more prominently featured in the conceptualizations of the West as it rose as a great power, amidst the development of communication–transportation technologies like the telegraph and railroads "shrinking" the distance between both the Atlantic Ocean shores. At some times between the 18th century and the mid-20th century, prominent countries in the West such as the United States, Canada, Brazil, Argentina, Australia, and New Zealand have been envisioned by some as ethnocracies for Whites. Racism is claimed as a contributing factor to Western European colonization of the New World, which today constitutes much of the geographical Western world and is split between Global North and Global South. Starting from the late 1960s, certain parts of the Western world have become notable for their diversity due to immigration and changes in fertility rates. The idea of "the West" over the course of time has evolved from a directional concept to a socio-political concept—temporalized and rendered as a concept of the future bestowed with notions of progress and modernity. Introduction The origins of Western civilization can be traced back to the ancient Mediterranean world. Ancient Greece[c] and Ancient Rome[d] are generally considered to be the birthplaces of Western civilization—Greece having heavily influenced Rome—the former due to its impact on philosophy, democracy, science, aesthetics, as well as building designs and proportions and architecture; the latter due to its influence on art, law, warfare, governance, republicanism, engineering and religion. Western Civilization is also closely associated with Christianity, the dominant religion in the West, with roots in Greco-Roman and Jewish thought. Christian ethics, drawing from the ethical and moral principles of its historical roots in Judaism, has played a pivotal role in shaping the foundational framework of Western societies. Earlier civilizations, such as the ancient Egyptians and Mesopotamians, had also significantly influenced Western civilization through their advancements in writing, law codes, and societal structures. The convergence of Greek-Roman and Judeo-Christian influences in shaping Western civilization has led certain scholars to characterize it as emerging from the legacies of Athens and Jerusalem, or Athens, Jerusalem and Rome. In ancient Greece and Rome, individuals identified primarily as subjects of states, city-states, or empires, rather than as members of Western civilization. The distinct identification of Western civilization began to crystallize with the rise of Christianity during the Late Roman Empire. In this period, peoples in Europe started to perceive themselves as part of a unique civilization, differentiating from others like Islam, giving rise to the concept of Western civilization. By the 15th century, Renaissance intellectuals solidified this concept, associating Western civilization not only with Christianity but also with the intellectual and political achievements of the ancient Greeks and Romans. Historians, such as Carroll Quigley in "The Evolution of Civilizations", contend that Western civilization was born around AD 500, after the fall of the Western Roman Empire, leaving a vacuum for new ideas to flourish that were impossible in Classical societies. In either view, between the fall of the Western Roman Empire and the Renaissance, the West (or those regions that would later become the heartland of the culturally "western sphere") experienced a period of decline, and then readaptation, reorientation and considerable renewed material, technological and political development. Classical culture of the ancient Western world was partly preserved during this period due to the survival of the Eastern Roman Empire and the introduction of the Catholic Church; it was also greatly expanded by the Arab importation of both the Ancient Greco-Roman and new technology through the Arabs from India and China to Europe. Since the Renaissance, the West evolved beyond the influence of the ancient Greeks and Romans and the Islamic world, due to the successful Second Agricultural, Commercial, Scientific, and Industrial revolutions (propellers of modern banking concepts). The West rose further with the 18th century's Age of Enlightenment and through the Age of Exploration's expansion of peoples of European empires in the 18th and 19th centuries, particularly the globe-spanning colonial empires of Western Europe. Numerous times, this expansion was accompanied by Catholic missionaries, who attempted to proselytize Christianity. In the modern era, Western culture has undergone further transformation through the Renaissance, Ages of Discovery and Enlightenment, and the Industrial and Scientific Revolutions. The widespread influence of Western culture extended globally through imperialism, colonialism, and Christianization by Western powers from the 15th to 20th centuries. This influence persists through the exportation of mass culture, a phenomenon often referred to as Westernization. There was debate among some in the 1960s as to whether Latin America as a whole is in a category of its own. Culture Historically, scholars have closely associated the idea of Western culture with the classical era of Greco-Roman antiquity. However, scholars also acknowledge that other cultures, like Ancient Egypt, the Phoenician city-states, and several Near-Eastern cultures stimulated and influenced it. The Hellenistic period also promoted syncretism, blending Greek, Roman, and Near-Eastern cultures. Major advances in literature, engineering, and science shaped the Hellenistic Jewish culture, from which the earliest Christians and the Greek New Testament emerged. The eventual Christianization of Europe in late antiquity would ensure that Christianity, particularly the Catholic Church, remained a dominant force in Western culture for many centuries to follow. Western culture continued to develop during the Middle Ages as reforms triggered by the medieval renaissances, the influence of the Islamic world via Al-Andalus and Sicily (including the transfer of technology from the East, and Latin translations of Arabic texts on science and philosophy by Greek and Hellenic-influenced Islamic philosophers), and the Italian Renaissance as Greek scholars fleeing the fall of Constantinople brought ancient Greek and Roman texts back to central and western Europe. Medieval Christianity is credited with creating the modern university, the modern hospital system, scientific economics, and natural law (which would later influence the creation of international law). European culture developed a complex range of philosophy, medieval scholasticism, mysticism and Christian and secular humanism, setting the stage for the Protestant Reformation in the 16th century, which fundamentally altered religious and political life. Led by figures like Martin Luther, Protestantism challenged the authority of the Catholic Church and promoted ideas of individual freedom and religious reform, paving the way for modern notions of personal responsibility and governance. The Enlightenment in the 17th and 18th centuries shifted focus to reason, science, and individual rights, influencing revolutions across Europe and the Americas and the development of modern democratic institutions. Enlightenment thinkers advanced ideals of political pluralism and empirical inquiry, which, together with the Industrial Revolution, transformed Western society. In the 19th and 20th centuries, the influence of Enlightenment rationalism continued with the rise of secularism and liberal democracy, while the Industrial Revolution fueled economic and technological growth. The expansion of civil rights and the decline of religious authority marked significant cultural shifts. Tendencies that have come to define modern Western societies include the concept of political pluralism, individualism, prominent subcultures or countercultures, and increasing cultural syncretism resulting from globalization and immigration. Historical divisions The geopolitical divisions in Europe that created a concept of East and West originated in the ancient tyrannical and imperialistic Graeco-Roman times. The Eastern Mediterranean was home to the highly urbanized cultures that had Greek as their common language (owing to the older empire of Alexander the Great and of the Hellenistic successors), whereas the West was much more rural in its character and more readily adopted Latin as its common language. After the fall of the Western Roman Empire and the beginning of medieval times (or Middle Ages), Western and Central Europe were substantially cut off from the East, where Byzantine Greek culture and Eastern Christianity became founding influences in the Eastern European world such as the East and South Slavic peoples.[citation needed] Roman Catholic Western and Central Europe thus maintained a distinct identity, particularly as it began to redevelop during the Renaissance. Even following the Protestant Reformation, Protestant Europe continued to see itself as more tied to Roman Catholic Europe than other parts of the perceived "civilized world". Use of the term West as a specific cultural and geopolitical term developed over the course of the Age of Exploration as Europe spread its culture to other parts of the world. Roman Catholics were the first major religious group to migrate to the New World, as settlers in the colonies of Spain and Portugal (and later, France) belonged to that faith. English and Dutch colonies, on the other hand, tended to be more religiously diverse. Settlers to these colonies included Anglicans, Dutch Calvinists, English Puritans and other nonconformists, English Catholics, Scottish Presbyterians, French Huguenots, German and Swedish Lutherans, as well as Quakers, Mennonites, Amish, and Moravians.[citation needed] Ancient Rome (6th century BC – AD 476) is a term to describe the ancient Roman society that conquered Central Italy assimilating the Italian Etruscan culture, growing from the Latium region since about the 8th century BC, to a massive empire straddling the Mediterranean Sea. In its 10-centuries territorial expansion, Roman civilization shifted from a small monarchy (753–509 BC), to a republic (509–27 BC), into an autocratic empire (27 BC – AD 476). Its Empire came to dominate Western, Central and Southeastern Europe, Northern Africa and, becoming an autocratic Empire a vast Middle Eastern area, when it ended. Conquest was enforced using the Roman legions and then through cultural assimilation by eventual recognition of some form of Roman citizenship's privileges. Nonetheless, despite its great legacy, a number of factors led to the eventual decline and ultimately fall of the Roman Empire.[citation needed] The Roman Empire succeeded the approximately 500-year-old Roman Republic (c. 510–30 BC). In 350 years, from the successful and deadliest war with the Phoenicians which began in 218 BC to the rule of Emperor Hadrian by AD 117, ancient Rome expanded up to twenty-five times its area. The same time passed again before its fall in AD 476. Rome had expanded long before the empire reached its zenith with the conquest of Dacia in AD 106 (modern-day Romania) under Emperor Trajan. During its territorial peak, the Roman Empire controlled about 5,000,000 square kilometres (1,900,000 sq mi) of land surface and had a population of 100 million. From the time of Caesar (100–44 BC) to the Fall of the Western Roman Empire, Rome dominated Southern Europe, the Mediterranean coast of Northern Africa and the Levant, including the ancient trade routes with population living outside. Ancient Rome has contributed greatly to the development of law, war, art, literature, architecture, technology and language in the Western world, and its history continues to have a major influence on the world today. The Latin language has been the base from which Romance languages evolved and it has been the official language of the Catholic Church and all Catholic religious ceremonies all over Europe until 1967, as well as one of, or the official language of countries such as Italy and Poland (9th–18th centuries).[citation needed] In AD 395, a few decades before its Western collapse, the Roman Empire formally split into a Western and an Eastern one, each with their own emperors, capitals, and governments, although ostensibly they still belonged to one formal Empire. The Western Roman Empire provinces eventually were replaced by Northern European Germanic ruled kingdoms in the 5th century due to civil wars, corruption, and devastating Germanic invasions from such tribes as the Huns, Goths, the Franks and the Vandals by their late expansion throughout Europe. The three-day Visigoths's AD 410 sack of Rome who had been raiding Greece not long before, a shocking time for Greco-Romans, was the first time after almost 800 years that Rome had fallen to a foreign enemy, and St. Jerome, living in Bethlehem at the time, wrote that "The City which had taken the whole world was itself taken." There followed the sack of AD 455 lasting 14 days, this time conducted by the Vandals, retaining Rome's eternal spirit through the Holy See of Rome (the Latin Church) for centuries to come. The ancient Barbarian tribes, often composed of well-trained Roman soldiers paid by Rome to guard the extensive borders, had become militarily sophisticated "Romanized barbarians", and mercilessly slaughtered the Romans conquering their Western territories while looting their possessions. The Roman Empire is where the idea of "the West" began to emerge.[e] The Eastern Roman Empire, governed from Constantinople, is usually referred to as the Byzantine Empire after AD 476, the traditional date for the fall of the Roman Empire and beginning of the Early Middle Ages. The survival of the Eastern Roman Empire protected Roman legal and cultural traditions, combining them with Greek and Christian elements, for another thousand years. The name Byzantine Empire was first used centuries later, after the Byzantine Empire ended. The dissolution of the Western half, nominally ended in AD 476, but in truth a long process that ended by the rise of Catholic Gaul (modern-day France) ruling from around the year AD 800, left only the Eastern Roman Empire alive. The Eastern half continued to think of itself as the Roman Empire. The inhabitants called themselves Romans because the term "Roman" was meant to signify all Christians. The Pope crowned Charlemagne as Emperor of the Romans of the newly established Holy Roman Empire, and the West began thinking in terms of Western Latins living in the old Western Empire, and Eastern Greeks (those inside the Roman remnant of the old Eastern Empire). In the early 4th century, the central focus of power was on two separate imperial legacies within the Roman Empire: the older Aegean Sea Greek heritage (of Classical Greece) in the Eastern Mediterranean, and the newer most successful Tyrrhenian Sea Latin heritage (of Ancient Latium and Tuscany) in the Western Mediterranean. A turning point was Constantine the Great's decision to establish the city of Constantinople (today's Istanbul) in modern-day Turkey as the "New Rome" when he picked it as capital of his Empire (later called "Byzantine Empire" by modern historians) in AD 330. This internal conflict of legacies had possibly emerged since the assassination of Julius Caesar three centuries earlier, when Roman imperialism had just been born with the Roman Republic becoming "Roman Empire", but reached its zenith during 3rd century's many internal civil wars. This is the time when the Huns (part of the ancient Eastern European tribes named barbarians by the Romans) from modern-day Hungary penetrated into the Dalmatian (modern-day Croatia) region then originating in the following 150 years in the Roman Empire officially splitting in two halves. Also the time of the formal acceptance of Christianity as Empire's religious policy, when the Emperors began actively banning and fighting previous pagan religions. The Eastern Roman Empire included lands south-west of the Black Sea and bordering on the Eastern Mediterranean and parts of the Adriatic Sea. This division into Eastern and Western Roman Empires was later reflected in the administration of the Roman Catholic and Eastern Greek Orthodox churches, with Rome and Constantinople debating over whether either city was the capital of Western religion.[citation needed] As the Eastern (Orthodox) and Western (Catholic) churches spread their influence, the line between Eastern and Western Christianity was moving. Its movement was affected by the influence of the Byzantine empire and the fluctuating power and influence of the Catholic church in Rome. The geographic line of religious division approximately followed a line of cultural divide.[citation needed] In AD 800 under Charlemagne, the Early Medieval Franks established an empire that was recognized by the Pope in Rome as the Holy Roman Empire (Latin Christian revival of the ancient Roman Empire, under perpetual Germanic rule from AD 962) inheriting ancient Roman Empire's prestige but offending the Eastern Roman Emperor in Constantinople, and leading to the Crusades and the East–West Schism. The crowning of the Emperor by the Pope led to the assumption that the highest power was the papal hierarchy, quintessential Roman Empire's spiritual heritage authority, establishing then, until the Protestant Reformation, the civilization of Western Christendom.[citation needed] The earliest concept of Europe as a cultural sphere (instead of simple geographic term) is believed to have been formed by Alcuin of York during the Carolingian Renaissance of the 9th century, but was limited to the territories that practised Western Christianity at the time. The Latin Church of western and central Europe split with the eastern Greek patriarchates in the Christian East–West Schism, also known as the "Great Schism", during the Gregorian Reforms (calling for a more central status of the Roman Catholic Church Institution), three months after Pope Leo IX's death in April 1054. Following the 1054 Great Schism, both the Western Church and Eastern Church continued to consider themselves uniquely orthodox and catholic. Augustine wrote in On True Religion: "Religion is to be sought... only among those who are called Catholic or orthodox Christians, that is, guardians of truth and followers of right." Over time, the Western Christianity gradually identified with the "Catholic" label, and people of Western Europe gradually associated the "Orthodox" label with Eastern Christianity (although in some languages the "Catholic" label is not necessarily identified with the Western Church). This was in note of the fact that both Catholic and Orthodox were in use as ecclesiastical adjectives as early as the 2nd and 4th centuries respectively. Meanwhile, the extent of both Christendoms expanded, as Germanic peoples, Bohemia, Poland, Hungary, Scandinavia, Finnic peoples, Baltic peoples, British Isles and the other non-Christian lands of the northwest were converted by the Western Church, while Eastern Slavic peoples, Bulgaria, Serbia, Montenegro, Russian territories, Vlachs and Georgia were converted by the Eastern Orthodox Church.[citation needed] In 1071, the Byzantine army was defeated by the Muslim Turco-Persians of medieval Asia, resulting in the loss of most of Asia Minor. The situation was a serious threat to the future of the Eastern Orthodox Byzantine Empire. The Emperor sent a plea to the Pope in Rome to send military aid to restore the lost territories to Christian rule. The result was a series of western European military campaigns into the eastern Mediterranean, known as the Crusades. Unfortunately for the Byzantines, the crusaders (belonging to the members of nobility from France, German territories, the Low countries, England and Italy) had no allegiance to the Byzantine Emperor and established their own states in the conquered regions, including the heart of the Byzantine Empire. The Holy Roman Empire would dissolve on 6 August 1806, after the French Revolution and the creation of the Confederation of the Rhine by Napoleon. The decline of the Byzantine Empire (13th–15th centuries) began with the Latin Christian Fourth Crusade in AD 1202–04, considered to be one of the most important events, solidifying the schism between the Christian churches of Greek Byzantine Rite and Latin Roman Rite. An anti-Western riot in 1182 broke out in Constantinople targeting Latins. The extremely wealthy (after previous Crusades) Venetians in particular made a successful attempt to maintain control over the coast of Catholic present-day Croatia (specifically the Dalmatia, a region of interest to the maritime medieval Venetian Republic moneylenders and its rivals, such as the Republic of Genoa) rebelling against the Venetian economic domination. What followed dealt an irrevocable blow to the already weakened Byzantine Empire with the Crusader army's sack of Constantinople in April 1204, capital of the Greek Christian-controlled Byzantine Empire, described as one of the most profitable and disgraceful sacks of a city in history. This paved the way for Muslim conquests in present-day Turkey and the Balkans in the coming centuries (only a handful of the Crusaders followed to the stated destination thereafter, the Holy Land). The geographical identity of the Balkans is historically known as a crossroads of cultures, a juncture between the Latin and Greek bodies of the Roman Empire, the destination of a massive influx of pagans (meaning "non-Christians") Bulgars and Slavs, an area where Catholic and Orthodox Christianity met, as well as the meeting point between Islam and Christianity. The Papal Inquisition was established in AD 1229 on a permanent basis, run largely by clergymen in Rome, and abolished six centuries later. Before AD 1100, the Catholic Church suppressed what they believed to be heresy, usually through a system of ecclesiastical proscription or imprisonment, but without using torture, and seldom resorting to executions. This very profitable Central European Fourth Crusade had prompted the 14th century Renaissance (translated as 'Rebirth') of Italian city-states including the Papal States, on eve of the Protestant Reformation and Counter-Reformation (which established the Roman Inquisition to succeed the Medieval Inquisition). There followed the discovery of the American continent, and consequent dissolution of West Christendom as even a theoretical unitary political body, later resulting in the religious Eighty Years War (1568–1648) and Thirty Years War (1618–1648) between various Protestant and Catholic states of the Holy Roman Empire (and emergence of religiously diverse confessions). In this context, the Protestant Reformation (1517) may be viewed as a schism within the Catholic Church. German monk Martin Luther, in the wake of precursors, broke with the pope and with the emperor by the Catholic Church's abusive commercialization of indulgences in the Late Medieval Period, backed by many of the German princes and helped by the development of the printing press, in an attempt to reform corruption within the church. Both these religious wars ended with the Peace of Westphalia (1648), which enshrined the concept of the nation-state, and the principle of absolute national sovereignty in international law. As European influence spread across the globe, these Westphalian principles, especially the concept of sovereign states, became central to international law and to the prevailing world order. In the 13th and 14th centuries, a number of European travelers, many of them Christian missionaries, had sought to cultivate trading with Asia and Africa. With the Crusades came the relative contraction of the Orthodox Byzantine's large silk industry in favor of Catholic Western Europe and the rise of Western Papacy. The most famous of these merchant travelers pursuing East–west trade was Venetian Marco Polo. But these journeys had little permanent effect on east–west trade because of a series of political developments in Asia in the last decades of the 14th century, which put an end to further European exploration of Asia: namely the new Ming rulers were found to be unreceptive of religious proselytism by European missionaries and merchants. Meanwhile, the Ottoman Turks consolidated control over the eastern Mediterranean, closing off key overland trade routes.[citation needed] The Portuguese spearheaded the drive to find oceanic routes that would provide cheaper and easier access to South and East Asian goods, by advancements in maritime technology such as the caravel ship introduced in the mid-1400s. The charting of oceanic routes between East and West began with the unprecedented voyages of Portuguese and Spanish sea captains. In 1492, European colonialism expanded across the globe with the exploring voyage of merchant, navigator, and Hispano-Italian colonizer Christopher Columbus. Such voyages were influenced by medieval European adventurers after the European spice trade with Asia, who had journeyed overland to the Far East contributing to geographical knowledge of parts of the Asian continent. They are of enormous significance in Western history as they marked the beginning of the European exploration, colonization and exploitation of the American continents and their native inhabitants.[f][g] The European colonization of the Americas led to the Atlantic slave trade between the 1490s and the 1800s, which also contributed to the development of African intertribal warfare and racist ideology. Before the abolition of its slave trade in 1807, the British Empire alone (which had started colonial efforts in 1578, almost a century after Portuguese and Spanish empires) was responsible for the transportation of 3.5 million African slaves to the Americas, a third of all slaves transported across the Atlantic. The Holy Roman Empire was dissolved in 1806 by the French Revolutionary Wars; abolition of the Roman Catholic Inquisition followed.[citation needed] Due to the reach of these empires, Western institutions expanded throughout the world. This process of influence (and imposition) began with the voyages of discovery, colonization, conquest, and exploitation of Portugal enforced as well by papal bulls in 1450s (by the fall of the Byzantine Empire), granting Portugal navigation, war and trade monopoly for any newly discovered lands, and competing Spanish navigators. It continued with the rise of the Dutch East India Company by the destabilizing Spanish discovery of the New World, and the creation and expansion of the English and French colonial empires, and others.[citation needed] Even after demands for self-determination from subject peoples within Western empires were met with decolonization, these institutions persisted. One specific example was the requirement that post-colonial societies were made to form nation-states (in the Western tradition), which often created arbitrary boundaries and borders that did not necessarily represent a whole nation, people, or culture (as in much of Africa), and are often the cause of international conflicts and friction even to this day. Although not part of Western colonization process proper, following the Middle Ages Western culture in fact entered other global-spanning cultures during the colonial 15th–20th centuries.[citation needed] Historically colonialism had been justified with the values of individualism and enlightenment. The concepts of a world of nation-states born by the Peace of Westphalia in 1648, coupled with the ideologies of the Enlightenment, the coming of modernity, the Scientific Revolution and the Industrial Revolution, would produce powerful social transformations, political and economic institutions that have come to influence (or been imposed upon) most nations of the world today. Historians agree that the Industrial Revolution has been one of the most important events in history. The course of three centuries since Christopher Columbus' late 15th century's voyages, of deportation of slaves from Africa and British dominant northern-Atlantic location, later developed into modern-day United States of America, evolving from the ratification of the Constitution of the United States by thirteen States on the North American East Coast before end of the 18th century. Eric Voegelin described the 18th-century as one where "the sentiment grows that one age has come to its close and that a new age of Western civilization is about to be born". According to Voeglin the Enlightenment (also called the Age of Reason) represents the "atrophy of Christian transcendental experiences and [seeks] to enthrone the Newtonian method of science as the only valid method of arriving at truth". Its precursors were John Milton and Baruch Spinoza. Meeting Galileo in 1638 left an enduring impact on John Milton and influenced Milton's great work Areopagitica, where he warns that, without free speech, inquisitorial forces will impose "an undeserved thraldom upon learning". The achievements of the 17th century included the invention of the telescope and acceptance of heliocentrism. 18th century scholars continued to refine Newton's theory of gravitation, notably Leonhard Euler, Pierre Louis Maupertuis, Alexis-Claude Clairaut, Jean Le Rond d'Alembert, Joseph-Louis Lagrange, Pierre-Simon de Laplace. Laplace's five-volume Treatise on Celestial Mechanics is one of the great works of 18th-century Newtonianism. Astronomy gained in prestige as new observatories were funded by governments and more powerful telescopes developed, leading to the discovery of new planets, asteroids, nebulae and comets, and paving the way for improvements in navigation and cartography. Astronomy became the second most popular scientific profession, after medicine. A common metanarrative of the Enlightenment is the "secularization theory". Modernity, as understood within the framework, means a total break with the past. Innovation and science are the good, representing the modern values of rationalism, while faith is ruled by superstition and traditionalism. Inspired by the Scientific Revolution, the Enlightenment embodied the ideals of improvement and progress. Descartes and Isaac Newton were regarded as exemplars of human intellectual achievement. Condorcet wrote about the progress of humanity in the Sketch of the Progress of the Human Mind (1794), from primitive society to agrarianism, the invention of writing, the later invention of the printing press and the advancement to "the Period when the Sciences and Philosophy threw off the Yoke of Authority". French writer Pierre Bayle denounced Spinoza as a pantheist (thereby accusing him of atheism). Bayle's criticisms garnered much attention for Spinoza. The pantheism controversy in the late 18th century saw Gotthold Lessing attacked by Friedrich Heinrich Jacobi over support for Spinoza's pantheism. Lessing was defended by Moses Mendelssohn, although Mendelssohn diverged from pantheism to follow Gottfried Wilhelm Leibniz in arguing that God and the world were not of the same substance (equivalency). Spinoza was excommunicated from the Dutch Sephardic community, but for Jews who sought out Jewish sources to guide their own path to secularism, Spinoza was as important as Voltaire and Kant. In the early 19th century, the systematic urbanization process (migration from villages in search of jobs in manufacturing centers) had begun, and the concentration of labor into factories led to the rise in the population of the towns. World population had been rising as well. It is estimated to have first reached one billion in 1804. Also, the new philosophical movement later known as Romanticism originated, in the wake of the previous Age of Reason of the 1600s and the Enlightenment of 1700s. These are seen as fostering the 19th century Western world's sustained economic development. Before the urbanization and industrialization of the 1800s, demand for oriental goods such as porcelain, silk, spices and tea remained the driving force behind European imperialism in Asia, and (with the important exception of British East India Company rule in India) the European stake in Asia remained confined largely to trading stations and strategic outposts necessary to protect trade. Industrialization, however, dramatically increased European demand for Asian raw materials; and the severe Long Depression of the 1870s provoked a scramble for new markets for European industrial products and financial services in Africa, the Americas, Eastern Europe, and especially in Asia (Western powers exploited their advantages in China for example by the Opium Wars). This resulted in the "New Imperialism", which saw a shift in focus from trade and indirect rule to formal colonial control of vast overseas territories ruled as political extensions of their mother countries.[h] The later years of the 19th century saw the transition from "informal imperialism" (hegemony)[i] by military influence and economic dominance, to direct rule (a revival of colonial imperialism) in the African continent and Middle East. During the socioeconomically optimistic and innovative decades of the Second Industrial Revolution between the 1870s and 1914, also known as the "Beautiful Era", the established colonial powers in Asia (United Kingdom, France, Netherlands) added to their empires also vast expanses of territory in the Indian subcontinent and Southeast Asia. Japan was involved primarily during the Meiji period (1868–1912), though earlier contacts with the Portuguese, Spaniards and Dutch were also present in the Japanese Empire's recognition of the strategic importance of European nations. Traditional Japanese society became an industrial and militarist power like the Western British Empire and the French Third Republic, and similar to the German Empire.[verification needed][citation needed] At the close of the Spanish–American War in 1898 the Philippines, Puerto Rico, Guam and Cuba were ceded to the United States under the terms of the Treaty of Paris. The US quickly emerged as the new imperial power in East Asia and in the Pacific Ocean area. The Philippines continued to fight against colonial rule in the Philippine–American War. By 1913, the British Empire held sway over 412 million people, 23% of the world population at the time, and by 1920, it covered 35,500,000 km2 (13,700,000 sq mi), 24% of the Earth's total land area. At its apex, the phrase "the empire on which the sun never sets" described the British Empire, because its expanse around the globe meant that the sun always shone on at least one of its territories. As a result, its political, legal, linguistic and cultural legacy is widespread throughout the Western world.[citation needed] In the aftermath of the Second World War, decolonizing efforts were employed by all Western powers under United Nations (ex-League of Nations) international directives.[citation needed] Most of the colonized nations received independence by 1960. Great Britain showed ongoing responsibility for the welfare of its former colonies as member states of the Commonwealth of Nations. But the end of Western colonial imperialism saw the rise of Western neocolonialism or economic imperialism. Multinational corporations came to offer "a dramatic refinement of the traditional business enterprise", through "issues as far ranging as national sovereignty, ownership of the means of production, environmental protection, consumerism, and policies toward organized labor." Though the overt colonial era had passed, Western nations, as comparatively rich, well-armed, and culturally powerful states, wielded a large degree of influence throughout the world, and with little or no sense of responsibility toward the peoples impacted by its multinational corporations in their exploitation of minerals and markets. The dictum of Alfred Thayer Mahan is shown to have lasting relevance, that whoever controls the seas controls the world. During the Cold War, a new definition emerged. Earth was divided into three "worlds". The First World, analogous in this context to what was called the West, was composed of NATO members and other countries aligned with the United States. The Second World was the Eastern bloc in the Soviet sphere of influence, including the Soviet Union and Warsaw Pact countries like Poland, Bulgaria, Hungary, Romania, East Germany, and Czechoslovakia. The Third World consisted of countries, many of which were unaligned with either the west or the east; important members included India, Yugoslavia, Finland (Finlandization) and Switzerland (Swiss Neutrality); some include the People's Republic of China, though this is disputed, since the People's Republic of China, as communist, had friendly relations—at certain times—with the Soviet bloc, and had a significant degree of importance in global geopolitics. Some Third World countries aligned themselves with either the US-led West or the Soviet-led Eastern bloc. A number of countries did not fit comfortably into this neat definition of partition, including Switzerland, Sweden, Austria, and Ireland, which chose to be neutral. Finland was under the Soviet Union's military sphere of influence (see FCMA treaty) but remained neutral and was not communist, nor was it a member of the Warsaw Pact or Comecon but a member of the EFTA from 1986, and was west of the Iron Curtain. In 1955, when Austria again became a fully independent republic, it did so under the condition that it remain neutral; but as a country to the west of the Iron Curtain, it was in the United States' sphere of influence. Spain did not join NATO until 1982, seven years after the death of the authoritarian Franco. The 1980s advent of Mikhail Gorbachev led to the end of the Cold War following the dissolution of the Soviet Union. Modern definitions The exact scope of the Western world is somewhat subjective in nature, depending on whether cultural, economic, spiritual or political criteria are employed. It is a generally accepted Western view to recognize the existence of at least three "major worlds" (or "cultures", or "civilizations"), broadly in contrast with the Western: the Eastern world, the Arab and the African worlds, with no clearly specified boundaries. Additionally, Latin American and Orthodox European worlds are sometimes either a sub-civilization within Western civilization or separately considered "akin" to the West. Many anthropologists, sociologists and historians oppose "the West and the Rest" in a categorical manner. The same has been done by Malthusian demographers with a sharp distinction between European and non-European family systems. Among anthropologists, this includes Durkheim, Dumont, and Lévi-Strauss. The Oxford English dictionary noted that the earliest use of the term "Western world" in the English language was in 1586, found in the writings of William Warner. In modern usage, Western world refers to Europe and to areas whose populations largely originate from Europe, through the Age of Discovery's imperialism. In the 20th century, Christianity declined in influence in many Western countries, mostly in the European Union where some member states have experienced falling church attendance and membership in recent years, and also elsewhere. Secularism (separating religion from politics and science) increased. However, while church attendance is in decline, in some Western countries (i.e. Italy, Poland, and Portugal), more than half of the people state that religion is important, and most Westerners nominally identify themselves as Christians (e.g. 59% in the United Kingdom) and attend church on major occasions, such as Christmas and Easter. In the Americas, Christianity continues to play an important societal role, though in areas such as Canada, a low level of religiosity is common due to a European-type secularization. The official religions of the United Kingdom and some Nordic countries are forms of Christianity, while the majority of European countries have no official religion. Despite this, Christianity, in its different forms, remains the largest faith in most Western countries. Christianity remains the dominant religion in the Western world, where 70% are Christians. A 2011 Pew Research Center survey found that 76.2% of Europeans, 73.3% in Oceania, and about 86.0% in the Americas (90% in Latin America and the Caribbean and 77.4% in Northern America) described themselves as Christians. Since the mid-twentieth century, the west became known for its irreligious sentiments, following the Age of Enlightenment and the French Revolution, inquisitions were abolished in the 19th and 20th centuries, this hastened the separation of church and state, and secularization of the Western world where unchurched spirituality is gaining more prominence over organized religion. Certain parts of the Western world have become notable for their diversity since the late 1960s. Earlier, between the eighteenth century to mid-twentieth century, prominent western countries like the United States, Canada, Brazil, Argentina, Australia, and New Zealand have been once envisioned as homelands for whites. Racism has been noted as a contributing factor to Westerners' colonization of the New World, which makes up much of the geographical West today. Countries in the Western world are also the most keen on digital and televisual media technologies, as they were in the postwar period on television and radio: from 2000 to 2014, the Internet's market penetration in the West was twice that in non-Western regions. The term "Western world" is sometimes interchangeably used with the term First World or developed countries, stressing the difference between First World and the Third World or developing countries. This usage occurs despite the fact that many countries that may be culturally Western are developing countries – in fact, a significant percentage of the Americas are developing countries. It is also used despite many developed countries or regions not being culturally Western (e.g. Japan, Singapore, South Korea, Taiwan, Hong Kong, and Macao). Privatization policies (involving government enterprises and public services) and multinational corporations are often considered a visible sign of Western nations' economic presence, especially in Third World countries, and represent a common institutional environment for powerful politicians, enterprises, trade unions and firms, bankers and thinkers of the Western world. Other views A series of scholars of civilization, including Arnold J. Toynbee, Alfred Kroeber and Carroll Quigley have identified and analyzed "Western civilization" as one of the civilizations that have historically existed and still exist today. Toynbee entered into quite an expansive mode, including as candidates those countries or cultures who became so heavily influenced by the West as to adopt these borrowings into their very self-identity. Carried to its limit, this would in practice include almost everyone within the West, in one way or another. In particular, Toynbee refers to the intelligentsia formed among the educated elite of countries impacted by the European expansion of centuries past. While often pointedly nationalist, these cultural and political leaders interacted within the West to such an extent as to change both themselves and the West. The theologian and paleontologist Pierre Teilhard de Chardin conceived of the West as the set of civilizations descended from the Nile Valley Civilization of Egypt. The idea of "the West" over the course of time has evolved from a directional concept to a sociopolitical concept, and has been temporalized and rendered as a concept of the future bestowed with notions of progress and modernity. See also Notes Citations Bibliography Further reading |
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