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"The Guardian" reported in April 2017 that "Azerbaijan's ruling elite operated a secret $2.9bn (£2.2bn) scheme to pay prominent Europeans, buy luxury goods and launder money through a network of opaque British companies ... Leaked data shows that the Azerbaijani leadership, accused of serial human rights abuses, systemic corruption and rigging elections, made more than 16,000 covert payments from 2012 to 2014. Some of this money went to politicians and journalists, as part of an international lobbying operation to deflect criticism of Azerbaijan's president, Ilham Aliyev, and to promote a positive image of his oil-rich country." There was no suggestion that all recipients were aware of the source of the money as it arrived via a disguised route.
Administrative divisions.
There are 14 economic regions; 66 rayons (, singular ) and 11 cities (, singular ) under the direct authority of the republic. Moreover, Azerbaijan includes the Autonomous Republic () of Nakhchivan. The President of Azerbaijan appoints the governors of these units, while the government of Nakhchivan is elected and approved by the parliament of Nakhchivan Autonomous Republic.
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Economy.
After gaining independence in 1991, Azerbaijan became a member of the International Monetary Fund, the World Bank, the European Bank for Reconstruction and Development, the Islamic Development Bank, and the Asian Development Bank. The banking system consists of the Central Bank of Azerbaijan, commercial banks, and non-banking credit organizations. The National (now Central) Bank was created in 1992 based on the Azerbaijan State Savings Bank, an affiliate of the former State Savings Bank of the USSR. The Central Bank serves as Azerbaijan's central bank, empowered to issue the national currency, the Azerbaijani manat, and to supervise all commercial banks. Two major commercial banks are UniBank and the state-owned International Bank of Azerbaijan, run by Abbas Ibrahimov.
Pushed up by spending and demand growth, the 2007 Q1 inflation rate reached 16.6%. Nominal incomes and monthly wages climbed 29% and 25% respectively against this figure, but price increases in the non-oil industry encouraged inflation. Azerbaijan shows some signs of the so-called "Dutch disease" because of its fast-growing energy sector, which causes inflation and makes non-energy exports more expensive.
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In the early 2000s, chronically high inflation was brought under control. This led to the launch of a new currency, the new Azerbaijani manat, on 1 January 2006, to cement the economic reforms and erase the vestiges of an unstable economy.
Azerbaijan is also ranked 57th in the Global Competitiveness Report for 2010–2011, above other CIS countries. By 2012 the GDP of Azerbaijan had increased 20-fold from its 1995 level.
Energy and natural resources.
Two-thirds of Azerbaijan is rich in oil and natural gas. The oil industry dates back to the ancient period. Arabian historian and traveler Ahmad Al-Baladhuri discusses the economy of the Absheron Peninsula in antiquity, mentioning its oil in particular. There are many pipelines in Azerbaijan. The goal of the Southern Gas Corridor, which connects the giant Shah Deniz gas field in Azerbaijan to Europe, is to reduce European Union's dependency on Russian gas.
The region of the Lesser Caucasus accounts for most of the country's gold, silver, iron, copper, titanium, chromium, manganese, cobalt, molybdenum, complex ore and antimony. In September 1994, a 30-year contract was signed between the State Oil Company of Azerbaijan Republic (SOCAR) and 13 oil companies, among them Amoco, BP, ExxonMobil, Lukoil and Equinor. Western oil companies have been able to tap deepwater oilfields untouched by the Soviet exploitation. International academics consider Azerbaijan as one of the most important oil exploration and development regions. The State Oil Fund of Azerbaijan was established as an extra-budgetary fund to ensure macroeconomic stability, transparency in the management of oil revenue, and safeguarding of resources for future generations.
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Access to biocapacity is less than world average. In 2016, Azerbaijan had 0.8 global hectares of biocapacity per person within its territory, half the world average of 1.6 global hectares per person. In 2016 Azerbaijan used 2.1 global hectares of biocapacity per person – their ecological footprint of consumption. This means they use more biocapacity than Azerbaijan contains. As a result, Azerbaijan is running a biocapacity deficit.
Azeriqaz, a sub-company of SOCAR, intends to ensure full gasification of the country by 2021.
Azerbaijan was one of the sponsors of the east–west and north–south energy transport corridors. Baku–Tbilisi–Kars railway line connects the Caspian region with Turkey. The Trans-Anatolian gas pipeline and Trans Adriatic Pipeline deliver natural gas from Azerbaijan's Shah Deniz gas to Turkey and Europe. Azerbaijan extended the agreement on development of ACG until 2050 according to the amended PSA signed on 14 September 2017 by SOCAR and co-ventures (BP, Chevron, Inpex, Equinor, ExxonMobil, TP, ITOCHU and ONGC Videsh).
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Agriculture.
Azerbaijan has the largest agricultural basin in the region. About 54.9 percent of Azerbaijan is agricultural land. At the beginning of 2007 there were 4,755,100 hectares of used agricultural area. In the same year the total wood resources counted 136 million m3. Agricultural scientific research institutes are focused on meadows and pastures, horticulture and subtropical crops, green vegetables, viticulture and wine-making, cotton growing and medicinal plants. In some areas it is profitable to grow grain, potatoes, sugar beets, cotton and tobacco. Livestock, dairy products, and wine and spirits are also important farm products. The Caspian fishing industry concentrates on the dwindling stocks of sturgeon and beluga. In 2002 the Azerbaijani merchant marine had 54 ships.
Some products previously imported from abroad have begun to be produced locally. Among them are Coca-Cola by Coca-Cola Bottlers LTD., beer by Baki-Kastel, parquet by Nehir and oil pipes by EUPEC Pipe Coating Azerbaijan.
Tourism.
The country was a well-known tourist spot in the 1980s. The fall of the Soviet Union and the First Nagorno-Karabakh War during the 1990s damaged the tourist industry and the image of Azerbaijan as a tourist destination. It was not until the 2000s that the tourism industry began to recover, and the country has since experienced a high rate of growth in the number of tourist visits and overnight stays. In recent years, Azerbaijan has also become a popular destination for religious, spa, and health care tourism. During winter, the Shahdag Mountain Resort offers skiing with state of the art facilities.
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The government has set development as an elite tourist destination as a top priority. It is a national strategy to make tourism a major, if not the single largest, contributor to the Azerbaijani economy. These activities are regulated by the Ministry of Culture and Tourism of Azerbaijan. There are 63 countries which have a visa-free score.
E-visa – for a visit of foreigners of visa-required countries to the Republic of Azerbaijan. According to the Travel and Tourism Competitiveness Report 2015 of the World Economic Forum, Azerbaijan holds 84th place.
According to a report by the World Travel and Tourism Council, Azerbaijan was among the top ten countries showing the strongest growth in visitor exports between 2010 and 2016, In addition, Azerbaijan placed first (46.1%) among countries with the fastest-developing travel and tourism economies, with strong indicators for inbound international visitor spending in 2016.
Transportation.
The convenient location of Azerbaijan on the crossroad of major international traffic arteries, such as the Silk Road and the south–north corridor, highlights the strategic importance of the transportation sector for the country's economy. The transport sector includes roads, railways, aviation, and maritime transport. It is also an important economic hub in the transportation of raw materials. The Baku–Tbilisi–Ceyhan pipeline (BTC) became operational in May 2006 and extends more than through the territories of Azerbaijan, Georgia, and Turkey. The BTC is designed to transport up to 50 million tons of crude oil annually and carries oil from the Caspian Sea oilfields to global markets. The South Caucasus Pipeline, also stretching through the territory of Azerbaijan, Georgia, and Turkey, became operational at the end of 2006 and offers additional gas supplies to the European market from the Shah Deniz gas field. Shah Deniz is expected to produce up to 296 billion cubic meters of natural gas per year. Azerbaijan also plays a major role in the EU-sponsored Silk Road Project.
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In 2002, the government established the Ministry of Transport with a broad range of policy and regulatory functions. In the same year, the country became a member of the Vienna Convention on Road Traffic. Priorities are upgrading the transport network and improving transportation services to better facilitate the development of other sectors of the economy. The 2012 construction of Kars–Tbilisi–Baku railway was meant to improve transportation between Asia and Europe by connecting the railways of China and Kazakhstan in the east to the European railway system in the west via Turkey. In 2010 Broad-gauge railways and electrified railways stretched for and respectively. By 2010, there were 35 airports and one heliport.
Science and technology.
In the 21st century, a new oil and gas boom helped improve the situation in the science and technology sectors. The government launched a campaign aimed at modernization and innovation. The government estimates that profits from the information technology and communication industry will grow and become comparable to those from oil production. Azerbaijan has a large and steadily growing Internet sector. In 2012, rapid growth was forecast for at least five more years. Azerbaijan was ranked 95th in the Global Innovation Index in 2024.
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The country has been making progress in developing its telecoms sector. The Ministry of Communications & Information Technologies and an operator through its role in Aztelekom are both policy-makers and regulators. Public payphones are available for local calls and require the purchase of a token from the telephone exchange or some shops and kiosks. Tokens allow a call of indefinite duration. , there were 1,397,000 main telephone lines and 1,485,000 internet users. There are four GSM providers: Azercell, Bakcell, Azerfon (Nar Mobile), Nakhtel mobile network operators and one CDMA.
In the 21st century several prominent Azerbaijani geodynamics and geotectonics scientists, inspired by the fundamental works of Elchin Khalilov and others, designed hundreds of earthquake prediction stations and earthquake-resistant buildings that now constitute the bulk of The Republican Center of Seismic Service. The Azerbaijan National Aerospace Agency launched its first satellite AzerSat 1 into orbit on 7 February 2013 from Guiana Space Centre in French Guiana at orbital positions 46° East. The satellite covers Europe and a significant part of Asia and Africa and serves the transmission of TV and radio broadcasting as well as the Internet. The launching of a satellite into orbit is Azerbaijan's first step in realizing its goal of becoming a nation with its own space industry, capable of successfully implementing more projects in the future.
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Demographics.
As of March 2022, 52.9% of the population of 10,164,464 is urban, with the remaining 47.1% being rural. In January 2019, the 50.1% of the total population was female. The sex ratio in the same year was 0.99 males per female. The 2011 population growth-rate was 0.85%, compared to 1.09% worldwide. A significant factor restricting population growth is a high level of migration. In 2011 Azerbaijan saw a migration of −1.14/1,000 people.
The Azerbaijani diaspora is found in 42 countries and in turn there are many centers for ethnic minorities inside Azerbaijan, including the German cultural society "Karelhaus", Slavic cultural center, Azerbaijani-Israeli community, Kurdish cultural center, International Talysh Association, Lezgin national center "Samur", Azerbaijani-Tatar community, Crimean Tatars society, etc.
In total, Azerbaijan has 78 cities, 63 city districts, and one special legal status city. 261 urban-type settlements and 4248 villages follow these.
Ethnicity.
The ethnic composition of the population according to the 2009 population census: 91.6% Azerbaijanis, 2.0% Lezgins, 1.4% Armenians (almost all Armenians live in the break-away region of Nagorno-Karabakh), 1.3% Russians, 1.3% Talysh, 0.6% Avars, 0.4% Turkish people, 0.3% Tatars, 0.3% Tats, 0.2% Ukrainians, 0.1% Tsakhurs, 0.1% Georgians, 0.1% Jews, 0.1% Kurds, other 0.2%.
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Languages.
The official language is Azerbaijani, a Turkic language. Approximately 92% of the national population speak it as their mother tongue. Russian and Armenian (only in Nagorno-Karabakh) are still spoken in Azerbaijan. Each is the mother tongue of around 1.5% of the national population. In 1989, Armenian was the majority language in the region of Nagorno-Karabakh, spoken by about 76% of the regional population. After the first Nagorno-Karabakh war, native speakers of Armenian composed around 95% of the regional population.
A dozen other minority languages are spoken natively, including Avar, Budukh, Georgian, Juhuri, Khinalug, Kryts, Lezgin, Rutul, Talysh, Tat, Tsakhur, and Udi. All these are spoken only by small minority populations, some of which are tiny and decreasing.
Religion.
Azerbaijan is considered the most secular Muslim-majority country. Around 97% of the population are Muslims. Around 55–65% of Muslims are estimated to be Shia, while 35–45% of Muslims are Sunnis. Other faiths are practised by the country's various ethnic groups. Under article 48 of its constitution, Azerbaijan is a secular state and ensures religious freedom. In a 2006–2008 Gallup poll, only 21% of respondents from Azerbaijan stated that religion is an important part of their daily lives.
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Of the nation's religious minorities, the estimated 280,000 Christians (3.1%) are mostly Russian and Georgian Orthodox and Armenian Apostolic (almost all Armenians live in the break-away region of Nagorno-Karabakh). In 2003, there were 250 Roman Catholics. Other Christian denominations as of 2002 include Lutherans, Baptists and Molokans. There is also a small Protestant community. Azerbaijan also has an ancient Jewish population with a 2,000-year history; Jewish organizations estimate that 12,000 Jews remain in Azerbaijan, which is home to the only Jewish-majority town outside of Israel and the United States. Azerbaijan also is home to members of the Baháʼí, Hare Krishna and Jehovah's Witnesses communities, as well as adherents of the other religious communities. Some religious communities have been unofficially restricted from religious freedom. A U.S. State Department report on the matter mentions detention of members of certain Muslim and Christian groups, and many groups have difficulty registering with the agency who regulates religion, The State Committee on Religious Associations of the Republic of Azerbaijan.
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Education.
A relatively high percentage of Azerbaijanis have obtained some form of higher education, most notably in scientific and technical subjects. In the Soviet era, literacy and average education levels rose dramatically from their very low starting point, despite two changes in the standard alphabet, from Perso-Arabic script to Latin in the 1920s and from Roman to Cyrillic in the 1930s. According to Soviet data, 100 percent of males and females (ages nine to forty-nine) were literate in 1970. According to the United Nations Development Program Report 2009, the literacy rate is 99.5 percent.
Since independence, one of the first laws that Parliament passed to disassociate itself from the Soviet Union was to adopt a modified-Latin alphabet to replace Cyrillic. Other than that the Azerbaijani system has undergone little structural change. Initial alterations have included the reestablishment of religious education (banned during the Soviet period) and curriculum changes that have reemphasized the use of the Azerbaijani language and have eliminated ideological content. In addition to elementary schools, the education institutions include thousands of preschools, general secondary schools, and vocational schools, including specialized secondary schools and technical schools. Education through the ninth grade is compulsory.
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Culture.
The culture of Azerbaijan has developed as a result of many influences; that is why Azerbaijanis are, in many ways, bi-cultural. National traditions are preserved despite Western influences, including globalized consumer culture. For example, Novruz Bayram is a family holiday derived from the traditional celebration of the New Year in Zoroastrianism.
Azerbaijani national and traditional dresses are the chokha and papakhi. There are radio broadcasts in Russian, Georgian, Kurdish, Lezgian and Talysh languages, which are financed from the state budget. Some local radio stations in Balakan and Khachmaz organize broadcasts in Avar and Tat. In Baku several newspapers are published in Russian, Kurdish ("Dengi Kurd"), Lezgian ("Samur") and Talysh languages. Jewish society "Sokhnut" publishes the newspaper "Aziz".
Architecture.
Azerbaijani architecture typically combines elements of East and West, with heavy influences from Persian architecture. Many ancient architectural treasures are preserved, such as the Maiden Tower and Palace of the Shirvanshahs in the Walled City of Baku. Entries on the UNESCO World Heritage tentative list include the Ateshgah of Baku, Momine Khatun Mausoleum, Hirkan National Park, Binagadi asphalt lake, Lökbatan Mud Volcano, Shusha State Historical and Architectural Reserve, Baku Stage Mountain, Caspian Shore Defensive Constructions, Ordubad National Reserve and the Palace of Shaki Khans.
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Among other architectural treasures are Quadrangular Castle in Mardakan, Parigala in Yukhary Chardaglar, several bridges spanning the Aras River, and several mausoleums. In the 19th and early 20th centuries, little monumental architecture was created, but distinctive residences were built in Baku and elsewhere. Among the most recent architectural monuments, the Baku subways are noted for their lavish decor.
The task for modern Azerbaijani architecture is diverse application of modern aesthetics, the search for an architect's own artistic style and inclusion of the existing historico-cultural environment. Major projects such as Heydar Aliyev Cultural Center, Flame Towers, Baku Crystal Hall, Baku White City and SOCAR Tower have transformed the country's skyline and promotes its contemporary identity.
Music and dance.
Music of Azerbaijan builds on folk traditions that reach back nearly a thousand years, evolving around the badge of monody, producing rhythmically diverse melodies. The music has a branchy mode system, where chromatization of major and minor scales is of great importance. Among national musical instruments there are 14 string instruments, eight percussion instruments and six wind instruments. According to "The Grove Dictionary of Music and Musicians", "in terms of ethnicity, culture and religion the Azerbaijani are musically much closer to Iran than Turkey."
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Mugham is usually a suite with poetry and instrumental interludes. When performing mugham, the singers have to transform their emotions into singing and music. In contrast to the mugham traditions of Central Asian countries, Azerbaijani mugham is more free-form and less rigid; it is often compared to the improvised field of jazz. UNESCO proclaimed the Azerbaijani mugham tradition a Masterpiece of the Oral and Intangible Heritage of Humanity. Meykhana is a kind of traditional Azerbaijani distinctive folk unaccompanied song, usually performed by several people improvising on a particular subject.
Ashiq combines poetry, storytelling, dance, and vocal and instrumental music into a traditional performance art that stands as a symbol of Azerbaijani culture. It is a mystic troubadour or traveling bard who sings and plays the saz. This tradition has its origin in the shamanistic beliefs of ancient Turkic peoples. Ashiqs' songs are semi-improvised around common bases. Azerbaijan's ashiq art was included in the list of Intangible Cultural Heritage by UNESCO in 2009.
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Since the mid-1960s, Western-influenced Azerbaijani pop music, in its various forms, that has been growing in popularity in Azerbaijan, while genres such as rock and hip hop are widely produced and enjoyed. Azerbaijani pop and Azerbaijani folk music arose with the international popularity of performers like Alim Qasimov, Rashid Behbudov, Vagif Mustafazadeh, Muslim Magomayev, Shovkat Alakbarova and Rubaba Muradova. Azerbaijan is an enthusiastic participant in the Eurovision Song Contest. Azerbaijan made its debut appearance at the 2008 Eurovision Song Contest. The country's entry gained third place in 2009 and fifth the following year. Ell and Nikki won the first place at the Eurovision Song Contest 2011 with the song "Running Scared", entitling Azerbaijan to host the contest in 2012, in Baku. They have qualified for every Grand Final up until the 2018 edition of the contest, entering with X My Heart by singer Aisel.
There are dozens of Azerbaijani folk dances. They are performed at formal celebrations and the dancers wear national clothes like the chokha, which is well-preserved within the national dances. Most dances have a very fast rhythm.
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Art.
Azerbaijani art is represented by a wide range of handicrafts, such as chasing, jeweling, engraving in metal, carving in wood, stone, or bone, carpet-making, lasing, pattern weaving and printing, and knitting and embroidery. Each of these types of decorative art, evidence of the endowments of the Azerbaijan nation, is very much in favor here. Many interesting facts pertaining to the development of arts and crafts in Azerbaijan were reported by numerous merchants, travelers, and diplomats who had visited these places at different times.
The Azerbaijani carpet is a traditional handmade textile of various sizes, with a dense texture and a pile or pile-less surface, whose patterns are characteristic of Azerbaijan's many carpet-making regions. In November 2010 the Azerbaijani carpet was proclaimed a Masterpiece of Intangible Heritage by UNESCO. Azerbaijani carpets can be categorized under several large groups and a multitude of subgroups. Scientific research of the Azerbaijani carpet is connected with the name of Latif Karimov, a prominent Soviet-era scientist and artist.
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Azerbaijan has been since ancient times known as a center of a large variety of crafts. Archeology testifies to the well-developed agriculture, stock raising, metalworking, pottery, ceramics, and carpet-weaving that date as far back as to the 2nd millennium BC. Archeological sites in Dashbulaq, Hasansu, Zayamchai, and Tovuzchai uncovered from the BTC pipeline have revealed early Iron Age artifacts.
The Gamigaya Petroglyphs, which date back to the 1st to 4th millennium BC, are located in Azerbaijan's Ordubad District. They consist of some 1,500 dislodged and carved rock paintings with images of deer, goats, bulls, dogs, snakes, birds, fantastic beings, and people, carriages, and various symbols were found on basalt rocks. Norwegian ethnographer and adventurer Thor Heyerdahl was convinced that people from the area went to Scandinavia in about 100 AD, took their boatbuilding skills with them, and transmuted them into the Viking boats in northern Europe.
Over the centuries, Azerbaijani art has gone through many stylistic changes. Painting is traditionally characterized by a warmth of colour and light, as exemplified in the works of Azim Azimzade and Bahruz Kangarli, and a preoccupation with religious figures and cultural motifs. Azerbaijani painting enjoyed preeminence in Caucasus for hundreds of years, from the Romanesque and Ottoman periods, and through the Soviet and Baroque periods, the latter two of which saw fruition in Azerbaijan. Notable artists include Sattar Bahlulzade, Togrul Narimanbekov, Tahir Salahov, Alakbar Rezaguliyev, Mirza Gadim Iravani, Mikayil Abdullayev and Boyukagha Mirzazade.
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Literature.
The earliest known figure in written Azerbaijani literature was Izzeddin Hasanoghlu, who composed a divan consisting of Persian and Azerbaijani ghazals. In Persian ghazals he used a pen-name, while his Azerbaijani ghazals were composed under his own name of Hasanoghlu. Among the medieval authors was Persian poet and philosopher Nizami, called Ganjavi after his place of birth, Ganja, who was the author of the Khamsa ("The Quintuplet"), composed of five romantic poems, including "The Treasure of Mysteries", "Khosrow and Shīrīn", and "Leyli and Mejnūn".
Classical literature was formed in the 14th century based on the various Early Middle Ages dialects of Tabriz and Shirvan. Among the poets of this period were Gazi Burhanaddin, Haqiqi (pen-name of Jahan Shah Qara Qoyunlu), and Habibi. The end of the 14th century was the start of literary activity of Imadaddin Nasimi, one of the greatest Azerbaijani Hurufi mystical poets of the late 14th and early 15th centuries and one of the most prominent early divan masters in Turkic literary history, who also composed poetry in Persian and Arabic. The divan and ghazal styles were further developed by poets Qasem-e Anvar, Fuzuli and Safavid Shah Ismail I who wrote under the pen name "Khata'i".
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The "Book of Dede Korkut" consists of two manuscripts copied in the 16th century, and was not written earlier than the 15th century. It is a collection of 12 stories reflecting the oral tradition of Oghuz nomads. The 16th-century poet Fuzuli produced his timeless philosophical and lyrical "Qazals" in Arabic, Persian, and Azerbaijani. Benefiting immensely from the fine literary traditions of his environment, and building upon the legacy of his predecessors, Fuzuli was destined to become the leading literary figure of his society. His major works include "The Divan of Ghazals" and "The Qasidas". In the same century, Azerbaijani literature further flourished with the development of ashik () poetic genre of bards. During the same period, under the pen-name of Khatāī ( for "sinner") Shah Ismail I wrote about 1,400 verses in Azerbaijani, which were later published as his "Divan". A unique literary style known as "qoshma" ( for "improvisation") was introduced in this period and developed by Shah Ismail and later by his son and successor, Shah Tahmasp I.
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In the span of the 17th and 18th centuries, Fuzuli's unique genres as well ashik poetry were taken up by prominent poets and writers such as Qovsi of Tabriz, Shah Abbas Sani, , Nishat, Molla Vali Vidadi, Molla Panah Vagif, Amani, Zafar and others. Along with Turks, Turkmens and Uzbeks, Azerbaijanis celebrate the Epic of Koroglu (from for "blind man's son"), a legendary folk hero. Several documented versions of Koroglu epic remain at the Institute for Manuscripts of the National Academy of Sciences of Azerbaijan.
Media.
The first newspaper in Azerbaijani, "Akinchi" was published in 1875. There are three state-owned television channels: AzTV, Idman TV and Medeniyyet TV. There is one public channel and 6 private channels: İctimai Television, Space TV, Lider TV, Azad Azerbaijan TV, Xazar TV, and ARB.
Cinema.
The film industry in Azerbaijan dates back to 1898. Azerbaijan was among the first countries involved in cinematography, with the apparatus first showing up in Baku. In 1919 a documentary "The Celebration of the Anniversary of Azerbaijani Independence" was filmed on the first anniversary of Azerbaijan's independence from Russia, 27 May, and premiered in June 1919 at several theatres in Baku. After the Soviet power was established in 1920, Nariman Narimanov, chairman of the Revolutionary Committee of Azerbaijan, signed a decree nationalizing Azerbaijan's cinema. This also influenced the creation of Azerbaijani animation.
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In 1991, after Azerbaijan gained its independence from the Soviet Union, the first Baku International Film Festival East-West was held in Baku. In December 2000, former President Heydar Aliyev signed a decree proclaiming 2 August to be the professional holiday of filmmakers of Azerbaijan. Today Azerbaijani filmmakers are again dealing with issues similar to those faced by cinematographers prior to the establishment of the Soviet Union in 1920. Once again, both choices of content and sponsorship of films are largely left up to the initiative of the filmmaker.
Cuisine.
Azerbaijani cuisine uses an abundance of seasonal vegetables and greens. Fresh herbs, including mint, cilantro (coriander), dill, basil, parsley, tarragon, leeks, chives, thyme, marjoram, green onion, and watercress, are popular and often accompany main dishes on the table. Climatic diversity and fertility of the land are reflected in the national dishes, which are based on fish from the Caspian Sea, local meat (mainly mutton and beef), and seasonal vegetables and greens.
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Saffron-rice plov is the flagship food in Azerbaijan, and black tea is the national beverage. Azerbaijanis often use traditional armudu (pear-shaped) glass as they have very strong tea culture. Popular traditional dishes include bozbash (lamb soup that exists in several regional varieties with the addition of different vegetables), qutab (fried turnover with a filling of greens or minced meat) and dushbara (dumplings filled with ground meat and spices).
Sport.
Freestyle wrestling has been traditionally regarded as Azerbaijan's national sport, in which Azerbaijan has won fourteen medals, including four golds, since joining the International Olympic Committee. The most popular sports are football and wrestling.
The Association of Football Federations of Azerbaijan, with 9,122 registered players, is the largest sporting association in the country. The national football team demonstrates relatively low performance in the international arena compared to the nation football clubs. The most successful clubs are Neftçi, Qarabağ, and Gabala. In 2012, Neftchi Baku became the first Azerbaijani team to advance to the group stage of a European competition. In 2014, Qarabağ became the second Azerbaijani club advancing to the group stage of UEFA Europa League. In 2017, after beating Copenhagen 2–2 (a) in the play-off round of the UEFA Champions League, Qarabağ became the first Azerbaijani club to reach the group stage.
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Futsal is another popular sport in Azerbaijan. The Azerbaijan national futsal team reached fourth place in the 2010 UEFA Futsal Championship, while domestic club Araz Naxçivan clinched bronze medals at the 2009–10 UEFA Futsal Cup and 2013–14 UEFA Futsal Cup. Azerbaijan was the main sponsor of Spanish football club Atlético de Madrid during seasons 2013/2014 and 2014/2015, a partnership that the club described should 'promote the image of Azerbaijan in the world'.
Azerbaijan is one of the traditional powerhouses of world chess, having hosted many international chess tournaments and competitions and became European Team Chess Championship winners in 2009, 2013 and 2017. Notable chess players include Teimour Radjabov, Shahriyar Mammadyarov, Vladimir Makogonov, Vugar Gashimov and former World Chess Champion Garry Kasparov. , country's home of Shamkir Chess a category 22 event and one of the highest rated tournaments of all time. Backgammon also plays a major role in Azerbaijani culture. The game is very popular in Azerbaijan and is widely played among the local public. There are also different variations of backgammon developed and analyzed by Azerbaijani experts.
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Azerbaijan Women's Volleyball Super League placed fourth at the 2005 European Championship. Over the last years, clubs like Rabita Baku and Azerrail Baku achieved great success at European cups. Azerbaijani volleyball players include likes of Valeriya Korotenko, Oksana Parkhomenko, Inessa Korkmaz, Natalya Mammadova, and Alla Hasanova.
Other Azerbaijani athletes are Namig Abdullayev, Toghrul Asgarov, Rovshan Bayramov, Sharif Sharifov, Mariya Stadnik and Farid Mansurov in wrestling, Nazim Huseynov, Elnur Mammadli, Elkhan Mammadov and Rustam Orujov in judo, Rafael Aghayev in karate, Magomedrasul Majidov and Aghasi Mammadov in boxing, Nizami Pashayev in Olympic weightlifting, Azad Asgarov in pankration, Eduard Mammadov in kickboxing, and K-1 fighter Zabit Samedov.
Azerbaijan has a Formula One racetrack, constructed in 2012, and the country hosted its first Formula One Grand Prix in 2016 and the Azerbaijan Grand Prix since 2017. Other annual sporting events held in the country are the Baku Cup tennis tournament and the Tour d'Azerbaïdjan cycling race.
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Azerbaijan hosted several major sport competitions since the late 2000s, including the 2013 F1 Powerboat World Championship, 2012 FIFA U-17 Women's World Cup, 2011 AIBA World Boxing Championships, 2010 European Wrestling Championships, 2009 Rhythmic Gymnastics European Championships, 2014 European Taekwondo Championships, 2014 Rhythmic Gymnastics European Championships, and 2016 World Chess Olympiad. Baku was selected to host the 2015 European Games. Baku hosted the fourth Islamic Solidarity Games in 2017 and the 2019 European Youth Summer Olympic Festival, and was a host of UEFA Euro 2020.
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Amateur astronomy
Amateur astronomy is a hobby where participants enjoy observing or imaging celestial objects in the sky using the unaided eye, binoculars, or telescopes. Even though scientific research may not be their primary goal, some amateur astronomers make contributions in doing citizen science, such as by monitoring variable stars, double stars, sunspots, or occultations of stars by the Moon or asteroids, or by discovering transient astronomical events, such as comets, galactic novae or supernovae in other galaxies.
Amateur astronomers do not use the field of astronomy as their primary source of income or support, and usually have no professional degree in astrophysics or advanced academic training in the subject. Most amateurs are hobbyists, while others have a high degree of experience in astronomy and may often assist and work alongside professional astronomers. Many astronomers have studied the sky throughout history in an amateur framework; however, since the beginning of the twentieth century, professional astronomy has become an activity clearly distinguished from amateur astronomy and associated activities.
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Amateur astronomers typically view the sky at night, when most celestial objects and astronomical events are visible, but others observe during the daytime by viewing the Sun and solar eclipses. Some just look at the sky using nothing more than their eyes or binoculars, but more dedicated amateurs often use portable telescopes or telescopes situated in their private or club observatories. Amateurs also join amateur astronomical societies, which can advise, educate or guide them towards ways of finding and observing celestial objects. They also promote the science of astronomy among the general public.
Objectives.
Collectively, amateur astronomers observe a variety of celestial objects and phenomena. Common targets of amateur astronomers include the Sun, the Moon, planets, stars, comets, meteor showers, and a variety of deep sky objects such as star clusters, galaxies, and nebulae. Many amateurs like to specialise in observing particular objects, types of objects, or types of events which interest them. One branch of amateur astronomy, amateur astrophotography, involves the taking of photos of the night sky. Astrophotography has become more popular with the introduction of far easier to use equipment including, digital cameras, DSLR cameras and relatively sophisticated purpose built high quality CCD cameras and CMOS cameras.
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Most amateur astronomers work at visible wavelengths, but a small minority experiment with wavelengths outside the visible spectrum. An early pioneer of radio astronomy was Grote Reber, an amateur astronomer who constructed the first purpose-built radio telescope in the late 1930s to follow up on the discovery of radio wavelength emissions from space by Karl Jansky. Non-visual amateur astronomy includes the use of infrared filters on conventional telescopes, and also the use of radio telescopes. Some amateur astronomers use home-made radio telescopes, while others use radio telescopes that were originally built for astronomical research but have since been made available for use by amateurs. The One-Mile Telescope is one such example.
Common tools.
Amateur astronomers use a range of instruments to study the sky, depending on a combination of their interests and resources. Methods include simply looking at the night sky with the naked eye, using binoculars, and using a variety of optical telescopes of varying power and quality, as well as additional sophisticated equipment, such as cameras, to study light from the sky in both the visual and non-visual parts of the spectrum. To further improve studying the visual and non-visual part of the spectrum, amateur astronomers go to rural areas to get away from light pollution. Commercial telescopes are available, new and used, but it is also common for amateur astronomers to build (or commission the building of) their own custom telescopes. Some people even focus on amateur telescope making as their primary interest within the hobby of amateur astronomy.
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Although specialized and experienced amateur astronomers tend to acquire more specialized and more powerful equipment over time, relatively simple equipment is often preferred for certain tasks. Binoculars, for instance, although generally of lower power than the majority of telescopes, also tend to provide a wider field of view, which is preferable for looking at some objects in the night sky. Recent models of iPhones have introduced a "night mode" option when taking pictures as well, that allows you to increase exposure, which is a period of time the picture is being taken for. This optimizes focus on light in the frame which is why it is used primarily at night.
Amateur astronomers also use star charts that, depending on experience and intentions, may range from simple planispheres through to star atlases with detailed charts of the entire night sky. A range of astronomy software is also available and used by amateur astronomers, including software that generates maps of the sky, software to assist with astrophotography, observation scheduling software, and software to perform various calculations pertaining to astronomical phenomena.
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Amateur astronomers often like to keep records of their observations, which usually takes the form of an observing log. Observing logs typically record details about which objects were observed and when, as well as describing the details that were seen. Sketching is sometimes used within logs, and photographic records of observations have also been used in recent times. The information gathered is used to help studies and interactions between amateur astronomers in yearly gatherings. Although not professional information or credible, it is a way for the hobby lovers to share their new sightings and experiences.
The popularity of imaging among amateurs has led to large numbers of web sites being written by individuals about their images and equipment. Much of the social interaction of amateur astronomy occurs on mailing lists or discussion groups. Discussion group servers host numerous astronomy lists. A great deal of the commerce of amateur astronomy, the buying and selling of equipment, occurs online. Many amateurs use online tools to plan their nightly observing sessions, using tools such as the Clear Sky Chart.
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Common techniques.
While a number of interesting celestial objects are readily identified by the naked eye, sometimes with the aid of a star chart, many others are so faint or inconspicuous that technical means are necessary to locate them. Although many methods are used in amateur astronomy, most are variations of a few specific techniques.
Star hopping.
Star hopping is a method often used by amateur astronomers with low-tech equipment such as binoculars or a manually driven telescope. It involves the use of maps (or memory) to locate known landmark stars, and "hopping" between them, often with the aid of a finderscope. Because of its simplicity, star hopping is a very common method for finding objects that are close to naked-eye stars.
More advanced methods of locating objects in the sky include telescope mounts with "setting circles", which allow pointing to targets in the sky using celestial coordinates, and "GOTO telescopes", which are fully automated telescopes that are capable of locating objects on demand (having first been calibrated).
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Mobile apps.
The advent of mobile applications for use in smartphones has led to the creation of many dedicated apps. These apps allow any user to easily locate celestial objects of interest by simply pointing the smartphone device in that direction in the sky. These apps make use of the inbuilt hardware in the phone, such as GPS location and gyroscope. Useful information about the pointed object like celestial coordinates, the name of the object, its constellation, etc. are provided for a quick reference. Some paid versions give more information. These apps are gradually getting into regular use during observing, for the alignment process of telescopes.
Setting circles.
Setting circles are angular measurement scales that can be placed on the two main rotation axes of some telescopes. Since the widespread adoption of digital setting circles, any classical engraved setting circle is now specifically identified as an "analog setting circle" (ASC). By knowing the coordinates of an object (usually given in equatorial coordinates), the telescope user can use the setting circle to align (i.e., point) the telescope in the appropriate direction before looking through its eyepiece. A computerized setting circle is called a "digital setting circle" (DSC). Although digital setting circles can be used to display a telescope's RA and Dec coordinates, they are not simply a digital read-out of what can be seen on the telescope's analog setting circles. As with go-to telescopes, digital setting circle computers (commercial names include Argo Navis, Sky Commander, and NGC Max) contain databases of tens of thousands of celestial objects and projections of planet positions.
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To find a celestial object in a telescope equipped with a DSC computer, one does not need to look up the specific RA and Dec coordinates in a book or other resource, and then adjust the telescope to those numerical readings. Rather, the object is chosen from the electronic database, which causes distance values and arrow markers to appear in the display that indicate the distance and direction to move the telescope. The telescope is moved until the two angular distance values reach zero, indicating that the telescope is properly aligned. When both the RA and Dec axes are thus "zeroed out", the object should be in the eyepiece. Many DSCs, like go-to systems, can also work in conjunction with laptop sky programs.
Computerized systems provide the further advantage of computing coordinate precession. Traditional printed sources are subtitled by the "epoch" year, which refers to the positions of celestial objects at a given time to the nearest year (e.g., J2005, J2007). Most such printed sources have been updated for intervals of only about every fifty years (e.g., J1900, J1950, J2000). Computerized sources, on the other hand, are able to calculate the right ascension and declination of the "epoch of date" to the exact instant of observation.
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GoTo telescopes.
GOTO telescopes have become more popular since the 1980s as technology has improved and prices have been reduced. With these computer-driven telescopes, the user typically enters the name of the item of interest and the mechanics of the telescope point the telescope towards that item automatically. They have several notable advantages for amateur astronomers intent on research. For example, GOTO telescopes tend to be faster for locating items of interest than star hopping, allowing more time for studying of the object. GOTO also allows manufacturers to add equatorial tracking to mechanically simpler alt-azimuth telescope mounts, allowing them to produce an overall less expensive product. GOTO telescopes usually have to be calibrated using alignment stars to provide accurate tracking and positioning. However, several telescope manufacturers have recently developed telescope systems that are calibrated with the use of built-in GPS, decreasing the time it takes to set up a telescope at the start of an observing session.
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Remote-controlled telescopes.
With the development of fast internet in the last part of the 20th century along with advances in computer controlled telescope mounts and CCD cameras, "remote telescope" astronomy is now a viable means for amateur astronomers not aligned with major telescope facilities to partake in research and deep sky imaging. This enables anyone to control a telescope a great distance away in a dark location. The observer can image through the telescope using CCD cameras. The digital data collected by the telescope is then transmitted and displayed to the user by means of the Internet. An example of a digital remote telescope operation for public use via the Internet is the Bareket observatory, and there are telescope farms in New Mexico, Australia and Atacama in Chile.
Imaging techniques.
Amateur astronomers engage in many imaging techniques including film, DSLR, LRGB, and CCD astrophotography. Because CCD imagers are linear, image processing may be used to subtract away the effects of light pollution, which has increased the popularity of astrophotography in urban areas. Narrowband filters may also be used to minimize light pollution.
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Scientific research.
Scientific research is most often not the "main" goal for many amateur astronomers, unlike professional astronomers. Work of scientific merit is possible, however, and many amateurs successfully contribute to the knowledge base of professional astronomers. Astronomy is sometimes promoted as one of the few remaining sciences for which amateurs can still contribute useful data. To recognize this, the Astronomical Society of the Pacific annually gives Amateur Achievement Awards for significant contributions to astronomy by amateurs.
The majority of scientific contributions by amateur astronomers are in the area of data collection. In particular, this applies where large numbers of amateur astronomers with small telescopes are more effective than the relatively small number of large telescopes that are available to professional astronomers. Several organizations, such as the American Association of Variable Star Observers and the British Astronomical Association, exist to help coordinate these contributions.
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Amateur astronomers often contribute toward activities such as monitoring the changes in brightness of variable stars and supernovae, helping to track asteroids, and observing occultations to determine both the shape of asteroids and the shape of the terrain on the apparent edge of the Moon as seen from Earth. With more advanced equipment, but still cheap in comparison to professional setups, amateur astronomers can measure the light spectrum emitted from astronomical objects, which can yield high-quality scientific data if the measurements are performed with due care. A relatively recent role for amateur astronomers is searching for overlooked phenomena (e.g., Kreutz Sungrazers) in the vast libraries of digital images and other data captured by Earth and space based observatories, much of which is available over the Internet.
In the past and present, amateur astronomers have played a major role in discovering new comets. Recently however, funding of projects such as the Lincoln Near-Earth Asteroid Research and Near Earth Asteroid Tracking projects has meant that most comets are now discovered by automated systems long before it is possible for amateurs to see them.
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Societies.
There are a large number of amateur astronomical societies around the world, that serve as a meeting point for those interested in amateur astronomy. Members range from active observers with their own equipment to "armchair astronomers" who are simply interested in the topic. Societies range widely in their goals and activities, which may depend on a variety of factors such as geographic spread, local circumstances, size, and membership. For example, a small local society located in dark countryside may focus on practical observing and star parties, whereas a large one based in a major city might have numerous members but be limited by light pollution and thus hold regular indoor meetings with guest speakers instead. Major national or international societies generally publish their own academic journal or newsletter, and some hold large multi-day meetings akin to a scientific conference or convention. They may also have sections devoted to particular topics, such as lunar observation or amateur telescope making.
Notable contributions by amateur astronomers.
There have been many significant scientific, technological, and cultural contributions made by amateur astronomers:
Citizen science projects.
Amateur astronomers and other non-professionals make contributions through ongoing citizen science projects:
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Aikido
Aikido ( , , , ) is a modern Japanese martial art which is split into many different styles including Iwama Ryu, Iwama Shin Shin Aiki Shuren Kai, Shodokan Aikido, Yoshinkan, Renshinkai, Aikikai, and Ki Aikido. Aikido is now practiced in around 140 countries.
It was originally developed by Morihei Ueshiba, as a synthesis of his martial studies, philosophy and religious beliefs. Ueshiba's goal was to create an art which practitioners could use to defend themselves while also protecting their attackers from injury. Aikido is often translated as "the way of unifying (with) life energy" or as "the way of harmonious spirit". According to the founder's philosophy, the primary goal in the practice of aikido is to overcome oneself instead of cultivating violence or aggressiveness. Morihei Ueshiba used the phrase to refer to this principle.
Aikido's fundamental principles include: (entering), , (breathing control), (triangular principle), and (turning) movements which redirect the opponent's attack momentum. Its curriculum comprises various techniques, primarily throws and joint locks. It includes a weapons system encompassing the , , and . Aikido derives mainly from the martial art of Daitō-ryū Aiki-jūjutsu, but began to diverge from it in the late 1920s, partly due to Ueshiba's involvement with the Ōmoto-kyō religion. Ueshiba's early students' documents bear the term .
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Ueshiba's senior students have different approaches to aikido, depending partly on when they studied with him. Today, aikido is found all over the world in a number of styles, with broad ranges of interpretation and emphasis. However they all share techniques formulated by Ueshiba and most have concern for the well-being of the attacker.
Etymology and basic philosophy.
The word "aikido" is formed of three kanji:
The term does not readily appear in the Japanese language outside the scope of budō. This has led to many possible interpretations of the word. () is mainly used in compounds to mean 'combine, unite, join, meet', examples being (combined/united), (composition), (unite/combine/join), (union/alliance/association), (combine/unify), and (mutual agreement). There is an idea of reciprocity, (to get to know one another), (talk/discussion/negotiation), and (meet by appointment).
() is often used to describe a feeling or emotive action, as in ('I feel X', as in terms of thinking but with less cognitive reasoning), and (feeling/sensation); it is used to mean energy or force, as in (electricity) and (magnetism); it can also refer to qualities or aspects of people or things, as in (spirit/trait/temperament).
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The term in Aikido is found in many other Japanese martial arts such as, judo and kendo, and in various non-martial arts, such as Japanese calligraphy (), flower arranging () and tea ceremony ( or ). Therefore, from a purely literal interpretation, aikido is the "Way of combining forces" or "Way of unifying energy", in which the term refers to the martial arts principle or tactic of blending with an attacker's movements for the purpose of controlling their actions with minimal effort. One applies by understanding the rhythm and intent of the attacker to find the optimal position and timing to apply a counter-technique.
History.
Aikido was created by (1883–1969), referred to by some aikido practitioners as ("Great Teacher"). The term "aikido" was coined in the 20th century. Ueshiba envisioned aikido not only as the synthesis of his martial training, but as an expression of his personal philosophy of universal peace and reconciliation. During Ueshiba's lifetime and continuing today, aikido has evolved from the that Ueshiba studied into a variety of expressions by martial artists throughout the world.
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Initial development.
Ueshiba developed aikido primarily during the late 1920s through the 1930s through the synthesis of the older martial arts that he had studied. The core martial art from which aikido derives is Daitō-ryū Aiki-jūjutsu, which Ueshiba studied directly with Takeda Sōkaku, the reviver of that art. Additionally, Ueshiba is known to have studied Tenjin Shin'yō-ryū with Tozawa Tokusaburō in Tokyo in 1901, Gotōha Yagyū Shingan-ryū under Nakai Masakatsu in Sakai from 1903 to 1908, and judo with (1894–1972) in Tanabe in 1911.
The art of is the primary technical influence on aikido. Along with empty-handed throwing and joint-locking techniques, Ueshiba incorporated training movements with weapons, such as those for the spear (), short staff (), and possibly the . Aikido also derives much of its technical structure from the art of swordsmanship (). Ueshiba moved to Hokkaido in 1912, and began studying under Takeda Sokaku in 1915; His official association with Daitō-ryū continued until 1937. However, during the latter part of that period, Ueshiba had already begun to distance himself from Takeda and the . At that time Ueshiba referred to his martial art as "Aiki Budō". It is unclear exactly when Ueshiba began using the name "aikido", but it became the official name of the art in 1942 when the Greater Japan Martial Virtue Society () was engaged in a government sponsored reorganization and centralization of Japanese martial arts.
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Religious influences.
After Ueshiba left Hokkaido in 1919, he met and was profoundly influenced by Onisaburo Deguchi, the spiritual leader of the Ōmoto-kyō religion (a neo-Shinto movement) in Ayabe. One of the primary features of Ōmoto-kyō is its emphasis on the attainment of utopia during one's life. The idea was a great influence on Ueshiba's martial arts philosophy of extending love and compassion especially to those who seek to harm others. Aikido demonstrates this philosophy in its emphasis on mastering martial arts so that one may receive an attack and harmlessly redirect it. In an ideal resolution, not only is the receiver unharmed, but so is the attacker. In addition to the effect on his spiritual growth, the connection with Deguchi gave Ueshiba entry to elite political and military circles as a martial artist. As a result of the exposure, he was able to attract not only financial backing but also gifted students. Several of the students went on to begin their own styles of aikido.
International dissemination.
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Aikido was first introduced to the rest of the world in 1951 by Minoru Mochizuki with a visit to France, where he demonstrated aikido techniques to judo students. He was followed by Tadashi Abe in 1952, who came as the official Aikikai Hombu representative, remaining in France for seven years. Kenji Tomiki toured with a delegation of various martial arts through 15 continental states of the United States in 1953. Later in the same year, Koichi Tohei was sent by Aikikai Hombu to Hawaii for a full year, where he set up several dōjō. The trip was followed by several visits and is considered the formal introduction of aikido to the United States. The United Kingdom followed in 1955; Italy in 1964 by Hiroshi Tada; and Germany in 1965 by Katsuaki Asai. Designated the "Official Delegate for Europe and Africa" by Morihei Ueshiba, Masamichi Noro arrived in France in September 1961. Seiichi Sugano was appointed to introduce aikido to Australia in 1965. Today there are aikido dōjō throughout the world. Steven Seagal's film debut "Above the Law" (1988) is regarded as the first American film to feature aikido in fight sequences.
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Proliferation of independent organizations.
The largest aikido organization is the Aikikai Foundation, which remains under the control of the Ueshiba family. However, aikido has developed into many styles, most of which were formed by Morihei Ueshiba's major students. The earliest independent styles to emerge were Yoseikan Aikido, begun by Minoru Mochizuki in 1931, Yoshinkan Aikido, founded by Gozo Shioda in 1955, and Shodokan Aikido, founded by Kenji Tomiki in 1967. The emergence of these styles pre-dated Ueshiba's death and did not cause any major upheavals when they were formalized. Shodokan Aikido, however, was controversial, since it introduced a unique rule-based competition that some felt was contrary to the spirit of aikido.
After Ueshiba's death in 1969, two more major styles emerged. Significant controversy arose with the departure of the Aikikai Hombu Dojo's chief instructor Koichi Tohei, in 1974. Tohei left as a result of a disagreement with the son of the founder, Kisshomaru Ueshiba, who at that time headed the Aikikai Foundation. The disagreement was over the proper role of development in regular aikido training. After Tohei left, he formed his own style, called Shin Shin Toitsu Aikido, and the organization that governs it, the Ki Society (). A final major style evolved from Ueshiba's retirement in Iwama, Ibaraki and the teaching methodology of long term student Morihiro Saito. It is unofficially referred to as the "Iwama style", and at one point a number of its followers formed a loose network of schools they called Iwama Ryu. Although Iwama style practitioners remained part of the Aikikai until Saito's death in 2002, followers of Saito subsequently split into two groups. One remained with the Aikikai and the other formed the independent Shinshin Aikishuren Kai in 2004 around Saito's son Hitohiro Saito.
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Today, the major styles of aikido are each run by a separate governing organization, have their own in Japan, and are taught throughout the world.
The study of is an important component of aikido. The term does not specifically refer to either physical or mental training, as it encompasses both. The kanji for was written in its older form as up until the Japanese governmental writing reforms after World War II, and now is more prevalently seen in its modern form of . This form has the removal of the eight directions denoting the pre and post natal energies of (Chinese – ) also known in the Art of Aikido as "Source energy".
The character for is used in everyday Japanese terms, such as , or . has many meanings, including "ambience", "mind", "mood", or "intention and action", however, in traditional martial arts and medicine it is often referred to in its more general terminology as "life energy". Gozo Shioda's Yoshinkan Aikido, considered one of the "hard styles", largely follows Ueshiba's teachings from before World War II, and surmises that the secret to lies in timing and the application of the whole body's strength to a single point. In later years, Ueshiba's application of in aikido took on a softer, more gentle feel. The concept was known as Takemusu Aiki, and many of his later students teach about from this perspective. Koichi Tohei's Ki Society centers almost exclusively around the study of the empirical (albeit subjective) experience of , with students' proficiency in aikido techniques and development ranked separately.
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Training.
In aikido, as in virtually all Japanese martial arts, there are both physical and mental aspects of training. The physical training in aikido is diverse, covering both general physical fitness and conditioning, as well as specific techniques. Because a substantial portion of any aikido curriculum consists of throws, beginners learn how to safely fall or roll. The specific techniques for attack include both strikes and grabs; the techniques for defense consist of throws and pins. After basic techniques are learned, students study freestyle defense against multiple opponents, and techniques with weapons.
In some dojo, Uchi-deshi programs permit students to live in the dojo and immerse themselves in practice several times each day.
Fitness.
Physical training goals pursued in conjunction with aikido include controlled relaxation, correct movement of joints such as hips and shoulders, flexibility, and endurance, with less emphasis on strength training. In aikido, pushing or extending movements are much more common than pulling or contracting movements. This distinction can be applied to general fitness goals for the aikido practitioner. In aikido, specific muscles or muscle groups are not isolated and worked to improve tone, mass, or power. Aikido-related training emphasizes the use of coordinated whole-body movement and balance similar to yoga or pilates. For example, many dōjōs begin each class with , which may include stretching and (break falls).
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Roles of and.
Aikido training is based primarily on two partners practicing pre-arranged forms () rather than freestyle practice. The basic pattern is for the receiver of the technique () to initiate an attack against the person who applies the technique—the , or (depending on aikido style), also referred to as (when applying a throwing technique), who neutralises this attack with an aikido technique.
Both halves of the technique, that of and that of , are considered essential to aikido training. Both are studying aikido principles of blending and adaptation. learns to blend with and control attacking energy, while learns to become calm and flexible in the disadvantageous, off-balance positions in which places them. This "receiving" of the technique is called . continuously seeks to regain balance and cover vulnerabilities (e.g., an exposed side), while uses position and timing to keep off-balance and vulnerable. In more advanced training, will sometimes apply to regain balance and pin or throw . refers to the act of receiving a technique. Good involves attention to the technique, the partner, and the immediate environment—it is considered an active part of the process of learning aikido. The method of falling itself is also important, and is a way for the practitioner to receive an aikido technique safely and minimize risk of injury.
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Initial attacks.
Aikido techniques are usually a defense against an attack, so students must learn to deliver various types of attacks to be able to practice aikido with a partner. Although attacks are not studied as thoroughly as in striking-based arts, attacks with intent (such as a strong strike or an immobilizing grab) are needed to study correct and effective application of technique. Many of the of aikido resemble cuts from a sword or other grasped object, which indicate its origins in techniques intended for armed combat. Other techniques which explicitly appear to be punches (), are practiced as thrusts with a knife or sword. Kicks are generally reserved for upper-level variations; reasons cited include that falls from kicks are especially dangerous, and that kicks (high kicks in particular) were uncommon during the types of combat prevalent in feudal Japan.
Some basic strikes include:
Beginners in particular often practice techniques from grabs, both because they are safer and because it is easier to feel the energy and the direction of the movement of force of a hold than it is for a strike. Some grabs are historically derived from being held while trying to draw a weapon, whereupon a technique could then be used to free oneself and immobilize or strike the attacker while they are grabbing the defender. Here are examples of some basic grabs:
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Basic techniques.
Here is a sample of the basic or widely practiced throws and pins. Many of the techniques derive from Daitō-ryū Aiki-jūjutsu, but some others were invented by Morihei Ueshiba. The precise terminology for some may vary between organisations and styles; the terms presented are the terms used by the Aikikai Foundation. Although the names of the first five techniques listed are in succession, they are not universally taught in numeric order.
Implementations.
Aikido makes use of body movement ( or ) to blend the movement of with the movement of . For example, an "entering" () technique consists of movements inward towards , while a technique uses a pivoting motion.
Additionally, an technique takes place in front of , whereas an technique takes place to their side; a technique is applied with motion to the front of , and a version is applied with motion towards the rear of , usually by incorporating a turning or pivoting motion. Finally, most techniques can be performed while in a seated posture (). Techniques where both and are standing are called , techniques where both start off in are called , and techniques performed with standing and sitting are called (). From these few basic techniques, there are numerous of possible implementations. For example, can be applied to an opponent moving forward with a strike (perhaps with an type of movement to redirect the incoming force), or to an opponent who has already struck and is now moving back to reestablish distance (perhaps an version). Specific aikido are typically referred to with the formula "attack-technique(-modifier)"; , for example, refers to any technique executed when is holding one wrist. This could be further specified as (referring to any forward-moving technique from that grab).
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are strikes (or feints) employed during an aikido technique. Some view as attacks against "vital points" meant to cause damage in and of themselves. For instance, Gozo Shioda described using in a brawl to quickly down a gang's leader. Others consider , especially to the face, to be methods of distraction meant to enable other techniques; a strike, even if it is blocked, can startle the target and break their concentration. Additionally, the target may also become unbalanced while attempting to avoid a strike (by jerking the head back, for example) which may allow for an easier throw. Many sayings about are attributed to Morihei Ueshiba, who considered them an essential element of technique.
Weapons.
Weapons training in aikido traditionally includes the short staff () (these techniques closely resemble the use of the bayonet, or Jūkendō), the wooden sword (), and the knife (). Some schools incorporate firearm-disarming techniques, where either weapon-taking and/or weapon-retention may be taught. Some schools, such as the Iwama style of Morihiro Saito, usually spend substantial time practicing with both and , under the names of , and , respectively. The founder developed many of the empty-handed techniques from traditional sword, spear and bayonet movements. Consequently, the practice of the weapons arts gives insight into the origin of techniques and movements, and reinforces the concepts of distance, timing, foot movement, presence and connectedness with one's training partner(s).
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Multiple attackers and.
One feature of aikido is training to defend against multiple attackers, often called , or . Freestyle practice with multiple attackers called is a key part of most curricula and is required for the higher-level ranks. exercises a person's ability to intuitively perform techniques in an unstructured environment. Strategic choice of techniques, based on how they reposition the student relative to other attackers, is important in training. For instance, an technique might be used to neutralise the current attacker while turning to face attackers approaching from behind.
In Shodokan Aikido, differs in that it is not performed with multiple persons with defined roles of defender and attacker, but between two people, where both participants attack, defend, and counter at will. In this respect it resembles judo .
Injuries.
In applying a technique during training, it is the responsibility of to prevent injury to by employing a speed and force of application that is appropriate with their partner's proficiency in . When injuries (especially to the joints) occur, they are often the result of a misjudging the ability of to receive the throw or pin. A study of injuries in the martial arts showed that the type of injuries varied considerably from one art to the other. Soft tissue injuries are one of the most common types of injuries found within aikido, as well as joint strain and stubbed fingers and toes. Several deaths from head-and-neck injuries, caused by aggressive in a hazing context, have been reported.
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Mental training.
Aikido training is mental as well as physical, emphasizing the ability to relax the mind and body even under the stress of dangerous situations. This is necessary to enable the practitioner to perform the 'enter-and-blend' movements that underlie aikido techniques, wherein an attack is met with confidence and directness. Morihei Ueshiba once remarked that one "must be willing to receive 99% of an opponent's attack and stare death in the face" in order to execute techniques without hesitation. As a martial art concerned not only with fighting proficiency but with the betterment of daily life, this mental aspect is of key importance to aikido practitioners.
Uniforms and ranking.
Aikido practitioners (commonly called outside Japan) generally progress by promotion through a series of "grades" (), followed by a series of "degrees" (), pursuant to formal testing procedures. Some aikido organizations use belts to distinguish practitioners' grades, often simply white and black belts to distinguish and grades, although some use various belt colors. Testing requirements vary, so a particular rank in one organization is not comparable or interchangeable with the rank of another. Some dōjōs have an age requirement before students can take the rank exam.
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The uniform worn for practicing aikido () is similar to the training uniform () used in most other modern martial arts; simple trousers and a wraparound jacket, usually white. Both thick ("judo-style"), and thin ("karate-style") cotton tops are used. Aikido-specific tops are available with shorter sleeves which reach to just below the elbow.
Most aikido systems add a pair of wide pleated black or indigo trousers known as (used also in Naginatajutsu, kendo, and iaido). In many schools, the wearing of is reserved for practitioners with ranks or for instructors, while others allow all practitioners to wear a regardless of rank.
Aikido styles.
Aikido styles vary in their intention, due to its holistic nature. The most common differences noted in aikido, when observed externally, relate to the intensity and realism of training. Stanley Pranin has observed that some criticism may stem from weak attacks from , allowing for a conditioned response from , resulting in underdevelopment of the skills needed for the safe and effective practice of both partners.
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To counteract that some styles allow students to become less compliant over time, however in keeping with the core philosophies, that is after having demonstrated proficiency in being able to protect themselves and their training partners. Shodokan Aikido addresses the issue by practicing in a competitive format. Such adaptations are debated between styles, with some maintaining that there is no need to adjust their methods because either the criticisms are unjustified, or that they are not training for self-defense or combat effectiveness, but spiritual, fitness or other reasons. Reasons for the difference and diversity of teachings, intention, and forms of aikido can be traced to the shift in training focus after the end of Ueshiba's seclusion in Iwama from 1942 to the mid-1950s, as he increasingly emphasized the spiritual and philosophical aspects of aikido. As a result, strikes to vital points by , entering () and initiation of techniques by , the distinction between (front side) and (back side) techniques, and the use of weapons, were all de-emphasized or eliminated from practice.
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Conversely, some styles of aikido place less importance on the spiritual practices which were emphasized by Ueshiba. According to Minoru Shibata of "Aikido Journal":
O-Sensei's aikido was not a continuation and extension of the old and has a distinct discontinuity with past martial and philosophical concepts.
In other words, aikido practitioners who focus on aikido's roots in traditional or are said to be diverging from what Ueshiba taught, as some critics urge practitioners:
[Ueshiba's] transcendence to the spiritual and universal reality were the fundamentals of the paradigm that he demonstrated.
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Art
Art is a diverse range of cultural activity centered around "works" utilizing creative or imaginative talents, which are expected to evoke a worthwhile experience, generally through an expression of emotional power, conceptual ideas, technical proficiency, and/or beauty.
There is no generally agreed definition of what constitutes "art", and its interpretation has varied greatly throughout history and across cultures. In the Western tradition, the three classical branches of visual art are painting, sculpture, and architecture. Theatre, dance, and other performing arts, as well as literature, music, film and other media such as interactive media, are included in a broader definition of "the arts". Until the 17th century, "art" referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts.
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The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics. The resulting artworks are studied in the professional fields of art criticism and the history of art.
Overview.
In the perspective of the history of art, artistic works have existed for almost as long as humankind: from early prehistoric art to contemporary art; however, some theorists think that the typical concept of "artistic works" does not fit well outside modern Western societies. One early sense of the definition of "art" is closely related to the older Latin meaning, which roughly translates to "skill" or "craft", as associated with words such as "artisan". English words derived from this meaning include "artifact", "artificial", "artifice", "medical arts", and "military arts". However, there are many other colloquial uses of the word, all with some relation to its etymology.
Over time, philosophers like Plato, Aristotle, Socrates and Immanuel Kant, among others, questioned the meaning of art. Several dialogues in Plato tackle questions about art, while Socrates says that poetry is inspired by the muses and is not rational. He speaks approvingly of this, and other forms of divine madness (drunkenness, eroticism, and dreaming) in the "Phaedrus "(265a–c), and yet in the 'Republic' wants to outlaw Homer's great poetic art, and laughter as well. In "Ion", Socrates gives no hint of the disapproval of Homer that he expresses in the "Republic". The dialogue "Ion" suggests that Homer's "Iliad" functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted.
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With regards to the literary art and the musical arts, Aristotle considered epic poetry, tragedy, comedy, Dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium, object, and manner. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, and poetry with language. The forms also differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average; whereas tragedy imitates men slightly better than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, and through drama or no drama. Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.
The more recent and specific sense of the word "art" as an abbreviation for "creative art" or "fine art" emerged in the early 17th century. Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or "finer" works of art.
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Within this latter sense, the word "art" may refer to several things: (i) a study of a creative skill, (ii) a process of using the creative skill, (iii) a product of the creative skill, or (iv) the audience's experience with the creative skill. The creative arts ("art" as discipline) are a collection of disciplines which produce "artworks" ("art" as objects) that are compelled by a personal drive (art as activity) and convey a message, mood, or symbolism for the perceiver to interpret (art as experience). Art is something that stimulates an individual's thoughts, emotions, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.
Often, if the skill is being used in a common or practical way, people will consider it a craft instead of art. Likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are sometimes considered applied art. Some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference. However, even fine art often has goals beyond pure creativity and self-expression. The purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art; to create a sense of beauty (see aesthetics); to explore the nature of perception; for pleasure; or to generate strong emotions. The purpose may also be seemingly nonexistent.
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The nature of art has been described by philosopher Richard Wollheim as "one of the most elusive of the traditional problems of human culture". Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as "mimesis" or representation. Art as mimesis has deep roots in the philosophy of Aristotle. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another. Benedetto Croce and R. G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator. The theory of art as form has its roots in the philosophy of Kant, and was developed in the early 20th century by Roger Fry and Clive Bell. More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation. George Dickie has offered an institutional theory of art that defines a work of art as any artifact upon which a qualified person or persons acting on behalf of the social institution commonly referred to as "the art world" has conferred "the status of candidate for appreciation". Larry Shiner has described fine art as "not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old."
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Art may be characterized in terms of mimesis (its representation of reality), narrative (storytelling), expression, communication of emotion, or other qualities. During the Romantic period, art came to be seen as "a special faculty of the human mind to be classified with religion and science".
History.
A shell engraved by "Homo erectus" was determined to be between 430,000 and 540,000 years old. A set of eight 130,000 years old white-tailed eagle talons bear cut marks and abrasion that indicate manipulation by neanderthals, possibly for using it as jewelry. A series of tiny, drilled snail shells about 75,000 years old—were discovered in a South African cave. Containers that may have been used to hold paints have been found dating as far back as 100,000 years.
The oldest piece of art found in Europe is the Riesenhirschknochen der Einhornhöhle, dating back 51,000 years and made by Neanderthals.
Sculptures, cave paintings, rock paintings and petroglyphs from the Upper Paleolithic dating to roughly 40,000 years ago have been found, but the precise meaning of such art is often disputed because so little is known about the cultures that produced them.
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The first undisputed sculptures and similar art pieces, like the Venus of Hohle Fels, are the numerous objects found at the Caves and Ice Age Art in the Swabian Jura UNESCO World Heritage Site, where the oldest non-stationary works of human art yet discovered were found, in the form of carved animal and humanoid figurines, in addition to the oldest musical instruments unearthed so far, with the artifacts dating between 43,000 and 35,000 BC, so being the first centre of human art.
Many great traditions in art have a foundation in the art of one of the great ancient civilizations: Ancient Egypt, Mesopotamia, Persia, India, China, Ancient Greece, Rome, as well as Inca, Maya, and Olmec. Each of these centers of early civilization developed a unique and characteristic style in its art. Because of the size and duration of these civilizations, more of their art works have survived and more of their influence has been transmitted to other cultures and later times. Some also have provided the first records of how artists worked. For example, this period of Greek art saw a veneration of the human physical form and the development of equivalent skills to show musculature, poise, beauty, and anatomically correct proportions.
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In Byzantine and Medieval art of the Western Middle Ages, much art focused on the expression of subjects about biblical and religious culture, and used styles that showed the higher glory of a heavenly world, such as the use of gold in the background of paintings, or glass in mosaics or windows, which also presented figures in idealized, patterned (flat) forms. Nevertheless, a classical realist tradition persisted in small Byzantine works, and realism steadily grew in the art of Catholic Europe.
Renaissance art had a greatly increased emphasis on the realistic depiction of the material world, and the place of humans in it, reflected in the corporeality of the human body, and development of a systematic method of graphical perspective to depict recession in a three-dimensional picture space.
In the east, Islamic art's rejection of iconography led to emphasis on geometric patterns, calligraphy, and architecture. Further east, religion dominated artistic styles and forms too. India and Tibet saw emphasis on painted sculptures and dance, while religious painting borrowed many conventions from sculpture and tended to bright contrasting colors with emphasis on outlines. China saw the flourishing of many art forms: jade carving, bronzework, pottery (including the stunning Terracotta Army of Emperor Qin), poetry, calligraphy, music, painting, drama, fiction, etc. Chinese styles vary greatly from era to era and each one is traditionally named after the ruling dynasty. So, for example, Tang dynasty paintings are monochromatic and sparse, emphasizing idealized landscapes, but Ming dynasty paintings are busy and colorful, and focus on telling stories via setting and composition. Japan names its styles after imperial dynasties too, and also saw much interplay between the styles of calligraphy and painting. Woodblock printing became important in Japan after the 17th century.
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The western Age of Enlightenment in the 18th century saw artistic depictions of physical and rational certainties of the clockwork universe, as well as politically revolutionary visions of a post-monarchist world, such as Blake's portrayal of Newton as a divine geometer, or David's propagandistic paintings. This led to Romantic rejections of this in favor of pictures of the emotional side and individuality of humans, exemplified in the novels of Goethe. The late 19th century then saw a host of artistic movements, such as academic art, Symbolism, impressionism and fauvism among others.
The history of 20th-century art is a narrative of endless possibilities and the search for new standards, each being torn down in succession by the next. Thus the parameters of Impressionism, Expressionism, Fauvism, Cubism, Dadaism, Surrealism, etc. cannot be maintained very much beyond the time of their invention. Increasing global interaction during this time saw an equivalent influence of other cultures into Western art. Thus, Japanese woodblock prints (themselves influenced by Western Renaissance draftsmanship) had an immense influence on impressionism and subsequent development. Later, African sculptures were taken up by Picasso and to some extent by Matisse. Similarly, in the 19th and 20th centuries the West has had huge impacts on Eastern art with originally western ideas like Communism and Post-Modernism exerting a powerful influence.
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Modernism, the idealistic search for truth, gave way in the latter half of the 20th century to a realization of its unattainability. Theodor W. Adorno said in 1970, "It is now taken for granted that nothing which concerns art can be taken for granted any more: neither art itself, nor art in relationship to the whole, nor even the right of art to exist." Relativism was accepted as an unavoidable truth, which led to the period of contemporary art and postmodern criticism, where cultures of the world and of history are seen as changing forms, which can be appreciated and drawn from only with skepticism and irony. Furthermore, the separation of cultures is increasingly blurred and some argue it is now more appropriate to think in terms of a global culture, rather than of regional ones.
In "The Origin of the Work of Art", Martin Heidegger, a German philosopher and seminal thinker, describes the essence of art in terms of the concepts of being and truth. He argues that art is not only a way of expressing the element of truth in a culture, but the means of creating it and providing a springboard from which "that which is" can be revealed. Works of art are not merely representations of the way things are, but actually produce a community's shared understanding. Each time a new artwork is added to any culture, the meaning of what it is to exist is inherently changed.
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Historically, art and artistic skills and ideas have often been spread through trade. An example of this is the Silk Road, where Hellenistic, Iranian, Indian and Chinese influences could mix. Greco Buddhist art is one of the most vivid examples of this interaction. The meeting of different cultures and worldviews also influenced artistic creation. An example of this is the multicultural port metropolis of Trieste at the beginning of the 20th century, where James Joyce met writers from Central Europe and the artistic development of New York City as a cultural melting pot.
Forms, genres, media, and styles.
The creative arts are often divided into more specific categories, typically along perceptually distinguishable categories such as media, genre, styles, and form. "Art form" refers to the elements of art that are independent of its interpretation or significance. It covers the methods adopted by the artist and the physical composition of the artwork, primarily non-semantic aspects of the work (i.e., figurae), such as color, contour, dimension, medium, melody, space, texture, and value. Form may also include Design principles, such as arrangement, balance, contrast, emphasis, harmony, proportion, proximity, and rhythm.
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In general there are three schools of philosophy regarding art, focusing respectively on form, content, and context. Extreme Formalism is the view that all aesthetic properties of art are formal (that is, part of the art form). Philosophers almost universally reject this view and hold that the properties and aesthetics of art extend beyond materials, techniques, and form. Unfortunately, there is little consensus on terminology for these informal properties. Some authors refer to subject matter and content—i.e., denotations and connotations—while others prefer terms like meaning and significance.
Extreme Intentionalism holds that authorial intent plays a decisive role in the meaning of a work of art, conveying the content or essential main idea, while all other interpretations can be discarded. It defines the subject as the persons or idea represented, and the content as the artist's experience of that subject. For example, the composition of "Napoleon I on his Imperial Throne" is partly borrowed from the Statue of Zeus at Olympia. As evidenced by the title, the subject is Napoleon, and the content is Ingres's representation of Napoleon as "Emperor-God beyond time and space". Similarly to extreme formalism, philosophers typically reject extreme intentionalism, because art may have multiple ambiguous meanings and authorial intent may be unknowable and thus irrelevant. Its restrictive interpretation is "socially unhealthy, philosophically unreal, and politically unwise".
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Finally, the developing theory of post-structuralism studies art's significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work. The cultural context often reduces to the artist's techniques and intentions, in which case analysis proceeds along lines similar to formalism and intentionalism. However, in other cases historical and material conditions may predominate, such as religious and philosophical convictions, sociopolitical and economic structures, or even climate and geography. Art criticism continues to grow and develop alongside art.
Skill and craft.
Art can connote a sense of trained ability or mastery of a medium. Art can also refer to the developed and efficient use of a language to convey meaning with immediacy or depth. Art can be defined as an act of expressing feelings, thoughts, and observations.
There is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes.
A common view is that the "art", particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two. Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for Leonardo da Vinci, art, neither more nor less than his other endeavors, was a manifestation of skill. Rembrandt's work, now praised for its ephemeral virtues, was most admired by his contemporaries for its virtuosity. At the turn of the 20th century, the adroit performances of John Singer Sargent were alternately admired and viewed with skepticism for their manual fluency, yet at nearly the same time the artist who would become the era's most recognized and peripatetic iconoclast, Pablo Picasso, was completing a traditional academic training at which he excelled.
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A common contemporary criticism of some modern art occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, Marcel Duchamp's "Fountain" is among the first examples of pieces wherein the artist used found objects ("ready-made") and exercised no traditionally recognised set of skills. Tracey Emin's "My Bed", or Damien Hirst's "The Physical Impossibility of Death in the Mind of Someone Living" follow this example. Emin slept (and engaged in other activities) in her bed before placing the result in a gallery as work of art. Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts. The actual production in many conceptual and contemporary works of art is a matter of assembly of found objects. However, there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating "hands-on" works of art.
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Purpose.
Art has had a great number of different functions throughout its history, making its purpose difficult to abstract or quantify to any single concept. This does not imply that the purpose of art is "vague", but that it has had many unique, different reasons for being created. Some of these functions of art are provided in the following outline. The different purposes of art may be grouped according to those that are non-motivated, and those that are motivated (Lévi-Strauss).
Non-motivated functions.
The non-motivated purposes of art are those that are integral to being human, transcend the individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something humans must do by their very nature (i.e., no other species creates art), and is therefore beyond utility.
Motivated functions.
Motivated purposes of art refer to intentional, conscious actions on the part of the artists or creator. These may be to bring about political change, to comment on an aspect of society, to convey a specific emotion or mood, to address personal psychology, to illustrate another discipline, to (with commercial arts) sell a product, or used as a form of communication.
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The functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also seek to sell a product, i.e. the movie or video game.
Steps.
Art can be divided into any number of steps one can make an argument for. This section divides the creative process into broad three steps, but there is no consensus on an exact number.
Preparation.
In the first step, the artist envisions the art in their mind. By imagining what their art would look like, the artist begins the process of bringing the art into existence. Preparation of art may involve approaching and researching the subject matter. Artistic inspiration is one of the main drivers of art, and may be considered to stem from instinct, impressions, and feelings.
Creation.
In the second step, the artist executes the creation of their work. The creation of a piece can be affected by factors such as the artist's mood, surroundings, and mental state. For example, "The Black Paintings" by Francisco de Goya, created in the elder years of his life, are thought to be so bleak because he was in isolation and because of his experience with war. He painted them directly on the walls of his apartment in Spain, and most likely never discussed them with anyone. The Beatles stated drugs such as LSD and cannabis influenced some of their greatest hits, such as "Revolver." Trial and error are considered an integral part of the creation process.
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Appreciation.
The last step is art appreciation, which has the sub-topic of critique. In one study, over half of visual arts students agreed that reflection is an essential step of the art process. According to education journals, the reflection of art is considered an essential part of the experience. However an important aspect of art is that others may view and appreciate it as well. While many focus on whether those viewing/listening/etc. believe the art to be good/successful or not, art has profound value beyond its commercial success as a provider of information and health in society. Art enjoyment can bring about a wide spectrum of emotion due to beauty. Some art is meant to be practical, with its analysis studious, meant to stimulate discourse.
Public access.
Since ancient times, much of the finest art has represented a deliberate display of wealth or power, often achieved by using massive scale and expensive materials. Much art has been commissioned by political rulers or religious establishments, with more modest versions only available to the most wealthy in society.
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Nevertheless, there have been many periods where art of very high quality was available, in terms of ownership, across large parts of society, above all in cheap media such as pottery, which persists in the ground, and perishable media such as textiles and wood. In many different cultures, the ceramics of indigenous peoples of the Americas are found in such a wide range of graves that they were clearly not restricted to a social elite, though other forms of art may have been. Reproductive methods such as moulds made mass-production easier, and were used to bring high-quality Ancient Roman pottery and Greek Tanagra figurines to a very wide market. Cylinder seals were both artistic and practical, and very widely used by what can be loosely called the middle class in the Ancient Near East. Once coins were widely used, these also became an art form that reached the widest range of society.
Another important innovation came in the 15th century in Europe, when printmaking began with small woodcuts, mostly religious, that were often very small and hand-colored, and affordable even by peasants who glued them to the walls of their homes. Printed books were initially very expensive, but fell steadily in price until by the 19th century even the poorest could afford some with printed illustrations. Popular prints of many different sorts have decorated homes and other places for centuries.
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In 1661, the city of Basel, in Switzerland, opened the first public museum of art in the world, the Kunstmuseum Basel. Today, its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600, and on the art of the 19th to 21st centuries.
Public buildings and monuments, secular and religious, by their nature normally address the whole of society, and visitors as viewers, and display to the general public has long been an important factor in their design. Egyptian temples are typical in that the most largest and most lavish decoration was placed on the parts that could be seen by the general public, rather than the areas seen only by the priests. Many areas of royal palaces, castles and the houses of the social elite were often generally accessible, and large parts of the art collections of such people could often be seen, either by anybody, or by those able to pay a small price, or those wearing the correct clothes, regardless of who they were, as at the Palace of Versailles, where the appropriate extra accessories (silver shoe buckles and a sword) could be hired from shops outside.
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Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with the Orleans Collection mostly housed in a wing of the Palais Royal in Paris, which could be visited for most of the 18th century. In Italy the art tourism of the Grand Tour became a major industry from the Renaissance onwards, and governments and cities made efforts to make their key works accessible. The British Royal Collection remains distinct, but large donations such as the Old Royal Library were made from it to the British Museum, established in 1753. The Uffizi in Florence opened entirely as a gallery in 1765, though this function had been gradually taking the building over from the original civil servants' offices for a long time before. The building now occupied by the Prado in Madrid was built before the French Revolution for the public display of parts of the royal art collection, and similar royal galleries open to the public existed in Vienna, Munich and other capitals. The opening of the Musée du Louvre during the French Revolution (in 1793) as a public museum for much of the former French royal collection certainly marked an important stage in the development of public access to art, transferring ownership to a republican state, but was a continuation of trends already well established.
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Most modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. However, museums do not only provide availability to art, but do also influence the way art is being perceived by the audience, as studies found. Thus, the museum itself is not only a blunt stage for the presentation of art, but plays an active and vital role in the overall perception of art in modern society.
Museums in the United States tend to be gifts from the very rich to the masses. (The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston, a railroad executive whose personal art collection seeded the museum.) But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status.
There have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late 1960s and 1970s was to create art that could not be bought and sold. It is "necessary to present something more than mere objects" said the major post war German artist Joseph Beuys. This time period saw the rise of such things as performance art, video art, and conceptual art. The idea was that if the artwork was a performance that would leave nothing behind, or was an idea, it could not be bought and sold. "Democratic precepts revolving around the idea that a work of art is a commodity impelled the aesthetic innovation which germinated in the mid-1960s and was reaped throughout the 1970s. Artists broadly identified under the heading of Conceptual art ... substituting performance and publishing activities for engagement with both the material and materialistic concerns of painted or sculptural form ... [have] endeavored to undermine the art object qua object."
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In the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works, invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art. The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. "With the widespread use of DVD recording technology in the early 2000s, artists, and the gallery system that derives its profits from the sale of artworks, gained an important means of controlling the sale of video and computer artworks in limited editions to collectors."
Controversies.
Art has long been controversial, that is to say disliked by some viewers, for a wide variety of reasons, though most pre-modern controversies are dimly recorded, or completely lost to a modern view. Iconoclasm is the destruction of art that is disliked for a variety of reasons, including religious ones. Aniconism is a general dislike of either all figurative images, or often just religious ones, and has been a thread in many major religions. It has been a crucial factor in the history of Islamic art, where depictions of Muhammad remain especially controversial. Much art has been disliked purely because it depicted or otherwise stood for unpopular rulers, parties or other groups. Artistic conventions have often been conservative and taken very seriously by art critics, though often much less so by a wider public. The iconographic content of art could cause controversy, as with late medieval depictions of the new motif of the Swoon of the Virgin in scenes of the Crucifixion of Jesus. The "Last Judgment" by Michelangelo was controversial for various reasons, including breaches of decorum through nudity and the Apollo-like pose of Christ.
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The content of much formal art through history was dictated by the patron or commissioner rather than just the artist, but with the advent of Romanticism, and economic changes in the production of art, the artists' vision became the usual determinant of the content of his art, increasing the incidence of controversies, though often reducing their significance. Strong incentives for perceived originality and publicity also encouraged artists to court controversy. Théodore Géricault's "Raft of the Medusa" (), was in part a political commentary on a recent event. Édouard Manet's "Le Déjeuner sur l'Herbe" (1863), was considered scandalous not because of the nude woman, but because she is seated next to men fully dressed in the clothing of the time, rather than in robes of the antique world. John Singer Sargent's "Madame Pierre Gautreau (Madam X)" (1884), caused a controversy over the reddish pink used to color the woman's ear lobe, considered far too suggestive and supposedly ruining the high-society model's reputation.
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The gradual abandonment of naturalism and the depiction of realistic representations of the visual appearance of subjects in the 19th and 20th centuries led to a rolling controversy lasting for over a century.
In the 20th century, Pablo Picasso's "Guernica" (1937) used arresting cubist techniques and stark monochromatic oils, to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. Leon Golub's "Interrogation III" (1981), depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. Andres Serrano's "Piss Christ" (1989) is a photograph of a crucifix, sacred to the Christian religion and representing Christ's sacrifice and final suffering, submerged in a glass of the artist's own urine. The resulting uproar led to comments in the United States Senate about public funding of the arts.
Theory.
Before Modernism, aesthetics in Western art was greatly concerned with achieving the appropriate balance between different aspects of realism or truth to nature and the ideal; ideas as to what the appropriate balance is have shifted to and fro over the centuries. This concern is largely absent in other traditions of art. The aesthetic theorist John Ruskin, who championed what he saw as the naturalism of J. M. W. Turner, saw art's role as the communication by artifice of an essential truth that could only be found in nature.
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The definition and evaluation of art has become especially problematic since the 20th century. Richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the Realist, whereby aesthetic quality is an absolute value independent of any human view; the Objectivist, whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.
Arrival of Modernism.
The arrival of Modernism in the late 19th century led to a radical break in the conception of the function of art, and then again in the late 20th century with the advent of postmodernism. Clement Greenberg's 1960 article "Modernist Painting" defines modern art as "the use of characteristic methods of a discipline to criticize the discipline itself". Greenberg originally applied this idea to the Abstract Expressionist movement and used it as a way to understand and justify flat (non-illusionistic) abstract painting:
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Realistic, naturalistic art had dissembled the medium, using art to conceal art; modernism used art to call attention to art. The limitations that constitute the medium of painting—the flat surface, the shape of the support, the properties of the pigment—were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded as positive factors, and were acknowledged openly. After Greenberg, several important art theorists emerged, such as Michael Fried, T. J. Clark, Rosalind Krauss, Linda Nochlin and Griselda Pollock among others. Though only originally intended as a way of understanding a specific set of artists, Greenberg's definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century.
Pop artists like Andy Warhol became both noteworthy and influential through work including and possibly critiquing popular culture, as well as the art world. Artists of the 1980s, 1990s, and 2000s expanded this technique of self-criticism beyond "high art" to all cultural image-making, including fashion images, comics, billboards and pornography.
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Duchamp once proposed that art is any activity of any kind-everything. However, the way that only certain activities are classified today as art is a social construction. There is evidence that there may be an element of truth to this. In "", Larry Shiner examines the construction of the modern system of the arts, i.e. fine art. He finds evidence that the older system of the arts before our modern system (fine art) held art to be any skilled human activity; for example, Ancient Greek society did not possess the term "art", but techne. Techne can be understood neither as art or craft, the reason being that the distinctions of art and craft are historical products that came later on in human history. Techne included painting, sculpting and music, but also cooking, medicine, horsemanship, geometry, carpentry, prophecy, and farming, etc.
New Criticism and the "intentional fallacy".
Following Duchamp during the first half of the 20th century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in the rise of the New Criticism school and debate concerning "the intentional fallacy". At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of the artist.
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In 1946, William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled "The Intentional Fallacy", in which they argued strongly against the relevance of an author's intention, or "intended meaning" in the analysis of a literary work. For Wimsatt and Beardsley, the words on the page were all that mattered; importation of meanings from outside the text was considered irrelevant, and potentially distracting.
In another essay, "The Affective Fallacy", which served as a kind of sister essay to "The Intentional Fallacy" Wimsatt and Beardsley also discounted the reader's personal/emotional reaction to a literary work as a valid means of analyzing a text. This fallacy would later be repudiated by theorists from the reader-response school of literary theory. Ironically, one of the leading theorists from this school, Stanley Fish, was himself trained by New Critics. Fish criticizes Wimsatt and Beardsley in his 1970 essay "Literature in the Reader".
As summarized by Berys Gaut and Paisley Livingston in their essay "The Creation of Art": "Structuralist and post-structuralists theorists and critics were sharply critical of many aspects of New Criticism, beginning with the emphasis on aesthetic appreciation and the so-called autonomy of art, but they reiterated the attack on biographical criticisms' assumption that the artist's activities and experience were a privileged critical topic." These authors contend that: "Anti-intentionalists, such as formalists, hold that the intentions involved in the making of art are irrelevant or peripheral to correctly interpreting art. So details of the act of creating a work, though possibly of interest in themselves, have no bearing on the correct interpretation of the work."
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Gaut and Livingston define the intentionalists as distinct from formalists stating that: "Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works." They quote Richard Wollheim as stating that, "The task of criticism is the reconstruction of the creative process, where the creative process must in turn be thought of as something not stopping short of, but terminating on, the work of art itself."
"Linguistic turn" and its debate.
The end of the 20th century fostered an extensive debate known as the linguistic turn controversy, or the "innocent eye debate" in the philosophy of art. This debate discussed the encounter of the work of art as being determined by the relative extent to which the conceptual encounter with the work of art dominates over the perceptual encounter with the work of art.
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Classification disputes.
Disputes as to whether or not to classify something as a work of art are referred to as classificatory disputes about art. Classificatory disputes in the 20th century have included cubist and impressionist paintings, Duchamp's "Fountain", the movies, J. S. G. Boggs' superlative imitations of banknotes, conceptual art, and video games. Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, "the passionate concerns and interests that humans vest in their social life" are "so much a part of all classificatory disputes about art." According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the "Daily Mail" criticized Hirst's and Emin's work by arguing "For 1,000 years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all" they are not advancing a definition or theory about art, but questioning the value of Hirst's and Emin's work. In 1998, Arthur Danto, suggested a thought experiment showing that "the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object's arthood."
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"Anti-art" is a label for art that intentionally challenges the established parameters and values of art; it is a term associated with Dadaism and attributed to Marcel Duchamp just before World War I, when he was making art from found objects. One of these, "Fountain" (1917), an ordinary urinal, has achieved considerable prominence and influence on art. Anti-art is a feature of work by Situationist International, the lo-fi Mail art movement, and the Young British Artists, though it is a form still rejected by the Stuckists, who describe themselves as anti-anti-art.
Architecture is often included as one of the visual arts; however, like the decorative arts, or advertising, it involves the creation of objects where the practical considerations of use are essential in a way that they usually are not in a painting, for example.
Value judgment.
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The assumption of new values or the rebellion against accepted notions of what is aesthetically superior need not occur concurrently with a complete abandonment of the pursuit of what is aesthetically appealing. Indeed, the reverse is often true, that the revision of what is popularly conceived of as being aesthetically appealing allows for a re-invigoration of aesthetic sensibility, and a new appreciation for the standards of art itself. Countless schools have proposed their own ways to define quality, yet they all seem to agree in at least one point: once their aesthetic choices are accepted, the value of the work of art is determined by its capacity to transcend the limits of its chosen medium to strike some universal chord by the rarity of the skill of the artist or in its accurate reflection in what is termed the "zeitgeist". Art is often intended to appeal to and connect with human emotion. It can arouse aesthetic or moral feelings, and can be understood as a way of communicating these feelings. Artists express something so that their audience is aroused to some extent, but they do not have to do so consciously. Art may be considered an exploration of the human condition; that is, what it is to be human.
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By extension, it has been argued by Emily L. Spratt that the development of generative artificial intelligence, especially in regard to artificial intelligence art, necessitates a re-evaluation of aesthetic theory in art history today and a reconsideration of the limits of human creativity. Music and artificial intelligence has taken a similar path. So too has the use of large language models in generating creative texts.
Art and law.
An essential legal issue are art forgeries, plagiarism, replicas and works that are strongly based on other works of art.
Intellectual property law plays a significant role in the art world. Copyright protection is granted to artists for their original works, providing them with exclusive rights to reproduce, distribute, and display their creations. This safeguard empowers artists to govern the usage of their work and safeguard against unauthorized copying or infringement.
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Agnostida
Agnostida are an order of extinct arthropods which have classically been seen as a group of highly modified trilobites, though some recent research has doubted this placement. Regardless, they appear to be close relatives as part of the Artiopoda. They are present in the Lower Cambrian fossil record along with trilobites from the Redlichiida, Corynexochida, and Ptychopariida orders, and were highly diverse throughout the Cambrian. Agnostidan diversity severely declined during the Cambrian-Ordovician transition, and the last agnostidans went extinct in the Late Ordovician.
Systematics.
The Agnostida are divided into two suborders — Agnostina and Eodiscina — which are then subdivided into a number of families. As a group, agnostids are isopygous, meaning their pygidium is similar in size and shape to their cephalon. Most agnostid species were eyeless.
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Ecology.
Scientists have long debated whether the agnostids lived a pelagic or a benthic lifestyle. Their lack of eyes, a morphology not well-suited for swimming, and their fossils found in association with other benthic trilobites suggest a benthic (bottom-dwelling) mode of life. They are likely to have lived on areas of the ocean floor which received little or no light and fed on detritus which descended from upper layers of the sea to the bottom. Their wide geographic dispersion in the fossil record is uncharacteristic of benthic animals, suggesting a pelagic existence. The thoracic segment appears to form a hinge between the head and pygidium allowing for a bivalved ostracodan-type lifestyle. The orientation of the thoracic appendages appears ill-suited for benthic living. Recent work suggests that some agnostids were benthic predators, engaging in cannibalism and possibly pack-hunting behavior.
They are sometimes preserved within the voids of other organisms, for instance within empty hyolith conchs, within sponges, worm tubes and under the carapaces of bivalved arthropods, presumably in order to hide from predators or strong storm currents; or maybe whilst scavenging for food. In the case of the tapering worm tubes "Selkirkia", trilobites are always found with their heads directed towards the opening of the tube, suggesting that they reversed in; the absence of any moulted carapaces suggests that moulting was not their primary reason for seeking shelter.
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Abortion
Abortion is the termination of a pregnancy by removal or expulsion of an embryo or fetus. An abortion that occurs without intervention is known as a miscarriage or "spontaneous abortion"; these occur in approximately 30% to 40% of all pregnancies. When deliberate steps are taken to end a pregnancy, it is called an induced abortion, or less frequently "induced miscarriage". The unmodified word "abortion" generally refers to an induced abortion. The most common reasons given for having an abortion are for birth-timing and limiting family size. Other reasons reported include maternal health, an inability to afford a child, domestic violence, lack of support, feeling they are too young, wishing to complete education or advance a career, and not being able or willing to raise a child conceived as a result of rape or incest.
When done legally in industrialized societies, induced abortion is one of the safest procedures in medicine. Unsafe abortions—those performed by people lacking the necessary skills, or in inadequately resourced settings—are responsible for between 5% and 13% of maternal deaths, especially in the developing world. However, medication abortions that are self-managed are highly effective and safe throughout the first trimester. Public health data show that making safe abortion legal and accessible reduces maternal deaths.
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Modern methods use medication or surgery for abortions. The drug mifepristone (aka RU-486) in combination with prostaglandin appears to be as safe and effective as surgery during the first and second trimesters of pregnancy. The most common surgical technique involves dilating the cervix and using a suction device. Birth control, such as the pill or intrauterine devices, can be used immediately following abortion. When performed legally and safely on a woman who desires it, an induced abortion does not increase the risk of long-term mental or physical problems. In contrast, unsafe abortions performed by unskilled individuals, with hazardous equipment, or in unsanitary facilities cause between 22,000 and 44,000 deaths and 6.9 million hospital admissions each year. The World Health Organization states that "access to legal, safe and comprehensive abortion care, including post-abortion care, is essential for the attainment of the highest possible level of sexual and reproductive health". Historically, abortions have been attempted using herbal medicines, sharp tools, forceful massage, or other traditional methods.
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Around 73 million abortions are performed each year in the world, with about 45% done unsafely. Abortion rates changed little between 2003 and 2008, before which they decreased for at least two decades as access to family planning and birth control increased. , 37% of the world's women had access to legal abortions without limits as to reason. Countries that permit abortions have different limits on how late in pregnancy abortion is allowed. Abortion rates are similar between countries that restrict abortion and countries that broadly allow it, though this is partly because countries which restrict abortion tend to have higher unintended pregnancy rates.
Globally, there has been a widespread trend towards greater legal access to abortion since 1973, but there remains debate with regard to moral, religious, ethical, and legal issues. Those who oppose abortion often argue that an embryo or fetus is a person with a right to life, and thus equate abortion with murder. Those who support abortion's legality often argue that it is a woman's reproductive right. Others favor legal and accessible abortion as a public health measure. Abortion laws and views of the procedure are different around the world. In some countries abortion is legal and women have the right to make the choice about abortion. In some areas, abortion is legal only in specific cases such as rape, incest, fetal defects, poverty, and risk to a woman's health.
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Types.
Induced.
An induced abortion is a medical procedure to end a pregnancy. In present-day English, the term "abortion", when used without further qualification, generally refers to induced abortion.
A pregnancy can be intentionally aborted in several ways. The abortion method depends upon the gestational age of the embryo or fetus, which gains mass as the pregnancy progresses. Abortion laws, regional availability, and the personal preference of the women and her doctor may inform the women's choice of a specific abortion procedure.
Abortions can be characterized as either therapeutic or elective. When an abortion is performed for medical reasons, the procedure is referred to as a therapeutic abortion. Medical reasons for therapeutic abortion include saving the life of the pregnant woman, preventing harm to the woman's physical or mental health, preventing the birth of a child who will have a significantly increased chance of mortality or morbidity, and reducing the number of fetuses to lessen health risks associated with multiple pregnancy. An abortion is referred to as elective or voluntary when it is performed at the request of the woman for non-medical reasons. Confusion sometimes arises over the term "elective" because "elective surgery" generally refers to all scheduled surgery, whether medically necessary or not.
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About one in five pregnancies worldwide ends with an induced abortion. Most abortions result from unintended pregnancies. In the United Kingdom, 1 to 2% of abortions are done because of genetic problems in the fetus.
Spontaneous.
Miscarriage, also known as spontaneous abortion, is the unintentional expulsion of an embryo or fetus before the 24th week of gestation. A pregnancy that ends before 37 weeks of gestation resulting in a live-born infant is a "premature birth" or a "preterm birth". When a fetus dies in utero after viability, or during delivery, it is usually termed "stillborn". Premature births and stillbirths are generally not considered to be miscarriages, although usage of these terms can sometimes overlap.
Studies of pregnant women in the US and China have shown that between 40% and 60% of embryos do not progress to birth. The vast majority of miscarriages occur before the woman is aware that she is pregnant, and many pregnancies spontaneously abort before medical practitioners can detect an embryo. Between 15% and 30% of known pregnancies end in clinically apparent miscarriage, depending upon the age and health of the pregnant woman. 80% of these spontaneous abortions happen in the first trimester.
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The most common cause of spontaneous abortion during the first trimester is chromosomal abnormalities of the embryo or fetus, accounting for at least 50% of sampled early pregnancy losses. Other causes include vascular disease (such as lupus), diabetes, other hormonal problems, infection, and abnormalities of the uterus. Advancing maternal age and a woman's history of previous spontaneous abortions are the two leading factors associated with a greater risk of spontaneous abortion. A spontaneous abortion can also be caused by accidental trauma; intentional trauma or stress to cause miscarriage is considered induced abortion or feticide.
Methods.
Medical.
Medical abortions are those induced by abortifacient pharmaceuticals. Medical abortion became an alternative method of abortion with the availability of prostaglandin analogs in the 1970s and the antiprogestogen mifepristone (also known as RU-486) in the 1980s.
The most common early first trimester medical abortion regimens use mifepristone in combination with misoprostol (or sometimes another prostaglandin analog, gemeprost) up to 10 weeks (70 days) gestational age, methotrexate in combination with a prostaglandin analog up to 7 weeks gestation, or a prostaglandin analog alone. Mifepristone–misoprostol combination regimens work faster and are more effective at later gestational ages than methotrexate–misoprostol combination regimens, and combination regimens are more effective than misoprostol alone, particularly in the second trimester. Medical abortion regimens involving mifepristone followed by misoprostol in the cheek between 24 and 48 hours later are effective when performed before 70 days' gestation.
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In very early abortions, up to 7 weeks gestation, medical abortion using a mifepristone–misoprostol combination regimen is considered to be more effective than surgical abortion (vacuum aspiration), especially when clinical practice does not include detailed inspection of aspirated tissue. Early medical abortion regimens using mifepristone, followed 24–48 hours later by buccal or vaginal misoprostol are 98% effective up to 9 weeks gestational age; from 9 to 10 weeks efficacy decreases modestly to 94%. If medical abortion fails, surgical abortion must be used to complete the procedure.
Early medical abortions account for the majority of abortions before 9 weeks gestation in Britain, France, Switzerland, United States, and the Nordic countries.
Medical abortion regimens using mifepristone in combination with a prostaglandin analog are the most common methods used for second trimester abortions in Canada, most of Europe, China and India, in contrast to the United States where 96% of second trimester abortions are performed surgically by dilation and evacuation.
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A 2020 Cochrane Systematic Review concluded that providing women with medications to take home to complete the second stage of the procedure for an early medical abortion results in an effective abortion. Further research is required to determine if self-administered medical abortion is as safe as provider-administered medical abortion, where a health care professional is present to help manage the medical abortion. Safely permitting women to self-administer abortion medication has the potential to improve access to abortion. The review also noted a research gap concerning methods to support women who take medication at home for a self-administered abortion.
Surgical.
Up to 15 weeks' gestation, suction-aspiration or vacuum aspiration are the most common surgical methods of induced abortion. "Manual vacuum aspiration" (MVA) consists of removing the fetus or embryo, placenta, and membranes by suction using a manual syringe, while "electric vacuum aspiration" (EVA) uses an electric pump. Both techniques can be used very early in pregnancy. MVA can be used up to 14 weeks but is more often used earlier in the U.S. EVA can be used later.
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