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id_800 | An Essential Intermediary There is a strange irony about the blue whale. With fully grown adults reaching up to 30 metres long, and weighing in at almost 200 tons, it is not only the largest animal in the world, but also the largest to have ever existed. Yes, not even the most imposing of the dinosaurs from the Jurassic era can match this sleek streamlined aquatic mammal in scale. So, where is the irony? It lies in the fact that this huge beast feeds primarily on one of the smallest life forms in the oceans, a tiny crustacean known as krill. Krill live in every ocean of the world. They thus come in many varieties, although all sporting a similar shrimp-like appearance, with an exoskeleton divided into three parts, and with two large antennae at the front, and pairs of legs running down the underside. These creatures are distinguishable from shrimp by their gills, which are externally mounted, and resemble rows of fibrous combs alongside their bodies. Another oddity is that their exoskeleton is usually transparent. This, and their small size, lead to the deceptive conclusion that they are an insubstantial presence, of little importance, until one is informed that an adult blue whale can consume almost 40 million krill, with a total weight of 3,600 kilograms, in just one day. It is this, their huge numbers, which makes these mysterious ghost-like crustaceans so important. Just looking at one species, the Antarctic krill, their collective weight (or bio-mass) is estimated to be about 500 million tons. Putting this another way, that is over twice the weight of all human beings currently on Earth. Some scientists estimate that, each year, as much as half of this is eaten by whales, seals, penguins, squid, and fish, illustrating that krill constitute an enormous food resource for other animals. The question is whether humans can get in on the act. Antarctic krill are the largest species, at six centimeters. Most other species are about two centimeters, and this makes them awkward to catch. Very fine fishing nets are needed, but these are difficult to drag through the water, quickly clogged, and easily broken. In addition, when lifted in large piles, the delicate krill crush each other, forcing out their internal fluids. They must also be peeled due to the dangerously high levels of fluoride in their exoskeleton, and finally, they must be quickly prepared and frozen due to the strong enzymes in their gut, which would otherwise cause rapid putrefaction. It is problems such as these which have limited processed krill to being mostly used as fish food in aquariums or aquaculture, or bait in commercial fishing operations, but otherwise very much out of the publics mind. Seafood-loving Japan is the only country in the world in which some krill end up on the table. The boiled, peeled, then frozen tail-meat is sold on the market, and there is some lower-grade krill-paste used as a food flavouring or colouring agent. These products originate from the small North-Pacific krill, yet it is the large Antarctic species which would seem to offer the best commercial prospects, and perhaps a more appetising meal. The majority of krill trawlers thus target the waters around coastal Antarctica, but it is a remote region, subject to harsh weather conditions, making operations there difficult and expensive, as well as raising issues of the ecological consequences, especially given the importance of krill as the basis of the food chain in that pristine and untouched environment. Yet to explore this food chain fully, one must go smaller still. Krill themselves are filter feeders, using very fine comb-like appendages on the front of their bodies to extract microscopic organisms known as phytoplankton. These live in almost every body of water in the world, but only in the well-lit surface layers, since these organisms need exposure to sunlight, from which they obtain their energy. In the same way that plants on land are ultimately the basis of all food chains there, so too are phytoplankton in the oceans. Since krill exist in such large numbers, logically then, their primary food source must be even more numerous. There is, in fact, so much phytoplankton that their collective photosynthesis accounts for up to half of the oxygen produced in the world. However, as with krill, the vast numbers of phytoplankton live unnoticed and unobserved. Their presence can only be indirectly deduced when they are pressed together by currents, where there can be correspondingly high concentrations of krill feeding on them. This can similarly result in the usually solitary blue whales being found together, and revealing one of the most remarkable and elusive food chains in nature: from phytoplankton, to krill, to the blue whale. In other words, from the tiniest elements in nature, in two short steps leading to a mighty and awe-inspiring leviathan of the deep, the largest animal that has ever existed. And the small ghostly krill are the essential intermediary in this wondrous process. | Some dinosaurs were bigger than the blue whale. | c |
id_801 | An Essential Intermediary There is a strange irony about the blue whale. With fully grown adults reaching up to 30 metres long, and weighing in at almost 200 tons, it is not only the largest animal in the world, but also the largest to have ever existed. Yes, not even the most imposing of the dinosaurs from the Jurassic era can match this sleek streamlined aquatic mammal in scale. So, where is the irony? It lies in the fact that this huge beast feeds primarily on one of the smallest life forms in the oceans, a tiny crustacean known as krill. Krill live in every ocean of the world. They thus come in many varieties, although all sporting a similar shrimp-like appearance, with an exoskeleton divided into three parts, and with two large antennae at the front, and pairs of legs running down the underside. These creatures are distinguishable from shrimp by their gills, which are externally mounted, and resemble rows of fibrous combs alongside their bodies. Another oddity is that their exoskeleton is usually transparent. This, and their small size, lead to the deceptive conclusion that they are an insubstantial presence, of little importance, until one is informed that an adult blue whale can consume almost 40 million krill, with a total weight of 3,600 kilograms, in just one day. It is this, their huge numbers, which makes these mysterious ghost-like crustaceans so important. Just looking at one species, the Antarctic krill, their collective weight (or bio-mass) is estimated to be about 500 million tons. Putting this another way, that is over twice the weight of all human beings currently on Earth. Some scientists estimate that, each year, as much as half of this is eaten by whales, seals, penguins, squid, and fish, illustrating that krill constitute an enormous food resource for other animals. The question is whether humans can get in on the act. Antarctic krill are the largest species, at six centimeters. Most other species are about two centimeters, and this makes them awkward to catch. Very fine fishing nets are needed, but these are difficult to drag through the water, quickly clogged, and easily broken. In addition, when lifted in large piles, the delicate krill crush each other, forcing out their internal fluids. They must also be peeled due to the dangerously high levels of fluoride in their exoskeleton, and finally, they must be quickly prepared and frozen due to the strong enzymes in their gut, which would otherwise cause rapid putrefaction. It is problems such as these which have limited processed krill to being mostly used as fish food in aquariums or aquaculture, or bait in commercial fishing operations, but otherwise very much out of the publics mind. Seafood-loving Japan is the only country in the world in which some krill end up on the table. The boiled, peeled, then frozen tail-meat is sold on the market, and there is some lower-grade krill-paste used as a food flavouring or colouring agent. These products originate from the small North-Pacific krill, yet it is the large Antarctic species which would seem to offer the best commercial prospects, and perhaps a more appetising meal. The majority of krill trawlers thus target the waters around coastal Antarctica, but it is a remote region, subject to harsh weather conditions, making operations there difficult and expensive, as well as raising issues of the ecological consequences, especially given the importance of krill as the basis of the food chain in that pristine and untouched environment. Yet to explore this food chain fully, one must go smaller still. Krill themselves are filter feeders, using very fine comb-like appendages on the front of their bodies to extract microscopic organisms known as phytoplankton. These live in almost every body of water in the world, but only in the well-lit surface layers, since these organisms need exposure to sunlight, from which they obtain their energy. In the same way that plants on land are ultimately the basis of all food chains there, so too are phytoplankton in the oceans. Since krill exist in such large numbers, logically then, their primary food source must be even more numerous. There is, in fact, so much phytoplankton that their collective photosynthesis accounts for up to half of the oxygen produced in the world. However, as with krill, the vast numbers of phytoplankton live unnoticed and unobserved. Their presence can only be indirectly deduced when they are pressed together by currents, where there can be correspondingly high concentrations of krill feeding on them. This can similarly result in the usually solitary blue whales being found together, and revealing one of the most remarkable and elusive food chains in nature: from phytoplankton, to krill, to the blue whale. In other words, from the tiniest elements in nature, in two short steps leading to a mighty and awe-inspiring leviathan of the deep, the largest animal that has ever existed. And the small ghostly krill are the essential intermediary in this wondrous process. | The blue whale does not only eat krill. | e |
id_802 | An Essential Intermediary There is a strange irony about the blue whale. With fully grown adults reaching up to 30 metres long, and weighing in at almost 200 tons, it is not only the largest animal in the world, but also the largest to have ever existed. Yes, not even the most imposing of the dinosaurs from the Jurassic era can match this sleek streamlined aquatic mammal in scale. So, where is the irony? It lies in the fact that this huge beast feeds primarily on one of the smallest life forms in the oceans, a tiny crustacean known as krill. Krill live in every ocean of the world. They thus come in many varieties, although all sporting a similar shrimp-like appearance, with an exoskeleton divided into three parts, and with two large antennae at the front, and pairs of legs running down the underside. These creatures are distinguishable from shrimp by their gills, which are externally mounted, and resemble rows of fibrous combs alongside their bodies. Another oddity is that their exoskeleton is usually transparent. This, and their small size, lead to the deceptive conclusion that they are an insubstantial presence, of little importance, until one is informed that an adult blue whale can consume almost 40 million krill, with a total weight of 3,600 kilograms, in just one day. It is this, their huge numbers, which makes these mysterious ghost-like crustaceans so important. Just looking at one species, the Antarctic krill, their collective weight (or bio-mass) is estimated to be about 500 million tons. Putting this another way, that is over twice the weight of all human beings currently on Earth. Some scientists estimate that, each year, as much as half of this is eaten by whales, seals, penguins, squid, and fish, illustrating that krill constitute an enormous food resource for other animals. The question is whether humans can get in on the act. Antarctic krill are the largest species, at six centimeters. Most other species are about two centimeters, and this makes them awkward to catch. Very fine fishing nets are needed, but these are difficult to drag through the water, quickly clogged, and easily broken. In addition, when lifted in large piles, the delicate krill crush each other, forcing out their internal fluids. They must also be peeled due to the dangerously high levels of fluoride in their exoskeleton, and finally, they must be quickly prepared and frozen due to the strong enzymes in their gut, which would otherwise cause rapid putrefaction. It is problems such as these which have limited processed krill to being mostly used as fish food in aquariums or aquaculture, or bait in commercial fishing operations, but otherwise very much out of the publics mind. Seafood-loving Japan is the only country in the world in which some krill end up on the table. The boiled, peeled, then frozen tail-meat is sold on the market, and there is some lower-grade krill-paste used as a food flavouring or colouring agent. These products originate from the small North-Pacific krill, yet it is the large Antarctic species which would seem to offer the best commercial prospects, and perhaps a more appetising meal. The majority of krill trawlers thus target the waters around coastal Antarctica, but it is a remote region, subject to harsh weather conditions, making operations there difficult and expensive, as well as raising issues of the ecological consequences, especially given the importance of krill as the basis of the food chain in that pristine and untouched environment. Yet to explore this food chain fully, one must go smaller still. Krill themselves are filter feeders, using very fine comb-like appendages on the front of their bodies to extract microscopic organisms known as phytoplankton. These live in almost every body of water in the world, but only in the well-lit surface layers, since these organisms need exposure to sunlight, from which they obtain their energy. In the same way that plants on land are ultimately the basis of all food chains there, so too are phytoplankton in the oceans. Since krill exist in such large numbers, logically then, their primary food source must be even more numerous. There is, in fact, so much phytoplankton that their collective photosynthesis accounts for up to half of the oxygen produced in the world. However, as with krill, the vast numbers of phytoplankton live unnoticed and unobserved. Their presence can only be indirectly deduced when they are pressed together by currents, where there can be correspondingly high concentrations of krill feeding on them. This can similarly result in the usually solitary blue whales being found together, and revealing one of the most remarkable and elusive food chains in nature: from phytoplankton, to krill, to the blue whale. In other words, from the tiniest elements in nature, in two short steps leading to a mighty and awe-inspiring leviathan of the deep, the largest animal that has ever existed. And the small ghostly krill are the essential intermediary in this wondrous process. | There are about 500 million tons of krill in the ocean. | c |
id_803 | An Essential Intermediary There is a strange irony about the blue whale. With fully grown adults reaching up to 30 metres long, and weighing in at almost 200 tons, it is not only the largest animal in the world, but also the largest to have ever existed. Yes, not even the most imposing of the dinosaurs from the Jurassic era can match this sleek streamlined aquatic mammal in scale. So, where is the irony? It lies in the fact that this huge beast feeds primarily on one of the smallest life forms in the oceans, a tiny crustacean known as krill. Krill live in every ocean of the world. They thus come in many varieties, although all sporting a similar shrimp-like appearance, with an exoskeleton divided into three parts, and with two large antennae at the front, and pairs of legs running down the underside. These creatures are distinguishable from shrimp by their gills, which are externally mounted, and resemble rows of fibrous combs alongside their bodies. Another oddity is that their exoskeleton is usually transparent. This, and their small size, lead to the deceptive conclusion that they are an insubstantial presence, of little importance, until one is informed that an adult blue whale can consume almost 40 million krill, with a total weight of 3,600 kilograms, in just one day. It is this, their huge numbers, which makes these mysterious ghost-like crustaceans so important. Just looking at one species, the Antarctic krill, their collective weight (or bio-mass) is estimated to be about 500 million tons. Putting this another way, that is over twice the weight of all human beings currently on Earth. Some scientists estimate that, each year, as much as half of this is eaten by whales, seals, penguins, squid, and fish, illustrating that krill constitute an enormous food resource for other animals. The question is whether humans can get in on the act. Antarctic krill are the largest species, at six centimeters. Most other species are about two centimeters, and this makes them awkward to catch. Very fine fishing nets are needed, but these are difficult to drag through the water, quickly clogged, and easily broken. In addition, when lifted in large piles, the delicate krill crush each other, forcing out their internal fluids. They must also be peeled due to the dangerously high levels of fluoride in their exoskeleton, and finally, they must be quickly prepared and frozen due to the strong enzymes in their gut, which would otherwise cause rapid putrefaction. It is problems such as these which have limited processed krill to being mostly used as fish food in aquariums or aquaculture, or bait in commercial fishing operations, but otherwise very much out of the publics mind. Seafood-loving Japan is the only country in the world in which some krill end up on the table. The boiled, peeled, then frozen tail-meat is sold on the market, and there is some lower-grade krill-paste used as a food flavouring or colouring agent. These products originate from the small North-Pacific krill, yet it is the large Antarctic species which would seem to offer the best commercial prospects, and perhaps a more appetising meal. The majority of krill trawlers thus target the waters around coastal Antarctica, but it is a remote region, subject to harsh weather conditions, making operations there difficult and expensive, as well as raising issues of the ecological consequences, especially given the importance of krill as the basis of the food chain in that pristine and untouched environment. Yet to explore this food chain fully, one must go smaller still. Krill themselves are filter feeders, using very fine comb-like appendages on the front of their bodies to extract microscopic organisms known as phytoplankton. These live in almost every body of water in the world, but only in the well-lit surface layers, since these organisms need exposure to sunlight, from which they obtain their energy. In the same way that plants on land are ultimately the basis of all food chains there, so too are phytoplankton in the oceans. Since krill exist in such large numbers, logically then, their primary food source must be even more numerous. There is, in fact, so much phytoplankton that their collective photosynthesis accounts for up to half of the oxygen produced in the world. However, as with krill, the vast numbers of phytoplankton live unnoticed and unobserved. Their presence can only be indirectly deduced when they are pressed together by currents, where there can be correspondingly high concentrations of krill feeding on them. This can similarly result in the usually solitary blue whales being found together, and revealing one of the most remarkable and elusive food chains in nature: from phytoplankton, to krill, to the blue whale. In other words, from the tiniest elements in nature, in two short steps leading to a mighty and awe-inspiring leviathan of the deep, the largest animal that has ever existed. And the small ghostly krill are the essential intermediary in this wondrous process. | Some krill are smaller than shrimp. | n |
id_804 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer's voice supplies an element of character. When voice textures fit the performer's physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the 'inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe'. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the 'click' of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the 'click' of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the 'click' with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Background music may anticipate a development in a film. | e |
id_805 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer's voice supplies an element of character. When voice textures fit the performer's physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the 'inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe'. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the 'click' of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the 'click' of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the 'click' with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Audiences tend to be aware of how the background music is affecting them. | c |
id_806 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer's voice supplies an element of character. When voice textures fit the performer's physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the 'inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe'. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the 'click' of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the 'click' of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the 'click' with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Audiences are likely to be surprised if a film lacks background music. | e |
id_807 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer's voice supplies an element of character. When voice textures fit the performer's physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the 'inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe'. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the 'click' of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the 'click' of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the 'click' with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Background music has more effect on some people than on others. | n |
id_808 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer's voice supplies an element of character. When voice textures fit the performer's physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the 'inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe'. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the 'click' of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the 'click' of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the 'click' with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Background music may help the audience to make certain connections within the film. | e |
id_809 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performers voice supplies an element of character. When voice textures fit the performers physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the click of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the click of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the click with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulances siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the films city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Background music may anticipate a development in a film. | e |
id_810 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performers voice supplies an element of character. When voice textures fit the performers physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the click of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the click of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the click with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulances siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the films city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Audiences are likely to be surprised if a film lacks background music. | e |
id_811 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performers voice supplies an element of character. When voice textures fit the performers physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the click of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the click of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the click with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulances siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the films city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Background music has more effect on some people than on others. | n |
id_812 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performers voice supplies an element of character. When voice textures fit the performers physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the click of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the click of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the click with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulances siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the films city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Audiences tend to be aware of how the background music is affecting them. | c |
id_813 | An Introduction to Film Sound. Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music. Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performers voice supplies an element of character. When voice textures fit the performers physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe. The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism largely due to its frenetic dialogue. Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the click of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the click of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the click with an increase in volume; this helps to engage the audience in a moment of suspense. Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulances siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the films city setting. We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster. Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas. Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century the modern film. | Background music may help the audience to make certain connections within the film. | e |
id_814 | An Open Day When are the next Open Days? The Open Days in 2011 will be held on: Saturday 7 May (Maths only) Monday 27 June (Arts subjects) Tuesday 28 June (Maths, Sciences and Engineering) On 7 May 2011, visitors will also attend the Maths Faculty Open Day in the afternoon. Please see the website below for further details. What happens at an Open Day? The programme includes a talk by the Tutor for Admissions and an opportunity for you to meet members of the teaching staff in the subject or subjects that interest you. There is plenty of chance for you to ask all the Open Days - 7 and 8 July 2011 In conjunction with the University-wide General Open Days, the College will be open on Thursday 7 and Friday 8 July for informal visits between 11.00 am and 4.30 pm. There is no need to book with the College but booking is required for the overall Open Days. For more information about the Open Days and to book a place, please visit the website below. The teaching staff will not be available in College on these dates but you will be able to pick up a copy of the College Prospectus, speak to some of our undergraduates and have a look round. questions you may have. You can also look around the College, have lunch here, and meet some of our students. Please note there is no particular dress code for the Open Days. You are encouraged to dress comfortably. If I can't come to an Open Day, can I visit the College at another time? Yes, of course. If you tell the Porters at the Gate (the main College entrance) that you are a possible candidate for admission they will let you in without charging the usual tourist entry fee. They will also give you directions to the Admissions Office if you would like to pick up a prospectus or ask for information about admission to the College. The Office is open most of the day (except at weekends), but if it is closed there is always a notice on the door on which you can leave your details. You are welcome to look around the College but we regret that we are unable to arrange conducted tours and the teaching staff are available on official Open Days only. If I visit the College, will I be able to see a student room? We try to arrange for a couple of rooms to be available for visitors to see at Open Days. Unfortunately we can't arrange this at other times - students are living in them! But do take a look at the Undergraduate Accommodation page. Do I have to book a place at an official Open Day? Yes. Places are limited. Booking is essential and begins in February each year. Booking forms can be obtained from the Admissions Office or you can use the online Booking Form. Please note: We regret that we are unable to take bookings for accompanying parents because of the limit on places available, but they are welcome to look round the College. | You should book early if you would like to be accompanied by a parent. | c |
id_815 | An Open Day When are the next Open Days? The Open Days in 2011 will be held on: Saturday 7 May (Maths only) Monday 27 June (Arts subjects) Tuesday 28 June (Maths, Sciences and Engineering) On 7 May 2011, visitors will also attend the Maths Faculty Open Day in the afternoon. Please see the website below for further details. What happens at an Open Day? The programme includes a talk by the Tutor for Admissions and an opportunity for you to meet members of the teaching staff in the subject or subjects that interest you. There is plenty of chance for you to ask all the Open Days - 7 and 8 July 2011 In conjunction with the University-wide General Open Days, the College will be open on Thursday 7 and Friday 8 July for informal visits between 11.00 am and 4.30 pm. There is no need to book with the College but booking is required for the overall Open Days. For more information about the Open Days and to book a place, please visit the website below. The teaching staff will not be available in College on these dates but you will be able to pick up a copy of the College Prospectus, speak to some of our undergraduates and have a look round. questions you may have. You can also look around the College, have lunch here, and meet some of our students. Please note there is no particular dress code for the Open Days. You are encouraged to dress comfortably. If I can't come to an Open Day, can I visit the College at another time? Yes, of course. If you tell the Porters at the Gate (the main College entrance) that you are a possible candidate for admission they will let you in without charging the usual tourist entry fee. They will also give you directions to the Admissions Office if you would like to pick up a prospectus or ask for information about admission to the College. The Office is open most of the day (except at weekends), but if it is closed there is always a notice on the door on which you can leave your details. You are welcome to look around the College but we regret that we are unable to arrange conducted tours and the teaching staff are available on official Open Days only. If I visit the College, will I be able to see a student room? We try to arrange for a couple of rooms to be available for visitors to see at Open Days. Unfortunately we can't arrange this at other times - students are living in them! But do take a look at the Undergraduate Accommodation page. Do I have to book a place at an official Open Day? Yes. Places are limited. Booking is essential and begins in February each year. Booking forms can be obtained from the Admissions Office or you can use the online Booking Form. Please note: We regret that we are unable to take bookings for accompanying parents because of the limit on places available, but they are welcome to look round the College. | You can see student accommodation if you book a visit in advance. | c |
id_816 | An Open Day When are the next Open Days? The Open Days in 2011 will be held on: Saturday 7 May (Maths only) Monday 27 June (Arts subjects) Tuesday 28 June (Maths, Sciences and Engineering) On 7 May 2011, visitors will also attend the Maths Faculty Open Day in the afternoon. Please see the website below for further details. What happens at an Open Day? The programme includes a talk by the Tutor for Admissions and an opportunity for you to meet members of the teaching staff in the subject or subjects that interest you. There is plenty of chance for you to ask all the Open Days - 7 and 8 July 2011 In conjunction with the University-wide General Open Days, the College will be open on Thursday 7 and Friday 8 July for informal visits between 11.00 am and 4.30 pm. There is no need to book with the College but booking is required for the overall Open Days. For more information about the Open Days and to book a place, please visit the website below. The teaching staff will not be available in College on these dates but you will be able to pick up a copy of the College Prospectus, speak to some of our undergraduates and have a look round. questions you may have. You can also look around the College, have lunch here, and meet some of our students. Please note there is no particular dress code for the Open Days. You are encouraged to dress comfortably. If I can't come to an Open Day, can I visit the College at another time? Yes, of course. If you tell the Porters at the Gate (the main College entrance) that you are a possible candidate for admission they will let you in without charging the usual tourist entry fee. They will also give you directions to the Admissions Office if you would like to pick up a prospectus or ask for information about admission to the College. The Office is open most of the day (except at weekends), but if it is closed there is always a notice on the door on which you can leave your details. You are welcome to look around the College but we regret that we are unable to arrange conducted tours and the teaching staff are available on official Open Days only. If I visit the College, will I be able to see a student room? We try to arrange for a couple of rooms to be available for visitors to see at Open Days. Unfortunately we can't arrange this at other times - students are living in them! But do take a look at the Undergraduate Accommodation page. Do I have to book a place at an official Open Day? Yes. Places are limited. Booking is essential and begins in February each year. Booking forms can be obtained from the Admissions Office or you can use the online Booking Form. Please note: We regret that we are unable to take bookings for accompanying parents because of the limit on places available, but they are welcome to look round the College. | Information about the College and its courses can be found at the Admissions Office. | e |
id_817 | An Open Day When are the next Open Days? The Open Days in 2011 will be held on: Saturday 7 May (Maths only) Monday 27 June (Arts subjects) Tuesday 28 June (Maths, Sciences and Engineering) On 7 May 2011, visitors will also attend the Maths Faculty Open Day in the afternoon. Please see the website below for further details. What happens at an Open Day? The programme includes a talk by the Tutor for Admissions and an opportunity for you to meet members of the teaching staff in the subject or subjects that interest you. There is plenty of chance for you to ask all the Open Days - 7 and 8 July 2011 In conjunction with the University-wide General Open Days, the College will be open on Thursday 7 and Friday 8 July for informal visits between 11.00 am and 4.30 pm. There is no need to book with the College but booking is required for the overall Open Days. For more information about the Open Days and to book a place, please visit the website below. The teaching staff will not be available in College on these dates but you will be able to pick up a copy of the College Prospectus, speak to some of our undergraduates and have a look round. questions you may have. You can also look around the College, have lunch here, and meet some of our students. Please note there is no particular dress code for the Open Days. You are encouraged to dress comfortably. If I can't come to an Open Day, can I visit the College at another time? Yes, of course. If you tell the Porters at the Gate (the main College entrance) that you are a possible candidate for admission they will let you in without charging the usual tourist entry fee. They will also give you directions to the Admissions Office if you would like to pick up a prospectus or ask for information about admission to the College. The Office is open most of the day (except at weekends), but if it is closed there is always a notice on the door on which you can leave your details. You are welcome to look around the College but we regret that we are unable to arrange conducted tours and the teaching staff are available on official Open Days only. If I visit the College, will I be able to see a student room? We try to arrange for a couple of rooms to be available for visitors to see at Open Days. Unfortunately we can't arrange this at other times - students are living in them! But do take a look at the Undergraduate Accommodation page. Do I have to book a place at an official Open Day? Yes. Places are limited. Booking is essential and begins in February each year. Booking forms can be obtained from the Admissions Office or you can use the online Booking Form. Please note: We regret that we are unable to take bookings for accompanying parents because of the limit on places available, but they are welcome to look round the College. | It is not necessary to book a visit to the College on the 7th July. | e |
id_818 | An Open Day When are the next Open Days? The Open Days in 2011 will be held on: Saturday 7 May (Maths only) Monday 27 June (Arts subjects) Tuesday 28 June (Maths, Sciences and Engineering) On 7 May 2011, visitors will also attend the Maths Faculty Open Day in the afternoon. Please see the website below for further details. What happens at an Open Day? The programme includes a talk by the Tutor for Admissions and an opportunity for you to meet members of the teaching staff in the subject or subjects that interest you. There is plenty of chance for you to ask all the Open Days - 7 and 8 July 2011 In conjunction with the University-wide General Open Days, the College will be open on Thursday 7 and Friday 8 July for informal visits between 11.00 am and 4.30 pm. There is no need to book with the College but booking is required for the overall Open Days. For more information about the Open Days and to book a place, please visit the website below. The teaching staff will not be available in College on these dates but you will be able to pick up a copy of the College Prospectus, speak to some of our undergraduates and have a look round. questions you may have. You can also look around the College, have lunch here, and meet some of our students. Please note there is no particular dress code for the Open Days. You are encouraged to dress comfortably. If I can't come to an Open Day, can I visit the College at another time? Yes, of course. If you tell the Porters at the Gate (the main College entrance) that you are a possible candidate for admission they will let you in without charging the usual tourist entry fee. They will also give you directions to the Admissions Office if you would like to pick up a prospectus or ask for information about admission to the College. The Office is open most of the day (except at weekends), but if it is closed there is always a notice on the door on which you can leave your details. You are welcome to look around the College but we regret that we are unable to arrange conducted tours and the teaching staff are available on official Open Days only. If I visit the College, will I be able to see a student room? We try to arrange for a couple of rooms to be available for visitors to see at Open Days. Unfortunately we can't arrange this at other times - students are living in them! But do take a look at the Undergraduate Accommodation page. Do I have to book a place at an official Open Day? Yes. Places are limited. Booking is essential and begins in February each year. Booking forms can be obtained from the Admissions Office or you can use the online Booking Form. Please note: We regret that we are unable to take bookings for accompanying parents because of the limit on places available, but they are welcome to look round the College. | You are expected to wear informal clothes for an open day. | c |
id_819 | An Open Day When are the next Open Days? The Open Days in 2011 will be held on: Saturday 7 May (Maths only) Monday 27 June (Arts subjects) Tuesday 28 June (Maths, Sciences and Engineering) On 7 May 2011, visitors will also attend the Maths Faculty Open Day in the afternoon. Please see the website below for further details. What happens at an Open Day? The programme includes a talk by the Tutor for Admissions and an opportunity for you to meet members of the teaching staff in the subject or subjects that interest you. There is plenty of chance for you to ask all the Open Days - 7 and 8 July 2011 In conjunction with the University-wide General Open Days, the College will be open on Thursday 7 and Friday 8 July for informal visits between 11.00 am and 4.30 pm. There is no need to book with the College but booking is required for the overall Open Days. For more information about the Open Days and to book a place, please visit the website below. The teaching staff will not be available in College on these dates but you will be able to pick up a copy of the College Prospectus, speak to some of our undergraduates and have a look round. questions you may have. You can also look around the College, have lunch here, and meet some of our students. Please note there is no particular dress code for the Open Days. You are encouraged to dress comfortably. If I can't come to an Open Day, can I visit the College at another time? Yes, of course. If you tell the Porters at the Gate (the main College entrance) that you are a possible candidate for admission they will let you in without charging the usual tourist entry fee. They will also give you directions to the Admissions Office if you would like to pick up a prospectus or ask for information about admission to the College. The Office is open most of the day (except at weekends), but if it is closed there is always a notice on the door on which you can leave your details. You are welcome to look around the College but we regret that we are unable to arrange conducted tours and the teaching staff are available on official Open Days only. If I visit the College, will I be able to see a student room? We try to arrange for a couple of rooms to be available for visitors to see at Open Days. Unfortunately we can't arrange this at other times - students are living in them! But do take a look at the Undergraduate Accommodation page. Do I have to book a place at an official Open Day? Yes. Places are limited. Booking is essential and begins in February each year. Booking forms can be obtained from the Admissions Office or you can use the online Booking Form. Please note: We regret that we are unable to take bookings for accompanying parents because of the limit on places available, but they are welcome to look round the College. | During an open day you can meet students from your intended course. | n |
id_820 | An Open Day When are the next Open Days? The Open Days in 2011 will be held on: Saturday 7 May (Maths only) Monday 27 June (Arts subjects) Tuesday 28 June (Maths, Sciences and Engineering) On 7 May 2011, visitors will also attend the Maths Faculty Open Day in the afternoon. Please see the website below for further details. What happens at an Open Day? The programme includes a talk by the Tutor for Admissions and an opportunity for you to meet members of the teaching staff in the subject or subjects that interest you. There is plenty of chance for you to ask all the Open Days - 7 and 8 July 2011 In conjunction with the University-wide General Open Days, the College will be open on Thursday 7 and Friday 8 July for informal visits between 11.00 am and 4.30 pm. There is no need to book with the College but booking is required for the overall Open Days. For more information about the Open Days and to book a place, please visit the website below. The teaching staff will not be available in College on these dates but you will be able to pick up a copy of the College Prospectus, speak to some of our undergraduates and have a look round. questions you may have. You can also look around the College, have lunch here, and meet some of our students. Please note there is no particular dress code for the Open Days. You are encouraged to dress comfortably. If I can't come to an Open Day, can I visit the College at another time? Yes, of course. If you tell the Porters at the Gate (the main College entrance) that you are a possible candidate for admission they will let you in without charging the usual tourist entry fee. They will also give you directions to the Admissions Office if you would like to pick up a prospectus or ask for information about admission to the College. The Office is open most of the day (except at weekends), but if it is closed there is always a notice on the door on which you can leave your details. You are welcome to look around the College but we regret that we are unable to arrange conducted tours and the teaching staff are available on official Open Days only. If I visit the College, will I be able to see a student room? We try to arrange for a couple of rooms to be available for visitors to see at Open Days. Unfortunately we can't arrange this at other times - students are living in them! But do take a look at the Undergraduate Accommodation page. Do I have to book a place at an official Open Day? Yes. Places are limited. Booking is essential and begins in February each year. Booking forms can be obtained from the Admissions Office or you can use the online Booking Form. Please note: We regret that we are unable to take bookings for accompanying parents because of the limit on places available, but they are welcome to look round the College. | There is an open day for all faculties on the 7th May. | c |
id_821 | An advertisement for a leading racquet manufacturer made the following claim: The last five Wimbledon mens single champions have all changed to Heads new tennis rackets the only racket that uses genuine nano technology in its frame. In that case, isnt now the time to add power to your tennis strokes and to trade in your old racket for a Head? | Nano technology strengthened frames make tennis rackets stronger and allow the player to make more powerful strokes. | c |
id_822 | An advertisement for a leading racquet manufacturer made the following claim: The last five Wimbledon mens single champions have all changed to Heads new tennis rackets the only racket that uses genuine nano technology in its frame. In that case, isnt now the time to add power to your tennis strokes and to trade in your old racket for a Head? | Frames strengthened by nano-technology are used only in Heads new rackets. | c |
id_823 | An advertisement for a leading racquet manufacturer made the following claim: The last five Wimbledon mens single champions have all changed to Heads new tennis rackets the only racket that uses genuine nano technology in its frame. In that case, isnt now the time to add power to your tennis strokes and to trade in your old racket for a Head? | Head tennis rackets helped the last five Wimbledon mens singles champions achieve their status. | e |
id_824 | An advertisement for a leading racquet manufacturer made the following claim: The last five Wimbledon mens single champions have all changed to Heads new tennis rackets the only racket that uses genuine nano technology in its frame. In that case, isnt now the time to add power to your tennis strokes and to trade in your old racket for a Head? | Former Wimbledon champions know a great deal about tennis and their equipment. | c |
id_825 | An advertisement for a leading racquet manufacturer made the following claim: The last five Wimbledon mens single champions have all changed to Heads new tennis racketsthe only racket that uses genuine nano technology in its frame. In that case, isnt now the time to add power to your tennis strokes and to trade in your old racket for a Head? | Head tennis rackets helped the last five Wimbledon mens singles champions achieve their status. | e |
id_826 | An atlas that is attributed to Christopher Saxton and printed around 1580 includes the earliest known printed plan of a city in the modern-day United States. Christopher Saxton was born an Englishman, in fact a Yorkshire man. His atlas contains five coloured charts created by the cartographer Giovanni Battista. They illustrate a survey of England and Wales, and the expedition of Sir Frances Drake to the West Indies and what is now the United States. For many generations the atlas formed part of the library of Sherburne Castle in Oxfordshire. | By stating that the atlas is attributed to Christopher Saxton, the author is hinting that it may in fact not be his work. | c |
id_827 | An atlas that is attributed to Christopher Saxton and printed around 1580 includes the earliest known printed plan of a city in the modern-day United States. Christopher Saxton was born an Englishman, in fact a Yorkshire man. His atlas contains five coloured charts created by the cartographer Giovanni Battista. They illustrate a survey of England and Wales, and the expedition of Sir Frances Drake to the West Indies and what is now the United States. For many generations the atlas formed part of the library of Sherburne Castle in Oxfordshire. | You can infer from the passage that the atlas was multifunctional. | e |
id_828 | An atlas that is attributed to Christopher Saxton and printed around 1580 includes the earliest known printed plan of a city in the modern-day United States. Christopher Saxton was born an Englishman, in fact a Yorkshire man. His atlas contains five coloured charts created by the cartographer Giovanni Battista. They illustrate a survey of England and Wales, and the expedition of Sir Frances Drake to the West Indies and what is now the United States. For many generations the atlas formed part of the library of Sherburne Castle in Oxfordshire. | The volume contains the first printed map of England and Wales. | n |
id_829 | An effective PR campaign requires precise, clear communication between the client and PR officer. The client should disclose detailed information to the PR officer, including the company's history, goals, and current business plan. It is especially important to disclose any potentially problematic issues. The company should be prepared to dedicate the necessary time and resources of its senior management, as well as sufficient finances, to the campaign. The perfect PR message will be consistent, with each new approach reinforcing the key objectives of the company. If new developments do arise, the PR officer should be fully briefed as soon as possible. It is essential to keep to a clear schedule, leaving adequate time available for approval of copy. Seizing opportunities when they arise is key to the success of the campaign. | It is recommended to wait before taking advantage of any new opportunities, to make certain they would be of benefit to the campaign. | c |
id_830 | An effective PR campaign requires precise, clear communication between the client and PR officer. The client should disclose detailed information to the PR officer, including the company's history, goals, and current business plan. It is especially important to disclose any potentially problematic issues. The company should be prepared to dedicate the necessary time and resources of its senior management, as well as sufficient finances, to the campaign. The perfect PR message will be consistent, with each new approach reinforcing the key objectives of the company. If new developments do arise, the PR officer should be fully briefed as soon as possible. It is essential to keep to a clear schedule, leaving adequate time available for approval of copy. Seizing opportunities when they arise is key to the success of the campaign. | Not disclosing a full company history to the PR officer will result in a failed campaign. | n |
id_831 | An effective PR campaign requires precise, clear communication between the client and PR officer. The client should disclose detailed information to the PR officer, including the company's history, goals, and current business plan. It is especially important to disclose any potentially problematic issues. The company should be prepared to dedicate the necessary time and resources of its senior management, as well as sufficient finances, to the campaign. The perfect PR message will be consistent, with each new approach reinforcing the key objectives of the company. If new developments do arise, the PR officer should be fully briefed as soon as possible. It is essential to keep to a clear schedule, leaving adequate time available for approval of copy. Seizing opportunities when they arise is key to the success of the campaign. | The best approach to PR is to be flexible, regularly changing the company's goals to keep the public interested. | c |
id_832 | An eminent science professor was found to be in possession of unidentified human body parts, which were stored in his room in the university. His colleagues recall the professors obsession with his research projects over the past year, and called in the police when the professors daughter-in-law went missing. It is also known that: The professor had not spoken to his son for two years following an argument. The daughter-in-law visited the professor at the university on a regular basis. The professor had a reputation for being a loner and for working all hours in his study. The professor had once spent several months in a reha- bilitation centre. The professors current research project is concerned with the storage of body organs. | The daughter-in-law had gone away following an argument with her husband, the professors son. | n |
id_833 | An eminent science professor was found to be in possession of unidentified human body parts, which were stored in his room in the university. His colleagues recall the professors obsession with his research projects over the past year, and called in the police when the professors daughter-in-law went missing. It is also known that: The professor had not spoken to his son for two years following an argument. The daughter-in-law visited the professor at the university on a regular basis. The professor had a reputation for being a loner and for working all hours in his study. The professor had once spent several months in a reha- bilitation centre. The professors current research project is concerned with the storage of body organs. | The professor could have killed his daughter-in-law for experimental reasons. | e |
id_834 | An eminent science professor was found to be in possession of unidentified human body parts, which were stored in his room in the university. His colleagues recall the professors obsession with his research projects over the past year, and called in the police when the professors daughter-in-law went missing. It is also known that: The professor had not spoken to his son for two years following an argument. The daughter-in-law visited the professor at the university on a regular basis. The professor had a reputation for being a loner and for working all hours in his study. The professor had once spent several months in a reha- bilitation centre. The professors current research project is concerned with the storage of body organs. | The professor had been working hard all year on his research projects. | e |
id_835 | An eminent science professor was found to be in possession of unidentified human body parts, which were stored in his room in the university. His colleagues recall the professors obsession with his research projects over the past year, and called in the police when the professors daughter-in-law went missing. It is also known that: The professor had not spoken to his son for two years following an argument. The daughter-in-law visited the professor at the university on a regular basis. The professor had a reputation for being a loner and for working all hours in his study. The professor had once spent several months in a reha- bilitation centre. The professors current research project is concerned with the storage of body organs. | The professor was once an alcoholic. | n |
id_836 | An eminent science professor was found to be in possession of unidentified human body parts, which were stored in his room in the university. His colleagues recall the professors obsession with his research projects over the past year, and called in the police when the professors daughter-in-law went missing. It is also known that: The professor had not spoken to his son for two years following an argument. The daughter-in-law visited the professor at the university on a regular basis. The professor had a reputation for being a loner and for working all hours in his study. The professor had once spent several months in a reha- bilitation centre. The professors current research project is concerned with the storage of body organs. | The son was the only one who called in the police when his wife went missing. | c |
id_837 | An eminent science professor was found to be in possession of unidentified human body parts, which were stored in his room in the university. His colleagues recall the professors obsession with his research projects over the past year, and called in the police when the professors daughter-in-law went missing. It is also known that: The professor had not spoken to his son for two years following an argument. The daughter-in-law visited the professor at the university on a regular basis. The professor had a reputation for being a loner and for working all hours in his study. The professor had once spent several months in a reha- bilitation centre. The professors current research project is concerned with the storage of body organs. | The professor enjoyed the company of his daughter-in-law. | e |
id_838 | An ever increasing amount of time is spent each year on staff assessment, and the benefits can be numerous. An appraisal can be informative, shedding light on areas of good performance; it can be constructive in that it can give employees an opportunity to consider areas for development within the job; and it can also be motivating by highlighting those skills, abilities and areas of knowledge that the individual has gained from the job. However, the frequency of appraisals is the focus of criticism by some people, who state that assessments do not take place at appropriate times, i. e. in time for an individual to address performance areas in time for a promotion, and therefore it is likely that half of the time spent on assessment is used Ineffectively. | The purpose of staff appraisals is purely to inform. | c |
id_839 | An ever increasing amount of time is spent each year on staff assessment, and the benefits can be numerous. An appraisal can be informative, shedding light on areas of good performance; it can be constructive in that it can give employees an opportunity to consider areas for development within the job; and it can also be motivating by highlighting those skills, abilities and areas of knowledge that the individual has gained from the job. However, the frequency of appraisals is the focus of criticism by some people, who state that assessments do not take place at appropriate times, i. e. in time for an individual to address performance areas in time for a promotion, and therefore it is likely that half of the time spent on assessment is used Ineffectively. | Staff assessment is one of the greatest time consuming aspects of a job. | n |
id_840 | An ever-increasing amount of time is spent each year on staff assessment, and the benefits can be numerous. An appraisal can be informative, shedding light on areas of good performance; it can be constructive in that it can give employees an opportunity to consider areas for development within the job; and it can also be motivating by highlighting those skills, abilities and areas of knowledge that the individual has gained from the job. However, the frequency of appraisals is the focus of criticism by some people, who state that assessments do not take place at appropriate times, i. e. in time for an individual to address performance areas in time for a promotion, and therefore it is likely that half of the time spent on assessment is used ineffectively. | The purpose of staff appraisals is purely to inform. | c |
id_841 | An ever-increasing amount of time is spent each year on staff assessment, and the benefits can be numerous. An appraisal can be informative, shedding light on areas of good performance; it can be constructive in that it can give employees an opportunity to consider areas for development within the job; and it can also be motivating by highlighting those skills, abilities and areas of knowledge that the individual has gained from the job. However, the frequency of appraisals is the focus of criticism by some people, who state that assessments do not take place at appropriate times, i. e. in time for an individual to address performance areas in time for a promotion, and therefore it is likely that half of the time spent on assessment is used ineffectively. | Staff assessment is one of the greatest time consuming aspects of a job. | n |
id_842 | An important skill when working in an office environment is the ability to get on well with those around you. As many people spend the majority of their waking day at work, the ability to be polite and respectful has never been more important. For this reason, when hiring new staff, employers look at the inter-personal skills of possible employees. How well is this person able to get on with those around them? Are they respectful of other people or do they push through their own will at the expense of others? Such skills are also of value in occupations where there is prolonged contact with clients. Many businesses making a lasting impression through the way their staffs represent them, and are unlikely to employ those who make a negative impression. | Respectful individuals are likely to appear attractive to an employer. | e |
id_843 | An important skill when working in an office environment is the ability to get on well with those around you. As many people spend the majority of their waking day at work, the ability to be polite and respectful has never been more important. For this reason, when hiring new staff, employers look at the inter-personal skills of possible employees. How well is this person able to get on with those around them? Are they respectful of other people or do they push through their own will at the expense of others? Such skills are also of value in occupations where there is prolonged contact with clients. Many businesses making a lasting impression through the way their staffs represent them, and are unlikely to employ those who make a negative impression. | Businesses are less likely to employ those who have a negative attitude. | e |
id_844 | An important skill when working in an office environment is the ability to get on well with those around you. As many people spend the majority of their waking day at work, the ability to be polite and respectful has never been more important. For this reason, when hiring new staff, employers look at the inter-personal skills of possible employees. How well is this person able to get on with those around them? Are they respectful of other people or do they push through their own will at the expense of others? Such skills are also of value in occupations where there is prolonged contact with clients. Many businesses making a lasting impression through the way their staffs represent them, and are unlikely to employ those who make a negative impression. | Respectful individuals are more likely to get promoted. | n |
id_845 | An inmate's jailhouse phone call instructing relatives to relay to his attorney his willingness to accept a plea deal is not protected by attorney-client privilege, a federal appeals panel has ruled. The U. S. Court of Appeals for the Second Circuit held that the inmatewho knew that his call was being recorded-did not have a "reasonable expectation of confidentiality" when he told his sister to tell his brother to tell his attorney that he wanted to discuss whether he could "cop out" before an indictment. Because the inmate "was aware that his calls were being recorded, and there is no indication that he could not have contacted his attorney directly without being monitored, the district court did not abuse its discretion in finding there was no reasonable expectation of confidentiality in his communications, " a unanimous circuit panel stated. | The inmate was incarcerated as a result of the evidence relayed in his aforementioned phone conversation. | c |
id_846 | An inmate's jailhouse phone call instructing relatives to relay to his attorney his willingness to accept a plea deal is not protected by attorney-client privilege, a federal appeals panel has ruled. The U. S. Court of Appeals for the Second Circuit held that the inmatewho knew that his call was being recorded-did not have a "reasonable expectation of confidentiality" when he told his sister to tell his brother to tell his attorney that he wanted to discuss whether he could "cop out" before an indictment. Because the inmate "was aware that his calls were being recorded, and there is no indication that he could not have contacted his attorney directly without being monitored, the district court did not abuse its discretion in finding there was no reasonable expectation of confidentiality in his communications, " a unanimous circuit panel stated. | None of the judges in the U. S. Court of Appeals panel thought that the inmate had a reasonable expectation of confidentiality in his conversation. | e |
id_847 | An inmate's jailhouse phone call instructing relatives to relay to his attorney his willingness to accept a plea deal is not protected by attorney-client privilege, a federal appeals panel has ruled. The U. S. Court of Appeals for the Second Circuit held that the inmatewho knew that his call was being recorded-did not have a "reasonable expectation of confidentiality" when he told his sister to tell his brother to tell his attorney that he wanted to discuss whether he could "cop out" before an indictment. Because the inmate "was aware that his calls were being recorded, and there is no indication that he could not have contacted his attorney directly without being monitored, the district court did not abuse its discretion in finding there was no reasonable expectation of confidentiality in his communications, " a unanimous circuit panel stated. | The court found that phone calls made in prison by inmates are not protected by attorney-client privilege. | c |
id_848 | An international protocol on climate change, ratified by the EU, Japan, Canada, and now Russia, aims to reduce greenhouse gas emissions and prevent the more serious ramification of global warming. Current attention is focused on the development of technologies that will give us low-cost renewable energy over the short and longer-term. This will provide the economic incentive to replace fossil fuels in developed and developing countries, leading to a more pervasively low-carbon economy. This is crucial if we are to slow the rate of climate change which can have devastating effect on the flora and fauna on our planet. | The current focus of the international protocol on climate change is to enhance the development of cheap, carbon-based energy sources. | c |
id_849 | An international protocol on climate change, ratified by the EU, Japan, Canada, and now Russia, aims to reduce greenhouse gas emissions and prevent the more serious ramification of global warming. Current attention is focused on the development of technologies that will give us low-cost renewable energy over the short and longer-term. This will provide the economic incentive to replace fossil fuels in developed and developing countries, leading to a more pervasively low-carbon economy. This is crucial if we are to slow the rate of climate change which can have devastating effect on the flora and fauna on our planet. | Before the protocol for climate change was sanctioned, there was less interests in renewable energy sources. | n |
id_850 | An international protocol on climate change, ratified by the EU, Japan, Canada, and now Russia, aims to reduce greenhouse gas emissions and prevent the more serious ramification of global warming. Current attention is focused on the development of technologies that will give us low-cost renewable energy over the short and longer-term. This will provide the economic incentive to replace fossil fuels in developed and developing countries, leading to a more pervasively low-carbon economy. This is crucial if we are to slow the rate of climate change which can have devastating effect on the flora and fauna on our planet. | The consequence of global warming are likely to affect developing countries more than developed ones. | n |
id_851 | An international protocol on climate change, ratified by the EU, Japan, Canada, and now Russia, aims to reduce greenhouse gas emissions and prevent the more serious ramification of global warming. Current attention is focused on the development of technologies that will give us low-cost renewable energy over the short and longer-term. This will provide the economic incentive to replace fossil fuels in developed and developing countries, leading to a more pervasively low-carbon economy. This is crucial if we are to slow the rate of climate change which can have devastating effect on the flora and fauna on our planet. | Fiscal inducements to use renewable energy sources are not expected to have an effect on the pace of climate change. | n |
id_852 | An international protocol on climate change, ratified by the EU, Japan, Canada, and now Russia, aims to reduce greenhouse gas emissions and prevent the more serious ramifications of global warming. Current attention is focused on the development of technologies that will give us low-cost renewable energy over the short and longer-term. This will provide the economic incentive to replace fossil fuels in developed and developing countries, leading to a more pervasively low-carbon economy. This is crucial if we are to slow the rate of climate change which can have devastating effects on the flora and fauna of our planet. | Climate change is likely to have an equally negative effe on plants and animals. | n |
id_853 | An international protocol on climate change, ratified by the EU, Japan, Canada, and now Russia, aims to reduce greenhouse gas emissions and prevent the more serious ramifications of global warming. Current attention is focused on the development of technologies that will give us low-cost renewable energy over the short and longer-term. This will provide the economic incentive to replace fossil fuels in developed and developing countries, leading to a more pervasively low-carbon economy. This is crucial if we are to slow the rate of climate change which can have devastating effects on the flora and fauna of our planet. | The consequences of global warming are likely to affect developing countries more than developed ones. | n |
id_854 | An international protocol on climate change, ratified by the EU, Japan, Canada, and now Russia, aims to reduce greenhouse gas emissions and prevent the more serious ramifications of global warming. Current attention is focused on the development of technologies that will give us low-cost renewable energy over the short and longer-term. This will provide the economic incentive to replace fossil fuels in developed and developing countries, leading to a more pervasively low-carbon economy. This is crucial if we are to slow the rate of climate change which can have devastating effects on the flora and fauna of our planet. | The current Focus of the international protocol on climate change is to enhance the development of cheap. carbon-based energy sources. | c |
id_855 | An international protocol on climate change, ratified by the EU, Japan, Canada, and now Russia, aims to reduce greenhouse gas emissions and prevent the more serious ramifications of global warming. Current attention is focused on the development of technologies that will give us low-cost renewable energy over the short and longer-term. This will provide the economic incentive to replace fossil fuels in developed and developing countries, leading to a more pervasively low-carbon economy. This is crucial if we are to slow the rate of climate change which can have devastating effects on the flora and fauna of our planet. | Before the protocol for climate change was sanctioned, there was less interest in renewable energy sources. | n |
id_856 | An old adage in economics was that When the United States sneezes the rest of the world catches a cold. In the first half of 2007, growth in the United States slowed, while over the same period growth in the Eurozone accelerated and growth in Japan almost doubled. It still is true that the Central Southern American and Canadian economies remain susceptible to the importation of recession from the United States. But the spillover of a US recession to the rest of the world seems less likely these days because the US economy no longer has the same clout as it used to have. | The author would not agree that the US economy accounts for roughly the same proportion of global activity as it did 30 years ago. | n |
id_857 | An old adage in economics was that When the United States sneezes the rest of the world catches a cold. In the first half of 2007, growth in the United States slowed, while over the same period growth in the Eurozone accelerated and growth in Japan almost doubled. It still is true that the Central Southern American and Canadian economies remain susceptible to the importation of recession from the United States. But the spillover of a US recession to the rest of the world seems less likely these days because the US economy no longer has the same clout as it used to have. | It seems we can conclude from the passage that we no longer have to look across the Atlantic or Pacific and panic every time the US cyclical activity takes a turn for the worse. | e |
id_858 | An old adage in economics was that When the United States sneezes the rest of the world catches a cold. In the first half of 2007, growth in the United States slowed, while over the same period growth in the Eurozone accelerated and growth in Japan almost doubled. It still is true that the Central Southern American and Canadian economies remain susceptible to the importation of recession from the United States. But the spillover of a US recession to the rest of the world seems less likely these days because the US economy no longer has the same clout as it used to have. | The fact that the 2001 US recession was accompanied by a sharp slowdown in the rest of the world, while the 1982 US recession was not widely reflected, can be taken to be evidence in support of the hypotheses offered in the passage. | c |
id_859 | An organisations human capital is an intangible asset and as such is difficult to quantify. However, the average cost of voluntary defection can be conservatively estimated at 50,000 per employee, including the expense of recruitment and traiming. As a reduction in staff turnover equates to cost savings, HR practitioners in every mdustry are implementing retention programmes into ther human capital management frameworks. Remuneration ts no longer the simpk solution to retainmg valuable employees. In a recent survey of professionals, over 35 per cent of the respondents rated work/life balance as therr primary career concern. One way for organisations to measure employee satisfaction 1s using attitudinal metrics, the data from which can be used to enact strategic change. The introduction of employee stock options ts another way to increase a workforces commitment and loyalty. When resources are limited, companies can design bespoke retention programmes for ther highest-performing employees. | Strategic change programmes are always based upon employee satisfaction survey results. | c |
id_860 | An organisations human capital is an intangible asset and as such is difficult to quantify. However, the average cost of voluntary defection can be conservatively estimated at 50,000 per employee, including the expense of recruitment and traiming. As a reduction in staff turnover equates to cost savings, HR practitioners in every mdustry are implementing retention programmes into ther human capital management frameworks. Remuneration ts no longer the simpk solution to retainmg valuable employees. In a recent survey of professionals, over 35 per cent of the respondents rated work/life balance as therr primary career concern. One way for organisations to measure employee satisfaction 1s using attitudinal metrics, the data from which can be used to enact strategic change. The introduction of employee stock options ts another way to increase a workforces commitment and loyalty. When resources are limited, companies can design bespoke retention programmes for ther highest-performing employees. | The passage suggests that company stock option schemes engender feelings of belonging amongst participants. | e |
id_861 | An organisations human capital is an intangible asset and as such is difficult to quantify. However, the average cost of voluntary defection can be conservatively estimated at 50,000 per employee, including the expense of recruitment and traiming. As a reduction in staff turnover equates to cost savings, HR practitioners in every mdustry are implementing retention programmes into ther human capital management frameworks. Remuneration ts no longer the simpk solution to retainmg valuable employees. In a recent survey of professionals, over 35 per cent of the respondents rated work/life balance as therr primary career concern. One way for organisations to measure employee satisfaction 1s using attitudinal metrics, the data from which can be used to enact strategic change. The introduction of employee stock options ts another way to increase a workforces commitment and loyalty. When resources are limited, companies can design bespoke retention programmes for ther highest-performing employees. | The cost of implementing a corporate retention scheme can be offSet by saving on staff turnover. | n |
id_862 | An organisations human capital is an intangible asset and as such is difficult to quantify. However, the average cost of voluntary defection can be conservatively estimated at 50,000 per employee, including the expense of recruitment and traiming. As a reduction in staff turnover equates to cost savings, HR practitioners in every mdustry are implementing retention programmes into ther human capital management frameworks. Remuneration ts no longer the simpk solution to retainmg valuable employees. In a recent survey of professionals, over 35 per cent of the respondents rated work/life balance as therr primary career concern. One way for organisations to measure employee satisfaction 1s using attitudinal metrics, the data from which can be used to enact strategic change. The introduction of employee stock options ts another way to increase a workforces commitment and loyalty. When resources are limited, companies can design bespoke retention programmes for ther highest-performing employees. | The passage suggests that financial compensation has been the primary way for organisations to retain high performers. | e |
id_863 | An unprecedented escalation mn oll prices 1s threatening the hegemony of long-distance global supply chains. The cost of shipping goods from overseas has rtsen by 40 per cent, thus eroding the competitive advantage of lower Asian wage costs. Companies that ship bulky, low-added- value goods are seeking alternative logistical solutions to reduce transport costs. One major manufacturer of paper products saved 500,000 gallons of fuel per year by relocating its distribution centres to facilitate shipping by rail. A switch to transportmg wine by barge has enabled one supermarket chan to reduce tts fleet of trucks by 5 per cent. Traditionally, American timber was shipped to China where it was made into furniture and then shipped back to the USA. But m the wake of rising energy costs, moribund domestic furniture-making centres are experiencing resurgence. Likewise, the American steel mdustry has seen production rise by 12 per cent while Chinas steel exports are down by a quarter. | Companies that ship light-weight, high- value products from overseas are immune to rising oil costs. | n |
id_864 | An unprecedented escalation mn oll prices 1s threatening the hegemony of long-distance global supply chains. The cost of shipping goods from overseas has rtsen by 40 per cent, thus eroding the competitive advantage of lower Asian wage costs. Companies that ship bulky, low-added- value goods are seeking alternative logistical solutions to reduce transport costs. One major manufacturer of paper products saved 500,000 gallons of fuel per year by relocating its distribution centres to facilitate shipping by rail. A switch to transportmg wine by barge has enabled one supermarket chan to reduce tts fleet of trucks by 5 per cent. Traditionally, American timber was shipped to China where it was made into furniture and then shipped back to the USA. But m the wake of rising energy costs, moribund domestic furniture-making centres are experiencing resurgence. Likewise, the American steel mdustry has seen production rise by 12 per cent while Chinas steel exports are down by a quarter. | Amertan-produced steel is now cheaper than steel manufactured in China. | n |
id_865 | An unprecedented escalation mn oll prices 1s threatening the hegemony of long-distance global supply chains. The cost of shipping goods from overseas has rtsen by 40 per cent, thus eroding the competitive advantage of lower Asian wage costs. Companies that ship bulky, low-added- value goods are seeking alternative logistical solutions to reduce transport costs. One major manufacturer of paper products saved 500,000 gallons of fuel per year by relocating its distribution centres to facilitate shipping by rail. A switch to transportmg wine by barge has enabled one supermarket chan to reduce tts fleet of trucks by 5 per cent. Traditionally, American timber was shipped to China where it was made into furniture and then shipped back to the USA. But m the wake of rising energy costs, moribund domestic furniture-making centres are experiencing resurgence. Likewise, the American steel mdustry has seen production rise by 12 per cent while Chinas steel exports are down by a quarter. | Amerna has always had a healthy furniture-making mdustry. | c |
id_866 | An unprecedented escalation mn oll prices 1s threatening the hegemony of long-distance global supply chains. The cost of shipping goods from overseas has rtsen by 40 per cent, thus eroding the competitive advantage of lower Asian wage costs. Companies that ship bulky, low-added- value goods are seeking alternative logistical solutions to reduce transport costs. One major manufacturer of paper products saved 500,000 gallons of fuel per year by relocating its distribution centres to facilitate shipping by rail. A switch to transportmg wine by barge has enabled one supermarket chan to reduce tts fleet of trucks by 5 per cent. Traditionally, American timber was shipped to China where it was made into furniture and then shipped back to the USA. But m the wake of rising energy costs, moribund domestic furniture-making centres are experiencing resurgence. Likewise, the American steel mdustry has seen production rise by 12 per cent while Chinas steel exports are down by a quarter. | In certain industries a shift to domestic production is occurrmng. | e |
id_867 | An unprecedented escalation mn oll prices 1s threatening the hegemony of long-distance global supply chains. The cost of shipping goods from overseas has rtsen by 40 per cent, thus eroding the competitive advantage of lower Asian wage costs. Companies that ship bulky, low-added- value goods are seeking alternative logistical solutions to reduce transport costs. One major manufacturer of paper products saved 500,000 gallons of fuel per year by relocating its distribution centres to facilitate shipping by rail. A switch to transportmg wine by barge has enabled one supermarket chan to reduce tts fleet of trucks by 5 per cent. Traditionally, American timber was shipped to China where it was made into furniture and then shipped back to the USA. But m the wake of rising energy costs, moribund domestic furniture-making centres are experiencing resurgence. Likewise, the American steel mdustry has seen production rise by 12 per cent while Chinas steel exports are down by a quarter. | Given the current economic climate goods are no longer beg produced in Asia for export overseas. | c |
id_868 | Ancient Chinese Chariots The Shang Dynasty or Yin Dynasty, according to traditional historiography, ruled in the Yellow River valley in the second millennium Archaeological work at the Ruins of Yin (near modern-day Anyang), which has been identified as the last Shang capital, uncovered eleven major Yin royal tombs and the foundation s of palaces and ritual sites, containing weapons of war and remains from both animal and human sacrifices. The Tomb of Fu Hao is an archaeological site at Yinxu, the ruin s of the ancient Shang Dynasty capital Yin, within the modern city of Anyang in Henan Province, China. Discovered in 1 976, it was identified as the final resting place of the queen and military general Fu Hao. The artifacts unearthed within the grave included jade objects, bone objects, bronze objects etc. These grave goods are confirmed by the oracle texts, which constitute almost all of the first hand written record we possess of the Shang Dynasty. Below the corpse was a small pit holding the remains of six sacrificial dogs and along the edge lay the skeletons of human slaves, evidence of human sacrifice. The Terracotta Army was discovered on 29 March 1974 to the east of Xian in Shaanxi. The terracotta soldiers were accidentally discovered when a group of local farmers was digging a well during a drought around 1.6 km (1 mile) east of the Qin Emperors tomb around at Mount Li (Lishan), a region riddled with underground springs and watercourses. Experts currently place the entire number of soldiers at 8,000 - with 130 chariots (130 cm long), 530 horses and 150 cavalry horses helping to ward of any dangers in the afterlife. In contrast, the burial of Tutankhamun yielded six complete but dismantled chariots of unparalleled richness and sophistication. Each was designed for two people (90 cm long) and had its axle sawn through to enable it to be brought along the narrow corridor into the tomb. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest texts. Wheels were constructed from a variety of woods: elm provided the hub, rose-wood the spokes and oak the felloes. The hub was drilled through to form an empty space into which the tampering axle was fitted, the whole being covered with leather to retain lubricating oil. Though the number of spokes varied, a wheel by the fourth century BC usually had eighteen to thirty-two of them. Records show how elaborate was the testing of each completed wheel: flotation and weighing were regarded as the best measures of balance, but even the empty spaces in the assembly were checked with millet grains. One outstanding constructional asset of the ancient Chinese wheel was dishing. Dishing refers to the dishlike shape of an advanced wooden wheel, which looks rather like a flat cone. On occasion they chose to strengthen a dished wheel with a pair of struts running from rim to rim on each of the hub. As these extra supports were inserted separately into the felloes, they would have added even greater strength to the wheel. Leather wrapped up the edge of the wheel aimed to retain bronze. Within a millennium, however, Chinese chariot-makers had developed a vehicle with shafts, the precursor of the true carriage or cart. This design did not make its appearance in Europe until the end of the Roman Empire. Because the shafts curved upwards, and the harness pressed against a horses shoulders, not his neck, the shaft chariot was incredibly efficient. The halberd was also part of a chariot standard weaponry. This halberd usually measured well over 3 meters in length, which meant that a chariot warrior wielding it sideways could strike down the charioteer in a passing chariot. The speed of chariot which was tested on the sand was quite fast. At speed these passes were very dangerous for the crews of both chariots. The advantages offered by the new chariots were not entirely missed. They could see how there were literally the warring states, whose conflicts lasted down the Qin unification of China. Qin Shi Huang was buried in the most opulent tomb complex ever constructed in China, a sprawling, city-size collection of underground caverns containing everything the emperor would need for the afterlife. Even a collection of terracotta armies called Terra- Cotta Warriors was buried in it. The ancient Chinese, along with many cultures including ancient Egyptians, believed that items and even people buried with a person could be taken with him to the afterlife. | Human skeletons in Anyang tomb were identified ad soldiers who were killed in the war. | c |
id_869 | Ancient Chinese Chariots The Shang Dynasty or Yin Dynasty, according to traditional historiography, ruled in the Yellow River valley in the second millennium Archaeological work at the Ruins of Yin (near modern-day Anyang), which has been identified as the last Shang capital, uncovered eleven major Yin royal tombs and the foundation s of palaces and ritual sites, containing weapons of war and remains from both animal and human sacrifices. The Tomb of Fu Hao is an archaeological site at Yinxu, the ruin s of the ancient Shang Dynasty capital Yin, within the modern city of Anyang in Henan Province, China. Discovered in 1 976, it was identified as the final resting place of the queen and military general Fu Hao. The artifacts unearthed within the grave included jade objects, bone objects, bronze objects etc. These grave goods are confirmed by the oracle texts, which constitute almost all of the first hand written record we possess of the Shang Dynasty. Below the corpse was a small pit holding the remains of six sacrificial dogs and along the edge lay the skeletons of human slaves, evidence of human sacrifice. The Terracotta Army was discovered on 29 March 1974 to the east of Xian in Shaanxi. The terracotta soldiers were accidentally discovered when a group of local farmers was digging a well during a drought around 1.6 km (1 mile) east of the Qin Emperors tomb around at Mount Li (Lishan), a region riddled with underground springs and watercourses. Experts currently place the entire number of soldiers at 8,000 - with 130 chariots (130 cm long), 530 horses and 150 cavalry horses helping to ward of any dangers in the afterlife. In contrast, the burial of Tutankhamun yielded six complete but dismantled chariots of unparalleled richness and sophistication. Each was designed for two people (90 cm long) and had its axle sawn through to enable it to be brought along the narrow corridor into the tomb. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest texts. Wheels were constructed from a variety of woods: elm provided the hub, rose-wood the spokes and oak the felloes. The hub was drilled through to form an empty space into which the tampering axle was fitted, the whole being covered with leather to retain lubricating oil. Though the number of spokes varied, a wheel by the fourth century BC usually had eighteen to thirty-two of them. Records show how elaborate was the testing of each completed wheel: flotation and weighing were regarded as the best measures of balance, but even the empty spaces in the assembly were checked with millet grains. One outstanding constructional asset of the ancient Chinese wheel was dishing. Dishing refers to the dishlike shape of an advanced wooden wheel, which looks rather like a flat cone. On occasion they chose to strengthen a dished wheel with a pair of struts running from rim to rim on each of the hub. As these extra supports were inserted separately into the felloes, they would have added even greater strength to the wheel. Leather wrapped up the edge of the wheel aimed to retain bronze. Within a millennium, however, Chinese chariot-makers had developed a vehicle with shafts, the precursor of the true carriage or cart. This design did not make its appearance in Europe until the end of the Roman Empire. Because the shafts curved upwards, and the harness pressed against a horses shoulders, not his neck, the shaft chariot was incredibly efficient. The halberd was also part of a chariot standard weaponry. This halberd usually measured well over 3 meters in length, which meant that a chariot warrior wielding it sideways could strike down the charioteer in a passing chariot. The speed of chariot which was tested on the sand was quite fast. At speed these passes were very dangerous for the crews of both chariots. The advantages offered by the new chariots were not entirely missed. They could see how there were literally the warring states, whose conflicts lasted down the Qin unification of China. Qin Shi Huang was buried in the most opulent tomb complex ever constructed in China, a sprawling, city-size collection of underground caverns containing everything the emperor would need for the afterlife. Even a collection of terracotta armies called Terra- Cotta Warriors was buried in it. The ancient Chinese, along with many cultures including ancient Egyptians, believed that items and even people buried with a person could be taken with him to the afterlife. | The Terracotta Army was discovered by people lived nearby by chance. | e |
id_870 | Ancient Chinese Chariots The Shang Dynasty or Yin Dynasty, according to traditional historiography, ruled in the Yellow River valley in the second millennium Archaeological work at the Ruins of Yin (near modern-day Anyang), which has been identified as the last Shang capital, uncovered eleven major Yin royal tombs and the foundation s of palaces and ritual sites, containing weapons of war and remains from both animal and human sacrifices. The Tomb of Fu Hao is an archaeological site at Yinxu, the ruin s of the ancient Shang Dynasty capital Yin, within the modern city of Anyang in Henan Province, China. Discovered in 1 976, it was identified as the final resting place of the queen and military general Fu Hao. The artifacts unearthed within the grave included jade objects, bone objects, bronze objects etc. These grave goods are confirmed by the oracle texts, which constitute almost all of the first hand written record we possess of the Shang Dynasty. Below the corpse was a small pit holding the remains of six sacrificial dogs and along the edge lay the skeletons of human slaves, evidence of human sacrifice. The Terracotta Army was discovered on 29 March 1974 to the east of Xian in Shaanxi. The terracotta soldiers were accidentally discovered when a group of local farmers was digging a well during a drought around 1.6 km (1 mile) east of the Qin Emperors tomb around at Mount Li (Lishan), a region riddled with underground springs and watercourses. Experts currently place the entire number of soldiers at 8,000 - with 130 chariots (130 cm long), 530 horses and 150 cavalry horses helping to ward of any dangers in the afterlife. In contrast, the burial of Tutankhamun yielded six complete but dismantled chariots of unparalleled richness and sophistication. Each was designed for two people (90 cm long) and had its axle sawn through to enable it to be brought along the narrow corridor into the tomb. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest texts. Wheels were constructed from a variety of woods: elm provided the hub, rose-wood the spokes and oak the felloes. The hub was drilled through to form an empty space into which the tampering axle was fitted, the whole being covered with leather to retain lubricating oil. Though the number of spokes varied, a wheel by the fourth century BC usually had eighteen to thirty-two of them. Records show how elaborate was the testing of each completed wheel: flotation and weighing were regarded as the best measures of balance, but even the empty spaces in the assembly were checked with millet grains. One outstanding constructional asset of the ancient Chinese wheel was dishing. Dishing refers to the dishlike shape of an advanced wooden wheel, which looks rather like a flat cone. On occasion they chose to strengthen a dished wheel with a pair of struts running from rim to rim on each of the hub. As these extra supports were inserted separately into the felloes, they would have added even greater strength to the wheel. Leather wrapped up the edge of the wheel aimed to retain bronze. Within a millennium, however, Chinese chariot-makers had developed a vehicle with shafts, the precursor of the true carriage or cart. This design did not make its appearance in Europe until the end of the Roman Empire. Because the shafts curved upwards, and the harness pressed against a horses shoulders, not his neck, the shaft chariot was incredibly efficient. The halberd was also part of a chariot standard weaponry. This halberd usually measured well over 3 meters in length, which meant that a chariot warrior wielding it sideways could strike down the charioteer in a passing chariot. The speed of chariot which was tested on the sand was quite fast. At speed these passes were very dangerous for the crews of both chariots. The advantages offered by the new chariots were not entirely missed. They could see how there were literally the warring states, whose conflicts lasted down the Qin unification of China. Qin Shi Huang was buried in the most opulent tomb complex ever constructed in China, a sprawling, city-size collection of underground caverns containing everything the emperor would need for the afterlife. Even a collection of terracotta armies called Terra- Cotta Warriors was buried in it. The ancient Chinese, along with many cultures including ancient Egyptians, believed that items and even people buried with a person could be taken with him to the afterlife. | when discovered, the written records of the grave goods proved to be accurate. | e |
id_871 | Ancient Chinese Chariots The Shang Dynasty or Yin Dynasty, according to traditional historiography, ruled in the Yellow River valley in the second millennium Archaeological work at the Ruins of Yin (near modern-day Anyang), which has been identified as the last Shang capital, uncovered eleven major Yin royal tombs and the foundation s of palaces and ritual sites, containing weapons of war and remains from both animal and human sacrifices. The Tomb of Fu Hao is an archaeological site at Yinxu, the ruin s of the ancient Shang Dynasty capital Yin, within the modern city of Anyang in Henan Province, China. Discovered in 1 976, it was identified as the final resting place of the queen and military general Fu Hao. The artifacts unearthed within the grave included jade objects, bone objects, bronze objects etc. These grave goods are confirmed by the oracle texts, which constitute almost all of the first hand written record we possess of the Shang Dynasty. Below the corpse was a small pit holding the remains of six sacrificial dogs and along the edge lay the skeletons of human slaves, evidence of human sacrifice. The Terracotta Army was discovered on 29 March 1974 to the east of Xian in Shaanxi. The terracotta soldiers were accidentally discovered when a group of local farmers was digging a well during a drought around 1.6 km (1 mile) east of the Qin Emperors tomb around at Mount Li (Lishan), a region riddled with underground springs and watercourses. Experts currently place the entire number of soldiers at 8,000 - with 130 chariots (130 cm long), 530 horses and 150 cavalry horses helping to ward of any dangers in the afterlife. In contrast, the burial of Tutankhamun yielded six complete but dismantled chariots of unparalleled richness and sophistication. Each was designed for two people (90 cm long) and had its axle sawn through to enable it to be brought along the narrow corridor into the tomb. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest texts. Wheels were constructed from a variety of woods: elm provided the hub, rose-wood the spokes and oak the felloes. The hub was drilled through to form an empty space into which the tampering axle was fitted, the whole being covered with leather to retain lubricating oil. Though the number of spokes varied, a wheel by the fourth century BC usually had eighteen to thirty-two of them. Records show how elaborate was the testing of each completed wheel: flotation and weighing were regarded as the best measures of balance, but even the empty spaces in the assembly were checked with millet grains. One outstanding constructional asset of the ancient Chinese wheel was dishing. Dishing refers to the dishlike shape of an advanced wooden wheel, which looks rather like a flat cone. On occasion they chose to strengthen a dished wheel with a pair of struts running from rim to rim on each of the hub. As these extra supports were inserted separately into the felloes, they would have added even greater strength to the wheel. Leather wrapped up the edge of the wheel aimed to retain bronze. Within a millennium, however, Chinese chariot-makers had developed a vehicle with shafts, the precursor of the true carriage or cart. This design did not make its appearance in Europe until the end of the Roman Empire. Because the shafts curved upwards, and the harness pressed against a horses shoulders, not his neck, the shaft chariot was incredibly efficient. The halberd was also part of a chariot standard weaponry. This halberd usually measured well over 3 meters in length, which meant that a chariot warrior wielding it sideways could strike down the charioteer in a passing chariot. The speed of chariot which was tested on the sand was quite fast. At speed these passes were very dangerous for the crews of both chariots. The advantages offered by the new chariots were not entirely missed. They could see how there were literally the warring states, whose conflicts lasted down the Qin unification of China. Qin Shi Huang was buried in the most opulent tomb complex ever constructed in China, a sprawling, city-size collection of underground caverns containing everything the emperor would need for the afterlife. Even a collection of terracotta armies called Terra- Cotta Warriors was buried in it. The ancient Chinese, along with many cultures including ancient Egyptians, believed that items and even people buried with a person could be taken with him to the afterlife. | The size of the King Tutmkhamens tomb is bigger than that of in Qin Emperors tomb. | n |
id_872 | Ancient Chinese Chariots The Shang Dynasty or Yin Dynasty, according to traditional historiography, ruled in the Yellow River valley in the second millennium Archaeological work at the Ruins of Yin (near modern-day Anyang), which has been identified as the last Shang capital, uncovered eleven major Yin royal tombs and the foundations of palaces and ritual sites, containing weapons of war and remains from both animal and human sacrifices. The Tomb of Fu Hao is an archaeological site at Yinxu, the ruins of the ancient Shang Dynasty capital Yin, within the modem city of Anyang in Henan Province, China. Discovered in 1976, it was identified as the final resting place of the queen and military general Fu Hao. The artifacts unearthed within the grave included jade objects, bone objects, bronze objects etc. These grave goods are confirmed by the oracle texts, which constitute almost all of the first hand written record we possess of the Shang Dynasty. Below the corpse was a small pit holding the remains of six sacrificial dogs and along the edge lay the skeletons of human slaves, evidence of human sacrifice. The Terracotta Army was discovered on 29 March 1974 to the east of Xian in Shaanxi. The terracotta soldiers were accidentally discovered when a group of local farmers was digging a well during a drought around 1.6 km (I mile) east of the Qin Emperors tomb around at Mount Li (Lishan), a region riddled with underground springs and watercourses. Experts currently place the entire number of soldiers at 8,000 with 130 chariots (130 cm long), 530 horses and 150 cavalry horses helping to ward of any dangers in the afterlife. In contrast, the burial of Tutank hamun yielded six complete but dismantled chariots of unparalleled richness and sophistication. Each was designed for two people (90 cm long) and had its axle sawn through to enable it to be brought along the narrow corridor into the tomb. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest texts. Wheels were constructed from a variety of woods: elm provided the hub, rose-wood the spokes and oak the felloes. The hub was drilled through to form an empty space into which the tampering axle was fitted, the whole being covered with leather to retain lubricating oil. Though the number of spokes varied, a wheel by the fourth century BC usually had eighteen to thirty-two of them. Records show how elaborate was the testing of each completed wheel: flotation and weighing were regarded as the best measures of balance, but even the empty spaces in the assembly were checked with millet grains. One outstanding constructional asset of the ancient Chinese wheel was dishing. Dishing refers to the dishlike shape of an advanced wooden wheel, which looks rather like a flat cone. On occasion they chose to strengthen a dished wheel with a pair of struts running from rim to rim on each of the hub. As these extra supports were inserted separately into the felloes, they would have added even greater strength to the wheel. Leather wrapped up the edge of the wheel aimed to retain bronze. Within a millennium, however, Chinese chariot-makers had developed a vehicle with shafts, the precursor of the true carriage or cart. This design did not make its appearance in Europe until the end of the Roman Empire. Because the shafts curved upwards, and the harness pressed against a horses shoulders, not his neck, the shaft chariot was incredibly efficient. The halberd was also part of chariot standard weaponry. This halberd usually measured well over 3 metres in length, which meant that a chariot warrior wielding it sideways could strike down the charioteer in a passing chariot. The speed of chariot which was tested on the sand was quite fast. At speed these passes were very dangerous for the crews of both chariots. The advantages offered by the new chariots were not entirely missed. They could see how there were literally the warring states, whose conflicts lasted down the Qin unification of China. Qin Shi Huang was buried in the most opulent tomb complex ever constructed in China, a sprawling, city-size collection of underground caverns containing everything the emperor would need for the afterlife. Even a collection of terracotta armies called Terra- Cotta Warriors was buried in it. The ancient Chinese, along with many cultures including ancient Egyptians, believed that items and even people buried with a person could be taken with him to the afterlife | when discovered, the written records of the grave goods proved to be accurate. | e |
id_873 | Ancient Chinese Chariots The Shang Dynasty or Yin Dynasty, according to traditional historiography, ruled in the Yellow River valley in the second millennium Archaeological work at the Ruins of Yin (near modern-day Anyang), which has been identified as the last Shang capital, uncovered eleven major Yin royal tombs and the foundations of palaces and ritual sites, containing weapons of war and remains from both animal and human sacrifices. The Tomb of Fu Hao is an archaeological site at Yinxu, the ruins of the ancient Shang Dynasty capital Yin, within the modem city of Anyang in Henan Province, China. Discovered in 1976, it was identified as the final resting place of the queen and military general Fu Hao. The artifacts unearthed within the grave included jade objects, bone objects, bronze objects etc. These grave goods are confirmed by the oracle texts, which constitute almost all of the first hand written record we possess of the Shang Dynasty. Below the corpse was a small pit holding the remains of six sacrificial dogs and along the edge lay the skeletons of human slaves, evidence of human sacrifice. The Terracotta Army was discovered on 29 March 1974 to the east of Xian in Shaanxi. The terracotta soldiers were accidentally discovered when a group of local farmers was digging a well during a drought around 1.6 km (I mile) east of the Qin Emperors tomb around at Mount Li (Lishan), a region riddled with underground springs and watercourses. Experts currently place the entire number of soldiers at 8,000 with 130 chariots (130 cm long), 530 horses and 150 cavalry horses helping to ward of any dangers in the afterlife. In contrast, the burial of Tutank hamun yielded six complete but dismantled chariots of unparalleled richness and sophistication. Each was designed for two people (90 cm long) and had its axle sawn through to enable it to be brought along the narrow corridor into the tomb. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest texts. Wheels were constructed from a variety of woods: elm provided the hub, rose-wood the spokes and oak the felloes. The hub was drilled through to form an empty space into which the tampering axle was fitted, the whole being covered with leather to retain lubricating oil. Though the number of spokes varied, a wheel by the fourth century BC usually had eighteen to thirty-two of them. Records show how elaborate was the testing of each completed wheel: flotation and weighing were regarded as the best measures of balance, but even the empty spaces in the assembly were checked with millet grains. One outstanding constructional asset of the ancient Chinese wheel was dishing. Dishing refers to the dishlike shape of an advanced wooden wheel, which looks rather like a flat cone. On occasion they chose to strengthen a dished wheel with a pair of struts running from rim to rim on each of the hub. As these extra supports were inserted separately into the felloes, they would have added even greater strength to the wheel. Leather wrapped up the edge of the wheel aimed to retain bronze. Within a millennium, however, Chinese chariot-makers had developed a vehicle with shafts, the precursor of the true carriage or cart. This design did not make its appearance in Europe until the end of the Roman Empire. Because the shafts curved upwards, and the harness pressed against a horses shoulders, not his neck, the shaft chariot was incredibly efficient. The halberd was also part of chariot standard weaponry. This halberd usually measured well over 3 metres in length, which meant that a chariot warrior wielding it sideways could strike down the charioteer in a passing chariot. The speed of chariot which was tested on the sand was quite fast. At speed these passes were very dangerous for the crews of both chariots. The advantages offered by the new chariots were not entirely missed. They could see how there were literally the warring states, whose conflicts lasted down the Qin unification of China. Qin Shi Huang was buried in the most opulent tomb complex ever constructed in China, a sprawling, city-size collection of underground caverns containing everything the emperor would need for the afterlife. Even a collection of terracotta armies called Terra- Cotta Warriors was buried in it. The ancient Chinese, along with many cultures including ancient Egyptians, believed that items and even people buried with a person could be taken with him to the afterlife | The size of the King Tutankhamens tomb is bigger than that of in Qin Emperors tomb. | n |
id_874 | Ancient Chinese Chariots The Shang Dynasty or Yin Dynasty, according to traditional historiography, ruled in the Yellow River valley in the second millennium Archaeological work at the Ruins of Yin (near modern-day Anyang), which has been identified as the last Shang capital, uncovered eleven major Yin royal tombs and the foundations of palaces and ritual sites, containing weapons of war and remains from both animal and human sacrifices. The Tomb of Fu Hao is an archaeological site at Yinxu, the ruins of the ancient Shang Dynasty capital Yin, within the modem city of Anyang in Henan Province, China. Discovered in 1976, it was identified as the final resting place of the queen and military general Fu Hao. The artifacts unearthed within the grave included jade objects, bone objects, bronze objects etc. These grave goods are confirmed by the oracle texts, which constitute almost all of the first hand written record we possess of the Shang Dynasty. Below the corpse was a small pit holding the remains of six sacrificial dogs and along the edge lay the skeletons of human slaves, evidence of human sacrifice. The Terracotta Army was discovered on 29 March 1974 to the east of Xian in Shaanxi. The terracotta soldiers were accidentally discovered when a group of local farmers was digging a well during a drought around 1.6 km (I mile) east of the Qin Emperors tomb around at Mount Li (Lishan), a region riddled with underground springs and watercourses. Experts currently place the entire number of soldiers at 8,000 with 130 chariots (130 cm long), 530 horses and 150 cavalry horses helping to ward of any dangers in the afterlife. In contrast, the burial of Tutank hamun yielded six complete but dismantled chariots of unparalleled richness and sophistication. Each was designed for two people (90 cm long) and had its axle sawn through to enable it to be brought along the narrow corridor into the tomb. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest texts. Wheels were constructed from a variety of woods: elm provided the hub, rose-wood the spokes and oak the felloes. The hub was drilled through to form an empty space into which the tampering axle was fitted, the whole being covered with leather to retain lubricating oil. Though the number of spokes varied, a wheel by the fourth century BC usually had eighteen to thirty-two of them. Records show how elaborate was the testing of each completed wheel: flotation and weighing were regarded as the best measures of balance, but even the empty spaces in the assembly were checked with millet grains. One outstanding constructional asset of the ancient Chinese wheel was dishing. Dishing refers to the dishlike shape of an advanced wooden wheel, which looks rather like a flat cone. On occasion they chose to strengthen a dished wheel with a pair of struts running from rim to rim on each of the hub. As these extra supports were inserted separately into the felloes, they would have added even greater strength to the wheel. Leather wrapped up the edge of the wheel aimed to retain bronze. Within a millennium, however, Chinese chariot-makers had developed a vehicle with shafts, the precursor of the true carriage or cart. This design did not make its appearance in Europe until the end of the Roman Empire. Because the shafts curved upwards, and the harness pressed against a horses shoulders, not his neck, the shaft chariot was incredibly efficient. The halberd was also part of chariot standard weaponry. This halberd usually measured well over 3 metres in length, which meant that a chariot warrior wielding it sideways could strike down the charioteer in a passing chariot. The speed of chariot which was tested on the sand was quite fast. At speed these passes were very dangerous for the crews of both chariots. The advantages offered by the new chariots were not entirely missed. They could see how there were literally the warring states, whose conflicts lasted down the Qin unification of China. Qin Shi Huang was buried in the most opulent tomb complex ever constructed in China, a sprawling, city-size collection of underground caverns containing everything the emperor would need for the afterlife. Even a collection of terracotta armies called Terra- Cotta Warriors was buried in it. The ancient Chinese, along with many cultures including ancient Egyptians, believed that items and even people buried with a person could be taken with him to the afterlife | The Terracotta Army was discovered by people lived nearby by chance. | e |
id_875 | Ancient Chinese Chariots The Shang Dynasty or Yin Dynasty, according to traditional historiography, ruled in the Yellow River valley in the second millennium Archaeological work at the Ruins of Yin (near modern-day Anyang), which has been identified as the last Shang capital, uncovered eleven major Yin royal tombs and the foundations of palaces and ritual sites, containing weapons of war and remains from both animal and human sacrifices. The Tomb of Fu Hao is an archaeological site at Yinxu, the ruins of the ancient Shang Dynasty capital Yin, within the modem city of Anyang in Henan Province, China. Discovered in 1976, it was identified as the final resting place of the queen and military general Fu Hao. The artifacts unearthed within the grave included jade objects, bone objects, bronze objects etc. These grave goods are confirmed by the oracle texts, which constitute almost all of the first hand written record we possess of the Shang Dynasty. Below the corpse was a small pit holding the remains of six sacrificial dogs and along the edge lay the skeletons of human slaves, evidence of human sacrifice. The Terracotta Army was discovered on 29 March 1974 to the east of Xian in Shaanxi. The terracotta soldiers were accidentally discovered when a group of local farmers was digging a well during a drought around 1.6 km (I mile) east of the Qin Emperors tomb around at Mount Li (Lishan), a region riddled with underground springs and watercourses. Experts currently place the entire number of soldiers at 8,000 with 130 chariots (130 cm long), 530 horses and 150 cavalry horses helping to ward of any dangers in the afterlife. In contrast, the burial of Tutank hamun yielded six complete but dismantled chariots of unparalleled richness and sophistication. Each was designed for two people (90 cm long) and had its axle sawn through to enable it to be brought along the narrow corridor into the tomb. Excavation of ancient Chinese chariots has confirmed the descriptions of them in the earliest texts. Wheels were constructed from a variety of woods: elm provided the hub, rose-wood the spokes and oak the felloes. The hub was drilled through to form an empty space into which the tampering axle was fitted, the whole being covered with leather to retain lubricating oil. Though the number of spokes varied, a wheel by the fourth century BC usually had eighteen to thirty-two of them. Records show how elaborate was the testing of each completed wheel: flotation and weighing were regarded as the best measures of balance, but even the empty spaces in the assembly were checked with millet grains. One outstanding constructional asset of the ancient Chinese wheel was dishing. Dishing refers to the dishlike shape of an advanced wooden wheel, which looks rather like a flat cone. On occasion they chose to strengthen a dished wheel with a pair of struts running from rim to rim on each of the hub. As these extra supports were inserted separately into the felloes, they would have added even greater strength to the wheel. Leather wrapped up the edge of the wheel aimed to retain bronze. Within a millennium, however, Chinese chariot-makers had developed a vehicle with shafts, the precursor of the true carriage or cart. This design did not make its appearance in Europe until the end of the Roman Empire. Because the shafts curved upwards, and the harness pressed against a horses shoulders, not his neck, the shaft chariot was incredibly efficient. The halberd was also part of chariot standard weaponry. This halberd usually measured well over 3 metres in length, which meant that a chariot warrior wielding it sideways could strike down the charioteer in a passing chariot. The speed of chariot which was tested on the sand was quite fast. At speed these passes were very dangerous for the crews of both chariots. The advantages offered by the new chariots were not entirely missed. They could see how there were literally the warring states, whose conflicts lasted down the Qin unification of China. Qin Shi Huang was buried in the most opulent tomb complex ever constructed in China, a sprawling, city-size collection of underground caverns containing everything the emperor would need for the afterlife. Even a collection of terracotta armies called Terra- Cotta Warriors was buried in it. The ancient Chinese, along with many cultures including ancient Egyptians, believed that items and even people buried with a person could be taken with him to the afterlife | Human skeletons in Anyang tomb were identified ad soldiers who were killed in the war. | c |
id_876 | Andre jumps higher than Rodney. James jumps higher than Andre. | Rodney jumps higher than James. | c |
id_877 | Andrea Palladio: Italian architect A new exhibition celebrates Palladios architecture 500years on Vicenza is a pleasant, prosperous city in the Veneto, 60km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born in Padua, to be precise500 years ago, the International Centre for the Study of Palladio's Architecture has an excellent excuse for mounting la grande mostra, the big show. The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto. Its bold facade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio's design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it. Palladio's father was a miller who settled inVicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller's son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman and Greek architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael. Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co-opt talented artists, and Palladio was given the chance to design the buildings that have made him famous the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city's historical centre across a stretch of water. He tried his hand at bridgeshis unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio's first foreign disciple, this is not as surprising as it sounds. Jones, who visited Italy in 1614, bought a trunk full of the master's architectural drawings; they passed through the hands of the Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps. Palladio's work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio's reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell' Architettura". His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello. H. Vicenza's show contains detailed models of the major buildings and is leavened by portraits of Palladio's teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history's most therapeutic architect. "Palladio, 500 Anni: La Grande Mostra" is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid. | Palladios family refused to pay for his architectural studies | n |
id_878 | Andrea Palladio: Italian architect A new exhibition celebrates Palladios architecture 500years on Vicenza is a pleasant, prosperous city in the Veneto, 60km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born in Padua, to be precise500 years ago, the International Centre for the Study of Palladio's Architecture has an excellent excuse for mounting la grande mostra, the big show. The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto. Its bold facade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio's design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it. Palladio's father was a miller who settled inVicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller's son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman and Greek architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael. Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co-opt talented artists, and Palladio was given the chance to design the buildings that have made him famous the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city's historical centre across a stretch of water. He tried his hand at bridgeshis unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio's first foreign disciple, this is not as surprising as it sounds. Jones, who visited Italy in 1614, bought a trunk full of the master's architectural drawings; they passed through the hands of the Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps. Palladio's work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio's reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell' Architettura". His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello. H. Vicenza's show contains detailed models of the major buildings and is leavened by portraits of Palladio's teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history's most therapeutic architect. "Palladio, 500 Anni: La Grande Mostra" is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid. | The building where the exhibition is staged has been newly renovated | n |
id_879 | Andrea Palladio: Italian architect A new exhibition celebrates Palladios architecture 500years on Vicenza is a pleasant, prosperous city in the Veneto, 60km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born in Padua, to be precise500 years ago, the International Centre for the Study of Palladio's Architecture has an excellent excuse for mounting la grande mostra, the big show. The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto. Its bold facade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio's design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it. Palladio's father was a miller who settled inVicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller's son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman and Greek architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael. Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co-opt talented artists, and Palladio was given the chance to design the buildings that have made him famous the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city's historical centre across a stretch of water. He tried his hand at bridgeshis unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio's first foreign disciple, this is not as surprising as it sounds. Jones, who visited Italy in 1614, bought a trunk full of the master's architectural drawings; they passed through the hands of the Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps. Palladio's work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio's reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell' Architettura". His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello. H. Vicenza's show contains detailed models of the major buildings and is leavened by portraits of Palladio's teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history's most therapeutic architect. "Palladio, 500 Anni: La Grande Mostra" is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid. | Palazzo Barbaran da Porto typically represent the Palladios design | e |
id_880 | Andrea Palladio: Italian architect A new exhibition celebrates Palladios architecture 500years on Vicenza is a pleasant, prosperous city in the Veneto, 60km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born in Padua, to be precise500 years ago, the International Centre for the Study of Palladio's Architecture has an excellent excuse for mounting la grande mostra, the big show. The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto. Its bold facade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio's design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it. Palladio's father was a miller who settled inVicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller's son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman and Greek architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael. Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co-opt talented artists, and Palladio was given the chance to design the buildings that have made him famous the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city's historical centre across a stretch of water. He tried his hand at bridgeshis unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio's first foreign disciple, this is not as surprising as it sounds. Jones, who visited Italy in 1614, bought a trunk full of the master's architectural drawings; they passed through the hands of the Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps. Palladio's work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio's reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell' Architettura". His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello. H. Vicenza's show contains detailed models of the major buildings and is leavened by portraits of Palladio's teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history's most therapeutic architect. "Palladio, 500 Anni: La Grande Mostra" is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid. | Palladio designed both wealthy and poor people | e |
id_881 | Andrea Palladio: Italian architect A new exhibition celebrates Palladios architecture 500years on Vicenza is a pleasant, prosperous city in the Veneto, 60km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born in Padua, to be precise500 years ago, the International Centre for the Study of Palladio's Architecture has an excellent excuse for mounting la grande mostra, the big show. The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto. Its bold facade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio's design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it. Palladio's father was a miller who settled inVicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller's son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman and Greek architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael. Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co-opt talented artists, and Palladio was given the chance to design the buildings that have made him famous the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city's historical centre across a stretch of water. He tried his hand at bridgeshis unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio's first foreign disciple, this is not as surprising as it sounds. Jones, who visited Italy in 1614, bought a trunk full of the master's architectural drawings; they passed through the hands of the Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps. Palladio's work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio's reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell' Architettura". His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello. H. Vicenza's show contains detailed models of the major buildings and is leavened by portraits of Palladio's teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history's most therapeutic architect. "Palladio, 500 Anni: La Grande Mostra" is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid. | Palladios father worked as an architect. | c |
id_882 | Andrea Palladio: Italian architect A new exhibition celebrates Palladios architecture 500years on Vicenza is a pleasant, prosperous city in the Veneto, 60km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born in Padua, to be precise500 years ago, the International Centre for the Study of Palladio's Architecture has an excellent excuse for mounting la grande mostra, the big show. The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto. Its bold facade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio's design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it. Palladio's father was a miller who settled inVicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller's son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman and Greek architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael. Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co-opt talented artists, and Palladio was given the chance to design the buildings that have made him famous the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city's historical centre across a stretch of water. He tried his hand at bridgeshis unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio's first foreign disciple, this is not as surprising as it sounds. Jones, who visited Italy in 1614, bought a trunk full of the master's architectural drawings; they passed through the hands of the Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps. Palladio's work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio's reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell' Architettura". His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello. H. Vicenza's show contains detailed models of the major buildings and is leavened by portraits of Palladio's teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history's most therapeutic architect. "Palladio, 500 Anni: La Grande Mostra" is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid. | Palladios alternative design for the Ducal Palace in Venice was based on an English building. | c |
id_883 | Andrea Palladio: Italian architect A new exhibition celebrates Palladios architecture 500years on Vicenza is a pleasant, prosperous city in the Veneto, 60km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born in Padua, to be precise500 years ago, the International Centre for the Study of Palladio's Architecture has an excellent excuse for mounting la grande mostra, the big show. The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto. Its bold facade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio's design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it. Palladio's father was a miller who settled inVicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller's son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman and Greek architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael. Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co-opt talented artists, and Palladio was given the chance to design the buildings that have made him famous the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city's historical centre across a stretch of water. He tried his hand at bridgeshis unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio's first foreign disciple, this is not as surprising as it sounds. Jones, who visited Italy in 1614, bought a trunk full of the master's architectural drawings; they passed through the hands of the Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps. Palladio's work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio's reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell' Architettura". His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello. H. Vicenza's show contains detailed models of the major buildings and is leavened by portraits of Palladio's teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history's most therapeutic architect. "Palladio, 500 Anni: La Grande Mostra" is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid. | The exhibition includes paintings of people by famous artists | e |
id_884 | Andy, Betty, Charles, Diana, Edward, Fay, George, Hope. In an average hurricane season meteorologists in the Atlantic expect to name nine tropical storms. The christening of storms began when weather forecasts were broadcast over shortwave radio and naming them helped mariners to keep track of the weather system. The tradition evolved so that each successive storm was given a name beginning with successive letters of the alphabet. Initially only girls names were used but later this was changed so that the names alternated from boy to girl names. If a named storm turns out to be particularly savage then the name may be dropped and not used in future years. The same system of naming storms is adopted in the north and south Pacific forecast regions. | The list of names at the beginning of the passage could be the list of names used in a year that experienced an average hurricane season. | c |
id_885 | Andy, Betty, Charles, Diana, Edward, Fay, George, Hope. In an average hurricane season meteorologists in the Atlantic expect to name nine tropical storms. The christening of storms began when weather forecasts were broadcast over shortwave radio and naming them helped mariners to keep track of the weather system. The tradition evolved so that each successive storm was given a name beginning with successive letters of the alphabet. Initially only girls names were used but later this was changed so that the names alternated from boy to girl names. If a named storm turns out to be particularly savage then the name may be dropped and not used in future years. The same system of naming storms is adopted in the north and south Pacific forecast regions. | When weather forecasts were broadcast over short wave radio the storms were only given girls names. | n |
id_886 | Anesthesiology Since the beginning of time, man has sought natural remedies for pain. Between 40 and 60 A. D. , Greek physician, Dioscorides traveled with the Roman armies, studying the medicinal properties of plants and minerals. His book, De materia medica, written in five volumes and translated into at least seven languages, was the primary reference source for physicians for over sixteen centuries. The field of anesthesiology1, which was once nothing more than a list of medicinal plants and makeshift remedies, has grown into one of the most important fields in medicine. Many of the early pain relievers were based on myth and did little to relieve the suffering of an ill or injured person. The mandragora (now known as the mandrake plant) was one of the first plants to be used as an anesthetic1. Due to the apparent screaming that the plant made as it was pulled from the ground, people in the Middle Ages believed that the person who removed the mandrake from the earth would either die or go insane. This superstition may have resulted because the split root of the mandrake resembled the human form. In order to pull the root from the ground, the plant collector would loosen it and tie the stem to an animal. It was believed that the safest time to uproot a mandrake was in the moonlight, and the best animal to use was a black dog. In his manual, Dioscorides suggested boiling the root with wine and having a man drink the potion to remove sensation before cutting his flesh or burning his skin. Opium and Indian hemp were later used to induce sleep before a painful procedure or to relieve the pain of an illness. Other remedies such as cocaine did more harm to the patient than good as people died from their addictions. President Ulysses S. Grant became addicted to cocaine before he died of throat cancer in 1885. The modern field of anesthetics dates to the incident when nitrous oxide (more commonly known as laughing gas) was accidentally discovered. Humphrey Davy, the inventor of the miner's lamp, discovered that inhaling the toxic compound caused a strange euphoria, followed by fits of laughter, tears, and sometimes unconsciousness. U. S. dentist, Horace Wells, was the first on record to experiment with laughing gas, which he used in 1844 to relieve pain during a tooth extraction. Two years later. Dr. William Morton created the first anesthetic machine. This apparatus was a simple glass globe containing an ether-soaked sponge. Morton considered ether a good alternative to nitrous oxide because the numbing effect lasted considerably longer. His apparatus allowed the patient to inhale vapors1 whenever the pain became unbearable. In 1846, during a trial experiment in Boston, a tumor2 was successfully removed from a man's jaw area while he was anesthetized with Morton's machine. The first use of anesthesia in the obstetric field occurred in Scotland by Dr. James Simpson. Instead of ether, which he considered irritating to the eyes, Simpson administered chloroform to reduce the pain of childbirth. Simpson sprinkled chloroform on a handkerchief and allowed laboring3 women to inhale the fumes at their own discretion. In 1853, Oueen Victoria agreed to use chloroform during the birth of her eighth child. Soon the use of chloroform during childbirth was both acceptable and fashionable. # However, as chloroform became a more popular anesthetic, knowledge of its toxicity surfaced, and it was soon obsolete. After World War II, numerous developments were made in the field of anesthetics. Surgical procedures that had been unthinkable were being performed with little or no pain felt by the patient. Rather than physicians or nurses who administered pain relief as part of their profession, anesthesiologists became specialists in suppressing consciousness and alleviating pain. Anesthesiologists today are classified as perioperative physicians, meaning they take care of a patient before, during, and after surgical procedures. It takes over eight years of schooling and four years of residency until an anesthesiologist is prepared to practice in the United States. These experts are trained to administer three different types of anesthetics: general, local, and regional. General anesthetic is used to put a patient into a temporary state of unconsciousness. Local anesthetic is used only at the affected site and causes a loss of sensation. Regional anesthetic is used to block the sensation and possibly the movement of a larger portion of the body. As well as controlling the levels of pain for the patient before and throughout an operation, anesthesiologists are responsible for monitoring and controlling the patient's vital functions during the procedure and assessing the medical needs in the post-operative room. The number of anesthesiologists in the United States has more than doubled since the 1970s, as has the improvement and success of operative care, in addition, complications from anesthesiology have declined dramatically. Over 40 million anesthetics are administered in the United States each year, with only 1 in 250,000 causing death. | Dioscorides' booh, De materiamedica, fell out of use after 60 A. D. | c |
id_887 | Anesthesiology Since the beginning of time, man has sought natural remedies for pain. Between 40 and 60 A. D. , Greek physician, Dioscorides traveled with the Roman armies, studying the medicinal properties of plants and minerals. His book, De materia medica, written in five volumes and translated into at least seven languages, was the primary reference source for physicians for over sixteen centuries. The field of anesthesiology1, which was once nothing more than a list of medicinal plants and makeshift remedies, has grown into one of the most important fields in medicine. Many of the early pain relievers were based on myth and did little to relieve the suffering of an ill or injured person. The mandragora (now known as the mandrake plant) was one of the first plants to be used as an anesthetic1. Due to the apparent screaming that the plant made as it was pulled from the ground, people in the Middle Ages believed that the person who removed the mandrake from the earth would either die or go insane. This superstition may have resulted because the split root of the mandrake resembled the human form. In order to pull the root from the ground, the plant collector would loosen it and tie the stem to an animal. It was believed that the safest time to uproot a mandrake was in the moonlight, and the best animal to use was a black dog. In his manual, Dioscorides suggested boiling the root with wine and having a man drink the potion to remove sensation before cutting his flesh or burning his skin. Opium and Indian hemp were later used to induce sleep before a painful procedure or to relieve the pain of an illness. Other remedies such as cocaine did more harm to the patient than good as people died from their addictions. President Ulysses S. Grant became addicted to cocaine before he died of throat cancer in 1885. The modern field of anesthetics dates to the incident when nitrous oxide (more commonly known as laughing gas) was accidentally discovered. Humphrey Davy, the inventor of the miner's lamp, discovered that inhaling the toxic compound caused a strange euphoria, followed by fits of laughter, tears, and sometimes unconsciousness. U. S. dentist, Horace Wells, was the first on record to experiment with laughing gas, which he used in 1844 to relieve pain during a tooth extraction. Two years later. Dr. William Morton created the first anesthetic machine. This apparatus was a simple glass globe containing an ether-soaked sponge. Morton considered ether a good alternative to nitrous oxide because the numbing effect lasted considerably longer. His apparatus allowed the patient to inhale vapors1 whenever the pain became unbearable. In 1846, during a trial experiment in Boston, a tumor2 was successfully removed from a man's jaw area while he was anesthetized with Morton's machine. The first use of anesthesia in the obstetric field occurred in Scotland by Dr. James Simpson. Instead of ether, which he considered irritating to the eyes, Simpson administered chloroform to reduce the pain of childbirth. Simpson sprinkled chloroform on a handkerchief and allowed laboring3 women to inhale the fumes at their own discretion. In 1853, Oueen Victoria agreed to use chloroform during the birth of her eighth child. Soon the use of chloroform during childbirth was both acceptable and fashionable. # However, as chloroform became a more popular anesthetic, knowledge of its toxicity surfaced, and it was soon obsolete. After World War II, numerous developments were made in the field of anesthetics. Surgical procedures that had been unthinkable were being performed with little or no pain felt by the patient. Rather than physicians or nurses who administered pain relief as part of their profession, anesthesiologists became specialists in suppressing consciousness and alleviating pain. Anesthesiologists today are classified as perioperative physicians, meaning they take care of a patient before, during, and after surgical procedures. It takes over eight years of schooling and four years of residency until an anesthesiologist is prepared to practice in the United States. These experts are trained to administer three different types of anesthetics: general, local, and regional. General anesthetic is used to put a patient into a temporary state of unconsciousness. Local anesthetic is used only at the affected site and causes a loss of sensation. Regional anesthetic is used to block the sensation and possibly the movement of a larger portion of the body. As well as controlling the levels of pain for the patient before and throughout an operation, anesthesiologists are responsible for monitoring and controlling the patient's vital functions during the procedure and assessing the medical needs in the post-operative room. The number of anesthesiologists in the United States has more than doubled since the 1970s, as has the improvement and success of operative care, in addition, complications from anesthesiology have declined dramatically. Over 40 million anesthetics are administered in the United States each year, with only 1 in 250,000 causing death. | Mandragora was used as an anesthetic during the Middle Ages. | e |
id_888 | Anesthesiology Since the beginning of time, man has sought natural remedies for pain. Between 40 and 60 A. D. , Greek physician, Dioscorides traveled with the Roman armies, studying the medicinal properties of plants and minerals. His book, De materia medica, written in five volumes and translated into at least seven languages, was the primary reference source for physicians for over sixteen centuries. The field of anesthesiology1, which was once nothing more than a list of medicinal plants and makeshift remedies, has grown into one of the most important fields in medicine. Many of the early pain relievers were based on myth and did little to relieve the suffering of an ill or injured person. The mandragora (now known as the mandrake plant) was one of the first plants to be used as an anesthetic1. Due to the apparent screaming that the plant made as it was pulled from the ground, people in the Middle Ages believed that the person who removed the mandrake from the earth would either die or go insane. This superstition may have resulted because the split root of the mandrake resembled the human form. In order to pull the root from the ground, the plant collector would loosen it and tie the stem to an animal. It was believed that the safest time to uproot a mandrake was in the moonlight, and the best animal to use was a black dog. In his manual, Dioscorides suggested boiling the root with wine and having a man drink the potion to remove sensation before cutting his flesh or burning his skin. Opium and Indian hemp were later used to induce sleep before a painful procedure or to relieve the pain of an illness. Other remedies such as cocaine did more harm to the patient than good as people died from their addictions. President Ulysses S. Grant became addicted to cocaine before he died of throat cancer in 1885. The modern field of anesthetics dates to the incident when nitrous oxide (more commonly known as laughing gas) was accidentally discovered. Humphrey Davy, the inventor of the miner's lamp, discovered that inhaling the toxic compound caused a strange euphoria, followed by fits of laughter, tears, and sometimes unconsciousness. U. S. dentist, Horace Wells, was the first on record to experiment with laughing gas, which he used in 1844 to relieve pain during a tooth extraction. Two years later. Dr. William Morton created the first anesthetic machine. This apparatus was a simple glass globe containing an ether-soaked sponge. Morton considered ether a good alternative to nitrous oxide because the numbing effect lasted considerably longer. His apparatus allowed the patient to inhale vapors1 whenever the pain became unbearable. In 1846, during a trial experiment in Boston, a tumor2 was successfully removed from a man's jaw area while he was anesthetized with Morton's machine. The first use of anesthesia in the obstetric field occurred in Scotland by Dr. James Simpson. Instead of ether, which he considered irritating to the eyes, Simpson administered chloroform to reduce the pain of childbirth. Simpson sprinkled chloroform on a handkerchief and allowed laboring3 women to inhale the fumes at their own discretion. In 1853, Oueen Victoria agreed to use chloroform during the birth of her eighth child. Soon the use of chloroform during childbirth was both acceptable and fashionable. # However, as chloroform became a more popular anesthetic, knowledge of its toxicity surfaced, and it was soon obsolete. After World War II, numerous developments were made in the field of anesthetics. Surgical procedures that had been unthinkable were being performed with little or no pain felt by the patient. Rather than physicians or nurses who administered pain relief as part of their profession, anesthesiologists became specialists in suppressing consciousness and alleviating pain. Anesthesiologists today are classified as perioperative physicians, meaning they take care of a patient before, during, and after surgical procedures. It takes over eight years of schooling and four years of residency until an anesthesiologist is prepared to practice in the United States. These experts are trained to administer three different types of anesthetics: general, local, and regional. General anesthetic is used to put a patient into a temporary state of unconsciousness. Local anesthetic is used only at the affected site and causes a loss of sensation. Regional anesthetic is used to block the sensation and possibly the movement of a larger portion of the body. As well as controlling the levels of pain for the patient before and throughout an operation, anesthesiologists are responsible for monitoring and controlling the patient's vital functions during the procedure and assessing the medical needs in the post-operative room. The number of anesthesiologists in the United States has more than doubled since the 1970s, as has the improvement and success of operative care, in addition, complications from anesthesiology have declined dramatically. Over 40 million anesthetics are administered in the United States each year, with only 1 in 250,000 causing death. | During the second half of the 19th century, most dentists used anesthesia. | n |
id_889 | Anesthesiology Since the beginning of time, man has sought natural remedies for pain. Between 40 and 60 A. D. , Greek physician, Dioscorides traveled with the Roman armies, studying the medicinal properties of plants and minerals. His book, De materia medica, written in five volumes and translated into at least seven languages, was the primary reference source for physicians for over sixteen centuries. The field of anesthesiology1, which was once nothing more than a list of medicinal plants and makeshift remedies, has grown into one of the most important fields in medicine. Many of the early pain relievers were based on myth and did little to relieve the suffering of an ill or injured person. The mandragora (now known as the mandrake plant) was one of the first plants to be used as an anesthetic1. Due to the apparent screaming that the plant made as it was pulled from the ground, people in the Middle Ages believed that the person who removed the mandrake from the earth would either die or go insane. This superstition may have resulted because the split root of the mandrake resembled the human form. In order to pull the root from the ground, the plant collector would loosen it and tie the stem to an animal. It was believed that the safest time to uproot a mandrake was in the moonlight, and the best animal to use was a black dog. In his manual, Dioscorides suggested boiling the root with wine and having a man drink the potion to remove sensation before cutting his flesh or burning his skin. Opium and Indian hemp were later used to induce sleep before a painful procedure or to relieve the pain of an illness. Other remedies such as cocaine did more harm to the patient than good as people died from their addictions. President Ulysses S. Grant became addicted to cocaine before he died of throat cancer in 1885. The modern field of anesthetics dates to the incident when nitrous oxide (more commonly known as laughing gas) was accidentally discovered. Humphrey Davy, the inventor of the miner's lamp, discovered that inhaling the toxic compound caused a strange euphoria, followed by fits of laughter, tears, and sometimes unconsciousness. U. S. dentist, Horace Wells, was the first on record to experiment with laughing gas, which he used in 1844 to relieve pain during a tooth extraction. Two years later. Dr. William Morton created the first anesthetic machine. This apparatus was a simple glass globe containing an ether-soaked sponge. Morton considered ether a good alternative to nitrous oxide because the numbing effect lasted considerably longer. His apparatus allowed the patient to inhale vapors1 whenever the pain became unbearable. In 1846, during a trial experiment in Boston, a tumor2 was successfully removed from a man's jaw area while he was anesthetized with Morton's machine. The first use of anesthesia in the obstetric field occurred in Scotland by Dr. James Simpson. Instead of ether, which he considered irritating to the eyes, Simpson administered chloroform to reduce the pain of childbirth. Simpson sprinkled chloroform on a handkerchief and allowed laboring3 women to inhale the fumes at their own discretion. In 1853, Oueen Victoria agreed to use chloroform during the birth of her eighth child. Soon the use of chloroform during childbirth was both acceptable and fashionable. # However, as chloroform became a more popular anesthetic, knowledge of its toxicity surfaced, and it was soon obsolete. After World War II, numerous developments were made in the field of anesthetics. Surgical procedures that had been unthinkable were being performed with little or no pain felt by the patient. Rather than physicians or nurses who administered pain relief as part of their profession, anesthesiologists became specialists in suppressing consciousness and alleviating pain. Anesthesiologists today are classified as perioperative physicians, meaning they take care of a patient before, during, and after surgical procedures. It takes over eight years of schooling and four years of residency until an anesthesiologist is prepared to practice in the United States. These experts are trained to administer three different types of anesthetics: general, local, and regional. General anesthetic is used to put a patient into a temporary state of unconsciousness. Local anesthetic is used only at the affected site and causes a loss of sensation. Regional anesthetic is used to block the sensation and possibly the movement of a larger portion of the body. As well as controlling the levels of pain for the patient before and throughout an operation, anesthesiologists are responsible for monitoring and controlling the patient's vital functions during the procedure and assessing the medical needs in the post-operative room. The number of anesthesiologists in the United States has more than doubled since the 1970s, as has the improvement and success of operative care, in addition, complications from anesthesiology have declined dramatically. Over 40 million anesthetics are administered in the United States each year, with only 1 in 250,000 causing death. | Anesthesiologists in the United States are required to have 12 years of education and training. | e |
id_890 | Anesthesiology Since the beginning of time, man has sought natural remedies for pain. Between 40 and 60 A. D. , Greek physician, Dioscorides traveled with the Roman armies, studying the medicinal properties of plants and minerals. His book, De materia medica, written in five volumes and translated into at least seven languages, was the primary reference source for physicians for over sixteen centuries. The field of anesthesiology1, which was once nothing more than a list of medicinal plants and makeshift remedies, has grown into one of the most important fields in medicine. Many of the early pain relievers were based on myth and did little to relieve the suffering of an ill or injured person. The mandragora (now known as the mandrake plant) was one of the first plants to be used as an anesthetic1. Due to the apparent screaming that the plant made as it was pulled from the ground, people in the Middle Ages believed that the person who removed the mandrake from the earth would either die or go insane. This superstition may have resulted because the split root of the mandrake resembled the human form. In order to pull the root from the ground, the plant collector would loosen it and tie the stem to an animal. It was believed that the safest time to uproot a mandrake was in the moonlight, and the best animal to use was a black dog. In his manual, Dioscorides suggested boiling the root with wine and having a man drink the potion to remove sensation before cutting his flesh or burning his skin. Opium and Indian hemp were later used to induce sleep before a painful procedure or to relieve the pain of an illness. Other remedies such as cocaine did more harm to the patient than good as people died from their addictions. President Ulysses S. Grant became addicted to cocaine before he died of throat cancer in 1885. The modern field of anesthetics dates to the incident when nitrous oxide (more commonly known as laughing gas) was accidentally discovered. Humphrey Davy, the inventor of the miner's lamp, discovered that inhaling the toxic compound caused a strange euphoria, followed by fits of laughter, tears, and sometimes unconsciousness. U. S. dentist, Horace Wells, was the first on record to experiment with laughing gas, which he used in 1844 to relieve pain during a tooth extraction. Two years later. Dr. William Morton created the first anesthetic machine. This apparatus was a simple glass globe containing an ether-soaked sponge. Morton considered ether a good alternative to nitrous oxide because the numbing effect lasted considerably longer. His apparatus allowed the patient to inhale vapors1 whenever the pain became unbearable. In 1846, during a trial experiment in Boston, a tumor2 was successfully removed from a man's jaw area while he was anesthetized with Morton's machine. The first use of anesthesia in the obstetric field occurred in Scotland by Dr. James Simpson. Instead of ether, which he considered irritating to the eyes, Simpson administered chloroform to reduce the pain of childbirth. Simpson sprinkled chloroform on a handkerchief and allowed laboring3 women to inhale the fumes at their own discretion. In 1853, Oueen Victoria agreed to use chloroform during the birth of her eighth child. Soon the use of chloroform during childbirth was both acceptable and fashionable. # However, as chloroform became a more popular anesthetic, knowledge of its toxicity surfaced, and it was soon obsolete. After World War II, numerous developments were made in the field of anesthetics. Surgical procedures that had been unthinkable were being performed with little or no pain felt by the patient. Rather than physicians or nurses who administered pain relief as part of their profession, anesthesiologists became specialists in suppressing consciousness and alleviating pain. Anesthesiologists today are classified as perioperative physicians, meaning they take care of a patient before, during, and after surgical procedures. It takes over eight years of schooling and four years of residency until an anesthesiologist is prepared to practice in the United States. These experts are trained to administer three different types of anesthetics: general, local, and regional. General anesthetic is used to put a patient into a temporary state of unconsciousness. Local anesthetic is used only at the affected site and causes a loss of sensation. Regional anesthetic is used to block the sensation and possibly the movement of a larger portion of the body. As well as controlling the levels of pain for the patient before and throughout an operation, anesthesiologists are responsible for monitoring and controlling the patient's vital functions during the procedure and assessing the medical needs in the post-operative room. The number of anesthesiologists in the United States has more than doubled since the 1970s, as has the improvement and success of operative care, in addition, complications from anesthesiology have declined dramatically. Over 40 million anesthetics are administered in the United States each year, with only 1 in 250,000 causing death. | There are fewer anesthesiologists in the United States now than in the past. | c |
id_891 | Anesthesiology Since the beginning of time, man has sought natural remedies for pain. Between 40 and 60 A. D. , Greek physician, Dioscorides traveled with the Roman armies, studying the medicinal properties of plants and minerals. His book, De materia medica, written in five volumes and translated into at least seven languages, was the primary reference source for physicians for over sixteen centuries. The field of anesthesiology1, which was once nothing more than a list of medicinal plants and makeshift remedies, has grown into one of the most important fields in medicine. Many of the early pain relievers were based on myth and did little to relieve the suffering of an ill or injured person. The mandragora (now known as the mandrake plant) was one of the first plants to be used as an anesthetic1. Due to the apparent screaming that the plant made as it was pulled from the ground, people in the Middle Ages believed that the person who removed the mandrake from the earth would either die or go insane. This superstition may have resulted because the split root of the mandrake resembled the human form. In order to pull the root from the ground, the plant collector would loosen it and tie the stem to an animal. It was believed that the safest time to uproot a mandrake was in the moonlight, and the best animal to use was a black dog. In his manual, Dioscorides suggested boiling the root with wine and having a man drink the potion to remove sensation before cutting his flesh or burning his skin. Opium and Indian hemp were later used to induce sleep before a painful procedure or to relieve the pain of an illness. Other remedies such as cocaine did more harm to the patient than good as people died from their addictions. President Ulysses S. Grant became addicted to cocaine before he died of throat cancer in 1885. The modern field of anesthetics dates to the incident when nitrous oxide (more commonly known as laughing gas) was accidentally discovered. Humphrey Davy, the inventor of the miner's lamp, discovered that inhaling the toxic compound caused a strange euphoria, followed by fits of laughter, tears, and sometimes unconsciousness. U. S. dentist, Horace Wells, was the first on record to experiment with laughing gas, which he used in 1844 to relieve pain during a tooth extraction. Two years later. Dr. William Morton created the first anesthetic machine. This apparatus was a simple glass globe containing an ether-soaked sponge. Morton considered ether a good alternative to nitrous oxide because the numbing effect lasted considerably longer. His apparatus allowed the patient to inhale vapors1 whenever the pain became unbearable. In 1846, during a trial experiment in Boston, a tumor2 was successfully removed from a man's jaw area while he was anesthetized with Morton's machine. The first use of anesthesia in the obstetric field occurred in Scotland by Dr. James Simpson. Instead of ether, which he considered irritating to the eyes, Simpson administered chloroform to reduce the pain of childbirth. Simpson sprinkled chloroform on a handkerchief and allowed laboring3 women to inhale the fumes at their own discretion. In 1853, Oueen Victoria agreed to use chloroform during the birth of her eighth child. Soon the use of chloroform during childbirth was both acceptable and fashionable. # However, as chloroform became a more popular anesthetic, knowledge of its toxicity surfaced, and it was soon obsolete. After World War II, numerous developments were made in the field of anesthetics. Surgical procedures that had been unthinkable were being performed with little or no pain felt by the patient. Rather than physicians or nurses who administered pain relief as part of their profession, anesthesiologists became specialists in suppressing consciousness and alleviating pain. Anesthesiologists today are classified as perioperative physicians, meaning they take care of a patient before, during, and after surgical procedures. It takes over eight years of schooling and four years of residency until an anesthesiologist is prepared to practice in the United States. These experts are trained to administer three different types of anesthetics: general, local, and regional. General anesthetic is used to put a patient into a temporary state of unconsciousness. Local anesthetic is used only at the affected site and causes a loss of sensation. Regional anesthetic is used to block the sensation and possibly the movement of a larger portion of the body. As well as controlling the levels of pain for the patient before and throughout an operation, anesthesiologists are responsible for monitoring and controlling the patient's vital functions during the procedure and assessing the medical needs in the post-operative room. The number of anesthesiologists in the United States has more than doubled since the 1970s, as has the improvement and success of operative care, in addition, complications from anesthesiology have declined dramatically. Over 40 million anesthetics are administered in the United States each year, with only 1 in 250,000 causing death. | Nitrous oxide can cause the user to both laugh and cry. | e |
id_892 | Animal minds: Parrot Alex A. In 1977 Irene Pepperberg, a recent graduate of Harvard University, did something very bold. At a time when animals still were considered automatons, she set out to find what was on another creature's mind by talking to it. She brought a one-year-old African gray parrot she named Alex into her lab to teach him to reproduce the sounds of the English language. "I thought if he learned to communicate, I could ask him questions about how he sees the world. " B. When Pepperberg began her dialogue with Alex, who died last September at the age of 31, many scientists believed animals were incapable of any thought. They were simply machines, robots programmed to react to stimuli but lacking the ability to think or feel. Any pet owner would disagree. We see the love in our dogs' eyes and know that, of course, they has thoughts and emotions. But such claims remain highly controversial. Gut instinct is not science, and it is all too easy to project human thoughts and feelings onto another creature. How, then, does a scientist prove that an animal is capable of thinkingthat it is able to acquire information about the world and act on it? "That's why I started my studies with Aex, " Pepperberg said. They were seatedshe at her desk, he on top of his cagein her lab, a windowless room about the size of a boxcar, at Brandeis University. Newspapers lined the floor; baskets of bright toys were stacked on the shelves. They were clearly a teamand because of their work, the notion that animals can think is no longer so fanciful. C. Certain skills are considered key signs of higher mental abilities: good memory, a grasp of grammar and symbols, self-awareness, understanding others' motives, imitating others, and being creative. Bit by bit, in ingenious experiments, researchers have documented these talents in other species, gradually chipping away at what we thought made human beings distinctive while offering a glimpse of where our own abilities came from. Scrub jays know that other jays are thieves and that stashed food can spoil; sheep can recognize faces; chimpanzees use a variety of tools to probe termite mounds and even useweapons to hunt small mammals; dolphins can imitate human postures; the archerfish, which stuns insects with a sudden blast of water, can learn how to aim its squirt simply by watching an experienced fish perform the task. And Alex the parrot turned out to be a surprisingly good talker. D. Thirty years after the Alex studies began; Pepperberg and a changing collection of assistants were still giving him English lessons. The humans, along with two younger parrots, also served as Alex's flock, providing the social input all parrots crave. Like any flock, this one as small as it washad its share of drama. Alex dominated his fellow parrots, acted huffy at times around Pepperberg, tolerated the other female humans, and fell to pieces over a male assistant who dropped by for a visit. Pepperberg bought Alex in a Chicago pet store where she let the store's assistant pick him out because she didn't want other scientists saying later that she'd particularly chosen an especially smart bird for her work. Given that Alex's brain was the size of a shelled walnut, most researchers thought Pepperberg's interspecies communication study would be futile. E. "Some people actually called me crazy for trying this, " she said. "Scientists thought that chimpanzees were better subjects, although, of course, chimps can't speak. " Chimpanzees, bonobos, and gorillas have been taught to use sign language and symbols to communicate with US, often with impressive results. The bonobo Kanzi, for instance, carries his symbol-communication board with him so he can "talk" to his human researchers, and he has invented combinations of symbols to express his thoughts. Nevertheless, this is not the same thing as having an animal look up at you, open his mouth, and speak. Under Pepperberg's patient tutelage, Alex learned how to use his vocal tract to imitate almost one hundred English words, including the sounds for various foods, although he calls an apple a "banerry. " "Apples taste a little bit like bananas to him, and they look a little bit like cherries, so Alex made up that word for them, " Pepperberg said. F. It sounded a bit mad, the idea of a b u d having lessons to practice, and willingly doing it. But after listening to and observing Alex, it was difficult to argue with Pepperberg's explanation for his behaviors. She wasn't handing him treats for the repetitious work or rapping him on the claws to make him say the sounds. "He has to hear the words over and over before he can correctly imitate them, " Pepperberg said, after pronouncing "seven" for Alex a good dozen times in a row. "I'm not trying to see if Alex can learn a human language, " she added. "That's never been the point. My plan always was to use his imitative skills to get a better understanding of avian cognition. " G. In other words, because Alex was able to produce a close approximation of the sounds of some English words, Pepperberg could ask him questions about a bird's basic understanding of the world. She couldn't ask him what he was thinking about, but she could ask him about his knowledge of numbers, shapes, and colors. To demonstrate, Pepperberg carried Alex on her arm to a tall wooden perch in the middle of the room. She then retrieved a green key and a small green cup from a basket on a shelf. She held up the two items to Alex's eye. "What's same? " she asked. Without hesitation, Alex's beak opened: "Color. " "What's different? " Pepperberg asked. "Shape, " Alex said. His voice had the digitized sound of a cartoon character. Since parrots lack lips (another reason it was difficult for Alex to pronounce some sounds, such as ba), the words seemed to come from the air around him, as if a ventriloquist were speaking. But the wordsand what can only be called the thoughtswere entirely his. H. For the next 20 minutes, Alex ran through his tests, distinguishing colors, shapes, sizes, and materials (wool versus wood versus metal). He did some simple arithmetic, such as counting the yellow toy blocks among a pile of mixed hues. And, then, as if to offer final proof of the mind inside his bird's brain, Alex spoke up. "Talk clearly! " he commanded, when one of the younger birds Pepperberg was also teaching talked with wrong pronunciation. "Talk clearly! " "Don't be a smart aleck, " Pepperberg said, shaking her head at him. "He knows all this, and he gets bored, so he interrupts the others, or he gives the wrong answer just to be obstinate. At this stage, he's like a teenager; he's moody, andI'm never sure what he'll do. " | As Alex could approximately imitate the sounds of English words, he was capable J of roughly answering Irenes questions regarding the world. | e |
id_893 | Animal minds: Parrot Alex A. In 1977 Irene Pepperberg, a recent graduate of Harvard University, did something very bold. At a time when animals still were considered automatons, she set out to find what was on another creature's mind by talking to it. She brought a one-year-old African gray parrot she named Alex into her lab to teach him to reproduce the sounds of the English language. "I thought if he learned to communicate, I could ask him questions about how he sees the world. " B. When Pepperberg began her dialogue with Alex, who died last September at the age of 31, many scientists believed animals were incapable of any thought. They were simply machines, robots programmed to react to stimuli but lacking the ability to think or feel. Any pet owner would disagree. We see the love in our dogs' eyes and know that, of course, they has thoughts and emotions. But such claims remain highly controversial. Gut instinct is not science, and it is all too easy to project human thoughts and feelings onto another creature. How, then, does a scientist prove that an animal is capable of thinkingthat it is able to acquire information about the world and act on it? "That's why I started my studies with Aex, " Pepperberg said. They were seatedshe at her desk, he on top of his cagein her lab, a windowless room about the size of a boxcar, at Brandeis University. Newspapers lined the floor; baskets of bright toys were stacked on the shelves. They were clearly a teamand because of their work, the notion that animals can think is no longer so fanciful. C. Certain skills are considered key signs of higher mental abilities: good memory, a grasp of grammar and symbols, self-awareness, understanding others' motives, imitating others, and being creative. Bit by bit, in ingenious experiments, researchers have documented these talents in other species, gradually chipping away at what we thought made human beings distinctive while offering a glimpse of where our own abilities came from. Scrub jays know that other jays are thieves and that stashed food can spoil; sheep can recognize faces; chimpanzees use a variety of tools to probe termite mounds and even useweapons to hunt small mammals; dolphins can imitate human postures; the archerfish, which stuns insects with a sudden blast of water, can learn how to aim its squirt simply by watching an experienced fish perform the task. And Alex the parrot turned out to be a surprisingly good talker. D. Thirty years after the Alex studies began; Pepperberg and a changing collection of assistants were still giving him English lessons. The humans, along with two younger parrots, also served as Alex's flock, providing the social input all parrots crave. Like any flock, this one as small as it washad its share of drama. Alex dominated his fellow parrots, acted huffy at times around Pepperberg, tolerated the other female humans, and fell to pieces over a male assistant who dropped by for a visit. Pepperberg bought Alex in a Chicago pet store where she let the store's assistant pick him out because she didn't want other scientists saying later that she'd particularly chosen an especially smart bird for her work. Given that Alex's brain was the size of a shelled walnut, most researchers thought Pepperberg's interspecies communication study would be futile. E. "Some people actually called me crazy for trying this, " she said. "Scientists thought that chimpanzees were better subjects, although, of course, chimps can't speak. " Chimpanzees, bonobos, and gorillas have been taught to use sign language and symbols to communicate with US, often with impressive results. The bonobo Kanzi, for instance, carries his symbol-communication board with him so he can "talk" to his human researchers, and he has invented combinations of symbols to express his thoughts. Nevertheless, this is not the same thing as having an animal look up at you, open his mouth, and speak. Under Pepperberg's patient tutelage, Alex learned how to use his vocal tract to imitate almost one hundred English words, including the sounds for various foods, although he calls an apple a "banerry. " "Apples taste a little bit like bananas to him, and they look a little bit like cherries, so Alex made up that word for them, " Pepperberg said. F. It sounded a bit mad, the idea of a b u d having lessons to practice, and willingly doing it. But after listening to and observing Alex, it was difficult to argue with Pepperberg's explanation for his behaviors. She wasn't handing him treats for the repetitious work or rapping him on the claws to make him say the sounds. "He has to hear the words over and over before he can correctly imitate them, " Pepperberg said, after pronouncing "seven" for Alex a good dozen times in a row. "I'm not trying to see if Alex can learn a human language, " she added. "That's never been the point. My plan always was to use his imitative skills to get a better understanding of avian cognition. " G. In other words, because Alex was able to produce a close approximation of the sounds of some English words, Pepperberg could ask him questions about a bird's basic understanding of the world. She couldn't ask him what he was thinking about, but she could ask him about his knowledge of numbers, shapes, and colors. To demonstrate, Pepperberg carried Alex on her arm to a tall wooden perch in the middle of the room. She then retrieved a green key and a small green cup from a basket on a shelf. She held up the two items to Alex's eye. "What's same? " she asked. Without hesitation, Alex's beak opened: "Color. " "What's different? " Pepperberg asked. "Shape, " Alex said. His voice had the digitized sound of a cartoon character. Since parrots lack lips (another reason it was difficult for Alex to pronounce some sounds, such as ba), the words seemed to come from the air around him, as if a ventriloquist were speaking. But the wordsand what can only be called the thoughtswere entirely his. H. For the next 20 minutes, Alex ran through his tests, distinguishing colors, shapes, sizes, and materials (wool versus wood versus metal). He did some simple arithmetic, such as counting the yellow toy blocks among a pile of mixed hues. And, then, as if to offer final proof of the mind inside his bird's brain, Alex spoke up. "Talk clearly! " he commanded, when one of the younger birds Pepperberg was also teaching talked with wrong pronunciation. "Talk clearly! " "Don't be a smart aleck, " Pepperberg said, shaking her head at him. "He knows all this, and he gets bored, so he interrupts the others, or he gives the wrong answer just to be obstinate. At this stage, he's like a teenager; he's moody, andI'm never sure what he'll do. " | It has taken a long time before people get to know cognition existing in animals. | e |
id_894 | Animal minds: Parrot Alex A. In 1977 Irene Pepperberg, a recent graduate of Harvard University, did something very bold. At a time when animals still were considered automatons, she set out to find what was on another creature's mind by talking to it. She brought a one-year-old African gray parrot she named Alex into her lab to teach him to reproduce the sounds of the English language. "I thought if he learned to communicate, I could ask him questions about how he sees the world. " B. When Pepperberg began her dialogue with Alex, who died last September at the age of 31, many scientists believed animals were incapable of any thought. They were simply machines, robots programmed to react to stimuli but lacking the ability to think or feel. Any pet owner would disagree. We see the love in our dogs' eyes and know that, of course, they has thoughts and emotions. But such claims remain highly controversial. Gut instinct is not science, and it is all too easy to project human thoughts and feelings onto another creature. How, then, does a scientist prove that an animal is capable of thinkingthat it is able to acquire information about the world and act on it? "That's why I started my studies with Aex, " Pepperberg said. They were seatedshe at her desk, he on top of his cagein her lab, a windowless room about the size of a boxcar, at Brandeis University. Newspapers lined the floor; baskets of bright toys were stacked on the shelves. They were clearly a teamand because of their work, the notion that animals can think is no longer so fanciful. C. Certain skills are considered key signs of higher mental abilities: good memory, a grasp of grammar and symbols, self-awareness, understanding others' motives, imitating others, and being creative. Bit by bit, in ingenious experiments, researchers have documented these talents in other species, gradually chipping away at what we thought made human beings distinctive while offering a glimpse of where our own abilities came from. Scrub jays know that other jays are thieves and that stashed food can spoil; sheep can recognize faces; chimpanzees use a variety of tools to probe termite mounds and even useweapons to hunt small mammals; dolphins can imitate human postures; the archerfish, which stuns insects with a sudden blast of water, can learn how to aim its squirt simply by watching an experienced fish perform the task. And Alex the parrot turned out to be a surprisingly good talker. D. Thirty years after the Alex studies began; Pepperberg and a changing collection of assistants were still giving him English lessons. The humans, along with two younger parrots, also served as Alex's flock, providing the social input all parrots crave. Like any flock, this one as small as it washad its share of drama. Alex dominated his fellow parrots, acted huffy at times around Pepperberg, tolerated the other female humans, and fell to pieces over a male assistant who dropped by for a visit. Pepperberg bought Alex in a Chicago pet store where she let the store's assistant pick him out because she didn't want other scientists saying later that she'd particularly chosen an especially smart bird for her work. Given that Alex's brain was the size of a shelled walnut, most researchers thought Pepperberg's interspecies communication study would be futile. E. "Some people actually called me crazy for trying this, " she said. "Scientists thought that chimpanzees were better subjects, although, of course, chimps can't speak. " Chimpanzees, bonobos, and gorillas have been taught to use sign language and symbols to communicate with US, often with impressive results. The bonobo Kanzi, for instance, carries his symbol-communication board with him so he can "talk" to his human researchers, and he has invented combinations of symbols to express his thoughts. Nevertheless, this is not the same thing as having an animal look up at you, open his mouth, and speak. Under Pepperberg's patient tutelage, Alex learned how to use his vocal tract to imitate almost one hundred English words, including the sounds for various foods, although he calls an apple a "banerry. " "Apples taste a little bit like bananas to him, and they look a little bit like cherries, so Alex made up that word for them, " Pepperberg said. F. It sounded a bit mad, the idea of a b u d having lessons to practice, and willingly doing it. But after listening to and observing Alex, it was difficult to argue with Pepperberg's explanation for his behaviors. She wasn't handing him treats for the repetitious work or rapping him on the claws to make him say the sounds. "He has to hear the words over and over before he can correctly imitate them, " Pepperberg said, after pronouncing "seven" for Alex a good dozen times in a row. "I'm not trying to see if Alex can learn a human language, " she added. "That's never been the point. My plan always was to use his imitative skills to get a better understanding of avian cognition. " G. In other words, because Alex was able to produce a close approximation of the sounds of some English words, Pepperberg could ask him questions about a bird's basic understanding of the world. She couldn't ask him what he was thinking about, but she could ask him about his knowledge of numbers, shapes, and colors. To demonstrate, Pepperberg carried Alex on her arm to a tall wooden perch in the middle of the room. She then retrieved a green key and a small green cup from a basket on a shelf. She held up the two items to Alex's eye. "What's same? " she asked. Without hesitation, Alex's beak opened: "Color. " "What's different? " Pepperberg asked. "Shape, " Alex said. His voice had the digitized sound of a cartoon character. Since parrots lack lips (another reason it was difficult for Alex to pronounce some sounds, such as ba), the words seemed to come from the air around him, as if a ventriloquist were speaking. But the wordsand what can only be called the thoughtswere entirely his. H. For the next 20 minutes, Alex ran through his tests, distinguishing colors, shapes, sizes, and materials (wool versus wood versus metal). He did some simple arithmetic, such as counting the yellow toy blocks among a pile of mixed hues. And, then, as if to offer final proof of the mind inside his bird's brain, Alex spoke up. "Talk clearly! " he commanded, when one of the younger birds Pepperberg was also teaching talked with wrong pronunciation. "Talk clearly! " "Don't be a smart aleck, " Pepperberg said, shaking her head at him. "He knows all this, and he gets bored, so he interrupts the others, or he gives the wrong answer just to be obstinate. At this stage, he's like a teenager; he's moody, andI'm never sure what he'll do. " | Previously, many scientists realized that animals possess the ability of thinking. | c |
id_895 | Animal minds: Parrot Alex A. In 1977 Irene Pepperberg, a recent graduate of Harvard University, did something very bold. At a time when animals still were considered automatons, she set out to find what was on another creature's mind by talking to it. She brought a one-year-old African gray parrot she named Alex into her lab to teach him to reproduce the sounds of the English language. "I thought if he learned to communicate, I could ask him questions about how he sees the world. " B. When Pepperberg began her dialogue with Alex, who died last September at the age of 31, many scientists believed animals were incapable of any thought. They were simply machines, robots programmed to react to stimuli but lacking the ability to think or feel. Any pet owner would disagree. We see the love in our dogs' eyes and know that, of course, they has thoughts and emotions. But such claims remain highly controversial. Gut instinct is not science, and it is all too easy to project human thoughts and feelings onto another creature. How, then, does a scientist prove that an animal is capable of thinkingthat it is able to acquire information about the world and act on it? "That's why I started my studies with Aex, " Pepperberg said. They were seatedshe at her desk, he on top of his cagein her lab, a windowless room about the size of a boxcar, at Brandeis University. Newspapers lined the floor; baskets of bright toys were stacked on the shelves. They were clearly a teamand because of their work, the notion that animals can think is no longer so fanciful. C. Certain skills are considered key signs of higher mental abilities: good memory, a grasp of grammar and symbols, self-awareness, understanding others' motives, imitating others, and being creative. Bit by bit, in ingenious experiments, researchers have documented these talents in other species, gradually chipping away at what we thought made human beings distinctive while offering a glimpse of where our own abilities came from. Scrub jays know that other jays are thieves and that stashed food can spoil; sheep can recognize faces; chimpanzees use a variety of tools to probe termite mounds and even useweapons to hunt small mammals; dolphins can imitate human postures; the archerfish, which stuns insects with a sudden blast of water, can learn how to aim its squirt simply by watching an experienced fish perform the task. And Alex the parrot turned out to be a surprisingly good talker. D. Thirty years after the Alex studies began; Pepperberg and a changing collection of assistants were still giving him English lessons. The humans, along with two younger parrots, also served as Alex's flock, providing the social input all parrots crave. Like any flock, this one as small as it washad its share of drama. Alex dominated his fellow parrots, acted huffy at times around Pepperberg, tolerated the other female humans, and fell to pieces over a male assistant who dropped by for a visit. Pepperberg bought Alex in a Chicago pet store where she let the store's assistant pick him out because she didn't want other scientists saying later that she'd particularly chosen an especially smart bird for her work. Given that Alex's brain was the size of a shelled walnut, most researchers thought Pepperberg's interspecies communication study would be futile. E. "Some people actually called me crazy for trying this, " she said. "Scientists thought that chimpanzees were better subjects, although, of course, chimps can't speak. " Chimpanzees, bonobos, and gorillas have been taught to use sign language and symbols to communicate with US, often with impressive results. The bonobo Kanzi, for instance, carries his symbol-communication board with him so he can "talk" to his human researchers, and he has invented combinations of symbols to express his thoughts. Nevertheless, this is not the same thing as having an animal look up at you, open his mouth, and speak. Under Pepperberg's patient tutelage, Alex learned how to use his vocal tract to imitate almost one hundred English words, including the sounds for various foods, although he calls an apple a "banerry. " "Apples taste a little bit like bananas to him, and they look a little bit like cherries, so Alex made up that word for them, " Pepperberg said. F. It sounded a bit mad, the idea of a b u d having lessons to practice, and willingly doing it. But after listening to and observing Alex, it was difficult to argue with Pepperberg's explanation for his behaviors. She wasn't handing him treats for the repetitious work or rapping him on the claws to make him say the sounds. "He has to hear the words over and over before he can correctly imitate them, " Pepperberg said, after pronouncing "seven" for Alex a good dozen times in a row. "I'm not trying to see if Alex can learn a human language, " she added. "That's never been the point. My plan always was to use his imitative skills to get a better understanding of avian cognition. " G. In other words, because Alex was able to produce a close approximation of the sounds of some English words, Pepperberg could ask him questions about a bird's basic understanding of the world. She couldn't ask him what he was thinking about, but she could ask him about his knowledge of numbers, shapes, and colors. To demonstrate, Pepperberg carried Alex on her arm to a tall wooden perch in the middle of the room. She then retrieved a green key and a small green cup from a basket on a shelf. She held up the two items to Alex's eye. "What's same? " she asked. Without hesitation, Alex's beak opened: "Color. " "What's different? " Pepperberg asked. "Shape, " Alex said. His voice had the digitized sound of a cartoon character. Since parrots lack lips (another reason it was difficult for Alex to pronounce some sounds, such as ba), the words seemed to come from the air around him, as if a ventriloquist were speaking. But the wordsand what can only be called the thoughtswere entirely his. H. For the next 20 minutes, Alex ran through his tests, distinguishing colors, shapes, sizes, and materials (wool versus wood versus metal). He did some simple arithmetic, such as counting the yellow toy blocks among a pile of mixed hues. And, then, as if to offer final proof of the mind inside his bird's brain, Alex spoke up. "Talk clearly! " he commanded, when one of the younger birds Pepperberg was also teaching talked with wrong pronunciation. "Talk clearly! " "Don't be a smart aleck, " Pepperberg said, shaking her head at him. "He knows all this, and he gets bored, so he interrupts the others, or he gives the wrong answer just to be obstinate. At this stage, he's like a teenager; he's moody, andI'm never sure what he'll do. " | At the beginning of study, Alex felt frightened in the presence of humans. | n |
id_896 | Animal minds: Parrot Alex A. In 1977 Irene Pepperberg, a recent graduate of Harvard University, did something very bold. At a time when animals still were considered automatons, she set out to find what was on another creature's mind by talking to it. She brought a one-year-old African gray parrot she named Alex into her lab to teach him to reproduce the sounds of the English language. "I thought if he learned to communicate, I could ask him questions about how he sees the world. " B. When Pepperberg began her dialogue with Alex, who died last September at the age of 31, many scientists believed animals were incapable of any thought. They were simply machines, robots programmed to react to stimuli but lacking the ability to think or feel. Any pet owner would disagree. We see the love in our dogs' eyes and know that, of course, they has thoughts and emotions. But such claims remain highly controversial. Gut instinct is not science, and it is all too easy to project human thoughts and feelings onto another creature. How, then, does a scientist prove that an animal is capable of thinkingthat it is able to acquire information about the world and act on it? "That's why I started my studies with Aex, " Pepperberg said. They were seatedshe at her desk, he on top of his cagein her lab, a windowless room about the size of a boxcar, at Brandeis University. Newspapers lined the floor; baskets of bright toys were stacked on the shelves. They were clearly a teamand because of their work, the notion that animals can think is no longer so fanciful. C. Certain skills are considered key signs of higher mental abilities: good memory, a grasp of grammar and symbols, self-awareness, understanding others' motives, imitating others, and being creative. Bit by bit, in ingenious experiments, researchers have documented these talents in other species, gradually chipping away at what we thought made human beings distinctive while offering a glimpse of where our own abilities came from. Scrub jays know that other jays are thieves and that stashed food can spoil; sheep can recognize faces; chimpanzees use a variety of tools to probe termite mounds and even useweapons to hunt small mammals; dolphins can imitate human postures; the archerfish, which stuns insects with a sudden blast of water, can learn how to aim its squirt simply by watching an experienced fish perform the task. And Alex the parrot turned out to be a surprisingly good talker. D. Thirty years after the Alex studies began; Pepperberg and a changing collection of assistants were still giving him English lessons. The humans, along with two younger parrots, also served as Alex's flock, providing the social input all parrots crave. Like any flock, this one as small as it washad its share of drama. Alex dominated his fellow parrots, acted huffy at times around Pepperberg, tolerated the other female humans, and fell to pieces over a male assistant who dropped by for a visit. Pepperberg bought Alex in a Chicago pet store where she let the store's assistant pick him out because she didn't want other scientists saying later that she'd particularly chosen an especially smart bird for her work. Given that Alex's brain was the size of a shelled walnut, most researchers thought Pepperberg's interspecies communication study would be futile. E. "Some people actually called me crazy for trying this, " she said. "Scientists thought that chimpanzees were better subjects, although, of course, chimps can't speak. " Chimpanzees, bonobos, and gorillas have been taught to use sign language and symbols to communicate with US, often with impressive results. The bonobo Kanzi, for instance, carries his symbol-communication board with him so he can "talk" to his human researchers, and he has invented combinations of symbols to express his thoughts. Nevertheless, this is not the same thing as having an animal look up at you, open his mouth, and speak. Under Pepperberg's patient tutelage, Alex learned how to use his vocal tract to imitate almost one hundred English words, including the sounds for various foods, although he calls an apple a "banerry. " "Apples taste a little bit like bananas to him, and they look a little bit like cherries, so Alex made up that word for them, " Pepperberg said. F. It sounded a bit mad, the idea of a b u d having lessons to practice, and willingly doing it. But after listening to and observing Alex, it was difficult to argue with Pepperberg's explanation for his behaviors. She wasn't handing him treats for the repetitious work or rapping him on the claws to make him say the sounds. "He has to hear the words over and over before he can correctly imitate them, " Pepperberg said, after pronouncing "seven" for Alex a good dozen times in a row. "I'm not trying to see if Alex can learn a human language, " she added. "That's never been the point. My plan always was to use his imitative skills to get a better understanding of avian cognition. " G. In other words, because Alex was able to produce a close approximation of the sounds of some English words, Pepperberg could ask him questions about a bird's basic understanding of the world. She couldn't ask him what he was thinking about, but she could ask him about his knowledge of numbers, shapes, and colors. To demonstrate, Pepperberg carried Alex on her arm to a tall wooden perch in the middle of the room. She then retrieved a green key and a small green cup from a basket on a shelf. She held up the two items to Alex's eye. "What's same? " she asked. Without hesitation, Alex's beak opened: "Color. " "What's different? " Pepperberg asked. "Shape, " Alex said. His voice had the digitized sound of a cartoon character. Since parrots lack lips (another reason it was difficult for Alex to pronounce some sounds, such as ba), the words seemed to come from the air around him, as if a ventriloquist were speaking. But the wordsand what can only be called the thoughtswere entirely his. H. For the next 20 minutes, Alex ran through his tests, distinguishing colors, shapes, sizes, and materials (wool versus wood versus metal). He did some simple arithmetic, such as counting the yellow toy blocks among a pile of mixed hues. And, then, as if to offer final proof of the mind inside his bird's brain, Alex spoke up. "Talk clearly! " he commanded, when one of the younger birds Pepperberg was also teaching talked with wrong pronunciation. "Talk clearly! " "Don't be a smart aleck, " Pepperberg said, shaking her head at him. "He knows all this, and he gets bored, so he interrupts the others, or he gives the wrong answer just to be obstinate. At this stage, he's like a teenager; he's moody, andI'm never sure what he'll do. " | Firstly, Alex has grasped quite a lot of vocabulary. | n |
id_897 | Animal minds: Parrot Alex A. In 1977 Irene Pepperberg, a recent graduate of Harvard University, did something very bold. At a time when animals still were considered automatons, she set out to find what was on another creature's mind by talking to it. She brought a one-year-old African gray parrot she named Alex into her lab to teach him to reproduce the sounds of the English language. "I thought if he learned to communicate, I could ask him questions about how he sees the world. " B. When Pepperberg began her dialogue with Alex, who died last September at the age of 31, many scientists believed animals were incapable of any thought. They were simply machines, robots programmed to react to stimuli but lacking the ability to think or feel. Any pet owner would disagree. We see the love in our dogs' eyes and know that, of course, they has thoughts and emotions. But such claims remain highly controversial. Gut instinct is not science, and it is all too easy to project human thoughts and feelings onto another creature. How, then, does a scientist prove that an animal is capable of thinkingthat it is able to acquire information about the world and act on it? "That's why I started my studies with Aex, " Pepperberg said. They were seatedshe at her desk, he on top of his cagein her lab, a windowless room about the size of a boxcar, at Brandeis University. Newspapers lined the floor; baskets of bright toys were stacked on the shelves. They were clearly a teamand because of their work, the notion that animals can think is no longer so fanciful. C. Certain skills are considered key signs of higher mental abilities: good memory, a grasp of grammar and symbols, self-awareness, understanding others' motives, imitating others, and being creative. Bit by bit, in ingenious experiments, researchers have documented these talents in other species, gradually chipping away at what we thought made human beings distinctive while offering a glimpse of where our own abilities came from. Scrub jays know that other jays are thieves and that stashed food can spoil; sheep can recognize faces; chimpanzees use a variety of tools to probe termite mounds and even useweapons to hunt small mammals; dolphins can imitate human postures; the archerfish, which stuns insects with a sudden blast of water, can learn how to aim its squirt simply by watching an experienced fish perform the task. And Alex the parrot turned out to be a surprisingly good talker. D. Thirty years after the Alex studies began; Pepperberg and a changing collection of assistants were still giving him English lessons. The humans, along with two younger parrots, also served as Alex's flock, providing the social input all parrots crave. Like any flock, this one as small as it washad its share of drama. Alex dominated his fellow parrots, acted huffy at times around Pepperberg, tolerated the other female humans, and fell to pieces over a male assistant who dropped by for a visit. Pepperberg bought Alex in a Chicago pet store where she let the store's assistant pick him out because she didn't want other scientists saying later that she'd particularly chosen an especially smart bird for her work. Given that Alex's brain was the size of a shelled walnut, most researchers thought Pepperberg's interspecies communication study would be futile. E. "Some people actually called me crazy for trying this, " she said. "Scientists thought that chimpanzees were better subjects, although, of course, chimps can't speak. " Chimpanzees, bonobos, and gorillas have been taught to use sign language and symbols to communicate with US, often with impressive results. The bonobo Kanzi, for instance, carries his symbol-communication board with him so he can "talk" to his human researchers, and he has invented combinations of symbols to express his thoughts. Nevertheless, this is not the same thing as having an animal look up at you, open his mouth, and speak. Under Pepperberg's patient tutelage, Alex learned how to use his vocal tract to imitate almost one hundred English words, including the sounds for various foods, although he calls an apple a "banerry. " "Apples taste a little bit like bananas to him, and they look a little bit like cherries, so Alex made up that word for them, " Pepperberg said. F. It sounded a bit mad, the idea of a b u d having lessons to practice, and willingly doing it. But after listening to and observing Alex, it was difficult to argue with Pepperberg's explanation for his behaviors. She wasn't handing him treats for the repetitious work or rapping him on the claws to make him say the sounds. "He has to hear the words over and over before he can correctly imitate them, " Pepperberg said, after pronouncing "seven" for Alex a good dozen times in a row. "I'm not trying to see if Alex can learn a human language, " she added. "That's never been the point. My plan always was to use his imitative skills to get a better understanding of avian cognition. " G. In other words, because Alex was able to produce a close approximation of the sounds of some English words, Pepperberg could ask him questions about a bird's basic understanding of the world. She couldn't ask him what he was thinking about, but she could ask him about his knowledge of numbers, shapes, and colors. To demonstrate, Pepperberg carried Alex on her arm to a tall wooden perch in the middle of the room. She then retrieved a green key and a small green cup from a basket on a shelf. She held up the two items to Alex's eye. "What's same? " she asked. Without hesitation, Alex's beak opened: "Color. " "What's different? " Pepperberg asked. "Shape, " Alex said. His voice had the digitized sound of a cartoon character. Since parrots lack lips (another reason it was difficult for Alex to pronounce some sounds, such as ba), the words seemed to come from the air around him, as if a ventriloquist were speaking. But the wordsand what can only be called the thoughtswere entirely his. H. For the next 20 minutes, Alex ran through his tests, distinguishing colors, shapes, sizes, and materials (wool versus wood versus metal). He did some simple arithmetic, such as counting the yellow toy blocks among a pile of mixed hues. And, then, as if to offer final proof of the mind inside his bird's brain, Alex spoke up. "Talk clearly! " he commanded, when one of the younger birds Pepperberg was also teaching talked with wrong pronunciation. "Talk clearly! " "Don't be a smart aleck, " Pepperberg said, shaking her head at him. "He knows all this, and he gets bored, so he interrupts the others, or he gives the wrong answer just to be obstinate. At this stage, he's like a teenager; he's moody, andI'm never sure what he'll do. " | By breaking in other parrots as well as producing the incorrect answers, he tried to be focused. | c |
id_898 | Animal minds: Parrot Alex In 1977 Irene Pepperberg, a recent graduate of Harvard University, did something very bold. At a time when animals still were considered automatons, she set out to find what was on another creatures mind by talking to it. She brought a one-year-old African gray parrot she named Alex into her lab to teach him to reproduce the sounds of the English language. I thought if he learned to communicate, I could ask him questions about how he sees the world. When Pepperberg began her dialogue with Alex, who died last September at the age of 31, many scientists believed animals were incapable of any thought. They were simply machines, robots programmed to react to stimuli but lacking the ability to think or feel. Any pet owner would disagree. We see the love in our dogs eyes and know that, of course, they has thoughts and emotions. But such claims remain highly controversial. Gut instinct is not science, and it is all too easy to project human thoughts and feelings onto another creature. How, then, does a scientist prove that an animal is capable of thinking-that it is able to acquire information about the world and act on it? Thats why I started my studies with Alex. Pepperberg said. They were seated- she at her desk, he on top of his cage-in her lab, a windowless room about the size of a boxcar. At Brandeis University, newspapers lined the floor; baskets of bright toys were stacked on the shelves. They were clearly a team-and because of their work, the notion that animals can think is no longer so fanciful. Certain skills are considered key signs of higher mental abilities: good memory, a grasp of grammar and symbols, self-awareness, understanding others motives, imitating others, and being creative. Bit by bit, in ingenious experiments, researchers have documented these talents in other species, gradually chipping away at what we thought made human beings distinctive while offering a glimpse of where our own abilities came from. Scrub jays know that other jays are thieves and that stashed food can spoil; sheep can recognize faces; chimpanzees use a variety of tools to probe termite mounds and even use weapons to hunt small mammals; dolphins can imitate human postures; the archerfish, which stuns insects with a sudden blast of water, can learn how to aim its squirt simply by watching an experienced fish perform the task. And Alex the parrot turned out tobe a surprisingly good talker. Thirty years after the Alex studies began; Pepperberg and a changing collection of assistants were still giving him English lessons. The humans, along with two younger parrots, also served as Alexs flock, providing Page 202the social input all parrots crave. Like any flock, this one - as small as it was - had its share of drama. Alex dominated his fellow parrots, acted huffy at times around Pepperberg, tolerated the other female humans, and fell to pieces over a male assistant who dropped by for a visit. Pepperberg bought Alex in a Chicago pet store where she let the stores assistant pick him out because she didnt want other scientists saying later that shed particularly chosen an especially smart bird for her work. Given that Alexs brain was the size of a shelled walnut, most researchers thought Pepperbergs interspecies communication study would be futile. Some people actually called me crazy for trying this, she said. Scientists thought that chimpanzees were better subjects, although, of course, chimps cant speak. Chimpanzees, bonobos, and gorillas have been taught to use sign language and symbols to communicate with us, often with impressive results. The bonobo Kanzi, for instance, carries his symbol-communication board with him so he can talk to his human researchers, and he has invented combinations of symbols to express his thoughts. Nevertheless, this is not the same thing as having an animal look up at you, open his mouth, and speak. Under Pepperbergs patient tutelage, Alex learned how to use his vocal tract to imitate almost one hundred English words, including the sounds for various foods, although he calls an apple a banerry. Apples taste a little bit like bananas to him, and they look a little bit like cherries, so Alex made up that word for them, Pepperberg said. It sounded a bit mad, the idea of a bird having lessons to practice, and willingly doing it. But after listening to and observing Alex, it was difficult to argue with Pepperbergs explanation for his behaviors. She wasnt handing him treats for the repetitious work or rapping him on the claws to make him say the sounds. He has to hear the words over and over before he can correctly imitate them, Pepperberg said, after pronouncing seven for Alex a good dozen times in a row. Im not trying to see if Alex can learn a human language, she added. Thats never been the point. My plan always was to use his imitative skills to get a better understanding of avian cognition. In other words, because Alex was able to produce a close approximation of the sounds of some English words, Pepperberg could ask him questions about a birds basic understanding of the world. She couldnt ask him what he was thinking about, but she could ask him about his knowledge or numbers, shapes, and colors. To demonstrate, Pepperberg carried Alex on her arm to a tall wooden perch in the middle of the room. She then retrieved a green key and a small green cup from a basket on a shelf. She held up the two items to Alexs eye. Whats same? she asked. Without hesitation, Alexs beak opened: Co-lor. Whats different? Pepperberg asked. Shape, Alex said. His voice had the digitized sound of a cartoon character. Since parrots lack lips (another reason it was difficult for Alex to pronounce some sounds, such as ba), the words seemed to come from the air around him, as if a ventriloquist were speaking. But the words-and what can only be called the thoughts - were entirely his. For the next 20 minutes, Alex ran through his tests, distinguishing colors, shapes, sizes, and materials (wool versus wood versus metal). He did some simple arithmetic, such as counting the yellow toy blocks among a pile of mixed hues. And, then, as if to offer final proof of the mind inside his birds brain, Alex spoke up. Talk clearly! he commanded, when one of the younger birds Pepperberg was also teaching talked with wrong pronunciation. Talk clearly! Dont be a smart aleck, Pepperberg said, shaking her head at him. He knows all this, and he gets bored, so he interrupts the others, or he gives the wrong answer just to be obstinate. At this stage, hes like a teenager; hesmoody, and Im never sure what hell do. | By breaking in other parrots as well as producing the incorrect answers, he tried to be focused. | c |
id_899 | Animal minds: Parrot Alex In 1977 Irene Pepperberg, a recent graduate of Harvard University, did something very bold. At a time when animals still were considered automatons, she set out to find what was on another creatures mind by talking to it. She brought a one-year-old African gray parrot she named Alex into her lab to teach him to reproduce the sounds of the English language. I thought if he learned to communicate, I could ask him questions about how he sees the world. When Pepperberg began her dialogue with Alex, who died last September at the age of 31, many scientists believed animals were incapable of any thought. They were simply machines, robots programmed to react to stimuli but lacking the ability to think or feel. Any pet owner would disagree. We see the love in our dogs eyes and know that, of course, they has thoughts and emotions. But such claims remain highly controversial. Gut instinct is not science, and it is all too easy to project human thoughts and feelings onto another creature. How, then, does a scientist prove that an animal is capable of thinking-that it is able to acquire information about the world and act on it? Thats why I started my studies with Alex. Pepperberg said. They were seated- she at her desk, he on top of his cage-in her lab, a windowless room about the size of a boxcar. At Brandeis University, newspapers lined the floor; baskets of bright toys were stacked on the shelves. They were clearly a team-and because of their work, the notion that animals can think is no longer so fanciful. Certain skills are considered key signs of higher mental abilities: good memory, a grasp of grammar and symbols, self-awareness, understanding others motives, imitating others, and being creative. Bit by bit, in ingenious experiments, researchers have documented these talents in other species, gradually chipping away at what we thought made human beings distinctive while offering a glimpse of where our own abilities came from. Scrub jays know that other jays are thieves and that stashed food can spoil; sheep can recognize faces; chimpanzees use a variety of tools to probe termite mounds and even use weapons to hunt small mammals; dolphins can imitate human postures; the archerfish, which stuns insects with a sudden blast of water, can learn how to aim its squirt simply by watching an experienced fish perform the task. And Alex the parrot turned out tobe a surprisingly good talker. Thirty years after the Alex studies began; Pepperberg and a changing collection of assistants were still giving him English lessons. The humans, along with two younger parrots, also served as Alexs flock, providing Page 202the social input all parrots crave. Like any flock, this one - as small as it was - had its share of drama. Alex dominated his fellow parrots, acted huffy at times around Pepperberg, tolerated the other female humans, and fell to pieces over a male assistant who dropped by for a visit. Pepperberg bought Alex in a Chicago pet store where she let the stores assistant pick him out because she didnt want other scientists saying later that shed particularly chosen an especially smart bird for her work. Given that Alexs brain was the size of a shelled walnut, most researchers thought Pepperbergs interspecies communication study would be futile. Some people actually called me crazy for trying this, she said. Scientists thought that chimpanzees were better subjects, although, of course, chimps cant speak. Chimpanzees, bonobos, and gorillas have been taught to use sign language and symbols to communicate with us, often with impressive results. The bonobo Kanzi, for instance, carries his symbol-communication board with him so he can talk to his human researchers, and he has invented combinations of symbols to express his thoughts. Nevertheless, this is not the same thing as having an animal look up at you, open his mouth, and speak. Under Pepperbergs patient tutelage, Alex learned how to use his vocal tract to imitate almost one hundred English words, including the sounds for various foods, although he calls an apple a banerry. Apples taste a little bit like bananas to him, and they look a little bit like cherries, so Alex made up that word for them, Pepperberg said. It sounded a bit mad, the idea of a bird having lessons to practice, and willingly doing it. But after listening to and observing Alex, it was difficult to argue with Pepperbergs explanation for his behaviors. She wasnt handing him treats for the repetitious work or rapping him on the claws to make him say the sounds. He has to hear the words over and over before he can correctly imitate them, Pepperberg said, after pronouncing seven for Alex a good dozen times in a row. Im not trying to see if Alex can learn a human language, she added. Thats never been the point. My plan always was to use his imitative skills to get a better understanding of avian cognition. In other words, because Alex was able to produce a close approximation of the sounds of some English words, Pepperberg could ask him questions about a birds basic understanding of the world. She couldnt ask him what he was thinking about, but she could ask him about his knowledge or numbers, shapes, and colors. To demonstrate, Pepperberg carried Alex on her arm to a tall wooden perch in the middle of the room. She then retrieved a green key and a small green cup from a basket on a shelf. She held up the two items to Alexs eye. Whats same? she asked. Without hesitation, Alexs beak opened: Co-lor. Whats different? Pepperberg asked. Shape, Alex said. His voice had the digitized sound of a cartoon character. Since parrots lack lips (another reason it was difficult for Alex to pronounce some sounds, such as ba), the words seemed to come from the air around him, as if a ventriloquist were speaking. But the words-and what can only be called the thoughts - were entirely his. For the next 20 minutes, Alex ran through his tests, distinguishing colors, shapes, sizes, and materials (wool versus wood versus metal). He did some simple arithmetic, such as counting the yellow toy blocks among a pile of mixed hues. And, then, as if to offer final proof of the mind inside his birds brain, Alex spoke up. Talk clearly! he commanded, when one of the younger birds Pepperberg was also teaching talked with wrong pronunciation. Talk clearly! Dont be a smart aleck, Pepperberg said, shaking her head at him. He knows all this, and he gets bored, so he interrupts the others, or he gives the wrong answer just to be obstinate. At this stage, hes like a teenager; hesmoody, and Im never sure what hell do. | It has taken a long time before people get to know cognition existing in animals. | e |
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