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Anatomy | Table of Content | short description, Etymology and definition, Animal tissues, Connective tissue, Epithelium, Muscle tissue, Nervous tissue, Vertebrate anatomy, Fish anatomy, Amphibian anatomy, Reptile anatomy, Bird anatomy, Mammal anatomy, Human anatomy, Invertebrate anatomy, Arthropod anatomy, Other branches of anatomy, History, Ancient, Medieval to early modern, Late modern, See also, References, External links, Sources |
Affirming the consequent | Short description | In propositional logic, affirming the consequent (also known as converse error, fallacy of the converse, or confusion of necessity and sufficiency) is a formal fallacy (or an invalid form of argument) that is committed when, in the context of an indicative conditional statement, it is stated that because the consequent is true, therefore the antecedent is true. It takes on the following form:
If P, then Q.
Q.
Therefore, P.
which may also be phrased as
(P implies Q)
(therefore, Q implies P)
For example, it may be true that a broken lamp would cause a room to become dark. It is not true, however, that a dark room implies the presence of a broken lamp. There may be no lamp (or any light source). The lamp may also be off. In other words, the consequent (a dark room) can have other antecedents (no lamp, off-lamp), and so can still be true even if the stated antecedent is not.
Converse errors are common in everyday thinking and communication and can result from, among other causes, communication issues, misconceptions about logic, and failure to consider other causes.
A related fallacy is denying the antecedent. Two related valid forms of logical argument include modus tollens (denying the consequent) and modus ponens (affirming the antecedent). |
Affirming the consequent | Formal description | Formal description
Affirming the consequent is the action of taking a true statement and invalidly concluding its converse . The name affirming the consequent derives from using the consequent, Q, of , to conclude the antecedent P. This fallacy can be summarized formally as or, alternatively, .Hurley, Patrick J. (2010), A Concise Introduction to Logic (11th edition). Wadsworth Cengage Learning, pp. 362–63.
The root cause of such a logical error is sometimes failure to realize that just because P is a possible condition for Q, P may not be the only condition for Q, i.e. Q may follow from another condition as well.
Affirming the consequent can also result from overgeneralizing the experience of many statements having true converses. If P and Q are "equivalent" statements, i.e. , it is possible to infer P under the condition Q. For example, the statements "It is August 13, so it is my birthday" and "It is my birthday, so it is August 13" are equivalent and both true consequences of the statement "August 13 is my birthday" (an abbreviated form of ).
Of the possible forms of "mixed hypothetical syllogisms," two are valid and two are invalid. Affirming the antecedent (modus ponens) and denying the consequent (modus tollens) are valid. Affirming the consequent and denying the antecedent are invalid.Kelley, David (1998), The Art of Reasoning (3rd edition). Norton, pp. 290–94. |
Affirming the consequent | Additional examples | Additional examples
Example 1
One way to demonstrate the invalidity of this argument form is with a counterexample with true premises but an obviously false conclusion. For example:
If someone lives in San Diego, then they live in California.
Joe lives in California.
Therefore, Joe lives in San Diego.
There are many places to live in California other than San Diego. On the other hand, one can affirm with certainty that "if someone does not live in California" (non-Q), then "this person does not live in San Diego" (non-P). This is the contrapositive of the first statement, and it must be true if and only if the original statement is true.
Example 2
If an animal is a dog, then it has four legs.
My cat has four legs.
Therefore, my cat is a dog.
Here, it is immediately intuitive that any number of other antecedents ("If an animal is a deer...", "If an animal is an elephant...", "If an animal is a moose...", etc.) can give rise to the consequent ("then it has four legs"), and that it is preposterous to suppose that having four legs must imply that the animal is a dog and nothing else. This is useful as a teaching example since most people can immediately recognize that the conclusion reached must be wrong (intuitively, a cat cannot be a dog), and that the method by which it was reached must therefore be fallacious. This argument was featured in Euguene Ionesco's Rhinoceros in a conversation between a Logician and an Old Gentleman.
Example 3
In Catch-22, the chaplain is interrogated for supposedly being "Washington Irving"/"Irving Washington", who has been blocking out large portions of soldiers' letters home. The colonel has found such a letter, but with the chaplain's name signed.
"You can read, though, can't you?" the colonel persevered sarcastically. "The author signed his name."
"That's my name there."
"Then you wrote it. Q.E.D."
P in this case is 'The chaplain signs his own name', and Q 'The chaplain's name is written'. The chaplain's name may be written, but he did not necessarily write it, as the colonel falsely concludes.See also
Abductive reasoning
Appeal to consequences
Confusion of the inverse
Denying the antecedent
Fallacies of illicit transference
Fallacy of the single cause
Fallacy of the undistributed middle
Modus ponens Modus tollens Necessity and sufficiency
Post hoc ergo propter hoc'' |
Affirming the consequent | References | References
Category:Formal fallacies |
Affirming the consequent | Table of Content | Short description, Formal description, Additional examples, References |
Andrei Tarkovsky | Short description | Andrei Arsenyevich Tarkovsky (, ; 4 April 1932 // Большая российская энциклопедия. Том 31. Москва, 2016, с. 674. – 29 December 1986) was a Soviet film director and screenwriter of Russian origin. He is widely considered one of the greatest directors in cinema history. His films explore spiritual and metaphysical themes and are known for their slow pacing and long takes, dreamlike visual imagery and preoccupation with nature and memory.
Tarkovsky studied film at the All-Union State Institute of Cinematography under filmmaker Mikhail Romm and subsequently directed his first five features in the Soviet Union: Ivan's Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). After years of creative conflict with state film authorities, he left the country in 1979 and made his final two films—Nostalghia (1983) and The Sacrifice (1986)—abroad. In 1986, he published Sculpting in Time, a book about cinema and art. He died later that year of cancer, a condition possibly caused by the toxic locations used in the filming of Stalker.
Tarkovsky was the recipient of numerous accolades throughout his career, including the FIPRESCI prize, the Prize of the Ecumenical Jury and the Grand Prix Spécial du Jury at the Cannes Film Festival in addition to the Golden Lion at the Venice Film Festival for his debut film, Ivan's Childhood as well as the BAFTA Film Award for The Sacrifice. In 1990, he was posthumously awarded the Soviet Union's prestigious Lenin Prize. Three of his films—Andrei Rublev, Mirror, and Stalker—featured in Sight & Sound 2012 poll of the 100 greatest films of all time. |
Andrei Tarkovsky | Life and career | Life and career |
Andrei Tarkovsky | Childhood and early life | Childhood and early life
Andrei Tarkovsky was born in the village of Zavrazhye in the Yuryevetsky District of the Ivanovo Industrial Oblast (modern-day Kadyysky District of the Kostroma Oblast, Russia) to the poet and translator Arseny Aleksandrovich Tarkovsky, a native of Yelysavethrad (now Kropyvnytskyi, Ukraine), and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute who later worked as a proofreader; she was born in Moscow in the Dubasov family estate.
Andrei's paternal grandfather Aleksandr Karlovich Tarkovsky (in ) was a Polish nobleman who worked as a bank clerk. His wife Maria Danilovna Rachkovskaya was a Romanian language teacher who arrived from Iași. interview to the newspaper at the Andrei Tarkovsky media archive, 2007 (in Russian). Andrei's maternal grandmother Vera Nikolayevna Vishnyakova (née Dubasova) belonged to an old Dubasov family of Russian nobility that traces its history back to the 17th century; among her relatives was Admiral Fyodor Dubasov, a fact she had to conceal during the Soviet days. She was married to Ivan Ivanovich Vishnyakov, a native of the Kaluga Governorate who studied law at the Moscow State University and served as a judge in Kozelsk. interview with Tarkovsky's sister Marina Tarkovskaya, journal, 2 April 2012 (in Russian). from the Brockhaus and Efron Encyclopedic Dictionary, 1890–1907 (Wikisource, in Russian).
According to the family legend, Tarkovsky's ancestors on his father's side were princes from the Shamkhalate of Tarki, Dagestan, although his sister, Marina Tarkovskaya, who conducted detailed research on their genealogy, called it "a myth, even a prank of sorts," stressing that no document confirms this narrative.
Tarkovsky spent his childhood in Yuryevets. His father left the family in 1937, subsequently volunteering for the army in 1941. He returned home in 1943, having been awarded the Order of the Red Star after being shot in one of his legs (which he would eventually need to have amputated due to gangrene). Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press.
In 1939, Tarkovsky enrolled at the Moscow School No. 554. During the war, the three evacuated to Yuryevets, living with his maternal grandmother. In 1943, the family returned to Moscow. Tarkovsky continued his studies at his old school, where the poet Andrei Voznesensky was one of his classmates. He studied piano at a music school and attended classes at an art school. The family lived on Shchipok Street in the Zamoskvorechye District in Moscow. From November 1947 to spring 1948 he was in the hospital with tuberculosis. Many themes of his childhood—the evacuation, his mother and her two children, the withdrawn father, the time in the hospital—feature prominently in his film Mirror.
In his school years, Tarkovsky was a troublemaker and a poor student. He still managed to graduate, and from 1951 to 1952 studied Arabic at the Oriental Institute in Moscow, a branch of the Academy of Sciences of the Soviet Union. He did not finish his studies and dropped out to work as a prospector for the Academy of Science Institute for Non-Ferrous Metals and Gold. He participated in a year-long research expedition to the river Kureyka near Turukhansk in the Krasnoyarsk Province. During this time in the taiga, Tarkovsky decided to study film. |
Andrei Tarkovsky | Film school student | Film school student
Upon returning from the research expedition in 1954, Tarkovsky applied at the State Institute of Cinematography (VGIK) and was admitted to the film-directing program. He was in the same class as Irma Raush (Irina) whom he married in April 1957.
The early Khrushchev era offered good opportunities for young film directors. Before 1953, annual film production was low and most films were directed by veteran directors. After 1953, more films were produced, many of them by young directors. The Khrushchev Thaw relaxed Soviet social restrictions a bit and permitted a limited influx of European and North American literature, films and music. This allowed Tarkovsky to see films of the Italian neorealists, French New Wave, and of directors such as Kurosawa, Buñuel, Bergman, Bresson, Wajda (whose film Ashes and Diamonds influenced Tarkovsky) and Mizoguchi.
Tarkovsky's teacher and mentor was Mikhail Romm, who taught many film students who would later become influential film directors. In 1956, Tarkovsky directed his first student short film, The Killers, from a short story of Ernest Hemingway. The longer television film There Will Be No Leave Today followed in 1959. Both films were a collaboration between the VGIK students. Classmate Aleksandr Gordon, who married Tarkovsky's sister, in particular directed, wrote, edited, and acted in the two films with Tarkovsky.
During his third year at the VGIK, Tarkovsky met Andrei Konchalovsky. They found much in common as they liked the same film directors and shared ideas on cinema and films. In 1959, they wrote the script Antarctica – Distant Country, which was later published in the Moskovsky Komsomolets. Tarkovsky submitted the script to Lenfilm, but it was rejected. They were more successful with the script The Steamroller and the Violin, which they sold to Mosfilm. This became Tarkovsky's graduation project, earning him his diploma in 1960 and winning First Prize at the New York Student Film Festival in 1961. |
Andrei Tarkovsky | Film career in the Soviet Union | Film career in the Soviet Union
Tarkovsky's first feature film was Ivan's Childhood in 1962. He had inherited the film from director Eduard Abalov, who had to abort the project. The film earned Tarkovsky international acclaim and won the Golden Lion award at the Venice Film Festival in the year 1962. In the same year, on 30 September, his first son Arseny (called Senka in Tarkovsky's diaries) Tarkovsky was born.
thumb|upright|left|Monument to Andrei Tarkovsky at entrance of Gerasimov Institute of Cinematography
In 1965, he directed the film Andrei Rublev about the life of Andrei Rublev, the fifteenth-century Russian icon painter. Andrei Rublev was not, except for a single screening in Moscow in 1966, immediately released after completion due to problems with Soviet authorities. Tarkovsky had to cut the film several times, resulting in several different versions of varying lengths. The film was widely released in the Soviet Union in a cut version in 1971. Nevertheless, the film had a budget of more than 1 million rubles – a significant sum for that period. A version of the film was presented at the Cannes Film Festival in 1969 and won the FIPRESCI prize.
He divorced his wife, Irina, in June 1970. In the same year, he married Larisa Kizilova (née Egorkina), who had been a production assistant for the film Andrei Rublev (they had been living together since 1965). Their son, Andrei Andreyevich Tarkovsky, (nicknamed Andriosha, meaning "little Andre" or "Andre Junior") was born in the same year on 7 August.
In 1972, he completed Solaris, an adaptation of the novel Solaris by Stanisław Lem. He had worked on this together with screenwriter Friedrich Gorenstein as early as 1968. The film was presented at the Cannes Film Festival, won the Grand Prix Spécial du Jury, and was nominated for the Palme d'Or.
From 1973 to 1974, he shot the film Mirror, a highly autobiographical and unconventionally structured film drawing on his childhood and incorporating some of his father's poems. In this film Tarkovsky portrayed the plight of childhood affected by war. Tarkovsky had worked on the screenplay for this film since 1967, under the consecutive titles Confession, White day and A white, white day. From the beginning the film was not well received by Soviet authorities due to its content and its perceived elitist nature. Soviet authorities placed the film in the "third category", a severely limited distribution, and only allowed it to be shown in third-class cinemas and workers' clubs. Few prints were made and the film-makers received no returns. Third category films also placed the film-makers in danger of being accused of wasting public funds, which could have serious effects on their future productivity.Marshall, Herbert. Sight and Sound. Vol 45, no 2. Spring 1976. p. 93. These difficulties are presumed to have made Tarkovsky play with the idea of going abroad and producing a film outside the Soviet film industry.
During 1975, Tarkovsky also worked on the screenplay Hoffmanniana, about the German writer and poet E. T. A. Hoffmann. In December 1976, he directed Hamlet, his only stage play, at the Lenkom Theatre in Moscow. The main role was played by Anatoly Solonitsyn, who also acted in several of Tarkovsky's films. At the end of 1978, he also wrote the screenplay Sardor together with the writer Aleksandr Misharin.
The last film Tarkovsky completed in the Soviet Union was Stalker, inspired by the novel Roadside Picnic by the brothers Arkady and Boris Strugatsky. Tarkovsky had met the brothers first in 1971 and was in contact with them until his death in 1986. Initially he wanted to shoot a film based on their novel Dead Mountaineer's Hotel and he developed a raw script. Influenced by a discussion with Arkady Strugatsky he changed his plan and began to work on the script based on Roadside Picnic. Work on this film began in 1976. The production was mired in troubles; improper development of the negatives had ruined all the exterior shots. Tarkovsky's relationship with cinematographer Georgy Rerberg deteriorated to the point where he hired Alexander Knyazhinsky as a new first cinematographer. Furthermore, Tarkovsky had a heart attack in April 1978, resulting in further delay. The film was completed in 1979 and won the Prize of the Ecumenical Jury at the Cannes Film Festival. In a question and answer session at the Edinburgh Filmhouse on 11 February 1981, Tarkovsky trenchantly rejected suggestions that the film was either impenetrably mysterious or a political allegory.Stalker: Andrei Tarkovsky Talking, in Bold, Christine (ed.), Cencrastus No. 5, Summer 1981, pp. 12 & 13. |
Andrei Tarkovsky | Film career outside the Soviet Union | Film career outside the Soviet Union
During the summer of 1979, Tarkovsky traveled to Italy, where he shot the documentary Voyage in Time together with his long-time friend Tonino Guerra. Tarkovsky returned to Italy in 1980 for an extended trip, during which he and Guerra completed the script for the film Nostalghia. During this period, he took Polaroid photographs depicting his personal life.
Tarkovsky returned to Italy in 1982 to start shooting Nostalghia, but Mosfilm then withdrew from the project, so he sought and received financial backing from the Italian RAI. Tarkovsky completed the film in 1983, and it was presented at the Cannes Film Festival where it won the FIPRESCI prize and the Prize of the Ecumenical Jury. Tarkovsky also shared a special prize called Grand Prix du cinéma de création with Robert Bresson. Soviet authorities lobbied to prevent the film from winning the Palme d'Or, a fact that hardened Tarkovsky's resolve to never work in the Soviet Union again. After Cannes he went to London to stage and choreograph the opera Boris Godunov at the Royal Opera House under the musical direction of Claudio Abbado.
thumb|right|Mug shot of Andrei Tarkovsky at the Latina Refugee Camp of Latina (Italy) in 1985
At a press conference in Milan on 10 July 1984, he announced that he would never return to the Soviet Union and would remain in Western Europe. He stated, "I am not a Soviet dissident, I have no conflict with the Soviet Government," but if he returned home, he added, "I would be unemployed." At that time, his son Andriosha was still in the Soviet Union and not allowed to leave the country. On 28 August 1985, Tarkovsky was processed as a Soviet Defector at a refugee camp in Latina, Italy, registered with the serial number 13225/379, and officially welcomed to the West.
Tarkovsky spent most of 1984 preparing the film The Sacrifice. It was finally shot in 1985 in Sweden, with many of the crew being alumni from Ingmar Bergman's films, including cinematographer Sven Nykvist. Tarkovsky's vision of his film was greatly influenced by Bergman's style.
While The Sacrifice is about an apocalypse and impending death, faith, and possible redemption, in the making-of documentary Directed by Andrei Tarkovsky, in a particularly poignant scene, writer/director Michal Leszczylowski follows Tarkovsky on a walk as he expresses his sentiments on death—he claims himself to be immortal and has no fear of dying. Ironically, at the end of the year Tarkovsky was diagnosed with terminal lung cancer. In January 1986, he began treatment in Paris and was joined there by his son, Andre Jr, who was finally allowed to leave the Soviet Union. What would be Tarkovsky's final film was dedicated to him.
The Sacrifice was presented at the Cannes Film Festival and received the Grand Prix Spécial du Jury, the FIPRESCI prize and the Prize of the Ecumenical Jury. As Tarkovsky was unable to attend due to his illness, the prizes were collected by his son. |
Andrei Tarkovsky | Death | Death
thumb|Andrei and Larisa Tarkovsky's grave, Sainte-Geneviève-des-Bois Russian Cemetery in France
In Tarkovsky's last diary entry (15 December 1986), he wrote: "But now I have no strength left—that is the problem". The diaries are sometimes also known as Martyrology and were published posthumously in 1989 and in English in 1991.
Tarkovsky died in Paris on 29 December 1986. His funeral ceremony was held at the Alexander Nevsky Cathedral. He was buried on 3 January 1987 in the Russian Cemetery in Sainte-Geneviève-des-Bois in France. The inscription on his gravestone, which was erected in 1994, was conceived by Tarkovsky's wife, Larisa, reads: To the man who saw the Angel. Larisa died in 1998 and is buried beside her husband.
Tarkovsky, his wife Larisa, and actor Anatoly Solonitsyn all died from the same type of cancer. Vladimir Sharun, a sound designer for Stalker, was convinced that all three died due to exposure to chemicals released from a chemical plant upstream from where the film was shot. |
Andrei Tarkovsky | Influences and thoughts on film | Influences and thoughts on film
Tarkovsky became a film director during the mid and late 1950s, a period referred to as the Khrushchev Thaw, during which Soviet society opened to foreign films, literature and music, among other things. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience that influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director.
Tarkovsky was, according to fellow student Shavkat Abdusalmov, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight. Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves".Tarkovsky, Andrei. Sculpting in Time. Trans. Kitty Hunter-Blair. Austin, Texas: University of Texas Press, 2003.
Tarkovsky was also a deeply religious Orthodox Christian, who believed great art should have a higher spiritual purpose. He was a perfectionist not given to humor or humility: his signature style was ponderous and literary, having many characters that pondered over religious themes and issues regarding faith.
Tarkovsky perceived that the art of cinema has only been truly mastered by very few filmmakers, stating in a 1970 interview with Naum Abramov that "they can be counted on the fingers of one hand". In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list is as follows: Diary of a Country Priest and Mouchette by Robert Bresson; Winter Light, Wild Strawberries, and Persona by Ingmar Bergman; Nazarín by Luis Buñuel; City Lights by Charlie Chaplin; Ugetsu by Kenji Mizoguchi; Seven Samurai by Akira Kurosawa, and Woman in the Dunes by Hiroshi Teshigahara. He also liked Pier Paolo Pasolini's film The Gospel According to St. Matthew. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer.
With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Soviet Union, although he rated Soviet directors such as Boris Barnet, Sergei Parajanov and Alexander Dovzhenko highly. He said of Dovzhenko's Earth: "I have lived a lot among very simple farmers and met extraordinary people. They spread calmness, had such tact, they conveyed a feeling of dignity and displayed wisdom that I have seldom come across on such a scale. Dovzhenko had obviously understood wherein the sense of life resides. [...] This trespassing of the border between nature and mankind is an ideal place for the existence of man. Dovzhenko understood this."
He was also not a fan of blockbusters or science fiction, largely dismissing the latter for its "comic book" trappings and vulgar commercialism. He equally liked George Lucas's Star Wars according to his son, Andrei A. Tarkovsky. |
Andrei Tarkovsky | Cinematic style | Cinematic style
In a 1962 interview, Tarkovsky argued: "All art, of course, is intellectual, but for me, all the arts, and cinema even more so, must above all be emotional and act upon the heart." His films are characterized by metaphysical themes, extremely long takes, and images often considered by critics to be of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera. He once said: "Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema."
Tarkovsky incorporated levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for their photogenic value and magical inexplicability. Water, clouds, and reflections were used by him for their surreal beauty and photogenic value, as well as their symbolism, such as waves or the forms of brooks or running water. Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self-reflection.
Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.
Up to, and including, his film Mirror, Tarkovsky focused his cinematic works on exploring this theory. After Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.
Several of Tarkovsky's films have color or black-and-white sequences. This first occurs in the otherwise monochrome Andrei Rublev, which features a color epilogue of Rublev's authentic religious icon paintings. All of his films afterwards contain monochrome, and in Stalker's case sepia sequences, while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time, and that color should therefore be used in film mainly to emphasize certain moments, but not all the time, as this distracts the viewer. To him, films in color were like moving paintings or photographs, which are too beautiful to be a realistic depiction of life.
Director Ingmar Bergman commented on Tarkovsky:
Contrarily, however, Bergman conceded the truth in the claim made by a critic who wrote that "with Autumn Sonata Bergman does Bergman", adding: "Tarkovsky began to make Tarkovsky films, and that Fellini began to make Fellini films [...] Buñuel nearly always made Buñuel films." This pastiche of one's own work has been derogatorily termed as "self-karaoke". |
Andrei Tarkovsky | Vadim Yusov | Vadim Yusov
Tarkovsky worked in close collaboration with cinematographer Vadim Yusov from 1958 to 1972, and much of the visual style of Tarkovsky's films can be attributed to this collaboration. Tarkovsky would spend two days preparing for Yusov to film a single long take, and due to the preparation, usually only a single take was needed.The films of Andrei Tarkovsky: a visual fugue By Vida T. Johnson, Graham Petrie, p. 79. |
Andrei Tarkovsky | Sven Nykvist | Sven Nykvist
In his last film, The Sacrifice, Tarkovsky worked with cinematographer Sven Nykvist, who had worked on many films with director Ingmar Bergman. (Nykvist was not alone: several people involved in the production had previously collaborated with Bergman, notably lead actor Erland Josephson, who had also acted for Tarkovsky in Nostalghia.) Nykvist complained that Tarkovsky would frequently look through the camera and even direct actors through it, but ultimately stated that choosing to work with Tarkovsky was one of the best choices he had ever made. |
Andrei Tarkovsky | Filmography | Filmography
Tarkovsky is mainly known as a film director. During his career he directed seven feature films, as well as three shorts from his time at VGIK. His features are:
Ivan's Childhood (1962)
Andrei Rublev (1966)
Solaris (1972)
Mirror (1975)
Stalker (1979)
Nostalghia (1983)
The Sacrifice (1986)
He also wrote several screenplays. Furthermore, he directed the play Hamlet for the stage in Moscow, directed the opera Boris Godunov in London, and he directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting in Time, a book on film theory.
Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed Andrei Rublev in 1966, Solaris in 1972, Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a cowriter. Tarkovsky once said that a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous films. |
Andrei Tarkovsky | Publications | Publications
Sculpting in Time. University of Texas Press, 1986. .
Time Within Time: The Diaries 1970–1986. Seagull, 1989. . Translated by Kitty Hunter-Blair.
Collected Screenplays. London: Faber & Faber, 2003. .
Instant Light, Tarkovsky Polaroids. London: Thames and Hudson, 2006. . A book of 60 photographs taken by Tarkovsky in Russia and Italy between 1979 and 1984. Edited by Italian photographer Giovanni Chiaramonte and Tarkovsky's son Andrey A. Tarkovsky.
Bright, bright day. Tarkovsky Foundation and White Space Gallery, 2008. A book of Polaroids edited by Stephen Gill. . Edition of 3000 copies.
Tarkovsky: Films, Stills, Polaroids & Writings. London: Thames and Hudson, 2019. . |
Andrei Tarkovsky | Unproduced screenplays | Unproduced screenplays |
Andrei Tarkovsky | ''Concentrate'' | Concentrate
Concentrate (, Kontsentrat) is a never-filmed 1958 screenplay by Tarkovsky. The screenplay is based on Tarkovsky's year in the taiga as a member of a research expedition, prior to his enrollment in film school. It's about the leader of a geological expedition, who waits for the boat that brings back the concentrates collected by the expedition. The expedition is surrounded by mystery, and its purpose is a state secret.
Although some authors claim that the screenplay was filmed, according to Marina Tarkovskaya, Tarkovsky's sister (and wife of Aleksandr Gordon, a fellow student of Tarkovsky during his film school years) the screenplay was never filmed. Tarkovsky wrote the screenplay during his entrance examination at the State Institute of Cinematography (VGIK) in a single sitting. He earned the highest possible grade, "excellent" () for this work. In 1994, fragments of Concentrate were filmed and used in the documentary Andrei Tarkovsky's Taiga Summer by Marina Tarkovskaya and Aleksandr Gordon. |
Andrei Tarkovsky | ''Hoffmanniana'' | Hoffmanniana
Hoffmanniana () is a never-filmed 1974 screenplay by Tarkovsky. The screenplay is based on the life and work of German author E. T. A. Hoffmann. In 1974, an acquaintance from Tallinnfilm approached Tarkovsky to write a screenplay on a German theme. Tarkovsky considered Thomas Mann and E. T. A. Hoffmann, and also thought about Ibsen's Peer Gynt. In the end Tarkovsky signed a contract for a script based on the life and work of Hoffmann. He planned to write the script during the summer of 1974 at his dacha. Writing was not without difficulty, less than a month before the deadline he had not written a single page. He finally finished the project in late 1974 and submitted the final script to Tallinnfilm in October.
Although the script was well received by the officials at Tallinnfilm, it was the consensus that no one but Tarkovsky would be able to direct it. The script was sent to Goskino in February 1976, and although approval was granted for proceeding with making the film, the screenplay was never realized. In 1984, during the time of his exile in the West, Tarkovsky revisited the screenplay and made a few changes. He also considered to finally direct a film based on the screenplay but ultimately dropped this idea. |
Andrei Tarkovsky | Films about Tarkovsky | Films about Tarkovsky
Voyage in Time (1983): documents the travels in Italy of Andrei Tarkovsky in preparation for the making of his film Nostalghia, co-directed with Tonino Guerra.
Tarkovsky: A Poet in the Cinema (1984): directed by Donatella Baglivo.
Moscow Elegy (1987), a documentary/homage to Tarkovsky by Aleksandr Sokurov.
Auf der Suche nach der verlorenen Zeit (1988): Andrej Tarkowskijs Exil und Tod. Documentary directed by Ebbo Demant. Germany.
One Day in the Life of Andrei Arsenevich (1999): French documentary film directed by Chris Marker.
Andrey (2006): a film by Nariné Mktchyan and Arsen Azatyan about Tarkovsky visiting Armenia.
Tarkovsky: Time Within Time (2015): documentary by P. J. Letofsky.
Andrei Tarkovsky: A Cinema Prayer (2019): a poetic documentary by Tarkovsky's son Andrei A. Tarkovsky. |
Andrei Tarkovsky | Awards and commemoration | Awards and commemoration
Numerous awards were bestowed on Tarkovsky throughout his lifetime.
At the Venice Film Festival, the Golden Lion of the for Ivan's Childhood
thumb|Russian stamp, 2007At the Cannes Film Festival, the FIPRESCI prize three times, the Prize of the Ecumenical Jury three times (more than any other director), the Grand Prix Spécial du Jury twice, and the Best Director award once. He was also nominated for the Palme d'Or three times.
In 1987, the BAFTA Award for Best Foreign Language Film of the British Academy of Film and Television Arts for The Sacrifice.
Under the influence of Glasnost and Perestroika, Tarkovsky was finally recognized in the Soviet Union in the Autumn of 1986, shortly before his death, by a retrospective of his films in Moscow. After his death, an entire issue of the film magazine Iskusstvo Kino was devoted to Tarkovsky. In their obituaries, the film committee of the Council of Ministers of the Soviet Union and the Union of Soviet Film Makers expressed their sorrow that Tarkovsky had to spend the last years of his life in exile.
Posthumously, he was awarded the Lenin Prize in 1990, one of the highest state honors in the Soviet Union. In 1989, the Andrei Tarkovsky Memorial Prize was established, with its first recipient being the Russian animator Yuri Norstein. In three consecutive events, the Moscow International Film Festival awarded the Andrei Tarkovsky Award in 1993, 1995, and 1997.
In 1996, the Andrei Tarkovsky Museum opened in Yuryevets, his childhood town. A minor planet, 3345 Tarkovskij, discovered by Soviet astronomer Lyudmila Karachkina in 1982, has been named after him.
Tarkovsky has been the subject of several documentaries. Most notable is the 1988 documentary Moscow Elegy, by Russian film director Alexander Sokurov. Sokurov's own work has been heavily influenced by Tarkovsky. The film consists mostly of narration over stock footage from Tarkovsky's films. Directed by Andrei Tarkovsky is a 1988 documentary film by Michal Leszczylowski, an editor of the film The Sacrifice. Film director Chris Marker produced the television documentary One Day in the Life of Andrei Arsenevich as an homage to Andrei Tarkovsky in 2000.
At the entrance to the Gerasimov Institute of Cinematography in Moscow, there is a monument that includes statues of Tarkovsky, Gennady Shpalikov and Vasily Shukshin. |
Andrei Tarkovsky | Reception and legacy | Reception and legacy
Andrei Tarkovsky and his works have received praise from many filmmakers, critics and thinkers.
The Swedish filmmaker Ingmar Bergman was quoted as saying: "Tarkovsky for me is the greatest [of us all], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream".Title quote of 2003 Tarkovsky Festival Program, Pacific Film Archive.
The Japanese filmmaker Akira Kurosawa remarked on Tarkovsky's films as saying: "His unusual sensitivity is both overwhelming and astounding. It almost reaches a pathological intensity. Probably there is no equal among film directors alive now." Kurosawa also commented: "I love all of Tarkovsky's films. I love his personality and all his works. Every cut from his films is a marvelous image in itself. But the finished image is nothing more than the imperfect accomplishment of his idea. His ideas are only realized in part. And he had to make do with it."
The Iranian filmmaker Abbas Kiarostami remarked that: "Tarkovsky's works separate me completely from physical life, and are the most spiritual films I have seen".
The Polish filmmaker Krzysztof Kieślowski commented that: "Andrei Tarkovsky was one of the greatest directors of recent years," and regarded Tarkovsky's film Ivan's Childhood as an influence on his own work.
The Turkish filmmaker Nuri Bilge Ceylan said that when he first discovered the films of Andrei Tarkovsky as a college student, unsure of what he wanted to do with his life, he was utterly baffled by the lauded Soviet master. He walked out of a screening of Solaris at the halfway point, and stopped a VHS tape of Mirror at a similar juncture. Today, he considers the latter to be the greatest film ever made. "I've seen it maybe 20 times," he says.
The Armenian filmmaker Sergei Parajanov remarked that watching Tarkovsky's film, Ivan's Childhood was his main inspiration to become a filmmaker by saying: "I did not know how to do anything and I would not have done anything if there had not been Ivan's Childhood".
The Austrian filmmaker Michael Haneke voted for Mirror on his top 10 films in the 2002 Sight & Sound directors' poll and later said that he has seen the picture at least 25 times.
The American filmmaker Stan Brakhage said that: "I personally think that the three greatest tasks for film in the 20th century are (1) To make the epic, that is to tell the tales of the tribes of the world. (2) To keep it personal, because only in the eccentricities of our personal lives do we have any chances at the truth. (3) To do the dream work, that is, to illuminate the borders of the unconscious. The only filmmaker I know that does all these three things equally in every film he makes is Andrei Tarkovsky, and that's why I think he's the greatest living narrative filmmaker."
The German filmmaker Wim Wenders dedicated his film Wings of Desire to Tarkovsky (along with François Truffaut and Yasujirō Ozu).
The French filmmaker Chris Marker directed a documentary film as a homage to Tarkovsky called One Day in the Life of Andrei Arsenevich and used Tarkovsky's concept of "The Zone" (from the film, Stalker) for his 1983 film essay, Sans Soleil.
The Greek filmmaker Theo Angelopoulos regarded Tarkovsky's film Stalker as one of the films that influenced him.
The Polish filmmaker Andrzej Żuławski remarked that: "If anybody influenced anybody, it's me being influenced by Tarkovsky, not the reverse", and called Tarkovsky's film Andrei Rublev a "masterpiece".
The Greek-Australian filmmaker Alex Proyas was "extremely influenced" by Tarkovsky's work and cited Stalker as one of his favorite films.
The French philosopher Jean-Paul Sartre highly praised Tarkovsky's film Ivan's Childhood, saying that it was one of the most beautiful films he had ever seen.
The Japanese anime filmmaker Mamoru Oshii, known for his works such as Ghost in the Shell, was influenced by Tarkovsky.
The Indian-born British American novelist Salman Rushdie praised Tarkovsky and his work Solaris by calling it "a sci-fi masterpiece".Rushdie, Salman. Step Across This Line: Collected Nonfiction 1992–2002. New York: Random House, 2002, p. 335.
Film historian Steven Dillon says that much of subsequent film was deeply influenced by the films of Tarkovsky.
Mexican filmmaker Alejandro González Iñarritu is a huge fan of Tarkovsky. He once said in an interview: "Andrei Rublev is maybe my favorite film ever", and in another interview, he added: "I remember, the first time I saw a Tarkovsky film, I was shocked by it. I did not know what to do. I was shocked by it. I was fascinated, because suddenly I realized that film could have so many more layers to it than what I had imagined before". There are many direct references and hidden tributes to Tarkovsky's movies in Iñarritu's 2015 Oscar-winning drama The Revenant.
Danish film director Lars von Trier is a fervent admirer of Tarkovsky. He dedicated his 2009 film Antichrist to him, and, while discussing it with critic David Jenkins, asked: "Have you seen Mirror? I was hypnotised! I've seen it 20 times. It's the closest thing I've got to a religion – to me he is a god".
The Japanese composer Ryuichi Sakamoto was an admirer of Tarkovsky's work, describing his penultimate solo album, async as "a soundtrack for an imaginary Tarkovsky film." On Tarkovsky's overall influence on his own work, Sakamoto stated, "As I've been making music and trying to go deeper and deeper, I was finally able to understand what the Tarkovsky movies are about — how symphonic they are — it's almost music. Not just the sounds — it's a symphony of moving images and sounds. They are more complex than music." |
Andrei Tarkovsky | Film festival | Film festival
Two film festivals have been named in his honor:
International Human Rights Film Festival "Stalker", named after the film held annually in Moscow and regional centres since 1995
International Film Festival "Zerkalo" named after Andrei Tarkovsky (meaning "mirror"), "for fans of intellectual cinema"; also known as Tarkovsky Film festival – Zerkalo, Zerkalo International Film Festival, Andrei Tarkovsky Zerkalo International Film Festival, 4 July 2020. or simply Zerkalo, The festival is organized by a committee headed by Mikhail Men, governor of Ivanovo Oblast. Sister of Andrei Tarkovsky, Marina Tarkovsky was one of the co-founders and organizers. From 2010 the festival was directed by Pavel Lungin. In 2020, the president of the festival was Russian director Sergei Bodrov. Owing to the COVID-19 pandemic in Russia, the 14th edition was held online in 2020, and appears to be the last one held, . The festival awards a number of prizes, including the Special Award for Contribution to Andrei Tarkovsky's Cinema. (English version). Held in Ivanovo since 2007, the festival is held in July each year, with the 16th edition scheduled for 22–27 July, to be held in various cities in the Ivanovo region, with special screenings in Moscow. Films from France, India, Greece, Serbia, Colombia, Kazakhstan and other countries were entered into the competition, and a gala night was dedicated to Tarkovsky's 90th birthday, on the main square of his hometown of Yuryevets on 22 July. |
Andrei Tarkovsky | See also | See also
European art cinema
Slow cinema
Moscow International Film Festival |
Andrei Tarkovsky | References | References |
Andrei Tarkovsky | Bibliography | Bibliography
Schmidt, Stefan W. (2016). "Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia." Journal of Aesthetics and Phenomenology, 3 (1): 27–41. Somatography and Film: Nostalgia as Haunting Memory Shown in Tarkovsky's Nostalghia.
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Andrei Tarkovsky | Notes | Notes |
Andrei Tarkovsky | Further reading | Further reading
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Andrei Tarkovsky | External links | External links
Andrei Tarkovsky at Senses of Cinema
Website about Andrei Tarkovsky, Films, Articles, Interviews
Andrei Tarkovsky: Biography wrestles with the filmmaker's remarkable life
Nostalghia.com - An Andrei Tarkovsky Information Site, at Film Studies Program in the Department of Communication and Culture, University of Calgary
A.Tarkovsky's Days in Armenia
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Andrei Tarkovsky | Table of Content | Short description, Life and career, Childhood and early life, Film school student, Film career in the Soviet Union, Film career outside the Soviet Union, Death, Influences and thoughts on film, Cinematic style, Vadim Yusov, Sven Nykvist, Filmography, Publications, Unproduced screenplays, ''Concentrate'', ''Hoffmanniana'', Films about Tarkovsky, Awards and commemoration, Reception and legacy, Film festival, See also, References, Bibliography, Notes, Further reading, External links |
Ambiguity | Short description | thumb|250px|alt=Drawing of the back an anthropomorphic caterpillar, seated on a toadstool amid grass and flowers, blowing smoke from a hookah; a blonde girl in an old-fashioned frock is standing on tiptoe to peer at the caterpillar over the toadstool's edge|Sir John Tenniel's illustration of the Caterpillar for Lewis Carroll's Alice's Adventures in Wonderland is noted for its ambiguous central figure, whose head can be viewed as either a man's face with a pointed nose and chin smoking a pipe, or as the end of an actual caterpillar, with the first two right "true" legs visible (1865)."And do you see its long nose and chin? At least, they look exactly like a nose and chin, that is don't they? But they really are two of its legs. You know a Caterpillar has got quantities of legs: you can see more of them, further down." Carroll, Lewis. The Nursery "Alice". Dover Publications (1966), p 27.
Ambiguity is the type of meaning in which a phrase, statement, or resolution is not explicitly defined, making for several interpretations; others describe it as a concept or statement that has no real reference. A common aspect of ambiguity is uncertainty. It is thus an attribute of any idea or statement whose intended meaning cannot be definitively resolved, according to a rule or process with a finite number of steps. (The prefix ambi- reflects the idea of "two", as in "two meanings").
The concept of ambiguity is generally contrasted with vagueness. In ambiguity, specific and distinct interpretations are permitted (although some may not be immediately obvious), whereas with vague information it is difficult to form any interpretation at the desired level of specificity. |
Ambiguity | Linguistic forms | Linguistic forms
Lexical ambiguity is contrasted with semantic ambiguity. The former represents a choice between a finite number of known and meaningful context-dependent interpretations. The latter represents a choice between any number of possible interpretations, none of which may have a standard agreed-upon meaning. This form of ambiguity is closely related to vagueness.
Ambiguity in human language is argued to reflect principles of efficient communication. Languages that communicate efficiently will avoid sending information that is redundant with information provided in the context. This can be shown mathematically to result in a system that is ambiguous when context is neglected. In this way, ambiguity is viewed as a generally useful feature of a linguistic system.
Linguistic ambiguity can be a problem in law, because the interpretation of written documents and oral agreements is often of paramount importance.thumb|Structural analysis of an ambiguous Spanish sentence: Pepe vio a Pablo enfurecido.Interpretation 1: When Pepe was angry, then he saw Pablo.Interpretation 2: Pepe saw that Pablo was angry.Here, the syntactic tree in figure represents interpretation 2. |
Ambiguity | Lexical ambiguity | Lexical ambiguity
The lexical ambiguity of a word or phrase applies to it having more than one meaning in the language to which the word belongs. "Meaning" here refers to whatever should be represented by a good dictionary. For instance, the word "bank" has several distinct lexical definitions, including "financial institution" and "edge of a river". Or consider "apothecary". One could say "I bought herbs from the apothecary". This could mean one actually spoke to the apothecary (pharmacist) or went to the apothecary (pharmacy).
The context in which an ambiguous word is used often makes it clearer which of the meanings is intended. If, for instance, someone says "I put $100 in the bank", most people would not think someone used a shovel to dig in the mud. However, some linguistic contexts do not provide sufficient information to make a used word clearer.
Lexical ambiguity can be addressed by algorithmic methods that automatically associate the appropriate meaning with a word in context, a task referred to as word-sense disambiguation.
The use of multi-defined words requires the author or speaker to clarify their context, and sometimes elaborate on their specific intended meaning (in which case, a less ambiguous term should have been used). The goal of clear concise communication is that the receiver(s) have no misunderstanding about what was meant to be conveyed. An exception to this could include a politician whose "weasel words" and obfuscation are necessary to gain support from multiple constituents with mutually exclusive conflicting desires from his or her candidate of choice. Ambiguity is a powerful tool of political science.
More problematic are words whose multiple meanings express closely related concepts. "Good", for example, can mean "useful" or "functional" (That's a good hammer), "exemplary" (She's a good student), "pleasing" (This is good soup), "moral" (a good person versus the lesson to be learned from a story), "righteous", etc. "I have a good daughter" is not clear about which sense is intended. The various ways to apply prefixes and suffixes can also create ambiguity ("unlockable" can mean "capable of being opened" or "impossible to lock"). |
Ambiguity | Semantic and syntactic ambiguity | Semantic and syntactic ambiguity
thumb|Which is wet: the food, or the cat?
Semantic ambiguity occurs when a word, phrase or sentence, taken out of context, has more than one interpretation. In "We saw her duck" (example due to Richard Nordquist), the words "her duck" can refer either
to the person's bird (the noun "duck", modified by the possessive pronoun "her"), or
to a motion she made (the verb "duck", the subject of which is the objective pronoun "her", object of the verb "saw").
Syntactic ambiguity arises when a sentence can have two (or more) different meanings because of the structure of the sentence—its syntax. This is often due to a modifying expression, such as a prepositional phrase, the application of which is unclear. "He ate the cookies on the couch", for example, could mean that he ate those cookies that were on the couch (as opposed to those that were on the table), or it could mean that he was sitting on the couch when he ate the cookies. "To get in, you will need an entrance fee of $10 or your voucher and your drivers' license." This could mean that you need EITHER ten dollars OR BOTH your voucher and your license. Or it could mean that you need your license AND you need EITHER ten dollars OR a voucher. Only rewriting the sentence, or placing appropriate punctuation can resolve a syntactic ambiguity.Critical Thinking, 10th ed., Ch 3, Moore, Brooke N. and Parker, Richard. McGraw-Hill, 2012
For the notion of, and theoretic results about, syntactic ambiguity in artificial, formal languages (such as computer programming languages), see Ambiguous grammar.
Usually, semantic and syntactic ambiguity go hand in hand. The sentence "We saw her duck" is also syntactically ambiguous. Conversely, a sentence like "He ate the cookies on the couch" is also semantically ambiguous. Rarely, but occasionally, the different parsings of a syntactically ambiguous phrase result in the same meaning. For example, the command "Cook, cook!" can be parsed as "Cook (noun used as vocative), cook (imperative verb form)!", but also as "Cook (imperative verb form), cook (noun used as vocative)!". It is more common that a syntactically unambiguous phrase has a semantic ambiguity; for example, the lexical ambiguity in "Your boss is a funny man" is purely semantic, leading to the response "Funny ha-ha or funny peculiar?"
Spoken language can contain many more types of ambiguities that are called phonological ambiguities, where there is more than one way to compose a set of sounds into words. For example, "ice cream" and "I scream". Such ambiguity is generally resolved according to the context. A mishearing of such, based on incorrectly resolved ambiguity, is called a mondegreen. |
Ambiguity | Philosophy | Philosophy
Philosophers (and other users of logic) spend a lot of time and effort searching for and removing (or intentionally adding) ambiguity in arguments because it can lead to incorrect conclusions and can be used to deliberately conceal bad arguments. For example, a politician might say, "I oppose taxes which hinder economic growth", an example of a glittering generality. Some will think they oppose taxes in general because they hinder economic growth. Others may think they oppose only those taxes that they believe will hinder economic growth. In writing, the sentence can be rewritten to reduce possible misinterpretation, either by adding a comma after "taxes" (to convey the first sense) or by changing "which" to "that" (to convey the second sense) or by rewriting it in other ways. The devious politician hopes that each constituent will interpret the statement in the most desirable way, and think the politician supports everyone's opinion. However, the opposite can also be true—an opponent can turn a positive statement into a bad one if the speaker uses ambiguity (intentionally or not). The logical fallacies of amphiboly and equivocation rely heavily on the use of ambiguous words and phrases.
In continental philosophy (particularly phenomenology and existentialism), there is much greater tolerance of ambiguity, as it is generally seen as an integral part of the human condition. Martin Heidegger argued that the relation between the subject and object is ambiguous, as is the relation of mind and body, and part and whole. In Heidegger's phenomenology, Dasein is always in a meaningful world, but there is always an underlying background for every instance of signification. Thus, although some things may be certain, they have little to do with Dasein's sense of care and existential anxiety, e.g., in the face of death. In calling his work Being and Nothingness an "essay in phenomenological ontology" Jean-Paul Sartre follows Heidegger in defining the human essence as ambiguous, or relating fundamentally to such ambiguity. Simone de Beauvoir tries to base an ethics on Heidegger's and Sartre's writings (The Ethics of Ambiguity), where she highlights the need to grapple with ambiguity: "as long as there have been philosophers and they have thought, most of them have tried to mask it ... And the ethics which they have proposed to their disciples has always pursued the same goal. It has been a matter of eliminating the ambiguity by making oneself pure inwardness or pure externality, by escaping from the sensible world or being engulfed by it, by yielding to eternity or enclosing oneself in the pure moment." Ethics cannot be based on the authoritative certainty given by mathematics and logic, or prescribed directly from the empirical findings of science. She states: "Since we do not succeed in fleeing it, let us, therefore, try to look the truth in the face. Let us try to assume our fundamental ambiguity. It is in the knowledge of the genuine conditions of our life that we must draw our strength to live and our reason for acting". Other continental philosophers suggest that concepts such as life, nature, and sex are ambiguous. Corey Anton has argued that we cannot be certain what is separate from or unified with something else: language, he asserts, divides what is not, in fact, separate. Following Ernest Becker, he argues that the desire to 'authoritatively disambiguate' the world and existence has led to numerous ideologies and historical events such as genocide. On this basis, he argues that ethics must focus on 'dialectically integrating opposites' and balancing tension, rather than seeking a priori validation or certainty. Like the existentialists and phenomenologists, he sees the ambiguity of life as the basis of creativity. |
Ambiguity | Literature and rhetoric | Literature and rhetoric
In literature and rhetoric, ambiguity can be a useful tool. Groucho Marx's classic joke depends on a grammatical ambiguity for its humor, for example: "Last night I shot an elephant in my pajamas. How he got in my pajamas, I'll never know". Songs and poetry often rely on ambiguous words for artistic effect, as in the song title "Don't It Make My Brown Eyes Blue" (where "blue" can refer to the color, or to sadness).
In the narrative, ambiguity can be introduced in several ways: motive, plot, character. F. Scott Fitzgerald uses the latter type of ambiguity with notable effect in his novel The Great Gatsby. |
Ambiguity | Mathematical notation | Mathematical notation
Mathematical notation is a helpful tool that eliminates a lot of misunderstandings associated with natural language in physics and other sciences. Nonetheless, there are still some inherent ambiguities due to lexical, syntactic, and semantic reasons that persist in mathematical notation. |
Ambiguity | Names of functions | Names of functions
The ambiguity in the style of writing a function should not be confused with a multivalued function, which can (and should) be defined in a deterministic and unambiguous way. Several special functions still do not have established notations. Usually, the conversion to another notation requires to scale the argument or the resulting value; sometimes, the same name of the function is used, causing confusions. Examples of such underestablished functions:
Sinc function
Elliptic integral of the third kind; translating elliptic integral form MAPLE to Mathematica, one should replace the second argument to its square; dealing with complex values, this may cause problems.
Exponential integral
Hermite polynomial |
Ambiguity | Expressions | Expressions
Ambiguous expressions often appear in physical and mathematical texts.
It is common practice to omit multiplication signs in mathematical expressions. Also, it is common to give the same name to a variable and a function, for example, Then, if one sees there is no way to distinguish whether it means multiplied by or function evaluated at argument equal to In each case of use of such notations, the reader is supposed to be able to perform the deduction and reveal the true meaning.
Creators of algorithmic languages try to avoid ambiguities. Many algorithmic languages (C++ and Fortran) require the character * as symbol of multiplication. The Wolfram Language used in Mathematica allows the user to omit the multiplication symbol, but requires square brackets to indicate the argument of a function; square brackets are not allowed for grouping of expressions. Fortran, in addition, does not allow use of the same name (identifier) for different objects, for example, function and variable; in particular, the expression is qualified as an error.
The order of operations may depend on the context. In most programming languages, the operations of division and multiplication have equal priority and are executed from left to right. Until the last century, many editorials assumed that multiplication is performed first, for example, is interpreted as in this case, the insertion of parentheses is required when translating the formulas to an algorithmic language. In addition, it is common to write an argument of a function without parenthesis, which also may lead to ambiguity.
In the scientific journal style, one uses roman letters to denote elementary functions, whereas variables are written using italics.
For example, in mathematical journals the expression does not denote the sine function, but the product of the three variables although in the informal notation of a slide presentation it may stand for
Commas in multi-component subscripts and superscripts are sometimes omitted; this is also potentially ambiguous notation.
For example, in the notation the reader can only infer from the context whether it means a single-index object, taken with the subscript equal to product of variables and or it is an indication to a trivalent tensor. |
Ambiguity | Examples of potentially confusing ambiguous mathematical expressions | Examples of potentially confusing ambiguous mathematical expressions
An expression such as can be understood to mean either or Often the author's intention can be understood from the context, in cases where only one of the two makes sense, but an ambiguity like this should be avoided, for example by writing
The expression means in several texts, though it might be thought to mean since commonly means Conversely, might seem to mean as this exponentiation notation usually denotes function iteration: in general, means However, for trigonometric and hyperbolic functions, this notation conventionally means exponentiation of the result of function application.
The expression can be interpreted as meaning however, it is more commonly understood to mean |
Ambiguity | Notations in quantum optics and quantum mechanics | Notations in quantum optics and quantum mechanics
It is common to define the coherent states in quantum optics with and states with fixed number of photons with Then, there is an "unwritten rule": the state is coherent if there are more Greek characters than Latin characters in the argument, and -photon state if the Latin characters dominate. The ambiguity becomes even worse, if is used for the states with certain value of the coordinate, and means the state with certain value of the momentum, which may be used in books on quantum mechanics. Such ambiguities easily lead to confusions, especially if some normalized adimensional, dimensionless variables are used. Expression may mean a state with single photon, or the coherent state with mean amplitude equal to 1, or state with momentum equal to unity, and so on. The reader is supposed to guess from the context. |
Ambiguity | Ambiguous terms in physics and mathematics | Ambiguous terms in physics and mathematics
Some physical quantities do not yet have established notations; their value (and sometimes even dimension, as in the case of the Einstein coefficients), depends on the system of notations. Many terms are ambiguous. Each use of an ambiguous term should be preceded by the definition, suitable for a specific case. Just like Ludwig Wittgenstein states in Tractatus Logico-Philosophicus: "... Only in the context of a proposition has a name meaning."
A highly confusing term is gain. For example, the sentence "the gain of a system should be doubled", without context, means close to nothing.
It may mean that the ratio of the output voltage of an electric circuit to the input voltage should be doubled.
It may mean that the ratio of the output power of an electric or optical circuit to the input power should be doubled.
It may mean that the gain of the laser medium should be doubled, for example, doubling the population of the upper laser level in a quasi-two level system (assuming negligible absorption of the ground-state).
The term intensity is ambiguous when applied to light. The term can refer to any of irradiance, luminous intensity, radiant intensity, or radiance, depending on the background of the person using the term.
Also, confusions may be related with the use of atomic percent as measure of concentration of a dopant, or resolution of an imaging system, as measure of the size of the smallest detail that still can be resolved at the background of statistical noise. See also Accuracy and precision.
The Berry paradox arises as a result of systematic ambiguity in the meaning of terms such as "definable" or "nameable". Terms of this kind give rise to vicious circle fallacies. Other terms with this type of ambiguity are: satisfiable, true, false, function, property, class, relation, cardinal, and ordinal.Russell/Whitehead, Principia Mathematica |
Ambiguity | Mathematical interpretation of ambiguity | Mathematical interpretation of ambiguity
The Necker cube and impossible cube, an underdetermined and overdetermined object, respectively.|thumb
In mathematics and logic, ambiguity can be considered to be an instance of the logical concept of underdetermination—for example, leaves open what the value of is—while overdetermination, except when like , is a self-contradiction, also called inconsistency, paradoxicalness, or oxymoron, or in mathematics an inconsistent system—such as which has no solution.
Logical ambiguity and self-contradiction is analogous to visual ambiguity and impossible objects, such as the Necker cube and impossible cube, or many of the drawings of M. C. Escher. |
Ambiguity | Constructed language | Constructed language
Some languages have been created with the intention of avoiding ambiguity, especially lexical ambiguity. Lojban and Loglan are two related languages that have been created for this, focusing chiefly on syntactic ambiguity as well. The languages can be both spoken and written. These languages are intended to provide a greater technical precision over big natural languages, although historically, such attempts at language improvement have been criticized. Languages composed from many diverse sources contain much ambiguity and inconsistency. The many exceptions to syntax and semantic rules are time-consuming and difficult to learn. |
Ambiguity | Biology | Biology
In structural biology, ambiguity has been recognized as a problem for studying protein conformations. The analysis of a protein three-dimensional structure consists in dividing the macromolecule into subunits called domains. The difficulty of this task arises from the fact that different definitions of what a domain is can be used (e.g. folding autonomy, function, thermodynamic stability, or domain motions), which sometimes results in a single protein having different—yet equally valid—domain assignments. |
Ambiguity | Christianity and Judaism | Christianity and Judaism
Christianity and Judaism employ the concept of paradox synonymously with "ambiguity". Many Christians and Jews endorse Rudolf Otto's description of the sacred as 'mysterium tremendum et fascinans', the awe-inspiring mystery that fascinates humans. The apocryphal Book of Judith is noted for the "ingenious ambiguity"Jerusalem Bible (1966), footnote a at Judith 11:5 expressed by its heroine; for example, she says to the villain of the story, Holofernes, "my lord will not fail to achieve his purposes", without specifying whether my lord refers to the villain or to God.
The orthodox Catholic writer G. K. Chesterton regularly employed paradox to tease out the meanings in common concepts that he found ambiguous or to reveal meaning often overlooked or forgotten in common phrases: the title of one of his most famous books, Orthodoxy (1908), itself employed such a paradox.Chesterton, G. K., Orthodoxy, especially p. 32 |
Ambiguity | Music | Music
In music, pieces or sections that confound expectations and may be or are interpreted simultaneously in different ways are ambiguous, such as some polytonality, polymeter, other ambiguous meters or rhythms, and ambiguous phrasing, or (Stein 2005, p. 79) any aspect of music. The music of Africa is often purposely ambiguous. To quote Sir Donald Francis Tovey (1935, p. 195), "Theorists are apt to vex themselves with vain efforts to remove uncertainty just where it has a high aesthetic value." |
Ambiguity | Visual art | Visual art
thumb|This image can be interpreted three ways: as the letters "K B", as the mathematical inequality "1 < 13", or as the letters "V D" with their mirror image.
In visual art, certain images are visually ambiguous, such as the Necker cube, which can be interpreted in two ways. Perceptions of such objects remain stable for a time, then may flip, a phenomenon called multistable perception.
The opposite of such ambiguous images are impossible objects.
Pictures or photographs may also be ambiguous at the semantic level: the visual image is unambiguous, but the meaning and narrative may be ambiguous: is a certain facial expression one of excitement or fear, for instance? |
Ambiguity | Social psychology and the bystander effect | Social psychology and the bystander effect
In social psychology, ambiguity is a factor used in determining peoples' responses to various situations. High levels of ambiguity in an emergency (e.g. an unconscious man lying on a park bench) make witnesses less likely to offer any sort of assistance, due to the fear that they may have misinterpreted the situation and acted unnecessarily. Alternately, non-ambiguous emergencies (e.g. an injured person verbally asking for help) elicit more consistent intervention and assistance. With regard to the bystander effect, studies have shown that emergencies deemed ambiguous trigger the appearance of the classic bystander effect (wherein more witnesses decrease the likelihood of any of them helping) far more than non-ambiguous emergencies. |
Ambiguity | Computer science | Computer science
In computer science, the SI prefixes kilo-, mega- and giga- were historically used in certain contexts to mean either the first three powers of 1024 (1024, 10242 and 10243) contrary to the metric system in which these units unambiguously mean one thousand, one million, and one billion. This usage is particularly prevalent with electronic memory devices (e.g. DRAM) addressed directly by a binary machine register where a decimal interpretation makes no practical sense.
Subsequently, the Ki, Mi, and Gi prefixes were introduced so that binary prefixes could be written explicitly, also rendering k, M, and G unambiguous in texts conforming to the new standard—this led to a new ambiguity in engineering documents lacking outward trace of the binary prefixes (necessarily indicating the new style) as to whether the usage of k, M, and G remains ambiguous (old style) or not (new style). 1 M (where M is ambiguously or ) is less uncertain than the engineering value (defined to designate the interval ). As non-volatile storage devices begin to exceed 1 GB in capacity (where the ambiguity begins to routinely impact the second significant digit), GB and TB almost always mean 109 and 1012 bytes. |
Ambiguity | See also | See also |
Ambiguity | References | References |
Ambiguity | External links | External links
Collection of Ambiguous or Inconsistent/Incomplete Statements
Leaving out ambiguities when writing
Category:Semantics
Category:Mathematical notation
Category:Concepts in epistemology
Category:Formal semantics (natural language) |
Ambiguity | Table of Content | Short description, Linguistic forms, Lexical ambiguity, Semantic and syntactic ambiguity, Philosophy, Literature and rhetoric, Mathematical notation, Names of functions, Expressions, Examples of potentially confusing ambiguous mathematical expressions, Notations in quantum optics and quantum mechanics, Ambiguous terms in physics and mathematics, Mathematical interpretation of ambiguity, Constructed language, Biology, Christianity and Judaism, Music, Visual art, Social psychology and the bystander effect, Computer science, See also, References, External links |
Abel | short description | Abel ( Hébel, in pausa Hā́ḇel; Hábel; , Hābēl) is a biblical figure in the Book of Genesis within the Abrahamic religions. Born as the second son of Adam and Eve, the first two humans created by God, he was a shepherd who offered his firstborn flock to God as a religious offering. God accepted Abel's offering but not the offering of his older brother Cain, leading Cain to stone Abel to death out of jealousy. This act marked the first death in biblical history, making Abel the first murder victim. |
Abel | Life and death | Life and death |
Abel | Interpretations | Interpretations |
Abel | Jewish and Christian interpretations | Jewish and Christian interpretations
According to the narrative in Genesis, Abel is Eve's second son. His name in Hebrew is composed of the same three consonants as a root meaning "the air that remains after you exhale" also synonymous in Hebrew to "nothing", as stated in Ecclesiastes. Julius Wellhausen has proposed that the name is independent of the root.Julius Wellhausen, Skizzen und Vorarbeiten, volume 3, (1887), p. 70. Eberhard Schrader had previously put forward the Akkadian (Old Assyrian dialect) ablu ("son") as a more likely etymology.Eberhard Schrader, Die Keilinschrift und das Alte Testament, 1872.
thumb|right| The First Mourning (Adam and Eve mourn the death of Abel); oil on canvas 1888 painting by William-Adolphe Bouguereau
In Christianity, comparisons are sometimes made between the death of Abel and that of Jesus, the former thus seen as being the first martyr. In Matthew 23:35 Jesus speaks of Abel as "righteous", and the Epistle to the Hebrews states that "The blood of sprinkling ... [speaks] better things than that of Abel" (Hebrews 12:24). The blood of Jesus is interpreted as bringing mercy; but that of Abel as demanding vengeance (hence the curse and mark).For copies of a spectrum of notable translations and commentaries see Hebrews 12:24 at the Online Parallel Bible.
Abel is invoked in the litany for the dying in the Roman Catholic Church, and his sacrifice is mentioned in the Canon of the Mass along with those of Abraham and Melchizedek. The Alexandrian Rite commemorates him with a feast day on December 28.Holweck, F. G., A Biographical Dictionary of the Saints. St. Louis, MO: B. Herder Book Co., 1924.
According to the Coptic Book of Adam and Eve (at 2:1–15), and the Syriac Cave of Treasures, Abel's body, after many days of mourning, was placed in the Cave of Treasures, before which Adam and Eve, and descendants, offered their prayers. In addition, the Sethite line of the Generations of Adam swear by Abel's blood to segregate themselves from the unrighteous.
In the Book of Enoch (22:7), regarded by most Christian and Jewish traditions as extra-biblical, the soul of Abel is described as having been appointed as the chief of martyrs, crying for vengeance, for the destruction of the seed of Cain. A similar view is later shown in the Testament of Abraham (A:13 / B:11), where Abel has been raised to the position as the judge of the souls.
In Bereshit Rabbah (22:2), a discussion of Gen. 4:1 ff. has Rabbi Yehoshua ben Korcha mentioning that Cain was born with a twin sister, and Abel with two twin sisters. This is based on the principle that the otherwise superfluous accusative article "et" always conveys some additional teaching (Pesachim 22b). The "et"'s are parsed slightly differently in Yebamot 62a where the two "et"'s in Gen. 4:2 indicate Cain and his sister, and Abel and his (one) sister. |
Abel | Sethian Gnostic interpretation | Sethian Gnostic interpretation
In the Apocryphon of John, a work belonging to Sethian Gnosticism, Abel is the offspring of Yaldaboath and Eve, who is placed over the elements of water and earth as Elohim, but was only given his name as a form of deception. |
Abel | {{anchor | Mandaean interpretation
According to Mandaean beliefs and scriptures including the Qulasta, the Book of John and Genzā Rabbā, Abel is cognate with the angelic soteriological figure Hibil Ziwa, (, sometimes translated "Splendid Hibel"), who is spoken of as a son of Hayyi or of Manda d-Hayyi, and as a brother to Anush (Enosh) and to Sheetil (Seth), who is the son of Adam. Elsewhere, Anush is spoken of as the son of Sheetil, and Sheetil as the son of Hibil, where Hibil came to Adam and Eve as a young boy when they were still virgins, but was called their son. [Note: this is book 10 in some other editions.] Hibil is an important lightworld being (uthra) who conquered the World of Darkness. As Yawar Hibil, he is one of multiple figures known as Yawar (), being so named by and after his father. |
Abel | Islamic interpretation | Islamic interpretation
thumb|Grave of Abel within the Nabi Habeel Mosque
thumb|The Mausoleum of Abel in the Nabi Habeel Mosque
According to Shi'a Muslim belief, Abel ("Habeel") is buried in the Nabi Habeel Mosque, located on the west mountains of Damascus, near the Zabadani Valley, overlooking the villages of the Barada river (Wadi Barada), in Syria. Shi'a are frequent visitors of this mosque for ziyarat. The mosque was built by Ottoman Wali Ahmad Pasha in 1599. |
Abel | In modern media | In modern media
Abel is portrayed by Franco Nero in the film The Bible: In the Beginning... (1966).
Paul Rudd played the role of Abel in the 2009 film Year One.
In the SCP series, an anomaly named Able with the codename SCP-076 is based on Abel.
In Shin Megami Tensei: Devil Survivor, the main character Kazuya is the reincarnation of Abel.
Oasis frontman Liam Gallagher penned a song titled "Guess God Thinks I'm Abel", which appears on the band's 2005 album Don't Believe the Truth. |
Abel | Notes | Notes |
Abel | References | References
Category:Biblical murder victims
Category:Book of Genesis people
Category:Children of Adam and Eve
Category:Shepherds
Category:Uthras |
Abel | Table of Content | short description, Life and death, Interpretations, Jewish and Christian interpretations, Sethian Gnostic interpretation, {{anchor, Islamic interpretation, In modern media, Notes, References |
Animal (disambiguation) | wiktionary | An animal is a multicellular, eukaryotic organism of the kingdom Animalia or Metazoa.
Animal, Animals, or The Animal may also refer to: |
Animal (disambiguation) | People | People
The Animal (nickname), a list of people nicknamed "The Animal" or "Animal"
Animal Hamaguchi, a ring name of Japanese retired professional wrestler Heigo Hamaguchi (born 1947)
Road Warrior Animal or Animal, ring names of American professional wrestler Joseph Michael Laurinaitis (1960–2020) |
Animal (disambiguation) | Books and publications | Books and publications
Animal (book), full title Animal: The Definitive Visual Guide to The World's WildLife
Animal, 2012 novel by K'wan Foye
Animal (journal), full title: Animal: An International Journal of Animal Bioscience
Animals (novel), a 2014 novel by Emma Jane Unsworth |
Animal (disambiguation) | Film and television | Film and television |
Animal (disambiguation) | Films | Films
Animal (1977 film), a French film (L'Animal) starring Jean-Paul Belmondo and Raquel Welch
Animals (1998 film), an American film starring Tim Roth and Rod Steiger
Animal (2001 film), an Argentine comedy film by Sergio Bizzio with Carlos Roffé
Animal (2005 film), an American direct-to-video action drama film starring Ving Rhames and Terrance Howard
Animal (2014 film), an American horror film starring Keke Palmer
Animal (2018 film), an Argentine film
Animals (2003 film), a stand-up show written and performed by Ricky Gervais
Animals (2012 film), a Spanish film
Animals (2014 film), a British drama film written by and starring David Dastmalchian
Animals (2017 film), a German film
Animals (2019 film), an Australian film
Animals (2021 film), a psychological thriller film
The Animal, a 2001 American comedy film featuring Rob Schneider
The Animals (film), a 2012 Filipino coming-of-age film by Gino M. Santos
Animal (2023 Greek film), a 2023 Greek drama film directed by Sofia Exarchou
Animal (2023 Indian film), a 2023 Indian Hindi language action drama film |
Animal (disambiguation) | Television | Television
Animal (TV series), an American nature documentary series
Animals (American TV series), a 2016–2018 animated series
Animals (South Korean TV series), a 2015 reality-variety show
"Animals" (Brass Eye), a 1997 episode
"Animals" (The Goodies), a 1980 episode
"Animals" (Men Behaving Badly), a 1992 episode
"Animals" (Off the Air), a 2011 episode
"Animals" (The Vicar of Dibley), a 1994 episode
"The Animals" (Orange Is the New Black), a 2016 episode
Animal (audio drama), a 2011 audio drama based on Doctor Who |
Animal (disambiguation) | Characters | Characters
Animal (Muppet), a character from the television series The Muppet Show
Animal, a character in the television series Takeshi's Castle
Animal, played by Ken Hudson Campbell, a character on the TV sitcom Herman's Head
Dennis "Animal" Price, a character on the TV series Lou Grant |
Animal (disambiguation) | Music | Music
The Animals, a British rock band
A.N.I.M.A.L., an Argentine heavy metal band
Animal (Nick Culmer) lead singer of the Anti-Nowhere League |
Animal (disambiguation) | Albums | Albums
Animal (Animosity album), 2007
Animal (Bar-Kays album), 1989
Animal (Big Scary album), 2016
Animal (Kesha album), 2010
Animal (Lump album), 2021
Animal (María Becerra album), 2021
Animal (Motor Ace album), 2005
Animal (Shining album), 2018
Animals (Pink Floyd album), 1977
Animals (This Town Needs Guns album), 2008
The Animals (American album), by the Animals, 1964
The Animals (British album), by the Animals, 1964
Animal, a 2009 album by AutoKratz
Animal, a 2013 album by Berlin
Animal, a 2008 album by Far East Movement
Animal, a 1992 album by France D'Amour
Animal!, a 2008 album by Margot & the Nuclear So and So's |
Animal (disambiguation) | EPs | EPs
Animals (EP) by Ryan Starx, 2013
Animal, a 2015 EP by Hidden in Plain View
A.N.I.M.A.L, a 2019 EP by John Newman |
Animal (disambiguation) | Songs | Songs |
Animal (disambiguation) | "Animal" | "Animal"
"Animal" (Álvaro Soler song), 2017
"Animal" (Conor Maynard song), 2013
"Animal" (Def Leppard song), 1987
"Animal" (Jebediah song), 1999
"Animal" (Juvenile song), 2006
"Animal" (María Becerra and Cazzu song), 2022
"Animal" (Miike Snow song), 2009
"Animal" (Neon Trees song), 2010
"Animal" (Pearl Jam song), 1994
"Animal" (R.E.M. song), 2004
"Animal" (R.I.O. song), 2011
"Animal" (Trey Songz song), 2017
"Animal" (Troye Sivan song), 2018
"Animal", by Against Me! from New Wave, 2007
"Animal", by Ani DiFranco from Educated Guess, 2004
"Animal", by Anti-Nowhere League from We Are...The League, 1982
"Animal", by Aurora from A Different Kind of Human (Step 2), 2019
"Animal", by Black Light Burns from Cruel Melody, 2007
"Animal", by Brockhampton from TM, 2022
"Animal", by Ellie Goulding from Lights, 2010
"Animal", by France D'Amour from Animal, 1992
"Animal", by Karen O and the Kids from Where the Wild Things Are, 2009
"Animal", by Kat DeLuna from 9 Lives, 2007
"Animal", by Kesha from Animal, 2010
"Animal", by Mabel from About Last Night..., 2022
"Animal", by the Men from Open Your Heart, 2012
"Animal", by Mindless Self Indulgence from If, 2008
"Animal", by Mudmen from Overrated
"Animal", by Nada Surf from You Know Who You Are, 2016
"Animal", by Pvris from Evergreen, 2023
"Animal", by Subhumans from Demolition War, 1981
"Animal", by Sunhouse from Crazy On The Weekend
"Animal", by The Kinks from To the Bone, 1994
"Animal", by Toto from Past to Present 1977–1990, 1990
"Animal (F**k Like a Beast)", by W.A.S.P., 1984 |
Animal (disambiguation) | "Animals" | "Animals"
"Animals" (Architects song), 2020
"Animals" (Kevin Ayers song), 1980
"Animals" (Maroon 5 song), 2014
"Animals" (Martin Garrix song), 2013
"Animals" (Muse song), 2012
"Animals" (Nickelback song), 2005
"Animals", by CocoRosie from The Adventures of Ghosthorse and Stillborn, 2007
"Animals", by Coldplay as one of the B-sides for "Clocks", 2003
"Animals", by Dead Poetic from Vices, 2006
"Animals", by Talking Heads from Fear of Music, 1979
"Animals", by The End from Elementary, 2007
"Animals", by Todrick Hall featuring Matt Bloyd from Forbidden, 2018 |
Animal (disambiguation) | "The Animal" | "The Animal"
"The Animal" (song), by Disturbed, 2010
"The Animal", by Steve Vai from Passion and Warfare, 1990 |
Animal (disambiguation) | Other uses | Other uses
ANIMAL (computer worm), an early self-replicating computer program
ANIMAL (image processing), an interactive software environment for image processing
Operation Animals, a World War II Allied deception operation in Greece
Animals (Israeli organization), an animal rights group based in Israel |
Animal (disambiguation) | See also | See also
Animals, Animals, Animals, an American educational television series (1976–1981) |
Animal (disambiguation) | Table of Content | wiktionary, People, Books and publications, Film and television, Films, Television, Characters, Music, Albums, EPs, Songs, "Animal", "Animals", "The Animal", Other uses, See also |
Aardvark | Short description | thumb|Skeleton of an aardvark
Aardvarks ( ; Orycteropus afer) are medium-sized, burrowing, nocturnal mammals native to Africa."Aardvark, n." Dictionary of South African English. Dictionary Unit for South African English, 2018. 26 February 2019. Aardvarks are the only living species of the family Orycteropodidae and the order Tubulidentata. They have a long proboscis, similar to a pig's snout, which is used to sniff out food.
They are afrotheres, a clade that also includes elephants, manatees, and hyraxes.
They are found over much of the southern two-thirds of the African continent, avoiding areas that are mainly rocky. Nocturnal feeders, aardvarks subsist on ants and termites by using their sharp claws and powerful legs to dig the insects out of their hills. Aardvarks also dig to create burrows in which to live and rear their young. |
Aardvark | Name and taxonomy | Name and taxonomy |
Aardvark | Name | Name
The aardvark is sometimes colloquially called the "African ant bear", "anteater" (not to be confused with the South American anteaters), or the "Cape anteater" after the Cape of Good Hope.
The name "aardvark" is Afrikaans () and comes from earlier Afrikaans . It means "earth pig" or "ground pig" (: , : ), because of its burrowing habits.
The name Orycteropus means "burrowing foot", and the name afer refers to Africa. The name of the aardvark's order, Tubulidentata, comes from the tubule-style teeth. |
Aardvark | Taxonomy | Taxonomy
thumb|Skull of an aardvark
The aardvark is not closely related to the pig; rather, it is the sole extant representative of the obscure mammalian order Tubulidentata, in which it is usually considered to form one variable species of the genus Orycteropus, the sole surviving genus in the family Orycteropodidae. The aardvark is not closely related to the South American anteater, despite sharing some characteristics and a superficial resemblance. The similarities are the outcome of convergent evolution. The closest living relatives of the aardvark are the elephant shrews, Tenrecidae, and golden moles. Along with sirenians, hyraxes, elephants, and their extinct relatives, these animals form the superorder Afrotheria. Studies of the brain have shown the similarities with Condylarthra. |
Aardvark | Evolutionary history | Evolutionary history
Based on his study of fossils, Bryan Patterson has concluded that early relatives of the aardvark appeared in Africa around the end of the Paleocene. The ptolemaiidans, a mysterious clade of mammals with uncertain affinities, may actually be stem-aardvarks, either as a sister clade to Tubulidentata or as a grade leading to true tubulidentates.
The first unambiguous tubulidentate was probably Myorycteropus africanus from Kenyan Miocene deposits. The earliest example from the genus Orycteropus was Orycteropus mauritanicus, found in Algeria in deposits from the middle Miocene, with an equally old version found in Kenya. Fossils from the aardvark have been dated to 5 million years, and have been located throughout Europe and the Near East.
The mysterious Pleistocene Plesiorycteropus from Madagascar was originally thought to be a tubulidentate that was descended from ancestors that entered the island during the Eocene. However, a number of subtle anatomical differences coupled with recent molecular evidence now lead researchers to believe that Plesiorycteropus is a relative of golden moles and tenrecs that achieved an aardvark-like appearance and ecological niche through convergent evolution. |
Aardvark | Subspecies | Subspecies
The aardvark has seventeen poorly defined subspecies listed:
Orycteropus afer afer (Southern aardvark)
O. a. adametzi Grote, 1921 (Western aardvark)
O. a. aethiopicus Sundevall, 1843
O. a. angolensis Zukowsky & Haltenorth, 1957
O. a. erikssoni Lönnberg, 1906
O. a. faradjius Hatt, 1932
O. a. haussanus Matschie, 1900
O. a. kordofanicus Rothschild, 1927
O. a. lademanni Grote, 1911
O. a. leptodon Hirst, 1906
O. a. matschiei Grote, 1921
O. a. observandus Grote, 1921
O. a. ruvanensis Grote, 1921
O. a. senegalensis Lesson, 1840
O. a. somalicus Lydekker, 1908
O. a. wardi Lydekker, 1908
O. a. wertheri Matschie, 1898 (Eastern aardvark)
The 1911 Encyclopædia Britannica also mentions O. a. capensis or Cape ant-bear from South Africa. |
Aardvark | Description | Description
thumb|Strong forelimb of aardvark
The aardvark is vaguely pig-like in appearance. Its body is stout with a prominently arched back and is sparsely covered with coarse hairs. The limbs are of moderate length, with the rear legs being longer than the forelegs. The front feet have lost the pollex (or 'thumb'), resulting in four toes, while the rear feet have all five toes. Each toe bears a large, robust nail which is somewhat flattened and shovel-like, and appears to be intermediate between a claw and a hoof. Whereas the aardvark is considered digitigrade, it appears at times to be plantigrade. This confusion happens because when it squats it stands on its soles. A contributing characteristic to the burrow digging capabilities of aardvarks is an endosteal tissue called compacted coarse cancellous bone (CCCB). The stress and strain resistance provided by CCCB allows aardvarks to create their burrows, ultimately leading to a favourable environment for plants and a variety of animals. Digging is also facilitated by its forearm's unusually stout ulna and radius.thumb|right|An aardvark skeleton and mounted individualAn aardvark's weight is typically between . An aardvark's length is usually between , and can reach lengths of when its tail (which can be up to ) is taken into account. It is tall at the shoulder, and has a girth of about . It does not exhibit sexual dimorphism.
It is the largest member of the proposed clade Afroinsectiphilia. The aardvark is pale yellowish-grey in colour and often stained reddish-brown by soil. The aardvark's coat is thin, and the animal's primary protection is its tough skin. Its hair is short on its head and tail; however its legs tend to have longer hair. The hair on the majority of its body is grouped in clusters of three to four hairs. The hair surrounding its nostrils is dense to help filter particulate matter out as it digs. Its tail is very thick at the base and gradually tapers. |
Aardvark | Head | Head
The greatly elongated head is set on a short, thick neck, and the end of the snout bears a disc, which houses the nostrils. It contains a thin but complete zygomatic arch. The head of the aardvark contains many unique and different features. One of the most distinctive characteristics of the Tubulidentata is their teeth. Instead of having a pulp cavity, each tooth has a cluster of thin, hexagonal, upright, parallel tubes of vasodentin (a modified form of dentine), with individual pulp canals, held together by cementum. The number of columns is dependent on the size of the tooth, with the largest having about 1,500. The teeth have no enamel coating and are worn away and regrow continuously. The aardvark is born with conventional incisors and canines at the front of the jaw, which fall out and are not replaced. Adult aardvarks have only cheek teeth at the back of the jaw, and have a dental formula of: These remaining teeth are peg-like and rootless and are of unique composition. The teeth consist of 14 upper and 12 lower jaw molars. The nasal area of the aardvark is another unique area, as it contains ten nasal conchae, more than any other placental mammal.
The sides of the nostrils are thick with hair. The tip of the snout is highly mobile and is moved by modified mimetic muscles. The fleshy dividing tissue between its nostrils probably has sensory functions, but it is uncertain whether they are olfactory or vibratory in nature. Its nose is made up of more turbinate bones than any other mammal, with between nine and 11, compared to dogs with four to five. With a large quantity of turbinate bones, the aardvark has more space for the moist epithelium, which is the location of the olfactory bulb. The nose contains nine olfactory bulbs, more than any other mammal. Its keen sense of smell is not just from the quantity of bulbs in the nose but also in the development of the brain, as its olfactory lobe is very developed. The snout resembles an elongated pig snout. The mouth is small and tubular, typical of species that feed on ants and termites. The aardvark has a long, thin, snakelike, protruding tongue (as much as long) and elaborate structures supporting a keen sense of smell. The ears, which are very effective, are disproportionately long, about long. The eyes are small for its head, and consist only of rods. |
Aardvark | Digestive system | Digestive system
The aardvark's stomach has a muscular pyloric area that acts as a gizzard to grind swallowed food up, thereby rendering chewing unnecessary. Its cecum is large. Both sexes emit a strong smelling secretion from an anal gland. Its salivary glands are highly developed and almost completely ring the neck; their output is what causes the tongue to maintain its tackiness. The female has two pairs of teats in the inguinal region.
Genetically speaking, the aardvark is a living fossil, as its chromosomes are highly conserved, reflecting much of the early eutherian arrangement before the divergence of the major modern taxa. |
Aardvark | Habitat and range | Habitat and range
Aardvarks are found in sub-Saharan Africa, where suitable habitat (savannas, grasslands, woodlands and bushland) and food (i.e., ants and termites) is available. They spend the daylight hours in dark burrows to avoid the heat of the day. The only major habitat that they are not present in is swamp forest, as the high water table precludes digging to a sufficient depth. They also avoid terrain rocky enough to cause problems with digging. They have been documented as high as in Ethiopia. They can be found throughout sub-Saharan Africa from Ethiopia all the way to Cape of Good Hope in South Africa with few exceptions including the coastal areas of Namibia, Ivory Coast, and Ghana. They are not found in Madagascar. |
Aardvark | Ecology and behaviour | Ecology and behaviour
thumb|upright|right|Aardvark resting
thumb|right|Entrance to a burrow
thumb|right|Emerging from a burrow
Aardvarks live for up to 23 years in captivity. Its keen hearing warns it of predators: lions, leopards, cheetahs, African wild dogs, hyenas, and pythons. Some humans also hunt aardvarks for meat. Aardvarks can dig fast or run in zigzag fashion to elude enemies, but if all else fails, they will strike with their claws, tail and shoulders, sometimes flipping onto their backs lying motionless except to lash out with all four feet. They are capable of causing substantial damage to unprotected areas of an attacker. They will also dig to escape as they can. Sometimes, when pressed, aardvarks can dig extremely quickly. |
Aardvark | Feeding | Feeding
left|thumb|The unusual cross-walk gait of the aardvark
The aardvark is nocturnal and is a solitary creature that feeds almost exclusively on ants and termites (myrmecophagy); studies in the Nama Karoo revealed that ants, especially Anoplolepis custodiens, were the predominant prey year-round, followed by termites like Trinervitermes trinervoides. In winter, when ant numbers declined, aardvarks relied more on termites, often feeding on epigeal mounds coinciding with the presence of alates, possibly to meet their nutritional needs. They avoid eating the African driver ant and red ants. Due to their stringent diet requirements, they require a large range to survive.
The only fruit eaten by aardvarks is the aardvark cucumber. In fact, the cucumber and the aardvark have a symbiotic relationship as they eat the subterranean fruit, then defecate the seeds near their burrows, which then grow rapidly due to the loose soil and fertile nature of the area. The time spent in the intestine of the aardvark helps the fertility of the seed, and the fruit provides needed moisture for the aardvark.
An aardvark emerges from its burrow in the late afternoon or shortly after sunset, and forages over a considerable home range encompassing . While foraging for food, the aardvark will keep its nose to the ground and its ears pointed forward, which indicates that both smell and hearing are involved in the search for food. They zig-zag as they forage and will usually not repeat a route for five to eight days as they appear to allow time for the termite nests to recover before feeding on it again.
During a foraging period, they will stop to dig a V-shaped trench with their forefeet and then sniff it profusely as a means to explore their location. When a concentration of ants or termites is detected, the aardvark digs into it with its powerful front legs, keeping its long ears upright to listen for predators, and takes up an astonishing number of insects with its long, sticky tongue—as many as 50,000 in one night have been recorded. Its claws enable it to dig through the extremely hard crust of a termite or ant mound quickly. It avoids inhaling the dust by sealing the nostrils. When successful, the aardvark's long (up to ) tongue licks up the insects; the termites' biting, or the ants' stinging attacks are rendered futile by the tough skin. After an aardvark visit at a termite mound, other animals will visit to pick up all the leftovers. Termite mounds alone do not provide enough food for the aardvark, so they look for termites that are on the move. When these insects move, they can form columns long and these tend to provide easy pickings with little effort exerted by the aardvark. These columns are more common in areas of livestock or other hoofed animals. The trampled grass and dung attract termites from the Odontotermes, Microtermes, and Pseudacanthotermes genera.
On a nightly basis they tend to be more active during the first portion of night (roughly the four hours between 8:00p.m. and 12:00a.m.); however, they do not seem to prefer bright or dark nights over the other. During adverse weather or if disturbed they will retreat to their burrow systems. They cover between per night; however, some studies have shown that they may traverse as far as in a night.
Aardvarks shift their circadian rhythms to more diurnal activity patterns in response to a reduced food supply. This survival tactic may signify an increased risk of imminent mortality. |
Aardvark | Vocalisation | Vocalisation
The aardvark is a rather quiet animal. However, it does make soft grunting sounds as it forages and loud grunts as it makes for its tunnel entrance. It makes a bleating sound if frightened. When it is threatened it will make for one of its burrows. If one is not close it will dig a new one rapidly. This new one will be short and require the aardvark to back out when the coast is clear. |
Aardvark | Movement | Movement
The aardvark is known to be a good swimmer and has been witnessed successfully swimming in strong currents. It can dig a yard of tunnel in about five minutes, but otherwise moves fairly slowly.
When leaving the burrow at night, they pause at the entrance for about ten minutes, sniffing and listening. After this period of watchfulness, it will bound out and within seconds it will be away. It will then pause, prick its ears, twisting its head to listen, then jump and move off to start foraging.
Aside from digging out ants and termites, the aardvark also excavates burrows in which to live, which generally fall into one of three categories: burrows made while foraging, refuge and resting location, and permanent homes. Temporary sites are scattered around the home range and are used as refuges, while the main burrow is also used for breeding. Main burrows can be deep and extensive, have several entrances and can be as long as . These burrows can be large enough for a person to enter. The aardvark changes the layout of its home burrow regularly, and periodically moves on and makes a new one. The old burrows are an important part of the African wildlife scene. As they are vacated, then they are inhabited by smaller animals like the African wild dog, ant-eating chat, Nycteris thebaica and warthogs. Other animals that use them are hares, mongooses, hyenas, owls, pythons, and lizards. Without these refuges many animals would die during wildfire season. Only mothers and young share burrows; however, the aardvark is known to live in small family groups or as a solitary creature. If attacked in the tunnel, it will escape by digging out of the tunnel thereby placing the fresh fill between it and its predator, or if it decides to fight it will roll onto its back, and attack with its claws. The aardvark has been known to sleep in a recently excavated ant nest, which also serves as protection from its predators. |
Aardvark | Reproduction | Reproduction
thumb|right|Aardvark mother and young
It is believed to exhibit polygamous breeding behavior. During mating, the male secures himself to the female's back using his claws, which can occasionally result in noticeable scratches. Males play no role on parental care.
Aardvarks pair only during the breeding season; after a gestation period of seven months, one cub weighing around is born during May–July. When born, the young has flaccid ears and many wrinkles. When nursing, it will nurse off each teat in succession. After two weeks, the folds of skin disappear and after three, the ears can be held upright. After 5–6 weeks, body hair starts growing. It is able to leave the burrow to accompany its mother after only two weeks and eats termites at nine weeks, and is weaned between three months and 16 weeks. At six months of age, it is able to dig its own burrows, but it will often remain with the mother until the next mating season, and is sexually mature from approximately two years of age. |
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