headers
sequencelengths 0
4
| text
stringlengths 54
5.14k
| id
stringclasses 129
values | title
stringclasses 129
values | categories
sequencelengths 0
83
| seealso
sequencelengths 0
35
|
|---|---|---|---|---|---|
[
"Modern alchemy",
"Psychology"
] | Alchemical symbolism has been important in depth and analytical psychology and was revived and popularized from near extinction by the Swiss psychologist [[Carl Jung|Carl Gustav Jung]]. Initially confounded and at odds with alchemy and its images, after being given a copy of the translation of ''The Secret of the Golden Flower'', a Chinese alchemical text, by his friend Richard Wilhelm, Jung discovered a direct correlation or parallels between the symbolic images in the alchemical drawings and the inner, symbolic images coming up in dreams, visions or imaginations during the psychic processes of transformation occurring in his patients. A process, which he called "process of individuation". He regarded the alchemical images as symbols expressing aspects of this "process of [[individuation]]" of which the creation of the gold or lapis within were symbols for its origin and goal. Together with his alchemical ''mystica soror'', Jungian Swiss analyst [[Marie-Louise von Franz]], Jung began collecting all the old alchemical texts available, compiled a lexicon of key phrases with cross-references and pored over them. The volumes of work he wrote brought new light into understanding the art of transubstantiation and renewed alchemy's popularity as a symbolic process of coming into wholeness as a human being where opposites brought into contact and inner and outer, spirit and matter are reunited in the ''[[hieros gamos]]'' or divine marriage. His writings are influential in psychology and for persons who have an interest in understanding the importance of dreams, symbols and the unconscious archetypal forces ([[Jungian archetypes|archetypes]]) that influence all of life. Both von Franz and Jung have contributed greatly to the subject and work of alchemy and its continued presence in psychology as well as contemporary culture. Jung wrote volumes on alchemy and his magnum opus is Volume 14 of his Collected Works, ''[[Mysterium Coniunctionis]]''. | 573 | Alchemy | [
"Alchemy",
"Esotericism",
"Hermeticism",
"Pseudoscience",
"History of science"
] | [
"Nuclear transmutation",
"Porta Alchemica",
"Outline of alchemy",
"History of chemistry",
"Corentin Louis Kervran",
"List of alchemists",
"Synthesis of precious metals",
"Cupellation",
"Historicism",
"Alchemical symbol",
"Superseded theories in science",
"List of topics characterized as pseudoscience"
] |
[
"Modern alchemy",
"Literature"
] | Alchemy has had a long-standing relationship with art, seen both in alchemical texts and in mainstream entertainment. ''Literary alchemy'' appears throughout the history of English literature from [[William Shakespeare|Shakespeare]] to [[J. K. Rowling]], and also the popular Japanese manga ''[[Fullmetal Alchemist]]''. Here, characters or plot structure follow an alchemical magnum opus. In the 14th century, Chaucer began a trend of alchemical satire that can still be seen in recent fantasy works like those of the late Sir [[Terry Pratchett]]. Visual artists had a similar relationship with alchemy. While some of them used alchemy as a source of satire, others worked with the alchemists themselves or integrated alchemical thought or symbols in their work. Music was also present in the works of alchemists and continues to influence popular performers. In the last hundred years, alchemists have been portrayed in a magical and spagyric role in fantasy fiction, film, television, novels, comics and video games. | 573 | Alchemy | [
"Alchemy",
"Esotericism",
"Hermeticism",
"Pseudoscience",
"History of science"
] | [
"Nuclear transmutation",
"Porta Alchemica",
"Outline of alchemy",
"History of chemistry",
"Corentin Louis Kervran",
"List of alchemists",
"Synthesis of precious metals",
"Cupellation",
"Historicism",
"Alchemical symbol",
"Superseded theories in science",
"List of topics characterized as pseudoscience"
] |
[
"Modern alchemy",
"Modern science"
] | One goal of alchemy, the transmutation of base substances into gold, is now known to be impossible by chemical means but possible by physical means. Although not financially worthwhile, [[Synthesis of precious metals#Gold|Gold was synthesized]] in particle accelerators as early as 1941. | 573 | Alchemy | [
"Alchemy",
"Esotericism",
"Hermeticism",
"Pseudoscience",
"History of science"
] | [
"Nuclear transmutation",
"Porta Alchemica",
"Outline of alchemy",
"History of chemistry",
"Corentin Louis Kervran",
"List of alchemists",
"Synthesis of precious metals",
"Cupellation",
"Historicism",
"Alchemical symbol",
"Superseded theories in science",
"List of topics characterized as pseudoscience"
] |
[] | '''Alien''' primarily refers to: (-) [[Alien (law)]], a person in a country who is not a national of that country (-) [[Enemy alien]], the above in times of war (-) [[Extraterrestrial life]], life which does not originate from Earth (-) Specifically, intelligent extraterrestrial beings; see [[List of alleged extraterrestrial beings]] (-) [[Introduced species]], a species not native to its environment '''Alien(s)''', or '''The Alien(s)''' may also refer to: | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Science and technology"
] | (-) [[AliEn (ALICE Environment)]], a grid framework (-) [[Alien (file converter)]], a Linux program (-) [[Alien Technology]], a manufacturer of RFID technology | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Arts and entertainment"
] | (-) [[Alien (franchise)|''Alien'' (franchise)]], a media franchise (-) [[Alien (creature in Alien franchise)|Alien (creature in ''Alien'' franchise)]] | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Arts and entertainment",
"Films"
] | (-) [[Alien (film)|''Alien'' (film)]], a 1979 film by Ridley Scott (-) [[Aliens (film)|''Aliens'' (film)]], second film in the franchise from 1986 by James Cameron (-) ''[[Alien 3]]'', third film in the franchise from 1992 by David Fincher (-) ''[[Alien Resurrection]]'', fourth film in the franchise from 1997 by Jean-Pierre Jeunet (-) [[Alien vs. Predator (film)|''Alien vs. Predator'' (film)]], fifth film in the franchise from 2004 by Paul W. S. Anderson (-) ''[[Aliens vs. Predator: Requiem]]'', sixth film in the franchise from 2007 by the Brothers Strause (-) [[Prometheus (2012 film)]], seventh film in the franchise from 2012 by Ridley Scott (-) ''[[Alien: Covenant]]'', eighth film in the franchise from 2017 by Ridley Scott (-) ''[[Alien 2: On Earth]]'', a 1980 unofficial sequel of the 1979 ''Alien'' film (-) ''[[Alien Visitor]]'' (also titled ''Epsilon'') (1995 film) AustralianItalian science fiction film by Rolf de Heer (-) [[The Alien (2016 film)|''The Alien'' (2016 film)]], a 2016 Mexican film (-) [[The Alien (unproduced film)|''The Alien'' (unproduced film)]], an incomplete 1960s IndianAmerican film | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Arts and entertainment",
"Literature"
] | (-) [[Alien novels|''Alien'' novels]], an extension of the ''Alien'' franchise (-) [[Aliens (Tappan Wright novel)|''Aliens'' (Tappan Wright novel)]], a 1902 novel by Mary Tappan Wright (-) [[The Alien (Animorphs)|''The Alien'' (Animorphs)]], the eighth book in the ''Animorphs'' series (-) [[The Aliens (play)|''The Aliens'' (play)]], a 2010 play by Annie Baker | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Arts and entertainment",
"Music",
"Performers"
] | (-) [[Alien (band)]], a 1980s Swedish rock group (-) [[The Aliens (Australian band)]], a 1970s new wave group (-) [[The Aliens (Scottish band)]], a 2005–2008 rock group | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Arts and entertainment",
"Music",
"Albums"
] | (-) [[Alien (Northlane album)|''Alien'' (Northlane album)]] (-) [[Alien (soundtrack)|''Alien'' (soundtrack)]] (-) [[Alien (Strapping Young Lad album)|''Alien'' (Strapping Young Lad album)]] (-) [[Alien (Tankard album)|''Alien'' (Tankard album)]] (-) [[Aliens (soundtrack)|''Aliens'' (soundtrack)]] | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Arts and entertainment",
"Music",
"Songs"
] | (-) [[Alien (Britney Spears song)|"Alien" (Britney Spears song)]] (-) [[Alien (Jonas Blue and Sabrina Carpenter song)|"Alien" (Jonas Blue and Sabrina Carpenter song)]] (-) [[Alien (Pennywise song)|"Alien" (Pennywise song)]] (-) [[Alien (Third Day song)|"Alien" (Third Day song)]] (-) "Alien", a song by Bush on the album ''[[Sixteen Stone]]'' (-) "Alien", a song by Erasure on the album ''[[Loveboat (album)|Loveboat]]'' (-) "Alien", a song by Japan on the album ''[[Quiet Life]]'' (-) "Alien", a song by Lamb on the album ''[[Fear of Fours]]'' (-) "Alien", a song by Nerina Pallot on the album ''[[Dear Frustrated Superstar]]'' (-) "Alien", a song by P-Model on the album ''[[Landsale (P-Model album)|Landsale]]'' (-) "Alien", a song by Thriving Ivory on [[Thriving Ivory (album)|their self-titled album]] (-) "Alien", a song by Tokio Hotel on the album ''[[Humanoid (album)|Humanoid]]''. Also, fans of the band call themselves Aliens (-) "Alien", a Top 40 hit by Atlanta Rhythm Section from the album ''[[Quinella (album)|Quinella]]'' (-) [[Aliens (Coldplay song)|"Aliens" (Coldplay song)]] (-) "My Alien", a song by Simple Plan on the album ''[[No Pads, No Helmets... Just Balls]]'' (-) "The Aliens", a song by [[Warlord (band)|Warlord]] (-) "Alien", a song by [[Lee Su-hyun (singer, born 1999)|Lee Suhyun]] | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Arts and entertainment",
"Video games"
] | (-) [[Alien (1984 video game)|''Alien'' (1984 video game)]], based on the film (-) [[Alien (Atari 2600)|''Alien'' (Atari 2600)]], a 1982 maze game based on the 1979 film (-) ''[[Alien: Isolation]]'', a 2014 video game based on the ''Alien'' science fiction horror film series (-) [[Aliens (1982 video game)|''Aliens'' (1982 video game)]], a text-only clone of ''Space Invaders'' written for the CP/M operating system on the Kaypro computer (-) [[Aliens (1990 video game)|''Aliens'' (1990 video game)]], a game by Konami, based on the sequel of the film | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Arts and entertainment",
"Other media"
] | (-) [[Alien (Armenian TV series)|''Alien'' (Armenian TV series)]], a 2017 melodrama series (-) [[Alien (sculpture)|''Alien'' (sculpture)]], a 2012 work by David Breuer-Weil, in Mottisfont, Hampshire, England (-) [[Aliens (Dark Horse Comics line)|''Aliens'' (Dark Horse Comics line)]] (-) [[The Aliens (TV series)|''The Aliens'' (TV series)]], 2016 British sci-fi television series | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[
"Other uses"
] | (-) [[Alien (shipping company)]], a Russian company (-) [[Alien Sun]] (born 1974), Singaporean actress (-) ''Alien'', a perfume by [[Thierry Mugler#Fragrances|Thierry Mugler]] | 579 | Alien | [] | [
"Predator (disambiguation)",
"Unidentified flying object (disambiguation)",
"Alien vs. Predator (disambiguation)",
"Alians",
"UFO (disambiguation)",
"Astrobiology",
"Alien Project (disambiguation)",
"ATLiens"
] |
[] | An '''astronomer''' is a [[scientist]] in the field of [[astronomy]] who focuses their studies on a specific question or field outside the scope of [[Earth]]. They observe [[astronomical object]] such as [[star]], [[planet]], [[natural satellite|moons]], [[comet]] and [[galaxy|galaxies]] – in either [[observational astronomy|observational]] (by analyzing the data) or [[theoretical astronomy]]. Examples of topics or fields astronomers study include [[planetary science]], [[Sun|solar astronomy]], the origin or [[stellar evolution|evolution of stars]], or the [[galaxy formation and evolution|formation of galaxies]]. Related but distinct subjects like [[physical cosmology]], which studies the [[Universe]] as a whole. | 580 | Astronomer | [
"Astronomy",
"Astronomers",
"Science occupations"
] | [
"List of Slovenian astronomers",
"List of Russian astronomers and astrophysicists",
"List of astronomers",
"List of Hungarian astronomers",
"List of French astronomers",
"List of Muslim astronomers",
"List of women astronomers"
] |
[
"Types"
] | Astronomers usually fall under either of two main types: [[observational astronomy|observational]] and [[theoretical astronomy|theoretical]]. Observational astronomers make direct [[observation]] of [[Astronomical object|celestial objects]] and analyze the data. In contrast, theoretical astronomers create and investigate [[Conceptual model|model]] of things that cannot be observed. Because it takes millions to billions of years for a system of stars or a galaxy to complete a life cycle, astronomers must observe snapshots of different systems at unique points in their evolution to determine how they form, evolve, and die. They use these data to create models or [[simulation]] to theorize how different celestial objects work. Further subcategories under these two main [[branches of science|branches]] of astronomy include [[Planetary science|planetary astronomy]], [[galactic astronomy]], or [[physical cosmology]]. | 580 | Astronomer | [
"Astronomy",
"Astronomers",
"Science occupations"
] | [
"List of Slovenian astronomers",
"List of Russian astronomers and astrophysicists",
"List of astronomers",
"List of Hungarian astronomers",
"List of French astronomers",
"List of Muslim astronomers",
"List of women astronomers"
] |
[
"Academic"
] | [[Image:Justus Sustermans - Portrait of Galileo Galilei (Uffizi).jpg|left|thumb|upright|[[Galileo]] is often referred to as the Father of [[modern astronomy]], portrait by [[Justus Sustermans]]]] [[History of astronomy|Historically]], astronomy was more concerned with the [[classification]] and description of [[phenomena]] in the sky, while [[astrophysics]] attempted to explain these phenomena and the differences between them using [[Scientific law|physical laws]]. Today, that distinction has mostly disappeared and the terms "astronomer" and "astrophysicist" are interchangeable. Professional astronomers are highly educated individuals who typically have a [[Doctor of Philosophy|PhD]] in [[physics]] or astronomy and are employed by research institutions or universities. They spend the majority of their time working on research, although they quite often have other duties such as teaching, building instruments, or aiding in the operation of an observatory. The [[American Astronomical Society]], which is the major organization of professional astronomers in [[North America]], has approximately 7,000 members. This number includes scientists from other fields such as physics, [[geology]], and [[engineering]], whose research interests are closely related to astronomy. The [[International Astronomical Union]] comprises almost 10,145 members from 70 different countries who are involved in astronomical research at the PhD level and beyond. Contrary to the classical image of an old astronomer peering through a [[telescope]] through the dark hours of the night, it is far more common to use a [[charge-coupled device]] (CCD) camera to record a long, deep exposure, allowing a more sensitive image to be created because the [[light]] is added over time. Before CCDs, [[photographic plates]] were a common method of observation. Modern astronomers spend relatively little time at telescopes usually just a few weeks per year. Analysis of observed phenomena, along with making predictions as to the causes of what they observe, takes the majority of observational astronomers' time. Astronomers who serve as faculty spend much of their time teaching undergraduate and graduate classes. Most universities also have outreach programs including public telescope time and sometimes [[planetarium]] as a public service to encourage interest in the field. Those who become astronomers usually have a broad background in maths, sciences and computing in high school. Taking courses that teach how to research, write and present papers are also invaluable. In college/university most astronomers get a PhD in astronomy or physics. | 580 | Astronomer | [
"Astronomy",
"Astronomers",
"Science occupations"
] | [
"List of Slovenian astronomers",
"List of Russian astronomers and astrophysicists",
"List of astronomers",
"List of Hungarian astronomers",
"List of French astronomers",
"List of Muslim astronomers",
"List of women astronomers"
] |
[
"Amateur astronomers"
] | While there is a relatively low number of professional astronomers, the field is popular among [[amateurs]]. Most cities have amateur astronomy clubs that meet on a regular basis and often host [[star party|star parties]]. The [[Astronomical Society of the Pacific]] is the largest general astronomical society in the world, comprising both professional and amateur astronomers as well as educators from 70 different nations. Like any [[hobby]], most people who think of themselves as amateur astronomers may devote a few hours a month to [[stargazing]] and reading the latest developments in research. However, amateurs span the range from so-called "armchair astronomers" to the very ambitious, who own science-grade telescopes and instruments with which they are able to make their own discoveries and assist professional astronomers in research. | 580 | Astronomer | [
"Astronomy",
"Astronomers",
"Science occupations"
] | [
"List of Slovenian astronomers",
"List of Russian astronomers and astrophysicists",
"List of astronomers",
"List of Hungarian astronomers",
"List of French astronomers",
"List of Muslim astronomers",
"List of women astronomers"
] |
[] | '''ASCII''' ( ), abbreviated from '''American Standard Code for Information Interchange''', is a [[character encoding]] standard for electronic communication. ASCII codes represent text in computers, [[telecommunications equipment]], and other devices. Most modern character-encoding schemes are based on ASCII, although they support many additional characters. The [[Internet Assigned Numbers Authority]] (IANA) prefers the name '''US-ASCII''' for this character encoding. ASCII is one of the [[List of IEEE milestones|IEEE milestones]]. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Overview"
] | ASCII was developed from [[telegraph code]]. Its first commercial use was as a seven-[[bit]] [[teleprinter]] code promoted by Bell data services. Work on the ASCII standard began on October 6, 1960, with the first meeting of the [[American Standards Association]]'s (ASA) (now the [[American National Standards Institute]] or ANSI) X3.2 subcommittee. The first edition of the standard was published in 1963, underwent a major revision during 1967, and experienced its most recent update during 1986. Compared to earlier telegraph codes, the proposed Bell code and ASCII were both ordered for more convenient sorting (i.e., alphabetization) of lists, and added features for devices other than teleprinters. The use of ASCII format for Network Interchange was described in 1969. That document was formally elevated to an Internet Standard in 2015. Originally based on the [[English alphabet]], ASCII encodes 128 specified [[character (computing)|characters]] into seven-bit integers as shown by the ASCII chart above. Ninety-five of the encoded characters are printable: these include the digits ''0'' to ''9'', lowercase letters ''a'' to ''z'', uppercase letters ''A'' to ''Z'', and [[punctuation symbol]]. In addition, the original ASCII specification included 33 non-printing [[control code]] which originated with [[Teletype machine]]; most of these are now obsolete, although a few are still commonly used, such as the [[carriage return]], [[line feed]] and [[Tab key#Tab characters|tab]] codes. For example, lowercase ''[[i]]'' would be represented in the ASCII encoding by [[binary number|binary]] 1101001 = [[hexadecimal]] 69 (''i'' is the ninth letter) = [[decimal]] 105. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"History"
] | The American Standard Code for Information Interchange (ASCII) was developed under the auspices of a committee of the [[American Standards Association]] (ASA), called the X3 committee, by its X3.2 (later X3L2) subcommittee, and later by that subcommittee's X3.2.4 working group (now [[INCITS]]). The ASA became the [[United States of America Standards Institute]] (USASI) and ultimately the [[American National Standards Institute]] (ANSI). With the other special characters and control codes filled in, ASCII was published as ASA X3.4-1963, leaving 28 code positions without any assigned meaning, reserved for future standardization, and one unassigned control code. There was some debate at the time whether there should be more control characters rather than the lowercase alphabet. The indecision did not last long: during May 1963 the CCITT Working Party on the New Telegraph Alphabet proposed to assign lowercase characters to ''sticks'' 6 and 7, and [[International Organization for Standardization]] TC 97 SC 2 voted during October to incorporate the change into its draft standard. The X3.2.4 task group voted its approval for the change to ASCII at its May 1963 meeting. Locating the lowercase letters in ''sticks'' 6 and 7 caused the characters to differ in bit pattern from the upper case by a single bit, which simplified [[case-insensitive]] character matching and the construction of keyboards and printers. The X3 committee made other changes, including other new characters (the [[brace (punctuation)|brace]] and [[vertical bar]] characters), renaming some control characters (SOM became start of header (SOH)) and moving or removing others (RU was removed). ASCII was subsequently updated as USAS X3.4-1967, then USAS X3.4-1968, ANSI X3.4-1977, and finally, ANSI X3.4-1986. Revisions of the ASCII standard: (-) ASA X3.4-1963 (-) ASA X3.4-1965 (approved, but not published, nevertheless used by [[IBM 2260]] & [[IBM 2265|2265]] Display Stations and [[IBM 2848]] Display Control) (-) USAS X3.4-1967 (-) USAS X3.4-1968 (-) ANSI X3.4-1977 (-) ANSI X3.4-1986 (-) ANSI X3.4-1986 (R1992) (-) ANSI X3.4-1986 (R1997) (-) ANSI INCITS 4-1986 (R2002) (-) ANSI INCITS 4-1986 (R2007) (-) (ANSI) INCITS 4-1986[R2012] (-) (ANSI) INCITS 4-1986[R2017] In the X3.15 standard, the X3 committee also addressed how ASCII should be transmitted ([[least significant bit]] first), and how it should be recorded on perforated tape. They proposed a [[9-track]] standard for magnetic tape, and attempted to deal with some [[punched card]] formats. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Design considerations",
"Bit width"
] | The X3.2 subcommittee designed ASCII based on the earlier teleprinter encoding systems. Like other [[character encoding]], ASCII specifies a correspondence between digital bit patterns and [[character (computing)|character]] symbols (i.e. [[grapheme]] and [[control character]]). This allows [[Digital data|digital]] devices to communicate with each other and to process, store, and communicate character-oriented information such as written language. Before ASCII was developed, the encodings in use included 26 [[English alphabet|alphabetic]] characters, 10 [[numerical digit]], and from 11 to 25 special graphic symbols. To include all these, and control characters compatible with the [[CCITT|Comité Consultatif International Téléphonique et Télégraphique]] (CCITT) [[International Telegraph Alphabet No. 2]] (ITA2) standard of 1924, [[FIELDATA]] (1956), and early [[EBCDIC]] (1963), more than 64 codes were required for ASCII. ITA2 were in turn based on the 5-bit telegraph code [[Émile Baudot]] invented in 1870 and patented in 1874. The committee debated the possibility of a [[Shift code|shift]] function (like in [[ITA2]]), which would allow more than 64 codes to be represented by a [[six-bit character code|six-bit code]]. In a shifted code, some character codes determine choices between options for the following character codes. It allows compact encoding, but is less reliable for [[data transmission]], as an error in transmitting the shift code typically makes a long part of the transmission unreadable. The standards committee decided against shifting, and so ASCII required at least a seven-bit code. The committee considered an eight-bit code, since eight bits ([[octet (computing)|octet]]) would allow two four-bit patterns to efficiently encode two digits with [[binary-coded decimal]]. However, it would require all data transmission to send eight bits when seven could suffice. The committee voted to use a seven-bit code to minimize costs associated with data transmission. Since perforated tape at the time could record eight bits in one position, it also allowed for a [[parity bit]] for [[error checking]] if desired. [[8-bit computing|Eight-bit]] machines (with octets as the native data type) that did not use parity checking typically set the eighth bit to 0. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Design considerations",
"Internal organization"
] | The code itself was patterned so that most control codes were together and all graphic codes were together, for ease of identification. The first two so-called ''ASCII sticks'' (32 positions) were reserved for control characters. The [[Space (punctuation)|"space" character]] had to come before graphics to make [[sorting algorithm|sorting]] easier, so it became position 20; for the same reason, many special signs commonly used as separators were placed before digits. The committee decided it was important to support [[upper case|uppercase]] [[sixbit code pages|64-character alphabets]], and chose to pattern ASCII so it could be reduced easily to a usable 64-character set of graphic codes, as was done in the [[DEC SIXBIT]] code (1963). [[Lower case|Lowercase]] letters were therefore not interleaved with uppercase. To keep options available for lowercase letters and other graphics, the special and numeric codes were arranged before the letters, and the letter ''A'' was placed in position 41 to match the draft of the corresponding British standard. The digits 0–9 are prefixed with 011, but the remaining [[Nibble|4 bits]] correspond to their respective values in binary, making conversion with [[binary-coded decimal]] straightforward. Many of the non-alphanumeric characters were positioned to correspond to their shifted position on typewriters; an important subtlety is that these were based on ''mechanical'' typewriters, not ''electric'' typewriters. Mechanical typewriters followed the standard set by the Remington No. 2 (1878), the first typewriter with a shift key, and the shifted values of codice_1 were codice_2 early typewriters omitted ''0'' and ''1'', using ''O'' (capital letter ''o'') and ''l'' (lowercase letter ''L'') instead, but codice_3 and codice_4 pairs became standard once 0 and 1 became common. Thus, in ASCII codice_5 were placed in the second stick, positions 1–5, corresponding to the digits 1–5 in the adjacent stick. The parentheses could not correspond to ''9'' and ''0'', however, because the place corresponding to ''0'' was taken by the space character. This was accommodated by removing codice_6 (underscore) from ''6'' and shifting the remaining characters, which corresponded to many European typewriters that placed the parentheses with ''8'' and ''9''. This discrepancy from typewriters led to [[bit-paired keyboard]], notably the [[Teletype Model 33]], which used the left-shifted layout corresponding to ASCII, not to traditional mechanical typewriters. Electric typewriters, notably the [[IBM Selectric]] (1961), used a somewhat different layout that has become standard on computers following the [[IBM PC]] (1981), especially [[Model M]] (1984) and thus shift values for symbols on modern keyboards do not correspond as closely to the ASCII table as earlier keyboards did. The codice_7 pair also dates to the No. 2, and the codice_8 pairs were used on some keyboards (others, including the No. 2, did not shift codice_9 (comma) or codice_10 (full stop) so they could be used in uppercase without unshifting). However, ASCII split the codice_11 pair (dating to No. 2), and rearranged mathematical symbols (varied conventions, commonly codice_12) to codice_13. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Design considerations",
"Internal organization"
] | Some common characters were not included, notably codice_14, while codice_15 were included as diacritics for international use, and codice_16 for mathematical use, together with the simple line characters codice_17 (in addition to common codice_18). The ''@'' symbol was not used in continental Europe and the committee expected it would be replaced by an accented ''À'' in the French variation, so the ''@'' was placed in position 40, right before the letter A. The control codes felt essential for data transmission were the start of message (SOM), end of address (EOA), [[End of Message|end of message]] (EOM), end of transmission (EOT), "who are you?" (WRU), "are you?" (RU), a reserved device control (DC0), synchronous idle (SYNC), and acknowledge (ACK). These were positioned to maximize the [[Hamming distance]] between their bit patterns. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Design considerations",
"Character order"
] | ASCII-code order is also called ''ASCIIbetical'' order. [[Collation]] of data is sometimes done in this order rather than "standard" alphabetical order ([[collating sequence]]). The main deviations in ASCII order are: (-) All uppercase come before lowercase letters; for example, "Z" precedes "a" (-) Digits and many punctuation marks come before letters An intermediate order converts uppercase letters to lowercase before comparing ASCII values. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Control characters"
] | ASCII reserves the first 32 codes (numbers 0–31 decimal) for [[control character]]: codes originally intended not to represent printable information, but rather to control devices (such as [[computer printer|printers]]) that make use of ASCII, or to provide [[Metadata|meta-information]] about data streams such as those stored on magnetic tape. For example, character 10 represents the "line feed" function (which causes a printer to advance its paper), and character 8 represents "backspace". refers to control characters that do not include carriage return, line feed or [[Whitespace (computer science)|white space]] as non-whitespace control characters. Except for the control characters that prescribe elementary line-oriented formatting, ASCII does not define any mechanism for describing the structure or appearance of text within a document. Other schemes, such as [[markup language]], address page and document layout and formatting. The original ASCII standard used only short descriptive phrases for each control character. The ambiguity this caused was sometimes intentional, for example where a character would be used slightly differently on a terminal link than on a [[data stream]], and sometimes accidental, for example with the meaning of "delete". Probably the most influential single device on the interpretation of these characters was the [[Teletype Model 33]] ASR, which was a printing terminal with an available [[punched tape|paper tape]] reader/punch option. Paper tape was a very popular medium for long-term program storage until the 1980s, less costly and in some ways less fragile than magnetic tape. In particular, the Teletype Model 33 machine assignments for codes 17 (Control-Q, DC1, also known as XON), 19 (Control-S, DC3, also known as XOFF), and 127 ([[Delete key|Delete]]) became de facto standards. The Model 33 was also notable for taking the description of Control-G (code 7, BEL, meaning audibly alert the operator) literally, as the unit contained an actual bell which it rang when it received a BEL character. Because the keytop for the O key also showed a left-arrow symbol (from ASCII-1963, which had this character instead of [[underscore]]), a noncompliant use of code 15 (Control-O, Shift In) interpreted as "delete previous character" was also adopted by many early timesharing systems but eventually became neglected. When a Teletype 33 ASR equipped with the automatic paper tape reader received a Control-S (XOFF, an abbreviation for transmit off), it caused the tape reader to stop; receiving Control-Q (XON, "transmit on") caused the tape reader to resume. This technique became adopted by several early computer operating systems as a "handshaking" signal warning a sender to stop transmission because of impending overflow; it persists to this day in many systems as a manual output control technique. On some systems Control-S retains its meaning but Control-Q is replaced by a second Control-S to resume output. The 33 ASR also could be configured to employ Control-R (DC2) and Control-T (DC4) to start and stop the tape punch; on some units equipped with this function, the corresponding control character lettering on the keycap above the letter was TAPE and TAPE respectively. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Control characters",
"Delete & Backspace"
] | The Teletype could not move the head backwards, so it did not put a key on the keyboard to send a BS (backspace). Instead there was a key marked that sent code 127 (DEL). The purpose of this key was to erase mistakes in a hand-typed paper tape: the operator had to push a button on the tape punch to back it up, then type the rubout, which punched all holes and replaced the mistake with a character that was intended to be ignored. Teletypes were commonly used for the less-expensive computers from [[Digital Equipment Corporation]], so these systems had to use the available key and thus the DEL code to erase the previous character. Because of this, DEC video terminals (by default) sent the DEL code for the key marked "Backspace" while the key marked "Delete" sent an escape sequence, while many other terminals sent BS for the Backspace key. The Unix terminal driver could only use one code to erase the previous character, this could be set to BS ''or'' DEL, but not both, resulting in a long period of annoyance where users had to correct it depending on what terminal they were using (shells that allow line editing, such as [[KornShell|ksh]], [[Bash (Unix shell)|bash]], and [[Z shell|zsh]], understand both). The assumption that no key sent a BS caused Control+H to be used for other purposes, such as the "help" prefix command in [[GNU Emacs]]. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Control characters",
"Escape"
] | Many more of the control codes have been given meanings quite different from their original ones. The "escape" character (ESC, code 27), for example, was intended originally to allow sending other control characters as literals instead of invoking their meaning. This is the same meaning of "escape" encountered in URL encodings, [[C (programming language)|C language]] strings, and other systems where certain characters have a reserved meaning. Over time this meaning has been co-opted and has eventually been changed. In modern use, an ESC sent to the terminal usually indicates the start of a command sequence usually in the form of a so-called "[[ANSI escape code]]" (or, more properly, a "[[Control Sequence Introducer]]") from ECMA-48 (1972) and its successors, beginning with ESC followed by a "<nowiki>[</nowiki>" (left-bracket) character. An ESC sent from the terminal is most often used as an [[out-of-band data|out-of-band]] character used to terminate an operation, as in the [[Text Editor and Corrector|TECO]] and [[vi]] [[text editor]]. In [[graphical user interface]] (GUI) and [[window (computing)|windowing]] systems, ESC generally causes an application to abort its current operation or to [[exit (system call)|exit]] (terminate) altogether. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Control characters",
"End of Line"
] | The inherent ambiguity of many control characters, combined with their historical usage, created problems when transferring "plain text" files between systems. The best example of this is the [[newline]] problem on various [[operating system]]. Teletype machines required that a line of text be terminated with both "Carriage Return" (which moves the printhead to the beginning of the line) and "Line Feed" (which advances the paper one line without moving the printhead). The name "Carriage Return" comes from the fact that on a manual [[typewriter]] the carriage holding the paper moved while the position where the typebars struck the ribbon remained stationary. The entire carriage had to be pushed (returned) to the right in order to position the left margin of the paper for the next line. [[Digital Equipment Corporation|DEC]] operating systems ([[OS/8]], [[RT-11]], [[RSX-11]], [[RSTS/E|RSTS]], [[TOPS-10]], etc.) used both characters to mark the end of a line so that the console device (originally [[Teleprinter|Teletype machines]]) would work. By the time so-called "glass TTYs" (later called CRTs or terminals) came along, the convention was so well established that backward compatibility necessitated continuing the convention. When [[Gary Kildall]] created [[CP/M]] he was inspired by some command line interface conventions used in [[Digital Equipment Corporation|DEC]]'s [[RT-11]]. Until the introduction of [[PC DOS]] in 1981, [[IBM]] had no hand in this because their 1970s operating systems used EBCDIC instead of ASCII and they were oriented toward punch-card input and line printer output on which the concept of carriage return was meaningless. IBM's [[PC DOS]] (also marketed as [[MS-DOS]] by Microsoft) inherited the convention by virtue of being loosely based on CP/M, and [[Windows]] inherited it from MS-DOS. Unfortunately, requiring two characters to mark the end of a line introduces unnecessary complexity and questions as to how to interpret each character when encountered alone. To simplify matters [[plain text]] data streams, including files, on [[Multics]] used line feed (LF) alone as a line terminator. [[Unix]] and [[Unix-like]] systems, and [[Amiga]] systems, adopted this convention from Multics. The original [[Macintosh OS]], [[Apple DOS]], and [[ProDOS]], on the other hand, used carriage return (CR) alone as a line terminator; however, since Apple replaced these operating systems with the Unix-based [[macOS]] operating system, they now use line feed (LF) as well. The Radio Shack [[TRS-80]] also used a lone CR to terminate lines. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Control characters",
"End of Line"
] | Computers attached to the [[ARPANET]] included machines running operating systems such as TOPS-10 and [[TENEX (operating system)|TENEX]] using CR-LF line endings, machines running operating systems such as Multics using LF line endings, and machines running operating systems such as [[OS/360]] that represented lines as a character count followed by the characters of the line and that used [[EBCDIC]] rather than ASCII. The [[Telnet]] protocol defined an ASCII "[[Network Virtual Terminal]]" (NVT), so that connections between hosts with different line-ending conventions and character sets could be supported by transmitting a standard text format over the network. Telnet used ASCII along with CR-LF line endings, and software using other conventions would translate between the local conventions and the NVT. The [[File Transfer Protocol]] adopted the Telnet protocol, including use of the Network Virtual Terminal, for use when transmitting commands and transferring data in the default ASCII mode. This adds complexity to implementations of those protocols, and to other network protocols, such as those used for E-mail and the World Wide Web, on systems not using the NVT's CR-LF line-ending convention. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Control characters",
"End of File/Stream"
] | The PDP-6 monitor, and its PDP-10 successor TOPS-10, used Control-Z (SUB) as an end-of-file indication for input from a terminal. Some operating systems such as CP/M tracked file length only in units of disk blocks and used Control-Z to mark the end of the actual text in the file. For these reasons, EOF, or [[end-of-file]], was used colloquially and conventionally as a [[three-letter acronym]] for Control-Z instead of SUBstitute. The end-of-text code ([[End-of-text character|ETX]]), also known as [[Control-C]], was inappropriate for a variety of reasons, while using Z as the control code to end a file is analogous to it ending the alphabet and serves as a very convenient [[Mnemonic device|mnemonic aid]]. A historically common and still prevalent convention uses the ETX code convention to interrupt and halt a program via an input data stream, usually from a keyboard. In C library and [[Unix]] conventions, the [[null character]] is used to terminate text [[string (computer science)|strings]]; such [[null-terminated string]] can be known in abbreviation as ASCIZ or ASCIIZ, where here Z stands for "zero". | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Control code chart"
] | Other representations might be used by specialist equipment, for example [[ISO 2047]] graphics or [[hexadecimal]] numbers. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Printable characters"
] | Codes 20 to 7E, known as the printable characters, represent letters, digits, [[punctuation mark]], and a few miscellaneous symbols. There are 95 printable characters in total. Code 20, the [[Space (punctuation)|"space" character]], denotes the space between words, as produced by the space bar of a keyboard. Since the space character is considered an invisible graphic (rather than a control character) it is listed in the table below instead of in the previous section. Code 7F corresponds to the non-printable "delete" (DEL) control character and is therefore omitted from this chart; it is covered in the previous section's chart. Earlier versions of ASCII used the up arrow instead of the [[caret]] (5E) and the left arrow instead of the [[underscore]] (5F). | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Character groups",
"Character set"
] | Points which represented a different character in previous versions (the 1963 version or the 1965 draft) are shown boxed. Points assigned since the 1963 version but otherwise unchanged are shown lightly shaded relative to their legend colors. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Use"
] | ASCII was first used commercially during 1963 as a seven-bit teleprinter code for [[American Telephone & Telegraph]]'s TWX (TeletypeWriter eXchange) network. TWX originally used the earlier five-bit [[ITA2]], which was also used by the competing [[Telex]] teleprinter system. [[Robert William Bemer|Bob Bemer]] introduced features such as the [[Escape character|escape sequence]]. His British colleague [[Hugh McGregor Ross]] helped to popularize this work according to Bemer, "so much so that the code that was to become ASCII was first called the ''Bemer–Ross Code'' in Europe". Because of his extensive work on ASCII, Bemer has been called "the father of ASCII". On March 11, 1968, U.S. President [[Lyndon B. Johnson]] mandated that all computers purchased by the [[United States Federal Government]] support ASCII, stating: I have also approved recommendations of the [[Secretary of Commerce]] [[[Luther H. Hodges]]] regarding standards for recording the Standard Code for Information Interchange on magnetic tapes and paper tapes when they are used in computer operations. All computers and related equipment configurations brought into the Federal Government inventory on and after July 1, 1969, must have the capability to use the Standard Code for Information Interchange and the formats prescribed by the magnetic tape and paper tape standards when these media are used. ASCII was the most common character encoding on the [[World Wide Web]] until December 2007, when [[UTF-8]] encoding surpassed it; UTF-8 is backward compatible with ASCII. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Variants and derivations"
] | As computer technology spread throughout the world, different [[Standardization|standards bodies]] and corporations developed many variations of ASCII to facilitate the expression of non-English languages that used Roman-based alphabets. One could class some of these variations as "[[ASCII extension]]", although some misuse that term to represent all variants, including those that do not preserve ASCII's character-map in the 7-bit range. Furthermore, the ASCII extensions have also been mislabelled as ASCII. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Variants and derivations",
"7-bit codes"
] | From early in its development, ASCII was intended to be just one of several national variants of an international character code standard. Other international standards bodies have ratified character encodings such as [[ISO 646]] (1967) that are identical or nearly identical to ASCII, with extensions for characters outside the English [[alphabet]] and symbols used outside the United States, such as the symbol for the United Kingdom's [[pound sterling]] (£). Almost every country needed an adapted version of ASCII, since ASCII suited the needs of only the US and a few other countries. For example, Canada had its own version that supported French characters. Many other countries developed variants of ASCII to include non-English letters (e.g. [[é]], [[ñ]], [[ß]], [[Ł]]), currency symbols (e.g. [[£]], [[¥]]), etc. See also [[YUSCII]] (Yugoslavia). It would share most characters in common, but assign other locally useful characters to several [[code point]] reserved for "national use". However, the four years that elapsed between the publication of ASCII-1963 and ISO's first acceptance of an international recommendation during 1967 caused ASCII's choices for the national use characters to seem to be de facto standards for the world, causing confusion and incompatibility once other countries did begin to make their own assignments to these code points. ISO/IEC 646, like ASCII, is a 7-bit character set. It does not make any additional codes available, so the same code points encoded different characters in different countries. Escape codes were defined to indicate which national variant applied to a piece of text, but they were rarely used, so it was often impossible to know what variant to work with and, therefore, which character a code represented, and in general, text-processing systems could cope with only one variant anyway. Because the bracket and brace characters of ASCII were assigned to "national use" code points that were used for accented letters in other national variants of ISO/IEC 646, a German, French, or Swedish, etc. programmer using their national variant of ISO/IEC 646, rather than ASCII, had to write, and thus read, something such as codice_19 instead of codice_20 [[C trigraph]] were created to solve this problem for [[ANSI C]], although their late introduction and inconsistent implementation in compilers limited their use. Many programmers kept their computers on US-ASCII, so plain-text in Swedish, German etc. (for example, in e-mail or [[Usenet]]) contained "{, }" and similar variants in the middle of words, something those programmers got used to. For example, a Swedish programmer mailing another programmer asking if they should go for lunch, could get "N{ jag har sm|rg}sar" as the answer, which should be "Nä jag har smörgåsar" meaning "No I've got sandwiches". In Japan and Korea, still as of 2020-ies, a variation of ASCII is used, in which the [[backslash]] (5C hex) is rendered as ¥ (a [[Yen sign]], in Japan) or ₩ (a [[Won sign]], in Korea). This means that for example the file path C:\Users\Smith is shown as C:¥Users¥Smith (in Japan) or C:₩Users₩Smith (in Korea). | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Variants and derivations",
"8-bit codes"
] | Eventually, as 8-, [[16-bit computing|16-]] and [[32-bit computing|32-bit]] (and later [[64-bit computing|64-bit]]) computers began to replace [[12-bit computing|12-]], [[18-bit computing|18-]] and [[36-bit computing|36-bit]] computers as the norm, it became common to use an 8-bit byte to store each character in memory, providing an opportunity for extended, 8-bit relatives of ASCII. In most cases these developed as true extensions of ASCII, leaving the original character-mapping intact, but adding additional character definitions after the first 128 (i.e., 7-bit) characters. Encodings include [[ISCII]] (India), [[VISCII]] (Vietnam). Although these encodings are sometimes referred to as ASCII, true ASCII is defined strictly only by the ANSI standard. Most early home computer systems developed their own 8-bit character sets containing line-drawing and game glyphs, and often filled in some or all of the control characters from 0 to 31 with more graphics. [[Kaypro]] [[CP/M]] computers used the "upper" 128 characters for the Greek alphabet. The [[PETSCII]] code [[Commodore International]] used for their [[8-bit computing|8-bit]] systems is probably unique among post-1970 codes in being based on ASCII-1963, instead of the more common ASCII-1967, such as found on the [[ZX Spectrum character set|ZX Spectrum]] computer. [[ATASCII|Atari]] 8-bit computers and [[Galaksija (computer)#Character ROM|Galaksija]] computers also used ASCII variants. The IBM PC defined [[code page 437]], which replaced the control characters with graphic symbols such as [[Emoticon|smiley faces]], and mapped additional graphic characters to the upper 128 positions. Operating systems such as [[DOS]] supported these code pages, and manufacturers of [[IBM PC]] supported them in hardware. [[Digital Equipment Corporation]] developed the [[Multinational Character Set]] (DEC-MCS) for use in the popular [[VT220]] [[computer terminal|terminal]] as one of the first extensions designed more for international languages than for block graphics. The Macintosh defined [[Mac OS Roman]] and Postscript also defined a set, both of these contained both international letters and typographic punctuation marks instead of graphics, more like modern character sets. The [[ISO/IEC 8859]] standard (derived from the DEC-MCS) finally provided a standard that most systems copied (at least as accurately as they copied ASCII, but with many substitutions). A popular further extension designed by Microsoft, [[Windows-1252]] (often mislabeled as [[ISO-8859-1]]), added the typographic punctuation marks needed for traditional text printing. ISO-8859-1, Windows-1252, and the original 7-bit ASCII were the most common character encodings until 2008 when [[UTF-8]] became more common. [[ISO/IEC 4873]] introduced 32 additional control codes defined in the 80–9F [[hexadecimal]] range, as part of extending the 7-bit ASCII encoding to become an 8-bit system. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[
"Variants and derivations",
"Unicode"
] | [[Unicode]] and the ISO/IEC 10646 [[Universal Character Set]] (UCS) have a much wider array of characters and their various encoding forms have begun to supplant ISO/IEC 8859 and ASCII rapidly in many environments. While ASCII is limited to 128 characters, Unicode and the UCS support more characters by separating the concepts of unique identification (using [[natural number]] called ''code points'') and encoding (to 8-, 16- or 32-bit binary formats, called [[UTF-8]], [[UTF-16]] and [[UTF-32]]). ASCII was incorporated into the Unicode (1991) character set as the first 128 symbols, so the 7-bit ASCII characters have the same numeric codes in both sets. This allows [[UTF-8]] to be [[Backward compatibility|backward compatible]] with 7-bit ASCII, as a UTF-8 file containing only ASCII characters is identical to an ASCII file containing the same sequence of characters. Even more importantly, [[forward compatibility]] is ensured as software that recognizes only 7-bit ASCII characters as special and does not alter bytes with the highest bit set (as is often done to support 8-bit ASCII extensions such as ISO-8859-1) will preserve UTF-8 data unchanged. | 586 | ASCII | [
"ASCII",
"Computer-related introductions in 1963",
"Character sets",
"Character encoding",
"Latin-script representations",
"Presentation layer protocols"
] | [
"List of Unicode characters",
"ASCII Ribbon Campaign",
"HTML decimal character rendering",
"Basic Latin (Unicode block)",
"Alt codes",
"Jargon File",
"Ascii85",
"3568 ASCII",
"ASCII art",
"List of computer character sets",
"Extended ASCII"
] |
[] | '''[[Austin]]''' is the capital of Texas in the United States. '''Austin''' may also refer to: | 590 | Austin (disambiguation) | [] | [
"All pages beginning with Austin",
"Justice Austin (disambiguation)",
"Austinburg (disambiguation)",
"Augustine (disambiguation)",
"August (disambiguation)",
"Austen (disambiguation)",
"Augustin (disambiguation)",
"Austins (disambiguation)",
"Austin station (disambiguation)"
] |
[
"Geographical locations",
"Canada"
] | (-) [[Austin, Manitoba]] (-) [[Austin, Ontario]] (-) [[Austin, Quebec]] (-) [[Austin Island]], Nunavut | 590 | Austin (disambiguation) | [] | [
"All pages beginning with Austin",
"Justice Austin (disambiguation)",
"Austinburg (disambiguation)",
"Augustine (disambiguation)",
"August (disambiguation)",
"Austen (disambiguation)",
"Augustin (disambiguation)",
"Austins (disambiguation)",
"Austin station (disambiguation)"
] |
[
"Geographical locations",
"United States"
] | (-) [[Austin, Arkansas]] (-) [[Austin, Colorado]] (-) [[Austin Township, Macon County, Illinois]] (-) [[Austin, Chicago]], Cook County, Illinois (-) [[Austin, Indiana]] (-) [[Austin, Kentucky]] (-) [[Austin, Minnesota]] (-) [[Austin, Missouri]] (-) [[Austin, Nevada]] (-) [[Austin, Ohio]] (-) [[Austin, Oregon]] (-) [[Austin, Pennsylvania]] (-) [[Austin, Texas]] (-) [[Austin County, Texas]] (note that the city of Austin, Texas is located in Travis County) | 590 | Austin (disambiguation) | [] | [
"All pages beginning with Austin",
"Justice Austin (disambiguation)",
"Austinburg (disambiguation)",
"Augustine (disambiguation)",
"August (disambiguation)",
"Austen (disambiguation)",
"Augustin (disambiguation)",
"Austins (disambiguation)",
"Austin station (disambiguation)"
] |
[
"Schools"
] | (-) [[Austin College]], Sherman, Texas (-) [[University of Texas at Austin]], flagship institution of the University of Texas System (-) [[Austin Peay State University]], Clarksville, Tennessee | 590 | Austin (disambiguation) | [] | [
"All pages beginning with Austin",
"Justice Austin (disambiguation)",
"Austinburg (disambiguation)",
"Augustine (disambiguation)",
"August (disambiguation)",
"Austen (disambiguation)",
"Augustin (disambiguation)",
"Austins (disambiguation)",
"Austin station (disambiguation)"
] |
[
"Religion"
] | (-) [[Augustine of Hippo]] (-) An adjective for the [[Augustinians]] | 590 | Austin (disambiguation) | [] | [
"All pages beginning with Austin",
"Justice Austin (disambiguation)",
"Austinburg (disambiguation)",
"Augustine (disambiguation)",
"August (disambiguation)",
"Austen (disambiguation)",
"Augustin (disambiguation)",
"Austins (disambiguation)",
"Austin station (disambiguation)"
] |
[
"Business"
] | (-) [[American Austin Car Company]], short-lived American automobile maker (-) [[Austin Automobile Company]], short-lived American automobile company (-) [[Austin Motor Company]], British car manufacturer (-) Austin cookies and crackers, [[Keebler Company]] brand | 590 | Austin (disambiguation) | [] | [
"All pages beginning with Austin",
"Justice Austin (disambiguation)",
"Austinburg (disambiguation)",
"Augustine (disambiguation)",
"August (disambiguation)",
"Austen (disambiguation)",
"Augustin (disambiguation)",
"Austins (disambiguation)",
"Austin station (disambiguation)"
] |
[
"Entertainment"
] | (-) [[Austin (song)|"Austin" (song)]], a single by Blake Shelton (-) Austin, a kangaroo [[Beanie Baby]] produced by Ty, Inc. (-) Austin the kangaroo from the children's television series ''[[The Backyardigans]]'' (-) [[Austin Moon]], titular character in the television show ''Austin & Ally'' | 590 | Austin (disambiguation) | [] | [
"All pages beginning with Austin",
"Justice Austin (disambiguation)",
"Austinburg (disambiguation)",
"Augustine (disambiguation)",
"August (disambiguation)",
"Austen (disambiguation)",
"Augustin (disambiguation)",
"Austins (disambiguation)",
"Austin station (disambiguation)"
] |
[
"Other uses"
] | (-) [[Austin (building)]], a building designed by artist Ellsworth Kelly under construction in Austin, Texas (-) [[Austin (name)]] - a short form of Augustin, or Augustine (-) [[USS Austin|USS ''Austin'']], three ships | 590 | Austin (disambiguation) | [] | [
"All pages beginning with Austin",
"Justice Austin (disambiguation)",
"Austinburg (disambiguation)",
"Augustine (disambiguation)",
"August (disambiguation)",
"Austen (disambiguation)",
"Augustin (disambiguation)",
"Austins (disambiguation)",
"Austin station (disambiguation)"
] |
[] | '''Animation''' is a method in which [[Image|figures]] are manipulated to appear as moving images. In [[traditional animation]], images are drawn or painted by hand on transparent [[cel|celluloid sheets]] to be photographed and exhibited on [[film]]. Today, most animations are made with [[computer-generated imagery]] (CGI). [[Computer animation]] can be very detailed [[Computer animation#Animation methods|3D animation]], while [[Traditional animation#Computers and traditional animation|2D computer animation]] (which may have the look of traditional animation) can be used for stylistic reasons, low bandwidth, or faster [[real-time rendering]]. Other common animation methods apply a [[stop motion]] technique to two and three-dimensional objects like [[cutout animation|paper cutouts]], [[puppet]], or [[Clay animation|clay figures]]. Commonly, the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the [[phi phenomenon]] and [[beta movement]], but the exact causes are still uncertain. [[Analog device|Analog]] mechanical animation media that rely on the rapid display of sequential images include the [[phenakistiscope|phénakisticope]], [[zoetrope]], [[flip book]], [[praxinoscope]], and film. [[Television]] and [[video]] are popular electronic animation media that originally were analog and now operate [[digital media|digitally]]. For display on the computer, techniques like [[animated GIF]] and [[Flash animation]] were developed. Animation is more pervasive than many people know. Apart from [[short films]], [[feature films]], [[Television show|television series]], animated GIFs, and other media dedicated to the display of moving images, animation is also prevalent in [[video game]], [[motion graphics]], [[user interface]], and [[visual effects]]. The physical movement of image parts through simple mechanics—for instance moving images in [[magic lantern]] shows—can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in [[automaton|automata]]. Electronic automata were popularized by [[Disney]] as [[animatronics]]. [[Animator]] are artists who specialize in creating animation. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Etymology"
] | The word "animation" stems from the Latin "animātiōn", stem of "animātiō", meaning "a bestowing of life". The primary meaning of the English word is "liveliness" and has been in use much longer than the meaning of "moving image medium". | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"History",
"Before cinematography"
] | Hundreds of years before the introduction of true animation, people from all over the world enjoyed shows with moving figures that were created and manipulated manually in [[puppetry]], [[automaton|automata]], [[shadow play]], and the [[magic lantern]]. The multi-media [[phantasmagoria]] shows that were very popular in West-European theatres from the late 18th century through the first half of the 19th century, featured lifelike projections of moving ghosts and other frightful imagery in motion. In 1833, the [[stroboscope|stroboscopic]] disc (better known as the [[phenakistiscope|phénakisticope]]) introduced the principle of modern animation with sequential images that were shown one by one in quick succession to form an optical illusion of motion pictures. Series of sequential images had occasionally been made over thousands of years, but the stroboscopic disc provided the first method to represent such images in fluent motion and for the first time had artists creating series with a proper systematic breakdown of movements. The stroboscopic animation principle was also applied in the [[zoetrope]] (1866), the [[flip book]] (1868) and the [[praxinoscope]] (1877). The average 19th-century animation contained about 12 images that were displayed as a continuous loop by spinning a device manually. The flip book often contained more pictures and had a beginning and end, but its animation would not last longer than a few seconds. The first to create much longer sequences seems to have been [[Charles-Émile Reynaud]], who between 1892 and 1900 had much success with his 10- to 15-minute-long ''[[Théâtre Optique|Pantomimes Lumineuses]]''. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"History",
"Silent era"
] | When [[cinematography]] eventually broke through in 1895 after animated pictures had been known for decades, the wonder of the realistic details in the new medium was seen as its biggest accomplishment. Animation on film was not commercialized until a few years later by manufacturers of optical toys, with [[chromolithography]] film loops (often traced from live-action footage) for adapted toy magic lanterns intended for kids to use at home. It would take some more years before animation reached movie theaters. After earlier experiments by movie pioneers [[J. Stuart Blackton]], [[Arthur Melbourne-Cooper]], [[Segundo de Chomón]], and [[Edwin S. Porter]] (among others), Blackton's ''The Haunted Hotel'' (1907) was the first huge [[stop motion]] success, baffling audiences by showing objects that apparently moved by themselves in full photographic detail, without signs of any known stage trick. [[Émile Cohl]]'s ''[[Fantasmagorie (1908 film)|Fantasmagorie]]'' (1908) is the oldest known example of what became known as [[traditional animation|traditional (hand-drawn) animation]]. Other great artistic and very influential short films were created by [[Ladislas Starevich]] with his puppet animations since 1910 and by [[Winsor McCay]] with detailed drawn animation in films such as ''[[Little Nemo (1911 film)|Little Nemo]]'' (1911) and ''[[Gertie the Dinosaur]]'' (1914). During the 1910s, the production of animated "[[cartoons]]" became an industry in the US. Successful producer [[John Randolph Bray]] and animator [[Earl Hurd]], patented the [[cel animation]] process that dominated the animation industry for the rest of the century. [[Felix the Cat]], who debuted in 1919, became the first animated superstar. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"History",
"American golden age"
] | In 1928, ''[[Steamboat Willie]]'', featuring [[Mickey Mouse]] and [[Minnie Mouse]], popularized film with synchronized sound and put [[Walt Disney]]'s studio at the forefront of the animation industry. In 1932, Disney also introduced the innovation of full color (in ''[[Flowers and Trees]]'') as part of a three-year-long exclusive deal with [[Technicolor]]. The enormous success of Mickey Mouse is seen as the start of the [[golden age of American animation]] that would last until the 1960s. The United States dominated the world market of animation with a plethora of cel-animated theatrical shorts. Several studios would introduce characters that would become very popular and would have long-lasting careers, including [[Walt Disney Productions]]' [[Goofy]] (1932) and [[Donald Duck]] (1934), [[Warner Bros. Cartoons]]' [[Looney Tunes]] characters like [[Daffy Duck]] (1937), [[Bugs Bunny]] (1938/1940), [[Tweety]] (1941/1942), [[Sylvester the Cat]] (1945), [[Wile E. Coyote and Road Runner]] (1949), [[Fleischer Studios]]/[[Paramount Cartoon Studios]]' [[Betty Boop]] (1930), [[Popeye#Theatrical animated cartoons|Popeye]] (1933), [[Superman (1940s cartoons)|Superman]] (1941) and [[Casper the friendly ghost|Casper]] (1945), [[Metro-Goldwyn-Mayer cartoon studio|MGM cartoon studio]]'s [[Tom and Jerry]] (1940) and [[Droopy]], [[Walter Lantz Productions]]/[[Universal Studio Cartoons]]' [[Woody Woodpecker]] (1940), [[Terrytoons]]/[[20th Century Fox]]'s [[Mighty Mouse]] (1942) and [[United Artists]]' [[Pink Panther (character)|Pink Panther]] (1963). | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"History",
"Features before CGI"
] | In 1917, Italian-Argentine director [[Quirino Cristiani]] made the first feature-length film ''[[El Apóstol]]'' (now [[lost film|lost]]), which became a critical and commercial success. It was followed by Cristiani's ''[[Sin dejar rastros]]'' in 1918, but one day after its premiere the film was confiscated by the government. After working on it for three years, [[Lotte Reiniger]] released the German feature-length [[silhouette animation]] ''[[Die Abenteuer des Prinzen Achmed]]'' in 1926, the oldest extant animated feature. In 1937, [[Walt Disney Animation Studios|Walt Disney Studios]] premiered their first animated feature, ''[[Snow White and the Seven Dwarfs (1937 film)|Snow White and the Seven Dwarfs]]'', still one of the highest-grossing traditional animation features . The Fleischer studios followed this example in 1939 with ''[[Gulliver's Travels (1939 film)|Gulliver's Travels]]'' with some success. Partly due to foreign markets being cut off by the Second World War, Disney's next features ''[[Pinocchio (1940 film)|Pinocchio]]'', ''[[Fantasia (1940 film)|Fantasia]]'' (both 1940) and Fleischer Studios' second animated feature ''[[Mr. Bug Goes to Town]]'' (1941/1942) failed at the box office. For decades afterwards Disney would be the only American studio to regularly produce animated features, until [[Ralph Bakshi]] became the first to also release more than a handful features. Sullivan-Bluth Studios began to regularly produce animated features starting with ''[[An American Tail]]'' in 1986. Although relatively few titles became as successful as Disney's features, other countries developed their own animation industries that produced both short and feature theatrical animations in a wide variety of styles, relatively often including [[stop motion]] and [[cutout animation]] techniques. Russia's [[Soyuzmultfilm]] animation studio, founded in 1936, produced 20 films (including shorts) per year on average and reached 1,582 titles in 2018. China, Czechoslovakia / Czech Republic, Italy, France and Belgium were other countries that more than occasionally released feature films, while Japan became a true powerhouse of animation production, with its own recognizable and influential [[anime]] style of effective [[limited animation]]. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"History",
"Television"
] | Animation became very popular on television since the 1950s, when television sets started to become common in most developed countries. Cartoons were mainly programmed for children, on convenient time slots, and especially US youth spent many hours watching [[Saturday-morning cartoon]]. Many classic cartoons found a new life on the small screen and by the end of the 1950s, production of new animated cartoons started to shift from theatrical releases to TV series. [[Hanna-Barbera Productions]] was especially prolific and had huge hit series, such as ''[[The Flintstones]]'' (1960–1966) (the first [[prime time]] animated series), ''[[Scooby-Doo]]'' (since 1969) and Belgian co-production ''[[The Smurfs (TV series)|The Smurfs]]'' (1981–1989). The constraints of American television programming and the demand for an enormous quantity resulted in cheaper and quicker [[limited animation]] methods and much more formulaic scripts. Quality dwindled until more daring animation surfaced in the late 1980s and in the early 1990s with hit series such as ''[[The Simpsons]]'' (since 1989) as part of a "renaissance" of American animation. While US animated series also spawned successes internationally, many other countries produced their own child-oriented programming, relatively often preferring [[stop motion]] and [[puppetry]] over cel animation. Japanese [[anime]] TV series became very successful internationally since the 1960s, and European producers looking for affordable cel animators relatively often started co-productions with Japanese studios, resulting in hit series such as ''[[Barbapapa]]'' (The Netherlands/Japan/France 1973–1977), ''[[Vicky the Viking|Wickie und die starken Männer/小さなバイキング ビッケ (Vicky the Viking)]]'' (Austria/Germany/Japan 1974), and ''[[The Jungle Book (1989 TV series)|The Jungle Book]]'' (Italy/Japan 1989). | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"History",
"Switch from cels to computers"
] | [[Computer animation]] was gradually developed since the 1940s. 3D wireframe animation started popping up in the mainstream in the 1970s, with an early (short) appearance in the sci-fi thriller ''[[Futureworld]]'' (1976). ''[[The Rescuers Down Under]]'' was the first feature film to be completely created digitally without a camera. It was produced in a style that's very similar to traditional cel animation on the [[Computer Animation Production System]] (CAPS), developed by [[The Walt Disney Company]] in collaboration with [[Pixar]] in the late 1980s. The so-called 3D style, more often associated with computer animation, has become extremely popular since Pixar's ''[[Toy Story]]'' (1995), the first computer-animated feature in this style. Most of the cel animation studios switched to producing mostly computer animated films around the 1990s, as it proved cheaper and more profitable. Not only the very popular 3D animation style was generated with computers, but also most of the films and series with a more traditional hand-crafted appearance, in which the charming characteristics of cel animation could be emulated with software, while new digital tools helped developing new styles and effects. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Economic status"
] | In 2008, the animation market was worth US$68.4 billion. Animated feature-length films returned the highest [[gross margin]] (around 52%) of all [[film genre]] between 2004 and 2013. Animation as an art and industry continues to thrive as of the early 2020s. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Education, propaganda and commercials"
] | The clarity of animation makes it a powerful tool for instruction, while its total malleability also allows exaggeration that can be employed to convey strong emotions and to thwart reality. It has therefore been widely used for other purposes than mere entertainment. During World War II, animation was widely exploited for propaganda. [[World War II and American animation|Many American studios]], including Warner Bros. and Disney, lent their talents and their cartoon characters to convey the public of certain war values. Some countries, including China, Japan and the United Kingdom, produced their first feature-length animation for their war efforts. Animation has been very popular in television commercials, both due to its graphic appeal, and the humour it can provide. Some animated characters in commercials have survived for decades, such as [[Snap, Crackle and Pop]] in advertisements for Kellogg's cereals. The legendary animation director [[Tex Avery]] was the producer of the first [[Raid (insecticide)|Raid]] "[[Kills Bugs Dead]]" commercials in 1966, which were very successful for the company. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Other media, merchandise and theme parks"
] | Apart from their success in movie theaters and television series, many cartoon characters would also prove extremely lucrative when licensed for all kinds of merchandise and for other media. Animation has traditionally been very closely related to [[comic book]]. While many comic book characters found their way to the screen (which is often the case in Japan, where many [[manga]] are adapted into [[anime]]), original animated characters also commonly appear in comic books and magazines. Somewhat similarly, characters and plots for [[video game]] (an interactive animation medium) have been derived from films and vice versa. Some of the original content produced for the screen can be used and marketed in other media. Stories and images can easily be adapted into children's books and other printed media. Songs and music have appeared on records and as streaming media. While very many animation companies commercially exploit their creations outside moving image media, [[The Walt Disney Company]] is the best known and most extreme example. Since first being licensed for a children's writing tablet in 1929, their [[Mickey Mouse]] mascot has been [[Mickey Mouse#Merchandising|depicted on an enormous amount of products]], as have many other Disney characters. This may have influenced some [[Mickey Mouse#pejorative use of Mickey's name|pejorative use of Mickey's name]], but [[Disney Consumer Products|licensed Disney products]] sell well, and the so-called [[Disneyana]] has many avid collectors, and even a dedicated Disneyana fanclub (since 1984). [[Disneyland]] opened in 1955 and features many attractions that were based on Disney's cartoon characters. Its enormous success spawned several other [[Disney Parks, Experiences and Products#Disney resorts|Disney theme parks and resorts]]. [[The Walt Disney Company#Financial data|Disney's earnings]] from the theme parks have relatively often been higher than those from their movies. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Criticism"
] | Criticism of animation has been common in media and cinema since its inception. With its popularity, a large amount of criticism has arisen, especially animated feature-length films. Many concerns of cultural representation, psychological effects on children have been brought up around the animation industry, which has remained rather politically unchanged and stagnant since its inception into mainstream culture. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Awards"
] | As with any other form of media, animation has instituted awards for excellence in the field. The original awards for animation were presented by the [[Academy of Motion Picture Arts and Sciences]] for animated shorts from the year 1932, during the 5th [[Academy Awards]] function. The first winner of the [[5th Academy Awards|Academy Award]] was the short ''Flowers and Trees'', a production by [[Walt Disney Productions]]. The Academy Award for a feature-length animated motion picture was only instituted for the year 2001, and awarded during the 74th Academy Awards in 2002. It was won by the film ''[[Shrek]]'', produced by [[DreamWorks Animation|DreamWorks]] and [[Pacific Data Images]]. [[Walt Disney Animation Studios|Disney Animation]] and [[Pixar]] has produced the most films either to win or be nominated for the award. ''[[Beauty and the Beast (1991 film)|Beauty and the Beast]]'' was the first animated film nominated for Best Picture. ''[[Up (2009 film)|Up]]'' and ''[[Toy Story 3]]'' also received Best Picture nominations after the Academy expanded the number of nominees from five to ten. (-) [[Academy Award for Best Animated Feature]] (-) [[Academy Award for Best Animated Short Film]] Several other countries have instituted an award for the best-animated feature film as part of their national film awards: [[Africa Movie Academy Award for Best Animation]] (since 2008), [[BAFTA Award for Best Animated Film]] (since 2006), [[César Award for Best Animated Film]] (since 2011), [[Golden Rooster Award for Best Animation]] (since 1981), [[Goya Award for Best Animated Film]] (since 1989), [[Japan Academy Prize for Animation of the Year]] (since 2007), [[National Film Award for Best Animated Film]] (since 2006). Also since 2007, the [[Asia Pacific Screen Award for Best Animated Feature Film]] has been awarded at the [[Asia Pacific Screen Awards]]. Since 2009, the [[European Film Awards]] have awarded the [[European Film Award for Best Animated Film]]. The [[Annie Award]] is another award presented for excellence in the field of animation. Unlike the Academy Awards, the Annie Awards are only received for achievements in the field of animation and not for any other field of technical and artistic endeavour. They were re-organized in 1992 to create a new field for Best Animated Feature. The 1990s winners were dominated by Walt Disney; however, newer studios, led by Pixar & DreamWorks, have now begun to consistently vie for this award. The list of awardees is as follows: (-) [[Annie Award for Best Animated Feature]] (-) [[Annie Award for Best Animated Short Subject]] (-) [[Annie Award for Best Animated Television Production]] | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Production"
] | The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a form of [[filmmaking]], with certain unique aspects. Traits common to both live-action and animated [[Feature film|feature-length films]] are labor intensity and high production costs. The most important difference is that once a film is in the production phase, the [[marginal cost]] of one more shot is higher for animated films than live-action films. It is relatively easy for a director to ask for one more [[take]] during [[principal photography]] of a live-action film, but every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious by modern computer animation). It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film. Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where [[storyboard artist]] develop every single scene through [[storyboard]], then handing the film over to the animators only after the production team is satisfied that all the scenes make sense as a whole. While live-action films are now also storyboarded, they enjoy more latitude to depart from storyboards (i.e., real-time improvisation). Another problem unique to animation is the requirement to maintain a film's consistency from start to finish, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film. Since the early 1980s, teams of about 500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult. This problem is usually solved by having a separate group of visual development artists develop an overall look and palette for each film before the animation begins. Character designers on the visual development team draw [[model sheet]] to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles. On traditionally animated projects, [[maquette]] were often sculpted to further help the animators see how characters would look from different angles. Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film. In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while also continuing to use story departments) and screenplays had become commonplace for animated films by the late 1980s. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Traditional"
] | '''Traditional animation''' (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called [[cel]], which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by a [[rostrum camera]] onto motion picture film. The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional [[35 mm movie film|35 mm film]] and newer media with [[digital video]]. The "look" of traditional cel animation is still preserved, and the [[Character animation|character animator]]' work has remained essentially the same over the past 70 years. Some animation producers have used the term "[[tradigital art|tradigital]]" (a play on the words "traditional" and "digital") to describe cel animation that uses significant computer technology. Examples of traditionally animated feature films include ''[[Pinocchio (1940 film)|Pinocchio]]'' (United States, 1940), ''[[Animal Farm (1954 film)|Animal Farm]]'' (United Kingdom, 1954), ''[[Lucky and Zorba]]'' (Italy, 1998), and ''[[The Illusionist (2010 film)|The Illusionist]]'' (British-French, 2010). Traditionally animated films produced with the aid of computer technology include ''[[The Lion King]]'' (US, 1994), ''[[The Prince of Egypt]]'' (US, 1998), ''[[Akira (1988 film)|Akira]]'' (Japan, 1988), ''[[Spirited Away]]'' (Japan, 2001), ''[[The Triplets of Belleville]]'' (France, 2003), and ''[[The Secret of Kells]]'' (Irish-French-Belgian, 2009). | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Traditional",
"Full"
] | '''Full animation''' refers to the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement, having a smooth animation. Fully animated films can be made in a variety of styles, from more realistically animated works like those produced by the [[Walt Disney Animation Studios|Walt Disney studio]] (''[[The Little Mermaid (1989 film)|The Little Mermaid]]'', ''[[Beauty and the Beast (1991 film)|Beauty and the Beast]]'', ''[[Aladdin (1992 Disney film)|Aladdin]]'', ''The Lion King'') to the more 'cartoon' styles of the [[Warner Bros. Cartoons|Warner Bros. animation studio]]. Many of the [[Disney animated features]] are examples of full animation, as are non-Disney works, ''[[The Secret of NIMH]]'' (US, 1982), ''[[The Iron Giant]]'' (US, 1999), and ''[[Nocturna (Film)|Nocturna]]'' (Spain, 2007). Fully animated films are animated at 24 frames per second, with a combination of animation on ones and twos, meaning that drawings can be held for one frame out of 24 or two frames out of 24. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Traditional",
"Limited"
] | '''[[Limited animation]]''' involves the use of less detailed or more stylized drawings and methods of movement usually a choppy or "skippy" movement animation. Limited animation uses fewer drawings per second, thereby limiting the fluidity of the animation. This is a more economic technique. Pioneered by the artists at the American studio [[United Productions of America]], limited animation can be used as a method of stylized artistic expression, as in ''[[Gerald McBoing-Boing]]'' (US, 1951), ''[[Yellow Submarine (1968 film)|Yellow Submarine]]'' (UK, 1968), and certain [[anime]] produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media for television (the work of Hanna-Barbera, [[Filmation]], and other TV animation studios) and later the [[Internet]] ([[web cartoon]]). | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Traditional",
"Rotoscoping"
] | '''Rotoscoping''' is a technique patented by [[Max Fleischer]] in 1917 where animators trace live-action movement, frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in ''[[The Lord of the Rings (1978 film)|The Lord of the Rings]]'' (US, 1978), or used in a stylized and expressive manner, as in ''[[Waking Life]]'' (US, 2001) and ''[[A Scanner Darkly (film)|A Scanner Darkly]]'' (US, 2006). Some other examples are ''[[Fire and Ice (1983 film)|Fire and Ice]]'' (US, 1983), ''[[Heavy Metal (film)|Heavy Metal]]'' (1981), and ''[[The Flowers of Evil (manga)|Aku no Hana]]'' (Japan, 2013). | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Traditional",
"Live-action blending"
] | '''[[List of films with live action and animation|Live-action/animation]]''' is a technique combining hand-drawn characters into live action shots or live-action actors into animated shots. One of the earlier uses was in [[Koko the Clown]] when Koko was drawn over live-action footage. Walt Disney and Ub Iwerks created a series of ''[[Alice Comedies]]'' (1923–1927), in which a live-action girl enters an animated world. Other examples include ''[[Allegro Non Troppo]]'' (Italy, 1976), ''[[Who Framed Roger Rabbit]]'' (US, 1988), ''[[Volere volare]]'' (Italy 1991), ''[[Space Jam]]'' (US, 1996) and ''[[Osmosis Jones]]'' (US, 2001). | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Stop motion"
] | '''Stop-motion animation''' is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the medium used to create the animation. Computer software is widely available to create this type of animation; traditional stop-motion animation is usually less expensive but more time-consuming to produce than current computer animation. (-) '''[[Puppet animation]]''' typically involves stop-motion puppet figures interacting in a constructed environment, in contrast to real-world interaction in model animation. The puppets generally have an [[armature (sculpture)|armature]] inside of them to keep them still and steady to constrain their motion to particular joints. Examples include ''[[The Tale of the Fox]]'' (France, 1937), ''[[The Nightmare Before Christmas]]'' (US, 1993), ''[[Corpse Bride]]'' (US, 2005), ''[[Coraline (film)|Coraline]]'' (US, 2009), the films of [[Jiří Trnka]] and the adult animated sketch-comedy television series ''[[Robot Chicken]]'' (US, 2005–present). (-) '''[[Puppetoon]]''', created using techniques developed by [[George Pal]], are puppet-animated films that typically use a different version of a puppet for different frames, rather than simply manipulating one existing puppet. (-) '''[[Clay animation]]''', or [[Plasticine]] animation (often called ''claymation'', which, however, is a [[Laika (company)|trademarked]] name), uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have an [[armature (sculpture)|armature]] or wire frame inside, similar to the related puppet animation (below), that can be manipulated to pose the figures. Alternatively, the figures may be made entirely of clay, in the films of [[Bruce Bickford (animator)|Bruce Bickford]], where clay creatures morph into a variety of different shapes. Examples of clay-animated works include ''The [[Gumby]] Show'' (US, 1957–1967), ''[[Mio Mao]]'' (Italy, 1974–2005), ''[[Morph (animation)|Morph]]'' shorts (UK, 1977–2000), ''[[Wallace and Gromit]]'' shorts (UK, as of 1989), [[Jan Švankmajer]]'s ''[[Dimensions of Dialogue]]'' ([[Czechoslovakia]], 1982), ''[[The Trap Door]]'' (UK, 1984). Films include ''[[Wallace & Gromit: The Curse of the Were-Rabbit]]'', ''[[Chicken Run]]'' and ''[[The Adventures of Mark Twain (1985 film)|The Adventures of Mark Twain]]''. (-) '''[[Strata-cut animation]]''', Strata-cut animation is most commonly a form of clay animation in which a long bread-like "loaf" of clay, internally packed tight and loaded with varying imagery, is sliced into thin sheets, with the animation camera taking a frame of the end of the loaf for each cut, eventually revealing the movement of the internal images within. (-) '''[[Cutout animation]]''' is a type of stop-motion animation produced by moving two-dimensional pieces of material paper or cloth. Examples include [[Terry Gilliam]]'s animated sequences from ''[[Monty Python's Flying Circus]]'' (UK, 1969–1974); ''[[Fantastic Planet]]'' (France/Czechoslovakia, 1973); ''[[Tale of Tales (1979 film)|Tale of Tales]]'' (Russia, 1979), The pilot episode of the adult television sitcom series (and sometimes in episodes) of ''[[South Park]]'' (US, 1997) and the music video Live for the moment, from Verona Riots band (produced by Alberto Serrano and Nívola Uyá, Spain 2014). | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Stop motion"
] | (-) '''[[Silhouette animation]]''' is a variant of cutout animation in which the characters are backlit and only visible as silhouettes. Examples include ''[[The Adventures of Prince Achmed]]'' ([[Weimar Republic]], 1926) and ''[[Princes et Princesses]]'' (France, 2000). (-) '''[[Model animation]]''' refers to stop-motion animation created to interact with and exist as a part of a live-action world. Intercutting, [[matte (filmmaking)|matte]] effects and split screens are often employed to blend stop-motion characters or objects with live actors and settings. Examples include the work of [[Ray Harryhausen]], as seen in films, ''[[Jason and the Argonauts (1963 film)|Jason and the Argonauts]]'' (1963), and the work of [[Willis H. O'Brien]] on films, ''[[King Kong (1933 film)|King Kong]]'' (1933). (-) '''[[Go motion]]''' is a variant of model animation that uses various techniques to create [[motion blur]] between frames of film, which is not present in traditional stop motion. The technique was invented by [[Industrial Light & Magic]] and [[Phil Tippett]] to create [[special effect]] scenes for the film ''[[The Empire Strikes Back]]'' (1980). Another example is the dragon named "Vermithrax" from 1981 film ''[[Dragonslayer (1981 film)|Dragonslayer]]''. (-) '''[[Object animation]]''' refers to the use of regular inanimate objects in stop-motion animation, as opposed to specially created items. (-) '''[[Graphic animation]]''' uses non-drawn flat visual graphic material (photographs, newspaper clippings, magazines, etc.), which are sometimes manipulated frame by frame to create movement. At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action. (-) '''[[Brickfilm]]''' are a subgenre of object animation involving using [[Lego]] or other similar brick toys to make an animation. These have had a recent boost in popularity with the advent of video sharing sites, [[YouTube]] and the availability of cheap cameras and [[animation software]]. (-) '''[[Pixilation]]''' involves the use of live humans as stop-motion characters. This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide across the ground, and other effects. Examples of pixilation include ''[[The Secret Adventures of Tom Thumb]]'' and ''[[Angry Kid]]'' shorts, and the [[Academy Award]]-winning ''[[Neighbours (1952 film)|Neighbours]]'' by [[Norman McLaren]]. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Computer"
] | '''Computer animation''' encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer. 2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Computer",
"2D"
] | [[2D computer graphics|2D animation]] figures are created or edited on the computer using 2D [[Raster graphics|bitmap graphics]] and 2D [[vector graphics]]. This includes automated computerized versions of traditional animation techniques, [[Interpolation|interpolated]] [[morphing]], [[onion skinning]] and interpolated rotoscoping. 2D animation has many applications, including [[Scanimate|analog computer animation]], [[Flash animation]], and [[PowerPoint animation]]. [[Cinemagraph]] are [[Still life photography|still photographs]] in the form of an [[animated GIF]] file of which part is animated. Final line [[advection]] animation is a technique used in 2D animation, to give artists and animators more influence and control over the final product as everything is done within the same department. Speaking about using this approach in ''[[Paperman]]'', John Kahrs said that "Our animators can change things, actually erase away the CG underlayer if they want, and change the profile of the arm." | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Computer",
"3D"
] | 3D animation is digitally modeled and manipulated by an animator. The 3D model maker usually starts by creating a 3D [[polygon mesh]] for the animator to manipulate. A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of form to a 3D object or 3D environment. Sometimes, the mesh is given an internal digital skeletal structure called an [[Armature (computer animation)|armature]] that can be used to control the mesh by weighting the vertices. This process is called rigging and can be used in conjunction with [[key frame]] to create movement. Other techniques can be applied, mathematical functions (e.g., gravity, particle simulations), simulated fur or hair, and effects, fire and [[fluid animation|water simulations]]. These techniques fall under the category of 3D dynamics. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Computer",
"3D",
"Terms"
] | (-) '''[[Cel-shaded animation]]''' is used to mimic traditional animation using computer software. Shading looks stark, with less blending of colors. Examples include ''[[Skyland]]'' (2007, France), ''[[The Iron Giant]]'' (1999, United States), ''[[Futurama]]'' (1999, United States) ''[[Appleseed Ex Machina]]'' (2007, Japan), ''[[The Legend of Zelda: The Wind Waker]]'' (2002, Japan), ''[[The Legend of Zelda: Breath of the Wild]]'' (2017, Japan) (-) '''[[Machinima]]''' – Films created by screen capturing in video games and virtual worlds. The term originated from the software introduction in the 1980s [[demoscene]], as well as the 1990s recordings of the [[first-person shooter]] video game ''[[Quake (video game)|Quake]]''. (-) '''[[Motion capture]]''' is used when live-action actors wear special suits that allow computers to copy their movements into CG characters. Examples include ''[[The Polar Express (film)|Polar Express]]'' (2004, US), ''[[Beowulf (2007 film)|Beowulf]]'' (2007, US), ''[[A Christmas Carol (2009 film)|A Christmas Carol]]'' (2009, US), ''[[The Adventures of Tintin (film)|The Adventures of Tintin]]'' (2011, US) ''[[Kochadaiiyaan|kochadiiyan]]'' (2014, India) (-) '''[[Computer animation]]''' is used primarily for animation that attempts to resemble real life, using advanced rendering that mimics in detail skin, plants, water, fire, clouds, etc. Examples include ''[[Up (2009 film)|Up]]'' (2009, US), ''[[How to Train Your Dragon (film)|How to Train Your Dragon]]'' (2010, US) (-) '''[[Physically based animation]]''' is animation using [[computer simulation]]. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Mechanical"
] | (-) '''[[Animatronics]]''' is the use of [[mechatronics]] to create machines that seem animate rather than robotic. (-) '''[[Audio-Animatronics]] and Autonomatronics''' is a form of [[robotics]] animation, combined with 3-D animation, created by [[Walt Disney Imagineering]] for shows and attractions at Disney theme parks move and make noise (generally a recorded speech or song). They are fixed to whatever supports them. They can sit and stand, and they cannot walk. An Audio-Animatron is different from an [[android (robot)|android]]-type robot in that it uses prerecorded movements and sounds, rather than responding to external stimuli. In 2009, Disney created an interactive version of the technology called Autonomatronics. (-) '''Linear Animation Generator''' is a form of animation by using static picture frames installed in a tunnel or a shaft. The animation illusion is created by putting the viewer in a linear motion, parallel to the installed picture frames. The concept and the technical solution were invented in 2007 by Mihai Girlovan in Romania. (-) '''[[Chuckimation]]''' is a type of animation created by the makers of the television series ''[[Action League Now!]]'' in which characters/props are thrown, or chucked from off camera or wiggled around to simulate talking by unseen hands. (-) The '''[[Magic lantern#Moving images|magic lantern]]''' used mechanical slides to project moving images, probably since [[Christiaan Huygens]] invented this early image projector in 1659. | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[
"Techniques",
"Other"
] | (-) '''Hydrotechnics''': a technique that includes lights, water, fire, fog, and lasers, with high-definition projections on mist screens. (-) '''[[Drawn on film animation]]''': a technique where footage is produced by creating the images directly on [[film stock]]; for example, by [[Norman McLaren]], [[Len Lye]] and [[Stan Brakhage]]. (-) '''[[Paint-on-glass animation]]''': a technique for making animated films by manipulating slow drying [[oil paint]] on sheets of glass, for example by [[Aleksandr Petrov (animator)|Aleksandr Petrov]]. (-) '''Erasure animation''': a technique using traditional 2D media, photographed over time as the artist manipulates the image. For example, [[William Kentridge]] is famous for his [[charcoal]] erasure films, and [[Piotr Dumała]] for his auteur technique of animating scratches on plaster. (-) '''[[Pinscreen animation]]''': makes use of a screen filled with movable pins that can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation. (-) '''[[Sand animation]]''': sand is moved around on a back- or front-[[light]] piece of glass to create each frame for an animated film. This creates an interesting effect when animated because of the light [[Contrast (vision)|contrast]]. (-) '''[[Flip book]]''': a flip book (sometimes, especially in British English, called a flick book) is a book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip books are often illustrated books for children, they also be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, they appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip books. (-) '''[[Character animation]]''' (-) '''[[Multi-sketch]]''' (-) '''[[Special effect]] animation''' | 593 | Animation | [
"Animation",
"Cartooning",
"Articles containing video clips",
"Film and video technology"
] | [
"Avar",
"International Animated Film Association",
"Animated war film",
"List of film-related topics",
"International Tournée of Animation",
"Independent animation",
"Society for Animation Studies",
"Motion graphic design",
"Twelve basic principles of animation",
"International Animation Day",
"Animation department",
"Architectural animation",
"Wire-frame model"
] |
[] | '''Apollo''' is one of the [[Twelve Olympians|Olympian deities]] in [[Ancient Greek religion|classical Greek]] and [[Ancient Roman religion|Roman religion]] and [[Greek mythology|Greek]] and [[Roman mythology]]. The national divinity of the Greeks, Apollo has been recognized as a god of archery, music and dance, truth and prophecy, healing and diseases, the [[Sun]] and light, poetry, and more. One of the most important and complex of the Greek gods, he is the son of [[Zeus]] and [[Leto]], and the twin brother of [[Artemis]], goddess of the hunt. Seen as the most beautiful god and the ideal of the ''[[kouros]]'' (ephebe, or a beardless, athletic youth), Apollo is considered to be the most Greek of all the gods. Apollo is known in Greek-influenced [[Etruscan mythology]] as ''Apulu''. As the patron deity of [[Delphi]] (''Apollo Pythios''), Apollo is an [[oracular]] god—the prophetic [[deity]] of the [[Pythia|Delphic Oracle]]. Apollo is the god who affords help and wards off evil; various epithets call him the "averter of evil". Delphic Apollo is the patron of seafarers, foreigners and the protector of fugitives and refugees. Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son [[Asclepius]]. Apollo delivered people from epidemics, yet he is also a god who could bring ill-health and deadly [[Plague (disease)|plague]] with his arrows. The invention of archery itself is credited to Apollo and his sister Artemis. Apollo is usually described as carrying a golden bow and a quiver of silver arrows. Apollo's capacity to make youths grow is one of the best attested facets of his panhellenic cult persona. As the protector of young (''kourotrophos''), Apollo is concerned with the health and education of children. He presided over their passage into adulthood. Long hair, which was the prerogative of boys, was cut at the coming of age (ephebeia) and dedicated to Apollo. Apollo is an important pastoral deity, and was the patron of herdsmen and shepherds. Protection of herds, flocks and crops from diseases, pests and predators were his primary duties. On the other hand, Apollo also encouraged founding new towns and establishment of civil constitution. He is associated with dominion over [[Colonies in antiquity|colonists]]. He was the giver of laws, and his oracles were consulted before setting laws in a city. As the god of ''mousike'' Apollo presides over all music, songs, dance and poetry. He is the inventor of string-music, and the frequent companion of the Muses, functioning as their chorus leader in celebrations. The lyre is a common [[Apollo#Attributes and symbols|attribute of Apollo]]. In Hellenistic times, especially during the 5th century BCE, as ''Apollo Helios'' he became identified among Greeks with [[Helios]], the personification of the sun. In Latin texts, however, there was no [[conflation]] of Apollo with [[Sol (Roman mythology)|Sol]] among the classical Latin poets until 1st century CE. Apollo and Helios/Sol remained separate beings in literary and mythological texts until the 5th century CE. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology"
] | Apollo ([[Attic Greek|Attic]], [[Ionic Greek|Ionic]], and [[Homeric Greek]]: , ''Apollōn'' ( ); [[Doric Greek|Doric]]: , ''Apellōn''; [[Arcadocypriot Greek|Arcadocypriot]]: , ''Apeilōn''; [[Aeolic Greek|Aeolic]]: , ''Aploun''; ) The name ''Apollo''—unlike the related [[List of Mycenaean deities|older name]] ''Paean''—is generally not found in the [[Linear B]] ([[Mycenean Greek]]) texts, although there is a possible attestation in the [[Lacuna (manuscripts)|lacunose]] form '']pe-rjo-['' (Linear B: ]-[) on the [[Knossos|KN]] E 842 tablet. The [[etymology]] of the name is uncertain. The spelling ( in [[Attic Greek|Classical Attic]]) had almost superseded all other forms by the beginning of the [[common era]], but the [[Dorians|Doric]] form, ''Apellon'' (), is more archaic, as it is derived from an earlier . It probably is a cognate to the Doric month ''Apellaios'' (), and the offerings [[apellaia]] () at the initiation of the young men during the family-festival [[apellai]] (). According to some scholars, the words are derived from the Doric word ''apella'' (), which originally meant "wall," "fence for animals" and later "assembly within the limits of the square." [[Apella]] () is the name of the popular assembly in Sparta, corresponding to the ''[[Ecclesia (ancient Athens)|ecclesia]]'' (). [[Robert S. P. Beekes|R. S. P. Beekes]] rejected the connection of the theonym with the noun ''apellai'' and suggested a [[Pre-Greek]] proto-form *''Apalun''. Several instances of [[popular etymology]] are attested from ancient authors. Thus, the Greeks most often associated Apollo's name with the Greek verb (''apollymi''), "to destroy". [[Plato]] in ''[[Cratylus]]'' connects the name with (''apolysis''), "redemption", with (''apolousis''), "purification", and with (''[h]aploun''), "simple", in particular in reference to the Thessalian form of the name, , and finally with (''aeiballon''), "ever-shooting". [[Hesychius of Alexandria|Hesychius]] connects the name Apollo with the Doric (''apella''), which means "assembly", so that Apollo would be the god of political life, and he also gives the explanation (''sekos''), "fold", in which case Apollo would be the god of flocks and herds. In the [[ancient Macedonian language]] (''pella'') means "stone," and some [[toponyms]] may be derived from this word: ([[Pella]], the capital of [[Macedonia (ancient kingdom)|ancient Macedonia]]) and (''Pellēnē''/''[[Pallini|Pallene]]''). A number of non-Greek etymologies have been suggested for the name, The [[Hittite language|Hittite]] form ''[[Apaliunas]]'' ('''') is attested in the [[Manapa-Tarhunta letter]], perhaps related to [[Hurrian]] (and certainly the [[List of Etruscan mythological figures|Etruscan]]) ''[[Aplu (deity)|Aplu]]'', a god of plague, in turn likely from [[Akkadian language|Akkadian]] ''Aplu Enlil'' meaning simply "the son of [[Enlil]]", a title that was given to the god [[Nergal]], who was linked to [[Shamash]], Babylonian god of the sun. The role of Apollo as god of plague is evident in the invocation of [[Apollo Smintheus]] ("mouse Apollo") by Chryses, the Trojan priest of Apollo, with the purpose of sending a plague against the Greeks (the reasoning behind a god of the plague becoming a god of healing is [[apotropaic]], meaning that the god responsible for bringing the plague must be appeased in order to remove the plague). | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology"
] | The [[Hittite language|Hittite]] testimony reflects an early form '''', which may also be surmised from comparison of Cypriot with Doric . The name of the Lydian god ''Qλdãns'' /kʷʎðãns/ may reflect an earlier /kʷalyán-/ before palatalization, syncope, and the pre-Lydian sound change *y ''>'' d. Note the labiovelar in place of the labial /p/ found in pre-Doric ''Ἀπέλjων'' and Hittite ''Apaliunas''. A [[Luwian language|Luwian]] etymology suggested for ''Apaliunas'' makes Apollo "The One of Entrapment", perhaps in the sense of "Hunter". | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets"
] | Apollo's chief [[epithet]] was '''Phoebus''' ( ; , ''Phoibos'' ), literally "bright". It was very commonly used by both the Greeks and Romans for Apollo's role as the god of light. Like other Greek deities, he had a number of others applied to him, reflecting the variety of roles, duties, and aspects ascribed to the god. However, while Apollo has a great number of appellations in Greek myth, only a few occur in [[Latin literature]]. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Sun"
] | (-) '''Aegletes''' ( ; Αἰγλήτης, ''Aiglētēs''), from , "light of the sun" (-) '''Helius''' ( ; , ''[[Helios]]''), literally "sun" (-) '''[[Apollo Lyceus|Lyceus]]''' ( ; , ''Lykeios'', from [[Proto-Greek language|Proto-Greek]] *) "light". The meaning of the epithet "Lyceus" later became associated with Apollo's mother [[Leto]], who was the patron goddess of [[Lycia]] () and who was identified with the wolf (). (-) '''Phanaeus''' ( ; , ''Phanaios''), literally "giving or bringing light" (-) '''Phoebus''' ( ; , ''Phoibos''), literally "bright", his most commonly used epithet by both the Greeks and Romans (-) '''[[Sol (Roman mythology)|Sol]]''' (Roman) (), "sun" in Latin | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Wolf"
] | (-) '''Lycegenes''' ( ; , ''Lukēgenēs''), literally "born of a wolf" or "born of Lycia" (-) '''Lycoctonus''' ( ; , ''Lykoktonos''), from , "wolf", and , "to kill" | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Origin and birth"
] | Apollo's birthplace was [[Cynthus|Mount Cynthus]] on the island of [[Delos]]. (-) '''Cynthius''' ( ; , ''Kunthios''), literally "Cynthian" (-) '''Cynthogenes''' ( ; , ''Kynthogenēs''), literally "born of Cynthus" (-) '''Delius''' ( ; Δήλιος, ''Delios''), literally "Delian" (-) '''Didymaeus''' ( ; , ''Didymaios'') from δίδυμος, "twin") as [[Artemis]]' twin | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Place of worship"
] | [[Delphi]] and [[Actium]] were his primary places of worship. (-) '''Acraephius''' ( ; , ''Akraiphios'', literally "Acraephian") or '''Acraephiaeus''' ( ; , ''Akraiphiaios''), "Acraephian", from the [[Boeotia]] town of [[Acraephia (Boeotia)|Acraephia]] (), reputedly founded by his son [[Acraepheus]]. (-) '''Actiacus''' ( ; , ''Aktiakos''), literally "Actian", after Actium () (-) '''Delphinius''' ( ; , ''Delphinios''), literally "Delphic", after Delphi (Δελφοί). An [[etiology]] in the ''[[Homeric Hymns]]'' associated this with dolphins. (-) '''[[Epactaeus]]''', meaning "god worshipped on the coast", in [[Samos]]. (-) '''Pythius''' ( ; , ''Puthios'', from Πυθώ, ''Pythō''), from the region around Delphi (-) '''[[Apollo Smintheus|Smintheus]]''' ( ; , ''Smintheus''), "Sminthian"—that is, "of the town of Sminthos or Sminthe" near the [[Troad]] town of [[Hamaxitus]] | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Healing and disease"
] | (-) '''Acesius''' ( ; , ''Akesios''), from , "healing". Acesius was the epithet of Apollo worshipped in [[Elis]], where he had a temple in the [[agora]]. (-) '''[[Acestor]]''' ( ; , ''Akestōr''), literally "healer" (-) '''Culicarius''' (Roman) ( ), from Latin ''culicārius'', "of midges" (-) '''Iatrus''' ( ; , ''Iātros''), literally "physician" (-) '''Medicus''' (Roman) ( ), "physician" in Latin. A [[Roman temple|temple]] was dedicated to ''Apollo Medicus'' at Rome, probably next to the temple of [[Bellona (goddess)|Bellona]]. (-) '''[[Paean (god)|Paean]]''' ( ; , ''Paiān''), physician, healer (-) '''Parnopius''' ( ; , ''Parnopios''), from , "locust" | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Founder and protector"
] | (-) '''[[Agyieus]]''' ( ; , ''Aguīeus''), from , "street", for his role in protecting roads and homes (-) '''[[Alexicacus]]''' ( ; , ''Alexikakos''), literally "warding off evil" (-) '''Apotropaeus''' ( ; , ''Apotropaios''), from , "to avert" (-) '''[[Archegetes]]''' ( ; , ''Arkhēgetēs''), literally "founder" (-) '''Averruncus''' (Roman) ( ; from Latin ''āverruncare''), "to avert" (-) '''Clarius''' ( ; , ''Klārios''), from [[Doric Greek|Doric]] , "allotted lot" (-) '''Epicurius''' ( ; , ''Epikourios''), from , "to aid" (-) '''Genetor''' ( ; , ''Genetōr''), literally "ancestor" (-) '''Nomius''' ( ; , ''Nomios''), literally "pastoral" (-) '''Nymphegetes''' ( ; , ''Numphēgetēs''), from , "Nymph", and , "leader", for his role as a protector of shepherds and pastoral life (-) '''Patroos''' from , "related to one's father," for his role as father of [[Ion (mythology)|Ion]] and founder of the [[Ionians]], as worshipped at the [[Temple of Apollo Patroos]] in Athens (-) [[Apollo Sauroctonos|'''Sauroctunos''']], “lizard killer”, possibly a reference to his killing of [[Python (mythology)|Python]] | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Prophecy and truth"
] | (-) '''Coelispex''' (Roman) ( ), from Latin ''coelum'', "sky", and ''specere'' "to look at" (-) '''Iatromantis''' ( ; , ''Iātromantis'',) from , "physician", and , "prophet", referring to his role as a god both of healing and of prophecy (-) '''Leschenorius''' ( ; , ''Leskhēnorios''), from , "converser" (-) '''Loxias''' ( ; , ''Loxias''), from , "to say", historically associated with , "ambiguous" (-) '''Manticus''' ( ; , ''Mantikos''), literally "prophetic" | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Music and arts"
] | (-) '''Musagetes''' ( ; [[Doric Greek|Doric]] , ''Mousāgetās''), from , "[[Muse]]", and "leader" (-) '''Musegetes''' ( ; , ''Mousēgetēs''), as the preceding | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Archery"
] | (-) '''Aphetor''' ( ; , ''Aphētōr''), from , "to let loose" (-) '''Aphetorus''' ( ; , ''Aphētoros''), as the preceding (-) '''Arcitenens''' (Roman) ( ), literally "bow-carrying" (-) '''Argyrotoxus''' ( ; , ''Argyrotoxos''), literally "with silver bow" (-) '''Hecaërgus''' ( ; , ''Hekaergos''), literally "far-shooting" (-) '''Hecebolus''' ( ; , ''Hekēbolos''), "far-shooting" (-) '''Ismenius''' ( ; , ''Ismēnios''), literally "of Ismenus", after Ismenus, the son of [[Amphion]] and [[Niobe]], whom he struck with an arrow | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Greco-Roman epithets",
"Amazons"
] | (-) '''[[Amazonius]]''' (), [[Pausanias (geographer)|Pausanias]] at the [[Description of Greece]] writes that near [[Pyrrhichus]] there was a sanctuary of Apollo, called Amazonius () with image of the god said to have been dedicated by the [[Amazons]]. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Etymology",
"Celtic epithets and cult titles"
] | Apollo was worshipped throughout the [[Roman Empire]]. In the traditionally [[Celtic nations|Celtic]] lands, he was most often seen as a healing and sun god. He was often equated with [[List of Celtic gods|Celtic gods]] of similar character. (-) '''[[Apollo Atepomarus]]''' ("the great horseman" or "possessing a great horse"). Apollo was worshipped at [[Mauvières]] ([[Indre]]). Horses were, in the Celtic world, closely linked to the sun. (-) '''[[Apollo Belenus]]''' ("bright" or "brilliant"). This epithet was given to Apollo in parts of [[Gaul]], Northern Italy and [[Noricum]] (part of modern Austria). Apollo Belenus was a healing and sun god. (-) '''[[Apollo Cunomaglus]]''' ("hound lord"). A title given to Apollo at a shrine at [[Nettleton Scrubb|Nettleton Shrub]], [[Wiltshire]]. May have been a god of healing. Cunomaglus himself may originally have been an independent healing god. (-) '''[[Apollo Grannus]]'''. Grannus was a healing spring god, later equated with Apollo. (-) '''Apollo Maponus'''. A god known from inscriptions in Britain. This may be a local fusion of Apollo and [[Maponus]]. (-) '''[[Apollo Moritasgus]]''' ("masses of sea water"). An epithet for Apollo at Alesia, where he was worshipped as god of healing and, possibly, of physicians. (-) '''[[Apollo Vindonnus]]''' ("clear light"). Apollo Vindonnus had a temple at [[Essarois]], near [[Châtillon-sur-Seine]] in present-day [[Burgundy]]. He was a god of healing, especially of the eyes. (-) '''[[Apollo Virotutis]]''' ("benefactor of mankind"). Apollo Virotutis was worshipped, among other places, at Fins d'Annecy ([[Haute-Savoie]]) and at [[Jublains]] ([[Maine-et-Loire]]). | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Origins"
] | The cult centers of Apollo in Greece, [[Delphi]] and [[Delos]], date from the 8th century BCE. The Delos sanctuary was primarily dedicated to [[Artemis]], Apollo's twin sister. At Delphi, Apollo was venerated as the slayer of the monstrous serpent [[Python (mythology)|Python]]. For the Greeks, Apollo was the most Greek of all the gods, and through the centuries he acquired different functions. In [[Archaic Greece]] he was the [[prophet]], the oracular god who in older times was connected with "healing". In [[Classical Greece]] he was the god of light and of music, but in popular religion he had a strong function to keep away evil. [[Walter Burkert]] discerned three components in the prehistory of Apollo worship, which he termed "a Dorian-northwest Greek component, a Cretan-Minoan component, and a Syro-Hittite component." | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Origins",
"Healer and god-protector from evil"
] | In classical times, his major function in popular religion was to keep away evil, and he was therefore called "apotropaios" (, "averting evil") and "alexikakos" ( "keeping off ill"; from [[verb|v.]] + [[noun|n.]] ). Apollo also had many epithets relating to his function as a healer. Some commonly-used examples are "paion" ( literally "healer" or "helper") "epikourios" (, "succouring"), "oulios" (, "healer, baleful") and "loimios" (, "of the plague"). In later writers, the word, "paion", usually spelled "Paean", becomes a mere epithet of Apollo in his capacity as a god of [[healing]]. Apollo in his aspect of "healer" has a connection to the primitive god [[Paean (god)|Paean]] (), who did not have a cult of his own. Paean serves as the healer of the gods in the ''[[Iliad]]'', and seems to have originated in a pre-Greek religion. It is suggested, though unconfirmed, that he is connected to the [[Mycenaean Greece|Mycenaean]] figure ''pa-ja-wo-ne'' (Linear B: ). Paean was the personification of holy songs sung by "seer-doctors" (), which were supposed to cure disease. Homer illustrated Paeon the god and the song both of [[apotropaic]] thanksgiving or triumph. Such songs were originally addressed to Apollo and afterwards to other gods: to [[Dionysus]], to Apollo [[Helios]], to Apollo's son [[Asclepius]] the healer. About the 4th century BCE, the paean became merely a formula of adulation; its object was either to implore protection against disease and misfortune or to offer thanks after such protection had been rendered. It was in this way that Apollo had become recognized as the god of music. Apollo's role as the slayer of the [[Python (mythology)|Python]] led to his association with battle and victory; hence it became the [[Ancient Rome|Roman]] custom for a paean to be sung by an army on the march and before entering into battle, when a fleet left the harbour, and also after a victory had been won. In the ''Iliad'', Apollo is the healer under the gods, but he is also the bringer of disease and death with his arrows, similar to the function of the [[Vedic]] god of disease [[Rudra]]. He sends a plague () to the [[Achaeans (Homer)|Achaeans]]. Knowing that Apollo can prevent a recurrence of the plague he sent, they purify themselves in a ritual and offer him a large sacrifice of cows, called a [[hecatomb]]. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Origins",
"Dorian origin"
] | The ''[[Homeric Hymns|Homeric Hymn to Apollo]]'' depicts Apollo as an intruder from the north. The connection with the northern-dwelling [[Dorians]] and their initiation festival ''[[apellai]]'' is reinforced by the month ''Apellaios'' in northwest Greek calendars. The family-festival was dedicated to Apollo ([[Dorians|Doric]]: ). ''Apellaios'' is the month of these rites, and Apellon is the "megistos kouros" (the great Kouros). However it can explain only the Doric type of the name, which is connected with the [[Ancient Macedonian language|Ancient Macedonian]] word "pella" ([[Pella]]), ''stone''. Stones played an important part in the cult of the god, especially in the oracular shrine of Delphi ([[Omphalos]]). | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Origins",
"Minoan origin"
] | George Huxley regarded the identification of Apollo with the Minoan deity Paiawon, worshipped in Crete, to have originated at Delphi. In the ''Homeric Hymn'', Apollo appeared as a dolphin and carried Cretan priests to Delphi, where they evidently transferred their religious practices. ''Apollo Delphinios'' or ''Delphidios'' was a sea-god especially worshipped in Crete and in the islands. Apollo's sister [[Artemis]], who was the Greek goddess of hunting, is identified with [[Britomartis]] (Diktynna), the Minoan "Mistress of the animals". In her earliest depictions she was accompanied by the "Master of the animals", a bow-wielding god of hunting whose name has been lost; aspects of this figure may have been absorbed into the more popular Apollo. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Origins",
"Anatolian origin"
] | A non-Greek origin of Apollo has long been assumed in scholarship. The name of Apollo's mother [[Leto]] has [[Lydia]] origin, and she was worshipped on the coasts of [[Asia Minor]]. The inspiration oracular cult was probably introduced into Greece from [[Anatolia]], which is the origin of [[Sibyl]], and where some of the oldest oracular shrines originated. Omens, symbols, purifications, and exorcisms appear in old [[Assyria|Assyro]]-[[Babylon]] texts. These rituals were spread into the empire of the [[Hittites]], and from there into Greece. [[Homer]] pictures Apollo on the side of the [[Troy|Trojans]], fighting against the [[Achaeans (Homer)|Achaeans]], during the [[Trojan War]]. He is pictured as a terrible god, less trusted by the Greeks than other gods. The god seems to be related to ''Appaliunas'', a tutelary god of [[Wilusa]] ([[Troy]]) in Asia Minor, but the word is not complete. The stones found in front of the gates of [[Homer]] Troy were the symbols of Apollo. A western Anatolian origin may also be bolstered by references to the parallel worship of ''Artimus'' ([[Artemis]]) and ''Qλdãns'', whose name may be cognate with the Hittite and Doric forms, in surviving [[Lydian language|Lydian]] texts''.'' However, recent scholars have cast doubt on the identification of ''Qλdãns'' with Apollo. The Greeks gave to him the name ''[[agyieus]]'' as the protector god of public places and houses who wards off evil and his symbol was a tapered stone or column. However, while usually Greek festivals were celebrated at the [[full moon]], all the feasts of Apollo were celebrated at the seventh day of the month, and the emphasis given to that day (''sibutu'') indicates a [[Babylonia]] origin. The [[Late Bronze Age]] (from 1700 to 1200 BCE) [[Hittites|Hittite]] and [[Hurrian]] ''Aplu'' was a god of [[Plague (disease)|plague]], invoked during plague years. Here we have an [[apotrope|apotropaic]] situation, where a god originally bringing the plague was invoked to end it. Aplu, meaning ''the son of'', was a title given to the god [[Nergal]], who was linked to the Babylonian god of the sun [[Shamash]]. Homer interprets Apollo as a terrible god () who brings death and disease with his arrows, but who can also heal, possessing a magic art that separates him from the other Greek gods. In ''[[Iliad]]'', his priest prays to ''Apollo Smintheus'', the mouse god who retains an older agricultural function as the protector from field rats. All these functions, including the function of the healer-god [[Paean (god)|Paean]], who seems to have Mycenean origin, are fused in the cult of Apollo. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Origins",
"Proto-Indo-European"
] | The [[Vedic]] [[Rudra]] has some similar functions with Apollo. The terrible god is called "the archer" and the bow is also an attribute of [[Shiva]]. Rudra could bring diseases with his arrows, but he was able to free people of them and his alternative Shiva is a healer physician god. However the [[Indo-European language|Indo-European]] component of Apollo does not explain his strong relation with omens, exorcisms, and with the oracular cult. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Oracular cult"
] | Unusually among the Olympic deities, Apollo had two cult sites that had widespread influence: [[Delos]] and [[Delphi]]. In cult practice, [[Delos|Delian Apollo]] and [[Pythian Apollo]] (the Apollo of Delphi) were so distinct that they might both have shrines in the same locality. [[Lycia]] was sacred to the god, for this Apollo was also called Lycian. Apollo's [[Cult (religion)|cult]] was already fully established when written sources commenced, about 650 BCE. Apollo became extremely important to the Greek world as an oracular deity in the [[Archaic Greece|archaic period]], and the frequency of [[theophoric names]] such as ''Apollodorus'' or ''Apollonios'' and cities named ''Apollonia'' testify to his popularity. Oracular sanctuaries to Apollo were established in other sites. In the 2nd and 3rd century CE, those at [[Didyma]] and [[Claros]] pronounced the so-called "theological oracles", in which Apollo confirms that all deities are aspects or servants of an [[Monism#Monism, pantheism, and panentheism|all-encompassing, highest deity]]. "In the 3rd century, Apollo fell silent. [[Julian the Apostate]] (359–361) tried to revive the Delphic oracle, but failed." | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Oracular cult",
"Oracular shrines"
] | Apollo had a famous [[oracle]] in Delphi, and other notable ones in [[Claros]] and [[Didyma]]. His oracular shrine in [[Abae]] in [[Phocis]], where he bore the [[toponym]] epithet ''[[Abaeus]]'' (, ''Apollon Abaios''), was important enough to be consulted by [[Croesus]]. His oracular shrines include: (-) [[Abae]] in [[Phocis]]. (-) [[Bassae]] in the [[Peloponnese]]. (-) At [[Clarus]], on the west coast of [[Asia Minor]]; as at Delphi a holy spring which gave off a ''pneuma'', from which the priests drank. (-) In [[Ancient Corinth|Corinth]], the Oracle of Corinth came from the town of [[Tenea]], from prisoners supposedly taken in the Trojan War. (-) At [[Khyrse]], in [[Troad]], the temple was built for Apollo Smintheus. (-) In [[Delos]], there was an oracle to the Delian Apollo, during summer. The Hieron (Sanctuary) of Apollo adjacent to the Sacred Lake, was the place where the god was said to have been born. (-) In [[Delphi]], the [[Pythia]] became filled with the ''[[pneuma]]'' of Apollo, said to come from a spring inside the [[Adyton]]. (-) In [[Didyma]], an oracle on the coast of [[Anatolia]], south west of [[Lydia]] ([[Luwian]]) [[Sardis]], in which priests from the lineage of the Branchidae received inspiration by drinking from a healing spring located in the temple. Was believed to have been founded by [[Branchus]], son or lover of Apollo. (-) In [[Manbij|Hierapolis Bambyce]], Syria (modern Manbij), according to the treatise ''[[De Dea Syria]]'', the sanctuary of the [[Atargatis|Syrian Goddess]] contained a robed and bearded image of Apollo. Divination was based on spontaneous movements of this image. (-) At [[Patara (Lycia)|Patara]], in [[Lycia]], there was a seasonal winter oracle of Apollo, said to have been the place where the god went from Delos. As at Delphi the oracle at Patara was a woman. (-) In [[Segesta]] in Sicily. Oracles were also given by sons of Apollo. (-) In [[Oropus]], north of [[Athens]], the oracle [[Amphiaraus]], was said to be the son of Apollo; Oropus also had a sacred spring. (-) in Labadea, east of Delphi, [[Trophonius]], another son of Apollo, killed his brother and fled to the cave where he was also afterwards consulted as an oracle. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Temples of Apollo"
] | Many temples were dedicated to Apollo in Greece and the Greek colonies. They show the spread of the cult of Apollo and the evolution of the Greek architecture, which was mostly based on the rightness of form and on mathematical relations. Some of the earliest temples, especially in [[Crete]], do not belong to any Greek order. It seems that the first peripteral temples were rectangular wooden structures. The different wooden elements were considered [[divinity|divine]], and their forms were preserved in the marble or stone elements of the temples of [[Doric order]]. The Greeks used standard types because they believed that the world of objects was a series of typical forms which could be represented in several instances. The temples should be [[Canon (basic principle)|canonic]], and the architects were trying to achieve this esthetic perfection. From the earliest times there were certain rules strictly observed in rectangular peripteral and prostyle buildings. The first buildings were built narrowly in order to hold the roof, and when the dimensions changed some mathematical relations became necessary in order to keep the original forms. This probably influenced the theory of numbers of [[Pythagoras]], who believed that behind the appearance of things there was the permanent principle of mathematics. The [[Doric order]] dominated during the 6th and the 5th century BC but there was a mathematical problem regarding the position of the triglyphs, which couldn't be solved without changing the original forms. The order was almost abandoned for the [[Ionic order]], but the Ionic capital also posed an insoluble problem at the corner of a temple. Both orders were abandoned for the [[Corinthian order]] gradually during the Hellenistic age and under Rome. The most important temples are: | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Temples of Apollo",
"Greek temples"
] | (-) [[Thebes, Greece]]: The oldest temple probably dedicated to ''Apollo Ismenius'' was built in the 9th century B.C. It seems that it was a curvilinear building. The [[Doric order|Doric]] temple was built in the early 7th century B.C., but only some small parts have been found A festival called [[Daphnephoria]] was celebrated every ninth year in honour of Apollo Ismenius (or Galaxius). The people held laurel branches (daphnai), and at the head of the procession walked a youth (chosen priest of Apollo), who was called "daphnephoros". (-) [[Eretria]]: According to the Homeric hymn to Apollo, the god arrived to the plain, seeking for a location to establish its oracle. The first temple of ''Apollo Daphnephoros'', "Apollo, laurel-bearer", or "carrying off Daphne", is dated to 800 B.C. The temple was curvilinear ''hecatombedon'' (a hundred feet). In a smaller building were kept the bases of the laurel branches which were used for the first building. Another temple probably peripteral was built in the 7th century B.C., with an inner row of wooden columns over its Geometric predecessor. It was rebuilt peripteral around 510 B.C., with the [[stylobate]] measuring 21,00 x 43,00 m. The number of [[pteron]] column was 6 x 14. (-) [[Dreros]] ([[Crete]]). The temple of ''Apollo Delphinios'' dates from the 7th century B.C., or probably from the middle of the 8th century B.C. According to the legend, Apollo appeared as a dolphin, and carried Cretan priests to the port of [[Delphi]]. The dimensions of the plan are 10,70 x 24,00 m and the building was not peripteral. It contains column-bases of the [[Minoan civilization|Minoan]] type, which may be considered as the predecessors of the [[Doric order|Doric]] columns. (-) [[Gortyn]] ([[Crete]]). A temple of ''Pythian Apollo'', was built in the 7th century B.C. The plan measured 19,00 x 16,70 m and it was not peripteral. The walls were solid, made from limestone, and there was single door on the east side. (-) [[Thermon]] ([[West Greece]]): The [[Doric order|Doric]] temple of ''Apollo Thermios'', was built in the middle of the 7th century B.C. It was built on an older curvilinear building dating perhaps from the 10th century B.C., on which a [[peristyle]] was added. The temple was narrow, and the number of pteron columns (probably wooden) was 5 x 15. There was a single row of inner columns. It measures 12.13 x 38.23 m at the stylobate, which was made from stones. (-) [[Corinth]]: A [[Doric order|Doric]] temple was built in the 6th century B.C. The temple's [[stylobate]] measures 21.36 x 53.30 m, and the number of pteron columns was 6 x 15. There was a double row of inner columns. The style is similar with the Temple of Alcmeonidae at [[Delphi]]. The Corinthians were considered to be the inventors of the [[Doric order]]. (-) Napes ([[Lesbos]]): An [[Aeolic order|Aeolic]] temple probably of ''Apollo Napaios'' was built in the 7th century B.C. Some special capitals with floral ornament have been found, which are called [[Aeolic order|Aeolic]], and it seems that they were borrowed from the East. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
[
"Temples of Apollo",
"Greek temples"
] | (-) [[Cyrene, Libya]]: The oldest [[Doric order|Doric]] temple of Apollo was built in c. 600 B.C. The number of pteron columns was 6 x 11, and it measures 16.75 x 30.05 m at the stylobate. There was a double row of sixteen inner columns on stylobates. The capitals were made from stone. (-) [[Naukratis]]: An [[Ionic order|Ionic]] temple was built in the early 6th century B.C. Only some fragments have been found and the earlier, made from limestone, are identified among the oldest of the [[Ionic order]]. (-) [[Syracuse, Sicily]]: A [[Doric order|Doric]] temple was built at the beginning of the 6th century B.C. The temple's [[stylobate]] measures 21.47 x 55.36 m and the number of pteron columns was 6 x 17. It was the first temple in Greek west built completely out of stone. A second row of columns were added, obtaining the effect of an inner porch. (-) [[Selinus]] ([[Sicily]]):The [[Doric order|Doric]] [[Temple C (Selinus)|Temple C]] dates from 550 B.C., and it was probably dedicated to Apollo. The temple's stylobate measures 10.48 x 41.63 m and the number of pteron columns was 6 x 17. There was portico with a second row of columns, which is also attested for the temple at [[Syracuse, Sicily|Syracuse]]. (-) [[Delphi]]: The first temple dedicated to Apollo, was built in the 7th century B.C. According to the legend, it was wooden made of laurel branches. The "Temple of Alcmeonidae" was built in c. 513 B.C. and it is the oldest Doric temple with significant marble elements. The temple's stylobate measures 21.65 x 58.00 m, and the number of pteron columns as 6 x 15. A fest similar with Apollo's fest at [[Thebes, Greece]] was celebrated every nine years. A boy was sent to the temple, who walked on the sacred road and returned carrying a laurel branch (''dopnephoros''). The maidens participated with joyful songs. (-) [[Chios]]: An [[Ionic order|Ionic]] temple of ''Apollo Phanaios'' was built at the end of the 6th century B.C. Only some small parts have been found and the capitals had floral ornament. (-) [[Abae]] ([[Phocis (ancient region)|Phocis]]). The temple was destroyed by the [[Persia]] in the invasion of [[Xerxes I of Persia|Xerxes]] in 480 B.C., and later by the [[Boeotia]]. It was rebuilt by [[Hadrian]]. The oracle was in use from early [[Mycenae]] times to the Roman period, and shows the continuity of Mycenaean and Classical Greek religion. (-) [[Bassae]] ([[Peloponnesus]]):A temple dedicated to ''Apollo Epikourios'' ("Apollo the helper"), was built in 430 B.C. and it was designed by [[Iktinos]].It combined [[Doric order|Doric]] and [[Ionic order|Ionic]] elements, and the earliest use of column with a [[Corinthian order|Corinthian]] capital in the middle. The temple is of a relatively modest size, with the [[stylobate]] measuring 14.5 x 38.3 metres containing a [[Doric order|Doric]] [[peristyle]] of 6 x 15 columns. The roof left a central space open to admit light and air. | 594 | Apollo | [
"Apollo",
"Beauty gods",
"Deities in the Iliad",
"Divine twins",
"Dragonslayers",
"Greek Muses",
"Health gods",
"Homosexuality and bisexuality deities",
"Knowledge gods",
"LGBT themes in Greek mythology",
"Light deities",
"Maintenance deities",
"Metamorphoses characters",
"Music and singing gods",
"Mythological Greek archers",
"Mythological rapists",
"Oracular gods",
"Roman gods",
"Solar gods"
] | [
"Pasiphaë",
"Temple of Apollo (disambiguation)",
"Phoebus (disambiguation)",
"Epirus",
"Tegyra",
"Dryad",
"Sibylline oracles"
] |
Subsets and Splits