title: Strange Fruit

text: In October 1939, Samuel Grafton of the "New York Post" said of "Strange Fruit", "If the anger of the exploited ever mounts high enough in the South, it now has its Marseillaise." In an attempt to have a two-thirds majority in the Senate that would break the filibusters by southern senators, anti-racism activists were encouraged to mail copies of "Strange Fruit" to their senators.


title: Strange Fruit

text: Notable cover versions of this song include Nina Simone, René Marie, Jeff Buckley, Siouxsie and the Banshees, Dee Dee Bridgewater, Josh White, UB40, Bettye LaVette and Edward W. Hardy. Nina Simone recorded the song in 1965, a recording described by journalist David Margolick in "The New York Times" as featuring a "plain and unsentimental voice". René Marie's rendition was coupled with the Confederate anthem "Dixie", making for an "uncomfortable juxtaposition". Journalist Lara Pellegrinelli wrote that Jeff Buckley while singing it "seems to meditate on the meaning of humanity the way Walt Whitman did, considering all of its glorious and horrifying possibilities". "LA Times" noted that Siouxsie and the Banshees's version contained "a solemn string section behind the vocals" and "a bridge of New Orleans funeral-march jazz" which enhanced the singer's "evocative interpretation". The group's rendition was selected by the "Mojo" staff to be included on the compilation "Music Is Love: 15 Tracks That Changed The World ".


title: StarPlus

text: StarPlus is an Indian Hindi language general entertainment pay television channel owned by Disney Star (formerly "Star India"), a subsidiary of The Walt Disney Company India. The network's programming consists of family dramas, comedies, youth-oriented reality shows, shows on crime and television films.


title: StarPlus

text: When it was first launched on 21 February 1992, StarPlus was an English language entertainment television channel, broadcasting international television shows from the United States, United Kingdom, Australia and New Zealand, with Zee TV being the Hindi-language counterpart.


title: StarPlus

text: After Star ended its relationship with Zee TV on 31 March 1996, StarPlus was transformed completely into a Hindi-language channel (from April 1996 to June 2000, StarPlus was a bilingual TV channel consisting of Hindi and English programmes), with Star World becoming the network's English-language counterpart channel and the company's CEO Sameer Nair and programming chief Tarun Katial introduced a number of new shows, which helped solidify the channel's position as the leader in the Hindi-language television broadcasting area.


title: StarPlus

text: The channel's high-definition feed was launched on 15 April 2011. It carries the same schedule as the SD feed, but with different commercials. StarPlus HD was set to launch in both the United Kingdom and Ireland by the end of 2011, but it was delayed until 5 July 2012.


title: StarPlus

text: On 6 October 2017, Canada's ATN Channel lost rights to Star programming, with viewers directed to the new streaming service Hotstar, which was recently introduced in the Canadian market.


title: StarPlus

text: On 4 January 2019, Star similarly shut down its linear channels in the United States, in favour of the Hotstar service.


title: StarPlus

text: On 14 June 2010, it underwent a rebranding along with a change from the blue rectangular logo to a ruby red star with the tagline "Rishta Wahi, Soch Nayi".


title: StarPlus

text: On 27 May 2018, it underwent a rebranding with Alia Bhatt as the face of the campaign with the red crystal star with gold swoosh along with the tagline "Rishta Wahi, Baat Nayi" and signature song composed by A. R. Rahman.


title: StarPlus

text: On 30 December 2020, Disney announced that the Star branding in the Netherlands would be replaced with Utsav from 22 January 2021. On 22 January 2021, StarPlus became Utsav Plus in the UK and Europe.


title: StarPlus

text: In the early 2000s, StarPlus was at third position in terms of revenue and viewership after Zee TV and Sony Entertainment Television while none of the series were in top 10. With the launch of Indian Hindi version of "Kaun Banega Crorepati", hosted by Amitabh Bachchan, the series became an instant hit becoming number one show followed by the launch of "Kyunki Saas Bhi Kabhi Bahu Thi", on the same day which became second most watched after it which soon beat the latter to number one position while StarPlus soon became the most watched channel. This followed "Kahaani Ghar Ghar Kii" in October 2000 and later "Kasautii Zindagi Kay" a year after it and many more produced under Balaji Telefilms which made StarPlus to achieve the highest viewership during that time making the channel at no.1 position since. Most of the series (80-90%) aired in the channel during that period were produced by Balaji Telefilms. 70% of the revenue for the production house was obtained from Star then.


title: StarPlus

text: After 2006, their top rated shows started to decline in viewership and were axed one by one by the channel. However, during 2008, differences arouse between Star India and Balaji due to termination of their serials over declining ratings, cancellation of joint venture for regional content in South India and as a result the agreement of Balaji buying Star's stake was terminated. Both suffered some downfall after it. However, after two years, they patched up and "Tere Liye" was the show produced after it in 2010. During the slight downfall in viewership in the end of the 2000s the no.1 position dominated by it for nine years continuously was beaten by the rival channel Colors TV in April 2009 for the first time pushing it to second position. During last week of May 2009, it was beaten by Zee TV for the first time in nine years, pushing it to third position and only "Yeh Rishta Kya Kehlata Hai" has maintained its ratings among Top 10.


title: StarPlus

text: In week 12 2020 while it dropped to fifth position in Hindi GEC while overall at sixth position in India, the following week the channel did not even feature in top ten Indian channels owing COVID-19 pandemic when production and new episodes broadcast were halted and reruns began. However, in week 15 it returned to the top ten.


title: StarPlus

text: From 2 October 2022, StarPlus extended its fiction airtime band to seven days a week. All shows aired everyday since then.


title: StarPlus

text: "Star Bharat" is an Indian general entertainment channel owned by Disney Star. The channel was launched on 28 August 2017 replacing Life OK.


title: StarPlus

text: "Star Utsav", launched in 2004, is an Indian general entertainment channel that primarily broadcasts popular shows from Star Plus & other sister channels in Hindi.


title: StarPlus

text: "Star Utsav Movies" is a free-to-view Indian Hindi movie channel owned by Disney Star. It was launched on 28 May 2016.


title: StarPlus

text: "Star Gold" is an Indian Pay Television Hindi movie channel and is owned by Disney Star. It mainly airs Bollywood and Hollywood films.


title: StarPlus

text: "Star Gold 2" is another Hindi movie channel from Disney Star, formerly known as "Movies OK". HD version to be launched soon replacing currently available channel UTV HD.


title: StarPlus

text: "Star Gold Select" is a Hindi movie channel from Disney Star, launched in 2017. It primarily focuses critically acclaimed movies.


title: StarPlus

text: "Star Gold Thrills" is an upcoming Hindi movie channel from Disney Star which will primarily focus action-based movies. It will replace currently available channel UTV Action.


title: StarPlus

text: "Star Gold Romance" is an upcoming Hindi movie channel from Disney Star which will primarily focus romantic movies. It will replace currently available channel UTV Movies.


title: Holly Taylor

text: Holly Taylor (born October 31, 1997) is a Canadian-American actress and dancer. She began her career in the Broadway production of "Billy Elliot" at the age of eleven as Sharon Percy (Ballet Girl) and continued in the role for almost two years. She played the role of Paige Jennings in the FX television series "The Americans" for its entire run, for which she received a nomination for the Critics' Choice Television Award for Best Supporting Actress in a Drama Series in 2019. In addition, she portrays Angelina Meyer, one of the airplane survivors, in the NBC/Netflix science fiction series "Manifest".


title: Holly Taylor

text: Taylor was born October 31, 1997 in Middleton, Nova Scotia, Canada, the daughter of Irish mother Margaret and Scottish father Mark. She has an older brother named Philip. After her family moved to New Jersey in early 2000, she was enrolled in a dance class at age three. About a year later, she surprised her parents by announcing that she was going to dance on Broadway when she grew up.


title: Holly Taylor

text: By the time she was eleven years old, Taylor was dancing eight shows a week as a member of the cast of "Billy Elliot" at the Imperial Theatre in New York City.


title: Holly Taylor

text: Taylor attended middle school in her hometown in New Jersey as much as the "Billy Elliot" schedule would allow and kept up her academics. She was invited to attend the Johns Hopkins program for Gifted and Talented Children, and the following year was invited to the International Student Exchange program for Gifted Children.


title: Holly Taylor

text: "Billy Elliot" lasted 22 months. After that, she started looking into acting more, although she was so shy it was difficult at first. "But then, the more I started to do it, the more I came out of my shell and the more I enjoyed it", she said.


title: Holly Taylor

text: She did an audition tape for the spy thriller television series "The Americans" in Los Angeles and booked the show after having a chance to meet the producers in New York.


title: Holly Taylor

text: Taylor has lived in Wayne, New Jersey, since she was two years old. She graduated from Wayne Hills High School in 2016.


title: Holly Taylor

text: She studied graphic design at Kean University in Union, New Jersey. and graduated in spring 2021 with Bachelor of Fine Arts.


title: Kudzu

text: Kudzu (; also called Japanese arrowroot or Chinese arrowroot) is a group of climbing, coiling, and trailing deciduous perennial vines native to much of East Asia, Southeast Asia, and some Pacific islands, but invasive in many parts of the world, primarily North America.


title: Kudzu

text: The vine densely climbs over other plants and trees and grows so rapidly that it smothers and kills them by blocking most of the sunlight. The plants are in the genus "Pueraria", in the pea family Fabaceae, subfamily Faboideae. The name is derived from the Japanese name for the plant East Asian arrowroot, ("Pueraria montana" var. "lobata"), . Where these plants are naturalized, they can be invasive and are considered noxious weeds. The plant is edible, but often sprayed with herbicides.


title: Kudzu

text: The name kudzu describes one or more species in the genus "Pueraria" that are closely related, and some of them are considered to be varieties rather than full species. The morphological differences between the subspecies of "P. montana" are subtle; they can breed with each other, and introduced kudzu populations in the United States apparently have ancestry from more than one of the subspecies. They are:


title: Kudzu

text: Various other species in "Pueraria" sensu stricto are also known as "kudzu" with an adjective, but they are not as widely cultivated or introduced.


title: Kudzu

text: Kudzu spreads by vegetative reproduction via stolons (runners) that root at the nodes to form new plants and by rhizomes. Kudzu also spreads by seeds, which are contained in pods and mature in the autumn, although this is rare. One or two viable seeds are produced per cluster of pods. The hard-coated seeds can remain viable for several years, and can successfully germinate only when soil is persistently soggy for 5–7 days, with temperatures above 20 °C (68 °F). Once germinated, saplings must be kept in a well-drained medium that retains high moisture. During this stage of growth, kudzu must receive as much sunlight as possible. Kudzu saplings are sensitive to mechanical disturbance and are damaged by chemical fertilizers. They do not tolerate long periods of shade or high water tables.


title: Kudzu

text: Kudzu has been used as a form of erosion control and to enhance the soil. As a legume, it increases the nitrogen in the soil by a symbiotic relationship with nitrogen-fixing bacteria. Its deep taproots also transfer valuable minerals from the subsoil to the topsoil, thereby improving the topsoil. In the deforested section of the central Amazon Basin in Brazil, it has been used for improving the soil pore-space in clay latosols, thus freeing even more water for plants than in the soil prior to deforestation.


title: Kudzu

text: Kudzu can be used by grazing animals, as it is high in quality as a forage and palatable to livestock. It can be grazed until frost and even slightly after. Kudzu had been used in the southern United States specifically to feed goats on land that had limited resources. Kudzu hay typically has a 22–23% crude protein content and over 60% total digestible nutrient value. The quality of the leaves decreases as vine content increases relative to the leaf content. Kudzu also has low forage yields despite its rate of growth, yielding around two to four tons of dry matter per acre annually. It is also difficult to bale due to its vining growth and its slowness in shedding water. This makes it necessary to place kudzu hay under sheltered protection after being baled. Fresh kudzu is readily consumed by all types of grazing animals, but frequent grazing over three to four years can ruin even established stands. Thus, kudzu only serves well as a grazing crop on a temporary basis.


title: Kudzu

text: Kudzu fiber has long been used for fiber art and basketry. The long runners which propagate the kudzu fields and the larger vines which cover trees make excellent weaving material. Some basketmakers use the material green. Others use it after splitting it in half, allowing it to dry and then rehydrating it using hot water. Both traditional and contemporary basketry artists use kudzu.


title: Kudzu

text: Kudzu contains isoflavones, including puerarin (about 60% of the total isoflavones), daidzein, daidzin (structurally related to genistein), mirificin, and salvianolic acid, among numerous others identified. In traditional Chinese medicine, where it is known as "gé gēn" (gegen), kudzu is considered one of the 50 fundamental herbs thought to have therapeutic effects, although there is no high-quality clinical research to indicate it has any activity or therapeutic use in humans. Compounds of icariin, astragalus, and puerarin mitigates iron overload in the cerebral cortex of mice with Alzheimer's disease. Adverse effects may occur if kudzu is taken by people with hormone-sensitive cancer or those taking tamoxifen, antidiabetic medications, or methotrexate.


title: Kudzu

text: The roots contain starch, which has traditionally been used as a food ingredient in East and Southeast Asia. In Vietnam, the starch called "bột sắn dây" is flavoured with pomelo oil and then used as a drink in the summer. In Korea, the plant root is made into "chikcha" (칡차; "arrowroot tea"), used in traditional medicine, and processed starch used for culinary purposes such as primary ingredient for naengmyeon (칡냉면). In Japan, the plant is known as "kuzu" and the starch named "kuzuko". "Kuzuko" is used in dishes including "kuzumochi, mizu manjū", and "kuzuyu". It also serves as a thickener for sauces, and can substitute for cornstarch.


title: Kudzu

text: The flowers are used to make a jelly that tastes similar to grape jelly. Roots, flowers, and leaves of kudzu show antioxidant activity that suggests food uses. Nearby bee colonies may forage on kudzu nectar during droughts as a last resort, producing a low-viscosity red or purple honey that tastes of grape jelly or bubblegum.


title: Kudzu

text: Kudzu has also been used for centuries in East Asia as folk medicine using herbal teas and tinctures. Kudzu powder is used in Japan to make an herbal tea called "kuzuyu". Kakkonto () is a herbal drink with its origin in traditional Chinese medicine, intended for people having various mild illnesses, such as headache.


title: Kudzu

text: Kudzu fiber, known as ko-hemp, is used traditionally to make clothing and paper, and has also been investigated for industrial-scale use.


title: Kudzu

text: It may become a valuable asset for the production of cellulosic ethanol. In the Southern United States, kudzu is used to make soaps, lotions, and compost.


title: Kudzu

text: Kudzu's environmental and ecological damage results from its outcompeting other species for a resource. Kudzu competes with native flora for light, and acts to block their access to this vital resource by growing over them and shading them with its leaves. Native plants may then die as a result.When kudzu invades an ecosystem, it makes the leaf litter more labile, thereby lessening the carbon sequestration ability of the soil. This feeds climate change.


title: Kudzu

text: Kudzu is an infamous weed in the United States, where it can be found in 32 states. It is common along roadsides and other disturbed areas throughout most of the southeast, as far north as rural areas of Pulaski County, Illinois. The vine has become a touchpoint in Southern US culture. Estimates of its rate of spreading differ wildly; it has been described as spreading at the rate of annually, although in 2015 the United States Forest Service estimated the rate to be only per year.


title: Kudzu

text: A small patch of kudzu was discovered in 2009 in Leamington, Ontario, the second-warmest growing region of Canada after south coastal British Columbia.


title: Kudzu

text: Kudzu was introduced from Japan into the United States at the Japanese pavilion in the 1876 Centennial Exposition in Philadelphia. It was also shown at the Chicago World's Fair. It remained a garden plant until the Dust Bowl era (1930s–1940s), when the vine was marketed as a way for farmers to stop soil erosion. The new Soil Conservation Service grew seventy million kudzu seedlings and paid $8 an acre () to anyone who would sow the vine. Road and rail builders planted kudzu to stabilize steep slopes. Farmer and journalist Channing Cope, dubbed "kudzu kid" in a 1949 "Time" profile, popularised it in the South as a fix for eroded soils. He started the Kudzu Club of America, which, by 1943, had 20,000 members. The club aimed to plant across the South. Cultivation peaked at over by 1945. Once Soil Service payments ended, much of the kudzu was destroyed as farmers turned the land over to more profitable uses. The Soil Conservation Service stopped promoting kudzu altogether by the 1950s.


title: Kudzu

text: Kudzu's ongoing mythos as a mile-a-minute invader is likely due to its visibility coating trees at wooded roadsides, thriving in the sunshine at the forest edge. Despite kudzu's notoriety, Asian privet and invasive roses have each proved to be greater threats in the United States.


title: Kudzu

text: In Europe, kudzu has been included since 2016 on the list of Invasive Alien Species of Union concern (the Union list). This means that this species cannot be imported, cultivated, transported, commercialized, planted, or intentionally released into the environment anywhere in the European Union.


title: Kudzu

text: During World War II, kudzu was introduced to Vanuatu and Fiji by United States Armed Forces to serve as camouflage for equipment and has become a major weed.


title: Kudzu

text: Kudzu is also becoming a problem in northeastern Australia, and has been seen in Switzerland and in isolated spots in Northern Italy (Lake Maggiore).


title: Kudzu

text: In New Zealand, kudzu was declared an "unwanted organism" and was added to the Biosecurity New Zealand register in 2002.


title: Kudzu

text: Destroying the full underground system, which can be extremely large and deep, is not necessary for successful long-term control of kudzu. Killing or removing the kudzu root crown and all rooting runners is sufficient. The root crown is a fibrous knob of tissue that sits on top of the roots. Crowns form from multiple vine nodes that root to the ground, and range from pea- to basketball-sized. The age of the crowns is correlated to how deep they are in the ground. Nodes and crowns are the source of all kudzu vines, and roots cannot produce vines. If any portion of a root crown remains after attempted removal, the kudzu plant may still grow back.


title: Kudzu

text: Mechanical methods of control involve cutting off crowns from roots, usually just below ground level. This immediately kills the plant. Cutting off the above-ground vines is not sufficient for an immediate kill. Destroying all removed crown material is necessary. Buried crowns can regenerate into healthy kudzu. Transporting crowns in soil removed from a kudzu infestation is one common way that kudzu unexpectedly spreads and shows up in new locations.


title: Kudzu

text: Close mowing every week, regular heavy grazing for many successive years, or repeated cultivation may be effective, as this serves to deplete root reserves. If done in the spring, cutting off vines must be repeated. Regrowth appears to exhaust the plant's stored carbohydrate reserves. Harvested kudzu can be fed to livestock, burned, or composted.


title: Kudzu

text: In the United States, the city of Chattanooga, Tennessee undertook a trial program in 2010 using goats and llamas to graze on the plant. Similar efforts to reduce widespread nuisance kudzu growth have also been undertaken in the cities of Winston-Salem, North Carolina and Tallahassee, Florida.


title: Kudzu

text: Prescribed burning is used on old extensive infestations to remove vegetative cover and promote seed germination for removal or treatment. While fire is not an effective way to kill kudzu, equipment, such as a skid loader, can later remove crowns and kill kudzu with minimal disturbance or erosion of soil.


title: Kudzu

text: A systemic herbicide, for example, glyphosate, triclopyr, or picloram, can be applied directly on cut stems, which is an effective means of transporting the herbicide into the kudzu's extensive root system. Herbicides can be used after other methods of control, such as mowing, grazing, or burning, which can allow for an easier application of the chemical to the weakened plants. In large-scale forestry infestations, soil-active herbicides have been shown to be highly effective.


title: Kudzu

text: After initial herbicidal treatment, follow-up treatments and monitoring are usually necessary, depending on how long the kudzu has been growing in an area. Up to 10 years of supervision may be needed after the initial chemical placement to make sure the plant does not return.


title: Kudzu

text: Since 1998, the United States' Agricultural Research Service has experimented with using the fungus "Myrothecium verrucaria" as a biologically based herbicide against kudzu. A diacetylverrucarol spray based on "M. verrucaria" works under a variety of conditions (including the absence of dew), causes minimal injury to many of the other woody plants in kudzu-infested habitats, and takes effect quickly enough that kudzu treated with it in the morning starts showing evidence of damage by midafternoon. Initial formulations of the herbicide produced toxic levels of other trichothecenes as byproducts, though the ARS discovered that growing "M. verrucaria" in a fermenter on a liquid diet (instead of a solid) limited or eliminated the problem.


title: Tessellation

text: A tessellation or tiling is the covering of a surface, often a plane, using one or more geometric shapes, called "tiles", with no overlaps and no gaps. In mathematics, tessellation can be generalized to higher dimensions and a variety of geometries.


title: Tessellation

text: A periodic tiling has a repeating pattern. Some special kinds include "regular tilings" with regular polygonal tiles all of the same shape, and "semiregular tilings" with regular tiles of more than one shape and with every corner identically arranged. The patterns formed by periodic tilings can be categorized into 17 wallpaper groups. A tiling that lacks a repeating pattern is called "non-periodic". An "aperiodic tiling" uses a small set of tile shapes that cannot form a repeating pattern. A "tessellation of space", also known as a space filling or honeycomb, can be defined in the geometry of higher dimensions.


title: Tessellation

text: A real physical tessellation is a tiling made of materials such as cemented ceramic squares or hexagons. Such tilings may be decorative patterns, or may have functions such as providing durable and water-resistant pavement, floor or wall coverings. Historically, tessellations were used in Ancient Rome and in Islamic art such as in the Moroccan architecture and decorative geometric tiling of the Alhambra palace. In the twentieth century, the work of M. C. Escher often made use of tessellations, both in ordinary Euclidean geometry and in hyperbolic geometry, for artistic effect. Tessellations are sometimes employed for decorative effect in quilting. Tessellations form a class of patterns in nature, for example in the arrays of hexagonal cells found in honeycombs.


title: Tessellation

text: Tessellations were used by the Sumerians (about 4000 BC) in building wall decorations formed by patterns of clay tiles.


title: Tessellation

text: Decorative mosaic tilings made of small squared blocks called tesserae were widely employed in classical antiquity, sometimes displaying geometric patterns.


title: Tessellation

text: In 1619 Johannes Kepler made an early documented study of tessellations. He wrote about regular and semiregular tessellations in his "Harmonices Mundi"; he was possibly the first to explore and to explain the hexagonal structures of honeycomb and snowflakes.


title: Tessellation

text: Some two hundred years later in 1891, the Russian crystallographer Yevgraf Fyodorov proved that every periodic tiling of the plane features one of seventeen different groups of isometries. Fyodorov's work marked the unofficial beginning of the mathematical study of tessellations. Other prominent contributors include Alexei Vasilievich Shubnikov and Nikolai Belov (1964), and Heinrich Heesch and Otto Kienzle (1963).


title: Tessellation

text: In Latin, "tessella" is a small cubical piece of clay, stone or glass used to make mosaics. The word "tessella" means "small square" (from "tessera", square, which in turn is from the Greek word τέσσερα for "four"). It corresponds to the everyday term "tiling", which refers to applications of tessellations, often made of glazed clay.


title: Tessellation

text: Tessellation in two dimensions, also called planar tiling, is a topic in geometry that studies how shapes, known as "tiles", can be arranged to fill a plane without any gaps, according to a given set of rules. These rules can be varied. Common ones are that there must be no gaps between tiles, and that no corner of one tile can lie along the edge of another. The tessellations created by bonded brickwork do not obey this rule. Among those that do, a regular tessellation has both identical regular tiles and identical regular corners or vertices, having the same angle between adjacent edges for every tile. There are only three shapes that can form such regular tessellations: the equilateral triangle, square and the regular hexagon. Any one of these three shapes can be duplicated infinitely to fill a plane with no gaps.


title: Tessellation

text: Many other types of tessellation are possible under different constraints. For example, there are eight types of semi-regular tessellation, made with more than one kind of regular polygon but still having the same arrangement of polygons at every corner. Irregular tessellations can also be made from other shapes such as pentagons, polyominoes and in fact almost any kind of geometric shape. The artist M. C. Escher is famous for making tessellations with irregular interlocking tiles, shaped like animals and other natural objects. If suitable contrasting colours are chosen for the tiles of differing shape, striking patterns are formed, and these can be used to decorate physical surfaces such as church floors.


title: Tessellation

text: More formally, a tessellation or tiling is a cover of the Euclidean plane by a countable number of closed sets, called "tiles", such that the tiles intersect only on their boundaries. These tiles may be polygons or any other shapes. Many tessellations are formed from a finite number of prototiles in which all tiles in the tessellation are congruent to the given prototiles. If a geometric shape can be used as a prototile to create a tessellation, the shape is said to "tessellate" or to "tile the plane". The Conway criterion is a sufficient but not necessary set of rules for deciding if a given shape tiles the plane periodically without reflections: some tiles fail the criterion but still tile the plane. No general rule has been found for determining if a given shape can tile the plane or not, which means there are many unsolved problems concerning tessellations.


title: Tessellation

text: Mathematically, tessellations can be extended to spaces other than the Euclidean plane. The Swiss geometer Ludwig Schläfli pioneered this by defining "polyschemes", which mathematicians nowadays call polytopes. These are the analogues to polygons and polyhedra in spaces with more dimensions. He further defined the Schläfli symbol notation to make it easy to describe polytopes. For example, the Schläfli symbol for an equilateral triangle is {3}, while that for a square is {4}. The Schläfli notation makes it possible to describe tilings compactly. For example, a tiling of regular hexagons has three six-sided polygons at each vertex, so its Schläfli symbol is {6,3}.


title: Tessellation

text: Other methods also exist for describing polygonal tilings. When the tessellation is made of regular polygons, the most common notation is the vertex configuration, which is simply a list of the number of sides of the polygons around a vertex. The square tiling has a vertex configuration of 4.4.4.4, or 4. The tiling of regular hexagons is noted 6.6.6, or 6.


title: Tessellation

text: Mathematicians use some technical terms when discussing tilings. An "edge" is the intersection between two bordering tiles; it is often a straight line. A "vertex" is the point of intersection of three or more bordering tiles. Using these terms, an "isogonal" or vertex-transitive tiling is a tiling where every vertex point is identical; that is, the arrangement of polygons about each vertex is the same. The fundamental region is a shape such as a rectangle that is repeated to form the tessellation. For example, a regular tessellation of the plane with squares has a meeting of four squares at every vertex.


title: Tessellation

text: The sides of the polygons are not necessarily identical to the edges of the tiles. An edge-to-edge tiling is any polygonal tessellation where adjacent tiles only share one full side, i.e., no tile shares a partial side or more than one side with any other tile. In an edge-to-edge tiling, the sides of the polygons and the edges of the tiles are the same. The familiar "brick wall" tiling is not edge-to-edge because the long side of each rectangular brick is shared with two bordering bricks.


title: Tessellation

text: A "normal tiling" is a tessellation for which every tile is topologically equivalent to a disk, the intersection of any two tiles is a connected set or the empty set, and all tiles are uniformly bounded. This means that a single circumscribing radius and a single inscribing radius can be used for all the tiles in the whole tiling; the condition disallows tiles that are pathologically long or thin.


title: Tessellation

text: A is a tessellation in which all tiles are congruent; it has only one prototile. A particularly interesting type of monohedral tessellation is the spiral monohedral tiling. The first spiral monohedral tiling was discovered by Heinz Voderberg in 1936; the Voderberg tiling has a unit tile that is a nonconvex enneagon. The Hirschhorn tiling, published by Michael D. Hirschhorn and D. C. Hunt in 1985, is a pentagon tiling using irregular pentagons: regular pentagons cannot tile the Euclidean plane as the internal angle of a regular pentagon, , is not a divisor of 2.


title: Tessellation

text: An isohedral tiling is a special variation of a monohedral tiling in which all tiles belong to the same transitivity class, that is, all tiles are transforms of the same prototile under the symmetry group of the tiling. If a prototile admits a tiling, but no such tiling is isohedral, then the prototile is called anisohedral and forms anisohedral tilings.


title: Tessellation

text: A regular tessellation is a highly symmetric, edge-to-edge tiling made up of regular polygons, all of the same shape. There are only three regular tessellations: those made up of equilateral triangles, squares, or regular hexagons. All three of these tilings are isogonal and monohedral.


title: Tessellation

text: A semi-regular (or Archimedean) tessellation uses more than one type of regular polygon in an isogonal arrangement. There are eight semi-regular tilings (or nine if the mirror-image pair of tilings counts as two). These can be described by their vertex configuration; for example, a semi-regular tiling using squares and regular octagons has the vertex configuration 4.8 (each vertex has one square and two octagons). Many non-edge-to-edge tilings of the Euclidean plane are possible, including the family of Pythagorean tilings, tessellations that use two (parameterised) sizes of square, each square touching four squares of the other size. An edge tessellation is one in which each tile can be reflected over an edge to take up the position of a neighbouring tile, such as in an array of equilateral or isosceles triangles.


title: Tessellation

text: Tilings with translational symmetry in two independent directions can be categorized by wallpaper groups, of which 17 exist. It has been claimed that all seventeen of these groups are represented in the Alhambra palace in Granada, Spain. Though this is disputed, the variety and sophistication of the Alhambra tilings have surprised modern researchers. Of the three regular tilings two are in the "p6m" wallpaper group and one is in "p4m". Tilings in 2D with translational symmetry in just one direction can be categorized by the seven frieze groups describing the possible frieze patterns. Orbifold notation can be used to describe wallpaper groups of the Euclidean plane.


title: Tessellation

text: Penrose tilings, which use two different quadrilateral prototiles, are the best known example of tiles that forcibly create non-periodic patterns. They belong to a general class of aperiodic tilings, which use tiles that cannot tessellate periodically. The recursive process of substitution tiling is a method of generating aperiodic tilings. One class that can be generated in this way is the rep-tiles; these tilings have surprising self-replicating properties. Pinwheel tilings are non-periodic, using a rep-tile construction; the tiles appear in infinitely many orientations. It might be thought that a non-periodic pattern would be entirely without symmetry, but this is not so. Aperiodic tilings, while lacking in translational symmetry, do have symmetries of other types, by infinite repetition of any bounded patch of the tiling and in certain finite groups of rotations or reflections of those patches. A substitution rule, such as can be used to generate some Penrose patterns using assemblies of tiles called rhombs, illustrates scaling symmetry. A Fibonacci word can be used to build an aperiodic tiling, and to study quasicrystals, which are structures with aperiodic order.


title: Tessellation

text: Wang tiles are squares coloured on each edge, and placed so that abutting edges of adjacent tiles have the same colour; hence they are sometimes called Wang dominoes. A suitable set of Wang dominoes can tile the plane, but only aperiodically. This is known because any Turing machine can be represented as a set of Wang dominoes that tile the plane if and only if the Turing machine does not halt. Since the halting problem is undecidable, the problem of deciding whether a Wang domino set can tile the plane is also undecidable.


title: Tessellation

text: Truchet tiles are square tiles decorated with patterns so they do not have rotational symmetry; in 1704, Sébastien Truchet used a square tile split into two triangles of contrasting colours. These can tile the plane either periodically or randomly.


title: Tessellation

text: Sometimes the colour of a tile is understood as part of the tiling; at other times arbitrary colours may be applied later. When discussing a tiling that is displayed in colours, to avoid ambiguity one needs to specify whether the colours are part of the tiling or just part of its illustration. This affects whether tiles with the same shape but different colours are considered identical, which in turn affects questions of symmetry. The four colour theorem states that for every tessellation of a normal Euclidean plane, with a set of four available colours, each tile can be coloured in one colour such that no tiles of equal colour meet at a curve of positive length. The colouring guaranteed by the four colour theorem does not generally respect the symmetries of the tessellation. To produce a colouring which does, it is necessary to treat the colours as part of the tessellation. Here, as many as seven colours may be needed, as in the picture at right.


title: Tessellation

text: Any triangle or quadrilateral (even non-convex) can be used as a prototile to form a monohedral tessellation, often in more than one way. Copies of an arbitrary quadrilateral can form a tessellation with translational symmetry and 2-fold rotational symmetry with centres at the midpoints of all sides. For an asymmetric quadrilateral this tiling belongs to wallpaper group p2. As fundamental domain we have the quadrilateral. Equivalently, we can construct a parallelogram subtended by a minimal set of translation vectors, starting from a rotational centre. We can divide this by one diagonal, and take one half (a triangle) as fundamental domain. Such a triangle has the same area as the quadrilateral and can be constructed from it by cutting and pasting.


title: Tessellation

text: If only one shape of tile is allowed, tilings exists with convex "N"-gons for "N" equal to 3, 4, 5 and 6. For , see Pentagonal tiling, for , see Hexagonal tiling, for , see Heptagonal tiling and for , see octagonal tiling.


title: Tessellation

text: Voronoi or Dirichlet tilings are tessellations where each tile is defined as the set of points closest to one of the points in a discrete set of defining points. (Think of geographical regions where each region is defined as all the points closest to a given city or post office.) The "Voronoi cell" for each defining point is a convex polygon. The Delaunay triangulation is a tessellation that is the dual graph of a Voronoi tessellation. Delaunay triangulations are useful in numerical simulation, in part because among all possible triangulations of the defining points, Delaunay triangulations maximize the minimum of the angles formed by the edges. Voronoi tilings with randomly placed points can be used to construct random tilings of the plane.


title: Tessellation

text: Tessellation can be extended to three dimensions. Certain polyhedra can be stacked in a regular crystal pattern to fill (or tile) three-dimensional space, including the cube (the only Platonic polyhedron to do so), the rhombic dodecahedron, the truncated octahedron, and triangular, quadrilateral, and hexagonal prisms, among others. Any polyhedron that fits this criterion is known as a plesiohedron, and may possess between 4 and 38 faces. Naturally occurring rhombic dodecahedra are found as crystals of andradite (a kind of garnet) and fluorite.


title: Tessellation

text: Tessellations in three or more dimensions are called honeycombs. In three dimensions there is just one regular honeycomb, which has eight cubes at each polyhedron vertex. Similarly, in three dimensions there is just one quasiregular honeycomb, which has eight tetrahedra and six octahedra at each polyhedron vertex. However, there are many possible semiregular honeycombs in three dimensions. Uniform honeycombs can be constructed using the Wythoff construction.


title: Tessellation

text: The Schmitt-Conway biprism is a convex polyhedron with the property of tiling space only aperiodically.


title: Tessellation

text: It is possible to tessellate in non-Euclidean geometries such as hyperbolic geometry. A uniform tiling in the hyperbolic plane (which may be regular, quasiregular or semiregular) is an edge-to-edge filling of the hyperbolic plane, with regular polygons as faces; these are vertex-transitive (transitive on its vertices), and isogonal (there is an isometry mapping any vertex onto any other).


title: Tessellation

text: A uniform honeycomb in hyperbolic space is a uniform tessellation of uniform polyhedral cells. In 3-dimensional hyperbolic space there are nine Coxeter group families of compact convex uniform honeycombs, generated as Wythoff constructions, and represented by permutations of rings of the Coxeter diagrams for each family.


title: Tessellation

text: In architecture, tessellations have been used to create decorative motifs since ancient times. Mosaic tilings often had geometric patterns. Later civilisations also used larger tiles, either plain or individually decorated. Some of the most decorative were the Moorish wall tilings of Islamic architecture, using Girih and Zellige tiles in buildings such as the Alhambra and La Mezquita.


title: Tessellation

text: Tessellations frequently appeared in the graphic art of M. C. Escher; he was inspired by the Moorish use of symmetry in places such as the Alhambra when he visited Spain in 1936. Escher made four "Circle Limit" drawings of tilings that use hyperbolic geometry. For his woodcut "Circle Limit IV" (1960), Escher prepared a pencil and ink study showing the required geometry. Escher explained that "No single component of all the series, which from infinitely far away rise like rockets perpendicularly from the limit and are at last lost in it, ever reaches the boundary line."


title: Tessellation

text: Tessellated designs often appear on textiles, whether woven, stitched in or printed. Tessellation patterns have been used to design interlocking motifs of patch shapes in quilts.


title: Tessellation

text: Tessellations are also a main genre in origami (paper folding), where pleats are used to connect molecules such as twist folds together in a repeating fashion.


title: Tessellation

text: Tessellation is used in manufacturing industry to reduce the wastage of material (yield losses) such as sheet metal when cutting out shapes for objects like car doors or drinks cans.


title: Tessellation

text: Tessellation is apparent in the mudcrack-like cracking of thin films – with a degree of self-organisation being observed using micro and nanotechnologies.


title: Tessellation

text: In botany, the term "tessellate" describes a checkered pattern, for example on a flower petal, tree bark, or fruit. Flowers including the fritillary and some species of "Colchicum" are characteristically tessellate.


title: Tessellation

text: Many patterns in nature are formed by cracks in sheets of materials. These patterns can be described by Gilbert tessellations, also known as random crack networks. The Gilbert tessellation is a mathematical model for the formation of mudcracks, needle-like crystals, and similar structures. The model, named after Edgar Gilbert, allows cracks to form starting from randomly scattered over the plane; each crack propagates in two opposite directions along a line through the initiation point, its slope chosen at random, creating a tessellation of irregular convex polygons. Basaltic lava flows often display columnar jointing as a result of contraction forces causing cracks as the lava cools. The extensive crack networks that develop often produce hexagonal columns of lava. One example of such an array of columns is the Giant's Causeway in Northern Ireland. Tessellated pavement, a characteristic example of which is found at Eaglehawk Neck on the Tasman Peninsula of Tasmania, is a rare sedimentary rock formation where the rock has fractured into rectangular blocks.


title: Tessellation

text: Other natural patterns occur in foams; these are packed according to Plateau's laws, which require minimal surfaces. Such foams present a problem in how to pack cells as tightly as possible: in 1887, Lord Kelvin proposed a packing using only one solid, the bitruncated cubic honeycomb with very slightly curved faces. In 1993, Denis Weaire and Robert Phelan proposed the Weaire–Phelan structure, which uses less surface area to separate cells of equal volume than Kelvin's foam.


title: Tessellation

text: Tessellations have given rise to many types of tiling puzzle, from traditional jigsaw puzzles (with irregular pieces of wood or cardboard) and the tangram to more modern puzzles which often have a mathematical basis. For example, polyiamonds and polyominoes are figures of regular triangles and squares, often used in tiling puzzles. Authors such as Henry Dudeney and Martin Gardner have made many uses of tessellation in recreational mathematics. For example, Dudeney invented the hinged dissection, while Gardner wrote about the rep-tile, a shape that can be dissected into smaller copies of the same shape. Inspired by Gardner's articles in Scientific American, the amateur mathematician Marjorie Rice found four new tessellations with pentagons. Squaring the square is the problem of tiling an integral square (one whose sides have integer length) using only other integral squares. An extension is squaring the plane, tiling it by squares whose sizes are all natural numbers without repetitions; James and Frederick Henle proved that this was possible.


title: Hero (2002 film)

text: Hero () is a 2002 "wuxia" film directed, co-written, and produced by Zhang Yimou, and starring Jet Li, Tony Leung Chiu-wai, Maggie Cheung, Zhang Ziyi, Donnie Yen and Chen Daoming. The historical background of the film refers to the Warring States Period in ancient China, when China was divided into 7 states. In 227-221 BC, the Qin state was about to unify the other six states, assassins from the six states were sent to assassinate the king of Qin. One of the most famous incidents was Jing Ke's attempted assassination of the King of Qin. The cinematography was by Christopher Doyle, and the musical score composed by Tan Dun.


title: Hero (2002 film)

text: "Hero" was first released in China on 24 October 2002. At that time, it was the most expensive project and one of the highest-grossing motion pictures in China. Miramax acquired American market distribution rights, but delayed the release of the film for nearly two years. Quentin Tarantino eventually convinced Miramax to open the film in American theaters on 27 August 2004.


title: Hero (2002 film)

text: The film received positive reviews from critics. It became the first Chinese-language movie to top the American box office, where it stayed for two consecutive weeks, and went on to earn $53.7 million in the United States and $177 million worldwide. It was nominated for an Academy Award for Best Foreign-Language Film, but lost to "Nowhere in Africa".


title: Hero (2002 film)

text: In ancient China during the Warring States period, Nameless, a Qin prefect, arrives at the Qin capital city to meet the king of Qin, who has survived multiple attempts on his life by the assassins Long Sky, Flying Snow, and Broken Sword. As a result, the king has implemented extreme security measures: no visitors are allowed to approach the king within 100 paces. Nameless claims that he has slain the three assassins, and their weapons are displayed before the king, who allows the former to approach within ten paces and tell him his story.


title: Hero (2002 film)

text: Nameless recounts first killing Sky at a gaming house, before traveling to meet Flying Snow and Broken Sword, who have taken refuge at a calligraphy school in the Zhao state, in a city which was under siege by the Qin army. He tells Sword that he is there to commission a calligraphy scroll with the character for "Sword" (劍), secretly seeking to learn Sword's skill through his calligraphy. Nameless also learns that Snow and Sword, formerly lovers, have grown distant. Once the scroll is complete, Nameless reveals his identity and reveals that Snow and Sky had been together as lovers. Saying that Sky was certain Snow would avenge him, Nameless challenges Snow to a duel the next day. A heartbroken and angry Sword has sex with his pupil Moon. Snow kills Sword in revenge, and Moon as well when she attempts to seek vengeance. The next day, Nameless kills an emotionally unstable Snow before the Qin army, and claims her sword.


title: Hero (2002 film)

text: As the tale concludes, the king expresses disbelief and accuses Nameless of staging the duels with the assassins; he had, in the previous assassination attempt, perceived Sword as an honourable man who would not betray Snow in that manner. The king then suggests that what really happened was that the assassins volunteered their lives so that Nameless could gain the king's trust, which would allow Nameless to get close enough to the king to kill him.


title: Hero (2002 film)

text: In the king's hypothetical version of the story, Nameless seeks out Snow and Sword after staging the battle with Sky, telling them that he has perfected a technique that allows him to kill any target that is within ten paces. Nameless explains that he can use this to kill the king, but to get close enough he must present one of their weapons to the king; he further explains that he only needs to kill one of them in public in order to do this. Snow and Sword argue over who should be the one to die, resulting in a short fight in which Snow injures Sword. She meets Nameless before the Qin army; the recovering Sword watches helplessly as Snow is defeated. Moon later gives Nameless her master's sword, telling him that the swords of Snow and Sword should remain together in death as they had in life.


title: Hero (2002 film)

text: Nameless admits that he does indeed possess the special technique the king alluded to. However, he states that the King has underestimated Sword, and tells the true story. Nameless says that the special technique, while deadly, can also be used to deal a blow that misses all of the victim's vital organs while appearing fatal. He used this technique on Sky, and asked Snow and Sword to cooperate by faking a duel with him as well. Snow agrees to the plan, but Sword refuses. Snow angrily accuses Sword of ruining the opportunity they had three years ago, revealing that Sword had overpowered the king of Qin during their assault on his palace, but refused to kill him. She then attacks Sword, and manages to wound him with Nameless's help. The next day, Nameless "kills" Snow in front of the Qin army. Sword later explains to Nameless that he let the king live because he desired a unified, peaceful China, and that only the king of Qin could achieve that vision. He then sends Nameless off to the Qin capital, writing the words "Our Land" (天下) in the sand to persuade Nameless to reconsider the assassination.


title: Hero (2002 film)

text: The king, touched by the tale and Sword's understanding of his dream to unify China, ceases to fear Nameless. He tosses his own sword to Nameless and examines the scroll drawn by Sword. The king suddenly realizes it describes that an ideal warrior should, paradoxically, have no desire to kill. Understanding the wisdom of these words, Nameless abandons his mission and spares the king.


title: Hero (2002 film)

text: When Snow learns that Sword convinced Nameless to forgo the assassination, she furiously attacks Sword. Sword chooses not to defend himself so that Snow would understand his feelings for her, and Snow accidentally kills him as a result. Overwhelmed with sorrow, Snow commits suicide. At his court's urging, the king reluctantly orders Nameless to be executed for his assassination attempt, understanding that in order to unify the nation, he must enforce the law and use Nameless as an example. Nameless receives a hero's funeral. A closing text identifies the king as Qin Shi Huang, the first Emperor of China.


title: Hero (2002 film)

text: Director Zhang Yimou collaborated with Australian cinematographer Christopher Doyle to help realize his plan to divide the film visually into five sections, each dominated by a particular color. Zhang had initially wanted to use different cinematographers and shooting styles, but that proved impractical.


title: Hero (2002 film)

text: Doyle compared their story to "Rashomon", as it has an unreliable narrator and stories within stories. The film tells different version of the story of how an anonymous hero in ancient China overcomes three rivals. The stories are dominated by the colors red, blue, and white. Red represents desire, possessiveness and jealousy. Blue represents reason and friendship. White represents the balance of reason and desire, the ultimate truth. The overall framing story is darker with shades of black, and flashbacks are shown in vibrant greens. The colors were chosen for their aesthetic reasons, and not symbolic ones, and the colors orange and pink were not considered as options, and Doyle was dismissive of universal theories of color such as those put forward by Italian cinematographer Vittorio Storaro.


title: Hero (2002 film)

text: The lake sequences were filmed in the Jiuzhaigou national park in northern Sichuan, China. The desert sequences were shot near the border with Kazakhstan.


title: Hero (2002 film)

text: The film was scored by Tan Dun, who also conducted the China Philharmonic Orchestra and Chorus for the recording. The composer Chen Yuanlin also collaborated in the project. A majority of the tracks feature Japanese taiko drum ensemble Kodō. Itzhak Perlman performs most of the violin solos, with additional solos by Tan Dun himself. The theme song, "Hero" (英雄), composed by Zhang Yadong and Lin Xi, was sung by Faye Wong. It is unavailable in the American versions of the film DVD and soundtrack album. "Wind & Sand" (風沙) is a song inspired by the film and was sung by Tony Leung. The musical instrument seen and played during the fight in the weiqi courtyard scene is a guqin. The guqin music for that scene was performed by Liu Li.


title: Hero (2002 film)

text: "Hero" was first released in China on 24 October 2002. Miramax owned the American-market distribution rights, but delayed the release of the film a total of six times. Import DVDs of the film were sold online and Miramax demanded that the sites cease selling the DVD.


title: Hero (2002 film)

text: The movie was finally released in American theaters on 27 August 2004 after intervention by Disney executives, Government of China and Quentin Tarantino, who helped secure an English-subtitled release. Tarantino also offered to lend his name to promotional material for the film in order to attract box office attention to it; his name was attached to the credits as "Quentin Tarantino Presents". In addition, a sword held by Jet Li's character in the original promotional poster was replaced by weapon resembling a katana, a Japanese weapon, in the North American promotional poster, which was both anachronistic and culturally misplaced. The United States version of the DVD, with Mandarin, English, and French soundtracks, was released on 30 November 2004.


title: Hero (2002 film)

text: In the United Kingdom, it was 2013's sixth most-watched foreign-language film on television, with 150,100 viewers on Channel 4.


title: Hero (2002 film)

text: There has been some criticism of the film for its American-release translation of one of the central ideas in the film: "Tiānxià" () which literally means "Under heaven", and is a phrase to mean "the World". For its release in Belgium, two years before the U.S. release, the subtitled translation was "all under heaven". The version shown in American cinemas was localized as the two-word phrase "our land" instead, which seems to denote just the nation of China rather than the whole world. Whether Zhang Yimou intended the film to also have meaning with regard to the world and world unity was at that time difficult to say. Zhang Yimou was asked about the change at a screening in Massachusetts and said it was a problem of translation: "If you ask me if 'Our land' is a good translation, I can't tell you. All translations are handicapped. Every word has different meanings in different cultures." In "Cause: The Birth of Hero"—a documentary on the making of "Hero"—Zhang mentions that he hopes the film will have some contemporary relevance, and that, in the aftermath of the September 11 attacks the themes of universal brotherhood and "peace under heaven" may indeed be interpreted more globally, and taken to refer to peace in "the world." The phrase was later changed in television-release versions of the film.


title: Hero (2002 film)

text: The film opened in China in October 2002. It grossed within a week, and in three months. It topped the 2002 annual Chinese box office and set the record for the domestic highest-grossing film in China, earning ().


title: Hero (2002 film)

text: On 27 August 2004, after a long delay, "Hero" opened in 2,175 North American screens uncut and subtitled. It debuted at #1, grossing in its opening weekend. "Hero" grossed in the United States and Canada. It is the fourth highest grossing non-English film in North America, behind "Life is Beautiful", "Crouching Tiger Hidden Dragon", and "The Passion of the Christ". "Hero" grossed in international territories outside North America, for a worldwide total of .


title: Hero (2002 film)

text: On Rotten Tomatoes, the film has an approval rating of 94% based on 211 reviews, with an average rating of 8.20/10. The website's critics consensus reads, "With death-defying action sequences and epic historic sweep, "Hero" offers everything a martial arts fan could ask for." On Metacritic, the film has a weighted average score of 85 out of 100 based on 42 critics, indicating "universal acclaim". Audiences surveyed by CinemaScore gave the film a grade "A−" on scale of A to F.


title: Hero (2002 film)

text: Roger Ebert called it "beautiful and beguiling, a martial arts extravaganza defining the styles and lives of its fighters within Chinese tradition." He said the film "demonstrates how the martial arts genre transcends action and violence and moves into poetry, ballet and philosophy." Richard Corliss of "Time" described the film as being like ""Rashomon" with a Mandarin accent" and compared the film to "House of Flying Daggers" but said ""Hero" is the masterpiece", adding that "it employs unparalleled visual splendor to show why men must make war to secure the peace and how warriors may find their true destiny as lovers." Michael Wilmington of the "Chicago Tribune" called it "swooningly beautiful, furious and thrilling" and "an action movie for the ages." Charles Taylor of Salon.com took an especially positive stance, deeming it "one of the most ravishing spectacles the movies have given us". Manohla Dargis of "The New York Times" wrote: "Filled with meticulous set pieces, including a showdown between Snow and Moon set among swirls of golden-yellow leaves, Hero is easy on the eyes, but it's too segmented to gather much momentum and too art-directed to convey much urgency." Dargis was impressed by the beauty of the actors and their compelling performances, "whose passions erupt as fiercely as any of the film's fights though often to more devastating effect." She concludes: "less than the sum of its attractive parts, it's nonetheless generally pleasurable." Derek Elley of "Variety" called it "A dazzlingly lensed, highly stylized meditation on heroism."


title: Hero (2002 film)

text: Nevertheless, there were several film critics who felt the film had advocated autocracy and reacted with discomfort. J. Hoberman of "The Village Voice" deemed it to have a "cartoon ideology" and justification for ruthless leadership comparable to "Triumph of the Will". Stephen Hunter of "The Washington Post" wrote an otherwise positive review but concluded: "The movie, spectacular as it is, in the end confronts what must be called the tyrant's creed, and declares itself in agreement with the tyrant."


title: Hero (2002 film)

text: The film also has been interpreted as a nuanced investigation into the relationship between culture on one hand, and political or military power on the other. In this approach, the film comments not only on China and its position in the world, but also on the ongoing erasures of languages and cultures under globalization.


title: Hero (2002 film)

text: In 2014, "Time Out" polled several film critics, directors, actors and stunt actors to list their top action films. "Hero" was listed at 77th place on this list.


title: Global Hunger Index

text: The Global Hunger Index (GHI) is a tool that attempts to measure and track hunger globally as well as by region and by country, prepared by European NGOs of Concern Worldwide and Welthungerhilfe. The GHI is calculated annually, and its results appear in a report issued in October each year.


title: Global Hunger Index

text: The "2022 Global Hunger Index" shows a dramatic hunger situation worldwide. Global progress in ending Hunger is at a near standstill. The main drivers of hunger are conflicts, the climate crisis, and the economic consequences of the COVID-19 pandemic. These drivers come on top of underlying factors such as poverty, inequality, inadequate governance. The situation is expected to continue to worsen in the face of overlapping global crises. Without fundamental changes, the goal of Zero Hunger by 2030 will not be achieved.


title: Global Hunger Index

text: Created in 2006, the GHI was initially published by the US-based International Food Policy Research Institute (IFPRI) and Germany-based Welthungerhilfe. In 2007, the Irish NGO Concern Worldwide also became a co-publisher. In 2018, IFPRI withdrew from the project and the GHI became a joint project of Welthungerhilfe and Concern Worldwide.


title: Global Hunger Index

text: The Global Hunger Index presents a multidimensional measure of national, regional, and global hunger by assigning a numerical score based on several aspects of hunger. Countries are then ranked by GHI score and compared to previous scores from three reference years (e.g., the 2022 GHI scores can be directly compared to 2000, 2007 and 2014 GHI scores) to provide an assessment of progress over time. In addition to presenting GHI scores, the GHI includes an essay that covers an annually changing focus topic related to hunger. The 2022 report focuses on community action that engages local leaders and citizens in improving food systems governance and accountability and provides policy recommendations on how to respond to current emergencies while also transforming food systems, so they are more equitable, inclusive, sustainable, and resilient.


title: Global Hunger Index

text: Based on the values of the four indicators, a GHI score is calculated on a 100-point scale reflecting the severity of hunger, where 0 is the best possible score (no hunger) and 100 is the worst. Each country’s GHI score is classified by severity, from "low" to "extremely alarming".


title: Global Hunger Index

text: In 2022, data were assessed for the 136 countries that met the criteria for inclusion in the GHI, and GHI scores were calculated for 121 of those countries based on data from 2017 to 2021. The data used to calculate GHI scores come from published United Nations sources (Food and Agriculture Organization of the United Nations, World Health Organization, UNICEF, and Inter-agency Group for Child Mortality Estimation), the World Bank, and Demographic and Health Surveys.


title: Global Hunger Index

text: For 15 countries, individual scores could not be calculated, and ranks could not be determined owing to lack of data. 8 countries were provisionally designated by severity based on other published data. For the remaining 7 countries, data were insufficient to allow for either calculating GHI scores or assigning provisional categories.


title: Global Hunger Index

text: In addition to the yearly GHI, the Hunger Index for the States of India (ISHI) was published in 2008 and the Sub-National Hunger Index for Ethiopia was published in 2009.


title: Global Hunger Index

text: An interactive map allows users to visualize the data for different years and zoom into specific regions or countries.


title: Global Hunger Index

text: According to the 2022 GHI projections, the world – and 46 countries in particular – will not achieve a "low" level of hunger by 2030. The situation is likely to worsen in the face of the current barrage of overlapping global crises—conflict, climate change, and the economic fallout of the COVID-19 pandemic—all of which are powerful drivers of hunger. The war in Ukraine has further increased global food, fuel, and fertilizer prices and has the potential to significantly worsen hunger in 2023. The global hunger situation that has improved since 2000 according to the GHI, has largely stagnated in the recent years. The 2022 GHI score for the world is considered "moderate", but at 18.2, it shows only a slight decline from the 2014 score of 19.1. While the global GHI score dropped by 5.2 points from 24.3 to 19.1 between 2007 and 2014, it has only decreased 0.9 points since then. After decades of decline, one indicator used in the GHI, the prevalence of undernourishment, shows that the share of people who lack regular access to sufficient calories is increasing. This development could be a sign that other hunger indicators are also reversing.


title: Global Hunger Index

text: Hunger is serious in both South Asia (where hunger is highest) and Africa South of the Sahara (where hunger is second highest). South Asia has the world’s highest child stunting and child wasting rates. In Africa South of the Sahara, the prevalence of undernourishment and the rate of child mortality are higher than in any other world region. Parts of East Africa are experiencing one of the most severe droughts of the past 40 years, threatening the survival of millions. In West Asia and North Africa, where hunger is "moderate", there are worrying signs of a reversal in progress against hunger. Hunger is considered "low" in Latin America and the Caribbean, East and Southeast Asia, and Europe and Central Asia.


title: Global Hunger Index

text: Facing the third global food price crisis in 15 years, it is more obvious than ever that our current food systems are inadequate to end poverty and hunger. The GHI emphasizes that the international community urgently needs to respond to the escalating humanitarian crises - while not losing sight of the need for long-term transformation of food systems.


title: Global Hunger Index

text: The GHI 2022 focuses on the way communities, local governments, and civil actors engage with each other to make decisions and allocate resources is key to improving the food situation for people, and especially for the most vulnerable ones. It emphasizes the power of communities on a local level to shape how their food systems are governed.


title: Global Hunger Index

text: In her essay, Danielle Resnick explains that a recent trend toward decentralizing government functions has given local governments greater autonomy and authority, including over key elements of food systems. And in fragile states local or informal sources of governance, such as traditional authorities, may have greater credibility with communities. Yet in several countries, civic spaces are subject to increasing repression, hindering citizens from claiming and realizing their right to adequate food. Moreover, citizens are often unaware of this right, even if it has been enshrined in national law. Thus, the GHI emphasizes that decision-makers must put inclusive local governance, accountability, and the realization of the right to food at the center of food system transformation.


title: Global Hunger Index

text: At the same time, the essay by Danielle Resnick shows how local action can help citizens realize their right to food. It provides promising examples from a variety of settings where citizens are finding ways to amplify their voices in food system debates to improve food systems governance at the local level and hold decision makers accountable for addressing food and nutrition insecurity and hunger. Encouragingly, it points out that examples of empowerment are as visible in fragile contexts with high levels of societal fractionalization as they are in more stable settings with longer traditions of local democracy. These include a range of tools such as systems for tracking government budgets and expenditures, community scorecards for assessing the performance of local governments, and inclusive multistakeholder platforms that engage a range of local actors, including government officials, community groups, and private sector participants, in policy planning.


title: Global Hunger Index

text: In summary, the GHI emphasizes that motivated and inclusive governance at all levels that ensure citizens’ participation, action, and oversight is pivotal for meaningful food system transformation that ultimately benefits all people, especially the most vulnerable. All levels of government must include local voices and capacities and promote strong local decision-making structures, with the efforts tailored to the conditions and capacities on the ground.


title: Global Hunger Index

text: In their essay, guest authors Dan Smith and Caroline Delgado describe how, despite the devastating COVID-19 pandemic, violent conflicts continued to be the main cause of global hunger in 2020. The number of active violent conflicts is increasing, and they are becoming more severe and protracted. They state that the reciprocal linkages between hunger and conflict are widely known. Violent conflict affects nearly all aspects of a food system, from production, harvesting, processing, and transport to commodity supply, financing, marketing, and consumption. Meanwhile, increased food insecurity can fuel violent conflict. Smith and Delgado argue that without a solution to food insecurity, it is difficult to build sustainable peace, and without peace, chances of ending world hunger are minimal.


title: Global Hunger Index

text: If progress is to be made in both stemming conflict and fighting hunger, a food security lens must be integrated into peace building and a peace-building lens should be integrated into the effort to create resilient food systems. For this the guest authors propose four priorities: (1) adopt a flexible and agile approach; (2) work through partnerships; (3) pursue integrative ways of working; and (4) break down funding silos.


title: Global Hunger Index

text: The 2021 GHI states that even in the midst of conflict and extreme vulnerability, it remains possible to disrupt the destructive links between conflict and hunger and build resilience. By working collaboratively, involved actors—from states and community groups to nongovernmental organizations (NGOs) and United Nations agencies—can build a foundation for food security and sustainable peace. Integrating a peace-building perspective into building resilient food systems and a food security perspective into peace building requires a thorough knowledge of the context and sensitivity to the realities of ongoing conflicts. Thus, the GHI emphasizes the importance of strengthening locally led interventions and taking into account local concerns and aspirations, while building partnerships that bring together different actors and their respective knowledge. Moreover, funding should be provided in a flexible and long-term manner and should be adaptable to contexts that are fluid, fragile, and conflict affected. Finally, the 2021 GHI calls for a more vigorous approach to addressing conflicts at the political level and prosecuting those who use hunger as a weapon of war.


title: Global Hunger Index

text: The events of 2020 are laying bare many of the vulnerabilities of the world’s food system in ways that are becoming impossible to ignore. However, by taking an integrated approach to health and food and nutrition security, it may yet be possible to achieve Zero Hunger by 2030. A One Health approach, which is based on a recognition of the interconnections between humans, animals, plants, and their shared environment, as well as the role of fair-trade relations, would address the various crises we face holistically and help avert future health crises, restore a healthy planet, and end hunger.


title: Global Hunger Index

text: A One Health lens brings into focus a number of weaknesses including the fragility of globalized food systems; underinvestment in local farmers, farmer associations, and smallholder-oriented value chains; increasing rates of diet-related noncommunicable disease; emergency responses that disrupt local food systems; the heavy environmental cost of food systems; inadequate social protection for much of the world’s population; unfair global food governance, including unjust trade and aid policies; and lack of secure land tenure, which results in food insecurity for rural communities, indigenous people, women, and marginalized groups.


title: Global Hunger Index

text: To ensure the right to adequate and nutritious food for all and achieve Zero Hunger by 2030, we must approach health and food and nutrition security in a way that considers human, animal, and environmental health and fair-trade relations holistically. Multilateral institutions, governments, communities, and individuals must take a number of actions in the short and long term, including sustaining the production and supply of food; ensuring social protection measures; strengthening regional food supply chains; reviewing food, health, and economic systems through a One Health lens to chart a path to environmental recovery; and working toward a circular food economy that recycles nutrients and materials, regenerates natural systems, and eliminates waste and pollution.


title: Global Hunger Index

text: The 2019 GHI report notes that climate change is making it ever more difficult to adequately and sustainably feed and nourish the human population. Climate change has direct and indirect negative impacts on food security and hunger through changes in food production and availability, access, quality, utilization, and stability of food systems. In addition, climate change can contribute to conflict, especially in vulnerable and food-insecure regions, creating a double vulnerability for communities, which are pushed beyond their ability to cope.


title: Global Hunger Index

text: Furthermore, climate change raises four key inequities that play out at the interface of climate change and food security:


title: Global Hunger Index

text: Current actions are inadequate for the scale of the threat that climate change poses to food security. Transformation—a fundamental change in the attributes of human and natural systems—is now recognized as central to climate-resilient development pathways that can achieve zero hunger. Individual and collective values and behaviors must push toward sustainability and a fairer balance of political, cultural, and institutional power in society.


title: Global Hunger Index

text: The 2018 Global Hunger Index (GHI) report—the 13th in the annual series—presents a multidimensional measure of national, regional, and global hunger by assigning a numerical score based on several aspects of hunger. It then ranks countries by GHI score and compares current scores with past results. The 2018 report shows that in many countries and in terms of the global average, hunger and undernutrition have declined since 2000; in some parts of the world, however, hunger and undernutrition persist or have even worsened. Since 2010, 16 countries have seen no change or an increase in their GHI levels.


title: Global Hunger Index

text: The essay in the 2018 GHI report examines forced migration and hunger—two closely intertwined challenges that affect some of the poorest and most conflict-ridden regions of the world. Globally, there are an estimated 68.5 million displaced people, including 40.0 million internally displaced people, 25.4 million refugees, and 3.1 million asylum seekers. For these people, hunger may be both a cause and a consequence of forced migration.


title: Global Hunger Index

text: • adopting more holistic approaches to protracted displacement settings involving development support;


title: Global Hunger Index

text: • recognizing that the resilience of displaced people is never entirely absent and should be the basis for providing support.


title: Global Hunger Index

text: The 2018 Global Hunger Index report presents recommendations for providing a more effective and holistic response to forced migration and hunger. These include focusing on those countries and groups of people who need the most support, providing long-term solutions for displaced people, and engaging in greater responsibility sharing at an international level.


title: Global Hunger Index

text: The 2017 highlights the uneven nature of progress made in reducing hunger worldwide and the ways in which inequalities of power lead to unequal nourishment.


title: Global Hunger Index

text: Achieving the UN Sustainable Development Goals’ aim of “leaving no one behind” demands approaches to hunger and malnutrition that are both more sensitive to their uneven distribution and more attuned to the power inequalities that intensify the effects of poverty and marginalization on malnutrition. The report emphasizes the importance of using power analysis to name all forms of power that keep people hungry and malnourished; the significance of designing interventions strategically focused on where power is exerted; the need to empower the hungry and malnourished to challenge and resist loss of control over the food they eat.


title: Global Hunger Index

text: The 2016 Global Hunger Index (GHI) presents a multidimensional measure of national, regional, and global hunger, focusing on how the world can get to Zero Hunger by 2030.


title: Global Hunger Index

text: The developing world has made substantial progress in reducing hunger since 2000. The 2016 GHI shows that the level of hunger in developing countries as a group has fallen by 29 percent. Yet this progress has been uneven, and great disparities in hunger continue to exist at the regional, national, and subnational levels.


title: Global Hunger Index

text: The 2016 GHI emphasizes that the regions, countries, and populations most vulnerable to hunger and undernutrition have to be identified, so improvement can be targeted there, if the world community wants to seriously Sustainable Development Goal 2 on ending hunger and achieving food security.


title: Global Hunger Index

text: The chapter on hunger and conflict shows that the time of great famines with more than 1 million people dead is over. There is, however, a clear connection between armed conflict and severe hunger. Most of the countries scoring worst in the 2015 GHI are experiencing or have recently experienced armed conflict. Still, severe hunger also exists without conflict present, as the cases of several countries in South Asia and Africa show.


title: Global Hunger Index

text: Armed conflict has increased since 2005, and unless it can be reduced, there is little hope for eliminating hunger.


title: Global Hunger Index

text: Hidden hunger concerns over 200 million people worldwide. This micronutrient deficiency develops when humans do not take in enough micronutrients such as zinc, folate, iron and vitamins, or when their bodies cannot absorb them. Reasons include an unbalanced diet, a higher need for micronutrients (e.g. during pregnancy or while breast feeding) but also health issues related to sickness, infections or parasites.


title: Global Hunger Index

text: The consequences for individuals can be devastating: these often include mental impairment, bad health, low productivity and death caused by sickness. In particular, children are affected if they do not absorb enough micronutrients in the first 1000 days of their lives (beginning with conception).


title: Global Hunger Index

text: Micronutrient deficiencies are responsible for an estimated 1.1 million of the yearly 3.1 million death caused by undernutrition in children. Despite the magnitude of the problem, it is still not easy to get precise data on the spread of hidden hunger. Macronutrient and micronutrient deficiencies cause a loss in global productivity of 1.4 to 2.1 billion US Dollars per year.


title: Global Hunger Index

text: Different measures exist to prevent hidden hunger. It is essential to ensure that humans maintain a diverse diet. The quality of produce is as important as the caloric input. This can be achieved by promoting the production of a wide variety of nutrient-rich plants and the creation of house gardens.


title: Global Hunger Index

text: Other possible solutions are the industrial enrichment of food or biofortification of feedplants (e.g. vitamin A rich sweet potatoes).


title: Global Hunger Index

text: In the case of acute nutrient deficiency and in specific life phases, food supplements can be used. In particular, the addition of vitamin A leads to a better child survival rate.


title: Global Hunger Index

text: Generally, the situation concerning hidden hunger can only be improved when many measures intermesh. In addition to the direct measures described above, this includes the education and empowerment of women, the creation of better sanitation and adequate hygiene, and access to clean drinking water and health services.


title: Global Hunger Index

text: Many of the countries in which the hunger situation is "alarming" or "extremely alarming" are particularly prone to crises: In the African Sahel people experience yearly droughts. On top of that, they have to deal with violent conflict and natural calamities. At the same time, the global context becomes more and more volatile (financial and economic crises, food price crises).


title: Global Hunger Index

text: The inability to cope with these crises leads to the destruction of many development successes that had been achieved over the years. In addition, people have even less resources to withstand the next shock or crises. 2.6 billion people in the world live on less than US$2 per day. For them, a sickness in the family, crop failure after a drought, or the interruption of remittances from relatives who live abroad can set in motion a downward spiral from which they cannot free themselves on their own.


title: Global Hunger Index

text: It is therefore not enough to support people in emergencies and, once the crisis is over, to start longer-term development efforts. Instead, emergency and development assistance has to be conceptualized with the goal of increasing resilience of poor people against these shocks.


title: Global Hunger Index

text: The Global Hunger Index differentiates three coping strategies. The lower the intensity of the crises, the less resources have to be used to cope with the consequences:


title: Global Hunger Index

text: Increasingly, hunger is related to how we use land, water, and energy. The growing scarcity of these resources puts more and more pressure on food security.


title: Global Hunger Index

text: Signs for an increasing scarcity of energy, land and water resources are for example: growing prices for food and energy, a massive increase of large-scale investment in arable land (so-called land grabbing), increasing degradation of arable land because of too intensive land use (for example, increasing desertification), increasing number of people, who live in regions with lowering ground water levels, and the loss of arable land as a consequence of climate change.


title: Global Hunger Index

text: The analysis of the global conditions lead the authors of the GHI 2012 to recommend several policy actions:


title: Global Hunger Index

text: The report cites 3 factors as the main reasons for high volatility, or price changes, and price spikes of food:


title: Global Hunger Index

text: Volatility and prices increases are worsened according to the report by the concentration of staple foods in a few countries and export restrictions of these goods, the historical low of worldwide cereal reserves and the lack of timely information on food products, reserves and price developments. Especially this lack of information can lead to overreactions in the markets. Moreover, seasonal limitations on production possibilities, limited land for agricultural production, limited access to fertilizers and water, as well as the increasing demand resulting from population growth, puts pressure on food prices.


title: Global Hunger Index

text: According to the Global Hunger Index 2011 price trends show especially harsh consequences for poor and under-nourished people, because they are not capable to react to price spikes and price changes. Reactions, following these developments, can include: reduced calorie intake, no longer sending children to school, riskier income generation such as prostitution, criminality, or searching landfills, and sending away household members, who cannot be fed anymore. In addition, the report sees an all-time high in the instability and unpredictability of food prices, which after decades of slight decrease, increasingly show price spikes (strong and short-term increase).


title: Global Hunger Index

text: At a national level, especially food importing countries (those with a negative food trade balance), are affected by the changing prices.


title: Global Hunger Index

text: Undernutrition among children has reached terrible levels. About 195 million children under the age of five in the developing world—about one in three children—are too small and thus underdeveloped. Nearly one in four children under age five—129 million—is underweight, and one in 10 is severely underweight. The problem of child undernutrition is concentrated in a few countries and regions, with more than 90 percent of stunted children living in Africa and Asia. 42% of the world's undernourished children live in India alone.


title: Global Hunger Index

text: The evidence presented in the report shows that the window of opportunity for improving nutrition spans is the 1,000 days between conception and a child's second birthday (that is the period from -9 to +24 months). Children who are do not receive adequate nutrition during this period have increased risks to experiencing lifelong damage, including poor physical and cognitive development, poor health, and even early death. The consequences of malnutrition that occurred after 24 months of a child's life are by contrast largely reversible.


title: Pig Latin

text: Pig Latin is a language game or argot in which words in English are altered, usually by adding a fabricated suffix or by moving the onset or initial consonant or consonant cluster of a word to the end of the word and adding a vocalic syllable to create such a suffix. For example, Wikipedia would become Ikipediaway (taking the 'W' and 'ay' to create a suffix). The objective is to conceal the words from others not familiar with the rules. The reference to Latin is a deliberate misnomer; Pig Latin is simply a form of argot or jargon unrelated to Latin, and the name is used for its English connotations as a strange and foreign-sounding language. It is most often used by young children as a fun way to confuse people unfamiliar with Pig Latin.


title: Pig Latin

text: Early mentions of pig Latin or hog Latin describe what we would today call dog Latin, a type of parody Latin. Examples of this predate even Shakespeare, whose 1598 play, "Love's Labour's Lost", includes a reference to dog Latin:


title: Pig Latin

text: An 1866 article describes a "hog latin" that has some similarities to current Pig Latin. The article says, "He adds as many new letters as the boys in their 'hog latin,' which is made use of to mystify eavesdroppers. A boy asking a friend to go with him says, 'Wig-ge you-ge go-ge wig-ge me-ge?' The other, replying in the negative says, 'Noge, Ige woge.' ". This is similar to Língua do Pê.


title: Pig Latin

text: Another early mention of the name was in "Putnam's Magazine" in May 1869 "I had plenty of ammunition in reserve, to say nothing, Tom, of our pig Latin. 'Hoggibus, piggibus et shotam damnabile grunto,' and all that sort of thing," although the jargon is dog Latin.


title: Pig Latin

text: "The Atlantic" January 1895 also included a mention of the subject: "They all spoke a queer jargon which they themselves had invented. It was something like the well-known 'pig Latin' that all sorts of children like to play with."


title: Pig Latin

text: The modern version of Pig Latin appears in a 1919 Columbia Records album containing what sounds like the modern variation, by a singer named Arthur Fields. The song, called Pig Latin Love, is followed by the subtitle "I-Yay Ove-Lay oo-yay earie-day". The Three Stooges used it on multiple occasions, most notably "Tassels in the Air", a 1938 short where Moe Howard attempts to teach Curley Howard how to use it, thereby conveying the rules to the audience. In an earlier (1934) episode, "Three Little Pigskins", Larry Fine attempts to impress a woman with his skill in Pig Latin, but it turns out that she knows it, too. No explanation of the rules is given. A few months prior in 1934, in the "Our Gang" short film "Washee Ironee", Spanky tries to speak to an Asian boy by using Pig Latin. Ginger Rogers sang a verse of We're in the Money in pig Latin in an elaborate Busby Berkeley production number in the film Gold Diggers of 1933, (). The film, the third highest grossing of that year, was inducted into the National Film Registry and that song included in the all time top 100 movie songs by the American Film Institute. Merle Travis ends his song "When My Baby Double Talks To Me" with the phrase, "What a aybybay", where the last word is Pig Latin for "baby".


title: Pig Latin

text: A 1947 newspaper question and answer column describes the pig Latin as we understand it today. It describes moving the first letter to the end of a word and then adding "ay".


title: Pig Latin

text: Two Pig Latin words that have entered into mainstream American English are "" or "icksnay", the Pig Latin version of "" (itself a borrowing of German "nichts"), which is used as a general negative; and "", Pig Latin for "", meaning "go away" or "get out of here".


title: Pig Latin

text: For words that begin with consonant sounds, all letters before the initial vowel are placed at the end of the word sequence. Then, "ay" is added, as in the following examples:


title: Pig Latin

text: When words begin with consonant clusters (multiple consonants that form one sound), the whole sound is added to the end when speaking or writing.


title: Pig Latin

text: For words that begin with vowel sounds, one just adds ”hay”, "way" or "yay" to the end (or just "ay"). Examples are:


title: Pig Latin

text: An alternative convention for words beginning with vowel sounds, one removes the initial vowel(s) along with the first consonant or consonant cluster. This usually only works for words with more than one syllable and offers a more unique variant of the words in keeping with the mysterious, unrecognizable sounds of the converted words. Examples are:


title: Pig Latin

text: Sentence structure remains the same as it would in English. Pronunciation of some words may be a little difficult for beginners, but people can easily understand Pig Latin with practice.


title: Pig Latin

text: Pig Latin is mainly used in fun. It is also used by children or young adults to hide conversation from older people. For example, a conversation between two people in the presence of an unwanted other may consist of: "ehay isay eryvay illysay" = "he is very silly".


title: Pig Latin

text: In the German-speaking area, varieties of Pig Latin include , which originated around Hamburg harbour, and Mattenenglisch that was used in the "Matte", the traditional working-class neighborhood of Bern. Though Mattenenglisch has fallen out of use since the mid-20th century, it is still cultivated by voluntary associations. A characteristic of the Mattenenglisch Pig Latin is the complete substitution of the first vowel by "i", in addition to the usual moving of the initial consonant cluster and the adding of "ee".


title: Pig Latin

text: The Swedish equivalent of Pig Latin is Fikonspråket ("Fig language" – see Language game § List of common language games).


title: Pig Latin

text: The Finnish Pig Latin is called Kontinkieli ("container language"). After each word you add the word kontti "container", then switch the first syllables, So every sentence is converted to twice as many pseudo-words. For example,"wikipedia" --> "wikipedia kontti" --> "kokipedia wintti". So converting the sentence "I love you" ("Minä rakastan sinua") would result in "konä mintti kokastan rantti konua sintti".


title: Pig Latin

text: In Italian, the "alfabeto farfallino" uses a similar encoding; in Spanish, a similar language variation is called Jeringonza.


title: Pig Latin

text: Another equivalent of Pig Latin is used throughout the Slavic-speaking parts of the Balkans. It is called "Šatra" (/sha-tra/)or "Šatrovački" (/shatro-vachki/) and was used in crime-related and street language. For instance, the Balkan slang name for marijuana (trava - meaning "grass") turns to "vutra"; the Balkan slang name for cocaine (belo - meaning "white") turns to lobe, a pistol (pištolj) turns to štoljpi, bro (brate) turns to tebra. In the past few years it has become widely used between teenage immigrants in former Yugoslavian countries.


title: Pig Latin

text: French has the "loucherbem" (or "louchébem", or "largonji") coded language, which supposedly was originally used by butchers ("boucher" in French). In "loucherbem", the leading consonant cluster is moved to the end of the word (as in Pig Latin) and replaced by an "L", and then a suffix is added at the end of the word (-"oche", -"em", -"oque", etc., depending on the word). Example: "combien" (how much) = "lombienquès". Similar coded languages are "verlan" and "langue de feu" (see . A few louchébem words have become usual French words: "fou" (crazy) = "loufoque", "portefeuille" (wallet) = "larfeuille", "en douce" (on the quiet) = "en loucedé". Also similar is the widely used French argot "verlan", in which the syllables of words are transposed. Verlan is a French slang that is quite similar to English pig Latin. It is spoken by separating a word into syllables and reversing the syllables.


title: Pig Latin

text: Verlan was first documented as being used as far back as the 19th century. Back in the 19th century it was spoken as code by criminals in effort to conceal illicit activities within conversations around other people, even the police. Currently, Verlan has been increasingly used in areas just outside major cities mainly populated by migrant workers. This language has served as a language bridge between many of these migrant workers from multiple countries and origins and has been so widely and readily used that it has spread into advertising, film scripts, French rap and hip-hop music, media, in some French dictionaries and in some cases, words that have been Verlanned have actually replaced their original words. The new uses of Verlan and how it has become incorporated into the French culture has all happened within just a few decades.


title: Rotoscoping

text: Rotoscoping is an animation technique that animators use to trace over motion picture footage, frame by frame, to produce realistic action. Originally, animators projected photographed live-action movie images onto a glass panel and traced over the image. This projection equipment is referred to as a rotoscope, developed by Polish-American animator Max Fleischer, and the result is a rotograph. This device was eventually replaced by computers, but the process is still called rotoscoping.


title: Rotoscoping

text: In the visual effects industry, "rotoscoping" is the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background. Chroma key is more often used for this, as it is faster and requires less work, but rotoscopy provides a higher level of accuracy and is often used in conjunction with chroma-keying. It may also be used if the subject is not in front of a green (or blue) screen, or for practical or economic reasons.


title: Rotoscoping

text: Rotoscoping has often been used as a tool for visual effects in live-action movies. By tracing an object, the moviemaker creates a silhouette (called a matte) that can be used to extract that object from a scene for use on a different background. While blue- and green-screen techniques have made the process of layering subjects in scenes easier, rotoscoping still plays a large role in the production of visual effects imagery. Rotoscoping in the digital domain is often aided by motion-tracking and onion-skinning software. Rotoscoping is often used in the preparation of garbage mattes for other matte-pulling processes.


title: Rotoscoping

text: Rotoscoping has also been used to create a special visual effect (such as a glow, for example) that is guided by the matte or rotoscoped line. A classic use of traditional rotoscoping was in the original three "Star Wars" movies, where the production used it to create the glowing lightsaber effect with a matte based on sticks held by the actors. To achieve this, effects technicians traced a line over each frame with the prop, then enlarged each line and added the glow.


title: Rotoscoping

text: Eadweard Muybridge had some of his famous chronophotographic sequences painted on glass discs for the zoopraxiscope projector that he used in his popular lectures between 1880 and 1895. The first discs were painted on the glass in dark contours. Discs made between 1892 and 1894 had outlines drawn by Erwin Faber photographically printed on the disc and then colored by hand, but these discs were probably never used in the lectures.


title: Rotoscoping

text: By 1902, Nuremberg toy companies Gebrüder Bing and Ernst Plank were offering chromolithographed film loops for their toy kinematographs. The films were traced from live-action film footage.