title: Charge-coupled device

text: The choice of architecture comes down to one of utility. If the application cannot tolerate an expensive, failure-prone, power-intensive mechanical shutter, an interline device is the right choice. Consumer snap-shot cameras have used interline devices. On the other hand, for those applications that require the best possible light collection and issues of money, power and time are less important, the full-frame device is the right choice. Astronomers tend to prefer full-frame devices. The frame-transfer falls in between and was a common choice before the fill-factor issue of interline devices was addressed. Today, frame-transfer is usually chosen when an interline architecture is not available, such as in a back-illuminated device.


title: Charge-coupled device

text: CCDs containing grids of pixels are used in digital cameras, optical scanners, and video cameras as light-sensing devices. They commonly respond to 70 percent of the incident light (meaning a quantum efficiency of about 70 percent) making them far more efficient than photographic film, which captures only about 2 percent of the incident light.


title: Charge-coupled device

text: Most common types of CCDs are sensitive to near-infrared light, which allows infrared photography, night-vision devices, and zero lux (or near zero lux) video-recording/photography. For normal silicon-based detectors, the sensitivity is limited to 1.1 μm. One other consequence of their sensitivity to infrared is that infrared from remote controls often appears on CCD-based digital cameras or camcorders if they do not have infrared blockers.


title: Charge-coupled device

text: Cooling reduces the array's dark current, improving the sensitivity of the CCD to low light intensities, even for ultraviolet and visible wavelengths. Professional observatories often cool their detectors with liquid nitrogen to reduce the dark current, and therefore the thermal noise, to negligible levels.


title: Charge-coupled device

text: The frame transfer CCD imager was the first imaging structure proposed for CCD Imaging by Michael Tompsett at Bell Laboratories. A frame transfer CCD is a specialized CCD, often used in astronomy and some professional video cameras, designed for high exposure efficiency and correctness.


title: Charge-coupled device

text: The normal functioning of a CCD, astronomical or otherwise, can be divided into two phases: exposure and readout. During the first phase, the CCD passively collects incoming photons, storing electrons in its cells. After the exposure time is passed, the cells are read out one line at a time. During the readout phase, cells are shifted down the entire area of the CCD. While they are shifted, they continue to collect light. Thus, if the shifting is not fast enough, errors can result from light that falls on a cell holding charge during the transfer. These errors are referred to as "vertical smear" and cause a strong light source to create a vertical line above and below its exact location. In addition, the CCD cannot be used to collect light while it is being read out. Unfortunately, a faster shifting requires a faster readout, and a faster readout can introduce errors in the cell charge measurement, leading to a higher noise level.


title: Charge-coupled device

text: A frame transfer CCD solves both problems: it has a shielded, not light sensitive, area containing as many cells as the area exposed to light. Typically, this area is covered by a reflective material such as aluminium. When the exposure time is up, the cells are transferred very rapidly to the hidden area. Here, safe from any incoming light, cells can be read out at any speed one deems necessary to correctly measure the cells' charge. At the same time, the exposed part of the CCD is collecting light again, so no delay occurs between successive exposures.


title: Charge-coupled device

text: The disadvantage of such a CCD is the higher cost: the cell area is basically doubled, and more complex control electronics are needed.


title: Charge-coupled device

text: An intensified charge-coupled device (ICCD) is a CCD that is optically connected to an image intensifier that is mounted in front of the CCD.


title: Charge-coupled device

text: An image intensifier includes three functional elements: a photocathode, a micro-channel plate (MCP) and a phosphor screen. These three elements are mounted one close behind the other in the mentioned sequence. The photons which are coming from the light source fall onto the photocathode, thereby generating photoelectrons. The photoelectrons are accelerated towards the MCP by an electrical control voltage, applied between photocathode and MCP. The electrons are multiplied inside of the MCP and thereafter accelerated towards the phosphor screen. The phosphor screen finally converts the multiplied electrons back to photons which are guided to the CCD by a fiber optic or a lens.


title: Charge-coupled device

text: An image intensifier inherently includes a shutter functionality: If the control voltage between the photocathode and the MCP is reversed, the emitted photoelectrons are not accelerated towards the MCP but return to the photocathode. Thus, no electrons are multiplied and emitted by the MCP, no electrons are going to the phosphor screen and no light is emitted from the image intensifier. In this case no light falls onto the CCD, which means that the shutter is closed. The process of reversing the control voltage at the photocathode is called "gating" and therefore ICCDs are also called gateable CCD cameras.


title: Charge-coupled device

text: Besides the extremely high sensitivity of ICCD cameras, which enable single photon detection, the gateability is one of the major advantages of the ICCD over the EMCCD cameras. The highest performing ICCD cameras enable shutter times as short as 200 picoseconds.


title: Charge-coupled device

text: ICCD cameras are in general somewhat higher in price than EMCCD cameras because they need the expensive image intensifier. On the other hand, EMCCD cameras need a cooling system to cool the EMCCD chip down to temperatures around . This cooling system adds additional costs to the EMCCD camera and often yields heavy condensation problems in the application.


title: Charge-coupled device

text: An electron-multiplying CCD (EMCCD, also known as an L3Vision CCD, a product commercialized by e2v Ltd., GB, L3CCD or Impactron CCD, a now-discontinued product offered in the past by Texas Instruments) is a charge-coupled device in which a gain register is placed between the shift register and the output amplifier. The gain register is split up into a large number of stages. In each stage, the electrons are multiplied by impact ionization in a similar way to an avalanche diode. The gain probability at every stage of the register is small ("P" < 2%), but as the number of elements is large (N > 500), the overall gain can be very high (formula_1), with single input electrons giving many thousands of output electrons. Reading a signal from a CCD gives a noise background, typically a few electrons. In an EMCCD, this noise is superimposed on many thousands of electrons rather than a single electron; the devices' primary advantage is thus their negligible readout noise. The use of avalanche breakdown for amplification of photo charges had already been described in the in 1973 by George E. Smith/Bell Telephone Laboratories.


title: Charge-coupled device

text: EMCCDs show a similar sensitivity to intensified CCDs (ICCDs). However, as with ICCDs, the gain that is applied in the gain register is stochastic and the "exact" gain that has been applied to a pixel's charge is impossible to know. At high gains (> 30), this uncertainty has the same effect on the signal-to-noise ratio (SNR) as halving the quantum efficiency (QE) with respect to operation with a gain of unity. This effect is referred to as the Excess Noise Factor (ENF). However, at very low light levels (where the quantum efficiency is most important), it can be assumed that a pixel either contains an electron—or not. This removes the noise associated with the stochastic multiplication at the risk of counting multiple electrons in the same pixel as a single electron. To avoid multiple counts in one pixel due to coincident photons in this mode of operation, high frame rates are essential. The dispersion in the gain is shown in the graph on the right. For multiplication registers with many elements and large gains it is well modelled by the equation:


title: Charge-coupled device

text: where "P" is the probability of getting "n" output electrons given "m" input electrons and a total mean multiplication register gain of "g". For very large numbers of input electrons, this complex distribution function converges towards a Gaussian.


title: Charge-coupled device

text: Because of the lower costs and better resolution, EMCCDs are capable of replacing ICCDs in many applications. ICCDs still have the advantage that they can be gated very fast and thus are useful in applications like range-gated imaging. EMCCD cameras indispensably need a cooling system—using either thermoelectric cooling or liquid nitrogen—to cool the chip down to temperatures in the range of . This cooling system unfortunately adds additional costs to the EMCCD imaging system and may yield condensation problems in the application. However, high-end EMCCD cameras are equipped with a permanent hermetic vacuum system confining the chip to avoid condensation issues.


title: Charge-coupled device

text: The low-light capabilities of EMCCDs find use in astronomy and biomedical research, among other fields. In particular, their low noise at high readout speeds makes them very useful for a variety of astronomical applications involving low light sources and transient events such as lucky imaging of faint stars, high speed photon counting photometry, Fabry-Pérot spectroscopy and high-resolution spectroscopy. More recently, these types of CCDs have broken into the field of biomedical research in low-light applications including small animal imaging, single-molecule imaging, Raman spectroscopy, super resolution microscopy as well as a wide variety of modern fluorescence microscopy techniques thanks to greater SNR in low-light conditions in comparison with traditional CCDs and ICCDs.


title: Charge-coupled device

text: In terms of noise, commercial EMCCD cameras typically have clock-induced charge (CIC) and dark current (dependent on the extent of cooling) that together lead to an effective readout noise ranging from 0.01 to 1 electrons per pixel read. However, recent improvements in EMCCD technology have led to a new generation of cameras capable of producing significantly less CIC, higher charge transfer efficiency and an EM gain 5 times higher than what was previously available. These advances in low-light detection lead to an effective total background noise of 0.001 electrons per pixel read, a noise floor unmatched by any other low-light imaging device.


title: Charge-coupled device

text: Due to the high quantum efficiencies of charge-coupled device (CCD) (the ideal quantum efficiency is 100%, one generated electron per incident photon), linearity of their outputs, ease of use compared to photographic plates, and a variety of other reasons, CCDs were very rapidly adopted by astronomers for nearly all UV-to-infrared applications.


title: Charge-coupled device

text: Thermal noise and cosmic rays may alter the pixels in the CCD array. To counter such effects, astronomers take several exposures with the CCD shutter closed and opened. The average of images taken with the shutter closed is necessary to lower the random noise. Once developed, the dark frame average image is then subtracted from the open-shutter image to remove the dark current and other systematic defects (dead pixels, hot pixels, etc.) in the CCD. Newer Skipper CCDs counter noise by collecting data with the same collected charge multiple times and has applications in precision light Dark Matter searches and neutrino measurements.


title: Charge-coupled device

text: The Hubble Space Telescope, in particular, has a highly developed series of steps (“data reduction pipeline”) to convert the raw CCD data to useful images.


title: Charge-coupled device

text: CCD cameras used in astrophotography often require sturdy mounts to cope with vibrations from wind and other sources, along with the tremendous weight of most imaging platforms. To take long exposures of galaxies and nebulae, many astronomers use a technique known as auto-guiding. Most autoguiders use a second CCD chip to monitor deviations during imaging. This chip can rapidly detect errors in tracking and command the mount motors to correct for them.


title: Charge-coupled device

text: An unusual astronomical application of CCDs, called drift-scanning, uses a CCD to make a fixed telescope behave like a tracking telescope and follow the motion of the sky. The charges in the CCD are transferred and read in a direction parallel to the motion of the sky, and at the same speed. In this way, the telescope can image a larger region of the sky than its normal field of view. The Sloan Digital Sky Survey is the most famous example of this, using the technique to produce a survey of over a quarter of the sky.


title: Charge-coupled device

text: In addition to imagers, CCDs are also used in an array of analytical instrumentation including spectrometers and interferometers.


title: Charge-coupled device

text: Digital color cameras generally use a Bayer mask over the CCD. Each square of four pixels has one filtered red, one blue, and two green (the human eye is more sensitive to green than either red or blue). The result of this is that luminance information is collected at every pixel, but the color resolution is lower than the luminance resolution.


title: Charge-coupled device

text: Better color separation can be reached by three-CCD devices (3CCD) and a dichroic beam splitter prism, that splits the image into red, green and blue components. Each of the three CCDs is arranged to respond to a particular color. Many professional video camcorders, and some semi-professional camcorders, use this technique, although developments in competing CMOS technology have made CMOS sensors, both with beam-splitters and bayer filters, increasingly popular in high-end video and digital cinema cameras. Another advantage of 3CCD over a Bayer mask device is higher quantum efficiency (higher light sensitivity), because most of the light from the lens enters one of the silicon sensors, while a Bayer mask absorbs a high proportion (more than 2/3) of the light falling on each pixel location.


title: Charge-coupled device

text: For still scenes, for instance in microscopy, the resolution of a Bayer mask device can be enhanced by microscanning technology. During the process of color co-site sampling, several frames of the scene are produced. Between acquisitions, the sensor is moved in pixel dimensions, so that each point in the visual field is acquired consecutively by elements of the mask that are sensitive to the red, green, and blue components of its color. Eventually every pixel in the image has been scanned at least once in each color and the resolution of the three channels become equivalent (the resolutions of red and blue channels are quadrupled while the green channel is doubled).


title: Charge-coupled device

text: Sensors (CCD / CMOS) come in various sizes, or image sensor formats. These sizes are often referred to with an inch fraction designation such as 1/1.8″ or 2/3″ called the optical format. This measurement originates back in the 1950s and the time of Vidicon tubes.


title: Charge-coupled device

text: When a CCD exposure is long enough, eventually the electrons that collect in the "bins" in the brightest part of the image will overflow the bin, resulting in blooming. The structure of the CCD allows the electrons to flow more easily in one direction than another, resulting in vertical streaking.


title: Charge-coupled device

text: Some anti-blooming features that can be built into a CCD reduce its sensitivity to light by using some of the pixel area for a drain structure.


title: Charge-coupled device

text: James M. Early developed a vertical anti-blooming drain that would not detract from the light collection area, and so did not reduce light sensitivity.


title: Godot (game engine)

text: Godot (/) is a cross-platform, free and open-source game engine released under the MIT license. It was initially developed by Argentine software developers Juan Linietsky and Ariel Manzur for several companies in Latin America prior to its public release. The development environment runs on multiple operating systems including Linux, BSDs, macOS, and Microsoft Windows. It is designed to create both 2D and 3D games targeting PC, mobile, and web platforms. It can also be used to create non game software, including editors.


title: Godot (game engine)

text: Godot aims to offer a fully integrated game development environment. It allows developers to create a game, needing no other tools beyond those used for content creation (visual assets, music, etc.). The engine's architecture is built around the concept of a tree of "nodes". Nodes are organized inside of "scenes", which are reusable, instanceable, inheritable, and nestable groups of nodes. All game resources, including scripts and graphical assets, are saved as part of the computer's file system (rather than in a database). This storage solution is intended to facilitate collaboration between game development teams using software version control systems.


title: Godot (game engine)

text: The engine supports deployment to multiple platforms and allows specification of texture compression and resolution settings for each platform. The website provides binaries only for the editor platforms, and exporting projects to other platforms is done within the Godot editor.


title: Godot (game engine)

text: The engine supports exporting projects to many more platforms, including all of the editor platforms. Currently supported platforms as of Godot are:


title: Godot (game engine)

text: Even though the Godot engine can be run on consoles, Godot does not support it officially as it is an open-source project rather than a licensed company and they cannot publish platform-specific code under open-source license. However, it is still possible to port games to consoles thanks to services provided by third-party companies.


title: Godot (game engine)

text: For CPU architectures, Godot officially supports x86 on all desktop platforms (both 32-bit and 64-bit where available) and has official ARM support on macOS, mobile platforms, and standalone Oculus platforms (both 32-bit and 64-bit where available). The web platform uses 32-bit WebAssembly. Support for ARM, RISC-V, and PowerPC Linux is unofficial and experimental.


title: Godot (game engine)

text: Godot supports a variety of programming languages for making games, including the integrated language GDScript, C++ and C#. Additionally, the engine includes GDNative, a facility for creating bindings with other languages. Officially-supported GDNative languages include C and C++. Community-supported languages include Rust, Nim, JavaScript, Haskell, Clojure, Swift, and D. Visual coding is also supported, via the built-in language VisualScript, designed to be a visual equivalent to GDScript. Visual Scripting will be removed from the core engine in Godot 4.0.


title: Godot (game engine)

text: The Godot editor includes a text editor with auto indentation, syntax highlighting and code completion. It also features a debugger with the ability to set breakpoints and program stepping.


title: Godot (game engine)

text: Godot has its own built-in scripting language, GDScript, a high-level, dynamically typed programming language which is syntactically similar to Python. Unlike Python, GDScript is optimized for Godot's scene-based architecture and can specify strict typing of variables. Godot's developers have stated that many alternative third-party scripting languages such as Lua, Python, and Squirrel were tested before deciding that using a custom language allowed for superior optimization and editor integration. In version 4.0, a new feature called Typed array was implemented on GDScript. This allows users to easily change a regular array to typed and vice-versa without changing much code.


title: Godot (game engine)

text: Godot's graphics engine uses OpenGL ES 3.0 for all supported platforms; otherwise, OpenGL ES 2.0 is used. Future support for Vulkan is being developed, that also includes the possibility of support for Metal using MoltenVK. The engine supports normal mapping, specularity, dynamic shadows using shadow maps, baked and dynamic global illumination, and full-screen post-processing effects like bloom, DOF, HDR, and gamma correction. A simplified shader language, similar to GLSL, is also incorporated. Shaders can be used for materials and post-processing. Alternatively, they can be created by manipulating nodes in a visual editor.


title: Godot (game engine)

text: Godot also includes a separate 2D graphics engine that can operate independently of the 3D engine. The 2D engine supports features such as lights, shadows, shaders, tile sets, parallax scrolling, polygons, animations, physics, and particles. It is also possible to mix 2D and 3D using a 'viewport node'.


title: Godot (game engine)

text: Godot contains an animation system with a GUI for skeletal animation, blending, animation trees, morphing, and real-time cutscenes. Almost any variable defined or created on a game entity can be animated. The engine uses Bullet for 3D physics simulation.


title: Godot (game engine)

text: Godot's development was started by Juan 'reduz' Linietsky and Ariel 'punto' Manzur in 2007. Linietsky stated in a presentation that the name "Godot" was chosen due to its relation to Samuel Beckett's play "Waiting for Godot", as it represents the never-ending wish of adding new features in the engine, which would get it closer to an exhaustive product, but never will. In February 2014, the source code for Godot was released to the public on GitHub under the MIT License.


title: Godot (game engine)

text: On 15 December 2014, Godot reached version 1.0, marking the first stable release and the addition of lightmapping, navmesh support, and more shaders. Version 1.1 was released on 21 May 2015, adding improved auto-completion in the code editor, a visual shader editor, a new API to the operating system for managing screens and windows, a rewritten 2D engine, new 2D navigation polygon support, a much improved Blender Collada exporter, and a new dark theme. The then-new 2D engine included shaders, materials, independent Z ordering per node, lights, shadows with polygonal occluders, normal mapping, and distance-field font support. Godot joined the Software Freedom Conservancy on 4 November 2015.


title: Godot (game engine)

text: Godot 2.0 was released on 23 February 2016. New features included better scene instancing and inheritance, a new file system browser, multiple scene editing, and an enhanced debugger. This was followed by version 2.1 in August 2016, which introduced an asset database, profiler, and plugin API.


title: Godot (game engine)

text: Version 3.0 was released on 29 January 2018, adding a brand new PBR renderer implemented in OpenGL ES 3.0, virtual reality compatibility, and C# support (via Mono). Version 3.0 also added the Bullet physics engine in addition to the engine's built-in 3D physics back end and was the first version of Godot to be included in Debian. Godot 3.1 was released on 13 March 2019, with the most notable features being the addition of statically typed , a script class system for GDScript and an OpenGL ES 2.0 renderer for older devices and mobile devices. Godot 3.2 was released on 29 January 2020, with the most notable features being massive documentation improvements, greatly improved C# support, and support for glTF 2.0 files. The lead developer, Juan Linietsky, spent most of his time working on a separate Vulkan branch that would later be merged into master for 4.0, so work on 3.2 was mostly done by other contributors. Work on 3.2 continued as a long-term support release for a year, including Godot 3.2.2 on 26 June 2020, a large patch release that added features such as OpenGL ES 2.0 batching, and C# support for iOS. On 17 March 2021, the versioning strategy was changed to better reflect semantic versioning, with a 3.3 stable branch and a 3.x branch for backporting features to a future 3.4 release. On 21 April 2021, Godot 3.3 was released, with features such as ARM support on macOS, Android App Bundles support, MP3 support, Autodesk FBX support, WebXR support, and a web editor. Godot 3.4 was released on 6 November 2021 after 6 months of development. The purpose of this build was to implement missing features or bug fixes which are critical for publishing 2D and 3D games with Godot 3 and on making existing features more optimized and reliable.


title: Godot (game engine)

text: On 22 June 2016, Godot received a $20,000 Mozilla Open Source Support (MOSS) “Mission Partners” award to be used to add WebSockets, WebAssembly and WebGL 2.0 support. Later, with Miguel de Icaza's support in 2017, Godot received a $24,000 donation from Microsoft to implement C# as a scripting language in Godot.


title: Godot (game engine)

text: On 3 February 2020, Godot received a $250,000 Epic Games award to improve graphics rendering and the engine's built-in game development language, GDScript. On July 8, 2020, Juan Linietsky mentioned that the Epic Games award will be used to permanently hire himself and George (Marques) for 2 years in order to free donation funds for new purposes. In December 2020, Godot received a grant from Facebook Reality Labs. Later, in December 2021, Godot received another grant from Meta's Reality Labs for XR work.


title: Godot (game engine)

text: On 10 February 2021, Godot received a $120,000 grant from Russian game studio Kefir. On 11 November 2021, Godot received a $100,000 grant from California-based OPGames.


title: Godot (game engine)

text: Many games by OKAM Studio have been made using Godot, including "Dog Mendonça & Pizza Boy", which uses the Escoria adventure game extension. Additionally, it has been used in West Virginia's high school curriculum, due to its ease-of-use for non-programmers and what is described as a "wealth of learning materials that already exist for the software".


title: Godot (game engine)

text: Godot as an international project has an active community around the world. Some community members are an admin of local Godot groups.


title: Godot (game engine)

text: The lead developer of Godot, Juan Linietsky, expressed a concern that Godot is allegedly being called a cult by users of commercial software.


title: Godot (game engine)

text: Since the Russian invasion of Ukraine, the "Godot Engine Russia" Discord server has been renamed to "Godot Engine Ru" and replaced the icon with an image of a "Godot kitten".


title: The Dawn of Everything

text: The Dawn of Everything: A New History of Humanity is a 2021 book by anthropologist and anarchist activist David Graeber, and archaeologist David Wengrow. It was first published in the United Kingdom on 19 October 2021 by Allen Lane (an imprint of Penguin Books).


title: The Dawn of Everything

text: Graeber and Wengrow finished the book around August 2020. Its American edition is 704 pages long, including a 63-page bibliography. It was a finalist for the Orwell Prize for Political Writing (2022).


title: The Dawn of Everything

text: Drawing attention to the diversity of early human societies, the book critiques traditional narratives of history's linear development from primitivism to civilization. Instead, "The Dawn of Everything" posits that humans lived in large, complex, but decentralized polities for millennia. It relies on archaeological evidence to show that early societies were diverse and developed numerous political structures.


title: The Dawn of Everything

text: "The Dawn of Everything" was widely reviewed in the popular press and in leading academic journals, as well as in activist circles, with dividing opinions being expressed across the board. Both favorable and critical reviewers noted its challenge to existing paradigms in the study of human history.


title: The Dawn of Everything

text: The authors open the book by suggesting that current popular views on the progress of western civilization, as presented by Francis Fukuyama, Jared Diamond, Steven Pinker and Yuval Noah Harari, are not supported by anthropological or archaeological evidence, but owe more to philosophical dogmas inherited unthinkingly from the Age of Enlightenment. The authors refute the Hobbesian and Rousseauian view on the origin of the social contract, stating that there is no single original form of human society. Moreover, they argue that the transition from foraging to agriculture was not a civilization trap that laid the ground for social inequality, and that throughout history, large-scale societies have often developed in the absence of ruling elites and top-down systems of management.


title: The Dawn of Everything

text: Rejecting the "origins of inequality" as a framework for understanding human history, the authors consider where this question originated, and find the answers in a series of encounters between European settlers and the Indigenous populations of North America. They argue that the latter provided a powerful counter-model to European civilisation and a sustained critique of its hierarchy, patriarchy, punitive law, and profit-motivated behaviour, which entered European thinking in the 18th century through travellers accounts and missionary relations, to be widely imitated by the thinkers of the Enlightenment. They illustrate this process through the historical example of the Wendat leader Kondiaronk, and his depiction in the best-selling works of the Baron Lahontan, who had spent ten years in the colonies of New France. The authors further argue that the standard narrative of social evolution, including the framing of history as modes of production and a progression from hunter-gatherer to farmer to commercial civilisation, originated partly as a way of silencing this Indigenous critique, and recasting human freedoms as naive or primitive features of social development.


title: The Dawn of Everything

text: Subsequent chapters develop these initial claims with archaeological and anthropological evidence. The authors describe ancient and modern communities that self-consciously abandoned agricultural living, employed seasonal political regimes (switching back and forth between authoritarian and communal systems), and constructed urban infrastructure with egalitarian social programs. The authors then present extensive evidence for the diversity and complexity of political life among non-agricultural societies on different continents, from Japan to the Americas, including cases of monumental architecture, slavery, and the self-conscious rejection of slavery through a process of cultural schismogenesis. They then examine archaeological evidence for processes that eventually led to the adoption and spread of agriculture, concluding that there was no Agricultural Revolution, but a process of slow change, taking thousands of years to unfold on each of the world's continents, and sometimes ending in demographic collapse (e.g. in prehistoric Europe). They conclude that ecological flexibility and sustained biodiversity were key to the successful establishment and spread of early agriculture.


title: The Dawn of Everything

text: The authors then go on to explore the issue of scale in human history, with archaeological case studies from early China, Mesoamerica, Europe (Ukraine), the Middle East, South Asia, and Africa (Egypt). They conclude that contrary to standard accounts, the concentration of people in urban settlements did not lead mechanistically to the loss of social freedoms or the rise of ruling elites. While acknowledging that in some cases, social stratification was a defining feature of urban life from the beginning, they also document cases of early cities that present little or no evidence of social hierarchies, lacking such elements as temples, palaces, central storage facilities, or written administration, as well as examples of cities like Teotihuacan, that began as hierarchical settlements, but reversed course to follow more egalitarian trajectories, providing high quality housing for the majority of citizens. They also discuss at some length the case of Tlaxcala as an example of Indigenous urban democracy in the Americas, before the arrival of Europeans, and the existence of democratic institutions such as municipal councils and popular assemblies in ancient Mesopotamia.


title: The Dawn of Everything

text: Synthesizing these findings, the authors move to discovering underlying factors for the rigid, hierarchical, and highly bureaucratized political system of contemporary civilization. Rejecting the category of "the State" as a trans-historical reality, they instead define three basic sources of domination in human societies: control over violence (sovereignty), control over information (bureaucracy), and charismatic competition (politics). They explore the utility of this new approach by comparing examples of early centralised societies that elude definition as states, such as the Olmec and Chavín de Huántar, as well as the Inca, China in the Shang dynasty, the Maya Civilization, and Ancient Egypt. From this they go on to argue that these civilisations were not direct precursors to our modern states, but operated on very different principles. The origins of modern states, they conclude, are shallow rather than deep, and owe more to colonial violence than to social evolution. Returning to North America, the authors then bring the story of the Indigenous critique and Kondiaronk full circle, showing how the values of freedom and democracy encountered by Europeans among the Wendat and neighbouring peoples had historical roots in the rejection of an earlier system of hierarchy, with its focus at the urban center of Cahokia on the Mississippi.


title: The Dawn of Everything

text: Based on their accumulated discussions, the authors conclude by proposing a reframing of the central questions of human history. Instead of the origins of inequality, they suggest that our central dilemma is the question of how modern societies have lost the qualities of flexibility and political creativity that were once more common. They ask how we have apparently "got stuck" on a single trajectory of development, and how violence and domination became normalised within this dominant system. Without offering definitive answers, the authors end the book by suggesting lines of further investigation. These focus on the loss of three basic forms of social freedom, which they argue were once common: the freedom to escape one's surroundings and move away, the freedom to disobey arbitrary authority, and the freedom to reimagine and reconstruct one's society in a different form. They emphasise the loss of women's autonomy, and the insertion of principles of violence into basic notions of social care at the level of domestic and family relations, as crucial factors in establishing more rigid political systems. The book ends by suggesting that received narratives of social development are largely myths, and that possibilities for social emancipation can be found in a more accurate understanding of human history, based on scientific evidence that has come to light only in the last few decades.


title: The Dawn of Everything

text: The book entered "The New York Times" best-seller list at No. 2 for the week of November 28, 2021, while its German translation entered Der Spiegel Bestseller list at No.1. It was named a "Sunday Times", "Observer" and "BBC History" Book of the Year. The book was shortlisted for the Orwell Prize for Political Writing. Historian David Edgerton, who chaired the judges panel, praised the book, saying it "genuinely is a new history of humanity" and a "celebration of human freedom and possibility, based on a reexamination of prehistory, opening up the past to make new futures possible.” Writing for "The Hindu", G. Sampath noted that two strands run through the book: "the consolidation of a corpus of archaeological evidence, and a history of ideas." Inspired by "the rediscovery of an unknown past," he asks, "can humanity imagine a future that's more worthy of itself?"


title: The Dawn of Everything

text: Gideon Lewis-Kraus said in "The New Yorker" that the book "aspires to enlarge our political imagination by revitalizing the possibilities of the distant past". In "The Atlantic", William Deresiewicz described the book as "brilliant" and "inspiring", stating that it "upends bedrock assumptions about 30,000 years of change." The anthropologist Giulio Ongaro, stated in "Jacobin" and "Tribune" that "Graeber and Wengrow do to human history what [Galileo and Darwin] did to astronomy and biology respectively". In "Bookforum", Michael Robbins called the book both "maddening" and "wonderful." Historian of science Emily Kern, writing in the "Boston Review", called the book "erudite" and "funny", suggesting that "once you start thinking like Graeber and Wengrow, it's difficult to stop." Andrew Anthony in The Observer said the authors persuasively replace "the idea of humanity being forced along through evolutionary stages with a picture of prehistoric communities making their own conscious decisions of how to live".


title: The Dawn of Everything

text: Historian David Priestland argued in "The Guardian" that Peter Kropotkin had more powerfully addressed the sorts of questions that a persuasive case for modern-day anarchism should address, but lauded the authors' historical "myth-busting" and called it "an exhilarating read". Philosopher Kwame Anthony Appiah argued in "The New York Review of Books" that there is a "discordance between what the book says and what its sources say," while also stating that the book, which is "chockablock with archaeological and ethnographic minutiae, is an oddly gripping read". "NYRB" subsequently published an extended exchange between Wengrow and Appiah under the title "The Roots of Inequality" in which Wengrow expanded on the book's use of archaeological sources, while Appiah concluded that "Graeber and Wengrow's argument against historical determinism—against the alluring notion that what happened had to have happened—is itself immensely valuable." Another philosopher, Helen De Cruz, wrote that the book offers "a valuable exercise in philosophical genealogy by digging up the origins of our political and social dysfunction," but also criticised the book for neglecting a range of other possible methodologies.


title: The Dawn of Everything

text: Writing in the "Chicago Review", historian Brad Bolman and archaeologist Hannah Moots suggest that what makes the book so important is "its attempt to make accessible a vast array of recent anthropological and archaeological evidence; to read it against the grain; and to synthesize those findings into a novel story about what exactly happened in our long past," drawing comparisons with the work of V. Gordon Childe. Reviewing for "American Antiquity" archaeologist Jennifer Birch called the book 'a resounding success', while archaeologist and anthropologist Rosemary Joyce, reviewing for "American Anthropologist", wrote that the book succeeds in providing "provocative thinking about major questions of human history" and a "convincing demonstration of new frameworks of anthropological comparison".


title: The Dawn of Everything

text: Archaeologist Mike Pitts, reviewing for "British Archaeology" described the book as "glorious" and suggested that its joint authorship by an anthropologist and an archaeologist "gives the book a depth and rigour rarely seen in the genre". Reviewing for "Scientific American", John Horgan described the book as "both a dense, 692-page scholarly inquiry into the origins of civilization and an exhilarating vision of human possibility"


title: The Dawn of Everything

text: In "Anthropology Today", Arjun Appadurai accused the book of "swerving to avoid a host of counter-examples and counter-arguments" while also describing the book's "fable" as "compelling". David Wengrow responded in the same issue. "Anthropology Today" later published a letter to the editor, in which political ecologist Jens Friis Lund writes "Appadurai never discloses where and how exactly Graeber and Wengrow go wrong," calling the book a "monumental empirical effort" and "exemplar of interdisciplinary engagement." In a subsequent issue, "Anthropology Today" published a full review of the book by social anthropologist Luiz Costa, who suggested it contains "a range of examples of societies drawing on their own past experiences, or those of neighbouring peoples, to shape future ways of life - not in a voluntaristic sense, but within specific social patterns, considering historical events." Costa compared "The Dawn of Everything" to classic works by Claude Lévi-Strauss in terms of its scope and importance. Another anthropologist Thomas Hylland Eriksen called the book an "intellectual feast"


title: The Dawn of Everything

text: The historian David A. Bell, responding solely to Graeber and Wengrow's arguments about the Indigenous origins of Enlightenment thought and Jean-Jacques Rousseau, accused the authors of coming "perilously close to scholarly malpractice." Historian and philosopher Justin E. H. Smith suggested "Graeber and Wengrow are to be credited for helping to re-legitimise this necessary component of historical anthropology, which for better or worse is born out of the history of the missions and early modern global commerce."


title: The Dawn of Everything

text: Anthropologist Durba Chattaraj claimed that the book includes "elisions, slippages, and too-exaggerated leaps" when referring to archaeology from India, but stated that its authors are "extremely rigorous and meticulous scholars", and that reading the book from India "expands our worlds and allows us to step outside of a particular postcolonial predicament." Anthropologist Matthew Porges, writing in "The Los Angeles Review of Books" suggested the book is "provocative, if not necessarily comprehensive", and that its "great value is that it provides a much better point of departure for future explorations of what was actually happening in the past". Anthropologist Richard Handler claimed that the book's endnotes "often reveal that a particularly startling interpretation of archaeological evidence depends on one or two sources taken from vast bodies of literature" while also claiming that the stories told "are stories we need and want to hear."


title: The Dawn of Everything

text: Writing for the "New York Journal of Books", another anthropologist, James H. McDonald, suggested that "The" "Dawn of Everything" "may well prove to be the most important book of the decade, for it explodes deeply held myths about the inevitability of our social lives dominated by the state". Anthropologist James Suzman in the "Literary Review" claimed that the book doesn't "engage with the vast historical and academic literature on recent African ... small scale hunter-gatherers", but also maintained that the book is "consistently thought-provoking" in "forcing us to re-examine some of the cosy assumptions about our deep past". Writing for "Black Perspectives" Kevin Suemnicht noted that the book develops ideas proposed by Orlando Patterson to account for the loss of human freedoms, and argued that the book confirms the "Fanonian positions within the Black Radical Tradition that this world-system is inherently anti-Black". In "Antiquity", archaeologist Rachael Kiddey suggested that the book arose from "playful conversations between two eminently qualified friends" and also that it contributes to "feminist revisions of the development of knowledge."


title: The Dawn of Everything

text: Archaeologist Gary M. Feinman, writing in "Cliodynamics", accused Graeber and Wengrow of using "cherry-picked and selectively presented examples" and criticized their perspective on human nature. In the same journal, archaeologist Michael E. Smith criticized the book for "problems of evidence and argumentation". Historian Walter Scheidel called the book "timely and stimulating" noting its "considerable strengths", but also argued it suffered from "serious shortcomings" in its "commitment to an excessively idealist view of historical dynamics," and that "acknowledgement of materialist perspectives" would have helped the authors. Archaeologist Ian Morris, reviewing for the "American Journal of Archaeology", questioned several of the book’s claims, but also commended it as a "work of careful research and tremendous originality."


title: The Dawn of Everything

text: The book's reception among the political left was polarizing. Several reviewers suggested that the book was written from an anarchist perspective. Sébastien Doubinsky called the book "an important work, both as a summary of recent discoveries in the fields of archaeology and anthropology and as an eye-opener on the structures of dominant narratives". Nicolas Villarreal described the book as "a series of brilliant interventions" while criticising the authors for not appreciating that ideology and politics are "the source of our profound unfreedom." CJ Sheu said the book is "simply put a masterpiece" while Peter Isackson in "Fair Observer" described the book as "nothing less than a compelling invitation to reframe and radically rethink our shared understanding of humanity's history and prehistory." Eliza Delay, writing for "Resilience" called the book "a revelation" and a "sweeping revision of how we see ourselves." Socialist activist and anthropologist Chris Knight stated that the "core message" of the book was rejecting Engels' primitive communism, and called "The Dawn of Everything" "incoherent and wrong" for beginning "far too late" and "systematically side-stepping the cultural flowering that began in Africa tens of thousands of years before "Homo sapiens" arrived in Europe". In a longer review, Knight did, however, emphasize that the book's "one important point" was "its advocacy of [political] oscillation". Reviewers in the "Ecologist" expressed the view that the authors "fail to engage with the enormous body of new scholarship on human evolution" while, at the same time, calling the book a "howling wind of fresh air". Reviewing for "The Rumpus" Beau Lee Gambold calls the book "at once dense, funny, thorough, joyful, unabashedly intelligent, and infinitely readable." Historian Ryne Clos claimed that the book partly relies on "a specious, exaggerated interpretation of the historical evidence" but that it is also "incredibly informative".


title: The Dawn of Everything

text: Historian Dominic Alexander, writing for socialist organization "Counterfire" questioned the evidence used in the book and characterized its rejection of "the teleological habit of thought" as a "profoundly debilitating approach" to political change. Market anarchist author Charles W. Johnson writing in "Reason" noted the book has moments of "hubris or overconfidently idiosyncratic readings of sources". Writing in progressive magazine "The Nation", historian Daniel Immerwahr characterised the book as "less a biography of the species than a scrapbook, filled with accounts of different societies doing different things," but also suggested the "fundamental, electrifying insight" is its refusal "to dismiss long-ago peoples as corks floating on the waves of prehistory. Instead, it treats them as reflective political thinkers from whom we might learn something".


title: The Dawn of Everything

text: Writing for "Artforum", Simon Wu called "The Dawn of Everything" a "bracing rewrite of human history", suggesting that while its "premise is exhilarating" its "implications are only beginning to be considered". Bryan Appleyard in his review for "The Sunday Times" called the book "pacey and potentially revolutionary." Reviewing for "Science", Erle Ellis described "The Dawn of Everything" as "a great book that will stimulate discussions, change minds, and drive new lines of research".


title: Adolfo Suárez Madrid–Barajas Airport

text: The airport opened in 1931 and has grown to be one of Europe's most important aviation centres. Within the city limits of Madrid, it is from the city's financial district and northeast of the Puerta del Sol or Plaza Mayor de Madrid, Madrid's historic centre. The airport name derives from the adjacent district of Barajas, which has its own metro station on the same rail line serving the airport. Barajas serves as the gateway to the Iberian peninsula from the rest of Europe and the world and is a key link between Europe and Latin America. Following the death of former Spanish Prime Minister, Adolfo Suárez, in 2014, the Spanish Ministry of Public Works and Transport announced that the airport was to be renamed "Aeropuerto Adolfo Suárez, Madrid–Barajas". The airport is the primary hub and maintenance base for Iberia and Air Europa. Consequently, Iberia is responsible for more than 40% of Barajas's traffic. The airport has five passenger terminals: T1, T2, T3, T4 and T4S.


title: Adolfo Suárez Madrid–Barajas Airport

text: The airport was constructed in 1927, opening to national and international air traffic on 22 April 1931, although regular commercial operations began two years later. A small terminal was constructed with a capacity for 30,000 passengers a year, in addition to several hangars and the building of the Avión Club. The first regular flight was established by Lineas Aéreas Postales Españolas (LAPE) with its route to Barcelona. In the 1930s, flights started to serve some European and African destinations, the first international flights from the airport.


title: Adolfo Suárez Madrid–Barajas Airport

text: Originally, the flight field was a large circle bordered in white with the name of Madrid in its interior, unpaved, consisting of land covered with natural grass. It was not until the 1940s that the flight field was paved and new runways were designed. The first runway which started operation in 1944 was 1,400 metres long and 45 metres wide. By the end of the decade the airport had three runways, none of which exist today. In the late 1940s, scheduled flights to Latin America and the Philippines started.


title: Adolfo Suárez Madrid–Barajas Airport

text: In the 1950s, the airport supported over half a million passengers, increasing to five runways and scheduled flights to New York City began. The National Terminal, currently T2, began construction in 1954 and opened later that year. In the Plan of Airports of 1957, Barajas Airport is classified as a first-class international airport. By the 1970s, large jets were landing at Barajas, and the growth of traffic mainly as a result of tourism exceeded forecasts. At the beginning of the decade, the airport reached the 1.2 million passengers, double that envisaged in the Plan of Airports of 1957.


title: Adolfo Suárez Madrid–Barajas Airport

text: In the 1970s, with the boom in tourism and the arrival of the Boeing 747, the airport reached 4 million passengers and began the construction of the international terminal (current T1). In 1974, Iberia, L.A.E. introduced the shuttle service between Madrid and Barcelona, a service with multiple daily frequencies and available without prior reservation.


title: Adolfo Suárez Madrid–Barajas Airport

text: The 1982 FIFA World Cup brought significant expansion and modernisation of the airport's two existing terminals.


title: Adolfo Suárez Madrid–Barajas Airport

text: In the 1990s, the airport expanded further. In 1994, the first cargo terminal was constructed and the control tower was renovated. In 1997, it opened the North Dock, which is used as an exclusive terminal for Iberia's Schengen flights. In 1998, it inaugurated a new control tower, 71 m tall and then in 1999 the new South Dock opened, which implies an expansion of the international terminal. During this time, the distribution of the terminals changed: The south dock and most of the International Terminal were now called T1, the rest of the International Terminal and Domestic Terminal were now called T2 and the north dock was called T3.


title: Adolfo Suárez Madrid–Barajas Airport

text: In November 1998, the new runway 18R-36L started operations (replacing the previous 18–36), 4,400 m long, one of the largest in Europe under expansion plans called Major Barajas. In 2000, it began the construction of new terminals T4 and its satellite, T4S, designed by architects Antonio Lamela, Richard Rogers and Luis Vidal. Two parallel runways to the existing ones were also built.


title: Adolfo Suárez Madrid–Barajas Airport

text: Terminal 4, designed by Antonio Lamela, Richard Rogers and Luis Vidal, (winning team of the 2006 Stirling Prize) and TPS Engineers, (winning team of the 2006 IStructE Award for Commercial Structures) was built by Ferrovial and inaugurated on 5 February 2006. Terminal 4 is one of the world's largest airport terminals in terms of area, with 760,000 square meters (8,180,572 square feet) in separate landside and airside structures. It consists of a main building, T4 (470,000 m) and a satellite building, T4S (290,000 m), which are approximately 2.5 km apart. The new Terminal 4 is designed to give passengers a stress-free start to their journey. This is managed through careful use of illumination, with glass panes instead of walls and numerous skylights which allow natural light into the structure. With this new addition, Barajas is designed to handle 70 million passengers annually.


title: Adolfo Suárez Madrid–Barajas Airport

text: During the construction of Terminal 4, two more runways (15L/33R and 18L/36R) were constructed to aid in the flow of air traffic arriving and departing from Barajas. These runways were officially inaugurated on 5 February 2006 (together with the terminals), but had already been used on several occasions beforehand to test flight and air traffic manoeuvres. Thus, Barajas came to have four runways: two on a north–south axis and parallel to each other (separated by 1.8 km) and two on a northwest–southeast axis (and separated by 2.5 km). This allowed simultaneous takeoffs and landings into the airport, allowing 120 operations an hour (one takeoff or landing every 30 seconds).


title: Adolfo Suárez Madrid–Barajas Airport

text: Terminals 1, 2 and 3 are adjacent terminals that are home to SkyTeam and Star Alliance airlines. Terminal 4 is home to Iberia, its franchise Air Nostrum and all Oneworld partner airlines. Gate numbers are continuous in terminals 1, 2 and 3 (A1 to E89), but are separately numbered in terminal 4 (H, J, K and M, R, S, U in satellite building).


title: Adolfo Suárez Madrid–Barajas Airport

text: The Madrid–Barcelona air shuttle service, known as the "Puente Aéreo" (in Spanish), literally called "Air Bridge", used to be the busiest route between two EU airports with 55 daily flights in 2012. The schedule has been reduced since the February 2008 opening of the Madrid–Barcelona high-speed rail line which covers the distance in hours. Subsequently, the route has been overtaken by London-Dublin and Paris-Toulouse.


title: Adolfo Suárez Madrid–Barajas Airport

text: On the morning of 30 December 2006, an explosion took place in the carpark building module D attached to Terminal 4. Authorities received a bomb threat at approximately 8:15 local time (7:15 GMT), with the caller stating that a car bomb carried with 800 kg of explosive would explode at 9:00 local time (8:00 GMT). After receiving the warning, police were able to evacuate part of the airport. Later, an anonymous caller stated that ETA claims responsibility for the bombing. As a result of the explosion, two Ecuadorians who were sleeping in their cars died. The whole module D of the car park was levelled creating around 40,000 tonnes of debris. It took workers six days to recover the body of the second victim from the rubble.


title: Adolfo Suárez Madrid–Barajas Airport

text: In 2007, the airport processed more than 52 million passengers. Barajas was voted "Best Airport" in the 2008 "Condé Nast Traveller Reader Awards".


title: Adolfo Suárez Madrid–Barajas Airport

text: In December 2010, the Spanish government announced plans to tender Madrid–Barajas airport to companies in the private sector for a period of up to 40 years.


title: Adolfo Suárez Madrid–Barajas Airport

text: On 27 January 2012, Spanair suspended all flights affecting Madrid–Barajas as well as other domestic and international connections. On 20 September 2012, both runways 15/33 were renamed as 14R/32L (the longest) and 14L/32R (the shortest).


title: Adolfo Suárez Madrid–Barajas Airport

text: On 1 August 2015, the first scheduled Airbus A380 flight landed in Madrid-Barajas in a daily service to Dubai by Emirates.


title: Adolfo Suárez Madrid–Barajas Airport

text: Following the death of former Spanish Prime Minister, Adolfo Suárez, in 2014, the Spanish Ministry of Public Works and Transport announced that the airport would be renamed "Aeropuerto Adolfo Suárez, Madrid–Barajas". This renaming seeks recognition for Suárez's role as the first Prime Minister of Spain after the restoration of democracy and his key participation in the transition to democracy after the dictatorship of Francisco Franco.


title: Adolfo Suárez Madrid–Barajas Airport

text: In late 2018 and early 2019, Iberia renovated its two lounges in Terminal 4, the Dali and Velazquez lounges.


title: Adolfo Suárez Madrid–Barajas Airport

text: In December 2019, the airport's operator Aena announced plans to significantly expand and renovate the existing installations, increasing their yearly capacity from 70 to 80 million passengers and bridging the architectural gap between the original Terminals 1, 2 and 3 and the newer Terminal 4. The project has a budget of 750 million Euro and is set to be executed in the period from 2022 to 2026.


title: Adolfo Suárez Madrid–Barajas Airport

text: The airport is attached to the Ramón y Cajal University Hospital in Madrid as a referral hospital for medical and surgical emergencies requiring hospital care.


title: Adolfo Suárez Madrid–Barajas Airport

text: In addition, the airport itself has medical rooms and medical personnel attached to the Airport Medical Service to cover transit passengers who need medical attention. It also has 75 Cardiac Rescue Points equipped with defibrillators in the event of cardiorespiratory arrest.


title: Adolfo Suárez Madrid–Barajas Airport

text: All terminals have clearly signed taxi ranks outside the arrivals area. Official taxis are white with a red stripe and have the Madrid City Council coat-of-arms on their doors.


title: Adolfo Suárez Madrid–Barajas Airport

text: The Madrid Metro Line connects the airport with city centre station Nuevos Ministerios in Madrid's financial district. The Barajas Line 8 provides a fast route from the underground stations at Terminal 2 (access to T1 and T3) and Terminal 4 into central Madrid. The metro also provides links to stations on the Spanish railway network.


title: Adolfo Suárez Madrid–Barajas Airport

text: In October 2006, a bid was launched for the construction of a Cercanías link between Chamartín Station and Terminal 4. Now finished, this single Cercanías Line (C-1) links Madrid Barajas Terminal 4, with Chamartín Station and Atocha AVE high-speed train stations. In June 2011 a decision was made to equip this link with dual gauge which will allow AVE high-speed trains to reach the airport station.


title: Adolfo Suárez Madrid–Barajas Airport

text: The Nuevos Ministerios metro station opened a satellite check-in center in 2002 right by the AZCA business area in central Madrid; the satellite check-in center was permanently closed in 2006 due to security concerns.


title: Adolfo Suárez Madrid–Barajas Airport

text: EMT (Madrid Municipal Transport Company) runs regular public bus services between the airport and Madrid (Avenida de América station): bus 200 runs as a complete line – dropping passengers at departures of terminals 1, 2 and 4 before collecting passengers in the reverse order at arrivals. The EMT public night bus service N4 (nicknamed "Buho", Owl) also services from Madrid downtown (Plaza Cibeles) to Barajas (Plaza de los Hermanos Falcó y Alvarez de Toledo, 400m from the airport through a passageway above the highway). EMT also have an express bus linking Barajas airport to Renfe's Atocha Station, the main rail station in Madrid, during day and Plaza Cibeles during night. Unlike the two services mentioned above, this line runs 24 hours of the day during all the days of the year.


title: Adolfo Suárez Madrid–Barajas Airport

text: CRTM (Consorcio Regional de Transportes de Madrid) runs four bus services between the airport and nearby cities in the metropolitan area:


title: Adolfo Suárez Madrid–Barajas Airport

text: From terminals T1 and T4 the bus company Avanzabus operates routes to Ávila, Castellón, Salamanca, Valencia and Zamora. From terminal T4 the Alsa bus company runs services to the cities of Zaragoza, Barcelona, Valladolid, León, Murcia, Alicante, Gijón, Oviedo, Lugo, Coruña, Santiago de Compostela, Burgos, Vitoria, San Sebastián, Santander, Bilbao, Logroño and Pamplona. From terminal T1 the Socibus company runs services to the major cities in Andalusia: Huelva, Córdoba, Cadiz, Jerez and Seville.


title: Adolfo Suárez Madrid–Barajas Airport

text: In early 2006, the first driverless transit system in Spain and the longest airport people mover system in Europe began transporting passengers between the new terminal (T4) and a new satellite terminal (T4S). Deploying the CITYFLO 550 automatic train control technology, the system is the only mode of transportation for passengers between the two terminals, which are spaced more than two kilometres apart. Bombardier became the only contractor for the completely underground shuttle system, including the construction of the civil works, operation and maintenance of the system.


title: Adolfo Suárez Madrid–Barajas Airport

text: Long- and short-term car parking is provided at the airport with seven public parking areas. P1 is an outdoor car park located in front of the terminal building; P2 is an indoor car park with direct access to terminals T2 and T3. A Parking 'Express' facility, available for short periods only, is located at Terminal 2 and dedicated long-term parking is also available with 1,655 spaces; a free shuttle operates between the long-stay car park and all terminals. There are also VIP car parks.


title: Sedentary lifestyle

text: Sedentary lifestyle is a lifestyle type, in which one is physically inactive and does little or no physical movement and or exercise. A person living a sedentary lifestyle is often sitting or lying down while engaged in an activity like socializing, watching TV, playing video games, reading or using a mobile phone or computer for much of the day. A sedentary lifestyle contributes to poor health quality, diseases as well as many preventable causes of death.


title: Sedentary lifestyle

text: Sitting time is a common measure of a sedentary lifestyle. A global review representing 47% of the global adult population found that the average person sits down for 4.7 to 6.5 hours a day with the average going up every year. The CDC found that 25.3% of all American adults are physically inactive.


title: Sedentary lifestyle

text: Screen time is a term for the amount of time a person spends looking at a screen such as a television, computer monitor, or mobile device. Excessive screen time is linked to negative health consequences.


title: Sedentary lifestyle

text: Sedentary behavior is not the same as physical inactivity: sedentary behavior is defined as "any waking behavior characterized by an energy expenditure less than or equal to 1.5 metabolic equivalents (METs), while in a sitting, reclining or lying posture". Spending most waking hours sitting does not necessarily mean that an individual is sedentary, though sitting and lying down most frequently are sedentary behaviors. Esmonde-White defines a sedentary lifestyle as a lifestyle that involves "longer than six hours a day" of sedentary behavior.


title: Sedentary lifestyle

text: Effects of a sedentary work life or lifestyle can be either direct or indirect. One of the most prominent direct effect of a sedentary lifestyle is an increased BMI leading to obesity. A lack of physical activity is one of the leading causes of preventable death worldwide.


title: Sedentary lifestyle

text: At least 300,000 premature deaths, and $90 billion in direct healthcare costs are caused by obesity and sedentary lifestyle per year in the US alone. The risk is higher among those that sit still more than per day. It is shown to be a risk factor on its own independent of hard exercise and BMI. People that sit still more than per day have a higher risk than those that sit fewer than per day. However, those that exercise at least per week are as healthy as those that sit fewer than per day.


title: Sedentary lifestyle

text: Indirectly, an increased BMI due to a sedentary lifestyle can lead to decreased productivity and increased absenteeism from necessary activities like work.


title: Sedentary lifestyle

text: Adults and children spend long amounts of time sitting in a workplace or at a school, which is why interventions have been focused in these two areas. Mass media campaigns might also be able to reduce the amount of time spent sitting or lying down and positively affect the intention to be active physically.


title: Sedentary lifestyle

text: Some evidence has been found of a negative association between exposure to an existing urban motorway and moderate to vigorous physical activity. The proportion of physically active individuals was higher in high- versus low-walkability neighborhoods. Rising rates of overweight, obesity, and physical inactivity in China's rapidly growing cities and urban populations have been due to urban development practices and policies.


title: Sedentary lifestyle

text: Occupational sedentary behaviour accounts for a significant proportion of sitting time for many adults. Some workplaces have implemented exercise classes at lunch, walking challenges among coworkers, or allowing employees to stand rather than sit at their desks during work. Workplace interventions such as alternative activity workstations, sit-stand desks, and promotion of stair use are among measures implemented to counter the harms of a sedentary workplace. A 2018 Cochrane review concluded that "At present there is low‐quality evidence that sit‐stand desks may reduce sitting at work in the first year of their use. However, the effects are likely to reduce with time. There is generally insufficient evidence to draw conclusions about such effects for other types of interventions and for the effectiveness of reducing workplace sitting over periods longer than one year."


title: Sedentary lifestyle

text: The majority of time children are in a classroom, they are seated (60% of the time). Children who regularly engage in physical activity are more likely to become healthy adults; children benefit both physically and mentally when they replace sedentary behavior with active behavior. Despite this knowledge and due in part to an increase in sedentary behaviors, children have 8 fewer hours of free play each week than they did 20 years ago.


title: Sedentary lifestyle

text: Several studies have examined the effects of adding height-adjustable standing desks to classrooms, which have reduced the time spent sitting. However, associating the reduction in sitting with health effects is challenging. In one study conducted on Australian school children, known as the Transform-Us! study, interventions reduced the amount of time children spent sitting in the classroom, which was associated with lower body mass index and waist circumference. The interventions used in the study included stand-up desks and easels, the use of timers, and sport and circus equipment in the classroom. Teachers also made lessons more active, and added breaks to lessons to promote active time. In the US, another intervention for children is promoting the use of active transportation to and from school, such as through the Safe Routes to School program.


title: Sedentary lifestyle

text: Over the last hundred years, there has been a large shift from manual labor jobs (e.g. farming, manufacturing, building) to office jobs which is due to many contributing factors including globalization, outsourcing of jobs and technological advances (specifically internet and computers). In 1960, there was a decline of jobs requiring moderate physical activity from 50% to 20%, and one in two Americans had a physically demanding job, while in 2011 this ratio was one in five. From 1990 to 2016, there was a decrease of about one third in manual labor jobs/employment. In 2008, the United States American National Health Interview Survey found that 36% of adults were inactive, and 59% of adult respondents never participated in vigorous physical activity lasting more than 10 minutes per week. According to a 2018 study, office based workers typically spend 70-85% sitting. In the US population, prevalence of sitting watching television or videos at least 2 h/d was high in 2015-2016 (ranging from 59% to 65%); the estimated prevalence of computer use outside school or work for at least 1 h/d increased from 2001 to 2016 (from 43% to 56% for children, from 53% to 57% among adolescents, and from 29% to 50% for adults); and estimated total sitting time increased from 2007 to 2016 (from 7.0 to 8.2 h/d among adolescents and from 5.5 to 6.4 h/d among adults).


title: The Man Who Sold the World (song)

text: "The Man Who Sold the World" is a song by English singer-songwriter David Bowie. The title track of Bowie's third studio album, it was released in November 1970 in the US and in April 1971 in the UK by Mercury Records. Produced by Tony Visconti, it was recorded at Trident and Advision Studios in London in May 1970, towards the end of the album's sessions; Bowie recorded his vocal on the final day of mixing for the album, reflecting his generally dismissive attitude during the sessions. Musically, it is based around a "circular" guitar riff from Mick Ronson. Its lyrics are cryptic and evocative, being inspired by numerous poems including the 1899 "Antigonish" by William Hughes Mearns. Bowie's vocals are heavily "phased" throughout and have been described as "haunting".


title: The Man Who Sold the World (song)

text: "The Man Who Sold the World" went relatively unnoticed upon initial release in 1970. It was not released as a single by Bowie, though appeared as a B-side on the 1973 reissues of "Space Oddity" in the US and "Life on Mars?" in the UK by RCA Records. It was not until it was covered by Scottish singer Lulu, whose 1974 recording, produced by Bowie and Ronson, peaked at No. 3 on the UK Singles Chart, that the song gained mainstream attention. In subsequent decades, the song has been covered by Scottish musician Midge Ure in 1982, and the American rock band Nirvana in 1993, whose performance of the song for the television programme "MTV Unplugged" introduced it to a new audience.


title: The Man Who Sold the World (song)

text: Retrospectively, Bowie's original recording has been named one of his best songs, with reviewers praising its haunting and unsettling atmosphere. Bowie performed the track live later in his career in different renditions than the original, including in a darker style during 1995's Outside Tour; a studio recording of the tour's arrangement appeared as a B-side of "Strangers When We Meet" in 1995. He again rerecorded the song in an acoustic arrangement in 1996 for the documentary "ChangesNowBowie"; this version was released in 2020 on the digital version of the EP "Is It Any Wonder?" and on the album "ChangesNowBowie". The original recording has appeared on multiple compilation albums and has been remastered multiple times, including in 2015 as part of the box set "Five Years (1969–1973)".


title: The Man Who Sold the World (song)

text: The backing track for "The Man Who Sold the World" was recorded at Trident Studios in London on 4 May 1970, along with other album track "Running Gun Blues". At this point, the track was recorded under the working title "Saviour Machine" and did not contain the title phrase. According to Kevin Cann, the lineup featured Bowie on acoustic guitar, Mick Ronson on electric guitar, producer Tony Visconti on bass, Woody Woodmansey on drums and percussion, and Ralph Mace on Moog synthesiser; Ronson and Woodmansey would later become famous as a part of the Spiders from Mars. According to Visconti, Bowie recorded his vocal on 22 May at Advision Studios, the final day of mixing for the album which, when traveling to Advision, Bowie had intended to name "Metrobolist", a homage to Fritz Lang's 1927 film "Metropolis". Chris O'Leary writes that Bowie wrote the lyrics in the reception area of the studio while Visconti waited at the mixing console. Once he finished, he quickly recorded his vocal, Visconti added a "flange" effect and mixed the track in a few hours, sending the tapes to the label later that night. Bowie's last-minute addition frustrated Visconti, who recalled in 1977: "This was the beginning of [Bowie's] new style of writing – 'I can't be bothered until I have to'. When it was finished, on the last day of the last mix, I remember telling David, 'I've had it, I can't work like this anymore – I'm through...David was very disappointed." This frustration was mostly due in part to his dissatisfaction with the recording sessions: he was mostly in charge of budget and production, as well as maintaining Bowie's interest in the project. Bowie later told BBC Radio 1's Stuart Grundy in 1976: "It was a nightmare, that album. I hated the actual process of making it."


title: The Man Who Sold the World (song)

text: Bowie's original recording is described by author Peter Doggett as "enigmatic", while Nicholas Pegg describes it as giving an "unassuming air of pathos and menace". Doggett notes that the track contains none of the "metallic theatrics" that are found on the rest of the album. Musically, the song opens with a repeating electric guitar riff from Ronson with an acoustic guitar from Bowie underneath it. (The electric bass and Moog synthesiser notwithstanding) O'Leary writes that apart from Ronson's electric guitar, the song is primarily acoustic. The chord structure is in the key of F with an A major chord "borrowed" from the D minor scale, similar to fellow album track "All the Madmen". Throughout the song, Visconti's bass "runs scales" under the chorus and a melody "elsewhere", Woodmansey plays "ecstatic" drum fills deep in the mix and Latin-style percussion "trembling" on the surface; Ronson uses feedback to introduce the chorus. Bowie's vocals are "heavily phased" during the verses and briefly doubled (which, in Bowie's words, "came as some surprise"), compressed and again double-tracked during the chorus. Douglas Wolk of "Rolling Stone" similarly calls Bowie's vocals and lyrics "haunting". Pegg describes the guiro percussion as "sinister", the guitar riff "circular" and Bowie's vocal "ghostly". The tracks ends with a coda, described by Doggett as a "haunting chorale" and by O'Leary as "ominous"; it contains wordless vocals and is primarily in D minor.


title: The Man Who Sold the World (song)

text: According to Doggett, the song's title has multiple "precursors": including a 1949 Robert A. Heinlein science fiction novella "The Man Who Sold the Moon"; a 1954 DC comic, "The Man Who Sold the Earth"; a 1968 Brazilian political satire, "The Man Who Bought the World". However, none have a thematic link to Bowie's song. Pegg suggests that the title partly reflects an element of "self-disgust" Bowie has over the thought of "losing control" and "selling" his private life via profoundly personal music.


title: The Man Who Sold the World (song)

text: The lyrics are noted as very cryptic and evocative; in Doggett's words, "begging but defying interpretation." Like most of his work during this period, Bowie frequently avoided giving a direct interpretation of the lyrics; he later remarked that he felt it was unfair to give it to Lulu in 1973 because it dealt with the "devils and angels" within himself (she later confessed she "had no idea what it meant"). Bowie once stated that the song was a sequel to "Space Oddity" which, in Doggett's words, is "an explanation designed to distract rather than enlighten", quoting the lyrics "Who knows? Not me". The song's narrator has an encounter with a kind of doppelgänger, as suggested in the second chorus where "I never lost control" is replaced with "We never lost control". Beyond this, the episode is unexplained: as James E. Perone wrote,


title: The Man Who Sold the World (song)

text: In common with a number of tracks on the album, the song's themes have been compared to the horror-fantasy works of H. P. Lovecraft. The lyrics are also cited as reflecting Bowie's concerns with family problems and splintered or multiple personalities and are believed to have been partially inspired by the poem "Antigonish" by William Hughes Mearns: "As I was going up the stair / I met a man who wasn't there / He wasn't there again today / I wish, I wish he'd stay away..." By claiming he "wasn't there", Bowie "compounds" the identity crisis while believing his companion "died alone, a long, long time ago." Pegg writes that the "defacement of the individual" and "dread of mortality" provide "grim counterparts" to the "immortal anguish" of fellow album track "The Supermen" and the meditations on "impermanence" and "rebirth" in "After All".


title: The Man Who Sold the World (song)

text: "The Man Who Sold the World" was released as the eighth and penultimate track on Bowie's third studio album of the same name in November 1970 in the US and in April 1971 in the UK by Mercury Records. Although no singles were issued from the album, the song appeared as the B-side on the 1973 reissue US single release of "Space Oddity" and UK single release of "Life on Mars?", both by RCA Records.


title: The Man Who Sold the World (song)

text: Retrospectively, Bowie's original recording has been named one of his best songs, with many praising the haunting and unsettling nature of the recording. Following Bowie's death in 2016, "Rolling Stone" listed the song as one of his 30 essential songs. The same year, "Ultimate Classic Rock", in their list of Bowie's ten best songs, listed "The Man Who Sold the World" at number 10, calling it "one of his most haunting songs of all time". They subsequently commended Lulu and Nirvana's cover versions for helping bring the song into the mainstream. In 2018, "NME", in their list of Bowie's 40 greatest songs, ranked "The Man Who Sold the World" number 17, writing, "[The track] is not just a vintage slice of Bowie story-telling but a key part in his '90s renaissance, 20 years later", due in part to Nirvana's cover, which appeared at a time when "Bowie's critical stock was at a career-low... coming after Bowie's late-'80s run of maligned albums." In 2020, Alexis Petridis of "The Guardian" ranked the song 23rd in a list of Bowie's 50 greatest songs, writing, "The title track of his eeriest album remains mysterious, creepy and haunting 50 years on."


title: The Man Who Sold the World (song)

text: Bowie's original recording of "The Man Who Sold the World" has been released on multiple compilation albums, including "The Best of David Bowie 1969/1974" (1997), "Best of Bowie" (2002), "Nothing Has Changed" (2014) and "Legacy" (2016). The song, along with its parent album, has been remastered multiple times, including in 2015 as part of the box set "Five Years (1969–1973)". Bowie performed the song on numerous occasions. He recorded the song for the American television programme "Saturday Night Live" in December 1979, with Klaus Nomi and Joey Arias. Pegg calls this version "superb". He performed the song during his summer 2000 tour, including at the BBC Radio Theatre in London and at the Glastonbury Festival. Performances from these venues have been released on "Bowie at the Beeb" (2000) and "Glastonbury 2000" (2018), respectively. A performance from the Reality Tour is featured on the live album "A Reality Tour" (2010).


title: The Man Who Sold the World (song)

text: The song has been covered by hundreds of artists, which many critics have noted has saved the song from falling into obscurity. Many have also noted that certain covers have managed to outshine the popularity of Bowie's original recording. The most popular covers include Scottish singer Lulu, whose version produced a UK top ten hit in 1974 and was produced by Bowie and Ronson, Scottish musician Midge Ure in 1982, whose cover of the song was featured in the 2015 video game "", and the American rock band Nirvana, whose 1993 performance of the song for the television program "MTV Unplugged" introduced it to a new audience. Speaking about Lulu's recording, Bowie recalled in 2002, "I still have a very soft spot for [Lulu's] version, though to have the same song covered by both Lulu and Nirvana still bemuses me to this day." AllMusic's Dave Thompson argues that the Lulu, Midge Ure and Nirvana recordings have managed to "establish the song at the very forefront of Bowie's canon." Pegg writes that the popularity of its covers have made listeners unaware that the song was written by Bowie. However, Alexis Petridis of "The Guardian" argues that although subsequent covers have tended to outshine Bowie's original in terms of popularity, none have ever matched the quality of the original.


title: The Man Who Sold the World (song)

text: Bowie re-recorded "The Man Who Sold the World" on multiple occasions. For performances on the Outside Tour, it was performed in what Pegg calls a "radical trip-hop revamp"; a studio recording of the song was recorded by Bowie and mixed by Brian Eno and appears as the B-side of the CD single "Strangers When We Meet" (1995) and on digital and physical versions of the EP "Is It Any Wonder?" (2020). Following mixing in late October 1995, Eno wrote in his diary, "It sounds completely contemporary. I added some backing vocals and a sonar blip and sculpted the piece a little so that there was more contour to it." Live versions of this version of the song from 1995 were released in 2020 as part of the concert albums "Ouvre le Chien (Live Dallas 95)" and "No Trendy Réchauffé (Live Birmingham 95)". In 2020, on what would have been Bowie's 73rd birthday, a previously unreleased acoustic version, recorded for the "ChangesNowBowie" documentary in 1996 during the "Earthling" sessions, was released. According to Jon Blistein of "Rolling Stone", this version has "a lighter touch, with that famous serpentine guitar riff slinking around a steady acoustic strum and slowly swelling synths." It features Gail Ann Dorsey on bass and vocals, Reeves Gabrels (whom Bowie collaborated with in the band Tin Machine) on guitar, and Mark Plati on keyboards and programming. This version was released on the digital version of the EP "Is It Any Wonder?" in February 2020 and on the album "ChangesNowBowie" in August 2020. Stephen Thomas Erlewine, writing for "Pitchfork", described the re-recording as "a nod to Nirvana popularising the song a few years earlier". A live version recorded in 1997 during Bowie's Earthling Tour was released in 2021 on the live album "Look at the Moon!"


title: The Man Who Sold the World (song)

text: The song was covered by the Scottish singer Lulu in 1974, who, according to biographer David Buckley, performed it in "a sleazy, almost Berlin cabaret style". O'Leary categorises her rendition as "glam-disco" and calls it "loud, captivating and distorting." Lulu would recall Bowie inviting her to a concert he gave after which he met her in his hotel room saying: "I want to make a MF of a record with you [because] you're a great singer." Lulu – "I didn't think it would happen but [Bowie] followed up two days later. He was übercool at the time and I just wanted to be led by him. I loved everything he did. I didn't think 'The Man Who Sold the World' was the greatest song for my voice, but it was such a strong song in itself. I had no idea what it was about. In the studio Bowie kept telling me to smoke more cigarettes, to give my voice a certain quality."


title: The Man Who Sold the World (song)

text: Regarding meeting her in the "Last Supper" at the Hotel Café Royal, Bowie later said, "We started talking about the possibility of working together. I was keen to get something fixed up, because I really have always thought that Lulu has incredible potential as a rock singer. I didn't think this potential had been fully realised...we decided on 'The Man Who Sold The World' as being most suitable." Bowie produced Lulu's recording of "The Man Who Sold the World" with Mick Ronson during the July 1973 "Pin Ups" sessions at the Château d'Hérouville in Hérouville, France and also contributed saxophone and backing vocals. The remainder of the band included Ronson on guitar, Trevor Bolder on bass, Mike Garson on piano, and Aynsley Dunbar on drums. Bowie added saxophone overdubs and oversaw the final mix at Olympic Studios in London during the "Diamond Dogs" sessions. According to O'Leary, Bowie had Lulu smoke cigarettes in between takes in order to "abrade" her voice.


title: The Man Who Sold the World (song)

text: Lulu's version of "The Man Who Sold the World" was released as a single on 11 January 1974 by Polydor Records (as 2001 490), with a cover Bowie's "Aladdin Sane" track "Watch That Man" as the B-side. She promoted her version with an appearance on the British television programme "Top of the Pops" on 10 January, in which she performed in a charcoal suit and gangster hat. According to Pegg, this outfit bore a "remarkable resemblance" to the wardrobe of Bowie's future persona the Thin White Duke. Neil Bartlett characterised her performances as "dressed and sounding exactly like a diminutive Bowie". Her performances helped the single peak at No. 3 on the UK Singles Chart, as well as No. 8 on the Irish Singles Chart, and No. 24 and 10 on the Belgian and Netherlands Singles Charts, respectively. O'Leary writes that the single charted higher than almost all of Bowie's 1970s singles and made his original recording "seem like a demo". Jack Whatley of "Far Out" magazine writes that while Nirvana's cover is "the stuff of legend", it is Lulu's version of the song that "has us spellbound from its first sleazy moments." He argues that she has the "perfect voice" for the track and calls the video a "seventies dream." He further calls her first "Top of the Pops" performance "stunning, arresting, and a silky smooth affair, filled with enough sleaze to make your weekend feel naughty it remains the best version of Bowie’s iconic song."


title: The Man Who Sold the World (song)

text: In his journals, Kurt Cobain of the American grunge band Nirvana ranked the album "The Man Who Sold the World" at number 45 in his top 50 favourite albums. Cobain and bassist Krist Novoselic were introduced to "The Man Who Sold the World" by one of their drummers Chad Channing, who bought a used LP version and converted it to cassette. Cobain found great interest in the title track and was surprised to learn it was by Bowie. Nirvana subsequently recorded a live rendition of the song during their "MTV Unplugged" appearance at Sony Music Studios in New York City on 18 November 1993 and included it on their "MTV Unplugged in New York" album the following year. The song was also released as a promotional single for the album in 1995. O'Leary notes that rather than play acoustic versions of their more popular songs, such as "Smells Like Teen Spirit", the band instead opted for relatively obscure cover versions, including "The Man Who Sold the World", which at the time, was considered a Bowie outtake by MTV standards.


title: The Man Who Sold the World (song)

text: For their performance, Cobain ran his acoustic guitar through a fuzz box that he could trigger with a pedal, allowing the guitar to sound electric. Nirvana's cover received considerable airplay on alternative rock radio stations and was also placed into heavy rotation on MTV, peaking at number 3 on MTV's most played videos on 18 February 1995; it also peaked for two weeks at number 7 on Canada's "MuchMusic Countdown" in March 1995. Nirvana regularly covered the song during live sets after their "MTV Unplugged" performance up until Cobain's death in 1994. Following Cobain's death, O'Leary states that the group's performance of "The Man Who Sold the World" became Cobain's "ghost song". In 2002, the song was re-released on Nirvana's self-titled "best of" compilation. Douglas Wolk of "Pitchfork" argues that the song "didn't really become a standard" until Nirvana covered it.


title: The Man Who Sold the World (song)

text: Brian Kay of "Classic Rock History" called their performance of the song "haunting" and "mesmerising". He writes, "Cobain's haunting vocals overtook and descended the Bowie lyric into an arena of darkness and hallucination that seemed to be Bowie's original intent. [The presence of the Meat Puppets' Cris and Curt Kirkwood], along with Cobain's lyrical phrasing and gritty yet humbling resonance, left the audience spellbound." Stephen Thomas Erlewine of AllMusic, in his review of "MTV Unplugged in New York", wrote: "No other band could have offered covers of David Bowie's "The Man Who Sold the World" and the folk standard "Where Did You Sleep Last Night" on the same record, turning in chilling performances of both – performances that reveal as much as their original songs."


title: The Man Who Sold the World (song)

text: Bowie said of Nirvana's cover: "I was simply blown away when I found that Kurt Cobain liked my work, and have always wanted to talk to him about his reasons for covering 'The Man Who Sold the World and that "it was a good straight forward rendition and sounded somehow very honest. It would have been nice to have worked with him, but just talking with him would have been real cool." Bowie called Nirvana's cover "heartfelt", noting that "until this [cover], it hadn't occurred to me that I was part of America's musical landscape. I always felt my weight in Europe, but not [in the US]." In the wake of its release, Bowie bemoaned the fact that when he performed the number himself, he would encounter "kids that come up afterwards and say, 'It's cool you're doing a Nirvana song.' And I think, 'Fuck you, you little tosser! "Rolling Stone" added: "If the mark of a good cover is that people do not even realise it's a cover, Nirvana certainly did a good job" and that "The song also took on new meaning after Cobain died. This was a man with the world at his finger tips, and he gave it all up". The magazine ranked Nirvana's version number one in a reader's poll of the greatest live cover songs.


title: The Man Who Sold the World (song)

text: At a pre–Grammy Awards party on 14 February 2016, surviving Nirvana band members Krist Novoselic, Dave Grohl, and Pat Smear teamed up with contemporary Beck to perform "The Man Who Sold the World" in tribute to Bowie–who had died the month before—with Beck performing vocals. To mark what would have been Kurt Cobain's 50th birthday, in 2017 the Phonographic Performance Limited released a list of the twenty most-played Nirvana songs on TV and radio in the UK; "The Man Who Sold the World" ranked at number six.


title: The Man Who Sold the World (song)

text: In 2013, an electric guitar version appeared on Nirvana's "Live and Loud" video album, which was also released digitally and on vinyl in 2019. Later the same year, a rehearsal performance for their "MTV Unplugged" set was released on the 25th anniversary digital and vinyl editions of the album, and had only previously been available on the DVD version that was released in 2007. On 4 January 2020, the surviving members of Nirvana again teamed up with Beck on vocals and St. Vincent on guitar to perform the song at a charity event for The Art of Elysium's annual Heaven gala.


title: Basketball (ball)

text: A basketball is a spherical ball used in basketball games. Basketballs usually range in size from very small promotional items that are only a few inches (some centimeters) in diameter to extra large balls nearly in diameter used in training exercises. For example, a youth basketball could be in circumference, while a National Collegiate Athletic Association (NCAA) men's ball would be a maximum of and an NCAA women's ball would be a maximum of . The standard for a basketball in the National Basketball Association (NBA) is in circumference and for the Women's National Basketball Association (WNBA), a maximum circumference of . High school and junior leagues normally use NCAA, NBA or WNBA sized balls.


title: Basketball (ball)

text: Aside from the court and the baskets, the basketball is the only piece of equipment necessary to play the game of basketball. During the game, the ball must be bounced continuously (dribbling), thrown through the air to other players (passing) or thrown towards the basket (shooting). Therefore, the ball must be very durable and easy to hold on to. The ball is also used to perform tricks (sometimes called freestyling), the most common of which are spinning the ball on the tip of one's index finger, dribbling in complex patterns, rolling the ball over one's shoulder, or performing aerobatic maneuvers with the ball while executing a slam dunk, most notably in the context of a slam dunk contest.


title: Basketball (ball)

text: Nearly all basketballs have an inflatable inner rubber bladder, generally wrapped in layers of fiber and then covered with a surface made either from leather (traditional), rubber, or a synthetic composite. As in most inflatable balls, there is a small opening that allows the pressure to be increased or decreased.


title: Basketball (ball)

text: The surface of the ball is nearly always divided by "ribs" that are recessed below the surface of the ball in a variety of configurations and are generally a contrasting color. An orangish surface with black ribs and a possible logo is the traditional color scheme of basketballs but they are sold in various colors. Most famous of these variations, a red/white/blue basketball, was used for the American Basketball Association, the Harlem Globetrotters, and as the "money ball" in the NBA All-Star Weekend's Three Point Contest.


title: Basketball (ball)

text: Balls are generally designated for indoor (generally made of leather or absorbent composites), or all-surface use (generally made of rubber or durable composites, also known as indoor/outdoor balls). Indoor balls tend to be more expensive than all-surface balls due to the cost of materials. In addition, brand new all-leather indoor balls must be "broken in" first to achieve optimal grip before use in competition. The abrasiveness of asphalt and the dirt and moisture present in an outdoor setting will usually ruin an indoor ball within a very short period of time, which is why an indoor/outdoor ball is recommended for recreational players. Outdoor balls are commonly made from rubber to cope with rougher conditions, and they need to be filled with more air to retain a suitable level of air pressure in colder weather.


title: Basketball (ball)

text: Note that the ball used for all competitions (men's, women's, and mixed) in the formalized halfcourt game of 3x3 combines characteristics of the size 6 and size 7 balls. Its circumference is that of a size 6 ball, but its weight is that of a size 7.


title: Basketball (ball)

text: In early December 1891, the chairman of the physical education department at the School for Christian Workers (now Springfield College) in Springfield, Massachusetts, instructed physical education teacher James Naismith, to invent a new game to entertain the school's athletes in the winter season. Naismith assembled his class of 18 young men, appointed captains of two nine-player teams, and set in motion the first-ever basketball game, played with a soccer ball and two peach baskets tacked to either end of the gymnasium.


title: Basketball (ball)

text: The first purpose-built basketballs were made from panels of leather stitched together with a rubber bladder inside. A cloth lining was added to the leather for support and uniformity. A molded version of the early basketball was invented in 1942. For many years, leather was the material of choice for basketball coverings, however, in the late 1990s, synthetic composite materials were put forth and have rapidly gained acceptance in most leagues, although the NBA's game balls still use real leather (outside of a brief experiment with a microfiber composite ball in 2006 that was not well received).


title: Basketball (ball)

text: From 1967 through 1976, the American Basketball Association (ABA) used a distinctive red, white and blue basketball that is still seen from time to time.


title: Peer Gynt

text: Peer Gynt (, ) is a five-act play in verse by the Norwegian dramatist Henrik Ibsen published in 1876. Written in Norwegian, it is one of the most widely performed Norwegian plays. Ibsen believed "Per Gynt", the Norwegian fairy tale on which the play is loosely based, to be rooted in fact, and several of the characters are modelled after Ibsen's own family, notably his parents Knud Ibsen and Marichen Altenburg. He was also generally inspired by Peter Christen Asbjørnsen's collection of Norwegian fairy tales, published in 1845 ("Huldre-Eventyr og Folkesagn").


title: Peer Gynt

text: "Peer Gynt" chronicles the journey of its title character from the Norwegian mountains to the North African desert and back. According to Klaus Van Den Berg, "its origins are romantic, but the play also anticipates the fragmentations of emerging modernism" and the "cinematic script blends poetry with social satire and realistic scenes with surreal ones." "Peer Gynt" has also been described as the story of a life based on procrastination and avoidance. The play was written in Italy and a first edition of 1,250 copies was published on 14 November 1867 by the Danish publisher Gyldendal in Copenhagen. Although the first edition swiftly sold out, a reprint of two thousand copies, which followed after only fourteen days, did not sell out until seven years later.