title: Uniforms of the United States Air Force

text: Tan summer service dress uniforms for officers, nicknamed "silver-tans" for the sheen of their Shade 193 color, saw use into the mid 1960s, while a brief-lived enlisted version which included a cotton bush jacket was introduced in 1956 and discontinued in 1965. Tan short-sleeve cotton shirts and trousers for males, known as 1505s after their shade, continued in use until the early 1970s, while females wore light-blue combinations. In the early 1970s, a version of the blue service uniform with a short-sleeve shirt replaced these, as the blue uniforms became the single form of service dress.


title: Uniforms of the United States Air Force

text: A short-lived "ceremonial blue" uniform and "ceremonial white" uniform was also implemented in the mid-1980s and discontinued by 1 August 1994 and 1 March 1993 respectively. Mandatory for field grade officers and above, the blue version was identical to the blue service uniform with the exception of silver metallic sleeve braid replacing the dark blue mohair sleeve braid and hard "shoulder board" insignia from the officer's mess dress uniform worn in lieu of large metal rank insignia. The white uniform was identical in cut and style to the blue version and also incorporated the metallic sleeve braid and shoulder board rank insignia.


title: Uniforms of the United States Air Force

text: In 1993, then Air Force Chief of Staff, Merrill McPeak introduced a new three-button service coat which featured no epaulets and silver sleeve braid loops on the lower sleeves denoting officer rank ("see also: United States Air Force officer rank insignia"). This style of rank insignia for officers, while used by British Royal Air Force officers and other air forces inspired by their uniforms, was unpopular and many senior Air Force generals commented that the uniforms of the Air Force now looked identical to those of commercial airline pilots. Epaulettes were put back on the coat for metal officer rank insignia and blue braiding returned to the bottom of the sleeves, in the style of the previous four-button, four-pocket coat worn prior to the adoption of the three-button coat. , this remains the coat used as part of the service dress blue uniform.


title: Uniforms of the United States Air Force

text: On 18 May 2006 the Department of the Air Force unveiled two prototypes of new service dress uniforms, one resembling the stand-collar uniform worn by U.S. Army Air Corps officers prior to 1935, called the "Billy Mitchell heritage coat," and another, resembling the U.S. Army Air Forces' Uniform of World War II and named the "Hap Arnold heritage coat". In 2007, Air Force officials announced they had settled on the "Hap Arnold" look, with a belted suit coat. However, in 2009, General Norton Schwartz, the new Chief of Staff of the Air Force, directed that "no further effort be made on the [Hap Arnold] Heritage Coat" so that the focus would remain on near-term uniform needs. While the evaluation results of the heritage coat would be made available to the Air Force's leaders should they decide to implement the uniform change, the uniform overhaul is currently on hold indefinitely.


title: Uniforms of the United States Air Force

text: U.S. Air Force combat uniforms have continuously evolved since the Air Force became an independent service in 1947. Until the late 2000s, USAF combat uniforms were the same as those of the U.S. Army, with the exception of unique USAF insignia. The fatigue uniform differed from its Army counterpart with white lettering on an ultramarine blue background for "U.S. AIR FORCE" and last name tapes above the pockets, white-collar rank insignia on a blue background for officers (with the exception of yellow thread replicating gold for rank insignia for 2nd Lieutenants and Majors) and blue and white sleeve rank insignia for enlisted, a full color patch of the major command worn on the right pocket, and a blue belt.


title: Uniforms of the United States Air Force

text: As the Army transitioned to black and brown subdued insignia on a green background on their combat uniforms in the late 1960s and 1970s, the Air Force effected a similar transition to subdued insignia in the 1980s, transitioning to blue or brown on a green background and with subdued major command patches also employing subdued reds and black.


title: Uniforms of the United States Air Force

text: In the 1980s and 1990s, as the Army increasingly transitioned to the Battle Dress Uniform (BDU) in woodland camouflage, the Air Force also followed suit, retaining the USAF versions of the subdued cloth insignia of the previous utility uniform. As the Army began using the first version of the Desert Camouflage Uniform (DCU) at the time of the first Gulf War in 1990, so did the Air Force, followed by its replacement the second iteration of the DCU worn by all branches of the U.S. Armed Forces from the mid-1990s through 2011. In the case of the Air Force, subdued brown insignia on a tan background was worn on the DCU, with the exception of black officer rank insignia for 1st Lieutenants and Lieutenant Colonels.


title: Uniforms of the United States Air Force

text: The Airman Battle Uniform (ABU) replaced the BDU as a general fatigue uniform, the latter having been discontinued after 31 October 2011. The ABU was issued to Airmen deploying as part of Air Expeditionary Force 7 and Air Expeditionary Force 8 in Spring 2007. In October 2007, ABUs were issued to enlisted Basic Trainees at the Basic Military Training School (BMTS) at Lackland AFB, Texas, and became available for purchase at AAFES outlets by the rest of the Air Force in June 2008.


title: Uniforms of the United States Air Force

text: Due to its lack of flame resistance, the ABU is no longer considered an appropriate uniform for combat duty. Beginning in August 2010, the Air Force began to issue Operation Enduring Freedom Camouflage Pattern uniforms for Air Force personnel deploying in support of that operation. These were succeeded by the Air Force-wide adoption in 2018 of the Operational Camouflage Pattern (OCP) uniform also used by the Army.


title: Uniforms of the United States Air Force

text: The current U.S. Air Force Service Dress Uniform, which was initially adopted in 1994 and made mandatory on 1 October 1999, consists of a three-button coat with silver-colored buttons featuring a design known as "Hap Arnold wings", matching trousers (women may choose to wear a matching skirt), and either a peaked service cap or flight cap, all in Shade 1620, also known as "Air Force Blue". This is worn with a light blue (Shade 1550) shirt (for men) or blouse (for women) and a necktie (for men) or neck tab (for women) in shade 1620. Silver mirror-finish "U.S." pins are worn on the lapels. Officers' coats have epaulets (shoulder straps), which are not present on enlisted airmen's coats.


title: Uniforms of the United States Air Force

text: Enlisted airmen wear cloth rank insignia on both sleeves of the jacket and shirt, while officers wear metal rank insignia pinned onto the shoulder straps of the coat, and Air Force Blue slide-on loops ("soft rank" shoulder insignia) on the straps of the shirt. Officers also wear a band of dark blue cloth sleeve braid loops 3 inches from the cuffs of the sleeves of the coat. General officers wear a 1½ inch wide braid while officers in the rank of colonel and below wear a ½ inch wide braid.


title: Uniforms of the United States Air Force

text: While the full "Class A" configuration of the service dress uniform includes the coat, for daily duty, particularly in warm weather climates, USAF personnel will typically wear the light blue shirt or blouse as an outer garment, with or without a tie or neck tab, with applicable rank insignia, speciality badges and a blue plastic name tag (ribbons are optional). A variety of alternate outer garments are also authorized for this uniform combination such as blue pullover sweater, blue cardigan sweater, lightweight blue jacket, or brown leather A-2 flight jacket (flight jacket wear is limited to aeronautically rated officers, enlisted aircrew, and officer and enlisted missile operations personnel only).


title: Uniforms of the United States Air Force

text: The Mess dress uniform is worn to formal or semi-formal occasions such as dinings-in and dinings-out, the annual Air Force Ball, weddings and other formal functions where civilian "black tie" would be prescribed. The current mess dress uniform in use since the early/mid-1980s consists of a dark blue mess jacket and mess dress trousers for males and a similar color evening-length skirt for females; as of August 2020, females have the option to wear mess dress trousers. The jacket features ornate silver buttons, and is worn with the service member's awarded medals in miniature size, wings in miniature size, or other specialty insignia over the left breast, command insignia over the right breast for colonels and below (if applicable), satin air force blue bow-tie for males or tab for females, and a satin air force blue cummerbund. Cufflinks can be either shined or flat round silver or have the air force star and wing emblem. Dark blue suspenders may also be worn, but remain hidden while the jacket is on. Commissioned officers, USAFA and AFROTC cadets, and OTS officer trainees wear hard shoulder boards similar to those worn by commissioned officers of the U.S. Navy. Commissioned officer shoulder boards for colonels and below feature an officer's rank insignia in raised metallic thread, bordered by two silver vertical metallic stripes similar to sleeve braid. General officers wear shoulder boards covered nearly the entire length and width in a silver metallic braid, with silver stars in a raised metallic thread in number appropriate to their rank. Enlisted personnel typically wear the same large rank insignia that they would wear on their service dress coats. Officers also wear a single silver metallic sleeve braid on the lower sleeves of the Mess Dress coat, with sleeve braid coming in two widths, in a 1/2 inch width for colonel and below, and in a 3/4 inch width for Brigadier General and above. Enlisted personnel normally wear no sleeve braid. No hat or nametag is worn with the Air Force Mess Dress Uniform.


title: Uniforms of the United States Air Force

text: Until the early 1980s, this uniform differed from the current version, previously consisting of separate mess jackets, a white mess jacket worn in spring and summer and a black mess jacket worn in fall and winter, combined with black trousers and ties for males and an options of a black cocktail length or black evening-length skirt for females. Black cummerbunds for males and females and white and black service hats for males were also prescribed, although wear of these hats was often optional.


title: Uniforms of the United States Air Force

text: On 14 May 2018, the U.S. Air Force announced that all airmen will transition to the Army Combat Uniform in Operation Camouflage Pattern (OCP), which the Air Force refers to by the latter term. All airmen were allowed to wear OCPs beginning on 1 October 2018, and the wear out date for the ABU was 1 April 2021.


title: Uniforms of the United States Air Force

text: Pilots, navigators/combat systems officers, aircrews, remotely piloted aircraft (RPA) crews, and missile crews continue to wear olive green or desert tan one-piece flight suits, or the two-piece OCP pattern flight suit. All three are made of Nomex for fire protection when performing or in direct support of flying or missile duties, or when otherwise prescribed. The one piece flight suits are required for any aircrew position in which ejection seats are used. Aircrew not in an ejection seat and ground based crews, like RPA and missile crews, may wear either the two or one piece flight suits.


title: Uniforms of the United States Air Force

text: The black leather boots and sage or green suede boots previously worn were discontinued with the phase out of the BDU and ABU respectively. All personnel now wear the coyote brown suede boots with all combat uniforms authorized.


title: Uniforms of the United States Air Force

text: The Air Force Physical Training Uniform (AFPTU), first released on 1 October 2006, consists of shorts, short-sleeve and long-sleeve T-shirts, jackets, and pants. The shorts are AF blue with silver reflective stripes on the legs, a key pocket attached to the inner liner and an ID pocket on the outside of the lower right leg. The T-shirts are light grey with moisture-wicking fabric with reflective Air Force logos on the upper left portion of the chest and across the back. The jacket is blue with white piping and a reflective inverted chevron across the chest and back. The pants are blue with silver reflective stripes on the lower legs. At one point, the jacket and pants were redesigned with a lighter, quieter material that didn't make noise with movement. A line of commercially manufactured running shorts is also authorized for wear.


title: Uniforms of the United States Air Force

text: U.S. Air Force uniform regulations authorize personnel assigned to public duties, and some other, units to wear "distinctive uniforms," a similar concept to the "special ceremonial units" identified in U.S. Army uniform regulations.


title: Uniforms of the United States Air Force

text: Personnel assigned to the United States Air Force Band, the United States Air Force Academy Band, and regional bands of the U.S. Air Force wear the ceremonial band tunic: a blue coat with a standing collar, silver piping on the shoulder straps and front opening, and silver braid on the sleeve cuffs, worn with trousers with silver braid on the outer leg. As with other United States military bands, drum-majors may replace the blue peaked hat with a bearskin helmet, and add a baldric with campaign ribbons.


title: Uniforms of the United States Air Force

text: The Air Force Chief of Staff and the Chief Master Sergeant of the Air Force are authorized to wear a special ceremonial uniform consisting of a stand-collar coat and braided trousers similar to the ceremonial band uniform, with the addition of a silver braid trimmed belt. Each uniform costs $700 with the wearer required to personally pay for purchase. This uniform was worn on 10 August 2012 at the ceremony in which Gen. Mark Welsh III succeeded Gen. Norton Schwartz as the 20th Air Force Chief of Staff, but was not used for the subsequent ceremonies of Gen. David L. Goldfein and General Charles Q. Brown.


title: Uniforms of the United States Air Force

text: The U.S. Air Force "Equestrian Competition Service Dress Configuration" is a special uniform authorized for wear during formal dressage events sponsored by the United States Equestrian Federation. The equestrian uniform is similar to service dress, but features white riding breeches in lieu of blue trousers. Black gloves, a black helmet, and black riding boots with silver spurs are also worn.


title: Uniforms of the United States Air Force

text: The U.S. Air Force Drill Team, a special demonstration performance unit, as well as base honor guards, and the USAF marching unit, wear the distinctive honor guard uniform. Modeled on the service uniform, the honor guard uniform adds a silver-braided belt, silver aiguillette, white cotton gloves, and white ascot. Large medals are worn in lieu of ribbons. "Ceremonial headgear" consists of a blue peaked hat with polished black visor.


title: Uniforms of the United States Air Force

text: Bandsmen, recruiters, chaplains, and fitness center staff are permitted to wear the Air Force "informal uniform" while on duty. This civilian business casual–style dress consists of an Air Force blue polo shirt with embroidered emblem, khaki trousers, and solid black athletic shoes.


title: Uniforms of the United States Air Force

text: Prospective commissioned officers in a pre-commissioning status, for example, U.S. Air Force Academy cadets wear slide-on cadet or officer trainee "soft rank" insignia on their shirts and hard "shoulder boards" (similar to commissioned officer mess dress shoulder board insignia) on their service dress coats, again with cadet or officer trainee rank insignia. College and university AFROTC cadets and OTS officer trainees will also wear the soft ranks on their shirts, but will also wear on the service coat. The hard ranks are only worn on the Mess Dress uniform for ROTC or OTS cadets. The typical headgear for all is a flight cap with medium density silver metallic thread piping and the prop & wings insignia for cadets who successfully complete recognition (USAFA), Field Training (ROTC), or the first half of OTS in place of the traditional officer insignia.


title: Uniforms of the United States Air Force

text: Cadets at the United States Air Force Academy are also authorized a unique, institutionally-authorized parade dress uniform consisting of blue-grey shell jackets worn with a white belt (gold or platinum waist sash for seniors), white trousers, and white peaked hats. The cadet parade uniform was designed by Hollywood film director Cecil B. DeMille, who received the Secretary of Defense Exceptional Civilian Service Award for his work on the academy's uniforms.


title: Uniforms of the United States Air Force

text: The cadet parade dress uniform was modified beginning with the graduation of the class of 2020. First class (senior) cadets commissioning into the Space Force wear a platinum sash instead of the gold sash during their graduations.


title: Uniforms of the United States Air Force

text: As with the U.S. Army and U.S. Marine Corps, drill instructors in the U.S. Air Force—known as Military Training Instructors—are authorized to wear a campaign hat. The Air Force campaign hat is navy blue and features the Great Seal of the United States within a silver ring.


title: Uniforms of the United States Air Force

text: In 1950, US Air Force (USAF) General S. D. "Rosie" Grubbs began organizing an Air Force Pipe Band, as part of the USAF Drum and Bugle Corps. The United States Air Force Pipe Band was organized as an independent band in 1960 under Colonel George Howard. Standardized wear of Highland dress, including sporran and Mitchell Tartan kilt, in honor of General William "Billy" Mitchell, was authorized by General Curtis LeMay. The pipe band was disbanded in early 1970, but wear of the official Active Duty Mitchell tartan (also known as the Hunter, Galbraith, Russell, or Milwaukee County) has been used since by U.S. Air Force Heritage Band Celtic Ensembles.


title: Uniforms of the United States Air Force

text: In 1961 the US Air Force Reserve (USAFR) organized a pipe band, due in part to the popularity of the USAF Pipe Band. The modern U.S. Air Force Reserve tartan was authorized and approved in 2001, however, the previously used "Lady Jane" tartan was adopted from the Strathmore Woollen Company in 1987. The Band of the Air Force Reserve Pipe Band, wears highland dress, including kilt and sporran. The band of the United States Air Force Reserve had one of the last U.S. military service pipe bands and closed down in 2013 due to sequestration. One piper is assigned to the United States Air Force Band in DC and a few other pipers still perform at official ceremonies across the Air Force.


title: Tensile testing

text: Tensile testing, also known as tension testing, is a fundamental materials science and engineering test in which a sample is subjected to a controlled tension until failure. Properties that are directly measured via a tensile test are ultimate tensile strength, breaking strength, maximum elongation and reduction in area. From these measurements the following properties can also be determined: Young's modulus, Poisson's ratio, yield strength, and strain-hardening characteristics. "Uniaxial tensile testing" is the most commonly used for obtaining the mechanical characteristics of isotropic materials. Some materials use biaxial tensile testing. The main difference between these testing machines being how load is applied on the materials.


title: Tensile testing

text: The preparation of test specimens depends on the purposes of testing and on the governing test method or specification. A tensile specimen usually has a standardized sample cross-section. It has two shoulders and a gauge (section) in between. The shoulders and grip section are generally larger than the gauge section by 33% so they can be easily gripped. The gauge section's smaller diameter also allows the deformation and failure to occur in this area.


title: Tensile testing

text: The shoulders of the test specimen can be manufactured in various ways to mate to various grips in the testing machine (see the image below). Each system has advantages and disadvantages; for example, shoulders designed for serrated grips are easy and cheap to manufacture, but the alignment of the specimen is dependent on the skill of the technician. On the other hand, a pinned grip assures good alignment. Threaded shoulders and grips also assure good alignment, but the technician must know to thread each shoulder into the grip at least one diameter's length, otherwise the threads can strip before the specimen fractures.


title: Tensile testing

text: In large castings and forgings it is common to add extra material, which is designed to be removed from the casting so that test specimens can be made from it. These specimens may not be exact representation of the whole workpiece because the grain structure may be different throughout. In smaller workpieces or when critical parts of the casting must be tested, a workpiece may be sacrificed to make the test specimens. For workpieces that are machined from bar stock, the test specimen can be made from the same piece as the bar stock.


title: Tensile testing

text: For soft and porous materials, like electrospun nonwovens made of nanofibers, the specimen is usually a sample strip supported by a paper frame to favour its mounting on the machine and to avoid membrane damaging.


title: Tensile testing

text: The repeatability of a testing machine can be found by using special test specimens meticulously made to be as similar as possible.


title: Tensile testing

text: A standard specimen is prepared in a round or a square section along the gauge length, depending on the standard used. Both ends of the


title: Tensile testing

text: during testing. The initial gauge length Lo is standardized (in several countries) and varies with the


title: Tensile testing

text: Tensile testing is most often carried out at a material testing laboratory. The ASTM D638 is among the most common tensile testing protocols. The ASTM D638 measures plastics tensile properties including ultimate tensile strength, yield strength, elongation and Poisson's ratio.


title: Tensile testing

text: The most common testing machine used in tensile testing is the "universal testing machine". This type of machine has two "crossheads"; one is adjusted for the length of the specimen and the other is driven to apply tension to the test specimen. There are two types: hydraulic powered and electromagnetically powered machines.


title: Tensile testing

text: The electromechanical machine uses an electric motor, gear reduction system and one, two or four screws to move the crosshead up or down. A range of crosshead speeds can be achieved by changing the speed of the motor. The speed of the crosshead, and consequently the load rate, can be controlled by a microprocessor in the closed-loop servo controller. A hydraulic testing machine uses either a single- or dual-acting piston to move the crosshead up or down. Manually operated testing systems are also available. Manual configurations require the operator to adjust a needle valve in order to control the load rate. A general comparison shows that the electromechanical machine is capable of a wide range of test speeds and long crosshead displacements, whereas the hydraulic machine is a cost-effective solution for generating high forces.


title: Tensile testing

text: The machine must have the proper capabilities for the test specimen being tested. There are four main parameters: force capacity, speed, precision and accuracy. Force capacity refers to the fact that the machine must be able to generate enough force to fracture the specimen. The machine must be able to apply the force quickly or slowly enough to properly mimic the actual application. Finally, the machine must be able to accurately and precisely measure the gauge length and forces applied; for instance, a large machine that is designed to measure long elongations may not work with a brittle material that experiences short elongations prior to fracturing.


title: Tensile testing

text: Alignment of the test specimen in the testing machine is critical, because if the specimen is misaligned, either at an angle or offset to one side, the machine will exert a bending force on the specimen. This is especially bad for brittle materials, because it will dramatically skew the results. This situation can be minimized by using spherical seats or U-joints between the grips and the test machine. If the initial portion of the stress–strain curve is curved and not linear, it indicates the specimen is misaligned in the testing machine.


title: Tensile testing

text: The strain measurements are most commonly measured with an extensometer, but strain gauges are also frequently used on small test specimen or when Poisson's ratio is being measured. Newer test machines have digital time, force, and elongation measurement systems consisting of electronic sensors connected to a data collection device (often a computer) and software to manipulate and output the data. However, analog machines continue to meet and exceed ASTM, NIST, and ASM metal tensile testing accuracy requirements, continuing to be used today.


title: Tensile testing

text: The test process involves placing the test specimen in the testing machine and slowly extending it until it fractures. During this process, the elongation of the gauge section is recorded against the applied force. The data is manipulated so that it is not specific to the geometry of the test sample. The elongation measurement is used to calculate the "engineering strain", "ε", using the following equation:


title: Tensile testing

text: where Δ"L" is the change in gauge length, "L" is the initial gauge length, and "L" is the final length. The force measurement is used to calculate the "engineering stress", σ, using the following equation:


title: Tensile testing

text: where F is the tensile force and A is the nominal cross-section of the specimen. The machine does these calculations as the force increases, so that the data points can be graphed into a "stress–strain curve".


title: Tensile testing

text: When dealing with porous and soft materials, as electrospun nanofibrous membranes, the application of the above stress formula is problematic. The membrane thickness, indeed, is dependent on the pressure applied during its measurement, leading to variable thicknesses value. As a consequence, the obtained stress-strain curves show high variability. In this case, the normalization of load with respect to the specimen mass instead of the cross-section area (A) is recommended to obtain reliable tensile results.


title: Tensile testing

text: Tensile testing can be used to test creep in materials, a slow plastic deformation of the material from constant applied stresses over extended periods of time. Creep is generally aided by diffusion and dislocation movement. While there are many ways to test creep, tensile testing is useful for materials such as concrete and ceramics that behave differently in tension and compression, and thus possess different tensile and compressive creep rates. As such, understanding the tensile creep is important in the design of concrete for structures that experience tension, such as water holding containers, or for general structural integrity.


title: Tensile testing

text: Tensile testing of creep generally follows the same testing process as standard testing albeit generally at lower stresses to remain in the creep domain rather than plastic deformation. Additionally, specialized tensile creep testing equipment may include incorporated high temperature furnace components to aid diffusion. The sample is held at constant temperature and tension, and strain on the material is measured using strain gauges or laser gauges. The measured strain can be fitted with equations governing different mechanisms of creep, such as power law creep or diffusion creep (see creep for more information). Further analysis can be obtained from examining the sample post fracture. Understanding the creep mechanism and rate be able to aid materials selection and design.


title: Tensile testing

text: It is important to note that sample alignment is important for tensile testing creep. Off centered loading will result in a bending stress being applied to the sample. Bending can be measured by tracking strain on all sides of the sample. The percent bending can then be defined as the difference between strain on one face (formula_3) and the average strain (formula_4):


title: Tensile testing

text: Percent bending should be under 1% on the wider face of loaded samples, and under 2% on the thinner face. Bending can caused by misalignment on the loading clamp and asymmetric machining of samples.


title: I Robot (album)

text: I Robot is the second studio album by British rock band The Alan Parsons Project, released on 8 July 1977 by Arista Records. The album draws conceptually on author Isaac Asimov's science fiction "Robot" stories, exploring philosophical themes regarding artificial intelligence. It was re-released on vinyl and cassette tape in 1984 and on CD in 2007.


title: I Robot (album)

text: The album was intended to be based on the "I, Robot" stories written by Asimov, and Eric Woolfson spoke with Asimov himself, who was enthusiastic about the idea. As the rights already had been granted to a TV/movie company, the album's title was altered slightly by removing the comma in "I,", and the theme and lyrics were made to be more generically about robots rather than to be specific to the Asimov universe. The cover inlay reads: "I Robot... The story of the rise of the machine and the decline of man, which paradoxically coincided with his discovery of the wheel... and a warning that his brief dominance of this planet will probably end, because man tried to create robot in his own image." The title of the final track, "Genesis Ch.1 v.32", follows this theme by implying a continuation to the story of Creation, since the first chapter of Genesis only has 31 verses.


title: I Robot (album)

text: The artwork was created by the English art design group Hipgnosis. The album cover photo features Storm Thorgerson's assistants in the escalator tubes of the circular Terminal 1 building of the Charles de Gaulle Airport outside of Paris. The picture was taken without the permission of the airport management. Over this is superimposed a painting of a robot with a stylised atom for a brain. The robot also appears on the label of the record. The original vinyl release has a gatefold-style cover; the inside spread has the lyrics and a monochrome photograph of Parsons. The pose and angle of the photograph echoes that of the robot on the front cover.


title: I Robot (album)

text: Three singles were released from the album: "I Wouldn't Want to Be Like You", "Don't Let it Show" and "Day After Day (The Show Must Go On)". The LP track "Breakdown" went into heavy rotation on AOR stations and continues to be played on classic rock radio.


title: I Robot (album)

text: "I Robot" has been reissued multiple times in various formats since its initial release on vinyl, including numerous audiophile releases. Besides the 8-track, vinyl and compact-cassette releases, Arista also released the original aluminum CD along with the rest of the Project albums, up to that time. Mobile Fidelity Sound Lab (MFSL) released the album on standard vinyl (MFSL 1-084), UHQR vinyl (MFQR 1-084), and on aluminium CD (MFCD-1-804). Classic Records has released the album in analogue form on 180-gram vinyl, as well as digitally on HDAD (24 bit/192 kHz DVD-Audio and 24 bit/96 kHz DVD-Video). JVC released the album as a K2 edition, with "Ammonia Avenue" and "Eye in the Sky". In 2007, as part of a larger campaign, Sony released a remastered version along with bonus tracks on CD. It was later released in Japan as an SHM-CD, with the same mastering.


title: I Robot (album)

text: The album was re-released under Legacy Recordings as a "legacy edition" in 2013 on CD, with an extra disc with unreleased bonus tracks, mastered by Dave Donelly. There was also a vinyl edition with the same mastering launched one month later.


title: Comet (tank)

text: The Comet tank or Tank, Cruiser, Comet I (A34) was a British cruiser tank that first saw use near the end of the Second World War, during the Western Allied invasion of Germany. The Comet was developed from the earlier Cromwell tank and mounted the new 17 pdr High Velocity (HV) (3 inch; 76.2 mm – sometimes referred to as "77  mm") gun, in a lower profile, partly-cast turret. This gun was effective against late-war German tanks, including the Panther at medium range, and the Tiger.


title: Comet (tank)

text: The Comet rendered the Cruiser Mk VIII Challenger obsolete, and led to the development of the Centurion tank. When firing APDS rounds, the 77 mm HV was superior in armour penetration capability to the 75 mm KwK 42 gun of the equivalent Axis tank, the Panther.


title: Comet (tank)

text: The Comet entered active service in January 1945 and remained in British service until 1958. In some cases, Comets sold to other countries continued to operate into the 1980s.


title: Comet (tank)

text: Combat experience against the Germans in the Western Desert Campaign demonstrated to the British many shortcomings with their cruiser tanks. Hence a request was made in 1941 for a new heavy cruiser tank that could achieve battle superiority over German models. For reasons of economy and efficiency, it had to use as many components as possible from the current A15 Mk VI Crusader tank.


title: Comet (tank)

text: The initial designs for the new Cromwell tank evolved into the A24 Mk VII Cavalier tank and the A27L Mk VIII Centaur tank, both powered by the Nuffield Liberty. Design progressed through the Mk VII (A27M) Cromwell, a third parallel development to the Cavalier and Centaur, sharing many of the same characteristics.


title: Comet (tank)

text: Under the newer A27M specification, Cromwell integrated a number of advanced features. The Meteor engine proved to be very reliable and gave the tank good mobility but some problems appeared based on the vehicle's shared heritage and significant jump in engine power. The tank was prone to throwing its tracks if track tension was not maintained properly or if it turned at too high a speed or too sharply. There were also some problems with suspension breakage, partly due to the Cromwell's high speed and it ran through a number of design changes as a result.


title: Comet (tank)

text: The biggest complaint was related to firepower; the Cromwell had originally been designed to carry the 57 mm Ordnance QF 6-pounder, also retrofitted to the Crusader tanks. In combat, these were found to be useful against other tanks but lacking any reasonable high explosive load they were ineffective against anti-tank guns or static emplacements. Prior to the Cromwell entering combat service, the Ordnance QF 75 mm was introduced which equipped the majority of Cromwells, an adapted version of the 6-pounder firing shells from the US 75 mm gun from the Sherman. This offered somewhat lower anti-tank performance than the 6-pounder but its much larger shell provided an effective high explosive load.


title: Comet (tank)

text: Several attempts had been made to further improve firepower by fitting a more powerful gun. In parallel with development of the Cromwell and QF 75 mm gun, a new Vickers High Velocity 75 mm tank gun had been designed but this proved too large for the Cromwell turret ring and left a shortage in offensive anti-tank capability. A prior requirement for a 17-pounder armed tank led to development of the A30 Mk VIII Challenger. Based on the Cromwell, the hull had to be lengthened and a much larger turret set on top to allow a second loader for the 17-pounder, a requirement of the older specification believed necessary for the larger ammunition. The very high turret of the Challenger was considered a liability and this led to experiments with the similar A30 Avenger version, an anti-tank version with an open-top turret.


title: Comet (tank)

text: Conversion of Sherman tanks to the Sherman Firefly (a Sherman tank fitted with the 17-pounder gun) was significantly faster than Challenger production and driven by operational needs of the Normandy invasion, production of Challenger was dropped. Fireflies (and the limited number of Challengers) provided additional firepower to Cromwell and Sherman armed troops. One Firefly would be issued to each troop of Cromwells (giving three Cromwells and one Sherman Firefly). Problems were encountered due to the different maintenance requirements and associated supply complication of two tank models, as well as the performance difference between Cromwell and Sherman and the Sherman's silhouette, even larger than the Challenger. The large size and obvious difference of both Challenger and Firefly made them a priority target for Axis forces.


title: Comet (tank)

text: Recognising that a common low profile vehicle was required to replace the mixed fleet of Cromwell, Challenger and Firefly tanks, a new specification of tank was created. This removed the Challenger's need for a second loader and mounted the newer Vickers High Velocity weapon intended for the Cromwell.


title: Comet (tank)

text: With the A34 (the General Staff specification), later named Comet, the tank designers opted to correct some of the Cromwell's flaws in armament, track design and suspension while building upon its strengths of low height, high speed and mobility. This replaced the need for the Challenger and Firefly and acted upon the experiences gained through design and early deployment of the Cromwell.


title: Comet (tank)

text: Originally, it had been expected that the Cromwell would use the "High Velocity 75 mm" gun designed by Vickers but it would not fit into the turret. Development of the gun continued and as work commenced on the Comet, the gun design evolved into the 17 pdr HV (High Velocity). The gun now used the same calibre (76.2 mm) projectile as the 17-pounder but the cartridge case was from the older QF 3 inch 20 cwt anti-aircraft gun loaded to higher pressures. The resulting round was different from 17-pounder ammunition, being shorter, more compact and more easily stored and handled within the tank. Testing on the range by 2nd Fife and Forfarshire Yeomanry as they converted from Shermans showed that the gun did not penetrate the front armour plate of a captured German Panther tank.


title: Comet (tank)

text: The 17 pdr HV was a shortened 17-pounder. This made it possible to mount the gun on a smaller turret ring. The gun was still capable against opponents and of firing APDS rounds, more accurately and consistently than APDS from the 17-pounder and 6-pounder, which were inaccurate over 700 m and often ricocheted. The Challenger turret had been so large to allow space for two loaders.


title: Comet (tank)

text: Several other improvements were made and many Cromwell design revisions were incorporated, such as safety hatches for the driver and hull gunner. The hull was fully welded as standard and armour was increased, ranging from 32 mm to 74 mm on the hull, while the turret was from 57 to 102 mm.


title: Comet (tank)

text: A new lower-profile welded turret was created using a cast gun mantlet for the 77 mm. The turret was electrically traversed (a design feature taken from the Churchill tank), with a generator powered by the main engine rather than the hydraulic system of the Cromwell. Ammunition for the 77 mm gun was stored in armoured bins.


title: Comet (tank)

text: The Comet's suspension was strengthened, and track return rollers were added. As with later Cromwells, the Comet tank's top speed was limited from the Cromwell's 40+ mph to a slower, but respectable . This change preserved the lifespan of suspension and engine components and reduced track wear.


title: Comet (tank)

text: Similar to later Churchills, the Comet benefited from lessons learned in the co-operation of tanks with infantry. It was fitted as standard with two radio sets: a Wireless Set No. 19, for communication with the regiment and the troop, and a No. 38 Wireless for communication with infantry units. Like many British tanks, it also had a telephone handset mounted on the rear so that accompanying infantry could talk to the crew.


title: Comet (tank)

text: Comet tanks were built by a number of British firms led by Leyland, including English Electric, John Fowler & Co., and Metro-Cammell.


title: Comet (tank)

text: The mild steel prototype was ready in February 1944 and entered trials. Concerns about the hull gunner and belly armour were put to one side to avoid redesign, but there was still sufficient delay caused by minor modifications and changes. Production models did not commence delivery until September 1944. The Comet was intended to be in service by December 1944, but crew training was delayed by the German Ardennes Offensive. By the end of the war, 1,200 had been produced.


title: Comet (tank)

text: The British 11th Armoured Division was the first formation to receive the new tanks, with deliveries commencing in December 1944 and the 29th Armoured Brigade, then equipped with Shermans, was withdrawn from fighting in the southern Netherlands early in the same month for re-equipping. After arriving in Brussels and preparing to hand in their Shermans the Ardennes Offensive commenced, and the brigade was forced to hastily take back its Shermans in order to take part in the countering of the German attack. The unit returned to the Brussels area in the middle of January 1945 three weeks later and finally paid-off its Shermans in exchange for Comets. The 11th Armoured would be the only division to be completely refitted with the Comet by the end of the war. The Comet saw combat and 26 were destroyed but due to its late arrival in the war in north west Europe, it did not participate in big battles. The Comet was involved in the crossing of the Rhine and the later Berlin Victory Parade in July 1945.


title: Comet (tank)

text: In the post war era the Comet served alongside the heavier Centurion tank, a successor introduced in the closing days of the Second World War on an experimental basis but too late to see combat. The Comet remained in British service until 1958, when the remaining tanks were sold to foreign governments; up until the 1980s, it was used by the armies of various nations such as South Africa, which maintained several as modified recovery vehicles. Two examples were still being held in reserve by the South African Army as late as 2000.


title: Comet (tank)

text: Forty-one Comet Mk I Model Bs were also used by Finnish Defence Forces armoured brigade until 1970. The tanks were stored until 2007, when four of them were auctioned. Four Comets were delivered to the Irish Army in 1959 and a further four in 1960. Severe budget cutbacks affected the service lives of the Comets, as not enough spares were purchased. The Comet appealed to the Irish Army as it was cheap to buy and run, had low ground pressure and good anti-tank capability. However, faulty fuzes meant the withdrawal of the HE ammunition, which limited the tank's role to an anti-tank vehicle. With stocks of 77 mm ammunition dwindling in 1969, the army began an experiment to prolong the life of the vehicle. It involved replacing the turret with an open mounting with the Bofors 90 mm Pv-1110 recoilless rifle. The project was cancelled due to lack of funds. The last 77 mm Comet shoot was in 1973 with the tanks being withdrawn soon afterwards. One is preserved in the Irish Curragh Camp and two more survive in other barracks.


title: Comet (tank)

text: Cuba was also an operator of the Comet tank, with some 15 purchased from the UK before the Cuban Revolution of 1959 (which saw the fall of US-backed dictator Fulgencio Batista's regime and the beginning of Cuba being under Fidel Castro's rule). Starting in 1958, the USA began to cut off weapons sales to Cuba following an American government's decision prohibiting Cuba from using its US-supplied armaments against pro-communist/socialist rebels under Castro throughout the country. Thus, Batista was forced to seek his buying of arms from other nations, which included the UK, which also sold about 17 Hawker Sea Fury fighter aircraft together with the Comet tanks. After the collapse of Batista's government at the end of 1958, the new Cuban government under Castro sought replacement parts and ammunition for their Comets from the British government, which promptly turned them down in conjunction with the USA's armaments blockade over Cuba. Thus, the few Comets in Cuba were soon retired from service and either scrapped or abandoned, being replaced with larger quantities of T-34/85 and T-54/55 tanks received from the Soviet Union.


title: Comet (tank)

text: Burma (as it was then known; now Myanmar) was also another user of the Comet tank, with an estimated 25 bought from their former British colonial rulers in between the late 1950s and the early 1960s. These are still being operated and even took part in their Armed Forces Day held last 27 March 2021.


title: Linear function

text: In calculus, analytic geometry and related areas, a linear function is a polynomial of degree one or less, including the zero polynomial (the latter not being considered to have degree zero).


title: Linear function

text: where and are constants, often real numbers. The graph of such a function of one variable is a nonvertical line. is frequently referred to as the slope of the line, and as the intercept.


title: Linear function

text: A constant function is also considered linear in this context, as it is a polynomial of degree zero or is the zero polynomial. Its graph, when there is only one variable, is a horizontal line.


title: Linear function

text: In this context, a function that is also a linear map (the other meaning) may be referred to as a homogeneous linear function or a linear form. In the context of linear algebra, the polynomial functions of degree 0 or 1 are the scalar-valued affine maps.


title: Linear function

text: Here denotes a constant belonging to some field of scalars (for example, the real numbers) and and are elements of a vector space, which might be itself.


title: Linear function

text: Some authors use "linear function" only for linear maps that take values in the scalar field; these are more commonly called linear forms.


title: Linear function

text: The "linear functions" of calculus qualify as "linear maps" when (and only when) , or, equivalently, when the above constant equals zero. Geometrically, the graph of the function must pass through the origin.


title: A2Z (Philippine TV channel)

text: A2Z is a Philippine free-to-air blocktime broadcast television network based in Quezon City, with its studios located in Ortigas Center, Pasig. It serves as a flagship property of ZOE Broadcasting Network in partnership with ABS-CBN Corporation as its main content provider, through a blocktime agreement. A2Z's flagship television station is DZOE-TV which carries the VHF Channel 11 (analog broadcast), and UHF Channel 20 (digital broadcast; since November 12, 2020). The network's name is an abbreviation derived from the first letter of the names of two parent companies, ABS-CBN and ZOE, the number of the now-recalled channel frequency of the former (which is now owned by Advanced Media Broadcasting System as All TV), and the Latin alphabet letters from the first letter A to the last letter Z, which means it has everything from A to Z.


title: A2Z (Philippine TV channel)

text: DZOE-TV Channel 11, also known as ZOE TV-11 was launched in 1998 after being acquired from Delta Broadcasting System. It served as the television arm of Jesus is Lord Church led by Eddie Villanueva. In 2005, ZOE TV-11 was leased by Citynet Network Marketing and Productions, subsidiary of GMA Network, to serve as originating station for its secondary television networks QTV and GMA News TV (now GTV). However, on April 24, 2019, GMA/Citynet announced that it will terminate its blocktime agreement with ZOE Broadcasting by the end of May 2019. The split comes after the release of GMA's 2018 financial report which declared the increasing lease payments that the network contributes to ZOE for the past three years (from in 2016 to almost a billion pesos in 2018). GMA News TV disaffiliated from ZOE TV-11 on June 4, 2019 before the channel signed off the next day.


title: A2Z (Philippine TV channel)

text: On June 22, 2020, ZOE TV-11 returned on air and carried the feed of Light TV as part of its test broadcast operations, but on June 26 the simulcast was replaced by Hillsong Channel, which is owned by Trinity Broadcasting Network, before reverting to Light TV feed on July 11. It was rumored to be part of marketing the channel to either possibly continuing the analog simulcast of their sister station UHF 33 or for blocktime / channel leasing.


title: A2Z (Philippine TV channel)

text: On May 5, 2020, the broadcast operations of ABS-CBN Corporation, including Channel 2, S+A, Radyo Patrol, My Only Radio, and all digital television channels of ABS-CBN TV Plus and Direct broadcast via satellite of Sky Direct and AMCARA (on June 30) were put off the air after the National Telecommunications Commission (NTC) and Solicitor General Jose Calida issued a cease-and-desist order demanding ABS-CBN to immediately cease all of its free TV and radio broadcasting upon the expiration of its legislative broadcast franchise. The Congress later rejected ABS-CBN's application for franchise renewal on July 10, and the NTC recalled all the broadcast frequencies (including its now-defunct sister networks S+A, Yey! and Asianovela Channel) assigned to ABS-CBN on September 10. Since 2017, ABS-CBN was subjected to disputes with the government of President Rodrigo Duterte due to several issues such as campaign advertisement controversies during the 2016 election, political meddling, biased reporting, and the legality of the operations of digital television channel Kapamilya Box Office (KBO), among others.


title: A2Z (Philippine TV channel)

text: ABS-CBN partially resumed its programming through the launch of its cable and satellite television network Kapamilya Channel on June 13, where it carried ABS-CBN's dramas and live entertainment shows, educational and current affairs programming before the May 5 stoppage.


title: A2Z (Philippine TV channel)

text: Since 2017, ZOE Broadcasting Network and ABS-CBN Corporation were reportedly holding talks for possible airtime lease of Channel 11 or acquisition of the network itself if the issues regarding ABS-CBN's now-expired broadcast franchise were ever floated. Reports of a blocktime agreement between ABS-CBN and ZOE began to surface after the Congress rejected ABS-CBN franchise renewal in July 2020, with a tentative schedule offering for broadcasting 20 hours of airtime on Channel 11, and ABS-CBN programs such as "Ang Probinsyano", "ASAP Natin 'To!", "It's Showtime", and "TV Patrol" were being shopped to air on ZOE TV. Eventually, all ABS-CBN News and Current Affairs programs were declined to air on Channel 11 by the ZOE management due to editorial concerns until January 1, 2022, when ABS-CBN News' "TV Patrol" officially began the simulcast of its regular edition on Channel 11, marking its return to free-to-air television, almost two years since the newscast made its last broadcast on the original ABS-CBN Channel 2 (DWWX-TV).


title: A2Z (Philippine TV channel)

text: On October 6, 2020, through separate statements, ABS-CBN and ZOE TV publicly announced their blocktime partnership and the rebranding of Channel 11 to A2Z, more than a year after being disaffiliated from GMA News TV (now GTV) and five months after the Channel 2 shutdown. The announcement came a day after Sky Cable, ABS-CBN's cable television arm, added ZOE TV 11 to the channel lineup.


title: A2Z (Philippine TV channel)

text: Meanwhile, after a month of launching of the said new channel, the National Telecommunications Commission (NTC) was reportedly investigating ABS-CBN and ZOE Broadcasting Network to determine if the said blocktime agreement of the two stations was processed in legal ways.


title: A2Z (Philippine TV channel)

text: On November 12, 2020, A2Z started its broadcast on digital terrestrial television. The channel is available on most digital TV boxes, including ABS-CBN TVplus Digital TV Receiver, GMA Affordabox and Sulit TV.


title: A2Z (Philippine TV channel)

text: On September 18, 2021, A2Z entered a partnership agreement with Philippine Collective Media Corporation for affiliation to broadcast the network via Channel 12 in selected parts of Eastern Visayas.


title: A2Z (Philippine TV channel)

text: In January 2022, ZOE Broadcasting Network began its expansion rollout on airing A2Z and Light TV outside Mega Manila through digital terrestrial frequency reach via Channel 20 as a provisional authority.


title: A2Z (Philippine TV channel)

text: As part of the blocktime agreement between ABS-CBN and ZOE TV, A2Z's programming primarily includes selected ABS-CBN programs from Kapamilya Channel and its other sister television networks. In addition, similar to its previous airtime lease with GMA/Citynet for Channel 11, A2Z also features content from ZOE TV's sister station Light TV and its content partners CBN Asia and Trinity Broadcasting Network.


title: Immersive sim

text: An immersive sim (simulation) is a video game genre that emphasizes player choice. Its core, defining trait is the use of simulated systems that respond to a variety of player actions which, combined with a comparatively broad array of player abilities, allow the game to support varied and creative solutions to problems, as well as emergent gameplay beyond what has been explicitly designed by the developer. This definition is not to be confused with game systems which allow player choice in a confined sense or systems which allow players to easily escape consequences of their choices.


title: Immersive sim

text: Immersive sims by definition allow for multiple approaches, and typically incorporate elements of multiple genres, including role-playing games, stealth, first-person shooters, platform games and survival horror. Although they typically have smaller worlds than open world games, they also generally allow for open-ended gameplay, allowing the player to progress in any order and pursue side missions alongside any main story missions. Immersive sims are generally compared to games developed by Looking Glass Studios. The first such game generally considered an immersive sim is "", and other examples include "" and "Thief 2", "System Shock" and "System Shock 2", as well as the first "Deus Ex".


title: Immersive sim

text: The term "immersive sim" may also be used to describe the game design philosophy behind the immersive sim genre, which uses interacting, reactive and consistent game systems to create emergent gameplay and a sense of player agency.


title: Immersive sim

text: Immersive sims typically task the player to make their way through levels and complete missions, but do not enforce the means by which the player does this. A common example would be where the player-character must get past a guard. The choice of how to do this would be up to the player: they may attempt to sneak around; use parkour or other similar abilities, aided with some equipment, to slip around them; find small passageways that allow them to get around the guard; create a distraction that draws the guard away from their post; convince or bribe the guard to ignore them; or simply attack and kill or disable the guard directly. The choices may be limited by the player-character's abilities and current inventory, and there may be consequences of the player's choice. For example, killing or disabling the guard could leave the guard's body to be found later, raising the alert level of other guards. However, this element of consequence can be seen as a negative to players if taken throughout the game. For example, "Dishonored" introduced a "chaos" system that adjusted how enemy guards would behave due to how much violence and disturbance a player had done earlier in the game, which discouraged players from trying different tactics to avoid making future encounters harder. This system was removed for "", as well as the addition of optional quests to encourage alternate approaches to missions.


title: Immersive sim

text: Warren Spector, part of Looking Glass Studios, said that immersive sims create the feeling that "you are there, nothing stands between you and belief that you're in an alternate world". Many of the key developers of immersive sims compare them to tabletop "Dungeons & Dragons" games hosted by a good gamemaster, or to live action role-playing games, in that there are a set of rule systems to keep it a game, but the game will react to the players' actions rather than force the player to conform to a specific action. Spector is credited with the term "immersive sim" in a post-mortem he wrote on the development of "Deus Ex" in 2000, although Spector himself attributes it to his Looking Glass colleague Doug Church instead.


title: Immersive sim

text: Mark Brown of the YouTube series "Game Maker's Toolkit" identified that a key differentiating feature of immersive sims is that they do not readily use scripted or fixed events. Instead, they use a consistent series of rules and systems throughout the game. These consistent systems then can be exploited by the player to complete objectives in unique and unpredictable ways, with the game reacting to the player's decisions. Brown uses the example of being able to fire rope arrows (to climb on) at any wooden surface in the original "" (1998), while the 2014 "Thief" game limited what locations these could be used, removing the immersive sim elements. Rick Lane of "PC Gamer" noted that while earlier games in "The Elder Scrolls" series were not immersive sims, "" (2006) transitioned the series to an immersive sim.


title: Immersive sim

text: The concepts of immersive sims are designed to have the player imagine themselves are part of a consistent world, and games using immersive sim philosophies need not have gameplay systems normally attributed to immersive sims. A notable example is "Gone Home", a narrative exploration game that has the player examine the state and objects in a home to piece together a story of events that happened there previously, but has otherwise very few game mechanics. Steve Gaynor of The Fullbright Company which developed "Gone Home", compared their approach to Looking Glass Studios' games, stating that "It’s really about this feeling of being in a place and the designers trusting you to progress through it in a meaningful way".


title: Immersive sim

text: Warren Spector considered "" (1990) the first game to have an immersive sim mentality as while played from a top-down view, it relied less on events and planned-out puzzles, and instead provided the rulesets and systems through its living world to allow players to craft their own solutions to situations. Spector described one playtesting example from "Ultima VI" that he considered the genesis of the immersive sim genre, in which a playtester lacked a magical spell needed by his party to pass by a closed gate, and instead used a pet mouse character to sneak through small spaces and access the necessary controls to open the gate, something none of the developers had anticipated.


title: Immersive sim

text: "" (1992) is considered the first game to demonstrate the necessary elements of an immersive sim according to Spector and others. It built upon "Ultima VI"s gameplay and added in the first-person perspective, predating "Wolfenstein 3D", the game that first popularized first-person shooters, by a few months. The first-person view helped to cement the impression that the player was part of the game's world that they had full control of, and completing the impression of immersion. Spector recalled that he had thought to himself "Do you not realize that the entire world just changed?" on seeing the initial demo for "Ultima Underworld". Other early examples include "System Shock" (1994) and its sequel "System Shock 2" (1999), "Thief: The Dark Project" (1998) and its sequel "Thief II" (2000), "Deus Ex" (2000), and "Arx Fatalis" (2002). However, at the same time, more action-oriented games with strong narrative elements that followed from "Wolfenstein 3D", like "Doom" (1993) and "Half-Life" (1998), drew larger commercial sales, making it difficult to gain publisher interest.


title: Immersive sim

text: Around 2006-2008, several games emerged that revitalized interest in the immersive sim, including "" (2006), "BioShock" (2007), "" (2007) and "Fallout 3" (2008). Spurred from these successful titles, there have been new titles in the "Deus Ex" series ("" (2011), "" (2016)), the "Underworld" series ("Underworld Ascendant" (2018)). A remake of "System Shock" (2023), "enhanced" and Virtual Reality versions of "System Shock 2" (2023) and "System Shock 3" (TBC) are also all planned for release. New properties, including the Arkane Studios titles "Dishonored" (2012), "Prey" (2017) and "Deathloop" (2021), as well as White Paper Games' "The Occupation" (2019) and WolfEye Studios' "Weird West" (2022), were developed acknowledging the design principles of immersive sims. Other titles in this period, such as "" (2017) and "Hitman" (2016), while not necessarily considered immersive sims, have been said to possess elements of the genre, given their "sufficiently advanced physics engine/systems that interact with both player verbs and mechanics and level design" and emphasis on emergent gameplay.


title: Immersive sim

text: While the immersive sim genre is well-received critically, its performance within the video game industry tends to be poor and sales of immersive sim games have been varying. The original "Deus Ex" sold more than 500,000 units (at the time, a respectable number) but its immediate sequel, "" was considered a commercial failure. More recently, while "" sold more than 2.1 million copies within a month of its release, its sequel "" had not yet cleared one million in sales a year after its release. "Dishonored 2" also did not see a sales uptake similar to the one the original "Dishonored" had. "System Shock 2" only sold about 58,000 units eight months after release, in contrast to "System Shock" 170,000 units. As a result of poor sales of "System Shock 2" and "Thief" from its multimillion dollar budgets, Looking Glass suffered mounting debts and closed down in May 2000. Irrational Games still wanted to make "System Shock 3", but Electronic Arts, which held the publishing rights to the franchise, felt sales of the second were not sufficient to justify a sequel, leading Irrational to make a spiritual successor that shared the same concepts but avoided the intellectual property rights issues in "BioShock".


title: Immersive sim

text: Jody Macgregor of "PC Gamer" noted that there are other factors contributing towards lower sales - including other competing games and changes in a sequel's marketing and approach. He also states that immersive sims require more commitment from the player to invest and learn the game's complex interacting systems in contrast to other types of games built around simpler mechanics thus making immersive sims harder to sell. Jordan Thomas, a developer on "Thief" and the "BioShock" games also said that immersive sims are very difficult to be built by groups other than large teams due to the complexity of such games - making contributions from indie games unlikely.


title: Immersive sim

text: Arkane's Harvey Smith believed that while the sales trends for immersive sims in the 2010s were disappointing, there will always be a market for them but there will be a need to balance the cost of development to lower sales numbers. Smith attributes the lower sales of more recent games to the general trend of players favoring fast-paced action games with strong multiplayer components - with publishers being wary of games without such elements. Immersive sims by nature tend to be single-player experiences requiring thought-out approaches but Smith believes that the new titles will adapt to these player preferences in the future, particularly from indie developers.


title: Immersive sim

text: A small number of studios and developers have been associated with the immersive sim genre, creating a lineage in its development originating from Looking Glass Studios and its projects. "Ultima Underworld" was created by Paul Neurath and Doug Church, under their studio Blue Sky Productions and published by Origin Systems. Warren Spector of Origin (who had worked on "Ultima VI") also worked closely with Blue Sky to finalize the game - which eventually transitioned into Looking Glass and created "System Shock" and "Thief". Spector later joined Ion Storm and founded its Austin, Texas studio where they developed the "Deus Ex" series. Looking Glass Studios eventually closed down but developers from it launched their own studios - notably Ken Levine who had helped with "Thief" and "System Shock 2" left to form Irrational Games and create the "BioShock" series (which has been described as a spiritual sequel to the "System Shock" games). Following the release of "BioShock Infinite", Levine significantly pared back Irrational Games to reform under a new name, Ghost Story Games, as to explore a new approach towards storytelling. However, Jason Schreier observed that many of those that had worked on the "BioShock" series at Irrational or other related studios often ended up either at existing studios or created their own studios that made their own immersive sim take on "BioShock" and continued this lineage.


title: Immersive sim

text: Separately, Raphaël Colantonio had been part of the quality assurance team supporting Origin Systems for Electronic Arts (EA) in publishing games like "System Shock" in Europe. Colantonio left EA and eventually founded Arkane Studios, desiring to make an immersive sim sequel to the "Ultima Underworld" series. EA denied them the use of the intellectual property and instead Arkane produced "Arx Fatalis". Later, Colantonio brought on Harvey Smith (a quality assurance tester for Origin for "System Shock" and one of the lead developers under Ion Storm for "Deus Ex") and they subsequently designed the "Dishonored" series as well as building the new "Prey" atop similar immersive sim fundamentals. More recently, Neurath founded a new studio, OtherSide Entertainment obtaining the rights for an "Underworld" sequel from EA and for the "System Shock" property through Night Dive Studios whom also had acquired the rights from EA. Neurath brought on Spector to help create both sequels.


title: Immersive sim

text: Many immersive sims that feature numeric passwords use the numeral "451" (or "0451") as part of the first code that the player encounters, such as in "BioShock", "Prey (2017)" and "Deathloop". This is in reference to "System Shock" games which use it as part of the first door codes seen in the game - sometimes believed to be a reference to "Fahrenheit 451" but according to Spector, the code had been used on the door for Looking Glass's studios in Cambridge. Since then its recurrence in immersive sims as well as other games such as "" and "Firewatch" is described as "kind of a signature that developers use to align themselves with Looking Glass", according to former Looking Glass developer Tim Stellmach. The name Looking Glass is also played upon by developers of immersive sims to reflect on the importance of the seminal studio to the genre - for example: OtherSide Entertainment's name (playing on the title of Lewis Carroll's book "Through the Looking-Glass") and "Prey" having the Looking Glass computer system that the player encounters frequently.


title: Rub-a-dub-dub

text: "Rub-A-Dub-Dub" is an English language nursery rhyme first published at the end of the 18th century in volume two of Hook's "Christmas Box" under the title "Dub a dub dub" rather than "Rub a dub dub". It has a Roud Folk Song Index number of 3101.


title: Rub-a-dub-dub

text: The earliest versions of this rhyme published differ significantly in their wording. Dating back to the 14th century, the original rhyme makes reference to maids in a "tub" – a fairground attraction similar to a modern peep show. The rhyme is of a type calling out otherwise respectable people for disrespectable actions, in this case, ogling naked ladies – the maids. The nonsense "Rub-a-dub-dub" develops a phonetic association of social disapprobation, analogous to "tsk-tsk," albeit of a more lascivious variety. The nursery rhyme is a form of teaching such associations in folklore: for individuals raised with such social codes, the phrase "Rub-a-dub-dub" alone could stand in for gossip or innuendo without communicating all of the details.


title: Rub-a-dub-dub

text: One early recorded version in "Christmas Box", published in London in 1798, has wording similar to that in "Mother Goose's Quarto or Melodies Complete", published in Boston, Massachusetts around 1825. The latter ran:


title: Rub-a-dub-dub

text: In the original version as it appeared both in England and in the United States (Boston) the song was talking about three maids instead of three men.


title: Rub-a-dub-dub

text: Later research, according to "The Oxford Dictionary of Nursery Rhymes" (1951), suggests that the lyrics are illustrating a scene of three respectable townsfolk "watching a dubious sideshow at a local fair".


title: Rub-a-dub-dub

text: By around 1830 the reference to maids was being removed from the versions printed in nursery books. In 1842 James Orchard Halliwell collected the following version:


title: Rub-a-dub-dub

text: On a 1958 vinyl album of Mother Goose Nursery Rhymes [by Caedmon] with Boris Karloff, he sings a different version of the song that goes like this:


title: Rub-a-dub-dub

text: A pilot returning from a mission could not locate his aircraft carrier and in addition failed to establish secure communication. So he circled around the formation and radioed: "Rub a dub dub, where is my tub?" And received: "Hey Diddle Diddle! Right here in the middle!"


title: Barcelona Pavilion

text: The Barcelona Pavilion (; ; "German Pavilion"), designed by Ludwig Mies van der Rohe and Lilly Reich, was the German Pavilion for the 1929 International Exposition in Barcelona, Spain. This building was used for the official opening of the German section of the exhibition. It is an important building in the history of modern architecture, known for its simple form and its spectacular use of extravagant materials, such as marble, red onyx and travertine. The same features of minimalism and spectacular can be applied to the furniture specifically designed for the building, including the Barcelona chair. It has inspired many important modernist buildings.


title: Barcelona Pavilion

text: Mies and Reich were offered the commission of this building in 1928 after his successful administration of the 1927 Werkbund exhibition in Stuttgart. The German Republic entrusted Mies with the artistic management and erection of not only the Barcelona Pavilion, but for the buildings for all the German sections at the 1929 International Exhibition. However, Mies had severe time constraints—he had to design the Barcelona Pavilion in less than a year—and was also dealing with uncertain economic conditions.


title: Barcelona Pavilion

text: In the years following World War I, Germany started to turn around. The economy started to recover after the 1924 Dawes Plan. The pavilion for the International Exhibition was supposed to represent the new Weimar Germany: democratic, culturally progressive, prospering, and thoroughly pacifist; a self-portrait through architecture. The Commissioner, Georg von Schnitzler said it should give "voice to the spirit of a new era". This concept was carried out with the realization of the "Free plan" and the "Floating roof".


title: Barcelona Pavilion

text: Mies's response to the proposal by von Schnitzler was radical. After rejecting the original site for aesthetic reasons, Mies agreed to a quiet site at the narrow side of a wide, diagonal axis, where the pavilion would still offer viewpoints and a route leading to one of the exhibition's main attractions, the Poble Espanyol.


title: Barcelona Pavilion

text: The pavilion was to be bare, with no exhibits, leaving only the structure accompanying a single sculpture and specially-designed furniture (the Barcelona Chair). This lack of accommodation enabled Mies to treat the Pavilion as a continuous space; blurring inside and outside. "The design was predicated on an absolute distinction between structure and enclosure—a regular grid of cruciform steel columns interspersed by freely spaced planes". However, the structure was more of a hybrid style, some of these planes also acted as supports. The floor plan is very simple. The entire building rests on a plinth of travertine. A southern U-shaped enclosure, also of travertine, helps form a service annex and a large water basin. The floor slabs of the pavilion project out and over the pool—once again connecting inside and out. Another U-shaped wall on the opposite side of the site also forms a smaller water basin. This is where the statue by Georg Kolbe sits. The roof plates, relatively small, are supported by the chrome-clad, cruciform columns. This gives the impression of a hovering roof. Robin Evans said that the reflective columns appear to be struggling to hold the "floating" roof plane down, not to be bearing its weight.


title: Barcelona Pavilion

text: Mies wanted this building to become "an ideal zone of tranquillity" for the weary visitor, who should be invited into the pavilion on the way to the next attraction. Since the pavilion lacked a real exhibition space, the building itself was to become the exhibit. The pavilion was designed to "block" any passage through the site, rather, one would have to go through the building. Visitors would enter by going up a few stairs, and due to the slightly sloped site, would leave at ground level in the direction of the Poble Espanyol. The visitors were not meant to be led in a straight line through the building, but to take continuous turnabouts. The walls not only created space, but also directed visitor's movements. This was achieved by wall surfaces being displaced against each other, running past each other, and creating a space that became narrower or wider.


title: Barcelona Pavilion

text: Another unique feature of this building is the exotic materials Mies chooses to use. Plates of high-grade stone materials like veneers of Tinos verde antico marble and golden onyx as well as tinted glass of grey, green, white, as well as translucent glass, perform exclusively as spatial dividers.


title: Barcelona Pavilion

text: Because this was planned as an exhibition pavilion, it was intended to exist only temporarily. The building was torn down in early 1930, not even a year after it was completed.


title: Barcelona Pavilion

text: Between 1983 and 1986, a group of Catalan architects reconstructed the pavilion permanently, based on historical drawings and rediscovered footings on the site. The reconstruction has been a popular tourist destination, but it also has been controversial among architects, critics, and historians. Some have hailed it as a revived masterpiece, some have condemned it as a "fake," and others are ambivalent. "[T]his building is not supposed to exist," asserted Paul Goldberger at the time. During planning, Philip Johnson wondered, "The problem before us is should a dream be realized or not? We have made such a myth of that building. Shouldn’t it be left in the sacred vault of the memory bank?" Architect Lance Hosey has thoroughly documented reactions to the reconstruction, concluding that while the reconstruction is a better physical artifact, the original was an irreplaceable product of its sociopolitical context.


title: Barcelona Pavilion

text: The Pavilion was not only a pioneer for construction forms with a fresh, disciplined understanding of space, but also for modelling new opportunities for an association of free art and architecture. Mies placed Georg Kolbe's "Alba" ("Dawn") in the small water basin, leaving the larger one all the more empty. The sculpture also ties into the highly reflective materials Mies used—he chose the place where these optical effects would have the strongest impact; the building offers multiple views of "Alba". "From now on, in the sense of equality for juxtaposing building and visual work, sculptures were no longer to be applied retrospectively to the building, but rather to be a part of the spatial design, to help define and interpret it. To the day, one of the most notable examples is the Barcelona Pavilion".


title: Barcelona Pavilion

text: Since the Pavilion's reconstruction in the 1980s, the has invited leading artists and architects to temporarily alter the Pavilion. These installations and alterations, called "interventions", have kept the pavilion as a node of debate on architectural ideas and practices. The list of invited people includes architects Kazuyo Sejima and Ryue Nishizawa who added spiral acrylic interior walls, artist Ai Weiwei who refilled two pools with coffee and milk, Andrés Jaque who revealed the pavilion's so far disregarded basement and its role in hiding the daily making of the site's experience, Enric Miralles, Antoni Muntadas who brought to the pavilion the smell of the MoMA archives where its memory is preserved and Jordi Bernadó who removed the pavilion's glass doors.


title: Barcelona Pavilion

text: In 2018, the Mies van der Rohe Foundation presented the first edition of the Lilly Reich Grant for equality in architecture.


title: San Clemente, California

text: San Clemente (; Spanish for "St. Clement") is a city in Orange County, California. Located in the Orange Coast region of the South Coast of California, San Clemente's population was 64,293 in at the 2020 census. Situated roughly midway between Los Angeles and San Diego, San Clemente is a popular tourist destination in Southern California, known for its beaches, Spanish Colonial Revival architecture, and hospitality industry. San Clemente's city slogan is "Spanish Village by the Sea".


title: San Clemente, California

text: In 1776 Father Junípero Serra founded Mission San Juan Capistrano, and afterward the local indigenous people were dubbed "Juaneños" in Spanish. Both Native Americans and Spanish settlers established villages near the mission, and local indigenous people were conscripted to work for the mission.


title: San Clemente, California

text: San Clemente was included as part of Rancho Boca de la Playa, granted in 1846 by Governor Pío Pico to Emigdio Véjar. Following the American conquest of California, California came under United States sovereignty in 1848. In 1860, Véjar sold the rancho to Juan Ávila, grantee of Rancho Niguel, who later conveyed it to his son-in-law, Pablo Pryor.


title: San Clemente, California

text: Property rights to the land exchanged hands several times, but few ventured to build on it until 1925, when former Mayor of Seattle, Ole Hanson, an out-of-town major land developer, purchased and designed a community with the financial help of a syndicate headed by Hamilton Cotton. Hanson believed the area's pleasant climate, beautiful beaches, and fertile soil would serve as a haven to Californians tired of "the big city." He named the city after San Clemente Island, which in turn was named by the explorer Sebastián Vizcaino in 1602 after Saint Clement. Hanson envisioned it as a Mediterranean-style coastal resort town, his "San Clemente by the Sea." He had a clause added to the deeds requiring all building plans to be submitted to an architectural review board in an effort to ensure future development would retain red tile roofs and white exteriors. This proved to be short-lived; an eclectic mix of building styles is found in the oldest parts of town.


title: San Clemente, California

text: Hanson succeeded in promoting the new area and selling property. He built public structures such as the Beach Club, the community center, the pier and San Clemente Plaza, now known as Max Berg Plaza Park. The area was officially incorporated as a city on February 27, 1928, with a council-manager government. Referring to the way he would develop the city, Hanson proclaimed, "I have a clean canvas and I am determined to paint a clean picture. Think of it – a canvas five miles long and one and one-half miles wide!... My San Clemente by the Sea." Soon after San Clemente was incorporated, the need for a fire station was realized. The headlines in San Clemente's first newspaper, "El Heraldo de San Clemente" June 1928 read: "Building to house local fire department will be constructed by popular subscription and turned over to the city when completed!" Individual subscriptions were received in the amounts from $6.00 to $1,500.00 from the citizenry.


title: San Clemente, California

text: One of the most iconic landmarks in San Clemente is the San Clemente Pier, first constructed in 1928 and rebuilt in 1939 and 1983.


title: San Clemente, California

text: When Ole Hanson came to San Clemente and decided to develop the city he moved into his epitome of the perfect house which was called Casa Romantica. Hansen owned Casa Romantica up until the Great Depression hit and the Bank of America foreclosed on the property.


title: San Clemente, California

text: In 1969, President Richard Nixon bought part of the H. H. Cotton estate, one of the original homes built by one of Hanson's partners. Nixon called it "La Casa Pacifica" and it was nicknamed the "Western White House," a term for a President's vacation home. It sits above one of the West Coast's premier surfing spots, Trestles, and just north of historic surfing beach San Onofre. Many world leaders visited the home during Nixon's tenure, including Soviet general secretary Leonid Brezhnev, Mexican President Gustavo Díaz Ordaz, Prime Minister of Japan Eisaku Satō, Henry Kissinger, and businessman Bebe Rebozo. After his resignation, Nixon retired to San Clemente to write his memoirs. He sold the home in 1980 and moved to New York City. The property also has historical ties to the Democratic side of the aisle; prior to Nixon's tenure at the estate, H. H. Cotton was known to host Franklin D. Roosevelt, who would visit to play cards in a small outbuilding overlooking the Pacific Ocean.


title: San Clemente, California

text: The historic "North Beach" area is home to San Clemente's Casino Building and Ole Hanson Beach Club, which were renovated in 2010 and 2016.


title: San Clemente, California

text: San Clemente is located at (33.437828, −117.620397). To the south of town are Camp Pendleton and Trestles surf beach.


title: San Clemente, California

text: According to the United States Census Bureau, the city has an area of . of it is land and of it (3.89%) is water.


title: San Clemente, California

text: San Clemente has a Mediterranean climate where temperatures tend to average in the 70s °F (20s °C). The warmest month of the year is August, with an average high temperature of . The coldest month is December with an average high temperature of . The annual rainfall in 2010 was and the annual days of sunshine 310.


title: San Clemente, California

text: The 2020 United States Census reported a population of 64,293. The racial makeup was 81% White, 1.1% African American, 5.1% Asian, and 16.1% Hispanic or Latino of any race.


title: San Clemente, California

text: The 2010 United States Census reported San Clemente had a population of 63,522. The population density was . The racial makeup of San Clemente was 54,605 (86.0%) White (76.0% Non-Hispanic White), 411 (0.6%) African American, 363 (0.6%) Native American, 2,333 (3.7%) Asian, 90 (0.1%) Pacific Islander, 3,433 (5.4%) from other races, and 2,287 (3.6%) from two or more races. Hispanic or Latino of any race were 10,702 persons (16.8%).


title: San Clemente, California

text: The Census reported 63,249 people (99.6% of the population) lived in households, 245 (0.4%) lived in non-institutionalized group quarters, and 28 (0.04%) were institutionalized.


title: San Clemente, California

text: There were 23,906 households, out of which 8,210 (34.3%) had children under the age of 18 living in them, 13,873 (58.0%) were marriage living together, 1,898 (7.9%) had a female householder with no husband present, 986 (4.1%) had a male householder with no wife present. There were 1,207 (5.0%) unmarried partnerships, 5,184 households (21.7%) were made up of individuals, and 1,972 (8.2%) had someone living alone who was 65 years of age or older. The average household size was 2.65. There were 16,757 families (70.1% of all households); the average family size was 3.


title: San Clemente, California

text: The population was spread out, with 15,506 people (24.4%) under the age of 18, 5,006 people (7.9%) aged 18 to 24, 16,474 people (25.9%) aged 25 to 44, 18,122 people (28.5%) aged 45 to 64, and 8,414 people (13.2%) who were 65 years of age or older. The median age was 39.7 years. For every 100 females, there were 100.9 males. For every 100 females age 18 and over, there were 98.8 males.


title: San Clemente, California

text: There were 25,966 housing units at an average density of , of which 15,309 (64.0%) were owner-occupied, and 8,597 (36.0%) were occupied by renters. The homeowner vacancy rate was 1.3%; the rental vacancy rate was 5.8%. 41,164 people (64.8% of the population) lived in owner-occupied housing units and 22,085 people (34.8%) lived in rental housing units.


title: San Clemente, California

text: According to the 2010 United States Census, San Clemente had a median household income of $87,184, with 7.9% of the population living below the federal poverty line.


title: San Clemente, California

text: The Federal census statistics from the 2000 census reported San Clemente had a population of 49,936. Population density was 2,833.4 inhabitants per square mile (1,094.2/km). There were 20,653 housing units at an average density of . The racial makeup of the city was 87.92% White, 0.77% African American, 0.61% Native American, 2.64% Asian, 0.14% Pacific Islander, 5.11% from other races, and 2.81% from two or more races. Hispanic or Latino of any race were 15.89% of the population.


title: San Clemente, California

text: As of the city's 2010 census, there were 68,763 people and 25,514 housing units in the city. Ninety percent of the adult population is a high school grad or higher, and 5.5% of the population are considered below the poverty line.


title: San Clemente, California

text: In the city, the population was spread out, with 24.1% under the age of 18, 7.2% from 18 to 24, 31.5% from 25 to 44, 24.1% from 45 to 64, and 13.1% who were 65 years of age or older. The median age was 38 years. For every 100 females, there were 102.4 males. For every 100 females age 18 and over, there were 100.9 males.


title: San Clemente, California

text: San Clemente is a popular tourist destination, owing to its beaches, historic architecture, and attractions. San Clemente Pier is a popular attraction, perpendicular to the San Clemente Beach trail which starts at North Beach and goes as far as Califia, extending 2.6 miles out along the beaches of San Clemente. The San Clemente Beach trail is a popular place for locals to walk or run.


title: San Clemente, California

text: Casa Romantica is one of the most historic places in San Clemente. Casa Romantica is owned by the city and is used as a cultural center. It is also open to rent for private events like weddings. Casa Romantica is located above the San Clemente Pier station and overlooks the San Clemente coastline.


title: San Clemente, California

text: Known as the “Spanish Village by the Sea”, San Clemente has long been known for its Spanish Colonial Revival style architecture. Downtown San Clemente restaurants and shops are adorned with red tile roofs, cream stucco walls, and dark wood doors and windows. The homes in the area range in style, but stick to the Spanish theme for the most part. The area's oldest homes are in Southwest San Clemente, directly south of downtown and "North Beach" area, directly north of downtown. The homes in the Southwest Riviera neighborhood include several new constructions in the Cape Cod style, as well as new modern residences. More traditional, older homes sit in the Lasuen "boot" district; the neighborhood surrounding Lasuens or "Lost Winds" beach is characterized by a variety of styles in both single and double story fashion, with Hansons’s traditional Spanish style sprinkled throughout, crafting an eclectic atmosphere. The renovations to historic buildings in North Beach have sparked a revival in the area, attracting new residents and business owners.


title: San Clemente, California

text: Many people work as civilian employees at the USMC Base Camp Pendelton which is just over the San Diego County line.


title: San Clemente, California

text: According to the city's 2020 Comprehensive Annual Financial Report, the largest employers in the city are:


title: San Clemente, California

text: San Clemente is known for its many surfing locations, which include Trestles, Lowers, Middles & Uppers, Cotton's Point, Calafia Beach Park, Riviera, Lasuens (most often called Lost Winds), The Hole, T-Street, The Pier, Linda Lane, 204, North Beach and Poche Beach. It is also home to "Surfing Magazine," "The Surfer's Journal," and "Longboard Magazine."


title: San Clemente, California

text: The city has a large concentration of surfboard shapers and manufacturers. Additionally, numerous world-renowned surfers were raised in San Clemente or took up long-term residence in town, including Kolohe Andino, Shane Beschen, Mike Parsons (originally from Laguna Beach).


title: San Clemente, California

text: Within the city, there are six elementary schools, three middle schools, and one high school. There is also one virtual public K-12 school: Capistrano Connections Academy with flexible hours for students. The elementary schools are: Truman Benedict, Concordia Elementary, Vista Del Mar, Las Palmas, Marblehead Elementary, and Lobo Elementary. The middle schools are Bernice Ayer, Shorecliffs, and Vista Del Mar.


title: San Clemente, California

text: San Clemente High School has an IB (International Baccalaureate) Program and a large number of AP (advanced placement) courses. Students at San Clemente High School have received academic accolades and hosted groups ranging from national title winning dance teams to award-winning orchestras, bands, voice groups and one of the nation's most skilled athletic programs; these groups have also received opportunities to perform at various venues including Carnegie Hall (madrigals and orchestra), various venues in Hawaii (marching band), and many others.


title: San Clemente, California

text: According to the California Secretary of State, as of February 10, 2019, San Clemente has 40,105 registered voters. Of those, 17,791 (44.4%) are registered Republicans, 9,926 (24.8%) are registered Democrats, and 10,309 (25.7%) have declined to state a political party.


title: San Clemente, California

text: San Clemente is a stalwart Republican stronghold in presidential elections with no Democratic nominee winning the city in over four decades. It was one of only five cities in Orange County that backed Donald J. Trump with majorities of its vote in both 2016 and 2020. San Clemente voted in favor of Proposition 8 by 55.5% and for Proposition 4 by 52.2%.


title: San Clemente, California

text: Gene W James, elected by the people of San Clemente to City Council in 2019, was appointed Mayor of the city as of December 1, 2021. Gene James introduced a resolution to make San Clemente as a Second Amendment Freedom City in June 2021 ()https://www.eastbaytimes.com/2021/06/03/san-clemente-councilman-gets-support-to-declare-city-as-2nd-amendment-freedom-city/


title: San Clemente, California

text: The California DMV has a field office in San Clemente. The location administers permit tests, behind-the-wheel tests, and various types of documentation.


title: San Clemente, California

text: It was also the setting of the 2005 film "Brick". The town was chosen because it was particularly close to the director Rian Johnson who lived there and went to San Clemente High School, which was the school depicted in the film. Many of the locations in the film are still identical to the real ones, with the exception of the Pin's house, which was flattened a week after exterior shooting; the interior was constructed in a local warehouse. The football field has also since been replaced with artificial turf and track. The phone booths used all through the film are mostly props that were placed on location. The movie "One of Her Own" is based on incidents in and around San Clemente.


title: San Clemente, California

text: Interstate 5 runs through San Clemente. The Foothill Transportation Corridor (SR 241) had proposed to connect Mission Viejo to the Orange/San Diego county line, running along the east side of San Clemente and through San Onofre State Beach on its way to I-5. The California Coastal Commission rejected this proposal 8–2. Reasons cited for rejection included: the road's alignment through a state park, endangered species habitat, and a Native American archaeological site, and the runoff from the road damaging the state park and surf break. The Federal Government rejected the proposal to place the toll road in accordance with the TCA proposal. This decision was viewed as a major defeat for the TCA and great victory for The Surfrider Foundation (which is based in San Clemente), and for assorted environmental groups. Although other alternatives have been considered, TCA has no current plans to extend the SR 241 corridor through San Clemente.


title: San Clemente, California

text: Additionally, the city is served by Amtrak's Pacific Surfliner and Metrolink's Orange County Line and Inland Empire-Orange County Line between Los Angeles and San Diego, and which provide beachside service in San Clemente. The city has two stations: San Clemente station and San Clemente Pier station.


title: San Clemente, California

text: In 2016, San Clemente began offering residents free trolley service. The San Clemente Trolley service provides three open-air (windowless) trolleys that cruise throughout the coastal areas of town and pick people up at designated stops every 15 minutes. The trolley is available Memorial Day weekend through Labor Day weekend. The funding for the San Clemente Trolley came from a $1.2 million grant from the Orange County Transportation Authority (OCTA) which the city applied for. The grant will cover most of the costs for the service for seven years. The grant requires the city to fund a portion of the trolley service at $146,000 over the seven-year grant period. The Friends of the San Clemente Beaches, Parks & Recreation Foundation provided a donation of $10,000 towards the funding of the capital costs of the trolley.


title: Aradhana (1969 film)

text: Aradhana () is a 1969 Indian Hindi romantic drama film directed by Shakti Samanta, starring Sharmila Tagore and Rajesh Khanna. It won the Filmfare Award for Best Film at the 17th Filmfare Awards. Tagore won her only Filmfare Best Actress Award. Originally released in Hindi and dubbed in Bengali, "Aradhana"s huge success led to two remakes: the Tamil film "Sivagamiyin Selvan" (1974) and the Telugu film "Kannavari Kalalu" (1974). This film is counted among the 17 consecutive hit films of Rajesh Khanna between 1969 and 1971, by adding the two hero films "Marayada" and "Andaz" to the 15 consecutive solo hits he gave from 1969 to 1971. "Aradhana" was a blockbuster in India and the Soviet Union. The theme of the movie was based on the 1946 film "To Each His Own".


title: Aradhana (1969 film)

text: In Darjeeling, West Bengal, Indian Air Force officer Arun Varma sings "Mere Sapno Ki Rani" atop an open jeep along with his co-pilot Madan, while Vandana, the daughter of a doctor Gopal Tripathi demurely sneaks glances at him from a mini train. After a brief romance, they wed in a temple without rituals and with only God as a witness. After which it starts raining and they have to stay in a hotel, and sleep with each other. This is where Vandana becomes pregnant.


title: Aradhana (1969 film)

text: Soon afterward, Arun dies in an air crash. His family refuses to accept the unwed Vandana since her marriage with Arun was never formalised. Meanwhile, her father also dies, leaving her destitute. Vandana's son is finally born, she puts him up for adoption so that she can legally adopt him the next day but she is forced to let a childless couple adopt him. Determined to be a part of his life, she accepts the responsibility of becoming his nanny. The boy is named Suraj. Her employer's brother-in-law Shyam arrives and lusts for Vandana. He tries to rape her when no one is around, but Suraj arrives and stabs him to death to save Vandana. When the police arrive, Vandana takes the blame for the murder and is arrested while Suraj runs away and forgets this mishap as he grows up.


title: Aradhana (1969 film)

text: Several years later, when Vandana is released from jail, she is befriended by the jailor who takes her home and introduces her to his daughter Renu. Vandana comes face to face with Suraj(who looks just like his father) when she discovers that Renu is dating him. Suraj, just like how his father wished, is an air-force officer. He slowly starts remembering that he has seen Vandana somewhere, although Vandana wants to hide the truth as she feels Suraj may be embarrassed upon realising his parents' background and history. Vandana makes herself at home at the jailor's house.


title: Aradhana (1969 film)

text: Suraj is injured in an air crash like his real father Arun but survives. While he is recuperating in the hospital, Vandana meets Madan, who knows that Suraj is Arun and Vandana's son. He wants to tell Suraj the truth, but Vandana does not want Suraj to know that he is her son, fearing the consequences. Later when Vandana is not around, Suraj sees her diary where Arun's photo is found. Realising that Arun and Vandana are his true parents, he salutes Vandana's self-sacrificing attitude and acknowledges her publicly as his mother.