title: 56th Annual Grammy Awards

text: The eligibility period for the 56th Annual Grammy Awards was October 1, 2012, to September 30, 2013. The nominations were announced on December 6, 2013 during a live televised concert on CBS, "The Grammy Nominations Concert Live – Countdown to Music's Biggest Night." Jay-Z received the most nominations with nine. Justin Timberlake, Kendrick Lamar, Macklemore & Ryan Lewis and Pharrell Williams each received seven nominations. Daft Punk and Pharrell Williams were nominated twice for both Album of the Year and Record of the Year. Sound engineer Bob Ludwig received the most nominations by a non-performing artist, with five.


title: 56th Annual Grammy Awards

text: Daft Punk won four awards, including Album of the Year for "Random Access Memories" and Record of the Year, with Pharrell Williams, for "Get Lucky", and an additional win for Best Engineered Album, Non-Classical completing a clean sweep for the project that night.


title: 56th Annual Grammy Awards

text: Macklemore & Ryan Lewis won four trophies, including Best New Artist, and led an industry show of support for gay marriage with a performance of their song "Same Love" to accompany a mass wedding of gay and heterosexual couples, which was presided over by Queen Latifah. Lorde's "Royals" received awards for Best Pop Solo Performance and Song of the Year. Carole King was honored as MusiCares Person of the Year on January 24, two days prior to the awards ceremony.


title: 56th Annual Grammy Awards

text: On June 4, 2013, the Recording Academy approved a number of changes recommended by its Awards & Nominations Committee, including adding a new category for Best American Roots Song to the American Music field. This songwriters' award will encompass all the subgenres in this field such as Americana, bluegrass, blues, folk, and regional roots music. The Best Hard Rock/Metal Performance category was renamed Best Metal Performance and became a stand-alone category. Hard rock performances will now be screened in the Best Rock Performance category. The Music Video field will become the Best Music Video/Film field. Its two categories will be renamed: Best Short Form Music Video will now be known as Best Music Video and Best Long Form Music Video will change into Best Music Film. These changes bring the total number of categories at the 2014 Grammy Awards to 82, up from 81 at the 2013 Grammy Awards.


title: 56th Annual Grammy Awards

text: "Performers who are not eligible for an award (such as orchestras, soloists or choirs) are mentioned in parentheses"


title: 56th Annual Grammy Awards

text: The 56th Annual Grammy Awards were the first in the show's history to incorporate comprehensive Live-GIF integration through Tumblr. Creative agency Deckhouse Digital was hired to facilitate the integration, producing more than 50 animated GIFs during the live broadcast and publishing them to the official Grammy tumblr page in real time. The images contributed to the more than 5.1 million reblogs and likes that Grammy related posts received on the blogging site, and the record breaking 34 million combined social media interactions related to the live broadcast.


title: Wayne Thiebaud

text: Morton Wayne Thiebaud ( ; November 15, 1920 – December 25, 2021) was an American painter known for his colorful works depicting commonplace objects—pies, lipsticks, paint cans, ice cream cones, pastries, and hot dogs—as well as for his landscapes and figure paintings. Thiebaud is associated with the pop art movement because of his interest in objects of mass culture, although his early works, executed during the fifties and sixties, slightly predate the works of the classic pop artists. Thiebaud used heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work.


title: Wayne Thiebaud

text: Thiebaud was born to Alice Eugenia (Le Baron) and Morton Thiebaud in Mesa, Arizona. They moved a year later to Southern California where the family lived for most of Thiebaud's childhood until he graduated from secondary school in Long Beach, California. Thiebaud and his family were members of the Church of Jesus Christ of Latter-day Saints, and his father was a bishop in the church when Thiebaud was a teenager. Morton was also a Ford mechanic, foreman at Gold Medal Creamery, traffic safety supervisor, and real estate agent.


title: Wayne Thiebaud

text: One summer during his high school years, he apprenticed at Walt Disney Studios The next summer, he studied at the Frank Wiggins Trade School in Los Angeles. From 1938 to 1949, he worked as a cartoonist and designer in California and New York City. He served as an artist in the First Motion Picture Unit of the United States Army Air Forces from 1942 to 1945.


title: Wayne Thiebaud

text: In 1949, he enrolled at San Jose State College (now San José State University) before transferring to Sacramento State College (now California State University, Sacramento), where he earned a bachelor's degree in 1951 and a master's degree in 1952.


title: Wayne Thiebaud

text: Thiebaud subsequently began teaching at Sacramento City College. In 1960, he became assistant professor at the University of California, Davis, where he remained through 1991 and influenced numerous art students. He held a Professor Emeritus title there up until his death in late 2021. Occasionally, he gave pro bono lectures at U.C. Davis.


title: Wayne Thiebaud

text: On a leave of absence during 1956–57, he spent time in New York City, where he became friends with Elaine and Willem de Kooning and Franz Kline, and was much influenced by these abstractionists as well as by proto-pop artists Robert Rauschenberg and Jasper Johns. During this time, he began a series of very small paintings based on images of food displayed in windows, and he focused on their basic shapes.


title: Wayne Thiebaud

text: Returning to California, he pursued this subject matter and style, isolating triangles, circles, squares, etc. He also co-founded the Artists Cooperative Gallery, now Artists Contemporary Gallery, and other cooperatives including Pond Farm, having been exposed to the concept of cooperatives in New York.


title: Wayne Thiebaud

text: In 1960, he had his first solo show in San Francisco at the San Francisco Museum of Modern Art, and shows in New York City at the Staempfli and Tanager galleries. These shows received little notice, but two years later, a 1962 Sidney Janis Gallery exhibition in New York officially launched Pop Art, bringing Thiebaud national recognition, although he disclaimed being anything other than a painter of illusionistic form.


title: Wayne Thiebaud

text: In 1961, Thiebaud met and became friends with art dealer Allan Stone (1932–2006), the man who gave him his first "break." Stone was Thiebaud's dealer until Stone's death in 2006. Stone said of Thiebaud "I have had the pleasure of friendship with a complex and talented man, a terrific teacher and cook, the best raconteur in the west with a spin serve, and a great painter whose magical touch is exceeded only by his genuine modesty and humility. Thiebaud's dedication to painting and his pursuit of excellence inspire all who are lucky enough to come in contact with him. He is a very special man." After Stone's death, Thiebaud's son Paul Thiebaud (1960–2010) took over as his dealer. Paul Thiebaud was a successful art dealer in his own right and had eponymous galleries in Manhattan and San Francisco; he died June 19, 2010.


title: Wayne Thiebaud

text: In 1962, Thiebaud's work was included, along with Roy Lichtenstein, Andy Warhol, Jim Dine, Phillip Hefferton, Joe Goode, Edward Ruscha, and Robert Dowd, in the historically important and ground-breaking "New Painting of Common Objects," curated by Walter Hopps at the Pasadena Art Museum (now the Norton Simon Museum at Pasadena). This exhibition is considered to have been one of the first Pop Art exhibitions in the United States. These painters were part of a new movement, in a time of social unrest, which shocked the United States and the art world.


title: Wayne Thiebaud

text: In 1963, he turned increasingly to figure painting: wooden and rigid, with each detail sharply emphasized. In 1964, he made his first prints at Crown Point Press, and continued to make prints throughout his career. In 1967, his work was shown at the Biennale Internationale.


title: Wayne Thiebaud

text: Thiebaud was married twice. With his first wife, Patricia Patterson, he had two children, one of whom is the model and writer Twinka Thiebaud. With his second wife, Betty Jean Carr, he had a son, Paul LeBaron Thiebaud, who became an art dealer. He also adopted Betty's son, Matthew.


title: Wayne Thiebaud

text: Thiebaud is well known for his paintings of production line objects found in diners and cafeterias, such as pies and pastries. As a young man in Long Beach, he worked at a cafe named "Mile High and Red Hot", where "Mile High" was ice cream and "Red Hot" was a hot dog.


title: Wayne Thiebaud

text: He was associated with the Pop art painters because of his interest in objects of mass culture; however, his works, executed during the 1950s and 1960s, slightly predate the works of the classic pop artists, suggesting that Thiebaud may have had an influence on the movement. Thiebaud employed heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work. Thiebaud was averse to labels such as "fine art" versus "commercial art" and described himself as "just an old-fashioned painter". He disliked Andy Warhol's "flat" and "mechanical" paintings and did not consider himself a pop artist.


title: Wayne Thiebaud

text: In addition to pastries, Thiebaud painted characters such as Mickey Mouse as well as landscapes, streetscapes, and cityscapes, which were influenced by the work of Richard Diebenkorn. His paintings such as "Sunset Streets" (1985) and "Flatland River" (1997) are noted for their hyper realism, and have been compared to Edward Hopper's work, another artist who was fascinated with mundane scenes from everyday American life.


title: Wayne Thiebaud

text: Thiebaud's works are in permanent collections at the Los Angeles County Museum of Art, the Crocker Art Museum, and the Whitney Museum of American Art. The Hirshhorn Museum and Sculpture Garden, the Albright-Knox Art Gallery, the San Francisco Museum of Modern Art, and the Phoenix Art Museum have also held works by the artist. Exhibitions featuring Thiebaud include a 2001 retrospective at the Whitney Museum, a 2012 retrospective at Acquavella Galleries, and a 2021 retrospective at the Toledo Museum of Art.


title: Wayne Thiebaud

text: The Crocker has hosted a Thiebaud exhibition every decade since 1951, including "Wayne Thiebaud 100" to honor the artist's 100th birthday in 2020.


title: Wayne Thiebaud

text: In 1987, Thiebaud was awarded the Golden Plate Award of the American Academy of Achievement. On October 14, 1994, Thiebaud was presented with the National Medal of Arts by President Clinton. In 2009, he was honored by California Lawyers for the Arts with its Artistic License Award at its annual gala celebration. He also received the Lifetime Achievement Award for Art from the American Academy of Design in 2001. Thiebaud was inducted into the California Hall of Fame in 2010 at the California Museum, Sacramento, and in 2013, he was honored with the California Art Award in recognition of his part in raising the prominence of California art around the world.


title: Wayne Thiebaud

text: In November 2019, Sotheby's $8.46 million sale of Thiebaud's 2011 painting "Encased Cakes" set an auction record for the artist. This record was broken in July 2020, when his 1962 painting "Four Pinball Machines" sold for $19,135,000 in New York City at a Christie's global live auction event.


title: Wayne Thiebaud

text: One of Thiebaud's students from Sacramento City College was the artist Fritz Scholder (1937–2005), who went on to become a major influence in the direction of American Indian art through his instruction at the Institute of American Indian Arts in Santa Fe, New Mexico (1964–1969). The painter Mel Ramos (1935–2018), considered Thiebaud his mentor. Among his pupils were the painters Faith Bromberg, Vonn Cummings Sumner, and Christopher Brown.


title: BET theory

text: Brunauer–Emmett–Teller (BET) theory aims to explain the physical adsorption of gas molecules on a solid surface and serves as the basis for an important analysis technique for the measurement of the specific surface area of materials. The observations are very often referred to as physical adsorption or physisorption. In 1938, Stephen Brunauer, Paul Hugh Emmett, and Edward Teller presented their theory in the "Journal of the American Chemical Society". BET theory applies to systems of multilayer adsorption that usually utilizes a probing gas (called the adsorbate) that do not react chemically with the adsorptive (the material upon which the gas attaches to and the gas phase is called the adsorptive) to quantify specific surface area. Nitrogen is the most commonly employed gaseous adsorbate for probing surface(s). For this reason, standard BET analysis is most often conducted at the boiling temperature of N (77 K). Other probing adsorbates are also utilized, albeit less often, allowing the measurement of surface area at different temperatures and measurement scales. These include argon, carbon dioxide, and water. Specific surface area is a scale-dependent property, with no single true value of specific surface area definable, and thus quantities of specific surface area determined through BET theory may depend on the adsorbate molecule utilized and its adsorption cross section.


title: BET theory

text: The concept of the theory is an extension of the Langmuir theory, which is a theory for monolayer molecular adsorption, to multilayer adsorption with the following hypotheses:


title: BET theory

text: where "c" is referred to as the BET C-constant, formula_2is the vapor pressure of the adsorptive bulk liquid phase which would be at the temperature of the adsorbate and θ is the "surface coverage, defined as:


title: BET theory

text: Here formula_4is the amount of adsorbate and formula_5 is called the monolayer equivalent. The formula_5 is the entire amount that would be present as a monolayer (which is theoretically impossible for physical adsorption) would cover the surface with exactly one layer of adsorbate. The above equation is usually rearranged to yield the following equation for the ease of analysis:


title: BET theory

text: where formula_8 and formula_9 are the equilibrium and the saturation pressure of adsorbates at the temperature of adsorption, respectively; formula_10 is the adsorbed gas quantity (for example, in volume units) while formula_11 is the monolayer adsorbed gas quantity. formula_12 is the "BET constant",


title: BET theory

text: where formula_14 is the heat of adsorption for the first layer, and formula_15 is that for the second and higher layers and is equal to the heat of liquefaction or heat of vaporization.


title: BET theory

text: Equation (1) is an adsorption isotherm and can be plotted as a straight line with formula_16 on the y-axis and formula_17 on the x-axis according to experimental results. This plot is called a "BET plot". The linear relationship of this equation is maintained only in the range of formula_18. The value of the slope formula_19 and the y-intercept formula_20 of the line are used to calculate the monolayer adsorbed gas quantity formula_11 and the BET constant formula_12. The following equations can be used:


title: BET theory

text: The BET method is widely used in materials science for the calculation of surface areas of solids by physical adsorption of gas molecules. The total surface area formula_25 and the specific surface area formula_26 are given by


title: BET theory

text: where formula_11 is in units of volume which are also the units of the monolayer volume of the adsorbate gas,


title: BET theory

text: formula_30 is the Avogadro number, formula_31 the adsorption cross section of the adsorbate, formula_32 the molar volume of the adsorbate gas, and formula_33 the mass of the solid sample or adsorbent.


title: BET theory

text: The BET theory can be derived similarly to the Langmuir theory, but by considering multilayered gas molecule adsorption, where it is not required for a layer to be completed before an upper layer formation starts. Furthermore, the authors made five assumptions:


title: BET theory

text: Consider a given amount of solid sample in a controlled atmosphere. Let "θ" be the fractional coverage of the sample surface covered by a number "i" of successive molecule layers. Let us assume that the adsorption rate "R" for molecules on a layer ("i"-1) (i.e. formation of a layer "i") is proportional to both its fractional surface "θ" and to the pressure "P", and that the desorption rate "R" on a layer "i" is also proportional to its fractional surface "θ":


title: BET theory

text: where "k" and "k" are the kinetic constants (depending on the temperature) for the adsorption on the layer ("i"−1) and desorption on layer "i", respectively. For the adsorptions, these constant are assumed similar whatever the surface.


title: BET theory

text: It is still not clear on how to find the linear range of the BET plot for microporous materials in a way that reduces any subjectivity in the assessment of the monolayer capacity. A crowd-sourced study involving 61 research groups has shown that reproducibility of BET area determination from identical isotherms is, in some cases, problematic. Rouquerol et al. suggested a procedure that is based on two criteria:


title: BET theory

text: These corrections are an attempt to salvage the BET theory which is restricted to type II isotherm. Even with this type, use of the data is restricted to 0.05 to 0.35 of formula_37, routinely discarding 70% of the data. Even this restriction has to be modified depending upon conditions. The problems with the BET theory are multiple and reviewed by Sing. A serious problem is that there is no relationship between the BET and the calorimetric measurements in experiments. It violates the Gibbs' phase rules. It is extremely unlikely that it measure correctly the surface area, formerly great advantage of the theory. It is based upon chemical equilibrium, which assumes localized chemical bond (this approach has been abandoned by the modern theories. See chapter 4, χ/ESW and Chapter 7, DFT or better NLDFT) in total contradiction to what is known about physical adsorption, which is based upon non-local intermolecular attractions. Two extreme problems is that in certain cases BET leads to anomalies and the C constant can be negative, implying an imaginary energy.


title: BET theory

text: The rate of curing of concrete depends on the fineness of the cement and of the components used in its manufacture, which may include fly ash, silica fume and other materials, in addition to the calcinated limestone which causes it to harden. Although the Blaine air permeability method is often preferred, due to its simplicity and low cost, the nitrogen BET method is also used.


title: BET theory

text: When hydrated cement hardens, the calcium silicate hydrate (or C-S-H), which is responsible for the hardening reaction, has a large specific surface area because of its high porosity. This porosity is related to a number of important properties of the material, including the strength and permeability, which in turn affect the properties of the resulting concrete. Measurement of the specific surface area using the BET method is useful for comparing different cements. This may be performed using adsorption isotherms measured in different ways, including the adsorption of water vapour at temperatures near ambient, and adsorption of nitrogen at 77 K (the boiling point of liquid nitrogen). Different methods of measuring cement paste surface areas often give very different values, but for a single method the results are still useful for comparing different cements.


title: BET theory

text: Activated carbon has strong affinity for many gases and has an adsorption cross section formula_31 of 0.162 nm for nitrogen adsorption at liquid-nitrogen temperature (77 K). BET theory can be applied to estimate the specific surface area of activated carbon from experimental data, demonstrating a large specific surface area, even around 3000 m/g. However, this surface area is largely overestimated due to enhanced adsorption in micropores, and more realistic methods should be used for its estimation, such as the subtracting pore effect (SPE) method.


title: BET theory

text: In the field of solid catalysis, the surface area of catalysts is an important factor in catalytic activity. Inorganic materials such as mesoporous silica and layered clay minerals have high surface areas of several hundred m/g calculated by the BET method, indicating the possibility of application for efficient catalytic materials.


title: BET theory

text: The ISO 9277 standard for calculating the specific surface area of solids is based on the BET method.


title: KakaoTalk

text: KakaoTalk (Hangul: 카카오톡), commonly referred to as KaTalk (Hangul: 카톡) in South Korea, is a mobile messaging app for smartphones operated by Kakao Corporation. It was launched on March 18, 2010, and it is available on mobile and desktop platforms.


title: KakaoTalk

text: , KakaoTalk had 53 million monthly active users, 47 million inside Korea. It is available in 15 languages. The app is also used by 93% of smartphone owners in South Korea, where it is the most widely used messaging app for smart phones and personal computers.


title: KakaoTalk

text: After the COVID-19 pandemic, it has further grown in prominence after becoming widely used as a tool to combat COVID-19, in cooperation with the South Korean government.


title: KakaoTalk

text: KakaoTalk provides free calling and messaging services. Like most of its type, the user is able to share photos, videos, voice messages, locations, webpage links, and contact information. Users are able to create one-on-one conversations, as well as group chats with no limit on users. It allows the user to synchronize contact lists to connect to friends who also use the service, among other options that provide this service.


title: KakaoTalk

text: The app automatically synchronizes the user's contact list on their smartphones with the contact list on the app to find friends who are on the service. Users can also search for friends by KakaoTalk ID without having to know their phone numbers. The KakaoTalk service also allows its users to export their messages and save them.


title: KakaoTalk

text: KakaoTalk began as a messenger service but has become a platform for the distribution of various third-party content and apps, including hundreds of games, which users can download and play with their friends through the messaging platform. Through the "Plus Friend" feature, users can follow brands, media and celebrities to receive exclusive messages, coupons and other real-time information through KakaoTalk chatrooms. Users can also purchase real-life goods through the messenger's "Gifting" platform.


title: KakaoTalk

text: On January 13, 2021, KakaoTalk released an emoticon monthly fixed-rate service. "Emoticon Plus" is a service that allows unlimited use of Kakao's selected collection of emoticons for ₩3,900 per month. After subscribing to 'KakaoTalk Wallet', users purchase Emoticon Plus through the wallet platform rather than through in-app payment.


title: KakaoTalk

text: KakaoTalk, a free mobile messenger application for smartphones, revealed its first profits of $42 million in 2012 and $200 million in revenue for 2013. With 93% of South Korea's population using KakaoTalk on their smartphones, Kakao Corp. has provided users a large range of services including games and retail commerce.


title: KakaoTalk

text: Following criticism of the South Korean government's response to the Sewol Ferry Disaster, Korean authorities announced a "zero-tolerance policy" which involved investigation and detention of individuals deemed to be spreading libel through Internet media. Some KakaoTalk users have received notices that their messaging accounts were searched by South Korean authorities.


title: KakaoTalk

text: Until early-2022, when the South Korean government relaxed COVID-19 laws, KakaoTalk effectively functioned as one of South Korea's digital vaccine passport platforms (along with several other platforms). It was used as a storage for mandatory COVID vaccine data, and individuals entering public venues were required to have their vaccination information scanned via QR codes by the venue.


title: KakaoTalk

text: Since the identitiy of individuals at a venue were available as contact tracing data, KakaoTalk also served as a tool for contract tracing by the Korean government until its vaccine passport functionality was discontinued.


title: KakaoTalk

text: After a fire in its Seoul data center on 15 October 2022, KakaoTalk services were disrupted globally, its "worst-ever malfunction". President Yoon called for a quick resumption of services, which over 90% of Koreans use on a frequent basis. Services were partially restored within about 10 hours, but it took four days to repair servers and finally normalise operations. Messaging, as well as payments, banking, ride-hailing, maps, and games were disrupted. Kakao's co-CEO, Nam-koong Whon, resigned on 17 October 2022 because of the situation.


title: KakaoTalk

text: KakaoTalk made its platform API available for developers. The development stack currently supports iOS, Android, REST, and Javascript. A user administration-based API and a push-based API are currently available, and an analytic API is planned for release.


title: KakaoTalk

text: A solitary chat room is a kind of open chat room, where many anonymous people gather to talk about specific topics, communicating only with images, without using text or emoticons. In other words, it is making a story out of images only.


title: KakaoTalk

text: Similar chat rooms have sprung up as an open chat room that exchanges food pictures without a word became popular. As the popularity of the celebrity themed "solitary chat rooms" grew, celebrities went into the chat room themselves.


title: KakaoTalk

text: On July 26, 2011, Kakao Corp. established Japanese Corp., Kakao Japan and appointed Cha-Jin Park as a representative. According to company officials, the app appears to be very actively used in Japan. When a massive earthquake hit Japan on March 11, 2011, KakaoTalk's messaging traffic in Japan surged as millions of people sought to confirm the safety of friends and family. KakaoTalk played an important role as a data network-based communication method; it successfully replaced disabled wired and wireless networks and helped connect the disaster-stricken.


title: KakaoTalk

text: KakaoTalk has targeted countries in Southeast Asia where no dominant mobile messenger service stands. KakaoTalk is forming strategic partnerships in Malaysia, Indonesia and the Philippines, as well. In 2013, KakaoTalk began airing TV commercials in Indonesia, the Philippines, and Vietnam featuring Big Bang. In the ads, local celebrities and Big Bang appear together to promote KakaoTalk. In late 2013, Indonesia became the country with the second-most users of KakaoTalk, after South Korea, with 13 million users and the potential to become KakaoTalk's largest market worldwide. The former co-CEO of KakaoTalk, Sirgoo Lee, stated "We grew our user base by more than 25 times in one year, so hopefully, we will continue at that rate." KakaoTalk has tailored their service to the local environment by collaborating with local designers and companies to generate "Indonesian-specific content".


title: KakaoTalk

text: In February 2014, KakaoTalk launched for Nokia Asha 500, 501, 502, and 503 devices, expanding its reach to users of a wider audience.


title: Picketing

text: Picketing is a form of protest in which people (called pickets or picketers) congregate outside a place of work or location where an event is taking place. Often, this is done in an attempt to dissuade others from going in ("crossing the picket line"), but it can also be done to draw public attention to a cause. Picketers normally endeavor to be non-violent. It can have a number of aims, but is generally to put pressure on the party targeted to meet particular demands or cease operations. This pressure is achieved by harming the business through loss of customers and negative publicity, or by discouraging or preventing workers or customers from entering the site and thereby preventing the business from operating normally.


title: Picketing

text: Picketing is a common tactic used by trade unions during strikes, who will try to prevent dissident members of the union, members of other unions and non-unionised workers from working. Those who cross the picket line and work despite the strike are known pejoratively as scabs.


title: Picketing

text: Informational picketing is the legal name given to awareness-raising picketing. It, per Merriam-Webster's "Dictionary of Law", entails picketing by a group, typically a labour or trade union, which inform the public about a cause of its concern. In almost all cases this is a disliked policy or practice of the business or organisation. It is a popular picketing technique for nurses to use outside of healthcare facilities. For example, on April 5, 2006, nurses of the UMass Memorial Medical Center (UMMHC) took part in two separate such events to protect the quality of their nursing program. Informational picketing was used to gain public support and promote further bargaining with management. It may also be a spur or auxiliary to a petition to government to seek regulatory intervention, reliefs, dispensations or funds.


title: Picketing

text: A mass picket is an attempt to bring as many people as possible to a picket line to demonstrate support for the cause. It is primarily used when only one workplace is being picketed or for a symbolically or practically important workplace. Due to the numbers involved, and depending on behaviors, it may turn into an unlawful blockade such as a right of way obstruction, or aggravated trespass (denial of access).


title: Picketing

text: Secondary picketing is of any external entity economically connected to the main business subject to the workers' action. Thus it includes against suppliers on which the picketed business relies, retailers who sell its products, physical premises with shared management or majority shareholders (sister/allied premises) and homes of any of the latter persons. In most jurisdictions, secondary pickets lack all or many of the civil law protections given to primary pickets. For example, at the Battle of Saltley Gate in 1972 in England, striking miners picketed a coke works in Birmingham and were later joined by thousands of workers from industries locally.


title: Picketing

text: Secondary picketing has been illegal (in the sense that, unlike lawful picketing, it may give rise to a cause of action in tort) in the United Kingdom since the coming into force of section 17 of the Employment Act 1980, a law tabled and passed by the Conservative government of Margaret Thatcher. Labour sought repeal of this via the party's 1987 manifesto; the party called for a debate on such issues in the next (1992) manifesto; and dropped this position under Tony Blair and later leaders' manifestos from 1997 onwards.


title: Picketing

text: Another tactic is to organise highly mobile pickets, who can turn up at any of a business's locations quickly. These flying pickets are particularly effective against multi-facility businesses that could otherwise pursue legal prior restraint and shift operations among facilities if the locations were known with certainty ahead of time. The first highly strategic use of such may have been the example of the 1969 miners' strike in Britain. Flying pickets are usually not legal in the United Kingdom; workers must only picket at their workplace.


title: Picketing

text: Picketing can interweave with boycotting campaigns by pressure groups across the political and moral spectrum. In particular religious groups such as the Westboro Baptist Church seek to picket local store fronts and events they consider sinful. Non-employee protesters are third parties to the business so counter-actions may lie in the courts (or out-of-court remedies) for disruption of trade, unlawful protest, defamation, and certain types of illegal advertising, trespass and nuisance, against which freedom of expression, of religion and/or a public interest defense vie. Different jurisdictions weigh these two competing sets of rights differently. The global result is the rules and outcomes are fact-sensitive (rest closely on the actions, form, subject-matter, duration and behaviors) and law-sensitive (divergently regulated or governed by case law).


title: Picketing

text: It may be contrasted with non-obstructive picketing in which the impact on the business or organization is likely to be the presence nearby of a group of people close in number to the number of strikers on strike who have an informational picketing line, assembly or rally. It is possible, but rarely allowed in labor law globally, to have an informational picket in a public place by the business which has no simultaneous strike – a protest of workers outside of their shifts – in some sectors the immediate financial impact of a non-obstructive picket could be negligible and longer-term impact could be an HR policy or public-facing policy enhancement and a consumer relations uplift.


title: Picketing

text: Picketing, as long as it does not cause obstruction to a highway or intimidation, is legal in many countries and in line with freedom of assembly laws, but many countries have restrictions on the use of picketing.


title: Picketing

text: Legally defined, recognitional picketing is a method of picketing that applies economic pressure to an employer with the specific goal to force the employer to recognise the issues facing employees and address them by bargaining with a union. In the US, this type of picketing, under Section 8(b)(7)(A) of the Labor Act, is typically illegal if representation is not relevant or is unquestionable.


title: Picketing

text: In the UK mass picketing was made illegal under the Trade Disputes and Trade Unions Act 1927, moved by the leaders of what would soon be National Labour, after the 1926 General Strike. Otherwise picketing was banned by the Liberal-tabled Criminal Law Amendment Act 1871 but is decriminalised by the Conservative-tabled Conspiracy and Protection of Property Act 1875. The Trade Union and Labour Relations (Consolidation) Act 1992 gives protection, under civil law, for pickets who are acting in connection with an industrial dispute at or near their workplace who are using their picketing peacefully to obtain or communicate information or persuading any person to work or abstain from working. However, many employers seek specific injunctions to limit the effect of picketing by their door if they can evidence a high likelihood of intimidation or, in general, on non-peaceful behaviour and/or any that significant numbers of the picketers are or will in all likelihood be non-workers.


title: Picketing

text: In the US, any strike activity was hard to organise in the early 1900s, but picketing became more common after the Norris–La Guardia Act of 1932, which limited the ability of employers to gain injunctions to stop strikes, and further legislation to support the right to organise for unions. Mass picketing and secondary picketing was outlawed by the 1947 Taft–Hartley Act. Some kinds of pickets are constitutionally protected.


title: Picketing

text: Viewing laws against stalking as potentially inconsistent with labor rights of picketing, the first anti-stalking law of the industrial world, made by California's lawmakers, inserted provisions that disapply many of its protections from "normal labor picketing", which has survived subsequent amendments.


title: When I'm Gone (Alesso and Katy Perry song)

text: "When I'm Gone" is a song by Swedish DJ Alesso and American singer Katy Perry, released on 29 December 2021 by 10:22 PM Records, coinciding with the first date of Play—Perry's Las Vegas concert residency. The song is a dance-pop, house and electropop tune, written by Perry, Alesso, Alida Garpestad Peck, Rami Yacoub, Nathan Cunningham, Marc Sibley, and Alma Goodman, and produced by Alesso and the Space Primates.


text: "When I'm Gone" was released alongside a music video that was directed by Hannah Lux Davis, and choreographed by Sean Bankhead. The song reached number one in Croatia and has also entered the top 10 in Bulgaria, the Czech Republic, Russia, and Slovakia as well as the top 20 in Lebanon, the Netherlands, and Poland, and the top 30 in Belgium and Hungary. Perry performed the track as a medley with "Walking on Air" (2013) at Play, during CNN's New Year's Eve Live. The official music video premiered on 10 January 2022 on ESPN during the halftime show of the 2022 College Football Playoff National Championship.


text: On 15 December 2021, Alesso and Perry announced the song and released a small snippet of the song and music video via their social media accounts. The song was released on 29 December 2021, the same day that Perry began her residency show Play. The song appears on the setlist of her 2021-2022 Las Vegas Residency, Play, at Resorts World Las Vegas. It is performed with her song "Walking on Air" (from her 2013 album, "Prism"). On 31 December 2021, her performance of the song (from her residency) was also included as a part of the CNN's "New Year's Eve Live" special. On 29 January 2022, Perry also performed the song at "Saturday Night Live", introduced by Willem Dafoe.


text: "When I'm Gone" is a dance-pop, house, and electropop song that runs for 2 minutes and 41 seconds. Alesso said: "I feel like a song like this hasn't been made in a while. The world needs a fun energetic dance record again. We worked on this song for more than a year and are so pleased with how it came out."


text: Justin Curto from "Vulture" wrote "When I'm Gone" is "another EDM bop" that is similar to Perry's 2019 single "Never Really Over" in cadence and rhythm. "360" said the song blends "high-tech" beats with heartbreaking lyrics, and complimented Alesso's production. Official Charts Company gave a positive review and wrote: "Over a thumping house-beat, Katy says she's 'going to give them everything that they want', and this high-tempo banger will certainly win over a huge swathe of pop fans."


text: In the United States, "When I'm Gone" charted in the Bubbling Under Hot 100, before debuting on the primary "Billboard" Hot 100 chart at number 97 in the week dated February 22, 2022, becoming Perry's 35th entry and Alesso's third on the chart. It peaked at number 90. "When I'm Gone" also debuted at number four on Dance/Electronic Digital Song Sales and number 17 on the overall Hot Dance/Electronic Songs list.


text: In the United Kingdom, "When I'm Gone" debuted at number 72 on Official Singles Chart as the sixth highest new-entry of the week. It rose to number 49 in its eighth week on the chart, and further peaked at number 27 on both the UK Official Singles Sales Chart Top 100 and Downloads Chart Top 100 charts. In Canada, "When I'm Gone" debuted at number 54 on Canadian Hot 100, as her 38th career entry on the chart. It also debuted at number seven on the Canadian Digital Songs Sales chart.


text: The accompanying music video premiered on 10 January 2022, during the 2022 College Football Playoff National Championship game. Subsequently, the video for "When I'm Gone" became the first music video to debut during a live event on ESPN. The video features a Boston Dynamics robot named "Spot" which in the video Perry named "Nugget" after her own personal dog.


text: Perry describes it as her first full blown choreography video due to the "sexy" production of the song. The video was choreographed by Sean Bankhead, and was directed by Hannah Lux Davis. According to Perry it was shot at an active working Budweiser brewery. Davis said: "We were going for something that was more "Black Mirror". Slightly futuristic, but we still wanted it to feel grounded. Tech sci-fi but make it pop." Perry wears a custom Dolce & Gabbana purple jumpsuit in the video, describing it as her "favorite outfit". "People" called it "mesmerising", further saying: "In true Perry style, the video features some stunning costumes and impressive dance moves."


title: Milton Bradley Company

text: Milton Bradley Company or simply Milton Bradley (MB) was an American board game manufacturer established by Milton Bradley in Springfield, Massachusetts, in 1860. In 1920, it absorbed the game production of McLoughlin Brothers, formerly the largest game manufacturer in the United States. It became a division of Hasbro in 1984.


title: Milton Bradley Company

text: Milton Bradley found success making board games. In 1860, Milton Bradley moved to Springfield, Massachusetts, and set up the state's first color lithography shop. Its graphic design of Abraham Lincoln sold very well, until Lincoln grew his beard and rendered the likeness out-of-date.


title: Milton Bradley Company

text: Struggling to find a new way to use his lithography machine, Bradley visited his friend George Tapley. Tapley challenged him to a game, most likely an old English game. Bradley conceived the idea of making a purely American game. He created "The Checkered Game of Life", which had players move along a track from Infancy to Happy Old Age, in which the point was to avoid Ruin and reach Happy Old Age. Squares were labeled with moral positions from honor and bravery to disgrace and ruin. Players used a spinner instead of dice because of the negative association with gambling.


title: Milton Bradley Company

text: By spring of 1861, over 45,000 copies of "The Checkered Game of Life" had been sold. Bradley became convinced board games were his company's future.


title: Milton Bradley Company

text: When the American Civil War broke out in early 1861, Milton Bradley temporarily gave up making board games and tried to make new weaponry. However, upon seeing bored soldiers stationed in Springfield, Bradley began producing small games which the soldiers could play during their down time. These are regarded as the first travel games in the country. These games included chess, checkers, backgammon, dominoes, and "The Checkered Game of Life." They were sold for one dollar a piece to soldiers and charitable organizations, which bought them in bulk to distribute.


title: Milton Bradley Company

text: The Milton Bradley Company took a new direction in 1869 after Milton Bradley went to hear a lecture about the kindergarten movement by early education pioneer, Elizabeth Peabody. Peabody promoted the philosophy of the German scholar Friedrich Froebel. Froebel stated that through education children learn and develop through creative activities. Bradley would spend much of the rest of his life promoting the kindergarten movement both personally and through the Milton Bradley Company.


title: Milton Bradley Company

text: In the late 1860s, Bradley became involved in the kindergarten movement. Deeply invested in the cause, his company began manufacturing educational items such as colored papers and paints. The company was hurt by Bradley's generosity as he gave these materials away free of charge. Due to the Long Depression of the late 1870s, his investors told him either his kindergarten work must go or they would go. Bradley chose to keep his kindergarten work. His friend George Tapley bought the interest of the lost investors and took over as president of the Milton Bradley Company.


title: Milton Bradley Company

text: Milton Bradley was an early advocate of Friedrich Froebel's idea of Kindergarten. Springfield's first kindergarten students were Milton Bradley's two daughters, and the first teachers in Springfield were Milton, his wife and his father. Milton Bradley's company's involvement with kindergartens began with the production of "gifts," the term used by Froebel for the geometric wooden play things that he felt were necessary to properly structure children's creative development. Bradley spent months devising the exact shades in which to produce these materials; his final choice of six pigments of red, orange, yellow, green, blue, and violet would remain the standard colors for children's art supplies through the 20th century.


title: Milton Bradley Company

text: By the 1870s, the company was producing dozens of games and capitalizing on fads. Milton Bradley became the first manufacturer in America to make croquet sets. The sets included wickets, mallets, balls, stakes, and an authoritative set of rules to play by that Bradley himself had created from oral tradition and his own sense of fair play. In 1880, the company began making jigsaw puzzles.


title: Milton Bradley Company

text: The company's educational supplies turned out to be a large portion of their income at the turn of the century. They produced supplies any grade school teacher could use, such as toy money, multiplication sticks, and movable clock dials. Milton Bradley continued producing games, particularly parlor games played by adults. They produced "Visit to the Gypsies," "Word Gardening," "Happy Days in Old New England," and "Fortune Telling." They also created jigsaw puzzles of wrecked vehicles, which were popular among young boys.


title: Milton Bradley Company

text: When Milton Bradley died in 1911, the company was passed to Robert Ellis, who passed it to Bradley's son-in-law Robert Ingersoll, who eventually passed it to George Tapley's son, William. In 1920, Bradley bought out McLoughlin Brothers, which went out of business after John McLoughlin's death.


title: Milton Bradley Company

text: Milton Bradley began to decline in the 1920s and fell dramatically in the 1930s during the Great Depression. Fewer people were spending money on board games. The company kept losing money until 1940, when they sank too low and banks demanded payment on loans.


title: Milton Bradley Company

text: Desperate to avoid bankruptcy, the board of directors persuaded James J. Shea, a Springfield businessman, to take over presidency of the company. Shea immediately moved to decrease the company's debt. He began a major renovation of the Milton Bradley plant by burning old inventory that had been accumulating since the turn of the century.


title: Milton Bradley Company

text: With the outbreak of World War II, Milton Bradley started producing a universal joint created by Shea used on the landing gear of fighter planes. They also reproduced a revised version of their game kits for soldiers, which earned the company $2 million. Milton Bradley did not stop creating board games, although they did cut their line from 410 titles to 150. New games were introduced during this time, such as the patriotic "Game of the States," "Chutes & Ladders" and "Candyland."


title: Milton Bradley Company

text: The advent of the television could have threatened the industry, but Shea used it to his advantage. Various companies acquired licenses to television shows for the purpose of producing all manner of promotional items including games. In 1959, Milton Bradley released "Concentration," a memory game based on an NBC television show of the same name; the game was such a success that editions were issued annually into 1982, long after the show was cancelled in 1973 (similar practices were used for box game adaptations of the game shows "Password" and "Jeopardy!").


title: Milton Bradley Company

text: Milton Bradley celebrated their centennial in 1960 with the re-release of "The Checkered Game of Life," which was modernized. It was now simply called "The Game of Life" and the goal was no longer to reach Happy Old Age, but to become a millionaire. "Twister" made its debut in the 1960s as well. Thanks to Johnny Carson's suggestive comments as Eva Gabor played the game on his show, "Twister" became a phenomenon. In the 1960s, Milton Bradley games were licensed in Australia by John Sands Pty Ltd.


title: Milton Bradley Company

text: In 1967, James Shea Jr. took over as president of Milton Bradley (becoming CEO in 1968) succeeding his father. During his presidency, Milton Bradley bought Playskool Mfg. Co. the E.S. Lowe Company, makers of "Yahtzee", and Body Language.


title: Milton Bradley Company

text: During the 1970s and 1980s, electronic games became popular. Milton Bradley released "Simon" in 1978, which was fairly late in the movement. By 1980, it was their best-selling item.


title: Milton Bradley Company

text: In 1983, seeing the potential in the new Vectrex vector-based video game console, the company purchased General Consumer Electronics (GCE). Both the Vectrex and the Microvision were designed by Jay Smith.


title: Milton Bradley Company

text: During the late 1980s and early 1990s, Milton Bradley marketed a series of games (such as "HeroQuest" and "Battle Masters") in North America that were developed in the United Kingdom by Games Workshop (GW) that drew heavily from GW's Warhammer Fantasy universe, albeit without explicit reference to the Warhammer product line.


title: Milton Bradley Company

text: In 1984, Hasbro bought out Milton Bradley ending 124 years of family ownership. The 1990s saw the release of "Gator Golf," "Crack the Case," "Mall Madness," and "1313 Dead End Drive."


title: Milton Bradley Company

text: In 1991, Hasbro acquired Milton Bradley's former arch-rival Parker Brothers. In 1998, Milton Bradley merged with Parker Brothers to form Hasbro Games. After the consolidation, Milton Bradley and Parker Brothers turned into brands of Hasbro before being dropped in 2009 in favor of the parent company's name, since adjusted to Hasbro Gaming.


title: Activated sludge

text: The activated sludge process is a type of biological wastewater treatment process for treating sewage or industrial wastewaters using aeration and a biological floc composed of bacteria and protozoa. It uses air (or oxygen) and microorganisms to biologically oxidize organic pollutants, producing a waste sludge (or floc) containing the oxidized material.


title: Activated sludge

text: The activated sludge process for removing carbonaceous pollution begins with an aeration tank where air (or oxygen) is injected into the waste water. This is followed by a settling tank to allow the biological flocs (the sludge blanket) to settle, thus separating the biological sludge from the clear treated water. Part of the waste sludge is recycled to the aeration tank and the remaining waste sludge is removed for further treatment and ultimate disposal.


title: Activated sludge

text: Plant types include package plants, oxidation ditch, deep shaft/vertical treatment, surface-aerated basins, sequencing batch reactors (SBRs). Aeration methods include diffused aeration, surface aerators (cones) or, rarely, pure oxygen aeration.


title: Activated sludge

text: Sludge bulking can occur which makes activated sludge difficult to settle and frequently has an adverse impact on final effluent quality. Treating sludge bulking and managing the plant to avoid a recurrence requires skilled management and may require full-time staffing of a works to allow immediate intervention. A new development of the activated sludge process is the Nereda process which produces a granular sludge that settles very well.


title: Activated sludge

text: The activated sludge process is a biological process used to oxidise carbonaceous biological matter, oxidising nitrogenous matter (mainly ammonium and nitrogen) in biological matter, and removing nutrients (nitrogen and phosphorus).


title: Activated sludge

text: The process takes advantage of aerobic micro-organisms that can digest organic matter in sewage, and clump together by flocculation entrapping fine particulate matter as they do so. It thereby produces a liquid that is relatively free from suspended solids and organic material, and flocculated particles that will readily settle out and can be removed.


title: Activated sludge

text: The general arrangement of an activated sludge process for removing carbonaceous pollution includes the following items:


title: Activated sludge

text: Treatment of nitrogenous matter or phosphate involves additional steps where the processes are managed to generate an anoxic zone so that phosphates can be solubilised in the reducing environment and oxides of nitrogen can be reduced to ammonium ion.


title: Activated sludge

text: The process involves air or oxygen being introduced into a mixture of screened, and primary treated sewage or industrial wastewater (wastewater) combined with organisms to develop a biological floc which reduces the organic content of the sewage. This material, which in healthy sludge is a brown floc, is largely composed of Saprotrophic bacteria but also has an important protozoan flora component mainly composed of amoebae, Spirotrichs, Peritrichs including Vorticellids and a range of other filter-feeding species. Other important constituents include motile and sedentary Rotifers. In poorly managed activated sludge, a range of mucilaginous filamentous bacteria can develop - including "Sphaerotilus natans", "Gordonia", and other microorganisms - which produces a sludge that is difficult to settle and can result in the sludge blanket decanting over the weirs in the settlement tank to severely contaminate the final effluent quality. This material is often described as sewage fungus but true fungal communities are relatively uncommon.


title: Activated sludge

text: The combination of wastewater and biological mass is commonly known as "mixed liquor". In all activated sludge plants, once the wastewater has received sufficient treatment, excess mixed liquor is discharged into settling tanks and the treated supernatant is run off to undergo further treatment before discharge. Part of the settled material, the sludge, is returned to the head of the aeration system to re-seed the new wastewater entering the tank. This fraction of the floc is called "return activated sludge" (R.A.S.).


title: Activated sludge

text: The space required for a sewage treatment plant can be reduced by using a membrane bioreactor to remove some wastewater from the mixed liquor prior to treatment. This results in a more concentrated waste product that can then be treated using the activated sludge process.


title: Activated sludge

text: Many sewage treatment plants use axial flow pumps to transfer nitrified mixed liquor from the aeration zone to the anoxic zone for denitrification. These pumps are often referred to as internal mixed liquor recycle pumps (IMLR pumps). The raw sewage, the RAS, and the nitrified mixed liquor are mixed by submersible mixers in the anoxic zones in order to achieve denitrification.


title: Activated sludge

text: Activated sludge is also the name given to the active biological material produced by activated sludge plants. Excess sludge is called "surplus activated sludge" or "waste activated sludge" and is removed from the treatment process to keep the ratio of biomass to food supplied in the wastewater in balance. This sewage sludge is usually mixed with primary sludge from the primary clarifiers and undergoes further sludge treatment for example by anaerobic digestion, followed by thickening, dewatering, composting and land application.


title: Activated sludge

text: The amount of sewage sludge produced from the activated sludge process is directly proportional to the amount of wastewater treated. The total sludge production consists of the sum of primary sludge from the primary sedimentation tanks as well as waste activated sludge from the bioreactors. The activated sludge process produces about of waste activated sludge (that is grams of dry solids produced per cubic metre of wastewater treated). is regarded as being typical. In addition, about of primary sludge is produced in the primary sedimentation tanks which most - but not all - of the activated sludge process configurations use.


title: Activated sludge

text: The general process control method is to monitor sludge blanket level, SVI (Sludge Volume Index), MCRT (Mean Cell Residence Time), F/M (Food to Microorganism), as well as the biota of the activated sludge and the major nutrients DO (Dissolved oxygen), nitrogen, phosphate, BOD (Biochemical oxygen demand), and COD (Chemical oxygen demand). In the reactor/aerator and clarifier system, the sludge blanket is measured from the bottom of the clarifier to the level of settled solids in the clarifier's water column; this, in large plants, can be done up to three times a day.


title: Activated sludge

text: The SVI is the volume of settled sludge occupied by a given mass of dry sludge solids. It is calculated by dividing the volume of settled sludge in a mixed liquor sample, measured in milliliters per liter of sample (after 30 minutes of settling), by the MLSS (Mixed Liquor Suspended Solids), measured in grams per liter. The MCRT is the total mass (in kilograms or pounds) of mixed liquor suspended solids in the aerator and clarifier divided by the mass flow rate (in kilograms/pounds per day) of mixed liquor suspended solids leaving as WAS and final effluent. The F/M is the ratio of food fed to the microorganisms each day to the mass of microorganisms held under aeration. Specifically, it is the amount of BOD fed to the aerator (in kilograms/pounds per day) divided by the amount (in kilograms or pounds) of Mixed Liquor Volatile Suspended Solids (MLVSS) under aeration. Note: Some references use MLSS (Mixed Liquor Suspended Solids) for expedience, but MLVSS is considered more accurate for the measure of microorganisms. Again, due to expedience, COD is generally used, in lieu of BOD, as BOD takes five days for results.


title: Activated sludge

text: Based on these control methods, the amount of settled solids in the mixed liquor can be varied by wasting activated sludge (WAS) or returning activated sludge (RAS).


title: Activated sludge

text: There are a wide range of types of package plants, often serving small communities or industrial plants that may use hybrid treatment processes often involving the use of aerobic sludge to treat the incoming sewage. In such plants the primary settlement stage of treatment may be omitted. In these plants, a biotic floc is created which provides the required substrate. Package plants are designed and fabricated by specialty engineering firms in dimensions that allow for their transportation to the job site in public highways, typically width and height of . Length varies with capacity with larger plants being fabricated in pieces and welded on site. Steel is preferred over synthetic materials (e.g., plastic) for its durability. Package plants are commonly variants of extended aeration, to promote the "fit and forget" approach required for small communities without dedicated operational staff. There are various standards to assist with their design.


title: Activated sludge

text: To use less space, treat difficult waste, and intermittent flows, a number of designs of hybrid treatment plants have been produced. Such plants often combine at least two stages of the three main treatment stages into one combined stage. In the UK, where a large number of wastewater treatment plants serve small populations, package plants are a viable alternative to building a large structure for each process stage. In the US, package plants are typically used in rural areas, highway rest stops and trailer parks.


title: Activated sludge

text: Package plants may be referred to as "high charged" or "low charged". This refers to the way the biological load is processed. In high charged systems, the biological stage is presented with a high organic load and the combined floc and organic material is then oxygenated for a few hours before being charged again with a new load. In the low charged system the biological stage contains a low organic load and is combined with flocculate for longer times.


title: Activated sludge

text: In some areas, where more land is available, sewage is treated in large round or oval ditches with one or more horizontal aerators typically called brush or disc aerators which drive the mixed liquor around the ditch and provide aeration. These are oxidation ditches, often referred to by manufacturer's trade names such as Pasveer, Orbal, or Carrousel. They have the advantage that they are relatively easy to maintain and are resilient to shock loads that often occur in smaller communities (i.e. at breakfast time and in the evening).


title: Activated sludge

text: Oxidation ditches are installed commonly as 'fit & forget' technology, with typical design parameters of a hydraulic retention time of 24 – 48 hours, and a sludge age of 12 – 20 days. This compares with nitrifying activated sludge plants having a retention time of 8 hours, and a sludge age of 8 – 12 days.


title: Activated sludge

text: Where land is in short supply sewage may be treated by injection of oxygen into a pressured return sludge stream which is injected into the base of a deep columnar tank buried in the ground. Such shafts may be up to deep and are filled with sewage liquor. As the sewage rises the oxygen forced into solution by the pressure at the base of the shaft breaks out as molecular oxygen providing a highly efficient source of oxygen for the activated sludge biota. The rising oxygen and injected return sludge provide the physical mechanism for mixing of the sewage and sludge. Mixed sludge and sewage is decanted at the surface and separated into supernatant and sludge components. The efficiency of deep shaft treatment can be high.


title: Activated sludge

text: Surface aerators are commonly quoted as having an aeration efficiency of 0.5–1.5 kg O/kWh (1.1–3.3 lb O/kWh), diffused aeration as 1.5–2.5 kg O/kWh (3.3–5.5 lb O/kWh). Deep Shaft claims 5–8 kg O/kWh (11–18 lb O/kWh).


title: Activated sludge

text: However, the costs of construction are high. Deep Shaft has seen the greatest uptake in Japan, because of the land area issues. Deep Shaft was developed by ICI, as a spin-off from their Pruteen process. In the UK it is found at three sites: Tilbury, Anglian water, treating a wastewater with a high industrial contribution; Southport, United Utilities, because of land space issues; and Billingham, ICI, again treating industrial effluent, and built (after the Tilbury shafts) by ICI to help the agent sell more.


title: Activated sludge

text: DeepShaft is a patented, licensed, process. The licensee has changed several times and currently (2015) Noram Engineering sells it.


title: Activated sludge

text: Most biological oxidation processes for treating industrial wastewaters have in common the use of oxygen (or air) and microbial action. Surface-aerated basins achieve 80 to 90% removal of BOD with retention times of 1 to 10 days. The basins may range in depth from and utilize motor-driven aerators floating on the surface of the wastewater.


title: Activated sludge

text: In an aerated basin system, the aerators provide two functions: they transfer air into the basins required by the biological oxidation reactions, and they provide the mixing required for dispersing the air and for contacting the reactants (that is, oxygen, wastewater and microbes). Typically, the floating surface aerators are rated to deliver the amount of air equivalent to 1.8 to 2.7 kilograms O/kWh (4.0 to 6.0 lb O/kWh). However, they do not provide as good mixing as is normally achieved in activated sludge systems and therefore aerated basins do not achieve the same performance level as activated sludge units.


title: Activated sludge

text: Biological oxidation processes are sensitive to temperature and, between , the rate of biological reactions increase with temperature. Most surface aerated vessels operate at between .


title: Activated sludge

text: Sequencing batch reactors (SBRs) treat wastewater in batches within the same vessel. This means that the bioreactor and final clarifier are not separated in space but in a timed sequence. The installation consists of at least two identically equipped tanks with a common inlet, which can be alternated between them. While one tank is in settle/decant mode the other is aerating and filling.


title: Activated sludge

text: Sewage liquor is run into deep tanks with diffuser grid aeration systems that are attached to the floor. These are like the diffused airstone used in tropical fish tanks but on a much larger scale. Air is pumped through the blocks and the curtain of bubbles formed both oxygenates the liquor and also provides the necessary mixing action. Where capacity is limited or the sewage is unusually strong or difficult to treat, oxygen may be used instead of air. Typically, the air is generated by some type of air blower.


title: Activated sludge

text: Vertically mounted tubes of up to diameter extending from just above the base of a deep concrete tank to just below the surface of the sewage liquor. A typical shaft might be high. At the surface end, the tube is formed into a cone with helical vanes attached to the inner surface. When the tube is rotated, the vanes spin liquor up and out of the cones drawing new sewage liquor from the base of the tank. In many works, each cone is located in a separate cell that can be isolated from the remaining cells if required for maintenance. Some works may have two cones to a cell and some large works may have 4 cones per cell.


title: Activated sludge

text: Pure oxygen activated sludge aeration systems are sealed-tank reactor vessels with surface aerator type impellers mounted within the tanks at the oxygen carbon liquor surface interface. The amount of oxygen entrainment, or DO (Dissolved Oxygen), can be controlled by a weir adjusted level control, and a vent gas oxygen controlled oxygen feed valve. Oxygen is generated on site by cryogenic distillation of air, pressure swing adsorption, or other methods. These systems are used where wastewater plant space is at a premium and high sewage throughput is required as high energy costs are involved in purifying oxygen.


title: Activated sludge

text: A new development of the activated sludge process is the Nereda process which produces a granular sludge that settles very well (the sludge volume index is reduced from ). A new process reactor system is created to take advantage of this quick settling sludge and is integrated into the aeration tank instead of having a separate unit outside. About 30 Nereda wastewater treatment plants worldwide are operational, under construction or under design, varying in size from 5,000 up to 858,000 person equivalent.


title: Activated sludge

text: Sludge bulking can occur which makes activated sludge difficult to settle and frequently has an adverse impact on final effluent quality. Treating sludge bulking and managing the plant to avoid a recurrence requires skilled management and may require full-time staffing of a works to allow immediate intervention.


title: Activated sludge

text: The discharge of toxic industrial pollution to treatment plants designed primarily to treat domestic sewage can create process upsets.


title: Activated sludge

text: The activated sludge process is an example for a more high-tech, energy intensive or "mechanized" process that is relatively expensive compared to some other wastewater treatment systems. It can provide a very high level of treatment.


title: Activated sludge

text: Activated sludge plants are wholly dependent on an electrical supply to power the aerators to transfer settled solids back to the aeration tank inlet, and in many cases to pump waste sludge and final effluent. In some works untreated sewage is lifted by pumps to the head-works to provide sufficient fall through the works to enable a satisfactory discharge head for the final effluent. Alternative technologies such as trickling filter treatment requires much less power and can operate on gravity alone.


title: Activated sludge

text: The activated sludge process was discovered in 1913 in the United Kingdom by two engineers, Edward Ardern and W.T. Lockett, who were conducting research for the Manchester Corporation Rivers Department at Davyhulme Sewage Works. In 1912, Dr. Gilbert Fowler, a scientist at the University of Manchester, observed experiments being conducted at the Lawrence Experiment Station at Massachusetts involving the aeration of sewage in a bottle that had been coated with algae. Fowler's engineering colleagues, Ardern and Lockett, experimented on treating sewage in a draw-and-fill reactor, which produced a highly treated effluent. They aerated the waste-water continuously for about a month and were able to achieve a complete nitrification of the sample material. Believing that the sludge had been activated (in a similar manner to activated carbon) the process was named "activated sludge". Not until much later was it realized that what had actually occurred was a means to concentrate biological organisms, decoupling the liquid retention time (ideally, low, for a compact treatment system) from the solids retention time (ideally, fairly high, for an effluent low in BOD and ammonia.)


title: Activated sludge

text: Their results were published in their seminal 1914 paper, and the first full-scale continuous-flow system was installed at Worcester two years later. In the aftermath of the First World War the new treatment method spread rapidly, especially to the US, Denmark, Germany and Canada. By the late 1930s, the activated sludge treatment became a well-known biological wastewater treatment process in those countries where sewer systems and sewage treatment plants were common.


title: Day of the Tentacle

text: Day of the Tentacle, also known as Maniac Mansion II: Day of the Tentacle, is a 1993 graphic adventure game developed and published by LucasArts. It is the sequel to the 1987 game "Maniac Mansion". The plot follows Bernard Bernoulli and his friends Hoagie and Laverne as they attempt to stop the evil Purple Tentacle—a sentient, disembodied tentacle—from taking over the world. The player takes control of the trio and solves puzzles while using time travel to explore different periods of history.


title: Day of the Tentacle

text: Dave Grossman and Tim Schafer co-led the game's development, their first time in such a role. The pair carried over a limited number of elements from "Maniac Mansion" and forwent the character selection aspect to simplify development. Inspirations included Chuck Jones cartoons and the history of the United States. "Day of the Tentacle" was the eighth LucasArts game to use the SCUMM engine.


title: Day of the Tentacle

text: The game was released simultaneously on floppy disk and CD-ROM to critical acclaim and commercial success. Critics focused on its cartoon-style visuals and comedic elements. "Day of the Tentacle" has featured regularly in lists of "top" games published more than two decades after its release, and has been referenced in popular culture. A remastered version of "Day of the Tentacle" was developed by Schafer's current studio, Double Fine Productions, and released on March 22, 2016, for Windows, OS X, Linux, PlayStation 4 and PlayStation Vita with an Xbox One release in October 2020.


title: Day of the Tentacle

text: "Day of the Tentacle" follows the point-and-click two-dimensional adventure game formula, first established by the original "Maniac Mansion". Players direct the controllable characters around the game world by clicking with the computer mouse. To interact with the game world, players choose from a set of nine commands arrayed on the screen (such as "pick up", "use", or "talk to") and then on an object in the world. This was the last SCUMM game to use the original interface of having the bottom of the screen being taken up by a verb selection and inventory; starting with the next game to use the SCUMM engine, "Sam & Max Hit the Road", the engine was modified to scroll through a more concise list of verbs with the right mouse button and having the inventory on a separate screen.


title: Day of the Tentacle

text: "Day of the Tentacle" uses time to travel extensively; early in the game, the three main protagonists are separated across time by the effects of a faulty time machine. The player, after completing certain puzzles, can then freely switch between these characters, interacting with the game's world in separate time periods. Certain small inventory items can be shared by placing the item into the "Chron-o-Johns", modified portable toilets that instantly transport objects to one of the other time periods, while other items are shared by simply leaving the item in a past time period to be picked up by a character in a future period. Changes made to a past time period will affect a future one, and many of the game's puzzles are based on the effect of time travel, the aging of certain items, and alterations of the time stream. For example, one puzzle requires the player, while in the future era where Purple Tentacle has succeeded, to send a medical chart of a Tentacle back to the past, having it used as the design of the American flag, then collecting one such flag in the future to be used as a Tentacle disguise to allow that character to roam freely.


title: Day of the Tentacle

text: The whole original "Maniac Mansion" game can be played on a computer resembling a Commodore 64 inside the "Day of the Tentacle" game; this practice has since been repeated by other game developers, but at the time of "Day of the Tentacle's" release, it was unprecedented.


title: Day of the Tentacle

text: Five years after the events of "Maniac Mansion", Purple Tentacle—a mutant monster and lab assistant created by mad scientist Dr. Fred Edison—drinks toxic sludge from a river behind Dr. Fred's laboratory. The sludge causes him to grow a pair of flipper-like arms, develop vastly increased intelligence, and have a thirst for global domination. Dr. Fred plans to resolve the issue by killing Purple Tentacle and his harmless, friendly brother Green Tentacle, but Green Tentacle sends a plea of help to his old friend, the nerd Bernard Bernoulli. Bernard travels to the Edison family motel with his two housemates, deranged medical student Laverne and roadie Hoagie, and frees the tentacles. Purple Tentacle escapes to resume his quest to take over the world.


title: Day of the Tentacle

text: Since Purple Tentacle's plans are flawless and unstoppable, Dr. Fred decides to use his Chron-o-John time machines to send Bernard, Laverne, and Hoagie to the day before to turn off his Sludge-o-Matic machine, thereby preventing Purple Tentacle's exposure to the sludge. However, because Dr. Fred used an imitation diamond rather than a real diamond as a power source for the time machine, the Chron-o-Johns break down in operation. Laverne is sent 200 years in the future, where humanity has been enslaved and Purple Tentacle rules the world from the Edison mansion, while Hoagie is dropped 200 years in the past, where the motel is being used by the Founding Fathers as a retreat to write the United States Constitution. Bernard is returned to the present. To salvage Dr. Fred's plan, Bernard must acquire a replacement diamond for the time machine, while both Hoagie and Laverne must restore power to their respective Chron-o-John pods by plugging them in. To overcome the lack of electricity in the past, Hoagie recruits the help of Benjamin Franklin and Dr. Fred's ancestor, Red Edison, to build a superbattery to power his pod, while Laverne evades capture by the tentacles long enough to run an extension cord to her unit. The three send small objects back and forth in time through the Chron-o-Johns and make changes to history to help the others complete their tasks.


title: Day of the Tentacle

text: Eventually, Bernard uses Dr. Fred's family fortune of royalties from the "Maniac Mansion" TV series to purchase a real diamond, while his friends manage to power their Chron-o-Johns. Soon, the three are reunited in the present. Purple Tentacle arrives, hijacks a Chron-o-John, and takes it to the previous day to prevent them from turning off the sludge machine; he is pursued by Green Tentacle in another pod. With only one Chron-o-John pod left, Bernard, Hoagie, and Laverne use it to pursue the tentacles to the previous day, while Dr. Fred uselessly tries to warn them of using the pod together, referencing the film "The Fly". Upon arriving, the trio exit the pod only to discover that they have been turned into a three-headed monster, their bodies merging into one during the transfer. Meanwhile, Purple Tentacle has used the time machine to bring countless versions of himself from different moments in time to the same day to prevent the Sludge-o-Matic from being deactivated. Bernard and his friends defeat the Purple Tentacles guarding the Sludge-o-Matic, turn off the machine, and prevent the whole series of events from ever happening. Returning to the present, Dr. Fred discovers that the three have not been turned into a monster at all but have just gotten stuck in the same set of clothes; they are then ordered by Dr. Fred to get out of his house. The game ends with the credits rolling over a tentacle-shaped American flag, one of the more significant results of their tampering in history.


title: Day of the Tentacle

text: Following a string of successful adventure games, LucasArts assigned Dave Grossman and Tim Schafer to lead development of a new game. The two had previously assisted Ron Gilbert with the creation of "The Secret of Monkey Island" and "", and the studio felt that Grossman and Schafer were ready to manage a project. The company believed that the pair's humor matched well with that of "Maniac Mansion" and suggested working on a sequel. The two developers agreed and commenced production. Gilbert and Gary Winnick, the creators of "Maniac Mansion", collaborated with Grossman and Schafer on the initial planning and writing. The total budget for the game was about $600,000, according to Schafer.


title: Day of the Tentacle

text: In planning the plot, the four designers considered a number of concepts, eventually choosing an idea of Gilbert's about time travel that they believed was the most interesting. The four discussed what time periods to focus on, settling on the Revolutionary War and the future. The Revolutionary War offered opportunities to craft many puzzles around that period, such as changing the Constitution to affect the future. Grossman noted the appeal of the need to make wide-sweeping changes such as the Constitution just to achieve a small personal goal, believing this captured the essence of adventure games. The future period allowed them to explore the nature of cause and effect without any historical bounds. Grossman and Schafer decided to carry over previous characters that they felt were the most entertaining. The two considered the Edison family "essential" and chose Bernard because of his "unqualified nerdiness". Bernard was considered "everyone's favorite character" from "Maniac Mansion", and was the clear first choice for the protagonists. The game's other protagonists, Laverne and Hoagie, were based on a Mexican ex-girlfriend of Grossman's and a Megadeth roadie named Tony that Schafer had met, respectively. Schafer and Grossman planned to use a character selection system similar to the first game but felt that it would have complicated the design process and increased production costs. Believing that it added little to the gameplay, they removed it early in the process and reduced the number of player characters from six to three. The dropped characters included Razor, a female musician from the previous game; Moonglow, a short character in baggy clothes; and Chester, a black beat poet. Ideas for Chester, however, morphed into new twin characters in the Edison family. The smaller number of characters reduced the strain on the game's engine in terms of scripting and animation.


title: Day of the Tentacle

text: The staff collaboratively designed the characters. They first discussed the character personalities, which Larry Ahern used to create concept art. Ahern wanted to make sure that the art style was consistent and the character designs were established early, in contrast to what had happened with "Monkey Island 2", in which various artists came in later to help fill in necessary art assets as necessary, creating a disjointed style. Looney Tunes animation shorts, particularly the Chuck Jones-directed "Rabbit of Seville", "What's Opera, Doc?" and "Duck Dodgers in the 24½th Century" inspired the artistic design. The cartoonish style also lent itself to providing larger visible faces to enable more expressive characters. Peter Chan designed backgrounds, spending around two days to progress from concept sketch to final art for each background. Chan too used Looney Tunes as influence for the backgrounds, trying to emulate the style of Jones and Maurice Noble. Ahern and Chan went back and forth with character and background art to make sure both styles worked together without too much distraction. They further had Jones visit their studio during development to provide input into their developing art. The choice of art style inspired further ideas from the designers. Grossman cited cartoons featuring Pepé Le Pew, and commented that the gag involving a painted white stripe on Penelope Pussycat inspired a puzzle in the game. The artists spent a year creating the in-game animations.


title: Day of the Tentacle

text: The script was written in the evening when fewer people were in the office. Grossman considered it the easiest aspect of production, but encountered difficulties when writing with others around.


title: Day of the Tentacle

text: Grossman and Schafer brainstormed regularly to devise the time travel puzzles and collaborated with members of the development team as well as other LucasArts employees. They would identify puzzle problems and work towards a solution similar to how the game plays. Most issues were addressed prior to programming, but some details were left unfinished to work on later. The staff conceived puzzles involving the U.S.'s early history based on their memory of their compulsory education, and using the more legendary aspects of history, such as George Washington cutting down a cherry tree to appeal to international audiences. To complete the elements, Grossman researched the period to maintain historical accuracy, visiting libraries and contacting reference librarians. The studio, however, took creative license towards facts to fit them into the game's design.


title: Day of the Tentacle

text: "Day of the Tentacle" features a four-minute-long animated opening credit sequence, the first LucasArts game to have such. Ahern noted that their previous games would run the credits over primarily still shots which would only last for a few minutes, but with "Tentacle", the team had grown so large that they worried this approach would be boring to players. They assigned Kyle Balda, an intern at CalArts, to create the animated sequence, with Chan helping to create minimalist backgrounds to aid in the animation. Originally this sequence was around seven minutes long, and included the three characters arriving at the mansion and releasing Purple Tentacle. Another LucasArts designer, Hal Barwood, suggested they cut it in half, leading to the shortened version as in the released game, and having the player take over when they arrive at the mansion.


title: Day of the Tentacle

text: "Day of the Tentacle" uses the SCUMM engine developed for "Maniac Mansion". LucasArts had gradually modified the engine since its creation. For example, the number of input verbs was reduced and items in the character's inventory are represented by icons rather than text. While implementing an animation, the designers encountered a problem later discovered to be a limitation of the engine. Upon learning of the limitation, Gilbert reminisced about the file size of the first game. The staff then resolved to include it in the sequel.


title: Day of the Tentacle

text: "Day of the Tentacle" was the first LucasArts adventure game to feature voice work on release. The game was not originally planned to include voice work, as at the time, the install base for CD-ROM was too low. As they neared the end of 1992, CD-ROM sales grew significantly. The general manager of LucasArts, Kelly Flock, recognizing that the game would not be done in time by the end of the year to make the holiday release, suggested that the team include voice work for the game, giving them more time.


title: Day of the Tentacle

text: Voice director Tamlynn Barra managed that aspect of the game. Schafer and Grossman described how they imagined the characters' voices and Barra sought audition tapes of voice actors to meet the criteria. She presented the best auditions to the pair. Schafer's sister Ginny was among the auditions, and she was chosen for Nurse Edna. Schafer opted out of the decision for her selection to avoid nepotism. Grossman and Schafer encountered difficulty selecting a voice for Bernard. To aid the process, Grossman commented that the character should sound like Les Nessman from the television show "WKRP in Cincinnati". Barra responded that she knew the agent of the character's actor, Richard Sanders, and brought Sanders on the project. Denny Delk and Nick Jameson were among those hired, and provided voice work for around five characters each. Recording for the 4,500 lines of dialog occurred at Studio 222 in Hollywood. Barra directed the voice actors separately from a sound production booth. She provided context for each line and described aspects of the game to aid the actors. The voice work in Day of the Tentacle was widely praised for its quality and professionalism in comparison to Sierra's talkie games of the period which suffered from poor audio quality and limited voice acting (some of which consisted of Sierra employees rather than professional talent).


title: Day of the Tentacle

text: The game's music was composed by Peter McConnell, Michael Land and Clint Bajakian. The three had worked together to share the duties equally of composing the music for "Monkey Island 2" and "Fate of Atlantis", and continued this approach for "Day of the Tentacle". According to McConnell, he had composed most of the music taking place in the game's present, Land for the future, and Bajakian for the past, outside of Dr. Fred's theme for the past which McConnell had done. The music was composed around the cartoonish nature of the gameplay, further drawing on Looney Tunes' use of parodying classical works of music, and playing on set themes for all of the major characters in the game. Many of these themes had to be composed to take into account different processing speeds of computers at the time, managed by the iMUSE music interface; such themes would include shorter repeating patterns that would play while the game's screen scrolled across, and then once the screen was at the proper place, the music would continue on to a more dramatic phrase.


title: Day of the Tentacle

text: "Day of the Tentacle" was one of the first games concurrently released on CD-ROM and floppy disk. A floppy disk version was created to accommodate consumers that had yet to purchase CD-ROM drives. The CD-ROM format afforded the addition of audible dialog. The capacity difference between the two formats necessitated alterations to the floppy disk version. Grossman spent several weeks reducing files sizes and removing files such as the audio dialog to fit the game onto six diskettes.


title: Day of the Tentacle

text: "Day of the Tentacle" was a moderate commercial success; according to "Edge", it sold roughly 80,000 copies by 2009. Tim Schafer saw this as an improvement over his earlier projects, the "Monkey Island" games, which had been commercial flops. The game was critically acclaimed. Charles Ardai of "Computer Gaming World" wrote in September 1993: "Calling "Day of the Tentacle" a sequel to "Maniac Mansion" ... is a little like calling the space shuttle a sequel to the slingshot". He enjoyed the game's humor and interface, and praised the designers for removing "dead end" scenarios and player character death. Ardai lauded the voice acting, writing that it "would have done the late Mel Blanc proud", and compared the game's humor, animation, and camera angles to "Looney Toons gems from the 40s and 50s". He concluded: "I expect that this game will keep entertaining people for quite some time to come". In April 1994 the magazine said of the CD version that Sanders's Bernard was among "many other inspired performances", concluding that "Chuck Jones would be proud". In May 1994 the magazine said of one multimedia kit bundling the CD version that "it packs more value into the kit than the entire software packages of some of its competitors". Sandy Petersen of "Dragon" stated that its graphics "are in a stupendous cartoony style", while praising its humor and describing its sound and music as "excellent". Although the reviewer considered it "one of the best" graphic adventure games, he noted that, like LucasArts' earlier "Loom", it was extremely short; he wrote that he "felt cheated somehow when I finished the game". He ended the review, "Go, Lucasfilm! Do this again, but do make the next game longer!".


title: Day of the Tentacle

text: Phil LaRose of "The Advocate" called it "light-years ahead of the original", and believed that its "improved controls, sound and graphics are an evolutionary leap to a more enjoyable gaming experience". He praised the interface, and summarized the game as "another of the excellent LucasArts programs that place a higher premium on the quality of entertainment and less on the technical knowledge needed to make it run". The "Boston Herald"s Geoff Smith noted that "the animation of the cartoonlike characters is of TV quality", and praised the removal of dead ends and character death. He ended: "It's full of lunacy, but for anyone who likes light-hearted adventure games, it's well worth trying". Vox Day of "The Blade" called its visuals "well done" and compared them to those of "The Ren & Stimpy Show". The writer praised the game's humor, and said that "both the music and sound effects are hilarious"; he cited the voice performance of Richard Sanders as a high point. He summarized the game as "both a good adventure and a funny cartoon".


title: Day of the Tentacle

text: Lim Choon Wee of the "New Straits Times" highly praised the game's humor, which he called "brilliantly funny". The writer commented that the game's puzzles relied on "trial and error" with "no underlying logic", but opined that the game "remains fun" despite this issue, and concluded that "Day of the Tentacle" was "definitely the comedy game of the year". Daniel Baum of "The Jerusalem Post" called it "one of the funniest, most entertaining and best-programmed computer games I have ever seen", and lauded its animation. He wrote that the game provided "a more polished impression" than either "The Secret of Monkey Island" or "". The writer claimed that its high system requirements were its only drawback, and believed that a Sound Blaster card was required to fully appreciate the game. In a retrospective review, Adventure Gamers' Chris Remo wrote: "If someone were to ask for a few examples of games that exemplify the best of the graphic adventure genre, "Day of the Tentacle" would certainly be near the top".


title: Day of the Tentacle

text: "Day of the Tentacle" has been featured regularly in lists of "top" games. In 1994, "PC Gamer US" named "Day of the Tentacle" the 46th best computer game ever. In June 1994 it and "" won "Computer Gaming World"s Adventure Game of the Year award. The editors wrote that ""Day of the Tentacle"s fluid animation sequences underscore a strong script and solid game play ... story won out over technological innovation in this genre". In 1996, the magazine ranked it as the 34th best game of all time, writing: ""DOTT" completely blew away its ancestor, "Maniac Mansion", with its smooth animated sequences, nifty plot and great voiceovers". Adventure Gamers included the game as the top entry on its 20 Greatest Adventure Games of All Time List in 2004, and placed it sixth on its Top 100 All-Time Adventure Games in 2011. The game has appeared on several IGN lists. The website rated it number 60 and 84 on its top 100 games list in 2005 and 2007, respectively. IGN named "Day of the Tentacle" as part of their top 10 LucasArts adventure games in 2009, and ranked the Purple Tentacle 82nd in a list of top 100 videogame villains in 2010. ComputerAndVideoGames.com ranked it at number 30 in 2008, and GameSpot also listed "Day of the Tentacle" as one of the greatest games of all time.


title: Day of the Tentacle

text: Fans of "Day of the Tentacle" created a webcomic, "The Day After the Day of the Tentacle", using the game's graphics. The 1993 LucasArts game "Zombies Ate My Neighbors" features a stage dedicated to "Day of the Tentacle". The artists for "Day of the Tentacle" shared office space with the "Zombies Ate My Neighbors" development team. The team included the homage after frequently seeing artwork for "Day of the Tentacle" during the two games' productions. In describing what he considered "the most rewarding moment" of his career, Grossman stated that the game's writing and use of spoken and subtitled dialog assisted a learning-disabled child in learning how to read. Telltale Games CEO Dan Connors commented in 2009 that an episodic game based on "Day of the Tentacle" was "feasible", but depended on the sales of the "Monkey Island" games released that year.


title: Day of the Tentacle

text: In 2018, a fan-made sequel, "Return of the Tentacle", was released free by a team from Germany. The game imitates the art style of the "Remastered" edition and features full voice acting.


title: Day of the Tentacle

text: According to Kotaku, a remastered version of "Day of the Tentacle" was in the works at LucasArts Singapore before the sale of LucasArts to Disney in 2012. Though never officially approved, the game used a pseudo-3D art style and was nearly 80% complete, according to one person close to the project, but was shelved in the days before the closure of LucasArts.


title: Day of the Tentacle

text: At PlayStation Experience 2014, Schafer announced that a remastered version of "Day of the Tentacle" was being developed by his studio, Double Fine Productions. The remaster was released on March 22, 2016, for PlayStation 4, PlayStation Vita, Microsoft Windows and OS X, with a Linux version released at July 11 together with a mobile port for iOS. The Playstation 4 and Playstation Vita versions are cross-buy and also feature cross-save. An Xbox One port came in October 2020. The remastered game was released as a free PlayStation Plus title for the month of January 2017.


title: Day of the Tentacle

text: Schafer credited both LucasArts and Disney for help in creating the remaster, which follows from a similar remastering of "Grim Fandango", as well by Double Fine, in January 2015. Schafer said when they originally were about to secure the rights to "Grim Fandango" from LucasArts to make the remaster, they did not originally have plans to redo the other LucasArts adventure games, but with the passionate response, they got on the news of the "Grim Fandango" remaster, they decided to continue these efforts. Schafer described getting the rights to "Day of the Tentacle" a "miracle" though aided by the fact that many of the executives in the legal rights chain had fond memories of playing these games and helped to secure the rights. 2 Player Productions, which has worked before with Double Fine to document their game development process, also created a mini-documentary for "Day of the Tentacle Remastered", which included a visit to the Skywalker Ranch, where LucasArts games were originally developed, where much of the original concept art and digital files for the game and other LucasArts adventure games were archived.


title: Day of the Tentacle

text: "Day of the Tentacle Remastered" retains its two-dimensional cartoon-style art, redrawn at a higher resolution for modern computers. The high resolution character art was updated by a team led by Yujin Keim with the consultation of Ahern and Chan. Keim's team used many of the original sketches of characters and assets from the two and emulated their style with improvements for modern graphics systems. Matt Hansen worked on recreating the background assets in high resolution. As with the "Grim Fandango" remaster, the player can switch back and forth between the original graphics and the high-resolution version. The game includes a more streamlined interaction menu, a command wheel akin to the approach used in "Broken Age", but the player can opt to switch back to the original interface. The game's soundtrack has been redone within MIDI adapted to work with the iMUSE system. There is an option to listen to commentary from the original creators, including Schafer, Grossman, Chan, McConnell, Ahern, and Bajakian. The remaster contains the fully playable version of the original "Maniac Mansion", though no enhancements have been made to that game-within-a-game.


title: Day of the Tentacle

text: "Day of the Tentacle Remastered" has received positive reviews, with the PC version having an aggregate review score of 87/100 tallied by "Metacritic". Reviewers generally praised the game as having not lost its charm since its initial release, but found some aspects of the remastering to be lackluster. Richard Corbett for "Eurogamer" found the game "every bit as well crafted now as it was in 1993", but found the processes used to provide high-definition graphics from the original 16-bit graphics to making some of the required shortcuts taken in 1993 for graphics, such as background dithering and low animation framerates, more obvious on modern hardware. "IGN"s Jared Petty also found the remastered to still be enjoyable, and found the improvement on the graphics to be "glorious", but worried that the lack of a hint system, as was added in "The Secret of Monkey Island" remastered version, would put off new players to the game. Bob Mackey for "USgamer" found that while past remastered adventure games have highlighted how much has changed in gamers' expectations since the heyday of adventure games in the 1990s, "Day of the Tentacle Remastered" "rises above these issues to become absolutely timeless".