title: Gaetano Donizetti

text: In late December, early January 1847, visits from a friend from Vienna who lived in Paris—Baron Eduard von Lannoy—resulted in a letter from Lannoy to Giuseppe Donizetti in Constantinople outlining what he saw as a better solution: rather than have friends travel the five hours to see his brother, Lannoy recommended that Gaetano be moved to Paris where he could be taken care of by the same doctors. Giuseppe agreed and sent Andrea back to Paris, which he reached on 23 April. Visiting his uncle the following day, he found himself recognized. He was able to go on to convince the Paris Prefect, by threats of family action and general public concern, that the composer should be moved to an apartment in Paris. This took place on 23 June and, while there, he was able to take rides in his carriage and appeared to be much more aware of his surroundings. However, he was held under virtual house arrest by the police for several more months, although able to be visited by friends and even by Verdi while he was in Paris. Finally—on 16 August—in Constantinople, Giuseppe filed a formal complaint with the Austrian ambassador (given that the composer was an Austrian citizen).


title: Gaetano Donizetti

text: In Paris, the police insisted on a further medical examination. Six doctors were called in and, of the six, only four approved of the travel. Then the police sent in their own doctor (who opposed the move), posted gendarmes outside the apartment, and forbade the daily carriage rides. Now desperate, Andrea then consulted three lawyers and sent detailed reports to his father in Constantinople. Finally, action taken by Count Sturmer of the Austrian Embassy in Turkey caused action to be taken from Vienna which, via the Embassy in Paris, sent a formal complaint to the French government. Within a few days, Donizetti was given permission to leave and he set out from Paris on what was to be a seventeen-day trip to Bergamo.


title: Gaetano Donizetti

text: Arrangements had been made well ahead of time as to where Donizetti would live when he arrived in Bergamo. In fact, on his second visit to Paris, when it appeared that his uncle would return to Italy, Andrea had an agreement from the noble Scotti family for his uncle to be able to stay in their palace. The accompanying party of four consisted of Andrea, the composer's younger brother Francesco who had come specially from Bergamo for this purpose, Dr. Rendu, and nurse-custodian Antoine Pourcelot. They traveled by train to Amiens, then on to Brussels, after which they traveled in two coaches (one of which was Donizetti's, sent ahead to await the party). They crossed Belgium and Germany to Switzerland, crossing the Alps via the St Gotthard Pass, and came down into Italy arriving in Bergamo on the evening of 6 October, where they were welcomed by friends as well as the mayor.


title: Gaetano Donizetti

text: Based on the report of the accompanying doctor, Donizetti did not appear to have suffered from the journey. He was settled comfortably in a large chair, speaking very rarely or only in occasional monosyllables, and mostly remaining detached from everyone around him. However, when Giovannina Basoni (who eventually became Baroness Scotti) played and sang arias from the composer's operas, he did appear to pay some attention. On the other hand, when the tenor Rubini visited and, together with Giovannina, sang music from "Lucia di Lammermoor", Antonio Vasselli reported that there was no sign of recognition at all. This condition continued well into 1848, more or less unchanged until a serious bout of apoplexy occurred on 1 April followed by further decline and the inability to take in food. Finally, after the intense night of 7 April, Gaetano Donizetti died on the afternoon of 8 April.


title: Gaetano Donizetti

text: Initially Donizetti was buried in the cemetery of Valtesse but in 1875 his body was transferred to Bergamo's Basilica of Santa Maria Maggiore near the grave of his teacher Simon Mayr.


title: Gaetano Donizetti

text: During the months he spent in Rome for the production of "Zoraida" Donizetti met the Vasselli family, with Antonio initially becoming a good friend. Antonio's sister Virginia was at that point 13. She became Donizetti's wife in 1828. She gave birth to three children, none of whom survived and, within a year of his parents' deaths—on 30 July 1837—she also died from what is believed to be cholera or measles, but Ashbrook speculates that it was connected to what he describes as a "severe syphilitic infection."


title: Gaetano Donizetti

text: By nine years, he was the younger brother of Giuseppe Donizetti, who had become, in 1828, Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808–1839). The youngest of the three brothers was Francesco whose life was spent entirely in Bergamo, except for a brief visit to Paris during his brother's decline. He survived him by only eight months.


title: Gaetano Donizetti

text: After the death of Bellini, Donizetti was the most significant composer of Italian opera until Verdi. His reputation fluctuated, but since the 1940s and 1950s his work has been increasingly performed. His best known operas today are "Lucia di Lammermoor", "La fille du régiment", "L'elisir d'amore" and "Don Pasquale".


title: Gaetano Donizetti

text: Donizetti, a prolific composer, is best known for his operatic works, but he also wrote music in a number of other forms, including some church music, a number of string quartets, and some orchestral pieces. Altogether, he composed about 75 operas, 16 symphonies, 19 string quartets, 193 songs, 45 duets, 3 oratorios, 28 cantatas, instrumental concertos, sonatas, and other chamber pieces.


Moulin Rouge! Music from Baz Luhrmann's Film is the soundtrack album to Baz Luhrmann's 2001 film "Moulin Rouge!", released on 8 May 2001 by Interscope Records. The album features most of the songs featured in the film. However, some of the songs are alternate versions and there are two or three major songs that are left off. The original film versions and extra songs were featured on the second soundtrack.


title: Moulin Rouge! Music from Baz Luhrmann's Film

text: The soundtrack consists almost entirely of cover versions—"Come What May", composed by David Baerwald and Kevin Gilbert, is the only original song on the album. The opening track, "Nature Boy", is performed by David Bowie, though in the film the song is performed by actor John Leguizamo as the character Henri de Toulouse-Lautrec. Originally by American singer-songwriter eden ahbez, the song is reprised as the last song on the soundtrack with performances by Bowie and Massive Attack, along with a dialogue by Nicole Kidman.


text: "Lady Marmalade", written by Bob Crewe and Kenny Nolan, was made famous in the 1970s by the girl group Labelle. The song contains the sexually suggestive lyric "Voulez-vous coucher avec moi, ce soir?", which translates to "Do you want to sleep with me tonight?" Labelle's version of the song was inducted into the Grammy Hall of Fame in 2003. The version for the soundtrack is performed by Christina Aguilera, Lil' Kim, Mýa, and Pink, with production and additional vocal credits by Missy Elliott. The song topped the "Billboard" Hot 100 in the United States and earned a Grammy Award for Best Pop Collaboration with Vocals.


text: "Because We Can" is credited to Norman Cook, with performance and production credits given to his stage name Fatboy Slim. The song contains portions of "Zidler's Rap", performed in the film by Jim Broadbent as the character Harold Zidler, and has been called the "'Can Can' for the next generation". "Sparkling Diamonds" is performed by Kidman, Broadbent, Caroline O'Connor, Natalie Mendoza and Lara Mulcahy. The song is a medley featuring "Diamonds Are a Girl's Best Friend", written by Jule Styne and Leo Robin and introduced by Carol Channing in the Broadway production of "Gentlemen Prefer Blondes" (1949), and "Material Girl" by Madonna. "Rhythm of the Night" was made famous in 1985 by the American R&B group DeBarge. The track reached number one on the "Billboard" Hot R&B chart and number three on the "Billboard" Hot 100, and is said to have "jumpstarted" the career of songwriter Diane Warren. The soundtrack version is performed by Valeria, and includes a dialogue by Kidman.


text: "Moulin Rouge! Music from Baz Luhrmann's Film" debuted on the US "Billboard" 200 at number five on 16 May 2001. Four weeks later, the album reach its peak position at number three. The soundtrack reached number one on the Top Soundtracks chart and number 33 on the Top Pop Catalog chart. On 23 April 2002, it was certified double platinum by the Recording Industry Association of America (RIAA).


text: In Australia, the soundtrack debuted on the albums chart at number four on 11 May 2001. The following week, it reached number one and remained there for 11 consecutive weeks and upon the albums chart for 58 weeks. It was the highest-selling album of 2001 in Australia and has been certified five-times platinum by the Australian Recording Industry Association (ARIA). "Moulin Rouge! Music from Baz Luhrmann's Film" also reached number one in New Zealand, where it remained on the albums chart for 16 weeks. The soundtrack reached the top five in Austria, Denmark, France, and Norway. In 2001 the album was the 20th best-selling album globally, selling 4 million copies


title: Hollywood Babylon

text: Hollywood Babylon is a book by avant-garde filmmaker Kenneth Anger which details the purported scandals of famous Hollywood denizens from the 1900s to the 1950s. The book was banned shortly after it was first published in the U.S. in 1965, and remained unavailable until reprinted ten years later. Upon its second release in 1975, "The New York Times" said of it, "If a book such as this can be said to have charm, it lies in the fact that here is a book without one single redeeming merit." "The Daily Beast" described Anger's book as "essentially a work of fiction. There is no doubt that many—if not all—of the stories Anger shares in his slim bible have no merit." Film historian Kevin Brownlow repeatedly criticized the book, citing Anger as saying his research method was "mental telepathy, mostly".


title: Hollywood Babylon

text: Originally published in French in 1959 by J.J. Pauvert (Paris) as Hollywood Babylone, the first U.S. edition of "Hollywood Babylon" was published in 1965 by Associated Professional Services of Phoenix, Arizona. A second U.S. edition was published by "Rolling Stone"′s Straight Arrow Press and distributed by Simon & Schuster, released in 1975 after a series of copyright conflicts.


title: Hollywood Babylon

text: The book details alleged scandals of Hollywood stars from the silent era through to the 1960s, including: Charles Chaplin, Lupe Vélez, Mary Nolan, Rudolph Valentino, Marie Prevost, Mary Astor, Wallace Reid, Olive Thomas, Jeanne Eagels, Thelma Todd, Errol Flynn, Frances Farmer, Juanita Hansen, Mae Murray, Alma Rubens, John Gilbert, Barbara La Marr, Ramon Novarro, Jean Harlow, Carole Landis, Lana Turner, Judy Garland and Marilyn Monroe.


title: Hollywood Babylon

text: "Hollywood Babylon" also features chapters on the Fatty Arbuckle–Virginia Rappe scandal, the murder of William Desmond Taylor, the Hollywood Blacklist, the murder of Sharon Tate, and the "Confidential" magazine lawsuits.


title: Hollywood Babylon

text: The book's 1975 edition featured graphic images such as the scene of the traffic accident that killed Jayne Mansfield, a photograph of Carole Landis after her suicide, images of director and screenwriter Paul Bern following his suicide, a photograph of Lewis Stone as he lay dying on a sidewalk, and uncensored images of the Black Dahlia's corpse.


title: Hollywood Babylon

text: Although many of Anger's claims have been denounced as untrue since the book's initial publication, it is nonetheless responsible for many oft-quoted urban legends. For example, it claimed that Clara Bow engaged in sex with the entire USC football team, including a young John Wayne, a fallacy which has been debunked several times. Bow's sons considered suing Anger at the time of the book's second release.


title: Hollywood Babylon

text: The book also claimed that Lupe Vélez was found drowned in her own vomit with her head in a toilet after she committed suicide by swallowing more than 500 sleeping tablets. There was no basis to the story; in 2013 the first publication of a death photo showed Vélez had been found on her bedroom floor.


title: Hollywood Babylon

text: Other debunked urban legends started by the book include claims that silent film star Marie Prevost's body was partially eaten by her dachshund after she died in her Hollywood apartment in 1937, and that Jayne Mansfield was decapitated in her fatal 1967 car accident.


title: Hollywood Babylon

text: The fallacies, myths, and exaggerations of "Hollywood Babylon" were the focus of season 10 of Karina Longworth's podcast "You Must Remember This": "Fake News: Fact Checking "Hollywood Babylon"".


title: Hollywood Babylon

text: Hollywood Babylon II was published in 1984. It was greatly expanded in format but was not as well received as the first book. It covered stars from the 1920s to the 1970s.


title: Hollywood Babylon

text: Anger stated for years he intended to write a "Hollywood Babylon III", and in a 2010 interview he said that it had been finished but was placed on hold, explaining, "The main reason I didn't bring it out was that I had a whole section on Tom Cruise and the Scientologists. I'm not a friend of the Scientologists." In 2008 a book titled "Hollywood Babylon: It's Back!", was written by Darwin Porter and Danforth Prince and had no participation or association with Anger. Anger was reportedly so upset he placed a curse on the authors (Anger is a self-proclaimed magician of the school of Thelema).


title: Hollywood Babylon

text: A television series based upon the books was produced for syndication in 1992–1993. Hosted by Tony Curtis, the series featured dramatic reenactments of stories from Anger's books, augmented by veteran actor Curtis relating Hollywood-based anecdotes of his own.


title: Gao

text: Gao , or Gawgaw/Kawkaw, is a city in Mali and the capital of the Gao Region. The city is located on the River Niger, east-southeast of Timbuktu on the left bank at the junction with the Tilemsi valley.


title: Gao

text: For much of its history Gao was an important commercial centre involved in the trans-Saharan trade. In the 9th century external Arabic writers described Gao as an important regional power, and by the end of the 10th century, the local ruler was said to be a Muslim. Towards the end of the 13th century Gao became part of the Mali Empire, but in first half of the 15th century the town regained its independence and with the conquests of Sunni Ali (ruled 1464–1492) it became the capital of the Songhai Empire. The Empire collapsed after the Moroccan invasion in 1591 and the invaders chose to make Timbuktu their capital. By the time of Heinrich Barth's visit in 1854, Gao had declined to become an impoverished village with 300 huts constructed from matting. In 2009, the urban commune had a population of 86,633.


title: Gao

text: On 31 March 2012, Gao was captured from Malian government forces by National Movement for the Liberation of Azawad (MNLA) and Ansar Dine rebels. After the additional captures of Kidal and Timbuktu, on 6 April, the MNLA declared the region independent of Mali as the nation of Azawad and named Gao its capital. The MNLA lost control to Islamist militias after the Battle of Gao on 26 and 27 June 2012. On 26 January 2013, the city was recaptured by French military forces as part of Opération Serval.


title: Gao

text: Gao is located on the eastern bank of the Niger River at the junction with the Tilemsi Valley. The sprawling town is the largest in eastern Mali. It is connected to the capital, Bamako at the western end of Mali, by 1200 km (750 mi) of paved road. In 2006, the Wabaria bridge was opened to replace the ferry service across the Niger. The bridge was constructed by the China State Construction Engineering Corporation and financed by the Islamic Development Bank and the Malian government.


title: Gao

text: The town is located with road links (unpaved) to the desert Kidal Region to the north and to Niamey, the capital of Niger, to the south. The road to the south runs along the left bank of the river. The town of Ansongo is 103 km (65 mi) from Gao. The border with Niger is just south of the village of Labbézanga, a distance of 204 km (127 mi). The prime meridian marker runs right through Gao, Mali.


title: Gao

text: There are also seasonal ferry services on the Niger River. A service between Gao and Koulikoro, a distance of 1380 km (860 mi), is managed by the Compagnie Malienne de Navigation (COMANAV). It usually operates from the end of July, after the annual rains when there is sufficient water in the river, until mid November. Smaller boats are able to operate for a longer season between Bourem and Ansongo.


title: Gao

text: In the 1998 census, the population of the urban commune was 52,201. By the census in 2009 this had increased to 86,633, a 4.7% annual growth rate. For administrative purposes, the commune is divided into nine "quartiers": Gadeye, Farandjiré, Aljanabanbia, Djoulabougou, Saneye, Sosso Koïra, Boulgoundjé, Château, and Djidara. The urban commune is bounded to the north by the commune of Soni Ali Ber, to the east by the commune of Anchawadi and to the south and west by the commune of Gounzoureye.


title: Gao

text: Gao features an arid climate under Köppen's climate classification. Gao's climate is hot and dry, with the only rainfall occurring between June and September. August is normally the wettest month. The average annual rainfall is only 220 mm, but there are large year-to-year variations. May is the hottest month, with an average daily high temperature of 43 °C. December and January are the coolest months, with daily low temperatures of 15 °C. From October to March during the dry period, the north-easterly Harmattan wind blows from the Sahara.


title: Gao

text: With the low rainfall, the vegetation further away from the river is sparse and consists mainly of various species of Acacia ("Acacia raddiana", "Acacia nilotica", "Acacia ehrenbergiana") and "Balanites aegyptiaca". The herbaceous plants are dominated by "Cenchrus biflorus" and "Panicum laetum".


title: Gao

text: Almost all the local agriculture depends on river water for irrigation. The annual flood of the Niger River is a result of the heavy rainfall in the headwaters of the Niger and Bani rivers in Guinea and the northern Ivory Coast. The rainfall in the headwater areas peaks in August but the flood water takes time to pass down the river system, through the Inner Niger Delta region and arrive at Gao. At Koulikoro the flood peaks in September, while in Gao the flood lasts longer and reaches a maximum in December. There is a large year-to-year variation in the extent of the flooding. The existing and proposed dams upstream of Gao reduce the overall flow of the river and could potentially have a large effect on the local agriculture. When in flood the river is 4 km wide at Gao but during the dry season a number of islands appear in the river. There is very little flow, only 5% of the maximum, in June and July.


title: Gao

text: The history of the Gao Empire precedes that of the Songhai Empire in the region of the Middle Niger. Both empires had the town of Gao as their capital. Apart from some Arabic epitaphs on tombstones discovered in 1939 at the cemetery of Gao-Saney (6 km to the east of the city) there are no surviving indigenous written records that date from before the middle of the 17th century. Our knowledge of the early history of the town relies on the writings of Arabic geographers living in Morocco, Egypt and Andalusia, most of whom never visited the region. These authors referred to the town as Kawkaw or Kuku. The two key 17th century chronicles, the "Tarikh al-Sudan" and the "Tarikh al-fattash", provide information on the town at the time of the Songhai Empire but they contain relatively little on the social and economic history. The chronicles do not, in general, acknowledge their sources. Their accounts for the earlier periods are almost certainly based on oral tradition and for events before the second half of the 15th century they are likely to be less reliable. For these earlier periods, the two chronicles sometimes provide conflicting information.


title: Gao

text: The earliest mention of Gao is by al-Khwārizmī who wrote in the first half of the 9th century when Gao was already an important regional power. Al-Yaqubi wrote in his "Tarikh" in around 872:


title: Gao

text: There is the kingdom of the Kawkaw, which is the greatest of the realms of the Sūdān, the most important and most powerful. All the kingdoms obey its king. Al-Kawkaw is the name of the town. Besides this there are a number of kingdoms of which the rulers pay allegiance to him and acknowledge his sovereignty, although they are kings in their own lands.


title: Gao

text: Ibn al-Faqih (writing c. 903) mentions a caravan route from Egypt to ancient Ghana via Kawkaw, but Ibn Hawqal (writing c. 988) states that the old route from Egypt to the Sudan was abandoned in the reign of the Egyptian ruler Ibn Tulun (ruled 868–884) as some of the caravans were attacked by bandits while others were overwhelmed by the wind-blown sand. The more direct route was replaced by one that went to Sijilmasa before heading south across the Sahara. In the 10th century, Gao is already Muslim and is described as consisting of two separate towns. Al-Muhallabi, who died in 990, wrote in a lost work quoted in the biographical dictionary compiled by Yaqut:


title: Gao

text: Their king pretends before his subject to be a Muslim and most of them pretend to be Muslims too. He has a town on the Nile [Niger], on the eastern bank, which is called Sarnāh, where there are markets and trading houses and to which there is continuous traffic from all parts. He has another town to the west of the Nile [Niger] where he and his men and those who have his confidence live. There is a mosque there where he prays but the communal prayer ground is between the two towns.


title: Gao

text: The archaeological evidence suggests that there were two settlements on the eastern bank of the Niger: Gao Ancien situated within the modern town, to the east of the Tomb of Askia, and the archaeological site of Gao-Saney (Sané in French) situated around 4 km to the east. The bed of the Wadi Gangaber passes to the south of the Gao-Saney occupation mound (tell) but to the north of Gao Ancien. The imported pottery and glass recovered from Gao-Saney suggest that the site was occupied between the 8th and 13th centuries. It is possible that Gao-Saney corresponds to Sarnāh of al-Muhallabi. Al-Bakri writing in 1068 also records the existence of two towns, but al-Idrisi writing in around 1154 does not. Both al-Muhallabi (see quote above) and al-Bakri situate Gao on the west (or right bank) of the Niger. The 17th century "Tarikh al-fattash" also states that in the 10th century Gao was situated on the Gourma side (i.e. the west bank) of the river. A large sand dune, "La Dune Rose", lies on the west bank opposite Gao, but at Koima, on the edge of the dune at a site 4 km north of Gao, surface deposits indicate a pre 9th century settlement. This could be the west bank Gao mentioned by 10th and 11th-century authors. The site has not been excavated.


title: Gao

text: Al-Sadi in his "Tarikh al-Sudan" gives a slightly later date for the introduction of Islam. He lists 32 rulers of the Zuwa dynasty and states that in 1009–1010 A.D. the 15th ruler, Zuwa Kusoy, was the first to convert to Islam. He does not actually specify where they lived except for the legendary founder of the dynasty, Zuwa Alayman who he claims came from the Yemen to Kukiya.


title: Gao

text: Towards the end of the 13th century Gao lost its independence and became part of the expanding Mali Empire. What happened to the Zuwa rulers is not recorded.


title: Gao

text: Ibn Battuta visited Suleyman (mansa) in Gao in 1352–53, when the town formed part of the Mali Empire. He arrived by boat from Timbuktu on his return journey from visiting the capital of the Empire:Then I travelled to the town of Kawkaw, which is a great town on the Nīl [Niger], one of the finest, biggest, and most fertile cities of the Sūdān. There is much rice there, and milk, and chickens, and fish, and the cucumber, which has no like. Its people conduct their buying and selling with cowries, like the people of Mālī.


title: Gao

text: After staying a month in the town, Ibn Battuta left with a caravan for Takedda and from there headed north back across the Sahara to an oasis in Tuat with a large caravan that included 600 slave girls.


title: Gao

text: Sometime in the 14th century, Ali Kulun, the first ruler of the Sunni dynasty, rebelled against the Malian hegemony but the Malians were able to regain control. It was not until the first half of the 15th century that Sunni Sulayman Dama was able to throw off the Malian yoke. His successor, Sunni Ali Ber (1464–1492), greatly expanded the territory under Songhai control and established the Songhai Empire. He made Gao his capital.


title: Gao

text: Leo Africanus visited Gao sometime between 1506 and 1510 when the town was ruled by Askiya Muhammad I, the first ruler of the Askiya dynasty. He observed that the large town lacked a surrounding wall and was full of rich merchants.


title: Gao

text: The town is very civilized compared to Timbuktu. Bread and meat are abundant, though you cannot find wine or fruits. Actually, melons, cucumbers, and excellent squash are plentiful, and there are enormous quantities of rice. There are many sweet water wells. There is a square where on market days huge numbers of slaves are sold, both male and female. A young girl of fifteen is worth about six ducats, and a young man almost as much; small children are worth about half as much as grown slaves.


title: Gao

text: Towards the end of the 16th century, Gao controlled an empire that extended for over 1,400,000 km, an area comparable in size to the modern state of Mali. The "Tarikh al-fattash" reports that a survey conducted during the reign of Askiya Al-Hajj (1582–1586) found that there were 7,626 houses without counting the huts made of straw. Assuming each house was occupied by an average of 6 people, this would imply a population of around 45,000.


title: Gao

text: The Moroccan invasion of 1591 led to the collapse of the Songhai Empire. The invaders chose to make Timbuktu their capital and the importance of Gao declined. The German explorer Heinrich Barth visited Gao in 1854 on his return journey from Timbuktu. He found a village of about 300 huts constructed of matting and grouped in clusters. The inhabitants were very poor and had only a few boats as they lacked wood for their construction. The site of the ancient town was overgrown with "Capparis decidua" bushes.


title: Gao

text: The town remained small until French rule was imposed in the early twentieth century, expanding the port and establishing a colonial base.


title: Gao

text: On 31 March 2012, one day after the capture of Kidal, Malian military forces retreated from Gao's military bases, allowing it to be occupied by Tuareg rebellion member groups MNLA and Ancar Dine. Timbuktu was captured the following day. On 6 April, the MNLA declared the region independent of Mali as the nation of Azawad. After the Battle of Gao on 26 and 27 June 2012, the MNLA lost control to Islamist militias.


title: Gao

text: After the 2012 rebellion forced the Malian Army out of Gao and the state of Azawad was proclaimed, the National Movement for the Liberation of Azawad took control of the governor's building, flying the flag of Azawad over it and rechristening it the Palace of Azawad.


title: Gao

text: On 26 June 2012, the tension came to all-out combat in Gao between the MNLA and MOJWA, with both sides firing heavy weapons. MNLA Secretary General Bilal ag Acherif was wounded in the battle. The MNLA were soon driven from the city, and from Kidal and Timbuktu shortly after. However, the MNLA stated that it continued to maintain forces and control some rural areas in the region. The following day, Ansar Dine announced that it was in control of all the cities of northern Mali.


title: Gao

text: On 19 January 2013, it was reported that Gao journalist Kader Toure was killed after being suspected of working for foreign news services. In retaliation, the local youth are reported to have lynched Islamic police commissioner Aliou Toure who was recruited by MUWA, Movement for Oneness and Jihad in West Africa, who took control of the town in June 2012.


title: Gao

text: In January 2013 French warplanes bombed parts of Gao, including the airport, in an attempt to drive out fighters from the Movement for Unity and Jihad in West Africa.


title: Gao

text: Gao was captured by French and Malian forces on 26 January 2013, as the Islamists were driven out from the city.


title: Gao

text: On 17 March 2015, a United Nations AH-64 helicopter crashed during an exercise near the town, killing both pilots. The AH-64 came from the Dutch Air Force's Defense Helicopter Command.


title: Gao

text: On 18 January 2017, a suicide bomber from Al-Mourabitoun drove a vehicle filled with explosives into a military camp near Gao, killing 77 people and injuring at least 115 (see 2017 Gao bombing). The incident was the deadliest terrorist attack in Malian history.


title: Gao

text: The population of Gao mostly speak Koyraboro Senni but includes many ethnicities, including the Bozo (traditionally nomadic river dwellers), Fulfulde/Fulani cattle keepers, and Tuareg nomads, Arabs as well as Bambara peoples from western Mali.


title: Gao

text: The seventh "Festival des arts et cultures songhay" was celebrated in February 2007 at Gao, reflecting the city's importance as a Songhay cultural capital.


title: Gao

text: Attractions in Gao include the original fourteenth century , the Askia Tomb (a UNESCO World Heritage Site) built in 1495 and incorporating another mosque, a museum devoted to the Sahel, markets including a night market, and La Dune Rose, a sand dune named after its appearance at dawn and nightfall.


title: Color difference

text: In color science, color difference or color distance is the separation between two colors. This metric allows quantified examination of a notion that formerly could only be described with adjectives. Quantification of these properties is of great importance to those whose work is color-critical. Common definitions make use of the Euclidean distance in a device-independent color space.


title: Color difference

text: As most definitions of color difference are distances within a color space, the standard means of determining distances is the Euclidean distance. If one presently has an RGB (red, green, blue) tuple and wishes to find the color difference, computationally one of the easiest is to consider "R", "G", "B" linear dimensions defining the color space.


title: Color difference

text: When the result should be computationally simple as well, it is often acceptable to remove the square root and simply use


title: Color difference

text: This will work in cases when a single color WAS to be compared to a single color and the need is to simply know whether a distance is greater. If these squared color distances are summed, such a metric effectively becomes the variance of the color distances.


title: Color difference

text: There have been many attempts to weigh RGB values to better fit human perception, where the components are commonly weighted (red 30%, green 59%, and blue 11%), however, these are demonstrably worse at color determinations and are properly the contributions to the brightness of these colors, rather than to the degree to which human vision has less tolerance for these colors. The closer approximations would be more properly (for non-linear sRGB, using a color range of 0–255):


title: Color difference

text: One of the better low-cost approximations, sometimes called "redmean", combines the two cases smoothly:


title: Color difference

text: There are a number of color distance formulae that attempt to use color spaces like HSV with the hue as a circle, placing the various colors within a three-dimensional space of either a cylinder or cone, but most of these are just modifications of RGB; without accounting for differences in human color perception, they will tend to be on par with a simple Euclidean metric.


title: Color difference

text: CIELAB and CIELUV are relatively perceptually uniform spaces and they have been used as spaces for Euclidean measures of color difference. The CIELAB version is known as CIE76. However, the non-uniformity of these spaces were later discovered, leading to the creation of more complex formulae.


title: Color difference

text: A uniform color space is supposed to make a simple measure of color difference, usually Euclidean, "just work". Color spaces that improve on this issue include CAM02-UCS, CAM16-UCS, and Jab.


title: Color difference

text: In 2019 a new standard for WCG and HDR was introduced, since CIEDE2000 was not adequate for it: CIEDE2000 is not reliable below 1 cd/m and has not been verified above 100 cd/m; in addition, even in BT.709 blue primary CIEDE2000 is underpredicting the error. Δ"E" is scaled so that a value of 1 indicates the potential of a just noticeable color difference. The Δ"E" color difference metric is derived from display referenced ICC, but XYZ is also available in the standard. The formula is a simply scaled Euclidean distance:


title: Color difference

text: The Euclidean measure is known to work poorly on large color distances (i.e. more than 10 units in most systems). A hybrid approach where a taxicab distance is used between the lightness and the chroma plane, formula_7, is shown to work better on CIELAB.


title: Color difference

text: The International Commission on Illumination (CIE) calls their distance metric (or, inaccurately, , , or "Delta E") where delta is a Greek letter often used to denote difference, and E stands for "Empfindung"; German for "sensation". Use of this term can be traced back to Hermann von Helmholtz and Ewald Hering.


title: Color difference

text: Perceptual non-uniformities in the underlying CIELAB color space have led to the CIE refining their definition over the years, leading to the superior (as recommended by the CIE) 1994 and 2000 formulas. These non-uniformities are important because the human eye is more sensitive to certain colors than others. CIELAB metric is used to define color tolerance of CMYK solids. A good metric should take this into account in order for the notion of a "just noticeable difference" (JND) to have meaning. Otherwise, a certain may be insignificant between two colors in one part of the color space while being significant in some other part.


title: Color difference

text: All formulae are originally designed to have the difference of 1.0 stand for a JND. This convention is generally followed by other perceptual distance functions such as the aforementioned . However, further experimentation may invalidate this design assumption, the revision of CIE76 JND to 2.3 being an example.


title: Color difference

text: The 1976 formula is the first formula that related a measured color difference to a known set of CIELAB coordinates. This formula has been succeeded by the 1994 and 2000 formulas because the CIELAB space turned out to be not as perceptually uniform as intended, especially in the saturated regions. This means that this formula rates these colors too highly as opposed to other colors.


title: Color difference

text: Given two colors in CIELAB color space, formula_8 and formula_9, the CIE76 color difference formula is defined as:


title: Color difference

text: The 1976 definition was extended to address perceptual non-uniformities, while retaining the CIELAB color space, by the introduction of application-specific weights derived from an automotive paint test's tolerance data.


title: Color difference

text: Δ"E" (1994) is defined in the L*C*h* color space with differences in lightness, chroma and hue calculated from L*a*b* coordinates. Given a reference color</math> both depend on formula_12 only.}} formula_13 and another color formula_14, the difference is


title: Color difference

text: In 1984, the Colour Measurement Committee of the Society of Dyers and Colourists defined a difference measure, also based on the L*C*h color model. Named after the developing committee, their metric is called CMC l:c. The quasimetric has two parameters: lightness (l) and chroma (c), allowing the users to weight the difference based on the ratio of l:c that is deemed appropriate for the application. Commonly used values are 2:1 for acceptability and 1:1 for the threshold of imperceptibility.


title: Color difference

text: CMC l:c is designed to be used with D65 and the CIE Supplementary Observer. As with CIE94, this formula defines a quasimetric because it violates symmetry: parameter T is based on the hue of the reference formula_29 alone.


title: Color difference

text: Tolerancing concerns the question "What is a set of colors that are imperceptibly/acceptably close to a given reference?" If the distance measure is perceptually uniform, then the answer is simply "the set of points whose distance to the reference is less than the just-noticeable-difference (JND) threshold". This requires a perceptually uniform metric in order for the threshold to be constant throughout the gamut (range of colors). Otherwise, the threshold will be a function of the reference color—cumbersome as a practical guide.


title: Color difference

text: In the CIE 1931 color space, for example, the tolerance contours are defined by the MacAdam ellipse, which holds L* (lightness) fixed. As can be observed on the adjacent diagram, the ellipses denoting the tolerance contours vary in size. It is partly this non-uniformity that led to the creation of CIELUV and CIELAB.


title: Color difference

text: More generally, if the lightness is allowed to vary, then we find the tolerance set to be ellipsoidal. Increasing the weighting factor in the aforementioned distance expressions has the effect of increasing the size of the ellipsoid along the respective axis.


title: Yomi

text: This realm of the dead seems to have geographical continuity with this world and certainly cannot be thought of as a paradise to which one would aspire, nor can it appropriately be described as a hell in which one suffers retribution for past deeds; rather, all deceased carry on a gloomy and shadowy existence in perpetuity, regardless of their behavior in life. Many scholars believe that the image of Yomi was derived from ancient Japanese tombs in which corpses were left for some time to decompose.


title: Yomi

text: The kanji that are sometimes used to transcribe "Yomi" actually refer to the mythological Chinese realm of the dead called Diyu or Huángquán (, lit. "Yellow Springs"), which appears in Chinese texts as early as the eighth century BCE. This dark and vaguely defined realm was believed to be located beneath the earth, but it was not until the Han dynasty that the Chinese had a clearly articulated conception of an underworld below in contrast with a heavenly realm above. The characters are "jukujikun", i.e. were used without regard to the actual meaning of the word Yomi, which is unknown. With regard to Japanese mythology, Yomi is generally taken by commentators to lie beneath the earth and is part of a triad of locations discussed in Kojiki: , , and or . Yomi has also often been associated with the mythological realm of , also known as .


title: Yomi

text: Yomi is ruled over by Izanami no Mikoto, the Grand Deity of Yomi ("Yomo-tsu-Ōkami" ). According to Kojiki, the entrance to Yomi lies in Izumo province and was sealed off by Izanagi upon his flight from Yomi, at which time he permanently blocked the entrance by placing a massive boulder ("Chigaeshi no ōkami" ) at the base of the slope that leads to Yomi ("Yomotsu Hirasaka" or ). Upon his return to Ashihara-no-Nakatsukuni, Izanagi noted that Yomi is a "polluted land" ("kegareki kuni"). This opinion reflects the traditional Shinto association between death and pollution. Later Susanoo takes this position over.


title: Yomi

text: Some Japanese Christian texts use to refer to what is called Hell in the English versions, which corrupted the original meaning. For example, ,


title: Edward Burne-Jones

text: Sir Edward Coley Burne-Jones, 1st Baronet, (; 28 August, 183317 June, 1898) was a British painter and designer associated with the Pre-Raphaelite Brotherhood which included Dante Gabriel Rossetti, John Millais, Ford Madox Brown and Holman Hunt. Burne-Jones worked with William Morris as a founding partner in Morris, Marshall, Faulkner & Co in the design of decorative arts.


title: Edward Burne-Jones

text: Burne-Jones's early paintings show the influence of Dante Gabriel Rossetti, but by 1870 he had developed his own style. In 1877, he exhibited eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included "The Beguiling of Merlin". The timing was right and Burne-Jones was taken up as a herald and star of the new Aesthetic Movement.


title: Edward Burne-Jones

text: In the studio of Morris and Co. Burne-Jones worked as a designer of a wide range of crafts including ceramic tiles, jewellery, tapestries, and mosaics. Among his most significant and lasting designs are those for stained glass windows the production of which was a revived craft during the 19th century. His designs are still to be found in churches across the UK, with examples in the US and Australia.


title: Edward Burne-Jones

text: Born Edward Coley Burne Jones (the hyphenation of his last names was introduced later) was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter's childhood. His mother Elizabeth Jones (née Coley) died within six days of his birth, and Edward was raised by his father, and the family housekeeper, Ann Sampson, an obsessively affectionate but humourless, and unintellectual local girl. He attended Birmingham's King Edward VI grammar school in 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford. At Oxford, he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a group of Jones' friends from Birmingham known as the Birmingham Set, formed a society, which they called "The Brotherhood". The members of the brotherhood read the works of John Ruskin and Tennyson, visited churches, and idealised aspects of the aesthetics and social structure of the Middle Ages. At this time, Burne-Jones discovered Thomas Malory's "Le Morte d'Arthur" which would become a substantial influential in his life. At that time, neither Burne-Jones nor Morris knew Dante Gabriel Rossetti personally, but both were much influenced by his works, and later met him by recruiting him as a contributor to their "Oxford and Cambridge Magazine", founded by Morris in 1856 to promote the Brotherhood’s ideas.


title: Edward Burne-Jones

text: Burne-Jones had intended to become a church minister, but under Rossetti's influence both he and Morris decided to become artists, and Burne-Jones left college before taking a degree to pursue a career in art. In February 1857, Rossetti wrote to William Bell Scott:


title: Edward Burne-Jones

text: In 1856 Burne-Jones became engaged to Georgiana "Georgie" MacDonald (1840–1920), one of the MacDonald sisters. She was training to be a painter, and was the sister of Burne-Jones's old school friend. The couple married in 1860, after which she made her own work in woodcuts, and became a close friend of George Eliot. (Another MacDonald sister married the artist Sir Edward Poynter, a further sister married the ironmaster Alfred Baldwin and was the mother of the Prime Minister Stanley Baldwin, and yet another sister was the mother of Rudyard Kipling. Kipling and Baldwin were thus Burne-Jones's nephews by marriage).


title: Edward Burne-Jones

text: Georgiana gave birth to a son, Philip, in 1861. In the winter of 1864, she became gravely ill with scarlet fever and gave birth to a second son who died soon thereafter. The family then moved to 41 Kensington Square, and their daughter Margaret was born there in 1866.


title: Edward Burne-Jones

text: In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a garden in North End, Fulham, London. For the 1870s Burne-Jones did not exhibit, following a number of bitterly hostile attacks in the press, and a passionate affair (described as the "emotional climax of his life") with his Greek model Maria Zambaco, which ended with her trying to commit suicide by throwing herself in Regent's Canal.


title: Edward Burne-Jones

text: During these difficult years Georgiana developed a friendship with Morris, whose wife Jane had fallen in love with Rossetti. Morris and Georgie may have been in love, but if he asked her to leave her husband, she refused. In the end, the Burne-Joneses remained together, as did the Morrises, but Morris and Georgiana were close for the rest of their lives.


title: Edward Burne-Jones

text: In 1880, the Burne-Joneses bought Prospect House in Rottingdean, near Brighton in Sussex, as their holiday home and soon after, the next door Aubrey Cottage to create North End House, reflecting the fact that their Fulham home was in North End Road. (Years later, in 1923, Sir Roderick Jones, head of Reuters, and his wife, playwright and novelist Enid Bagnold, were to add the adjacent Gothic House to the property, which became the inspiration and setting for her play "The Chalk Garden").


title: Edward Burne-Jones

text: His troubled son Philip, who became a successful portrait painter, died in 1926. His adored daughter Margaret (died 1953) married John William Mackail (1850–1945), the friend and biographer of Morris, and Professor of Poetry at Oxford from 1911 to 1916. Their children were the novelists Angela Thirkell and Denis Mackail, and the youngest, Clare Mackail.


title: Edward Burne-Jones

text: In an edition of the boys' magazine, Chums (No. 227, Vol.  V, 13 January 1897), an article on Burne-Jones stated that "...his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there, he was delighted to find the wall prettily decorated with fairies, flowers, birds, and bunnies. His indulgent grandfather had utilised his talent to alleviate the tedium of his favourite's period of penance."


title: Edward Burne-Jones

text: Burne-Jones once admitted that after leaving Oxford he "found himself at five-and-twenty what he ought to have been at fifteen". He had had no regular training as a draughtsman, and lacked the confidence of science. But his extraordinary faculty of invention as a designer was already ripening; his mind, rich in knowledge of classical story and medieval romance, teemed with pictorial subjects, and he set himself to complete his set of skills by resolute labour, witnessed by his drawings. The works of this first period are all more or less tinged by the influence of Rossetti; but they are already differentiated from the elder master's style by their more facile though less intensely felt elaboration of imaginative detail. Many are pen-and-ink drawings on vellum, exquisitely finished, of which his "Waxen Image" (1856) is one of the earliest and best examples. Although the subject, medium and manner derive from Rossetti's inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognised by Rossetti himself, who before long avowed that he had nothing more to teach him.


title: Edward Burne-Jones

text: Burne-Jones's first sketch in oils dates from this same year, 1856, and during 1857 he made for Bradfield College the first of what was to be an immense series of cartoons for stained glass. In 1858 he decorated a cabinet with the "Prioress's Tale" from Geoffrey Chaucer's "Canterbury Tales", his first direct illustration of the work of a poet whom he especially loved and who inspired him with endless subjects. Thus early, therefore, we see the artist busy in all the various fields in which he was to labour.


title: Edward Burne-Jones

text: In the autumn of 1857 Burne-Jones joined Morris, Valentine Prinsep, J. R. Spencer Stanhope and others in Rossetti's ill-fated scheme to decorate the walls of the Oxford Union. None of the painters had mastered the technique of fresco, and their pictures had begun to peel from the walls before they were completed. In 1859 Burne-Jones made his first journey to Italy. He saw Florence, Pisa, Siena, Venice and other places, and appears to have found the gentle and romantic Sienese more attractive than any other school. Rossetti's influence persisted, and is visible, more strongly perhaps than ever before, in the two watercolours of 1860, "Sidonia von Bork" and "Clara von Bork." Both paintings illustrate the 1849 gothic novel "Sidonia the Sorceress" by Lady Wilde, a translation of "Sidonia Von Bork: Die Klosterhexe" (1847) by Johann Wilhelm Meinhold.


title: Edward Burne-Jones

text: In 1864, Burne-Jones was elected an associate of the Society of Painters in Water-Colours—which is known as the Old Water-Colour Society—and exhibited, among other works, "The Merciful Knight", the first picture which fully revealed his ripened personality as an artist. The next six years saw a series of fine watercolours at the same gallery.


title: Edward Burne-Jones

text: In 1866, Mrs. Cassavetti commissioned Burne-Jones to paint her daughter, Maria Zambaco, in "Cupid finding Psyche", an introduction which led to their tragic affair. In 1870, Burne-Jones resigned his membership following a controversy over his painting "Phyllis and Demophoön"." "The features of Maria Zambaco were clearly recognisable in the barely draped Phyllis, and the undraped nakedness of Demophoön coupled with the suggestion of female sexual assertiveness offended Victorian sensibilities. Burne-Jones was asked to make a slight alteration, but instead "withdrew not only the picture from the walls, but himself from the Society."During the next seven years, 1870–1877, only two works of the painter's were exhibited. These were two water-colours, shown at the Dudley Gallery in 1873, one of them being the beautiful "Love Among the Ruins", destroyed twenty years later by a cleaner who supposed it to be an oil painting, but afterwards reproduced in oils by the painter. This silent period was, however, one of unremitting production.


title: Edward Burne-Jones

text: Hitherto, Burne-Jones had worked almost entirely in water-colours. He now began pictures in oils, working at them in turn, and having them on hand. The first "Briar Rose" series, "Laus Veneris," the "Golden Stairs," the "Pygmalion" series, and "The Mirror of Venus" are among the works planned and completed, or carried far towards completion, during these years.


title: Edward Burne-Jones

text: The beginnings of Burne-Jones' partnership with the fine-art photographer Frederick Hollyer, whose reproductions of paintings and—especially—drawings would expose an audience to Burne-Jones's works in the coming decades, began during this period.


title: Edward Burne-Jones

text: At last, in May 1877, the day of recognition came with the opening of the first exhibition of the Grosvenor Gallery, when the "Days of Creation," "The Beguiling of Merlin," and the "Mirror of Venus" were all shown. Burne-Jones followed up the signal success of these pictures with "Laus Veneris," the "Chant d'Amour," "Pan and Psyche," and other works, exhibited in 1878. Most of these pictures are painted in brilliant colours.


title: Edward Burne-Jones

text: A change is noticeable in 1879 in the "Annunciation" and in the four pictures making up the second series of "Pygmalion and the Image"; the former of these, one of the simplest and most perfect of the artist's works, is subdued and sober; in the latter a scheme of soft and delicate tints was attempted, not with entire success. A similar temperance of colours marks "The Golden Stairs," first exhibited in 1880.


title: Edward Burne-Jones

text: The almost sombre "Wheel of Fortune" was shown in 1883, followed in 1884 by "King Cophetua and the Beggar Maid," in which Burne-Jones once more indulged his love of gorgeous colour, refined by the period of self-restraint. He next turned to two important sets of pictures, "The Briar Rose" and "The Story of Perseus," although these were not completed.


title: Edward Burne-Jones

text: In 1861, William Morris founded the decorative arts firm of Morris, Marshall, Faulkner & Co. with Rossetti, Burne-Jones, Ford Madox Brown and Philip Webb as partners, together with Charles Faulkner and Peter Paul Marshall, the former of whom was a member of the Oxford Brotherhood, and the latter a friend of Brown and Rossetti. The prospectus set forth that the firm would undertake carving, stained glass, metal-work, paper-hangings, chintzes (printed fabrics), and carpets. The decoration of churches was from the first an important part of the business. The work shown by the firm at the 1862 International Exhibition attracted notice, and later it was flourishing. Two significant secular commissions helped establish the firm's reputation in the late 1860s: a royal project at St. James's Palace and the "green dining room" at the South Kensington Museum (now the Victoria and Albert) of 1867 which featured stained glass windows and panel figures by Burne-Jones.


title: Edward Burne-Jones

text: In 1871 Morris & Co. were responsible for the windows at All Saints, designed by Burne-Jones for Alfred Baldwin, his wife's brother-in-law. The firm was reorganised as Morris & Co. in 1875, and Burne-Jones continued to contribute designs for stained glass, and later tapestries until the end of his career. Nine windows designed by him and made by Morris & Co were installed in Holy Trinity Church in Frome.


title: Edward Burne-Jones

text: Stained glass windows in the Christ Church cathedral and other buildings in Oxford are by Morris & Co. with designs by Burne-Jones.


title: Edward Burne-Jones

text: Other windows are in St. Philip's Cathedral, Birmingham, St Martin in the Bull Ring, Birmingham, Holy Trinity Church, Sloane Square, Chelsea, St Peter and St Paul parish church in Cromer, St Martin's Church in Brampton, Cumbria (the church designed by Philip Webb), St Michael's Church, Brighton, Trinity Church in Frome, All Saints, Jesus Lane, Cambridge, St Edmund Hall, St Anne's Church, Brown Edge, Staffordshire Moorlands, and St Edward the Confessor church at Cheddleton Staffordshire.


title: Edward Burne-Jones

text: Stanmore Hall was the last major decorating commission executed by Morris & Co. before Morris's death in 1896. It was the most extensive commission undertaken by the firm, and included a series of tapestries based on the story of the Holy Grail for the dining room, with figures by Burne-Jones.


title: Edward Burne-Jones

text: Although known primarily as a painter, Burne-Jones was active as an illustrator, helping the Pre-Raphaelite aesthetic to enter mainstream awareness. He designed books for the Kelmscott Press between 1892 and 1898. His illustrations appeared in the following books, among others:


title: Edward Burne-Jones

text: In 1894, theatrical manager and actor Henry Irving commissioned Burne-Jones to design sets and costumes for the Lyceum Theatre production of "King Arthur" by J. Comyns Carr, who was Burne-Jones's patron and the director of the New Gallery as well as a playwright. The play starred Irving as King Arthur and Ellen Terry as Guinevere, and toured America following its London run. Burne-Jones accepted the commission with enthusiasm, but was disappointed with much of the final result. He wrote confidentially to his friend Helen Mary Gaskell (known as May), "The armour is good—they have taken pains with it ... Perceval looked the one romantic thing in it ... I hate the stage, don't tell—but I do."


title: Edward Burne-Jones

text: Burne-Jones's paintings were one strand in the evolving tapestry of Aestheticism from the 1860s through the 1880s, which considered that art should be valued as an object of beauty engendering a sensual response, rather than for the story or moral implicit in the subject matter. In many ways this was antithetical to the ideals of Ruskin and the early Pre-Raphaelites.


title: Edward Burne-Jones

text: I mean by a picture a beautiful, romantic dream of something that never was, never will be – in a light better than any light that ever shone – in a land no one can define or remember, only desire – and the forms divinely beautiful – and then I wake up, with the waking of Brynhild. No artist was ever more true to his aim. Ideals resolutely pursued are apt to provoke the resentment of the world, and Burne-Jones encountered, endured and conquered an extraordinary amount of angry criticism. Insofar as this was directed against the lack of realism in his pictures, it was beside the point. The earth, the sky, the rocks, the trees, the men and women of Burne-Jones are not those of this world; but they are themselves a world, consistent with itself, and having therefore its own reality. Charged with the beauty and with the strangeness of dreams, it has nothing of a dream's incoherence. Yet it is a dreamer always whose nature penetrates these works, a nature out of sympathy with struggle and strenuous action. Burne-Jones's men and women are dreamers too. It was this which, more than anything else, estranged him from the age into which he was born. But he had an inbred "revolt from fact" which would have estranged him from the actualities of any age. That criticism seems to be more justified which has found in him a lack of such victorious energy and mastery over his materials as would have enabled him to carry out his conceptions in their original intensity. Yet Burne-Jones was singularly strenuous in production. His industry was inexhaustible, and needed to be, if it was to keep pace with the constant pressure of his ideas. Whatever faults his paintings may have, they have always the fundamental virtue of design; they are always pictures. His designs were informed with a mind of romantic temper, apt in the discovery of beautiful subjects, and impassioned with a delight in pure and variegated colour.


title: Edward Burne-Jones

text: Burne-Jones was elected an Associate of the Royal Academy in 1885, and the following year he exhibited uniquely at the Academy, showing "The Depths of the Sea," a painting of a mermaid carrying down with her a youth whom she has unconsciously drowned in the impetuosity of her love. This picture adds to the habitual haunting charm a tragic irony of conception and a felicity of execution which give it a place apart among Burne-Jones's works. He formally resigned his Associateship in 1893.


title: Edward Burne-Jones

text: One of the "Perseus" series was exhibited in 1887 and two more in 1888, with "The Brazen Tower," inspired by the same legend. In 1890 the second series of "The Legend of Briar Rose" were exhibited by themselves and won admiration. The huge watercolour, "The Star of Bethlehem," painted for the corporation of Birmingham, was exhibited in 1891.


title: Edward Burne-Jones

text: A long illness for a time checked the painter's activity, which, when resumed, was much occupied with decorative schemes. An exhibition of his work was held at the New Gallery in the winter of 1892–1893. To this period belong his comparatively few portraits.


title: Edward Burne-Jones

text: In 1894, Burne-Jones was made a baronet. Ill-health again interrupted the progress of his works, chief among which was the vast "Arthur in Avalon". In the winter following his death, a second exhibition of his works was held at the New Gallery, and an exhibition of his drawings (including some of the charmingly humorous sketches made for children) at the Burlington Fine Arts Club.


title: Edward Burne-Jones

text: In 1881 Burne-Jones received an honorary degree from Oxford, and was made an Honorary Fellow in 1882. In 1885 he became the President of the Birmingham Society of Artists. At about that time he began hyphenating his name, merely—as he wrote later—to avoid "annihilation" in the mass of Joneses. In November 1893, he was approached to see if he would accept a Baronetcy on the recommendation of the outgoing Prime Minister William Ewart Gladstone, the following February he legally changed his name to Burne-Jones He was formally created a baronet of Rottingdean, in the county of Sussex, and of the Grange, in the parish of Fulham, in the county of London in the baronetage of the United Kingdom on 3 May 1894, but remained unhappy about accepting the honour, which disgusted his socialist friend Morris and was scorned by his equally socialist wife Georgiana. Only his son Philip, who mixed with the set of the Prince of Wales and would inherit the title, truly wanted it.


title: Edward Burne-Jones

text: Morris died in 1896, and the health of the devastated Burne-Jones declined substantially. In 1898 he suffered an attack of influenza, and had apparently recovered when he was again taken suddenly ill, and died on 17 June 1898. Six days later, at the intervention of the Prince of Wales, a memorial service was held at Westminster Abbey. It was the first time an artist had been so honoured. Burne-Jones' ashes were buried in the churchyard at St Margaret's Church, Rottingdean, a place he knew through summer family holidays.


title: Edward Burne-Jones

text: Burne-Jones exerted a considerable influence on French painting. He was influential among French symbolist painters, from 1889. His work inspired poetry by Swinburne – Swinburne's 1866 "Poems & Ballads" is dedicated to Burne-Jones.


title: Edward Burne-Jones

text: Three of Burne-Jones's studio assistants, John Melhuish Strudwick, T. M. Rooke and Charles Fairfax Murray, went on to successful painting careers. Murray later became an important collector and respected art dealer. Between 1903 and 1907 he sold a great many works by Burne-Jones and the Pre-Raphaelites to the Birmingham Museum and Art Gallery, at far below their market worth. Birmingham Museum and Art Gallery now has the largest collection of works by Burne-Jones in the world, including the massive watercolour "Star of Bethlehem", commissioned for the Gallery in 1897. The paintings are believed by some to have influenced the young J. R. R. Tolkien, then growing up in Birmingham.


title: Edward Burne-Jones

text: Burne-Jones was also a very strong influence on the Birmingham Group of artists, from the 1890s onwards.


title: Edward Burne-Jones

text: On 16 June 1933, Prime Minister Stanley Baldwin, a nephew of Burne-Jones, officially opened the centenary exhibition featuring Burne-Jones's drawings and paintings at the Tate Gallery in London. In his opening speech at the exhibition, Baldwin expressed what the art of Burne-Jones stood for:


title: Edward Burne-Jones

text: But, in fact, long before 1933, Burne-Jones had fallen out of fashion in the art world, much of which soon preferred the major trends in Modern art, and the exhibit marking the 100th anniversary of his birth was a sad affair, poorly attended. It was not until the mid-1970s that his work began to be re-assessed and once again acclaimed, following the publication of Martin Harrison and Bill Waters' 1973 monograph and reappraisal 'Burne-Jones'. In 1975, author Penelope Fitzgerald published a biography of Burne-Jones, her first book. A major exhibit in 1989 at the Barbican Art Gallery, London (in book form as: John Christian, "The Last Romantics", 1989), traced Burne-Jones's influence on the subsequent generation of artists, and another at Tate Britain in 1997 explored the links between British Aestheticism and Symbolism.


title: Edward Burne-Jones

text: A second, lavish centenary exhibit – this time marking the 100th anniversary of Burne-Jones's death – was held at the Metropolitan Museum of Art in New York in 1998, before travelling to the Birmingham Museum and Art Gallery and the Musée d'Orsay, Paris.


title: Edward Burne-Jones

text: Fiona MacCarthy, in a review of Burne-Jones's legacy, notes that he was "a painter who, while quintessentially Victorian, leads us forward to the psychological and sexual introspection of the early twentieth century".


title: William Osman

text: William Osman (born June 8, 1991) is an American YouTuber and engineer based currently in Ventura County, California. His eponymous YouTube channel features invention-based builds and challenges, including testing dummy fingers in car windows, building a scrap boat for a competition, and challenging other popular YouTube personalities to an egg drop competition. Prior to YouTube, Osman used his degree in mechanical and electrical engineering to work with MRI machines, exploration vehicles, and military testing equipment. He is also the host of the Safety Third podcast.


title: William Osman

text: Osman attended Foothill Technology High School. He created short skits with his best friend, cameraman, and assistant editor John Willner throughout high school. During his senior year, Osman made a Stirling Engine that could turn heat into mechanical energy for the 2009 California State Science Fair. Osman earned his Bachelor of Science degree from California State University, Northridge in 2014, majoring in mechanical engineering and minoring in electrical engineering.


title: William Osman

text: Osman created what would become his main YouTube channel on November 25, 2013. The majority of his early videos centered around testing his 80 watt laser cutter named "Retina Smelter 9000", in which different unconventional materials were examined for their ease of laser cutting.


title: William Osman

text: Early in December 2017, Osman and his wife, Chelsea, lost their home in the Thomas Fire. A GoFundMe account was started by his family friend to help pay for the damages. Osman posted a YouTube video about the house fire on December 5, 2017, and it quickly went viral. The GoFundMe campaign had a goal of $10,000, but surpassed $120,000 from more than 6,300 donors in 20 hours. Osman's channel gained a lot of attention in the period immediately following the fire.


title: William Osman

text: As of November 2022, Osman has posted over 160 videos and accumulated over 417 million views. His channel hit 1 million subscribers in June 2019. He has collaborated with Mark Rober, Simone Giertz, and many other maker YouTubers. In August 2019, he partnered with the U.S. Navy for part of their Sailor VS series. The Navy worked with three YouTube creators with a focus on science, technology, and math, inviting them to highlight different technical roles and equipment. Osman was invited aboard the USS "Theodore Roosevelt" to compete in an egg drop competition against a pair of sailors from a cybersecurity team.


title: William Osman

text: On July 19, 2019, Osman created a second channel for behind the scenes footage and snippets of his life. His second channel now consists of videos with ranging topics: unboxing videos, follow-ups, and smaller quick videos. As of November 2022, it has amassed over 355,000 subscribers.


title: David Dobkin (director)

text: David Dobkin (born c. 1969/1970) is an American director, producer and screenwriter. He is best known for directing the films "Clay Pigeons", "Shanghai Knights", "Wedding Crashers", "The Judge", and "".


title: David Dobkin (director)

text: Dobkin was raised in Washington, D.C., where he attended Lafayette Elementary School, and later was raised in the suburb of Bethesda, Maryland, where he attended Walt Whitman High School.


title: David Dobkin (director)

text: Dobkin made his music-video debut with a video clips for rapper Tupac Shakur. Fifteen more videos followed for such music groups as Extreme, Robin Zander, Sonic Youth, dada, Blues Traveler, and others. Dobkin's music-video credits include George Thorogood's "One Bourbon, One Scotch, One Beer," Elton John's "You Can Make History", and Coolio's "1, 2, 3, 4". Dobkin also collaborated with band Maroon 5 in their music videos "Sugar", "Don't Wanna Know", "Memories", "Nobody's Love" and "Girls Like You" and an upcoming documentary film. As of 2021, no word when the film will be released.


title: David Dobkin (director)

text: After shooting television commercials, Dobkin broke into feature films with "Clay Pigeons", for Scott Free, the first film produced at Ridley and Tony Scott's production company that they did not direct. The black comedy about a series of small-town murders starred Vince Vaughn, Joaquin Phoenix and Janeane Garofalo, and was distributed by Gramercy Pictures. Dobkin next directed the comedies "Shanghai Knights" (2003), starring Jackie Chan and Owen Wilson, and "Wedding Crashers" (2005), with Wilson and Vaughn.


title: David Dobkin (director)

text: Through his production company Big Kid Pictures, Dobkin both produced and directed "Fred Claus" (2007), starring Vaughn and Paul Giamatti, and "The Change-Up" (2011), starring Ryan Reynolds and Jason Bateman. He co-wrote and was an executive producer of the film adaption of Dark Horse Comics' "R.I.P.D." (2013), Dobkin directed 2014's "The Judge", starring Robert Downey Jr. and Robert Duvall.


title: David Dobkin (director)

text: Dobkin has directed commercials for clients such as ESPN, Heineken (which earned him honors from "SHOOT" magazine), Carl's Jr., Coke, Honda, Coors Light and Sony PlayStation (which won a Bronze Lion at Cannes). His spots for the Utah Symphony were named "Spot of the Month" by Adweek Magazine and featured as the year's best in Communication Arts Magazine.


title: Mercedes-Benz OM602 engine

text: The successor of the OM617 engine family was the newly developed straight-5 diesel automobile engine OM602 from Mercedes-Benz used from 1980s up to 2002. With some OM602 Powered Mercedes-Benz vehicles exceeding , it is considered to be one of the most reliable engines ever produced, a success which is only comparable with the famous OM617 engine.


title: Mercedes-Benz OM602 engine

text: It is closely related to the 4 cylinder OM601 and the 6 cylinder OM603 engine families of the same era.


title: Mercedes-Benz OM602 engine

text: The 5-cylinder OM602 was succeeded by the four-valve OM605 engine and later the OM612 and OM647 engines with turbocharger and common rail direct injection.


title: Mercedes-Benz OM602 engine

text: The Mercedes OM602 engine is a 5-cylinder diesel engine of . The was used in the 310D and 410D Mercedes-Benz T1 and the Phase 1 Mercedes-Benz Sprinter vans (where it was modified for direct injection), the Ssangyong Musso, Korando and Rexton range and even in the 1996–1999 models of the E-class.


title: Mercedes-Benz OM602 engine

text: It was available in either naturally aspirated or turbocharged variants with two valves per cylinder.


title: Mercedes-Benz OM602 engine

text: The camshafts and injection pump are driven by duplex chain from the crankshaft. A separate single-row chain drives the oil pump. The camshaft operated the valves via hydraulic bucket tappets; valve clearance adjustment is automatic.


title: Mercedes-Benz OM602 engine

text: On many OM602 engines fuel injection is indirect. A Bosch PES in-line injection pump is used, with a mechanical governor and vacuum-operated stop control. The pump is lubricated by a connection to the engine oil circulation and the fuel lift pump is mounted on the side of the injection pump.


title: Mercedes-Benz OM602 engine

text: Some later versions of the capacity unit use a Bosch VE-style rotary distributor injection pump with electronic control and have a significantly different combustion chamber as they use direct injection.


title: Nuvve Kavali

text: Nuvve Kavali () is a 2000 Indian Telugu-language romance film directed by K. Vijaya Bhaskar and produced by Ramoji Rao under Ushakiran Movies. A remake of the 1999 Malayalam film "Niram", the film stars Tarun, Richa Pallod, Sai Kiran, and Varsha (the former three make their debuts in lead roles).


title: Nuvve Kavali

text: "Nuvve Kavali" released on 13 October 2000 to widely positive reviews especially for its dialogues by Trivikram Srinivas, and the songs and background score by Koti. The film had a theatrical run of 200 days in 20 screens, grossing over 20 crore at the box office.


title: Nuvve Kavali

text: Produced on a shoestring budget of 1.2 crore, shot entirely in Ramoji Film City, "Nuvve Kavali" became a major sleeper hit at the time, and garnered the Best Telugu Feature Film award at the 48th National Film Awards. The film won four Filmfare Awards South, including Best Film – Telugu.


title: Nuvve Kavali

text: Tarun and Madhu are childhood best friends. They were born on the same day, in the same hospital. Even their parents are best friends from their college years and are now neighbors. Tarun and Madhu are inseparable, so much so that they study in the same college in the same class. Everyone knows them to be just friends, except Varsha (Varsha), the innocent and clumsy girl who has an enormous crush on Tarun. She notices his feelings towards Madhu and asks him about that, which he firmly and laughingly denies.


title: Nuvve Kavali

text: Another student Prakash, a very talented singer, develops feelings towards Madhu when she spontaneously sings along with him at a college function. He, Madhu and others leave for Bangalore for a week to participate in a few inter-college competitions. As they are apart for the first time in their lives, Tarun starts missing Madhu very badly, but does not understand his feelings. His maid Rukku, who often teases him and Madhu, starts teasing him that he is missing her because he loves her. Slowly, Tarun begins to realize that indeed, he loves her. He buys a gift and greeting card to express himself when she returns. Meanwhile, he sees a girl from his college slapping her friend because he proposed to her. She, in a distressed mood, says that such guys are a shame towards friendship as they pretend to be friends, but really have other intentions. She wishes that every guy could be like Tarun so that a girl and guy could be best friends without any worries. Tarun decides not to express his feelings to Madhu, lest she too react in the same way.


title: Nuvve Kavali

text: Madhu returns from Bangalore and tells Tarun that Prakash proposed to her during their stay. She comes to his room to ask him what to reply and by mistake half opens the drawer in which he kept his greeting card and gift. He hurriedly closes it and asks her not to open that and tells her to agree to the proposal if she likes Prakash. She finally agrees to Prakash's proposal, but later things start to get a little rough as Prakash doesn't like the intimacy Tarun and Madhu share.


title: Nuvve Kavali

text: Soon Prakash's grandmother comes to Madhu's house to set the date for their marriage. Her parents agree and marriage preparations are underway. It is decided that after marriage, Madhu will leave with Prakash to USA where his whole family is settled. It is then that she realises this marriage means breaking her relationship with Tarun and leaving forever. She suddenly dislikes getting married and tries to talk to Tarun about it. He casually says that it is all part of life and inevitable. She asks how can he talk so cold-heartedly. She says she wishes she did not have to leave and wonders why she had to love Prakash. She scolds him why he did not get the idea to love her in the first place. At this point Tarun, ruled by emotions, hugs Madhu and cries and runs away from her.


title: Nuvve Kavali

text: Madhu grows suspicious of his actions and remembers the drawer which he did not let her open. She goes to his room and is shocked to find the card and gift. She says that she does not want to marry Prakash and will tell everyone about them. Tarun firmly refuses, saying that their parents have given them unlimited freedom and it would be very selfish and irresponsible of them to break their trust. At his insistence, she goes through the engagement ceremony. After the engagement, Tarun says that he has to go to a basketball match out of the state and will not be there for the marriage. The parents try to convince him, but he doesn't listen. Madhu gives him a ride to the station and on the way they remember their entire childhood. At the station as Tarun is boarding the train, Madhu weeps and holds him. He is unable to leave. At the house, the maid tells their parents everything and they come to the station. They find Madhu and Tarun on the platform stairs and tell them that what they feel is not wrong and it is the way of the world. They assure the love birds that Madhu's marriage to Prakash will be cancelled.


title: Nuvve Kavali

text: The soundtrack was composed by Koti. Lyrics were penned by Sirivennela Seetharama Sastry and Bhuvana Chandra.


title: Nuvve Kavali

text: A critic from "Rediff.com" opined that "What is most noticeable about the film is that Richa and Tarun, despite their debutant status, are very comfortable in front of the camera, their performances bearing comparison with the seasoned showing of Boban and Shalini in the Malayalam original". Jeevi of "Idlebrain.com" gave the film a rating of 4.5 out of 5 and noted that "There is never a dull moment in this film".


title: Nuvve Kavali

text: "Nuvve Kavali" had an initial budget of 0.75 crore, however, the makers spent over 1.2 crore by the completion of filming to improve the production values. The film grossed over 20 crore at the box office, making it one of the most profitable Telugu films during that time.


title: Efficient energy use

text: Efficient energy use, sometimes simply called energy efficiency, is the process of reducing the amount of energy required to provide products and services. For example, insulating a building allows it to use less heating and cooling energy to achieve and maintain a thermal comfort. Installing light-emitting diode bulbs, fluorescent lighting, or natural skylight windows reduces the amount of energy required to attain the same level of illumination compared to using traditional incandescent light bulbs. Improvements in energy efficiency are generally achieved by adopting a more efficient technology or production process or by application of commonly accepted methods to reduce energy losses.


title: Efficient energy use

text: There are many motivations to improve energy efficiency. Decreasing energy use reduces energy costs and may result in a financial cost saving to consumers if the energy savings offset any additional costs of implementing an energy-efficient technology. Reducing energy use is also seen as a solution to the problem of minimizing greenhouse gas emissions. Improved energy efficiency in buildings, industrial processes and transportation could reduce the world's energy needs in 2050 by one third, and help reduce global emissions of greenhouse gases. Another important solution is to remove government-led energy subsidies that promote high energy consumption and inefficient energy use in more than half of the countries in the world.


title: Efficient energy use

text: Energy efficiency and renewable energy are said to be the "twin pillars" of sustainable energy policy and are high priorities in the sustainable energy hierarchy. In many countries energy efficiency is also seen to have a national security benefit because it can be used to reduce the level of energy imports from foreign countries and may slow down the rate at which domestic energy resources are depleted.


title: Efficient energy use

text: Energy efficiency has proved to be a cost-effective strategy for building economies without necessarily increasing energy consumption. For example, the state of California began implementing energy-efficiency measures in the mid-1970s, including building code and appliance standards with strict efficiency requirements. During the following years, California's energy consumption has remained approximately flat on a per capita basis while national US consumption doubled. As part of its strategy, California implemented a "loading order" for new energy resources that puts energy efficiency first, renewable electricity supplies second, and new fossil-fired power plants last. States such as Connecticut and New York have created quasi-public Green Banks to help residential and commercial building-owners finance energy efficiency upgrades that reduce emissions and cut consumers' energy costs.


title: Efficient energy use

text: Lovin's Rocky Mountain Institute points out that in industrial settings, "there are abundant opportunities to save 70% to 90% of the energy and cost for lighting, fan, and pump systems; 50% for electric motors; and 60% in areas such as heating, cooling, office equipment, and appliances." In general, up to 75% of the electricity used in the US today could be saved with efficiency measures that cost less than the electricity itself, the same holds true for home settings. The US Department of Energy has stated that there is potential for energy saving in the magnitude of 90 Billion kWh by increasing home energy efficiency.


title: Efficient energy use

text: Other studies have emphasized this. A report published in 2006 by the McKinsey Global Institute, asserted that "there are sufficient economically viable opportunities for energy-productivity improvements that could keep global energy-demand growth at less than 1 percent per annum"—less than half of the 2.2 percent average growth anticipated through 2020 in a business-as-usual scenario. Energy productivity, which measures the output and quality of goods and services per unit of energy input, can come from either reducing the amount of energy required to produce something, or from increasing the quantity or quality of goods and services from the same amount of energy.


title: Efficient energy use

text: The Vienna Climate Change Talks 2007 Report, under the auspices of the United Nations Framework Convention on Climate Change, clearly shows "that energy efficiency can achieve real emission reductions at low cost."


title: Efficient energy use

text: International standards ISO17743 and ISO17742 provide a documented methodology for calculating and reporting on energy savings and energy efficiency for countries and cities.


title: Efficient energy use

text: The energy intensity of a country or region, the ratio of energy use to Gross Domestic Product or some other measure of economic output", differs from its energy efficiency. Energy intensity is affected by climate, economic structure (e.g. services vs manufacturing), trade, as well as the energy efficiency of buildings, vehicles, and industry.


title: Efficient energy use

text: From the point of view of an energy consumer, the main motivation of energy efficiency is often simply saving money by lowering the cost of purchasing energy. Additionally, from an energy policy point of view, there has been a long trend in a wider recognition of energy efficiency as the "first fuel", meaning the ability to replace or avoid the consumption of actual fuels. In fact, International Energy Agency has calculated that the application of energy efficiency measures in the years 1974-2010 has succeeded in avoiding more energy consumption in its member states than is the consumption of any particular fuel, including oil, coal and natural gas.


title: Efficient energy use

text: Moreover, it has long been recognized that energy efficiency brings other benefits additional to the reduction of energy consumption. Some estimates of the value of these other benefits, often called multiple benefits, co-benefits, ancillary benefits or non-energy benefits, have put their summed value even higher than that of the direct energy benefits. These multiple benefits of energy efficiency include things such as reduced climate change impact, reduced air pollution and improved health, improved indoor conditions, improved energy security and reduction of the price risk for energy consumers. Methods for calculating the monetary value of these multiple benefits have been developed, including e.g. the choice experiment method for improvements that have a subjective component (such as aesthetics or comfort) and Tuominen-Seppänen method for price risk reduction. When included in the analysis, the economic benefit of energy efficiency investments can be shown to be significantly higher than simply the value of the saved energy.


title: Efficient energy use

text: Modern appliances, such as, freezers, ovens, stoves, dishwashers, clothes washers and dryers, use significantly less energy than older appliances. Installing a clothesline will significantly reduce one's energy consumption as their dryer will be used less. Current energy-efficient refrigerators, for example, use 40 percent less energy than conventional models did in 2001. Following this, if all households in Europe changed their more than ten-year-old appliances into new ones, 20 billion kWh of electricity would be saved annually, hence reducing CO emissions by almost 18 billion kg. In the US, the corresponding figures would be 17 billion kWh of electricity and CO. According to a 2009 study from McKinsey & Company the replacement of old appliances is one of the most efficient global measures to reduce emissions of greenhouse gases. Modern power management systems also reduce energy usage by idle appliances by turning them off or putting them into a low-energy mode after a certain time. Many countries identify energy-efficient appliances using energy input labeling.


title: Efficient energy use

text: The impact of energy efficiency on peak demand depends on when the appliance is used. For example, an air conditioner uses more energy during the afternoon when it is hot. Therefore, an energy-efficient air conditioner will have a larger impact on peak demand than off-peak demand. An energy-efficient dishwasher, on the other hand, uses more energy during the late evening when people do their dishes. This appliance may have little to no impact on peak demand.


title: Efficient energy use

text: Over the period 2001-2021, tech companies have replaced the traditional silicon switch in an electric circuit with quicker gallium nitride transistors to make new gadgets as energy efficient as feasible. Gallium nitride transistors are, however, more costly. This is a significant change in lowering the carbon footprint.


title: Efficient energy use

text: Buildings are an important field for energy efficiency improvements around the world because of their role as a major energy consumer. However, the question of energy use in buildings is not straightforward as the indoor conditions that can be achieved with energy use vary a lot. The measures that keep buildings comfortable, lighting, heating, cooling and ventilation, all consume energy. Typically the level of energy efficiency in a building is measured by dividing energy consumed with the floor area of the building which is referred to as specific energy consumption or energy use intensity:


title: Efficient energy use

text: However, the issue is more complex as building materials have embodied energy in them. On the other hand, energy can be recovered from the materials when the building is dismantled by reusing materials or burning them for energy. Moreover, when the building is used, the indoor conditions can vary resulting in higher and lower quality indoor environments. Finally, overall efficiency is affected by the use of the building: is the building occupied most of the time and are spaces efficiently used — or is the building largely empty? It has even been suggested that for a more complete accounting of energy efficiency, specific energy consumption should be amended to include these factors:


title: Efficient energy use

text: Thus a balanced approach to energy efficiency in buildings should be more comprehensive than simply trying to minimize energy consumed. Issues such as quality of indoor environment and efficiency of space use should be factored in. Thus the measures used to improve energy efficiency can take many different forms. Often they include passive measures that inherently reduce the need to use energy, such as better insulation. Many serve various functions improving the indoor conditions as well as reducing energy use, such as increased use of natural light.


title: Efficient energy use

text: A building's location and surroundings play a key role in regulating its temperature and illumination. For example, trees, landscaping, and hills can provide shade and block wind. In cooler climates, designing northern hemisphere buildings with south facing windows and southern hemisphere buildings with north facing windows increases the amount of sun (ultimately heat energy) entering the building, minimizing energy use, by maximizing passive solar heating. Tight building design, including energy-efficient windows, well-sealed doors, and additional thermal insulation of walls, basement slabs, and foundations can reduce heat loss by 25 to 50 percent.


title: Efficient energy use

text: Dark roofs may become up to 39 °C (70 °F) hotter than the most reflective white surfaces. They transmit some of this additional heat inside the building. US Studies have shown that lightly colored roofs use 40 percent less energy for cooling than buildings with darker roofs. White roof systems save more energy in sunnier climates. Advanced electronic heating and cooling systems can moderate energy consumption and improve the comfort of people in the building.


title: Efficient energy use

text: Proper placement of windows and skylights as well as the use of architectural features that reflect light into a building can reduce the need for artificial lighting. Increased use of natural and task lighting has been shown by one study to increase productivity in schools and offices. Compact fluorescent lamps use two-thirds less energy and may last 6 to 10 times longer than incandescent light bulbs. Newer fluorescent lights produce a natural light, and in most applications they are cost effective, despite their higher initial cost, with payback periods as low as a few months. LED lamps use only about 10% of the energy an incandescent lamp requires.


title: Efficient energy use

text: Effective energy-efficient building design can include the use of low cost passive infra reds to switch-off lighting when areas are unoccupied such as toilets, corridors or even office areas out-of-hours. In addition, lux levels can be monitored using daylight sensors linked to the building's lighting scheme to switch on/off or dim the lighting to pre-defined levels to take into account the natural light and thus reduce consumption. Building management systems link all of this together in one centralised computer to control the whole building's lighting and power requirements.


title: Efficient energy use

text: In an analysis that integrates a residential bottom-up simulation with an economic multi-sector model, it has been shown that variable heat gains caused by insulation and air-conditioning efficiency can have load-shifting effects that are not uniform on the electricity load. The study also highlighted the impact of higher household efficiency on the power generation capacity choices that are made by the power sector.


title: Efficient energy use

text: The choice of which space heating or cooling technology to use in buildings can have a significant impact on energy use and efficiency. For example, replacing an older 50% efficient natural gas furnace with a new 95% efficient one will dramatically reduce energy use, carbon emissions, and winter natural gas bills. Ground source heat pumps can be even more energy-efficient and cost-effective. These systems use pumps and compressors to move refrigerant fluid around a thermodynamic cycle in order to "pump" heat against its natural flow from hot to cold, for the purpose of transferring heat into a building from the large thermal reservoir contained within the nearby ground. The end result is that heat pumps typically use four times less electrical energy to deliver an equivalent amount of heat than a direct electrical heater does. Another advantage of a ground source heat pump is that it can be reversed in summertime and operate to cool the air by transferring heat from the building to the ground. The disadvantage of ground source heat pumps is their high initial capital cost, but this is typically recouped within five to ten years as a result of lower energy use.


title: Efficient energy use

text: Smart meters are slowly being adopted by the commercial sector to highlight to staff and for internal monitoring purposes the building's energy usage in a dynamic presentable format. The use of power quality analysers can be introduced into an existing building to assess usage, harmonic distortion, peaks, swells and interruptions amongst others to ultimately make the building more energy-efficient. Often such meters communicate by using wireless sensor networks.


title: Efficient energy use

text: Green Building XML is an emerging scheme, a subset of the Building Information Modeling efforts, focused on green building design and operation. It is used as input in several energy simulation engines. But with the development of modern computer technology, a large number of building performance simulation tools are available on the market. When choosing which simulation tool to use in a project, the user must consider the tool's accuracy and reliability, considering the building information they have at hand, which will serve as input for the tool. Yezioro, Dong and Leite developed an artificial intelligence approach towards assessing building performance simulation results and found that more detailed simulation tools have the best simulation performance in terms of heating and cooling electricity consumption within 3% of mean absolute error.


title: Efficient energy use

text: Leadership in Energy and Environmental Design (LEED) is a rating system organized by the US Green Building Council (USGBC) to promote environmental responsibility in building design. They currently offer four levels of certification for existing buildings (LEED-EBOM) and new construction (LEED-NC) based on a building's compliance with the following criteria: Sustainable sites, water efficiency, energy and atmosphere, materials and resources, indoor environmental quality, and innovation in design. In 2013, USGBC developed the LEED Dynamic Plaque, a tool to track building performance against LEED metrics and a potential path to recertification. The following year, the council collaborated with Honeywell to pull data on energy and water use, as well as indoor air quality from a BAS to automatically update the plaque, providing a near-real-time view of performance. The USGBC office in Washington, D.C. is one of the first buildings to feature the live-updating LEED Dynamic Plaque.


title: Efficient energy use

text: A deep energy retrofit is a whole-building analysis and construction process that uses to achieve much larger energy savings than conventional energy retrofits. Deep energy retrofits can be applied to both residential and non-residential (“commercial”) buildings. A deep energy retrofit typically results in energy savings of 30 percent or more, perhaps spread over several years, and may significantly improve the building value. The Empire State Building has undergone a deep energy retrofit process that was completed in 2013. The project team, consisting of representatives from Johnson Controls, Rocky Mountain Institute, Clinton Climate Initiative, and Jones Lang LaSalle will have achieved an annual energy use reduction of 38% and $4.4 million. For example, the 6,500 windows were remanufactured onsite into superwindows which block heat but pass light. Air conditioning operating costs on hot days were reduced and this saved $17 million of the project's capital cost immediately, partly funding other retrofitting. Receiving a gold Leadership in Energy and Environmental Design (LEED) rating in September 2011, the Empire State Building is the tallest LEED certified building in the United States.


title: Efficient energy use

text: The Indianapolis City-County Building recently underwent a deep energy retrofit process, which has achieved an annual energy reduction of 46% and $750,000 annual energy saving.


title: Efficient energy use

text: Energy retrofits, including deep, and other types undertaken in residential, commercial or industrial locations are generally supported through various forms of financing or incentives. Incentives include pre-packaged rebates where the buyer/user may not even be aware that the item being used has been rebated or "bought down". "Upstream" or "Midstream" buy downs are common for efficient lighting products. Other rebates are more explicit and transparent to the end user through the use of formal applications. In addition to rebates, which may be offered through government or utility programs, governments sometimes offer tax incentives for energy efficiency projects. Some entities offer rebate and payment guidance and facilitation services that enable energy end use customers tap into rebate and incentive programs.


title: Efficient energy use

text: To evaluate the economic soundness of energy efficiency investments in buildings, cost-effectiveness analysis or CEA can be used. A CEA calculation will produce the value of energy saved, sometimes called "negawatts", in $/kWh. The energy in such a calculation is virtual in the sense that it was never consumed but rather saved due to some energy efficiency investment being made. Thus CEA allows comparing the price of negawatts with price of energy such as electricity from the grid or the cheapest renewable alternative. The benefit of the CEA approach in energy systems is that it avoids the need to guess future energy prices for the purposes of the calculation, thus removing the major source of uncertainty in the appraisal of energy efficiency investments.


title: Efficient energy use

text: Industries use a large amount of energy to power a diverse range of manufacturing and resource extraction processes. Many industrial processes require large amounts of heat and mechanical power, most of which is delivered as natural gas, petroleum fuels, and electricity. In addition some industries generate fuel from waste products that can be used to provide additional energy.