title: Ring road

text: Route numbering is challenging when a through highway and a loop bypass together form a circumferential ring road. Since neither of the highways involved is circumferential itself, either dual signage or two (or more) route numbers is needed. The history of signage on the Capital Beltway around Washington, D.C., is instructive here. Interstate 95, a major through highway along the U.S. East Coast, was originally planned as a through-the-city route there, with the Beltway encircling the city as I-495. The portion of I-95 entering the city from the south was soon completed (and so signed), primarily by adapting an existing major highway, but the planned extension of I-95 through residential areas northward to the Beltway was long delayed, and eventually abandoned, leaving the eastern portion of the Beltway as the best Interstate-quality route for through traffic.


title: Ring road

text: This eastern portion of the Beltway was then redesignated from I-495 to I-95, leaving the I-495 designation only on the western portion, and the completed part of the planned Interstate inside the Beltway was redesignated as a spur, I-395. A few years later, the resulting confusion from different route numbers on the circumferential Beltway was resolved by restoring I-495 signage for the entire Beltway, with dual signage for I-95 for the highway's concurrent use as a through Interstate on its eastern portion.


title: Ring road

text: The longest complete beltway in the United States is Sam Houston Tollway, an loop in Texas that forms a complete beltway around the Metro Houston area.


title: Ring road

text: The longest complete belt road in the United States is Hawaii Belt Road, a belt in Hawaii that forms a complete belt road around Hawaii Island.


title: Ring road

text: There are other U.S. superhighway beltway systems that consist of multiple routes that require multiple interchanges and thus do not provide true ring routes. Two designated examples are the Capital Beltway around Harrisburg, Pennsylvania using Interstate 81, Interstate 83, and Pennsylvania Route 581 and “The Bypass” around South Bend, Indiana using Interstate 80, Interstate 90, U.S. Route 31, and Indiana State Road 331.


title: Ring road

text: Edmonton, Alberta, has two ring roads. The first is a loose conglomeration of four major arterial roads with an average distance of from the downtown core. Yellowhead Trail forms the northern section, Wayne Gretzky Drive/75 Street forms the eastern section, Whitemud Drive forms the southern and longest section, and 170 Street forms the western and shortest section. Whitemud Drive is the only section that is a true controlled-access highway, while Yellowhead Trail and Wayne Gretzky Drive have interchanges and intersections and are therefore both limited-access roads. 170 Street and 75 Street are merely large arterial roads with intersections only. The second and more prominent ring road is named Anthony Henday Drive; it circles the city at an average distance of from the downtown core. It is a freeway for its entire length, and was built to reduce inner-city traffic congestion, created a bypass of Yellowhead Trail, and has improved the movement of goods and services across Edmonton and the surrounding areas. It was completed in October 2016 as the first free-flowing orbital road in Canada.


title: Ring road

text: Stoney Trail is a ring road that circles the majority of Calgary, Alberta. The west portion of the freeway is currently under construction.


title: Ring road

text: Winnipeg, Manitoba, has a ring road which is called the Perimeter Highway. It is designated as Manitoba Highway 101 on the north, northwest and east sides and as Manitoba Highway 100 on the south and southwest sides. The majority of it is a four-lane divided expressway. It has a second ring road, planned since the 1950s and not yet completed, called the Suburban Beltway. It consists of several roads—Lagimodière Boulevard, Bishop Grandin Boulevard, the Fort Garry Bridge, the Moray Bridge, William R Clement Parkway, Chief Peguis Trail and the Kildonan Bridge.


title: Ring road

text: Saskatoon, Saskatchewan, has a ring road named Circle Drive. It is designated as Saskatchewan Highway 16 on the east and north, and as Saskatchewan Highway 11 on the south, and simply as Circle Drive on the west.


title: Ring road

text: Regina, Saskatchewan has a partial ring road that is named Ring Road; however, due to the city's urban growth since the road was originally constructed, it no longer functions as a true ring road and has instead come to be used partially for local arterial traffic. The Regina Bypass, a new partial ring road, has replaced it.


title: Ring road

text: Hamilton, Ontario, has the Lincoln M. Alexander Parkway, Highway 403 and the Red Hill Valley Parkway which form a ring on three sides.


title: Ring road

text: Sudbury, Ontario, has a partial ring road consisting of the Southwest and Southeast Bypasses segment of Highway 17, and the Northwest Bypass segment of Highway 144.


title: Ring road

text: Most major cities in Europe are served by a ring road that either circles the inner core of their metropolitan areas or the outer borders of the city proper or both. In major transit hubs, such as the Île-de-France region surrounding Paris and the Frankfurt area, major national highways converge just outside city limits before forming one of several routes of an urban network of roads circling the city. Unlike in United States, route numbering is not a challenge on European ring roads as routes merge to form the single designated road. However, exit and road junction access can be challenging due to the complexity of other routes branching from or into the ring road.


title: Ring road

text: One of the most renowned ring roads is the Vienna Ring Road ("Ringstraße"), a grand boulevard constructed in the mid-19th century and filled with representative buildings. Due to its unique architectural beauty and history, it has also been called the "Lord of the ring roads", and is declared by UNESCO as part of Vienna's World Heritage Site.


title: Ring road

text: In Iceland, there is a 1,332 km ring road, called the ring road (or Route 1), around most of the island (excluding only the remote Westfjords). Most of the country's settlements are on or near this road.


title: Steve Cochran

text: Steve Cochran (born Robert Alexander Cochran, May 25, 1917 – June 15, 1965) was an American film, television and stage actor. He attended the University of Wyoming. After a stint working as a cowboy, Cochran developed his acting skills in local theatre and gradually progressed to Broadway, film and television.


title: Steve Cochran

text: Cochran was born in Eureka, California, but grew up in Laramie, Wyoming, the son of a logger. While he appeared in high school plays, he spent more time delving into athletics, particularly basketball.


title: Steve Cochran

text: After stints as a cowpuncher and railroad station hand, he studied at the University of Wyoming, where he also played basketball. Impulsively, he quit college in 1937 and decided to go straight to Hollywood to become a star.


title: Steve Cochran

text: Working as a carpenter and department store detective during his early adulthood, Cochran also gained experience appearing in summer stock. In the early 1940s he worked with the Shakespeare Festival in Carmel, California, where he played Orsino in "Twelfth Night", Malcolm in "Macbeth", Horatio in "Hamlet" and the title role in "Richard III". He then performed in plays for the Federal Theatre Project in Detroit.


title: Steve Cochran

text: Cochran was rejected for military service in World War II because of a heart murmur, but he directed and performed in plays at a variety of Army camps.


title: Steve Cochran

text: He was appearing with Constance Bennett in a touring production of "Without Love" in December 1943 when he was signed by Sam Goldwyn.


title: Steve Cochran

text: Samuel Goldwyn brought Cochran to Hollywood in 1945. Goldwyn made only a few films a year, so he loaned Cochran to Columbia Pictures for "Booked on Suspicion" (1945), a Boston Blackie movie.


title: Steve Cochran

text: Goldwyn then put him in "Wonder Man" (1945), a Danny Kaye movie co-starring Virginia Mayo and Vera-Ellen in which Cochran played a gangster. Columbia then used him in another Boston Blackie film, "Blackie's Rendezvous" (1945), in which he played a villain, and in "The Gay Senorita" (1945) with Jinx Falkenburg.


title: Steve Cochran

text: Goldwyn then used Cochran in another Danny Kaye movie with Mayo and Vera-Ellen, "The Kid from Brooklyn" (1946). After United Artists borrowed him to play a gangster in "The Chase" (1946), Cochran appeared in the prestigious drama "The Best Years of Our Lives" (1946), playing a man who has an affair with a woman played by Virginia Mayo that continues even after her husband (played by Dana Andrews) returns from war. The movie was a huge critical and commercial success.


title: Steve Cochran

text: Cochran had a supporting role opposite Groucho Marx in "Copacabana" (1947) for United Artists. Goldwyn got him to play another gangster opposite Kaye and Mayo in "A Song is Born" (1948), directed by Howard Hawks.


title: Steve Cochran

text: He made his TV debut in "Dinner at Antoine's" for "The Philco-Goodyear Television Playhouse" (1949) and followed this with "Tin Can Skipper" for "NBC Presents" (1949).


title: Steve Cochran

text: He then returned to Broadway to support Mae West in a shortlived revival of her play "Diamond Lil". This revived Hollywood's interest in him.


title: Steve Cochran

text: In 1949 Cochran went over to Warner Bros., playing Big Ed Somers, a power-hungry henchman to James Cagney's psychotic mobster in "White Heat" (1949) opposite Virginia Mayo. Warner Bros. eventually took over Cochran's and Mayo's contracts from Goldwyn.


title: Steve Cochran

text: Cochran supported Joan Crawford in "The Damned Don't Cry" (1950), after which he was given his first lead role, in "Highway 301" (1950), playing a gangster. He was a villain to Gary Cooper's hero in "Dallas" (1950) and played a Ku Klux Klan member in "Storm Warning" (1951) with Ginger Rogers and Doris Day.


title: Steve Cochran

text: Cochran was a villain in "Canyon Pass" (1951), a western, and then was given the lead in "Inside the Walls of Folsom Prison" (1951), which inspired Johnny Cash to write his song "Folsom Prison Blues".


title: Steve Cochran

text: Warners gave him another lead in "Tomorrow Is Another Day" (1951), a film noir with Ruth Roman that was originally intended for Burt Lancaster.


title: Steve Cochran

text: Warners starred him in "The Tanks Are Coming" (1951) and in a rare sympathetic role in "The Lion and the Horse" (1952). He co-starred with Cornel Wilde in "Operation Secret" (1952) and supported Virginia Mayo in "She's Back on Broadway" (1953). In "The Desert Song" (1953), Cochran played Gordon Macrae's rival for Kathryn Grayson. He then left Warners.


title: Steve Cochran

text: Cochran starred in the low-budget action film "Shark River" (1953) for United Artists and was a villain in "Back to God's Country" (1953), which starred Rock Hudson, at Universal.


title: Steve Cochran

text: He returned to television, appearing in episodes of "Lux Video Theatre" ("Three Just Men" (1953)), and "Studio One in Hollywood" ("Letter of Love" (1953)). He reportedly made a film in Mexico called "Embarcardero", which he co wrote, directed and starred in alongside Edward Norri.


title: Steve Cochran

text: Cochran then went to Germany to make "Carnival Story" (1954) for the King Brothers. It was his first film in Europe.


title: Steve Cochran

text: Back in Hollywood, he co-starred in "Private Hell 36" (1954) with Ida Lupino for Don Siegel. His TV roles included "Foreign Affair" (1954) for "Robert Montgomery Presents"; "The Role of a Lover" (1954) and "The Most Contagious Game" (1955) for "Studio One"; "Trip Around the Block" (1954) and "The Menace of Hasty Heights" (1956) for "The Ford Television Theatre"; "The After House" (1954), "Fear is the Hunter" (1956), and "Bait for the Tiger" (1957) for "Climax!"; and "The Seeds of Hate" (1955) for "General Electric Theatre".


title: Steve Cochran

text: Republic Pictures hired him to play Ann Sheridan's love interest in "Come Next Spring" (1956). Cochran then went to the UK to play the lead in "The Weapon" (1956).


title: Steve Cochran

text: Cochran supported Van Johnson in MGM's "Slander" (1957). He went to Italy to star in "Il Grido" (1957) for Michelangelo Antonioni alongside Alida Valli and Betsy Blair; filming took seven months.


title: Steve Cochran

text: On television, he appeared in "Outlaw's Boots" (1957) for "Schlitz Playhouse", "Debt of Gratitude" (1958) for "Zane Grey Theater", "Strictly Personal" (1958) for "The Loretta Young Show", and an episode of "The Twilight Zone", “What You Need”, in 1959.


title: Steve Cochran

text: Cochran played the lead roles in "Quantrill's Raiders" (1958), an Allied Artists western, and in "I Mobster" (1959), a Roger Corman gangster film. Albert Zugsmith used him for the lead roles in "The Beat Generation" (1959) and "The Big Operator" (1959).


title: Steve Cochran

text: After 1959, Cochran worked mostly in television, guest-starring in series such as "Bonanza" (Season 6, episode 26, "The Trap", aired on March 28, 1965), "The Untouchables", "Route 66", "Bus Stop", "Stoney Burke", "The Naked City", "Shirley Temple's Storybook", "The Dick Powell Theatre", "The Virginian", "Route 66", "Death Valley Days", "Mr. Broadway", and "Burke's Law".


title: Steve Cochran

text: He had the lead in the TV movie "The Renegade" (1960) and was in Sam Peckinpah's debut feature, "The Deadly Companions" (1961). They had first worked together when Peckinpah was dialogue director on the film noir "Private Hell 36" (1954).


title: Steve Cochran

text: Cochran was Merle Oberon's co star in "Of Love and Desire" (1963), shot in Mexico. He had the lead in "Mozambique" (1964) for Harry Alan Towers.


title: Steve Cochran

text: In 1953 Cochran formed his own production company, Robert Alexander Productions, which attempted to make some television series, and films such as "The Tom Mix Story" (with Cochran as Mix), "Hope is the Last Thing to Die", about the Mexican War, and "Klondike Lou". None of these was ever produced, but his company did make a television pilot, "Fremont the Trailblazer", in which he played John C. Frémont and co-starred with Barbara Wilson and James Gavin. Cochran also wrote, produced, directed and starred in "Tell Me in the Sunlight" (1965).


title: Steve Cochran

text: Cochran was a notorious womanizer and attracted tabloid attention for his tumultuous private life, which included well-documented affairs with numerous starlets and actresses. Mamie Van Doren later wrote about their sex life in graphic detail in her tell-all autobiography "Playing the Field: My Story" (New York: G.P. Putnam, 1987). He was also married and divorced three times, to actress Fay McKenzie, Florence Lockwood and Jonna Jensen. He and Lockwood had one daughter, Xandra, through whom he is the grandfather of film and television producer Alex Johns, who was a co-executive producer for more than seventy episodes of the animated television series "Futurama". In the 2002 documentary "The Importance of Being Morrissey", Steven Morrissey claims that his parents named him after Steve Cochran.


title: Steve Cochran

text: In 1950 Cochran hired future screenwriter and actor Montgomery Pittman as a gardener at Cochran's Beverly Hills home.


title: Steve Cochran

text: Cochran was in trouble with the police a number of times in his life, including a reported assault and a charge of reckless driving in 1953.


title: Steve Cochran

text: Cochran recruited three young women to accompany him on a sailing trip from Acapulco to Costa Rica, ostensibly to take part in an upcoming film. A few days into the trip, the yacht lost one of its two masts in a storm. Shortly thereafter, Cochran fell ill, and died two days later on June 15, 1965 at the age of 48, of what was later determined to be an acute lung infection. The women who were accompanying him did not know how to sail the boat, and were trapped with the decomposing body for ten days, before being rescued out at sea. The boat, still carrying his corpse, was later found drifting off the coast of Guatemala.


title: Steve Cochran

text: Cochran's widow was given half of his estate of $25,000. She shared it with his daughter by another marriage.


title: Steve Cochran

text: Cochran has a star at 1750 Hollywood Boulevard in the Motion Pictures section of the Hollywood Walk of Fame. It was dedicated February 8, 1960.


title: Olafur Eliasson

text: Olafur Eliasson (; born 5 February 1967) is an Icelandic–Danish artist known for sculptured and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer's experience. In 1995 he established Studio Olafur Eliasson in Berlin, a laboratory for spatial research. In 2014, Eliasson and his long-time collaborator, German architect Sebastian Behmann founded Studio Other Spaces, an office for architecture and art. Olafur represented Denmark at the 50th Venice Biennale in 2003 and later that year installed "The Weather Project", which has been described as "a milestone in contemporary art", in the Turbine Hall of Tate Modern, London.


title: Olafur Eliasson

text: Olafur has engaged in a number of projects in public space, including the intervention "Green river", carried out in various cities between 1998 and 2001; the Serpentine Gallery Pavilion 2007, London, a temporary pavilion designed with the Norwegian architect Kjetil Trædal Thorsen; and "The New York City Waterfalls", commissioned by Public Art Fund in 2008. He also created the Breakthrough Prize trophy. Like much of his work, the sculpture explores the common ground between art and science. It is molded into the shape of a toroid, recalling natural forms found from black holes and galaxies to seashells and coils of DNA.


title: Olafur Eliasson

text: Olafur was a professor at the Berlin University of the Arts from 2009 to 2014 and is an adjunct professor at the Alle School of Fine Arts and Design in Addis Ababa since 2014. His studio is based in Berlin, Germany.


title: Olafur Eliasson

text: Olafur Eliasson was born in Copenhagen in 1967 to Elías Hjörleifsson and Ingibjörg Olafsdottir. His parents had emigrated to Copenhagen from Iceland in 1966, he to find work as a cook, and she as a seamstress. He was 8 when his parents separated. He lived with his mother and his stepfather, a stockbroker. His father, then an artist, moved back to Iceland, where their family spent summers and holidays. At 15 he had his first solo show, exhibiting landscape drawings and gouaches at a small alternative gallery in Denmark. However, Olafur considered his "break-dancing" during the mid-1980s to be his first artworks. With two school friends, he formed a group, calling themselves the Harlem Gun Crew, and they performed at clubs and dance halls for four years, eventually winning the Scandinavian championship.


title: Olafur Eliasson

text: Olafur studied at the Royal Danish Academy of Fine Arts from 1989 to 1995. In 1990, when he was awarded a travel budget by the Royal Danish Academy, Olafur went to New York where he started working as a studio assistant for artist Christian Eckart in Williamsburg, Brooklyn and reading texts on phenomenology and Gestalt psychology.


title: Olafur Eliasson

text: Olafur received his degree from the academy in 1995, after having moved in 1993 to Cologne for a year, and then to Berlin, where he has since maintained a studio. First located in a three-story former train depot right next door to the Hamburger Bahnhof, the studio moved to a former brewery in Prenzlauer Berg in 2008.


title: Olafur Eliasson

text: In 1996, Olafur started working with Einar Thorsteinn, an architect and geometry expert 25 years his senior as well as a former friend of Buckminster Fuller. The first piece they created called "8900054", was a stainless-steel dome wide and high, designed to be seen as if it were growing from the ground. Though the effect is an illusion, the mind has a hard time believing that the structure is not part of a much grander one developing from deep below the surface. Thorsteinn's knowledge of geometry and space has been integrated into Olafur's artistic production, often seen in his geometric lamp works as well as his pavilions, tunnels and camera obscura projects.


title: Olafur Eliasson

text: For many projects, the artist works collaboratively with specialists in various fields, among them the architects Thorsteinn and Sebastian Behmann (both of whom have been frequent collaborators, Behmann working on the Kirk Kapital headquarters on Vejle Fjord in Denmark, completed in 2018), author Svend Åge Madsen ("The Blind Pavilion"), landscape architect Gunther Vogt ("The Mediated Motion"), architecture theorist Cedric Price ("Chaque matin je me sens différent, chaque soir je me sens le même"), and architect Kjetil Thorsen (Serpentine Gallery Pavilion, 2007). Studio Olafur Eliasson, which the artist founded as a "laboratory for spatial research", employs a team of architects, engineers, craftsmen, and assistants (some 30 members as of 2008) who work together to conceive and construct artworks such as installations and sculptures, as well as large-scale projects and commissions. Olafur is influenced by Bruce Nauman, as well as James Turrell and Robert Irwin.


title: Olafur Eliasson

text: As professor at the Berlin University of the Arts, Olafur Eliasson founded the Institute for Spatial Experiments (Institut für Raumexperimente, IfREX), which opened within his studio building in April 2009. "Huffington Post" named Eliasson one of "18 Green Artists Who Are Making Climate Change And Conservation A Priority."


title: Olafur Eliasson

text: Nadine Wojcik, after attending the "In real life" exhibition in 2019, dubbed "Beauty" (1993) a "simple yet powerful water installation that evokes a rainbow via spotlights.” Anna Souter called the work "a reminder of the intensely fragile beauty of the natural world and its elements. [...] it’s simply and superbly beautiful".


title: Olafur Eliasson

text: Early works by Olafur consist of oscillating electric fans hanging from the ceiling. "Ventilator" (1997) swings back and forth and around, rotating on its axis. "Quadrible light ventilator mobile" (2002–2007) is a rotating electrically powered mobile comprising a searchlight and four fans blowing air around the exhibition room and scanning it with the light cone. In a 2008 review of the "Take Your Time" retrospective (at the Museum of Modern Art), Peter Schjeldahl dubbed "Ventilator" "a witty finesse of the MOMA atrium’s space-splurging grandiosity"


title: Olafur Eliasson

text: "The weather project" was installed at the London's Tate Modern in 2003 as part of the popular Unilever series. The installation filled the open space of the gallery's Turbine Hall.


title: Olafur Eliasson

text: Olafur used humidifiers to create a fine mist in the air via a mixture of sugar and water, as well as a semicircular disc (reflected by the ceiling mirror to appear circular) made up of hundreds of monochromatic lamps which radiated yellow light. The ceiling of the hall was covered with a huge mirror, in which visitors could see themselves as tiny black shadows against a mass of orange light symbolizing the sun. Many visitors responded to this exhibition by lying on their backs and waving their hands and legs. Art critic Brian O'Doherty described this as viewers "intoxicated with their own narcissism as they ponder themselves elevated into the sky."


title: Olafur Eliasson

text: "The Weather Project" was highly successful. Open for six months, the work reportedly attracted two million visitors, many of whom were repeat visitors. O'Doherty was positive about the piece when talking to "Frieze" magazine in 2003, saying that it was "the first time I've seen the enormously dismal space—like a coffin for a giant—socialized in an effective way." "The Telegraph"'s Richard Dorment praised its "beauty and power". It remains his most famous work and ranked 11th in a poll by "The Guardian" of the best art since 2000, with Jonathan Jones describing Olafur as "one of the century’s most significant artists."


title: Olafur Eliasson

text: Olafur has been developing various experiments with atmospheric density in exhibition spaces. In "Room For One Colour" (1998), a corridor lit by yellow monofrequency tubes, the participants find themselves in a room filled with light that affects the perception of all other colours. Another installation, "360 degrees Room For All Colours" (2002), is a round light-sculpture where participants lose their sense of space and perspective, and experience being subsumed by an intense light. Olafur's later installation "Din blinde passager (Your blind passenger)" (2010), commissioned by the Arken Museum of Modern Art, is a 90-metre-long tunnel. Entering the tunnel, the visitor is surrounded by dense fog. With visibility at just 1.5 metres, museumgoers have to use senses other than sight to orient themselves in relation to their surroundings. After attending the 2019 "In real life" exhibition, Souter deemed "Your blind passenger" one of Olafur's finest works, reporting that she felt "alone in the universe. [...] I thought I could see my own irises, flashing as a ring of blue in front of me, and I could hear my own heartbeat in my ears." For "Feelings are facts", the first time Olafur has worked with Chinese architect Yansong Ma as well as his first exhibition in China, Olafur introduces condensed banks of artificially produced fog into the gallery of Ullens Center for Contemporary Art, Beijing. Hundreds of fluorescent lights are installed in the ceiling as a grid of red, green, and blue zones.


title: Olafur Eliasson

text: In 1998, Olafur discovered that uranin, a readily available nontoxic powder used to trace leaks in plumbing systems, could dye entire rivers a sickly fluorescent green. Olafur conducted a test run in the Spree River during the 1998 Berlin Biennale, scattering a handful of powder from a bridge near Museum Island. He began introducing the environmentally safe dye to rivers in Moss, Norway (1998), Bremen (1998), Los Angeles (1999), Stockholm (2000) and Tokyo (2001) — always without advance warning. He first achieved international prominence with "Green river", which initially made Stockholm pedestrians concerned that the city's water had been tainted.


title: Olafur Eliasson

text: At Denmark's Louisiana Museum of Modern Art in 2014–2015, Olafur created a riverbed installation. He compiled natural rocks, dirt, and water to transform the gallery space into a landscape and titled the piece, “A Riverbed Inside the "Museum".” Olafur captures physical phenomena in a way that appears both real and slightly artificial, while contained in a constructed space that invites viewers to participate. "A Riverbed Inside the Museum" becomes an immersive experience, using all five senses, in which the individuals can either follow or curiously step away from. Freedom exists in both of these actions, allowing the participant to discover a paradox or enter a void, questioning their true freedom and will happening within a designed system.


title: Olafur Eliasson

text: In regular intervals, Olafur presents grids of various color photographs, all taken in Iceland. Each group of images focuses on a single subject: volcanoes, hot springs and huts isolated in the wilderness. In his very first series he attempted to shoot all of Iceland's bridges. A later series from 1996 documented the aftermath of a volcanic eruption under the Vatnajökull. Often these photographs are shot from the air, in a small rented plane traditionally used by mapmakers. Arranged in a grid, the photographs recall the repetitive images of the German photographers Bernd and Hilla Becher.


title: Olafur Eliasson

text: This project, a light installation commissioned for the Venice Biennale by Thyssen-Bornemisza Art Contemporary in collaboration with David Adjaye, was shown from 1 August to 31 October 2005 on the island of San Lazzaro in the lagoon near Venice, Italy. A temporary pavilion was constructed on the grounds of the monastery to house the exhibit, consisting of a square room painted black with one source of illumination – a thin, continuous line of light set into all four walls of the room at the viewers eye-level, serving as a horizontal division between above and below. From June 2007 through October 2008, the pavilion was reopened on the island of Lopud, Croatia near the city of Dubrovnik.


title: Olafur Eliasson

text: Olafur was commissioned by BMW in 2007 to create the sixteenth art car for the BMW Art Car Project. Based on the hydrogen-powered BMW H2R concept vehicle, Olafur and his team removed the automobile's alloy body and instead replaced it with a new interlocking framework of reflective steel bars and mesh. Layers of ice were created by spraying approximately 530 gallons of water during a period of several days upon the structure. On display, the frozen sculpture is glowing from within. "Your mobile expectations: BMW H2R project" was on special display in a temperature controlled room at the San Francisco Museum of Modern Art from 2007 to 2008 and at the Pinakothek der Moderne, Munich, in 2008.


title: Olafur Eliasson

text: Olafur was commissioned by The Public Art Fund to create four man-made waterfalls, called "The New York City Waterfalls", ranging in a height from 90 to 120 ft., in New York Harbor. The installation ran from 26 June through 13 October 2008. At $15.5 million, it was the most expensive public arts project since Christo and Jeanne-Claude's installation of "The Gates" in Central Park.


title: Olafur Eliasson

text: Dedicated on 15 May 2009, this permanent sculpture stands at Bard College, Annandale-on-Hudson, NY. The installation is based on the original Icelandic parliament, Althingi, one of the world's earliest democratic forums. The artist envisions the project as a place where students and visitors can gather to relax, discuss ideas, or have an argument. The parliament of reality emphasizes that negotiation should be the core of any educational scheme. The man-made island is surrounded by a 30-foot circular lake, 24 trees, and wild grasses. The island is composed of a cut-bluestone, compass-like floor pattern (based upon meridian lines and navigational charts), on top of which 30 river-washed boulders create an outdoor seating area for students and the public to gather. The island is reached by a 20-foot-long stainless steel lattice-canopied bridge, creating the effect that visitors are entering a stage or outdoor forum. Frogs gather in this wiry mesh at night, creating an enjoyable symphony.


title: Olafur Eliasson

text: For his ongoing series of "Colour experiment paintings" – which began in 2009 – Olafur started analyzing pigments, paint production and application of colour in order to mix paint in the exact colour for each nanometre of the visible light spectrum. This body of work features color wheels that are created in a variety of spectrums. He also explores the work of Caspar David Friedrich. In 2014, Olafur analyzed seven paintings by J. M. W. Turner to create "Turner colour experiments", which isolate and record Turner's use of light and colour.


title: Olafur Eliasson

text: Olafur designed the facade of Harpa, Reykjavík's new concert hall and conference centre which was completed in 2011. In close collaboration with his studio team and Henning Larsen Architects, the designers of the building, Olafur has designed a unique facade consisting of large quasi bricks, a stackable twelve sided module in steel and glass. The facade will reflect the city life and the different light composed by the movements of the sun and varying weather. During the night the glass bricks are lit up by different colored LED lights. The building was opened on 13 May 2011, and garnered acclaim.


title: Olafur Eliasson

text: Olafur's artwork "Your rainbow panorama" consists of a circular, long and wide corridor made of glass in every color of the spectrum. It has a diameter of and is mounted on high columns on top of the roof of the ARoS Aarhus Kunstmuseum in Aarhus. It opened in May 2011. Visitors can walk through the corridor and have a panoramic view of the city.


title: Olafur Eliasson

text: Olafur's idea was chosen in 2007 among five other proposals in a bidding process by a panel of judges. At night the artwork is lit from the inside by spotlights in the floor.


title: Olafur Eliasson

text: In November 2013, at the Falling Walls Conference, Olafur presented with Ai Weiwei, connected via web from Beijing, their collaboration "Moon", an open digital platform that allows users to draw on enormous replica of the moon via their web browser. The platform is a statement in support of freedom of speech and creative collaboration.


title: Olafur Eliasson

text: From December 17, 2014, to February 23, 2015, Fondation Louis Vuitton, Paris. The artworks appear as a sequence of events along a journey. Moving through passageways and expansive installations, visitors become part of a choreography of darkness, light, geometry, and reflections. Along the way, optical devices, models, and a meteorite reflect Olafur's on-going investigations into the mechanisms of perception and the construction of space.


title: Olafur Eliasson

text: The relation between bodily reaction and art as well as the raising of awareness of climate change is explored in "Ice Watch" (2014-2018). With the installation of enormous ice blocks in various places of the world (Copenhagen in 2014, Paris in 2015 and London in 2018), Eliasson responds to major Climate Change conferences and reports. With his project beginning in 2014, he transports twelve ice-blocks from the Nuup Kangerlua fjord in Greenland to the streets of Copenhagen. The ice-blocks are placed in the shape of a circle. Each ice block weighs between 1.5 and 5 tonnes. In November 2015, Eliasson together with geologist Minik Rosing again transported twelve enormous blocks of ice from Greenland to Place du Panthéon in Paris. The installation was timed with the UN Climate Change Conference that was held in Paris. The installation was once again repeated in 2018, when Eliasson divided a total of thirty ice-blocks between two locations in London: 24 blocks at the banks of the Tate Modern museum, and 6 blocks before the Bloomberg headquarters.


title: Olafur Eliasson

text: Timothy Morton lists "Ice Watch" as an example of how art can help humans understand their relationship with nonhumans amidst ecological crisis, arguing that it "seriously stretched or went beyond prefabricated concepts, in a friendly and simple, yet deep way".


title: Olafur Eliasson

text: winery in Sonoma, California, in 2019, the "Vertical Panorama Pavilion" is built to accommodate up to 12 guests and inspired by the history of circular calendars. The pavilion's roof features 832 laminated panels of recycled glass in 24 colors and is supported by 12 stainless-steel columns. From afar, only the translucent rainbow glass tiled canopy can be seen.


title: Olafur Eliasson

text: In 2005, Olafur and classical violin maker Hans Johannsson began work on the development of a new instrument, with the objective to reinterpret the traditions of 17th- and 18th-century violin making using today's technology and a contemporary visual aesthetic.


title: Olafur Eliasson

text: Commissioned by Louis Vuitton in 2006, lamps titled "Eye See You" were installed in the Christmas windows of Louis Vuitton stores; a lamp titled "You See Me" went on permanent display at Louis Vuitton Fifth Avenue, New York. Each deliberately low-tech apparatus, of which there are about 400, is composed of a monofrequency light source and a parabolic mirror. All fees from the project were donated to 121Ethiopia.org, a charitable foundation initially established by Olafur and his wife to renovate an orphanage. Cynthia Zarin of "The New Yorker" described "Your wave is" (2006) as a "major work".


title: Olafur Eliasson

text: In 2007, Olafur developed the stage design for "Phaedra", an opera production at the Berlin State Opera.


title: Olafur Eliasson

text: In a 2008 review of the "Take Your Time" retrospective (at the Museum of Modern Art), Peter Schjeldahl described Olafur as far superior to other "crowd-pleasing installational artists" of his generation; he wrote that the retrospective has some filler but also "lovely, subtly disorienting effects". He praised the artist as avoiding excessive political activism and Matthew Barney's "implications of mystical portent". Schjeldahl interpreted the artist as raising awareness "of the neurological susceptibilities that condition all of what we see and may think we know.”


title: Olafur Eliasson

text: Reviewing the same retrospective, Lauren Weinberg of "Time Out" praised "Beauty" (1993); the "discomfiting" works like 1997's "Room for one colour" and "Ventilator"; and the works involving the sense of smell, such as "Moss wall" (1994) and "Soil quasi bricks" (2003). She argued that "Moss wall" "evokes Scandinavia more powerfully than Eliasson’s dozens of photographs of rivers, caves and other natural features of Iceland, which fill one room of the show."


title: Olafur Eliasson

text: His seventh solo exhibition, "Volcanos and shelters" at Tanya Bonakdar Gallery, is about nature and specifically Iceland. In "The New York Times", Roberta Smith praised it as his "most gimmick-free [exhibition] in a while. The refreshing back-to-basics mood is a welcome break from the immersive complexities of his recent perception-altering environments.”


title: Olafur Eliasson

text: Along with James Corner's landscape architecture firm Field Operations and architecture firm Diller Scofidio + Renfro, Olafur was part of the design team for New York's High Line park. Olafur was originally supposed to create an outdoor-based artwork for the 2012 Summer Olympics; however, his proposed £1 million ($1.6 million) project "Take A Deep Breath" – which involved recording people breathing – was rejected due to funding problems.


title: Olafur Eliasson

text: In 2012 Olafur and engineer Frederik Ottesen founded Little Sun, a company that produces solar powered LED lamps.


title: Olafur Eliasson

text: In 2014 it was announced that his work "Kissing Earth", representing two globes, was to be placed in front of the newly built Rotterdam Centraal train station in The Netherlands. After protests by Rotterdam residents (notably on a Facebook page titled 'Pleurt op met je ballen', meaning roughly 'Sod off with your balls') and concerns over the expected costs the impopular project was cancelled in 2016. The square in front of the station remained empty.


title: Olafur Eliasson

text: It was reported in October 2019 that Eliasson was commissioned by the German government to create a "pan-European work of art" for the German European Council presidency in the second half of 2020.


title: Olafur Eliasson

text: Laura Cumming awarded the "In real life" survey four out of five stars, especially praising "Your blind passenger". She found some of the art (like the ice boulders from Greenland) didactic but still wrote, "Each piece conveys the strange extremes of Iceland with all the condensed power of a sonnet".


title: Olafur Eliasson

text: Olafur's AR Wunderkammer project, available through an app, is being used to place objects in the user's environment. These objects include burning suns, extraterrestrial rocks, and rare animals.


title: Olafur Eliasson

text: According to "The Guardian", the works by Olafur that he considers highlights are "Five Dimensional Pavilion" (1998), "Model room" (2003), "Sphere" (2003), "Your Invisible House" (2003), "The Parliament of Reality" (2006–09), the facades of Harpa (2005–11), "Your Rainbow Panorama" (2006-2011), the 2007 Serpentine Gallery Pavilion, "Colour activity house" (2010), "The Triangular Sky" (2013), and "Cirkelbroen" (2015). He deemed "Beauty" (1993) and "The presence of absence pavilion" (2019) the highlights of the 2019–2020 "In real life" exhibition.


title: Olafur Eliasson

text: Anna Souter reported that some in the art world find Olafur's work unsettling because "[m]ost people like Olafur Eliasson, and many curators and critics don’t like it when most people like the same things they do.” Reviewing the "Take Your Time" exhibition, Weinberg questioned whether the light-oriented works were more significant than “a Pink Floyd laser show [...] his practice [after "Ventilator"] went in a more polished and pleasant, but less challenging, direction.”


title: Olafur Eliasson

text: In a 2014 review of the exhibition "Riverbed" at Denmark's Louisiana, Svava Riesto and Henriette Steiner said that Olafur "cuts us off from the surroundings and imports a different and rough beauty"; they described the view of the stony landscape as "meticulously framed". However, they also speculated that Olafur aimed to make viewers see Louisiana differently and failed, creating a work that differs little from Louisiana: "The question about [...] how it really made us see things in new ways is still unanswered."


title: Olafur Eliasson

text: Louise Hornby argued that "Ice Watch" has "poignancy" but also “funnels time and melting ice through the spectator’s own experience [...] The imperative to watch asserts the central agency of the experiencing subject", which is unfitting because the "glaciers will melt, whether or not we see them”. Souter expressed a lukewarm view of the "In real life" exhibition in "Hyperallergic", writing that "Room for one colour" was more powerful at London's National Gallery than at Tate Modern and that "Your uncertain shadow (colour)" (2010) "feels like little more than a clever, visual trick."


title: Olafur Eliasson

text: Olafur had his first solo show was with Nicolaus Schafhausen in Cologne in 1993, before moving to Berlin in 1994. In 1996, Olafur had his first show in the United States at Tanya Bonakdar Gallery. The San Francisco Museum of Modern Art (SFMOMA) organized Olafur's first major survey in the United States "Take Your Time: Olafur Eliasson", from September 2007 to February 2008. Curated by the director of the Museum of Contemporary Art, Chicago, Madeleine Grynsztejn (then Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA), in close collaboration with the artist, the major survey spanned the artist's career from 1993 and 2007. The exhibit included site-specific installations, large-scale immersive environments, freestanding sculpture, photography, and special commissions seen through a succession of interconnected rooms and corridors. The museum's skylight bridge was turned into an installation titled "One-way colour tunnel." Following its San Francisco debut, the exhibit embarked on an international tour to the Museum of Modern Art, and P.S.1. Contemporary Art Center, New York, 2008; the Dallas Museum of Art, Dallas, Texas, 2008–2009; the Museum of Contemporary Art, Chicago, 2009; and the Museum of Contemporary Art, Sydney 2009–2010.


title: Olafur Eliasson

text: He has also had major solo exhibitions at, among others, Kunsthaus Bregenz, Musée d’Art Moderne, Paris, and ZKM (Center for Art and Media), Karlsruhe (2001); Schirn Kunsthalle, Frankfurt (2004); Hara Museum of Contemporary Art, Tokyo (2006); the Museum of Contemporary Art, Kanazawa, Ishikawa (2009); the Martin-Gropius-Bau, Berlin (2010) and the Langen Foundation, Museum Insel Hombroich, Neuss (2015). Olafur has also appeared in numerous group exhibitions, including the São Paulo Biennial and the Istanbul Biennial (1997), Venice Biennale (1999, 2001 and 2005), and the Carnegie International (1999), Palace of Versailles (2016), The Parliament of Possibilities at Leeum, Samsung Museum of Art (2016-2017).


title: Olafur Eliasson

text: The "Spiral Pavilion", conceived in 1999 for the Venice Biennale and today on display at Kunsthalle Bielefeld, brought Olafur Eliasson the Benesse Prize by the Benesse Corporation. In 2004, Olafur won the Nykredit Architecture Prize and the Eckersberg Medal for painting. The following year he was awarded the Prince Eugen Medal for sculpture and in 2006, the Crown Prince Couple's Culture Prize. In 2007, he was awarded the first Joan Miró Prize by the Joan Miró Foundation.


title: Olafur Eliasson

text: In 2010, Olafur was the recipient of a Quadriga award. He returned his award one year later after it was revealed that Vladimir Putin would be recognized in 2011. In October 2013, he was honored with the Goslarer Kaiserring. That same year, Olafur and Henning Larsen Architects were recipients of the Mies van der Rohe Award for their Harpa Concert Hall and Conference Center in Reykjavik, Iceland.


title: Olafur Eliasson

text: In 2014, Olafur was the recipient of the $100,000 Eugene McDermott Award in the Arts at MIT (Massachusetts Institute of Technology). The prize is considered an investment in the recipient's future creative work, rather than a prize for a particular project or lifetime of achievement. The awardee becomes an artist in residence at MIT, studying and teaching for a period of time.


title: Olafur Eliasson

text: On the occasion of a state visit to Germany in June 2013, the President of Iceland, Ólafur Ragnar Grímsson, visited Studio Olafur Eliasson in Berlin.


title: Olafur Eliasson

text: Brazilian filmmaker Karim Aïnouz's documentary piece, "Domingo", shot from his encounter with Olafur during the 17th Videobrasil Festival, had its world premiere at Rio International Film Festival] in 2014, and was released on DVD in 2015.


title: Olafur Eliasson

text: In 2003, Olafur married the Danish art historian Marianne Krogh Jensen, whom he met when she curated the Danish Pavilion for the 1997 São Paulo Art Biennial. They adopted both their son (in 2003) and their daughter (in 2006) in Addis Ababa, Ethiopia. The family had lived in a house designed by architect Andreas Lauritz Clemmensen in Hellerup near Copenhagen, but Olafur and Jensen are no longer married. Olafur currently lives and works in Berlin. Olafur speaks Icelandic, Danish, German, and English. He also has a younger half-sister named Victoria Eliasdottir who is a chef.


title: Olafur Eliasson

text: On 22 September 2019, Eliasson was appointed as Goodwill Ambassador by the United Nations Development Programme "to advocate for urgent action on climate change and sustainable development goals." In the context of his appointment, Eliasson emphasized the need to stay positive: "I also think it's important not to lose sight of what is actually going quite well. There is reason for hope. I believe in hope as such and I'm generally a positive person. And when you think about it: it has never been better to be a young African girl, for instance."


title: John Templeton

text: Sir John Marks Templeton (29 November 1912 – 8 July 2008) was an American-born British investor, banker, fund manager, and philanthropist. In 1954, he entered the mutual fund market and created the Templeton Growth Fund, which averaged growth over 15% per year for 38 years. A pioneer of emerging market investing in the 1960s, "Money" magazine named him "arguably the greatest global stock picker of the century" in 1999.


title: John Templeton

text: John Marks Templeton was born in the town of Winchester, Tennessee, and attended Yale University, where he was an assistant business manager for campus humor magazine "Yale Record" and was selected for membership in the Elihu society. He financed a portion of his tuition with winnings from playing poker, a game at which he excelled. He graduated in 1934 near the top of his class. He attended Balliol College in Oxford University as a Rhodes Scholar and earned an M.A. in law. He was a CFA charterholder and was a student of the "father of value investing", Benjamin Graham.


title: John Templeton

text: In 1939, Templeton, during the Depression of the 1930s, had his broker purchase 100 shares of each NYSE-listed company which was then selling for less than $1 a share ($ today) (104 companies, 34 in bankruptcy, in 1939), later making many times the money back when US industry picked up as a result of World War II. According to Templeton, he called his broker the day World War II began and instructed him to purchase every stock trading at less than a dollar. This stratagem helped make him a wealthy man.


title: John Templeton

text: Templeton became a billionaire by pioneering the use of globally diversified mutual funds. His Templeton Growth Fund, Ltd. (investment fund), established in 1954, was among the first to invest in Japan in the middle of the 1960s. Templeton also created funds specifically in certain industries such as nuclear energy, chemicals, and electronics. By 1959, Templeton went public, with five funds and more than 66 million dollars under management.


title: John Templeton

text: "Money" magazine in 1999 called him "arguably the greatest global stock picker of the century". Templeton attributed much of his success to his ability to maintain an elevated mood, avoid anxiety and stay disciplined. He rejected technical analysis for stock trading, preferring instead to use fundamental analysis. Thus he did not attempt to predict future stock movements, but paid close attention to valuation. From the late 1930s Templeton and his colleagues developed sophisticated quantitative finance methods that anticipated by decades now-common features such as the Shiller P/E, rebalancing and Tobin's q.


title: John Templeton

text: Despite the name of his flagship fund, Templeton Growth Fund, he was more a practitioner of value investing rather than growth investing. Templeton focused on buying stocks he calculated were substantially undervalued, holding them until selling when their price rose to fair market value. His average holding period was about four years. He believed holding assets priced above fair market value in hopes they would further increase in price was speculation, not investing. However, Templeton did not buy stocks merely because they were undervalued but also took care investing in companies he determined were profitable, well-managed and with good long-term potential.


title: John Templeton

text: By emphasizing overlooked or unpopular stocks Templeton was in many ways a contrarian and became known for his "avoiding the herd" and "buy when there's blood in the streets" philosophy to take advantage of market turmoil. He also was known for taking profits when values and expectations were high. He was among the earliest American investors to devote substantial focus to investment opportunities in then-overlooked foreign markets such as Asia and Eastern Europe. Always on the lookout for bargain-priced stocks and hoping to avoid expensive stocks, he rotated out of Japanese stocks as they became more fashionable in the 1970s and turned to US stocks when they were at historic lows.


title: John Templeton

text: In 2005, he wrote a brief memorandum predicting that within five years there would be financial chaos in the world, anticipating a collapse of the housing market and decline in yields on government-issued bonds to near zero. Templeton also predicted within the next few decades a major decrease in traditional schooling due to internet-based learning options. Initially privately circulated to family and a small number of Franklin-Templeton management, the memo was eventually made public in 2010.


title: John Templeton

text: Templeton was a Chartered Financial Analyst (CFA) charter-holder. He received AIMR's first award for professional excellence in 1991.


title: John Templeton

text: Templeton married Judith Folk in 1937, and the couple had three children: John, Anne, and Christopher. Judith Templeton died in February 1951 in a motorbike accident. He remarried, to Irene Reynolds Butler in 1958; she died in 1993. A Christian, he was a lifelong member of the Presbyterian Church. He served as an elder of the First Presbyterian Church of Englewood (Englewood, New Jersey). He was a trustee on the board of Princeton Theological Seminary, the largest Presbyterian seminary, for 42 years and served as its chair for 12 years.


title: John Templeton

text: Uninterested in consumerism, he lived relatively frugally and never flew first-class. He lived year-round in the Bahamas. A friend jokingly described Templeton as Calvinist in his approach to wealth: "He believes it's okay to make money so long as you don't enjoy it."


title: John Templeton

text: On 8 July 2008, Templeton died at Doctors Hospital in Nassau, Bahamas, of pneumonia at 12:20. He was 95, and was survived by two sons, one of whom, John Templeton Jr., has since died, in 2015, of brain cancer.


title: John Templeton

text: Templeton was one of the most generous philanthropists in history, giving away over $1 billion to charitable causes. Templeton renounced his US citizenship in 1964, which some sources claim was a strategy to minimize taxes. However, in a 1997 interview with Charlie Rose, Templeton asserted the Bahamas had a higher tax rate than the United States and denied he renounced his citizenship to avoid paying taxes to the United States. He held dual naturalised Bahamian and British citizenship and lived in the Bahamas.


title: John Templeton

text: In 2007, Templeton was named one of "Time" magazine's 100 Most Influential People (Time 100) under the category of "Power Givers". Templeton was given this honour for his "pursuit of spiritual understanding, often through scientific research" through his establishment of the John Templeton Foundation.


title: John Templeton

text: Templeton College is now closely associated with Oxford's Saïd Business School. In 2007, Templeton College transferred its executive education program to Saïd Business School. In 2008, Templeton College merged with Green College to form Green Templeton College. This is one of the exceptional mergers in recent history of the University of Oxford.


title: John Templeton

text: He was created a Knight Bachelor in 1987 for his philanthropic efforts. Templeton was inducted into the Junior Achievement US Business Hall of Fame in 1996, and in 2003 awarded the William E. Simon Prize for Philanthropic Leadership.


title: John Templeton

text: Templeton Religion Trust (TRT) is a global charitable trust chartered by Sir John Templeton in 1984, with headquarters in Nassau, The Bahamas, where Sir John lived until his death in 2008. TRT has been active since 2012 and supports projects and the dissemination of results from projects seeking to enrich the conversation about religion via three broad initiatives:


title: John Templeton

text: TRT's aim is to improve the well-being of individuals and societies through spiritual growth and an ever-improving understanding of spiritual realities and spiritual information.


title: John Templeton

text: TRT is the first of three charitable entities established by Sir John Templeton. The other entities are the John Templeton Foundation and the Templeton World Charity Foundation. While all three organizations have similar aims, they operate as separate charitable entities.


title: John Templeton

text: As a member of the Presbyterian Church, Templeton was dedicated to his faith. However, Templeton eschewed dogma and declared relatively little was known about the divine through scripture, espousing what he called a "humble approach" to theology and remaining open to the benefits and values of other faiths. Commenting on his commitment to what he called spiritual progress, "But why shouldn't I try to learn more? Why shouldn't I go to Hindu services? Why shouldn't I go to Muslim services? If you are not egotistical, you will welcome the opportunity to learn more." Similarly, one of the major goals of the John Templeton Foundation is to proliferate the monetary support of spiritual discoveries. The John Templeton Foundation encourages research into "big questions" by awarding philanthropic aid to institutions and people who pursue the answers to such questions through "explorations into the laws of nature and the universe, to questions on the nature of love, gratitude, forgiveness, and creativity."


title: John Templeton

text: In an interview published in the Financial Intelligence Report in 2005, Templeton asserts that the purpose of the John Templeton Foundation is as follows: "We are trying to persuade people that no human has yet grasped 1% of what can be known about spiritual realities. So we are encouraging people to start using the same methods of science that have been so productive in other areas, in order to discover spiritual realities."


title: EmDrive

text: The EmDrive is a concept for a thruster for spacecraft, first written about in 2001. It is purported to generate thrust by reflecting microwaves inside the device, in a way that would violate the law of conservation of momentum and other laws of physics. The concept has been referred to at times as a resonant cavity thruster or as the latest Impossible Drive.


title: EmDrive

text: There is no official design for this device. Neither person who claims to have invented it has committed to an explanation for how it could operate as a thruster or what elements define it, making it hard to say definitively whether a given object is an example of an EmDrive. However, over the years, prototypes based on its public descriptions have been constructed and tested.


title: EmDrive

text: In 2016, Harold White's group at NASA observed a small apparent thrust from one such test, however subsequent studies suggested this was a measurement error caused by thermal gradients. In 2021, Martin Tajmar's group at the Dresden University of Technology replicated White's test, observing apparent thrusts similar to those measured by the NASA team, and then made them disappear again when measured using point suspension.


title: EmDrive

text: No other published experiment has measured apparent thrust greater than the experiment's margin of error. Tajmar's group published three papers in 2021 claiming that all published results showing thrust had been false positives, explaining each by outside forces. They concluded, "Our measurements refute all EmDrive claims by at least 3 orders of magnitude."


title: EmDrive

text: Rocket engines operate by expelling propellant, which acts as a reaction mass and which produces thrust per Newton's third law of motion. All designs for electromagnetic propulsion operate on the principle of reaction mass. A hypothetical drive which did not expel propellant in order to produce a reaction force, providing thrust while being a closed system with no external interaction, would be a reactionless drive, violating the conservation of momentum and Newton's third law. Claims that a drive is reactionless are generally considered by physicists to be pseudoscience.


title: EmDrive

text: The first design of a resonant cavity thruster claiming to be a reactionless drive was by Robert Shawyer in 2001. He called his conical design an "EmDrive", and claimed that it produced thrust in the direction of the base of the cone. Guido Fetta later built a "Cannae Drive", based in part on Shawyer's concept, using a pillbox-shaped cavity.


title: EmDrive

text: Since 2008, a few physicists have tested their own models, trying to reproduce the results claimed by Shawyer and Fetta. Juan Yang at Xi'an's Northwestern Polytechnical University (NWPU) was unable to reproducibly measure thrust from their models, over the course of 4 years. In 2016, Harold White's group at NASA's Advanced Propulsion Physics Laboratory reported in the "Journal of Propulsion and Power" that a test of their own model had observed a small thrust. In late 2016, Yue Chen of the communication satellite division of the China Academy of Space Technology (CAST), said his team had tested prototypes, and would conduct in-orbit tests to determine if they could observe thrust.


title: EmDrive

text: Martin Tajmar's group at the Dresden University of Technology started testing prototypes in 2015, and by 2021 concluded that observations of thrust were false positives, reporting in the CEAS Space Journal they had refuted all EmDrive claims by "at least 3 orders of magnitude."


title: EmDrive

text: Media coverage of experiments using these designs has been polarized. The EmDrive first drew attention, both credulous and dismissive, when "New Scientist" wrote about it as an "impossible" drive in 2006. Media outlets were later criticized for misleading claims that a resonant cavity thruster had been "validated by NASA" following White's first tentative test reports in 2014. Scientists have continued to note the lack of unbiased coverage.


title: EmDrive

text: In 2006, responding to the "New Scientist" piece, mathematical physicist John C. Baez at the University of California, Riverside, and Australian science-fiction writer Greg Egan, said the positive results reported by Shawyer were likely misinterpretations of experimental errors.


title: EmDrive

text: In 2014, White's first conference paper suggested that resonant cavity thrusters could work by transferring momentum to the "quantum vacuum virtual plasma", a new term he coined. Baez and Carroll criticized this explanation, because in the standard description of vacuum fluctuations, virtual particles do not behave as a plasma; Carroll also noted that the quantum vacuum has no "rest frame", providing nothing to push against, so it can't be used for propulsion. In the same way, physicists James F. Woodward and Heidi Fearn published two papers showing that electron−positron virtual pairs of the quantum vacuum, discussed by White as a potential virtual plasma propellant, could not account for thrust in any isolated, closed electromagnetic system such as a quantum vacuum thruster.


title: EmDrive

text: In 2015, physicists Eric W. Davis at the Institute for Advanced Studies in Austin and Sean M. Carroll at the California Institute of Technology concluded that the thrust measurements reported in papers by both Tajmar and White were indicative of thermal effect errors.


title: EmDrive

text: In May 2018, researchers from the Institute of Aerospace Engineering at Technische Universität Dresden, Germany, concluded that the dominant effect underlying the apparent thrust could be clearly identified as an artifact caused by Earth's magnetic field interacting with power cables in the chamber, a result that other experts agree with.


title: EmDrive

text: In March 2021, Tajmar's group published a definitive analysis of their own past experiments and those of others, showing that all could be explained by and reproduced via outside forces, refuting all EmDrive claims.When power flows into the EmDrive, the engine warms up. This also causes the fastening elements on the scale to warp, causing the scale to move to a new zero point. We were able to prevent that in an improved structure. Our measurements refute all EmDrive claims by at least 3 orders of magnitude.


title: EmDrive

text: In 2001, Shawyer founded "Satellite Propulsion Research Ltd", to work on the EmDrive, which he said used a resonant cavity to produce thrust without propellant. The company was backed by a SMART award grant from the UK Department of Trade and Industry. In December 2002, he loosely described a prototype which he alleged had produced a thrust of powered by an 850 W cavity magnetron. The device could operate for only a few dozen seconds before the magnetron failed from overheating. Details were never published or replicated.


title: EmDrive

text: In October 2006, Shawyer claimed to have conducted tests on a new water-cooled prototype with increased thrust. He reported plans to have the device ready to use in space by May 2009 and to make the resonant cavity a superconductor, neither of which materialized.


title: EmDrive

text: "New Scientist" magazine featured the EmDrive on the cover of 8 September 2006 issue. The article portrayed the device as plausible and emphasized the arguments of those who held that point of view. Egan, a popular science fiction author, distributed a public letter stating that "a sensationalist bent and a lack of basic knowledge by its writers" made the magazine's coverage unreliable, sufficient "to constitute a real threat to the public understanding of science". Especially, Egan said he was "gobsmacked by the level of scientific illiteracy" in the magazine's coverage, alleging that it used "meaningless double-talk" to obfuscate the problem of conservation of momentum. The letter was endorsed by Baez and posted on his blog. "New Scientist" editor Jeremy Webb responded to critics: "New Scientist" also published a letter from the former technical director of EADS Astrium: A letter from physicist Paul Friedlander:


title: EmDrive

text: In 2007, the UK Department of Trade and Industry granted SPR an export license to Boeing in the US. According to Shawyer, in December 2008 he was invited to present on the EmDrive, and in 2009 Boeing expressed interest in it, at which point he stated that SPR built a thruster which produced 18 grams of thrust, and sent it to Boeing. Boeing did not license the technology and communication stopped. In 2012, a Boeing representative confirmed that Boeing Phantom Works used to explore exotic forms of space propulsion, including Shawyer's drive, but such work later ceased. They confirmed that "Phantom Works is not working with Mr. Shawyer," nor pursuing those explorations.


title: EmDrive

text: In 2014, Shawyer presented ideas for 'second-generation' EmDrive designs and applications at the annual International Astronautical Congress. A paper based on his presentation was published in "Acta Astronautica" in 2015. While no functional prototype of the first-generation drive had yet been produced, it described a model for a superconducting resonant cavity and three models for thrusters with multiple cavities.


title: EmDrive

text: In 2016, Shawyer filed further patents and launched a new company, "Universal Propulsion Ltd.", as a joint venture with "Gilo Industries Group", a small UK aerospace company.


title: EmDrive

text: The Cannae Drive (formerly Q-drive), is another implementation of this idea, with a relatively flat cavity rather than a truncated cone. It was designed by Fetta in 2006 and promoted within the US through his company, Cannae LLC, since 2011. In 2016, Fetta announced plans to eventually launch a CubeSat satellite containing a version of the Cannae Drive, which would run for 6 months to observe how it functions in space. No followup was published.


title: EmDrive

text: In China, researchers working under Yang at NWPU built a resonant cavity thruster in 2008, and tested it for a number of years. A 2012 report claimed they had observed thrust, but in 2014 they found it to have been an experimental error. A second, improved prototype did not produce any measured thrust.


title: EmDrive

text: At the China Academy of Space Technology, Yue Chen filed several patent applications in 2016 describing various RF resonant cavity thruster designs. These included a method for stacking several short resonant cavities to improve thrust, and a design with a cavity that was a semicylinder instead of a frustum. That December, Chen announced that CAST would conduct tests on a resonant cavity thruster in orbit, without specifying what design was used. In an interview on CCTV in September 2017, Chen showed some testing of a flat cylindrical device, corresponding to the patent describing stacked short cavities with internal diaphragms.


title: EmDrive

text: All proposed theories for how the EmDrive works violates the conservation of momentum, which states any interaction cannot have a net force; a consequence of the conservation of momentum is Newton's third law, where for every action there is an equal and opposite reaction. The conservation of momentum is a symmetry of nature.


title: EmDrive

text: An often cited example of apparent nonconservation of momentum is the Casimir effect; in the standard case where two parallel plates are attracted to each other. However the plates move in opposite directions, so no net momentum is extracted from the vacuum and, moreover, energy must be put into the system to take the plates apart again.


title: EmDrive

text: Assuming homogeneous electric and magnetic fields, it is impossible for the EmDrive, or any other device, to extract a net momentum transfer from either a classical or quantum vacuum.


title: EmDrive

text: has been postulated in an inhomogeneous vacuum, but this remains highly controversial as it will violate Lorentz invariance.


title: EmDrive

text: and Mike McCulloch's theories of how the EmDrive could work rely on these asymmetric or dynamical Casimir effects. However, if these vacuum forces are present, they are expected to be exceptionally tiny based on our current understanding, too small to explain the level of observed thrust.


title: EmDrive

text: In the event that observed thrust is not due to experimental error, a positive result could indicate new physics.


title: EmDrive

text: In 2004, Shawyer claimed to have received seven independent positive reviews from experts at BAE Systems, EADS Astrium, Siemens and the IEE. The technical director of EADS Astrium (Shawyer's former employer) denied this in the strongest terms, stating:


title: EmDrive

text: In 2011, Fetta tested a superconducting version of the Cannae drive, suspended inside a liquid-helium-filled dewar, with inconclusive results.


title: EmDrive

text: None of these results were published in the scientific literature, replicated by independent researchers, or replicated consistently by the inventors. In a few cases details were posted for a time on the inventors' websites, but no such documents remain online as of 2019.


title: EmDrive

text: In 2015, Shawyer published an article in "Acta Astronautica", summarising seven existing tests on the EmDrive. Of these, four produced a measured force in the intended direction, three produced thrust in the opposite direction, and in one test thrust could be produced in "either" direction by varying the spring constants in the measuring apparatus.


title: EmDrive

text: In 2008, a team of Chinese researchers led by Juan Yang (杨涓), professor of propulsion theory and engineering of aeronautics and astronautics at Northwestern Polytechnical University (NWPU) in Xi'an, China, said that they had developed a valid electro-magnetic theory behind a microwave resonant cavity thruster. A demonstration version of the drive was built and tested with different cavity shapes and at higher power levels in 2010. Using an aerospace engine test stand usually used to precisely test spacecraft engines like ion drives, they reported a maximum thrust of 720 mN at 2,500 W of input power. Yang noted that her results were tentative, and said she "[was] not able to discuss her work until more results are published".


title: EmDrive

text: In a 2014 follow-up experiment (published in 2016), Yang could not reproduce the 2010 observation and suggested it was due to experimental error. They had refined their experimental setup, using a three-wire torsion pendulum to measure thrust, and tested two different power setups. They concluded that they were unable to measure significant thrust; that "thrust" measured when using external power sources (as in their 2010 experiment) could be noise; and that it was important to use self-contained power systems for these experiments, and more sensitive pendulums with lower torsional stiffness.


title: EmDrive

text: Since 2011, White had a team at NASA known as the Advanced Propulsion Physics Laboratory, or Eagleworks Laboratories, devoted to studying exotic propulsion concepts. The group investigated ideas for a wide range of untested and fringe proposals, including Alcubierre drives, drives that interact with the quantum vacuum, and RF resonant cavity thrusters. In 2014, the group began testing resonant cavity thrusters, and in November 2016 they published a peer-reviewed paper on this work, in the "Journal of Propulsion and Power".


title: EmDrive

text: In July 2014, White reported tentative positive results for evaluating a tapered RF resonant cavity. Their first tests of this tapered cavity were conducted at very low power (2% of Shawyer's 2002 experiment). A net mean thrust over five runs was measured at 91.2 µN at 17 W of input power. The experiment was criticized for its low power, small data set, and for not having been conducted in vacuum, to eliminate thermal air currents.


title: EmDrive

text: The group announced a plan to upgrade their equipment to higher power levels, and to use a test framework subject to independent verification and validation at one or more major research centers. This did not happen.


title: EmDrive

text: They later conducted experiments in vacuum at 40-80W of input power, publishing the results in 2016 in the "Journal of Propulsion and Power", under the title ""Measurement of Impulsive Thrust from a Closed Radio-Frequency Cavity in Vacuum"". The study said their system was "consistently performing with a thrust-to-power ratio of 1.2±0.1mN/kW", but also enumerated many potential sources of error. This was the first such paper published in a peer-reviewed journal, however the experiment was again criticized for its small dataset and missing details about the experimental setup, which was again not independently validated.


title: EmDrive

text: In July 2015, an aerospace research group at the Dresden University of Technology (TUD) under Martin Tajmar reported results for an evaluation of an RF resonant tapered cavity similar to the EmDrive. Testing was performed first on a knife-edge beam balance able to detect force at the micronewton level, atop an antivibration granite table at ambient air pressure; then on a torsion pendulum with a force resolution of 0.1 mN, inside a vacuum chamber at ambient air pressure and in a hard vacuum at .


title: EmDrive

text: They used a conventional ISM band 2.45 GHz 700 W oven magnetron, and a small cavity with a low Q factor (20 in vacuum tests). They observed small positive thrusts in the positive direction and negative thrusts in the negative direction, of about 20 µN in a hard vacuum. However, when they rotated the cavity upwards as a "null" configuration, they observed an anomalous thrust of hundreds of micronewtons, much larger than the expected result of zero thrust. This indicated a strong source of noise which they could not identify. This led them to conclude that they could not confirm or refute claims about the device.


title: EmDrive

text: In 2018, they published results from an improved test rig, which showed that their measured thrust had been a result of experimental error from insufficiently shielded components interacting with the Earth's magnetic field. In new experiments, they measured thrust values consistent with previous experiments and again measured thrust perpendicular to the expected direction when the thruster was rotated by 90°. Moreover, they did not measure a reduction in thrust when an attenuator was used to reduce the power that actually entered the resonant cavity by a factor of 10,000, which they said "clearly indicates that the "thrust" is not coming from the EMDrive but from some electromagnetic interaction." They concluded that "magnetic interaction from not sufficiently shielded cables or thrusters are a major factor that needs to be taken into account for proper μN thrust measurements for these type of devices," and they planned on conducting future tests at higher power and at different frequencies, and with improved shielding and cavity geometry.


title: EmDrive

text: In 2021, they revisited these experiments again and ran more precise tests. They reported with high confidence that the forces previously measured could be completely explained by experimental error, and that there was no evidence for any measurable thrust once these errors were taken into account. They were able to run the experiment and show no thrust in any direction, and to reintroduce the previous sources of experimental error to replicate the earlier results. They also replicated White's setup, showing that thermal effects could replicate the apparent thrust his team had observed, and that this thrust went away when measured with a more precise suspension. They went on to publish two further papers, showing similar negative results for the laser-based LemDrive variant and Woodward's Mach-Effect thruster.


title: EmDrive

text: In August 2016, Cannae announced plans to launch its thruster on a 6U cubesat which they would run for 6 months to observe how it functions in space. Cannae formed a company called Theseus for the venture and partnered with LAI International and SpaceQuest Ltd. to launch the satellite. As of 2022, no launch date has yet been announced.


title: EmDrive

text: In December 2016, Yue Chen told a reporter at China's "Science and Technology Daily" that his team would test an EmDrive in orbit. Chen claimed their prototype's thrust was at the "micronewton to millinewton level", which would have to be scaled up to at least 100–1000 millinewtons for a chance of conclusive experimental results. Despite this, he said his goal was to validate the drive if possible, and make such technology available for satellite engineering "as quickly as possible". After 2017, no further updates were announced.


title: EmDrive

text: The strongest early result, from Yang's group in China, was later reported to be caused by an experimental error. Tajmar published an explanation of how all reports of apparent thrust could have been caused entirely by failing to account for all sources of error or noise.


title: EmDrive

text: Other potential sources of error include confirmation bias and publication bias (discarding negative results).


title: EmDrive

text: The simplest and most likely explanation is that any thrust detected is due to experimental error or noise. In all of the experiments set up, a very large amount of energy goes into generating a tiny amount of thrust. When attempting to measure a small signal superimposed on a large signal, the noise from the large signal can obscure the small signal and give incorrect results.


title: EmDrive

text: The largest error source is believed to come from the thermal expansion of the thruster's heat sink; as it expands this would lead to a change in the centre of gravity causing the resonant cavity to move. White's team attempted to model the thermal effect on the overall displacement by using a superposition of the displacements caused by "thermal effects" and "impulsive thrust" with White saying "That was the thing we worked the hardest to understand and put in a box". Despite these efforts, White's team were unable to fully account for the thermal expansion. In an interview with "Aerospace America", White comments that "although maybe we put a little bit of a pencil mark through [thermal errors]... they are certainly not black-Sharpie-crossed-out."


title: EmDrive

text: Their method of accounting for thermal effects has been criticized by Millis and Davies, who highlight that there is a lack of both mathematical and empirical detail to justify the assumptions made about those effects. For example, they do not provide data on temperature measurement over time compared to device displacement. The paper includes a graphical chart, but it is based on "a priori" assumptions about what the shapes of the "impulsive thrust" and "thermal effects" should be, and how those signals will superimpose. The model further assumes all noise to be thermal and does not include other effects such as interaction with the chamber wall, power lead forces, and tilting. Because the Eagleworks paper has no explicit model for thrust to compare with the observations, it is ultimately subjective, and its data can be interpreted in more than one way. The Eagleworks test, therefore, does not conclusively show a thrust effect, but cannot rule it out either.


title: EmDrive

text: White suggested future experiments could run on a Cavendish balance. In such a setup, the thruster could rotate out to much larger angular displacements, letting a thrust (if present) dominate any possible thermal effects. Testing a device in space would also eliminate the center-of-gravity issue. Tajmar's team later used such a setup to show that past results had all been artefacts of thermal effects.


title: EmDrive

text: These experiments used relatively large electromagnetic inputs to generate small amounts of thrust. As a result, electromagnetic interactions between power leads, between power lines and ambient magnetic fields, or between the apparatus and walls of a test chamber, could all have significant effects.


title: EmDrive

text: Yang reported in 2016 that an interaction with the Earth's magnetic field had caused the fairly large apparent thrust in their 2012 paper. Tajmar looked for potential Lorentz force interactions between power leads in trying to replicate White's experimental setup. Another source of error could have arisen from electromagnetic interaction with the walls of the vacuum chamber. White argued that any wall interaction could only be the result of a well-formed resonance coupling between the device and wall and that the high frequency used imply the chances of this would be highly dependent on the device's geometry. As components get warmer due to thermal expansion, the device's geometry changes, shifting the resonance of the cavity. In order to counter this effect and keep the system in optimal resonance conditions, White used a phase-locked loop system (PLL). Their analysis assumed that using a PLL ruled out significant electromagnetic interaction with the wall.


title: India's Best Dancer

text: India's Best Dancer is a dance reality show. It is produced by Frames Production India. Subsequently, the show airs on Sony Entertainment Television and also available through SonyLIV OTT platforms. India's Best Dancer was originally started in Hindi language and has been extended into 2 languages spoken in the Indian sub-continent, including Marathi.


title: India's Best Dancer

text: The shooting of Season 1 was halted due to the COVID-19 pandemic in India and shooting started on 13 July 2020 and broadcasts have started from 18 July 2020. The spin off Maharashtra's Best Dancer airs on Sony Marathi. Tiger Pop was the winner of Season 1. Online auditions for season 2 began on 5 May 2021 on SonyLIV. The season 2 aired on 16 October 2021.


title: India's Best Dancer

text: India's Best Dancer will showcase the journey of some of the best talent who, with their solo performances, will compete to win the title. The show promises to be the toughest dance reality show on Indian television and the makers have ensured to make it challenging at every step. India's Best Dancer airs every Sat-Sun at 8:00 PM only on Sony Entertainment Television.


title: India's Best Dancer

text: Note: Nora Fatehi replaced Malaika Arora as a judge for some episodes when Arora was unable to join the shoots during Season 1.


title: Celebrity (album)

text: Celebrity is the fourth and final studio album by American boy band NSYNC. It was released by Jive Records on July 24, 2001. Due to constant criticism that they were not a "credible group", NSYNC began experimenting with genres such as hip hop and two-step. As with their previous studio album, "No Strings Attached" (2000), numerous producers, including BT, Rodney Jerkins, Brian McKnight, PAJAM, and the Neptunes, worked on the album. Justin Timberlake and JC Chasez also contributed to production, while they co-wrote 10 of 13 tracks in an attempt to develop a unique sound, which includes pop, R&B, teen pop, and urban genres.


title: Celebrity (album)

text: After being delayed by unfinished recording sessions, "Celebrity" was released to generally favorable reviews from music critics, many of whom praised the production and songwriting. The album was the band's second album to debut at number one on the US "Billboard" 200 chart, with first week sales of 1,879,495 copies in the US, which became the second-best debut week sales in the country. It was also the third-best selling album on the "Billboard" 200 in 2001, after Shaggy's "Hot Shot" (2000) and Linkin Park's "Hybrid Theory" (2000), and has since been certified quintuple platinum in the US by the Recording Industry Association of America (RIAA). NSYNC embarked on the accompanying PopOdyssey and Celebrity tours for promotion.


title: Celebrity (album)

text: At the 2000 "Billboard" Music Awards on December 5, NSYNC announced they would begin "experimenting with new music" for their third studio album at a recording studio in Florida during January and February 2001. Justin Timberlake said the band planned to spend two months in the studio to come up with ideas, while Joey Fatone stated that they may leave Florida as the album progresses. NSYNC also said they wanted to collaborate with Kevin "She'kspere" Briggs and Richard Marx, with whom they had worked on their third studio album "No Strings Attached" (2000).


title: Celebrity (album)

text: Although "No Strings Attached" sold 14 million copies worldwide, including a record 2.4 million in the United States during its first week, critics ridiculed the band, who did not match the critics' perceptions as a "credible group" and were not considered "artistic". In response to this, NSYNC decided to be more involved in production, co-writing 10 of the 13 tracks on "Celebrity". JC Chasez discussed the recording process in an interview with "Billboard": "Our objective was not to be self-conscious and try to make another hit record. Instead, we set out to make a record that was more reflective of what turns us on musically. We also wanted to prove that pop music comes in a lot of different flavors. It's not all bubble-gum." The band decided to assign roles for each member to combat media perception of "leadership roles within the group". Timberlake and Chasez worked on the album's production and music, while Lance Bass was assigned to handle business and management, and Fatone started to plan the supporting tour alongside Chris Kirkpatrick. "Celebrity" finished production in June 2001.


title: Celebrity (album)

text: NSYNC sought out several collaborators to add new styles to their sound for "Celebrity". BT was recruited when Chasez, a fan of BT's music, befriended the producer at shows. Though initially hesitant to work with the band as their styles were opposite from each other, BT finally agreed when Timberlake told him he could do whatever he wanted with the group's vocals. Timberlake told BT he wanted the track to sound like "The Hip Hop Phenomenon" on the UK version of BT's 1999 album "Movement in Still Life", to which BT responded, "If you wanna do something that punk-rock, I'll do it." During the production of "Pop", BT tried 40 different treatments for vocals, with him using equipment that is commonly used for movie sound effects, and he constantly shouted Michael Jackson's name at Timberlake to inspire him. BT changed the song from "new-school R&B, Timbaland-style beats, to progressive house".


title: Celebrity (album)

text: NSYNC choreographer Wade Robson also took on a bigger role for the band as he co-wrote and produced multiple tracks for "Celebrity", including "Pop", "Gone", and the title track. "Gone" was initially written as a duet between Timberlake and Jackson, but was declined by Jackson. Timberlake took the song to NSYNC's A&R team and the band later recorded it. Jackson changed his mind after the song's release and wanted it to be performed only as a duet between himself and Timberlake, but they could not find a way to rewrite the song. American production duo the Neptunes produced "Celebrity"s third single "Girlfriend". Timberlake was determined to get American musician Stevie Wonder to play the harmonica for "Something Like You" after Timberlake composed the song with his songwriting partner Robin Wiley. Wonder recorded the harmonica part after Jive Records contacted him, with Timberlake describing his presence as a "surreal moment". Brad Daymond and Alex Greggs, known as Riprock 'n' Alex G, returned from "No Strings Attached" to write and produce three tracks: "The Two of Us", "Up Against the Wall", and "The Game is Over". Bass stated that "The Two of Us" was inspired by the music of Craig David.


title: Celebrity (album)

text: "Celebrity" includes elements of several musical genres, including pop, R&B, teen pop, and urban. In contrast to "No Strings Attached", the decision to experiment with different sounds on songs such as "Pop" was made so NSYNC could appear more mature and musically diverse. The album fuses sounds from NSYNC's earlier songs such as "Bye Bye Bye" (2000) with experimental genres, including hip hop and British two-step. Several of the producers who worked on "Celebrity" influenced the unique sound of each track, which was attributed to the band's self-awareness and desire to accentuate different aspects of their music.


title: Celebrity (album)

text: The album's first track, "Pop", refers to NSYNC's defense of the pop genre towards their critics. Larry Flick of "Billboard" described the song as "a crafty, anthemic blend of Cameo-style electro-funk beats, Euro-pop synths, heavy-metal guitars, and Timberlake's now-signature human beat-box riffs", while John Hugar of Uproxx referred to it as "a sort of proto-salvo against in the rockist vs. poptimists argument", and called the song a preview of Timberlake's 2003 single "Rock Your Body". The next track, "Celebrity", was produced by Rodney Jerkins, who used "low-key, funksome, two-step slither" along with camera clicks. The lyrics outline the negative consequences of being "a multi-millionaire, globe-trotting pop star", while Jon O'Brien of "Billboard" noted that the song is influenced by the Blackstreet and Janet Jackson song "Girlfriend/Boyfriend" (1999). "The Game is Over", according to Barry Walters of "Rolling Stone", includes the "Pac-Man theme and dance-y squeaks", and "echoes the sounds and sentiments of the last album's edgiest cuts". The fourth track, "Girlfriend", is an R&B song that was produced by the Neptunes. A remix of the track that features rapper Nelly was noted for giving the song a hip hop influence. Nelly raps over a minimal guitar figure for two verses; the first which lasted for 61 seconds before the song's first verse. "The Two of Us" is an "R&B waltz" containing a "British dancefloor beat", which was compared to that of "Digital Get Down" from "No Strings Attached". Staff writers at "Billboard" considered the ballad "Gone" to be "harrowing, relentless and unmistakably final". Hugar noted "Gone" as the precursor to Timberlake's second single "Cry Me a River" (2002).


title: Celebrity (album)

text: "Tell Me, Tell Me... Baby" was written by Max Martin and includes elements of Europop. According to O'Brien, the song contains "larger than life beats, swelling strings" and a bombastic chorus, which serves as a "blatant throwback". "Up Against the Wall" is an R&B song that features two-step garage elements; it was compared to Billy Joel's song "Get It Right the First Time" from his 1977 album "The Stranger", while the middle eight was compared to songs by the UK garage group So Solid Crew. "See Right Through You", the ninth track on "Celebrity", has an R&B sound; according to David Browne of "Entertainment Weekly", the song is "another tale of betrayal by scheming girls". The Brian McKnight-produced track "Selfish" combines the vocals of Chasez and Timberlake with an adult contemporary track. "Just Don't Tell Me That", a teen pop track, is similar to songs by Britney Spears and the Backstreet Boys. The song's lyrics describe a "fame-seeking girlfriend" spending too much time at the Playboy Mansion. According to Browne, "Something Like You" is a "squishy ballad with drooling-puppy harmonies and lyrics". The chorus was compared to the Boyz II Men song "4 Seasons of Loneliness". The US version of the album's final song "Do Your Thing" contains "stuttering electronic beats" and a bar by the songwriter J. Moss. Browne described the song as "mild electronica"; "Do Your Thing" is included on "Celebrity" because Jive Records wanted a song that showcased NSYNC's vocal talents and harmony.


title: Celebrity (album)

text: The artwork of "Celebrity" depicts the band walking on a red carpet while surrounded by flashing cameras and a crowd. Jackie Murphy created the artwork, which was photographed by Mark Seliger. Writing for AllMusic, Stephen Thomas Erlewine considered the garish cover art to be a hybrid of the cover of the Beatles' 1967 album "Sgt. Pepper's Lonely Hearts Club Band" and music videos by alternative rock band Sammy, and said the title "Celebrity" "none too subtly [draws] attention to the fact that they're stars". Ariana Bacle of "Entertainment Weekly" stated the appearance of each member on the artwork is "tame" in comparison to that of NSYNC's 1997 self-titled debut studio album, specifically criticizing Chasez and Joey Fatone's highlights for seeking unneeded attention.


title: Celebrity (album)

text: The album was officially announced on April 2, 2001 as "Celebrity", with Jive Records having intentions to release an "uptempo" first single later that month. On May 11, 2001, MTV played a recording of "Pop" via satellite during NSYNC's tour rehearsal for PopOdyssey, leading to the song's release to radio stations as the album's lead single three days later. "Celebrity" was initially set to be released on June 26, 2001, with the opening date of PopOdyssey on May 12, 2001. The tour was postponed to May 18, 2001, because the staging was still in development, and the album's release date was postponed to July 24, 2001. NSYNC decided to perform the tracks from "Celebrity" on tour before its release. The tour was sponsored by Verizon, which launched several television and radio advertising campaigns across the US in promotion of the album and its release date. In an interview with "Billboard", Chasez stated the concept of playing new songs at a concert was unusual but he felt it was a good sign that the crowd was actively participating. Jive Records president Barry Weiss was surprised by the band's touring approach, acknowledging the audience response would indicate "an album of immeasurable creative and commercial depth".


title: Celebrity (album)

text: MTV broadcast a television special entitled "The Road to Celebrity" on July 21 and 22, 2001. The premiere of "Celebrity", which included celebrities such as Britney Spears, Hugh Hefner, the Olsen Twins, and Aisha Tyler, was held at West Hollywood on July 23, 2001. NSYNC also played several songs at a tailgate party in the parking lot and appeared on MTV's "Total Request Live" on July 24, 2001, coinciding with the date of the album's ultimate release. To promote "Celebrity", NSYNC appeared on "The Rosie O'Donnell Show", "The Tonight Show with Jay Leno", and "Today", between June and August 2001. On the August 2001 magazine issue of "Rolling Stone", each NSYNC member was featured on an individual cover, in addition to a cover with the whole group. The recording process and promotional cycle for "Celebrity" was more condensed than previous albums, as the group scrambled to finish the album while planning for PopOdyssey. Chasez stated that the process of recording, promoting and touring was "everything at once".


title: Celebrity (album)

text: NSYNC embarked on two concert tours to promote the album. The first was PopOdyssey, which began on May 23, 2001, in Jacksonville, Florida, and concluded on September 1, 2001, in Mexico City. The tour's set was a five-story-high main stage with several smaller stages surrounding it, with the setup being transported by 88 trucks in comparison to the 19 trucks used for their No Strings Attached Tour (2000). Earning over $90 million, PopOdyssey was the second biggest tour of 2001. The band's second tour for "Celebrity" was the Celebrity Tour, which began on March 3, 2002, in Portland, Oregon, and concluded on April 28, 2002, in Orlando, Florida. In contrast to PopOdyssey, the tour favored music over spectacle and incorporated their older songs with new arrangements. It earned $33 million.


title: Celebrity (album)

text: "Celebrity" was met with generally favorable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 65 based on 11 reviews, indicating "generally favorable" reviews.


title: Celebrity (album)

text: Erlewine said "Celebrity" is NSYNC's "most varied album yet" and called it a highlight from the teen-pop era of 1999–2001, and praised the musicianship of Timberlake, Chasez, and the songwriters. J.D. Considine of "Blender" said the album "shines brightest when the group matures enough to forget about its image and focus on the tunes". Alex Needham of "NME" wrote that although NSYNC display feelings of discontent on "Celebrity", they "have the tunes to make up for it". In one of his "Consumer Guide" reviews, Robert Christgau gave the album a , writing, "they survive writing their own songs", highlighting "Selfish" and "Do Your Thing". Neil Strauss of "The New York Times" singled out "The Game Is Over," with its "skittering, robotic video-game beat" as an impressive track.


title: Celebrity (album)

text: Browne stated that "Celebrity" is "the consummate teen-pop experience", listing R&B, ballads, self-expression and Europop as examples of genres included. He also said it is "pleasant filler and nothing more". Walters said the anxiety in the singers' vocals allowed them to "pave a new high road for teen pop’s future", and that he found the band's calling out of "anonymous gold diggers" on several tracks tiresome. Writing for "Slant", Sal Cinquemani criticized the album for being "slightly overcooked and a tad overzealous", saying it is unfortunate NSYNC "couldn’t completely discard the classic hit-making formula in favor of the more experimental pop that seems so inherent in this and their last album". He said NSYNC could become "The Beatles of their generation" if they abandoned the pop genre and survived the growing pains and the aging of their fans. The staff of "Q" said "Celebrity" is "quality froth" despite not being good, and the staff from "E! Online" stated that 13-year-old girls would love the album while others will only reluctantly appreciate it.


title: Celebrity (album)

text: "Dotmusic's" Cyd Jaymes was critical of "Celebrity", praising the first track "Pop" for being one of the best singles of 2001, but describing the remainder of the album as "formulaic, less-than-meaty balladeering and the odd glimmer of upbeat hope", and largely underwhelming. Jason Thompson of "PopMatters" described it as "threadbare cookie crunch" and accused the band of setting double-standards for their fans, saying NSYNC "enjoy flaunting their own image while at the same time playing a candy-ass game of 'don't like us only for our status'".